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They approach a variety of visual materials, including sixteenth-century representations of the New World that helped formulate a consciousness of subjugation; the Drake Jewel and the myth of the Black Emperor as indices of Elizabethan colonial ideology; and depictions of the Queen of Sheba among other black women \"present\" in early modern painting. One chapter considers the politics of collecting. The aesthetic and imperial agendas of a Van Dyck portrait are uncovered in another essay, while elsewhere, that same portrait is linked to issues of whiteness and blackness as they are concentrated within the ceremonies and trappings of the Order of the Garter.   All of the essays in Early Modern Visual Culture explore the social context in which paintings, statues, textiles, maps, and other artifacts are produced and consumed. 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In most cases, male violence against women was depicted as a frustrated expression of love, and male aggression and female suffering were coded as erotically appealing. The text emphasizes the countless parallels between medieval and modern attitudes about rape.","brand":"WoB","offers":[{"title":"US \/ GOOD \/ SBYB","offer_id":50369034420497,"sku":"CIN0812282477G","price":0.0,"currency_code":"GBP","in_stock":false},{"title":"US \/ VERY_GOOD \/ SBYB","offer_id":50576168878353,"sku":"CIN0812282477VG","price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0784\/4072\/6801\/files\/0812282477.jpg?v=1751362338"},{"product_id":"complexion-of-race-book-roxann-wheeler-9780812217223","title":"The Complexion of Race","description":"In the 1723 Journal of a Voyage up the Gambia, an English narrator describes the native translators vital to the expedition's success as being \"Black as Coal.\" Such a description of dark skin color was not unusual for eighteenth-century Britons-but neither was the statement that followed: \"here, thro' Custom, (being Christians) they account themselves White Men.\" The Complexion of Race asks how such categories would have been possible, when and how such statements came to seem illogical, and how our understanding of the eighteenth century has been distorted by the imposition of nineteenth and twentieth century notions of race on an earlier period.  Wheeler traces the emergence of skin color as a predominant marker of identity in British thought and juxtaposes the Enlightenment's scientific speculation on the biology of race with accounts in travel literature, fiction, and other documents that remain grounded in different models of human variety. As a consequence of a burgeoning empire in the second half of the eighteenth century, English writers were increasingly preoccupied with differentiating the British nation from its imperial outposts by naming traits that set off the rulers from the ruled; although race was one of these traits, it was by no means the distinguishing one. In the fiction of the time, non-European characters could still be \"redeemed\" by baptism or conversion and the British nation could embrace its mixed-race progeny. 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In these provocative case studies, Barbara Hodgdon examines not only how Shakespeare's plays are staged and restaged by readers and critics as well as by performers and directors but also how the Elizabethan age itself is recirculated and marketed.  Hodgdon's look at \"The Taming of the Shrew\" scans from silent films to the Shrew episode of the eighties television show Moonlighting, to the most recent Royal Shakespeare Company productions. Moving beyond Shakespeare's plays themselves, she considers how film and television have marketed Queen Elizabeth I's popular cultural memory and how Stratford's various museum spaces celebrate and exhibit an \"authentic\" Shakespeare side by side with the \"Shakespeare kitsch\": T-shirts, ties, thimbles, savings banks, and other mass market souvenirs. 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