Professional historians, schools, colleges and universities are not alone in shaping higher-order understanding of history. The central thesis of this book is the belief historical fiction in text and film shape attitudes towards an understanding of history as it moves the focus from slavery to the enslavedfrom the institution to the personal, families and feminist accounts.
In a broader sense, this contributes to a public history. In part, using the quickly growing corpus of neo-slave counterfactual narratives, this book examines the notion of the emerging slavery public history, and the extent to which this is defined by literature, film and other forms of artistic expression, rather than non-fictionpopular or scholarlyand education in history in the school systems. Inter alia, this book looks to the validity of historical fiction in print or in film as a way of understanding history. A focal point of this book is the hypothesis that neo-slave narrativessupported by selective triangulated readings and viewings of scholarly works and non-fictionhave assisted greatly in re-shaping the historiography of antebellum slavery, and scholarly historians followed in the wake of these developments. Essentially, this has meant a re-shaping of the historiography with a focus from slavery to that of the enslaved. Moreover, it has opened new vistas for a public history, devoid of top-down authoritative scholarship.
An important and provocative read for students and scholars interested in understanding the history of slavery, its harrowing effects and how it was culturally defined.
The central thesis of this book is the belief historical fiction in text and film shape attitudes towards an understanding of history as it moves the focus from slavery to the enslavedfrom the institution to the personal, families and feminist accounts.
