African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
306 p., This dissertation concentrates on the relationship between law, literature, and slavery in the Hispanic Caribbean of the Early Modern Period. The analysis is based on two letters and a treatise, Resolución sobre la libertad de los negros y sus originarios, en estado de paganos y después ya cristianos (1681), that were written by Capuchin friar Francisco José de Jaca, while he was serving as a missionary in the Caribbean region. His writings set the stage for a discussion of how Spanish hegemonic legal thinking is challenged and redefined from an alternative transatlantic narrative.
287 p., With a focus on cultural memory, this dissertation investigates French Caribbean women's plays and their performance at Ubu Repertory Theater, a pioneering French-American theatre in New York. After a theoretical introduction and a historical chapter investigating slavery and its remembrance in the Francophone Caribbean, each chapter is divided into two sections, the first examining the play, and the second its production at Ubu. The author relies on theories of collective memory and cultural trauma to read Ina Césaire's Fire's Daughters, Maryse Condé's The Tropical Breeze Hotel, and Gerty Dambury's Crosscurrents as plays that dramatize a link between the past (the Middle Passage, slavery, and sexual relations between enslaved women and white men) and present-day behaviors, attitudes, and pain. It is argued that these plays work to revise problematic practices of remembrance in France and the Antilles. These practices dissociate slavery from its local context; make the trauma of enslaved women's rape a secret; divide Antilleans of different races, ethnicities, genders, and social classes; and associate resistance almost exclusively with Haiti. In a second section of each chapter, the production and reception of these plays at Ubu are examined.
227 p., Considers the often-silenced, tangible traces that the Haitian Revolution and radical anti-slavery have left in the greater Caribbean as they emerge in contemporary cultural productions. The author looks at national trends in the Dominican Republic, Cuba and Jamaica in order to formulate an understanding of the uses of gendered images of slavery and blackness in modern nation-building campaigns. Critically assesses what is left out of these narratives and how these gaps serve specific purposes. Argues for the centrality of the Caribbean in any true understanding of the history of modernity and the contemporary nation-state by investigating the after-shocks of the Haitian Revolution and of radical anti-slavery.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
210 p., From the days of slavery, the Negro from Martinique has never stopped "marronner", that is to say, to try to escape his condition, winning the great woods, the plebeians districts boroughs or even the neighboring islands. Simon, principal figure of the book, was one of them. He knew in the 17th century the arrival of the first slaves from Africa Guinea, the eighteenth hell of sugar plantations in the nineteenth fever abolition, in the early twentieth that of marching strikes and, at the dawn of XXI, the mare desperadoes of false modernity.
211 p., Explores the similarities and differences which characterize the depiction of people of color in certain representative 19th century Cuban and Brazilian slavery novels as a function of the authorial approach of each territory's literary tradition toward the issues of slavery, racial prejudice, and people of color. The selected texts, derived from the peak periods in slavery literature of each territory, include Francisco , by Anselmo Snárez y Romero; Sab , by Gertrudis Gómez de Avellaneda; Cecilia Valdés , by Cirilo Villaverde; A escrava Isaura , by Bernardo Guimarães; O mulato , by Aluísio Azevedo; and Bom-Crioulo , by Adolfo Caminha. While the present study explores the enslavement, abuse, and discrimination of people of color as a consequence of a deep-seated discourse of power, privilege and racial superiority, it focuses more extensively on the representation of people of color, particularly in their capacity to constructively appropriate the cultural values of the white dominant group and recognize their identity as ambiguous.
