By Suraiya Faroqhi
Излагая методы, пользуясь которыми, для интерпретации истории Османской империи можно использовать первичные и вторичные источники, автор обращается к студентам и исследователям в этой и смежной областях и дисциплинах, чтобы облегчить знакомство с такими документами. Рассматривая как архивные, так и нарративные источники, автор объясняет, как они подготавливались, чтобы убедить читателей применять критический подход к их данным, и не считать априори, что всё зарегистрированное в официальных документах является обязательно точным или даже истинным. В то время как книга, по существу, может использоваться в качестве руководство по сложной дисциплине для начинающих исследователей, опытные тюркологи могут найти в ней много новых и провокационных интерпретаций.Образцы сканов:
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Extra info for Approaching Ottoman History: An Introduction to the Sources
According to such a conception of the historian’s craft, the observation that a given researcher has based him/herself entirely on primary sources is not high praise. Rather it should be regarded as a matter-offact statement if there is little secondary literature available, a situation not unknown to Ottomanist historians. But in all other cases, the observation that the author of a given study has neglected to consult the secondary literature is not praise but rather the opposite. For it implies that the historian has neglected to engage in the methodical and principled dialogue which many of us today regard as the chief virtue of any historical study.
Or else the new emphasis on women’s cultural activities (compare the adage ‘Anonymous was a woman’ which has recently become popular among feminist literary historians) has inspired Cemal Kafadar to interpret the letters of a seventeenth-century female dervish from the Macedonian ¨ sku¨p/Skopje (Kafadar, 1992). His sophisticated commentary on town of U this text would have been impossible without previous involvement in the proble´matique of women’s history. Moreover, discussing a primary source after a knowledge of the ‘state of the art’ has been acquired will also help avoid a common failing of many exclusively ‘document-oriented’ studies: the reader will not be left wondering why in all the world, of all the documents which have come down to us, the author has selected this particular text for detailed study.
Most insidious, because most easily overlooked, are the conventions of genre. Everything we say or write, and everything that was said or written in the past, belongs either to an established genre or to a ‘mixed’ type combining the properties of several genres. Every genre has its own rules, and the impact of such rules on historical writing will be examined for the European context in chapter 5, and for the Ottomanist context in chapter 6. In the European context we will pay special attention to travel accounts.