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Antagonist Images of the Turk in Early Modern European Games
ANTI/THESIS 87 The earliest representation of the Turk in art appeared in Venetian Quattrocento ANTI-THESIS Antagonist paintings as a result of the increasing com- Images of mercial activities of Venice, which played a role as the main connection between the Turk in Europe and the Levant (Raby 17). The per- ception of the image of the Turk varied Early Modern depending on the conflicts between Venice and the Ottomans, usually pro- European Games voked by religious and political propa- ganda. Gentile Bellini’s circa 1480 portrait of Mehmed the Conqueror, who con- quered Constantinople, is one of such rare early examples that reflected an apprecia- tion of an incognito enemy before the early modern period, which had faded Ömer Fatih Parlak over the course of time as tensions increased. Bellini, who started a short- “The Turk” is a multifaceted concept that perspective to the image of the Turk by lived early Renaissance Orientalism, was emerged in the late Middle Ages in shedding light on its representations in commissioned by Mehmed II, whose pri- Europe, and has gained new faces over early modern European board games and vate patronage was “eclectic with a strong the course of time until today. Being pri- playing cards; thus, contributing to a nou- interest in both historical and contempo- marily a Muslim, the Turk usually con- velle scholarly interest on the image of rary Western culture” (Raby 7).1 The forma- noted the antichrist, infidel, and the ulti- the Turk. It argues that, belonging to a tion of the Holy League of 1571 against the mate enemy. -
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch Für Europäische Geschichte
Dress and Cultural Difference in Early Modern Europe European History Yearbook Jahrbuch für Europäische Geschichte Edited by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Volume 20 Dress and Cultural Difference in Early Modern Europe Edited by Cornelia Aust, Denise Klein, and Thomas Weller Edited at Leibniz-Institut für Europäische Geschichte by Johannes Paulmann in cooperation with Markus Friedrich and Nick Stargardt Founding Editor: Heinz Duchhardt ISBN 978-3-11-063204-0 e-ISBN (PDF) 978-3-11-063594-2 e-ISBN (EPUB) 978-3-11-063238-5 ISSN 1616-6485 This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 04. International License. For details go to http://creativecommons.org/licenses/by-nc-nd/4.0/. Library of Congress Control Number:2019944682 Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. © 2019 Walter de Gruyter GmbH, Berlin/Boston The book is published in open access at www.degruyter.com. Typesetting: Integra Software Services Pvt. Ltd. Printing and Binding: CPI books GmbH, Leck Cover image: Eustaţie Altini: Portrait of a woman, 1813–1815 © National Museum of Art, Bucharest www.degruyter.com Contents Cornelia Aust, Denise Klein, and Thomas Weller Introduction 1 Gabriel Guarino “The Antipathy between French and Spaniards”: Dress, Gender, and Identity in the Court Society of Early Modern -
Čarobnost Zvoka in Zavesti
EDUN EDUN SLOVANSKO-PITAGOREJSKA ANSAMBEL ZA STARO MEDITATIVNO KATEDRA ZA RAZVOJ ZAVESTI GLASBO IN OŽIVLJANJE SPIRITUALNIH IN HARMONIZIRANJE Z ZVOKOM ZDRAVILNIH ZVOKOV KULTUR SVETA ČAROBNOST ZVOKA IN ZAVESTI na predavanjih, tečajih in v knjigah dr. Mire Omerzel - Mirit in koncertno-zvočnih terapijah ansambla Vedun 1 I. NAŠA RESNIČNOST JE ZVOK Snovni in nesnovni svet sestavlja frekvenčno valovanje – slišno in neslišno. Toda naša danost, tudi zvenska, je mnogo, mnogo več. Zvok je alkimija frekvenc in njihovih energij, orodje za urejanje in zdravljenje subtilnih teles duha in fizičnega telesa ter orodje za širjenje zavesti in izostrovanje čutil in nadčutil. Z zvokom (resonanco) se lahko sestavimo v harmonično celoto in uglasimo z naravnimi ritmi, zaradi razglašenosti (disonance) pa lahko zbolimo. Modrosti svetovnih glasbenih tradicij povezujejo človekovo zavest z nezavednim in nadzavednim ter z zvočnimi vzorci brezmejnega, brezčasnega in večnega. Zvok nas povezuje z Velikim Snovnim Slušnim Logosom Univerzuma in Kozmično Inteligenco življenja oziroma Zavestjo Narave, ki jo vse bolj odkrivata tudi subatomska fizika in medicina. Zvok je ključ tistih vrat »duše in srca«, ki odpirajo subtilne svetove »onkraj« običajne zavesti, v mnogodimenzionalne svetove resničnosti in zavesti ter v transcendentalne svetove. Knjige dr. Mire Omerzel - Mirit, še zlasti knjižna serija Kozmična telepatija, njene delavnice in tečaji, pa tudi koncerti in zgoščenke njenega ansambla Vedun (glasbenikov – zvočnih terapevtov – medijev, ki muzicirajo v transcendentalnem stanju zavesti), vodijo bralce in poslušalce na najgloblje ravni duše, v zvočno prvobitnost, k Viru življenja, v središče in pravljične svetove človekovega duha. Zvoku Mirit in glasbeni sodelavci z besedo, glasbo in zvočno »kirurgijo« vračajo urejajočo in zdravilno moč, nekdanjo svečeniško noto in svetost. -
Music, Image, and Identity: Rebetiko and Greek National Identity
Universiteit van Amsterdam Graduate School for Humanities Music, Image, and Identity: Rebetiko and Greek National Identity Alexia Kallergi Panopoulou Student number: 11655631 MA Thesis in European Studies, Identity and Integration track Name of supervisor: Dr. Krisztina Lajosi-Moore Name of second reader: Prof. dr. Joep Leerssen September 2018 2 Table of Contents Introduction ......................................................................................................................... 4 Chapter 1 .............................................................................................................................. 6 1.1 Theory and Methodology ........................................................................................................ 6 Chapter 2. ........................................................................................................................... 11 2.1 The history of Rebetiko ......................................................................................................... 11 2.1.1 Kleftiko songs: Klephts and Armatoloi ............................................................................... 11 2.1.2 The Period of the Klephts Song .......................................................................................... 15 2.2 Rebetiko Songs...................................................................................................................... 18 2.3 Rebetiko periods .................................................................................................................. -
Rhythmo-Melodic Patterns of Modi Performed on the Santouri by Nikos Kalaitzis by Mema Papandrikou
IMS-RASMB, Series Musicologica Balcanica 1.1, 2020. e-ISSN: 2654-248X Rhythmo-Melodic Patterns of Modi Performed on the Santouri by Nikos Kalaitzis by Mema Papandrikou DOI: https://doi.org/10.26262/smb.v1i1.7751 ©2020 The Author. This is an open access article under the terms and conditions of the Creative Commons Attribution NonCommercialNoDerivatives International 4.0 License https://creativecommons.org/licenses/by-nc- nd/4.0/ (CC BY-NC-ND 4.0), which permits use, distribution and reproduction in any medium, provided that the articles is properly cited, the use is non-commercial and no modifications or adaptations are made. Papandrikou, Rhythmo-Melodic Patterns… Rhythmo-Melodic Patterns of Modi Performed on the Santouri by Nikos Kalaitzis Mema Papandrikou Abstract: Greek folk music follows the non-tempered modal musical system of the Byzantine ochtoechos. The Greek santouri is a music instrument tuned chromatically after the well-tempered system. As there is no ability of performing microtones, all modes are played on the well-tempered scale. Nikos Kalaitzis or “Bidagialas”, one of the greatest Greek santouri players, uses his excellent skill in order to perform folk music as close to the non-tempered modal system as possible. He focuses on the basic features of each mode/echos and tries to express the style of each one using various melodic and rhythmic techniques. Through the study of two characteristic dance tunes in different modes from the island of Lesbos, we see analytically the rhythmo-melodic patterns which are used on the santouri by this great musician and help to determine the identification of modes. -
The Ottoman Empire and European International Society: a Theoretical – Historical Analysis
THE OTTOMAN EMPIRE AND EUROPEAN INTERNATIONAL SOCIETY: A THEORETICAL – HISTORICAL ANALYSIS A Ph.D. Dissertation by BEHİCE ÖZLEM GÖKAKIN Department of International Relations Bilkent University Ankara January 2010 To the Memory of Late Professor Stanford Jay Shaw (1930-2006) THE OTTOMAN EMPIRE AND EUROPEAN INTERNATIONAL SOCIETY: A THEORETICAL – HISTORICAL ANALYSIS The Institute of Economics And Social Sciences of Bilkent University By BEHİCE ÖZLEM GÖKAKIN In Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY in THE DEPARTMENT OF INTERNATIONAL RELATIONS BİLKENT UNIVERSITY ANKARA January 2010 I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. Professor Ali L. Karaosmanoğlu Dissertation Supervisor I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. Professor Meliha Altunışık Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. Associate Professor Ersel Aydınlı Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. Assistant Professor Nur Bilge Criss Examining Committee Member I certify that I have read this thesis and have found that it is fully adequate, in scope and in quality, as a thesis for the degree of Doctor of Philosophy in International Relations. -
Evdokia's Zeibekiko
European Scientific Journal December 2017 edition Vol.13, No.35 ISSN: 1857 – 7881 (Print) e - ISSN 1857- 7431 The Bouzouki’s Signifiers and Significance Through the Zeibekiko Dance Song: "Evdokia’s Zeibekiko" Evangelos Saragatsis Musician, Secondary Education Teacher, Holder Of Postgraduate Diploma Ifigeneia Vamvakidou Professor at the University of Western Macedonia, Greece Doi: 10.19044/esj.2017.v13n35p125 URL:http://dx.doi.org/10.19044/esj.2017.v13n35p125 Abstract The objective of this study is to identify the signifiers and significance of the Zeibekiko dance, and those of the bouzouki itself, to a further extent, as they emerge through research conducted in the relevant literature, and which is anchored to those signifiers, as they are highlighted through their presence in material that is obtained from movies. The semiotic analysis of the film “Evdokia”, by A. Damianos (1971), is the research method that is followed. In this context, the main focus is placed on the episode/scene, where Evdokia’s Zeibekiko is displayed on stage. This ‘polytropic’ (polymodal) material that consists of listening to, viewing, playing music, and dancing encompasses a large variety of musicological and gender signifiers that refer to the specific era. The model followed is that of Greimas (1996), as it was used by Lagopoulos & Boklund-Lagopoulou (2016), and Christodoulou (2012), in order to point out those characteristic features that are expressed by the bouzouki, as a musical instrument, through a representative sample of the zeibekiko dance, as it is illustrated in the homonymous film. The analysis of images, as well as of the language message, lead to the emergence of codes, such as the one referring to the gender, and also the symbolic, value, and social codes, and it is found that all these codes agree with the introductory literature research conducted on the zeibekiko dance and the bouzouki. -
Ottoman Historiography and the Representation of Seventeenth-Century French Travelogues
Tarih Dergisi Turkish Journal of History Tarih Dergisi - Turkish Journal of History, 73 (2021/1): 53-76 DOI: 10.26650/iutd.756501 Research Article / Araştırma Makalesi Reorienting Orientalism: Ottoman Historiography and the Representation of Seventeenth-Century French Travelogues Oryantalizme Yeniden Yön Vermek: Osmanlı Tarihyazımı ve On Yedinci Yüzyıl Fransız Seyahatnamelerinin Tasvirleri Andrea Duffy* ABSTRACT Contemporary discourse on orientalism has stigmatized early modern European travelogues, leading many scholars to reject them as viable sources of Ottoman history. Yet on closer examination, the orientalist biases associated with these works come primarily from nineteenth- and twentieth-century scholars, who misinterpreted and manipulated them, *PhD, Colorado State University, Fort Collins, CO. rather than from the sources themselves. This study investigates how and ORCID: A.D. 0000-0002-0408-493X why subsequent scholarship misrepresented seventeenth-century French travelogues on the Ottoman Empire. It argues that these accounts constitute Corresponding author/Sorumlu yazar: a valuable and underutilized resource for historians. Andrea Duffy, Keywords: Travel, Travel literature, Europe, Historiography Colorado State University, Fort Collins, CO. E-mail/E-posta: [email protected] ÖZ Submitted/Başvuru: 22.06.2020 Oryantalizme dair çağdaş söylem erken modern Avrupalı seyyahları lekelemiş Revision Requested/Revizyon Talebi: ve bu yüzden birçok bilim insanı Osmanlı tarihinin tutarlı kaynakları olarak 11.12.2020 kendilerini göz ardı etmiştir. Bununla birlikte, daha yakından incelendiğinde, Last Revision Received/Son Revizyon: 29.12.2020 söz konusu çalışmalara yönelik yanlı tutumun, eserlerin kendisinden Accepted/Kabul: 02.01.2021 ziyade bunları yanlış yorumlamış ve manipüle etmiş 19 ve 20. yüzyıl bilim insanlarından kaynaklandığı görülür. Bu çalışma sonraki bilimsel Citation/Atıf: çalışmaların Osmanlı İmparatorluğu üzerine kaleme alınmış 17. -
Turquerie in Nineteenth-Century America
TURQUERIE IN NINETEENTH-CENTURY AMERICA. Bahar Suzan Yolac A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in Art History in the Department of Art. Chapel Hill 2012 Approved by: Dr. Mary Sheriff Dr. Glaire Anderson Dr. Paroma Chatterjee © 2012 Bahar S. Yolac ALL RIGHTS RESERVED ii ABSTRACT BAHAR S YOLAC: Turquerie in Nineteenth-Century America (Under the direction of Dr.Mary Sheriff, Dr. Glaire Anderson, Dr. Paroma Chatterjee) The thesis explores the phenomenon of turquerie in nineteenth-century America, that is the fascination with and appropriation of elements of Turkish culture, particularly in interior designs and baths. The paper distinguishes turquerie from Orientalism, considering that the appropriation of Turkish forms accompanied neither imperial designs nor encyclopedic collections of knowledge; nonetheless, some of the Oriental stereotypes perpetuated in American turquerie. Turkish interior decorations and baths both in public and private domains in America reveal that the adoption of turquerie cannot be associated solely with the symbolic meaning of pleasure and voluptuous delights, since the concept of turquerie was multilayered. The adoption of some Ottoman forms, tastes and manners should not be confined to the cliched rhetorics, but viewed as ‘the Orientalization of the Occident,’ which was as valid as ‘the Occidentalization of the Orient’ albeit differently at various historical temporal and spatial confluences iii ACKNOWLEDGEMENTS Exploring Turquerie in the nineteenth-century America was a long odyssey both challenging and rewarding for me. This research would not have been possible without the help and support of the following individuals. -
Ottoman Baroque
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Introduction It is fair and accurate to say that this beautiful building and gladdening house of worship— all of solid marble and so charming— has no like or counterpart not only in the capital [Istanbul], but indeed in [all] the lands of Islam. —Ahmed efendİ, construction accountant of the nuruosmanİye mosque The mosque that Sultan Mahamout had built is, without doubt, the most beautiful that one can see in the Empire, after one has seen St. Sophia. — Jean-Claude flachat, french merchant and resident of istanbul ritten of the mid- eighteenth- century Nuruosmaniye Mosque by authors contemporary with its construction, these statements may surprise the Wmodern observer (fig. 1). So conditioned are we to locate the heyday of Ottoman architecture in the sixteenth century— and above all in the works of Sinan (d. 1588)— that it is difficult to credit that a later building could have excited such praise. If the first statement might be dismissed as mere hyperbole on the part of an Ottoman official involved in the mosque’s construction, the second— penned by a Frenchman with no connection to the project— cannot be so easily disregarded. Indeed, the widespread acclaim that greeted the Nuruosmaniye bespeaks a mo- mentous shift in the history of Ottoman architecture, one embedded in, and itself constitutive of, far- reaching sociopolitical developments. The modern focus on the period before 1600— what has come to be known as the Ottoman classical age— has obscured the decisive role of the eighteenth century in (re)shaping the Ottoman Em- Fig. -
TBS GCSE MUSIC A4 Revison.Indd
GCSE Music. Comprehensive resource pack to support the popular Music area. GCSE Music. Contents. 1. Introduction 2. Learning Aims and Objectives 3. Before Sgt Pepper 4. The ‘concept album’. 5. Pop Art, Peter Blake and the importance of album art in the 60s and beyond 6. L yric Analysis: (exploring melody, harmony, structure, rhythm and meaning behind the lyrics) — Lucy in the Sky — Within You/Without You — With a Little Help from my Friends 7. Worksheets – exploring structure: With a Little Help from My Friends and Within You, Without You 8. Sgt Pepper lectures @ The Beatles Story 9. The Beatles story and Liverpool Hope Partnership 10. Booking a visit to the Beatles Story 11. L yrics: With a Little Help from My Friends, Lucy in the Sky, Within you, Without You 12. Fascinating facts about the album 13. Recommended reading list/websites 2 Introduction. Located within Liverpool’s historic Albert Dock, the Beatles Story is a unique visitor attraction that transports you on an enlightening and atmospheric journey into the life, times, culture and music of the Beatles. Since opening in 1990, the Beatles Story has continued to develop our learning resources to create a fun and educational experience for all. Our commitment to life-long learning ensures every guest has a valuable experience, whatever their age or ability. We have linked the story of the Beatles, their early lives, their fame and combined creativity to selected areas of the National Curriculum: history, literacy, art and music to actively encourage and involve pupils in their own learning. This resource pack focuses on GCSE Music in accordance with the AQA specification. -
Breaking with Convention: Mme De Pompadour's Refashioning of The
Breaking with Convention: Mme de Pompadour’s Refashioning of the ‘Self’ Through the Bellevue Turqueries Mandy Paige-Lovingood A thesis submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Arts in the Department of Art History. Chapel Hill 2017 Approved by: Melissa L. Hyde Cary Levine John Bowles ©2017 Mandy Paige-Lovingood ALL RIGHTS RESERVED ii ABSTRACT MANDY PAIGE-LOVINGOOD: Breaking with Convention: Mme de Pompadour’s Refashioning of the ‘Self’ Through the Bellevue Turqueries (Under the direction of Dr. Melissa Hyde) In 1750 the sexual relationship between Mme Pompadour and Louis XV ended, resulting in the maîtresse-en-titre’s move out of Versailles and into the Château de Bellevue. Designed by Pompadour and with the financial support of the king, the château offered her a place away from court etiquette and criticism, a private home for her and Louis XV to relax. Within Bellevue, her bedroom (la chambre a la turq) was decorated with Turkish furnishings, textiles and Carle Van Loo’s three-portrait harem series. Specifically, my thesis will explore Pompadour’s chambre a la turque and Van Loo’s A Sultana Taking Coffee, the only self-portrait of Mme de Pompadour in the series, to exhibit her adoption and depiction of the French fashion trend of turquerie. Here, I suggest Pompadour’s adoption of harem masquerade was a political campaign aimed at reclaiming and magnifying her social and political dislocation from Louis XV’s court, as well as an alternative appraoch to the French definition of ‘woman,’ whereby she represented herself as an elite and desired ‘other’: the Ottoman woman.