The unbent knee: memory, identity, and the transatlantic politics of the resistant black gaze

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dc.contributor Stephens, Rachel
dc.contributor Feltman, Jennifer
dc.contributor McPherson, Heather
dc.contributor.advisor Castenell, Wendy
dc.contributor.author James, Rebekah
dc.date.accessioned 2020-03-12T18:06:28Z
dc.date.available 2020-03-12T18:06:28Z
dc.date.issued 2019
dc.identifier.other u0015_0000001_0003521
dc.identifier.other James_alatus_0004M_13994
dc.identifier.uri http://ir.ua.edu/handle/123456789/6663
dc.description Electronic Thesis or Dissertation
dc.description.abstract In October 1852, a young artist Eyre Crowe experienced a life-altering transatlantic journey. William Thackeray, the British author of Vanity Fair, had been invited to do a series of lectures in America, inviting Crowe along as his secretary. In his writings, Crowe, the son of a journalist and the brother of a diplomat, records how his explorations into the heart of American culture led to a jarring confrontation with the American slave trade. These harrowing experiences and the political frenzy ignited by Harriet Beecher Stowe’s 1852 bestseller, Uncle Tom’s Cabin, incited Crowe to join the growing antislavery movement. Between 1854 and 1861, Crowe would publish two autobiographical articles about his journey to America and produce five paintings prominently featuring black people. This thesis analyzes the second work Crowe created, After the Sale: Slaves Heading South from Richmond (1854). I argue that though After the Sale was created by a British artist, it should be reappraised as a prime example of mid-nineteenth-century transatlantic cultural hybridity. This assertion is supported by the myriad parallels between the various characters, postures, and groupings seen in After the Sale and in other visual and literary media found in Anglo-American and Anglo-French societies. However, beyond the visual hybridity of After the Sale, this paper also investigates how Crowe translated his professed abolitionist ideologies into a visual declaration against the institution of slavery.
dc.format.extent 152 p.
dc.format.medium electronic
dc.format.mimetype application/pdf
dc.language English
dc.language.iso en_US
dc.publisher University of Alabama Libraries
dc.relation.ispartof The University of Alabama Electronic Theses and Dissertations
dc.relation.ispartof The University of Alabama Libraries Digital Collections
dc.relation.hasversion born digital
dc.rights All rights reserved by the author unless otherwise indicated.
dc.subject.other Art history
dc.subject.other African American studies
dc.subject.other European history
dc.title The unbent knee: memory, identity, and the transatlantic politics of the resistant black gaze
dc.type thesis
dc.type text
etdms.degree.department University of Alabama. Department of Art and Art History
etdms.degree.discipline Art History
etdms.degree.grantor The University of Alabama
etdms.degree.level master's
etdms.degree.name M.A.


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