Keloid | TriviaQuestions.online

⭐ In the context of Peter (Whipped Peter), keloid scarring is considered…

The photographs of Peter’s back were circulated during the Civil War to illustrate the severe physical abuse inflicted upon enslaved people, with the keloid scars serving as stark evidence of this brutality and fueling the abolitionist movement.

⭐ Core Definition: Keloid

Keloid, also known as keloid disorder and keloidal scar, is the formation of a type of scar which, depending on its maturity, is composed mainly of either type III (early) or type I (late) collagen. It is a result of an overgrowth of granulation tissue (collagen type III) at the site of a healed skin injury, which is then slowly replaced by collagen type I. Keloids are firm, rubbery lesions or shiny, fibrous nodules, and can vary from pink to the color of the person's skin or red to dark brown. A keloid scar is benign and not contagious, but sometimes accompanied by severe itchiness, pain, and changes in texture. In severe cases, it can affect the movement of the skin. In the United States, keloid scars are seen 15 times more frequently in people of sub-Saharan African descent than in people of European descent. There is a higher tendency to develop a keloid among those with a family history of keloids and people between the ages of 10 and 30 years.

Keloids should not be confused with hypertrophic scars, which are raised scars that do not grow beyond the boundaries of the original wound.

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👉 Keloid in the context of Peter (enslaved man)

Peter (fl. 1863) (also known as Gordon, "Whipped Peter", or "Poor Peter") was an escaped American slave who was the subject of photographs documenting the extensive keloid scarring of his back from whippings received in slavery. The "scourged back" photo became one of the most widely circulated photos of the abolitionist movement during the American Civil War and remains one of the most notable photos of the 19th-century United States.

The photo of the scourged back "spurred a number of different narratives, all of which were intended to illustrate the meaning of his portrait, and privilege his photograph as a means by which to picture slavery and dramatize the need for abolition". In 2013, Joan Paulson Gage wrote in The New York Times that "The images of Wilson Chinn in chains, like the one of Gordon and his scarred back, are as disturbing today as they were in 1863. They serve as two of the earliest and most dramatic examples of how the newborn medium of photography could change the course of history."

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