To save content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about saving content to .
To save content items to your Kindle, first ensure no-reply@cambridge.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about saving to your Kindle.
Note you can select to save to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
This essay brings to light a hitherto unnoticed network of Afro-Romani connections in later seventeenth-century French and English drama, and it construes that network as conceptual and ethical genealogy for the bonds that exist today between Black studies and the fledgling field of critical Romani studies. By close reading Molière's “Les fourberies de Scapin” (1671) and its 1677 adaptation by Edward Ravenscroft, among other objects, through the lens of critical race theory, this essay shows how theatrical culture across the Channel reckoned with the similar positionings of enslaved Roma and sub-Saharan Africans within the logic of early modern white supremacy.
Drawing on philosophical writings ranging from the Enlightenment and the Romantics through to the contemporary world - including, among others, Rousseau, Hegel, and Thoreau - I explore the civil dimensions of Cornelia Hahn Oberlander’s gardens and landscape designs. I argue that Oberlander’s landscapes are not merely visual delights; they are civil, humanist works. I survey a selection of her designs, from collaborations with Arthur Erickson and Renzo Piano to her public housing projects and the playgrounds that she designed in-and-around her home of Vancouver, Canada. A secondary argument I make is that Oberlander’s gardens and landscapes are not merely aesthetic objects, but artworks, and they do the work of art as Hegel describes it: showing us something of our human spirit, and specifically our creative and political geist.