Typen Türkischer Volksmärchen Wiesbaden: F. The ballad, operating in the domain of both fantasy and reality, incites the listener to sympathy with its characters. For the black eunuchs, the more pronounced their Augustinos, Eastern Concubines, Western Mistresses 17 blackness, the more effective they would be as deterrents against transgressions of the boundaries of female desire. The version from Imera was collected by Despoina Fostiropoulou from an unidentified female narrator before 1935; the one from Kotyora was collected by folklorist, historian, playwright, and army officer Xenophon Akoglous from a male narrator before 1952. Although a villain is common in Pontic tales, there may be more than one to a tale, or there may be none.
But if women are given the responsibility of upholding the social order even when that runs against their best interests, does that mean that love must be altogether banished from a functioning society? In the innermost I found the lady sitting on a sofa in a sable vest. Pontic Folktales: An Overview To date, Pontic folktales have been studied as homogeneous, and for good reason. In the female version, she finds the months, sits at their fire without being invited, spins her wool very badly, in thick uneven clumps, blurts out her sorrows without being asked, and curses two of the months. Widows in Pontic tales usually have a son who goes on adventures, or a daughter who is sought in marriage; widows lived on the margins of society. As we have seen, she was not identified with a particular nationality, social class, or religion, but with the space that confined and consumed her life.
The Letters of Mary Nisbet of Dirleton Countess of Elgin London: John Murray, 1926. But as soon as they get married, they put on the veil and nobody can see their faces any more. Thus, unlike the western ideal home bathed in visions of domestic felicity, the harem was represented as the abode of soulless sensuality. In addressing these questions it is necessary to locate both textual and extra-textual clues that may shed light upon the values dominating gender relations. The widow then meets a raging river that wants to know what it must do to be at rest and a boulder teetering on the edge asking the same question; the widower meets only the hanging rock. Fifteen yearold girls are not considered grown-ups, so they do not engage in âşıklık behavior. In the female version, the sisters persuade the king to let them come to the palace as bridesmaids.
The lost nobility, however, was not that of ancient Greece but that of Byzantium. By picking out the features that the male and female tale-tellers from Imera shared with other narrators of their own gender, we can use the Imera tales as a lens to bring into clearer focus some consistent differences between male and female storytellers in the Pontos. The ballad contrasts the fatefulness of passion to the realities of life, depicting that tension as a struggle of unbridled passion against class difference, family responsibilities, and social commitments. De la Porte 1757: 176—77. In many ways, then, the intertwining of the sevdalinka and the ballad is like the mirror-imaging of two facets of love. These founders included Metropolitan Chrysanthos Philippides, who had worked for establishing the independent Pontic Republic; Leonidas Iasonides, a politician and lawyer, had traveled with him to Paris to petition for the republic; Anthimos A.
Augustinos, Eastern Concubines, Western Mistresses 21 Greek Women in the Harem Why did Prévost choose a Greek woman, une Grecque moderne, as his heroine? A woman can develop other merits and can obtain other benefits. Pentzopoulos 1962: 174ff; Clogg 1979: 122. Their customs and manners are entirely different. Tales by a Female and a Male Narrator from Imera Each set of tales examined above were told by men and women from different villages. Within a few weeks, it had transformed Greece into a nearly homogenous state that had achieved apparent territorial and ethnic integrity.
At the end of August the following year, the Turks had routed the Greek army, which retreated to Smyrna İzmir , which was burned to the ground. As mentioned earlier, in the most common short definition, the ballad is understood as a song that tells a story, hence its conspicuous narrative quality. Cinderella is finally allowed to tell her story and claim her children. Male characters in their tales are apt to be curious and investigate odd phenomena. There were twenty-two of them, their ages ranging between sixteen and thirty.
Morality is shown time and again to reap earthly rewards; it is not seen as arbitrary. Although she is not in danger of being seduced, she clings to her goal of almsgiving as fiercely as other heroines cling to their chastity. Like Fata, she too may have been deprived of her true love by this arranged marriage. This equality, which extended to their children, remained unchanged over time: its Augustinos, Eastern Concubines, Western Mistresses 29 continuity was attested by such writers as Busbecq and Gérard de Nerval, whose observations were separated by three centuries. Nek me nose neženjeni momci, Let all unmarried men carry my body, nek ne idu drumom širokijem, let them not take me through wide streets, nek me nose uskijem sokacim, but let me go through narrow alleys, ispred dvora plemenite Fate. This volume not only deepens our understanding of the distinctive contributions that women have made to Balkan history but also re-evaluates this through a more inclusive and interdisciplinary analysis in which gender takes its place alongside other categories such as class, culture, religion, ethnicity and nationhood.
She was well educated for a Pontic woman, and was fortunate in having a schoolmaster husband who shared and encouraged her interest. The tales are all set in an unspecified village or in the folktale realm just outside its borders. Lady Montagu to the Countess of Mar, 18 April 1717. For a descriptive list of sixteenth-century French travel accounts on the Ottoman Empire, see Rouillard 1938. Nevertheless, despite these ties and the pressure to assimilate, Pontians remained a distinct minority within Greece. Not, of course, that this view is entirely unfounded: see MacDonald 2002. To his dismay, he soon discovered that the belle Grecque identified virtue with abstinence so steadfastly that she made it the mark of her new identity.
Mythoi tis Oinoes tou Pontou Athens: Myrtides, 1963. Théophé, on the other hand, had only one past, that of the harem. The end of communism and the breakup of Yugoslavia in 1991, accompanied by violence and bloodshed in Croatia, Bosnia, and Kosovo, only reinforced this popular image. Racine made her the incarnation of imagined oriental love: seductive and sensual, but also imperious, menacing, and cruel. Love is thus depicted as counterproductive to the very order that occasions it, and that is why it has to be sacrificed. This inversion extended to Bajazet, who thereby became a harem woman.
I am indifferent to everything that does not contribute to making me more prudent, because from now on prudence is my only Augustinos, Eastern Concubines, Western Mistresses 31 possession. Papadopoulos, a priest and linguist, and Demosthenes Oikonomides, a linguist and folklorist, had worked on the Historical Lexicon of the Greek Language of the Academy of Athens. In his case, which is also characteristic of the nineteenth century, the charm of the exotic was stronger than the need for verbal contact. No, Fata, my gem that was not to be! This binary opposition was a western construct which sought to define the ideal European woman in part by contrasting her with her eastern counterpart. Its monastic appearance was belied by its moral disorder.