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Relevant bibliographies by topics / Slavery – drama

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Academic literature on the topic 'Slavery – drama'

Author: Grafiati

Published: 29 July 2024

Last updated: 30 July 2024

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Journal articles on the topic "Slavery – drama"

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UHLIG, ANNA. "SEEING SLAVES IN AESCHYLEAN SATYR DRAMA." Bulletin of the Institute of Classical Studies 62, no. 2 (December 1, 2019): 81–95. http://dx.doi.org/10.1111/2041-5370.12108.

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Abstract This article explores the thematization of the satyrs’ proverbial slave status with specific reference to Aeschylean satyr play. A survey of the extant fragments reveals only one explicit mention of the satyrs’ slavery, suggesting a stark contrast with the relatively frequent references in the satyr plays of Sophocles and Euripides. Situating Aeschylus’ often enigmatic satyr fragments within the broader historical framework of fifth-century Athenian slavery, it is possible to see that the chorus’ servitude is nonetheless obliquely figured in many of our extant passages. At the same time, Aeschylus’ reticence around the subject of slavery in his satyric works is shown to continue a disposition already in evidence in his tragic compositions, which manifest a similarly muted discourse around lower-class enslavement.

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Oldham, James. "New Light on Mansfield and Slavery." Journal of British Studies 27, no. 1 (January 1988): 45–68. http://dx.doi.org/10.1086/385904.

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Popular history often credits Lord Mansfield with freeing the slaves in England by his decision in the Somerset case. That he did not do so is by now agreed and is a point featured in modern scholarship on slavery. This is the main burden, for example, of F. O. Shyllon's Black Slaves in Britain (1974). How extensively the popular history should be revised has not been settled. Newly discovered sources now permit a reassessment of this question.When the Somerset case arose in 1772, it was brimming with portent. The largest specter was the supposed mercantile dislocation that would follow abolition. Additional questions seemed unavoidable, such as the legality of a contract between a slave and his master, and the implications for other contracts if the slave contract were invalidated. The protracted case was an occasion of high drama in which early abolitionist efforts (especially those of Granville Sharp) were pitted against vested trading interests.Mansfield was caught in the middle. He was genuinely ambivalent about the subject of slavery. He accepted and endorsed the widely assumed mercantile importance of the slave trade, yet he doubted the validity of theoretical justifications of slavery, and he sought to redress instances of individual cruelty to slaves. By drawing on previously unexamined manuscript reports of the Somerset case, Lord Mansfield's trial notes, and newspaper accounts of the Court of King's Bench activity, this article will demonstrate the extreme delicacy of Mansfield's position and will establish more fully than has before been possible the ways in which Mansfield accommodated the various competing interests. In the process, the question of exactly what Mansfield said in his Somerset opinion should be put to rest.

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V, Muthulakshmi. "Social and Cultural Theory Exposed by Gunasekaran’s Drama of ‘THODU’." Indian Journal of Tamil 3, no. 3 (July 4, 2022): 17–22. http://dx.doi.org/10.54392/ijot2234.

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A country controls and rules another country by its social, political and economical power as it is called colonization. This colonization activity has started from Aryan invasion on Dravidian people and their culture. From 19th century many countries ruled by Portuguese, Dutch, Roman countries. They explored on another country and ruled it as slave. Later The slavery system tried to break its chain and got freedom by political way. Even though the colonized countries got freedom from rued country, their footpath of colonization never vanished and developed based on new world and technology. K.A. Gunasekaran written a drama of “Thodu” which discloses that every nation must have self thinking and its effects on their country by their principle. By this play he wants to recover the Corner people and Tribes people from slavery system.

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Henry, Madeleine M. "Slaves and Slavery in Ancient Greek Comic Drama by Ben Akrigg and Rob Tordoff." Phoenix 68, no. 1-2 (2014): 174–77. http://dx.doi.org/10.1353/phx.2014.0023.

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Kennon, Raquel. "Stacie Selmon McCormick, Staging Black Fugitivity." Modern Drama 64, no. 2 (June 2021): 245–47. http://dx.doi.org/10.3138/md.64.2.br04.

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Staging Black Fugitivity traces the history of late twentieth- and early twenty-first-century dramatic performances of slavery through the analytic lens of Black fugitivity. It argues that neoslave drama re-presents the ongoing quest for Black freedom amid contemporary conditions of unfinished emancipation.

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Zhukovska, H. M. "POETICS OF MYTH IN LESYA UKRAINKA’S DRAMATIC POEM “CASSANDRA”." Literary Studies, no. 61 (2021): 37–51. http://dx.doi.org/10.17721/2520-6346.2(61).37-51.

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The article deals with the original author’s interpretation of the myth of the Trojan prophetess Cassandra in Lesya Ukrainka’s drama of the same name. It is observed that the reproduction of the ancient myth is based on the aesthetics of neo-romanticism, artistic tragedy and psychologism. It has been proved that Lesya Ukrainka’s dramatic poem “Cassandra” is a “drama of ideas” in which important issues of human existence are raised. The artistic embodiment of the myth of Cassandra occurs through the understanding of the problems of human destiny, choice, faith / despair, truth / falsehood, freedom / slavery, fidelity / betrayal, life / death, and so on. It is noted that Lesya Ukrainka’s Cassandra is an intellectual philosophical drama with deep psychologism, intense external and internal conflicts.

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Bybyk, Svitlana. "Linguosophy “slavery – freedom” in drama of Lesia Ukrainka “in the catacombs”." Culture of the Word, no. 93 (2020): 48–62. http://dx.doi.org/10.37919/0201-419x-2020.93.4.

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The article offers a stylistic analysis of Lesia Ukrainka’s drama “In the Catacombs”. The basis of the research methodology is the linguosophical approach, ie the projection of the topic – the main idea – issues, features of social and ideological conflicts on the linguistic basis of the work. Emphasis is placed on the lexical and grammatical manifestations of the interaction of rhetoric of “high”, “neutral” and “low” registers for the advantages of the first two. In this regard, communication with theological, evangelical and everyday topics is differentiated. Emphasis is placed on the stylistics of the antithesis, the symbolism of the text, the textual interpretation of precedent names. It is established that the first helps to stylize the debatability, polylogical communication of the characters, the second – to express the philosophy of the boundaries of earthly and spiritual being. It is emphasized that the interpretation of precedent phenomena in Lesia Ukrainka corresponds to the author’s strategy of expressing the socio-political position of the intellectual in imperial Russia of the late XIX – early XX centuries. Changes in the textual semantics of the tokens slave, will have been traced. It is noted on the role of the text of the drama “In the Catacombs” in the development of the literary Ukrainian literary language as a means of glorifying the ability of the Ukrainian nation to compete.

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Devecka, Martin. "DID THE GREEKS BELIEVE IN THEIR ROBOTS?" Cambridge Classical Journal 59 (August 20, 2013): 52–69. http://dx.doi.org/10.1017/s1750270513000079.

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This paper investigates the ‘prehistory’ of automata in fourth-century Greece. It argues, first, that automata appear more frequently in the philosophy and drama of this period than has usually been recognised; second, that robots function in classical Greek literature as a utopian substitute for slavery or other forms of bound labour; and, finally, that the failure of Hellenistic automata to realise this utopia illustrates some basic constraints on the power of technology to disturb social institutions in the ancient world.

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Jung, Moon-Kie. "The Enslaved, the Worker, and Du Bois’s Black Reconstruction: Toward an Underdiscipline of Antisociology." Sociology of Race and Ethnicity 5, no. 2 (March 22, 2019): 157–68. http://dx.doi.org/10.1177/2332649219832550.

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At the heart of sociology lies a paradox. Sociology recognizes itself as a preeminently modern discipline yet remains virtually silent on what W.E.B. Du Bois identifies as modernity’s “most magnificent drama”: the transoceanic enslavement of Africans. Through a reconsideration of his classic text Black Reconstruction in America, this article offers an answer to the paradox: a profoundly antisocial condition, racial slavery lies beyond the bounds of the social, beyond sociology’s self-defined limits. Consequently, even when actually dealing with racial slavery, social theories—even radical social theories, such as Du Bois’s Marxism—inexorably misrecognize it. Placing the enslavement of Black people at the center of analysis and drawing on the insights of Saidiya Hartman and other radical theorists in Black studies, an underdiscipline of antisociology is proposed as a collective project to provincialize the social and to more adequately account for the incommensurability of antiblackness.

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Oldfield, J. R. "The "Ties of Soft Humanity": Slavery and Race in British Drama, 1760-1800." Huntington Library Quarterly 56, no. 1 (January 1993): 1–14. http://dx.doi.org/10.2307/3817716.

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Dissertations / Theses on the topic "Slavery – drama"

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Gibbs, Jenna Marie. "Performing the temple of liberty slavery, rights, and revolution in transatlantic theatricality (1760s-1830s) /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1554940031&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Eyre, Lucy. "Amnesiac A stage play - and - Playwriting migration: Silence, memory and repetition. An exegesis." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1925.

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In response to the surging migration phenomenon and growing hostility and restrictions on the movement of people, the stage play, Amnesiac, and exegesis, Playwriting migration: Silence, memory and repetition, explore a different approach to this global dilemma. Rather than focussing on the plight of refugees and asylum seekers, the approach and focus of the thesis centre on Western migration, from slavery and colonialism to corporation migration in the current globalised capitalist system. The research underpinning the approach of the play and essay examines the process of voluntary or obligatory participation in and/or resistance of political, social and economic systems which contribute to the circumstances that cause people to migrate. The play depicts the workplace and home environments of fictional characters from historical and present-day migrations. Interactions between characters reveal the cumulative effects and fluctuating features of the relationship between oppressor and oppressed. These effects and features manifest in the playwriting, with the blending of repetition, stream of consciousness and memory as a way of understanding character objectives, conflicts, alliances and potential transformations. The results reveal the shifting nature of disempowered peoples and expose the shared experiences of oppressor and oppressed - in particular, the contributing factors of socialisation, domination and greed that are infused in the relationships which ultimately lead to conflict or alliance. The exegesis examines historical and current events and people that inspired the form and content of the play. The factors that inspired the genre, the world of the play, the characters and incidents are discussed in relation to how social, political and economic systems reflect and reveal ongoing root causes of violence, instability and poverty in developing countries and, indeed, the increase of the same problems in developed countries.

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Quinteros, Evelyn. "Obra teatral: Júpiter Discurso ideológico a través de la literatura." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79875.

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This study, Jupiter, a theatre play: an ideological discourse through literature, is based upon the play written by Francisco Gavidia that tells the story of the Salvadoran nation, which after having lived many decades under the Spanish yoke, is organized with the help of the Creole elite, in order to obtain independence. For Francisco Gavidia it is important to raise awareness of the importance of freedom in the Salvadoran population. The objective of this work is to analyze the main characters in order to identify the existence of an ideological message in the drama, Jupiter. To accomplish this purpose, we have used some drama concepts established by García Barrientos 2007; some other concepts based on the narrative theory by Mieke Bal (1995), and the theory of the Historical Novel explained by Fernández (2003); both theories have served as a tool to facilitate and deepen the study of the characters, some structural elements, and ideological discourse that we find in this literary work. Our study has focused on the analysis of the main characters, both fictional and historical, with the main character being a black slave: Jupiter. This figure represents the Salvadoran population that has lived several decades under the Spanish yoke. Then we find the figure of the woman embodied in the character named Blanca. This character plays the role of a passive woman, since she has no voice or power, and she is seen as an object through which the male characters can obtain power and material wealth. Another fictional character is Beltranena who represents the Spanish power in Salvadoran territory during the Colonial era. Finally, there are two historical figures who serve the purpose of leaders in the planning and execution of the rebellion to acquire the freedom for the people. Our hypothesis has been corroborated, since according to our analysis the characters deliver an ideological message, because the author exposes the ideology through the main characters.

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Books on the topic "Slavery – drama"

1

Akrigg, Ben, and Rob Tordoff, eds. Slaves and Slavery in Ancient Greek Comic Drama. Cambridge: Cambridge University Press, 2013. http://dx.doi.org/10.1017/cbo9780511919985.

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2

Payne, Jonathan. Slavery. New York: Samuel French, 2003.

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3

Andrews, Eula Banks. The psalms of slavery: A drama in song. Colorado Springs, Co (314 W. Willamette Ave, Colorado Springs 80905): E.B. Andrews, 1986.

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4

Bada, Valérie. Mnemopoetics: Memory and slavery in African American drama. Bruxelles: P.I.E. Peter Lang, 2008.

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5

Dramatists Play Service (New York, N.Y.), ed. One more river to cross: A verbatim fugue. New York, NY: Dramatists Play Service Inc, 2015.

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6

Dellarosa, Franca. Slavery: Histories, fictions, memory : 1760-2007. Napoli: Liguori, 2012.

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7

Scribe, Eugène. Le Code noir: Opéra-comique en trois actes : suivi de textes inédits. Paris: L'Harmattan, 2018.

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Phillips, Caryl. Rough crossings. London: Oberon Books, 2007.

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Derek, Walcott, ed. Walker: And, The ghost dance. New York: Farrar, Straus and Giroux, 2002.

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10

McCord, Louisa Susanna Cheves. Louisa S. McCord: Poems, drama, biography, letters. Charlottesville: University Press of Virginia, 1996.

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Book chapters on the topic "Slavery – drama"

1

Houston, Chloë. "‘Read[ing] Philosophy to a King’: Ideals of Monarchy in William Cartwright’s The Royall Slave (1636)." In Persia in Early Modern English Drama, 1530–1699, 133–57. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-22618-2_6.

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McPherson, Lionel K. "Slavery Subcaste Drama." In The Afterlife of Race, 135–36. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197626849.003.0022.

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Abstract As descendants of American slavery, Black Americans typically have substantial mixed African and European ancestry. The English legal doctrine partus sequitur ventrem (“that which is born follows the womb”) determined the “Free” versus “Slaves” status of American children and eventually morphed into a “race” rule. This case study of “mixed race” is about a slavery society that later invested in race ideology-rhetoric to mystify and distract from gross injustice. The foundational color-conscious division in America was between Europe-identified “Free White” persons and Africa-identified “Slaves.” After the Civil War, the “Slaves” caste was relabeled by “color” on the US census, with a “race” category alone not appearing until 1950. Except for the period 1930 to 1990, the United States always officially recognized persons of Afro-Anglo descent: “black” or “mulatto” was the standard description.

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3

Asch, Chris Myers, and George Derek Musgrove. "Slavery Must Die." In Chocolate City. University of North Carolina Press, 2017. http://dx.doi.org/10.5149/northcarolina/9781469635866.003.0005.

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This chapter describes the increasingly bold efforts by local abolitionists to challenge slavery and the slave trade in Washington, as well as the attempts by local white leaders to protect slavery and discourage black migration to the city. Washington served as a central stage in the growing national drama over slavery. Despite Congress’s attempt to squelch public debate with the “gag rule,” the question of slavery in the nation’s capital would not die. Frustrated abolitionists, unable to overcome what they called the “Slave Power,” went “underground” to help Washington-area slaves escape to freedom. As more and more enslaved people “absconded” (the term often used in advertisements for fugitives), city leaders struggled to preserve the peculiar institution by capturing and punishing runaways. With the nation tilting ominously toward civil war, slavery’s opponents and its defenders placed Washington on the front lines of the struggle over human bondage in America. The chapter culminates with the emancipation of D.C.’s 3,100 enslaved people in April 1862, more than eight months before the Emancipation Proclamation.

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"Slavery and Obedience in Restoration and Early Eighteenth-Century Drama." In Invoking Slavery in the Eighteenth-Century British Imagination, 89–104. Routledge, 2016. http://dx.doi.org/10.4324/9781315589787-11.

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"Slavery, Colonialism, and the Eighteenth-Century Global Stage." In Staging Blackness and Performing Whiteness in Eighteenth-Century German Drama, 43–85. Farnham, Surrey; Burlington, VT: Ashgate, 2015.: Routledge, 2017. http://dx.doi.org/10.4324/9781315610498-3.

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Cohen, Ashley L. "The Geography of Freedom in the Age of Revolutions." In The Global Indies, 144–88. Yale University Press, 2021. http://dx.doi.org/10.12987/yale/9780300239973.003.0006.

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This chapter explores a contradiction at the heart of the mainstream abolitionist movement: colonialism in India was promoted as a solution to the problem of slavery. It focuses on forms of unfreedom that trouble the geographical divide drawn in abolitionist discourse between slavery and freedom within the British empire. The chapter begins with a brief discussion of Marianna Starke's pro-imperialism/antislavery drama (set in India), The Sword of Peace (1788). It then turns to Maria Edgeworth's anti-Jacobin short-story collection Popular Tales (1804), which features nearly identical scenes of slavery set in Jamaica and India. Edgeworth's fiction might seem worlds away from actual colonial policy; but by contextualizing her writing amid debates about the slave trade and proposals for the cultivation of sugar in Bengal, the chapter shows that her stories were important and highly regarded thought experiments in colonial governance. Finally, the chapter discusses an important historical instantiation of the Indies mentality that falls outside the time frame of this study: the transportation of Indian indentured laborers to the Caribbean in the 1830s.

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Dossett, Kate. "Free at Lass!" In Radical Black Theatre in the New Deal, 203–50. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469654423.003.0006.

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The final chapter examines the Harlem Negro Unit’s immensely popular production of Haiti. Authored by white New York journalist William Dubois, white theatre critics attempted to place Haiti within a white dramatic tradition of Black primitivism which included Emperor Jones and Orson Welles’ recent Voodoo version of Macbeth. By contrast, the Black performance community worked to transform Dubois’s racist play into a celebration of the Haitian Republic’s Black heroes. The success of Haiti helped the Black performance community push the Federal Theatre to invest in Black dramatists. On the eve of the FTP’s closure two new Black dramas were being prepared for production: Panyared, (1939) explores the origins of African slavery and was the first instalment of a historical trilogy by Hughes Allison; Theodore Browne’s Go Down Moses (1938), is a dramatization of Harriet Tubman’s life which examines Black agency in ending slavery. While neither drama made it to the stage, centering Black theatre manuscripts, and the performance communities who developed them, allows us to see how African Americans imagined radical paths to the future.

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Stowell, Daniel W. "God’s Deliverance." In Rebuilding Zion, 65–79. Oxford University PressNew York, NY, 1998. http://dx.doi.org/10.1093/oso/9780195101942.003.0005.

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Abstract Black Christians in Civil War America shared with their white brethren a strong belief in God’s providential intervention in human affairs. For northern and southern black evangelicals, the central fact of the war was the deliverance of four million black men, women, and children from the bonds of slavery. The central actor in this drama was God. The results of the war demonstrated His care for His children in bondage and His condemnation of slavery and its beneficiaries. The northern people and northern armies were simply instruments in God’s hands to carry out His judgment. As such, however, northerners clearly demonstrated their greater righteousness in comparison to southerners.

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Brodrecht, Grant R. "1864." In Our Country, 43–66. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279906.003.0003.

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The second chapter looks at northern evangelicals in relation to the election of 1864. Although the war’s evolving aim, which now included emancipation, reflected northern white evangelicals’ misgivings regarding slavery, during 1864 many nevertheless downplayed slavery-related issues. The year began with high hopes surrounding Ulysses S. Grant’s promotion to lead all Union forces, but by late summer his Virginia campaign had stalled and precipitated much anxiety in the North. In the face of Democratic opposition and abolitionist criticism,mainstream evangelicals cast 1864 as the dénouement of the war, if not the nation’s entire history. The enhanced drama benefitted Lincoln, for the more desperate things appeared, the more desperately mainstream evangelicals supported him. Contrary to the desires of evangelical abolitionists, most northern evangelicals saw the election of 1864 as fundamentally about saving the Union.

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Flamand, Lee A. "Can Melodrama Redeem American History? Ava DuVernay’s 13th and Queen Sugar." In American Mass Incarceration and Post-Network Quality Television. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463725057_ch05.

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This chapter considers two projects headed by Ava DuVernay: the Netflix documentary 13th and OWN’s drama series Queen Sugar. Although they approach the topic of mass incarceration through drastically different genres, each seek to incorporate aspects of Black studies scholarship into their respective brands of advocacy documentary and serial TV melodrama. Together they historicize mass incarceration’s roots in slavery in ways which prove conducive to the exploration of the changing contours of Black representation across media forms. However, these treatments nevertheless remain largely entangled with problematic traditions of American melodramatic storytelling.

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