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'Quietness is a mysterious trait.' This is the story of Fehmi who grew up in a liberal family in Istanbul but became religious later in life. In the summer of 1998, the time when political Islam is on the rise in Turkey, his brother comes on holiday from the USA with his American wife. The moment Fehmi sees her something in him stirs. At the meeting point of the East and West, what unfolds is a tale of self-exploration, Fehmi's search for an anchor, fuelled by politics, religion, passion, sex... with the assistance of Soviet binoculars... At a time when debates about Turkey's EU membership bid and Islam are making the headlines, this novel sheds light on the myth of present-day Turkey.
Orientalism is about much more than just information gathered about the East within its general postcolonial period. In this period, orientalism is a Western discourse that dominated and shaped the view of the East. There is “otherization” in the way the West has historically looked at the East and within the information presented about it. These original stories of travelers in the past and previous telling about the East are facing a reconstruction through modern types of media. Cinema, television, news, newspaper, magazine, internet, social media, photography, literature, and more are transforming the way the East is presented and viewed. Under the headings of post-orientalism, neo-orientalism, or self-orientalism, these new orientalist forms of work in combination with both new and traditional media are redefining orientalism in the media and beyond. The Handbook of Research on Contemporary Approaches to Orientalism in Media and Beyond shows how both new media and traditional media deal with orientalism today through the presentation of gender, race, religion, and culture that make up orientalist theory. The chapters focus on how orientalism is presented in the media, cinema, TV, photography, and more. This book is ideal for communications theorists, media analysts, practitioners, researchers, academicians, and students working in fields that include mass media, communications, film studies, ethnic studies, history, sociology, and cultural studies.
Matthew Head explores the cultural meanings of Mozart's Turkish music in the composer's 18th-century context, in subsequent discourses of Mozart's significance for 'Western' culture, and in today's (not entirely) post-colonial world. Unpacking the ideological content of Mozart's numerous representations of Turkey and Turkish music, Head locates the composer's exoticisms in shifting power relations between the Austrian and Ottoman Empires, and in an emerging orientalist project. At the same time, Head complicates a presentist post-colonial critique by exploring commercial stimuli to Mozart's turquerie, and by embedding the composer's orientalism in practices of self-disguise epitomised by masquerade and carnival. In this context, Mozart's Turkish music offered fleeting liberation from official and proscribed identities of the bourgeois Enlightenment.
Istanbul. Seat of empire. Melting pot where East meets West. Fingertip touching-point between continents. Even today there are many different versions of the city, different communities, distinct peoples, each with their own turbulent past and challenging interpretation of the present; each providing a distinct topography on which the fictions of the city can play out. This book brings together ten short stories from some of Turkey’s leading writers, taking us on a literary tour of the city, from its famous landmarks to its darkened back streets, exploring the culture, history, and most importantly people that make it the great city it is today. From the exiled writer recalling his appetite for a lost lover, to the mad, homeless man directing traffic in a freelance capacity… the contrasting perspectives of these stories surprise and delight in equal measure, and together present a new kind of guide to the city.
The republic of Turkey and the Soviet Union both emerged from the wreckage of empires surrounding World War I, and pathways of literary exchange soon opened between the two revolutionary states. Even as the Turkish government pursued a friendly relationship with the USSR, it began to persecute communist writers. Whether going through official channels or fleeing repression, many Turkish writers traveled to the Soviet Union during the 1920s and 1930s, publishing original work, editing prominent literary journals, and translating both Russian classics and Soviet literature into Turkish. Writing in Red traces the literary and exilic itineraries of Turkish communist and former communist writers, examining revolutionary aesthetics and politics across Turkey and the Soviet Union from the mid-1920s through the 1960s. Nergis Ertürk considers a wide range of texts—spanning genres such as erotic comedy, historical fiction and film, and socialist realist novels and theater—by writers including Nâzim Hikmet, Vâlâ Nureddin, Nizamettin Nazif, Suat Derviş, and Abidin Dino. She argues that these works belong simultaneously to modern Turkish literature, a transnational Soviet republic of letters, and the global literary archive of world revolution, alongside those of other writers who made the “magic pilgrimage” to Moscow. Exploring how Turkish communist writers on the run produced a remarkable transnational literature of dissent, Writing in Red offers a new account of global revolutionary literary culture.
In the mid-1990s Turkish cinema experienced a remarkable revival. However, what is particularly unusual about this revival is the emergence of a new representational form: silent, inaudible characters. Equally unusual is the fact that this new on-screen silence had a gender(ed/ing) aspect, since, for the most part, the mute(d) characters were female. This book focuses on these newly emergent silent female characters in the new cinema of Turkey, and explores the relationship between the ‘new’ female representational form, the ‘new’ cinema of Turkey, and the ‘new’ socio-political climate in Turkey after the September 12, 1980 military coup. It investigates two central questions: what are the functions, formations and operations of these silent female characters, and why did this female representational form emerge specifically in this timeframe? Bearing a cinematic function of instrumentality and exposing, one way or another, a close association between point of view and discursive authority in the films studied, the silent female representational form in the new cinema of Turkey is a cinematic symptom of the on-going struggle over the disrupted orders of gender, nation and national memory due to an increase in thus-far silenced or marginalized voices in Turkey. The silent form not only functions as a cinematic instrument to reveal crises in hegemonic power positions, but also becomes a battleground within a struggle for (re)obtaining a position of discursive authority in the realms of gender, nation and past. The silent form in itself becomes an instrument on the discursive level, which enables a response to Turkey’s crises in these three interconnected realms in the post-1980s.
The Republic of Turkey was born on 29 October 1923 as the final outcome of a very troubled historical process. The Muslims of Anatolia and Eastern Thrace had faced the risk of disintegration and submission. The father and leader of the “new Turkey”, Mustafa Kemal, felt the plurality that had characterized the Ottoman world as a source of weakness and danger. In these nearly 100 years Republican Turkey has scored many admirable accomplishments, but her genesis left a permanent imprint in the political and social development of the country. Thus, the Turkish State has perpetuated a suspicious and repressive attitude towards the particular identities. This book, stemmed from a conference held in November 2021, presents two introductive papers and six specific contributions where the issues of education and public discourse are among the main topics.
This study surveys music and dance from a global perspective, viewing them as a composite whole found in every culture. To some, music means sound and body movement. To others, dance means body movement and sound. The author examines the complementary connection between sound and movement as an element of the human experience as old as humanity itself. Music and dance from Africa, the Americas, Asia, Europe, the Middle East and the South Pacific are discussed.
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.
The inspiration for the Netflix series premiering March 3rd "Hugely enjoyable, magnificently researched, and deeply absorbing." —Jason Goodwin, New York Times Book Review At midnight, December 31, 1925, citizens of the newly proclaimed Turkish Republic celebrated the New Year. For the first time ever, they had agreed to use a nationally unified calendar and clock. Yet in Istanbul—an ancient crossroads and Turkey's largest city—people were looking toward an uncertain future. Never purely Turkish, Istanbul was home to generations of Greeks, Armenians, and Jews, as well as Muslims. It welcomed White Russian nobles ousted by the Russian Revolution, Bolshevik assassins on the trail of the exiled Leon Trotsky, German professors, British diplomats, and American entrepreneurs—a multicultural panoply of performers and poets, do-gooders and ne’er-do-wells. During the Second World War, thousands of Jews fleeing occupied Europe found passage through Istanbul, some with the help of the future Pope John XXIII. At the Pera Palace, Istanbul's most luxurious hotel, so many spies mingled in the lobby that the manager posted a sign asking them to relinquish their seats to paying guests. In beguiling prose and rich character portraits, Charles King brings to life a remarkable era when a storied city stumbled into the modern world and reshaped the meaning of cosmopolitanism.