Afrofuturism (an artistic perspective in which Black voices tell alternative narratives of culture, technology, and the future) and the Dark Fantastic (interrupting negative depictions of Black people through emancipatory interpretations of art) are two interrelated concepts used by Black artists in the Atlantic World to counter negative images and emphasize a story from a Black perspective. Likewise, these concepts have been used to recreate and re-narrate history with an eye towards subverting white supremacist historical narratives. By using Afrofuturism and the Dark Fantastic as lenses through which texts by authors from the African Diaspora in the Atlantic World are examined, an alternative narrative of Black histories and futures concerned with revolution, liberation, and justice can be seen. The two texts that are the subject of this research include José Antonio Aponte’s descriptions of his book of paintings under interrogation in 1812–1813, and Martin Delany’s novel Blake; or the Huts of America (1859–1862), providing images of enslavement that run counter to a white supremacist telling of history. They both imagine alternative pasts and futures for Africa and the Afro-Diaspora involving revolution and magic. These works, though produced at different times and locations in the nineteenth century, offer new ways in which to discuss liberation and freedom in the context of the artistic production of the Atlantic World.

中文翻译：

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革命艺术与未来的创造：何塞·安东尼奥·阿庞特和马丁·R·德拉尼的非洲未来主义文本


非洲未来主义（一种艺术视角，黑人的声音讲述文化、技术和未来的另类叙事）和黑暗幻想（通过对艺术的解放性解释来打断对黑人的负面描述）是大西洋世界黑人艺术家使用的两个相互关联的概念对抗负面形象并强调从黑人角度讲故事。同样，这些概念也被用来重建和重新叙述历史，着眼于颠覆白人至上主义的历史叙述。通过使用非洲未来主义和黑暗幻想作为镜头来审视大西洋世界非洲侨民作者的文本，可以看到与革命、解放和正义有关的黑人历史和未来的另一种叙述。本研究的两本文本包括何塞·安东尼奥·阿庞特 (José Antonio Aponte) 对 1812-1813 年受审讯画作的描述，以及马丁·德拉尼 (Martin Delany) 的小说《布莱克》(Blake)。或《美国小屋》（1859-1862），提供了与白人至上主义的历史叙述背道而驰的奴役形象。他们都想象着非洲和非洲裔侨民的另类过去和未来，涉及革命和魔法。这些作品虽然创作于十九世纪的不同时间和地点，但却为在大西洋世界的艺术生产背景下讨论解放和自由提供了新的方式。