The Amistad Saga: A Transatlantic Dialogue

The story of the slave ship La Amistad is one of the most celebrated and narrated 19th-century stories of the transatlantic slave trade. To fully appreciate the significance and impact of the events and circumstances of this fateful episode, it is important to examine its legacy from multiple points of the Atlantic world—vestiges of the triangular trade bequeathed by the Columbian Exchange. For a long time, the Amistad saga has been viewed from a very US-centric perspective because the dispute over the lives of the Africans rose to the US Supreme Court in 1840–1841. New archival and oral research in West Africa, Europe, and the Caribbean is rebalancing the narrative and revising the historical drama. Today, the Amistad story is widely recognized as a quintessentially Atlantic story, a story of mobility that moves back and forth across the Atlantic in multiple directions over many decades. The deployment of the phrase “Amistad saga” provides a vehicle with which to critique the socio-legal battles about transatlantic slave trading in Caribbean, North American, and West African history. The Amistad story is often described as pre-incidental to the US Civil War. The victory of African defendants is often framed as a self-congratulatory vindication of the successful resistance of enslaved Africans. The celebrated figure of “Joseph Cinqué” or Sengbe Pieh, the self-appointed leader of the Africans, and a replica of the ship itself are part of an Amistad memory industry that attempts to narrate the slave trade and its abolition. A new framework for teaching and understanding the history of the Amistad saga and its memory and forgetting through an Atlantic lens must combine historical and contemporary perspectives from the United States, Europe, Cuba, and Sierra Leone.

Legitimization Strategies used by Family Members in the ''Vikings'' TV Series

Vikings TV series is a historical drama centred around family members and their different political aspirations, implying different political ideologies. This article intends to investigate the legitimization strategies used by four family members of the Vikings TV Series, including Ragnar, Lagertha, Rollo, and Bjorn, to reveal their political ideologies. The data involve the analysis of four excerpts from season 4 that are analyzed qualitatively through an eclectic model involving Fairclough's critical discourse approach and Van Leeuwen's discursive legitimization strategies (2007). The article concluded that the four characters rely heavily on two types of strategies to achieve their political goals: the authorization strategy, including (personal and expert authorities) and rationalization strategy, basically the (goal-orientation and explanation ones).

Spread Of Artistic Spirit Of Chinese Historical Drama Songs

As an important symbol of an excellent TV series, Chinese historical dramas’ songs have become the spiritual symbols left to the broad audience. They have the theme and spiritual value of spreading the story, connecting the link between the past and the following, showing the infinite empathy and yearning of women, symbolizing the identity and symbolic the identity and symbolic meaning of the characters, borrowing historical allusions and drama adaptation, preserving the artistic spirit of and beautiful style. These songs play an essential role in spreading the story plot, characters, cultural connotation, and regional customs of the historical drama and play a critical value-added role in enhancing the historical drama’s artistic charm and spiritual value. This is also the music aesthetics that presents the blending of form and spirit and the sublimation of artistic conception in historical dramas’ songs.

Scrivere per il teatro Il mondo sardo nei racconti drammatici di Giuseppe Dessì

ABSTRACT: Questo articolo riguarda i testi per il teatro dello scrittore sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Nell'ordine, presentiamo i Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e il dramma storico Eleonora D'Arborea (Mondadori, 1964). Importante autore di romanzi e racconti, in questi testi, Giuseppe Dessì rappresenta la complessità del mondo sardo in linea di continuità con quanto espresso nelle sue pagine narrative e saggistiche. Il teatro permette allo scrittore di sperimentare un nuovo linguaggio capace di rappresentare, attraverso i personaggi, non solo azioni e fatti ma anche atmosfere, percezioni e poetiche ragioni caratterizzanti i significati più profondi della sua scrittura. La produzione teatrale dell'autore, ancora oggi considerata di minor rilevanza e non abbastanza studiata dalla critica, è degna invece di maggiore attenzione e approfondimenti: per questo motivo, abbiamo deciso di presentare la figura di Giuseppe Dessì attraverso tre importanti testi drammatici poco conosciuti al grande pubblico estero.Parole chiave: Giuseppe Dessì. Letteratura italiana. Teatro. Narrativa. Sardegna. RESUMO: Este artigo trata da textos para o teatro do escritor sardo Giuseppe Dessì (Cagliari, 1909 – Roma, 1977). Apresentamos os Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) e o drama histórico Eleonora D'Arborea (Mondadori, 1964). Importante autor de romances e contos, nestes textos, Giuseppe Dessì representa a complexidade do mundo sardo em paralelo com o que expressa nas suas páginas narrativas e ensaísticas. O teatro permite ao escritor experimentar uma nova linguagem capaz de representar, através das vozes dos personagens, não apenas ações e fatos, mas também os ambientes, as percepções e as poéticas, que permeiam os significados mais profundos da sua escrita. A produção teatral do autor, ainda hoje considerada de menor relevância e não suficientemente estudada pela crítica, é digna de maior atenção e aprofundamento: por esse motivo, decidimos apresentar a figura de Giuseppe Dessì através de três importantes textos dramáticos pouco conhecidos do grande público estrangeiro.Palavras-chave: Giuseppe Dessì. Literatura italiana. Teatro. Narrativa. Sardenha. ABSTRACT: This article concerns the texts for the theater of the Sardinian writer Giuseppe Dessì (Cagliari, 1909 - Rome, 1977). In order, we present the Racconti drammatici - Qui non c'è guerra, La Giustizia - (Feltrinelli, 1959) and the historical drama Eleonora D'Arborea (Mondadori, 1964). Important author of novels and short stories, in these texts, Giuseppe Dessì represents the complexity of the Sardinian world in line with what is expressed in his narrative and non-fiction pages. The theater allows the writer to experience a new language capable of representing, through the characters, not only actions and facts but also atmospheres, perceptions and poetic reasons characterizing the deepest meanings of his writing. The theatrical production of the author, still today considered of minor importance and not sufficiently studied by the critics, is instead worthy of greater attention and insights: for this reason, we have decided to present the figure of Giuseppe Dessì through three important dramatic texts little known to the large foreign public.Keywords: Giuseppe Dessì. Italian literature. Theater. Fiction. Sardinia.

“I Beheld the Shade”

This chapter examines texts in which a medieval poet, Dante Alighieri, and a Renaissance humanist, Lorenzo Valla, handle the historical drama which controlled the European imagination for at least a thousand years: the drama of Pilate and Jesus. Both writers treat the gospels’ trial narratives in a that way reveals, to their minds, the corruption of the medieval “papal monarchy” (as it is called). For both Dante and Valla, the crucial moment is that in which Jesus renounces, before Pilate, “the kingdoms of the world”. If Jesus had not made this “great refusal”—as first formulated by Augustine, and received by Dante, Valla, and later European philosophers—there is reason to believe that the secular could not have been theorized, or progressively actualized, in Europe.

Reasons to watch historical Turkish drama: A study on the Artegral Resurrection series

The main purpose of this study is to learn about the role of the historical Turkish drama (The Artegrel Resurrection series as a case study) to determine the reasons behind watching such series. Hence, the descriptive and analytical approach was used to achieve the objectives of this study by adopting the questionnaire as a tool for data collection. Therefore, the Statistical Package for Social Sciences (SPSS) was used to analyze the data by performing the main statistical tests to generate the results of this study. The results of the study indicated that the most prominent (reasons) for watching the historical drama series (Artegral Resurrection) among Palestinian university students. It is to know the emergence of the Islamic Caliphate, followed by it because it reveals the truth of the conspiracies, then followed by it because it carries political and national values, in addition to that there is a belief in the request of Palestinian universities that Turkish history has been distorted, and this study recommended the necessity of conducting more research on knowing the reasons and motives for watching the series The resurrection of Artgrel among Palestinian university students and working on studying other historical series, such as the Sultan Abdul Hamid series, Kut al-Amara, the Resurrection of Othman, the Seljuk Renaissance, and conducting more research on the impact of those causes and motives on the behavior of Palestinian university students regularly and over varying periods of time to determine the extent of the impact Those reasons are in their behavior and interaction in their lives and their reality.

Navigating ethnicity, nationalism and Pan-Africanism – Kimbanguists, identity and colonial borders

The Kimbanguists, whose church is based on the healing and proclamation ministry of Simon Kimbangu in 1921 in the Belgian Congo, challenge colonially defined borders and identities in multiple ways. Anticolonialism is in the DNA of Kimbanguism, yet in a manner that contests the colonially inherited dichotomy between religion and politics. Kimbanguists draw from holistic Kongo traditions, where the spiritual and material/political are inherently interwoven. Kimbangu’s home village, Nkamba, is the centre of the world for them, and Kongo culture and the ancient kingdom form the backdrop of the Kimbanguist view of the new eschatological order to come. The reunification of the kingdom from the two Congo states and Angola will mark the inauguration of the new era. This will not, however, mean a splintering of the Democratic Republic of Congo but rather a removal of the colonial borders. That hints towards a Pan-African vision of a united Africa and even a universally united Black race that will play a central role in the eschatological salvation historical drama. The Kimbanguist vision also contains global dimensions, and their view of borders and identities is like Nkamba-centred ripples in water. This vision wipes away colonial borders and relativises ethnic, national and racial identities whilst strongly subscribing to a salvation historical narrative that places Africa and Africans in the centre.Contribution: This article contributes to the study of nationalism as well as of African Instituted Churches. The analysis of how the Kimbanguists relate to (Kinshasa) Congolese nationalism, Kongo ethnic identity and Pan-Africanism as well as of their global missional views reveals layers and complex patterns of relationship between all these. What facilitates the simultaneous subscribing to all these layers is an openness of identities (Kimbanguist national, ethnic, etc.), as well as a tendency to see the world as consisting of interdependent areas and human communities with their holy city, Nkamba, in the centre.