In The Illustrated Slave: Empathy, Graphic Narrative, and the Visual Culture of the Transatlantic Abolition Movement, 1800-1852, Martha J. Cutter considers the five decades before the 1852 book publication of Uncle Tom’s Cabin to explore how illustrated anti-slavery texts created empathy for enslaved people of African descent among US and British audiences. Her book joins a number of recent publications, such as those by Jasmine Nichole Cobb, Darcy Grimaldo Grigsby, and coeditors John Stauffer, Zoe Trodd, and Celeste-Marie Bernier, which have increased our understanding of images’ political and cultural influence during the nineteenth century. Cutter writes against the notion that images denied enslaved people different modes of agency. Instead, as she demonstrates in five chronological chapters, images conveyed enslaved people’s resistance and rejected ways of seeing that primarily cast them as abject Others. Throughout her book, Cutter studies numerous methods by which illustrated texts ideally encouraged their readers/viewers toward what she terms parallel empathy, a form of “empathy that asserts concordance between a viewing reader and the enslaved” (xi). This guiding concept frames her analysis of book illustrations, cartoons, pamphlets, household wares, and contemporary art pieces. Indeed, one of the strengths of Cutter’s book is the reproduction and examination of more than one hundred images. The resulting collection of images both highlights Cutter’s extensive research and provides an archive of images that scholars can draw on for future research. Weaving together the theories and practice of visual studies, literary studies, graphic narrative studies, sentimental aesthetics, and affect theory, Cutter poses a question that she answers throughout her book: “[H]ow do words and images used together interpellate a reader, ask, demand, or entreat that he or she enter the ideology of the text and of the antislavery movement?” (21). The book’s first chapter investigates the precursors of illustrated anti-slavery books. Cutter analyzes primary documents such as John Gabriel Stedman’s

中文翻译：

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插图奴隶：同情，图形叙事和跨大西洋废除运动的视觉文化，1800年至1852年。玛莎·库特

玛莎·J·库特（Martha J.Cutter）在1800年至1852年间的插图奴隶：移情，图形叙事和跨大西洋废奴运动的视觉文化中，思考了1852年汤姆叔叔的小屋的书出版之前的五十年，以探讨插图反奴隶文本如何产生对美国和英国观众中被奴役的非洲人后裔表示同情。她的书与最近出版的许多出版物合在一起，例如茉莉·尼科尔·科布（Jasmine Nichole Cobb），达西·格里马尔多·格里格斯比（Darcy Grimaldo Grigsby）以及合著者约翰·斯塔福（John Stauffer），佐伊·特罗德（Zoe Trodd）和塞莱斯特·玛丽·伯尼尔（Celeste-Marie Bernier）的出版物，这些出版物增加了我们对十九世纪图像的政治和文化影响力的理解。世纪。卡特（Cutter）反对这样一种观念，即图像否认奴役人们的代理方式不同。相反，正如她在按时间顺序排列的五个章节中所展示的那样，这些图像传达了被奴役的人的抵抗，并且拒绝了以主要他人为对象的观看方式。在整个书中，Cutter研究了多种方法，通过这些方法，图文并茂地理想地鼓励读者/观看者理解她所说的平行共鸣，这是一种“共鸣，在阅读者和被奴役者之间保持一致”（xi）。这个指导性概念构成了她对书籍插图，卡通，小册子，家庭用品和当代艺术作品的分析。确实，卡特（Cutter）的书的优点之一是复制和检查了一百多幅图像。由此产生的图像集合既突出了Cutter的广泛研究，又提供了可供学者借鉴以进行未来研究的图像档案。将视觉研究，文学研究，卡特（Cutter）在图形叙事研究，情感美学以及影响理论方面提出了一个问题，她在整本书中都回答了这一问题：“现在，词语和图像一起使用会打乱读者，询问，要求或恳求他或她进入意识形态和反奴隶制运动？” （21）。该书的第一章探讨了插图化的反奴隶制书籍的前身。刀具分析主要文档，例如约翰·加布里埃尔·斯特德曼（John Gabriel Stedman）的