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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historical documents, material and visual cultures, and performance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historical documents, material and visual cultures, and performance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.
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Theatre History Studies 2023, Volume 42
Lisa Jackson-Schebetta; Lisa Jackson-Schebetta, Patricia Herrera, Marci R McMahon, Cynthia Running-Johnson, …
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R926
Discovery Miles 9 260
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Ships in 12 - 17 working days
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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.
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