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首页> 外文期刊>Buildings & landscapes >'Until the Lord Come Get Me, It Burn Down, Or the Next Storm Blow It Away' The Aesthetics of Freedom in African American Vernacular Homestead Preservation
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'Until the Lord Come Get Me, It Burn Down, Or the Next Storm Blow It Away' The Aesthetics of Freedom in African American Vernacular Homestead Preservation

机译：“直到主来救我，我被烧毁，否则下一场风暴将它吹走”非洲裔美国人本土宅基地保护中的自由美学

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摘要

Angel David Nieves and Leslie M. Alexander's We Shall Independent Be (2008), which contemplated the relationship between American ideals such as freedom and black space creation, advanced the validity of vernacular African American placemaking and architecture as a by-product of protest, cultural expression, and intentional design. Despite this, few scholars have focused on related rural African American building and preservation practices as expressions of a continuous freedom struggle and diasporic search for home. Through observation of African American grassroots preservationists, this essay argues for increased attention to rural grassroots homestead preservation. From 1865 to 1920, former slaves founded more than 557 "freedom colonies" across Texas. Ethnographic and archival research conducted within Newton County freedom colonies demonstrates that descendants, regardless of residency status, have sustained place attachments and nurtured stewardship of homesteads through heritage conservation, rehabilitation, and family property retention. Rehabilitation activities in two settlements, Shankleville and Pleasant Hill, show the relationship between intangible heritage and descendants' landscape stewardship practices. The concept, called here the homeplace aesthetic, illuminates descendants' preservation methods, resilience strategies, and stylistic preferences as unrecognized dimensions of significance and integrity. The concept of a homeplace aesthetic also explains descendants' concurrent negotiation—through subversion and assimilation—of the racialized landscape and regulatory environment, with important implications for preservation documentation and legal regulations.
机译：天使大卫·尼维斯（Angel David Nieves）和莱斯利·亚历山大（Leslie M.Alexander）的《我们应该独立》（We Shall Independent Be）（2008）考虑了美国理想（如自由和黑色空间）之间的关系，提高了白话非裔美国人的场所和建筑作为抗议，文化副产品的有效性表达和故意设计。尽管如此，很少有学者专注于相关的非裔美国人农村建筑和保护实践，以此作为持续不断的自由斗争和流离失所的寻找家园的表现。通过对非裔美国人基层保护主义者的观察，这篇文章提出了对农村基层宅基地保护的更多关注。从1865年到1920年，前奴隶在德克萨斯州建立了557多个“自由殖民地”。在牛顿县自由殖民地进行的人种学和档案研究表明，后裔，无论居留地位如何，都通过遗产保护，修复和家庭财产保留来维持住所的依附关系并培养家园的管理权。 Shankleville和Pleasant Hill这两个定居点的修复活动显示了非物质遗产与后代景观管理实践之间的关系。这个概念在这里被称为家庭美学，阐明了后代的保存方法，弹性策略和风格偏好，这些都是人们对重要性和完整性的无法识别的维度。居家美学的概念还解释了后裔通过种族化和同化而同时进行的协商-种族化的景观和法规环境，对保存文献和法律法规具有重要意义。

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