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Copyright of Memorias is the property of Fundacion Universidad del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While the Bridgerton (2020–present) series does not present itself as historically accurate, shows set in the past always lead to historical questions. In this article I argue for using fictional historical series as a tool in the classroom and to engage with the public. Bridgerton is a useful entrée into topics it emphasizes, such as the British aristocracy, fashion and design, courtship and marriage and the British colony of India, as well as those that it ignores: male monarchy, patriarchy, singleness and Atlantic slavery. [ABSTRACT FROM AUTHOR]

This essay seeks to speculate on the reception of de Anton de Kom's Wij slaven van Suriname (1934) within a very different context of political debates on race; decolonization; the politics of solidarity; and internationalist and anticapitalist struggles—all themes that De Kom's narrative tackles in unique ways—and on the question of time. The author attempts to displace De Kom's book away from its entanglement of political and intellectual connections and toward the diverse temporalities of Suriname's decolonial struggles, seeking to explore what could be called the "collateral effects" produced by the 1934 publication of Wij slaven by a Caribbean publisher and institution. The author then compares the 1981 Spanish translation of De Kom's work, Nosotros, esclavos de Surinam, with a different set of debates and texts addressed to diverse audiences and subjects entangled in distinct networks of political engagements and projects. [ABSTRACT FROM AUTHOR]

Copyright of Studia Maritima is the property of Wydawnictwo Naukowe Uniwersytetu Szczecinskiego / University of Szczecin Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Central African rainforests, tubers (yams, cassava, Araceae) are staple food, together with plantains. This series of starchy food species results from histories, some very old, others more recent, after complex routes involving several continents. Here we draw a panorama of introduction, use and distribution into the local societies of starchy food, either wild or cultivated. Finally we show how these plants were integrated into the agricultural and food systems, and which utensils are used for their processing.

This article proposes a new reading of a late first-century c.e. inscribed dedication from Todi (Umbria) as an accusation of witchcraft, a rhetorical text aimed at propagating a particular story among the local community. Historical and anthropological studies of witchcraft accusations in other societies have emphasised how they can reveal tensions and anxieties that are normally not visible to the observer. By drawing on these studies and close examination of the language and content of the inscription, this article analyses an historical agent's experience of the social structure of early imperial Italy. The accusation is read as a freedman's response to his ambiguous position in a slave society, the ambivalent power of writing in Roman culture and the religious claims of Flavian imperial discourse.

Copyright of Opuntia Brava is the property of Universidad de Ciencias Pedagogicas de Las Tunas, Centro de Documentacion e Informacion Pedagogica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Martin Robison Delany (1812-1885) was a writer, physician, activist, soldier, and Black emigrationist. Delany's Blake, or, The Huts of America was one of the first novels written by a Black author. It offers a radical revolutionary rhetoric in a time of national and political tension over the immorality of slavery. Separated into two parts, Blake is the story of an enslaved Black man named Henry Holland, or Henry Blake, who escapes from a plantation in Mississippi when his wife is sold after refusing the sexual advances of the plantation owner. Part one follows Henry around the continental United States in his quest to galvanize other enslaved laborers into rising against their White masters. In part two, Henry journeys to Cuba attempting to spark an uprising amongst the enslaved. Henry finds his wife in Cuba and the uprisings commence before the original manuscript ends without a satisfactory ending. The extended obscurity of Blake until its rediscovery in the mid-twentieth century can be directed to its serial publication in only two periodicals and the interruption of the publication at the advent of the American Civil War. (1) However, some scholars speculate that Delany may have purposely left Blake incomplete, adding more complexity to its revolutionary form. Throughout Blake's nonlinear narrative--in part two, the reader learns that Henry was born free but was captured and sold into slavery after boarding a military ship in his youth--Delany's Black nationalism comes to the fore as elements of Pan-Africanism and Black diaspora interlace and overlap, as the characters move temporally and geographically through the story. Blake falls in line with the legacy of Black Americans investigating and critiquing the Black 'self,' which ran counter to and parallel with Whiteness in the United States. The 'self' in Blake is supported by a Black consciousness that self-emancipates through action. The selection of this text is important as it demonstrates early fiction work of a Black author in the nineteenth century. The contemporary issues that Delany addresses in his novel are those shared by many at the time and this perspective adds another layer to cultural production of Black American culture. (2) In its radical themes, Blake is reminiscent of elements of Afrofuturism: while it does not technically lean on the technological incorporation that is key in Afrofuturism, Blake does imagine different futures and homes through the Black American experience. These imaginations of alternative Black futures (and pasts) are also present in fictional texts produced by figures such as Du Bois, who published science fiction stories such as 'The Comet' and 'The Princess Steel.' 'The Comet' tells the story of a Black man and a White woman as the sole survivors after a comet destroys New York and racial entanglements of the time, while 'The Princess Steel' plays on White prejudices in the form of an imagined Medieval past occupied by figures with Black skin. Blake functions as a pioneering text in this genre as a fictional, imagined future that engages with issues of its time, a staple in science fiction writing and specifically that of Afrofuturism. The speculative aspect of Blake drives its radicalism as the story establishes a world centered on and for Black Americans. Delany also plays with language and speech by using colloquial dialects interspersed with 'standard' forms of English. This comes in the form of Henry's interactions with lower-class Blacks and Whites. Delany's use of language is most apparent in his choice to use certain speech patterns for people deemed lower class, including both White and Black characters, while 'upper-class' individuals, meaning those with standard 'education,' have more articulated speech patterns. This includes upper-class Whites and Henry, who are characters who drive the main force of the plot and act on their own conscious understandings of the self through their actions and relationships to one another. Blake also skirts around religiosity, which is in contrast to other texts such as Allen's, yet Delany recognizes the importance of this force in Black life as Delany was a member of the AME Church. Blake, in its radical approach and use of language and imagery, has been noted as a violent revolutionary 'counter example' to Uncle Tom's Cabin, published in 1852. But as stated in editor Jerome McGann's corrected version, scholars should take care in indulging these two extreme portrayals of the enslaved Black American experience. Everyday formulations of these opinions are of course more nuanced, yet we are only subjected to what has survived through history. The following excerpt comes from Chapter 11, 'The Shadow,' where Henry details his plan for organizing Black Americans in a national liberation movement that is both a mental and physical act of 'insurrection,' or what White people would have perceived as insurrection because of the rebellious nature against Black Americans' current living conditions. However, Henry's plan is more in line with Black enlightenment than an insurrection. The novel's use of language is also on full display in this chapter, as Henry's speech patterns reflect the dominant culture's perception of 'proper' speech, while Charles and Andy utilize language patterns that are now referred to as 'African American Vernacular' or, perhaps more appropriately, 'Black English Vernacular.' (3) This chapter, while a prosaic point in the story, provides the reader with an instance of multiplicity and diversity in Black American culture, referencing the change of tone and language that Delany carefully articulates to the reader in his characterizations., 'Ah, boys! here you are, true to your promise,' said Henry, as he entered a covert in the thicket adjacent the cotton place, late on Sunday evening, 'have you been [...]

Living in a border state, and specifically a state in which slavery was legal but that did not secede from the Union, Baptists in nineteenth-century Missouri found themselves in a [...]

Much of the information for educating students and the public about human trafficking only involves survivors’ direct experiences as brief excerpts from more complex and detailed narratives. In this paper, I draw on a postcolonial framework to argue that sidelining survivors’ voices can bolster anti-slavery stakeholders’ agendas by selectively using survivors’ narratives to illustrate narrow constructions of slavery and forced labour. As part of education and awareness efforts, such approaches to understanding slavery and forced labour also perpetuate stereotypes that trafficked persons are powerless and lack agency. Therefore, I present an alternative educational approach to remedy these tendencies by viewing and discussing narratives by, and about, trafficked persons. This paper uses a university-level humanities and social science subject on trafficking and slavery, and related assessment tasks, as a case study to demonstrate the potential of survivors’ voices in teaching about slavery.

Extant historical writings focused on Human Resource Development have generally centered white perspectives and have failed to substantively grapple with the historical experiences of racially minoritized people, leaving the field without an adequate foundation from which to address recent calls for racial inclusivity. This paper begins the process of addressing these concerns by analyzing autobiographical writings of Fredrick Douglass, a formerly enslaved African American. We situate this examination in both the broader historiography of U.S. enslavement and relevant HRD theory regarding race, diversity, and Black experiences in the workplace. The purpose of this paper is to initiate a discussion on the relevance of the institution of U.S. slavery to the history of HRD; we argue that studying formally enslaved people offers valuable lessons about resisting dehumanization in contemporary workplaces. [ABSTRACT FROM AUTHOR]

This article examines two theatre-makers who, in recent years, have provided counter-visibilities to the official erasure of history, placing centre-stage what philosopher Achille Mbembe defines as one of the defining moments of modernity: slavery. To make present this absence, both Cameroon-born author Léonora Miano's Révélation (2015) and Guadeloupian performance artist Stéphanie Melyon-Reinette's Kepone Dust (2020) employ ghosts, haunting, and spirits. Ghosts reveal how the repression of history and the impunity of criminality cannot prevent the past from being replayed. With reference to Rebecca Schneider's notion of making the past present during the act of live performance, the article examines how this new generation of theatre- and performance-makers replays history to stage a present haunted by trauma. At the same time, this replaying constitutes an affirmative means to enable restitution. [ABSTRACT FROM AUTHOR]

This study attempts an exploratory overview of African military slavery, which is marked by the unusual longevity of the phenomenon and by its surviving social legacy. Before the colonial period military slavery was not confined (as is often supposed) to the Muslim states of North Africa and the Sahel, but was also practiced in many non-Muslim sub-Saharan societies. In the late nineteenth century the colonial powers liberated, conscripted or purchased African slave soldiers for their own armies. Although the institution of military slavery died away during the colonial period, it has re-emerged in independent Africa as child soldiering. [ABSTRACT FROM AUTHOR]

Mihail Kogălniceanu (1817-1891) was an erudite historian, a lawyer, a liberal economic thinker, and an extraordinary rhetorician. He was a complex and prominent personality of the Romanian political life for more than half a century who emphasized the need for Romania to develop as a national, unified, democratic and independent state. He understood all too well the concept of progress as necessary evolution, as development in the positive way. In this paper, we identify the main coordinates of Mihail Kogălniceanu’s thinking about the importance of studying history as a factor of progress and analyzing the economic and social structures of those times as a premise for reforming society. Ferment of the revolutionary climate in Moldavia, Mihail Kogălniceanu considered that knowing the historic past was a prerequisite for asserting the national consciousness of the Romanian people. His writings followed two major coordinates: the criticism of feudalism and the national emancipation.

Margaret Walker's Jubilee, the precursor of a wave of neo-enslaved tales and African-American historical fictions, is the subject of this essay, which aims to provide light on its evolution. Revisionist movements in African-American history were spurred by the advent of Walker's book in the 1930s, despite most reviewers' implicit linkage to this period. It is a significant stage in African American historical mitigate in Jubilee by Margaret Walker. The tales of the slaves, which Walker reshapes to produce a new style of representation that would only become prevalent in the sixties, are based on feature traditions. New historical studies and novels on slavery written after 1965, like Walker's work, focus on the agency of the slaves; describe their community- and culture-building activities; display modes of resistance; and question the myths and stereotypes that have been spread in Anglo American depictions of the enslaved. Walker's view of history has influenced a generation of African-American authors. [ABSTRACT FROM AUTHOR]

Copyright of Alternative Francophone is the property of Alternative Francophone and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

by Jacki Hedlund Tyler University of Nebraska Press, 2021. Photographs, maps, tables,bibliography, index. 468 pages. $70.00 cloth. In Leveraging an Empire, Jackie Hedlund Tyler describes the long-forgotten account of a [...]