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Cotton Mather's Wonders of the Invisible World (1692) has traditionally been dismissed as a failed missive attempting to defend the controversial Salem Witch Trials. What is missing from this characterization is an analysis of the degree to which the text, written at a moment of crisis in Puritan culture, actually looks forward to the emergence of a democratic polity. By tracing the topical disarray and the instability of audience that Wonders presents, the beginnings of this shift--which culminate in the American Revolution eighty years later--becomes apparent. Wonders demonstrates the quiet emerging of a distinct American mindset amidst social and political upheaval in the Massachusetts Bay Colony. Although Cotton Mather's book did fail to unite his community in 1692, the flexible metaphors he borrowed, shaped, and refined in Wonders helped to define the nation of America. / Graduation date: 2012

[pt] O trabalho com história da América colonial em sala de aula impõe a necessidade de ampliação das possibilidades de estudos e suportes para a consecução do processo de ensino-aprendizagem. Os espaços oferecidos nos contextos atuais para a exploração de diferentes perspectivas sobre os processos formativos das sociedades ibero-americanas durante o período colonial têm sofrido progressiva constrição. Seja por enviesamentos de materiais didáticos ou pela própria insuficiência curricular, o panorama dos estudos escolares desses recortes no Brasil não tem sido o mais favorável. Nesse sentido, a presente dissertação explora potenciais de mobilização didática de documentação imagética específica para o ensino de história da América. A partir da reflexão sobre prática docente em história, busca-se discutir possibilidades de trabalho com pinturas de castas (ou quadros de mestiçagem) e seu desenvolvimento através de abordagens didáticas para um desempenho conceitual no ensino de história da América colonial com turmas de sétimo ano do primeiro segmento do ensino fundamental. / [en] The work with the history of colonial America in the classroom imposes the necessity to expand the possibilities of studies and supports for the achievement of the teaching-learning process. The spaces offered in current contexts for exploring different perspectives on the formative processes of Ibero-American societies during the colonial period have been progressively constrained. Whether due to biases in teaching materials or due to the curricular insufficiency itself, the panorama of school studies of these sections in Brazil has not been the most favorable. In this sense, this dissertation explores potentials for didactic mobilization of specific image documentation for the teaching of American history. Based on the reflection on teaching practice in history, we seek to discuss possibilities for working with casta paintings (or mestizaje paintings) and their development through didactic approaches for conceptual performance in teaching colonial American history with 7th grade classes of the first segment of elementary school.

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The most well-known events and occurrences that caused the American Revolution are well-documented. No scholar debates the importance of matters such as the colonists’ frustration with taxation without representation, the Boston Massacre, the Boston Tea Party, and the Coercive Acts. However, very few scholars have paid attention to how the 1772 English court case that freed James Somerset from slavery impacted American Independence. This case occurred during a two-year stall in the conflict between the English government and her colonies that began in 1763. Between 1763 and 1770, there was ongoing conflict between the two parties, but the conflict temporarily subsided in 1770. Two years later, in 1772, the Somerset decision reignited tension and frustration between the mother country and her colonies. This paper does not claim that the Somerset decision was the cause of colonial separation from England. Instead it argues that the Somerset decision played a significant yet rarely discussed role in the colonists’ willingness to begin meeting with one another to discuss their common problem of shared grievance with British governance. It prompted the colonists to begin relating to one another and to the British in a way that they never had previously. This case’s impact on intercolonial relations and relations between the colonies and her mother country are discussed within this work.

This work is a social and cultural history of the participation of enslaved and free Blacks in the Seven Years’ War in British America. It is, as well, an intellectual history of the impact of Blacks’ wartime actions upon conceptions of race, slavery, and imperial identity in the British Atlantic world. In addition to offering a fresh analysis of the significance of Britain’s arming of Blacks in the eighteenth century, it represents the first sustained inquiry into Blacks’ experience of this global conflict. It contends that, though their rhetoric might indicate otherwise, neither race nor enslaved status in practice prevented Britons from arming Blacks. In fact, Blacks played the most essential role in martial endeavors precisely where slavery was most fundamental to society. The exigencies of worldwide war transformed a local reliance upon black soldiers for the defense of particular colonies into an imperial dependence upon them for the security of Britain’s Atlantic empire. The events of the Seven Years’ War convinced many Britons that black soldiers were effective and even indispensable in the empire’s tropical colonies, but they also confirmed that not all Blacks could be trusted with arms. This work examines “Tacky’s revolt,” during which more than a thousand slaves exploited the wartime diffusion of Jamaica’s defensive forces to rebel, as a battle of the Seven Years’ War. The experience of insecurity and insurrection during the conflict caused some Britons to question the imperial value of the institution of slavery and to propose that Blacks be transformed from a source of vulnerability as slaves to the key to the empire’s strength in the southern Atlantic as free subjects. While martial service offered some Blacks a means to gain income, skills, a sense of satisfaction, autonomy, community, and even (though rarely) freedom, the majority of Blacks did not personally benefit from their contributions to the British war effort. Despite the pragmatic martial antislavery rhetoric that flourished postwar, in the end the British armed Blacks to perpetuate slavery, not to eradicate it, and an ever more regimented reliance upon black soldiers became a lasting legacy of the Seven Years’ War. / text

This thesis explores the implications of chinoiserie, or Western creations of Chinese-style decorative arts, upon an eighteenth century colonial American audience. Chinese products such as tea, porcelain, and silk, and goods such as furniture and wallpaper displaying Chinese motifs of distant exotic lands, had become popular commodities in Europe by the eighteenth century. The American colonists, who were primarily culturally British, thus developed a taste for chinoiserie fashions and wares via their European heritage. While most European countries had direct access to the China trade, colonial Americans were banned from any direct contact with the Orient by the British East India Company. They were relegated to creating their own versions of these popular designs and products based on their own interpretations of British imports. Americans also created a mental construct of China from philosophical writings of their European contemporaries, such as Voltaire, who often envisioned China as a philosopher's paradise. Some colonial Americans, such as Benjamin Franklin and Thomas Jefferson, fit their understanding of China within their own Enlightenment worldview. For these individuals, chinoiserie in American homes not only reflected the owners' desires to keep up with European fashions, but also carried associations with Enlightenment thought. The latter half of the eighteenth century was a time of escalating conflict as Americans colonists began to assert the right to govern themselves. Part of their struggle for freedom from England was a desire to rid themselves of the British imports, such as tea, silk, and porcelain, on which they had become so dependent by making those goods themselves. Americans in the eighteenth century had many of the natural resources to create such products, but often lacked the skill or equipment for turning their raw materials into finished goods. This thesis examines the colonists' attempts to create their own chinoiserie products, despite these odds, in light of revolutionary sentiments of the day. Chinoiserie in colonial America meshed with neoclassical décor, thereby reflecting the Enlightenment and revolutionary spirit of the time, and revealing a complex colonial worldview filled with trans-oceanic dialogues and cross-cultural currents.

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