DOCSLIB.ORG

EARLY and SILENT CINEMA in ISTANBUL Canan Balan

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EARLY and SILENT CINEMA in ISTANBUL Canan Balan CHANGING PLEASURES OF SPECTATORSHIP: EARLY AND SILENT CINEMA IN ISTANBUL Canan Balan Thesis Submitted to the University of St Andrews for the Degree of PhD in Film Studies 2010 ABSTRACT This project explores a curious facet of early cinema that has not been studied as yet: the relationship between Turkish modernity and the culture of spectatorship within the context of the late nineteenth century’s viewing habits along with the era of early and silent cinema in Istanbul. The aim of this project is to examine the evolution of viewing habits in Istanbul at a particular period in which a radical cultural transformation was experienced, namely from the 1890s to the 1930s, when the late Ottoman era with its pre-cinematic shows, the cinematograph, and silent films led to the early Turkish Republic and the end of silent cinema. In order to cover the shift in the reception of early cinema, this study makes use of revisionist works on early cinema and on modernity in Ottoman history. To this end, newspapers, novels, memoirs and consular trade records that formed the majority of the primary sources of this project are analyzed. The transformation of Istanbulite spectatorship was initially experienced through a rupture in the late nineteenth century created by the global flow of mechanical images. The cinematograph was viewed by a multi- ethnic public that was accustomed to seeing both traditional and other more widely recognized pre-cinematic shows such as the shadow play, public storytelling, dioramas, panoramas and magic lanterns. At first the early cinematograph displays were haphazard and parts of other shows. Yet, the international influence of the early cinema attracted a curiosity-driven public even if the same public was critical of the imperfect technology of the apparatus. With the outbreak of World War I, nationalist resistance played a role in the reception of popular European films, particularly Italian melodramas. The end of the war caused the demise of the Ottoman Empire and the foundation of the Turkish Republic, after which, cinema started to be seen as an educational tool in the service of nation-building. i DECLARATIONS I, Canan Balan, hereby certify that this thesis, which is approximately 85, 000 words in length, has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2005 and as a candidate for the degree of PhD in September 2005; the higher study for which this is a record was carried out in the University of St Andrews between 2005 and 2009. Date…… Signature of Candidate ……… I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of ……… in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree. Date…… Signature of Supervisor……… In submitting this thesis to the University of St Andrews we understand that we are giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. We also understand that the title and the abstract will be published, and that a copy of the work may be made and supplied to any bona fide library or research worker, that my thesis will be ii electronically accessible for personal or research use unless exempt by award of an embargo as requested below, and that the library has the right to migrate my thesis into new electronic forms as required to ensure continued access to the thesis. We have obtained any third-party copyright permissions that may be required in order to allow such access and migration, or have requested the appropriate embargo below. The following is an agreed request by candidate and supervisor regarding the electronic publication of this thesis: Access to all or part of printed copy but embargo of all or part of electronic publication of thesis for a period of five years on the following ground: publication would preclude future publication; Date…… Signature of Candidate …… Signature of Supervisor……… I, Canan Balan, received particular assistance in the writing of this thesis in respect of matters of style, idiom, grammar, syntax or spelling, which was provided by Maria Alba Brunetti and Kerry Tavakoli. Date ……… Signature of Candidate …………………….. iii ACKNOWLEDGEMENTS This project witnessed and itself came to be involved in a very important period of my personal and academic development. It changed me in many ways that, at the present, I still cannot grasp completely; but time will surely crystallize this experience and its full impact. The University of St Andrews has given me a ‘wondrous’ opportunity by sponsoring my project and thus helped me to empathize with the feelings and thoughts of the initial spectators of the cinematic apparatus in Istanbul. Firstly, I wish to thank to my supervisor Professor Graham Petrie. I am deeply indebted to his invaluable experience, opinions, patience, encouragement and support. My second supervisor Professor Dina Iordanova also has a special place in this project for pointing out new directions and alternative intellectual perspectives while being a protective guide. I would also like to thank to Professor Cemal Kafadar for his suggestions on a wide range of issues, from shaping my arguments to reading lists on Ottoman history, and his encouragement throughout the entire process. I am grateful to each and every staff member in the department of Film Studies at St Andrews for creating a stimulating academic atmosphere, for their continuous support and feedback on various occasions. The Film Studies administrator Karen Drysdale has been of great assistance in various practical matters as well as a warm friend. The Student Support Services within the University of St Andrews has been helpful for overcoming various financial and personal difficulties. I wish to mention particularly Maggie Stracey for her precious friendship, guidance and kind heart along with Joyce Lapayre and Maggie Neilson for their support. I learned to admire the language skills of Maria Alba Brunetti, Carmen Cvetkovic, Kerry Tavakoli and my supervisor Graham Petrie during the thankless iv task of translating some French materials and their careful proofreading. I also value the feedback and suggestions I received from Richard Abel, Bernard Bentley, Kaveh Askari, Tom Gunning, Ozlem Koksal, Frank Kessler, Luke McKernan, Hamid Naficy and Giovanni Scognomillo. As a young scholar in the field of early and silent cinema, I benefited much from the discussions and the thought provoking environment at The International Domitor Conferences and the Annual Pordenone Silent Film Festival. Thanks should also go to the archivists at the Macedonian Film Archive in Skopje and Mimar Sinan Sinema-TV Merkezi in Istanbul. The dearest company and presence of Eleni Bizas, David H. Fleming, YunMi Hwang and Vizzy Sagar has made my life in Scotland an invaluable experience. I am also grateful individually to all the postgraduates in the Film Studies Department for their friendship, intellectual responses and support. I am profoundly thankful to my mother Birsen Balan and my sister Aycan Balan. Notwithstanding everything else I owe to both, I feel obliged to mention their strength in fighting with my mother’s illness, while I was away working on this project. This thesis is dedicated to their grace, courage and understanding for my absence, to my grandfather Haydar Tuzer who passed away during the course of this project and to my other grandfather Ismail Balan. v NOTE ON TRANSLATIONS I received special help in translating French material into English from my supervisor Graham Petrie and Carmen Cvetkovic. Graham Petrie translated the French newspapers and annual used in Chapter Four and Five: namely, Annuaire Oriental du Commerce de l’Industrie, de l’Administration et de la Magistrature, Le Courrier de Turquie, Le Journal d’Orient, Lloyd Ottoman, Le Moniteur Oriental and Stamboul, published in the years between 1896 and 1920. Carmen Cvetkovic translated reports from Artistik-Sine, Cine and Opera-Cine, published between 1925 and 1927; these materials are used mainly in Chapter Six. Excerpts from Turkish and Ottoman Turkish books, poems, novels and newspapers are my own translations, unless stated otherwise. vi TABLE OF CONTENTS ABSTRACT..................................................................................................................i ACKNOWLEDGEMENTS ........................................................................................iv NOTE ON TRANSLATIONS ....................................................................................vi TABLE OF CONTENTS...........................................................................................vii 1. CHAPTER ONE: INTRODUCTION...................................................................... 1 1.1. Approaches to Early and Silent Cinema Spectatorship in Istanbul.................. 2 1.1.1. Methodology ................................................................................................ 5 1.1.2. Literature Review......................................................................................... 8 1.1.3. Summary of the Chapters........................................................................... 14 1.1.4. Contribution of the Project to the Field of Early Cinema .........................
Load more

Recommended publications
  • Turkish-Bible-History-Version-S-In-Preparation.Pdf
    A History of Turkish Bible Translations Annotated chronology with historical notes and suggestions for further research © Bruce G. Privratsky, Ph.D. With thanks to all who have suggested corrections of previous editions Please cite: Version “S” – April 2014 Download updated versions from: http://historyofturkishbible.wordpress.com/ Send evaluations and corrections to: [email protected] Table of Contents Introduction Chapter 1: Turkish in Arabic Letters (Ottoman Turkish, Osmanlıca) Chapter 2: Turkish in Hebrew Letters (Hebræo-Turkish) Chapter 3: Turkish in Greek Letters (Græco-Turkish, Karamanlıca) Chapter 4: Turkish in Armenian Letters (Armeno-Turkish) Chapter 5: Turkish in Latin Letters (Modern Turkish, Yeni Türkçe) Chapter 6: Turkish in Cyrillic Letters (Bulgarian Turkish) Chapter 7: Non-Turkish languages of Anatolia and Rumelia Chapter 8: History of the Koran in Turkish translation: A Brief Excursus Appendix I: A list of all Turkish Bibles and Bible portions in strict chronological order but without annotations Appendix II: Turkish versions of the Lord’s Prayer Appendix III: Sample comparisons of Ali Bey’s Bible manuscript with Haki’s text and with the first printed Turkish Bible Appendix IV: The life of Wojciech Bobowski (Ali Bey), the first successful translator of the Turkish Bible, as a slave and free man Appendix V: An overview of slavery in the 17th-century Ottoman Empire, without which the life of Ali Bey cannot be understood 2 Introduction The Turkish1 Bible has a history almost as old as the English, French and German Bibles of the Protestant Reformation. Two Turkish translations of the Bible were completed 350 years ago. The first was a draft manuscript by Yahya b.
    [Show full text]
  • 1. Açlık (Knut Hamsun) 2. Aganta Burina Burinata (Halikarnas Balıkçısı) 3
    Roman 1. Açlık (Knut Hamsun) 2. Aganta Burina Burinata (Halikarnas Balıkçısı) 3. Akdeniz (Panait Istrati) 4. Ayaşlı ile Kiracıları (Memduh Şevket Esendal) 5. Babalar ve Oğullar (Turgenyev) 6. Beyaz Diş (Jack London) 7. Beyaz Gemi (Cengiz Aytmatov) 8. Bir Bilim Adamının Romanı (Oğuz Atay) 9. Cemo (Kemal Bilbaşar) 10. Çalıkuşu (Reşat Nuri Güntekin) 11. Çanlar Kimin İçin Çalıyor (Ernest Hemingway) 12. Derviş ve Ölüm (Mehmet Selimoviç) 13. Dokuzuncu Hariciye Koğuşu (Peyami Safa) 14. Don Kişot (Cervantes) 15. Drina Köprüsü (İvo Andriç) 16. Drina’da Son Gün (Faik Baysal) 17. Esir Şehrin İnsanları (Kemal Tahir) 18. Eskicinin Oğulları (Orhan Kemal) 19. Fareler ve İnsanlar (John Steinbeck) 20. Fatih-Harbiye (Peyami Safa) 21. Gora (Rabindranath Tagore) 22. Gün Olur Asra Bedel (Cengiz Aytmatov) 23. İbrahim Efendi Konağı (Samiha Ayverdi) 24. İki Şehrin Hikayesi (Charles Dickens) 25. Kalpaklılar (Samim Kocagöz) 26. Kaplumbağalar (roman) (Fakir Baykurt) 27. Karartma Geceleri (Rıfat Ilgaz) 28. Kayıp Aranıyor (roman) (Sait Faik Abasıyanık) 29. Kiralık Konak (Yakup Kadri Karaosmanoğlu) 30. Kuyruklu Yıldız Altında Bir İzdivaç (Hüseyin Rahmi Gürpınar) 31. Kuyucaklı Yusuf (Sabahattin Ali) 32. Küçük Ağa (Tarık Buğra) 33. Madame Bovary (Flaubert) 34. Mai ve Siyah (Halit Ziya Uşaklıgil) 35. Mor Salkımlı Ev (Halide Edib Adıvar) 36. Onlar da İnsandı (Cengiz Dağcı) 37. Ölü Canlar (Gogol) 38. Robinson Crusoe (Daniel Defoe) 39. Sahnenin Dışındakiler (Ahmet Hamdi Tanpınar) 40. Savaş ve Barış (Tolstoy) 41. Sefiller (Victor Hugo) 42. Sergüzeşt (Samipaşazade Sezai) 43. Ses ve Öfke (William Faulkner) 44. Sinekli Bakkal (Halide Edib Adıvar) 45. Sokakta (Bahattin Özkişi) 46. Suç ve Ceza (Dostoyevski) 47. Tütün Zamanı (roman) (Necati Cumalı) 48. Vadideki Zambak (Balzac) 49.
    [Show full text]
  • Köprülü Ayşe Hanim Ve Osmanli'da Hâne Politikalari
    T.C. İSTANBUL ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ TARİH ANABİLİM DALI YENİÇAĞ TARİHİ BİLİM DALI YÜKSEK LİSANS TEZİ KÖPRÜLÜ AYŞE HANIM VE OSMANLI’DA HÂNE POLİTİKALARI AYŞEGÜL ÜNAL 2501141164 TEZ DANIŞMANI DR. ÖĞR. ÜYESİ ÖZGÜR KOLÇAK İstanbul, 2018 ÖZ KÖPRÜLÜ AYŞE HANIM VE OSMANLI’DA HÂNE POLİTİKALARI AYŞEGÜL ÜNAL 17. yüzyıla damgasını vurmuş olan Köprülü ailesinin birinci kuşağının annesi olan Köprülü Ayşe Hanım’ın hayatı, vakfiyesi ve aile içerisindeki etkinliğinin incelendiği bu tezde bir sadrazam eşinin ve validesinin portresini ortaya çıkmaktadır. Köprü kasabasının ileri gelenlerinden birinin kızıyken Köprülü Mehmed Paşa ile evlenmesi sonrasında önce sadrazam eşi olması daha sonra ise oğlunun sadrazam olmasıyla mali ve siyasi konularda sözünün dinleniyor olması açısından kendisi hâne içerisinde önemli bir yere sahiptir. Bu çalışmada Köprülü Ayşe Hanım’ın, bir valide sultan kadar olmasa dahi elde olan kaynaklar ve vakfiyesi vasıtasıyla hayatı anlatılmış ve biyografik bir hale getirilmiştir. Bugüne kadar erkeklerinin merkezde olduğu biçimde okuduğumuz Köprülü hânesine bu sefer Ayşe Hanım’ın merkezinde olduğu anlatım ile inceleyeceğiz. Anahtar Kelimeler: Köprülü Ayşe Hanım, Köprülüler, Köprülü Mehmed Paşa, Fazıl Ahmed Paşa, Hâne Politikaları, Kadın Çalışmaları iii ABSTRACT KÖPRÜLÜ AYŞE HANIM AND HOUSEHOLD POLITICS IN THE OTTOMAN EMPIRE AYŞEGÜL ÜNAL This thesis examines the life of Köprülü Ayşe Hanım who is wife of Köprülü Mehmed Pasha and mother of Fazıl Ahmed Pasha and Fazıl Mustafa Pasha. Köprülü family is the most powerful family in the 17th century Ottoman history and this thesis is focused on the life of Ayşe Hanım and her impact on Köprülü family based on primary sources and on her waqf foundation in Köprü. While she was a family member of a leading family in Köprü, she married to Mehmed Pasha and her career line continued firstly as the wife of the grand vizier and later as the mother of grand vizier.
    [Show full text]
  • Zur Geschichte Des Italienischen Stummfilms
    PD. Dr. Sabine Schrader Geschichte(n) des italienischen Stummfilms Sor Capanna 1919, S. 71 1896 Erste Vorführungen der Brüder Lumières in Rom 1905 Spielfilm La presa di Roma 1910-1915 Goldenes Zeitalter des italienischen Stummfilms 1920er US-amerikanische Übermacht 1926 Erste cinegiornali 1930 Erster italienischer Tonfilm XXXVII Mostra internazionale del Cinema Libero IL CINEMA RITROVATO Bologna 28.6.-5.7.2008 • http://www.cinetecadibologna.it/programmi /05cinema/programmi05.htm Istituto Luce a Roma • http://www.archivioluce.com/archivio/ Museo Nazionale del Cinema a Torino (Fondazione Maria Prolo) • http://www.museonazionaledelcinema.it/ • Alovisio, Silvio: Voci del silenzio. La sceneggiatura nel cinema muto italiano. Mailand / Turin 2005. • Redi, Riccardo: Cinema scritto. Il catalogo delle riviste italiane di cinema. Rom 1992. Vita Cinematografica 1912-7-15 Inferno (1911) R.: Francesco Bertolini / Adolfo Padovan / Giuseppe De Liguoro Mit der Musik von Tangerine Dream (2002) Kino der Attraktionen 1. „Kino der Attraktionen“ bis ca. 1906 2. Narratives Kino (etabliert sich zwischen 1906 und 1911) Gunning, Tom: „The Cinema of Attractions: Early Film, Its Spectator and the Avant-Garde”, in: Thomas Elsaesser (Hg.): Early Cinema: Space Frame Narrative. London 1990, S. 56-62 Vita Cinematografica 1913, passim Quo vadis? (1912/1913) R.: Enrico Guazzoni Mit der Musik von Umberto Petrin/ Nicola Arata La presa di roma (1905) Bernardini 1981 (2), 47. Cabiria (1914) R.: Giovanni Pastrone; Zwischentitel: u.a. D„Annunzio Kamera: u.a. Segundo de Chomòn
    [Show full text]
  • Turkish Literature from Wikipedia, the Free Encyclopedia Turkish Literature
    Turkish literature From Wikipedia, the free encyclopedia Turkish literature By category Epic tradition Orhon Dede Korkut Köroğlu Folk tradition Folk literature Folklore Ottoman era Poetry Prose Republican era Poetry Prose V T E A page from the Dîvân-ı Fuzûlî, the collected poems of the 16th-century Azerbaijanipoet Fuzûlî. Turkish literature (Turkish: Türk edebiyatı or Türk yazını) comprises both oral compositions and written texts in the Turkish language, either in its Ottoman form or in less exclusively literary forms, such as that spoken in the Republic of Turkey today. The Ottoman Turkish language, which forms the basis of much of the written corpus, was influenced by Persian and Arabic and used the Ottoman Turkish alphabet. The history of the broader Turkic literature spans a period of nearly 1,300 years. The oldest extant records of written Turkic are the Orhon inscriptions, found in the Orhon River valley in central Mongolia and dating to the 7th century. Subsequent to this period, between the 9th and 11th centuries, there arose among the nomadic Turkic peoples of Central Asia a tradition of oral epics, such as the Book of Dede Korkut of the Oghuz Turks—the linguistic and cultural ancestors of the modern Turkish people—and the Manas epic of the Kyrgyz people. Beginning with the victory of the Seljuks at the Battle of Manzikert in the late 11th century, the Oghuz Turks began to settle in Anatolia, and in addition to the earlier oral traditions there arose a written literary tradition issuing largely—in terms of themes, genres, and styles— from Arabic and Persian literature.
    [Show full text]
  • INFORMATION to USERS the Most Advanced Technology Has Been Used to Photo­ Graph and Reproduce This Manuscript from the Microfilm Master
    INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. AccessingiiUM-I the World's Information since 1938 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA Order Number 8812304 Comrades, friends and companions: Utopian projections and social action in German literature for young people, 1926-1934 Springman, Luke, Ph.D. The Ohio State University, 1988 Copyright ©1988 by Springman, Luke. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 COMRADES, FRIENDS AND COMPANIONS: UTOPIAN PROJECTIONS AND SOCIAL ACTION IN GERMAN LITERATURE FOR YOUNG PEOPLE 1926-1934 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By Luke Springman, B.A., M.A.
    [Show full text]
  • Lange Nacht Der Museen JUNGE WILDE & ALTE MEISTER
    31 AUG 13 | 18—2 UHR Lange Nacht der Museen JUNGE WILDE & ALTE MEISTER Museumsinformation Berlin (030) 24 74 98 88 www.lange-nacht-der- M u s e e n . d e präsentiert von OLD MASTERS & YOUNG REBELS Age has occupied man since the beginning of time Cranach’s »Fountain of Youth«. Many other loca- – even if now, with Europe facing an ageing popula- tions display different expression of youth culture tion and youth unemployment, it is more relevant or young artist’s protests: Mail Art in the Akademie than ever. As far back as antiquity we find unsparing der Künste, street art in the Kreuzberg Museum, depictions of old age alongside ideal figures of breakdance in the Deutsches Historisches Museum young athletes. Painters and sculptors in every and graffiti at Lustgarten. epoch have tackled this theme, demonstrating their The new additions to the Long Night programme – virtuosity in the characterisation of the stages of the Skateboard Museum, the Generation 13 muse- life. In history, each new generation has attempted um and the Ramones Museum, dedicated to the to reform society; on a smaller scale, the conflict New York punk band – especially convey the atti- between young and old has always shaped the fami- tude of a generation. There has also been a genera- ly unit – no differently amongst the ruling classes tion change in our team: Wolf Kühnelt, who came up than the common people. with the idea of the Long Night of Museums and The participating museums have creatively picked who kept it vibrant over many years, has passed on up the Long Night theme – in exhibitions, guided the management of the project.We all want to thank tours, films, talks and music.
    [Show full text]
  • The Time Regulation Institute As a Satirical Allegory Hilal KAYA1
    Sosyal ve Beşeri Bilimler Araştırmaları Dergisi Güz/Autumn 2018, Cilt/Volume 19 Journal of Social Sciences and Humanities Researches Sayı/Issue 43 The Time Regulation Institute as a Satirical Allegory Hilal KAYA1 Abstract Research Paper This paper focuses on Ahmet Hamdi Tanpınar’s The Time Regulation Institute (1961) as a modern satirical allegory in order to foreground the novel’s critical attitude to the mentality that equates modernization with Westernization. The paper aims to pinpoint that in The Time Regulation Institute Tanpınar intends to shed light on the issue of Turkey’s problematic engagement with modernity and modernization. Unlike A Mind at Peace (Huzur 1949), Tanpınar’s narration in The Time Regulation Institute is not structured around argumentative dialogues between the characters. Rather, the latter depicts Turkey in transformation as a consequence of the project of modernization; more precisely, this study aims to demonstrate that a version of Turkey before, during and after the transformation is humorously displayed. This study aims to contribute not only to the scholarship on Tanpınar’s fiction whose fictional works have rarely been examined as a satirical-allegory but also to the modernity studies. Keywords: Ahmet Hamdi Tanpınar, The Time Regulation Institute, Modernity nnd Modernization Studies, Satirical Allegory. Bir Satirik Alegori Olarak Saatleri Ayarlama Enstitüsü Öz Araştırma Makalesi Bu çalışma Ahmet Hamdi Tanpınar’ın 1961 yılında yayımlanan Saatleri Ayarlama Enstitüsü adlı romanını, modernleşmeyi Batılılaşma ile denk tutan zihniyete karşı takındığı eleştirel tavrı ön plana çıkarmaktadır ve Saatleri Ayarlama Enstitüsü’nü modern satirik bir alegori olarak ele almaktadır. Diğer bir deyişle, Saatleri Ayarlama Enstitüsü’nde Tanpınar’ın Türkiye’nin modernite ve modernleşme ile olan sorunlu ilişkisi meselesine değindiğini iddia edilebilir.
    [Show full text]
  • Faculty of Humanities
    FACULTY OF HUMANITIES The Faculty of Humanities was founded in 1993 due to the restoration with the provision of law legal decision numbered 496. It is the first faculty of the country with the name of The Faculty of Humanities after 1982. The Faculty started its education with the departments of History, Sociology, Art History and Classical Archaeology. In the first two years it provided education to extern and intern students. In the academic year of 1998-1999, the Department of Art History and Archaeology were divided into two separate departments as Department of Art History and Department of Archaeology. Then, the Department of Turkish Language and Literature was founded in the academic year of 1999-2000 , the Department of Philosophy was founded in the academic year of 2007-2008 and the Department of Russian Language and Literature was founded in the academic year of 2010- 2011. English prep school is optional for all our departments. Our faculty had been established on 5962 m2 area and serving in a building which is supplied with new and technological equipments in Yunusemre Campus. In our departments many research enhancement projects and Archaeology and Art History excavations that students take place are carried on which are supported by TÜBİTAK, University Searching Fund and Ministry of Culture. Dean : Vice Dean : Prof. Dr. Feriştah ALANYALI Vice Dean : Assoc. Prof. Dr. Erkan İZNİK Secretary of Faculty : Murat TÜRKYILMAZ STAFF Professors: Feriştah ALANYALI, H. Sabri ALANYALI, Erol ALTINSAPAN, Muzaffer DOĞAN, İhsan GÜNEŞ, Bilhan
    [Show full text]
  • Peyami Safa'nın Türk Romancılığındaki Yeri
    Peyami Safa’nın Türk Romancılığındaki Yeri Kâzım YETİŞ* ÖZ Türk edebiyatında roman türü çok yeni bir türdür. Dolayısıyla ilk örnekler geleneği olan şiire nispetle dil bakımından çok daha acemicedir. Bu biraz da nesir dilinin hayatı anlatma bakımından yetersiz olmasındandır. Ayrıca Türk dilinin sosyal meseleleri anlatma imkânlarının dar olduğunu da belirtmeliyiz. Bir bakıma nesir dili ile roman dili beraber gelişti. Belki birinin gelişmesi diğerini etkiledi. Bunda Peyami Safa’nın payı büyük olmuştur. Öte yandan sadece dil noktasından değil, ele alınan konular bakımından da roman türünde önemli gelişmeler olmuştur. Başlangıçta son derece dar veya sınırlı konular işlenirken giderek hem ülkenin çeşitli meseleleri kucaklanmış, hem de insan derinlemesine ele alınmış, psikolojik tahliller yapılmış, beşerî alanda ülkeler arası problemler irdelenmiştir. Belki de bu konuda en büyük gelişme Peyami Safa’nın romanlarında görüldüğü gibi çeşitli bilim dallarının romanlarda ele alınmasıdır. Elbette bu konuda Türk romanında en büyük gelişme roman tekniği noktasından olmuştur. ฀emsettin Sami’nin romanı ile Peyami Safa’nın romanları arasındaki teknik fark bu konuyu bize anlatır. Şu hâlde Peyami Safa, Türk romanının dil, muhteva, teknik bakımdan gelişmesinde önemli bir paya sahiptir. Hatta bu konuda birkaç isimden biridir. Anahtar Kelimeler: Roman, Türk edebiyatı, nesir, gelişme, teknik, muhteva. ABSTRACT The Place of Peyami Safa in Turkish Novel Novel is a new type in Turkish literature. Therefore, the first examples are simple in terms of language according to the poem which has a tradition. This is because language of prose is inadequate to tell life. Also, Turkish language has a weak possibility to tell social issues. The * Prof. Dr., İstanbul Aydın Üniversitesi, e-posta: [email protected] Kâzım YETİŞ 290 62 language of prose and novel developed together in a way.
    [Show full text]
  • 21 Day Grand Turkey
    21 Day Grand Turkey Ä°stanbul Cappadocia Konya Antalya Pamukkale Kusadasi Çanakkale Trabzon Ankara Samsun Kars Time to get excited FROM $5,999 PER PERSON, TWIN SHARE Discover the rich treasures of this fascinating land as you explore ancient cities – like legendary Troy – and lost empires. Experience the sights and culture of vibrant Istanbul; the endless shops inside the Grand Bazaar, grand icons like the Blue Mosque and the Ottoman opulence of Topkapı Palace. Book Now TOUR ITINERARY The information provided in this document is subject to change and may be affected by unforeseen events outside the control of Inspiring Vacations. Where changes to your itinerary or bookings occur, appropriate advice or instructions will be sent to your email address. Call 1300 88 66 88 Email [email protected] www.inspiringvacations.com Page 1 TOUR ITINERARY DAY 1 Destination Home Istanbul Meals included Dinner 5 The Galata Istanbul Hotel - MGallery by Sofitel, or Hotel similar Hoşgeldiniz! Welcome to Istanbul. This vast metropolis is home to a beguiling mix of different cultures and traditions, a blend of east and west influences. The only city in the world that straddles two continents, Istanbul is busy, vibrant and fascinating. Upon arrival, you’ll be greeted at the airport and head straight to your hotel. Tonight you’ll join your guide and the rest of your group for your first Inspiring Taste, enjoying traditional Turkish fare in a local meyhane. It’s not just about the wonderful food, it’s an authentic way to socialise in Istanbul like the locals. Please note: Some flights may depart the day before.
    [Show full text]
  • 5. Oğuz Karakartal
    TÜRKÇEDE DANTE ÜZERĐNE Oğuz KARAKARTAL * ÖZET Tanzimat’tan sonra Batı’ya kimlerle açıldık soru- sunun cevaplarından biri de Đtalyan şairi Dante’dir. 1880’li yıllardan itibaren önce onun ismi ve hayatı üze- rine Türk edebiyatında ve basın organlarında yazılar kar- şımıza çıkar. 1910’lardan sonra ise Dante’den ufak çeviri parçalarına rastlanır. Cumhuriyet döneminde Dante üze- rine pek çok kitap çıkar ve Dante Türk yazarlarına etki etmeye başlar. Halide Edip Adıvar, Yakup Kadri Karaos- manoğlu, Nihal Atsız, Orhan Pamuk, Elif Şafak ve Tahsin Yücel başta olmak üzere Türk yazarlarında Dante’nin Đlahi Komedya adlı yapıtının etkisini gösteren motiflere rastlanır. Anahtar Kelimeler : Dante Alighieri, Đlahi Ko- medya, Beatrice, Cehennem, Etki, Osmanlı, Türk Edebi- yatı ABOUTH DANTE IN TURKISH ABSTRACT One of the answers to the question: with whom we stretch our intellectual horizons towards the west is Dante. Since the 1980's we have come across, first, with his name and his life in articles and in printed materials about Turkish Literature. After the 1990's, however, little pieces of translated passages from Dante can be seen on the printed papers. During the Republican Period many books were published and Dante began to be a source and an influence on the Turkish writers. In Turkish * Doç. Dr., KKTC Uluslararası Kıbrıs Üniversitesi Fen-Edebiyat Fakültesi Türk Dili ve Edebiyatı Bölümü, [email protected] Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 4 /1-I Winter 2009 466 Oğuz KARAKARTAL authors' works, mostly in the writings of Halide Edip Adı- var, Yakup Kadri Karaosmanoğlu, Nihal Adsız, Orhan Pamuk, Elif Şafak and Tahsin Yücel, the traces and influence of Dante's Divine Comedy and its motifs are discerned Key Words: Dante Alighieri, Divine Comedy, Beatrice, Inferno, Influence, Ottoman, Turkish Literature.
    [Show full text]