StartseiteGruppenForumMehrZeitgeist
Web-Site durchsuchen
Diese Seite verwendet Cookies für unsere Dienste, zur Verbesserung unserer Leistungen, für Analytik und (falls Sie nicht eingeloggt sind) für Werbung. Indem Sie LibraryThing nutzen, erklären Sie dass Sie unsere Nutzungsbedingungen und Datenschutzrichtlinie gelesen und verstanden haben. Die Nutzung unserer Webseite und Dienste unterliegt diesen Richtlinien und Geschäftsbedingungen.

Ergebnisse von Google Books

Auf ein Miniaturbild klicken, um zu Google Books zu gelangen.

Lädt ...

Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad

von Jacqueline L. Tobin, Raymond G. Dobard (Autor)

MitgliederRezensionenBeliebtheitDurchschnittliche BewertungDiskussionen
6981333,123 (2.98)15
The fascinating story of a friendship, a lost tradition, and an incredible discovery, revealing how enslaved men and women made encoded quilts and then used them to navigate their escape on the Underground Railroad.   In Hidden in Plain View, historian Jacqueline Tobin and scholar Raymond Dobard offer the first proof that certain quilt patterns, including a prominent one called the Charleston Code, were, in fact, essential tools for escape along the Underground Railroad. In 1993, historian Jacqueline Tobin met African American quilter Ozella Williams amid piles of beautiful handmade quilts in the Old Market Building of Charleston, South Carolina. With the admonition to "write this down," Williams began to describe how slaves made coded quilts and used them to navigate their escape on the Underground Railroad. But just as quickly as she started, Williams stopped, informing Tobin that she would learn the rest when she was "ready." During the three years it took for Williams's narrative to unfold--and as the friendship and trust between the two women grew--Tobin enlisted Raymond Dobard, Ph.D., an art history professor and well-known African American quilter, to help unravel the mystery. Part adventure and part history, Hidden in Plain View traces the origin of the Charleston Code from Africa to the Carolinas, from the low-country island Gullah peoples to free blacks living in the cities of the North, and shows how three people from completely different backgrounds pieced together one amazing American story. With a new afterword. Illlustrations and photographs throughout, including a full-color photo insert.… (mehr)
Lädt ...

Melde dich bei LibraryThing an um herauszufinden, ob du dieses Buch mögen würdest.

This book had such promise and started out so well and then fell so flat.

The premise of the book is the story of Ozella and her ancestors, as told to the author in Ozella's quilt booth at a vendor's market. It's the story we want to hear when we pick up the book and the author tells us she has now heard the story. Just when we think we are going to hear the story as Ozella told it, which would have been what gave this book strength and potency, we veer off instead into what the authors made of the different little pieces of the story instead of hearing the actual story as it was told.

This weakened the book and left me as the reader feeling as if the story was still being kept hidden. There was a lot of conjecture and research presented instead and whilst it was interesting at times and I did learn some things that were fascinating, I still found myself feeling like what I really wanted was to hear Ozella's story retold from that moment when Jacqueline was sitting at her feet surrounded by quilts for three hours. If the authors had done that and *then* presented their research, this book would have been much more satisfying and impactful to read. Instead, it felt like the story was kept secret with just little pieces of it exposed here and there.

It had potential but didn't deliver. ( )
  erindarlyn | Jan 21, 2023 |
This is a book with interesting information, an extensive bibliography, and some pictures. However, it is repetitive and not seamlessly written. I imagine Tobin wrote it thinking it would be used for research, but since it is not indexed.... It is a shame that Tobin did not pay for an editor to tighten it up. As an example, it frequently suggests to the reader to "see the color photo section." The Kindle version does have some color photographs, but there is NO "color photo section." ( )
  kaulsu | Oct 18, 2022 |
This book is a breath of fresh air in terms of presenting oral histories as valid, and folk history as usable in an academic setting. Forms of record-keeping which are not written using methods recognized by dominant cultures, whether academia, today, or the former empires of England, Spain, etc, are almost always discounted, or destroyed, as the Quipus of the Incan empire.

These quilts are essentially, it sounds, like an updated form of Quipu (Khipu) made from fabric rather than strands of yarn or twine cordage.

http://en.wikipedia.org/wiki/Quipu

Page 29 made me think of the strain sometimes found between differing cultural interpretations and valuations of oral history and what makes a fact a fact, or something 'obvious,' well, obvious. In other words, the academic methodology versus intuitive oral tradition. As a phd student, I was horrified at the first presentation I attended by a fellow doctoral student. She presented her preliminary findings based on two years of research, and I found myself thinking that if any of my family could see this, they would all tell me I was wasting my time and money in doing research, if I would end up presenting findings as blindingly obviousl as hers. But, as on Page 31, the fear of ridicule forces one to follow a methodology that can be at odds with what one's gut instincts say are obvious. And when those two ways of thinking clash, it is the dominant culture that wins.

Thanks to these many authors for making non-dominant cultural histories valid again.
Shira Destinie
Willaim-James-MEOW Date: 27 August, 12014 H.E. ( )
  FourFreedoms | May 17, 2019 |
This book is a breath of fresh air in terms of presenting oral histories as valid, and folk history as usable in an academic setting. Forms of record-keeping which are not written using methods recognized by dominant cultures, whether academia, today, or the former empires of England, Spain, etc, are almost always discounted, or destroyed, as the Quipus of the Incan empire.

These quilts are essentially, it sounds, like an updated form of Quipu (Khipu) made from fabric rather than strands of yarn or twine cordage.

http://en.wikipedia.org/wiki/Quipu

Page 29 made me think of the strain sometimes found between differing cultural interpretations and valuations of oral history and what makes a fact a fact, or something 'obvious,' well, obvious. In other words, the academic methodology versus intuitive oral tradition. As a phd student, I was horrified at the first presentation I attended by a fellow doctoral student. She presented her preliminary findings based on two years of research, and I found myself thinking that if any of my family could see this, they would all tell me I was wasting my time and money in doing research, if I would end up presenting findings as blindingly obviousl as hers. But, as on Page 31, the fear of ridicule forces one to follow a methodology that can be at odds with what one's gut instincts say are obvious. And when those two ways of thinking clash, it is the dominant culture that wins.

Thanks to these many authors for making non-dominant cultural histories valid again.
Shira Destinie
Willaim-James-MEOW Date: 27 August, 12014 H.E. ( )
  ShiraDest | Mar 6, 2019 |
Read this for Tomball Library Non-Fiction Book Group. I have wanted to check this book out for some time and was glad to have it pop up on my book club list.

Interesting read but not sure of the plausibility I have read some accounts that discount the information based on when certain quilt designs are know to appear.

( )
  yvonne.sevignykaiser | Apr 2, 2016 |
keine Rezensionen | Rezension hinzufügen

» Andere Autoren hinzufügen (1 möglich)

AutorennameRolleArt des AutorsWerk?Status
Jacqueline L. TobinHauptautoralle Ausgabenberechnet
Dobard, Raymond G.AutorHauptautoralle Ausgabenbestätigt
Du musst dich einloggen, um "Wissenswertes" zu bearbeiten.
Weitere Hilfe gibt es auf der "Wissenswertes"-Hilfe-Seite.
Gebräuchlichster Titel
Originaltitel
Alternative Titel
Ursprüngliches Erscheinungsdatum
Figuren/Charaktere
Wichtige Schauplätze
Wichtige Ereignisse
Zugehörige Filme
Epigraph (Motto/Zitat)
Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen.
The African slave, despite the horrors of the Middle Passage,
did not sail to the New World alone. These African slaves
brought with them their metaphysical systems, their languages,
their terms for order and their expressive cultural practices
which even the horrendous Middle Passage and
the brutality of everyday life on the plantation
could not effectively obliterate.


HENRY LOUIS GATES,
AS QUOTED IN TALK THAT TALK by Linda Goss and Marian Barnes
Widmung
Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen.
We dedicate this book to Ozella McDaniel Williams,
to her mother Nora Bell McDaniel, and to her grandmother before her,
for keeping the Underground Railroad Quilt story alive.
And to the memory of everyone who struggled for freedom,
but whose stories have yet to be told.
Erste Worte
Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen.
[Foreword: The Heritage of an Oral Tradition] In the years since the Civil War ended, bits and pieces of orally transmitted information about secret codes, camouflaged symbols, and disguised signposts that were part of the Underground Railroad experience have emerged.
[Foreword: The Importance of the Decorative Arts in African American History] In Hidden in Plain View: A Secret Story of Quilts and the Underground Railroad Jacqueline Tobin and Raymond G. Dobard, Ph.D., tell a story of migration of a people and their culture.
[Foreword: Secret African Signs Encoded in African American Quilts] When African religious ideas appeared in the New World, they often assumed new forms and meanings and were transmitted unprecedented ways.
[Author Note: Tobin] In 1994 I traveled to Charleston, South Carolina, to learn more about the sweet-grass baskets unique to the area and to hear the stories of the African American crafts women who make them.
[Author Note: Dobard] When Jacqueline Tobin first contacted me and told me about Ozella McDaniel Williams's story, I was awestruck.
Zitate
Letzte Worte
Die Informationen stammen von der englischen "Wissenswertes"-Seite. Ändern, um den Eintrag der eigenen Sprache anzupassen.
(Zum Anzeigen anklicken. Warnung: Enthält möglicherweise Spoiler.)
(Zum Anzeigen anklicken. Warnung: Enthält möglicherweise Spoiler.)
(Zum Anzeigen anklicken. Warnung: Enthält möglicherweise Spoiler.)
(Zum Anzeigen anklicken. Warnung: Enthält möglicherweise Spoiler.)
(Zum Anzeigen anklicken. Warnung: Enthält möglicherweise Spoiler.)
Hinweis zur Identitätsklärung
Verlagslektoren
Werbezitate von
Originalsprache
Anerkannter DDC/MDS
Anerkannter LCC
The fascinating story of a friendship, a lost tradition, and an incredible discovery, revealing how enslaved men and women made encoded quilts and then used them to navigate their escape on the Underground Railroad.   In Hidden in Plain View, historian Jacqueline Tobin and scholar Raymond Dobard offer the first proof that certain quilt patterns, including a prominent one called the Charleston Code, were, in fact, essential tools for escape along the Underground Railroad. In 1993, historian Jacqueline Tobin met African American quilter Ozella Williams amid piles of beautiful handmade quilts in the Old Market Building of Charleston, South Carolina. With the admonition to "write this down," Williams began to describe how slaves made coded quilts and used them to navigate their escape on the Underground Railroad. But just as quickly as she started, Williams stopped, informing Tobin that she would learn the rest when she was "ready." During the three years it took for Williams's narrative to unfold--and as the friendship and trust between the two women grew--Tobin enlisted Raymond Dobard, Ph.D., an art history professor and well-known African American quilter, to help unravel the mystery. Part adventure and part history, Hidden in Plain View traces the origin of the Charleston Code from Africa to the Carolinas, from the low-country island Gullah peoples to free blacks living in the cities of the North, and shows how three people from completely different backgrounds pieced together one amazing American story. With a new afterword. Illlustrations and photographs throughout, including a full-color photo insert.

Keine Bibliotheksbeschreibungen gefunden.

Buchbeschreibung
Zusammenfassung in Haiku-Form

Aktuelle Diskussionen

Keine

Beliebte Umschlagbilder

Gespeicherte Links

Bewertung

Durchschnitt: (2.98)
0.5 2
1 2
1.5 2
2 8
2.5 2
3 14
3.5 2
4 11
4.5
5 4

Bist das du?

Werde ein LibraryThing-Autor.

 

Über uns | Kontakt/Impressum | LibraryThing.com | Datenschutz/Nutzungsbedingungen | Hilfe/FAQs | Blog | LT-Shop | APIs | TinyCat | Nachlassbibliotheken | Vorab-Rezensenten | Wissenswertes | 206,473,108 Bücher! | Menüleiste: Immer sichtbar