Hate Speech Targeting Jews Have Mostly Been Observed in the Categories of Enmity/ War Discourse and Exaggeration/ Attribution/ Distortion
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European Journal of Turkish Studies, 19 | 2014, « Heritage Production in Turkey
European Journal of Turkish Studies Social Sciences on Contemporary Turkey 19 | 2014 Heritage Production in Turkey. Actors, Issues, and Scales - Part I Producing an Official Heritage in a Time of "Neo-Ottomanism": Critical Approaches La fabrique du patrimoine en Turquie. Acteurs, enjeux, échelles - Partie I Le patrimoine officiel au prisme du « néo-ottomanisme » : approche critique Muriel Girard (dir.) Electronic version URL: http://journals.openedition.org/ejts/4930 DOI: 10.4000/ejts.4930 ISSN: 1773-0546 Publisher EJTS Electronic reference Muriel Girard (dir.), European Journal of Turkish Studies, 19 | 2014, « Heritage Production in Turkey. Actors, Issues, and Scales - Part I » [Online], Online since 17 December 2014, connection on 28 March 2020. URL : http://journals.openedition.org/ejts/4930 ; DOI : https://doi.org/10.4000/ejts.4930 This text was automatically generated on 28 March 2020. © Some rights reserved / Creative Commons license 1 TABLE OF CONTENTS Ce que nous apprend le patrimoine de l’État et de la société turcs : vue d’ensemble sur ce numéro double English version also available Muriel Girard 1.a. Making of categories, setting-up the instruments Le discours sur la protection du patrimoine en Turquie des Tanzimat à nos jours Stéphane Yerasimos Heritagisation of the “Ottoman/Turkish House” in the 1970s: Istanbul-based Actors, Associations and their Networks Ipek Türeli Insurmountable Tension? On the Relation of World Heritage and Rapid Urban Transformation in Istanbul Vivienne Marquart 1.b. Ottoman heritage as narratives and assets Re-creating history and recreating publics: the success and failure of recent Ottoman costume dramas in Turkish media. Josh Carney Civil Society’s History: New Constructions of Ottoman Heritage by the Justice and Development Party in Turkey Gizem Zencirci 1.c. -
Transnationalization of Turkish Television Series
TRANSNATIONALIZATION OF TURKISH TELEVISION SERIES EDITORS Özlem ARDA, Pınar ASLAN, Constanza MUJICA TRANSNATIONALIZATION OF TURKISH TELEVISION SERIES EDITORS Özlem ARDA Assoc. Prof. Dr., Istanbul University, Faculty of Communication, Radio, Television and Cinema Department, Istanbul, Turkey Pınar ASLAN Assoc. Prof. Dr., Üsküdar University, Faculty of Communication, Public Relations and Publicity, Istanbul, Turkey Constanza MUJICA Assoc. Prof. Dr., Pontificia Universidad Católica de Chile, Facultad de Comunicaciones, Santiago, Chile Published by Istanbul University Press Istanbul University Central Campus IUPress Office, 34452 Beyazıt/Fatih Istanbul - Turkey https://iupress.istanbul.edu.tr Book Title: Transnationalization of Turkish Television Series Editors: Özlem Arda, Pınar Aslan, Constanza Mujica E-ISBN: 978-605-07-0756-4 DOI: 10.26650/B/SS18.2021.004 Istanbul University Publication No: 5277 Published Online in July, 2021 It is recommended that a reference to the DOI is included when citing this work. This work is published online under the terms of Creative Commons Attribution- NonCommercial 4.0 International License (CC BY-NC 4.0) https://creativecommons.org/licenses/by-nc/4.0/ This work is copyrighted. Except for the Creative Commons version published online, the legal exceptions and the terms of the applicable license agreements shall be taken into account. iv EDITORS Assoc. Prof. Dr. Özlem ARDA Istanbul University, Faculty of Communication, Radio, Television and Cinema Department, Istanbul, Turkey Assoc. Prof. Dr. Pınar ASLAN Üsküdar University, Faculty of Communication, Public Relations and Publicity, Istanbul, Turkey Assoc. Prof. Dr. Constanza MUJICA Pontificia Universidad Católica de Chile, Facultad de Comunicaciones, Santiago, Chile ADVISORY BOARD Prof. Dr. Ergün YOLCU Istanbul University, Faculty of Communication, Istanbul, Turkey Prof. -
The Magnificent Century: Historical Fiction in Tv Series
THE MAGNIFICENT CENTURY: HISTORICAL FICTION IN TV SERIES by EZGİ VEYİSOĞLU Submitted to the Graduate School of Social Sciences in partial fulfilment of the requirements for the degree of Master of Arts Sabancı University September 2019 EZGİ VEYİSOĞLU 2019© All Rights Reserved ABSTRACT THE MAGNIFICENT CENTURY: HISTORICAL FICTION IN TV SERIES EZGİ VEYİSOĞLU HISTORY M.A. THESIS. SEPTEMBER 2019 Thesis Supervisor: Asst. Prof. Yusuf Hakan Erdem Keywords: fiction, TV series, Magnificent Century, historical fiction The aim of this thesis is to analyse the effects of the Magnificent Century TV series, and to show the interpretations of the audience regarding history. The Magnificent Century series is a work of fiction; however, its effects on the audience go beyond the limits of fiction. The series was a big success and at the top of the ratings during its broadcast. However, popularity of the series did not diminish. It was broadcasted over a hundred countries worldwide. On the other hand; the popularity of the show, and its depiction of the historical figures caused a reaction among the local audiences. This thesis will show how the audiences, both local and international, of the series reacted to the events of the past that is shown in the series, and the interpretation of history. Furthermore, it will show how the Magnificent Century series changed the perception of history for some people; and the role of the series in the debate about the relationship between fact and fiction. iv ÖZET THE MAGNIFICENT CENTURY: HISTORICAL FICTION IN TV SERIES EZGİ VEYİSOĞLU TARİH YÜKSEK LİSANS TEZİ, EYLÜL 2019 Tez Danışmanı: Dr. -
Uzun Film Kataloğu
Republic of Turkey Ministry of Culture and Tourism Oğlak Yayınları II come to my voice sesime gel turkey 2010, 35mm, 90’, colour director Hüseyin Karabey script Hüseyin Karabey production Emre Yeksan, Asi Film, Elmadağ Cad. 6/3 Şişli 34373 Istanbul T +90 212 225 3944 [email protected] In a snowy Kurdish mountain village in eastern Turkey, Berfé, an old woman, and Jiyan, her young granddaughter, are troubled when the only man of the household, Temo, the son of one and father of the other, is arrested and taken into custody by the local gendarmerie. The commanding officer has received word that the villagers are hiding guns. It is announced that all the men of the village will be kept in custody until their families submit and hand over the guns they are hiding. But the problem is there are no guns, at least to the knowledge of these two blameless women. Despairing and on their own, Berfé and Jiyan are faced with a long journey in search of a gun that they can exchange for their beloved Temo. But how can their innocence and naivety find a way out in a system that threatens, eventually, to drag them into the sullied world of an interminable conflict? Hüseyin Karabey (1970) has been making films since 1996. He graduated from the Film and Television Department of Marmara University in 2001. His involvement in the democracy movement in the 90s and his background as a documentarian have determined the style and the content of his subsequent film work. His first feature film My Marlon and Brando was selected for the Rotterdam Film Festival and had its North American premiere at Tribeca, where it won Hüseyin Karabey the Best Director award. -
Bk Inno 001305.Pdf
LESSON NOTES Advanced Audio Blog S1 #1 Top 10 Turkish Tourist Destinations: Hagia Sophia CONTENTS 2 Turkish 2 English 3 Vocabulary 4 Sample Sentences 5 Cultural Insight # 1 COPYRIGHT © 2013 INNOVATIVE LANGUAGE LEARNING. ALL RIGHTS RESERVED. TURKISH 1. Ayasofya 2. Ayasofya Türkiye'nin stanbul ilinde yer almaktadr. Tarihi süreçte bu bina, Ortodoks bazilikas, Katolik katedrali ve cami olarak kullanlmtr. Bina M. S. 360 ylnda inaa edilmi ve o günlerde Konstantinapol'ün Yunan Patriyarkal katedrali olmutur. 1200'lü yllarda 60 yl boyunca Kataloliklerin katedrali olmu ancak 1453 ylnda bir camiye dönütürülene kadar tekrar bir Ortodoks kilisesi olarak kullanlmtr. 1931 ylnda halka açk bir bina haline gelmi ve dört yl sonra da bir müze olmutur. 3. Baz uzmanlar, yapnn mimarisinin Bizans dönemi izleri tadn ve kubbenin stanbul'un en ünlü manzaralarndan biri olduunu belirtmilerdir. Bu yap, neredeyse bin yl boyunca dünyann en büyük katedrali olmutur. 4. Kubbeye ek olarak Ayasofya, ayrca pek çok sayda kutsal emanet ve mozaiiyle bilinmektedir. Müzeyi ziyaret edenleri muhteem bir ikonostaz karlar, ve bina ayrca Pergamon'dan gelen küllerin sakland iki kaseye ev sahiplii yapar. Binann içindeki dier etkileyici eserler, Mermer Kap,sa, Meryem ve dier pek çok aziz ve hükümdarn tasvir edildii mozaiklerdir. Pek çok mozaik, 1930 ylndaki restorasyonda harcn bir bölümü dökülürken ortaya çkmtr. Restorasyon süreci, binann tarihsel dönemde hem Hristiyanlar hem de Müslümanlar için bir ibadet yeri olduundan oldukça enteresan geçmitir. Bunun sonucunda birbiriyle çelien inanç unsurlarnn simgeleri ortaya çkmtr. 5. Kültürel Miras - Ayasofya binasnn imdiki hali, 300'lü yllarda inaa edilen yapdan orijinal hiçbir ey ihtiva etmemektedir. Bina iki kez yklmtr, bunlardan ilki ayaklanmalar srasnda, ikincisi ise Nika syan srasnda olmutur ve bugün ayakta olan yap, 500lü yllar döneminde yaplm olandr. -
In Turkish: Diriliş Ertuğrul; Henceforth, Resurrection) Is A
The Symbolic Restoration of Women’s Place in Turkey’s Resurrection Resurrection Ertuğrul (in Turkish: Diriliş Ertuğrul; henceforth, Resurrection) is a Turkish television series based on the life of Ertuğrul, an Oghuz Turk and a hereditary leader of the Kayı Obası (Kayi Tribe) in the thirteenth century. Ertuğrul was the father of Osman I (Ottoman), who unified the Turkish tribes remaining from the collapsing Seljuks Empire to found the Ottoman State in 1299 (officially, 1302)—which became the Ottoman Empire with Sultan Mehmet II’s conquest of Istanbul in 1453. Thus, Resurrection provides a glimpse into what Turkish society was like on the verge of the Ottoman State’s establishment. Since its first episode aired on Turkey’s Public Radio and Television (TRT) in December 2014, Resurrection has topped viewer ratings, emerging as the best breakthrough Turkish TV series of its premiere year (“Turkish series”). As of the date of writing this article, all episodes of Resurrection in the Turkish language are also made available online at the show’s official website (dirilisdizisi.com); two seasons’ worth of episodes as well as additional ones with English subtitles (under the title, “Resurrection Ertuğrul”) can be found on Netflix and at various fan channels on YouTube. “The inspiration for the stories and characters in this series is our history,” reads the Turkish translation of the screen caption in white, capitalized letters on a black background, appearing right after the opening music and credits of each Resurrection episode. Following this premise, Turkish viewers frequently praised the show on social media for its accurate representation of Turkish history (with some viewers comparing it—and finding it superior—to another TV series, The Magnificent Century, depicting Sultan Suleyman’s rule during the golden years of the Ottoman Empire in the 16th century). -
Power, Religion and Ethnicity As Ottoman Identity in the Turkish Series Muhteşem Yüzyıl
MEDIA@LSE MSc Dissertation Series Compiled by Dr. Bart Cammaerts, Dr. Nick Anstead and Ruth Garland A Revisionist Turkish Identity: Power, Religion and Ethnicity as Ottoman Identity in the Turkish series Muhteşem Yüzyıl Esra Doğramacı, MSc in Politics and Communication Other dissertations of the series are available online here: http://www.lse.ac.uk/media@lse/research/mediaWorkingPapers /ElectronicMScDissertationSeries.aspx Dissertation submitted to the Department of Media and Communications, London School of Economics and Political Science, August 2013, in partial fulfilment of the requirements for the MSc in Media, Communication and Development. Supervised by Alison Powell The Author can be contacted at: [email protected] Published by Media@LSE, London School of Economics and Political Science ("LSE"), Houghton Street, London WC2A 2AE. The LSE is a School of the University of London. It is a Charity and is incorporated in England as a company limited by guarantee under the Companies Act (Reg number 70527). Copyright in editorial matter, LSE © 2014 Copyright, Esra Doğramacı © 2014. The authors have asserted their moral rights. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means without the prior permission in writing of the publisher nor be issued to the public or circulated in any form of binding or cover other than that in which it is published. In the interests of providing a free flow of debate, views expressed in this dissertation are not necessarily those of the compilers or the LSE. MSc Dissertation of Esra Doğramacı A Revisionist Turkish Identity: Power, Religion and Ethnicity as Ottoman Identity in the Turkish series Muhteşem Yüzyıl. -
Women Representations in Television Narrative in the Context of Popular Culture and Turkey
E-ISSN 2281-4612 Academic Journal of Interdisciplinary Studies Vol 2 No 8 ISSN 2281-3993 MCSER Publishing, Rome-Italy October 2013 Women Representations in Television Narrative in the Context of Popular Culture and Turkey Ph.D. Nermin Orta [email protected] Doi:10.5901/ajis.2013.v2n8p564 Abstract Utterances in the products of popular culture, the culture of daily life and an escape from the negative aspects of reality, are shaped and produced by hegemonic culture of the ruling powers, thus preventing reality from being noticed. Patriarchal system, generated by or thriving on sovereign ideology and handed down from one generation to another, is a part of this ideology. One means of formation and conveyance of patriarchal system is television narrative, which is the product of popular culture. The real power of television, which is capable of reaching many people and regarded as a fundamental source of information and entertainment, lies in the fact that it has the power to shape and reshape people’s points of view and that it can be the fundamental source of their thoughts and notions. With an indispensible role in spreading new radical thoughts and values, television encodes the discourses of social life into its narratives and holds its place in the integrity of the system of cultural representation which builds up the social reality by internalizing those representations. Narrations that legitimize the existing system through concrete representative strategies and the effects they have created play an important role in consolidating and normalizing the social roles of men and women by the gender representations they already possess.