![]() Multiple plays have been written about or including Bois Caïman, as well as a continuing tradition of national and religious ceremonies to commemorate the event. Literary Accounts, Oral Tradition, and Cultural Texts of Bois Caïman A number of writers, anthropologists, religious practitioners, and artists have engaged the event of Bois Caïman, perceiving it as a significant cultural tradition to be further explored and represented. Further debates include questions about who actually participated in the event and the accuracy of some of the traditional speeches and ritual practices during the ceremony. The questions include issues of dating and location of the ceremony. Debates about Bois Caïman Significant debates have arisen regarding the historicity or Bois Caïman as well as the accuracy of particular details of the event as it has been written about and received in the wider culture. ![]() 20th Century Textual Accounts In the 20 th century, significant representations continued to be produced by historians reconstructing the events of the Haitian Revolution including the ceremony of Bois Caïman. From these sources a number of other earlier representations drew for their material, though each also added something new and significant within the Bois Caïman tradition. And the fourth was Etienne Charlier, who discovered connections to the event in historic family documents. The third was Celigny Ardouin, whose work was published posthumously by his brother, Beaubrun, in 1840. The second was Herard Dumesle writing in 1824. The first was Antoine Dalmas who wrote his account in 1793-94 but it was published in 1814. Early Accounts of Bois Caïman Of the early textual representations, there are generally four text understood to have utilized unique sources connected to the actual event. The four pages linked to this main page will allow you to explore these sources, some with links to a digitized form of the text. What we have are not primary sources then but textual representations, some more “official” than others. The event by its secretive and mysterious nature eludes the official criteria for solid historicity. This page is a starting point from which to explore some of the significant textual representations of Bois Caïman (Bwa Kayiman). Photographs, cartoons, maps, artwork, audio clips, film, places and artifacts are all explored in a text that provides students with a comprehensive, cohesive and practical guide to using non-textual sources.Deeps > Representing Bois Caïman > Genealogy of Bois Caïman Textual Sources Case studies, such as the Tudor religious propaganda painting Edward VI and the Pope, the 1954 John Ford Western The Searchers and the Hereford Mappa Mundi, are employed throughout to illustrate the functions of main source types. Using Non-Textual Sources includes a section on interdisciplinary non-textual source work, outlining what historians borrow from disciplines such as art history, archaeology, geography and media studies, as well as a discussion of how to locate these resources online and elsewhere in order to use them in essays and dissertations. ![]() There is coverage of the creation, production and distribution of non-textual sources the acquisition of skills to 'read' these sources analytically and the meaning, significance and reliability of these forms of evidence. In addition to this, the book posits a theoretical framework that justifies the use of these items as historical sources and explains how they can be used to further understand the past. It introduces the full range of non-textual sources used by historians and offers practical guidance on how to interpret them and incorporate them into essays and dissertations. Using Non-Textual Sources provides history students with the theoretical background and skills to interpret non-textual sources.
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