Where Is All My Relation?
Journal Data
| Type | SOURCE_BOOK |
|---|---|
| Publisher | Oxford University Press, Incorporated |
| ISBN-13 | 9780199390205 |
| Open Library | OL22540782W |
| Total publications | 4 |
| Coverage period | 2018 - 2018 |
| Language | EN |
| Cited by | 1 |
| h-index | 1 |
This book provides a critical introduction to David Drake, or Dave the Potter, an enslaved pottery maker and author of inscribed verses and couplets, who lived and worked in Edgefield, South Carolina, from the 1830s until the Civil War period. Various scholars, artists, and historians in the present volume join together to interpret the meaning of a figure who signed the prodigious vessels he made with the single name “Dave.” Topics in the volume range from considerations of the production forces shaping Dave the Potter’s activity to a study of the West African traces of artistry and religion in the vessels. With contributions drawing on disciplines ranging from literary history, poetry and poetics, and African American phenomenology to archaeology and material culture studies, the collection provides an exhaustive assessment of the competing meanings of a range of topics in the multifaceted writing and wares of Dave the Potter: slavery and the self, notions of mastery and the thing, dates and the slave signature, themes of alienation, plenty, creativity, and unintelligibility. In their totality, the essays finally comment on the (in)accessibility of the slave past and the ethics of representing a slave who is also a nameable exception
Great and Noble Lines
This chapter compares David Drake to George Moses Horton. Like Dave the Potter, Horton is a once-forgotten African American author who was living and writing in the South during the slave era. Barrett historicizes Horton’s formalism as a poet to reveal the racial and social underpinnings of his aesthetic. The fact that Horton’s poems were regularly commissioned by the slave-owning gentry of his region gives us a comparable model with which to com…
Signifying Jars, Resonating Like a Banjar
This chapter glosses the major couplets and inscriptions, connecting formal matters of allusion, symbolism, tone, absence—in short, the poetics of the jars and pots—to their socio-historical, political, and philosophical contexts. Beginning with an investigation of the African roots of Dave the Potter’s practice, Lawal links Dave’s pottery to the tradition of colonoware and his cryptic marks to the cosmogram of the Kongo people. He proceeds to ex…
Shifted Perspectives on Dave
This chapter outlines the results of an archaeological project at the site of America’s first alkaline-glazed stoneware manufacturing center in Pottersville, one mile north of Edgefield, in the summer of 2011. The expedition discovered a 105-feet long “industrial” kiln. According to Calfas’s calculations regarding the population at the time and their estimated needs for pork and grain storage, the massive size of the kiln cannot be related to com…
Where Is All My Relation
This book provides a critical introduction to David Drake, or Dave the Potter, an enslaved pottery maker and author of inscribed verses and couplets, who lived and worked in Edgefield, South Carolina, from the 1830s until the Civil War period. Various scholars, artists, and historians in the present volume join together to interpret the meaning of a figure who signed the prodigious vessels he made with the single name “Dave.” Topics in the volume…
Where Is All My Relation
This book provides a critical introduction to David Drake, or Dave the Potter, an enslaved pottery maker and author of inscribed verses and couplets, who lived and worked in Edgefield, South Carolina, from the 1830s until the Civil War period. Various scholars, artists, and historians in the present volume join together to interpret the meaning of a figure who signed the prodigious vessels he made with the single name “Dave.” Topics in the volume…
Great and Noble Lines
This chapter compares David Drake to George Moses Horton. Like Dave the Potter, Horton is a once-forgotten African American author who was living and writing in the South during the slave era. Barrett historicizes Horton’s formalism as a poet to reveal the racial and social underpinnings of his aesthetic. The fact that Horton’s poems were regularly commissioned by the slave-owning gentry of his region gives us a comparable model with which to com…
Signifying Jars, Resonating Like a Banjar
This chapter glosses the major couplets and inscriptions, connecting formal matters of allusion, symbolism, tone, absence—in short, the poetics of the jars and pots—to their socio-historical, political, and philosophical contexts. Beginning with an investigation of the African roots of Dave the Potter’s practice, Lawal links Dave’s pottery to the tradition of colonoware and his cryptic marks to the cosmogram of the Kongo people. He proceeds to ex…
Shifted Perspectives on Dave
This chapter outlines the results of an archaeological project at the site of America’s first alkaline-glazed stoneware manufacturing center in Pottersville, one mile north of Edgefield, in the summer of 2011. The expedition discovered a 105-feet long “industrial” kiln. According to Calfas’s calculations regarding the population at the time and their estimated needs for pork and grain storage, the massive size of the kiln cannot be related to com…
Where Is All My Relation
This book provides a critical introduction to David Drake, or Dave the Potter, an enslaved pottery maker and author of inscribed verses and couplets, who lived and worked in Edgefield, South Carolina, from the 1830s until the Civil War period. Various scholars, artists, and historians in the present volume join together to interpret the meaning of a figure who signed the prodigious vessels he made with the single name “Dave.” Topics in the volume…