minna rozen
The ambient society, whether Muslim or Greek, was not necessarily perceived
as dangerous or hostile, but as ‘alien’ and apart. Excessive involvement in the
ambient society was frowned upon as reflecting low moral standards. This
was particularly true of the middle classes, especially in relation to women. A
Jewish woman who spoke Turkish – or, at the end of this period, even Greek –
was assumed to be mixing in the wrong circles.
11
The distinction between the
haremlik, or the private section of the house, and the selamlık, or public section,
adopted willingly by the Jewish community, was a cornerstone of the Jews’
attitude toward the ambient society. The wish to protect women and young
children of an impressionable age from external influences made it possible
for generations of Jews in the Ottoman lands to reinforce their linguistic and
cultural distinctiveness.
On the other hand, this tolerance of difference made it extremely difficult
to maintain an absolute separation between Jewish society and the ambient
society. Some traits of assimilation of Ottoman culture were common to great
parts of the empire. The impression of Turkish music, decorative arts, fash-
ion in dress and furniture was widespread.
12
On the other hand, in Istanbul,
the Jewish–Turkish acculturation also happened in the opposite direction,
especially in one field, the performing arts. Jews took an active part and an
important role in all branches of the performing arts, and their influence is
to be traced especially in the Karag
¨
oz plays.
13
The mutual influences between
Jewish and Muslim circles of mystics should also be taken into account.
14
The
degree of separation and of assimilation of tastes and mores varied from place
to place. In Salonika, for example, where Jews formed the largest religious
11 Rabbi Yosef Ibn Lev, Responsa, vol. III (Amsterdam, 1725), sec. 4:3a; Rabbi Yosef ben
Mosheh mi-Trani, Responsa, 2 vols. (Lvov, 1861), vol. II, sec. 244:46a, responsum from
1619, sec. 33:51b.
12 Tova Be’eri, ‘Shelomoh Mazal-Tov ve-Nitzanei Hashpa‘atah shel ha-Shirah ha-Turkit
‘al ha-Shirah ha-‘Ivrit’, Pe’amim 59 (1994), 65–76; Andreas Tietze and Joseph Yahalom,
Ottoman Melodies Hebrew Hymns: A Sixteenth Century Cross-Cultural Adventure (Budapest,
1995); Edwin Seroussi, ‘Musika ‘Osmanit Qlasit be-Qerev Yehudei Saloniqi’, in Ladinar:
Mehqarim ba-Sifrut, ba-Musika u-ba-Historiah shel Dovrei Ladino, ed. Judith Dishon and
ShmuelRefael(TelAviv,1998), pp. 79–92; Edwin Seroussi, ‘The Turkish Makam in the
Musical Culture of the Ottoman Jews: Sources and Examples’, Israel Studies in Musicology
5 (1990), 43–68; Minna Rozen, Hask
¨
oy Cemetery: Typology of Stones (Tel Aviv, 1994), pp. 393–
430; Minna Rozen, ‘Classical Echoes in Ottoman Istanbul’, in Hellenic Arts and Jewish
Arts, ed. Asher Ovadiah (Tel Aviv, 1998), pp. 393–430.
13
˙
Ilhan Bas¸g
¨
oz, ‘The Waqwaq Tree in the Turkish Shadow-Play Theatre: Karag
¨
oz and the
Story of Esther’, in Levy (ed.), The Jews of the Ottoman Empire,pp.549–57.
14 In the meantime, see Madeline C. Zilfi, The Politics of Piety: The Ottoman Ulema in the
Postclassical Age (1600–1800) (Minneapolis, 1988), pp. 153–6; Jane Hathaway, ‘The Grand
Vizier and the False Messiah: The Sabbatai Sevi Controversy and the Ottoman Reform in
Egypt’, Journal of the American Oriental Society 117, 4 (1997), 665. See also M. Idel, ‘Mistiqah
Yehudit ve-Mistiqah Muslemit’, Mahanayim 1 (1992), 28–33.
260
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