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• W863724341 abstract "Abdulla Al-Dabbagh, Shakespeare, the Orient, and the Critics, New York and Oxford: Peter Lang, 2010. Pp. Ix + 148. ISBN978-1-4331-1059-7.On 14 July 1099, with the first light of dawn, horn-calls resounded through the crusader camps, announcing the final assault on Jerusalem, ending the siege that began exactly thirty-seven days ago. Over the course of three years the Latins had, through the force of arms and power of faith, forged a route across and the near East: a journey that reduced once-proud knights to riding donkeys and oxen. Now, in this long-imagined moment of victory, with their longcherished dream realised, the unholy train of brutality they unleashed on their Muslim foes irremediably transformed relations between Christendom and Islam, setting these two great religions on a war path for times to come.1 However, we must recognize, privileged as we are with retrospective hindsight, that only when the memory of the First Crusade was appropriated and refashioned in western Europe did the atmosphere of Latin-Muslim antipathy solidify. Between 1096 and 1099, although the Latin West and Islam did fight each other as enemies, the collective consciousness of western and eastern societies rarely harboured any, to quote Asbridge, inbuilt, genetically coded hatred (Asbridge 338). On the contrary, the ground reality had been one of commerce and diplomacy alongside skirmishes. In 1108, and again in 1115, the Latins even campaigned alongside Muslim allies. Restoring the of this confluence, more so in a literary form, is a valuable exercise, because not only such an act dismantles pretensions to cultural hegemony, it enables one to break free from a 'critical confusion' that views any Oriental legacy as an inversion of normal gender roles and sexual behaviour.In Abdulla Al-Dabbagh's Shakespeare, the Orient, and the Critics, a primer on current critical vectors of race in Shakespeare studies, we find a humane effort to contextualize imagination within a broader framework of Islamic Sufithought. The seven-chapter book could approximately be seen as a combination of two major thrusts: the first concerns the exposition of the eclectic mix of historical or cultural backgrounds that have informed much of oeuvre; the second deals explicitly with how this confluence of Eastern and Western elements works its way into a special expression of Renaissance humanism that transcends the boundaries of class, race and culture. Al-Dabbagh's study looks at the complex of exchange, attraction and repulsion between English and Moorish peoples; admiration for aspects of Islamic culture, and more importantly, Oriental/Islamic contribution to European Renaissance culture. The Introductory chapter, in itself a rich survey of contemporary Shakespeare criticism, and its inadequacies thereof, highlights initially, Shakespeare's tragedy as a blueprint for the legitimization of state violence and humanist trivialization of history (Al-Dabbagh 7-8). It next moves more insistently towards identifying the key components of Islamic culture like a high degree of urbanization, the spread of literacy, the development of science, multiculturalism, cosmopolitanism, and religious tolerance as the very tenets that gave rise to the spirit of universalism and the idea of the unity of mankind (Al-Dabbagh 8) and effectively impacted western consciousness. This critical stance, to be taken up in much detail in the chapters dealing with the 'love tragedies' (Chapters 1 and 2), and the major tragedies, Hamlet and King Lear (Chapter 3), is a more viable alternative towards the formation of a stable East- West dialogue than the ones proposed by the paradigms of enslavement, domination, and wider spiritual conversion (Al-Dabbagh 6) which Dabbagh briefly explores. Interestingly enough, in his Introduction Dabbagh points out that while most traditional Eurocentric schools of Renaissance thought acknowledged European humanism's debt to the tradition of medieval mysticism, such acceptance came without understanding the Islamic affinities of this heritage. …" @default.
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