Imaging the Unspeakable and Speaking the Unimaginable: The 'Description' of the Slave Ship Brookes and the Visual Interpretation of the Middle Passage (original) (raw)
1997, Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies
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The Journal of Interdisciplinary History, 2019
Crowding on slave ships was much more severe than historians have recognized, worsening in the nineteenth century during the illegal phase of the traffic. An analysis of numerous illustrations of slave vessels created by then-contemporary artists, in conjunction with new data, demonstrates that the 1789 diagram of the British slave ship Brooks—the most iconic of these illustrations—fails to capture the degree to which enslaved people were crowded on the Brooks, as well as on most other British slaving vessels of the eighteenth century. Five other images of slave ships sailing under different national colors in different eras further reveal the realities of ship crowding in different periods. The most accurate representation of ship-board conditions in the eighteenth-century slave trade is in the paintings of the French slave ship Marie-Séraphique.
Cultural Studies Review, 1970
The task of remembering the transatlantic slave trade poses a particular challenge to historians and artists alike. Not only does it revolve around an emotionally and ideologically loaded issue, there is also rather little documentary and testimonial evidence to draw upon, particularly so regarding the Africans’ view of the trade. To make things worse, the most important and often quoted source – the second chapter of Olaudah Equiano’s Interesting Narrative (1789) dealing partly with life in the belly of a slave ship – has recently been uncovered to be probably ‘fictional’ rather than based on personal experience. On the one hand, the arts are particularly called for in this situation to fill the documentary gaps and silences through acts of experiment and imagination, and they may indeed have a redemptive effect by offering, in Hayden White’s terms, successful ‘emplotments’ of a traumatic past. One the other hand, this redemptive potential simultaneously poses a serious ethical ch...
Picturing Experience in the Early Printed Book: Breydenbach's Peregrinatio from Venice to Jerusalem scrutinizes Bernard von Breydenbach's (c. 1440-1497) record of his journey to the Holy Land for the new eyewitness claims staged by illustrations included in early printed books. According to the author, the Peregrinatio in terram sanctam, published in 1486, revolutionized the way readers encountered books in the incunable period by using illustrations to figure visual experience in heretofore unfamiliar ways. Addressing this aspect of the book's revolutionary nature, Ross engages several issues of considerable currency to print scholars today and the book can be seen as a nexus for issues at the forefront of print scholarship.
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