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DADASHOVA, Arzu Tofig. "WOMEN’S PORTRAITS IN TURKISH HISTORICAL NOVELS". Humanities science current issues 1, n. 64 (2023): 240–46. http://dx.doi.org/10.24919/2308-4863/64-1-34.
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Halchuk, Oksana. "Pictorial portraits of the nation: Ilya Repin’s «Own» and «Others»". Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, n. 26-27 (2022): 46–55. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-46-55.
Testo completoAbstract (sommario):
The article examines the problem of representing the collective portrait of the nation in the language of painting. The relevance of such a study is determined by the need for identification, which is especially acute in war conditions: the distinction between "own" and "foreign" is a necessary condition for national self-identity and the unity of the human community as a nation. Ilya Repin's painting work was chosen as the object of analysis. The goal is to determine the typological features of the collective portrait of the nation based on Repin's canvases. Achieving the set goal is realized in the following tasks: outline in dotted lines how the tradition of the collective portrait of the nation was formed; consider pictorial versions of Repin's portrait of the nation; compare the portraits of "own" and "other" ("alien") nations. The novelty of the study is determined by the proposed view of Repin's masterpieces as symbolic portraits of the Ukrainian and Russian nations, created according to the principle of contrast. For the first time, features characteristic of the author's interpretation of the image of the nation were considered in the context of the formation of this tradition in painting. The article uses the historical-cultural and comparative methods of research, the method of commented reading of the pictorial "text". It is determined that the genre of the portrait of the nation began to form in the era of romanticism. Its authors sought to reproduce events, exterior, and interior with national marking. Emphasis was placed on them as "typical", or "characteristic" of a certain nation or country. We consider Repin's paintings "Zaporozhians writing a letter to the Turkish Sultan" and "Hopak" as pictorial portraits of the Ukrainian nation. They have in common an idealized romantic past. Events and phenomena associated with the concepts of "heroic" and "spiritual" are reproduced. The depicted characters are archetypes but endowed with individual traits that form a mosaic national portrait. We compare "Zaporozhians writing a letter to the Turkish Sultan" with the portrait of France in E. Delacroix's painting "Freedom on the Barricades." Common to both paintings is the concept of freedom, which must be chosen. At the same time, Repin complements the idea of freedom with a trait typical of the Ukrainian character. We are talking about laughter as a manifestation of inner freedom. Therefore, the artist offers a kind of formula according to which only those who are free inside can win freedom. Instead, Repin's national portrait of the "stranger" is represented in the paintings "Burlaks on the Volga" and "Crusade in the Kursk Province." Their modern plots are interpreted realistically. In the center are depicted events or phenomena associated with the struggle for survival, silent obedience, and external and internal slavery. The characters are emphatically unaesthetic, merging into a "faceless" portrait of the scumbag. Thus, the pictorial portraits of Ukraine and Russia in Repin's work are directly opposite in terms of their ideological content and stylistic content. For the artist, a collective portrait of Ukrainians is also an attempt to declare one's own identity in the conditions of an inferiority complex imposed by the empire.
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Repenkova, Maria. "Portraits of the Modern Turkish Authors and Readers". Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, n. 4 (2020): 161. http://dx.doi.org/10.31857/s086919080010808-5.
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Turkkan, 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, n. 2 (25 maggio 2018): 61–67. http://dx.doi.org/10.18844/gjae.v8i2.3782.
Testo completoAbstract (sommario):
The self-portrait solutions were designed to be transferred into typographical design elements by the 2nd grade students of Baskent University, Faculty of Fine Arts, Design and Architecture, Department of Visual Arts and Design, during fall semester 2017–2018, within the scope of the course ‘Typography Design’ under the leadership of Halime Turkkan. The concept of ‘self’ was converted into typographic self-portraits. The main objective of the project was to express the concept only by words through different perspectives of students. This study is focused on analysing the different points of view on creating conceptual typographic designs and the effects of visual culture on students during the design process for exhibitions and other design activities. The graphic solutions which were exhibited in Gallery Baskent and Artankara 4th International ModernArts Fair will be examined in terms of visual and cultural backgrounds of Turkish graphic design students.Keywords: Typographic design, self, visual culture, Turkey.
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Nasipov, I. S., e К. М. Shakirova. "SPEECH PORTRAIT AS MEANS OF REVEALING THE CHARACTER OF THE HERO: A COMPARATIVE ASPECT". Keruen 83, n. 2 (25 giugno 2024): 149–58. http://dx.doi.org/10.53871/2078-8134.2024.2-11.
Testo completoAbstract (sommario):
This article is devoted to the study of speech portrait of characters in dramatic works of Kazakh and Turkish writers. The authors of the article study the peculiarities of speech, which includes the choice of certain words, phrases and expressions used to create images and characters of the main characters. It is noted that the speech characteristic in the works is an important element in creating the image of the character, and the translation of such a work should be made in such a way as to preserve and reflect the meaning that the author of the original. When comparing the translations of Kazakh and Turkish writers’ works, the analysis of the ways of transferring the peculiarities of speech characteristics of characters was made. In the analysis it was found that the authors of works to characterize the main characters use a variety of means of language expressiveness. It is revealed that among the most frequent means the use of emotional-expressive vocabulary is noted. Thus, the authors conclude that the use of language allows writers not only to create detailed psychological portraits of the main characters of works, to reveal their complex inner world and experiences, but also to track and record the main stages of their personal development. The scientific work provides a number of scientific and theoretical opinions of famous literary scholars. The research methods were comparative analysis and the method of solid sampling.
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Sint Nicolaas, Eveline. "From Sultan to Swindler : Seven Portraits from Cornelis Calkoen’s Series of ‘Turkish Paintings’". Rijksmuseum Bulletin 59, n. 1 (15 marzo 2011): 34–57. http://dx.doi.org/10.52476/trb.11616.
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Goksel, 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, n. 1 (5 febbraio 2024): 58. http://dx.doi.org/10.5296/ijl.v16i1.21727.
Testo completoAbstract (sommario):
This article argues that the Turkish press of the early republican years was one of the instruments used by the Turkish political discourse of the early republican years to disseminate and reproduce its values in the public sphere. This article attempts to examine the discursive distinction between Turkey and the Ottoman Empire in terms of their international relations through the Turkish press discourse. To this end, this article focuses on the Turkish newspaper column "Sabah Gazeteleri ne diyorlar?" published in the Turkish newspaper Haber Akşam Postası on June 11, 1938, and conducts an argumentation analysis of the column by applying the Vienna School of Discourse-Historical Approach (Reisigl & Wodak 2001; Wodak 1990, 1994; Wodak & Meyer 2001; Wodak & Chilton 2005; Wodak et al. 2009). This article examines the rhetorical, discursive, and argumentative strategies used by the editorial writer Asım Us to persuade readers. One of the key findings of the article is the following: the negative portrayal of the Ottoman Empire versus the positive portrayal of Turkey. While the Ottoman Empire was described as "defeated" in World War I, Turkey was portrayed as a "victorious" country that was able to sign the Treaty of Lausanne with the Entente powers on an equal footing.
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Condrea, Iraida. "Portraiture in a Cantemirian-Inspired Manuscript: Faces of the Turkish Emperors, 1710". Dialogica. Revistă de studii culturale și literatură, n. 3 (novembre 2023): 13–21. http://dx.doi.org/10.59295/dia.2023.3.02.
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Appreciated since his lifetime as a great connoisseur of the Ottoman Empire, Dimitrie Cantemir wrote several works on the history, art and customs of the Turks, referring to the reigns of several sultans. This theme also appears in a manuscript written in Romanian with Cyrillic characters, dated 1710, which contains the briefly described histories of 27 Turkish sultans, as well as their portraits. Since 1931, when it was discovered, and until now, several researchers have discussed the authorship of the text and its possible relationship with the work of Dimitrie Cantemir. In this article, the content, style and language of the manuscript are analyzed, aspects that have been less studied until now.
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KOLUAÇIK, İHSAN, e AZİME CANTAŞ. "TÜRK SİNEMASINDA “HACI BEKTAŞ VELİ” TEMSİLLERİ". Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 106 (20 giugno 2023): 127–46. http://dx.doi.org/10.34189/hbv.106.007.
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Hacı Bektaş Veli is one of the most important names of Turkish Islam. Various sources and groups paint different and completely opposite Hacı Bektaş portraits. While some describe Hacı Bektaş as a Sunni mystic, others consider him a representative of heterodox Islam. In addition, there are those who turn Hacı Bektaş into a purely political figure and show him as a symbol of resistance that stands by the working people against injustices. It is possible to come across cultural references and representations of this belief in cinema as a mass art. In this direction, the study aims to reveal the reflections of Hacı Bektaş representations, which have a great importance in the beliefs and values of Turkish society, but have discussions between his real and hisopic personality, on the cinema. Through the descriptive analysis and discourse analysis included in the qualitative research methodology, how a tradition reflected in Turkish cinema is defined and how it is interpreted has been evaluated through sample films. In the applied descriptive analysis, instead of interviews, the thematic framework in the films was set up and how it was evaluated, while it was tried to reveal how filmmakers and directors with different ideas reflect these values in the social structure they are in and their views on Hacı Bektaş Veli. Only one Hacı Bektaş Veli movie has been shot since its inception. This film is Hacı Bektaş’ı Veli (Those who Turkified Anatolia), which was shot by T. Fikret Uçar in 1967 and tried to convey sections from the lives of religious figures called “hazli films” within the aesthetics of Yeşilçam. In addition to the movie Hacı Bektaş Veli, the characters of Hacı Bektaş Veli are also encountered in the movies where Yunus Emre's life story is told. In the study, it has been determined that the representations of Hacı Bektaş examined in Turkish cinema vary in relation to the ideological thoughts and beliefs of the directors or screenwriters. Keywords: Cinema, Turkish Cinema, Hacı Bektaş Veli, Yunus Emre, Descriptive Analysis.
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SARI 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, n. 2 (1 agosto 2023): 417–42. http://dx.doi.org/10.17153/oguiibf.1239060.
Testo completoAbstract (sommario):
In the study, the transformation elements are disputed that emerged in the context of the development of ideology and politics from the period of the establishment of the Republic of Turkey to the present. It is aimed to present some theoretical devices on which development discourses and policies in Turkey came into view as a result of the original historical-social-economic-political-cultural-institutional-ideological features. The different periods of Turkey's development story, the development discourses they built, and the portraits of their dynamics contributed to grasping the subject matter. In all these contexts, it is thought that the transformation in the Turkish economy's development policies has followed since its foundation divulges a condition that has evolved from statist development to state capitalist development.
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Aytemiz, Pelin. "Making Grandfather Come Out Better". Middle East Journal of Culture and Communication 8, n. 2-3 (2015): 355–73. http://dx.doi.org/10.1163/18739865-00802010.
Testo completoAbstract (sommario):
In contemporary Turkey, a growing number of lower to middle-income families bring old and often damaged photographs of their deceased family members to digital studios for restoration. Digital restoration artists, whether working online or from photography studios, retouch these photographs in often highly creative ways, such as adding color and fantasy backgrounds, or combining discrete portraits into fictional (diachronic) family portraits. Digital technologies such as the Photoshop program are here called upon to perform a very old desire: that of ensuring a dead person’s continued presence. Engaging with debates on the passage from analog to digital and the relationship of photography to death, I examine this process from two perspectives. First, I focus on digital artists who understand their work in professional terms as intensely material, and in social terms as one of ‘saving photographs from death’; second, I examine the renewed social potency that such digitally remastered photographs acquire in Turkish homes, where digital intervention not only ensures the continued potency of ancestral photographs in ensuring the presence of the deceased patriarch, but also enhances this presence in novel ways. Digitally remastered photographs are understood here as more than ‘just’ photo-realistic. They are ‘more perfect’ or even ‘more real’: their fictionality adds to their auratic character as icons of authority and makes them eminently suited for the renewed kind of social work that is demanded of them.
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Pesti, Brigitta. "Die schwüle Welt des Harems •". Hungarian Studies 37, n. 1 (6 luglio 2023): 68–84. http://dx.doi.org/10.1556/044.2022.00223.
Testo completoAbstract (sommario):
AbstractIn the 18th century, as political and economic relations with the East strengthened, and the first travelogues on Turkey and various other works on ethnological, geographical and cultural topics were published, a particularly positive reception of the Orient became widespread, originating from the southern and south-eastern Europe. As a result, the image of the threatening apocalyptic enemy, the “bloodhound”, was replaced by the stereotype of an attractive and exotic foreigner.The euphoric reception of Ottoman culture was initially manifested in the presentation of operas and Turkish feasts held in noble and royal courts, but was also exhibited in portraits of people in Turkish clothes, posing among oriental backdrops. Depictions of harems and odalisque (harem ladies) were important motifs of these paintings from the very start. At the beginning of the fashion of Orientalism, the theme of the harem, also known as Turquerie, appeared only in the circles of the highest aristocracy, as a spicy bit of its self-representation, but by the 19th century, the identification of harem and erotica and, in many cases, harem and open sexuality, had become widespread in European fine arts.In my study, I aim to review briefly the appearances of the motif of the harem in literature and the fine arts, as well as the literary and cultural historical development of its erotic connotations, and offer its interpretation in a Central European context.
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Strauss, Johann. "The Great War of the Postcards". Archiv orientální 88, n. 3 (15 marzo 2021): 525–68. http://dx.doi.org/10.47979/aror.j.88.3.525-568.
Testo completoAbstract (sommario):
This article examines the functions and the significance of picture postcards during World War I, with particular reference to the war in the Ottoman Lands and the Balkans, or involving the Turkish Army in Galicia. After the principal types of Kriegspostkarten – sentimental, humorous, propaganda, and artistic postcards (Künstlerpostkarten) – have been presented, the different theatres of war (Balkans, Galicia, Middle East) and their characteristic features as they are reflected on postcards are dealt with. The piece also includes aspects such as the influence of Orientalism, the problem of fake views, and the significance and the impact of photographic postcards, portraits, and photo cards. The role of postcards in book illustrations is demonstrated using a typical example (F. C. Endres, Die Türkei (1916)). The specific features of a collection of postcards left by a German soldier who served in Turkey, Syria, and Iraq during World War I will be presented at the end of this article.
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Samsonowska, Krystyna. "„Niewiasty kresowe”". Krakowskie Pismo Kresowe 9 (30 settembre 2018): 9–33. http://dx.doi.org/10.12797/kpk.09.2017.09.01.
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Women of the Kresy. The Female in the Works of Józef Antoni Rolle – from History to Literature and MythThe article offers an analysis of depictions of women in Józef Apolinary Rolle’s literary output. The source material are Rolle’s numerous short stories published in a number of collections and series in 1872-1894, including a collection entitled Women of the Kresy. In his works Rolle created the myth of woman of the eastern territories of interwar Poland (Kresy Wschodnie), a courageous amazon, a female warrior, by sketching portraits of historical gures of the 16th and 17th centuries. In the short story entitled Women in Kamianets under Turkish Siege (1672) the author expressed this myth in a collective portrait of women of different nationalities and faiths who defended the fortress of Kamianets Podil’skij against the Turks. In other works Rolle depicted women engaged in politics and struggling to strengthen their family’s position. The latter attitude became dominant in the 18th century, when women were no longer directly engaged in warfare. The women described by Rolle enjoy considerable individual freedom, which provides thems with more opportunities (including the freedom to choose a husband and the freedom to divorce) compared to their compatriots in the Polish west. Women who lived in partitioned Poland in the 19th century were depicted by Rolle as ones who were responsible for the family, and for the transmission of family traditions, which fits in with the myth of the Polish Mother. More broadly, the image of women of the Kresy fits in with the myth of the region itself. This tradition was continued and developed in the early 20th century by the author’s son, the historian and publicist, Michał Rolle, among others.
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Papp, Júlia. "Magyar történelmi témák 18. századi bécsi festői: adatok Wenzel Pohl munkásságához és az August Rumelnek tulajdonított mohácsi csata-képhez". Művészettörténeti Értesítő 71, n. 2 (19 settembre 2023): 233–54. http://dx.doi.org/10.1556/080.2022.00015.
Testo completoAbstract (sommario):
Media news made the name of Wenzel Pohl known in Hungary in the early 2000s, for the two large history paintings (The Battle of Mohács, Saint Stephen converting the Hungarians to the christian faith), which had cropped up in the art trade and which were purchased by the Hungarian state and deposited in the Hungarian embassy in Vienna, were attributed to him. Although more recent research has proposed that the painter of the cycle once consisting of six pieces was most probably August Rumel and not Pohl, it is worth knowing of Pohl’s artistic activity irrespective of the Hungarian relevance, too, because his person is gradually fading out of art historiography – for example, his name is missing from the 96th volume of the Saur Allgemeines Künstlerlexikon published in 2017.The best-known Pohl portraits are the ones he painted of the noted Jesuit astronomer, mathematician and physicist Miksa Hell. A full-figure portrait shows the scientist in traditional Sami costume during his research trip to the North, and we know of a portrait showing Hell is a monk’s frock. His engraved copies of paintings in the Viennese imperial collection, real forerunners to the representative 19th century album of prints presenting the collection, probably belong to a series. In the cycle of paintings about the coronation of Joseph II as Holy Roman Emperor (Frankfurt, 1765) he was assigned the painting of architectural details, which is confirmed by the fact that he was sent on a study trip to Frankfurt to make drawn sketches of the venues of the event. After the representative painting of Martin van Meytens he made a small-scale version of the group portrait of Maria Theresa and her family. His chef d’oeuvre is the representative painting series showing the events of the coronation of Maria Theresa in Pozsony in 1741 painted for the Hungarian court chancellery in Vienna. He painted it with Franz Messmer in the second half of the 1760s. In contrast, the three portraits of monarchs in Riesensaal in Innsbruck so far attributed to him by researchers were actually painted by Jakob Kohl.The other part of the paper contributes a few new viewpoints to the examination of the painting about the battle of Mohács earlier attributed to Pohl. In addition to contemporaneous woodcuts of the tragic battle of 1526 in news-letters and pamphlets in German, to 16th century Turkish miniatures, and diverse 16–18th century European manuscript and book illustrations, a ceiling fresco in Garamszentbenedek and several large paintings – including Rumel’s work – also conjured up the battle in the 18th century. Since in the nation’s historical consciousness and cultural memory the battle of Mohács did not acquire its symbolic, mythic position represented to this day before the 19th century, the two works of art were way ahead of their time in anticipating the salient position of the tragic event, because, unlike, for example, István dorffmaister’s late 18th century pictures ordered in Mohács, they show the battle as a fatal even in the history of the entire nation. on the other side, by the terminating piece of the series ordered for the Transylvanian court chancellery being the battle of Mohács, the client departed from the 18th century imperial, dynastic outlook which presented as positive parallels to the battle of Mohács and the capture of Szigetvár by the Turks the victorious battles of the late 17th century liberating war led by the Habsburg Empire: the second battle of Mohács and the recapture of Szigetvár, partly as examples of divine justice and partly as legitimation of the Habsburg Empire’s territorial expansion “earned with blood”. It is noteworthy that the right side of central scene of Rumel’s Battle of Mohács resembles the composition of leonardo da Vinci’s Battle of Anghiari surviving in copies only. It is presumable that the renaissance battle scenes served as a model example for the painter.
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Mohammed Taleb Al-Olaqi, Fahd. "Image of Mustapha in Fulke Greville’s Mustapha (1594)". International Journal of Applied Linguistics and English Literature 6, n. 2 (4 gennaio 2017): 63. http://dx.doi.org/10.7575/10.7575/aiac.ijalel.v.6n.2p.63.
Testo completoAbstract (sommario):
The image of the historical Turkish Prince Mustapha (1520-1566) is symbolic in Elizabethan Age as a reflection of paternal filicide.The tragedy of Prince Mustapha is portrayed in many plays. It is a unique portrait of subjugation in the Elizabethan eyes of the European fear of Turkey. Although some historians envisage Mustapha with admiration for his tragic fate by the Turkish tyrant, Greville stands by the side of the Turkish prince. Greville’s Soliman is an arrogant sultan with bloody hands who cares only for his crown. Roxolana is the evil sultana who plotted the demise of Mustapha to save the crown for her own son. By an irony of fate, Roxolana ends up a victim to her own plot. Though Greville expresses his allure in the Turkish court's affairs, he portrays his apprehension in the Turkish Sultan.Keywords: Mustapha, Soliman, Roxolana, Zanger, Ambition, Treachery, murder, filicide
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Frfulanović-Šomođi, Dragana. "THE COSTUME OF FOUNDERS OF THE KREPIČEVAC MONASTERY". Knowledge International Journal 34, n. 3 (4 ottobre 2019): 751–57. http://dx.doi.org/10.35120/kij3403751f.
Testo completoAbstract (sommario):
In the late Middle Ages, upon the establishment of Turkish rule in the central Balkans and the former territory of the Serbian Despotism, the not so many endowments of local greats were raised, in which art, in a more modest way, was still nurtured in the spirit of the Byzantine tradition. The Krepicevac Monastery is an endowment to the history of little known Georgio, Jan's son, as it stands in fragments of a preserved inscription. There are also mentions of Zora and Manojlo, and it would be assumed that they are members of one family. The fresco composition of donors shows Georgio singled out for dominance, carrying the model of the temple in the hands he offers to the Virgin. It does not deviate from the set norms in the depictions of the endowers, whether they are local lords or members of high nobility. These portraits pay special attention to the clothes of the founders, which have some deviations from the known fashion of the medieval lords, as a result of the influence of new trends. The work originated with the idea of analyzing the clothing and jewelry of the tinsel and finding parallels with the clothing of endowers of the late XV and XVI centuries. Caftan is a new garment originated in the Eastern tradition. The richness of floral motifs and prints indicates of the more expensive fabrics of their garments preserved probably for the most festive occasions. The very act of donating, famous as the way of clothing, respects the canons in portraiture in paintings. It illustrates the power of this great local man and his family, who was well versed in the Christian tradition, but also in the fashion of their time.
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Akdenizli, F., e V. Chechyk. "From Kharkiv to Istanbul: Creative Work of Mykola Kalmykov – Naci Kalmukoğlu". Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, n. 02 (ottobre 2021): 96–106. http://dx.doi.org/10.33625/visnik2021.02.096.
Testo completoAbstract (sommario):
The article is dedicated to the art of Mykola (Nikolay) Kalmykov, whose maturity and creative activity took place in historical and cultural realias of Turkey in the 1920s and 1940s. Years of artistic formation associated with Ukraine in the first decades of the 20th century are an integral part of his creative biography. A high level of academic training, knowledge of historical styles, obtained at Kharkiv Art School, on the one hand, on the other hand, admiration for the artists of the “Seven” group, of which M. Kalmykov was an active member, for applied forms of creativity, orientation towards European modernism as a space of creative freedom determined the artistic universalism of the novice. The modernist nature of Istanbul artworks of M. Kalmykov is undoubtable. At the same time, absorbing the plastic discoveries of French modernism, the artist existed in a special emotional sphere, where there was a place for aesthetic research in the art of past epochs. In this dichotomous fusion of impressionistic worldview and passeism, most of the custom-made things were solved – mise-en-scenes for murals and theatrical scenery, historical canvases and still lifes. Exclusively pictorial ambitions were embo-died in depiction of nude figures, in portraits of relatives and friends, in hundreds of landscape scenarios, the main role in which was assigned to sunlight. Painting as such, attractive in itself, related M. Kalmykov to A. Grishchenko, the author of the plastic concept “color dynamos”. Construction of a pictorial plot on the ratio of color masses, structural framework of which was set by horizontal and vertical axes of free brushstrokes are its basic features. Creative biography and personality of Mykola Kalmykov are widely known to Turkish specialists, collectors and art lovers. Discovery of art of Mykola Kalmykov by their Ukrainian colleagues is still ahead.
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Kaim, Agnieszka Ayşen. "New Turkish Cinema – Some Remarks On The Homesickness Of The Turkish Soul". CINEJ Cinema Journal 1 (6 ottobre 2011): 99–106. http://dx.doi.org/10.5195/cinej.2011.23.
Testo completoAbstract (sommario):
Contemporary cinematography reflects the dualism in modern Turkish society. The heart of every inhabitant of Anatolia is dominated by homesickness for his little homeland. This overpowering feeling affects common people migrating in search of work as well as intellectuals for whom Istanbul is a place for their artistic development but not the place of origin. The city and “the rest” have been considered in opposition to each other. The struggle between “the provincial” and “the urban” has even created its own film genre in Turkish cinematography described as “homeland movies”. They paint the portrait of a Turkish middle class intellectual on the horns of a dilemma, the search for a modern identity and a place to belong in a modern world where values are constantly shifting.
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Aktener, Ilgın, e Neslihan Kansu-Yetkiner. "SIR WYNDHAM HENRY DEEDES: A PORTRAIT OF THE TRANSLATOR AS A CULTURAL AMBASSADOR". Folia linguistica et litteraria XIII, n. 40 (luglio 2022): 189–206. http://dx.doi.org/10.31902//fll.40.2022.10.
Testo completoAbstract (sommario):
Sir Wyndham Henry Deedes (1883-1956) was an eminent British Army officer, civil administrator and a Turcophile, known for his literary translations from Turkish into English. This article examines his cross-cultural transfer practices, specifically his writings and interlingual literary translations by discussing his contributions to the promotion of Turkish culture in a British context. Furthermore, the study problematizes the notion of the cultural mediator and the contexts influencing and influenced by Deedes’ leading role, which caused him to act as a cultural communicative agent and an idea maker. The overall aim of this study is to contribute to the formulation of translation history through the microhistorical study of Deedes as a translation agent and the personal and social motives behind his translation decisions. It concludes that Deedes’ decisions were driven by not only his interest in Turkish culture and people, but also his position as an idea maker who found it vital to introduce the new Turkish Republic to the British audience and to promote Turco-British relations.
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Bulamur, Ayşe Naz. "Women as Boundary Markers between Islam and Secularism in Julia Kristeva's Murder in Byzantium (2004) and Elif Şafak's The Bastard of Istanbul (2006)". Religion & Literature 54, n. 3 (settembre 2022): 77–96. http://dx.doi.org/10.1353/rel.2022.a908574.
Testo completoAbstract (sommario):
ABSTRACT: The Bulgarian-French writer Julia Kristeva's Murder in Byzantium (2004) and Turkish novelist Elif Şafak's The Bastard of Istanbul (2006) show how both secular and veiled women become the ground upon which Turkey and France build their national identities. In Murder , the two narrators—the French journalist, Stephanie Delacour, and the unnamed narrator—associate secularism with modernization and progress, and Islam with backwardness and gender inequality. A financially independent world traveler, Stephanie constructs her identity as a foil to the allegedly subservient headscarved Turkish women and fears that French women's freedom might be endangered by the arrival of Muslim immigrants. Her elevation of her Slavic mother Christine and the Byzantine princess Anna Comnena as secular and rational Western women stands for her dream of a French national identity without Islamic influences. Şafak's novel, on the other hand, portrays Turkish female identity not as singular but complex, as the two sisters—the headscarved Banu and Zeliha wearing a miniskirt—live under the same roof. Şafak also portrays Turkish women's ambivalent position as the markers of modernity and tradition as the matriarch Gülsüm Kazancı criticizes Banu for defying secularism and Zeliha for her seductive clothes. Whereas Kristeva's narrators set French national identity in opposition to Islam and Turkish women, Şafak's novel challenges the flattened conception of Turkish femininity by depicting the hybridity of women's dress codes and religious practices. Both novels portray how secular Turkish and French nationalisms are imagined vis-à-vis female roles.
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Berchtel, Sandra. "Identity, Cultural Representation and Feminism in the Movie Head-On". CINEJ Cinema Journal 1 (4 agosto 2011): 126–39. http://dx.doi.org/10.5195/cinej.2011.9.
Testo completoAbstract (sommario):
The movie Head On (2004) from the director Fatih Akin draws the attention of the audience to Turkish women living in Germany. It portrays how some women have to struggle with Turkish traditions and identity problems, living in a modern capitalistic country but being surrounded by Turkish culture. This analysis asks the question whether the movie challenges or supports feminist ideas. Therefore, the characterization, the language, the use of violence, and sexuality will be evaluated to find answers. Feminist principles and goals will help to classify my findings and examine displayed power structures, mixed messages, portrayed stereotypes, and the construction of gender.
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Landry, Olivia. "Turkish Delights with an Aftertaste". Journal of Middle East Women's Studies 16, n. 3 (1 novembre 2020): 245–63. http://dx.doi.org/10.1215/15525864-8637381.
Testo completoAbstract (sommario):
Abstract Hop-Çiki-Yaya Polisiyesi is a Turkish crime novel series by Mehmet Murat Somer that appeared between 2003 and 2004. The series is set in the trans world of Istanbul, and the hero/heroine is a gender-nonbinary sleuth. The present essay explores the paradox at the heart of this series, which on the one hand offers an affirmative portrait of a sex-positive and sociopolitically mobile trans world, and on the other hand exposes the reality of trans murders and the necropolitics as well as bare life politics in practice against the trans community in Turkey. The publication of these novels coincided with the emergence of an LGBTQ+ politics in Turkey but also with the rise to power of the Islamist Adalet ve Kalkınma Partisi (Justice and Development Party). Drawing on crime fiction theories, trans studies, and recent Turkish history, this essay draws out the significance of this series and its place in the trajectory of LGBTQ+ life in Turkey.
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Arikan, Arda. "Europeanness versus Turkishness in a Turkish TV Sitcom: The Case of Avrupa Avrupa". European Review 24, n. 3 (21 giugno 2016): 470–77. http://dx.doi.org/10.1017/s106279871600020x.
Testo completoAbstract (sommario):
Juxtaposing Europeanness and Turkishness has always been a recurring theme in Turkish literature and media. In this study, an analysis of a Turkish sitcom entitled Avrupa Avrupa that was broadcast on Turkey’s only state-run TV channel is provided, focusing on how Turkishness and Europeanness are portrayed. It is found that the sitcom portrays Europeans and Turks through traditionally well-known, coarse stereotypes. It is inferred from the sitcom’s latent ideological messages that the EU may accept Turkey, although it is by no means a European country.
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Шахова, Марина Андреевна. "VOICES OF PEOPLE WITH TURKISH BACKGROUND IN GERMAN LITERATURE: LINGUISTIC CHARACTERISTICS". Вестник Тверского государственного университета. Серия: Филология, n. 4(71) (3 dicembre 2021): 218–23. http://dx.doi.org/10.26456/vtfilol/2021.4.218.
Testo completoAbstract (sommario):
В статье раскрывается специфика языка жителей Германии турецкого происхождения на материале художественных текстов «Берлин, город птиц» Э.С. Оздамар, «Канак шпрак» Ф. Займоглу, «Страница знакомств в Хюрриет» И. Аяты. Обнаруживаются соответствия между выявленными лексико-грамматическими и стилистическими особенностями языкового портрета говорящих и определяющими чертами языковых вариантов, порождаемых в среде мигрантов: немецкий язык гастарбайтеров (Gastarbeiterdeutsch), немецко-турецкий этнолект (Deutsch-Türkisch) и кицдойч (Kiezdeutsch). The article presents the specifics of the language of German residents with Turkish background based on the matter of the following literary texts: «Berlin, City of Birds» by E.S. Özdamar, «Kanak Sprak» by F. Zaimoglu, «Hürriyet Love Express» by I. Ayata. Parallels between identified lexico-grammatical and stylistical specifics of the characters’ linguistic portrait and characteristics of language varieties spoken among the population with migrant background (Gastarbeiter German, German-Turkish, Kiezdeutsch) are found.
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Van Cleave, Kendra. "Contextualizing Wertmüller's 1785 Portrait of Marie-Antoinette through Dress". Costume 54, n. 1 (marzo 2020): 56–80. http://dx.doi.org/10.3366/cost.2020.0143.
Testo completoAbstract (sommario):
Wertmüller's 1785 portrait of French Queen Marie-Antoinette was a disappointment when first exhibited, a reaction partially explained by the conflicting associations surrounding the Queen's dress. This article examines the gown worn by Marie-Antoinette in the portrait — a robe à la turque — and its wider context in 1770s–1780s France. The gown, which was probably a real garment, corresponds to contemporary fashion plates and extant garments of the same style, whose distinct cuts demonstrate their connection to Turkish dress. The style's fashionability and formality is considered, as well as its role in the Queen's wardrobe and reputation. The turque joined other Ottoman-inspired French fashions in aligning with the Enlightenment ideas about simplified, unostentatious dressing that Marie-Antoinette embraced. However, the turque opened the Queen to criticism based on its fashionability, as well as connections between Ottoman dress, luxury and eroticism.
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ŞANVERDİ, Hatice. "Bir Zamanlar Anadolu’da Filmi Bağlamında Türk Toplum Yapısında Bürokrasi, İktidar ve Kadın Görünümü". International Journal of Social Sciences 8, n. 34 (25 maggio 2024): 308–17. http://dx.doi.org/10.52096/usbd.8.34.18.
Testo completoAbstract (sommario):
Nuri Bilge Ceylan's "Once Upon a Time in Anatolia" explores social dynamics and authority relations around a murder investigation set deep in Anatolia. The movie offers a good example of reading Turkish social structure through themes such as authority, hierarchy, bureaucracy and female innocence. Throughout the film, Power and hierarchy in the Turkish social structure reveals the authority structures and authority relations in the village society, while at the same time criticizing the bureaucratic structure in the society through bureaucracy, obstacles and dysfunction in the investigation process. Instead of the usual bureaucratic structure, Turkish society's perspectives, views and understanding of bureaucracy, authority and hierarchy relations and the manifestations of these concepts in society are seen. At the same time, it emphasizes the innocence of women, the powerlessness of female characters and the obligation to conform to social norms, thus opening up for discussion gender roles and the position of women in society. It tries to explain the Turkish social structure's perspective on women in the context of concepts such as innocence and punishment, as well as in the context of women and gender roles. In a general context, the relationship between concepts such as dichotomies, power, authority, bureaucracy and the Turkish social structure is revealed. The quiet and isolated village life of Anatolia actually harbors the complexity of social dynamics and power relations. By reflecting this complexity, the film allows for a deeper understanding of Anatolian society. "Once Upon a Time in Anatolia" is not just the story of a murder investigation, but rather a social and sociological portrait that examines the complexity of social structures and relations. Keywords- Authority Bureaucracy, Turkish Social Structure Woman
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Bilge, Nurhayat. "Friend or Foe: Cultural Fusion Theory and Media Coverage of Syrian Refugees in Turkey". Communication, Culture and Critique 12, n. 1 (1 marzo 2019): 110–27. http://dx.doi.org/10.1093/ccc/tcz003.
Testo completoAbstract (sommario):
Abstract Using principles of Cultural Fusion Theory (Croucher & Kramer, 2017), this study focuses on representations of Syrian refugees in mainstream Turkish newspapers to determine: (a) how the host culture media portrays newcomers; and (b) what the implications of these portrayals are in terms of an effective cultural fusion between the two communities. The study entailed content analysis of five Turkish newspapers. A keyword search of the words Syrian (Suriyeli) and refugee (mülteci) were entered into the archives of these newspapers. The search yielded a total of 2,887 news articles and 373 commentary items. The results display the significance of Cultural Fusion Theory principles and challenges that exist to achieve effective cultural fusion.
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Sudakov, Mikhail Alexandrovich. "Portrait of the landowner and Slavophil V.A. Panov". Samara Journal of Science 6, n. 2 (1 giugno 2017): 140–44. http://dx.doi.org/10.17816/snv201762210.
Testo completoAbstract (sommario):
The purpose of this paper is to analyze V.A. Panovs activities. He was one of the early representatives of Slavophilism. His biography is of great interest in the context of the Russian social thought history. The author characterizes V.A. Panovs main activities in scientific, editorial and publishing fields. The author also shows his cooperation with N.V. Gogol. It is shown that the most important aspect of V.A. Panovs activities was his work on two editions of the Slavophil anthology The Moscow literary and scientific collection. This edition brought together almost all prominent representatives of this social thought and caused a considerable resonance. The authors use of the Ulyanovsk Region state archive materials helped to portray the personality of the landowner Panov in his family history. The copies of charters, studied by the author, show that the consolidation of the economic positions of the Panovs family in the Volga region dates back to the 17th century. This process was associated with the active participation of V.A. Panovs ancestors in the fighting on the side of the Tsardom of Muscovy against the Polish Prince Vladislav during the Russo-Turkish war 1672-1681. V.A. Panov owned lands in three provinces (Simbirsk province, Penza province, and Nizhny Novgorod province). A notable fact of his economic activity was his participation in the holding of a special land survey.
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Yahyagil, Mehmet Yusuf. "Values, feelings, job satisfaction and well-being: the Turkish case". Management Decision 53, n. 10 (16 novembre 2015): 2268–86. http://dx.doi.org/10.1108/md-10-2014-0609.
Testo completoAbstract (sommario):
Purpose – The purpose of this paper is to explore the relationships between universal individual value priorities, feelings and global job satisfaction as well as satisfaction with life in Turkish context. The sub-research question is to learn the moderation effect of job satisfaction on the relationship between values, experienced feelings and life satisfaction. Design/methodology/approach – Analytical type of research design was used, and the data were obtained from 390 respondents who are the employees of different organizations in three cities in Turkey. Four measurement devices (Schwartz’s ten-item Portrait Values Questionnaire (PVQ), Brayfield-Rothe’s overall job satisfaction (OJS), and Diener’s Scale of positive and negative experience (SPANE) and satisfaction with life scale (SWLS)) were employed. Findings – It was understood that the participants are slightly to moderately satisfied both with their job tasks and with the evaluation of global satisfaction of their own lives. The values of self-direction, achievement, hedonism and conformity are positively and strongly linked to job satisfaction and overall satisfaction of life. The moderating effect of job satisfaction is partially confirmed. It was also understood that the priorities of Turkish citizens imply self-centered satisfaction and independency, but not risk taking. Positive affect does influence the magnitude of the association between job satisfaction and life satisfaction. Originality/value – This paper is able to demonstrate the nature of associations between value orientations, experienced feelings, job satisfaction and global life satisfaction in a collectivist culture. The contradictions between value priorities of Turkish citizens and the people of Western countries would be likely interesting for academicians and researchers.
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Mahdi, Dr Basma Harbi, e Assist Lecturer Suaad Abd Ali Kareem. "Representations of the Oriental Woman in Lord Byron’s “Turkish Tales”". ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 223, n. 1 (1 dicembre 2017): 37–50. http://dx.doi.org/10.36473/ujhss.v223i1.312.
Testo completoAbstract (sommario):
This study deals with the representations of the oriental woman in the Western narrative on orient. The Western representations of oriental woman are products of specific moments and developments in culture. For their own rhetorical and political purposes, the Western writers employ a discourse representing an Eastern woman, whose Otherness is always subject to qualification and change. The concern of this study is to reveal how this narrative is revolved around certain concept that the oriental woman is victimized. Byron’s conception of the oriental woman is shaped by these Orientalist ideas. In “Turkish Tales,” Byron uses the figure of the Oriental woman and the harem system. What we find in these tales is oriental women who are both domestic and disobedient, and who try to resist their bounded existence; the harem. Byron often portrays the harem as a confined domestic space against which women may reasonably rebel. But their acts of rebellion almost always end in failure.
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Ülgen, Övgü. "Language, Religion and Difference: North African and Turkish Jewish Identity Formation Vis-À-Vis Ashkenazim in Canada". Canadian Jewish Studies / Études juives canadiennes 34 (20 dicembre 2022): 130–41. http://dx.doi.org/10.25071/1916-0925.40295.
Testo completoAbstract (sommario):
This article examines Sephardic identity formation in the North American context through Sephardic Jews’ encounter with their co-religionists, Ashkenazi Jews. It explores the shifting cultural, linguistic and traditional boundaries between Ashkenazi Jews and North African and Turkish Jews in Montreal and Toronto to understand the North American dynamics of this inter-ethnic encounter. Given that they are a minority in relation to Yiddish and English-speaking Ashkenazim who started to settle in Canada in the 19th century, how then did the relationship between Sephardim and Ashkenazim develop and what specific role did language play in shaping this inter-ethnic encounter in North America? After a historical overview of encounters between these two groups in North America, drawing on twenty life-story interviews with Moroccan, Tunisian, and Turkish Jews, this article presents an empirical portrait of these relationships in contemporary Canada from a relational sociology perspective. Providing an historical contextualization from a selective literature on the Jewish migration from Ottoman lands, the Middle East and North Africa to North America helps formulate the question of how this encounter relates to the current context in Canada. By paying specific attention to both the continuities and the ruptures in the relations between Sephardic and Ashkenazic groups in North America since the 1910s, this article argues that the encounter between these two groups in Montreal and Toronto shows how the linguistic pluralism in Quebec, which is different from the United States and Toronto, illuminates a unique context. As such, the collective experiences of North African and Turkish Jews I interviewed in this study reveals Canadian pluralism through the interplay between language, ethnicity, and religion.
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Laflı, Ergün, Peter Liddel, Alev Çetingöz e Timothy Bruce Mitford. "New Names, Status and Family Sentiment in Multi-ethnic Cappadocia: Greek Inscriptions from the Museum of Malatya". Tekmeria 17 (18 luglio 2023): 173–231. http://dx.doi.org/10.12681/tekmeria.34979.
Testo completoAbstract (sommario):
This article offers an edition of 19 Greek inscriptions from the Museum of Malatya (ancient Melitene, Cappadocia), among them 13 previously-unpublished texts including two new metrical inscriptions. With the exception of the one in the Appendix, these texts are funerary, should be dated to the period c. 150-250/300 AD, and take the form of family members dedicating funerary monuments in commemoration of deceased relatives. They offer significant insight into naming habits in this part of inland Asia Minor at the time of the Roman empire, not least in the use of Greek and Roman conventions including double-names and short names; among the inscriptions are several names otherwise not firmly attested in otherwise-published inscriptions (Amate, Anophthenes, Atios, Mazoubine, Taurophilos). A plague or illness is attested in one inscription. The funerary formulae of these inscriptions offer insight into the use of traditional Greek acclamations and also the translation into Greek of the Latin habit of dedicating funerary monuments to the Household Gods. The physical aspects of the stelai, featuring pedimental decorations, acroteria and inscribed texts, and sometimes objets de toilette, echo Greek traditions in commemoration but also constitute a recognisably local style. Aspects of the human bust portraits on a number of the monuments resemble those known elsewhere in inland Asia Minor. The metrical aspect of two of the inscriptions demonstrates a further level of artistry and engagement with a long Greek epitaphic tradition and indicates an aspirational literary ostentation. Overall, they illustrate the mingling of Greek, Roman and other cultures in a region influenced by the presence of the 12th Roman Legion; in particular they enunciate the signi cance of funerary display across the cultural spectrum and demonstrate the power of private funerary monuments to express family ties in Cappadocia at a time of Roman power.
Summary for Turkish Readers
Türkçe Özet:Birden Çok Etnik Unsur Barındıran Antik Kappadokia Bölgesinde Yeni İsimler, Mevkiler ve Ailevi Duyarlılık: Malatya Müzesi’nden Antik Yunanca Yazıtlar
Malatya Arkeoloji Müzesi’ndeki Antik Yunanca yazıtlar, ilgili Müze Müdürlüğü’nün 3 Haziran 2021 tarih ve E-28262782-806.01.03-1429753 sayılı izinleri ile çalışılmış ve bu makale kapsamında yayınlanmıştır. Müze’deki gerekli belgeleme işlemi Dokuz Eylül Üniversitesi’nden Arkeolog Alev Çetingöz tarafından Ağustos 2021 tarihinde gerçekleştirilmiştir.
Bu makalede toplam 18 adet Yunanca yazıtlı taş eser takdim edilmektedir. Makalede önce, Müze’de teşhirde olan ve daha önce yayını yapılmış Antik Yu- nanca yazıtlı beş adet mezar steli tanıtıldıktan sonra, daha önce yayını yapılmayan 13 adet yazıt tanıtılmıştır. Yazıtların 17 adeti İ.S. 2.-3. yy. arasına, yani Roma Dönemi’ne, biri ise İ.S. 5.-6. yy.’a aittir.
Makalede tanıtılan eserlerin içeriği sırası ile şöyledir: a. Daha önce yayınları yapılmış yazıtlar: i- Helene tarafından kocası için yaptırılan mezartaşı, ii- Anneleri Na için oğullarının yaptırttıkları mezartaşı, iii- Kyrilla tarafından annesi Priska için yaptırılan mezar yazıtı fragmanı, iv- Proklos tarafından Mikke için yaptırılan mezartaşı, v- Protogenes tarafından karısı Euphratia için yaptırılan mezartaşı ile vi- Mazoubine tarafından kocası Antonius Valens ve annesi Ma için yaptırılan mezartaşı.
b. Daha önce yayınlanmamış yazıtlar: 1- Aribas tarafından babası ve kız kardeşi Kyrille için yaptırılan mezartaşı, 2- Loukios tarafından karısı Gemella için yaptırılan mezartaşı, 3- Yeraltı tanrılarına adanan mezartaşı, 4- Aouillios (Avillius) tarafından kızkardeşi Amate için yaptırılan mezartaşı, 5- Klaudios Amiantos tarafından karısı Iphigeneia ve kendisi için yaptırılan mezartaşı, 6- Antipas tarafından kız kardeşi Glaphyra için yaptırılan şiir vezinli mezartaşı, 7- Taurophilos tarafından karısı Ame (Nea) için yaptırılan mezartaşı, 8- Kyrillos tarafından annesi Alia Stratoneike için yaptırılan şiir vezinli mezartaşı, 9- Roustikos ve Iasonis tarafından oğulları Roustikos için yaptırılan mezartaşı, 10- Axios tarafından karısı için yaptırılan mezartaşı, 11- Apollonios ve Athenion tarafından Nikias için yaptırılan mezartaşı ile 12- Anakon ve Proklos adları geçen yazıt.
Makalenin sonunda ise üzerinde Hristiyan azizi Theodoros’un adının geçtiği Erken Bizans Dönemi’ne ait bir taş eser tanıtılmaktadır.
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Durand-Guédy, David. "The Loyal Scholar. Hindūšāh, Naḫjawān and the Juwaynīs". Eurasian Studies 20, n. 2 (6 ottobre 2023): 88–146. http://dx.doi.org/10.1163/24685623-20220129.
Testo completoAbstract (sommario):
Abstract This article documents intellectual life in Iran under the Mongols through the case of Hindūšāh Naḫjawānī (d. before 728/1327–28), a scholar known primarily as a historian who has gained a certain notoriety thanks to the pioneering works of Edgard Browne and ʿAbbās Iqbāl on his Tajārib al-salaf. New sources allow to rectify a number of approximations and mistakes about his origin, his name, his works, his career and his scholarly interests. The resulting portrait of Hindūšāh illustrates several key features of the scholarly life of medieval Islam in general and of the Ilkhanid period in particular: social mobility (via Hindūšāh’s rise from a Turkish military background to a well-educated scholar), geographical mobility (through his constant travels from his home region of Naḫjawān), linguistic fluidity in his writings (between Persian and Arabic, but without the slightest interest in Turkish), political context (specifically, the increasing “Shiitisation” of the late Ilkhanate), and, last but not least, loyalty to his patrons. Hindūšāh not only enjoyed the protection of the Juwaynī brothers at a time when they wielded tremendous power in the early Ilkhanate state but also remained loyal to their memory decades after their fall in the 680/1280s. It helps explain his disillusioned view of historiographical writing but also his choice of works to copy. Hindūšāh remained an independent scholar, finding solace from distressing historical events in the study of philosophy and the reading of poetry.
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Lekesizalın, Ferma. "Cosmopolitan Discourse in Amin Maalouf’s Les Échelles du Levant". Mediterranean Studies 31, n. 2 (ottobre 2023): 204–29. http://dx.doi.org/10.5325/mediterraneanstu.31.2.0204.
Testo completoAbstract (sommario):
ABSTRACT This article investigates the cosmopolitan discourse of Amin Maalouf’s novel Les Échelles du Levant, published in English in 1996 as Ports of Call. Centered on Ossyane Ketabdar’s memories, the novel reconstructs the history of the Levant from the viewpoint of the oppressed and portrays the devastating effects of nationalism and national struggles on the Levantine cultures and societies. Born to a Turkish father and Armenian mother, Ossyane grows up in the cosmopolitan and multicultural atmosphere of Beirut, where he learns to question parochialisms. His cosmopolitan agency is based on the moral principle of recognition and respect for the other. Centered on an uprooted and liminal protagonist with a mixed identity, Les Échelles du Levant explores cosmopolitan agency as a form of resistance against homogenized and consolidated subject positions produced by the modern nation-states.
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ŞİMŞEK, Tacettin, e M. Abdullah ARSLAN. "Portrait of a Teacher of Educators Prof. Dr. Orhan Okay as a Role Model". International Education Studies 14, n. 5 (26 aprile 2021): 95. http://dx.doi.org/10.5539/ies.v14n5p95.
Testo completoAbstract (sommario):
In education, the importance of effective and behavioral transfer besides cognitive information is a fact. In this sense, an educator is expected to be an example in terms of his behaviors as well as transferring his knowledge to the students. The best way to raise good students and form the desired behavior in them is the educators who personally touch the lives of their students being role models. In the Turkish academic world, M. Orhan Okay has a remarkable place not only with his scientific studies but also with his “human work” upbringing style. This study is carried out with document analysis which is one of the qualitative research methods. In this study, it is underlined that Okay is a role model/an ideal educator, further every aspect of his ideal educationalism, which complements his exemplary scientist identity, is emphasized. In this respect, besides being a well-equipped scientist, he showed his students and the whole academic environment how an example of an ideal / role model should be. In either way, he expected his students to do what he did personally (as an exemplary person in the academic and non-academic world). In conclusion, it is hoped that the educator deformation which has increased in recent years will disappear to a certain extent thanks to exemplary educators like Professor Okay.
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Vorobyova, Svetlana, e Elena Oganova. "Romantic songs by the Turkish ashik Karacaoğlan: key motifs and system of poetic imagery". Litera, n. 11 (novembre 2021): 63–77. http://dx.doi.org/10.25136/2409-8698.2021.11.34321.
Testo completoAbstract (sommario):
The goal of this research lies in the analysis of romantic motifs and corresponding poetic images in the works of the prominent Turkish ashik of the XVII century Karacaoğlan, as well as in determination of the nature of interaction of the folklore and his original tradition therein. The article employs literary text analysis, as well as the method of description and comparison. Using the specific examples, the author examines the key motifs of Karacaoğlan’s romantic lyrics (praise and admiration of the beauty of the beloved; infidelity of the beloved; separation; doubting the feelings of the beloved, etc.), and the imagery system associated with these motifs: a nightingale, rose, grus, a “burning heart”, a “wounded soul”, landscape sketches (snowcapped mountains, light breeze, etc.). Analysis is also conducted on the artistic means of creating the portrait of a beauty: her face, eyes, eyebrows, hair, manner of walking, clothes, and accessories. Literary works of the Turkish ashik Karacaoğlan have not previously become the object of separate research within the Russian science, which detfines the novelty of this article. The conclusion is made that the traditions of folklore and Diwan (Sufi) poetry are organically intertwined in the works by Karacaoğlan, which determines the specificity of poetics of ashik literature not only of the XVII century, but also the entire time continuum. This study contributes to clarification of the typology and poetics of ashik poetry, as well as the nature of interaction of the folklore and the author’s individual tradition within a single work.
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BERK, Mehmet Fatih. "THE SCYTHIANS: THE OTHER OF THE GREEKS". Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi, n. 54 (13 giugno 2022): 23–43. http://dx.doi.org/10.21563/sutad.1129956.
Testo completoAbstract (sommario):
The Greeks have a distinctive status in historiography. In fact, some historians declared the Greeks as the "inventor of history" and Herodotus, the Greek historian called as “father of history. Following the Greco-Persian Wars, the Greeks gained self-confidence and described the non- Greek- speaking peoples as “barbarian”. This might be the first “othering” movement in historiography. The Scythians, one of the ancient societies of Turkish history, between the 8th and 4th century BC in history timeline. When the Greek historiography began, the Scythians were the neighbors of the Greek societies. Because of this adjacency, many Greek authors and historians depicted much information on the Scythian society in addition to Persian, Assyrian and Chinese sources about Scythian history. In our study, the Greek historiography was examined in the context of "barbarian and the other", by attributing the inability to be "objective" in historiography. Then, a portrait of the “the other (marginalized) Scythians” was searched in the works of Greek authors and historians. In Greek historiography, it has been observed that the Scythians were marginalized at least as much as the Persians.
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Drozdovskyi, Dmytro. "Review of Giovanna Brogi's work. Cultural polymorphism of the Ukrainian world; foreword by S. Plokhiy, afterword by O. Pakhlоvska. K.: Duh i Litera, 2022. 520 p." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 15, n. 26-27 (2022): 292–97. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-292-297.
Testo completoAbstract (sommario):
The research “Cultural polymorphism of the Ukrainian world” (2022) by the Italian Ukrainian scholar J. Brogi was reviewed in a critical analysis. The work represents a fundamental collection of academic studies about the revision of Ukrainian history and culture of the 17th-18th centuries. The research provides an attempt at historical reconstruction of important figures of politics and culture of the Ukrainian Early Modern period, which is characterized as an immanently polymorphic phenomenon. This feature determines its special vitality and is a factor in the consolidation of internal forces, which over time led to the consolidation of Ukrainian political state intentions and identity narrative. The main interpretive vectors regarding the Ukrainian world as a civilizational category have been systematized. For the first time, it was proposed to define the category of “polymorphism” as a factor of identity, a component of socio-cultural and political processes that took place on Ukrainian territory in the Early Modern period. The inhomogeneity of the Ukrainian socio-cultural dimension, which is represented in cultural works and reflected in archival materials related to the analyzed era, has been determined. A significant corpus of historical materials and archival data has been developed, which make it possible to reconstruct the portraits of key figures of the Early Modern period, to determine their worldview guidelines and political orientations. The works of J. Brogi, presented in the review, make it possible to represent the Ukrainian world as a component of the geopolitical and sociocultural map of Europe in the 17th-18th centuries, introducing the concept of the polymorphism of the Ukrainian world into the dimension of the latest Ukrainian studies. The interaction of Muslim, Jewish, and other influences in Ukrainian society and their reflection in the culture of the studied era has been discussed. The forms of reaction of the Ukrainian world to the images of the Stranger and the Other, which representatives of the Muslim and Jewish worlds used at different times, have been outlined. In the chapter “Judaica Ucrainica”, Brogi refers to a significant historical corpus, which explicates the textological evidence, in which the image of the Jewish component occupies a special place. Jews had to go through the procedure of renouncing their own faith, while for Ukrainian communities they were considered more dangerous and more threatening than, say, “Sratsyns”, representatives of the Muslim world. The cultural concept of polymorphism, which is presented in the studies of Professor Brogi, complicates the discourse of cultural and political phenomena, demonstrating that the inhomogeneity of such phenomena in religious, social, political and cultural configurations will determine such basic components of political history and identity as tradition, faith (religion), social stratification, a complex of ideas about “Own” and “Others” in various versions, etc. The research provides questions that require further discussion in academic circles. However, the reviewed work is a significant contribution to Ukrainian studies and it attests, without exaggeration, to the fundamental long-term work of Professor Brogi. Hence, the research “Cultural polymorphism of the Ukrainian world” raises the question of the category of "polymorphism" as an anthropological, sociocultural and civilizational phenomenon, the presence of which in the discourse of historical and cultural transformations gives grounds to talk about the civilizational significance of culture and nation. For the first time, the question of the "Ukrainian world" was raised as an important category that needs to be understood in the paradigm of political and cultural studies. Such a perspective of the scientific problem brings Ukrainian studies first of all into the sphere of global studies, convincingly demonstrating how the study of Ukrainian socio-cultural and political processes can be important for understanding contemporary political configurations and the special vitality that is inherent in a polymorphic world. The researcher revises the Ukrainian world precisely in the paradigm of its polymorphic nature, which is determined by various "configurations of configurations" of Ukrainian history in the context of European, Turkish, Muslim, and Russian influences and determinations. Separate interpretations of historical figures reveal various controversies that happened in the past and that determined the political development of the Ukrainian world in one or another vector.
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Ayanee, Aneesa. "Istanbul as Palimpsest: The Black Book as a Postmodernist Representation of Turkish History and Culture". SMART MOVES JOURNAL IJELLH 9, n. 2 (27 febbraio 2021): 158–67. http://dx.doi.org/10.24113/ijellh.v9i2.10918.
Testo completoAbstract (sommario):
Orhan Pamuk’s novel, The Black Book is a postmodern chronicle of Turkey in which the author uses the structure of a detective novel to delineate the themes of identity, culture and hybridity. The paper aims to depict how Pamuk foregrounds that identities are never determinate but are forever eluding by presenting a love triangle which disappears underneath a mystical quest for one’s true self. Galip’s assuming the persona of his alter-ego, Celal; Prince Osman’s pursuit of true knowledge through reading diverse books and ultimately rejecting them; and Bedii Usta’s disillusion with the State for disapproving the mannequins, all represent the interlacing of cultures and interdependence of identities in contemporary Turkey. Moreover, in the novel, the rich Ottoman tradition and Islamic literature are also revisited in a postmodern light so as to present the allegorical and political connotations inherent in them. The paper also examines how the novel portrays the forced westernization and erasure of history and memories through the use of film ekphrasis to highlight how the Turkish citizens were lured by the Western cinema and indoctrinated about the superiority of the West so as to generate in them a sense of anxiety about their identities.
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Yilmaz, Ihsan, e Omer Erturk. "Religious Necropolitical Propaganda in Educational Materials for Children". Religions 14, n. 1 (3 gennaio 2023): 67. http://dx.doi.org/10.3390/rel14010067.
Testo completoAbstract (sommario):
Even though Turkey’s ruling party’s (Justice and Development Party, the AKP) nation-building and desired citizen creation policies have been studied, its use of necropolitical narratives and propaganda in education has not been investigated. This paper addresses this gap by examining how the Turkish state ruled by the AKP has propagated its religious necropolitical narrative through the national curriculum and Directorate of Religious Affairs (Diyanet) in school textbooks, and magazines and comic books for children. The paper shows that these texts and comics try to indoctrinate children into a religious cult of martyrdom in different ways by encouraging them to view tragic death and getting killed for the nation as a positive event. This paper argues that these propaganda efforts are part of a religious necropolitical indoctrination campaign that seeks to create a new Islamist and jihadist generation of lifelong supporters of the AKP, which portrays itself in the educational texts as the embodiment of Islam, the Muslim Turkish nation and even the global Muslim community (ummah). This new religious generation is expected to believe that dying for the Islamist populist authoritarian regime is the greatest honour a person can bring upon themselves. This paper contributes to the necropolitics literature by showing that not only adults but also children have been targeted by authoritarian rulers’ necropolitical propaganda attempts to create desired citizens who are ready to die for the regime, believing this is a religious obligation. Further research is needed to assess if and to what extent this propaganda has an impact on children.
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TURNAOĞLU, BANU. "THE POSITIVIST UNIVERSALISM AND REPUBLICANISM OF THE YOUNG TURKS". Modern Intellectual History 14, n. 3 (10 febbraio 2017): 777–805. http://dx.doi.org/10.1017/s1479244316000408.
Testo completoAbstract (sommario):
This article explores positivist universalism, one of the central aspects of contemporary approaches in political theory, through the study of the Young Turks’ political thought. Current scholarship portrays the Young Turks as champions of a national cause, limited to overthrowing despotism and relaunching the Constitution of 1876 in the Ottoman Empire. This neglects their broader aim to guarantee peace, order, and progress, both at home and abroad, by adopting Comtean universal positivism, and it distorts their vision of society, politics, and history. From their base in Paris the Young Turks challenged the Eurocentric conception of universalism, suggesting a more egalitarian and comprehensive conception that has yet to be recognized. This article shows that, transcending the conventional boundaries between Western and non-Western political thought, the Young Turks’ political ideology presents an early example of the formation of a modern, pluralist worldview, and that their core conceptions had a deep impact on the founding of Turkish republicanism.
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Kentmen, Hazel, Emre Debreli e Mehmet Ali Yavuz. "Assessing Tertiary Turkish EFL Learners’ Pragmatic Competence Regarding Speech Acts and Conversational Implicatures". Sustainability 15, n. 4 (19 febbraio 2023): 3800. http://dx.doi.org/10.3390/su15043800.
Testo completoAbstract (sommario):
Pragmatic competence is an indispensable component of communicative competence, which plays an essential role in human communication. When an individual is communicatively competent, he/she can carry out an effective conversation in social situations. Therefore, pragmatic competence establishes a compelling factor in English language learning as it permits second/foreign language learners to carry out successful conversations in real-life interactions outside the classroom atmosphere. The improvement of foreign language learners’ pragmatic competence will strengthen their communicative competence. The purpose of this paper is to assess foreign language learners’ comprehension of conversational implicatures by using a multiple-choice discourse test (MCDT) and their performance in a discourse completion test (DCT). Through the use of a quantitative analysis, 54 adult learners of English at C1 and B2 levels of proficiency defined by the Common European Framework of Reference (CEFR) in a university in Cyprus were tested on their use of implicatures and speech acts. EFL learners were more successful in the MCDT regarding the comprehension of formulaic and idiosyncratic features but received lower results in the DCT. As well as testing the proficiency level, this study was also designed to investigate the difference between the gender performances of the DCT and MCDT. The results revealed that there is no statistical significance between the male and female respondents in terms of pragmatic competence. Based on these results, the role of teaching pragmatics in EFL classrooms portrays a major aspect for a sustainable learning environment. Thus, the paper also illustrates suggestions for future research.
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Howe, Andrew. "The Latest Battle: Depictions of the Calormen in The Chronicles of Narnia". American, British and Canadian Studies 29, n. 1 (20 dicembre 2017): 84–102. http://dx.doi.org/10.1515/abcsj-2017-0020.
Testo completoAbstract (sommario):
Abstract Two books in C.S. Lewis’s young adult fantasy series Chronicles of Narnia - The Horse and His Boy and The Last Battle - paint an uncomfortable portrait of the Calormen, the traditional foil for the Narnians. Throughout the text, the Calormen are clearly marked both culturally and racially as Middle Eastern, perhaps specifically as Turkish or Arab in their socio-political power structure with harems, arranged marriages, and facial hair designating status. Even Tashbaan, the capital city of Calormen, reads somewhat like a description of Istanbul. Throughout these two books, the Calormen are portrayed as a sinister and conquest-driven culture threatening the freedom enjoyed by Narnia. This textual indictment is fairly consistent. In demonizing this group, Lewis took part in a literary tradition extending back hundreds of years, a tradition that has enjoyed renewed resonance with increased fears over the growth of Islam. From Sir John Mandeville to post-9/11 concerns over terrorism, western depictions of Islam have often revolved around fear and distrust. The Last Battle is particularly problematic in its allegorical depictions of Islam, as Lewis seems to suggest that salvation is only reserved for those who follow the lion Aslan, clearly marked throughout the series as a stand-in for Jesus Christ.
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Mohammed, Taha Ismael Mohammed, e Aslihan Bozcuk. "Empirical Studies related to Corporate Disclosure on Social Media". International Journal of Finance & Banking Studies (2147-4486) 13, n. 1 (22 maggio 2024): 27–36. http://dx.doi.org/10.20525/ijfbs.v13i1.3326.
Testo completoAbstract (sommario):
This paper portrays the literature on voluntary corporate disclosure via social media networks over the course of two decades (2002-2022) through a content analysis framework. Focusing on papers in English, Turkish and Arabic, it reviews a total of 65 studies from 15 countries, based on number of posts, type of information disclosure, time span and social media platforms used. Additionally, it provides a detailed break-down of the reported effect between voluntary disclosures on social media and a total of 37 different variables used to proxy for market, accounting, corporate governance and firm-specific (size, age and risk) measures. Drawing from an exhaustive analysis encompassing more than 51 thousand companies and nearly 70 million social media posts, the prevailing body of knowledge pertaining to corporate disclosures via social media predominantly hinges upon empirical evidence based on the United States and the United Kingdom. We feel that more country comparison studies and multi-lingual samples as well as meta-analyses could significantly improve our understanding of this field.
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Safarova, Khurshida Salimovna, e Shakhnoza Islomovna Vosiyeva. "A book of protection: Hoja Ahmad Yassawi's "Devoni Hikmat"". International Journal on Integrated Education 3, n. 1 (3 febbraio 2020): 156–60. http://dx.doi.org/10.31149/ijie.v3i1.305.
Testo completoAbstract (sommario):
Every great fiction book is a book that portrays the uniqueness of the universe and man, the difficulty of breaking that bond, or the weakening of its bond and the increase in human. The creation of such a book is beyond the reach of all creators, and not all works can illuminate the cultural, spiritual and moral status of any nation in the world by unraveling the underlying foundations of humanity. With the birth of Hoja Ahmad Yassawi's “Devoni Hikmat”, the Turkic nations were recognized as a nation with its own book of teaching, literally, the encyclopedia of enlightenment, truth and spirituality.
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Balestrieri, Anna. "A „Polytropos" Zionist: The life and literary production of Zakharia Klyuchevich Mayani". Iudaica Russica, n. 2(9) (29 dicembre 2022): 1–43. http://dx.doi.org/10.31261/ir.2022.09.01.
Testo completoAbstract (sommario):
The kaleidoscope of pseudonyms behind which he hid himself on the pages of the Russian- Jewish weekly Rassvet is a reflection of the multifaceted personality of Zakharia Klyuchevich. Historian, archaeologist, linguist, teacher, political activist, journalist, caricaturist, painter, poet, screenwriter, biologist, it is difficult to find an area into which he did not venture. The spectrum of languages he mastered, or tried as an author, is equally colorful: from his native Russian to quasi-native French, through English, Hebrew, German, Yiddish, Polish, Ancient Greek, Turkish, up to Albanian and Etruscan, two languages he tried to link by identifying the latter as a protolanguage of the former. The amount of material left behind by this polyhedric author is voluminous. Correspondence in various languages (Italian, Russian, English, and French), diaries, theater screenplays (Hebrew, English), essays (French), poetry (French, Russian, and Hebrew), authored language textbooks (French-Hebrew, Russian-Hebrew), sketches, paintings, and newspaper clippings are preserved at the Jabotinsky Institute in Tel Aviv. Through a thorough analysis of this material, we will try to draw the portrait of this ish eshkolot, this Renaissance type of intellectual, who has been forgotten in their treatises by historians of literature, Zionism, art and archeology, perhaps precisely because of the difficulty in tracing his movements and activities, the excessive chameleon-like nature of his occupations and cryptonyms.
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ASLAN, Alper, e Emir ÖZEREN. "“EARTHQUAKE WILL PASS, AND THE LIFE WILL GO ON”: A CRITICAL READING OF PUBLIC SPOTS OF DASK". Business & Management Studies: An International Journal 6, n. 4 (3 gennaio 2019): 1271–84. http://dx.doi.org/10.15295/bmij.v6i4.401.
Testo completoAbstract (sommario):
Neoliberal governmentality encourages individuals to value their life as a proper(ty). The neoliberal valuation of life embraces ‘self-responsible’ and ‘competitive’ individuals. Drawing on the contingency of life, neoliberal governmentality intervenes in affects to govern individuals. For instance, individuals are made anxious by the insecurity, vulnerability and ambiguity about the unintended consequences of what may happen to them. In this study, we address how Turkish Catastrophe Insurance Pool/‘Natural Disaster Insurance Institution’ (Doğal Afet Sigortaları Kurumu—hereafter, DASK) intervenes in affects for neoliberal valuation of life as proper(ty). With an interpretive, a post-structuralist and a critical management approach, we examine and analyze the content of the public spots of DASK through the lens of neoliberal governmentality. Accordingly, these public spots portray the victims of Van earthquake as ‘compulsory guests’ and problematise being a compulsory guest. We remark that the compulsory guests do not feel at home at their relatives’ homes. Within the neoliberal precarization process to foster responsible subjects, DASK portrays the uneasiness—or properness—of compulsory guests through hopes, anxieties and fears so that individuals are encouraged to get their compulsory earthquake insurance to avoid being a compulsory guest.
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Peristianis, Christakis. "‘A Return, a Mirror, a Photograph’: Return Journeys, Material Culture and Intergenerational Transmission in a Greek Cypriot Refugee Family". Genealogy 8, n. 2 (10 maggio 2024): 57. http://dx.doi.org/10.3390/genealogy8020057.
Testo completoAbstract (sommario):
During times of war, displaced families carry various material items that later serve as means for preserving the memories of lost homes and maintaining a sense of identity. In divided Cyprus, the use of material objects by people displaced before and during the 1974 Turkish invasion has been influenced by the opening of checkpoints between the two sides in 2003. This paper explores how different generations in my family reacted to and interpreted the rediscovery of a lost material item—a handmade mirror piece—during the return journey. It discusses how my mother located the item, photographed it, and placed its photograph in the family’s photographic archive. During the research project upon which this paper follows from, both items re-emerged through my mother’s storytelling about her experience of return, transforming the project into a form of intergenerational transmission. The paper portrays how the storytelling about the mirror piece and its photograph was interpreted differently by me and my mother, influenced by the different politics of memory. The paper also showcases the resourcefulness of refugee families in maintaining the memory of their lost homes, which simultaneously reveals their views and hopes regarding the political future of the island.
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İnce, Mehmet Akif. "Plurilingual repertoires and identity constructions in transit states of the Arabian Gulf: A language portrait study with young people in a Turkish school". Focus on ELT Journal 5, n. 1 (2023): 74–97. http://dx.doi.org/10.14744/felt.2023.5.1.5.
Testo completo