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Sancaktan eyalete :|1550-1650 arasında Osmanlı ümerası ve il idaresi
(Thesis (Assoc. Prof.) - Bogazici University. Faculty of Graduate School in Social Sciences, 1975., 1975.) Kunt, İ. Metin, 1942-
Cebel-i Lübnan'da mutasarrıflık düzeni 1861-1915
(Thesis (Assoc. Prof.)- Bogazici University. Institute for Graduate Studies in Social Sciences, 1981., 1981.) Akarlı, Engin Deniz.
A young Turk journal: |Terakki
(Thesis (M.A.) - Bogazici University. Institute for Graduate Studies in Social Sciences, 1985., 1985.) Mert, Nuray, 1960-; Toprak, Zafer.
The history of architectural restoration in Turkey: |from 1869 to the present times
(Thesis (M.A. - Bogazici University. Institute for Graduate Studies in Social Sciences, 1985., 1985.) Türay, Esen.; Kuran, Aptullah,
With the Tanzimat Period, efforts of approaching the West, not only in terms of economics but also in terms of cultural aspects, are observed. And as a result of this, the interest of Europeans in antiquities form the motivating force of the approach to preservation rather than the indigenous cultural data of the country and the role of these data within the indigenous life. During this period, the issue is defined in Western countries in administration, legal and operational terms. On the other hand, no such effort is seen on the part of Ottomans although they had the necessary potential -both quantitatively and qualitatively- because the architeoture was already preserved in life. Till the first legal provision was taken under the influence of Europe, the preservation of architecture was carried out through repair. In this framework the aim of repair was to maintain tne oontinuity of function. Such an aim implies the use of fashionable styles of the period in preservation. The activities that began by the second half of the 19th century, concerning the protection of antiquities and the foundation of museums did not lead the intellectuals in the field to take the necessary measures for the organization of restoration activities which was a necessary branch. As the smuggling of archaeological findings from the country was the most important issue of the period and all legal arrangements were attempts to prevent this smuggling, the conviction that "strangers would not take buildings along with them" might have become a reason for this. Besides, the fact that the preservation of architecture was already inherent in everyday life might have rendered speoial measures unnecessary. Considerations of loyalty to the original characteristics of the period and the tendency to keep the parts added in the course of history even if they do not fit the original oharacteristics; now guide the restoration activities. Architecture, which was "repaired" in the past to maintain the "continuity of function", is "restored" for the "continuity of culture and history" today; in a developing country like Turkey, keeping the characteristics of being a problem deprived of publicity.
Seventeeth century Ottoman architecture as influenced by political social and economical movements
(Thesis (M.A.)- Bogazici University. Institute for Graduate Studies in Social Scieences, 1986., 1986.) Arap, Rita.; Kuran, Aptullah,
My thesis rests on the idea that the social, the political and the cultural events, in other words, the spiritual values and the moral judgements in a given community and age are reflected on the works of art of the period. Man, and more especially the artist who is the spokesman of the community, reacts to the stimuli of the outer world with its genious, creating thus works of art. This is more so in such arts as sculpture and painting which do not entail considerable financial difficulties. The situation becomes more difficult in the case of architecture, since constructions are materialized invariably following receipt of orders from customers. Architecture's main objective is utility, and aesthetic concerns come only after, once the functional and the technical problems have been resolved. So far, there has been no structure appraised strictly for its beauty. Only works meeting Man's requirement best are appreciated; if they are in harmony with the aesthetic conceptions of the age, so much the better. I have tried to illustrate this point by having recourse to the XVllth Century Ottoman artistic creations. As it will also be seen in the period in question, transition periods are the most interesting time segments for analysis as they give remarkable cues for a better insight to the anatomy of a given society. Seventeenth century is a period in which the centralized power which had been built up in the course of the preceding centuries, ever since the foundation of the Ottoman Empire is shaken. There are no new conquests, but the time is ripe for rebellions and revolts which give no respite; SuI tans and Grand Viziers come to- power only to be dethroned and removed from offi ce the v.ery next day, and the publi c di soriented is given to commerce with West. The intelligentsia has not many alternatives to offer to the State administrators who seem to b. at a loss. All these-find themselves reflected on the architecture of the period endowed with dynamism, far from being balanced which is the sign of stable equilibrium. The preceding period was the period in which Mimar Sinan, making the most of the facilities available had created his masterpieces in the brightest age of the Ottoman history and had earned a worldwide fame. The majority of the XVIIth century architects were unfortunate in that they had been preceded by such a genius. Some had known him personally and some had worked under his guidance and been closely acquainted with his concepts. It was naturally difficult to free themselves from his influence in search for originality, of the lack of which they were going to be accused. Mimar Sinan's works traced a line of evolution; each one of his creations introducing a novelty in the art of architecture, as detailed analyses have elucidated in the course of centuries. It was XVlIth century architecture's ineluctable fate to be accused of being a facsimile of this great man's genius. This was the reason of its relegation. Living conditions had changed, and in parallel with these new instinctual tendencies had emerged in arts, even though imperceptible at the outset. The sober and poised architecture of the classical period did no longer appeal to the XVIIth Century Man. Pointed minarets and high domes, decorations, architectural forms, all, reflect the revolts, the disappointments, the turmoils and the apprehensions of the community. One need no seek the origin of such changes in foreign influences. The Baroque Style had evolved, in the XVlIth Century Europe, in the wake of the Renaissance following the marriage of ideal beauty and harmony with the technological advances in the periods of war dominated by religious conflicts. The result was the eruption of an artistic style full of dynamism, based on sharp contrasts, hidden beneath plaited forms, aiming at bewildering the onlooker and praising itself of being accessible but with difficulty. The situation was no different in the Ottoman Empire. Though there were no religious conflicts and advances in technology, there were other factors which were to bring about similar results. XVllth Century Ottoman arts bear the typical characteristics of Baroque Style. If the statesmen in the XVIIth Century had not turned to the West to seek remedy for their political ills, the spontaneous evolution of the Ottoman architecture wmuld have produced its own Baroque Style. Behind the illusory foreign influences in the decorative arts, traditional architectural forms survived in the history of art and the Baroque style remained restricted to the metropolitan area in the Capital. On the assumption that the idea of eternal recurrence might well hold true also for arts, new tendencies arose, in the XVIIth Century, in reaction to foreign influences, which meant imitating the classical prototypes. In their outlines, views presented by this century widely differ from those of the AVIth and XVIIlth centuries in terms of artistic trends. However, a break-down per items of the' changes which took place after the 2nd half of the XVlth century, to be more precise, after the construction of Sinan's masterpiece, Selimiye, until the 18th century shows that the XVIlth Century was a remarkable transition period which played its part quietly. Anyhow, artistic trends never evolve in sharp spikes, but follow a smooth curve. As a ffiatter of fact, stirrings, imperceptible at the outset, begin to brew in time, then they undergo evolution after a gestation period, and attain maturity; but, we can detect these only through retrospective impartial looks. Dynamism reflected on the fa9ades of the building and intensive tile decorations are but moderate specimens of the excessive ornamentation of the Baroque period; Evliya Qelebi described the mansions of the period in the following terms: "They have running water facilities, fountains of water with a jet in the middle" which explains that the world famous Turkish horticulture was not a spontaneous growth but had its antecendent before the advent of the "Lale Devri" (Tulip Age).
Ottoman medical institutions an architectural analysis
(Thesis (M.A.)- Bogazici University. Institute for Graduate Studies in Social Scieences, 1986., 1986.) Almas, Tülin.; Kuran, Aptullah,
From the architectural point of view, the hospitals erected during the ottoman era are among the least-studied types of structures. Hospitals constructed especially in the 15th and 16th centuries reflect the architectural features of the Seljuk, and even early-Islamic structures. The earliest hospitals are only known to us through literary references which provide information mostly concerning their administration. Those that have survived from the early-Islamic period, on the other hand, form the origin of Ottoman hospital architecture. Actually, we can trace the origin of Ottoman hospitals to an even earlier date where we find the origin of medreses, in the Central Asian houses or Buddhist viharas. The remarkable changes and improvements that took place in the development of medical science and the treatment methods through centuries are not observed in the architecture of the hospitals. The major architectural changes in the Ottoman hospitals started after the 17th century with the influences of the west. Those erected during the 15th and 16th centuries bear the characteristics of the Classical era and actually represent ottoman hospital architecture. While following the pre-Ottoman tradition with their plan-scheme they created a peculiar style in the arrangement of spaces as well as in some architectural elements. Although they were the successors of the Seljuk hospitals, unlike them, they were built as a part of a great complex, and in addition to their general arrangement they are more orderly, geometrical and plain in their mass. Some changes are also observed in the architectural elements. The fact that these hospitals were always planned in a complex and in close relationship with the medrese shows that they were not just a shelter for the sick, but that illnesses were treated by physicians who were trained in the medical school, and that the vakıf met the expenses and provided free cure to the patients. This emphasizes the importance given to health institutions and medical developments during the ottoman period.
Ottoman architecture: |a reappraisal of the European influences
(Thesis (M.A.) - Bogazici University. Institute for Graduate Studies in Social Sciences, 1986., 1986.) Thys, Lucienne Marie.; Kuran, Aptullah,
The following thesis investigates the dynamics of architectural change that occurred in the Ottoman capital during the nineteenth century. This era of Ottoman history is a highly complex one, characterized by tremendous political, social as well as architectural and urban changes. Traditionally, it has also been an era that has been perceived by most Ottoman historians as one of decline. In recent scholastic works, however, historians are reevaluating the events of the last century of the Empire's existence and allowing for other, more complex, frameworks of historical analyses other than that of a gradual decline. My own interest in the architecture of this period began because I continually found in the architectural history written about the nineteenth century structures of Istanbul that this bias of a historical decline was generally the basic starting point for most scholars of nineteenth century Ottoman architecture. Occasionally, one finds buildings designed by Ottoman architects are cursorily dismissed as "degenerate" or "bombastic" European imitations. l Alternatively those structures built by European architects working in the capital city of the Empire are seen as concrete manifestations of European imperialistic ambitions in the Near East. 2 Too often the architectural works of the last century are allotted a few pages at the back of a book on Ottoman architecture or, worse yet, completely ignored. In order to better understand the architecture built during this era of great change and transition, I suggest that we put aside our traditional historical and political biases and broaden our avenues of inquiry in a number of ways. First, any study of nineteenth century Ottoman architectural history must include an investigation into the corresponding architectural movements of Europe. Several of the Ottoman palace architects, who built during the nineteenth century. if they were not Europeans themselves, were trained in Europe. Additionally, the patrons of many of Istanbul's nineteenth century structures were members of the Empire's European community that was located in the Galata area. In order to fully understand the European influence on Ottoman architecture and the synthesis of the two, a knowledge of architecture in both regions is necessary. Secondly, an obvious point but one that is many times overlooked, is that architecture can be used as an invaluable measure of historical change. It is essential, however, that it be treated differently than documents, treaties, wars and other standard materials historians use to help reconstruct history. Architecture and art have another dimension - that of the aesthetic which requires additional tools of analysis and sometimes a very different framework altogether. It is for this reason that the discipline of art history has emerged in the last century. While peoples and languages may be divided by borders, artistic changes are extremely fluid and generally do not remain constricted by geographical or political boundaries. Thirdly, we must remember that the very essence of architecture lies in its composite nature. All architects draw inspiration and ideas from previously built structures either by adopting, rejecting or somehow modifying earlier architectural concepts. In some eras, such as the nineteenth century, the eclectic nature of artistic creations was greater than in other centuries where individuality and uniqueness in architectural expression was more highly valued. Architects, both European and European-trained Ottomans, designed their buildings according to a set of architectural principals which encouraged the use of a variety of historicizing architectural motifs. This historicizing eclecticism eventually evoked a reaction among twentieth century architects and architectural historians alike. Thus, one must be careful, not to let the biases of the present century minimize the achievements of architects who built a century earlier when a different type of architecture was valued. In the final analysis, the architects working in Istanbul during the nineteenth century were the builders of new types of buildings in the Empire: palaces, military barracks, train stations, apartment buildings, hotels, banks and government buildings. Some of these architects acted as mediators of culture and technological change between Europe and the Ottoman Empire: others were responsible for the foundation of the architectural schools in the Empire that trained and produced the first members of the new Turkish architectural profession. In short, both the Ottoman and European architects of nineteenth century Istanbul "planted the seeds of a new architectural era and thus should rightly be considered the bridges between the old world and the new."
Traditional Ottoman rebellions and the people: |the case of 31st March incident
(Thesis (M.A.) - Bogazici University. Institute for Graduate Studies in Social Sciences, 1986., 1986.) Çağalı, Gül Gürsel.; Toprak, Zafer.
Origins and the rise of Turkish nationalism: A case study: Türk Yurdu
(Thesis (M.A.)-Bogazici University. Institute of Social Sciences, 1988., 1988.) Akın, Rıdvan, 1959-; Toprak, Zafer.
As is well-known, Turkish Nationalism became the dominant ideology of the late constitutional period and continued to be so until the establishment of the Republic. As as ideology it initially confronted the other deeply rooted mentalities and their political forms, such as Ottomanism and Pan-Islamism. Howeyer, the pressing needs and decaying conditions of the Ottoman body politic which gave rise to Turkish Nationalism also brought it to the forefront of the circles of power. Leading Nationalists among the emigrant figures such as Akçuraoğlu, Ağaoğlu and the like from the North were thus able to find a positive atmosphere to disseminate their long held views as the immediate Natianalist aims. Other nationalists saw the First World War as the opportunity to break away from the restrictive conditions imposed by the imperial powers on the Ottomans for centuries. Despite the fact that The Empire in its struggle against the Entente powers gradually went through many phases ending up with the inevitably collapse by 1918, this did not mean the end of Turkism as an idealogy but its survival and resurgence in a wore rational and limited form in setting up of the new state; the Republic of Turkey.
The double-headed eagle of the Seljuks :|a historical study
(Thesis (M.A.) - Bogazici University. Institute for Graduate Studies in Social Sciences, 1989., 1989.) Peker, Ali Uzay.; Kuran, Aptullah,
The history of Yedikule and its place in military architecture
(Thesis (M.A)- Bogazici University. Institute for Graduate Studies in Social Sciences, 1991., 1991.) Koca-Eğrikavuk, Oya.; Kuran, Aptullah,
Salonika in the late Ottoman Era :|(late 19th and early 20th century)
(Thesis (M.A.) - Bogazici University. Institute for Graduate Studies in Social Sciences, 1991., 1991.) Aktsoglou, Iakovos J.; Toprak, Zafer.
Merchants and the state in Turkey-from Empire to Republic
(Thesis (M.A.)- Bogazici University. Institute for Graduate Studies in Socials Sciences, 1992., 1992.) Karaömerlioğlu, M. Asım.; Toprak, Zafer.
This thes is covers the pIace of merchants and the ir world view in the transition period from Empire to Republic in Turkey. Merchants functioned as the most important link with the world economy. In that sense, merchants had a very specific position in the economy of the early Republican era. A proper understanding of the social history of this period transition requires not only the analysis of concrete realizations but also that of projects. proposals and expectations of this social stratum which were not necessarily implemented. Besides. interact ion between the state and these merchants also provide important clues to the nature of the state ideology and policies of the time.
A study in commercial life and practices in Istanbul at the turn of the century :|the textile market
(Thesis (M.A.) - Bogazici University. Institute for Graduate Studies in Social Sciences, 1993., 1993.) Tanatar-Baruh, Lorans.; Eldem, Edhem,
This sectorial based market study, analyzes the commercial life in Istanbul at the turn of our century. In other words, the thesis concentrates on merchants and workers dealing with international trade, market mechanisms, analysis of textile goods and consumption behavior. This micro analysis which retraced the socioeconomic life of Istanbul, is aiming to equip us better in order to situate the city in the international trade of the Empire.
Production and trade of opium in the Ottoman Empire, 1828-1838
(Thesis (M.A.) - Bogazici University. Institute of Social Sciences, 1995., 1995.) Matsui, Masako.; Deringil, Selim,
Opium was a product which dramatically changed Chinese history in the nineteenth century. Twice it caused war between Britain and the Qing Dynasty and forced the latter to sign the free trade treaty. The British exploitation of Indian opium is widely recognized yet the fact that the opium was also imported to China all the way from the Ottoman Empire is not well-known. Americans' attempts to enter the lucrative opium trade initiated Anatolian opium exports to China. The international opium trade network was established through the European expansion. The production of Turkish opium increased according to the demand in China and its trade proved to be profitable. This in turn caused the Ottoman Empire to impose a monopoly , Yed-i Vahid, on the trade of opium from 1828-1838 thus to increase its revenue which the empire was in desperate need to finance the incessant wars and reform movements at that time. The monopoly of trade, including opium, was abolished through the Free Trade Treaty signed between the Ottoman Empire and Britain in 1838, which promised the Ottoman Empire to acquire the British military support to fight against Muhammad Ali. As a result, however, the Free Trade Treaty began to deprive the empire of its revenue, such as the profit from the opium monopoly , causing difficulty in implementing the reform movement in the long run. The thesis tries to analyze this transformation of the opium trade and production in the Ottoman Empire both from international and internal perspectives.
Fukuzawa Yukichi and Ahmet Mithat Efendi: |a comparative study of the two leading figures of modernization in Japan and the Ottoman Empire in the 19th century
(Thesis (M.A.) - Bogazici University. Institute of Social Sciences, 1995., 1995.) Öztürk, İbrahim.; Esenbel, Selçuk,
TIle subject matter of this thesis is a comparative study of the two prominent figures of the modernization attempts of the nineteenth century Japan and tile Ottoman Empire, namely ukuzawa Yukichi and Ahmet Mithat Efendi respectively. From the view point tile current research agenda, their thoughts on the concepts of civilization, progress, science, economics, independence and freedom was examined. Besides their critical approach to their civilizations, their related prescriptions for the existing backwardness were also discussed.
The interpretation of Turkish movements into Anatolia during the eleventh and twelfth centuries
(Thesis (M.A.) - Bogazici University. Institute of Social Sciences, 1995., 1995.) Woodall, G. Carole.; Necipoğlu, Nevra.
The entrance of the Turks into Anatolia in the eleventh century marked the beginning of a cultural transformation process which lasted until the fifteenth century, coinciding with the collapse of the Byzantine Empire and the rise of the Ottomans. During the course of four centuries, Anatolia experienced a cultural transformation, i.e. the Turkification of the society through the processes of nomadization and Islamization. Although twentieth-century scholarship has studied the first wave chronologically and thematically, with emphasis placed upon the effects of Turkification on Byzantine society and the policies of the Anatolian Seljuk state, the term "Turk" and the various groups it embraces (Tiirkmen, ghazi, and warrior), as well as the motivating forces inspiring movements into Anatolia, have not been sufficiently examined. After a review of secondary scholarship, the contexts and inherent problems of the sources as reflective of the social milieu of that time period is approached thematically with a chronological treatment of the Byzantine and Armenian sources. The depiction of a nomadic invasion into Anatolia is then contrasted with the jihad-ghaza atmosphere portrayed in the later Turkish epics, The Legend of Dede Korkut and the Danishmendname, which contain discrepancies stemming from their perspective in time.
Ottoman court ceremonies and the multiple ceremonial center
(Thesis (M.A.) - Bogazici University. Institute of Social Sciences, 1996., 1996.) Peksevgen, Şefik.; Deringil, Selim,
This study, titled as "Ottoman Court Ceremonial and The Multiple Ceremonial Center", attemptes to investigate the ceremonial borders of the Ottoman Court. The second concern of this study is to look for a ceremonial center in these borders and then is to show the flowing nature of this center which will be called Multiple Ceremonial Center at the end of the study. The time which this study concentrates on is the last three decades of the eighteenth century. When the archival documentation is available and pertaining to the context of the study, first two decades of the nineteenth century and some references to the sixteenth are included. The first chapter deals with the archival documentation pertaining to the subject. In this chapter, content and the frequency of the documentation and the method they were used in this study are disclosed. The second chapter deals with certain examples of the Ottoman Court Ceremonial. This chapter gives descriptions of the some main ceremonial performances that take place in the Ottoman Court. The final chapter of the study attempts to draw the borders of the space where these ceremonies are performed and to show that the political gravity is centered differently during the ceremonies. The appendix section includes the archival documentation used for this study.
"Every picture tells a story": |an analysis of the crime-atrocity-murder illustrations in Servet-i Fünun as recurrent messages emphasizing a critique of the west
(Thesis (M.A.) - Bogazici University. Institute of Social Sciences, 1996., 1996.) Emre, Side.; Deringil, Selim,
The current study of Side Emre which is titled as "Every Picture Tells A Story: An Analysis of the Crime-Atrocity-Murder lllustrations in Servet-i Fiinun as Recurrnet Messages Emphasizing A Critique of the West" endeavoured to analyze and interpret several disconnected issues of the illustrated Ottoman popular periodical Servet-i FÜnun published in the years 1891, 1892, 1893 and 1895. The main focus ofthe study lied on the interpretation of the textual and illustrative materials of Servet-i Fiinun with a gradual condensation on the crime-atrocity-murder illustrations and articles. Chapter I dealt with the first three issues for the aim of tracing the character and format of the periodical. The "texture" of the periodical was analyzed via a synthetic and comparative method. Chapter fl, dealt with a number of thematically categorized illustrations of Servet-i Fünun, to expose various "visual channels of Westernization" that were being utilized. This chapter proposed several sub-branches of visual channels under the "foreign" and the "domestic" agenda. The final chapter of this study was about the textual and compositional interpretations of the "crime-atrocity-murder" illustrations with the aim of deciphering the messages emphasizing a criticism of the West. The main channel of research in this study consisted of a thorough and minute examination of first-hand sources in Ottoman Turkish and English. Several issues of Servet-i Fünun, Musavver Cihan, Malumat, Hazine-i Fünun, The Levant Herald and The Oriental Express were analyzed. The Appendix sections disclose the Turkish transcriptions of the examined issues of Servet-i Fünun and Musavver Ciban. Apart from that, the Press Memoirs of Ahmed ihsan Tokgoz, "Matbuat Hatıralarım" and "Tahsin Paşa'hn Yıldız Hatıraları, Sultan Abdülbamid" were the only bibliographical materials that were referred to in this study.
Imperial visions and narrations: |British imperialism in India and its reflections in literature 1857-1947
(Thesis (M.A.) - Bogazici University. Institute of Social Sciences, 1997., 1997.) Göksel, Sema Emel.; Eldem, Edhem,
This study attempts an analysis of novels written about the British India of the 1857-1947 era.The novels have been chosen according to their authors' personal experience in India and the times and themes of their concern. They are valuable sources of information about the birth, rise, and fall of imperialist ideologies and practices in India, and throw light on the social, racial, cultural, and political conflicts that resulted from these ideologies and practices. The analysis of the visions and narrations of Kipling, Forster, Orwell, Narayan, and Scott reveals not only the effects of imperialism on the colonisers and the colonised, but also a dominant discourse which emerges especially from the English authors. The history of British imperialism in India and its effects, India and Indians are not always presented objectively or truthfully in these novels, and this points to the influence of some of the dominant views of the authors' time and to the reasons of the creation of some common prejudices and illusions about India. In this sense they also reflect the close ties bet\veen culture and imperialism. The deconstruction of the myths about India and the revelation of the imperial process, especially from a social and cultural perspective, gains importance as some of these myths about India are still alive today.

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