Whiteness has something to do with skin color because as a culture we read bodies in a certain way and assign values to those bodies. This is also a question of ideology and a pervasive set of attitudes. Associated with a class, gatekeepers and the Shax industry. --Smith 3/
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Race is about a dynamic relationship among and between people. It is an active thing. How can we use Shakespeare to teach these things? It can't be just that I read literature but about what skills have I acquired from this act. 14/
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Lynch asks about "We are Othello," in special issue of SQ edited by
@ProfKFH. I, [AD] would add, that#ShakeRace is not a new field. 15/Näytä tämä ketju -
Smith notes Hamlet's ultimate white privilege in getting a military funeral. Othello, a military man does not get that. We have to ask ourselves where we stand in relation to Othello's isolation. Othello is stamped by his Blackness. Iago has the mobility of whiteness. 16/
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Time for Q&A: Specific examples of ways to look at race in Shakespeare's texts. Smith: sonnets, "from fairest beauty," whiteness is there, it is imbricated with notions of beauty. The Shakespeare persona constructed as blackness in contrast to the whiteness of beloved. 17/
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The direst hand, darkened hand, the darkening is related to the blackening of actors on the stage to play Moors. Question: how does the racial makeup of your class affect how you teach; We're socialized to teach Shakespeare as a white object regardless of student demographics 18/
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We're all taught to read as white readers. Cites Morrison. Like Shakespeare we're all positioned as white. White positioning is what we have to navigate. 19/
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Casting q: is it important for characters to be racially accurate? ans: it depends on the production or we might cast more conceptually in order to directly address race. 20/
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Read Ian Smith's work, folks! It is


#ShakeRace#LitPOC 21/21Näytä tämä ketju
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I really like the idea of racial literacy as a concept.
Kiitos. Käytämme tätä aikajanasi parantamiseen. KumoaKumoa
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