Titlebook: Imagining Transatlantic Slavery; Cora Kaplan (Visiting Professor of English),John O Book 2010 Palgrave Macmillan, a division of Macmillan

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Inventing a Culture of Anti-Slavery: Pennsylvanian Quakers and the Germantown Protest of 1688Pastorius, Gerrit Hendricks, Derick op den Graeff and Abraham op den Graeff, put their name to a now celebrated statement of antislavery that has become variously known as the Germantown ‘Protest’, ’Declaration’ or ‘Petition’. The statement, outlining the reasons why the four were ‘against the traff

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‘Another Ida May’: Photography and the American Abolition Campaign half-tone process revolutionised printing in 1880 images had to be distributed hand-to-hand. The majority of photographs made in antebellum America were daguerreian portraits: a unique image typically the size of your palm, imprinted on a reflective mirror, encased in brocade and brass. Daguerreoty

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Exchanging Fugitive Identity: William and Ellen Craft’s Transatlantic Reinvention (1850–69)t the moment a forerunner in the race, has — at turns in his campaign — relied on, shunned, marginalised and confronted his bi-racial heritage, and his own family’s legacy and living memory of the transatlantic slave trade. In a twist to the proceedings, news of an amateur genealogist’s findings rev

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Phillis Wheatley’s Abolitionist Text: The 1834 Editionxpressions of admiration, others have registered suspicion and disapproval, first in the eighteenth and then again in the mid- and late twentieth centuries. And nearly all of Wheatley’s critics acknowledge the centrality of the poet’s life in responses to her poetry. Whether the questions were frame

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Representing Slavery in British Museums: The Challenges of 2007gdom. Exhibitions sprang up from Scotland to southwest England, and in often in places not traditionally associated with the slave trade. For university academics, the slave trade, slavery and their abolition have, of course, been at the heart of decades of detailed and groundbreaking research. Unti

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: Slavery, Theatricality and Sentimentality on the British Stageon and was ‘one of the most expensive failures in the history of plays on Broadway’.. Some of its astounding loss was due, perhaps, to its expensive production costs: with 40 cast members and a chorus of 20, the play was a pricey import. Still, the producers cannot be faulted for their optimistic in