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Books on the topic 'Contemporary Turkish History'

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Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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1

Çayır, Kenan. Islamic literature in contemporary Turkey: From epic to novel. New York: Palgrave Macmillan, 2007.

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2

Madra, Beral. Home affairs: On contemporary art and culture in Turkey. Beyoğlu, Istanbul: BM-SUMA, 2009.

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3

Frankfurt, Fotografie Forum, and Frankfurter Buchmesse (2008), eds. Turkish realities: Positions in contemporary photography and video from Turkey. Heidelberg: Kehrer, 2008.

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4

How Istanbul's cultural complexities have shaped eight contemporary novelists (Byatt, Glazebrook, Atasü, Şafak, Tillman, Livaneli, Kristeva, and Pamuk): Tales of Istanbul in contemporary fiction. Lewiston, N.Y: Edwin Mellen Press, 2011.

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5

Ç, Cäfärova, Häsänov V, and Torpaqşünaslıq vä Aqrokimya İnstitutu (Azärbaycan Milli Elmlär Akademiyası), eds. Azärbaycan torpaqlarının müasir täsnifatı =: Sovremennai︠a︡ klassifikat︠s︡ii︠a︡ pochv Azerbaĭdzhana = Contemporary soil classification of Azerbaijan. Bakı: Elm, 2006.

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6

Ceyhun, Halûk. A reinterpretation of the Turkish caravansary for contemporary Istanbul. 1997.

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7

Islamic Literature in Contemporary Turkey: From Epic to Novel. Palgrave Macmillan, 2007.

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8

Alaranta, Toni. Contemporary Kemalism: From Universal Secular-Humanism to Extreme Turkish Nationalism. Taylor & Francis Group, 2016.

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9

Contemporary Kemalism: From Universal Secular-Humanism to Extreme Turkish Nationalism. Routledge, 2014.

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10

Alaranta, Toni. Contemporary Kemalism: From Universal Secular-Humanism to Extreme Turkish Nationalism. Taylor & Francis Group, 2014.

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11

Alaranta, Toni. Contemporary Kemalism: From Universal Secular-Humanism to Extreme Turkish Nationalism. Taylor & Francis Group, 2014.

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12

Cayir, K. Islamic Literature in Contemporary Turkey: From Epic to Novel. Palgrave Macmillan, 2016.

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13

Zafer Senocak (Contemporary German Writers series). University Of Wales Press, 2003.

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14

Adelson, Leslie A. Turkish Turn in Contemporary German Literature: Toward a New Critical Grammar of Migration. Palgrave Macmillan, 2010.

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15

Negotiating Gender and Sexuality in Contemporary Turkey. Lang AG International Academic Publishers, Peter, 2016.

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16

Orwell, George. 1984 [TURKISH EDITION]. Hayat Yayinlari, 2021.

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17

Orwell, George. 1984 [TURKISH EDITION]. Alfa Yayinlari, 2021.

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18

Orwell, George. 1984 [TURKISH EDITION]. Sahi Kitap, 2021.

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19

Orwell, George. 1984 [TURKISH EDITION]. Altin Kitaplar, 2021.

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20

Orwell, George. 1984 [TURKISH EDITION]. Yakamoz Yayinevi, 2021.

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21

Orwell, George. 1984 [TURKISH EDITION]. Everest Yayinlari, 2021.

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22

Orwell, George. 1984 [TURKISH EDITION]. Maviçati Yayinlari, 2021.

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23

Orwell, George. 1984 [TURKISH EDITION]. Everest Yayinlari, 2021.

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24

Orwell, George. 1984 [TURKISH EDITION]. Is Bankasi Kültür Yayinlari, 2021.

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25

Orwell, George. 1984 [TURKISH EDITION]. Akçag Yayinlari - Özel Ürün, 2021.

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26

Orwell, George. 1984 [TURKISH EDITION]. Iz Yayincilik, 2021.

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27

Orwell, George. 1984 [TURKISH EDITION]. Parana Yayinlari, 2021.

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28

Orwell, George. 1984 [TURKISH EDITION]. Is Bankasi Kültür Yayinlari, 2021.

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29

Orwell, George. 1984 [TURKISH EDITION]. Kopernik Kitap, 2021.

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30

Orwell, George. 1984 [TURKISH EDITION]. Indigo Kitap, 2021.

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31

Orwell, George. 1984 [TURKISH EDITION]. Ayrinti Yayinlari, 2021.

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32

Orwell, George. 1984 [TURKISH EDITION]. Everest Yayinlari, 2021.

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33

Gill, Denise. The Melancholic State of Turkish Classical Music. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0002.

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Chapter 1 brings to life a vast history of institutional reforms, politics, and performance practices that were affected by, and also facilitated, massive political changes from the seventeenth century of the Ottoman Empire to the founding of the Turkish Republic in 1923 through the various coups in Turkey (1960, 1971, 1981, and 1997, and the 2016 coup attempt) and contemporary shifts experienced by Turkish classical musicians under privatization and neoliberalism. The chapter argues that one of the most central binding elements of the genre “Turkish classical music” is a loss narrative which that tells the story of roots that have been cut and positions the music as dead.
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34

Adelson, Leslie A. The Turkish Turn In Contemporary German Literature: Toward A New Critical Grammar Of Migration (Studies in European Culture and History). Palgrave MacMillan, 2005.

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35

Orwell, George. 1984 [TURKISH EDITION] Bin Dokuz Yüz Seksendört. Herdem Kitap, 2021.

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36

The People In Between: A Cyprus Odyssey. USA: Smashwords, 2012.

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37

Gill, Denise. Separation, the Sound of the Rhizomatic Ney, and Sacred Embodiment. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190495008.003.0003.

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Chapter 2 demonstrates the depth to which rhizomatic analysis can be utilized with a single sound and word: Hû. I study Hû as a sound, as instrument technique for the end-blown reed flute, the ney, as sacred embodiment, and as representative of the city of Istanbul. This chapter also offers a history of Sufism in relation to contemporary Turkish classical music production. This chapter challenges secular discursive and theoretical frameworks used to analyze Turkish classical music as I focus on Hû as a case study to demonstrate how we can identify spirituality and melancholy in something as small as a single sound.
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38

Gezen, Ela, Priscilla Layne, and Jonathan Skolnik, eds. Minority Discourses in Germany Since 1990. Berghahn Books, 2022. http://dx.doi.org/10.3167/9781800734272.

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While German unification promised a new historical beginning, it also stirred discussions about contemporary Germany’s Nazi past and ideas of citizenship and belonging in a changing Europe. Minority Discourses in Germany Since 1990 explores the intersections and divergences between Black German, Turkish German, and German Jewish experiences, with reflections on the evolving academic paradigms with which these are studied. Informed by comparative approaches, the volume investigates social and aesthetic interventions into contemporary German public and political discourse on memory, racism, citizenship, immigration, and history.
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39

Yavuz, M. Hakan. Nostalgia for the Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197512289.001.0001.

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This book examines the social and political origins of beleaguered and wistful expressions of nostalgia about the Ottoman Empire for various groups in the region. Rather than focus on how Ottomanism evolved, the book examines how social and political memories of the Ottoman past have been transformed in Turkish society along with reactions from the outside world. This Ottoman past, as remembered now, is grounded in contemporary conservative Islamic values. Thus, the connection between memories of the Ottoman past and these values defines Turkey’s new identity. This new expression of memory portrays Turkey as a victim of the major powers, justifying its position against its imagined internal and external enemies. The book explores why Turkish society has selectively brought the Ottoman Empire back into the public mindset and for what purpose. It traces how memory of the Ottoman period has changed in Turkish literature, mainstream history books, and other cultural products from the 1940s to the 21st century. A key aspect of Turkish literature is its criticism of the Kemalist modernization of Turkey matched by its return to the Ottoman past to articulate an alternative political language. This book responds to several interrelated questions: What is neo-Ottomanism, in general, and what is the significance of various terms using Ottoman as a variant and what purpose do they serve? Who constructed the term and for what purpose? What are the social and political origins of the current nostalgia for the Ottoman past?
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40

Yesil, Bilge. Politics and Culture in Turkey. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040177.003.0002.

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This chapter examines Turkey's political history, specifically the country's main pillars of statism, nationalism, and secularism. These pillars emerged in unique forms in the aftermath of the establishment of the Republic in 1923 and became subject to divergent processes of transformation during the 1980s and 1990s, and then again in the first decade of the twenty-first century. The chapter illustrates how statism, nationalism, and secularism have suffused both the Turkish public sphere and its media culture. It also provides background for the ensuing examination of Turkey's contemporary media system, especially in regard to the development of political economic alliances between media proprietors and the state.
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41

Karaca, Banu. The National Frame. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823290208.001.0001.

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Based on long-term ethnographic research in the art world of Istanbul and Berlin, The National Frame rethinks the role of art in state governance. It argues that artistic practices, arts patronage and sponsorship, collecting and curating art, and the modalities of censorship, just like official cultural policies, continue to be refracted through the conceptual lens of the nation-state—despite the intensified and much-studied globalization of art. By examining discussions on the civilizing function of art in Germany and Turkey and moments in which art is seen to cede this function, the book reveals the histories of violence on which the production, circulation, and presentation—indeed our very understanding—of art are predicated. It is in the process of disavowing this violence that contemporary art as a global practice keeps being called back into the national frame. Turkey and Germany occupy different places in dominant geopolitical and civilizational imaginaries that have construed the world in terms of “East” and “West,” and, more recently, “Islam” and “Christianity” as incommensurable entities. Unlike German art, art from Turkey is often seen as merging “traditional” and modern motifs, and expressive of “Turkish culture.” Working against this asymmetric perception the book fosters a comparative perspective by showing that Germany and Turkey share a long, troubling history of cultural encounters and political affiliation and similar struggles in claiming modern nationhood. The joint analysis of both cases reveals how art is configured politically and socially and why art has been at once vital and unwieldy for national projects.
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