The Study of Islam in early modern Europe

Hamilton, Alastair

doi:10.1515/9783110234190.169

Cited by 5 publications

(2 citation statements)

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“…There is the modern/medieval binary that is similar to the Western/Muslim binary of radical difference mapping a superior/inferior dichotomy. And yet, because it is part of European history, it is still an Insider, especially when compared to a Muslim, who has always been an Outsider, no matter the era (Hamilton 2001). Christian women in medieval Europe also wore headscarves, so in both Merlin and Stargate SG1 they are an important and regular feature of any medieval scene.…”

Section: Ethnonormativity Medievalism and The Hegemonic Viewermentioning

confidence: 99%

Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

Bullock¹

2021

ReOrient

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In this article I investigate why two shows from different television genres in two different countries resort to nearly identical costume choices to convey villainy. I argue that that the directors, writers, and costume designers for the US science fiction show Stargate SG1 and BBC's Merlin use orientalist tropes of the veil as exotic, oppressed or threatening as costumes for their non-Muslim characters because of the centuries-long association in Western culture between Muslim veiling and the Other, while differentiating between acceptable and unacceptable headgear and face coverings. I draw on Said's Orientalism, Hall's Encoding/Decoding, medievalism, and the theory of the ethnonormative viewer to make this case. The “veil” has become an iconic negative sign in the West wholly distinct from meanings given to it by veiled Muslim women themselves. I suggest that anti-veiling ideology in Western publics stems in part from negative connotations given to it in television shows like Stargate SG1 and Merlin.

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Section: Ethnonormativity Medievalism and The Hegemonic Viewermentioning

confidence: 99%

Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

Bullock¹

2021

ReOrient

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“…The reasons for such a collective failure were many and diverse-including early death, perfectionism, procrastination, a lack of proper types, and the reluctance of publishers to undertake such projects. However, "popular prejudice which made the publication of the Quran so perilous, " 77 hardly figured among such reasons, as a more comprehensive study of the topic would demonstrate. I wish to thank Noel Malcolm for a stimulating exchange and for furnishing me with the final draft of his article before publication.…”

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confidence: 99%

“The Turkish Alcoran”: New Light on the 1649 English Translation of the Koran

2012

Huntington Library Quarterly

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to probe the circumstances surrounding the publication-and the presumed attempt at suppression-or to identify the individuals involved. Those who have analyzed the Alcoran of Mahomet have tended to take for granted that the prolific and long-winded Alexander Ross-who signed the "needfull Caveat" appended to the translation-was responsible for the entire production, even in the face of evidence to the contrary. This misattribution has led in turn to some untenable conclusions regarding the motives behind the publication-that the royalist Ross used the translation as a club with which to strike out at the loathsome "heretics" in Whitehall-and the environment within which Arabic studies in mid-seventeenth century England took shape. 2 The purpose of the present essay is to shed new light on the publication of the "Turkish Alcoran" and the identity of its editor; to engage critically with a rival interpretation concerning the identity of the compiler; and to comment briefly on its relation to similar projects to edit (or translate) the Koran that were contemplated by contemporary Arabists. The Alcoran of Mahomet was a translation of André Du Ryer's L'Alcoran de Mahomet translaté d'arabe en françois, published in Paris in early 1647 under a cloud. Writing to Claude Saumaise on May 31, Jacques Dupuy noted the recent ("depuis peu") publication of the book, further intimating that although the translation had been granted the appropriate privilege, the "Council of Conscience"-spearheaded by Vincent de Paul-sought to "smother its birth." Nevertheless, Dupuy observed, the Alcoran "is sold under the counter and this only serves to put up its price. " 3 Copies of Du Ryer's translation seem to have been circulating by late March or early April: Henry Oxenden lent his copy of the "Turkish Alcoran" to "Mr Colbie of Patreksbourne" on April 4, 1647 (O.S.) for a period of six weeks. 4 The potential for commercial success that in part had motivated Du Ryer-a motive evident also in the unauthorized publication in 1649 of rival editions of Du Ryer's translation by Johannes Janssonius and Lodewijk III Elzevier in Amsterdam-was soon to be recognized in England as well. By June 1648 the millenarian Moses Wall informed Samuel Hartlib that a "friend" of his had completed the English translation. However, the friend had proceeded no further, as he waited for "a Historie of Mahomet's life and his Religion" promised to him. Six months later, on December 29, 1648, the completed manuscript was entered on the books of the Stationers Company. 5 The identity of the translator and/or editor, Thomas Ross, was revealed during the investigation that followed the printer's arrest. The surname has prompted speculation that Thomas was simply a misprint for Alexander. But in his "needfull Caveat, " Alexander refers explicitly to the translator as being a person other than himself. 476 mordechai feingold 2. Nabil Matar, "Alexander Ross and the First English Translation of the Qur'an, " The Muslim

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The Body of Mahomet: Pierre Bayle on War, Sex, and Islam

Lugt¹

2017

Journal of the History of Ideas

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Mara van der Lugt The Western perception of Islam and its Prophet has traditionally revolved around the axes of sex, violence, and deception. From the eleventh century onwards, Christian authors used these concepts to paint a predominantly negative picture of Islam, for mainly theological and apologetic purposes-a trend that was fortified by the lack of genuine information and reliable sources about Islam. Thus Mahomet 1 was typecast as a sexobsessed, violent and Machiavellian trickster or impostor, the Qur'an discredited as pandering to the political and carnal desires of Mahomet and his followers, and Islam itself described as a false religion that spread by force and persecution, rather than by providence and grace. 2 1 Throughout this paper I will refer to Muhammad as "Mahomet," the name commonly used in early modern English and French. All English translations of Bayle are my own unless otherwise stated. 2 Out of a vast historiography, see

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The Study of Islam in early modern Europe

Cited by 5 publications

References 0 publications

Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

Turbans, Veils, and Villainy on Television: Stargate SG1 and Merlin

“The Turkish Alcoran”: New Light on the 1649 English Translation of the Koran

The Body of Mahomet: Pierre Bayle on War, Sex, and Islam

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