{"title":"We Are Virginians","authors":"Barbara Phillips","doi":"10.1353/scu.2023.a899708","DOIUrl":null,"url":null,"abstract":"Abstract:This essay shares the story of an African American family shaped for generations by a family farm on Peak’s Knob in the Appalachia of Virginia and the meaning of the culture nurtured there by Thomas Russell, born enslaved in 1834, and his descendants. Illustrating the relevance today of Anne Strand’s observation in Sacred Altars: An Artful Journey to Enchantment, “The land is not a space one looks at with the eyes alone,” the fifth generation, who grew up in a distant city in another state, nevertheless maintains an identity as Virginians and values transmission to the next generation of not only the farm land itself, but the accompanying transmission of culture through stories and foodways. Concluding that without remembrance of family culture, all that’s left is land and a farmhouse, the essay shares the richness of Black Appalachian culture and its enduring contribution to Black identity in the twenty-first century.","PeriodicalId":42657,"journal":{"name":"SOUTHERN CULTURES","volume":"29 1","pages":"38 - 47"},"PeriodicalIF":0.4000,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"SOUTHERN CULTURES","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/scu.2023.a899708","RegionNum":4,"RegionCategory":"历史学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q1","JCRName":"HISTORY","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract:This essay shares the story of an African American family shaped for generations by a family farm on Peak’s Knob in the Appalachia of Virginia and the meaning of the culture nurtured there by Thomas Russell, born enslaved in 1834, and his descendants. Illustrating the relevance today of Anne Strand’s observation in Sacred Altars: An Artful Journey to Enchantment, “The land is not a space one looks at with the eyes alone,” the fifth generation, who grew up in a distant city in another state, nevertheless maintains an identity as Virginians and values transmission to the next generation of not only the farm land itself, but the accompanying transmission of culture through stories and foodways. Concluding that without remembrance of family culture, all that’s left is land and a farmhouse, the essay shares the richness of Black Appalachian culture and its enduring contribution to Black identity in the twenty-first century.
摘要:本文讲述了弗吉尼亚州阿巴拉契亚山区皮克丘(Peak’s Knob)的一个家庭农场世世代代塑造了一个非洲裔美国家庭的故事，以及1834年出生的奴隶托马斯·罗素(Thomas Russell)及其后代在那里培育的文化意义。安妮·斯特兰德(Anne Strand)在《神圣祭坛:迷人的艺术之旅》(Sacred Altars: An art Journey to Enchantment)中的观察与今天的相关性表明，“土地不是一个人只用眼睛看的空间”，第五代人在另一个州的一个遥远的城市长大，尽管如此，他们仍然保持着弗吉尼亚人的身份，并将价值观传递给下一代，不仅是农场本身，还有通过故事和食物方式伴随的文化传播。文章的结论是，没有家庭文化的记忆，剩下的只有土地和农舍，文章分享了阿巴拉契亚黑人文化的丰富性及其对21世纪黑人身份认同的持久贡献。
期刊介绍：
In the foreword to the first issue of the The Southern Literary Journal, published in November 1968, founding editors Louis D. Rubin, Jr. and C. Hugh Holman outlined the journal"s objectives: "To study the significant body of southern writing, to try to understand its relationship to the South, to attempt through it to understand an interesting and often vexing region of the American Union, and to do this, as far as possible, with good humor, critical tact, and objectivity--these are the perhaps impossible goals to which The Southern Literary Journal is committed." Since then The Southern Literary Journal has published hundreds of essays by scholars of southern literature examining the works of southern writers and the ongoing development of southern culture.
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