- Introduction: Thirteen Propositions About Propaganda
- The Invention of Propaganda: A Critical Commentary on and Translation of Inscrutabili Divinae Providentiae Arcano
- Brazilian and North American Slavery Propagandas: Some Thoughts on Difference
- A World to Win: Propaganda and African American Expressive Culture
- Literacy or Legibility: The Trace of Subjectivity in Soviet Socialist Realism
- Narrative and Mendacity: Anti-semitic Propaganda in Nazi Germany
- The “Hidden Tyrant”: Propaganda, Brainwashing, and Psycho-Politics in the Cold War Period
- Roof for a House Divided: How U.S. Propaganda Evolved into Public Diplomacy
- “Thought-Work” and Propaganda: Chinese Public Diplomacy and Public Relations After Tiananmen Square
- Instruction, Indoctrination, Imposition: Conceptions of Propaganda in the Field of Education
- Books in the Cold War: Beyond “Culture” and “Information”
- “The New Vehicle of Nationalism”: Radio Goes to War
- Built on a Lie: Propaganda, Pedagogy, and the Origins of the Kuleshov Effect
- Propagating Modernity: German Documentaries from the 1930s: Information, Instruction, and Indoctrination
- “Order Out of Chaos”: Freud, Fascism, and the Golden Age of American Advertising
- Propaganda and Pleasure: From Kracauer to Joyce
- “The World’s Greatest Adventure in Advertising”: Walter Lippmann’s Critique of Censorship and Propaganda
- Propaganda Among the Ruins
- Jacques Ellul’s Contribution to Propaganda Studies
- The Ends of Misreading: Propaganda, Democracy, Literature
- Propaganda vs. Education: A Case Study of Hate Radio in Rwanda
- Dissent, Truthiness, and Skepticism in the Global Media Landscape: Twenty-First Century Propaganda in Times of War
- Propaganda in Egypt and Syria’s “Cyberwars”: Contexts, Actors, Tools, and Tactics
Abstract and Keywords
This work speaks to key elements defining the relative operations of pro- and antislavery propagandas generated in North America and Brazil. The central concern of the analysis is to highlight the manner in which Brazilian approaches to slavery and publicity were radically different from those generated in North America, or indeed in any other part of the African slave diaspora. Particular emphasis is placed on the performative and exhibitionistic elements in Brazilian antislavery propaganda. Martyrology, fetishism, and syncretic religion are given particular emphasis in the early parts of the analysis, and a comparative reading of North American and Brazilian graphic-print satire provides the central focus for the latter parts.
Marcus Wood is a painter, performance artist and filmmaker; since 2003 he has also been Professor of English at Sussex University. For the last thirty years he has made art and written books about how the traumatic memory of slavery and colonisation have been encoded in art and literature. His books include Blind Memory (2000), Slavery, Empathy and Pornography (2003), and The Horrible Gift of Freedom (2010).
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