The Conventional Saracen of the Songs of Geste

Jones, Clyve

doi:10.2307/2856363

Cited by 37 publications

(4 citation statements)

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“…Both sides proclaimed they were indicted with a divine mission and that "their respective regimes offered the best hope for humanity" (Schwoebel, 1967:10). Amurack remarks that his "mighty force doth terrify the gods"; and Alphonsus calls him a "pagan dog" (iv,iii, 30,39). The author's hostile attitude towards Islam and Prophet Muhammad is to be expected but his representation of the Ottomans as renegade is rather unusual.…”

Section: Muhammad and The Turksmentioning

confidence: 99%

The 'Idol' of Prophet Muhammad in Greene’s Alphonsus

Al-Olaqi¹

2016

JELL

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The image of Prophet Muhammad (570-632) is entirely inaccurate in Early Modern Drama. A ridiculous form of the name of the Prophet, 'Mahomet', was an artifact of abuse, distortion and misrepresentation placed at the focus of Western prejudgment of Islam. It is worth exploring the way myth works in relation to Greene’s Alphonsus, in order to understand better Renaissance views of Prophet Muhammad. His only prejudice seems to be against Prophet Muhammad in representing his image in a speaking brazen head. The Mediaeval tradition maintained its dislike of the Prophet himself as a dreadful deity who had established his doctrines by his resolution and his arms, but whose faith subsequently became more generous of error than he would have adored. Greene presented a striking antipathy to the Prophet and Islam. It is a heathenish image to tarnish the Turkish theology. Greene's Amurack essentially represents Islam for the Elizabethan audience in which he was defeated in front of the Christian hero Alphonsus. Greene’s play influences the political and ideological conflicts between the Turks and the Christendom.

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Section: Muhammad and The Turksmentioning

confidence: 99%

The 'Idol' of Prophet Muhammad in Greene’s Alphonsus

Al-Olaqi¹

2016

JELL

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“…Portanto, a presença de homens-cães para a sua disseminação atesta o poder de conversão da Palavra, uma vez que o mais intratável dos sujeitos poderia ser evangelizado (Friedman, 2000). 22 A mistura de sarracenos e cães ocorre nas canções de gesta francesas, em que os muçulmanos são representados latindo como cães quando entram na batalha (Jones, 1942). 23 O mappa mundi Borgia retrata, no norte da África, um rei cinocéfalo dos sarracenos sentado em um trono, cortejado por dois súditos tão monstruosos quanto ele.…”

Section: A H U M a N I D A D E I M P E R F E I T A -N ã O C R I S T ã O S C O M O O U T R O S M O N S T R U O S O Sunclassified

Monstros nas fronteiras da cultura: das alteridades impensáveis

Soares

2021

Reflexão

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Este artigo discute aspectos da concepção sobre “raças monstruosas” que, no imaginário antigo e medieval, habitavam as bordas do mundo conhecido. Com isso, espera-se explicitar um tipo de construção do “outro” – sua identidade e representação –, via imaginário do monstro, isto é, a forma literal na qual estranhas criaturas incorporam a diferença/alteridade. Parte-se da premissa de que monstros operam primariamente em formas de imaginário que são mobilizadas por estratégias de representação. Dito de outra maneira, a corporeidade anormal e híbrida dos monstros inventados tem consequências reais para a percepção (horror e fascínio, rejeição e reconhecimento) nas relações eu-outro que se concretizam no mundo tangível. Desse modo, a conjugação entre fisicalidade, expressões de identidade e manutenção de fronteiras determina, entre outros comportamentos, visões pré-concebidas e distorcidas do outro e sua cultura, assim como cria certos estereótipos que são perpetuados pela cristalização do que uma vez fora apenas uma manifestação do imaginário.

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“…Rhesus, the King of Arabia, is depicted as a hapless king in Chapman"s The Beggar of Alexandria. Naji B. Oueijan"s (1996) comment is worth-considering: "Marlowe presented to his Elizabethan audience a picture of the East they desired to see, an Orient filled with treachery, cruelty and false doctrine, an Orient that was destroyed by its own rulers…" (p. 19).…”

Section: B Image Of the Arab Kings And Women On The Elizabethan Stagementioning

confidence: 99%

“…The portrayal of the Arab women in The Songs of Geste and The Song of Roland is rooted in and builds upon the traditional description of Oriental women. C. Meredith Jones (1924) points out that the image of Muslim woman is in the context of sexuality with Christian knights (p.219). The Arab woman is tagged with pejorative terms like "whore," which was often used by Elizabethans to describe Oriental dames.…”

Section: B Image Of the Arab Kings And Women On The Elizabethan Stagementioning

confidence: 99%

English Literary Portrait of the Arabs

Al-Olaqi¹

2012

TPLS

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This article highlights the progress of the images of Arabs in English literature. Europe owes a debt of gratitude to Arabia and the East. In early history, Arabia is the birthplace of all the major heavenly religions. In later periods, Oriental scholarship played a significant role in promoting cross-cultural transmission in the West. The English medieval literary depiction distorted the image of Arabs. Some literary portraits of the Arabs have depicted Arabs as tyrant caliphs, weak kings, lustful princes, medieval Saracens, mysterious travellers, filthy Bedouins, and immoral women. Modern English Orientalists work to explore the Arabian characters with reference to Islam. Islamist Arabs are represented as a threat to the West. Authentic secular literary outlook can greatly help the spread of the Arabic culture in the West

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The Conventional Saracen of the Songs of Geste

Cited by 37 publications

References 0 publications

The 'Idol' of Prophet Muhammad in Greene’s Alphonsus

The 'Idol' of Prophet Muhammad in Greene’s Alphonsus

Monstros nas fronteiras da cultura: das alteridades impensáveis

English Literary Portrait of the Arabs

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