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DIVScholarly edition of a slave narrative that tells of life as an "apprentice" under the British gradual emancipation plan./div
This book brings back into print, for the first time since the 1830s, a text that was central to the transatlantic campaign to fully abolish slavery in Britain's colonies. James Williams, an eighteen-year-old Jamaican "apprentice" (former slave), came to Britain in 1837 at the instigation of the abolitionist Joseph Sturge. The Narrative he produced there, one of very few autobiographical texts by Caribbean slaves or former slaves, became one of the most powerful abolitionist tools for effecting the immediate end to the system of apprenticeship that had replaced slavery. Describi.
DIVThe author analyzes punishment as a way to explore the dynamic of state formation in a colonial society making the transition from slavery to freedom./div
This title was first published in 2000: The essays in this collection re-examine the phenomenon of "free print" in print culture. By focusing on free print the volume offers perspectives in the cultural history of textual transmission from the early-18th century to the mid-20th century. "Publishing" in the sense of making the print public, embraces the free and often unsolicited distribution of religious literature, political propaganda, and civic and personal gifts. The free print examined here includes gift-books; advertisements and commemorations; the promotion of knowledge, institutions and services; commercial and philanthropic lobbying; religious and missionary activity; and political propaganda both official and underground. Broad issues range from the consideration of press finances, government intervention, and private and institutional patronage, to textual familiarity and social ritual. The approach is deliberately comparative. Ten established scholars of book and printing history, who look at very different regions and periods, test the nature of the alleged authority of print and the apparent value of the commercial tag through the study of print which arrives unbidden in the hands of its consumers. The chapters in this volume are based on papers first given at the "Print for Free" conference organized by the Cambridge Project for the Book Trust in September 1996.
How did slave-owning Southern planters make sense of the transformation of their world in the Civil War era? Matthew Pratt Guterl shows that they looked beyond their borders for answers. He traces the links that bound them to the wider fraternity of slaveholders in Cuba, Brazil, and elsewhere, and charts their changing political place in the hemisphere. Through such figures as the West Indian Confederate Judah Benjamin, Cuban expatriate Ambrosio Gonzales, and the exile Eliza McHatton, Guterl examines how the Southern elite connectedÑby travel, print culture, even the prospect of future conquestÑwith the communities of New World slaveholders as they redefined their world. He analyzes why they invested in a vision of the circum-Caribbean, and how their commitment to this broader slave-owning community fared. From Rebel exiles in Cuba to West Indian apprenticeship and the Black Codes to the Òlabor problemÓ of the postwar South, this beautifully written book recasts the nineteenth-century South as a complicated borderland in a pan-American vision.
Literary histories typically celebrate the antebellum period as marking the triumphant emergence of American literature. But the period's readers and writers tell a different story: they derided literature as a fraud, an imposture, and a humbug, and they likened it to inflated currency, land bubbles, and quack medicine. Excavating a rich archive of magazine fiction, verse satires, comic almanacs, false slave narratives, minstrel song sheets, and early literary criticism, and revisiting such familiar figures as Edgar Allan Poe, Davy Crockett, Fanny Fern, and Herman Melville, Lara Langer Cohen uncovers the controversies over literary fraudulence that plagued these years and uses them to offer an ambitious rethinking of the antebellum print explosion. She traces the checkered fortunes of American literature from the rise of literary nationalism, which was beset by accusations of puffery, to the conversion of fraudulence from a national dilemma into a sorting mechanism that produced new racial, regional, and gender identities. Yet she also shows that even as fraudulence became a sign of marginality, some authors managed to turn their dubious reputations to account, making a virtue of their counterfeit status. This forgotten history, Cohen argues, presents a dramatically altered picture of American literature's role in antebellum culture, one in which its authority is far from assured, and its failures matter as much as its achievements.