English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Plus monthly

Global: Zendy Tools annual

Global: Zendy Tools monthly

Global: Zendy Free Plan

In 1622, two playwrights from the Low Countries each decided to use the news of the murder of Sultan Osman II as material for a tragic play. One of them was Denis Coppee, who came from the Prince-Bishopric of Liege, and the other was Abraham Kemp, from the Dutch Republic. The two tragedies have a lot in common: besides the theme, they also share the source, the genre (in part), and the year of publication (1623). Interestingly, however, the two plays offer different representations of Osman’s end. In this article these differences will be illuminated by tracing the Ottoman/Turkish commonplaces in each play. In doing so, the author focuses on two main discourses: the international role of the Ottoman Empire, and the question of the legitimacy of rebellion against a tyrannical ruler.

Stage representations of the Ottoman world in the Low Countries. The case of Osman