Mapping Yeşilçam: A relational approach to the Turkish film industry

Turkey’s Yeşilçam film industry produced more than 5500 films during its lifetime of 40 years. The industry had a unique narrative approach shaped around its economic model, Turkey’s ambivalent connection with modernization and the country’s domestic culture. Yet, particular characteristic qualities of the industry remained rather limited up until the last decade, in which vast databases were built up as a consequence of the digital turn. In this study, we develop a relational approach and conduct network analysis to the Yeşilçam with the aim to better understand the patterns of its constitution. Our findings suggest that Yeşilçam was not a homogenous industry as often considered by the film scholarship, rather divided into two main clusters in which professional, narrative and financial dynamics were significantly different.

Silent spring of culture

The paper deals with the problem of library business in the era of “market relations”. Material imperatives, the time of bright applications, flashy advertising, beckoning bad taste suppresses the desire of people to join the true values of world and domestic culture.

Avant-Garde Appearance of Russian Folklore in the Vocal and Instrumental Works of Composers of the Second Half of the ХХth Century

in the second half of the twentieth century, when the avant-garde proposed truly revolutionary principles for organizing the sound environment, not only the treasures of ancient Russian church music were rediscovered, but also the interest in Russian spiritual culture as a whole, including musical folklore, significantly increased. Russian society at the end of the century was engulfed in disbelief, disappointment, fatigue. Hence there are images of the “decaying” world, the end of the world. The apocalyptic situation manifested itself not only in the fire of civil wars, but also in the feeling of disharmony of people with themselves and with others. As a result, domestic culture began to return to the fold of universal human values, eternal problems and traditional ideas about peace and good. This article considers the basic principles of the implementation of musical folklore in the vocal and instrumental works of domestic avant-garde composers of the second half of the twentieth century. It is noted that neo-folklorism, which arose in domestic music in the 1980–1990s in connection with the idea of national revival, through the semantics of rite, cult archaic, means of folk musical language, strengthened the Russian roots of domestic culture and strengthened the national philosophical heritage embedded in folk music.

Producing Modern German Homes

This chapter considers the idea of nation branding. The term nation branding describes a branding effort at the national level that substantially follows the logics that develop the specific properties of a product brand. Such branding evolved in the postwar period in Germany from simply harnessing firm reputation to employing symbolic values, such as cultural or historical factors. On both sides, coherent communication was crucial for the success of branding. To reinvigorate the “Made in Germany” brand, a network of designers and producers created a narrative of political signifcance around their products. Similar to a product brand, the products of national domestic culture were intended to offer both German populations a sense of identity as well as promote their cultural achievements abroad.

Lower-middle-class Domestic Leisure in Woman’s Weekly, 1930

Eleanor Reed explores the status of domestic leisure in issues of Woman’s Weekly during 1930 when many middle-class housewives looked to labour-saving technologies to produce status-defining domestic leisure. Woman’s Weekly initiates and reflects the aspirations and anxieties of a readership eager to cement its position in an expanding, diversifying and competitive middle class. The magazine’s lower-middle-class distinctiveness emerges through comparison to Good Housekeeping, a glossy domestic monthly targeting middle-class housewives with larger budgets. Rather than following Pierre Bourdieu and others in portraying lower-middle-class culture as an inauthentic copy of leisure-class culture, this essay argues that Woman’s Weekly contributes to the production of an ideologically distinctive lower-middle-class domestic culture in which its readers can take pride. This culture is problematized however by its suspected source in the magazine’s unknown producers, some of whom were men; a circumstance alluded to in Stevie Smith’s 1936 Novel on Yellow Paper.

Framing 'Islamic Art' for Aesthetic Interiors: Revisiting the 1878 Paris Exhibition

The 1878 Exposition Universelle in Paris is known for the substantial scope and content of its Islamic art displays ‐ the most extensive offered to an international audience by that date. A renewed analysis of this influential event demonstrates that it featured a network of distinct ‐ though often interlinked ‐ installations that come under the label of 'Islamic art', situated across a complex site. These included national initiatives, such as L'Égypte des Khalifes, sponsored by the ruling Khedive of Egypt, and the purpose-built Pavillon de la Perse, constructed by master-builders dispatched from Qajar Tehran. Commercial undertakings included a display of Vincent Robinson's Iranian carpets in the British India section. At the Galerie orientale curated by Albert Goupil in the Palais du Trocadéro, other objects loaned from private collections were presented. Common across these various displays was persuasively staged architecture. This article argues for the centrality of architectural salvage and reconstruction in the early history of private and public displays of Islamic art. By examining the different individuals who created both L'Égypte des Khalifes and the Galerie orientale, article proposes a new assessment of an elite domestic culture, pursued by affluent bachelor aesthetes of the period, with many modern resonances.

Zeitvermittlung als Kulturtransfer am Beispiel der deutschen Übersetzung von Ousmane Sembènes Novelle Le mandat (Die Postanweisung)

The article investigates cultural transfers related to the expression of time and indications of time in the German translation of Ousmane Sembène´s novel Le mandat / Die Postanweisung (The money order). The paper points out the significance of time, not only as an important parameter of the narration in the selected novel, but also in the way it is used by the different actors, and especially by the main actor Ibrahima Dieng, in social interactions and human relations. Furthermore, I investigate in this article how expressions related to time indications that are deeply rooted in the author’s domestic culture, are translated and/or transported in the German version of Sembène’s novel.