Recent scholarship in slavery studies has pressed on the limits of archival sources for telling the stories of Black people’s experiences of enslavement. Much of this recent work is steeped in an interdisciplinary Black feminist theoretical tradition—including crucial interventions by Hortense Spillers, and Saidiya Hartman—that centers Black female subjects in analyses of power and violence in slave regimes. This recent work also builds on the pathbreaking studies by scholars who scoured archives to reveal Black women’s experiences under slavery. The work of Deborah Gray White, Thavolia Glymph, Brenda Stevenson, Darlene Clark Hine, Gerda Lerner, Angela Davis, Wilma King, Nell Painter, and Jennifer Morgan, among others, paved the way for contemporary challenges to the limits of the archive, especially when it comes to questions of sexual violence and the perilousness of domestic spaces for enslaved women. Thus, works like Stephanie Smallwood’s Saltwater Slavery (2008) and Sowande M. Muskateem’s Slavery at Sea (2016) fill in and broaden our understandings of the parts of Black Atlantic history that have seemed most inaccessible. Stephanie Camp’s Closer to Freedom (2004), Jessica Millward’s Finding Charity’s Folk (2015), Marisa J. Fuentes’s Dispossessed Lives (2016), Erica Armstrong Dunbar’s Never Caught (2017), Sasha Turner’s Contested Bodies (2017), and Deirdre Cooper Owens’s Medical Bondage: Rage, Gender, and the Origins of American Gynecology, for example, each examine how Black women experienced the interconnected relationships between intimacy, violence, and resistance so foundational to slavery’s machinations. In concert with slavery scholarship, African diasporic literary traditions on both sides of the Atlantic have long been concerned with telling stories otherwise suppressed or erased in official archives and dominant representations of Black subjects across time and space. Indeed, within the U.S. context, Black literary works have long been part of the teaching of African diasporic

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小说与奴隶制的档案：记忆、代理和寻找家园

最近关于奴隶制研究的学术研究已经限制了讲述黑人被奴役经历故事的档案来源的局限性。最近的大部分工作都沉浸在跨学科的黑人女权主义理论传统中——包括 Hortense Spillers 和 Saidiya Hartman 的重要干预——以黑人女性主体为中心，分析奴隶制度中的权力和暴力。最近的这项工作还建立在学者们进行的开创性研究的基础上，他们搜索档案以揭示黑人妇女在奴隶制下的经历。Deborah Gray White、Thavolia Glymph、Brenda Stevenson、Darlene Clark Hine、Gerda Lerner、Angela Davis、Wilma King、Nell Painter 和 Jennifer Morgan 等人的作品为当代挑战档案极限铺平了道路，尤其是在性暴力问题和被奴役妇女的家庭空间的危险性方面。因此，像 Stephanie Smallwood 的 Saltwater Slavery (2008) 和 Sowande M. Muskateem 的 Slavery at Sea (2016) 等作品填补并拓宽了我们对黑色大西洋历史中似乎最难以接近的部分的理解。斯蒂芬妮·坎普的《更接近自由》（2004 年）、杰西卡·米尔沃德的《寻找慈善的民间》（2015 年）、玛丽莎·J·富恩特斯的《被剥夺的生活》（2016 年）、埃丽卡·阿姆斯特朗·邓巴的《从未被抓住》（2017 年）、萨莎·特纳的《有争议的尸体》（2017 年）和奥黛丽丝·库珀医疗束缚：愤怒、性别和美国妇科的起源，例如，每个人都研究了黑人女性如何体验亲密、暴力和抵抗之间相互关联的关系，这些关系对奴隶制的阴谋如此重要。与奴隶制奖学金相一致，大西洋两岸的非洲散居文学传统长期以来一直关注讲述在官方档案中被压制或删除的故事，以及跨越时空的黑人主体的主要表现形式。事实上，在美国的背景下，黑人​​文学作品长期以来一直是非洲侨民教学的一部分。