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Over two hundred years ago, Olaudah Equiano changed the world. After reading reports of the British ship Zong, where 132 enslaved Africans were thrown overboard, he joins forces with anti-slavery campaigner Granville Sharp and together they set in motion events which will go on to galvanise the abolition movement. But Olaudah's impassioned fight for justice goes beyond the courtroom. Having bought his own freedom, he now faces a personal battle to rediscover his past and accept his true self. Weaving together the many lives affected by these events across the globe, The Meaning of Zong is both a depiction of a shameful true story from British history, and a timely response to the social upheaval the world has witnessed in recent years - celebrating the power of individual action to drive huge societal change. Giles Terera's debut play was commissioned by Bristol Old Vic and the National Theatre, and first performed on stage at Bristol Old Vic in April 2022, co-directed by Tom Morris and Terera, after an acclaimed production on BBC Radio 3.
A haunting lifeline between archive and memory, law and poetry
Over two hundred years ago, Olaudah Equiano changed the world. After reading reports of the British ship Zong, where 132 enslaved Africans were thrown overboard, he joins forces with anti-slavery campaigner Granville Sharp and together they set in motion events which will go on to galvanise the abolition movement. But Olaudah's impassioned fight for justice goes beyond the courtroom. Having bought his own freedom, he now faces a personal battle to rediscover his past and accept his true self. Weaving together the many lives affected by these events across the globe, The Meaning of Zong is both a depiction of a shameful true story from British history, and a timely response to the social upheaval the world has witnessed in recent years - celebrating the power of individual action to drive huge societal change. Giles Terera's debut play was commissioned by Bristol Old Vic and the National Theatre, and first performed on stage at Bristol Old Vic in April 2022, co-directed by Tom Morris and Terera, after an acclaimed production on BBC Radio 3.
“A lucid, fluent and fascinating account of the Zong. The book details the horror of the mass killing of enslaved Africans on board the ship in 1781.”—Gad Heuman, co-editor of The Routledge History of Slavery On November 29, 1781, Captain Collingwood of the British ship Zong commanded his crew to throw overboard one-third of his cargo: a shipment of Africans bound for slavery in America. The captain believed his ship was off course, and he feared there was not enough drinking water to last until landfall. This book is the first to examine in detail the deplorable killings on the Zong, the lawsuit that ensued, how the murder of 132 slaves affected debates about slavery, and the way we remember the infamous Zong today. Historian James Walvin explores all aspects of the Zong’s voyage and the subsequent trial—a case brought to court not for the murder of the slaves but as a suit against the insurers who denied the owners’ claim that their “cargo” had been necessarily jettisoned. The scandalous case prompted wide debate and fueled Britain’s awakening abolition movement. Without the episode of the Zong, Walvin contends, the process of ending the slave trade would have taken an entirely different moral and political trajectory. He concludes with a fascinating discussion of how the case of the Zong, though unique in the history of slave ships, has come to be understood as typical of life on all such ships. “Engaging . . . [Walvin’s] expertise shines through with surgical use of statistics and absorbing deviations into subjects such as Turner’s masterpiece The Slave Ship and the slave-fueled growth of Liverpool.”—Daily Mail
Yongming Yanshou ranks among the great thinkers of the Chinese and East Asian Buddhist traditions, one whose legacy has endured for more than a thousand years. Albert Welter offers new insight into the significance of Yanshou and his major work, the Zongjing lu, by showing their critical role in the contested Buddhist and intellectual territories of the Five Dynasties and early Song dynasty China. Welter gives a comprehensive study of Yanshou's life, showing how Yanshou's Buddhist identity has been and continues to be disputed. He also provides an in-depth examination of the Zongjing lu, connecting it to Chan debates ongoing at the time of its writing. This analysis includes a discussion of the seminal meaning of the term zong as the implicit truth of Chan and Buddhist teaching, and a defining notion of Chan identity. Particularly significant is an analysis of the long underappreciated significance of the Chan fragments in the Zongjing lu, which constitute some of the earliest information about the teachings of Chan's early masters. In light of Yanshou's advocacy of a morally based Chan Buddhist practice, Welter also challenges the way Buddhism, particularly Chan, has frequently been criticized in Neo-Confucianism as amoral and unprincipled. Yongming Yanshou's Conception of Chan in the Zongjing lu concludes with an annotated translation of fascicle one of the Zongjing lu, the first translation of the work into a Western language.
A General Introduction to Chinese Culture is a book introducing Chinese culture from the perspectives of institutional culture, material culture and spiritual culture by starting from the exploration over implications of culture, backgrounds, and basic characteristics of traditional Chinese culture. Well-documented, rich in materials and rigorous in theory, the book describes and analyzes almost all aspects of traditional Chinese culture both at macro and micro levels. Innovative and thought-provoking ideas can be found in the summary of the basic characteristics of Chinese culture as well as in the analysis of theoretical issues such as traditional Chinese economic thought, political ideas, the patriarchal system, the imperial examination system, science and technology, academics, religions, cultural spirit and aesthetic pursuits of literature and art, etc. With dialectical and scientific argumentation, the interpretation of traditional culture embodies contemporary consciousness, and it well reflects the latest level of research on traditional Chinese culture. This book has also been used as textbook by the Chinese universities for the graduate students to learn about Chinese culture. Awarded the Second Prize of the National University Press Bestseller by Chinese University Press Association and listed top in the recommended bibliography by many libraries, this book has been reprinted many times and well received by all readers.
“One of the most joyous and clear-eyed approaches to playing a character that I have ever read...I was already in awe of his performance; now I’m in awe of his humanity and attention to detail, and willingness to share the hard work and magic that goes into it.” —Lin-Manuel Miranda, from his Foreword Hamilton and Me is a unique, behind-the-scenes account of preparing for, rehearsing and performing in one of the most important cultural phenomena of our time. When Lin-Manuel Miranda’s groundbreaking musical Hamilton opened in London’s West End in December 2017, it was as huge a hit as it had been in its original production off and on Broadway. Lauded by critics and audiences alike, the show would go on to win a record-equaling seven Olivier Awards—including Best Actor in a Musical for Giles Terera, for his portrayal of Aaron Burr. For Terera, though, his journey as Burr had begun more than a year earlier, with his first audition in New York, and continuing through extensive research and preparation, intense rehearsals, previews, and finally opening night itself. Throughout this time he kept a journal, recording his experiences of the production and the process of creating his award-winning performance. This book, Hamilton and Me, is that journal. It is also deeply personal, as Terera reflects on experiences from his life that he drew on to shape his acclaimed portrayal. Illustrated with photographs and featuring an exclusive foreword by Lin-Manuel Miranda, this book is essential reading for all fans of Hamilton—offering fresh, first-hand insights into the music and characters they know and love so well—and for aspiring and current performers or students, and anyone who wants to discover what it really felt like to be in the room where it happened.
In September 1781, the captain of the British slave ship Zong ordered 133 slaves thrown overboard, enabling the ship’s owners to file an insurance claim for their lost “cargo.” Accounts of this horrific event quickly became a staple of abolitionist discourse on both sides of the Atlantic. Ian Baucom revisits, in unprecedented detail, the Zong atrocity, the ensuing court cases, reactions to the event and trials, and the business and social dealings of the Liverpool merchants who owned the ship. Drawing on the work of an astonishing array of literary and social theorists, including Walter Benjamin, Giovanni Arrighi, Jacques Derrida, and many others, he argues that the tragedy is central not only to the trans-Atlantic slave trade and the political and cultural archives of the black Atlantic but also to the history of modern capital and ethics. To apprehend the Zong tragedy, Baucom suggests, is not to come to terms with an isolated atrocity but to encounter a logic of violence key to the unfolding history of Atlantic modernity. Baucom contends that the massacre and the trials that followed it bring to light an Atlantic cycle of capital accumulation based on speculative finance, an economic cycle that has not yet run its course. The extraordinarily abstract nature of today’s finance capital is the late-eighteenth-century system intensified. Yet, as Baucom highlights, since the late 1700s, this rapacious speculative culture has had detractors. He traces the emergence and development of a counter-discourse he calls melancholy realism through abolitionist and human-rights texts, British romantic poetry, Scottish moral philosophy, and the work of late-twentieth-century literary theorists. In revealing how the Zong tragedy resonates within contemporary financial systems and human-rights discourses, Baucom puts forth a deeply compelling, utterly original theory of history: one that insists that an eighteenth-century atrocity is not past but present within the future we now inhabit.
In this original and trenchant work, Christina Sharpe interrogates literary, visual, cinematic, and quotidian representations of Black life that comprise what she calls the "orthography of the wake." Activating multiple registers of "wake"—the path behind a ship, keeping watch with the dead, coming to consciousness—Sharpe illustrates how Black lives are swept up and animated by the afterlives of slavery, and she delineates what survives despite such insistent violence and negation. Initiating and describing a theory and method of reading the metaphors and materiality of "the wake," "the ship," "the hold," and "the weather," Sharpe shows how the sign of the slave ship marks and haunts contemporary Black life in the diaspora and how the specter of the hold produces conditions of containment, regulation, and punishment, but also something in excess of them. In the weather, Sharpe situates anti-Blackness and white supremacy as the total climate that produces premature Black death as normative. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.
A literary venture into the economic shadow that slavery cast, Feeding the Ghosts, based on a true story, lays bare the raw business of the slave trade. The Zong, a slave ship packed with captive African “stock,” is headed to the New World. When illness threatens to disable all on board and cut potential profits, the ship’s captain orders his crew to throw the sick into the ocean. After being hurled overboard, Mintah, a young female slave taken from a Danish mission, is able to climb back onto the ship. From her hiding place, she rouses the remaining slaves to rebel and stirs unease among the crew with a voice and conscience they seem unable to silence. Mintah’s courage and others’ reactions to it unfold in a suspenseful story of the struggle to live even when threatened by oblivion.