Focusing on the celebrated woman poet Mihrî Hatun (ca. 1460–1515), this book is a timely addition to early modern Ottoman literary history, which deploys gender as an analytic category. The introduction presentsMihrî Hatun and provides a literature review on Ottoman poetry and on studies of her, contextualized with examples from European and Islamicate literatures. It also introduces different concepts of gender analysis, such as marginality, performativity, and the subject position, using Mihrî Hatun as an example. The remainder of the book consists of six chapters divided into two thematic sections, followed by an epilogue and an appendix containing a selection of her poetry. The first part is titled “Mihrî Hatun: The Making of a Woman Poet.” Starting with paraphrases of her poetry, the first chapter introduces Mihrî Hatun the woman, anxious after a poetic exchange with a male poet. The chapter continues by examining entries about her in bibliographical dictionaries of poets to trace howmale authors presented a woman poet’s life, namely, by focusing on her morality, virginity, purity, and possible love affairs. Havlioğlu discusses the inclusion and exclusion of information, the discursive power of these narratives, and the “erotically humorous” tone used by poets (39, 44). Her discussion also tackles the process of Ottomanization, or the development of an Ottoman canon through the recording of the Ottoman poets in bibliographical dictionaries, which contributed to “the production of the male poet and his lesser counterpart: the woman poet” (43). The second chapter considers the meclis (literary gathering) as a site of artistic production with gendered and spatial boundaries. Havlioğlu uses Mihrî Hatun’s ghazels (lyric poems) to explicate the literary culture and problematizes the performative nature of poetry. Continuing with the spatial focus, the third chapter concentrates on the city of

中文翻译：

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Mihrî Hatun：奥斯曼思想史上的表演、性别弯曲和颠覆

这本书以著名女诗人米赫里·哈顿（Mihrî Hatun，约 1460–1515 年）为中心，及时补充了早期现代奥斯曼文学史，将性别作为一个分析范畴。引言介绍了 Mihrî Hatun 并提供了关于奥斯曼诗歌及其研究的文献综述，并结合欧洲和伊斯兰文学的例子。它还以 Mihrî Hatun 为例介绍了性别分析的不同概念，例如边缘性、表演性和主体位置。本书的其余部分由六章组成，分为两个主题部分，然后是一个结语和一个包含她的诗歌选集的附录。第一部分的标题是“Mihrî Hatun：女性诗人的形成”。从她的诗歌释义开始，第一章介绍了女人 Mihrî Hatun，与一位男性诗人进行诗意交流后感到焦虑。本章继续检查诗人书目词典中关于她的条目，以追溯男性作者如何呈现女性诗人的生活，即通过关注她的道德、童贞、纯洁和可能的爱情事件。Havlioğlu 讨论了信息的包含和排除、这些叙事的话语能力以及诗人使用的“情色幽默”语气 (39, 44)。她的讨论还通过在书目词典中记录奥斯曼诗人来解决奥斯曼化的过程，或奥斯曼经典的发展，这有助于“产生男性诗人和他的次要对手：女性诗人”（43）。第二章将meclis（文学集会）视为具有性别和空间边界的艺术生产场所。Havlioğlu 使用 Mihrî Hatun 的 ghazels（抒情诗）来阐释文学文化，并对诗歌的表演性质提出问题。继续空间焦点，第三章集中在城市