By Gabriel Piterberg
Within the area 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 stated the period's three-day-long dramatic climax "an Ottoman Tragedy." below Gabriel Piterberg's deft research, this era of concern turns into a old laboratory for the heritage of the Ottoman Empire within the 17th century--an chance to monitor the dialectical play among historical past as an incidence and event 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 nation narrative on the finish of the 17th century. His paintings brings theories of historiography into discussion with the particular interpretation of Ottoman historic texts, and forces a rethinking of either Ottoman historiography and the Ottoman nation within the 17th century. A provocative reinterpretation of an immense occasion in Ottoman historical past, this paintings reconceives the relation among historiography and background.
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Extra info for An Ottoman Tragedy: History and Historiography at Play (Studies on the History of Society and Culture)
34 It might be possible to understand this interpretation as implying that the dream conveyed the message that Sultan Osman was divinely rejected as both a political leader (the gown) and the imam of the community (the Kuran). Whatever the meaning of the dream and whatever the sultan made of it and of its interpretations, following this experience he became ﬁrmly resolved on proceeding with the plan that he had resolved on earlier. Even a fetva (legal opinion) in which the sheyhülislam forbade him to go on the hajj went unheeded.
The ﬁrst is that from its traceable inception Ottoman historiography, and this is by no means uniquely Ottoman, was conﬂictual and deeply ingrained in the politics and ideological accents of its time. By conﬂictual I mean not only that the historiographical production of a certain period was part and parcel of its historical environment but also something more general. An appropriate narrative of Ottoman historiography should foreground the extent to which it was an incessant competition among different, at times antithetical, story lines and versions; a linear or developmental narrative of Ottoman historiography would inevitably oversimplify it and render it one-dimensional.
26 This point warrants two brief comments. First, whereas Naima’s astonishment may be explained by his perspective—that is, at the end of the seventeenth century it is plausible that fratricide seemed an outdated and unnecessary cruelty— Tug˘i’s reaction is more puzzling. He was a contemporary and, as will be amply demonstrated in the following chapters, had a substantial axe to grind. That granted, a partisan bias alone does not satisfactorily account for this taken-for-granted disapproval of fratricide, for even a partisan view cloaked in moral garb must have some grounding in its context for the text to make sense.
An Ottoman Tragedy: History and Historiography at Play (Studies on the History of Society and Culture) by Gabriel Piterberg