Ulteriori informazioni
Jean Soler Qui est Dieu? Dans un style clair et accessible à tous, Jean Soler met d'abord en lumière 'sept contresens sur le dieu de la Bible', une divinité qui n'est pas le Dieu unique des trois religions monothéistes mais un dieu parmi d'autres, du nom de 'Iahvé', conçu comme le dieu national des seuls Juifs. Il relate ensuite, sans référence aucune au surnaturel, la généalogie du dieu 'Dieu', telle qu'il l'a reconstituée à partir des acquis de la recherche scientifique. Il explique enfin pourquoi cette croyance peut porter plus que d'autres à l'extrémisme et à la violence, comme on l'a vu avec les Croisades, l'Inquisition ou les Guerres de religion, et comme on le voit de nos jours avec les conflits du Moyen-Orient, sans compter l'influence, indirecte mais bien réelle, de l'idéologie monothéiste sur le nazisme et le communisme, ces deux fléaux du siècle passé.
Sommario
Acknowledgements
Introduction: Where are all my Muslims at or Shakespearean Erasures
Chapter 1: The Muslims Are Coming: The Tempest's Brave Old Worlds
Chapter 2: Menace to Society: Turning to the "Turk" in Shakespeare's History Plays
Chapter 3: The Moor You Know: Shakespeare's Nation of Islam
Chapter 4: Turkish Delight: Twelfth Night's Harem Life
Conclusion: "What is't to me?" or Muslim Worlds through Shakespeare
Index
Riassunto
Shakespeare through Islamic Worlds investigates the peculiar absence of Islam and Muslims from Shakespeare’s corpus. While many of Shakespeare’s plays were set in the Mediterranean, a geography occupied by Muslim empires and cultures, his work eschews direct engagement with the religion and its people.
Relazione
'This volume will be a welcome addition to any collection supporting advanced study of Shakespeare or of cultural encounters between Islam and the West. Summing Up: Recommended. Advanced undergraduates through faculty.'
S. Magedanz, Choice, October 2024 Vol. 62 No. 2
'In her stimulating if dense scholarly study, Ambereen Dadabhoy sets out on a passionate quest to uncover the textual traces of Islam and Muslims in Shakespeare's works. The result is a coherent piece of analysis that refuses to shy away from pointing the finger at the playwright himself. One does have to wonder why Shakespeare left Muslims out. You would imagine that seemingly exotic characters should have been good for business - and his Globe Theatre audience loved to boo a villain. Dadabhoy contends in no uncertain terms that Shakespeare was deliberately excising and erasing Muslims from his plots. . . . [T]his remains an overdue work that, if it does one thing, raises an alarm about the nonchalantly perceived universality of the world's most famous writer - a figure with whom Muslims around the world have long engaged and, as a quarter of the world's population today, will continue to do'
Islam Issa, TLS
Honorable Mention: The SAA First Book 2025
