Academic literature on the topic 'Turkish drama – 20th century'
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Journal articles on the topic "Turkish drama – 20th century"
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Niewiara, Aleksandra. "Gra figurami pamięci zbiorowej w utworze artystycznym. Z zagadnień lingwistyki pamięci." LingVaria 14, no. 27 (2019): 51–65. http://dx.doi.org/10.12797/lv.14.2019.27.03.
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Playing with Figures of Collective Memory in Artistic Work. Issues in Memory LinguisticsThe article presents an ethnolinguistic analysis of A. Stasiuk’s drama Czekając na Turka (‘Waiting for the Turk’). Staged in 2009, the play examines figures of communicative and cultural collective memory, to use Jan Assmann’s terminology. Particular attention is given to linguistic means of lexical and syntactic archaization of literary text, used to elicit associations with the past images of Turks in Polish and European imagination, and in consequence, to propose an interpretation of an important event in European culture and history at the end of the 20th century: the fall of the Berlin Wall. In comparison with the older concept of antemurale Christianitatis (associated with Ottoman Turks’ incursions against European countries), the importance of the modern, current concept is reduced.
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Kalnačs, Benedikts. "20th-century Baltic Drama: Comparative Paradigms." Interlitteraria 19, no. 1 (2014): 33. http://dx.doi.org/10.12697/il.2014.19.1.3.
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Kobischanov, T. Yu. "Послестолетийодиночества:изменение социальнойпсихологиисирийскиххристианвновоевремя". Istoricheskii vestnik, № 20(2017) part: 20 (30 серпня 2019): 218–55. http://dx.doi.org/10.35549/hr.2019.2017.35084.
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Quite often in the course of historical events, social and economic changes obscure the changes in cultural psychology of ethnic groups and their representatives. The historical science explains what happened, how and why it was happening but very rarely gives us a chance to understand what people were feeling in this respect, what processes were going on in their individual and common consciousness and in the subconscious. The drama that the Christians of the Middle East are going through, the final act of which we are probably witnessing these days, urges us to look for its roots in the distant past. The Ottoman period in the history of East Christian communities is of particular significance. The Middle East Christians got under the Turkish rule as a discriminated minority pushed out on the curb of sociopolitical life, but by the beginning of the 20th century the Christians of the Middle East as a whole, and Christian communities of Syria and Lebanon in particular, were flourishing and were perfectly well adapted to possibilities that inclusion of the Ottoman state into the world capitalist system had to offer. The upgrade of the Christians status was accompanied by gradual changes in their social psychology including self identification of the members of the Christian communities, remodelling of their behaviour patterns in everyday life and in conflict situations as well as psychology of introconfessional relations. This research is an attempt to describe and analyse this cultural and psychological transformation.Нередко в ходе исторических событий социальноэкономические изменения затмевают изменения в культурной психологии этнических групп и их представителей. Историческая наука объясняет, что произошло, как и почему это происходило, но очень редко дает нам возможность понять, что чувствовали люди в этом отношении, какие процессы происходили в их индивидуальном и общем сознании и в подсознании. Драма, которую переживают христиане Ближнего Востока, заключительный акт которой мы, вероятно, наблюдаем в эти дни, побуждает нас искать ее корни в далеком прошлом. Османский период в истории восточных христианских общин имеет особое значение. Ближневосточные христиане попали под турецкое правление как дискриминируемое меньшинство, вытесненное на обочину общественнополитической жизни, но к началу 20 века христиане Ближнего Востока в целом, и христианские общины Сирии и Ливана в частности, процветали и были прекрасно приспособлены к возможностям, которые могло предложить включение Османского государства в мировую капиталистическую систему. Обновление статуса христиан сопровождалось постепенными изменениями в их социальной психологии, включая самоидентификацию членов христианских общин, перестройку их моделей поведения в повседневной жизни и в конфликтных ситуациях, а также психологию внутриконфессиональных отношений. Это исследование является попыткой описать и проанализировать эту культурную и психологическую трансформацию.
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Epner, Luule. "Postcolonialism and Baltic Drama." Interlitteraria 22, no. 1 (2017): 207. http://dx.doi.org/10.12697/il.2017.22.1.17.
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Lecossois, Hélène. "Renegotiating and Resisting Nationalism in 20th-century Irish Drama." Études irlandaises, no. 35-2 (December 30, 2010): 186–87. http://dx.doi.org/10.4000/etudesirlandaises.2068.
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FISCHER-LICHTE, ERIKA. "Introduction: contemporary theatre and drama in Europe." European Review 9, no. 3 (2001): 275–76. http://dx.doi.org/10.1017/s1062798701000266.
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The 30 years between the 1960s and the 1980s of the 20th century are recalled today as a golden age of European theatre. They seem to have revived, continued and re-created the previous golden age brought about by the historical theatre avant-garde movements during the first decades of the 20th century (approximately 1900–1930). Then, Adolphe Appia, Jacques Copeau, Edward Gordon Craig, Leopold Jessner, Vsevolod Meyerhold, Max Reinhardt, Alexander Tairov, Evgeni Vakhtangov and others had striven for what they called a retheatricalization of theatre.
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Tokat, Esra. "Identity and ideology in 20th Century of Turkish Architecture." International Journal of Social Sciences and Education Research 3, no. 5 S (2017): 1456–62. http://dx.doi.org/10.24289/ijsser.319311.
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Özalpman, Deniz. "Transnational Viewers of Turkish Television Drama Series." Transnational Marketing Journal 5, no. 1 (2017): 25–43. http://dx.doi.org/10.33182/tmj.v5i1.386.
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Since the mid-2000s, Turkish television drama series have been exported to many countries and attracted an unprecedented transnational audience. However, despite popularity, there is paucity of research focusing on the transnational understanding(s) of Turkish television drama audiences in different geographies. Through a reception analysis of three mostly cited television series among participants Muhteşem Yüzyıl (Magnificent Century), Aşk-ı Memnu (Forbidden Love), Kuzey Güney (North South), this study aimed at offering an understanding beyond overly stated cultural/religious proximity explanations to ascertain traces and elements of empowerment that citizens feel coming through their act of consuming Turkish dramas. For that purpose, in-depth interviews were conducted with Iranian viewers of Turkish television series living in the Austrian capital Vienna. Interpretation of that collected qualitative material suggests re-thinking of the transnational audience’s consumption practices that expand tourism and trade flows and other related businesses between the two countries.
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Bulat, Snezana. "Despot Đurađ and Despotess Jerina Branković in 20th Century Serbian Drama." Филолог – часопис за језик књижевност и културу 17, no. 17 (2018): 549–67. http://dx.doi.org/10.21618/fil1817549b.
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Bošnjak, Matija. "Elements of Dramatic Symbolism in the Poetics of Miodrag Žalica." Društvene i humanističke studije (Online) 6, no. 3(16) (2021): 43–58. http://dx.doi.org/10.51558/2490-3647.2021.6.3.43.
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In the literary and theatrical critique of his time (second half of the 20th century), Miodrag Žalica was recognized as a representative of symbolist poetics in Bosnian-Herzegovinian drama. The features of Žalica’s dramatic symbolism have, however, rarely been observed through analyzing the technique of his dramatic works in concreto. The Piece Mirišu li jorgovani u Njujorku, written in 1988, certainly represents the culmination of Žalica’s poetics, and is, in that sense, suitable for an analysis of the symbolic network as a specific trademark of his authorship with regards to the poetics of symbolism in European modern drama at the turn of the 19th to 20th century.
Dissertations / Theses on the topic "Turkish drama – 20th century"
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Reel, Irem Secil. "Translation/Adaptation, Direction and Production of Ambling Riders, a Turkish Play by Özen Yula." Fogler Library, University of Maine, 2010. http://www.library.umaine.edu/theses/pdf/ReelIS2010.pdf.
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Bayar, Yesim. "Turkish nation-building process : an analysis of language, education, and citizenship policies during the early Republic (1920-1938)." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115601.
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This study seeks to analyze the Turkish nation-building process during the early Republican period (1920-1938). In doing this, the substantive focus will be on three main dimensions --language, education, and citizenship -- with particular emphasis on the rhetoric and actions of the political elite.<br>By looking at language, education, and citizenship policies, and their formulations, the present analysis will make three main propositions: First, and in contrast to the existing literature on nations and nation-building, it will be demonstrated that the process of Turkish nation-building was neither a smooth nor an automatic process. Moreover, during the period under analysis, there were competing definitions of nationhood which were taken up, and discussed by the political elite. The final conceptualization of nationhood --which took an assimilationist form with an ethnic understanding attached to it -- was formed over time. At times, the process was wrought with tensions as illustrated by the heated debates among the political elite.<br>Second, the present analysis will seek to bring together two different ways of looking at nation formation. More specifically, the analysis will attempt to bridge the gap between those works which only underline the role of ideas in the formation of nations, and those which emphasize the role of structural forces. By paying attention to the "voices" (and actions) of the political elite, this study will demonstrate that it is not only ideas, nor is it only structural forces that matter. Rather, the crystallization of the contents of Turkish nationhood illustrates the interplay of ideological as well as geopolitical and political forces.<br>Third, a detailed analysis of the trajectory of Turkish nation-building and the formulation of Turkish nationhood reveals the complexity of this process. The existing literature on Turkey tends to treat the Kemalist era as an undifferentiated whole. The present work will remain critical to such an outlook. Instead, and by looking at the shifting conceptualizations of nationhood, it will seek to demonstrate the complexity and contingent nature of the Turkish nation-building process.
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Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.
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Thesis (MDram (Drama))—University of Stellenbosch, 2006.<br>Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.
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Özoral, Başak. "The Turkish transformation and Celal Bayar /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=83135.
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This thesis is a study of one of the most important national statesmen, politicians, and economists in the history of Turkish republic: Celal Bayar. It will analyze his impact on the Turkish revolution and the evolution of the nation's politics. Celal Bayar, Turkey's third president did not fit the mold of his country's top politicians of the day. He was essentially different from all the other key players of his generation in terms of his background, education, experience, career path, and even length of life. Those who have written about him have for the most part been either uncritical admirers or bitter enemies. Though he held, in turn, the positions of Minister of the Economy, Prime Minister and President (he was the first civilian to hold this part) during one of the most critical periods in Turkish political history. Thus, he was overshadowed by his predecessors Mustafa Kemal Ataturk and Ismet Inonu. Yet his very uniqueness makes him an apt subject for study.<br>Celal Bayar deserves our attention because he undertook crucial responsibilities and duties in the social and economic transformation of Turkey. In an era of strong state policies that made up for the weakness of the social classes, Bayar was the founder of the nation's mixed economy. During the Turkish revolution and the subsequent formation of a united Turkish society, he devoted himself to the development of the national economy. Throughout his political career he exercised a decisive influence over the evolution of the country's politics, economy, society, and foreign relations. Despite his importance, there is a general dearth of academic studies in English about him---a situation that this study seeks to correct.
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Li, Jing. "Self in community: twentieth-century American drama by women." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/322.
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This thesis argues that twentieth-century American women playwrights spearhead the drama of transformation, and their plays become resistance discourses that protest, subvert, or change the representation of the female self in community. Many create antisocial, deviant, and self-reflexive characters who become misfits, criminals, or activists in order to lay bare women's moral-psychological crises in community. This thesis highlights how selected women playwrights engage with, and question various dominant, regional, racial, or ethnic female communities in order to redefine themselves. Sophie Treadwell's Machinal and Marsha Norman's 'night, Mother are representative texts that explore how the dominant culture can pose a barrier for radical women who long for self-fulfillment. To cultivate their personhood, working class Caucasian women are forced to go against their existing community so as to seek sexual freedom and reproductive rights, which are regarded as new forms of resistance or transgression. While they struggle hard to conform to the traditional, gendered notion of female altruism, self-sacrifice and care ethics, they cannot hide their discontent with the gendered division of labor. They are troubled doubly by the fact that they have to work in the public sphere, but conform to their gender roles in the private sphere. Different female protagonists resort to extreme homicidal or suicidal measures in order to assert their radical, contingent subjectivities, and become autonomous beings. By becoming antisocial or deviant characters, they reject their traditional conformity, and emphasize the arbitrariness and performativity of all gender roles. Treadwell and Norman both envision how the dominant Caucasian female community must experience radical changes in order to give rise to a new womanhood. Using Beth Henley's Crimes of the Heart and Lorraine Hansberry's A Raisin in the Sun as examples, this thesis demonstrates the difficulties women may face when living in disparate communities. The selected texts show that Southern women and African-American women desperately crave for their distinct identities, while they long to be accepted by others. Their subjectivity is a constant source of anxiety, but some women can form strong psychological bonds with women from the same community, empowering them to make new life choices. To these women, their re-fashioned self becomes a means to reexamine the dominant white culture and their racial identity. African-American women resist the discourse of assimilation, and re-identify with their African ancestry, or pan-Africanism. In the relatively traditional southern community, women can subvert the conventional southern belle stereotypes. They assert their selfhood by means of upward mobility, sexual freedom, or the rejection of woman's reproductive imperative. The present study shows these women succeed in establishing their personhood when they refuse to compromise with the dominant ways, as well as the regional, racial communal consciousness. Maria Irene Fornes' Fefu and Her Friends and Wendy Wasserstein's The Heidi Chronicles are analyzed to show how women struggle to claim their dialogic selfhood in minoritarian communities (New England Community and Jewish Community). Female protagonists maintain dialogues with other women in the same community, while they choose their own modes of existence, such as single parenthood or political activism. The process of transformation shows that women are often disturbed by their moral consciousness, a result of their acceptance of gender roles and their submission to patriarchal authority. Their transgressive behaviors enable them to claim their body and mind, and strive for a new source of personhood. Both playwrights also advocate women's ability to self-critique, to differentiate the self from the Other, to allow the rise of an emergent self in the dialectical flux of inter-personal and intra-personal relations. The present study reveals that twentieth-century American female dramatists emphasize relationality in their pursuit of self. However, the transformation of the self can only be completed by going beyond, while remaining in dialogue with the dominant, residual, or emergent communities. For American women playwrights, the emerging female selves come with a strong sense of "in-betweenness," for it foregrounds the individualistic and communal dimensions of women, celebrating the rise of inclusive, mutable, and dialogic subjectivities.
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Kennedy, Shane Michael. "Expressionist Art and Drama Before, During, and After the Weimar Republic." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2508.
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Expressionism was the major literary and art form in Germany beginning in the early 20th century. It flourished before and during World War I and continued to be the dominant art for of the Early Weimar Republic. By 1924, Neue Sachlichkeit replaced Expressionism as the dominant art form in Germany. Many Expressionists claimed they were never truly apart of Expressionism. However, in the periodization and canonization many of these young artists are labeled as Expressionist.
This thesis examines the periodization and canonization of Expression in art, drama, and film and proves that Expressionism began much earlier than scholars believe and ended much later than 1924. This thesis examines the conflicts in Germany that led to Expressionism and which authors and artists influenced Expressionists. It will also show that after Expressionism ceased to be the dominant art form in Germany, many former Expressionists continued to use expressionistic form in their works but ceased to use expressionistic content. This thesis argues that both the periodization and canonization of Expressionism should be expanded to include all works that may be classified as having expressionistic form.
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Berktay, Halil. "The "other" feudalism : a critique of 20th century Turkish historiography and its particularisation of Ottoman society." Thesis, University of Birmingham, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.521258.
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This thesis is about debates over the nature of Ottoman society, particularly in its classical Age of the 14th-16th centuries. The idea that it was not feudal has constituted the ruling paradigm in Turkish historiography since the late 1930s. From the second half of the 1960s onwards, that proposition has come to be shared by theorists of the "Asiatic mode of production". This verdict involve, arguing from a model of (European) feudalism that had its heyday in the 19th century, but still continues to exercise some influence over western historians' minds. The study of Turkish historiography therefore opens up to the study of the development of medieval history in general, with both dimensions axed on the question of our notions of feudalism and feudal society. In chapter I, the basic features of the Ottoman timar system, which lies at the heart of the controversy, are presented, followed by a summary of the literature that favours the feudalism view. Chapters II and III deal with the rise and subsequent crisis of 20th century Turkish nationalist historiography, concentrating on the works and ideas of Fuat Koprulu, Omer Lutfi Barkan and Halil 1nalclk. AMP theory is dealt with in Chapter IV. Chapter V reviews the recent developments in western medieval history that, it is argued, have rendered the notion of feudalism utilised by the proponents of the Ottoman non-feudalism thesis obsolete. The thesis concludes with a sketch of the specificities of Ottoman feudalism in comparative perspective.
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Vieira, de Andrade Ana Lúcia. "Margen y centro : dramaturgia femenina Brasileña contemporánea." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38429.
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The aim of this thesis is to give an account of the position taken by certain women dramatists in the context of both box-office success and theatre criticism in Brazil in the latter half of the twentieth century in order to provide a panoramic view of the way the Brazilian theater canon reacts to the work of women authors, by either incorporating it or not, according to political and social circumstances. It is hoped then that a more comprehensive vision of these dramatists will result than that of the traditional academic criticism which either elevates by acceptance or dismisses by ignoring or playing down their work. The production of three dramatists will be analysed here, namely, those plays by Leilah Assuncao, Maria Adelaide Amaral and Isis Baiao which fall into the period 1969--1999, and which exemplify two key tendencies in the Brazilian theatre of the last thirty years. These tendencies are: first, the attempt to widen the traditional horizon of politicized theatre by adding to its socio-political concerns a focus on the individual and his/her particular agenda, and, secondly, the break with any specifically aesthetic or conceptual format on stage in a blurring of the legacies of tradition and the vanguard, in which a "hybridism" of form and language is particularly noticeable in the privileging of a kind of writing that is not bound by formal limits. Such an analysis has made it possible to highlight how determined types of reaction may be altered along the time when different interpretive parameters are used by the critical community and by the public. While a certain sympathy is shown here for the feminist reading of the ideological bases of the literary canon, this is done not only to corroborate the masculine bent of such a canon to the exclusion of the Other, but also to prove that the criteria regulating excellence are products of a specific ideology which changes according to its sociohistorical context. The ultimate goal here is, thus, to make
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Wong, Chi-keung Frederick, and 黃志強. "Postmodernism, drama, language: Waiting for Godot and Inadmissible evidence revisited." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31951053.
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Menguc, Murat Cem. "Historiography and nationalism : a study regarding the proceedings of the First Turkish History Congress." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79796.
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This thesis attempts to establish the First Turkish History Congress (July 2--11, 1932) as an exemplary moment that can help us understand the relationship between nationalism and historiography. The thesis first examines the roots of nationalist historiography in the West and in Ottoman Empire, and then paraphrases the proceedings of the congress in detail. It arrives at the view that during the formation of a nation state in alignment with European standards, Turkish nationalists within the Ottoman Empire often found it necessary to review the methodology and the content of history books. The break with Ottoman historiography was a result of the uniform Western approach to the past, promoted by Western schools of thought. Thus, to become a nationalist meant to re-write history in Western fashion.<br>Available sources on the First Turkish History Congress and the role of religion and language for the Turkish nationalist endeavors are referred throughout the thesis. In its conclusion, this study raises questions about the close relationship between nationalism and historiography, and the influence of nationalism on our view of history today.
Books on the topic "Turkish drama – 20th century"
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1937-, Lindley Mark, ed. Techniques of 20th century Turkish "contemporary" music: An introductory survey. Pan, 2011.
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Chattopadhyay, Rita. Modern Sanskrit dramas of Bengal, 20th century A.D. Sanskrit Pustak Bhandar, 1992.
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McCallum, John. Belonging: Australian playwriting in the 20th century. Currency Press, 2009.
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McCallum, John. Belonging: Australian playwriting in the 20th century. Currency Press, 2009.
Find full textBook chapters on the topic "Turkish drama – 20th century"
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Jin, Fu, and Zhang Qiang. "Modern drama and “feudalism, capitalism and revisionism”." In A History of Chinese Theatre in the 20th Century IV. Routledge, 2021. http://dx.doi.org/10.4324/9781003205159-2.
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Jin, Fu. "Upholds of three theatrical categories (new historical drama, adapted traditional drama and modern drama)." In A History of Chinese Theatre in the 20th Century III. Routledge, 2021. http://dx.doi.org/10.4324/9781003171171-8.
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Jin, Fu. "National joint performance and review of spoken drama." In A History of Chinese Theatre in the 20th Century III. Routledge, 2021. http://dx.doi.org/10.4324/9781003171171-4.
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Yolcu, Özgü. "Youtube as a New Broadcasting Medium for Turkish Tv Dramas: The Case of the Magnificent Century Drama." In Transnationalization Of Turkish Television Series. Istanbul University Press, 2021. http://dx.doi.org/10.26650/b/ss18.2021.004.008.
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Gulcur, Ala Sivas. "Historical Epic as a Genre in Popular Turkish Cinema." In Advances in Media, Entertainment, and the Arts. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6190-5.ch015.
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Cinema, born as a part of entertainment industry, became an independent industry in the first half of 20th century. The film genre, which had a notable role in the industrialization of cinema, is not only a cinematic fact but also a social case including several economic, cultural, and ideological tools. The historical epic, which is one of the major film genres, emerged with the medium itself. Despite its Italian origins, the historical epic has remained largely American because of Hollywood's financial and technological possibilities. As the spectacular nature of this genre has been more visible than historical realities, these films have become notable parts of the entertainment industry. This chapter examines the historical epic as a film genre in popular Turkish cinema and its place in Turkey's entertainment culture and industry, particularly observing its prototype, The Conquest of Constantinople (1951), then evaluating its advanced example, Conquest 1453 (2012).
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Tepe, Fatma Fulya. "The Politico-Poetic Representation of Turkish Women in Türk Kadını Magazine (1966–1974)." In Advances in Media, Entertainment, and the Arts. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0128-3.ch003.
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This chapter aims to explore the ways women are represented in the context of 20th century Turkey by analyzing four poems, namely “Türk Kadını” (Turkish Woman), “Anadolu Kadını” (Anatolian Woman), “Kadın–Ana” (Woman-Mother), and “Ayşe,” published in the Türk Kadını magazine in the 1960s. Purposive sampling was used in the selection of the poems, which were later interpreted with the strategies of descriptive content analysis. In these poems, the Turkish woman is being represented and celebrated in at least the following four ways: (1) by being celebrated for combining heroism, goodness, and naturalness; (2) by having her struggle with primitive conditions of life celebrated as yet another form of heroism; (3) by being celebrated as a creative mother of the nation, charged with finding solutions to the problems of the country; (4) by being celebrated as a hardworking daughter of the nation to whom the country owes recognition and support.
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Sorba, Carlotta. "‘Comunicare con il popolo’: Novel, Drama, and Music in Mazzini’s Work." In Giuseppe Mazzini and the Globalization of Democratic Nationalism, 1830-1920. British Academy, 2008. http://dx.doi.org/10.5871/bacad/9780197264317.003.0005.
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This chapter observes and relocates the role of the arts in Mazzini's political reflections, seeing in it a kind of prelude to the aesthetic dimension of politics generally explored in the 20th century. Through a close analysis of his large output of literary and musical criticism (1826–44), it shows how the language of the arts, and especially drama as ‘the social art par excellence’, was considered by the Italian thinker to be the main means to communicate to the public – in a forceful and emotional way – political and national goals. Mazzini believed that, in the specific case of Italy, opera, with its active power to move, thrill, and provoke enthusiasm in Italian theatres, could play a crucial political role.
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Çömlekçi, Mehmet Fatih. "Public Broadcasting and Migration." In Handbook of Research on the Global Impact of Media on Migration Issues. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0210-5.ch001.
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This chapter presents an analysis of how migrants were represented in the Turkish media after the historic, cultural, and socio-economic development of the labour migration that started in the 1960s from Turkey to Germany. In this respect, the aim of the study was to reveal how a public television channel covered “guest worker” experience through its broadcasts. In the meantime, the news programs that the Turkish Radio and Television Corporation (TRT) produced about the migrants that went to Germany in the second half of the 20th century have been analyzed via content analysis method. This study explored the media representation of migrants' families including working women and young people; the manner in which the challenges of migrants' families were portrayed in the public space through public broadcasting; the projection of the politics of governments regarding the migrants; and the exposition of the transnational space where the migrants carry out their socio-cultural productions in Germany.
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Bunis, David Monson. "An Israeli University-Level Approach to Judezmo (Ladino), Traditional Language of the Sephardic Jews." In Teaching Language and Literature On and Off-Canon. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3379-6.ch012.
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Judezmo, or Ladino or Judeo-Spanish, is the traditional language of the Sephardic or Iberian Jews who after 1492 resettled in the Ottoman Empire, many of them remaining in the region into the 21st century. Structurally, Modern Judezmo is composed mostly of elements of popular medieval Ibero-Romance, Ibero-Arabic, Hebrew and Aramaic, Turkish and Balkan languages, and Italian and French. Into the first half of the 20th century, the language was written primarily in the Hebrew alphabet; from the second half of the 19th century, Romanization was also used, leading to the unique Romanization which predominates today. The language was not taught formally in the speech community until the 19th century; instead language study focused on Hebrew. In the late 1970s, popular social pressure led the Israeli government to acknowledge the important role played by Judezmo in the Sephardic Diaspora by introducing Judezmo courses in Israeli universities. The chapter focuses on the challenges of teaching Judezmo at The Hebrew University of Jerusalem.
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Tüzün, Selin, and Aygun Sen. "The Past as a Spectacle." In Advances in Media, Entertainment, and the Arts. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6190-5.ch011.
Full textAbstract:
Television plays an important role in shaping our perception of the past. Popular television fiction selects, alters, and reinterprets the past in order to appeal to a broad audience. The Magnificent Century (2011–present) is one such television drama, which unfolds during the reign of the Ottoman Sultan, Suleiman the Magnificent. The show, which is the most expensive Turkish television drama to date, promises its audience a spectacle. It has proven a huge success domestically and as of 2013 has been syndicated in 46 other countries. The show's success has been commodified both officially and unofficially. However, this is not to say that it receives unanimous acclaim, even in Turkey. It has provoked controversy due to the representation both of the period and of Suleiman himself. This chapter reflects on the implications of a historical-fiction television series for the contemporary social and political spheres.
Conference papers on the topic "Turkish drama – 20th century"
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YEŞİLBURSA, Behçet Kemal. "THE FORMATION AND DEVELOPMENT OF POLITICAL PARTIES IN TURKEY (1908-1980)." In 9. Uluslararası Atatürk Kongresi. Atatürk Araştırma Merkezi Yayınları, 2021. http://dx.doi.org/10.51824/978-975-17-4794-5.08.
Full textAbstract:
Political parties started to be established in Turkey in the second half of the 19th century with the formation of societies aiming at the reform of the Ottoman Empire. They reaped the fruits of their labour in 1908 when the Young Turk Revolution replaced the Sultan with the Committee of Union and Progress, which disbanded itself on the defeat of the Empire in 1918. Following the proclamation of the Republic in 1923, new parties started to be formed, but experiments with a multi-party system were soon abandoned in favour of a one-party system. From 1930 until the end of the Second World War, the People’s Republican Party (PRP) was the only political party. It was not until after the Second World War that Turkey reverted to a multiparty system. The most significant new parties were the Democrat Party (DP), formed on 7 January 1946, and the Nation Party (NP) formed on 20 July 1948, after a spilt in the DP. However, as a result of the coup of 27 May 1960, the military Government, the Committee of National Union (CNU), declared its intentions of seizing power, restoring rights and privileges infringed by the Democrats, and drawing up a new Constitution, to be brought into being by a free election. In January 1961, the CNU relaxed its initial ban on all political activities, and within a month eleven new parties were formed, in addition to the already established parties. The most important of the new parties were the Justice Party (JP) and New Turkey Party (NTP), which competed with each other for the DP’s electoral support. In the general election of October 1961, the PRP’s failure to win an absolute majority resulted in four coalition Governments, until the elections in October 1965. The General Election of October 1965 returned the JP to power with a clear, overall majority. The poor performance of almost all the minor parties led to the virtual establishment of a two-party system. Neither the JP nor the PRP were, however, completely united. With the General Election of October 1969, the JP was returned to office, although with a reduced share of the vote. The position of the minor parties declined still further. Demirel resigned on 12 March 1971 after receiving a memorandum from the Armed Forces Commanders threatening to take direct control of the country. Thus, an “above-party” Government was formed to restore law and order and carry out reforms in keeping with the policies and ideals of Atatürk. In March 1973, the “above-party” Melen Government resigned, partly because Parliament rejected the military candidate, General Gürler, whom it had supported in the Presidential Elections of March-April 1973. This rejection represented the determination of Parliament not to accept the dictates of the Armed Forces. On 15 April, a new “above party” government was formed by Naim Talu. The fundamental dilemma of Turkish politics was that democracy impeded reform. The democratic process tended to return conservative parties (such as the Democrat and Justice Parties) to power, with the support of the traditional Islamic sectors of Turkish society, which in turn resulted in the frustration of the demands for reform of a powerful minority, including the intellectuals, the Armed Forces and the newly purged PRP. In the last half of the 20th century, this conflict resulted in two periods of military intervention, two direct and one indirect, to secure reform and to quell the disorder resulting from the lack of it. This paper examines the historical development of the Turkish party system, and the factors which have contributed to breakdowns in multiparty democracy.