{"title":"否认种族，创造种族：中世纪反犹主义","authors":"Samantha Katz Seal","doi":"10.5325/jmedirelicult.48.2.0243","DOIUrl":null,"url":null,"abstract":"In the Middle English romance The King of Tars, a Muslim sultan’s skin color famously transforms upon his conversion to Christianity. “His hide that blac and lothely was / Al white bicom thurth Godes gras.” Much has been written about the racial fantasy thus enacted within the poem, but in the contexts of this essay, I’m particularly struck not by the transformation itself but rather by its utility as a visual sign. For when the Sultan’s Christian wife beholds his new appearance, “wist sche wele in hir thought / on Mahoun leved he nought / For chaunged was his hewe.” In other words, the Sultan’s skin color becomes a semiotic display of the authenticity of his review essay","PeriodicalId":40395,"journal":{"name":"Journal of Medieval Religious Cultures","volume":null,"pages":null},"PeriodicalIF":0.2000,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Denying Sameness, Making Race: Medieval Anti-judaism\",\"authors\":\"Samantha Katz Seal\",\"doi\":\"10.5325/jmedirelicult.48.2.0243\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In the Middle English romance The King of Tars, a Muslim sultan’s skin color famously transforms upon his conversion to Christianity. “His hide that blac and lothely was / Al white bicom thurth Godes gras.” Much has been written about the racial fantasy thus enacted within the poem, but in the contexts of this essay, I’m particularly struck not by the transformation itself but rather by its utility as a visual sign. For when the Sultan’s Christian wife beholds his new appearance, “wist sche wele in hir thought / on Mahoun leved he nought / For chaunged was his hewe.” In other words, the Sultan’s skin color becomes a semiotic display of the authenticity of his review essay\",\"PeriodicalId\":40395,\"journal\":{\"name\":\"Journal of Medieval Religious Cultures\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2022-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Medieval Religious Cultures\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/jmedirelicult.48.2.0243\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"MEDIEVAL & RENAISSANCE STUDIES\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Medieval Religious Cultures","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/jmedirelicult.48.2.0243","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"MEDIEVAL & RENAISSANCE STUDIES","Score":null,"Total":0}
引用次数: 0
摘要
在中世纪的英国浪漫小说《焦油之王》中，一位穆斯林苏丹的肤色在皈依基督教后发生了著名的变化。“他那厚颜无耻的伪装是/Al white bicom thurth Godes gras。”关于这首诗中由此产生的种族幻想，人们已经写了很多文章，但在这篇文章的背景下，我特别惊讶的不是这种转变本身，而是它作为一种视觉标志的实用性。因为当苏丹的基督教妻子看到他的新外表时，“在他的思想中/在马洪身上他什么都没有/因为chaunted是他的丈夫。”换句话说，苏丹的肤色成为了他评论文章真实性的符号展示
Denying Sameness, Making Race: Medieval Anti-judaism
In the Middle English romance The King of Tars, a Muslim sultan’s skin color famously transforms upon his conversion to Christianity. “His hide that blac and lothely was / Al white bicom thurth Godes gras.” Much has been written about the racial fantasy thus enacted within the poem, but in the contexts of this essay, I’m particularly struck not by the transformation itself but rather by its utility as a visual sign. For when the Sultan’s Christian wife beholds his new appearance, “wist sche wele in hir thought / on Mahoun leved he nought / For chaunged was his hewe.” In other words, the Sultan’s skin color becomes a semiotic display of the authenticity of his review essay
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