Matches in SemOpenAlex for { <https://semopenalex.org/work/W1570392054> ?p ?o ?g. }
Showing items 1 to 78 of
78
with 100 items per page.
- W1570392054 startingPage "46" @default.
- W1570392054 abstract "IN April 1566, signs of strain appeared in relationship between Elizabeth I and her longtime visitor, Princess Cecilia of Sweden, when, after an extended visit in England, Swedish princess abruptly left country to rejoin her Once a favorite at English court, Cecilia overstayed her welcome there through her extravagant freeloading. She was unwilling to accept any blame for rift, however, and instead presented a retaliatory list of complaints to her brother John, newly become Swedish king, who then forwarded it to Queen Elizabeth's secretary Cecil. Beyond its revelation of fractured diplomatic relations, by far most peculiar grievance here is Cecilia's statement that, beinge bydden to see a comedye played, there was a blackeman brought in,... full of leawde, spitfull, and skornfull words which she said did represent ... her husband. (1) Certainly, this reference to a comic depiction of a blackeman, apparently represent[ed] by an actor in blackface, raises a number of questions (e.g., Why should Cecilia's husband have been represented as black at all? Or, at least, why would she think that he been? Was blackface a mechanism for ridicule? If so, why? What would such blackness have symbolized in a comedye? And, how many black people living in England at time? Does this knowledge shape our understanding of such comedy?), but scant critical tradition addressing episode focused only on one, determining particular work to which Cecilia referred. (2) Ironically, such a narrow scope contributed to a continued ignoring of a much more far-reaching revelation; whatever play she described, it was hardly period's lone instance of blackness being associated with a comic figure. Given that many scholars are currently reexamining origins of racism and slavery in Western tradition, (3) an exploration of such comic associations with blackness is especially timely. subject is all more so in that, because evil is virtually only symbolic aspect of blackness that medieval and Renaissance scholars have recognized, recent research too narrowly focused on Judaism, Christianity, and Islam to find origins of racism solely in theological associations of color black and evil. (4) In this regard, Dympna Callaghan sums up current scholarly consensus when she observes that slavery had comparatively weak ideological foundations, relying on fairly inchoate connections between black skin and Prince of Darkness.... (5) Undoubtedly, even though origins of such a religious connection are surprisingly ambiguous since there is no biblical source, (6) The association of blackness with evil, Anthony Gerard Barthelemy and others have noted, has a long history on English stage as the tradition goes back at least to early medieval where Lucifer and other devils were represented by actors painted black. (7) As Virginia Mason Vaughan recently found in her study, Performing Blackness on English Stages, 1500-1800, the association between black skin and damnation [also] permeated early modern English culture. (8) Yet, scholars have locked on so exclusively to this color symbolism of evil that they have yet to attend to a more demeaning, buried tradition of early blackface comedy, one that associated blackness with degradation, irrationality, prideful lack of self-knowledge, transgression, and, related to all of these, folly. With disturbing consistency, blackface served as one commonplace mark of foolishness in iconography of so-called natural fool--in medieval and Renaissance English parlance, a butt, laughed at because he was mentally deficient (whether ignorant, dull-witted, or mad) and often physically different as well (for example, hunchbacked, dwarfish, lame, deformed, ugly, or blackfaced). (9) In what follows, I want to interrogate this long-overlooked tradition, to examine some of its roots and its bitter fruit alike, and to suggest its importance not only in understanding medieval and Renaissance drama but in dismantling subsequent constructions of baffling racist stereotypes. …" @default.
- W1570392054 created "2016-06-24" @default.
- W1570392054 creator A5010347891 @default.
- W1570392054 date "2007-01-01" @default.
- W1570392054 modified "2023-09-24" @default.
- W1570392054 title "The Folly of Racism: Enslaving Blackface and the Natural Fool Tradition" @default.
- W1570392054 hasPublicationYear "2007" @default.
- W1570392054 type Work @default.
- W1570392054 sameAs 1570392054 @default.
- W1570392054 citedByCount "2" @default.
- W1570392054 countsByYear W15703920542016 @default.
- W1570392054 crossrefType "journal-article" @default.
- W1570392054 hasAuthorship W1570392054A5010347891 @default.
- W1570392054 hasConcept C104317684 @default.
- W1570392054 hasConcept C107038049 @default.
- W1570392054 hasConcept C124952713 @default.
- W1570392054 hasConcept C142362112 @default.
- W1570392054 hasConcept C144024400 @default.
- W1570392054 hasConcept C17744445 @default.
- W1570392054 hasConcept C185592680 @default.
- W1570392054 hasConcept C199539241 @default.
- W1570392054 hasConcept C2776432533 @default.
- W1570392054 hasConcept C2779702343 @default.
- W1570392054 hasConcept C2779703954 @default.
- W1570392054 hasConcept C2780458788 @default.
- W1570392054 hasConcept C2781009331 @default.
- W1570392054 hasConcept C52119013 @default.
- W1570392054 hasConcept C548253320 @default.
- W1570392054 hasConcept C55493867 @default.
- W1570392054 hasConcept C56273599 @default.
- W1570392054 hasConcept C95457728 @default.
- W1570392054 hasConceptScore W1570392054C104317684 @default.
- W1570392054 hasConceptScore W1570392054C107038049 @default.
- W1570392054 hasConceptScore W1570392054C124952713 @default.
- W1570392054 hasConceptScore W1570392054C142362112 @default.
- W1570392054 hasConceptScore W1570392054C144024400 @default.
- W1570392054 hasConceptScore W1570392054C17744445 @default.
- W1570392054 hasConceptScore W1570392054C185592680 @default.
- W1570392054 hasConceptScore W1570392054C199539241 @default.
- W1570392054 hasConceptScore W1570392054C2776432533 @default.
- W1570392054 hasConceptScore W1570392054C2779702343 @default.
- W1570392054 hasConceptScore W1570392054C2779703954 @default.
- W1570392054 hasConceptScore W1570392054C2780458788 @default.
- W1570392054 hasConceptScore W1570392054C2781009331 @default.
- W1570392054 hasConceptScore W1570392054C52119013 @default.
- W1570392054 hasConceptScore W1570392054C548253320 @default.
- W1570392054 hasConceptScore W1570392054C55493867 @default.
- W1570392054 hasConceptScore W1570392054C56273599 @default.
- W1570392054 hasConceptScore W1570392054C95457728 @default.
- W1570392054 hasLocation W15703920541 @default.
- W1570392054 hasOpenAccess W1570392054 @default.
- W1570392054 hasPrimaryLocation W15703920541 @default.
- W1570392054 hasRelatedWork W1146424924 @default.
- W1570392054 hasRelatedWork W1522506159 @default.
- W1570392054 hasRelatedWork W1529473449 @default.
- W1570392054 hasRelatedWork W1535193512 @default.
- W1570392054 hasRelatedWork W1565768707 @default.
- W1570392054 hasRelatedWork W168271939 @default.
- W1570392054 hasRelatedWork W1824223090 @default.
- W1570392054 hasRelatedWork W1975883665 @default.
- W1570392054 hasRelatedWork W1980482791 @default.
- W1570392054 hasRelatedWork W199796844 @default.
- W1570392054 hasRelatedWork W2069359097 @default.
- W1570392054 hasRelatedWork W2132273709 @default.
- W1570392054 hasRelatedWork W2234714074 @default.
- W1570392054 hasRelatedWork W2322255703 @default.
- W1570392054 hasRelatedWork W2525273723 @default.
- W1570392054 hasRelatedWork W265425509 @default.
- W1570392054 hasRelatedWork W280092544 @default.
- W1570392054 hasRelatedWork W2992227638 @default.
- W1570392054 hasRelatedWork W40901175 @default.
- W1570392054 hasRelatedWork W98243183 @default.
- W1570392054 hasVolume "20" @default.
- W1570392054 isParatext "false" @default.
- W1570392054 isRetracted "false" @default.
- W1570392054 magId "1570392054" @default.
- W1570392054 workType "article" @default.