Character, Cultural Agency and Abolition: Ignatius Sancho's Published Letters

Hammerschmidt, Sören

doi:10.1111/j.1754-0208.2008.00103.x

Cited by 16 publications

(1 citation statement)

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“…Sören Hammerschmidt has noted the wide range of characters that Sancho embodies in his correspondence, considering how the literary genre of the letters 'offered him the means to evade and resist' the social structures that 'den[ied] him agency within the culture in which he lived'. 48 Felicity Nussbaum has demonstrated how Sancho's humorous style served to construct a notion of Black masculinity that resisted the effeminizing stereotypes imposed by White observers. 49 John Saillant has built upon this interpretation, showing how Sancho's use of profanity in his correspondence inspired a sense of community and charity in his readers.…”

Section: Reconsidering Orality In Sancho's Music and Lettersmentioning

confidence: 99%

Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)¹

Cypess¹

2022

J Eighteenth Century Stud

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The posthumously published correspondence of the Black British writer, butler, musician, and shopkeeper Ignatius Sancho (c. 1729–1780) has received extensive critical attention in recent decades, especially because it contributed to opening a space for Black authorship in the Atlantic world. Absent from discussions of Sancho's negotiation of orality, writing, and print have been Sancho's books of musical compositions—the volumes published during his lifetime, apparently with his involvement and oversight. Consideration of his instrumental dance music within the context of the genres in which he wrote reveals that he navigated the boundary between orality and print deliberately and meaningfully. His musical notation engages with the sentimental style, and his explicit use of French horns—extremely rare or perhaps unique among eighteenth‐century publications of dance music for small ensembles—refers to the presence of Black musicians in Britain. By engaging with and subverting conventions of musical notation and print, Sancho's music points beyond itself, guiding the reader or listener from the notated scores to the ineffable, transient sounds of the eighteenth‐century Black experience.

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Section: Reconsidering Orality In Sancho's Music and Lettersmentioning

confidence: 99%

Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)¹

Cypess¹

2022

J Eighteenth Century Stud

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Digressions: Sancho and Sterne

Yekani

2020

Familial Feeling

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Artifice and authenticity are conflictingly related in the extroverted and stylised displays of feeling in the texts of Laurence Sterne and Ignatius Sancho. Whereas Sterne employs aesthetic playfulness to set himself apart from literary predecessors, Sancho uses it to claim a part in the culture of taste and sensibility. This chapter reads Sancho and Sterne’s literary adoption of a digressive tonality distinctly not as imitative but as entangled. The scenes dealing with slavery in Tristram Shandy and A Sentimental Journey are tied into more bawdy episodes. While not necessarily only sentimental, they still elude ideas of political solidarity. Sancho’s interjections of emotional concern in his published letters in turn not only highlight his capacity to feel (as well as his attachment to his family); in adopting the Sternian digressive dash, he does not adhere to the usual linear form of redemptive abolitionist writing and displays a uniquely Black aesthetic voice, albeit one that also reproduces deprecating sentimental tropes. This needs to be read as more than simply epigonic. Sancho’s digressive tone, it will be argued, intervenes more fundamentally into the sentimentalist romance with the cultured, feeling subject of modernity, while Sterne remains more elusive in his aestheticised divagations.

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Beyond Slavery and Abolition

Hanley

2018

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Character, Cultural Agency and Abolition: Ignatius Sancho's Published Letters

Cited by 16 publications

References 3 publications

Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)¹

Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)¹

Digressions: Sancho and Sterne

Beyond Slavery and Abolition

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Character, Cultural Agency and Abolition: Ignatius Sancho's Published Letters

Cited by 16 publications

References 3 publications

Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)1

Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)1

Digressions: Sancho and Sterne

Beyond Slavery and Abolition

Contact Info

Product

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Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)¹

Notation, Performance, and the Significance of Print in the Music of Ignatius Sancho (c. 1729–1780)¹