• Cross-Cultural Studies
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• v.52
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• pp.417-446
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• 2018

The culture of memory in France regarding slavery and slave trade has slowly been expanding its horizons: from limited perspective focusing on abrogation of slavery to inclusion of discussion on real experiences and suffering of African slaves. This change has been particularly noticeable since the 150th anniversary of abrogation of slavery in France in 1998. It was the year that citizens of French overseas territories that had internalized this painful and shameful history of suffering formed a visible social movement. For the last two decades, the French government has also demonstrated consistent, proactive and prompt response to discussions of issues rooted in slavery in overseas territories, wherein slavery is the root of fundamental problems. In particular, when the Taubira Law (2001) was passed in the Senate, the Committee for the Memory of Slavery was established. This committee has since contributed to better assessment and understanding of French history of slavery and slave trade. Such was the profound as well as significant change in public perception as well as in legal and social aspects that culminated in the 2015 establishment of $M{\acute{e}}morial$ ACTe, Caribbean Centre of Expression and Memory of Slavery and the Slave Trade in Guadeloupe. Reflecting on those historic moments in recent French history, this paper examines major debates in French society regarding establishment of the $M{\acute{e}}morial$ ACTe. It assesses how Aleida Assmann's "cultural memory" was created with the establishment of $M{\acute{e}}morial$ ACTe and how it has contributed to the new cultural identity of French overseas territories.

• Journal of Korean Society of Archives and Records Management
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• v.16 no.3
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• pp.99-129
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• 2016

Records and archives on military sexual slavery should be managed systematically due to its historical and educational values. Currently, the National Records Designation related to the military sexual slavery by Japan are managed in various related organizations including the National Archives of Korea. Some private institutions have diverse collections on the military sexual slavery by Japan. They have a collection of various types of records and archives. This study aims to build an integrated metadata schema for managing the records and archives on the military sexual slavery by Japan. To achieve this goal, this study examined the institutions and organizations related to the military sexual slavery by Japan, and analyzed the types and characteristics of their records and archives. Based on the results, a metadata schema was proposed for the records and archives of the "Military Sexual Slavery by Japan."

• The Journal of the Convergence on Culture Technology
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• v.9 no.5
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• pp.105-110
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• 2023

This article attempts to analyze John Greenleaf Whittier's anti-slavery poems. As a Quaker, he criticizes and satirizes the rife slavery in the mid nineteenth century. His thoughts are based on his religious belief. "The Farewell of a Virginia Slave Mother" depicts the mother who lost daughter for she was sold to the South. The harsh state of the corrupt South is described. In "Massachusettes to Virginia," the speaker, deploring the moral corruption of Virginia, denounces any attempt to return slaves to slave states. With a moonrise as a socio-political symbol, "Arisen at Last" celebrates the passage of law to protect fugitive slaves. Written after the Civil War, "The Peace Autumn" celebrates the peaceful situation in which Emancipation was declared. His efforts contributed to the abolitionist literature.

• Journal of Korean Society of Archives and Records Management
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• v.19 no.1
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• pp.225-250
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• 2019

The oral record related to the sexual slavery by Japan's military is considered important evidence as it can grasp the damage situation and actual condition at that time. Therefore, systematic and integrated management of the organization's oral records is necessary. For this purpose, this study proposed metadata elements for the management of oral records. The metadata proposed in this study consists of 16 upper elements and subelements, respectively. The suggested upper elements consist of 6 "essential elements" and 10 "optional elements." The essential elements are "title," "date," "format," "creator," "content," and "rights."

• Journal of English Language & Literature
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• v.64 no.1
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• pp.77-94
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• 2018

This paper examines William and Ellen Craft's Running a Thousand Miles for Freedom (1860)-a narrative of the enslaved couple's escape from Macon to Philadelphia in the guise of a white male master and a colored slave. Expanding Judith Adler's notion of "travel as performed art," my reading of Running focuses on the Crafts' stratagems of transvestism-crossing boundaries not only of gender, but also of race, class, and disability. If travel can be understood as a form of performed art, then why not address a traveler as a performance artist? I present William and Ellen's role-playing in Running as performers of crossing borders and categories, or, as "fugitive performers," since the couple's story never reaches its final arrival but narrates an eternal run-away, far more than "a thousand miles to freedom." Using social stereotypes of race and gender to disguise, William and Ellen plot, write, choreograph, play, and recite on the moving stages and manipulate the others-especially white American audiences-who accompany the couple's run-away and those who were responsible for the cultural drama-a tragedy of American slavery. Becoming "fugitive performers," William and Ellen de-essentialize and debunk the nineteenth-century America's firm belief in distinct color line between black and white, and in the high yet unstable bars between male / female, abled / disabled, master / slave, and freedom / slavery. The Crafts alert their contemporaries and readers by presenting the complex and permeable boundaries of race, gender, class, social and cultural ability.

• English Language & Literature Teaching
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• v.11 no.4
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• pp.167-187
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• 2005

This paper tries to follow Toni Morrison's postcolonial courses in her novels. In The Bluest Eye, Morrison examines the situation in which the white's values are the standard for the whole society through two little black girls, Pecola and Claudia. In Song of Solomon she recommends emulating Pilate's love and good attitude towards tradition to shape a positive identity for Afro-Americans, which Milkman comes to accept. In Tar Baby, Morrison suggests that Son's and Jadine's ideas, traditional and modern, should be combined. In Beloved, Morrison illustrates one of the ways in which all blacks can escape from their own trauma through Sethe's process of finding her self-worth. In Paradise Morrison shows that the real de-colonial way to overcome the effects of colonization is to create a new paradigm in which everyone is respected regardless of race. In her works, Morrison insists that by remembering and regretting slavery in America, people can overcome its aftereffects and trauma. Racial oppression still exists today, so Morrison will continue her beautiful, powerful and eye-opening work.

• American Studies
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• v.44 no.2
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• pp.211-229
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• 2021

Toni Morrison's A Mercy (2008) describes Jacob Vaark, an early settler from England, and his grand house that symbolizes the American Dream in the 1680s. The source of his success is colonialism and slavery, as revealed by four female characters-a white Englishwoman Rebekka and three non-white women Florens, Sorrow, and Lina. Analyzing how the novel compares the women's experiences with nature and natural objects, this paper draws on ecofeminism as a theoretical frame of analysis to examine the novel's hitherto overlooked representations of naturalized women and feminized nature. The paper analyzes how the novel represents oppressions and exploitations of the four women in relation to nature that is similarly appropriated and developed by European men. The paper maintains that the novel does not represent these "naturalized" women as powerless and passive but portrays them as growing characters who resist patriarchy, colonialism, and capitalism.

• Iberoamérica
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• v.23 no.1
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• pp.79-111
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• 2021

The purpose of this article is to present the potential of balangandãs as a documentary source for intersectional studies of gender and slavery, from the analysis of formal and symbolic aspects of the museum objects in the Museu Nacional Nacional (MHN) and Museu Carlos Costa Pinto (MCCP). Balangandãs are a type of creole jewelry, made in gold or silver and used in Brazil since the 18th century by black women - women who worked, especially in the commercialization of foodstuffs in large urban centers. They are described in printed sources and engravings, and preserved in some museum institutions. In the study, the meanings attributed to the object over the centuries are observed: jewelry, amulet, peculium, document, travel memory and heritage. As a result, the article seeks to highlight the objects as a historical and documentary source, verifying similarities between the pieces musealized at the MHN and at the MCCP, also emphasizing the documental power of the pieces produced today.

• Journal of Digital Contents Society
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• v.16 no.5
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• pp.699-706
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• 2015

Never Ending Story is an animation work about the stories of the Japanese Sex Slavery Victims who were taken by the Japanese military and forced to sexual slavery, which tormented them with painful memories all their lives. This animation work stimulates the critical perspectives of the audiences in order to ensure a history-based approach based on facts. And, unlike general character animation works which pursue immersion and empathy through illusion of life that are created by the characters, this work demands the audiences to contemplate on historical facts described in the work and make their own judgements. In order to serve these purposes, this work is characterized by its aesthetics properties and elements such as 'sympathy', 'typification', and 'alienation effect'. And, these elements effectively deliver the reality of historical facts that cannot be denied in a chronological narrative. Therefore, this study would sufficiently be of a value in reviewing the diversity in expression and the methodologies used in them, let alone the significance of the theme itself.

• Journal of English Language & Literature
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• v.64 no.3
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• pp.453-468
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• 2018

Nat Turner's rebellion in 1831 was considered pre Civil War South's most dreadful nightmare due to the merciless murder of white slave owner victims. The motive of vengeance has been emphasized as that of Turner's notorious black preacher religious fanaticism. However, the recent film, The Birth of a Nation (2016) directed by Nate Parker, utilized the identical title of a film (1915) directed by D. W. Griffith. Providing limited evidence, information about the rebellion in Thomas Gray's pamphlet The Confessions of Nat Turner (1831), was the only accessible historical source for the factual event of the slaves' rebellion. In addition, William Styron's The Confessions of Turner (1967), a fictionalized biography, also examined Turner's life in the harshness of slavery. Although these two texts deal with the personal level of Nat Turner's rage and religious enthusiasm, both provide only fractured parts of the motive of vengeance. Strikingly, Parker's film interrogates the ideology of "victims," as well as the hierarchical term of "confessions," with their different positions between whites and blacks. More specifically, Parker's film offers discursive fields of proslavery arguments regarding biblical interpretations in addition to external visualization of slaves' inner emotional lives. The film demonstrates how the institution of slavery allowed slaves to be exploited, beaten, raped, through interrogating the problematic image of the "contested hero" Nat Turner. In contrast to the traditional image of blacks' bloody rebellion, the film underlines the absurdity of certain Biblical misinterpretations. It furthermore implies how the 1915 film manipulated proslavery propaganda in America.