Private World Of Ottoman Women

Recovering the oft-neglected role of women in Ottoman high society and power politi, this book brings to life the women who made their mark in a male domain. Though historical records tend to favour the glitter of palaces over the trials of daily life, Goodwin also reconstructs ordinary women's domestic toil. As the Ottoman Empire first expanded and then shrank, women travelled its width and breadth whether out of necessity or merely for pleasure. Some women owned slaves while others suffered the misfortune of being enslaved. Goodwin examines the laws which governed women's lives from the harem to the humblest tasks. This perceptive study of Ottoman life culminates with the nineteenth century and explores the advent of modernity and its impact on women at a time of imperial decline. 'The best book on the subject and likely to remain so for some time.' Times Literary Supplement 'A fascinating account by the foremost authority on the Ottoman period.' The Middle East 'Goodwin is an exceptional scholar with an insight that reveals itself in every sentence.' Asian Affairs 'Offers excellent scholarship into a history that has been much neglected by the West.' Judaism Today

Family, Law and Politics, Volume II of the Encyclopedia of Women & Islamic Cultures, brings together over 360 entries on women, family, law, politics, and Islamic cultures around the world.

Using the newest sources, this book reveals the experience of Ottoman Muslim women during World War I.

In 1720, an Ottoman ambassador was sent to the court of the Child King Louis XV to observe Western civilization and report on what he saw and how it could be applied in the Ottoman Empire. Based on the accounts of this ambassador, East Encounters West studies the impact of the West on the Ottoman empire and the impact of this Ottoman embassy on the two societies. In France, the presence of the embassy yielded only a brief fashion of Turquerie, whereas in the Ottoman empire, it yielded the first official printing press, signalling an important step toward Western style. Göçek here assesses the reasons behind these differential impacts through three factors: the Western technological advances, consequent commercial expansion, and the different reactions of various social groups in the Ottoman empire to these developments. Her analysis reveals a far-reaching and complex Westernization process that permeated Turkish society as it was approved and imported by dignitaries and eventually passed onto average households. Sketching the process of Westernization from the perspective of Easterners, this unique book throws new light on the cultural differences between these two major civilizations and on the nature of cultural transmission and diffusion.

At the beginning of the eighteenth century, the Ottoman Empire remained the grandest and most powerful of Middle Eastern empires. One hitherto overlooked aspect of the Empire's remarkable cultural legacy was the role of powerful women - often the head of the harem, or wives or mothers of sultans. These educated and discerning patrons left a great array of buildings across the Ottoman lands: opulent, lavish and powerful palaces and mausoleums, but also essential works for ordinary citizens, such as bridges and waterworks. Muzaffer OEzgule? here uses new primary scholarship and archaeological evidence to reveal the stories of these Imperial builders. Gulnu? Sultan for example, the favourite of the imperial harem under Mehmed IV and mother to his sons, was exceptionally pictured on horseback, travelled widely across the Middle East and Balkans, and commissioned architectural projects around the Empire. Her buildings were personal projects designed to showcase Ottoman power and they were built from Constantinople to Mecca, from modern-day Ukraine to Algeria. OEzgule? seeks to re-establish the importance of some of these buildings, since lost, and traces the history of those that remain. The Women Who Built the Ottoman World is a valuable contribution to the architectural history of the Ottoman Empire, and to the growing history of the women within it.

This book provides a general overview of the daily life in a vast empire which contained numerous ethnic, linguistic, and religious communities. The Ottoman Empire was an Islamic imperial monarchy that existed for over 600 years. At the height of its power in the 16th and 17th centuries, it encompassed three continents and served as the core of global interactions between the east and the west. And while the Empire was defeated after World War I and dissolved in 1920, the far-reaching effects and influences of the Ottoman Empire are still clearly visible in today's world cultures. Daily Life in the Ottoman Empire allows readers to gain critical insight into the pluralistic social and cultural history of an empire that ruled a vast region extending from Budapest in Hungary to Mecca in Arabia. Each chapter presents an in-depth analysis of a particular aspect of daily life in the Ottoman Empire.

Examined here is the historical figure and architectural patronage of Hadice Turhan Sultan, the young mother of the Ottoman Sultan Mehmed IV, who for most of the latter half of the seventeenth century shaped the political and cultural agenda of the Ottoman court. Captured in Russia at the age of twelve, she first served the reigning sultan's mother in Istanbul. She gradually rose through the ranks of the Ottoman harem, bore a male child to Sultan Ibrahim, and came to power as a valide sultan, or queen mother, in 1648. It was through her generous patronage of architectural works-including a large mosque, a tomb, a market complex in the city of Istanbul and two fortresses at the entrance to the Dardanelles-that she legitimated her new political authority as a valide and then attempted to support that of her son. Central to this narrative is the question of how architecture was used by an imperial woman of the Ottoman court who, because of customary and religious restrictions, was unable to present her physical self before her subjects' gaze. In lieu of displaying an iconic image of herself, as Queen Elizabeth and Catherine de Medici were able to do, Turhan Sultan expressed her political authority and religious piety through the works of architecture she commissioned. Traditionally historians have portrayed the role of seventeenth-century royal Ottoman women in the politics of the empire as negative and de-stabilizing. But Thys-Senocak, through her examination of these architectural works as concrete expressions of legitimate power and piety, shows the traditional framework to be both sexist and based on an outdated paradigm of decline. Thys-Senocak's research on Hadice Turhan Sultan's two Ottoman fortresses of Seddülbahir and Kumkale improves in a significant way our understanding of early modern fortifications in the eastern Mediterranean region and will spark further research on many of the Ottoman fortifications built in the area. Plans and elevations of the fortresses are published and analysed here for the first time. Based on archival research, including letters written by the queen mother, many of which are published here for the first time, and archaeological fieldwork, her work is also informed by recent theoretical debates in the fields of art history, cultural history and gender studies.

Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers. Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.