@inbook{48939,
  abstract     = {{The conventional wisdom is that Favart's 'Soliman second' is, as Larry Wolff puts it, about an "explicitly French triumph over Ottoman despotism". This may be true to a certain extent - but it misses the point. As impressive as the depiction of the 'Oriental' may have been, it is not itself the core message of this comédie, but rather only one of the means to an end, which consists of once again accompanying and authenticating Justine Favart's novel, very modern approach to realistic character representation in the best possible way. This study demonstrates this by means of a combined analysis of the theatrical levels of text, image and music. Instead of orientalism in the sense of constructing images of the exotic 'other', the textual, pictorial and musical strategies employed in this play specifically conceived for Justine Favart apply to the production of theatrical 'authenticity' and 'natural' character representation in general. The fact that the stage persona thus brought to bear, i.e. the main character Roxelane, who responds to many models from Racine to Montesquieu, is a militantly enlightened and feminist one whose 'natural' persuasiveness and force no one can ultimately resist, so that Justine Favart's Roxelane triumphantly asserts herself all along the line and establishes nothing less than a new social, gender and state order, makes the matter all the more interesting.}},
  author       = {{Münzmay, Andreas}},
  booktitle    = {{Musikwissenschaft der Vielfalt. FS Rebecca Grotjahn zum 60. Geb.}},
  editor       = {{Iffland, Joachim  and Imm, Johanna and Jaeschke, Nina and Schauberger, Sarah}},
  isbn         = {{ 978-3-96233-276-1}},
  pages        = {{267--287}},
  publisher    = {{Allitera}},
  title        = {{{Justine Favarts Rox(el)ane: Eine Relektüre von Soliman second (1761) in Text, Bild, Musik jenseits des Orientalismusparadigmas}}},
  year         = {{2021}},
}