Ottoman Canon And The Construction Of Arabic And Turkish Literatures

The Ottoman Canon and the Construction of Arabic and Turkish Literatures fleshes out the Ottoman canon's multilingual character to call for a literary history that can reassess and even move beyond categories that many critics take for granted, such as 'classical Arabic literature' and 'Ottoman literature'. It gives a historically contextualised close reading of works from authors who have been studied as pionneers of Arabic and Turkish literatures, such as Ziya Pasha, Jurji Zaydan, Ma?ruf al-Rusafi and Ahmet Hamdi Tanpinar. The Ottoman Canon analyses how these authors prepared the arguments and concepts that shape how we study Arabic and Turkish literatures today as they reassessed the relationship among the Ottoman canon's linguistic traditions. Furthermore, The Ottoman Canon examines the Ottoman reception of pre-Ottoman poets, such as Kab ibn Zuhayr, hence opening up new research avenues for Arabic literature, Ottoman studies and comparative literature.

Studies the intertwined manner in which Arabic and Turkish literatures took shape as national traditions

The Ottoman Canon and the Construction of Arabic and Turkish Literatures fleshes out the Ottoman canon's multilingual character to call for a literary history that can reassess and even move beyond categories that many critics take for granted, such as 'classical Arabic literature' and 'Ottoman literature'. It gives a historically contextualised close reading of works from authors who have been studied as pionneers of Arabic and Turkish literatures, such as Ziya Pasha, Jurji Zaydan, Ma?ruf al-Rusafi and Ahmet Hamdi Tanpinar. The Ottoman Canon analyses how these authors prepared the arguments and concepts that shape how we study Arabic and Turkish literatures today as they reassessed the relationship among the Ottoman canon's linguistic traditions. Furthermore, The Ottoman Canon examines the Ottoman reception of pre-Ottoman poets, such as Kab ibn Zuhayr, hence opening up new research avenues for Arabic literature, Ottoman studies and comparative literature.

Mediterranean studies flourish in literary and cultural studies, but concepts of the Mediterranean and the theories and methods they use are very disparate. This is because the Mediterranean is not a simple geographical or historical unity, but a multiplicity, a network of highly interconnected elements, each of which is different and individual. Talking about Mediterranean literature raises the question of whether the connectivity of Mediterranean literature can or should be limited in some way by constructing an inside and an outside of the Mediterranean. What kind of connectivity and fragmentation do literary texts produce, how do they build and interrupt references (to the real, to fictional forms of representation, to history, but also to other texts and discourses), how do they create and deny communication, and how do they engage with and reflect literary and non-literary concepts of the Mediterranean? These and other questions are considered and discussed in the over twenty contributions gathered in this volume.

Comprised of contributions from leading international scholars, The Routledge Handbook of Arabic Poetry incorporates political, cultural, and theoretical paradigms that help place poetic projects in their socio-political contexts as well as illuminate connections across the continuum of the Arabic tradition. This volume grounds itself in the present moment and, from it, examines the transformations of the fifteen-century Arabic poetic tradition through readings, re-readings, translations, reformulations, and co-optations. Furthermore, this collection aims to deconstruct the artificial modern/pre-modern divide and to present the Arabic poetic practice as live and urgent, shaped by the experiences and challenges of the twenty-first century and at the same time in constant conversation with its long tradition. The Routledge Handbook of Arabic Poetry actively seeks to destabilize binaries such as that of East-West in contributions that shed light on the interactions of the Arabic tradition with other Middle Eastern traditions, such as Persian, Turkish, and Hebrew, and on South-South ideological and poetic networks of solidarity that have informed poetic currents across the modern Middle East. This volume will be ideal for scholars and students of Arabic, Middle Eastern, and comparative literature, as well as non-specialists interested in poetry and in the present moment of the study of Arabic poetry.

How do terms used to describe migration change over time? How do those changes reflect possibilities of inclusion and exclusion? Ella Fratantuono places the governance of migrants at the centre of Ottoman state-building across a 60-year period (1850-1910) to answer these questions. She traces the significance of the term muhacir (migrant) within Ottoman governance during this global era of mass migration, during which millions of migrants arrived in the empire, many fleeing from oppression, violence and war. Rather than adopting the familiar distinction between coerced and non-coerced migration, Fratanuono explores how officials' use of muhacir captures changing approaches to administering migrants and the Ottoman population. By doing so, she places the Ottoman experience within a global history of migration management and sheds light on how six decades of governing migration contributed to the infrastructures and ideology essential to mass displacement in the empire's last decade.

The republic of Turkey and the Soviet Union both emerged from the wreckage of empires surrounding World War I, and pathways of literary exchange soon opened between the two revolutionary states. Even as the Turkish government pursued a friendly relationship with the USSR, it began to persecute communist writers. Whether going through official channels or fleeing repression, many Turkish writers traveled to the Soviet Union during the 1920s and 1930s, publishing original work, editing prominent literary journals, and translating both Russian classics and Soviet literature into Turkish. Writing in Red traces the literary and exilic itineraries of Turkish communist and former communist writers, examining revolutionary aesthetics and politics across Turkey and the Soviet Union from the mid-1920s through the 1960s. Nergis Ertürk considers a wide range of texts—spanning genres such as erotic comedy, historical fiction and film, and socialist realist novels and theater—by writers including Nâzim Hikmet, Vâlâ Nureddin, Nizamettin Nazif, Suat Derviş, and Abidin Dino. She argues that these works belong simultaneously to modern Turkish literature, a transnational Soviet republic of letters, and the global literary archive of world revolution, alongside those of other writers who made the “magic pilgrimage” to Moscow. Exploring how Turkish communist writers on the run produced a remarkable transnational literature of dissent, Writing in Red offers a new account of global revolutionary literary culture.

Written forms of Arabic composed during the era of the Ottoman Empire present an immensely fruitful linguistic topic. Extant texts display a proximity to the vernacular that cannot be encountered in any other surviving historical Arabic material, and thus provide unprecedented access to Arabic language history. This rich material remains very little explored. Traditionally, scholarship on Arabic has focussed overwhelmingly on the literature of the various Golden Ages between the 8th and 13th centuries, whereas texts from the 15th century onwards have often been viewed as corrupted and not worthy of study. The lack of interest in Ottoman Arabic culture and literacy left these sources almost completely neglected in university courses. This volume is the first linguistic work to focus exclusively on varieties of Christian, Jewish and Muslim Arabic in the Ottoman Empire of the 15th to the 20th centuries, and present Ottoman Arabic material in a didactic and easily accessible way. Split into a Handbook and a Reader section, the book provides a historical introduction to Ottoman literacy, translation studies, vernacularisation processes, language policy and linguistic pluralism. The second part contains excerpts from more than forty sources, edited and translated by a diverse network of scholars. The material presented includes a large number of yet unedited texts, such as Christian Arabic letters from the Prize Paper collections, mercantile correspondence and notebooks found in the Library of Gotha, and Garshuni texts from archives of Syriac patriarchs.

Explores translation in the context of the multi-lingual, multi-ethnic late-Ottoman Mediterranean world. Fénelon, Offenbach and the Iliad in Arabic, Robinson Crusoe in Turkish, the Bible in Greek-alphabet Turkish, excoriated French novels circulating through the Ottoman Empire in Greek, Arabic and Turkish: literary translation at the eastern end of the Mediterranean offered worldly vistas and new, hybrid genres to emerging literate audiences in the nineteenth and early-twentieth centuries. Whether to propagate 'national' language reform, circulate the Bible, help audiences understand European opera, argue for girls' education, institute pan-Islamic conversations, introduce political concepts, share the Persian Gulistan with Anglophone readers in Bengal, or provide racy fiction to schooled adolescents in Cairo and Istanbul, translation was an essential tool. But as these essays show, translators were inventors, and their efforts might yield surprising results.

Central to the nineteenth-century Ottoman Tanzimat reform project, the novel originally developed outside of Ottoman space, yet was adopted as a didactic tool to model and generate new forms of Ottoman citizenship. Essays in this book explore the appropriation of the novel as a literary genre and its deployment in the late Ottoman cultural project of constructing an Ottoman modernity. Analyzing key texts and authors, from the works of Ahmet Midhat Efendi to Mizanci Murad and Vartan Pasha, among others, the book's chapters explore the novel genre as far more than a case of importation of Western and non-Ottoman cultural productions, but rather as a vehicle for the cultivation of indigenous modern subjectivities.