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First Published in 1992. Routledge is an imprint of Taylor & Francis, an informa company.
Suraiya Faroqhi's scholarly contribution to the field of Ottoman history has been prodigious. Her latest book represents a summation of that scholarship, an introduction to the state-of-the-art in Ottoman history. In a compelling exploration of the ways that primary and secondary sources can be used to interpret history, the author reaches out to students and researchers in the field and in related disciplines to familiarise them with these documents. By considering both archival and narrative sources, she explains why they were prepared, encouraging her readers to adopt a critical approach to their findings, and disabusing them of the notion that everything recorded in official documents is necessarily true! While the book is essentially a guide to a complex discipline for those about to embark upon their research, the experienced Ottomanist will find much that is original and provocative in its sophisticated interpretation of the field.
In his huge travel account, Evliya Çelebi provides materials for getting at Ottoman perceptions of the world, not only in areas like geography, topography, administration, urban institutions, and social and economic systems, but also in such domains as religion, folklore, sexual relations, dream interpretation, and conceptions of the self. In six chapters the author examines: Evliya’s treatment of Istanbul and Cairo as the two capital cities of the Ottoman world; his geographical horizons and notions of tolerance; his attitudes toward government, justice and specific Ottoman institutions; his social status as gentleman, character type as dervish, office as caller-to-prayer and avocation as traveller; his use of various narrative styles; and his relation with his audience in the two registers of persuasion and amusement. An Afterword situates Evliya in relation to other intellectual trends in the Ottoman world of the seventeenth century.
Using a wealth of contemporary Ottoman sources, this book recreates the social history of Istanbul, a huge, cosmopolitan metropolis and imperial capital of the Ottoman Empire. Seat of the Sultan and an opulent international emporium, Istanbul was also a city of violence shaken regularly by natural disasters and by the turmoil of sultanic politics and violent revolt. Its inhabitants, entertained by imperial festivities and cared for by the great pious foundations which touched every aspect of their lives, also amused themselves in the numerous pleasure gardens and the many public baths of the city. While the book is focused on Istanbul, it presents a broad picture of Ottoman society, how it was structured and how it developed and transformed across four centuries. As such, the book offers an exciting alternative to the more traditional histories of the Ottoman Empire.
In Notebooks, English Virtuosi, and Early Modern Science, Richard Yeo interprets a relatively unexplored set of primary archival sources: the notes and notebooks of some of the leading figures of the Scientific Revolution. Notebooks were important to several key members of the Royal Society of London, including Robert Boyle, John Evelyn, Robert Hooke, John Locke, and others, who drew on Renaissance humanist techniques of excerpting from texts to build storehouses of proverbs, maxims, quotations, and other material in personal notebooks, or commonplace books. Yeo shows that these men appreciated the value of their own notes both as powerful tools for personal recollection, and, following Francis Bacon, as a system of precise record keeping from which they could retrieve large quantities of detailed information for collaboration. The virtuosi of the seventeenth century were also able to reach beyond Bacon and the humanists, drawing inspiration from the ancient Hippocratic medical tradition and its emphasis on the gradual accumulation of information over time. By reflecting on the interaction of memory, notebooks, and other records, Yeo argues, the English virtuosi shaped an ethos of long-term empirical scientific inquiry.
Perspectives on Retranslation: Ideology, Paratexts, Methods explores retranslation from a variety of aspects and reflects methodological and theoretical developments in the field. Featuring eleven chapters, each offering a unique approach, the book presents a well-rounded analysis of contemporary issues in retranslation. It brings together case studies and examples from a range of contexts including France, the UK, Spain, the US, Brazil, Greece, Poland, modern Turkey, and the Ottoman Empire. The chapters highlight a diversity of cultural settings and illustrate the assumptions and epistemologies underlying the manifestations of retranslation in various cultures and time periods. The book expressly challenges a Eurocentric view and treats retranslation in all of its complexity by using a variety of methods, including quantitative and statistical analysis, bibliographical studies, reception analysis, film analysis, and musicological, paratextual, textual, and norm analysis. The chapters further show the dominant effect of ideology on macro and micro translation decisions, which comes into sharp relief in the specific context of retranslation.
For over three decades I had the opportunity to research on Ottoman musical writings in the Turkish libraries and to consult private collections. Concurrently, I was able to study Ottoman musical manuscripts kept in libraries outside Turkey. Along those years of research I carried out persistent investigations that gave me access to a large number of Ottoman materials ranging from the fifteenth century to the end of the nineteenth century. As a result of examining numerous musical manuscripts in Ottoman Turkish literature I discerned the commonplace of themes in the majority of writings and evaluated their structure at formal and generative level. Moreover, I was able to ascertain the significant purport of certain sources over others and to compare several versions of the texts. The idea of this catalogue evolved gradually in my mind from the perception that an explicit presentation of the makams would constitute a valuable reference both for evaluating the historical process of creating and performing music, as well as for establishing the inventory of modal categories and their taxonomic relations. As time passed, I was able to determine the development of a genuine Turkish concept in works that provided descriptive and analytical matter, and to detect through manuscript lines the significance of the process involving the semantics of the practice of music at different periods. The present book is mainly focused upon the practical theory of the makams reflected in the production and performance of the melodic scales the way they are described in Ottoman manuscripts.