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Hassana Moosa

is a PhD candidate funded by the Commonwealth Scholarship Commission at the Department of English at King’s College London. Her research explores sixteenth and seventeenth century English literary, especially dramatic, representations of Islamic figures from the Ottoman Empire and the Maghreb through a lens of critical and early modern race theory. She is interested in creating dialogues between early modern English views on the Mediterranean slave trade and English discourses of empire, race and slavery that later develop in the tragedies of the Transatlantic slave trade. She completed her BA (Hons) and MA at the University of Cape Town, South Africa where she also worked for several years in various research, administrative and teaching roles. She is also interested in African diasporic literature and postcolonial theory. She tweets @HassanaMoosa. She can be reached at News@memorients.com.
Historical connections: The Black page in Henry Irving’s Victorian production of ‘The Merchant of Venice’
Shakespeare and Beyond

Historical connections: The Black page in Henry Irving’s Victorian production of ‘The Merchant of Venice’

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Hassana Moosa

Victorian director Henry Irving’s use of a Black page in his production of ‘The Merchant of Venice’ shows how forms of race-thinking had been sustained and intensified in the English theatrical imagination.