Abstract / Excerpt
Drawing from Simon P. Newman’s essay attempting to visualize the way white people viewed Jamiaican society and enhance historical artwork with this lens, Professor Naylor examines the problematic layers of representation and interpretation this presents. “Just as it is crucial to point out the deliberate erasure (and racialist characterizations) of enslaved and free people of color in the work of Hakewill and other eighteenth- and nineteenth-century white artists, we must also interrogate twenty-first-century decisions made in reimagining these digitally enhanced scenes.”
About the Author
Celia E. NaylorCelia E. NaylorThe William & Mary Quarterly
Project Muse
Jamaica, Digital Storytelling, 18th Century White Artists, 19th Century White Artists
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Columbia University Authentication
www-jstor-org.ezproxy.cul.columbia.edu
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Project MUSE - Imagining and Imagined Sites, Sights, and Sounds of Slavery
W ithin academia and related publishing venues, we have witnessed the burgeoning fields of digital humanities, digital scholarship, digital pedagogy, and digital liberal arts. The recent launching of the William and Mary Quarterly's first born-digital article published via the OI Reader app constitutes, as editor Josh Piker announced, "a significant milestone for the Quarterly."
muse.jhu.edu
