"This book asks new questions about paintings and prints associated with the British West Indies between 1700 and 1840, when the trade in sugar and slaves was the most active and profitable. In a wide-ranging study of scientific illustrations, scenes of daily life, caricatures, and landscape imagery, Dian Kriz analyses the visual culture of refinement that accompanied the brutal process in which African slaves transformed 'rude' sugar cane into pure white crystals. These works variously imagine Britain's Caribbean colonies as curious, frightening, deadly, pleasurable and even funny for viewers on both sides of the Atlantic."--Jacket.

It would be easy to assume that, in the eighteenth century, slavery and the culture of taste--the world of politeness, manners, and aesthetics--existed as separate and unequal domains, unrelated in the spheres of social life. But to the contrary, Slavery and the Culture of Taste demonstrates that these two areas of modernity were surprisingly entwined. Ranging across Britain, the antebellum South, and the West Indies, and examining vast archives, including portraits, period paintings, personal narratives, and diaries, Simon Gikandi illustrates how the violence and ugliness of enslavement actually shaped theories of taste, notions of beauty, and practices of high culture, and how slavery's impurity informed and haunted the rarified customs of the time. Gikandi focuses on the ways that the enslavement of Africans and the profits derived from this exploitation enabled the moment of taste in European--mainly British--life, leading to a transformation of bourgeois ideas regarding freedom and selfhood. He explores how these connections played out in the immense fortunes made in the West Indies sugar colonies, supporting the lavish lives of English barons and altering the ideals that defined middle-class subjects. Discussing how the ownership of slaves turned the American planter class into a new aristocracy, Gikandi engages with the slaves' own response to the strange interplay of modern notions of freedom and the realities of bondage, and he emphasizes the aesthetic and cultural processes developed by slaves to create spaces of freedom outside the regimen of enforced labor and truncated leisure. Through a close look at the eighteenth century's many remarkable documents and artworks, Slavery and the Culture of Taste sets forth the tensions and contradictions entangling a brutal practice and the distinctions of civility.

A detailed study of the economies and material cultures that slaves built among themselves in two of the most heavily developed plantation regions in the Americas. Focusing on two geographical areas that led in the production of sugar--Jamaica in the 18th century and Louisiana in the mid-19th century--McDonald (history, Rider College) examines the resourceful efforts slaves on the sugar plantations made to better their circumstances under working conditions that were among the most taxing endured by slaves anywhere. Annotation copyright by Book News, Inc., Portland, OR

Literary and sociological studies have long been fascinated by the seemingly innocuous substance of sugar, not least because of its direct link with the histories of slavery in the New World. Unlike previous texts, Slaves to Sweetness examines not only traditional, classic studies of the history of sugar, but also explores the previously ignored work produced by expatriate Caribbean authors from the 1980s onward. As a result, this volume provides the most comprehensive account to date of the historical transformations undergone by our representations of sugar, making it a rich resource for scholars in numerous fields.

Reprint of the original, first published in 1876.

Slave Portraiture in the Atlantic World is the first book to focus on the individualized portrayal of enslaved people from the time of Europe's full engagement with plantation slavery in the late sixteenth century to its final official abolition in Brazil in 1888. While this period saw the emergence of portraiture as a major field of representation in Western art, 'slave' and 'portraiture' as categories appear to be mutually exclusive. On the one hand, the logic of chattel slavery sought to render the slave's body as an instrument for production, as the site of a non-subject. Portraiture, on the contrary, privileged the face as the primary visual matrix for the representation of a distinct individuality. Essays address this apparent paradox of 'slave portraits' from a variety of interdisciplinary perspectives, probing the historical conditions that made the creation of such rare and enigmatic objects possible and exploring their implications for a more complex understanding of power relations under slavery.