Early Modern Black Diaspora Studies brings into conversation two fields-Early Modern Studies and Black Studies-that traditionally have had little to say to each other. This disconnect is the product of current scholarly assumptions about a lack of archival evidence that limits what we can say about those of African descent before modernity. This volume posits that the limitations are not in the archives, but in the methods we have constructed for locating and examining those archives. The essays that make up this volume offer new critical approaches to black African agency and the conceptualization of blackness in early modern literary works, historical documents, material and visual cultures, and performance culture. Ultimately, this critical anthology revises current understandings about racial discourse and the cultural contributions of black Africans in early modernity and in the present across the globe.

Early Modern Black Diaspora Studies brings into conversation two fields-Early Modern Studies and Black Studies-that traditionally have had little to say to each other. This disconnect is the product of current scholarly assumptions about a lack of archival evidence that limits what we can say about those of African descent before modernity. This volume posits that the limitations are not in the archives, but in the methods we have constructed for locating and examining those archives. The essays that make up this volume offer new critical approaches to black African agency and the conceptualization of blackness in early modern literary works, historical documents, material and visual cultures, and performance culture. Ultimately, this critical anthology revises current understandings about racial discourse and the cultural contributions of black Africans in early modernity and in the present across the globe.

Continuing his project of critical analysis of the scriptural formation of culture, Vincent L. Wimbush has gathered in this book essays by scholars of various backgrounds and orientations that focus in different registers on the theme of masquerade as the “play-element” in modern culture. Masquerade functions as window onto the mimetic performances, dynamics, arrangements, psycho-logics, and politics (“scripturalizing”) by which the “made-up” becomes fixed or realities or (“scripturalization”). Modern-world racialization (and its attendant explosions into racialisms and racisms) as the hyper-scripturalization of difference in human flesh (registered in psycho-social relations as a type of “scripture”) is argued in this book to be one of the most consequential examples and reflections of masquerade and thereby one of the primary impetuses behind and determinants of the shape of the realities of modernities. The open window onto these realities is facilitated by touchstone references to—not exhaustive treatment of—a now famous eighteenth-century life story, The Interesting Narrative of the Life of Olaudah Equiano or Gustavus Vassa, the African, Written by Himself (1789). This story told by a complexly positioned Black-fleshed self-acknowledged ex-slave/“stranger” is itself a “mask-ing” that throws light on the predominantly white Anglophone world as masking (as scriptural formation). Equiano/Vassa’s story as masking helps makes a compelling case for analyzing through Black flesh the ongoing shaping of the modern and the perduring mixed when not also devastating consequences.

In Inkface, Miles P. Grier traces productions of Shakespeare's Othello from seventeenth-century London to the Metropolitan Opera in twenty-first-century New York. Grier shows how the painted stage Moor and the wife whom he theatrically stains became necessary types, reduced to objects of interpretation for a presumed white male audience. In an era of booming print production, popular urban theater, and increasing rates of literacy, the metaphor of Black skin as a readable, transferable ink became essential to a fraternity of literate white men who, by treating an elastic category of marked people as reading material, were able to assert authority over interpretation and, by extension, over the state, the family, and commerce. Inkface examines that fraternity’s reading of the world as well as the ways in which those excluded attempted to counteract it.

The official journal of the Mid-America Theatre Conference.

In Inkface, Miles P. Grier traces productions of Shakespeare's Othello from seventeenth-century London to the Metropolitan Opera in twenty-first-century New York. Grier shows how the painted stage Moor and the wife whom he theatrically stains became necessary types, reduced to objects of interpretation for a presumed white male audience. In an era of booming print production, popular urban theater, and increasing rates of literacy, the metaphor of Black skin as a readable, transferable ink became essential to a fraternity of literate white men who, by treating an elastic category of marked people as reading material, were able to assert authority over interpretation and, by extension, over the state, the family, and commerce. Inkface examines that fraternity’s reading of the world as well as the ways in which those excluded attempted to counteract it.