Slavery, Colonialism and Connoisseurship

This insightful work analyzes the intricate relationships between slavery, colonialism, and aesthetics in the late eighteenth century, as seen in Slavery, Colonialism and Connoisseurship.

In Slavery, Colonialism and Connoisseurship, Nandini Bhattacharya delves into the complex interplay of voices from the eighteenth century, both metropolitan and marginal, as they navigate the turbulent waters of empire, colonialism, and the slave trade. This period marked a significant transformation in sensibility and technology, influenced heavily by migrations and the cultural exchanges they fostered. The author highlights how colonization, the realities of slavery, and the commodification of women captured the attention of circumatlantic writers, who were keenly aware of the shifting dynamics of value and taste within their societies.

Bhattacharya meticulously examines the works of notable figures such as Richard Brinsley Sheridan, George Colman Jr., James Cobb, and Phillis Wheatley. These writers challenged traditional notions of value and aesthetics, often using ethical debates surrounding trade to mask the uncomfortable truths of human ownership and the moral implications of such exchanges. By employing aesthetic metaphors, they reframed the discourse on value, allowing society to grapple with its conscience while simultaneously participating in the very systems of exploitation they critiqued.

The book further investigates how the concepts of taste and value were redefined in the context of gender and racial discourses in a slave-owning and colonizing Britain. Bhattacharya's exploration of transnational consciousness reveals the intricate relationships between race, class, gender, and connoisseurship, ultimately presenting late eighteenth-century British literature as a crucial platform for discussing theories of difference and domination. Through this lens, Slavery, Colonialism and Connoisseurship offers a profound understanding of the cultural and moral complexities of the time.