By Bernadette Andrea, Linda McJannet (eds.)
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44. , Microhistory and the Lost Peoples of Europe, trans. Eren Branch (Baltimore: Johns Hopkins University Press, 1991). See also Bernadette Andrea, “The Tartar Girl, The Persian Princess, and Early Modern English Women’s Authorship from Elizabeth I to Mary Wroth,” in Women Writing Back/Writing Women Back: Transnational Perspectives from the Late Middle Ages to the Dawn of the Modern Era, eds. Anke Gilleir, Alicia C. Montoya, and Suzan van Dijk (Leiden, The Netherlands: Brill, 2010): 257–81. 45.
32. 17 The Countess of Montgomery’s Urania, Part II,” in The English Renaissance, Orientalism, and the Idea of Asia, eds. Walter S. H. Lim and Debra Johanyak (New York: Palgrave Macmillan, 2010), 23–50; and “Elizabeth I and Persian Exchanges,” in The Foreign Relations of Elizabeth I, ed. Charles Beem (New York: Palgrave MacMillan, 2011), 169–99. For critiques by early modernists of Said’s anachronisms, see note 6, as well as Linda McJannet, “Mapping the Ottomans on the Renaissance Stage,” Journal of Theatre and Drama 2 (1996), 9–34; Bernadette Andrea, “Columbus in Istanbul: Ottoman Mappings of the ‘New World,’ ” Genre: Forms of Discourse and Culture 30 (1997): 135–65; and Gerald MacLean, “Ottomanism before Orientalism?
Literally, its pattern is to be copied, but the language of doing and not doing work points to the argument about the effects of baptism, whether one is infused or not with the virtues of Christ that help one perform Christian duties, and to the related justification controversy. 35 Yet the transformation from the gallant soldier to the comic stereotype of the impotent old husband unable to perform such works is his condemnation. He becomes another Ethiopian eunuch, like the court official in Acts instructed and baptized by Philip, but one instructed and de-baptized by Iago.