In early modern Europe, music-theatrical patterns of representing the foreign Other helped shape relations with the Ottoman Empire. Accordingly, hybridity must be understood as a dynamic practice playing with cultural blends and borrowings, albeit possibly (re-)producing inequalities, ambiguities, and clichés. Representations of Ottomans/Turks appear as musical features emerging out of vague inspirations derived from Ottoman/Turkish music, creating a particular sound that could be decoded as Ottoman or Turkish by contemporary listeners.

This volume addresses the convergence of cultural communities on stage from early modern France to present-day Turkey, starting from the iconic Turkish scene from Le Bourgeois gentilhomme (1670).



With contributions by

Özlem Berk Albachten - Thomas Betzwieser - Aysenaz Cengiz - Marie Demeilliez - Irène Feste - Judith I. Haug - Hubert Hazebroucq - Gerrit Berenike Heiter - Evren Kutlay - Martin Laiblin - Hanna Walsdorf