Making Moors, Commercializing Blankness in Thomas Middleton’s The Triumphs of Truth
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In the early modern period, the Moors were newly constructed and manipulated as an ever-changing identity. They were also commercialized and consumed as a new land and new pleasure by white imperialists. Especially, the representation of the Moors’ ambiguous and negative identities was based on geohumoralism and Pan-Moorism with the prejudice against black skin, which had long been thoroughly theorized and conceptualized by white western people. In particular, the London Mayor’s Show, including Thomas Middleton’s The Triumphs of Truth (c.1613), was a visually spectacular public pageant, which combined theater and commerciality with the active support of merchants’ associations. In the Show, there was a special scene in which the black body of the African was commercialized, the slave trade was justified, and the aspirations of imperialism were indulged in a way to establish Englishness.
Abstract
In the early modern period, the Moors were newly constructed and manipulated as an ever-changing identity. They were also commercialized and consumed as a new land and new pleasure by white imperialists. Especially, the representation of the Moors’ ambiguous and negative identities was based on geohumoralism and Pan-Moorism with the prejudice against black skin, which had long been thoroughly theorized and conceptualized by white western people. In particular, the London Mayor’s Show, including Thomas Middleton’s The Triumphs of Truth (c.1613), was a visually spectacular public pageant, which combined theater and commerciality with the active support of merchants’ associations. In the Show, there was a special scene in which the black body of the African was commercialized, the slave trade was justified, and the aspirations of imperialism were indulged in a way to establish Englishness.
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