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              <text>The back on this photograph reads, 'Miss Halleon, American Bearded Lady, age 28, Castile, Wyoming County, N.Y.' Like Mungo Park, the 'Spotted Boy' in the previous slide, the ?bearded lady? was also a cause of fascination for the Victorian imagination. Both raised the disruptive possibility that what were assumed to be fixed and natural categories ?&amp;nbsp;race and sex ? might not be as stable as desired by the social structures that depended on these categories being defined, certain, and enduring. The color on this photograph was applied by hand in the photographer?s studio, and the image would have been used for marketing and for sales.</text>
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                <text>Figure 6</text>
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                <text>circa 1865</text>
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                <text>Gregory Fried Collection</text>
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                <text>photographer Unknown Photographer Photographer (Meadville, Pennsylvania)</text>
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              <text>According to the account on the back of this photograph, Mungo Park was found in 1868 in South Africa. Modern medicine would probably identify his condition as vitiligo, which causes the skin to lose pigmentation, but in the 19th century, when no one understood its scientific cause, there was a fascination with cases where dark-skinned people seemed to be turning as white ?as the skin of the fairest Caucasian,? as W. H. Vosper writes here. Such cases caused anxiety, because they suggested that 'colored' people might become white, or that skin color could be an accidental rather than an essential feature of a person?s physiognomy. This undermined the notion of clear division between the races.. Vosper was a photographer operating in Sydney, Australia; this is possibly a copy photograph by J. D. Dunn.</text>
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                <text>Figure 5</text>
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                <text>Mungo Park: The Spotted Boy</text>
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                <text>circa 1875</text>
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                <text>Greg French Collection</text>
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              <text>Albinos such as Miss Millie La Mar sometimes found work in circus sideshows; some believed that albinos? extreme whiteness granted them supernatural powers, and the circus exploited such superstitions. Nothing more is known about Miss La Mar at the moment, but if any viewers have further information, we would welcome anything that can be documented.</text>
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                <text>Figure 4</text>
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                <text>Miss Millie La Mar, Mind Reader</text>
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                <text>Miss Millie La Mar, Mind Reader</text>
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                <text>Obermuller and Kern (New York)</text>
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                <text>circa 1890</text>
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              <text>Carte de visite, albumen print
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              <text>This family of albinos were performers in a circus such as the one created by P. T. Barnum. The man might be Charles Gohren, who can be seen in Figure 2 in this slideshow. Note the strange ?wild man? costume he is wearing, including an animal skin skirt. This, together with his teased hair, was meant to display him as exotic, perhaps playing on the belief that alibinos were a more primitive form of white people. For an essay on the obsession with forms of primordial whiteness, see the essay &lt;a href=?http://mirrorofrace.org/circassian/? target=?_blank?&gt; ?A Freakish Whiteness: The Circassian Lady and the Caucasian Fantasy?&lt;/a&gt; on this site.</text>
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                <text>Figure 3</text>
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                <text>Mathew Brady</text>
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                <text>circa 1865
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                <text>Greg French Collection</text>
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              <text>The 19th century fascination with permutations of the human body extended as much to people ordinarily categorized as white as to people outside that grouping. P. T. Barnum (1810-1891), the great American huckster and showman, reserved a whole section of his American Museum in New York City for performers of this type and sold souvenir photographs such as this to the public. See the back of the photograph for identification of the performers, although many of these are stage names. Revenue stamps, such as the one on the back of this image, were used from 1864 to 1866 to raise funds to pay for the Civil War.</text>
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                <text>Figure 2</text>
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                <text>circa 1864-66</text>
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            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
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                <text>Greg French Collection</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>photographer Unknown Photographer Photographer</text>
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        <src>https://mirrorofrace.bc.edu/files/original/8ebe131736436539cfe746a9c6f7a2d2.jpg</src>
        <authentication>d551a70eeafb53d20208ea43aec7aff2</authentication>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Frontiers of the Human Body</text>
                </elementText>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <element elementId="94">
          <name>Exhibition Name</name>
          <description>Name of the exhibition in which the item appears</description>
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              <text>Frontiers of the Human Body</text>
            </elementText>
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          <name>Original Format</name>
          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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              <text>Carte de visite, albumen print</text>
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          <name>Factual Commentary</name>
          <description>Factual Commentary</description>
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              <text>We do not know more about the man sitting for this portrait other than his name, written on the back of the image: Nathan T. Burrows. He was probably a performer, as he poses here with various implements he could use, despite his lack of arms: in one foot he hold a pen and writes on a sheet of paper, an ink pot beside it. He must also have been able to shoot with the pistol propped up by the stool.</text>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>Figure 1</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Nathan T. Burrows</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Nathan T. Burrows</text>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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              <elementText elementTextId="861">
                <text>J. H. Dodge (Boston)</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>circa 1865</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Studio Portrait</text>
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          </element>
          <element elementId="93">
            <name>Rights Holder</name>
            <description>A person or organization owning or managing rights over the resource.</description>
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              <elementText elementTextId="865">
                <text>Greg French Collection</text>
              </elementText>
            </elementTextContainer>
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