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ON TURNING TURK, OR TRYING TO: NATIONAL IDENTITY IN ROBERT DABORNE'S A CHRISTIAN TURN'D TURKE

ON TURNING TURK, OR TRYING TO: NATIONAL IDENTITY IN ROBERT DABORNE'S A CHRISTIAN TURN'D TURKE ON ThRNlNG TURK? OR mYJrNG To~ NATIONAL KDEN1TTY IN ROBERT ][)ABOlRNE? S CHRISTIAN ThRN D 1VRKE GERALD MAcLEAN As WE LEARN more about the Afro-Asiatic origins of the Eutopean Renaissance, the literary and theatrical representation of Arabs, Jews, Moors, Persians, Saracens, and Turks evidences the importance of the cultural representation of Eastern others for the re-birthing of European identity and civilization. For many years scant attention was paid to such tropes by literary scholars, with the exception of Samuel Chew's The Crescent and the Rose, published in 1937. Now studies by scholars such as Jonathan Burton, Nabil Matar, Patricia Parker, Lois Potter, James Shapiro, Virginia Vaughan, and Daniel Vitkus, among others, are revitalizing interest in the great wealth of literary materials produced for the London stage concerning the terrifying threat of the Great Turk and the dangerous delights of Eastern promise. 1 Here I wish to contribute to this rebirth of interest in Early Modern dramatic writing about the Turks and the Ottoman empire by examining Robert Daborne's A Christian Turn'd Turke; or, The Tragicall Lives and Deaths of the two Famous Pyrates, Ward and Dansiker of 1612. Noticed by scholars on several occasions, the textual difficulties presented http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Explorations in Renaissance Culture Brill

ON TURNING TURK, OR TRYING TO: NATIONAL IDENTITY IN ROBERT DABORNE'S A CHRISTIAN TURN'D TURKE

Explorations in Renaissance Culture , Volume 29 (2): 225 – Dec 2, 2003

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Publisher
Brill
Copyright
© Copyright 2003 by Koninklijke Brill NV, Leiden, The Netherlands
ISSN
0098-2474
eISSN
2352-6963
DOI
10.1163/23526963-90000267
Publisher site
See Article on Publisher Site

Abstract

ON ThRNlNG TURK? OR mYJrNG To~ NATIONAL KDEN1TTY IN ROBERT ][)ABOlRNE? S CHRISTIAN ThRN D 1VRKE GERALD MAcLEAN As WE LEARN more about the Afro-Asiatic origins of the Eutopean Renaissance, the literary and theatrical representation of Arabs, Jews, Moors, Persians, Saracens, and Turks evidences the importance of the cultural representation of Eastern others for the re-birthing of European identity and civilization. For many years scant attention was paid to such tropes by literary scholars, with the exception of Samuel Chew's The Crescent and the Rose, published in 1937. Now studies by scholars such as Jonathan Burton, Nabil Matar, Patricia Parker, Lois Potter, James Shapiro, Virginia Vaughan, and Daniel Vitkus, among others, are revitalizing interest in the great wealth of literary materials produced for the London stage concerning the terrifying threat of the Great Turk and the dangerous delights of Eastern promise. 1 Here I wish to contribute to this rebirth of interest in Early Modern dramatic writing about the Turks and the Ottoman empire by examining Robert Daborne's A Christian Turn'd Turke; or, The Tragicall Lives and Deaths of the two Famous Pyrates, Ward and Dansiker of 1612. Noticed by scholars on several occasions, the textual difficulties presented

Journal

Explorations in Renaissance CultureBrill

Published: Dec 2, 2003

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