By Gabriel Piterberg
Within the house of six years early within the 17th century, the Ottoman Empire underwent such turmoil and trauma--the assassination of the younger ruler Osman II, the re-enthronement and next abdication of his mad uncle Mustafa I, for a start--that a pupil reported the period's three-day-long dramatic climax "an Ottoman Tragedy." less than Gabriel Piterberg's deft research, this era of hindrance turns into a ancient laboratory for the background of the Ottoman Empire within the 17th century--an chance to monitor the dialectical play among historical past as an prevalence and adventure and heritage as a recounting of that have. Piterberg reconstructs the Ottoman narration of this fraught interval from the foundational textual content, produced within the early 1620s, to the composition of the kingdom narrative on the finish of the 17th century. His paintings brings theories of historiography into discussion with the particular interpretation of Ottoman ancient texts, and forces a rethinking of either Ottoman historiography and the Ottoman kingdom within the 17th century. A provocative reinterpretation of an incredible occasion in Ottoman historical past, this paintings reconceives the relation among historiography and historical past.
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Additional info for An Ottoman Tragedy: History and Historiography at Play
Like other things Ottoman, historiography was an amalgamation of the cultures and traditions bequeathed to the Ottomans. The imprint of the older and prestigious traditions, the Arabic and the Persian, as well as the Turco-Mongol, Turkish-Anatolian, and Greek-Byzantine, is evident in Ottoman history. Like other things Ottoman, what renders the historiography Ottoman is precisely the eclectic amalgamation rather than the originality of a particular feature in terms of Ideengeschichte. ” 18 Although periodization is unavoidably somewhat arbitrary, it might be suggested that the reign of Bayezid II, especially the late 1480s, marked a turning point in the history of Ottoman historiography.
14 The garlic metaphor and the conﬂictual conception of Ottoman historiography are further reinforced when Nes¸ri is compared to Apz. Unlike Apz, Nes¸ri came from among the ulema. His work was written not more than a decade after Apz’s and was an attempt to amalgamate three clusters of historical sources: the ﬁrst was a group of works of which Apz’s text is a major representative; the second comprised what can be called court histories (most notably Ahmedi’s and S¸ukrüllah’s); and the third comprised annalistic calendars.
It might be that seniority, once introduced, promptly became accepted as customary. Second, there appears to be a correlation between fratricide and the image of gazi-sultans. 27 Signiﬁcant as the above cluster of actions is in the interpretation of Genç Osman as a nonconformist and by and large unpopular ruler, it is dwarfed by the magnitude of the venture he and his conﬁdants had conceived and were about to implement in 1621–22. In terms of histoire événementielle, it was this venture that eliminated the padishah and his regime.
An Ottoman Tragedy: History and Historiography at Play by Gabriel Piterberg