Textes fugitifs
Situated at the crossroads of African American studies and the history of the book, Fugitive Texts examines the publication, circulation, and reception of antebellum slave narratives. The story of the slave narrative is well rehearsed: narratives of former slaves, critics say, were usually written i...
সংরক্ষণ করুন:
| প্রধান লেখক: | |
|---|---|
| বিন্যাস: | Online |
| ভাষা: | ফরাসি |
| প্রকাশিত: |
ENS Éditions
2024
|
| বিষয়গুলি: | |
| অনলাইন ব্যবহার করুন: | ONIX_20240916_9782847889703_123 |
| ট্যাগগুলো: |
কোনো ট্যাগ নেই, প্রথমজন হিসাবে ট্যাগ করুন!
|
| _version_ | 1869523818119168000 |
|---|---|
| author | Roy, Michaël |
| author_browse | Roy, Michaël |
| author_facet | Roy, Michaël |
| author_sort | Roy, Michaël |
| collection | Directory of Open Access Books |
| description | Situated at the crossroads of African American studies and the history of the book, Fugitive Texts examines the publication, circulation, and reception of antebellum slave narratives. The story of the slave narrative is well rehearsed: narratives of former slaves, critics say, were usually written in collaboration with white abolitionists, with antislavery societies subsidizing publication; they met with considerable success, going through multiple editions and selling in the tens of thousands; they were largely directed toward a northern white audience; they soon emerged as a distinct genre in antebellum America. None of these statements is fundamentally untrue. The overall picture they paint of antebellum slave narratives is, however, a distorted one. Slave narratives were produced through a variety of authorial economies. Investigating these economies allows to shed new light not only on the slave narrative as a genre, but also on African Americans’ print practices at a time when the publishing industry was still emerging and when book trade professionals were reluctant to publish and distribute antislavery literature—at least before Harriet Beecher Stowe’s Uncle Tom’s Cabin came out in 1852. Acknowledging the heterogeneous and fluid nature of what is often perceived as a homogeneous and strictly codified genre gives us a better sense of how the narratives of Frederick Douglass, William Wells Brown, Harriet Jacobs, and other lesser-known former slaves, might have been variously received and consumed in the decades preceding the Civil War. |
| format | Online |
| id | doab-20.500.12854ir-144916 |
| institution | Directory of Open Access Books |
| language | fre |
| publishDate | 2024 |
| publishDateRange | 2024 |
| publishDateSort | 2024 |
| publisher | ENS Éditions |
| publisherStr | ENS Éditions |
| record_format | ojs |
| spelling | doab-20.500.12854ir-1449162024-09-16T09:46:25Z Textes fugitifs Roy, Michaël slave narratives African American literature book history print culture publishing thema EDItEUR::N History and Archaeology::NH History thema EDItEUR::N History and Archaeology::NH History::NHT History: specific events and topics::NHTS Slavery and abolition of slavery Situated at the crossroads of African American studies and the history of the book, Fugitive Texts examines the publication, circulation, and reception of antebellum slave narratives. The story of the slave narrative is well rehearsed: narratives of former slaves, critics say, were usually written in collaboration with white abolitionists, with antislavery societies subsidizing publication; they met with considerable success, going through multiple editions and selling in the tens of thousands; they were largely directed toward a northern white audience; they soon emerged as a distinct genre in antebellum America. None of these statements is fundamentally untrue. The overall picture they paint of antebellum slave narratives is, however, a distorted one. Slave narratives were produced through a variety of authorial economies. Investigating these economies allows to shed new light not only on the slave narrative as a genre, but also on African Americans’ print practices at a time when the publishing industry was still emerging and when book trade professionals were reluctant to publish and distribute antislavery literature—at least before Harriet Beecher Stowe’s Uncle Tom’s Cabin came out in 1852. Acknowledging the heterogeneous and fluid nature of what is often perceived as a homogeneous and strictly codified genre gives us a better sense of how the narratives of Frederick Douglass, William Wells Brown, Harriet Jacobs, and other lesser-known former slaves, might have been variously received and consumed in the decades preceding the Civil War. 2024-09-16T09:46:24Z 2024-09-16T09:46:24Z 2018 book ONIX_20240916_9782847889703_123 2679-0270 9782847889703 9782847889680 https://directory.doabooks.org/handle/20.500.12854/144916 fre Métamorphoses du livre image/jpeg n/a https://www.7switch.com/fr/ebook/9782847889703/from/openedition https://books.openedition.org/enseditions/8779 ENS Éditions 10.4000/books.enseditions.8779 Situated at the crossroads of African American studies and the history of the book, Fugitive Texts examines the publication, circulation, and reception of antebellum slave narratives. The story of the slave narrative is well rehearsed: narratives of former slaves, critics say, were usually written in collaboration with white abolitionists, with antislavery societies subsidizing publication; they met with considerable success, going through multiple editions and selling in the tens of thousands; they were largely directed toward a northern white audience; they soon emerged as a distinct genre in antebellum America. None of these statements is fundamentally untrue. The overall picture they paint of antebellum slave narratives is, however, a distorted one. Slave narratives were produced through a variety of authorial economies. Investigating these economies allows to shed new light not only on the slave narrative as a genre, but also on African Americans’ print practices at a time when the publishing industry was still emerging and when book trade professionals were reluctant to publish and distribute antislavery literature—at least before Harriet Beecher Stowe’s Uncle Tom’s Cabin came out in 1852. Acknowledging the heterogeneous and fluid nature of what is often perceived as a homogeneous and strictly codified genre gives us a better sense of how the narratives of Frederick Douglass, William Wells Brown, Harriet Jacobs, and other lesser-known former slaves, might have been variously received and consumed in the decades preceding the Civil War. 10.4000/books.enseditions.8779 2ef10e66-6d3e-4b6d-9799-bf76360dd3e6 9782847889703 9782847889680 Lyon open access |
| spellingShingle | slave narratives African American literature book history print culture publishing thema EDItEUR::N History and Archaeology::NH History thema EDItEUR::N History and Archaeology::NH History::NHT History: specific events and topics::NHTS Slavery and abolition of slavery Roy, Michaël Textes fugitifs |
| title | Textes fugitifs |
| title_full | Textes fugitifs |
| title_fullStr | Textes fugitifs |
| title_full_unstemmed | Textes fugitifs |
| title_short | Textes fugitifs |
| title_sort | textes fugitifs |
| topic | slave narratives African American literature book history print culture publishing thema EDItEUR::N History and Archaeology::NH History thema EDItEUR::N History and Archaeology::NH History::NHT History: specific events and topics::NHTS Slavery and abolition of slavery |
| topic_facet | slave narratives African American literature book history print culture publishing thema EDItEUR::N History and Archaeology::NH History thema EDItEUR::N History and Archaeology::NH History::NHT History: specific events and topics::NHTS Slavery and abolition of slavery |
| url | ONIX_20240916_9782847889703_123 |
| work_keys_str_mv | AT roymichael textesfugitifs |