AADS/ENGL 3328.01
Hi everybody! Feel free to check out the project Tess, Will, and I are working on and let us know if you have thoughts! What: Briefly describe how the form of your group’s final project has changed and/or developed from what you described in the first check-in. In our initial project check-in, we focused on…
You may email me your responses directly as a Word document, but I encourage you to post your project check-ins to the class site.* Doing so facilitates the feedback loop and also allows you to get a sense of how other groups are tackling similar or related issues. What Briefly describe how the form of…
Hannah Craft uses knowledge of the Bible as a marker of a dangerous education for slaves, not connected to their ability to read or write, but due to the content of the material. The knowledge gained by slaves through the reading of the Bibles allows for slaves to find themselves within the narratives and put…
The BondsWoman’s Narrative, by Hannah Crafts is a novel that was compiled by Henry Louis Gates (who purchased Craft’s manuscripts at auction); in the novel, Craft recounts her experiences as a young mixed woman (mulatto), who eventually gains her freedom. As the novel develops, the widespread effects of institutional oppression seem to extend beyond the…
I found this piece in McMullen. It is titled: Untitled by Omar El-Nagdi. The piece (with its natural colors and perfectly imperfect poignant shapes) is welcoming, safe, comforting, hopeful, realistic, natural, and simple while being incredibly powerful and meaningful. The piece flows and moves as I have said but to add onto this the piece…
The beginning line of The Bondwoman’s Narrative by Hannah Craft is puzzling: “Look not upon me because I am black; because the sun hath looked upon me” (Song of Solomon 1:6). Craft throughout her text begins each chapter with a biblical quote, yet the Song of Solomon is only used once. Why begin her story with a…
In her novel The Bondswoman’s Narrative, Hannah Crafts highlights the impossibility of southern Christianity. While many southerners claim to be men of God, their pledge to preserve the ‘peculiar institution’ of slavery supersedes their Christian morals. When relaying the legend of Rose and her execution, Crafts notes of Sir Clifford that he “made it a boast…
Hannah Craft’s The Bondswoman Narrative touches on the stories of the dead through the connections the deceased have with the mortal world. The ominous effect of describing the dead acts as a way to emphasize the presence of death on southern slaves and the oppressive feeling that existed beyond the lifetimes of slaveholders. Craft writes…
In The Bondswoman’s Narrative, Hannah tells of the portrait-lined drawing room in her master’s mansion with eerie qualities. His ancestor Sir Clifford De Vincent is said to have “ordered his portrait and that of his wife to be hung in the drawing room, and denounced a severe malediction…against any possessor of the mansion who being…
Throughout the novel Sassafras, Cypress, and Indigo Ntozake Shange illustrates the lives of three sisters who work to achieve their dream lives as African-American women in Charleston, South Carolina. While the mother encourages her daughters to pursue education, hopeful that it is a path to marriage and happiness, each of them ends up following different…