By Gabriel Piterberg
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 old texts, and forces a rethinking of either Ottoman historiography and the Ottoman nation within the 17th century. A provocative reinterpretation of a big occasion in Ottoman background, this paintings reconceives the relation among historiography and history.
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Extra resources for An Ottoman Tragedy: History and Historiography at Play (Studies on the History of Society and Culture)
Menage’s inimitable 36 / Foundations formulation of this historical consciousness could have earned him an honoriﬁc gazi title: [I]n the good old days honest ghazis were not pestered by the central government; there was no penjik . . 17 continuations Two closely related features are notable in the way Ottoman historiography continued to evolve from the latter part of the ﬁfteenth century till the closing decades of the sixteenth century. These are the emergence of Ottoman high culture and the formation of an expanding and increasingly differentiated Ottoman bureaucracy.
Numbers could also vary according to particular activities: a gathering at the Hippodrome might be very large, whereas the submission of a petition to the sultan via the ulema was done by an elected delegation. Comments by the Ottoman historians that shops in the markets were closed and that the city halted its daily life suggest that the civilian people of Istanbul stayed away from the confrontational drama at least until the result was clear. The restlessness of the sipahis and janissaries erupted.
Sultan Osman attracted the disapproval of the Ottoman historians, with the exception of Peçevi. ” And there is more. 15 Sultan Osman was a nonconformist to an extent that, judging by his fate and the way he was treated and seen by contemporaries and by later generations, his society and polity could not tolerate. This nonconformism was articulated in a mode of representing sultanic sovereignty he attempted to carve for himself, one that ran against the grain of Ottoman protocol and the self-image of the Ottoman state.