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Slavery, Subalternity, Empire: Performing the Multicultural Mediterranean in Italian Comedy

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Slavery, Subalternity, Empire: Performing the Multicultural Mediterranean in Italian Comedy SLAVERY, SUBALTERNITY, EMPIRE: PERFORMING THE MULTICULTURAL MEDITERRANEAN IN ITALIAN COMEDY Tessa C. Gurney A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Studies. Chapel Hill 2016 Approved by: Ennio Rao Marisa Escolar Valeria Finucci Federico Luisetti Ellen Welch © 2016 Tessa C. Gurney ALL RIGHTS RESERVED ii ABSTRACT Tessa Gurney: Slavery, Subalternity, Empire: Performing the Multicultural Mediterranean in Italian Comedy (Under the direction of Ennio Rao) In the sixteenth century, the powerful Ottoman Empire is expanding further west. In Italy and elsewhere in Europe, exotic visitors are arriving each day from the vast and elusive oltremare. Others depart from Christendom, “turning Turk” in search of a new life or increased social mobility. Corsairs patrol the Mediterranean and its coastal areas, looking for slaves to row their powerful galleys. This period of increased conflict on the Mediterranean Sea converges with Italian theater’s golden age. The already established negative stereotypes of the Turk thus find an appropriate home in comedy, a genre uniquely equipped to incorporate cultural aspersions. Comedy manages the popular fear of the “Turkish menace” as Turks are represented as barbarous pirates, sexual predators, or as a weak, often female, subaltern. This study traces the discourse of the Other in early modern Italian comedy by focusing on racial differences, religious erasures, and issues of gender in an attempt to identify an origin for certain racial tropes still present in contemporary Italian literature and culture. Special attention is paid to the work of several playwrights from various parts of the Peninsula. Florentine Giovan Maria Cecchi is credited for the innovation he brought to the genre with La stiava. La turca, La sorella, and Il moro are three of Neapolitan Giambattista Della Porta’s comedies that evoke increased conflict and address the coastal iii concerns of kidnapping and piracy. Luigi Groto’s Emilia reads as a revisionist account of the War of Cyprus. Finally, the plays in Giovan Battista Andreini’s Turkish trilogy are shown to condemn Turkish practices and imagine Christian triumph and meanwhile display a certain fascination for Turkish wealth, culture, and power not uncharacteristic of the age. iv Para FLC v ACKNOWLEDGEMENTS No woman is an island. This dissertation to follow could not have been written without the aid and support of several individuals and institutions. I would like to acknowledge the Center for Global Initiatives, The Graduate School at the University of North Carolina, the Samuel H. Kress Foundation, and the Medici Archive Project for their generous support in the form of grants and fellowships. My thanks are due in especial to the female academics who acted as role models, inspiring by example. I am particularly indebted to Valeria Finucci, whose scholarship has inspired my own research trajectory and who has edited more papers and written more letters of recommendation than I care to admit. I am grateful for the invaluable advice of the members of this committee. The patience and kindness of Marisa Escolar, Federico Luisetti, and Ellen Welch have not gone underappreciated. I extend my most heartfelt thanks to my adviser and friend, Ennio Rao, who has mentored me since my arrival at UNC in 2009. Without his boundless erudition, his kindness, and his keen editorial eye, none of this would have been possible. vi TABLE OF CONTENTS LIST OF IMAGES………………………………………………………...…………….vii INTRODUCTION………………………………………………………………………...1 CHAPTER 1: Homewreckers and Human Traders: The Turkish Debut in Giovan Maria Cecchi’s La stiava………………………………………………26 CHAPTER 2: Wartime Echoes in the Comedies of Luigi Groto and Giambattista Della Porta……………………………………………….50 CHAPTER 3: Pseudoscience and the Masquerade of Alterity in Della Porta’s Il moro...87 CHAPTER 4: Understanding Multiculturalism in Giovan Battista Andreini’s Turkish Trilogy…………………………………………....107 CHAPTER 5: Windows on the World: Schiave and the Mediterranean Grand Tour….135 CHAPTER 6: ‘Et io pur Cristiano far mi voglio’: Conversion and Reconciliation in Comedies of Conflict……………………………………………..…158 CONCLUSION…………………………………………………………………………178 WORKS CITED………………………………………………………………………..181 vii LIST OF IMAGES Figure 1. Giacomo Franco. Map of Nicosia in Cyprus…………………………………..53 Figure 2. George Braun and Frans Hogenberg. Map of Famagusta……………………..54 Figure 3. Unknown. The Battle of Lepanto………………………………………………56 Figure 4. Ali Sami Boyar. Portrait of Dragut (Dergut)……………..…………………..75 Figure 5. Unknown artist. The corsair Dragut Reis…………………...………………...75 Figure 6. Giovan Battista Andreini. Lo schiavetto..............................…………………..91 Figure 7. Giulio Romano. Trionfo di Tito e Vespasiano……………………………….116 Figure 8. Michelangelo Buonarroti. Conversion of Saul……………………………….168 Figure 9. Michelangelo Merisi da Caravaggio. Conversion on the Way to Damascus...169 viii INTRODUCTION The title of the 2012 issue of Renaissance Drama asked readers a fundamental question: What is Renaissance Drama? But the journal might better have asked readers what English Renaissance Drama is, because contributors to this and other issues of the publication are primarily monolingual, focusing their attentions predominantly on work in its English original. The dissertation to follow has been fashioned as a first attempt to fill certain notable lacunae in early modern theater studies. The field has no doubt been enriched by the postcolonial approaches initiated in the 1980s and 90s, and much progress has been made in understanding how England, and to a lesser extent France and Spain, navigated the socially and politically fraught sixteenth century and how theater from European traditions managed the threat posed by the powerful, expanding Ottoman Empire. Daniel Vitkus, for example, has taken the focus of English theater studies away from Shakespeare and other tired, canonical authors, publishing a modern edition of three Turkish plays: Selimus, likely by Robert Greene, Robert Daborne’s A Christian Turned Turk, and Philip Massinger’s The Renegado. Barbara Fuchs has praised efforts to geographically and conceptually expand the field, but has stressed that there is far more comparative work to be done before we can understand the complexities of early modern theater from a Mediterranean Studies perspective. She has called for a more comparative, multilingual approach, but has admitted the difficulties inherent in such a task: It may be that our national preoccupations endure precisely because the field has expanded so much in other dimensions: scholars who must master a variety of discourses, 1 complex historical contexts, and a whole range of specialized knowledges in order to produce the historicist, cultural-studies work that is now standard in the field may find it challenging also to familiarize themselves with literature in other contemporary traditions. (Fuchs, “No Field is an Island” 126) Fuchs’ call has already begun to be answered by scholars possessing the aforementioned qualities. Michèle Longino’s groundbreaking book has extensively studied the French case in Orientalism in French Classical Drama. Fuchs answered her own request with a recent critical translation of Cervantes’ captivity plays, The Bagnios of Algiers and The Great Sultana. Her translations have effectively brought Cervantes’ theater back to life, making the plays accessible beyond linguistic boundaries and providing us with much-needed modern editions. There is a conspicuous dearth of scholarship, however, placing theater from the Italian tradition within a broader Mediterranean perspective. It is precisely this gap that the following study hopes to ever so slightly curtail. The reasons for the absence of a study like Vitkus’, Longino’s, or Fuchs’ from an early modern Italian studies perspective are manifold, but lie principally in the traditional nature of scholarly inquiry that has endured in the field of early modern Italian drama. Salvatore di Maria’s The Poetics of Imitation in the Italian Theatre of the Renaissance represents one of the most recent monographs in the field of early modern Italian drama and presents us with an excellent close reading of several comedies, yet it and other recent studies continue to anchor themselves in Italian comedy’s link to the classical tradition. Such source studies have been important resources for many of us students of Italian drama, but newer publications simply expand the work of earlier scholars such as Louise George Clubb, Douglas Radcliff-Umstead, and Marvin Herrick. What is needed in the field of Italian drama instead are more approaches that appreciate the genre as a key way to examine the social issues of the period such as gender, race, and the Peninsula’s complex relationships with oltremare entities. 2 Jo Ann Cavallo has recently placed epic poetry within the Mediterranean context, analyzing Boiardo’s cosmopolitan vision and what she refers to as Ariosto’s “crusading ideology” in The World beyond Europe in the Romance Epics of Boiardo and Ariosto (2013). Her study provides us with a new and useful analysis of epic poetry and introduces us to the Turkish anxiety deeply felt by some Italians after the 1453 fall of Constantinople. The genre of epic poetry, however, presents some limits. In a highly illiterate society, the polished epic poetry of Pulci, Boiardo and Ariosto was read and consumed
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