By Gonda Van Steen
Freeing Hellenism from the Ottoman Empire explores key old episodes that experience more often than not escaped the attention of contemporary Greece, the close to East, and their observers alike. in the course of the hugely charged context of West-East war of words and with basic cultural and political concerns at stake, those episodes turn out to be intriguing and critical systems from which to reexamine the age-old clash. This publication reaches past the normal assets to dig into the files for vital occasions that experience fallen during the cracks of the research of rising smooth Greece and the Ottoman Empire. those occasions, during which French shuttle writing, literary fiction, antiquarianism, and nineteenth-century western and jap geopolitics merge, invite us to redraw the outlines of jointly based Hellenism and Orientalism.
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Extra info for Liberating Hellenism from the Ottoman Empire: Comte de Marcellus and the Last of the Classics
Example text
Marcellus first set foot on Melos after Brest, the consular agent, had expressed French interest in purchasing the Venus, but had been unsuccessful in brokering a deal. More importantly, Marcellus arrived after Verges had then been able to fix the statue’s sale price and to arrange for its transport. Against all odds, the Frenchman prevailed on the notables of Melos to break their agreement with Verges and to turn the marble pieces over to him. 67 He also described the transaction as most generous, because he gave Giorgos double the amount that he would have received from Verges, if the latter had ever paid up (40).
Marcellus then qualified the Ottoman attitude toward human figures in art as an “aversion,” an attitude with which he cunningly faulted Mourouzes as well: “Next, I reminded them [the Greek notables of Melos] of the uselessness of a present of that kind, of the little value it carried in Constantinople, of the Turks’ aversion for human representations and, above all, for mutilated idols (idoles mutilées)”(38). However, Verges wanted to bestow the gift of the Venus on the Greek Mourouzes, who would not have had any Islam-inspired “aversion” for representations of human figures.
Marcellus then qualified the Ottoman attitude toward human figures in art as an “aversion,” an attitude with which he cunningly faulted Mourouzes as well: “Next, I reminded them [the Greek notables of Melos] of the uselessness of a present of that kind, of the little value it carried in Constantinople, of the Turks’ aversion for human representations and, above all, for mutilated idols (idoles mutilées)”(38). However, Verges wanted to bestow the gift of the Venus on the Greek Mourouzes, who would not have had any Islam-inspired “aversion” for representations of human figures.