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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 student suggested the period's three-day-long dramatic climax "an Ottoman Tragedy." below Gabriel Piterberg's deft research, this era of obstacle turns into a ancient laboratory for the historical past of the Ottoman Empire within the 17th century--an chance to monitor the dialectical play among historical past as an prevalence and adventure and historical past 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 country within the 17th century. A provocative reinterpretation of an important occasion in Ottoman heritage, this paintings reconceives the relation among historiography and background.

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Extra resources for An Ottoman Tragedy: History and Historiography at Play (Studies on the History of Society and Culture)

Example text

Slightly later the sultan decided that a history on a similar topic and of the same stylistic elegance and elaboration as Bildisi’s, but in Ottoman Turkish prose rather than Persian, was necessary.

But the kul were determined: with drawn daggers they forced the ulema to render the biat to Sultan Mustafa, declared him the new padishah, and by implication deposed Sultan Osman. They transferred Mustafa I to the Old Palace, but as a rumor spread that Sultan Osman might prepare an attack, they collected the valide sultan and her retinue from the Old Palace and decided to guard the whole group in the janissaries’ mosque, Orta Cami. In the evening of the second day (19 May), Sultan Osman sought advice from his newly reappointed grand vezir, Ohrili Hüseyin Pasha.

Following Tug˘i, they all cite Prince Mehmed’s dua (personal prayer) prior to his execution and see in Osman’s fate a sign that God accepted the prayer. Tug˘i further identifies it as the reason for which, as we shall see below, Genç Osman was publicly humiliated after his deposition: “’Osman, I ask of God that your reign come to an end. ” 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.

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