To Tell a Free Story: The First Century of Afro-American Autobiography, 1760-1865University of Illinois Press, 1 juin 1986 - 353 pages To Tell A Free Story traces in unprecedented detail the history of Black autobiography from the colonial era through Emancipation. Beginning with the 1760 narrative by Briton Hammond, William L. Andrews explores first-person public writings by Black Americans. Andrews includes but also goes beyond slave narratives to analyze spiritual biographies, criminal confessions, captivity stories, travel accounts, interviews, and memoirs. As he shows, Black writers continuously faced the fact that northern whites often refused to accept their stories and memories as sincere, and especially distrusted portraits of southern whites as inhuman. Black writers had to silence parts of their stories or rely on subversive methods to make facts tellable while contending with the sensibilities of the white editors, publishers, and readers they relied upon and hoped to reach. |
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Page 73
... Turner's image of himself as avenging " prophet " with Gray's imposed im- age of Turner as " gloomy fanatic . ” 17 The conditions under which Turner's narrative was spoken , composed , and published raise unanswerable questions about ...
... Turner's image of himself as avenging " prophet " with Gray's imposed im- age of Turner as " gloomy fanatic . ” 17 The conditions under which Turner's narrative was spoken , composed , and published raise unanswerable questions about ...
Page 76
... Turner . But after the fact , The Confessions of Nat Turner was needed as much to draw the right conclusions about Turner's larger significance as it was to provide the correct details of his case . Interestingly , Gray does not deny that ...
... Turner . But after the fact , The Confessions of Nat Turner was needed as much to draw the right conclusions about Turner's larger significance as it was to provide the correct details of his case . Interestingly , Gray does not deny that ...
Page 77
... Turner's example illustrates.23 The distinguishing mark of the original Confessions is its refusal to let its reader understand or explain ( in Ricoeur's sense of these two verbs ) Nat Turner as a discrete entity , as either Gray's or ...
... Turner's example illustrates.23 The distinguishing mark of the original Confessions is its refusal to let its reader understand or explain ( in Ricoeur's sense of these two verbs ) Nat Turner as a discrete entity , as either Gray's or ...
Table des matières
Voices of the First Fifty Years 17601810 | 32 |
Experiments in Two Modes 181040 | 61 |
The Performance of Slave Narrative in the 1840s | 97 |
Droits d'auteur | |
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Expressions et termes fréquents
abolitionism abolitionist African Afro-American autobiography alien American American Anti-slavery Society antebellum antislavery Auld authority become Bibb's biography black autobiography black narrator Bondage Boston century Christian colored confession conventional Covey culture dialogue discourse Douglass's Narrative early black autobiography edition editor England Equiano escape ex-slave experience facts female fiction Frederick Douglass freedom freeman Garrison Garrisonians genre Green Gronniosaw Harriet Harriet Jacobs Henry Bibb ideal Incidents Jacobs Jacobs's James jeremiad John John Marrant Josiah Henson kind Lane Liberator liberty liminal literary London marginal master metaphor mode moral Moses Roper myth narrator's Nat Turner Negro North past Pennington Picquet plantation rative relationship rhetorical role Roper sense significance slave narrative slaveholders slavery Smith social South southern speech acts story tion tradition trickster truth Turner Uncle Tom's Uncle Tom's Cabin University Press Ward whipping white reader William Wells Brown woman women words writing York