"The Skin of an American Slave": African American Manhood and the Marked Body in Nineteenth-Century Abolitionist Literature

2002 ◽  
Vol 30 (2) ◽  
pp. 182-206 ◽  
Author(s):  
Jennifer Putzi
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Marked Body

scholarly journals The Radical Formalism of Suzan-Lori Parks and Sarah Kane

2015 ◽  
Vol 56 (2) ◽  
pp. 213-231
Author(s):  
Stefka Mihaylova
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Social Phenomenon ◽  
Theatre History ◽  
Early Nineteenth Century ◽  
Black Art ◽  
Marked Body ◽  
Saartjie Baartman ◽  
Sarah Kane ◽  
African American Artists

When Suzan-Lori Parks's play Venus, about the displays of Saartjie Baartman in early nineteenth-century Europe, opened in 1996, the outrage it provoked by suggesting that its central, black character may have been complicit in her plight raised yet again one of the most inspiring and frustrating questions in modern US theatre history: how to stage the racial Other. Even the most sympathetic responses to the play revealed the difficulty of assuming a critical stance toward the racially marked body (especially the black female body) that is affectively fixed as a symbol of martyrdom and victimization. In fact, Shannon Jackson has proposed that the racially marked body's resistance to being reduced to a critical sign, free from affect, may be definitive of race as a social phenomenon. As US theatre history demonstrates, onstage this resistance is highly productive of controversy, much of which has focused on the question of which representational contracts may most accurately convey the experiences of racially marked people. In this sense, art critic Abiola Sinclair's reading of Parks's experimental aesthetic as a traitorous concession to a white theatrical tradition was unexceptional; it was a reminder of the historical efforts of African American artists to create distinctly black art.

Slavery and Class in the American South

2019 ◽  
Author(s):  
William L. Andrews
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
African Americans ◽  
American South ◽  
Frederick Douglass ◽  
Harriet Jacobs ◽  
Slave Narrative ◽  
William Wells Brown ◽  
The American South ◽  
Work Family

In this study of an entire generation of slave narrators, more than sixty mid-nineteenth-century narratives reveal how work, family, skills, and connections made for social and economic differences among the enslaved of the South. Slavery and Class in the American South explains why social and economic distinctions developed and how they functioned among the enslaved. Andrews also reveals how class awareness shaped the views and values of some of the most celebrated African Americans of the nineteenth century. Slave narrators discerned class-based reasons for violence between “impudent,” “gentleman,” and “lady” slaves and their resentful “mean masters.” Status and class played key roles in the lives and liberation of the most celebrated fugitives from US slavery, such as Frederick Douglass, Harriet Jacobs, William Wells Brown, and William and Ellen Craft. By examining the lives of the most- and least-acclaimed heroes and heroines of the African American slave narrative, Andrews shows how the dividing edge of social class cut two ways, sometimes separating upper and lower strata of slaves to their enslavers’ advantage, but at other times fueling convictions among even the most privileged of the enslaved that they deserved nothing less than complete freedom.

African American Religions in the Nineteenth Century

2018 ◽  
Author(s):  
Emily Suzanne Clark
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
New Orleans ◽  
Black Church ◽  
African Methodist Episcopal ◽  
Abraham Lincoln ◽  
Methodist Episcopal ◽  
African American Religion ◽  
African Methodist Episcopal Church ◽  
Methodist Episcopal Church

The typical story of African American religions narrates the development and power of the Protestant black church, but shifting the focus to the long nineteenth century can reorient the significance of the story. The nineteenth century saw the boom of Christian conversions among African Americans, but it also was a century of religious diversity. All forms of African American religion frequently pushed against the dominance of whiteness. This included the harming and cursing element of Conjure and southern hoodoo, the casting of slaves as Old Israel awaiting their exodus from bondage, the communications between the spirit of Abraham Lincoln and Afro-Creoles in New Orleans, and the push for autonomy and leadership by Richard Allen and the rest of the African Methodist Episcopal Church. While many studies of African American religions in the nineteenth century overwhelmingly focus on Protestantism, this is only part of the story.

Blackface Minstrelsy and the Reception of Elizabeth Taylor Greenfield

2021 ◽  
Vol 15 (3) ◽  
pp. 305-320
Author(s):  
Julia J. Chybowski
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Social Class ◽  
Gender Roles ◽  
Black Swan ◽  
Social Hierarchies ◽  
Race And Gender ◽  
Blackface Minstrelsy ◽  
And Gender

AbstractThis article explores blackface minstrelsy in the context of Elizabeth Taylor Greenfield's singing career of the 1850s–1870s. Although Greenfield performed a version of African American musicality that was distinct from minstrel caricatures, minstrelsy nonetheless impacted her reception. The ubiquity of minstrel tropes greatly influenced audience perceptions of Greenfield's creative and powerful transgressions of expected race and gender roles, as well as the alignment of race with mid-nineteenth-century notions of social class. Minstrel caricatures and stereotypes appeared in both praise and ridicule of Greenfield's performances from her debut onward, and after successful US and transatlantic tours established her notoriety, minstrel companies actually began staging parody versions of Greenfield, using her sobriquet, “Black Swan.” These “Black Swan” acts are evidence that Greenfield's achievements were perceived as threats to established social hierarchies.

Jeremiah and Homiletics

2021 ◽  
pp. 609-634
Author(s):  
Carolyn J. Sharp
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Early Modern ◽  
Early Modern Period ◽  
John Calvin ◽  
Early Church ◽  
New Covenant ◽  
Modern Period ◽  
Walter Brueggemann ◽  
Prophetic Witness

This chapter explores homiletical possibilities afforded by the book of Jeremiah to the Christian preacher. The earliest layers of contextualization are examined through consideration of preaching on Jeremiah in the early Church, focusing on sermons of Origen. In discussing the early modern period, the chapter attends to the preaching of Reformers Martin Luther and John Calvin. Finally, the chapter reflects on homiletical moves made by contemporary preachers in a variety of ecclesial contexts from the nineteenth century to the present, including Charles Spurgeon and Walter Brueggemann. Noteworthy in the homiletical reception of Jeremiah are four passages: first, the commissioning of Jeremiah (1:4–10), which foregrounds agonistic dimensions of prophetic witness and has served as a focus in liturgies of ordination; second, the lament, “Is there no balm in Gilead?” (8:22), transformed in a renowned African American spiritual into the asseveration that “there is a balm in Gilead,” namely, Jesus; third, Jeremiah’s depiction of the divine word as irresistible, “like a burning fire shut up in my bones” (20:9); and fourth, the promise of the new covenant that God will inscribe on the heart (31:31–34).

“Not Another ‘Poetess’”: Feminist Criticism, Nineteenth-Century Poetry, and the Racialization of Suicide

2016 ◽  
Author(s):  
Tricia Lootens
Keyword(s):  
Nineteenth Century ◽  
African American ◽  
Crisis Intervention ◽  
Feminist Criticism ◽  
Frances Ellen Watkins Harper ◽  
Century Poetry ◽  
Second Wave ◽  
Nineteenth Century Poetry

This chapter examines struggles to define relations between “Victorian femininity” and racialized Poetess reception, focusing in particular on early, explicitly racialized meditations on the loss of African American Poetess figures. Drawing on foundational Second Wave feminist texts such as Ellen Moers's Literary Women, Cora Kaplan's Salt and Bitter and Good, Sandra M. Gilbert and Susan Gubar's Madwoman in the Attic, Erlene Stetson's Black Sister, and Cheryl Walker's Nightingale's Burden, the chapter investigates how early strains in Second Wave thinking came to define feminist criticism itself as a politicized mode of crisis intervention. It also considers how Frances Ellen Watkins Harper came to be barred, explicitly, from the category of “poetess” and concludes with a reading of Alice Walker's 1976 Poetess novel Meridian.

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