By G. Maclean
This publication explores how the Renaissance entailed a world alternate of products, abilities and ideas among East and West. In chapters starting from Ottoman heritage to Venetian publishing, from snap shots of St George to Arab philosophy, from cannibalism to international relations, the authors interrogate what all too usually could seem to be settled certainties, corresponding to the variation among East and West, the invariable clash among Islam and Christianity, and the 'rebirth' of eu civilization from roots in classical Greece and Imperial Rome.
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Additional info for Re-Orienting the Renaissance: Cultural Exchanges with the East
188. 'Empire ottoman et Ia France', Turcica 24 (1992): 183-92. Seward, Prince of the Renaissance, p. 163. Reproduced in Seward, Prince of the Renaissance, p. 19. 53b. 'On Shrove Sunday the same yere, the kyng prepared a goodly banket, in the Parliament Chambre at Westminster, for all the ambassdours, whiche then wer here, out of diverse realms and countries ... his grace with the Erie of Essex, came in appareled after Turkey fashion, in long robes of Bawdkin, powdered with gold, hattes on their heddes of Crimosyn Velvet ...
1H Said's neglect of the Ottoman Empire has not gone unnoticed in recent studies of English Renaissance drama, such as those by Ania Loomba, Daniel Vitkus and Richmond Barbour, which have further complicated Said's claim that western understanding of the East during the Renaissance was dominated by 'Christian supernaturalism'. 19 Nabil Matar's study of Turks, Moors, and Englishmen in the Age of Discovery (1999) details how intricately English life and thought were being changed by increasing contact and commerce with the Muslim world.
Images o( the Other: Europe and the Muslim World Be(ore 1700 (Cairo: American University in Cairo Press, 1997). Said, Orienta/ism, p. 122, and see Ania Loomba, Gender, Race, Renaissance Drama (Manchester: Manchester University Press, 1989); Daniel Vitkus, Turning Turk: English Theater and the Multicultural Mediterranean, 1570-1630 (New York: Palgrave, 2003); Richmond Barbour, Be(ore Orienta/ism: London's Theatre o( the East, 1576-1626 (Cambridge: Cambridge University Press, 2003). In Mimesis and Empire: The New World, Islam, and European Identities (Cambridge: Cambridge University Press, 2001), Barbara Fuchs turns to theatrical and literary texts for evidence of national identity-formation in early modern England and Spain.