Almeida, "London-Kingston-Caracas: The Transatlantic Self-Fashioning of Simón Bolívar"

This article argues that transatlantic readings of Romanticism must go beyond the limits imposed by a monolingual, Anglophone definition of the transatlantic. An analysis of the bilingual presentation of Simón Bolívar's persona and writings for a London public in publications such as the Jamaica Gazette, Variedades, and the New Monthly Magazine shows how this amplified notion of the transatlantic helps us better understand Britain's political and literary interests in the Americas. This essay appears in _Sullen Fires Across the Atlantic: Essays in Transatlantic Romanticism_, a volume of _Romantic Circles Praxis Series_, prepared exclusively for Romantic Circles (, University of Maryland.


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Savage Boundaries: Reading Samuel Arnold's Score

Samuel Arnold's musical score for the original pantomime version of Obi generates a tension between the pastoral world of the plantation ostensibly dedicated to Christian morality and the exotic world of slave insurrection associated with Obeah. It emerges to map the ambiguous and hybrid status inherent in cross-cultural encounters during the pre-emancipation era. If Arnold associates Obeah with the wilderness outside the plantation eden, then there are moments which suggest a different kind of discourse. Some music for slaves creates enough space to absorb the idea of grief and in the famous cave scene, Rosa sings the pantomime's "hit" song as an expression of transracial desire. Arnold's borrowings from his Viennese contemporaries Haydn and Mozart is of special interst; the famous movement from Haydn's "Surprise" symphony, for example, is used to accompany a night raid. In the case of Mozart's K575, the music had probably not been previously heard in London.
August 2002

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