000			02211nam a22003377a 4500
001			sulb-eb0015287
003			BD-SySUS
005			20160405134429.0
008			110217s2013||||enk o ||1 0|eng|d
020			_a9781139021845 (ebook)
020			_z9781107004399 (hardback)
020			_z9781107533752 (paperback)
040			_aUkCbUP _beng _erda _cUkCbUP
050	0	0	_aN8243.S576 _bS54 2013
082	0	0	_a704.9/49306362 _223
245	0	0	_aSlave Portraiture in the Atlantic World / _cedited by Agnes Lugo-Ortiz, Angela Rosenthal.
264		1	_aCambridge : _bCambridge University Press, _c2013.
300			_a1 online resource (487 pages) : _bdigital, PDF file(s).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
500			_aTitle from publisher's bibliographic system (viewed on 04 Apr 2016).
520			_aSlave 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.
650		0	_aSlavery in art
650		0	_aPortraits
700	1		_aLugo-Ortiz, Agnes, _eeditor.
700	1		_aRosenthal, Angela, _eeditor.
776	0	8	_iPrint version: _z9781107004399
856	4	0	_uhttp://dx.doi.org/10.1017/CBO9781139021845
942			_2Dewey Decimal Classification _ceBooks
999			_c37131 _d37131