1,720,980 research outputs found
Domesticating and displaying fire: the technical and aesthetic evolution of Ottoman fireplaces
No full textThroughout the early modern period, wealth and the desire for domestic comfort shaped an intensely intertwined yet intricate set of concepts centered on the hearth. For Western Europe, scholars have investigated quite thoroughly the increasing demand for warmth and the evolution of heating systems.The situation in the Eastern Mediterranean has attracted less attention, even from specialists of the Ottoman Empire. This essay aims to explore Ottoman wall-mounted fireplaces as a building technology and an opportunity for sculptural expression in luxurious interiors. The main goal is to shed light on technical improvements as well as material and formal changes that took place between the late seventeenth and beginning of the nineteenth centuries, a period of intense architectural renovation both in the Ottoman capital and its provinces
Percezione e restauro dell’architettura ottomana dei secoli XVIII-XIX a Istanbul: costruzione, conservazione e identità dall’impero alla repubblica
No full textPerception and restoration of the Ottoman Architecture of 18th and 19th centuries in Istanbul: Construction, conservation and identity from the Empire to the Republic. Starting from the publication of Usul-u Mimari-i Osmani in 1873, Ottomans began to display a certain sense of alienation towards the architecture built in the capital of the empire since the early 1740s. In this text, the post-classical Ottoman architecture was criticised for being unoriginal, excessively Westernized, and far from the “local” artistic values. Therefore, the so-called Ottoman Baroque of the XVIII century and the Eclectic buildings of the following decades, which at their moment served as a tool for refreshing the capital with new sultanic images, started being overtly refused. After the earthquake which heavily damaged Istanbul in 1894, many buildings of the capital underwent important restorations, initiating a new relation with the artistic and architectural heritage of the post-classical period. Throughout the XIX century and till ca 1960s, the elements which were not seen as “fully Ottoman” were replaced by new, archaizing ones in different degrees and manners. This essay investigates how the Ottomans adopted and subsequently refused the Western-related forms in building and conservation practices and in which manner the Early Republic in Turkey has dealt with the question. The cultural identity, construction and conservation matters are interrogated together to give a panorama of the subject, trying to understand the social and political dynamics of Istanbul in the aforementioned period
Las bibliotecas del siglo XVIII de Estambul entre la invención y la innovación: el caso de la Biblioteca del Complejo de Nuruosmaniye (1748-1755)
No full textCon la construcción de la Biblioteca Köprülü en 1678, nació en Constantinopla un tipo arquitectónico totalmente nuevo. Hasta la introducción de la prensa turco-otomana en el imperio en 1729, el libro se mantuvo como un bien material precioso y raro, accesible solo en un grado limitado y exclusivamente para las clases altas de la sociedad. Antes de la Biblioteca Köprülü, los libros se guardaban en estanterías dentro de las mezquitas, escuelas primarias y secundarias, complejos funerarios y hermandades religiosas. Como resultado, solo eran accesibles para académicos, religiosos y estudiantes. La afirmación y difusión de esta nueva tipología arquitectónica tuvo lugar en el período en que la élite otomana interactuó (y se enfrentó) en todas las áreas de la vida con modelos occidentales. En este periodo, la multiplicación exponencial observada en la producción y la circulación de libros transformó intensamente la sociedad otomana del siglo XVIII y la arquitectura fue uno de los campos más fructíferos para la puesta en escena de la nueva vida constantinopolitana. Este articulo analiza la Biblioteca Nuruosmaniye desde un punto de vista histórico-arquitectónico comparándola con otros ejemplos otomanos y europeos. Con su organización planivolumétrica particular e inventos formales, este edificio refleja plenamente la síntesis cultural que comenzó a formularse a partir de la cuarta década del siglo XVIII en Estambul
Le difese dei Farnese sulle isole ponziane, 1537-1731
No full textIl presente contributo rintraccia le impronte architettoniche dei Farnese sulle isole ponziane dal 1537 al 1731, che offrono indizi preziosi per capire i rapporti tra la casata, le imprese costruttive e il territorio. Le testimonianze architettoniche pervenuteci si concentrano esclusivamente sull’isola di Ponza e sono di carattere difensivo. Essendo l'arcipelago situato in un punto di particolare criticità geopolitica, tali costruzioni avevano come obiettivo la difesa delle isole dalle scorrerie perlopiù ottomane del periodo
Colte, filantrope e visibili: studio prosopografico sulla committenza femminile nell'architettura scolastica ottomana del secolo XVIII a Istanbul
No full textThis essay investigates the female participation to the urban life of the Ot-toman court ladies (queen mothers, princesses, consorts and servants) thanks to their architectural patronage in 18th century Istanbul. The focus is on hitherto poorly studied elementary school architecture, which has been an important aspect of the Ottoman modernization both as a tool and as a result
I Domenicani nella vita sociale, culturale e architettonica di Istanbul nei primi due secoli del dominio ottomano (1453-1660): evidenze storiche dall'Archivio conventuale dei Domenicani a Galata
No full textFocusing on the church buildings used by the order, this essay explores how the Dominican presence in the Ottoman capital depended on the political and military context of the Early Modern Eastern Mediterranean. Even though losing the monumental 14th-century St. Paul’s Basilica in Galata a short while after 1453, the Preachers were soon granted by the Sublime Porte two Byzantine structures in Edirnekapı, turning them into the only Catholic order within the intramural part of the city. The reason of this unusual concession, which permitted them to extend their area of visibility, was the conquest of Caffa in 1475, a former Genoese possession whose main church was officiated by the same order. Thus, Dominicans became responsible for the Catholics coming from Caffa, resettled by the sultan alongside the Theodosian walls. The two buildings were named respectively St. Mary of Constantinople and St. Nicholas. The former preserved a much-venerated icon from Caffa and the latter was surprisingly destinated both to the Catholic and the Armenian newcomers. In 1636, the aforementioned structures being confiscated, the Dominicans had to relocate permanently to Galata where only a small convent dedicated to St. Peter was established in 1475. Dominicans and Franciscans coexisted in the area from 1636 till the Fire of Galata in 1660, when the latter left the intramural Galata moving their churches to the flourishing Pera hills. Thanks to archive documents, this study discovers how the exceptional and difficult coexistence between the Catholics and Armenians at St. Nicholas was managed and how the presence of different Catholic orders in Istanbul reflected the complex panorama of interrelations between the Ottomans and Western European powers such as France, Venice, Genoa, and Rome
A New Perspective on Bulgarian-Turkish Architectural Interactions. Understanding Fichev's Work Within The Context of Late Ottoman Baroque
No full textБългарската архитектурна историография от XX в. приписва множество антиосмански характеристики на архитектурния стил на Фичев. Въпреки това неговата работа показва сериозни познания и забележителна приемственост с построеното в османската столица Истанбул. Статията изтъква приноса, който престоят на Фичев в Истанбул и Одрин (1837–1841) има за архитектурния му опит, чрез подробен анализ на религиозните сгради, построени от архитекта от 40-те години на XIX в. насам. Аналогии с архитектурните и орнаментални особености на
т.нар. османски барокови султански сгради от XVIII и XIX в. разкриват значимостта на този престой за професионалната подготовка на Фичев като архитект новатор и майстор и се дискутират подробно в настоящото изследване. В същото време тази контекстуализация позволява по-доброто разбиране на ролята му на архитект, оказал силно влияние върху българската архитектура от неговия период.The Bulgarian architectural historiography of the 20th century has attributed numerous anti-Ottoman characteristics to Nikola Fichev (Kolyu Ficheto)’s architecture. Notwithstanding, his work reflects a deep familiarity and remarkable continuity with what was being built in the Ottoman capital, Istanbul. This essay highlights the contribution of Fichev’s stay in Istanbul and Edirne (1837-1841) to his architectural background, thanks to a detailed analysis of the religious buildings that the architect built from 1840s onwards. Analogies with architectural and ornamental features of the so-called Ottoman Baroque sultanic buildings of the 18th and 19th centuries, reveal the importance of this stay in Fichev’s training as an innovative architect and master builder, which are extensively discussed in this study. This contextualization allows at the same time a better understanding of his role as an architect who greatly influenced the Bulgarian architecture of his era
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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