scholarly journals Vertical Bazaars of Modernity: Western Department Stores and Their Staff in Istanbul (1889–1921)

2009 ◽  
Vol 54 (S17) ◽  
pp. 91-114 ◽  
Author(s):  
Yavuz Köse
Keyword(s):  
Career Paths ◽  
Large Scale ◽  
Ethnic Composition ◽  
Department Stores ◽  
Daily Newspaper ◽  
History Of ◽  
Late Ottoman Empire ◽  
First Time ◽  
The City ◽  
Late Ottoman

SummaryThis article examines Western department stores active in Istanbul between 1889 and 1921. It explores two aspects crucial for the department stores’ retail system: location and personnel. It goes on to demonstrate that Western department stores were situated not only in the Western districts of the city but also in traditional areas, such as the bazaar district. Rather than being exclusive they appear to have been closely connected with local business and aimed to appeal to the ethnically highly mixed customer pool. Equally, the workforce was heterogeneous, with the majority of local employees having diverse ethnic backgrounds, including Greek, Jewish, and Armenian, though rarely Muslim. Based on a large-scale sample drawn from the address registers of the Annuaire Oriental yearbook, the analysis of personal letters, and on Ottoman daily newspaper and journals, this study sheds light on the individuals who worked at a number of department stores, their ethnic composition, sex ratio, duration of employment, the job types they carried out, as well as their income situation, career paths, and domiciles. It hopes to contribute to the labour history of the late Ottoman Empire by exploring, for the first time, the employees of Western department stores, workers who have rarely attracted the attention of scholars so far.

scholarly journals It’s All in the Reading

Arts ◽  
2020 ◽  
Vol 9 (1) ◽  
pp. 19
Author(s):  
Déirdre Kelly
Keyword(s):  
Contemporary Art ◽  
Mass Production ◽  
Large Scale ◽  
Book Production ◽  
Art Practice ◽  
The Arts ◽  
History Of ◽  
First Time ◽  
The City

It seems inherent in the nature of contemporary artist’s book production to continue to question the context for the genre in contemporary art practice, notwithstanding the medium’s potential for dissemination via mass production and an unquestionable advantage of portability for distribution. Artists, curators and editors operating in this sector look to create contexts for books in a variety of imaginative ways, through exhibition, commission, installations, performance and, of course as documentation. Broadening the discussion of the idea of the book within contemporary art practice, this paper examines the presence and role of book works within the context of the art biennale, in particular the Venice Art Biennale of which the 58th iteration (2019) is entitled ‘May You Live In Interesting Times’ and curated by Ralph Rugoff, with an overview of the independent International cultural offerings and the function of the ‘Book Pavilion’. Venetian museums and institutions continue to present vibrant diverse works within the arena of large-scale exhibitions, recognising the position that the book occupies in the history of the city. This year, the appearance for the first time, of ‘Book Biennale’, opens up a new and interesting dialogue, taking the measure of how the book is being promoted and its particular function for visual communication within the arts in Venice and beyond.

scholarly journals ARCHAEOLOGICAL EXCAVATIONS IN THE LOWER PART OF THE NIZHNIY NOVGOROD KREMLIN (PRELIMINARY RESULTS OF THE 2018-2019 EXCAVATIONS)

2021 ◽  
pp. 322-338
Author(s):  
Н. Н. Грибов ◽  
Т. А. Марьенкина ◽  
Н. В. Иванова
Keyword(s):  
Large Scale ◽  
Historical Context ◽  
Urban Centers ◽  
Preliminary Results ◽  
History Of Development ◽  
History Of ◽  
First Time ◽  
The City ◽  
The Temple ◽  
The Church

В статье представлены предварительные результаты первых масштабных археологических исследований в нижней части Нижегородского кремля. Раскоп, заложенный в зоне воссоздания храма Святого Симеона Столпника, вскрыл культурные отложения двух периодов - XIII - начала XV в. и XVI - середины XVIII в. Впервые средневековая усадебная застройка Нижнего Новгорода зафиксирована на таком элементе волжской долины, как береговой склон. Выдающееся значение для нижегородской археологии имеют обнаружение стратифицированных культурных напластований XIII - начала XV в. и зафиксированный на стратиграфических разрезах перерыв в активном освоении городской территории, соответствующий большей части XV в. Предложена реконструкция истории освоения раскопанного участка. Выяснилось, что связанный с храмом малоизвестный нижегородский Симеоновский монастырь вряд ли существовал до строительства Нижегородского кремля. Наиболее раннее, предположительно, монастырское сооружение, возникшее после исчезновения усадебной застройки XIII - начала XV в., датировано концом XV - серединой XVI в. С этим периодом связано строительство деревянного моста, обеспечивавшего транспортное сообщение между «нагорным» и приречным районами города. Обнаружение остатков этого свайного сооружения существенно корректирует известную реконструкцию застройки кремлевской территории начала XVII в., выполненную по письменным источникам. Дано обоснование времени функционирования обнаруженного некрополя Симеоновского монастыря в пределах середины XVI - начала XVIII в., приведена общая характеристика изученных погребений. В общеисторическом контексте материалы исследований представляют интерес для изучения процессов, сопровождающих превращение удельных городских центров в города Московской Руси. The article presents preliminary results of the first large-scale archaeological research in the lower part of the Nizhniy Novgorod Kremlin. The excavation, laid in the area of the reconstruction of the Church of St. Simeon the Stylite, uncovered cultural layer of two periods - the XIII - early XV centuries and the XVI - mid XVIII centuries. For the first time, the medieval estate development of Nizhniy Novgorod was recorded on such an element of the Volga valley as the coastal slope. The discovery of stratified cultural strata of the XIII - early XV centuries and the break in the active development of urban territory recorded on stratigraphic sections, corresponding to most of the XV century, are of outstanding significance for Nizhniy Novgorod archeology. The reconstruction of the history of development of the excavated site is proposed. It turned out that the little-known Nizhniy Novgorod Simeon monastery associated with the temple hardly existed before the construction of the Nizhniy Novgorod Kremlin. The earliest, presumably, monastic structure that arose after the disappearance of the manor buildings of the XIII -early XV centuries., dated to the end of the XV - mid XVI centuries. This period is associated with the construction of a wooden bridge that provided transport links between the «Nagorny» and riverine districts of the city. The discovery of the remains of this pile structure significantly corrects the well-known reconstruction of the Kremlin territory of the beginning of the XVII century, made according to written sources. The justification for the functioning of the necropolis discovered Simeon monastery in the middle of the XVI century - beginning of the XVIII centuries, the general characteristics of the studied burials. In the general historical context, the research materials are of interest for studying the processes that accompany the transformation of specific urban centers into cities of Muscovite Russia.

scholarly journals Fatma Aliye Hanım: Gender Debates in Turkey

2018 ◽  
Vol 72 (3) ◽  
pp. 693-716
Author(s):  
Zeynep Direk
Keyword(s):  
Public Space ◽  
Early Republic ◽  
Public Intellectual ◽  
The Political ◽  
The Public ◽  
Political Impact ◽  
History Of ◽  
Late Ottoman Empire ◽  
Republic Of Turkey ◽  
Late Ottoman

Abstract This essay explores the late nineteenth and early twentieth Century gender debates in the late Ottoman Empire, and the early Republic of Turkey with a focus on Fatma Aliye’s presence in the public space, as the first Ottoman woman philosopher, novelist, and public intellectual. I choose to concentrate on her because of the important stakes of the gender debates of that period, and the ways in which they are echoed in the present can be effectively discussed by reflecting on the ways in which Fatma Aliye is read, presented, and received. In the first part of this paper, I talk about Fatma Aliye’s life and experience of her gender as a woman, and point to her key interests as a writer and philosopher. In the second part, I situate her in the political history of feminism during the Rearrangement Period (Tanzimat), the Second Constitutional Era (II. Meşrutiyet), and the institution of the modern Republic of Turkey. Lastly, in the third part, I discuss the diverse ways in which she is interpreted in contemporary Turkey. I explore the political impact of the reception of Fatma Aliye as an intellectual figure on the current gender debates in Turkey.

Ivan Kavaleridze`s dramaturgy on the Sumy stage

2021 ◽  
Author(s):  
D.V. Budianskyi
Keyword(s):  
Large Scale ◽  
Musical Comedy ◽  
Historical Figures ◽  
Wide Range ◽  
Socialist Realist ◽  
History Of ◽  
Characteristic Features ◽  
Old Men ◽  
The Impact ◽  
First Time

The characteristic features of I. Kavaleridze’s drama is considered in the article. It is noted that there are signs of the artist’s individuality, attraction to expressionist forms, artistic techniques characteristic for the art of sculpture: symbolism, monumentality, hyperbole. I. Kavaleridze was well versed in the drama laws, understood the specifics of the stage events construction, had a large arsenal of literary means, thanks to which the characters’ monologues and dialogues were extremely expressive and colorful. In his work, he implemented original solutions that were ahead of time. Therefore, many of the artist’s ideas and achievements received due recognition only after his death. I. Kavaleridze’s creative heritage covers a wide range of both purely artistic and general philosophical problems. Among them the formation of the era of modernism and its features in the Ukrainian art of the early XX century, the impact of revolutionary ideas on the work of the 1920s, the role of spiritual leaders of the Ukrainian people T. Shevchenko and G. Skovoroda in the formation of national consciousness, political and ideological pressure on figurative art language and the formation of a socialist-realist canon, etc. The analysis of the productions of I. Kavalerizde’s plays “The First Furrow” and “Gregory and Paraskeva” on the stage of the Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy in 1970-1972. The article notes that these plays were staged in Sumy for the first time in the history of Ukrainian theater. The premiere of “The First Furrow” (the play was called “Old Men”) took place on March 19, 1970. The figure of the national genius Hryhoriy Skov oroda was als o embodied for the first time on t he stage in Sumy in th e play “Hryhoriy and Paraskeva”. It premiered on October 21, 1972. I. Rybchynsky, Honored Artist of the USSR, performed the production. Creating generalized historical outlines of people’s life, features of life at that time, depicting psychological portraits of people in various, sometimes-dramatic collisions, in the productions of I. Kavaleridze’s plays on the Sumy stage the emphasis was on universal values such as virtue, love. The main character was the Ukrainian people, who nurtured such large-scale historical figures, gave them strength and wisdom for great achievements. Based on publications in periodicals of that time, memoirs of Ukrainian directors, the peculiarities of the director’s interpretation, stenographic and musical design of these plays on the Sumy stage are considered. Considerable attention is paid to the analysis of acting works in I. Kavaleridze’s plays. In particular, the peculiarities of the actor’s embodiment of the image of the national genius Hryhoriy Skovoroda on the stage are presented. It is noted that I. Kavaleridze’s plays, created in a difficult political, social and ideological context, are rightly considered to be highly artistic works of Ukrainian drama. Their staging was carried out on various theatrical stages, including Mykhailo Shchepkin Sumy Theater of Drama and Musical Comedy is an important page of national theatrical art.

The Shang burials at the Yangjiawan Locality of the Panlongcheng Site in Wuhan

2018 ◽  
Vol 18 (1) ◽  
pp. 81-88 ◽  
Keyword(s):  
Large Scale ◽  
Terminal Phase ◽  
Shang Dynasty ◽  
Wuhan City ◽  
Close Proximity ◽  
History Of ◽  
First Time ◽  
Grave Goods

Abstract In 2013, the Department of Archaeology, School of History of Wuhan University and the Panlongcheng City Ruins Museum excavated seven burials of the Shang Dynasty at Yangjiawan Locality within the Panlongcheng Site in Wuhan City. All the burials were vertical earthen shaft burials. Some of the burials featured waist pits, human and/or animal sacrifices. The grave goods assemblage included artifacts made of bronze, jade, stone, pottery, gold and turquoise. Some of the unearthed objects were seen for the first time in the archaeology of Panlongcheng. The burials can be roughly dated to the terminal phase of the Panlongcheng Site. The Yangjiawan Locality yielded the densest distribution of burials in the Panlongcheng Site. It was an important cemetery of the early to the mid Shang Dynasty. The cemetery was in close proximity to a previously excavated large-scale architectural foundation of the Shang Dynasty. Together, these findings are important information for the understanding of the layout of the Panlongcheng Site.

scholarly journals From Class Solidarity to Revolution: The Radicalization of Arsenal Workers in the Late Ottoman Empire

2013 ◽  
Vol 58 (3) ◽  
pp. 395-428 ◽  
Author(s):  
Akın Sefer
Keyword(s):  
Nineteenth Century ◽  
Working Class ◽  
Ottoman Empire ◽  
Economic Problems ◽  
Primary Documents ◽  
History Of ◽  
Late Ottoman Empire ◽  
Late Ottoman ◽  
The Revolution

AbstractThis article introduces a bottom-up perspective to the history of the Revolution of 1908 in the Ottoman Empire by focusing on the experiences of workers in the Imperial Naval Arsenal (Tersâne-i Âmire) in Istanbul. Drawing mainly on primary documents, the article explores, from a class-formation perspective, the struggles and relations of Arsenal workers from the second half of the nineteenth century until the revolution. The Arsenal workers’ involvement in the revolution was rooted in their class solidarity, which was revealed in a number of ways throughout this period. The workers’ immediate embrace of the revolution was spurred by their radicalization against the state; such radicalization stemmed from the state's failure to solve the workers’ persistent economic problems, and its attempts to discharge them and replace them with military labor. The case of the Arsenal workers thus points to the role of working-class discontent in the history of the revolution, a dimension that has thus far been only minimally addressed in Ottoman historiography.

Efforts towards Establishing a New State-conceptualized History in Russia

2018 ◽  
Vol 45 (1) ◽  
pp. 132-145
Author(s):  
Gyula Szvák
Keyword(s):  
Social Climate ◽  
New Approach ◽  
Self Image ◽  
Deep Conviction ◽  
History Of ◽  
The Media ◽  
Pluralistic Approach ◽  
First Time ◽  
The City ◽  
The Way

It would be too early to try and summarize the way in which the issue of Russia’s “state historical and remembrance policy” has evolved or foresee its possible outcomes, as the standard uniform set of schoolbooks has not yet been approved. The media-voting competitions presented in this essay, however, clearly demonstrate the national social climate and its trends, which would have to be moulded into some form of an “all-Russian socium” by such a new approach to history. As contemporaries we might curiously await the next rounds of the “identity battle,” but as historians we must give voice to scepticism in regards to hopes of any form of quick success. Yet most of all, we have to stand by the deep conviction that only a pluralistic approach to history based on free research and the freedom to present freely conceived alternatives can help in the crystallization of a realistic national self-image. P.S.: For the first time in the history of Russia a statue has been erected for Ivan IV (the Terrible, the Fearsome) in the city of Oryol on 15 October 2016. The countdown has begun.

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