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Elizabethan Orientalia

‘Jews’in Late Tudor England and the Ottoman Jews

Josè Alberto Rodrigues da Silva Tavim

In his 1996 book Shakespeare and the Jews , James Shapiro provides a complete portrait of the Marrano circle living in London in the time of Queen Elizabeth I, whose most prominent figure was the tragic physician Dr Rodrigo Lopez. Shapiro

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Breeding Dissoluteness and Disobedience

Clothing Laws as Tudor Colonialist Discourse

Margaret Rose Jaster

In 1589, William Herbert, a frustrated functionary of Queen Elizabeth’s government in Ireland, advanced ‘A note of sutch reasons as mooued mea toe putt the statute In execution agaynst Irish habites’.

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Astrid Stilma

Early modern political discourse was no stranger to the use of angels and demons to denote the binary opposition between good and evil, Self and Other - and neither was the early modern stage. References to the divine and the demonic might be used to clarify complex political issues to the public, legitimise one's own position, or sling mud at one's opponents. This article focuses on two early Jacobean history plays, Barnabe Barnes's The Devil's Charter (1606) and Thomas Heywood's If You Know Not Me You Know Nobody (1605); it examines the use of angels and demons in the staging of issues of religious difference and political action in the confusing years following Queen Elizabeth's death in 1603, when old attitudes to traditional 'Others' had to be reconfigured in the light of the views and interests of the new monarch, King James VI and I.

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Joachim Frenk

, an accomplished, if somewhat unfortunate courtier, an eminent early modern writer and a Protestant English hero who was as renowned on the continent as he was in Britain. 1 He was mostly unfortunate in his attempts at gaining Queen Elizabeth's favour

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Neslihan Ekmekçioğlu

made a significant contribution to the Renaissance poetic corpus’, despite her social status. 5 Bevington also mentions that Simon Forman, astrologer to Queen Elizabeth, expresses in his diary that he was attracted and influenced by her extraordinary

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Deproblematizing The Merchant of Venice

Text, and Pretexts for Changing Subtext

Roger Wooster

to embody the skill and charms of Queen Elizabeth, we may presume that such a portrayal of her is not what Shakespeare intended. While Shakespeare’s eloquent and learned Portia may have been created to flatter Queen Elizabeth, a twenty

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The Exceptions to the Rule

Jews in Shakespeare’s England

Cynthia Seton-Rogers

Marranos left England in the 1540s due to increased scrutiny under the Inquisition in Lisbon and in 1553 when Mary I returned England to Catholicism. The Anglo-Jewish population began to flourish, however, under the reign of Queen Elizabeth I (1558

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Katherine Hennessey and Margaret Litvin

Karma Sami ); a new monograph on the sociocultural conditions of Egyptian Shakespeare translation (reviewed by Nahrain al-Mousawi ); an argument that Britain’s history since Queen Elizabeth is inseparable from the Muslim world (reviewed by Joseph

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Joseph Khoury

alliance’ between his master Sultan Mulay Ahmed al-Mansur and Queen Elizabeth of England. This alliance, he declared, would solidify their ‘perpetual friendship’ and strengthen their potential attack ‘against the King of Spain, their common foe and enemy

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Benoît Godin

both Queen Elizabeth 66 and King James’s admonition not to innovate in matters of religion, 67 and he advises kings, prime ministers, and statesmen not to innovate. 68 He also discusses the difficulty of innovating in laws. 69 In two of these texts