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Palmira Brummett provides a new vision, through the prism of 100 cartoons, of the confrontation between tradition and modernity, "Orient" and "Occident," and rhetoric and reality. Taking a unique period in modern Middle Eastern history, the Ottoman Constitutional Revolution of 1908, Brummett examines the Istanbul satirical press and artfully weaves the narrative and images of political, economic, and cultural transformation to create a new vision of the Middle East at the end of the empire. This pioneering work of cultural history is drawn against the backgrounds of Ottoman-European relations and press history. It shows how Ottoman cartoonists merged the literary and artistic cultures of East and West through comparisons to the press production and art of Europe, India, Latin America, and the Middle East. In doing so, it intersects with the broader set of studies in European history, the implications of modernity, and the rhetorical uses of images.
An illustrated work focusing on the ways in which satirical publications revealed evolution in Ottoman society.
The Armenian contribution to Ottoman photography is supposedly well known, with histories documenting the famous Ottoman Armenian-run studios of the imperial capital that produced Orientalist visions for tourists and images of modernity for a domestic elite. Neglected, however, have been the practitioners of the eastern provinces where the majority of Ottoman Armenians were to be found, with the result that their role in the medium has been obscured and wider Armenian history and experience distorted. Photography in the Ottoman East was grounded in very different concerns, with the work of studios rooted in the seismic social, political and cultural shifts that reshaped the region and Armenian lives during the empire's last decades. The first study of its kind, this book examines photographic activity in three sites on the Armenian plateau: Erzurum, Harput and Van. Arguing that local photographic practices were marked by the dominant activities and movements of these places, it describes a medium bound up in educational endeavours, mass migration and revolutionary politics. The camera both responded to and became the instrument of these phenomena. Light is shone on previously unknown practitioners and, more vitally, a perspective gained on the communities that they served. The book suggests that by contemplating the ways in which photographs were made, used, circulated and seen, we might form a picture of the Ottoman Armenian world.
An exploration of the ways in which children learned and were taught to read, against the background of the transition from Ottoman Empire to Turkish Republic. This study gives us a fresh perspective on the transition from empire to republic by showing us the ways that reading was central to the construction of modernity.
The Ottoman Press (1908-1923) looks at Ottoman periodicals in the period after the Second Constitutional Revolution (1908) and the formation of the Turkish Republic (1923). It analyses the increased activity in the press following the revolution, legislation that was put in place to control the press, the financial aspects of running a publication, preventive censorship and the impact that the press could have on readers. There is also a chapter on the emergence and growth of the Ottoman press from 1831 until 1908, which helps readers to contextualize the post-revolution press.
In A Social History of the Late Ottoman Women, Duygu Köksal and Anastasia Falierou bring together new research on women of different geographies and communities of the late Ottoman Empire focusing particularly on the ways in which women gained power and exercised agency.
Presents a comprehensive A-to-Z reference to the empire that once encompassed large parts of the modern-day Middle East, North Africa, and southeastern Europe.
The long and elaborate past of the Ottoman Empire, encompassing a wide geographical area, presents a mosaic of knowledge and acquisition of experience. Upon this complicated and plural nature, Ottoman history looks like a puzzle that requires a wealth of skills and approaches to decipher. The foremost step to achieve this sophisticated task is to go beyond the borders of formalistic narratives and gain a multiplicity of perspectives through collaborative studies. This book is one of the outputs of such cooperation toward a more comprehensive Ottoman historiography. The first part, entitled “Religious Identities, Intercommunal Relations and Social Life”, focuses on the communal structure of the Ottoman society. In this part, the transformation of the multilingual, multi-ethnic, and multi-religious empire and of the world around it is discussed on the basis of changes in social and administrative structures. The second part, “Administration and Business in the Center or Periphery”, consists of the studies on the administrative instruments of the political and economic reforms in the 19th century Ottoman worldand the way these instruments reshaped market mechanisms. The third part, entitled “Personal Documents, Public Prints and Medical Approaches”, contains articles on personal narratives, diaries, travel notes, and the Ottoman press. The final part, which discusses the military and geopolitical strategies that the Ottoman Empire followed throughout its journey from a principality to an empire, is entitled “Warfare and Intelligence”. In the book, a panorama of the empire’s lifestyle is manifested, and the course of history is outlined from various perspectives. It analyses the story of the Ottomans based on various personal, communal, social, economic, and military affairs.
What was popular entertainment like for everyday Arab societies in Middle Eastern cities during the long nineteenth century? In what ways did café culture, theatre, illustrated periodicals, cinema, cabarets, and festivals serve as key forms of popular entertainment for Arabic-speaking audiences, many of whom were uneducated and striving to contend with modernity's anxiety-inducing realities? Studies on the 19th to mid-20th century's transformative cultural movement known as the Arab nahda (renaissance), have largely focussed on concerns with nationalism, secularism, and language, often told from the perspective of privileged groups. Highlighting overlooked aspects of this movement, this book shifts the focus away from elite circles to quotidian audiences. Its ten contributions range in scope, from music and visual media to theatre and popular fiction. Paying special attention to networks of movement and exchange across Arab societies in Lebanon, Syria, Egypt, Iraq, and Morocco, this book heeds the call for 'translocal/transnational' cultural histories, while contributing to timely global studies on gender, sexuality, and morality. Focusing on the often-marginalized frequenters of cafés, artist studios, cinemas, nightclubs, and the streets, it expands the remit of who participated in the nahda and how they did.
“Opens new windows onto the changing socioeconomic realities and values of Jews in a major port city of the late Ottoman Empire. . . . [A] fascinating study.” —Julia Phillips Cohen, Vanderbilt University By the turn of the twentieth century, the eastern Mediterranean port city of Izmir had been home to a vibrant and substantial Sephardi Jewish community for over four hundred years. The Jews of Ottoman Izmir tells the story of this long overlooked Jewish community, drawing on previously untapped Ladino archival material. Across Europe, Jews were often confronted with the notion that their religious and cultural distinctiveness was somehow incompatible with the modern age. Yet the view from Ottoman Izmir invites a different approach: what happens when Jewish difference is totally unremarkable? Dina Danon argues that while Jewish religious and cultural distinctiveness might have remained unquestioned in this late Ottoman port city, other elements of Jewish identity emerged as profound sites of tension. Through voices as varied as beggars and mercantile elites, journalists, rabbis and housewives, Danon demonstrates that it was new attitudes to poverty and class, not Judaism, that most significantly framed this Sephardi community’s encounter with the modern age. “This monograph will be regarded as the central work on the Jews of Izmir in the last Ottoman century.” —Tamir Karkason, Middle East Journal “A major contribution to the study of a Jewish community in general, and an Ottoman one in particular.” —Rachel Simon, Association of Jewish Libraries Reviews “Eloquently written and expertly researched.” —Eyal Ginio, The American Historical Review “An important landmark.” —Jacob Barnai, Association for Jewish Studies Review “This work should be treasured. . . . a well-wrought and at times elegant addition to the Judaic Studies.” —Jeffrey Kahrs, Tikkun