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"Harems -- Turkey"
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The concubine, the princess, and the teacher : voices from the Ottoman harem
In the Western imagination, the Middle Eastern harem was a place of sex, debauchery, slavery, miscegenation, power, riches, and sheer abandon. But for the women and children who actually inhabited this realm of the imperial palace, the reality was vastly different. In this collection of translated memoirs, three women who lived in the Ottoman imperial harem in Istanbul between 1876 and 1924 offer a fascinating glimpse “behind the veil” into the lives of Muslim palace women of the late nineteenth and early twentieth centuries. The memoirists are Filizten, concubine to Sultan Murad V; Princess Ayse, daughter of Sultan Abdulhamid II; and Safiye, a schoolteacher who instructed the grandchildren and harem ladies of Sultan Mehmed V. Their recollections of the Ottoman harem reveal the rigid protocol and hierarchy that governed the lives of the imperial family and concubines, as well as the hundreds of slave women and black eunuchs in service to them. The memoirists show that, far from being a place of debauchery, the harem was a family home in which polite and refined behavior prevailed. Douglas Brookes explains the social structure of the nineteenth-century Ottoman palace harem in his introduction. These three memoirs, written across a half century and by women of differing social classes, offer a fuller and richer portrait of the Ottoman imperial harem than has ever before been available in English.
eBook
Intimate outsiders : the harem in Ottoman and Orientalist art and travel literature
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.
eBook
The chief eunuch of the Ottoman harem : from African slave to power-broker
\"Eunuchs were a common feature of pre- and early modern societies that are now poorly understood. Here, Jane Hathaway offers an in-depth study of the chief of the African eunuchs who guarded the harem of the Ottoman Empire. A wide range of primary sources are used to analyse the Chief Eunuch's origins in East Africa and his political, economic, and religious role from the inception of his office in the late sixteenth century through the dismantling of the palace harem in the early twentieth century. Hathaway highlights the origins of the institution and how the role of eunuchs developed in East Africa, as well as exploring the Chief Eunuch's connections to Egypt and Medina. By tracing the evolution of the office, we see how the Chief Eunuch's functions changed in response to transformations in Ottoman society, from the generalized crisis of the seventeenth century to the westernizing reforms of the nineteenth century\"-- Provided by publisher.
Book
Bureaucratic reform in the ottoman empire
From the author's preface: Sublime Porte--there must be few terms more redolent, even today, of the fascination that the Islamic Middle East has long exercised over Western imaginations. Yet there must also be few Western minds that now know what this term refers to, or why it has any claim to attention. One present-day Middle East expert admits to having long interpreted the expression as a reference to Istambul's splendid natural harbor. This individual is probably not unique and could perhaps claim to be relatively well informed. When the Sublime Porte still existed, Westerners who spent time in Istanbul knew the term as a designation for the Ottoman government, but few knew why the name was used, or what aspect of the Ottoman government it properly designated. What was the real Sublime Porte? Was it an organization? A building? No more, literally, than a door or gateway? What about it was important enough to cause the name to be remembered?
In one sense, the purpose of this book is to answer these questions. Of course, it will also do much more and will, in the process, move quickly onto a plane quite different from the exoticism just invoked. For to study the bureaucratic complex properly known as the Sublime Porte, and to analyze its evolution and that of the body of men who staffed it, is to explore a problem of tremendous significance for the development of the administrative institutions of the Ottoman Empire, the Islamic lands in general, and in some senses the entire non-Westerrn world.
eBook
The Strange, Sad Case of the “Bosnian Christian Girl”: Slavery, Conversion, and Jurisdiction on the Habsburg-Ottoman Border
This article examines the case of a Bosnian brother and sister at the center of a diplomatic dispute between Austria and the Ottoman Empire in 1852. Mara Illić had to cross the border into Austria in order to board a ship that would take her to Anatolia with the household of a paşa who had been banished. Milan called upon Austrian authorities to “liberate” Mara, whom he claimed had been enslaved when she was “forced” to convert to Islam as a young child. Austria's defense of its seizure of the girl and the Ottomans' insistence that she be returned reflect tension over sovereignty, jurisdiction, and personhood. The border brings into stark relief the conflict between different ways of conceptualizing categories like freedom and slavery, contract and coercion, confession and nationality.
Journal Article
The Concubine, the Princess, and the Teacher
In the Western imagination, the Middle Eastern harem was a place of sex, debauchery, slavery, miscegenation, power, riches, and sheer abandon. But for the women and children who actually inhabited this realm of the imperial palace, the reality was vastly different. In this collection of translated memoirs, three women who lived in the Ottoman imperial harem in Istanbul between 1876 and 1924 offer a fascinating glimpse \"behind the veil\" into the lives of Muslim palace women of the late nineteenth and early twentieth centuries.
The memoirists are Filizten, concubine to Sultan Murad V; Princess Ayse, daughter of Sultan Abdulhamid II; and Safiye, a schoolteacher who instructed the grandchildren and harem ladies of Sultan Mehmed V. Their recollections of the Ottoman harem reveal the rigid protocol and hierarchy that governed the lives of the imperial family and concubines, as well as the hundreds of slave women and black eunuchs in service to them. The memoirists show that, far from being a place of debauchery, the harem was a family home in which polite and refined behavior prevailed. Douglas Brookes explains the social structure of the nineteenth-century Ottoman palace harem in his introduction.
These three memoirs, written across a half century and by women of differing social classes, offer a fuller and richer portrait of the Ottoman imperial harem than has ever before been available in English.
eBook
Intimate Outsiders
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.
eBook