I want to point out that this bit of social justice is coming from “I think I remember” and that should illustrate just how much bullshit you people spew
Because as you all know, I’ve never cited anything. But I do “think I remember” posting some links….
- Paper by Georg Bossong evaluating proposals for the etymology of “al-Andalus”. In German.
- Photocopy of the Ajbar Machmu’a, translated by Lafuente 1867
- The routes of al-Andalus (from the UNESCO web site)
- The Library of Iberian Resources Online
- Al-Andalus Chronology and Photos
- Christian Martyrs in Muslim Spain by Kenneth Baxter Wolf
- The Musical Legacy of Al-Andalus – historical maps, photos, and music showing the Great Mosque of Córdoba and related movements of people and culture over time
- Patricia, Countess Jellicoe, 1992, The Art of Islamic Spain, Saudi Aramco World
- "Cities of Light: The Rise and Fall of Islamic Spain" (documentary film)
- Al-Andalus: the art of Islamic Spain, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF)
- The Black King in Manuscripts
- Moors in the European Renaissance
- Image of the Black in Western Art
- Image of the Black in Western Art 2
- Painted Black in Europe
- A View on Race in the Art World
- Revealing the African Presence in Renaissance Europe
- Additional Art of Renaissance Black in Europe
- From Kongo to Othello to Tango
- Revealing the African Presence review
- Revealing the African Presence: Multimedia & Images
- Race and the Idea of the Aesthetic
- Costumes Anciens et Modernes
- Ancient and Modern Dress in Diverse Parts of the World
- Africans in Yorkshire-English Genealogy
- Medieval Illuminated Manuscripts
- List of Black/African Saints
- Mongol Elements in Western Medieval Art
- The Equiano Center-The Slavery Trail
- From Majesty to Mystery-Change in Meanings of Black Madonnas from the 16th to 19th Centuries
- Nigra Sum, sed Formosa: The Black Saints in Catholic Tradition
- The Madonna and the Cuckoo: An Exploration in European Symbolic Conceptions
- The Cult of the Black Virgin
- The Web Gallery of Art
- Romani in the Middle Ages and Renaissance
- Innovations of Caravaggio’s Fortune Teller
- Jacob Jordaens and Moses’ Ethiopian Wife
- Esther Schreuder
- Ethiopian Christ Icon Found
- Sigilum Secretum: Image of the Moor’s Head in Medieval Iconography
- The Great Encounter of China and the West: Fragrant Concubine search
- Lessing Images
- Black Knights, Green Knights, Knights of Color All A-Round: Race and the Round Table
- Black Germany, History of the Holy Roman Black Empire
- Imperator Totius Hispanae: Leon and Castile 1086-1157
- The Invention of Race in the European Middle Ages
- Problems of Studying the Role of Blacks in Europe
- Across Cultural Borders: Historiography in Global Perspective
- Pages from the Cantigas de Santa Maria
- Eckhout’s 8 Brazilian Portraits
- Fifteenth Century Manuscripts: Fear of the Ottomans and help from Ethiopia
- Association for Critical Race Art History
- Black Magi in European Art
Inersectional with Disability Studies:
- Whiteness, Normal Theory, and Disability Studies
- Disability in Medieval Europe: Thinking about physical impairment during the high Middle Ages, c. 1100-1400
- Resisting the Reflection: Identity in Inclusive Life History Research
- Incurable Blackness: Criminal Disenfranchisement, Mental Disability, and the White Citizen
- Hegel, Feminist Philosophy, and Disability: Rereading our History
- Telling It Like It Is: The Role of Race, Class, & Culture in the Perpetuation of Learning Disability as a Privileged Category for the White Middle Class[databases] Web Gallery of Art Rijksmuseum Art History Site Database and Search (AHDB) The Bridgeman Art Library The National Gallery
I have posts and series on the following:
- Eckhout’s Portraits of Brazilians
- Depictions of the Portuguese in African and Asian Art
- Guiseppe Castiglione, court painter in China
- Mongolian-European Occupation and Cultural Exchange
- The Search for Prester John
- The Crusades
- The Aethiopica
- Dante and Virgil
More about Black Celts:
Reading List (with links):
Ali, Ahmed, and Ibrahim Ali. The Black Celts: An Ancient African Civilization in Ireland and Britain. Cardiff: Punite Publications, 1992.
Luke, Don. “African Presence in the Early History of the British Isles and Scandinavia." African Presence in Early Europe. New Brunswick: Transaction Press, 1985: 223-44.
MacKenzie, Donald A. Ancient Man in Britain. Foreword by Grafton Elliot Smith. London: Blackie, 1922.
References and Further Reading
McRitchie, D., Ancient and Modern Britons, Los Angeles, 1884
Buchanan, P. Hill, Margaret Tudor: Queen of Scots, Edinburgh and London, 1985
Dickenson, T. (ed.), Lord High Treasurer’s Accounts - Scotland, vols II, III and IV, Scotland, 1503-13
Edwards, P. and Walvin, J., Black Personalities in the Era of the Slave Trade, London and Basingstoke, 1983
Fryer, P., Staying Power: The History of Black People in Britain, London, 1984
The National Archives of Scotland http://www.nas.gov.uk
More on Black People in Western Art:
The definitive collection for depiction of Africans and Afro-Europeans is certainly The Image of the Black in Western Art, 8 Volumes by Harvard University Press.
The new edition of From the Pharaohs to the Fall of the Roman Empire offers a comprehensive look at the fascinating and controversial subject of the representation of black people in the ancient world. Classic essays by distinguished scholars are aptly contextualized by Jeremy Tanner’s new introduction, which guides the reader through enormous changes in the field in the wake of the “Black Athena” story.
From the Demonic Threat to the Incarnation of Sainthood, written largely by noted French scholar Jean Devisse, has established itself as a classic in the field of medieval art. It surveys as never before the presence of black people, mainly mythical, in art from the early Christian era to the fourteenth century. The extraordinary transformation of Saint Maurice into a black African saint, the subject of many noble and deeply touching images, is a highlight of this volume. The new introduction by Paul Kaplan provides a fresh perspective on the image of the black in medieval European art and contextualizes the classic essays on the subject.
Africans in the Christian Ordinance of the World, written by a small team of French scholars, has established itself as a classic in the field of medieval art. The most striking development in this period was the gradual emergence of the black Magus, invariably a figure of great dignity, in the many representations of the Adoration of the Magi by the greatest masters of the time. The new introduction by Paul Kaplan provides a fresh perspective on the image of the black in medieval European art and contextualizes the classic essays on the subject.
The much-awaited Artists of the Renaissance and Baroque has been written by an international team of distinguished scholars, and covers the sixteenth and seventeenth centuries. The rise of slavery and the presence of black people in Europe irrevocably affected the works of the best artists of the time. Essays on the black Magus and the image of the black in Italy, Spain, and Britain, with detailed studies of Rembrandt and Heliodorus’s Aethiopica, all presented with superb color plates, make this new volume a worthy addition to this classic series.
Europe and the World Beyond focuses geographically on peoples of South America and the Mediterranean as well as Africa, but conceptually it emphasizes the ways that visual constructions of blacks mediated between Europe and a faraway African continent that was impinging ever more closely on daily life in cities and ports engaged in the slave trade.
The Eighteenth Century features a rich collection of images of Africans representing slavery’s apogee and the beginnings of abolition. Old visual tropes of a master with adoring black slave gave way to depictions of Africans as victims and individuals, while at the same time the intellectual foundations of scientific racism were established.
Slaves and Liberators looks at the political implications of the representation of Africans, from the morality of slavery, through abolitionism, to European imperialism in Africa. Popular imagery and great works, like Turner’s Slave Ship, cast light on widely differing European responses to Africans and their descendants.
This is completely amazing.
What I have to love is how you get these Fedoras bitching about this Social Justice nonsense, as if they’re more down to earth, real and rational; and then they get hit with a good ol’ wall of facts. The fact that they become so fucking defensive as if challenging whitewashed history is somehow a bigger sin than whitewashing history in the first place.
Anti-SJW is full of this sort of shit. You’re talking down to pretty much everyone who isn’t white, or anyone who’s put serious research into this. You’re trying to look like a badass because you don’t subscribe to this “social justice” nonsense. Social Justice has just become the new Liberal and you have a bunch of teenagers and twenty somethings acting like crotchety old Republicans.
At the very least you have to respect the effort and presentation of Medieval-POC. It’s first and foremost fact based - here is a cool piece of art, there are people in it you might not expect to be there. Here is some information about this piece of art.
It should be obvious they’re working on an entirely different level of maturity to you. Why is it so hard to accept that, and accept there might be a valid argument in favour of a group that isn’t white people that maybe you should sit down and take notice of?
Reblogging to have in my timeline for posterity.
mysterioussauerkraut asked you:
I love your blog and as much as I like the information you have already supplied, I am more into writing scripts than books. Do you have anything on script writing, anything at all?
Script Frenzy has a bunch of resources for beginners.
My sad days are fewer, but deeper.