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In this paper, the dynamics of early coffee production in the Americas are identified through cross-referencing of historical, genealogical, agronomic, and climatological data. We revisit the history of the diffusion of the coffee-tree, growing in the greenhouses of Amsterdam, towards the Dutch colonies by means, amongst others, of the barely exploited works such as by the English botanist Richard Bradley. In 1714, the latter spent time in the Hortus medicus of Amsterdam permitting us to propose corrections in the early historiography of the diffusion of coffee-trees. We start with the analysis of the Bradley's work and continue with a synthesis on the diffusion of coffee-trees in European greenhouses and their introduction into the Dutch colonies of the Guianas (Suriname, Essequibo, Berbice) and Curaçao. The date of 1714 can be retained as introduction date of the coffee-tree in Suriname from the greenhouses of Amsterdam but the introduction of coffee actually shows two seperate sequences (1696-1700 and 1706-1723). The gap (1701-1705) between these sequences can be related to climatic changes and possibly linked to temporary global warming. Finally, we also stress the importance of coffee-tree trade between colonies and the start of new plantations by comparing family ties, the roll of taxes (capitation) and local legislation revealing new insights on the situation in Suriname during the first decade of the XVIIIe century, prelude to the economic success of investors in this new cash crop.
Keywords: Coffea arabica, café, caféïculture, construction et échanges de savoirs, Richard Bradley, serres d'Amsterdam, Hortus medicus, Suriname, Essequibo, Guyanes, cultures coloniales, transferts de plantes, modélisation, paléo-climat, XVIII
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276.
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277.More information
This article aims to recall the significance of the ‘relationship to memory' in cinematic and audio-visual media in Sub-Saharan Africa in contrast to the often ideological uses which have been made of a ‘relationship to history'. The article begins by reconsidering attempts to represent history by directors such as Ousmane Sembène, Med Hondo and Haile Gerima, by analysing these representations within the framework of political discourse of legitimization. Then, this article attempts to situate this discourse within the critical and theoretical literature which have appeared in relation to African cinema since the 1970s; thus the question is to determine limitations which must necessarily be assigned to this discourse of political legitimization, within a theoretical framework which includes a ‘methodological-epistemological' point of view as well as an aesthetical one. The article then reconsiders some African films made since the 1990s in which a ‘relationship to memory' was involved. The article concludes that, in discourse about African media, the danger has always been more on the side of the political legitimization of a certain relationship to history the symbolical and aesthetical relationship to memory.
Keywords: Cinéma africain, médias audiovisuels africains, histoire et mémoire, méthodologie et épistémologie, légitimation politique, mondialisation, African cinema, African audio-visual media, history and memory, methodology and epistemology, political legitimization, globalization
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