{"title":"An Ottoman Sephardi Trousseau","authors":"Dina Danon","doi":"10.1353/jqr.2021.0027","DOIUrl":null,"url":null,"abstract":"Abstract:This essay highlights the nineteenth-century trousseau list of an Ottoman Sephardi bride named Rosha Ben Gabbay. Recorded in a mix of Ladino, Turkish, and Hebrew and preserved in the archives of the Jewish community of Izmir, the ashugar lists the numerous garments, textiles, and furnishings that the bride would bring to her new home. Though rooted in the patriarchal economics of an Ottoman Jewish marriage market that continuously regarded women as sources of material and financial capital, the ashugar also reflects the tacit expectation that brides like Ben Gabbay bear a new form of cultural capital demanded by the modern age, namely the savvy negotiation of life a la turka and life a la franka. In navigating this perceived opposition that pervaded nineteenth-century Ottoman life, brides like Rosha Ben Gabbay were important mediators of modernity in the eastern Sephardi diaspora.","PeriodicalId":22606,"journal":{"name":"The Jewish Quarterly Review","volume":"20 1","pages":"374 - 379"},"PeriodicalIF":0.0000,"publicationDate":"2021-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Jewish Quarterly Review","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1353/jqr.2021.0027","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract:This essay highlights the nineteenth-century trousseau list of an Ottoman Sephardi bride named Rosha Ben Gabbay. Recorded in a mix of Ladino, Turkish, and Hebrew and preserved in the archives of the Jewish community of Izmir, the ashugar lists the numerous garments, textiles, and furnishings that the bride would bring to her new home. Though rooted in the patriarchal economics of an Ottoman Jewish marriage market that continuously regarded women as sources of material and financial capital, the ashugar also reflects the tacit expectation that brides like Ben Gabbay bear a new form of cultural capital demanded by the modern age, namely the savvy negotiation of life a la turka and life a la franka. In navigating this perceived opposition that pervaded nineteenth-century Ottoman life, brides like Rosha Ben Gabbay were important mediators of modernity in the eastern Sephardi diaspora.
摘要:本文重点介绍了19世纪奥斯曼塞法迪新娘罗沙·本·加贝(Rosha Ben Gabbay)的嫁妆清单。这份由拉迪诺语、土耳其语和希伯来语混合编写的文件保存在伊兹密尔犹太社区的档案中,其中列出了新娘将带到新家的众多服装、纺织品和家具。尽管根植于奥斯曼犹太婚姻市场的父权经济,一直将女性视为物质和金融资本的来源,但阿舒加尔也反映了一种默认的期望,即像本·加贝这样的新娘承担着现代所要求的一种新的文化资本形式,即在土耳其人的生活和法兰克人的生活之间进行精明的谈判。在十九世纪的奥斯曼生活中,像Rosha Ben Gabbay这样的新娘是东西班牙裔侨民现代化的重要调解人。