Relevant bibliographies by topics / Theater of Patara (Turkey)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Theater of Patara (Turkey)'

Author: Grafiati
Published: 29 July 2024
Last updated: 31 July 2024

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Journal articles on the topic "Theater of Patara (Turkey)"

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Erdoğan, Ali, Mehmet Öz, Yakup Kaska, Serdar Düşen, Aziz Aslan, Mustafa Yavuz, M. Rızvan Tunç, and Hakan Sert. "Marine turtle nesting at Patara, Turkey, in 2000." Zoology in the Middle East 24, no. 1 (January 2001): 31–34. http://dx.doi.org/10.1080/09397140.2001.10637883.

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Tanaka, Eisuke. "ARCHAEOLOGY HAS TRANSFORMED “STONES” INTO “HERITAGE”: THE PRODUCTION OF A HERITAGE SITE THROUGH INTERACTIONS AMONG ARCHAEOLOGY, TOURISM, AND LOCAL COMMUNITIES IN TURKEY." História: Questões & Debates 66, no. 1 (January 12, 2018): 71. http://dx.doi.org/10.5380/his.v66i1.57404.

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Este texto investiga a maneira como a arqueologia modifica as relações entre vários grupos de interesses e vestígios do passado no contexto de escavações arqueológicas e de desenvolvimento turístico. Para isso, ele estuda o caso de Patara, pequena aldeia resort no Sul da Turquia, para entender o papel de sítios históricos qualificados como “patrimônio” no contexto de escavações arqueológicas e de desenvolvimento turístico. Mais especificamente, este texto investiga como as relações entre os atores locais, os arqueólogos, os turistas e os vestígios da antiga cidade de Patara progressivamente mudaram enquanto se foram realizando as escavações arqueológicas e, em seguida, a gestão do patrimônio. Por meio da análise do processo de escavações e do desenvolvimento turístico em Patara, sugere-se que o sítio escavado mesmo é um ator das transformações das relações entre os diferentes grupos que se interessaram pelo sitio.
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Taşkın, Nazan, and İbrahim Baran. "Reproductive ecology of the Loggerhead Turtle,Caretta caretta,at Patara, Turkey." Zoology in the Middle East 24, no. 1 (January 2001): 91–100. http://dx.doi.org/10.1080/09397140.2001.10637887.

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Harrison, S. J., and P. Morrison. "Temperatures in a Sandy Beach Under Strong Solar Heating: Patara Beach, Turkey." Estuarine, Coastal and Shelf Science 37, no. 1 (July 1993): 89–97. http://dx.doi.org/10.1006/ecss.1993.1043.

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Öz, M., A. Erdoğan, Y. Kaska, S. Düşen, A. Aslan, H. Sert, M. Yavuz, and M. R. Tunç. "Nest temperatures and sex-ratio estimates of loggerhead turtles at Patara beach on the southwestern coast of Turkey." Canadian Journal of Zoology 82, no. 1 (January 1, 2004): 94–101. http://dx.doi.org/10.1139/z03-200.

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During the nesting period in 2000 and 2001 on Patara beach, total emergence and non-nesting emergence of loggerhead turtles (Caretta caretta), nest distribution, and nest distance from the sea were recorded . The main nesting seasons for sea turtles (family Cheloniidae) were during June and July. Loggerhead turtles comprised the majority of sea turtle emergence records; only two green turtle (Chelonia mydas) emergences were recorded. The small nesting population (52 and 53 nests in 2000 and 2001, respectively) of sea turtles on Patara beach was due to low hatching success resulting from a rise in seawater levels, owing to beach erosion, and the subsequent inundation of most nests. The temperatures of four nests and sand at different distances from the sea were measured with electronic temperature loggers, which recorded mean nest temperatures of 28.8–30.7 °C, with the mean temperature in the middle third of the incubation period from 28.5 to 31.0 °C. The mean temperatures, incubation periods, temperature during the middle third of the incubation period, and percentage of hatchling sexes were evaluated with respect to sand and nest temperatures. The results showed a female-dominated sex ratio, which was probably the result of predation of nests far from the sea and the seawater inundation of nests close to the sea, as the sand temperature was different at sites close and far from the sea.
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Aghayeva, Narmina. "Theater relationships between Azerbaijan and Turkey." Problems of Arts and Culture, no. 04 (2023): 37. http://dx.doi.org/10.59849/2310-5399.2023.4.37.

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Yalciner, Ahmet Cevdet, Ceren Ozer, Hulya Karakus, Andrey Zaytsev, and Isikhan Guler. "EVALUATION OF COASTAL RISK AT SELECTED SITES AGAINST EASTERN MEDITERRANEAN TSUNAMIS." Coastal Engineering Proceedings 1, no. 32 (January 29, 2011): 10. http://dx.doi.org/10.9753/icce.v32.management.10.

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Mediterranean, the center of civilizations since antiquity, experienced numerous earthquakes and triggered tsunamis. Historical information and distribution of fault zones, volcanoes and other probable tsunamigenic sea bottom deformations show that, there are source areas which may be considered as responsible for tsunamis in Eastern Mediterranean, Aegean, Marmara and Black sea region. These events affected the coastal structures that led to the loss of the economic power and social life of civilizations since antiquity. One of the probable examples of the earthquake or tsunami effects on the Fethiye town may be the eruption of Thera (also referred to as the Thera eruption or Santorini eruption). Another example of the earthquake or tsunami effects on the historical structures may be the destruction of lighthouse of Patara (Lykian City) harbor at the South of Turkey. The numerical modeling is one of the efficient tools for understanding the tsunami behaviors in the past. In this study, the historical data of earthquakes and tsunamis are evaluated together with the instrumental data of seismicity in order to select the tsunami source for modeling efforts. In modeling application, the most effective tsunami source among the others in Eastern Mediterranean is selected and simulated in order to better understand its possible effects on Fethiye town and the Patara (Lykian City). In this study, the simulation results are presented and dicussed for these selected regions.
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Kazan, Isil. "Turkey between national and theater missile defense." Asien Afrika Latinamerika 30, no. 6 (January 2002): 645–55. http://dx.doi.org/10.1080/00323379022000060878.

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Sürmelihindi, Gül, Cees W. Passchier, Orhan N. Baykan, Christoph Spötl, and Paul Kessener. "Environmental and depositional controls on laminated freshwater carbonates: An example from the Roman aqueduct of Patara, Turkey." Palaeogeography, Palaeoclimatology, Palaeoecology 386 (September 2013): 321–35. http://dx.doi.org/10.1016/j.palaeo.2013.06.002.

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Yurtseven, Çağlar. "Enlargement and transformation of the movie theater industry in Turkey." Economics & Sociology 13, no. 2 (June 2020): 110–22. http://dx.doi.org/10.14254/2071-789x.2020/13-2/8.

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Dissertations / Theses on the topic "Theater of Patara (Turkey)"

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Sen, Dilek. "La céramique protobyzantine de Lycie : étude du mobilier des "bains portuaires" (Hurmalik Hammam) de Patara." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H011.

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Localisé à l’extrême sud-ouest de la péninsule anatolienne en Turquie, Patara était un des principaux sites portuaires de la province de Lycie antique qui maintint son importance durant la période protobyzantine. Parmi les édifices balnéaires de Patara, les bains de Hurmalik se distinguent par sa localisation à l'intersection septentrionale des routes reliant le centre-ville au port et à la porte érigée en l'honneur du gouverneur Modeste. Les bains de Hurmalik sont parmi les premiers édifices fouillés de Patara. Construit vers la fin du Ier ou début du Ile siècle, l'édifice a connu une intensive réutilisation durant la période protobyzantine. Dans le but de comprendre les différentes phases d'utilisations et de réaménagements des bains, des fouilles ont été reprises de 2005 à 2008. L'étude du mobilier céramique des saisons 2005-2008 a révélé plusieurs groupes de céramiques importées et de productions locales appartenant à la période protobyzantine. Les céramiques importées se composent des grands groupes de céramiques fines et d'amphores. En provenance d'Afrique du Nord, du Levant et de l'Egée, ces produits de consommation montrent l'effervescence du économique de la ville et dans un plus large sens, les relations commerciales et culturelles qu'entretenait la Lycie avec les régions proches ou lointaines de l'espace méditerranéen entre le IVe et la première moitié du VIIe siècle
Located on the southwestern edge of the Anatolian peninsula in Turkey, Patara was one of the main port sites of the antique Province of Lycia which. maintained its importance during the early Byzantine period. Among the bath buildings of Patara, the "Hurmalik Hamam" is distinguished by his location at the northern intersection of the roads linking the city center with the port and the gate erected in honor of Governor Modestus. The bath was among the first excavated buildings of Patara. Constructed towards the end of the 1st to the beginning of the 2nd century, the building experienced an intensive re-use during the early byzantine period. In order to determine the different phases of use and redevelopment of the bath, excavations were carried out from 2005 to 2008. The study of the ceramic repertory of the 2005-2008 excavation seasons revealed several groups of imported ceramics and local productions belonging to the early byzantine period. Imported ceramics consist of large groups of red slip wares and amphorae. Coming from North Africa, the Levant and the Aegean, these consumer products show the economical effervescence of the city and, in a broader sense, the trade and cultural relations that Lycia bas with neighboring regions or Far from the Mediterranean area from the 4th to the first half of the 7th century
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Books on the topic "Theater of Patara (Turkey)"

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author, Ganzert Joachim, Engelmann Helmut author, and Peschlow Urs author, eds. Das Theater von Patara: Ergebnisse der Untersuchungen 2004 bis 2008. Istanbul]: Ege Yayinlari, 2012.

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Spirn, Michele. I am the turkey. [New York]: HarperCollins, 2004.

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Spirn, Michele. I am the turkey. New York: Scholastic, 2004.

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Parish, Herman. Amelia Bedelia talks turkey. New York: Greenwillow Books, 2008.

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Dilligil, İ. Rahmi. Devlet Tiyatroları Genel Müdürüydüm. [Turkey: s.n., 2002.

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illustrator, Fleming Lucy, ed. Turkey and takeout: A readers' theater script and guide. Minneapolis, Minnesota: Looking Glass Library, an imprint of Magic Wagon, 2016.

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Turkey) Hierapolis International Symposium (2007 Karahayit. Restoration and management of ancient theatres in Turkey: Methods, research, results : proceedings of the Hierapolis International Symposium, Karahayit-Pamukkale (Denizli), Lycus River Hotel, 7th-8th of September 2007. Galatina (Le) [i.e. Lecce, Italy]: Congedo, 2012.

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Kazankaya, Nesrin, Şafak Eruyar, and Zeynep Özden. Şerefe hatıralar, İstanbul 1955. Istanbul]: Tiyatro Pera, 2006.

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Uluç, Kaya, and Sibel Coşkun. Darülbedayiden Şehir tiyatrolarına 100 yıllık repertuar 1914-2014. Şişli, İstanbul: İstanbul Büyükşehir Belediyesi, 2017.

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Patara unguentariumları. İstanbul: Ege Yayınları, 2008.

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Book chapters on the topic "Theater of Patara (Turkey)"

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PIESKER, KATJA. "‘Traditional’ Elements in the Roman Redesign of the Hellenistic Theatre in Patara, Turkey." In The Architecture of the Ancient Greek Theatre, 403–18. Aarhus University Press, 2015. http://dx.doi.org/10.2307/jj.608115.28.

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Fant, Clyde E., and Mitchell G. Reddish. "Patara." In A Guide to Biblical Sites in Greece and Turkey. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195139174.003.0040.

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In ancient times Patara possessed one of the best harbors on the Lycian coast. Modern visitors will be forced to use their imaginations to visualize the port of Patara, since the harbor eventually fell victim to the effects of silting from the Xanthos River. Today a beach and sand dunes cover the mouth of the ancient harbor, while the inner part of the harbor is now a marsh. Patara served as the port city for Xanthos, the leading city of the region of Lycia, which was located about 6 miles up the Xanthos River. Patara is located on the southwestern shore of Turkey, due east from the island of Rhodes. It is situated about halfway between Fethiye and Kale, near the present-day village of Gelemiş, about 3.5 miles south of the modern road (highway 400) that runs along Turkey’s Mediterranean shore. Patara is approximately 6 miles east of the mouth of the Xanthos River. A stream from the Xanthos flowed into the sea at Patara and deposited the river’s silt there. Important in the past because of its harbor, the area around Patara is known today for its 11 miles of excellent, sandy beaches. Supposedly named after Patarus, a son of Apollo, the city was famous in antiquity for its Temple of Apollo (no archaeological evidence of the temple has yet been found) and the oracle of Apollo. According to ancient tradition, Apollo liked to spend the winter at Patara and thus the oracle of Apollo was operative only during the winter months. Pottery finds at Patara provide evidence for a settlement here as early as the 6th century B.C.E. In 334–333 B.C.E. Patara, along with several other Lycian cities, surrendered to Alexander the Great. During the subsequent Hellenistic period, the city came first under the control of the Ptolemies and then the Seleucids. Ptolemy II Philadelphus (r. 282–246 B.C.E.) expanded the city and renamed it Arsinoe in honor of his wife, but the new name never took hold. In 196 B.C.E., the Seleucid ruler Antiochus III of Syria captured several Lycian cities, including Patara.
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"4. The Potential for Brecht's Epic Theater in Turkey." In Brecht in Turkey 1955-1977, 65–98. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463231798-007.

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"5. Brecht's Influence on Turkish Plays, Playwrights, and Theater Groups." In Brecht in Turkey 1955-1977, 99–186. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463231798-008.

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"2. The Implications for Theater of Marxism and Islam in Turkey." In Brecht in Turkey 1955-1977, 23–48. Piscataway, NJ, USA: Gorgias Press, 2010. http://dx.doi.org/10.31826/9781463231798-005.

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And, Metin. "Atatürk and the Arts, with Special Reference to Music and Theater." In Atatürk and the Modernization of Turkey, 215–32. Routledge, 2019. http://dx.doi.org/10.4324/9780429050213-14.

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"The Impact of the Dengbêjî Tradition on Kurdish Theater in Turkey." In Kurdish Art and Identity, 96–118. De Gruyter, 2020. http://dx.doi.org/10.1515/9783110599626-005.

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Yiğit, Ahu. "Chapter 7. Islamic Modernity and the Re-enchanting Power of Symbols in Islamic Fantasy Serials in Turkey." In Muslim Rap, Halal Soaps, and Revolutionary Theater, 207–30. University of Texas Press, 2011. http://dx.doi.org/10.7560/726819-009.

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Akar, Başak. "“The Modern Daily Life” in Turkey in the 1950s in Popular Play Scripts of the State Theater." In Advances in Media, Entertainment, and the Arts, 137–61. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8491-9.ch009.

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The aim of this chapter is to examine how modern daily life is imagined and transmitted to the audience by the products of the popular culture in the 1950s through the repertory of the state theater and how this reflects the tendencies of the time. This study is based on the argument that the imagination of the modern daily life in the 1950s is not a simple continuation of the early republican period's way of defining the modern daily life on the basis of public life solely. Modern daily life in the 1950s is set both on the public life and the private life. Also, it relies on the adversity of the lifestyle, religion, emancipation, and universalism and civilization in the context of public life, complemented by the corruption of the family, the changing role of the man and the changing role of the woman.
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Fant, Clyde E., and Mitchell G. Reddish. "Ephesus." In A Guide to Biblical Sites in Greece and Turkey. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195139174.003.0032.

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Often crowded with tourists, Ephesus is a must-see stop on any itinerary through western Turkey. Few archaeological sites in Turkey are as impressive as Ephesus. The excavated and reconstructed buildings bear eloquent testimony to this important and grand city of ancient Asia Minor. Strolling the streets of Ephesus, past fountains, statues, monuments, temples, a great library, residences, the agora, and the theater, the modern visitor can easily imagine the ancient city thronged with crowds engaged in the various activities of their society. Ephesus is situated near the Aegean coast, east and slightly north of the island of Samos and approximately 40 miles south of Izmir. The modern city of Selçuk is located in the general area of ancient Ephesus. In antiquity Ephesus was a major port city situated on the Aegean coast. Over the years alluvial deposits from the Cayster River, which ran near the city, filled in the harbor, and as a result, the site of the city today lies approximately 5 miles inland from the coast. In addition, Ephesus was the beginning point for the main highway that ran from the Aegean coast to the eastern part of Anatolia, which along with its harbor allowed the city to flourish as a commercial and transportation center. According to the geographer Strabo, the earliest inhabitants of Ephesus were a group of peoples called Leleges and Carians. Sometime around 1100–1000 B.C.E., a group of Ionian Greek colonists, supposedly led by the legendary Athenian prince Androclus, established a Greek settlement at the base of the northern slope of Panayïr Daǧï (Mt. Pion), one of three hills in the vicinity of ancient Ephesus. An ancient legend claims that Androclus chose this site on the basis of an oracle that said the city should be established at the site indicated by a fish and a wild boar. When Androclus and his companions landed on the coast of Asia Minor, Androclus joined some locals who were grilling fish. One of the fish, along with a hot coal, flipped off the grill.
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Conference papers on the topic "Theater of Patara (Turkey)"

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Zabelina, Daria. "THE REVIVAL OF THE PHILIPPINE NATIONAL THEATER — KOMEDYA." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.39.

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Komedya, or moro-moro, is a genre of the Philippine national theater that was flourishing from the second half of the 17th century until the second half of the 19th century. The genre formation was a part of catholic missioners propaganda activities. In time, komedya became the most popular dramatic genre in colonial Philippines. The common features of komedya are: 1) the central theme of komedya is fight between Christians and Muslims, where Christians always win; 2) actions described in komedya never take place in the Philippines, but in an exotic country, for instance in Turkey or in Armenia; 3) Spanish missioners played an important role in the formation of the genre; 4) komedya is the national theater; 5) komedya is a secular genre as adventures dominate over the religious motives. In the middle of the 19th century komedya was criticized by the most progressive Filipinos for being extravagant, lacking logic and not touching upon current Philippine problems. By the beginning of the 20th century komedya was not staged anymore almost everywhere in the Philippines. Its place was taken by the other genres. A number of actions to bring komedya back to its former popularity have been undertaken from the 1970s with the great support of the cultural center of the Philippines and University of the Philippines. It is important to mention that the genre is being changed in order to correspond the needs of the modern Philippine society. For example, the Muslim conflict is not the main topic of the modern Philippine national play as it contradicts the national policy of the Philippines.
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Ormanlı, Okan. "Relationship Between Movie Theaters and Audience During the Pandemic: “Beyoğlu 1989 E-Bulletin” as an Example." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.028.

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Covid-19, a disease that transformed into a pandemic at the beginning of 2020, caused catastrophic results in the world and Turkey. There have been some restrictions on trade, education, tourism, and art. Daily life was not interrupted but some services and events that they have not primary functions (for some people) like “art” were on the verge of stopping and carried to the digital platforms. In this context, some corporations opened their archives and sometimes actual events to the public free of charge or for a certain amount of money. Art, which has always had “healing”, “mediating” and “unifying” effects, was consumed by the billions of people through digital devices. Considering art is both a sector and an industry, the unexpected phenomenon of Covid-19, which is a kind of crisis that occurs one in a hundred years and takes longer than expected, led to the temporary or permanent closure of some art and culture institutions. Due to these results, some supportive programs have been organized by official or non-official institutions to solve financial problems. In Turkey, all the movie theaters closed down on the 16th of March 2020 by the Ministry of Internal Affairs. Some halls opened in July and August, however, because of lack of audience and of the increasing number of patients they have closed down again in November. 2019 was a bad year for the sector yet 2020 was even worse with the decline of the audience by the ratio of %90. Before the pandemic, there were some problems in terms of halls. In this context, some movie theaters tried to find solutions not to lose the audience and find financial support. Beyoğlu Movie Theater that began operating in 1989, had some financial problems before the pandemic. The managers of the hall created a project called “Beyoğlu 1989”, which was a kind of electronic bulletin, and started sending e-mails to the subscribers. This project, which was implemented for the first time in Turkey, has reached the 57th issue and 800 subscribers today and has turned into a kind of weekly electronic-digital cinema newspaper that is also promoted on the Instagram account of the Beyoğlu cinema with 45 thousand followers. The broadcast also follows the cinema agenda and undertakes the task of a written-visual archive. In conclusion, a movie theater that started operating in the analog age, today use all the possibilities and utilities of the digital age and also with the help of its owners and followers, creates a communication ecology to prevent the shutdown. The aim of this article is to examine an electronic bulletin (also a film magazine) “1989”, which is first in Turkey, with the qualitative method.
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