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Ottoman Empire and European Theatre. Vol. IV: Seraglios in Theatre, Music and Literature.

Michael Hüttler / H. E. Weidinger (eds.), Vienna: Hollitzer Verlag, 2016 (Ottomania 6), 328 pp., 24,5 x 17,5 cm, hardcover with dust jacket

ISBN 978-3-99012-189-4 (hbk) € 55,00
ISBN 978-3-99012-190-0 (epub) € 49,99
ISBN 978-3-99012-191-7 (pdf) € 49,99


The book series “Ottomania” researches cultural transfers between the Ottoman Empire and Europe, with the performing arts as its focus.
In Ottoman Empire and European Theatre, vol. IV: Seraglios in Theatre, Music and Literature, the series continues to explore one of the most popular subjects of eighteenth-century art: the seraglio and its harem. This volume provides a deeper understanding of the seraglio’s various manifestations in the artworks, music and theatre of the Austrian/ Habsburg and central European regions, including interconnections with Italy and France, from the sixteenth to the nineteenth centuries.
The studies examine descriptions of the seraglio by European diplomats, the seraglio’s visual traces in European artworks, and depictions of the seraglio in eighteenth-century Austrian Singspiele. They also consider seraglios from the Ottoman point of view and investigate the music of the seraglio in eighteenth-century opera.

Contents

Ouverture

Michael Hüttler (Vienna), Hans Ernst Weidinger (Vienna/Florence): Editorial

Prologue:

Gülgûn Üçel-Aybet (Istanbul) : Banqueting at the Seraglio, as Described by European Diplomats of the Sixteenth and Seventeenth Centuries

Act I: The Painted Seraglio

Nina Trauth (Brussels): Fantasies of the Harem in European Portraiture of the Baroque Period

Darja Koter (Ljubljana): Traces of the Seraglio in the Artworks in Slovenia: Depictions of Dance, Music and Theatre from Seventeenth-Century Turqueries to Johann Josef Karl Henrici’s Paintings in the Late Eighteenth Century

Polona Vidmar (Maribor): Count Stefano Carli’s La Erizia (1765): In the Harem of Sultan Mehmed II

Act II: The Seraglio in Italian–Ottoman Context

Luca Scarlini (Milan): The Turks in Italy, or Another Mask of Don Juan: Mirrorings

Alexandre Lhâa (Aix-En-Provence): The Metamorphosis of Tarare: Political Uses and Receptions of a ‘Seraglio Intrigue’ from the Ancien Régime to the Restoration (1787–1826)

Act III: The Seraglio in Austrian Eighteenth-Century Singspiele

Michael Hüttler (Vienna): Joseph Friebert’s Singspiel Das Serail (c.1778) in the Don Juan Archiv Wien: Provenance and State of Research

Tatjana Marković (Vienna): Das Serail (c.1778) by Joseph Friebert as an Embodiment of Enlightened Absolutism

Strother Purdy (Milwaukee/WI): Irene, Doomed Queen of the Seraglio: A Wise Austrian Looks at Moslem-Christian Violence (Vienna 1781)

Act IV: Harem Fantasies on the Late Eighteenth- and Early Nineteenth-Century Austrian Stage

John Sienicki (Grand Rapids/MI): But Not All Are Gentlemen: The Dark Side of the Harem Fantasy in the Works of Perinet, Spiess and Hensler

Lisa Feurzeig (Grand Rapids/MI): The Harem Transplanted? A Hopeful Picture of Bigamy in Franz Schubert’s Unfinished Opera Der Graf von Gleichen

Caroline Herfert (Vienna): Between ‘Romantic Reverie’ and Critical Account: The Different Harems of Murad Efendi (1836–1881)

Act V: From the Ottoman Point of View

Orlin Sabev (Orhan Salih, Sofia): European ‘Seraglios’ and ‘Strange Arts’ as Seen by Ottoman Encounters from the Seventeenth to the Nineteenth Century

Emre Aracı (London): “But if the Sultan Has a Taste for Song, We Will Revive our Fortunes Before Long”: Seeking Operatic Fortunes in the Nineteenth-Century Ottoman Harem

Evren Kutlay (Istanbul): Musical Instruments in Ottoman Seraglios and Harems of the Eighteenth and Early Nineteenth Centuries

Nazende Yılmaz (Istanbul): European Music Embraced in the Ottoman Seraglio

Appendix

Index

Curricula Vitae


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