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Nineteenth Century Visual Rhetoric of the Underground Railroad UNLV Retrospective Theses & Dissertations 1-1-2005 Points of contact: Nineteenth century visual rhetoric of the Underground Railroad Theodore Ransaw University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/rtds Repository Citation Ransaw, Theodore, "Points of contact: Nineteenth century visual rhetoric of the Underground Railroad" (2005). UNLV Retrospective Theses & Dissertations. 1903. http://dx.doi.org/10.25669/vakp-9sug This Thesis is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in UNLV Retrospective Theses & Dissertations by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. POINTS OF CONTACT: NINETEENTH CENTURY VISUAL RHETORIC OF THE UNDERGROUND RAILROAD by Theodore Ransaw Bachelor of Science University of Nevada, Las Vegas 1999 A thesis submitted in partial fulfillment of the requirements for the Master of Arts Degree in Communication Studies Department of Communications Hank Greenspun College of Urban Affairs Graduate College University of Nevada Las Vegas December 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 1435634 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform 1435634 Copyright 2006 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Ml 48106-1346 Reproduced witfi permission of tfie copyrigfit owner. Furtfier reproduction profiibited witfiout permission. Copyright by Theodore Ransaw Graduate Student 2006 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Thesis Approval uNiy The Graduate College University of Nevada, Las Vegas December 13, The Thesis prepared by Theodore Ransaw Entitled Points of Contact; Nineteenth Century Visual Rhetoric of the Underground Railroad is approved in partial fulfillment of the requirements for the degree of Master of Arts Degree in Communication Studies amination Committee Chair cJcC. Dean o f the Graduate College Examination Committee Membe] lamination Committee^emb^ Membe Gramate College Faculty Representative 11 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. ABSTRACT Points of Contact: Nineteenth Century Visual Rhetoric of the Underground Railroad by Theodore Ransaw Dr. David Henry, Committee Chair Professor of Communication University of Nevada, Las Vegas Just as eighteenth century master seamstress Betsy Ross implemented more meanings and messages into the first American flag than what is obvious at first glance, so too did African American seamstresses weave messages into quilt patterns used on the Underground Railroad. Similar to the way themes of freedom and liberty in the Declaration of Independence were reinterpreted to include disenfranchised groups. Biblical themes such as heaven and the Promised Land were reinterpreted to include slaves. This study examines the visual rhetoric of nineteenth century textiles used by the Underground Railroad. From the evidence examined, I argue that the visual texts of quilting during the nineteenth century were complete multimedia devices used not only by African Americans but other disenfranchised groups such as Abolitionists, Native Americans, Woman Suffrage Activists and Freemasons. Nineteenth century visual rhetoric was significant both historically and rhetorically to many American subcultures. Ill Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. TABLE OF CONTENTS INTRODUCTION................................................................................................................... 1 Visual Rhetoric, a brief overview .....................................................................................18 Heuristic Value ..................................................................................................................21 Terms..................................................................................................................................22 Chapter Overview ..............................................................................................................23 CHAPTER 2 LITERATURE REVIEW............................................................................ 25 Contrapuntal Tones............................................................................................................25 Sequencing ......................................................................................................................... 31 Orchestration...................................................................................................................... 33 Implementation.................................................................................................................. 35 CHAPTER 3 ANALYSIS.................................................................................................. 41 Nature of an Artifact ..........................................................................................................42 Function of an Artifact ...................................................................................................... 42 Crossroads.......................................................................................................................... 45 Bow Tie...............................................................................................................................49 North Star........................................................................................................................... 51 CHAPTER 4 CONCLUSION............................................................................................. 56 Limitations and Recommendations..................................................................................58 APPENDIX A QUILT PATTERNS.....................................................................................64 APPENDIX B TEXTILES.................................................................................................... 66 APPENDIX C GLOSSARY.................................................................................................. 67 REFERENCES....................................................................................................................... 74 VITA........................................................................................................................................ 86 IV Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. LIST OF IMAGES Images 1 Ozella Quilt ..................................................................................................... 2 Image 2. Monkey Wrench ............................................................................................. 5 Image 3. Wagon Wheel..................................................................................................5 Image 4. Log Cabin ........................................................................................................6 Image 5. Bow Tie........................................................................................................... 6 Image 6. Cathedral ......................................................................................................... 7 Image 7. Double Wedding Rings ..................................................................................7 Image 8. Flying Geese..................................................................................................8 Image 9. Shoofly...........................................................................................................8 image 10. Tumbling Blocks ...........................................................................................9 Image 11. Bear Claw...................................................................................................... 9 Image 12. Crossroads....................................................................................................10 Image 13. North Star.................................................................................................... 10 Image 14. European Notation...................................................................................... 27 Image 15. West African Musical Cloth .....................................................................
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