The Age of Beloveds offers a rich introduction to early modern Ottoman culture through a study of its beautiful lyric love poetry. At the same time, it suggests provocative cross-cultural parallels in the sociology and spirituality of love in Europe-from Istanbul to London-during the long sixteenth century. Walter G. Andrews and Mehmet Kalpakli provide a generous sampling of translations of Ottoman poems, many of which have never appeared in English, along with informative and inspired close readings. The authors explain that the flourishing of Ottoman power and culture during the "Turkish Renaissance" manifested itself, to some degree, as an "age of beloveds," in which young men became the focal points for the desire and attention of powerful officeholders and artists as well as the inspiration for a rich literature of love.The authors show that the "age of beloveds" was not just an Ottoman, eastern European, or Islamic phenomenon. It extended into western Europe as well, pervading the cultures of Venice, Florence, Rome, and London during the same period. Andrews and Kalpakli contend that in an age dominated by absolute rulers and troubled by war, cultural change, and religious upheaval, the attachments of dependent courtiers and the longings of anxious commoners aroused an intense interest in love and the beloved. The Age of Beloveds reveals new commonalities in the cultural history of two worlds long seen as radically different.
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Extrait
The Age of Beloveds love and th e b eloved i n ear ly- mod er n
Preface ix A Guide to Ottoman Turkish Transcription, Pronunciation, Names, and Titles xi
Introduction Beloved Boys (and Girls) Love Scripts I, Male Bonding Love Scripts II, Poems about Poetry about Love Love, Sex, and Poetry Women and the Art of Love Seduction and Reversal To Die For . . . : Love and Violence in the Age of Beloveds Love, Law, and Religion The End of an Age Renaissance, Renaissances, and the Age of Beloveds
Appendix: Ottoman Sultans during the Age of Beloveds Notes Glossary of Ottoman Terms Bibliography Index
gOur experience is that every book makes its author(s) anxious, yet this book has produced a degree of anxiety new to us. Not only is the subject matter intrinsically fraught with the danger of misunderstanding or giving offense, but our treatment of it is risky as well. This is a first step and could reasonably have been a small one, taken with extreme care. We chose, instead, to take a huge, perilous step in the hope of enticing others to take similar risks. Our anxiety was increased when almost everyone who read all or a part of the manuscript said something like: ‘‘There are people who will be very upset by this . . .’’ Our resolve was increased by the fact that none of these readers said thatthey themselveswere upset or offended by it. This book is our invitation to a broad range of scholars and thinking people to look at the Ottomans from a new perspective. It touches lightly on a lot of things that need to be looked at much more closely. It should be a wonderful opportunity for the kind of reviewer who delights in pointing out what the au-thor of a book could or should have included but did not. Our hope is that our study will bring the Ottomans into discussions from which they have been absent and that it will serve as a springboard from which a more profound examination of Ottoman culture will emerge. It matters little to us if this ex-amination takes the form of extrapolating on our suggestions or arguing for different directions. All scholarly works are joint projects, the work of generations and a host of contributors. There are many people who contributed to the final form of this book, and many of their contributions, be they large or small, were cru-cial to our thinking. We cannot possibly mention them all, but there are a few people whose help cannot go without acknowledgment. Of course, not one of them is responsible for whatever it is that you, the reader, found upsetting. They are responsible only for the parts you liked.