Slavery Geography And Empire In Nineteenth Century Marine Landscapes Of Montreal And Jamaica

Slavery, Geography and Empire in Nineteenth-Century Marine Landscapes of Montreal and Jamaica is among the first Slavery Studies books - and the first in Art History - to juxtapose temperate and tropical slavery. Charmaine A. Nelson explores the central role of geography and its racialized representation as landscape art in imperial conquest. One could easily assume that nineteenth-century Montreal and Jamaica were worlds apart, but through her astute examination of marine landscape art, the author re-connects these two significant British island colonies, sites of colonial ports with profound economic and military value. Through an analysis of prints, illustrated travel books, and maps, the author exposes the fallacy of their disconnection, arguing instead that the separation of these colonies was a retroactive fabrication designed in part to rid Canada of its deeply colonial history as an integral part of Britain's global trading network which enriched the motherland through extensive trade in crops produced by enslaved workers on tropical plantations. The first study to explore James Hakewill's Jamaican landscapes and William Clark's Antiguan genre studies in depth, it also examines the Montreal landscapes of artists including Thomas Davies, Robert Sproule, George Heriot and James Duncan. Breaking new ground, Nelson reveals how gender and race mediated the aesthetic and scientific access of such - mainly white, male - artists. She analyzes this moment of deep political crisis for British slave owners (between the end of the slave trade in 1807 and complete abolition in 1833) who employed visual culture to imagine spaces free of conflict and to alleviate their pervasive anxiety about slave resistance. Nelson explores how vision and cartographic knowledge translated into authority, which allowed colonizers to 'civilize' the terrains of the so-called New World, while belying the oppression of slavery and indigenous displacement.

What is the meaning of punishment today? Where is the limit that separates it from the cruel and unusual? In legal discourse, the distinction between punishment and vengeance—punishment being the measured use of legally sanctioned violence and vengeance being a use of violence that has no measure—is expressed by the idea of "cruel and unusual punishment." This phrase was originally contained in the English Bill of Rights (1689). But it (and versions of it) has since found its way into numerous constitutions and declarations, including Article 5 of the Universal Declaration of Human Rights, as well as the Amendment to the US Constitution. Clearly, in order for the use of violence to be legitimate, it must be subject to limitation. The difficulty is that the determination of this limit should be objective, but it is not, and its application in punitive practice is constituted by a host of extra-legal factors and social and political structures. It is this essential contestability of the limit which distinguishes punishment from violence that this book addresses. And, including contributions from a range of internationally renowned scholars, it offers a plurality of original and important responses to the contemporary question of the relationship between punishment and the limits of law.

Rastafari is an Afrocentric social and religious movement that emerged among Afro-Jamaican communities in the 1930s and has many adherents in the Caribbean and worldwide today. This book is a groundbreaking account of Rastafari, demonstrating that it provides a normative conception of Blackness for people of African descent that resists Eurocentric and colonial ideas. Vivaldi Jean-Marie examines Rastafari’s core beliefs and practices, arguing that they constitute a distinctively Black system of norms and values—at once an ethos and a cosmology. He traces Rastafari’s origins in enslaved people’s strategies of resistance, Jamaican Revivalism, and Garveyism, showing how it incorporates ancestral religious traditions and emancipatory politics. An Ethos of Blackness draws out the significance of practices such as avoiding technological exploitation of natural artifacts and the belief in living in harmony with the natural order. Jean-Marie considers Rastafari’s theology, exploring its reinterpretation of biblical scriptures and its foundations in the rejection of Christianity’s Eurocentrism and racism. However, he insists, before Rastafari can fulfill its promise of liberation for people of African descent, it must confront its failure to include women and redress sexism. Through rigorous and sensitive reflections on Rastafari culture and cosmology, this book offers deeply original insights into the Black theological imagination.

"The book focuses on the history of Jamaica during the years between Tacky's Revolt, the American Revolution, and the beginnings of parliamentary abolitionist legislation in 1788"--

In this volume, emerging and established scholars bring ethical and political concerns for the environment, nonhuman animals and social justice to the study of nineteenth-century visual culture. They draw their theoretical inspiration from the vitality of emerging critical discourses, such as new materialism, ecofeminism, critical animal studies, food studies, object-oriented ontology and affect theory. This timely volume looks back at the early decades of the Anthropocene to query the agency of visual culture to critique, create and maintain more resilient and biologically diverse local and global ecologies.

"There is no question that art has played a key role in constructing the public understanding of "America." Probing the intersection of art, nature, race, and place, Temporary Monuments examines how art and artists have responded to this legacy by imagining new ways of constructing notions of land, culture, and public space. Zorach demonstrates how art historical tropes play out through and against the construction of race in a series of real and conceptual spaces that are key to how we imagine this country. Ranging from the museum, the wild, and the monument to the garden, the home, and the border, Temporary Monuments incorporates memoir, historical narrative, literary analysis, and close looking at objects that date from significant moments in American history. Works by artists such as Rebecca Belmore, Dawoud Bey, George Catlin, Theaster Gates, Kerry James Marshall, Dylan Miner, Barnett Newman, Postcommodity, Cauleen Smith, and Amanda Williams help to pry open knotty questions about the relationship between the environment, social justice, history, and identity"--

This companion is the first global, comprehensive text to explicate, theorize, and propose decolonial methodologies for art historians, museum professionals, artists, and other visual culture scholars, teachers, and practitioners. Art history as a discipline and its corollary institutions - the museum, the art market - are not only products of colonial legacies but active agents in the consolidation of empire and the construction of the West. The Routledge Companion to Decolonizing Art History joins the growing critical discourse around the decolonial through an assessment of how art history may be rethought and mobilized in the service of justice - racial, gender, social, environmental, restorative, and more. This book draws attention to the work of artists, art historians, and scholars in related fields who have been engaging with disrupting master narratives and forging new directions, often within a hostile academy or an indifferent art world. The volume unpacks the assumptions projected onto objects of art and visual culture and the discourse that contains them. It equally addresses the manifold complexities around representation as visual and discursive praxis through a range of epistemologies and metaphors originated outside or against the logic of modernity. This companion is organized into four thematic sections: Being and Doing, Learning and Listening, Sensing and Seeing, and Living and Loving. The book will be of interest to scholars working in art history, visual culture, museum studies, race and ethnic studies, cultural studies, disability studies, and women’s, gender, and sexuality studies.

This book critically interrogates how young people are introduced to landscapes through environmental education, outdoor recreation, and youth-led learning, drawing on diverse examples of green, blue, outdoor, or natural landscapes. Understanding the relationships between young people and unfamiliar landscapes is vital for young people’s current and future education and wellbeing, but how landscapes and young people are socially constructed as unfamiliar is controversial and contested. Young people are constructed as unfamiliar within certain landscapes along lines of race, gender or class: this book examines the cultures of outdoor learning that perpetuate exclusions and inclusions, and how unfamiliarity is encountered, experienced, constructed, and reproduced. This interdisciplinary text, drawing on Human Geography, Education, Leisure and Heritage Studies, and Anthropology, challenges commonly-held assumptions about how and why young people are educated in unfamiliar landscapes. Practice is at the heart of this book, which features three ‘conversations with practitioners’ who draw on their personal and professional experiences. The chapters are organised into five themes: (1) The unfamiliar outdoors; (2) The unfamiliar past; (3) Embodying difference in unfamiliar landscapes; (4) Being well, and being unfamiliar; and (5) Digital and sonic encounters with unfamiliarity. Educational practitioners, researchers and students will find this book essential for taking forward more inclusive outdoor and youth-led education.