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Picturing slavery: Hybridity, illus...

Chaney, Michael A.

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Picturing slavery: Hybridity, illustration, and spectacle in the antebellum slave narrative (Frederick Douglass, William Wells Brown, Ellen Craft, Harriet A. Jacobs).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Picturing slavery: Hybridity, illustration, and spectacle in the antebellum slave narrative (Frederick Douglass, William Wells Brown, Ellen Craft, Harriet A. Jacobs)./
Author:	Chaney, Michael A.
Description:	318 p.
Notes:	Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0590.
Contained By:	Dissertation Abstracts International66-02A.
Subject:	Literature, American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3162968
ISBN:	0496969064

Picturing slavery: Hybridity, illustration, and spectacle in the antebellum slave narrative (Frederick Douglass, William Wells Brown, Ellen Craft, Harriet A. Jacobs).
Chaney, Michael A.

Picturing slavery: Hybridity, illustration, and spectacle in the antebellum slave narrative (Frederick Douglass, William Wells Brown, Ellen Craft, Harriet A. Jacobs). - 318 p.

Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0590.

Thesis (Ph.D.)--Indiana University, 2005.

My dissertation analyzes visual texts surrounding canonical and non-canonical slave narratives, theorizing slave subjectivity formed in the interplay of the visual and the verbal as creating a "third space" of representation. Through juxtapositions of pictorial and literary representations, my study expands the longstanding argument that slaves could only access culturally dominant forms of identity through print (Henry Louis Gates Jr.'s thesis) or by re-negotiating the terms of their commodity status (Houston Baker's thesis). Drawing on critical race theory, visual culture studies, and post-colonial studies, "Picturing Slavery" illuminates the many different kinds of third spaces of representation in which slave subjectivity emerges. The first chapter contrasts Frederick Douglass and William Wells Brown's deployment of visual texts that both produce and deconstruct dominant representations of the slave mother. The second chapter examines the gender and racial subversions of the engraving of Ellen Craft garbed as an ailing Southern planter and argues that a form of the "uncanny" is initiated when viewing the engraving. The third chapter explores Harriet Jacobs' strategies for deflecting dominant practices of observation. I see her deployment of what I call "historical vision" not simply as a representative model of how nineteenth century black women opposed scopic regimes, but as a gender-specific type of hybridity operating at the juncture of the visual and the verbal. The fourth chapter argues that Dave the Potter's unique work comprises dual signifying media that collaborate to commodify his production and establish his status as iconic. Although the dissertation as a whole demonstrates just how ephemeral and contingent moments of hybridity are for antebellum African Americans, each of the four chapters examines different effects of verbal and pictorial interstices. Jacobs' garret, a cited illustration of Ramses for Douglass, a caricature of a slave woman parodying a work of high art for Brown, Dave the Potter's iconographic gaps and spaces allegorizing diasporic absence, the antebellum railway platform for the Crafts---all of these sites become staging areas for reconceptualizing the complex ways that slave and ex-slave authors represent themselves into being.

ISBN: 0496969064Subjects--Topical Terms:

1017657
Literature, American.

Picturing slavery: Hybridity, illustration, and spectacle in the antebellum slave narrative (Frederick Douglass, William Wells Brown, Ellen Craft, Harriet A. Jacobs).
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100 1 $a Chaney, Michael A. $3 1902889
245 1 0 $a Picturing slavery: Hybridity, illustration, and spectacle in the antebellum slave narrative (Frederick Douglass, William Wells Brown, Ellen Craft, Harriet A. Jacobs).
300 $a 318 p.
500 $a Source: Dissertation Abstracts International, Volume: 66-02, Section: A, page: 0590.
500 $a Chair: Eva Cherniavsky.
502 $a Thesis (Ph.D.)--Indiana University, 2005.
520 $a My dissertation analyzes visual texts surrounding canonical and non-canonical slave narratives, theorizing slave subjectivity formed in the interplay of the visual and the verbal as creating a "third space" of representation. Through juxtapositions of pictorial and literary representations, my study expands the longstanding argument that slaves could only access culturally dominant forms of identity through print (Henry Louis Gates Jr.'s thesis) or by re-negotiating the terms of their commodity status (Houston Baker's thesis). Drawing on critical race theory, visual culture studies, and post-colonial studies, "Picturing Slavery" illuminates the many different kinds of third spaces of representation in which slave subjectivity emerges. The first chapter contrasts Frederick Douglass and William Wells Brown's deployment of visual texts that both produce and deconstruct dominant representations of the slave mother. The second chapter examines the gender and racial subversions of the engraving of Ellen Craft garbed as an ailing Southern planter and argues that a form of the "uncanny" is initiated when viewing the engraving. The third chapter explores Harriet Jacobs' strategies for deflecting dominant practices of observation. I see her deployment of what I call "historical vision" not simply as a representative model of how nineteenth century black women opposed scopic regimes, but as a gender-specific type of hybridity operating at the juncture of the visual and the verbal. The fourth chapter argues that Dave the Potter's unique work comprises dual signifying media that collaborate to commodify his production and establish his status as iconic. Although the dissertation as a whole demonstrates just how ephemeral and contingent moments of hybridity are for antebellum African Americans, each of the four chapters examines different effects of verbal and pictorial interstices. Jacobs' garret, a cited illustration of Ramses for Douglass, a caricature of a slave woman parodying a work of high art for Brown, Dave the Potter's iconographic gaps and spaces allegorizing diasporic absence, the antebellum railway platform for the Crafts---all of these sites become staging areas for reconceptualizing the complex ways that slave and ex-slave authors represent themselves into being.
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710 2 0 $a Indiana University. $3 960096
773 0 $t Dissertation Abstracts International $g 66-02A.
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