Imagined Embodied And Actual Turks In Early Modern Europe

The confrontation between European countries and the expanding Ottoman Empire in the early modern era has played a major role in numerous fields of history. The aim of this book is to investigate the European-Ottoman interrelations from three angles. One deals with the circumstances: How did the Europeans meet the Turks in pragmatic and diplomatic connections? Another concerns imagery: how were the Turks depicted in literature and art? The third examines performativity: how were the Turks inserted into plays, operas and ceremonies? This book confronts mental, visual and embodied images with historical positions and conditions. The focus, therefore, is on the dynamic interactive processes of experience, embodiment and imagination in context. Bringing together Turkish and European scholars, it applies a number of research strategies used by historians to the history of art, literature, music and theatre. Contributions by Pál Ács | Robert Born | Asli Çirakman | Anne Duprat | Kate Fleet | Bent Holm | Marcus Keller | Maria Pia Pedani | Mogens Pelt | Mikael Bøgh Rasmussen | Günsel Renda | Pia Schwarz Lausten | Charlotte Colding Smith | Suna Suner | Dirk Van Waelderen

Publisher description

Histories of the Turks were a central means through which English authors engaged in intellectual and cultural terms with the Ottoman Empire, its advance into Europe following the capture of Constantinople (1454), and its continuing central European power up to the treaty of Karlowitz (1699). Writing the Ottomans examines historical writing on the Turks in England from 1480-1700. It explores the evolution of this discourse from its continental roots, and its development in response to moments of military crisis such as the Long War of 1593-1606 and the War of the Holy League 1683-1699, as well as Anglo-Ottoman trade and diplomacy throughout the seventeenth century. From the writing of central authors such as Richard Knolles and Paul Rycaut, to lesser known names, it reads English histories of the Turks in their intellectual, religious, political, economic and print contexts, and analyses their influence on English perceptions of the Ottoman world.

Despite the fact that its capital city and over one third of its territory was within the continent of Europe, the Ottoman Empire has consistently been regarded as a place apart, inextricably divided from the West by differences of culture and religion. A perception of its militarism, its barbarism, its tyranny, the sexual appetites of its rulers and its pervasive exoticism has led historians to measure the Ottoman world against a western standard and find it lacking. In recent decades, a dynamic and convincing scholarship has emerged that seeks to comprehend and, in the process, to de-exoticize this enduring realm. Dan Goffman provides a thorough introduction to the history and institutions of the Ottoman Empire from this new standpoint, and presents a claim for its inclusion in Europe. -- Publisher description.

This book provides a comprehensive assessment of Dürer’s depictions of human diversity, focusing particularly on his depictions of figures from outside his Western European milieu. Heather Madar contextualizes those depictions within their broader artistic and historical context and assesses them in light of current theories about early modern concepts of cultural, ethnic, religious and racial diversity. The book also explores Dürer’s connections with contemporaries, his later legacy with respect to his imagery of the other and the broader significance of Nuremberg to early modern engagements with the world beyond Europe. The book will be of interest to scholars working in art history, Renaissance studies and Renaissance history.

As a geo-historical place, the beach integrates a variety of characteristics and functions so multiple that they tend to contradict each other. The beach is both a place of work and trade but also of leisure; it is both a place of therapy and health but also of migration, war, and death; it is a place of mass tourism and boredom but also the place of experiencing the Other; it is a public place but also an uncivilized and desolate place. This book studies the literary representation of the beach from ancient Greek literature up until today, drawing on English, French, Italian, American, and Spanish literatures from various periods and genres and presenting multiple ways of comparing and understanding literary beaches as a ubiquitous literary phenomenon. It demonstrates how the literary beach as a both geo-historical place and as an aesthetic literary commonplace has been a constant and privileged resource for the analysis of more general existential, sociological, and moral problems. This is the case when for instance the Tahitian beach becomes the place of the "already modern" in Stevenson's tales, or when the Italian beach becomes a question of modern feminism in Ferrante. In this sense, literature expands the local or national beach by articulating its transnational complexities.

A human being is a symbolic creature and, to the same extent, an active inventor of otherness. Europe and Turkey, The West and the Balkans, are infinitely exploitable symbols. Any symbol, inherently polysemic and socially construed, is continuously contested and negotiated. The image of ‘the Turk’ as a ruthless plunderer is still vivid in European collective memory. Although it occasionally still verges on ethnic mythology, it clearly belongs to a past where, along with the plague and famine, this name used to be mentioned in prayers more frequently than that of God itself. In the past, the name ‘Turk’ implied the negative of the European self-image. ‘The Turk,’ assuming the role of the ‘defining other,’ was considered as everything a European was not (primitive, barbarian, savage vs. civilised). As such, this concept was one of the constitutive elements of European (Western) cultural identity. The aim of this book is nothing less than a better understanding of the European past related to the Ottomans. An intellectual traveller who takes his Orient Express at Victoria, however, will have to get off somewhere half-way and spend some time in the part of Europe set between the Alps and the Adriatic before ending his journey in Istanbul.

Silent Teachers considers for the first time the influence of Ottoman scholarly practices and reference tools on oriental learning in early modern Europe. Telling the story of oriental studies through the annotations, study notes, and correspondence of European scholars, it demonstrates the central but often overlooked role that Turkish-language manuscripts played in the achievements of early orientalists. Dispersing the myths and misunderstandings found in previous scholarship, this book offers a fresh history of Turkish studies in Europe and new insights into how Renaissance intellectuals studied Arabic and Persian through contemporaneous Turkish sources. This story hardly has any dull moments: the reader will encounter many larger-than-life figures, including an armchair expert who turned his alleged captivity under the Ottomans into bestselling books; a drunken dragoman who preferred enjoying the fruits of the vine to his duties at the Sublime Porte; and a curmudgeonly German physician whose pugnacious pamphlets led to the erasure of his name from history. Taking its title from the celebrated humanist Joseph Scaliger’s comment that books from the Muslim world are ‘silent teachers’ and need to be explained orally to be understood, this study gives voice to the many and varied Turkish-language books that circulated in early modern Europe and proposes a paradigm-shift in our understanding of early modern erudite culture.