Auswahl der wissenschaftlichen Literatur zum Thema „Turkish Portraits“
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Zeitschriftenartikel zum Thema "Turkish Portraits"
DADASHOVA, Arzu Tofig. „WOMEN’S PORTRAITS IN TURKISH HISTORICAL NOVELS“. Humanities science current issues 1, Nr. 64 (2023): 240–46. http://dx.doi.org/10.24919/2308-4863/64-1-34.
Der volle Inhalt der QuelleHalchuk, Oksana. „Pictorial portraits of the nation: Ilya Repin’s «Own» and «Others»“. Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, Nr. 26-27 (2022): 46–55. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-46-55.
Der volle Inhalt der QuelleRepenkova, Maria. „Portraits of the Modern Turkish Authors and Readers“. Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, Nr. 4 (2020): 161. http://dx.doi.org/10.31857/s086919080010808-5.
Der volle Inhalt der QuelleTurkkan, Halime. „An analysis of ‘typographic self-portrait projects’ by the 2nd grade students of Baskent University, Faculty of Fine Arts, Design and Architecture, Department of Visual Arts and Design“. Global Journal of Arts Education 8, Nr. 2 (25.05.2018): 61–67. http://dx.doi.org/10.18844/gjae.v8i2.3782.
Der volle Inhalt der QuelleNasipov, I. S., und К. М. Shakirova. „SPEECH PORTRAIT AS MEANS OF REVEALING THE CHARACTER OF THE HERO: A COMPARATIVE ASPECT“. Keruen 83, Nr. 2 (25.06.2024): 149–58. http://dx.doi.org/10.53871/2078-8134.2024.2-11.
Der volle Inhalt der QuelleSint Nicolaas, Eveline. „From Sultan to Swindler : Seven Portraits from Cornelis Calkoen’s Series of ‘Turkish Paintings’“. Rijksmuseum Bulletin 59, Nr. 1 (15.03.2011): 34–57. http://dx.doi.org/10.52476/trb.11616.
Der volle Inhalt der QuelleGoksel, Reyhan Kadriye. „The Discursive Clash Between the Portraits of Turkey and the Ottoman Empire in Relation to Their Foreign Policy: The ‘Victorious’ Turkey Versus the ‘Defeated’ Ottoman Empire“. International Journal of Linguistics 16, Nr. 1 (05.02.2024): 58. http://dx.doi.org/10.5296/ijl.v16i1.21727.
Der volle Inhalt der QuelleCondrea, Iraida. „Portraiture in a Cantemirian-Inspired Manuscript: Faces of the Turkish Emperors, 1710“. Dialogica. Revistă de studii culturale și literatură, Nr. 3 (November 2023): 13–21. http://dx.doi.org/10.59295/dia.2023.3.02.
Der volle Inhalt der QuelleKOLUAÇIK, İHSAN, und AZİME CANTAŞ. „TÜRK SİNEMASINDA “HACI BEKTAŞ VELİ” TEMSİLLERİ“. Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 106 (20.06.2023): 127–46. http://dx.doi.org/10.34189/hbv.106.007.
Der volle Inhalt der QuelleSARI AKSAKAL, Betül. „Türkiye Ekonomisinin Kalkınma Patikasının Tarihsel Değişim Çizgisine Eleştirel Bir Bakış: Devletçi Kalkınmadan Devlet Kapitalizmci Kalkınmaya“. Eskişehir Osmangazi Üniversitesi İktisadi ve İdari Bilimler Dergisi 18, Nr. 2 (01.08.2023): 417–42. http://dx.doi.org/10.17153/oguiibf.1239060.
Der volle Inhalt der QuelleDissertationen zum Thema "Turkish Portraits"
Mathews, Julie. „Mediating academic literacy practices in a second language : portraits of Turkish scholars of international relations“. Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84530.
Der volle Inhalt der QuelleThe theoretical framework for the study draws on neo-Vygotskian Activity Theory and Bakhtinian Dialogic Theory, to create a model for uncovering and understanding the contextual factors mediating scholars' academic literacy practices. The model begins with the assumption that scholars operate within multiple "activity systems" (Engstrom, 1990), in this case: (1) the core American IR discipline; (2) the local Turkish IR discipline/particular Turkish IR departments; and (3) Turkish society. The model reconceptualizes the idea of activity systems as "filters," which mediate individuals' production and reception of texts, i.e. their literacy practices. Conflicts may arise according to the "thickness" of a filter and depending on the "operational means" acceptable within it.
By contributing to a deeper understanding of how people acquire and maintain academic literacy skills in a second language the study ultimately aims to aid in the construction of pedagogical models and approaches that reflect the complex nature of these multi-lingual literacy practices.
Stamoulos, Eva. „Mehmed II's portraits : patronage, historiography and the early modern context“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83150.
Der volle Inhalt der QuelleYip, Andrew. „A portrait of the nation as a young man : the genesis of Gallipoli : mythologies in Australian and Turkish art“. Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/7779.
Der volle Inhalt der QuelleDagoglu, Özlem Gülin. „Mihri Rasim (1885-1954) : l’ambition d’une jeune-turque peintre“. Thèse, 2016. http://hdl.handle.net/1866/19040.
Der volle Inhalt der QuelleMihri Rasim (1885-1954) est la plus importante peintre turque et une pionnière féministe. L’idée reçue à son sujet est qu’elle a été une artiste marginale, inclassable et qu'elle est décédée dans la désuétude aux États-Unis, amère d’avoir choisi une carrière artistique. À défaut d’information, auteurs et historiens de l’art ont masqué leur ignorance en élaborant un récit à partir de la personnalité fascinante de Rasim. La présente étude, qui est la première thèse de doctorat et aussi la première monographie extensive sur Rasim, déconstruit ce mythe. Rasim était une ambitieuse peintre et une Jeune-Turque arriviste qui avait une stratégie pour atteindre l’objet de son ambition. Elle a poursuivi deux objectifs tout au long de sa vie : élargir le spectre des possibilités des femmes et être considérée elle-même, selon ses propres termes, « parmi les gens de talents ». À Istanbul, à une époque où les femmes pouvaient difficilement sortir de leur harem, elle a instauré une première école de beaux-arts pour les femmes. Pendant qu’elle y était la directrice, elle a mis en place les premiers cours de nus féminins de l’histoire de l’art turc. Elle a permis aux femmes de recevoir une éducation artistique comparable aux standards artistiques européens et leur a donné accès à un nouveau métier. Elle a créé une bourse pour ses étudiantes à l’Académie et elle a essayé de constituer une association d’entraides pour les peintres-femmes. Elle a aussi fait les portraits des dirigeants Jeunes-Turcs et ceux de leur entourage. Elle a développé son plan artistique en conservant les mêmes objectifs et en s’appuyant toujours sur la même stratégie. Elle s’est servie de ses relations politiques et sociales à Istanbul, ou s’est efforcée d’en former de nouvelles lorsqu’elle se trouvait en Europe ou aux États-Unis. Elle a ainsi construit un réseau au service de sa carrière. Pour ce faire, elle a portraituré de grands hommes modernistes, même controversés, du vingtième siècle – Alphonse XIII, Benito Mussolini, Mustafa Kemal Atatürk, Franklin Delano Roosevelt, Thomas Edison. Dans une perspective féministe, mon étude établit l’importance de cette artiste cosmopolite du vingtième siècle. Je mets au jour les détails de la vie et de l’art de Rasim qui jusqu’à présent étaient méconnus. Au moyen de documents d’archives inédits, ses données élémentaires biographiques sont clarifiées. Une datation et une identification de ses sujets de portraits sont offertes. Je propose une approche innovatrice pour examiner l’art de Rasim que j’analyse par rapport à la scène artistique et culturelle turque, et mondiale. J’évalue l’impact, pour son époque et la nôtre, des gestes posés par Mihri Rasim. Ma thèse témoigne du rôle essentiel des femmes culturelles et politiques majeures, ainsi que des limites qui leur étaient, et qui leur sont encore, imposées par le système en place.
Mihri Rasim (1885-1954) is Turkey’s most important painter and feminist pioneer. The widely shared assumption about her is that she was a marginal, unclassifiable artist, who died in misery and resentful for having dedicated her life to art. Without any real information, authors and art historians obscured their ignorance by elaborating her life story out of her fascinating personality. My dissertation, which is also the first exhaustive art historical study on the artist, is dismantling this myth. Rasim was an ambitious artist and an upstart, Young Turk, who had a strategy to achieve her ambition. From the beginning of her career and for the rest of her life she pursued two goals: she expanded women’s horizon of possibilities and she aspired to be considered, in her own words, “among the talented people”. In Istanbul at a time when Turkish women could barely leave their harem, she set up the first fine arts school for women. While she was the head of women’s Academy, she introduced the first female nude classes in the history of Turkish arts. She allowed women to receive an art education comparable to European artistic standards and provided them access to a new profession. She created a scholarship for her students at the academy and tried to constitute an association of mutual help for female painters. She also made the portraits of Young-Turk leaders and of their entourage. She used her political connections in Istanbul, and, as she moved from Turkey to Europe to the United-States, she developed her artistic project with new interlocutors and in different contexts but always with the same purposes. She built a network to support her career. In order to achieve this she portrayed great modernist men of the first half of the twentieth century, even controversial ones – Alphonse XIII, Benito Mussolini, Mustafa Kemal Atatürk, Franklin Delano Roosevelt, Thomas Edison. With a feminist approach my dissertation establishes the importance of this cosmopolitan artist of the twentieth century. I am uncovering the details of her life and art, which were disregarded until today. Using original and unpublished archival materials, her elementary biographical facts are clarified. Dates for her works are submitted and identifications of her sitters are made. I propose an innovative approach to examine the painter and her artistic production not only in relation to Turkish plastic arts but also in relation to a more global artistic context. I assess the impact of her actions in her time and ours. My dissertation stands as a testament to the importance of major cultural and political women, and the limits that were and are once again placed upon them.
Bücher zum Thema "Turkish Portraits"
Üniversitesi, Uludağ, Hrsg. Aydın portreleri: Türkiye'de toplumsal dönüşümün sanata yansıması. Bursa: Uludağ Üniversitesi Basımevi, 2002.
Den vollen Inhalt der Quelle findenGüler, Ara. 100 yüz: Ara Güler'den yazar fotoğrafları. İstanbul: YKY, 2002.
Den vollen Inhalt der Quelle findenTurgut, Mahmut. Objektifimdeki edebiyatçılar. Ankara: T.C. Kültür Bakanlığı, 2001.
Den vollen Inhalt der Quelle findenDoğanay, Erkan. Suretten surete: Osman Hamdi Bey'den günümüze portre örnekleri = From figure to figure : examples of portraits from Osman Hamdi Bey to the present day. İstanbul: Küçükçekmece Belediyesi, 2010.
Den vollen Inhalt der Quelle findenKaba, Kadir. The origins of Turkish Cypriot photography: Kıbrı Türk fotoğrafı'nın kökeni. Nicosia, Cyprus: Cypriot Photographers' Gallery, 2013.
Den vollen Inhalt der Quelle findenM. Fevzi Akarsu: Modern Kıbrıs Türk fotoğrafı'nın kurucusu = Founder of modern Turkish Cypriot photography. Mağusa: Doğu Akdeniz Üniversitesi, Kıbrıs Araştırma Merkezi, 2016.
Den vollen Inhalt der Quelle findenBarratt, Carrie Rebora. John Singleton Copley and Margaret Kemble Gage: Turkish Fashion in 18th-century America. San Diego, Calif: Putnam Foundation, 1998.
Den vollen Inhalt der Quelle findenKutlu, Mehmet. Yeni hikayeler: New stories. İstanbul: Rezan Has Müzesi, 2011.
Den vollen Inhalt der Quelle findenNicolaas, E. Sint. Op bezoek bij de Sultan: De 'Turkse' schilderijen van ambassadeur Cornelis Calkoen (1696-1764). Amsterdam: Rijksmuseum Amsterdam, 2013.
Den vollen Inhalt der Quelle findenAkgün, Merve Akar, Evrim Altuğ und Gökşen Buğra. 99 kare: Cumhuriyet'in değerleri. İstanbul: MASA, 2018.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Turkish Portraits"
Ünal, Fatma Gül. „A Portrait of Turkish Agriculture: Inequality and its Discontents“. In Land Ownership Inequality and Rural Factor Markets in Turkey, 39–62. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137110886_2.
Der volle Inhalt der QuelleAkçam, Taner. „3. The Turkish Denial of the Armenian Genocide in its European Context“. In Portraits of Hope, 36–44. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781782389415-008.
Der volle Inhalt der QuelleDağoğlu, Özlem Gülin. „Rasim, Mihri (1885–1954)“. In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2086-1.
Der volle Inhalt der Quelle„V Going Turkish in Eighteenth-Century London: Lady Mary Wortley Montagu and Her Portraits“. In Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England. Paul Mellon Centre, 1998. http://dx.doi.org/10.37862/aaeportal.00062.010.
Der volle Inhalt der QuellePervushin, Mikhail V. „The Legend of Magmet-Saltan by Ivan Peresvetov: Lessons for the Russian Tsar“. In Hermeneutics of Old Russian Literature. Issue 22, 407–18. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/horl.1607-6192-2023-22-407-418.
Der volle Inhalt der QuelleDuru, Deniz Neriman, Adrian Favell und Albert Varela. „Transnational Turkey: the everyday transnationalism and diversity of Turkish populations in Europe“. In Everyday Europe, 225–54. Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781447334200.003.0009.
Der volle Inhalt der QuelleGust, Wolfgang. „4. The Silent Partner: Imperial Germany and the Young Turks’ Policy of Annihilation“. In Portraits of Hope, 45–58. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781782389415-009.
Der volle Inhalt der QuelleWilkinson, Taraneh R. „Inclusions and the Role of the Individual“. In Dialectical Encounters, 93–124. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474441537.003.0004.
Der volle Inhalt der QuelleStokes, Martin. „Introduction“. In The Arabesk Debate, 1–19. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198273677.003.0001.
Der volle Inhalt der QuelleUgurchieva, Rukiyat Kh. „Turkish Period of Creativity of Vassan-Girey Dzhabagiyev (Strokes to the Portrait)“. In Literary Abroad. Persons. Books. Problems. Issue IX, 348–67. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0731-1-348-367.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Turkish Portraits"
Lushnikova, Olga. „Social Demographic Portrait Of A Rural Migrant Of Turkic Peoples“. In SCTCMG 2019 - Social and Cultural Transformations in the Context of Modern Globalism. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.12.04.267.
Der volle Inhalt der QuelleLAMBRINOS, NIKOS, und Efthimios-Spyridon Georgiou. „YEDI KULE - MONUMENT ROAD RACE: THE CONSTRUCTION OF THE 3D MAPPING ANIMATION OF THE OLD CITY OF THESSALONIKI, GREECE“. In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12046.
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