Titlebook: Racism and Early Blackface Comic Traditions; From the Old World t Robert Hornback Book 2018 The Editor(s) (if applicable) and The Author(s)

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Introduction: Recovering the Contexts of Early Modern Proto-Racism,of arguments insisting on a divide between early modern and modern ideas of race. Dismissals of considerations of race in the Renaissance, often buttressed by assertions of anachronism, may satisfy desires for finding a race-free “golden age,” but they require an overlooking of evidence. Seeking to

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Harlequin as Theatergram: Transmitting the Timeworn Black Mask, Ancient to Antebellum,ationally impaired butt often marked via blackface. It invokes traditions that can be traced from ancient theatre, where a comic typology of blackness passed from Hellenistic theatrical masks of smiling Africans to soot-smeared Roman ., the humiliating first-century face-blackening episode of the .,

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From Allegorical Type and Sartorial Satire to Minstrel Dandy Stereotype, Zip Coon, Jim Crow, and Blmajor type of enduring foolish blackface stereotype, the black dandy, and demonstrates its deep roots in religious and didactic treatments of folly. Blackface often appeared as a humorous moral emblem of misplaced vanity in sermon ., medieval mystery plays, and allegorical Tudor moral interludes aim

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Sambo Dialects: Defining National Language Boundaries via Early Representations of Stereotypically ural work enacted by a long history of estranging idioms spoken by blackfaced fools. On the one hand, the invitation to laugh at the misspeaking of pan-European performers in blackface contributed to proto-nationalist projects standardizing different vernacular languages across Western Europe. On th

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,Shakespeare in Blackface: Black Shakespeareans versus Minstrel Burlesques, 1821–1844, or Othello vedetail at the development of so-called early blackface in what was actually a very late period in the history of blackface comic traditions, that of antebellum America. In an era in which Shakespeare’s plays accounted for a quarter of those performed in America and in which . was spoofed in more min

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Conclusion: A New Theory of Pre-Modern or Proto-Racism,opeans’ proto-racist ideology while underscoring how such logic, applied to Jews and Turks (as well as those defined as “black”), drew upon authorities that were uniformly theological, philosophical, or allegorical. Rather than privileging assumptions based in a so-called biological determinism, I s

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,Afterword: White Nationalism, Trolling Humor as Propaganda, and the “Renaissance” of Christian Racially, to racist constructions of a pan-European whiteness—and, vice versa, that proto-racism was itself both “Christian” and part of pan-European nationalist movements. Inattention to this early formation of racism has obscured the legacy of this ideology, blinding us to the resurgence of the uncann