Pierre-Yves Beaurepaire - Böcker

The religious histories of Christian and Muslim countries in Europe and Western Asia are often treated in isolation from one another. This can lead to a limited and simplistic understanding of the international and interreligious interactions currently taking place. This edited collection brings these national and religious narratives into conversation with each other, helping readers to formulate a more sophisticated comprehension of the social and cultural factors involved in the tolerance and intolerance that has taken place in these areas, and continues today. Part One of this volume examines the history of relations between people of different Christian confessions in western and central Europe. Part Two then looks at the relations between Western and Eastern Orthodox Christianity, Islam and Judaism in the vast area that extends around the Mediterranean from the Iberian Peninsula to western Asia. Each Part ends with a Conclusion that considers the wider implications of the preceding essays and points the way toward future research. Bringing together scholars from Asia, the Middle East, Europe, and America this volume embodies an international collaboration of unusual range. Its comparative approach will be of interest to scholars of Religion and History, particularly those with an emphasis on interreligious relations and religious tolerance.

In eighteenth-century Europe, artistic production was characterised by significant geographical and cultural transfer. For innumerable musicians, composers, singers, actors, authors, dramatists and translators – and the works they produced – state borders were less important than style, genre and canon. Through a series of multinational case studies a team of authors examines the mechanisms and characteristics of cultural and artistic adaptability to demonstrate the complexity and flexibility of theatrical and musical exchanges during this period.By exploring questions of national taste, so-called cultural appropriation and literary preference, contributors examine the influence of the French canon on the European stage – as well as its eventual rejection –, probe how and why musical and dramatic materials became such prized objects of exchange, and analyse the double processes of transmission and literary cross-breeding in translations and adaptations. Examining patterns of circulation in England, France, the Netherlands, Germany, Scandinavia, Russia, Bohemia, Austria, Italy and the United States, authors highlight:the role of migrant musicians in breaching national boundaries and creating a ‘musical cosmopolitanism’;the emergence of a specialised market in which theatre agents and local authorities negotiated contracts and productions, and recruited actors and musicians;the translations and rewritings of major plays such as Sheridan’s The School for scandal, Schiller’s Die Räuber and Kotzebue’s Menschenhass und Reue;the refashioning of indigenous and ‘national’ dramas in Europe under French Revolutionary and imperial rule.