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| Srl | Item |
| 1 |
ID:
187540
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| Summary/Abstract |
Contrary to the general tendency in intellectual history, where a past intellectual is usually portrayed as having a coherent thought system with minor deviations, there are various and even contradictory depictions of Ali Suavi. He was a Turkist intellectual and revolutionary, sacrificing himself to stop Abdulhamid II before the latter turned into a ‘despot’, but also an Islamist with political views akin to those of the Muslim modernists, responsible for the later regional instability in the Middle East. This article argues that, instead of a selective reading of his work to fit into one of these portrayals, a better understanding of Ali Suavi’s thought should benefit from intellectual context. It aims at reading his history of the ‘Turks’ intellectual work’ and discussion of sovereignty and ideal government as part of an ongoing conversation with the European intellectual context. This way, his praising of Turkish history and language does not merely point out a nascent Turkism, nor does his utilization of Islamic terminology and history in his formulation of ideal government only signal his Islamism, but rather they prove his conscious engagement with the European intellectual context and attempt at appropriating and translating European ideas for the late Ottoman context.
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| 2 |
ID:
186145
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| Summary/Abstract |
In the late nineteenth and early twentieth centuries, the style of Ottoman textiles underwent a remarkable shift. This study examines this shift through the case of the Hereke Imperial Factory, a showcase of Ottoman modernism, from the factory’s foundation to the run up to the First World War. In this study, I draw on Ottoman archival records and sources found at the Hereke factory library to show how the style of the textiles produced at the factory was gradually ‘nationalized’ under the reigning political ideology of the day. I also argue that the evolving styles produced by the designers at the Hereke factory were not merely a reflection of the political culture of the era but also, and more significantly, an active factor in shaping that culture. When creating their designs, the designers at Hereke consciously sought to revive the past, and over time, I show, the aspects of the past they embraced for this purpose changed in important ways, gradually shifting from European-style ornamentation to more ‘authentic’ Ottoman styles that were in reality an entirely new synthesis of earlier Eastern designs. That is, designers effectively created a self-consciously ‘Ottoman style’ for the first time, paralleling the efforts of the empire around them to forge a modern imperial identity. I devote particular attention to Tovmas Effendi, an Armenian painter and Hereke’s chief draftsman, to demonstrate how the idea of Ottomanism crystalized in carpet design.
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