Material / Blackness: Race and Its Material Reconstructions on the Seventeenth-Century English Stage

Carr, M

Please use this identifier to cite or link to this item: http://bura.brunel.ac.uk/handle/2438/24276

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DC Field	Value	Language
dc.contributor.author	Carr, M	-
dc.date.accessioned	2022-03-17T10:19:44Z	-
dc.date.available	2022-03-17T10:19:44Z	-
dc.date.issued	2017-04-07	-
dc.identifier.citation	Carr, M. (2017) 'Material / Blackness: Race and Its Material Reconstructions on the Seventeenth-Century English Stage', Early Theatre, 20 (1), pp. 77 - 95. doi: 10.12745/et.20.1.2848.	en_US
dc.identifier.issn	1206-9078	-
dc.identifier.uri	https://bura.brunel.ac.uk/handle/2438/24276	-
dc.description.abstract	Copyright © 2017 The Author. Examining William Shakespeare’s Titus Andronicus, William Heminge's The Fatal Contract, and Elkanah Settle's Love and Revenge, this article argues that the seventeenth-century English stage imagines blackness as fluid and transferable because of the materials used in its production. These cosmetics are imagined as being potentially moveable from one surface to another. The article considers the intersection between the materials used to recreate blackness and its semiotic values, focusing on the relationship between black bodies and female bodies. It argues that the materials used in the recreation of these bodies inform and are informed by the panoply of discourses surrounding them.	en_US
dc.language.iso	en	en_US
dc.publisher	McMaster University Library Press and Becker Associates	en_US
dc.rights	Green Open Access Policy: Early Theatre’s green open access distribution policy aligns with the UK Research Excellence Framework recommendations (https://www.ref.ac.uk/) and Canadian TriCouncil requirements (https://www.ic.gc.ca/eic/site/063.nsf/eng/h_F6765465.html) for open access. All articles, notes, and reviews published in Early Theatre become freely available to the public. Here’s how the journal’s green open access policy works: Authors are allowed to deposit the pre-publication accepted version of their contributions to institutional respositories, where required by their institution. In such cases, we request that the final published version replace the accepted version. All authors receive via email a PDF of their own published piece within two weeks of publication. We encourage authors to self-archive their work by posting this PDF to a not-for-profit repository where it can be accessed for free (eg. their university website, their a personal website). Indeed, we hope that authors will distribute their work widely since doing so helps to publicize the journal and enhance its impact and readership. The complete issue in which a piece has been published will be behind a one year subscribers-only paywall. During this period, readers can access the entire issue through a personal subscription to Early Theatre or an institutional subscription via ITER or one of our additional aggregators (eg. Project Muse, EBSCO, and JSTOR). After one year, the entire issue becomes completely open access via our website (earlytheatre.org). Authors are then able to offer anyone a link directly to an article, note, or review on the journal site. For further information, authors may reference additional details of our open access policy on the SHERPA site (https://v2.sherpa.ac.uk/id/publication/10362).	-
dc.rights.uri	https://earlytheatre.org/earlytheatre/openaccess	-
dc.title	Material / Blackness: Race and Its Material Reconstructions on the Seventeenth-Century English Stage	en_US
dc.type	Article	en_US
dc.identifier.doi	https://doi.org/10.12745/et.20.1.2848	-
dc.relation.isPartOf	Early Theatre	-
pubs.issue	1	-
pubs.publication-status	Published online	-
pubs.volume	20	-
dc.identifier.eissn	2293-7609	-
Appears in Collections:	Brunel Business School Research Papers

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