Enter a Black Dog: Witchcraft as Racecraft in The Witch of Edmonton.
This article analyzes the anti-Black racism that undergirds the character of Dog in Thomas Dekker, William Rowley, and John Ford's true-crime play The Witch of Edmonton (1621). By situating Dog in the intersecting traditions of Black devils in witchcraft literature and Black characters on the early...
| Publicado en: | Journal for Early Modern Cultural Studies Vol. 22; no. 4; pp. 53 - 82 |
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| Formato: | Artículo |
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University of Pennsylvania Press
Fall2022
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=180997975&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 180997975 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 15310485 DBLW jtl: Journal for Early Modern Cultural Studies issn: 15310485 maglogo: N pubinfo: dt: Fall2022 vid: 22 iid: 4 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 180997975 ppf: 53 ppct: 29 formats: fmt: – @attributes: type: T – @attributes: type: P size: 683KB tig: atl: Enter a Black Dog: Witchcraft as Racecraft in The Witch of Edmonton. aug: au: Korell, Hannah su: Anti-Black racism Witchcraft Blackface Race Literary characters sug: subj: Anti-Black racism Witchcraft Blackface Race Literary characters keyword: blackface demonology devil early modern drama Elizabeth Sawyer gender race The Witch of Edmonton theatre witchcraft ab: This article analyzes the anti-Black racism that undergirds the character of Dog in Thomas Dekker, William Rowley, and John Ford's true-crime play The Witch of Edmonton (1621). By situating Dog in the intersecting traditions of Black devils in witchcraft literature and Black characters on the early modern stage, this article argues that the play uses Dog's Blackness to situate Mother Sawyer's turn to witchcraft as an act of apostasy. Witchcraft thus functions as a form of racecraft, a means through which the play actively constructs semantic associations between Blackness and evil and between whiteness and godliness. Ultimately, this article concludes with a call for scholars, theater reviewers, and theatrical practitioners not to reproduce The Witch of Edmonton 's racial politics in their own engagement with the play. This article analyzes the anti-Black racism that undergirds the character of Dog in Thomas Dekker, William Rowley, and John Ford's true-crime play The Witch of Edmonton (1621). By situating Dog in the intersecting traditions of Black devils in witchcraft literature and Black characters on the early modern stage, this article argues that the play uses Dog's Blackness to situate Mother Sawyer's turn to witchcraft as an act of apostasy. Witchcraft thus functions as a form of racecraft, a means through which the play actively constructs semantic associations between Blackness and evil and between whiteness and godliness. Ultimately, this article concludes with a call for scholars, theater reviewers, and theatrical practitioners not to reproduce The Witch of Edmonton's racial politics in their own engagement with the play. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal for Early Modern Cultural Studies is the property of University of Pennsylvania Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal for Early Modern Cultural Studies holder: University of Pennsylvania Press dt: @attributes: year: 2022 holdings: @attributes: islocal: N |
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