Children in Slavery through the Ages by Campbell Gwyn; Miers Suzanne; Miller Joseph C

Author:Campbell, Gwyn; Miers, Suzanne; Miller, Joseph C.
Language: eng
Format: epub
Publisher: Ohio University Press
Published: 2014-07-08T04:00:00+00:00

NOTES

1. Shaun Marmon, introduction to Slavery in the Islamic Middle East, ed. Marmon (Princeton: Markus Wiener, 1999), x.

2. For an explanation of the term Islamicate, which was coined by Marshall G. S. Hodgson, see his The Venture of Islam: Conscience and History in a World Civilization, 3 vols. (Chicago: University of Chicago Press, 1974), 1:58–59.

3. Orlando Patterson, Slavery and Social Death: A Comparative Study (Cambridge, MA: Harvard University Press, 1982), 97–99.

4. Sussan Babaie, Kathryn Babayan, Ina Baghdiantz-McCabe, and Massumeh Farhad, Slaves of the Shah: New Elites of Safavid Iran (London: I. B. Tauris, 2004), 21.

5. Leslie Peirce, The Imperial Harem: Women and Sovereignty in the Ottoman Empire (New York: Oxford University Press, 1993), 252.

6. Abu al-Faraj al-Isbahani, Book of Strangers: Medieval Arabic Graffiti on the Theme of Nostalgia, trans. Patricia Crone and Shmuel Moreh (Princeton: Markus Wiener, 2000).

7. Some notable treatments of female slavery in Islam include Nadia Abbott, Two Queens of Baghdad: Mother and Wife of Harun al-Rashid (Chicago: University of Chicago Press, 1946); Peirce, Imperial Harem; Nicola Lauré al-Samarai, Die Macht der Darstellung: Gender, sozialer Status, historiographische Re-Präsentation: Zwei Frauenbiographien aus der frühen Abbasidenzeit (Wiesbaden: Reichert, 2001).

8. Muslim ibn al-Hajjaj al-Qushayri, Sahih Muslim, trans. Abdul Hamid Siddiqi (Lahore: Sh. Muhammad Ashraf, 1971), 735.

9. Ibid., 734.

10. The Arabic language has various names for the singing slave girls. The term qayna (pl., qiyan) refers specifically to a female slave who has been trained as a singer, poet, or musician (or all three). Qayna is the feminine form of qayn, skilled worker. Other terms in use do not embody the meaning of female singing slave. Jariya (pl., jawari) means simply female slave, and mughanniya (pl., mughanniyat) designates a female singer. These two words are often used independently in medieval Arabic literature to signify singing slave girl. But if an author wants to avoid any ambiguity, he couples the terms, and the resulting phrase jariya mughanniya (pl., jawari mughanniyat) is synonymous with qayna.

11. Charles Pellat, “Kayna,” Encyclopedia of Islam, 2nd ed. (Leiden: E. J. Brill, 1954–), 4:821–22. The qiyan in modern Tunisia are described at length in Hasan Husni ‘Abd al-Wahhab, “Taqaddum al-musiqa fi-sharq wa-l-andalus wa-tunis,” Waraqat, 3 vols. (Tunis: Maktabat al-Manar, 1965–72), 2:202. Tovia Ashkenazi describes twentieth-century Palestinian male slave poets in Tribus semi-nomades de la Palestine du Nord (Paris: Geuthner, 1938), 98–99.

12. Alfred Kremer, Kulturgeschichte des Orients unter den Chalifen, 2 vols. (Aalen: Scientia, 1966), 2:108–9.

13. Franz Rosenthal, Ahmad b. at-Tayyib as-Sarahsi (New Haven: American Oriental Society, 1943), 95–96.

14. Ibn al-Nadim, The Fihrist of al-Nadim: A Tenth-Century Survey of Muslim Culture, ed. and trans. Bayard Dodge, 2 vols. (New York: Columbia University Press, 1970), 1:309, 317, 324.

15. Female slave poets (ima’ shawa’ir; sing., ama sha’ira) also entertained ‘Abbasid aristocrats and rulers and occupied similar social roles as the qiyan. This category of slave performers will not be examined in this study, although its inclusion could only enrich the discussion. For more information on these poets, see Abu al-Faraj al-Isbahani, Al-Ima’ al-Shawa’ir (Beirut: Dar al-Nidal, 1984), a biographical dictionary that details the backgrounds and literary accomplishments of thirty-three ‘Abbasid-era female slave poets.

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