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As the eighteenth century is entirely bereft of narratives written by African women, one might assume that these women had little to no impact on British literature and the national psyche of the period. Yet these kinds of assumptions are belied by the influence of one prominent African woman featured in the period’s literary texts. Imoinda’s Shade examines the ways in which British writers utilize the most popular African female figure in eighteenth-century fiction and drama to foreground the African woman’s concerns and interests as well as those of a British nation grappling with the problems of slavery and abolition. Imoinda, the fictional phenomenon initially conceived by Aphra Behn and subsequently popularized by Thomas Southerne, has an influence that extends well beyond the Oroonoko novella and drama that established her as a formidable presence during the late Restoration period. This influence is palpably discerned in the characterizations of African women drawn up in novels and dramas written by late-eighteenth-century British writers. Through its examinations of the textual instances from 1759–1808 when Imoinda and her involvement in the Oroonoko marriage plot are being transformed and embellished for politicized ends, Imoinda’s Shade demonstrates how this period’s fictional African women were deliberately constructed by progressive eighteenth-century writers to popularize issues of rape, gynecological rebellion, and miscegenation. Moreover, it shows how these specific African female concerns influence British antislavery, abolitionist, and post-slavery discourse in heretofore unheralded, unusual, and sometimes radical ways.

Table of Contents

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  1. Cover
  2. p. 1
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  1. Title Page, Copyright
  2. pp. 2-7
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  1. Contents
  2. pp. vii-viii
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  1. Illustrations
  2. pp. ix-x
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  1. Acknowledgments
  2. pp. xi-xii
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  1. Introduction Imoinda, Marriage, Slavery
  2. pp. 1-24
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  1. Part One. Imoinda’s Original Shades: African Women in British Antislavery Literature
  2. pp. 25-39
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  1. 1. Altering Oroonoko and Imoinda in Mid-Eighteenth-Century British Drama
  2. pp. 27-69
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  1. 2. Amelioration, African Women, andthe Soft, Strategic Voice of Paternal Tyranny in The Grateful Negro
  2. pp. 70-103
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  1. 3. “Between the saints and the rebels”: Imoinda and the Resurrection of the Black African Heroine
  2. pp. 104-140
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  1. Part Two. Imoinda’s Shade Extends: Abolition and Interracial Marriage in England
  2. pp. 141-155
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  1. 4. Creoles, Closure, and Cubba’s Comedy of Pain: Abolition and the Politics of Homecoming in Eighteenth-Century British Farce
  2. pp. 143-184
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  1. 5. “‘What!’ cried the delighted mulatto, ‘are we going to prosecu massa?’”: Adeline Mowbray’s Distinguished Complexion of Abolition
  2. pp. 185-222
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  1. 6. “An unportioned girl of my complexion can...be a dangerous object.” Abolition and the Mulatto Heiress in England
  2. pp. 223-259
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  1. Afterword
  2. pp. 260-267
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  1. Bibliography
  2. pp. 269-280
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  1. Index
  2. pp. 281-289
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