Communities and Other Social Actors: Rethinking Commodities and Consumption in Global Historical Archaeology

The relationships between people and commodities, and the processes through which goods are entangled with people's lives can be better understood with a focus on the community. The concept of community offers a way to understand the entanglement of individuals and small groups with global processes. In addition, a focus on the community allows historical archaeologists a scale of analysis to consider the links between people, communities, and global networks of exchange, as commodities are exchanged in and out of local, regional, or global arenas.     

The Secret of England's Greatness

The Secret of England's Greatness is a portrait by Thomas Jones Barker of Queen Victoria meeting an African envoy and presenting him with a copy of the Bible. Painted around 1863, it has become an icon of British imperialism in this period and of the justification of colonial expansion in terms of the transmission of the values of the Bible. As such, the portrait appears confident and unambiguous: the secret of England's greatness is unravelled and the truth is exposed. This article seeks to disturb the apparent absence of mystery in this painted encounter and to examine what remains concealed in the meeting between the white sovereign and the black emissary. Moving from Barker's painting to William Mulready's The Toyseller, which was completed in the same years and depicts a black pedlar trying to sell a wooden toy to a white mother and child, the article uncovers, within the language of painting and its surrounding discourses, a different kind of disturbing and exhilarating secret, concerned with racial identity and mid-Victorian desire. Working from a reading of the surface of the paintings to related representations of blackness in nineteenth-century science and culture, the article considers how The Toyseller negotiates the proximity of the figures of the black pedlar and the white mother and child and the significance of the compositional gap between them and suggests that Mulready's painting visualizes many of the issues that were at the heart of British imperialism in the middle of the nineteenth century, following the abolition of slavery.     

Could've Been a Contender: The Making and Breaking of “China” in the Ottoman Empire

Growing interest in global historical archaeology is often focused on commodities exchange, especially between the west and the rest. However, ceramics production and consumption in the Ottoman Empire during the fourteenth through twentieth centuries was not only between the Ottomans and the west, but also the Far East. Chinese porcelains served as inspiration for the production of many Ottoman ceramics, especially during the Empire's height in the sixteenth century. Although with less success, Ottoman ceramics contended for a place within local and global markets. This paper will examine the production and consumption of Ottoman ceramics as part of this empire's struggle to achieve and maintain power relationships globally, as well as within its own dominions.