This book explores the threat of Christian conversion to Islam in twelve early modern English plays. In works by Shakespeare, Marlowe, Massinger, and others, conversion from Christianity to Islam is represented as both tragic and erotic, as a fate worse than death and as a sexual seduction. Degenhardt examines the stage's treatment of this intercourse of faiths to reveal connections between sexuality, race, and confessional identity in early modern English drama and culture. In addition, she shows how England's encounter with Islam reanimated post-Reformation debates about the embodiment of Christian faith. As Degenhardt compellingly demonstrates, the erotics of conversion added fuel to the fires of controversies over Pauline universalism, Christian martyrdom, the efficacy of relics and rituals, and even the Knights of Malta.

Throughout the sixteenth and seventeenth centuries, the edges of Europe were under pressure from the Ottoman Turks. This book explores how Shakespeare and his contemporaries represented places where Christians came up against Turks, including Malta, Tunis, Hungary, and Armenia. Some forms of Christianity itself might seem alien, so the book also considers the interface between traditional Catholicism, new forms of Protestantism, and Greek and Russian orthodoxy. But it also finds that the concept of Christendom was under threat in other places, some much nearer to home. Edges of Christendom could be found in areas that were or had been pagan, such as Rome itself and the Danelaw, which once covered northern England; they could even be found in English homes and gardens, where imported foreign flowers and exotic new ingredients challenged the concept of what was native and natural.

This book considers the relationship between the vogue for putting the Ottoman Empire on the English stage and the repertory system that underpinned London playmaking. The sheer visibility of 'the Turk' in plays staged between 1567 and 1642 has tended to be interpreted as registering English attitudes to Islam, as articulating popular perceptions of Anglo-Ottoman relations, and as part of a broader interest in the wider world brought home by travellers, writers, adventurers, merchants, and diplomats. Such reports furnished playwrights with raw material which, fashioned into drama, established ‘the Turk’ as a fixture in the playhouse. But it was the demand for plays to replenish company repertories to attract London audiences that underpinned playmaking in this period. Thus this remarkable fascination for the Ottoman Empire is best understood as a product of theatre economics and the repertory system, rather than taken directly as a measure of cultural and historical engagement.

Shakespeare through Islamic Worlds investigates the peculiar absence of Islam and Muslims from Shakespeare’s canon. While many of Shakespeare’s plays were set in the Mediterranean, a geography occupied by Muslim empires and cultures, his work eschews direct engagement with the religion and its people. This erasure is striking given the popularity of this topic in the plays of Shakespeare’s contemporaries. By exploring the limited ways in which Shakespeare uses Islamic and Muslim tropes and topoi, Ambereen Dadabhoy argues that Islam and Muslim cultures function as an alternate or shadow text in his works, ranging from his staged Mediterranean plays to his histories and comedies. By consigning the diverse cultures of the Islamic regimes that occupied and populated the early modern Mediterranean, Shakespeare constructs a Europe and Mediterranean freed from the presence of non-white, non-European, and non-Christian Others, which belied the reality of the world in which he lived. Focusing on the Muslims at the margins of Shakespeare’s works, Dadabhoy reveals that Islam and its cultures informed the plots, themes, and intellectual investments of Shakespeare’s plays. She puts Islam and Muslims back into the geographies and stories from which Shakespeare had evacuated them. This innovative book will be of interest to all those working on race, religion, global and cultural exchange within Shakespeare, as well as people working on Islamic, Mediterranean, and Asian studies in literature and the early modern period.

How does our understanding of early modern performance, culture and identity change when we decentre Shakespeare? And how might a more inclusive approach to early modern drama help enable students to discuss a range of issues, including race and gender, in more productive ways? Underpinned by these questions, this collection offers a wide-ranging, authoritative guide to research on drama in Shakespeare's England, mapping the variety of approaches to the context and work of Shakespeare and his contemporaries. By paying attention to repertory, performance in and beyond playhouses, modes of performance, and lost and less-studied plays, the handbook reshapes our critical narratives about early modern drama. Chapters explore early modern drama through a range of cultural contexts and approaches, from material culture and emotion studies to early modern race work and new directions in disability and trans studies, as well as contemporary performance. Running through the collection is a shared focus on contemporary concerns, with contributors exploring how race, religion, environment, gender and sexuality animate 16th- and 17th-century drama and, crucially, the questions we bring to our study, teaching and research of it. The volume includes a ground-breaking assessment of the chronology of early modern drama, a survey of resources and an annotated bibliography to assist researchers as they pursue their own avenues of inquiry. Combining original research with an account of the current state of play, The Arden Handbook of Shakespeare and Early Modern Drama will be an invaluable resource both for experienced scholars and for those beginning work in the field.

Piracy and Captivity in the Mediterranean explores the early modern genre of European Barbary Coast captivity narratives from the sixteenth to the nineteenth century. During this period, the Mediterranean Sea was the setting of large-scale corsairing that resulted in the capture or enslavement of Europeans and Americans by North African pirates, as well as of North Africans by European forces, turning the Barbary Coast into the nemesis of any who went to sea. Through a variety of specifically selected narrative case studies, this book displays the blend of both authentic eye witness accounts and literary fictions that emerged against the backdrop of the tumultuous Mediterranean Sea. A wide range of other primary sources, from letters to ransom lists and newspaper articles to scientific texts, highlights the impact of piracy and captivity across key European regions, including France, Italy, Germany, the Netherlands, Portugal, Spain, Scandinavia, and Britain, as well as the United States and North Africa. Divided into four parts and offering a variety of national and cultural vantage points, Piracy and Captivity in the Mediterranean addresses both the background from which captivity narratives were born and the narratives themselves. It is essential reading for scholars and students of early modern slavery and piracy.

A New Companion to Renaissance Drama provides an invaluable summary of past and present scholarship surrounding the most popular and influential literary form of its time. Original interpretations from leading scholars set the scene for important paths of future inquiry. A colorful, comprehensive and interdisciplinary overview of the material conditions of Renaissance plays, England's most important dramatic period Contributors are both established and emerging scholars, with many leading international figures in the discipline Offers a unique approach by organizing the chapters by cultural context, theatre history, genre studies, theoretical applications, and material studies Chapters address newest departures and future directions for Renaissance drama scholarship Arthur Kinney is a world-renowned figure in the field

The Equality of Flesh traces a new genealogy of equality before its formalization under liberalism. While modern ideas of equality are defined through an inner human nature, Brent Dawson argues that the sixteenth and seventeenth centuries conceptualized equality as an ambivalent and profoundly bodily condition. Everyone was made from the same lowly matter and, as a result, shared the same set of vulnerabilities, needs, and passions. Responding to the political upheavals of colonialism and the intellectual turmoil of new natural philosophies, leading figures of the English Renaissance, including Edmund Spenser and William Shakespeare, anxiously imagined that bodily commonality might undermine differences of religion, race, and class. As the period progressed, later authors developed the revolutionary possibilities of bodily equality even as new ideas of fixed racial inequality emerged. Some—like the utopian radical Gerrard Winstanley and the republican poet John Milton—challenged political absolutism through the idea of humans as base, embodied creatures. Others—like the heterodox philosopher Margaret Cavendish, the French theologian Isaac La Peyrère, and the libertine Cyrano de Bergerac—offered limited yet important interrogations of racial paradigms. This moment, Dawson shows, would pass, as bodily equality was marginalized in the liberal theories of John Locke and Thomas Hobbes. In its place, during the Enlightenment pseudoscientific racism would come to anchor inequality in the body. Contending with the lasting implications of material equality for modernity, The Equality of Flesh shows how increasingly vehement notions of racial difference eclipsed a nascent sense of human commonality rooted in the basic stuff of life.

Geo-spatial identity and early Modern European drama come together in this study of how cultural or political attachments are actively mediated through space. Matei-Chesnoiu traces the modulated representations of rivers, seas, mountains, and islands in sixteenth-century plays by Shakespeare, Jasper Fisher, Thomas May, and others.

Medieval and Renaissance Drama in England is an international journal committed to the publication of essays and reviews relevant to drama and theatre history to 1642. This issue includes eleven new articles and reviews of twelve books.