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Arguing that the early Royal Society moved science toward
racialization by giving skin color a new prominence as an object of
experiment and observation, Cristina Malcolmson provides the first
book-length examination of studies of skin color in the Society.
She also brings new light to the relationship between early modern
literature, science, and the establishment of scientific racism in
the nineteenth century. Malcolmson demonstrates how unstable the
idea of race remained in England at the end of the seventeenth
century, and yet how extensively the intertwined institutions of
government, colonialism, the slave trade, and science were
collaborating to usher it into public view. Malcolmson places the
genre of the voyage to the moon in the context of early modern
discourses about human difference, and argues that Cavendish's
Blazing World and Swift's Gulliver's Travels satirize the Society's
emphasis on skin color.
Arguing that the early Royal Society moved science toward
racialization by giving skin color a new prominence as an object of
experiment and observation, Cristina Malcolmson provides the first
book-length examination of studies of skin color in the Society.
She also brings new light to the relationship between early modern
literature, science, and the establishment of scientific racism in
the nineteenth century. Malcolmson demonstrates how unstable the
idea of race remained in England at the end of the seventeenth
century, and yet how extensively the intertwined institutions of
government, colonialism, the slave trade, and science were
collaborating to usher it into public view. Malcolmson places the
genre of the voyage to the moon in the context of early modern
discourses about human difference, and argues that Cavendish's
Blazing World and Swift's Gulliver's Travels satirize the Society's
emphasis on skin color.
This book places George Herbert's writing and biography within the
history of social and economic change in seventeenth-century
England. Drawing on the works of Max Weber, Raymond Williams, and
the Protestant preachers of the period, the author argues that the
doctrine of vocation is the shaping principle of "The Temple" and
the prose manual "The Country Parson," which coordinate inward
devotion with outward social role like the soul with the body. This
form of early modern subjectivity is shown to be significantly at
odds with the system of status and yet developed in order to
preserve traditional models of community.
The book demonstrates that Herbert's family shared his Protestant
vision of "the common good," which included innovations in
agriculture and mining, colonization of the Americas, and a
worldwide trade nexus. William Herbert, patron of Shakespeare and
head of the Protestant faction at court and in Parliament, was also
George Herbert's patron, and George's involvement with this faction
is offered as the explanation for his lack of patronage from an
increasingly Anglo-Catholic court. His position as a country parson
required the renunciation of ambition and a new ideal of the
"character" of holiness but in no way decreased his dedication to
the Protestant linking of religion and enterprise.
The author explores the poetic coterie out of which Herbert's
lyrics were generated, the remarkable revisions that erased an
earlier version of "The Temple" authorizing social mobility, and
the role of class in the poetic collection as well as in modern
critical accounts. Herbert's use of the pastoral is considered in
relation to his family's practice of gardening, which redefined
economic innovation as moral reformation. The author argues that
Herbert's works and those of his family make visible the influence
of and the resistance to the new capitalist economic system
emerging in the early modern period.
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