Get Traffic and Turning: Islam and English Drama, 1579-1624 PDF
By Jonathan Burton
Bringing jointly English, Ottoman, and North African assets to stipulate the discourse on Muslims, "Traffic and Turning" bargains a longer dialogue of the theater and its position during this discourse, whereas offering very important methodological and theoretical theses with reference to the research of cross-cultural encounters in early sleek England. instead of easily cataloguing cases of Turkish the Aristocracy or villainy within the drama of the interval, "Traffic and Turning" attracts jointly quite a number dramatic texts, either popular and comparatively imprecise, spanning public in addition to inner most performances, formal theater in addition to road leisure, to illustrate a fancy and compelling trend of engagement with and illustration of Muslims in over sixty dramatic works produced in England among 1579 and 1624. Burton argues that for an English viewers more and more drawn into advertisement site visitors with Muslims, the problem was once tips on how to flip to the Turks with no "turning Turk," or being switched over to Islam. Jonathan Burton is an Assistant Professor of English Literature at West Virginia college.
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Extra info for Traffic and Turning: Islam and English Drama, 1579-1624
119 Dallam clearly exaggerates his resistance. 120 More importantly, Dallam consistently undermines moments of heroic resistance by exposing the folly of English fears and prejudices. He is the object of laughter, both his own and that of the Turks—in his fear of assault, in his fear of the Sultan’s sword, in his nervous performance of Turkish rituals, and most importantly in his distrust of his Turkish friends. Just prior to his departure, Dallam is ordered to move the present and embraced warmly by his “old acquaintance[s]” who once again encourage him to remain in Constantinople.
Writing in his private journal, Dallam is less compelled to censor out instances of English folly. Instead he describes one panicked man hiding in the chimney, and others swinging their swords wildly in the dark. Most prominent in this story is the ideological baggage many English travelers took with them in their ventures to the Islamic world. Like children telling ghost stories, the company of Englishmen spend their evening rehearsing tales of strange beasts only to convince themselves of their own fictions.
Rather than protecting himself from this kind of exposure, Dallam’s private account never hesitates to reveal the organ maker’s own introduction: before orientalism, after orientalism 49 groundless dread, particularly as he imagines every show of kindness to be a depraved act of seduction. Indeed, Dallam regularly goes so far as to indicate how Turkish responses alert him to the delusive quality of his beliefs. A consummate storyteller, Dallam builds narrative tension as he figures the Sultan’s palace as a place of enticement and peril, “a house of pleasure, and likewise a house of slaughter” (62).
Traffic and Turning: Islam and English Drama, 1579-1624 by Jonathan Burton