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 23
... mean that historical or self - referentiality has no place in a discussion of the evolution of black American autobiography ... means by the act of saying something . We are inter- ested in the " illocutionary force " of an utterance in ...
... mean that historical or self - referentiality has no place in a discussion of the evolution of black American autobiography ... means by the act of saying something . We are inter- ested in the " illocutionary force " of an utterance in ...
Page 29
... means he or she used to flee slavery . Many slave narrators devote much art and energy to proving that their motives and actions , when viewed in the proper perspective , were consistent with white cultural ideals of justice . Before ...
... means he or she used to flee slavery . Many slave narrators devote much art and energy to proving that their motives and actions , when viewed in the proper perspective , were consistent with white cultural ideals of justice . Before ...
Page 138
... means by which readers might be moved imagi- natively to confront or distance themselves from the text . Yet he would not speak openly of the role of the black autobiographer's creative imagi- nation in activating the white reader's ...
... means by which readers might be moved imagi- natively to confront or distance themselves from the text . Yet he would not speak openly of the role of the black autobiographer's creative imagi- nation in activating the white reader's ...
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