Symposium 2009, Symposium 2010,
Publications:
Ottoman Empire & European Theatre Vol. II
Focusing on two works, this paper explores the contrasting treatments of the subject of the harem in Murad Efendi’s writings: in the historical tragedy Selim der Dritte (‘Selim the Third’, 1872), the sultan’s seraglio and the seraglio’s harem are an important part of the setting, providing representations of an highly imaginative and sensual “Orient”. The depictions of the harem will be presented with reference to the probably most prestigious and opulent staging of this drama at the Vienna Burgtheater in 1872.
A very different approach to the harem is encountered in Murat Effendi’s essay collection Türkische Skizzen (‘Turkish Sketches’, 1876). These sketches--a mix of travelogue, informative texts on history and culture, as well as critical analysis of both the Ottoman Empire and Europe--also contain a text which is particularly dedicated to the harem and the role or status of women in the Ottoman Empire. Here, Murad Efendi thematizes Western fantasies of the harem and critically contrasts stereotypes of the sensual “Orient” with more realistic descriptions, trying to correct Western misconceptions and bring closer the “strange” East.
Source:INTERNATIONAL SYMPOSIUM IN TWO ACTS OTTOMAN EMPIRE & EUROPEAN THEATRE
Mavi Boncuk |
Between 'Romantic Reverie' and Critical Account: the Representation of the Harem in Murad Efendi’s Work (1872-1876)
This paper deals with the nowadays almost forgotten playwright Murad Efendi[1] (1836-1881), and specifically with one particular aspect of his literary work: his occupation with the harem.
Murad Efendi, alias Franz von Werner, a native Viennese, took part in the Crimean War, migrated to the Ottoman Empire in 1854, and at last started a diplomatic career. As Ottoman consul and later consul general, he was sent to various European cities and began to write for a German speaking public, mainly penning plays and poetry. Although only part of his work deals with the “Orient”, he was received by his contemporaries as “westöstlicher Poet” (‘West-Eastern poet’) or “Märchendichter” (‘fairy tale writer’) who still in the twentieth century was remembered for his “Kalifendramen” (‘Caliph dramas’). Nevertheless, due to his own experiences and long sojourns in the Ottoman Empire, he was also recognized as an expert with well-grounded knowledge of the so-called Orient.
Between 'Romantic Reverie' and Critical Account: the Representation of the Harem in Murad Efendi’s Work (1872-1876)
This paper deals with the nowadays almost forgotten playwright Murad Efendi[1] (1836-1881), and specifically with one particular aspect of his literary work: his occupation with the harem.
Murad Efendi, alias Franz von Werner, a native Viennese, took part in the Crimean War, migrated to the Ottoman Empire in 1854, and at last started a diplomatic career. As Ottoman consul and later consul general, he was sent to various European cities and began to write for a German speaking public, mainly penning plays and poetry. Although only part of his work deals with the “Orient”, he was received by his contemporaries as “westöstlicher Poet” (‘West-Eastern poet’) or “Märchendichter” (‘fairy tale writer’) who still in the twentieth century was remembered for his “Kalifendramen” (‘Caliph dramas’). Nevertheless, due to his own experiences and long sojourns in the Ottoman Empire, he was also recognized as an expert with well-grounded knowledge of the so-called Orient.
Focusing on two works, this paper explores the contrasting treatments of the subject of the harem in Murad Efendi’s writings: in the historical tragedy Selim der Dritte (‘Selim the Third’, 1872), the sultan’s seraglio and the seraglio’s harem are an important part of the setting, providing representations of an highly imaginative and sensual “Orient”. The depictions of the harem will be presented with reference to the probably most prestigious and opulent staging of this drama at the Vienna Burgtheater in 1872.
A very different approach to the harem is encountered in Murat Effendi’s essay collection Türkische Skizzen (‘Turkish Sketches’, 1876). These sketches--a mix of travelogue, informative texts on history and culture, as well as critical analysis of both the Ottoman Empire and Europe--also contain a text which is particularly dedicated to the harem and the role or status of women in the Ottoman Empire. Here, Murad Efendi thematizes Western fantasies of the harem and critically contrasts stereotypes of the sensual “Orient” with more realistic descriptions, trying to correct Western misconceptions and bring closer the “strange” East.
Source:INTERNATIONAL SYMPOSIUM IN TWO ACTS OTTOMAN EMPIRE & EUROPEAN THEATRE
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