Bibliografias temáticas / Turkish Portraits

Literatura científica selecionada sobre o tema "Turkish Portraits"

Autor: Grafiati
Publicado: 26 de julho de 2024
Última modificação: 27 de julho de 2024

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Artigos de revistas sobre o assunto "Turkish Portraits"

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DADASHOVA, Arzu Tofig. "WOMEN’S PORTRAITS IN TURKISH HISTORICAL NOVELS". Humanities science current issues 1, n.º 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.º 26-27 (2022): 46–55. http://dx.doi.org/10.34079/2226-3055-2022-15-26-27-46-55.

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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.º 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.º 2 (25 de maio de 2018): 61–67. http://dx.doi.org/10.18844/gjae.v8i2.3782.

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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.º 2 (25 de junho de 2024): 149–58. http://dx.doi.org/10.53871/2078-8134.2024.2-11.

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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.º 1 (15 de março de 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.º 1 (5 de fevereiro de 2024): 58. http://dx.doi.org/10.5296/ijl.v16i1.21727.

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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.º 3 (novembro de 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 de junho de 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.º 2 (1 de agosto de 2023): 417–42. http://dx.doi.org/10.17153/oguiibf.1239060.

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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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Teses / dissertações sobre o assunto "Turkish Portraits"

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Mathews, Julie. "Mediating academic literacy practices in a second language : portraits of Turkish scholars of international relations". Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84530.

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This longitudinal inquiry into the academic literacy practices of ten Turkish scholars of International Relations (IR) attempts to answer three broad questions: what factors have affected the participants' acquisition and maintenance of academic reading and writing skills; what patterns of similarities and differences can be found among their literacy practices; and what relationships might be discovered between the various factors and the scholars' literacy practices. Data for the study were collected through observations, autobiographical accounts of the participants' literacy practices via interviews, and textual analysis of the participants' published works.
The theoretical framework for the study draws on neo-Vygotskian Activity Theory and Bakhtinian Dialogic Theory, to create a model for uncovering and understanding the contextual factors mediating scholars' academic literacy practices. The model begins with the assumption that scholars operate within multiple "activity systems" (Engstrom, 1990), in this case: (1) the core American IR discipline; (2) the local Turkish IR discipline/particular Turkish IR departments; and (3) Turkish society. The model reconceptualizes the idea of activity systems as "filters," which mediate individuals' production and reception of texts, i.e. their literacy practices. Conflicts may arise according to the "thickness" of a filter and depending on the "operational means" acceptable within it.
By contributing to a deeper understanding of how people acquire and maintain academic literacy skills in a second language the study ultimately aims to aid in the construction of pedagogical models and approaches that reflect the complex nature of these multi-lingual literacy practices.
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Stamoulos, Eva. "Mehmed II's portraits : patronage, historiography and the early modern context". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83150.

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This thesis proposes an anti-Orientalist reading of the portrait of the Ottoman Sultan Mehmed the Conqueror (r. 1451-1481) by Gentile Bellini. The artist's work is analysed in the context of the Venetian Renaissance and the status of the visual arts in the Ottoman Empire. Mehmed's patronage of Italian artists, who created medallic and pictorial portraits of the sovereign, is considered together with the local translation of conventions enabled by early modern cross-cultural encounters. The Western political and intellectual climate following the conquest of Constantinople by Mehmed in 1453 is examined and, in particular, the secularising crusade literature produced by humanist scholars. Covert efforts to incorporate the Turks within the boundaries of civilised society coexisted with the conventional derogatory anti-Turkish propaganda. Bellini's portrait is seen as an attempt to portray the sultan as a member of the Venetian aristocracy. The historiographical record of modern academic scholarship in the disciplines of history and art history exploring these cross-cultural exchanges is set in a framework that explores the role of Edward Said's Orientalism in light of recent developments.
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Yip, Andrew. "A portrait of the nation as a young man : the genesis of Gallipoli : mythologies in Australian and Turkish art". Phd thesis, Department of Art History and Film Studies, 2010. http://hdl.handle.net/2123/7779.

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Dagoglu, Özlem Gülin. "Mihri Rasim (1885-1954) : l’ambition d’une jeune-turque peintre". Thèse, 2016. http://hdl.handle.net/1866/19040.

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Pour respecter les droits d’auteur, la version électronique de cette thèse a été dépouillée de certains documents visuels et audio‐visuels. La version intégrale de la thèse a été déposée à la Division de la gestion des documents et des archives.
Mihri Rasim (1885-1954) est la plus importante peintre turque et une pionnière féministe. L’idée reçue à son sujet est qu’elle a été une artiste marginale, inclassable et qu'elle est décédée dans la désuétude aux États-Unis, amère d’avoir choisi une carrière artistique. À défaut d’information, auteurs et historiens de l’art ont masqué leur ignorance en élaborant un récit à partir de la personnalité fascinante de Rasim. La présente étude, qui est la première thèse de doctorat et aussi la première monographie extensive sur Rasim, déconstruit ce mythe. Rasim était une ambitieuse peintre et une Jeune-Turque arriviste qui avait une stratégie pour atteindre l’objet de son ambition. Elle a poursuivi deux objectifs tout au long de sa vie : élargir le spectre des possibilités des femmes et être considérée elle-même, selon ses propres termes, « parmi les gens de talents ». À Istanbul, à une époque où les femmes pouvaient difficilement sortir de leur harem, elle a instauré une première école de beaux-arts pour les femmes. Pendant qu’elle y était la directrice, elle a mis en place les premiers cours de nus féminins de l’histoire de l’art turc. Elle a permis aux femmes de recevoir une éducation artistique comparable aux standards artistiques européens et leur a donné accès à un nouveau métier. Elle a créé une bourse pour ses étudiantes à l’Académie et elle a essayé de constituer une association d’entraides pour les peintres-femmes. Elle a aussi fait les portraits des dirigeants Jeunes-Turcs et ceux de leur entourage. Elle a développé son plan artistique en conservant les mêmes objectifs et en s’appuyant toujours sur la même stratégie. Elle s’est servie de ses relations politiques et sociales à Istanbul, ou s’est efforcée d’en former de nouvelles lorsqu’elle se trouvait en Europe ou aux États-Unis. Elle a ainsi construit un réseau au service de sa carrière. Pour ce faire, elle a portraituré de grands hommes modernistes, même controversés, du vingtième siècle – Alphonse XIII, Benito Mussolini, Mustafa Kemal Atatürk, Franklin Delano Roosevelt, Thomas Edison. Dans une perspective féministe, mon étude établit l’importance de cette artiste cosmopolite du vingtième siècle. Je mets au jour les détails de la vie et de l’art de Rasim qui jusqu’à présent étaient méconnus. Au moyen de documents d’archives inédits, ses données élémentaires biographiques sont clarifiées. Une datation et une identification de ses sujets de portraits sont offertes. Je propose une approche innovatrice pour examiner l’art de Rasim que j’analyse par rapport à la scène artistique et culturelle turque, et mondiale. J’évalue l’impact, pour son époque et la nôtre, des gestes posés par Mihri Rasim. Ma thèse témoigne du rôle essentiel des femmes culturelles et politiques majeures, ainsi que des limites qui leur étaient, et qui leur sont encore, imposées par le système en place.
Mihri Rasim (1885-1954) is Turkey’s most important painter and feminist pioneer. The widely shared assumption about her is that she was a marginal, unclassifiable artist, who died in misery and resentful for having dedicated her life to art. Without any real information, authors and art historians obscured their ignorance by elaborating her life story out of her fascinating personality. My dissertation, which is also the first exhaustive art historical study on the artist, is dismantling this myth. Rasim was an ambitious artist and an upstart, Young Turk, who had a strategy to achieve her ambition. From the beginning of her career and for the rest of her life she pursued two goals: she expanded women’s horizon of possibilities and she aspired to be considered, in her own words, “among the talented people”. In Istanbul at a time when Turkish women could barely leave their harem, she set up the first fine arts school for women. While she was the head of women’s Academy, she introduced the first female nude classes in the history of Turkish arts. She allowed women to receive an art education comparable to European artistic standards and provided them access to a new profession. She created a scholarship for her students at the academy and tried to constitute an association of mutual help for female painters. She also made the portraits of Young-Turk leaders and of their entourage. She used her political connections in Istanbul, and, as she moved from Turkey to Europe to the United-States, she developed her artistic project with new interlocutors and in different contexts but always with the same purposes. She built a network to support her career. In order to achieve this she portrayed great modernist men of the first half of the twentieth century, even controversial ones – Alphonse XIII, Benito Mussolini, Mustafa Kemal Atatürk, Franklin Delano Roosevelt, Thomas Edison. With a feminist approach my dissertation establishes the importance of this cosmopolitan artist of the twentieth century. I am uncovering the details of her life and art, which were disregarded until today. Using original and unpublished archival materials, her elementary biographical facts are clarified. Dates for her works are submitted and identifications of her sitters are made. I propose an innovative approach to examine the painter and her artistic production not only in relation to Turkish plastic arts but also in relation to a more global artistic context. I assess the impact of her actions in her time and ours. My dissertation stands as a testament to the importance of major cultural and political women, and the limits that were and are once again placed upon them.
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Livros sobre o assunto "Turkish Portraits"

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Üniversitesi, Uludağ, ed. Aydın portreleri: Türkiye'de toplumsal dönüşümün sanata yansıması. Bursa: Uludağ Üniversitesi Basımevi, 2002.

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Güler, Ara. 100 yüz: Ara Güler'den yazar fotoğrafları. İstanbul: YKY, 2002.

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Turgut, Mahmut. Objektifimdeki edebiyatçılar. Ankara: T.C. Kültür Bakanlığı, 2001.

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Doğanay, Erkan. Suretten surete: Osman Hamdi Bey'den günümüze portre örnekleri = From figure to figure : examples of portraits from Osman Hamdi Bey to the present day. İstanbul: Küçükçekmece Belediyesi, 2010.

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Kaba, Kadir. The origins of Turkish Cypriot photography: Kıbrı Türk fotoğrafı'nın kökeni. Nicosia, Cyprus: Cypriot Photographers' Gallery, 2013.

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M. Fevzi Akarsu: Modern Kıbrıs Türk fotoğrafı'nın kurucusu = Founder of modern Turkish Cypriot photography. Mağusa: Doğu Akdeniz Üniversitesi, Kıbrıs Araştırma Merkezi, 2016.

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Barratt, Carrie Rebora. John Singleton Copley and Margaret Kemble Gage: Turkish Fashion in 18th-century America. San Diego, Calif: Putnam Foundation, 1998.

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Kutlu, Mehmet. Yeni hikayeler: New stories. İstanbul: Rezan Has Müzesi, 2011.

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Nicolaas, E. Sint. Op bezoek bij de Sultan: De 'Turkse' schilderijen van ambassadeur Cornelis Calkoen (1696-1764). Amsterdam: Rijksmuseum Amsterdam, 2013.

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Akgün, Merve Akar, Evrim Altuğ e Gökşen Buğra. 99 kare: Cumhuriyet'in değerleri. İstanbul: MASA, 2018.

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Capítulos de livros sobre o assunto "Turkish Portraits"

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Ünal, Fatma Gül. "A Portrait of Turkish Agriculture: Inequality and its Discontents". In Land Ownership Inequality and Rural Factor Markets in Turkey, 39–62. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137110886_2.

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Akçam, Taner. "3. The Turkish Denial of the Armenian Genocide in its European Context". In Portraits of Hope, 36–44. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781782389415-008.

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Dağoğlu, Özlem Gülin. "Rasim, Mihri (1885–1954)". In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2086-1.

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Mihri Rasim was an Ottoman-Turkish portrait painter and educator. Born in 1885 in Istanbul under the Ottoman Empire, she came from the Ottoman imperial elite. Rasim led an avant-garde life and was a feminist pioneer. In 1914 Rasim used her connections with the leaders of the Young Turk movement to found the first Ottoman-Turkish school of fine art for women (Inas Sanayi-i Nefise Mektebi). As head of the women’s academy she introduced life classes that used nude female models. Rasim was part of an exclusive circle gathered around the progressive journal Servet-i Fünun [The Merit of the Sciences]. A cosmopolitan artist, between 1907 and 1927 Rasim lived from time to time in European cities, where she worked with celebrated international artists including the American John Singer Sargent, the Frenchman Léon Bonnat, and the Austrian Rudolf Bacher. She portrayed era-defining men as well as controversial ones, e.g. Benito Mussolini, Gabriele D’Annunzio, Paul von Hindenburg, Georges Bernard Shaw, and Mustafa Kemal Atatürk. In 1927 Rasim immigrated to the United States and continued to move in politically and culturally elite circles. Rasim painted the portraits of great American men, leaders in science, industry, and government, including Thomas Edison, Edwin Markham, Woodrow Wilson, and Franklin D. Roosevelt.
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"V Going Turkish in Eighteenth-Century London: Lady Mary Wortley Montagu and Her Portraits". In Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England. Paul Mellon Centre, 1998. http://dx.doi.org/10.37862/aaeportal.00062.010.

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Pervushin, Mikhail V. "The Legend of Magmet-Saltan by Ivan Peresvetov: Lessons for the Russian Tsar". In Hermeneutics of Old Russian Literature. Issue 22, 407–18. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/horl.1607-6192-2023-22-407-418.

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The article examines the directions for further research of The Legend of Magmet-Saltan by Ivan Peresvetov. First of all, the portraits of the rulers portrayed by Ivan Peresvetov, Turkish ruler Magmet-Saltan and Byzantine king Constantine VIII Palaeologus, require study. An interesting, but unfortunately not fully developed, notice by Andrey V. Karavashkin on Ivan Peresvetov’s disclosure through the speeches of sultan-philosopher of the doctrine of a king as the image of God. The observation corresponds to the mood of era. In The Legend of Magmet-Saltan one should also pay attention to the perceptions of Byzantium and Turkey, which are revealed, among other things, through the images of the rulers. Ivan Peresvetov appeals to the historical experience of these two powers. All the mentioned aspects of further study of The Legend of Magmet-Saltan open one more problem — the problem of determining the genre features of the work. A.V. Karavashkin notes that Ivan Peresvetov “chooses the form of prophetic revelation” and his project of reforms is composed in line with an utopian thought of the early 16th century. In general, however, it is clear that I. Peresvetov raises the most acute problems of Russian reality. He offers lessons from Turkish ruler, which should be learned from the fall of Byzantium Russian tsar to stand him at the head of Christian Orthodox world. The thesis, according to I. Peresvetov, was the last hope of Orthodox Christians. It was not on building a heavenly kingdom, but on “transferring the empire,” which for I. Peresvetov meant above all “transferring justice.”
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Duru, Deniz Neriman, Adrian Favell e Albert Varela. "Transnational Turkey: the everyday transnationalism and diversity of Turkish populations in Europe". In Everyday Europe, 225–54. Policy Press, 2019. http://dx.doi.org/10.1332/policypress/9781447334200.003.0009.

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This chapter surveys the social transnationalism of the hugely diverse Turkish populations to be found in five of the EU member states in the EUCROSS study. It provides a portrait of a nationality well recognised as the most transnational in the continent, despite not enjoying the privilege of EU citizenship. The chapter stresses the internal heterogeneity of the population: Turkish nationals in different locations need careful distinguishing in terms of ethnicity – notably our samples of ethnic Turks and Kurds – socioeconomic status, religion and politics. Older stereotypes based on low-end ‘guest worker migration’ and linear models of immigration and integration no longer apply easily to the Turkish in Europe. Combining quantitative and qualitative data, the chapter surveys the social transnationalism which anchors Turkey in Europe, and then goes on to explore the political transnationalism of Turks revealed by their varying stances towards the Gezi Park protests of 2013, which took place as fieldwork was being conducted.
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Gust, Wolfgang. "4. The Silent Partner: Imperial Germany and the Young Turks’ Policy of Annihilation". In Portraits of Hope, 45–58. Berghahn Books, 2022. http://dx.doi.org/10.1515/9781782389415-009.

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Wilkinson, Taraneh R. "Inclusions and the Role of the Individual". In Dialectical Encounters, 93–124. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474441537.003.0004.

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This chapter continues the discussion of the work of Recep Alpyağıl. While the previous chapter discussed the question of what constitutes and authentically Turkish Muslim canon of philosophical theology and why it is integral to the Turkish context, this chapter investigates Alpyağıl’s views as to what this canon might look like in practice, how it relates to religious hermeneutics, and the role of the individual Muslim in navigating and drawing meaning from such a canon. For Alpyağıl, the individual stands in “hypoleptic” continuity with her past, best represented as a spiral that reaches back to the past but also moves forward into the future. This chapter portrays Alpyağıl’s vision of the believing individual in continuity with past and with future as a prime example of how Turkish theology can dialectically make use of multiple intellectual traditions to resist being reduced to simplified binaries.
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Stokes, Martin. "Introduction". In The Arabesk Debate, 1–19. Oxford University PressOxford, 1992. http://dx.doi.org/10.1093/oso/9780198273677.003.0001.

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Abstract Arabesk is a music of the city and for the city. It portrays a world of complex and turbulent emotions peopled by lovers doomed to solitude and a violent end. It describes a decaying city in which poverty-stricken migrant workers are exploited and abused, and calls on its listeners to pour another glass of rak1, light another cigarette, and curse fate and the world. In any predominantly Muslim society this music would be highly contentious. In the context of a secularizing state such as Turkey in which policy towards culture is explicitly formulated and implemented, the existence of this music has provoked bitter debate at every level. Its existence flaunts the failure of a process of reform whose icons and symbols dominate every aspect of Turkish public life. For Turks, the arabesk debate embraces perceptions of themselves as individual human beings, their urban environment, their state and government. As well as a musical form, arabesk is an entire anti-culture, a way of life whose influence, it is often said, can be detected as an aura of chaos and confusion surrounding every aspect of urban existence, from traffic to language, from politics to kitsch.
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Ugurchieva, Rukiyat Kh. "Turkish Period of Creativity of Vassan-Girey Dzhabagiyev (Strokes to the Portrait)". In Literary Abroad. Persons. Books. Problems. Issue IX, 348–67. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2023. http://dx.doi.org/10.22455/978-5-9208-0731-1-348-367.

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The article is devoted to the Turkish period of life and work of Vassan-Girey Dzhabagiev, one of the most prominent representatives of the Ingush foreign countries. Legacy of Vassan-Girey Dzhabagiev, which is a large volume of articles, scientific papers, essays, speeches, without exaggeration, can be considered as a unique testimony of the era, the fate of the peoples of the Caucasus in the twentieth century. In Turkey he wrote for the newspapers “Tanin,” “La Republique,” “Türkische Post,” “Kafkas Mecmuası,” “Yeni Kafkas” and others. The main theme of works of Vassan-Girey Dzhabagiev and his whole life was the Caucasus and the destiny of the Caucasian peoples.
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Trabalhos de conferências sobre o assunto "Turkish Portraits"

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Lushnikova, Olga. "Social Demographic Portrait Of A Rural Migrant Of Turkic Peoples". In SCTCMG 2019 - Social and Cultural Transformations in the Context of Modern Globalism. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.12.04.267.

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LAMBRINOS, NIKOS, e Efthimios-Spyridon Georgiou. "YEDI KULE - MONUMENT ROAD RACE: THE CONSTRUCTION OF THE 3D MAPPING ANIMATION OF THE OLD CITY OF THESSALONIKI, GREECE". In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12046.

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This project refers to the construction of a 3D map of Thessaloniki’s historical route. The Yedi Kule Conquest – Monument Road Race took place in the old city of Thessaloniki, which was built during the Byzantine and Ottoman period. The purpose of this project is the digital recording of the castles, the monuments, the old churches, the traditional buildings, and the squares which are prime examples of the architectural beauty of the place. The methodology of the project is based on the online software Google Earth Studio and Adobe Premiere Pro. These are the tools of digitization, rendering, and building process of the animation. With this methodology, the authors achieved the documentation of land use and the architectural landscape. The animation is a credible graphic index of the historical background of Thessaloniki. The Yedi Kule area constitutes of a cultural mosaic made from different historic periods. The buildings and the neighbourhoods give the sense of transition of the narrow roads, the old Christian churches, the house of the first Turkish governor, and the byzantine castle to the modern city. In Thessaloniki, three historic periods coexist the Ancient Greek/Roman, the Byzantine, and Ottoman Empire. The responsibility of the governmental politics and of every citizen of Thessaloniki is to promote and preserve the historic background of the city. The final product offers a good opportunity for the digital storage of Thessaloniki’s old city. The animation creates an interactive environment that portrays the current image of the transition from the old to a modern city.
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