![]() Su autor pone de relieve la influencia que tuvieron en el contenido mismo de los relatos autobiográficos de los esclavos, las condiciones históricas y materiales en las cuales fueron redactados. Un examen des œuvres publiées ultérieurement par les auteurs permet d’évaluer dans quelle mesure la liberté littéraire et éditoriale grandissante dont ils jouirent a modifié leur représentation de l’esclavage et, de façon intéressante, montre que Douglass et Brown choisirent de fictionnaliser la vie des autres tout en se réécrivant dans le processus.Įl presente artículo examina la evolución que han sufrido las representaciones de la esclavitud a través del tiempo, a partir de una serie de obras de Frederick Douglass y William Wells Brown que vieron la luz en el período anterior a la Guerra de Secesión. Les abolitionnistes instrumentalisèrent la vie des auteurs-esclaves dans le but de rendre leur récit le plus représentatif de l’expérience des esclaves vivant dans une société esclavagiste, fût-ce au prix de leur véracité absolue. ![]() En analysant les choix thématiques, ainsi que l’ordonnancement de la séquence narrative effectués par Douglass et Brown, cet article montre que les auteurs asservis étaient de simples représentants d’une cause idéologique qui jouissaient de peu de liberté d’expression. Il met en évidence la façon dont les conditions historiques et matérielles de réalisation des récits autobiographiques d’esclaves ont influencé leur contenu. Interestingly enough, the latter reveals that Douglass and Brown chose to fictionalize other people’s lives while rewriting themselves in the process.Įn se concentrant sur une sélection d’œuvres de Frederick Douglass et de William Wells Brown publiées à l’époque antebellum, cet article examine comment les représentations de l’esclavage ont évolué à travers le temps. An examination of these authors’ later works assesses to what extent their growing literary and editorial freedom modified their representation of slavery. Abolitionists instrumentalized slave authors’ lives in an effort to make slave narratives encompassing and representative of slaves’ experiences under slavery - albeit at the expense of absolute veracity. By analyzing the narrative sequencing and thematic choices made in Douglass’s and Brown’s seminal accounts, this article demonstrates that slave authors had little leeway for freedom of expression as they were merely representatives of an ideological cause. It shows how the historical and material conditions in which slave autobiographies were produced influenced their content. A&E's position as a media outlet is a challenging one, and while this solution isn't perfect, it's commendable to bring focus to this frequently overlooked and difficult work once the crime scene tape is gone and police departments focus on other cases.By focusing on a selection of Frederick Douglass’s and William Wells Brown’s antebellum works, this article examines how representations of slavery evolved through time. Many are not directly affiliated with or funded by the state/local PD and rely very heavily on donations as non-profit charities. These organizations primarily provide grief and trauma counseling, as well as long-term support for survivors through trial proceedings, if needed. ![]() It also lists national non-profit organizations like The Parents of Murdered Children. The line between inaction and usual documentarian separation from its focus becomes very blurred for such a charged topic, and to respond to this, A&E posts this link leading to the show's webpage with a long list of victims' outreach programs and their contact information for each city in which they've filmed, past or present. One of the most common and lingering criticisms of The First 48 is that its content profits off the suffering of murder victims as entertainment. Anderson was excited for the fresh perspective in an era of such mixed feelings about criminal justice to "help those wrongfully convicted." Together, they reopen closed but materially-shaky murder cases and reinvestigate them as a television court-of-last-defense for convicts' families left wondering if their family member did, in fact, commit murder. It focused specifically on women's perspective in law enforcement, where they represent only about 15 percent of all municipal, regional, and state officers nationally.ĭetective Chris Anderson, a main personality in Birmingham episodes, retired from the prestigious Crime Reduction Team in 2016 and announced in 2017 that he was headlining a new Investigation Discovery program called Reasonable Doubt with an attorney out of Los Angeles. You can find Detective Summer Benton, seen in a number of Atlanta episodes, as well as Detectives Jenny Luke and Jennifer Mitsch from Cincinnati episodes on the short-lived Investigation Discovery program Inside Homicide.
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