A major section then reviews the physiology and potential productivity of several important groups of crops, including the staple cereals, grain legumes, tuber and root crops and plantation crops. It is particularly valuable to have such information readily available in a comparative form.In the tropics and sub-tropics, as elsewhere, there is a wide gap between potential and actual yields. The last two sections therefore compare yields which are thought to be achievable with potentials under contrasting environments and farming systems, including both rain-fed and irrigated conditions.Although the breadth and depth of treatment of the individual topics varies, this volume brings together valuable comparative information on the physiology and agronomy of important tropical and sub-tropical crops.
Self-emancipated author, activist and philosopher turned art historian, Frederick Douglass spent a lifetime visualizing back to a white dominant schema intent on trading in racist grotesques of socially determinist and politically reductive contortions of black bodies and souls. Across his photographic and fine-art portraits, he endorsed a revisionist aesthetic theory and carved out an alternative iconographic space within which to expose, debunk and demythologize the racist claim that "Negroes look all like." Douglass's visual aesthetic took as its starting point the formal, political and ideological importance of representing black subjects as psychologically complex individuals rather than as generic types. At the heart of Douglass's theory of portraiture was his conviction that all likenesses of African American subjects must do justice to "the face of the fugitive slave" by conveying the "inner" via the "outer man," and thereby privilege emotional depth rather than physical surface in order to extrapolate a full gamut of lived realities otherwise annihilated out of existence. Douglass worked extensively with the signifying possibilities of his own physiognomy as a representative test case by which to bear witness to the interior complexities of black subjects missing from, or remaining fugitives at large within, white artists' surface-only renderings.Self-emancipated author, activist and philosopher Frederick Douglass was not only a household name but a household image throughout the nineteenth century. As revealed by his staged appearances within an array of photographs, fine-art portraits, engravings, lithographs, paintings and sculpture -no less than his outpouring of autobiographies, essays, speeches, political manifestos,
Material proofs or Imaginary Property? Complex intellectual, historical and cultural relationships have always existed between the experimentation with rhetoric and the spectacle of the slave body in abolitionist literature. This article debates the challenges the eighteenth and nineteenth
century writers offered to the widespread representation of the slave body within mainstream North American, British and Caribbean abolitionist discourse. The commitment of writers such as Robert Wedderburn, Phillis Wheatley, David Walker and Jupiter Hammon to experimental language and subject-matter
testifies to the existence of a radical literary tradition much earlier than the popularly examined mid-nineteenth century authors, including Frederick Douglass and Harriet Jacobs. These earlier figures were intent, not only upon extending the permissible boundaries of abolitionist representation,
but also in staking a claim for the politically liberating potential of the literary imagination in a fight for the right to aesthetic experimentation.
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