دانلود کتاب Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica

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Cover
Title
Copyright
Dedication
Contents
List of illustrations
Acknowledgments
Introduction
Slavery studies and its absences
Contesting the erasure of black Canada and Canadian slavery
Postcolonial geography: Understanding landscapes as racialized
The case of two islands: Comparing Montreal and Jamaica
Societies-with-slaves vs. slave societies
Montreal and Jamaica: Colonized landscapes
The chapters
Terminology
1 Colonialism and art: Landscape and empire
Critical geography and art history: Of landscape representation, imperialism, and power
Art-making as empire-making: Whiteness, travel, and imperial vision
Montreal and Jamaica: Imperial connections
Transoceanic art
Maps, landscape painting, and topographical landscapes
2 A tale of two empires: Montreal slavery under the French and the British
A transition of power: From French to British slavery
Liminal bodies: “Loose” women, drunken soldiers, and vagrancy
Adapting slavery under the British
Situating Montreal’s black minority
The face of slave ownership in Montreal: James McGill
3 Representing the enslaved African in Montreal
Portraiture and slavery
Geographical alienation and the hierarchy of enslavement
Marie-Thérèse-Zémire, revolutionary St Domingue, and the politics of flight
Critiquing Canadian museum practice: The Montreal Museum of Fine Arts’ installation of Portrait of a Haitian Woman
The conditions of African enslavement in eighteenth-century Montreal and St Domingue
Life after François: “Portrait” of a Montreal slave mistress
Minuets of the Canadians and African cultural survivals
The tambourine
Connecting black Canadian music to the African diaspora
4 Landscaping Montreal
Montreal as British military stronghold
Re-imagining Montreal as a colonial trade and slave port
St Helen’s island
5 Landscaping Jamaica
John Seller’s Atlas Maritimus: Jamaica in the early modern British imagination
Sloane’s natural history
The Beckfordesque landscape tradition
Beckford, slavery, and sugar cultivation
The picturesque and Beckford’s debt to European landscape (painting)
The planter’s vantage point: The tropical picturesque
6 Imaging slavery in Antigua and Jamaica: Pro-slavery discourse and the reality of enslavement
William Clark’s Antigua
The tropical picturesque as pro-slavery discourse
Thomas Thistlewood and Vineyard Pen
White male sexual exploitation of black women
Thomas Thistlewood, Agostino Brunias, and cross-racial sexual relations in the Caribbean
The price of excess: White male promiscuity and the spread of venereal disease
The state of Jamaican Slavery
7 James Hakewill’s Picturesque Tour: Representing life on nineteenth-century Jamaican sugar plantations
Sugar cane or slaves: Representing and sublimating labour
William Clark’s labouring slaves
Animalizing slaves, humanizing animals
James Hakewill’s white women
“I am the only woman”: Politeness and the erasure of black and coloured women
Riding side-saddle: White femininity, modernity, and privilege
8 Beyond sugar: James Hakewill’s vision of Jamaican settlements, livestock pens, and the spaces between
Caretaking animals: Identity and penkeeping
The limits of mobility and the pervasiveness of surveillance: Exploring wainage
“Other” whites: Representing British soldiers in the Caribbean
White anxiety: Cross-racial mixing and coloured populations
Conclusion: Deception in the life and art of the white Jamaican creole planter class
Index
Plates