Set in the heart of the exotic Ottoman Empire during the first years of its chaotic decline, Michael David Lukas’ elegantly crafted, utterly enchanting debut novel follows a gifted young girl who dares to charm a sultan—and change the course of history, for the empire and the world. An enthralling literary adventure, perfect for readers entranced by the mixture of historical fiction and magical realism in Philip Pullman’s The Golden Compass, Orhan Pamuk’s My Name is Red, or Gabriel García Márquez’s One Hundred Years of Solitude, Lukas’ evocative tale of prophesy, intrigue, and courage unfolds with the subtlety of a Turkish mosaic and the powerful majesty of an epic for the ages.
The traveller gets exactly what he needs, and in a handy format. THE TIMES The author seems to have covered every road in the country, and has something of interest to say about virtually every site. COUNTRY LIFE Istanbul is the only city in the world that stands astride two continents, spreading across from Europe into Asia at the southern end of the Bosphorus, the incomparably beautiful strait linking the Black Sea with the Sea of Marmara in northwestern Turkey. This Companion Guide to Istanbul goes as far as the region around Marmara from the Bosphorus to the Dardanelles, which flows into the Aegean past the historic ruins of Troy on its Asian shore.Revised and updated for this new edition, the book is a guide to the Byzantine and Ottoman monuments and to the many other places of great historic interest around the Marmara, including Edirne, Bursa and Iznik, ancient Nicaea, as well as the renowned archaeological site of Homeric Troy. It is also an introduction to Turkey itself and to its people and their way of life, which they are more than willing to share with the traveller who takes the time to become acquainted with them. JOHN FREELY has lived and worked on America's east coast, in Britain, and around the Mediterranean, but is long-time Professor of Physics at the University of the Bosphorus, Istanbul, and has been resident for many years in Turkey. His understanding of the land and its people has made him a respected interpreter of Turkey ancient and modern.
First published in 2005. Long acknowledged to be the 'best travel guide to Istanbul' (Times of London) this classic of travel literature is now available in a larger format in hardback binding. The work is both a useful and informative guide to the city with major useful monuments described in detail in terms of the history and architecture. Although the main emphasis of the book is on the Byzantine and Ottoman Antiquities, the city is not treated as a museum in the context of a living city. Itineraries are arranged so that each one takes the visitor to a different part of Istanbul.
Istanbul has long been a place where stories and histories collide, where perception is as potent as fact. From the Koran to Shakespeare, this city with three names--Byzantium, Constantinople, Istanbul -- resonates as an idea and a place, real and imagined. Standing as the gateway between East and West, North and South, it has been the capital city of the Roman, Byzantine, and Ottoman Empires. For much of its history it was the very center of the world, known simply as "The City," but, as Bettany Hughes reveals, Istanbul is not just a city, but a global story. In this epic new biography, Hughes takes us on a dazzling historical journey from the Neolithic to the present, through the many incarnations of one of the world's greatest cities--exploring the ways that Istanbul's influence has spun out to shape the wider world. Hughes investigates what it takes to make a city and tells the story not just of emperors, viziers, caliphs, and sultans, but of the poor and the voiceless, of the women and men whose aspirations and dreams have continuously reinvented Istanbul. Written with energy and animation, award-winning historian Bettany Hughes deftly guides readers through Istanbul's rich layers of history. Based on meticulous research and new archaeological evidence, this captivating portrait of the momentous life of Istanbul is visceral, immediate, and authoritative -- narrative history at its finest.
This study covers the socio-political, intellectual and institutional dynamics of underground resistance to the Allied occupation in Istanbul. The city was clearly not the seat of treason against the Nationalist struggle for independence, nor was collaboration with the occupiers what it was made out to be in Republican historiography. Above and beyond the international conjuncture in post-WWI Europe, factors that helped the Turkish Nationalists to succeed were: inter-Allied rivalries in the Near East that carried over to Istanbul; the British, French and Italians as major occupation forces, failing to establish a balance of strenght among themselves in their haste to promote respective national interests; the victors underestimating the defeated as they were engrossed with bureaucracy and were assailed by the influx of Russian refugees, Bolshevik propaganda, and the Turkish left.
Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers. Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.
Until now, Orientalist art—exemplified by paintings of harems, slave markets, or bazaars—has predominantly been understood to reflect Western interpretations and to perpetuate reductive, often demeaning stereotypes of the exotic East. Orientalism's Interlocutors contests the idea that Orientalist art simply expresses the politics of Western domination and argues instead that it was often produced through cross-cultural interactions. Focusing on paintings and other representations of North African and Ottoman cultures, by both local artists and westerners, the contributors contend that the stylistic similarities between indigenous and Western Orientalist art mask profound interpretive differences, which, on examination, can reveal a visual language of resistance to colonization. The essays also demonstrate how marginalized voices and viewpoints—especially women's—within Western Orientalism decentered and destabilized colonial authority. Looking at the political significance of cross-cultural encounters refracted through the visual languages of Orientalism, the contributors engage with pressing recent debates about indigenous agency, postcolonial identity, and gendered subjectivities. The very range of artists, styles, and forms discussed in this collection broadens contemporary understandings of Orientalist art. Among the artists considered are the Algerian painters Azouaou Mammeri and Mohammed Racim; Turkish painter Osman Hamdi; British landscape painter Barbara Bodichon; and the French painter Henri Regnault. From the liminal "Third Space" created by mosques in postcolonial Britain to the ways nineteenth-century harem women negotiated their portraits by British artists, the essays in this collection force a rethinking of the Orientalist canon. This innovative volume will appeal to those interested in art history, theories of gender, and postcolonial studies. Contributors. Jill Beaulieu, Roger Benjamin, Zeynep Çelik, Deborah Cherry, Hollis Clayson, Mark Crinson, Mary Roberts
