Contents
Ouverture
Michael Hüttler (Vienna), Emily M. N. Kugler (Washington/DC) and Hans Ernst Weidinger (Vienna/Florence):
Editorial
Forewords
Prologue:
Stefanie Steiner (Karlsruhe):
Enchantment / Disenchantment: Conceptions of Harem and Seraglio in Selected Literary Sources from 1608 to 1852
Act I: English Authors of the Late Seventeenth and Eighteenth Centuries
Anne Greenfield (Valdosta/GA):
Veiled in the Seraglio: Whig Messaging in Mary Pix’s Tragedy Ibrahim (1696)
Hans-Peter Kellner (Copenhagen/Vienna):
The Capturing of the Seraglio: From the Life and Work of Aaron Hill (1685–1750)
Emily M. N. Kugler (Washington/DC):
Playing the Sultana: Erotic Capital and Commerce in Daniel Defoe’s Roxana (1724)
Michael J. Chappell (Danbury/CT):
The Pleasures of Friendship and Society: Pekuah and the Arab’s Seraglio in Samuel Johnson’s Rasselas (1759)
Act II: Britain in the Late Eighteenth and Nineteenth Centuries
Jennifer L. Airey (Tulsa/OK):
Justice and the Bashaw of Merryland: Harem Fantasy, Rape Narrative, and the Trial of Lord Baltimore (1768)
Isobel Grundy (Edmonton, Alberta, Canada):
English Women’s Various Harems
Gönül Bakay (Istanbul):
Is it possible to have freedom in a prison? Emmeline Lott’s The Governess in Egypt (1865)
Act III: Byron: The Youth
Käthe Springer-Dissmann (Vienna):
“Now at length we’re off for Turkey, Lord knows when we shall come back!” Byron’s Grand Tour to the Bosphorus 1809–1811
Mi Zhou (Hong Kong):
The Monster Within: Ali Pasha’s Seraglio in Childe Harold’s Pilgrimage
Walter Puchner (Athens):
The Reception of Lord Byron in Greek Theatre and Drama in the Nineteenth Century
Act IV: Byron: The Sultana
Laura Tunbridge (Oxford/UK):
“The soft hours of Sardanapalus”: Music and Effeminacy in Stagings of Byron’s Seraglios
Marian Gilbart Read (Hampshire):
“SCHIAVA SON IO, CORSARO!”: does the escape from the harem dramatize the Risorgimento struggle in Verdi’s adaptation of Byron’s The Corsair (1814)?
Himmet Umunç (Ankara):
In Search of Exoticism: Byron’s Reveries of the Ottoman Orient
Isabelle Moindrot (Tours):
Tamerlan
: A ‘Turkish’ Opera by Peter von Winter for the Paris Opera (1802)
Act V: French Influences
Domenica Newell-Amato (Utica, NY):
Of African Monsters and Eunuchs: Colonial Fashioning within the Harem of Jean Racine’s Bajazet (1672)
Michael Hüttler (Vienna):
“[F]ive hundred very happy women!”: The Harem as a Locus of Social and National Identities in Eighteenth-Century German-Language Theatre
Bent Holm (Copenhagen):
The Ambiguous Harem: Moralism and Exoticism in Danish Harem Images of the eighteenth and nineteenth Centuries
Andreas Münzmay (Frankfurt/Main):
Musical Representations of the Seraglio in Eugène Scribe’s Vaudeville L’ours et le pacha and in its Adaptations in Nineteenth-Century European Theatre
Appendix
Index
Curricula Vitae
