Saidiya Hartman is a professor at Columbia University specializing in African American literature and history. She grew up in Brooklyn and received her B.A. from Wesleyan University and Ph.D. from Yale University.
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Hartman's main areas are the literature and history of African Americans and Americans, slavery, law and literature, gender studies, and performance studies. He's in the editorial boards of the journal Callaloo . Hartman has become Fulbright, Rockefeller, Whitney Oates, and Fellow of the University of California, and was awarded the 2007 Narrative Award from Narrative Magazine and Gustav Myers Award for Human Rights. He is the author of the Scene of Subtitle: Terror, Slavery, and Self-Creation in the Nineteenth Century (Oxford University Press, 1997) and Loss of Your Mother: Journey Throughout the Atlantic Slave Route Farrar, Straus and Giroux, 2007). Hartman's writings have been widely publicized and monologized. Maps Saidiya Hartman
Theoretical Concepts
Hartman introduced the idea of ​​"critical fabulation" in his article "Venus in Two Stories," though he can be said to be involved in practice in both his full book, Scenes of Subjection and Loss of Your Mother. The term "critical fabulation" signifies a writing methodology that combines historical and archive research with critical theory and fictional narratives. Critical fabrication is a tool used by Hartman in his scientific practice to create a productive feeling of slit and silence in the transatlantic slave file of which no slave women's voices are enslaved.
Hartman also theorized about "the afterlife of slavery" in Lose Your Mothe r: Travel Along the Slave Atlantic Route . The "afterlife of slavery" can be characterized by the eternal presence of racial violence of slavery still present in contemporary society. Hartman outlines traces of slavery in all sectors of society as evidenced in historical archives that may or may not exist. Therefore, the archives live through the social structure of society and its citizens. Hartman explains this process in detail in Lose Your Mother, "I want to involve the past, knowing that the dangers and dangers are still threatening and even now life is dependent on equilibrium Slavery has set the human size and the rank of life and value Unfulfilled Slavery If slavery continues as a problem in black American political life, it is not because of the ancient obsession with the past days or the burden of tool memory, but because black life is still threatened and belittled by a centuries-old centuries-old racial and centuries-old ritual calculus and arithmetic then.This is the hereafter of slavery - the chances of a life of italics, limited access to health and education, premature death, detention, and impoverishment, too, is the hereafter of slavery. "
Contribution to understanding slavery
Hartman has made literary and theoretical contributions to understanding slavery. His first book, Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America is an examination, among other topics, the intersection of slavery, gender, and the development of progressivism in the United States. Working through various cultural materials - diaries, journals, legal texts, slaves and other narratives, and historic songs and dances - Hartman explores the precarious institution of power of slaves. The second book, Lose Your Mother: A Journey Along the Atlantic Slave Route faces a problematic connection between memory, narration, and representation. He concentrates on the "non-history" slaves, the manner in which slavery "removes any conventional modality to write understandable pasts." By weaving his own biography into the construction of history, "he [also] explores and evokes the non-space of black experience-the experience through which African captives become slaves, becomes non-human, becomes alienated from the personality.
Hartman's contribution to understanding slavery drew the attention of UC Irvine, Frank B. Wilderson, III, who was famous for laying the foundations and integrating the phrase "Afro-pessimism." This criticism examines a firm paradigmatic analysis of the structure of modernity produced by slavery and genocide. While he thinks of Scenes of Subjection as an Afro-pessimistic scholar, Hartman himself has not called it that.
Contribution to archiving history
Hartman has provided insight into the form and function of historical archives, providing sharp criticism and methodological guidance for approaching archives in scientific papers. In both Subject Landscape and Lose Your Mother Hartman accesses and critically interrogates historical archives. In the latter case, much of this is done through the merging of historical narrative readings of slavery and through this narrative relationship to Ghana's physical location. Hartman, who concentrated much of his interrogation on the archive of slavery at Elmina Castle, inserted his own voice as a way of countering the silence that envelops the forgotten slaves.
The difficulty of the excavation process is revealed partly in the ongoing tension between Hartman's interest in slavery and the rejection of this interest on the part of the Ghanaians, who is described as excluding Hartman in a number of examples in the text. In addition, and although he withdraws from "journal and estate documents, newspaper accounts, missionary channels, travel writing... government reports, etc." Hartman admits that "these documents 'are not free from barbarism.'" All Hartman's works are guided by "the impossibility of completely restoring the enslaved and emancipated experience" of these written accounts, and he reads "against the tide" knowing that in using this "official" note he runs the "risk of strengthening the authority of documents this is even when I try to use it for the opposite purpose. "
Hartman introduced the concept of restraining the narrative in his article "Venus in Two Stories" to delay the impulse of the archive to continue to register as "the death penalty, a tomb, a view of the body being violated." In this article he returns to the Slave Recovery for an exploration that begins at Lose Your Mother . Unable to write about a girl named Venus because of her short appearance in the archives, Hartman's attempts to resuscitate the possibility of a narrative for her ultimately lead to failure. He explained, "But in the end I had to admit that I wanted to console myself and escape from slaves with visions of something other than the bodies of two girls who settled on the Atlantic floor." Hartman ultimately restrained his desire to re-imagine the last days of Venus, his excerpts in Lose Your Mother only briefly mention Venus's fate. The inclusion in "Venus" from the omitted narrative in Lose Your Mother, with the warning that such narratives push beyond the boundaries of the archive, leads to the concept of holding the narrative, "refusal to fill in gaps and provide closure." While he explores the archives of history in his quest to understand the possibilities of subjectivity for black slaves (in the Scenes of Subjection), possibly for the African Diasporic community (in Lose Your Mother) , a question he wrote in his article "Venus in Two Stories" serves as a guiding principle and lesson on archival methods: "If it is no longer enough to expose the scandal, then how is it possible to produce different sets? descriptions of this archive?"
References
Source of the article : Wikipedia
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