In this book, Umut Uzer examines the ideological evolution and transformation of Turkish nationalism from its early precursors to its contemporary protagonists. Turkish nationalism erupted onto the world stage in the late nineteenth and early twentieth centuries, as Greeks, Armenians, and other minority groups within the Ottoman Empire began to seek independence. Partly in response to the rising nationalist voices of these groups, Turkish intellectuals began propagating Turkish nationalism through academic as well as popular books, and later associations published semipropagandist journals with the support of the Unionist and Kemalist governments.
 
While predominantly a textual analysis of the primary sources written by the nationalists, this volume takes into account how political developments influenced Turkish nationalism and also tackles the question of how an ideology that began as a revolutionary, progressive, forward-looking ideal eventually transformed into one that is conservative, patriarchal, and nostalgic to the Ottoman and Islamic past. Between Islamic and Turkish Identity is the first book in any language to comprehensively analyze Turkish nationalism with such scope and engagement with primary sources; it aims to dissect the phenomenon in all its manifestations. 

Until now, the notion of a cross-cultural dialogue has not figured in the analysis of harem paintings, largely because the Western fantasy of the harem has been seen as the archetype for Western appropriation of the Orient. In Intimate Outsiders, the art historian Mary Roberts brings to light a body of harem imagery that was created through a dynamic process of cultural exchange. Roberts focuses on images produced by nineteenth-century European artists and writers who were granted access to harems in the urban centers of Istanbul and Cairo. As invited guests, these Europeans were “intimate outsiders” within the women’s quarters of elite Ottoman households. At the same time, elite Ottoman women were offered intimate access to European culture through their contact with these foreign travelers.

Roberts draws on a range of sources, including paintings, photographs, and travelogues discovered in archives in Britain, Turkey, Egypt, and Denmark. She rethinks the influential harem works of the realist painter John Frederick Lewis, a British artist living in Cairo during the 1840s, whose works were granted an authoritative status by his British public despite the actual limits of his insider knowledge. Unlike Lewis, British women were able to visit Ottoman harems, and from the mid-nineteenth century on they did so in droves. Writing about their experiences in published travelogues, they undermined the idea that harems were the subject only of male fantasies. The elite Ottoman women who orchestrated these visits often challenged their guests’ misapprehensions about harem life, and a number of them exercised power as patrons, commissioning portraits from European artists. Their roles as art patrons defy the Western idea of the harem woman as passive odalisque.

In Islam and Secularity Nilüfer Göle takes on two pressing issues: the transforming relationship between Islam and Western secular modernity and the impact of the Muslim presence in Europe. Göle shows how the visibility of Islamic practice in the European public sphere unsettles narratives of Western secularism. As mutually constitutive, Islam and secularism permeate each other, the effects of which play out in embodied and aesthetic practices and are accompanied by fear, anxiety, and violence. In this timely book, Göle illuminates the recent rethinking of secularism and religion, of modernity and resistance to it, of the public significance of sexuality, and of the shifting terrain of identity in contemporary Europe.