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By addressing the ways in which entertainment was employed and enjoyed in Ottoman society, Entertainment Among the Ottomans introduces the reader to a new way of understanding the Ottoman world.
Celebration, Entertainment and Theatre in the Ottoman World gathers twenty-four original essays exploring a broad range of historical performances in the Ottoman Empire. Offering a reappraisal of research on Ottoman festivities, celebrations and entertainment, the volume also examines the European-style theater that flourished in Istanbul during the last decades of the Ottoman Empire. Contributors address issues such as the use of Istanbul's public space in celebrations, the possibilities for "having fun" in a small Aegean town, and the role of the Ottoman Sultans in promoting both art forms and public amusement. Other essays focus on the connections between puppet theater and early Ottoman comedies, the performance of Ottoman and foreign-style music in Istanbul and the everlasting problems of the sultans' censors. By exploring festivals, ceremonies, and entertainments in their historical context, these essays provide a new approach to historical performances in the age of the Ottoman Empire.--Amazon.com.
While European powers were at war with the Ottoman Empire for much of the eighteenth century, European opera houses were staging operas featuring singing sultans and pashas surrounded by their musical courts and harems. Mozart wrote The Abduction from the Seraglio. Rossini created a series of works, including The Italian Girl in Algiers. And these are only the best known of a vast repertory. This book explores how these representations of the Muslim Ottoman Empire, the great nemesis of Christian Europe, became so popular in the opera house and what they illustrate about European–Ottoman international relations. After Christian armies defeated the Ottomans at Vienna in 1683, the Turks no longer seemed as threatening. Europeans increasingly understood that Turkish issues were also European issues, and the political absolutism of the sultan in Istanbul was relevant for thinking about politics in Europe, from the reign of Louis XIV to the age of Napoleon. While Christian European composers and publics recognized that Muslim Turks were, to some degree, different from themselves, this difference was sometimes seen as a matter of exotic costume and setting. The singing Turks of the stage expressed strong political perspectives and human emotions that European audiences could recognize as their own.
Originally conceived as a military history, this second edition completes the story of the Middle Eastern populations that underwent significant transformation in the nineteenth century, finally imploding in communal violence, paramilitary activity, and genocide after the Berlin Treaty of 1878. Now called The Ottomans 1700-1923: An Empire Besieged, the book charts the evolution of a military system in the era of shrinking borders, global consciousness, financial collapse, and revolutionary fervour. The focus of the text is on those who fought, defended, and finally challenged the sultan and the system, leaving long-lasting legacies in the contemporary Middle East. Richly illustrated, the text is accompanied by brief portraits of the friends and foes of the Ottoman house. Written by a foremost scholar of the Ottoman Empire and featuring illustrations that have not been seen in print before, this second edition is essential reading for both students and scholars of the Ottoman Empire, Ottoman society, military and political history, and Ottoman-European relations.
Using a wealth of contemporary Ottoman sources, this book recreates the social history of Istanbul, a huge, cosmopolitan metropolis and imperial capital of the Ottoman Empire. Seat of the Sultan and an opulent international emporium, Istanbul was also a city of violence shaken regularly by natural disasters and by the turmoil of sultanic politics and violent revolt. Its inhabitants, entertained by imperial festivities and cared for by the great pious foundations which touched every aspect of their lives, also amused themselves in the numerous pleasure gardens and the many public baths of the city. While the book is focused on Istanbul, it presents a broad picture of Ottoman society, how it was structured and how it developed and transformed across four centuries. As such, the book offers an exciting alternative to the more traditional histories of the Ottoman Empire.
Focusing on new nation states and mandates in post-Ottoman territories, this book examines how people negotiated, imagined or ignored new state borders and how they conceived of or constructed belonging.
Tanbûrs are long-necked lute-like instruments played in the art, Sûfî, and folk musical traditions along the Silk Road and beyond. This book provides a detailed study of the history of the tanbûr, its role in Ottoman music, construction and playing technique.
How the Ottomans refashioned and legitimated their rule through mystical imageries of authority The medieval theory of the caliphate, epitomized by the Abbasids (750–1258), was the construct of jurists who conceived it as a contractual leadership of the Muslim community in succession to the Prophet Muhammed’s political authority. In this book, Hüseyin Yılmaz traces how a new conception of the caliphate emerged under the Ottomans, who redefined the caliph as at once a ruler, a spiritual guide, and a lawmaker corresponding to the prophet’s three natures. Challenging conventional narratives that portray the Ottoman caliphate as a fading relic of medieval Islamic law, Yılmaz offers a novel interpretation of authority, sovereignty, and imperial ideology by examining how Ottoman political discourse led to the mystification of Muslim political ideals and redefined the caliphate. He illuminates how Ottoman Sufis reimagined the caliphate as a manifestation and extension of cosmic divine governance. The Ottoman Empire arose in Western Anatolia and the Balkans, where charismatic Sufi leaders were perceived to be God’s deputies on earth. Yılmaz traces how Ottoman rulers, in alliance with an increasingly powerful Sufi establishment, continuously refashioned and legitimated their rule through mystical imageries of authority, and how the caliphate itself reemerged as a moral paradigm that shaped early modern Muslim empires. A masterful work of scholarship, Caliphate Redefined is the first comprehensive study of premodern Ottoman political thought to offer an extensive analysis of a wealth of previously unstudied texts in Arabic, Persian, and Ottoman Turkish.
"A work of dazzling beauty...the rare coming together of historical scholarship and curiosity about distant places with luminous writing." --The New York Times Book Review Since the Turks first shattered the glory of the French crusaders in 1396, the Ottoman Empire has exerted a long, strong pull on Western minds. For six hundred years, the Empire swelled and declined. Islamic, martial, civilized, and tolerant, in three centuries it advanced from the dusty foothills of Anatolia to rule on the Danube and the Nile; at the Empire's height, Indian rajahs and the kings of France beseeched its aid. For the next three hundred years the Empire seemed ready to collapse, a prodigy of survival and decay. Early in the twentieth century it fell. In this dazzling evocation of its power, Jason Goodwin explores how the Ottomans rose and how, against all odds, they lingered on. In the process he unfolds a sequence of mysteries, triumphs, treasures, and terrors unknown to most American readers. This was a place where pillows spoke and birds were fed in the snow; where time itself unfolded at a different rate and clocks were banned; where sounds were different, and even the hyacinths too strong to sniff. Dramatic and passionate, comic and gruesome, Lords of the Horizons is a history, a travel book, and a vision of a lost world all in one.
What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities? Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focussed on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, this book heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did.