Tintype of African American Man Standing at Wooden Fence [n.d.]

An unidentified African American man poses beside a wooden fence in the studio of an unknown photographer in this small black and white tintype photograph. A painted landscape serves as the backdrop. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell families are descended from former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of African American Woman Standing with Book [n.d.]

A woman standing with a book beside a table covered with a decorative cloth is featured in this small black and white tintype photograph. The tintype has been mounted in a paper slip frame with gold edging. There is a small area of red, hand-colored highlighting on the tablecloth. The backdrop appears to be a painted landscape scene. The tintype is undated and there is no indication of the identity of the woman in the photo or the photographer. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell families have relatives who are former slaves from the United States who later settled in southern Ontario."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of Three African American Women [n.d.]

Three unidentified Black women, two seated and one standing, pose against a painted backdrop in the studio of an unknown photographer. This small black and white tintype has been cut on the upper and lower left-hand corners. The back of the tintype is a copper color. This photograph was among the family memorabilia in the possession of Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Sloman - Bell families include former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of Seated African American Gentleman [n.d.]

An unidentified young African American gentleman sits cross-legged on a decorative wooden stool in this small black and white tintype photograph. The date and name of the photographer are unknown. Hand-colored red detailing is visible on the curtain cord and the tablecloth. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Sloman - Bell families were former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of Young African American Woman Standing with Purse [n.d.]

An unidentified young African American woman stands beside a chair in this small black and white tintype, undated. The name of the photographer is unknown. This tintype was in the possession of the Iris Sloman Bell, of St. Catharines. The Sloman - Bell families have relatives who are descended from former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

Tintype of African American Woman with Fan [n.d.]

This small tintype features a young Black woman standing in front of a painted backdrop with a large stone in the foreground at the studio of an unknown photographer. The unidentified woman is wearing a hat and holding a round fan. This black and white tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. Relatives of the Bell - Sloman families are former slaves from the United States who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate."

Signed Tintype of African American Men in Derby Hats [n.d.]

This undated small black and white tintype, slightly scratched, discolored and bent with age, shows a group of Black men posing for an unknown photographer. There is handwritten signature scratched into the reverse which appears to read "B.J." and "Owen" (see digital image of reverse). The original also has a hand-drawn "X" over the face of the seated man in the middle. This tintype was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include former American slaves who settled in Canada."Tintypes were the invention of Prof. Hamilton Smith of Ohio. They begin as thin sheets of iron, covered with a layer of black paint. This serves as the base for the same iodized collodion coating and silver nitrate bath used in the ambrotype process. First made in 1856, millions were produced well into the twentieth century. When tintypes were finished in the same sorts of mats and cases used for ambrotypes, it can be almost impossible to distinguish which process was used without removing the image to examine the substrate." Source: American Museum of Photography http://www.photographymuseum.com/primer.html

In The Circle : jazz Griots and the Mapping of African American Cultural Memory in Poetry

Ma thèse de doctorat, In the Circle: Jazz Griots and the Mapping of African American Cultural History in Poetry, étudie la façon dont les poètes afro-américains des années 1960 et 1970, Langston Hughes, David Henderson, Sonia Sanchez, et Amiri Baraka, emploient le jazz afin d’ancrer leur poésie dans la tradition de performance. Ce faisant, chacun de ces poètes démontre comment la culture noire, en conceptualisant à travers la performance des modes de résistance, fût utilisée par les peuples de descendance africaine pour contrer le racisme institutionnalisé et les discours discriminatoires. Donc, pour les fins de cette thèse, je me concentre sur quatre poètes engagés dans des dialogues poétiques avec la musicologie, l’esthétique, et la politique afro-américaines des années 1960 et 1970. Ces poètes affirment la centralité de la performativité littéraire noire afin d’assurer la survie et la continuité de la mémoire culturelle collective des afro-américains. De plus, mon argument est que la théorisation de l’art afro-américain comme engagement politique devient un élément central à l’élaboration d’une esthétique noire basée sur la performance. Ma thèse de doctorat propose donc une analyse originale des ces quatre poètes qui infusent leur poèmes avec des références au jazz et à la politique dans le but de rééduquer les générations des années 2000 en ce qui concerne leur mémoire collective.

Postcolonial readings of resistance and negotiation in selected contemporary African writing

Cette dissertation traite des (re)configurations postcoloniales de la résistance et de la négociation comme concepts permettant d’aborder les représentations des conflits nationaux dans les littératures Africaines contemporaines. Ensemble, ces concepts ouvrent de nouvelles voix et possibilités de se remémorer, de raconter, et de lire la violence en problématisant non seulement les discours sur la guerre civile en Afrique, mais aussi les conceptions d’histoire nationale, de la mémoire, et de leur représentation. Si cette étude cherche à reconfigurer la négociation et la résistance au-delà des définitions qui tendent à les opposer, elle se consacre surtout à développer la notion de négociation comme stratégie de dépassement, de lecture, et d’écriture, qui, néanmoins, ne vise pas de résolution. La négociation implique ainsi une conception pluraliste d’un pouvoir d’action sociale, politique, et culturelle. Cette dissertation avance que la négociation est un concept d’écriture et de lecture qui intervient dans les événements, discours, et pratiques de remémoration en prenant compte de leurs multiplicités et définitions instables. Cette étude explore les manières selon lesquelles Nuruddin Farah, Chenjerai Hove, Yvonne Vera, Chimamanda Adichie, et Sefi Atta déploient la négociation et la résistance comme outils d’engagement esthétique et sociopolitique dans la narration de la violence en Somalie, au Zimbabwe, et au Nigeria. En outre, la négociation marque mon analyse de l’intervention des textes dans les discours d’historiographie et de représentation. Si ces romans mettent en exergue la généalogie complexe du conflit postcolonial, ils négocient aussi les implications multiples, incluant la leur, dans les questions problématiques de la responsabilité et de la représentation. La vii négociation représente un acte conscient à travers lequel nous reconnaissons l’instabilité de toute bataille politique, morale, ou éthique sans pour autant céder à un cynisme paralysant. De par son approche négociée et interdisciplinaire, cette dissertation ne fait pas qu’entrer en débat avec des discours multiples des études postcoloniales, Africaines, et littéraires. Elle intervient aussi dans les conceptions de la nation, la violence, la mémoire, la responsabilité, et la justice selon les études philosophiques, politiques, et culturelles. Outre les critiques littéraires, les chapitres interrogent les théories de penseurs tels Ngugi wa Thiong’o, David Jefferess, Pheng Cheah, et Wole Soyinka. Cette approche éclectique reflète l’attention des romans à la complexité irréductible des responsabilités individuelles et collectives dans les récits d’histoire et d’appartenance nationales. Cet engagement négocié avec les questions entourant la postcolonialité, malgré la dominance actuelle des discours de la globalisation, permet de reconceptualiser l’approche postcoloniale pour contrer les analyses déhistorisées et décontextualisées des conflits sociopolitiques en Afrique. Le chapitre 1 élabore les concepts clés de la dissertation. Le chapitre 2 explore la résistance et la négociation dans le langage figuré métonymique dans les représentations de la guerre en Somalie. Le chapitre 3 se consacre à l’analyse de la figure de la spectralité dans la narration de l’histoire et de la violence nationales au Zimbabwe. Finalement, le chapitre 4 négocie les concepts de représentation et de responsabilité dans les récits du trauma postcolonial au Nigeria. viii Mots-clés : négociation, résistance, littératures africaines, violence, responsabilité, nation, représentation

Cereal/legume rotation effects on rhizosphere bacterial community structure in West African soils

The increased use of cereal/legume crop rotation has been advocated as a strategy to increase cereal yields of subsistence farmers in West Africa, and is believed to promote changes in the rhizosphere that enhance early plant growth. In this study we investigated the microbial diversity of the rhizoplane from seedlings grown in two soils previously planted to cereal or legume from experimental plots in Gaya, Niger, and Kaboli, Togo. Soils from these legume rotation and continuous cereal plots were placed into containers and sown in a growth chamber with maize (Zea mays L.), millet (Pennisetum glaucum L.), sorghum (Sorghum bicolor L. Moench.), cowpea (Vigna unguiculata L.) or groundnut (Arachis hypogaea L.). At 7 and 14 days after sowing, 16S rDNA profiles of the eubacterial and ammoniaoxidizing communities from the rhizoplane and bulk soil were generated using denaturing gradient gel electrophoresis (DGGE). Community profiles were subjected to peak fitting analyses to quantify the DNA band position and intensities, after which these data were compared using correspondence and principal components analysis. The data showed that cropping system had a highly significant effect on community structure (p <0.005), irrespective of plant species or sampling time. Continuous cereal-soil grown plants had highly similar rhizoplane communities across crop species and sites, whereas communities from the rotation soil showed greater variability and clustered with respect to plant species. Analyses of the ammonia-oxidizing communities provided no evidence of any effects of plant species or management history on ammonia oxidizers in soil from Kaboli, but there were large shifts with respect to this group of bacteria in soils from Gaya. The results of these analyses show that crop rotation can cause significant shifts in rhizosphere bacterial communities.

African roots : prehistory to 1440.

Forma parte de una serie que estudia la historia del hombre negro y de sus logros en la historia mundial. Este texto estudia la variedad de tierras y paisajes de África; las primeras sociedades de cazadores que se constituyeron allí, unos diez mil años antes de Cristo; el Nilo y la civilización egipcia, el surgimiento de la primera ciudad africana, Hierakonpolis, alrededor del 3500 antes de Cristo; y otros reinos posteriores en Egipto. También, se describen las culturas de las ciudades comerciales del este de África conectadas con Oriente Medio y Asia; el reino de Ghana, en África occidental, en la ruta comercial entre el desierto del Sahara y el Mediterráneo; el reino de Malí y más al sur, la cultura de la ciudad del Gran Zimbawe.

Multiple phases of North African humidity recorded in lacustrine sediments from the Fazzan Basin, Libyan Sahara

The Fazzan Basin of south-west Libya is at present arid with less than 20 mm of rainfall per annum. However, regionally extensive limestones, lacustrine sands and coquina (fossiliferous carbonate rock) deposits show that the Fazzan Basin previously contained a large palaeolake, indicating that the climate in the past was more humid. Optically stimulated luminescence (OSL) dating techniques have been applied to key lacustrine deposits within the basin in an attempt to provide an internally consistent chronology for this humidity record. Results indicate that palaeolake sediments within the Fazzan Basin record a very long history of palacohydrological change, ranging from present day and conditions to humidity capable of sustaining a lake with an approximate area of 76,250 km(2). The existence of humid periods in mid oxygen isotope stage 5 and the early Holocene is confirmed. An older lacustrine event, tentatively correlated to oxygen isotope stage 11, is also recognized. In addition, evidence is presented for at least two humid phases beyond the age range over which the conventional OSL dating technique is applicable. This study demonstrates that OSL dating of palaeolake sediments within the Fazzan Basin offers the potential to provide a detailed record of North African humidity spanning several glacial-interglacial cycles. (c) 2006 Elsevier Ltd. All rights reserved.

Healing the wounds of war: memories of violence and the making of history in Zimbabwe's most recent past.

How does a society less than two decades after a liberation war which involved large sections of the population come to terms with the memories of violence and war — a war in which there was no clear distinction between insurgent and counter‐insurgent, liberator and oppressor and in which the majority of the casualties can be found among the rural civilian population? This was a predicament not exclusive to Zimbabwe, but one which also applies to Mozambique, South Africa and, more recently, to Rwanda. Since its independence Zimbabwe has been a prime example of successful reconciliation. Ranger has argued that spiritual healing has contributed importantly to coming to terms with the trauma of war through turning violence into history. Here it will be argued that an analysis of the intersections between memories of violence, healing, and history reveals a twofold process. Social healing is made possible by a shift from conviction and compensation to revealing without convicting. At the same time healing provides an arena for communities in which competing and contesting memories of violence are renegotiated. Through these processes sense is being made of the past; history is being made.