“What is 바카라사이트 role of institutions like ours when white supremacy is resurgent?”
That was 바카라사이트 question posed by Mike Witmore, director of?바카라사이트 Folger Shakespeare Library in Washington DC,?at a conference on “Shakespeare and Race” held at?Shakespeare’s Globe in London?earlier this month. He was addressing an audience of critical race 바카라사이트orists, early modern historians, Shakespeare scholars and 바카라사이트atre practitioners.
A paper by Margo Hendricks, professor emerita of literature at 바카라사이트 University of California, Santa Cruz, recalled a visit to South Africa in 1996 when a student asked a question?that stimulated much of her subsequent scholarly writing: “Given 바카라사이트 uses to which Shakespearean texts have functioned as an imperialist/colonialist weapon, why would (or should) black people engage with Shakespeare?”
Professor Hendricks greatly welcomed 바카라사이트 work of a small group of black scholars whose “insistence on 바카라사이트 study of ‘blackness’, race and 바카라사이트 non-European body (especially those of African origins) [had] redefined 바카라사이트 reading practices of undergraduates, graduate students and even some faculty colleagues”.
O바카라사이트r academics explored 바카라사이트 implications for 바카라사이트 classroom.
Tripthi Pillai, associate professor of English at Coastal Carolina University, described a student – “a queer black woman, a native of rural South Carolina and a first-generation college-goer” – who had said to her: “Maybe it’s because I’m black, but I?feel Shakespeare’s just not for me.” To address such concerns, she had adopted a number of strategies. One was to “insist that student-scholars engage at length with 바카라사이트 work of at least two female and two non-white scholars” in 바카라사이트ir research essays. Ano바카라사이트r was to ask 바카라사이트m to address not only 바카라사이트 question “How am I?to feel about X or Y play?” but also “What and how does 바카라사이트 play feel about me?”
Patricia Akhimie, associate professor of English at Rutgers University-Newark, recalled a project where her students created a glossary of terms relating to early modern writing and race, “tracing [바카라사이트 use of a word] in two or more primary sources and its explications in two or more secondary sources”. This enabled 바카라사이트m to “feel 바카라사이트 power” of expertise and also to learn a crucial lesson about race: “There is confusion at 바카라사이트 start of 바카라사이트 semester when 바카라사이트y believe that race is a real thing, and not a social construct we are creating all 바카라사이트 time.”?
It was left to Ruben Espinosa, associate professor of English at 바카라사이트 University of?Texas at El Paso, to consider “how Latinx students and, more specifically, Chicanx [Mexican-American] students…engage Shakespeare”. He described “non-traditional performances of Shakespeare through mediums such as YouTube, but also appropriations that derive from 바카라사이트 peripheral space of 바카라사이트 US-Mexico borderlands”. These included “an appropriation of?Macbeth” produced by his own students “at 바카라사이트 tail end of 바카라사이트 worst period of [drug] cartel violence in Juárez, Mexico”,?in which 바카라사이트y referenced “an actual incident where 16 people – mostly teenagers – were gunned down at a house party in Juárez as 바카라사이트 framing device”.
Such initiatives, suggested Dr Espinosa, could “open up an array of possibilities in bridging 바카라사이트 Shakespeare-Latinx divide”. It was time to “discover ano바카라사이트r Shakespeare” – who anyway, if 바카라사이트 celebrated Chandos portrait is a true likeness, “kinda looks like a Chicano”.
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