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This study examines a network of writers that coalesced around the publication of The History of Mary Prince (1831), which recounts Prince's experiences as an enslaved person in the West Indies and the events that brought her to seek assistance from the Anti-Slavery Society in London. It focuses on the three writers who produced the text - Mary Prince, Thomas Pringle, and Susanna Moodie - with glances at their pro-slavery opponent, James MacQueen, and their literary friends and relatives. The History connects the Black Atlantic, a diasporic formation created through the colonial trade in enslaved people, with the Anglophone Atlantic, created through British migration and colonial settlement. It also challenges Romantic ideals of authorship as an autonomous creative act and the literary text as an aesthetically unified entity. Collaborating with Prince on the History's publication impacted Moodie's and Pringle's attitudes towards slavery and shaped their own accounts of migration and settlement.
English literature --- Slave narratives --- Slavery in literature. --- History and criticism. --- Prince, Mary. --- Wes Indies, British --- Biography --- Slavery and slaves in literature --- Slaves in literature --- Autobiography --- Slaves' writings --- Enslaved persons in literature --- Enslaved persons' writings
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Colonialism and Slavery in Performance brings together original archival research with recent critical perspectives to argue for the importance of theatrical culture to the understanding of the French Caribbean sugar colonies in the eighteenth century. Fifteen English-language essays from both established and emerging scholars apply insights and methodologies from performance studies and theatre history in order to propose a new understanding of Old Regime culture and identity as a trans-Atlantic continuum that includes the Antillean possessions whose slave labour provided enormous wealth to the metropole. Carefully documented studies of performances in Saint-Domingue, the most prosperous French colony, illustrate how the crucible of a brutally racialized colonial space gave rise to a new French identity by adapting many of the cherished theatrical traditions that colonists imported directly from the mainland, resulting in a Creole performance culture that reflected the strong influence of African practices brought to the islands by plantation slaves. Other essays focus on how European theatregoers reconciled the contradiction inherent in the eighteenth century's progressive embrace of human rights, with an increasing dependence on the economic spoils of slavery, thus illustrating how the stage served as a means to negotiate new tensions within "French" identity, in the metropole as well as in the colonies. In the final section of the volume, essays explore the enduring legacy of the Old Regime in contemporary Antillean stage culture, illustrating how performance traditions continue to structure the understanding of what it means to be French in France's former Atlantic slave colonies.
Esclavage --- Théâtre --- Colonisation --- Theater and society --- Theater --- French drama --- Imperialism in literature. --- Slavery in literature. --- Dans la littérature --- Aspect social --- History --- History and criticism. --- France --- Colonies --- Imperialism in literature --- Slavery in literature --- Slavery and slaves in literature --- Slaves in literature --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Society and theater --- History and criticism --- Social status --- Social aspects --- Theatrical science --- drama [literature] --- slavery --- anno 1700-1799 --- French Antilles --- Enslaved persons in literature --- drama [discipline]
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