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Abstract
While the antisemitic impact of Sessa’s popular farce Unser Verkehr (1813) is well-known to historians of nineteenth-century literature and theatre, a careful contextualization of the notorious name of one of its characters – Isidorus Morgenländer – within the orientalist discourses of the time reveals that this play has not only anti-Jewish, but also anti-romantic tendencies. The reactions to Sessa’s play confirm this bidirectionality and the enhancing effects it had.
Published Online: 2019-11-14
Published in Print: 2019-11-08
© 2019 Walter de Gruyter GmbH, Berlin/Boston
