Looking at the globalization, urban regeneration, arts events and cultural spectacles, this book considers a city not until now included in the global city debate. Divided into five parts, each preceded by an editorial introduction, this book is an interdisciplinary study of an iconic city, a city facing conflicting social, political and cultural pressures in its search for a place in Europe and on the world stage in the twenty-first century.
Looking at the globalization, urban regeneration, arts events and cultural spectacles, this book considers a city not until now included in the global city debate. Divided into five parts, each preceded by an editorial introduction, this book is an interdisciplinary study of an iconic city, a city facing conflicting social, political and cultural pressures in its search for a place in Europe and on the world stage in the twenty-first century.
Urban theory traditionally links modernity to the city, to the historical emergence of certain forms of subjectivity and the rise of important developments in culture, arts and architecture. This is often in response to technological, economic and societal transformations in the nineteenth- and early twentieth-centuries in select Euro-American metropolises. In contrast, non-Western cities in the modern period are often considered through the lens of Westernization and development. How do we account for urban modernity in "other" cities? This book seeks to highlight cultural creativity by examining the diverse and shifting ways Istanbulites have defined themselves while they debate, imagine, build and consume their city. It focuses on a series of exhibitionary sites, from print press/photography, cinema/films, exhibitions of architectural heritage, theme parks and museums, and explores the links between these popular depictions through shared practices of representation. In doing so it argues that understanding how the future is imagined through images and interpretations of the past can broaden current theoretical thinking about Istanbul and other cities. In line with postcolonial calls for a comparative urbanism that decouples understanding of the modern from its privileged association with Western cities, this book offers a new perspective on the lens of urban modernity. It will appeal to urban geographers and historians, cultural studies scholars, art historians and anthropologists as well as planners, architects and artists.
Bathhouses (hamams) play a prominent role in Turkish culture, because of their architectural value and social function as places of hygiene, relaxation and interaction. Continuously shaped by social and historical change, the life story of Mimar Sinan's Cemberlitas HamamA in Istanbul provides an important example: established in 1583/4, it was modernized during the Turkish Republic (since 1923) and is now a tourist attraction. As a social space shared by tourists and Turks, it is a critical site through which to investigate how global tourism affects local traditions and how places provide a nucleus of cultural belonging in a globalized world. This original study, taking a biographical approach to tell the story of a Turkish bathhouse, contributes to the fields of Islamic, Ottoman and modern Turkish cultural, architectural, social and economic history.
‘The City on Screen: Modern Strangers of Cinematic Istanbul’ attempts to analyze how Istanbul is captured through the projector; in other words, the ontological relationship between city and film and how it is elaborated within the context of Istanbul and the sense of strangerhood. This book shifts the axis of Istanbul, typically known as a touristic city, to its underlying details through the strangers in the modern city. Five different films set in this region are analyzed in the text that help to reveal and clarify the socio-urban life of modern Istanbul. The characters and stories in these films tell how Istanbul has socially and architecturally become a city of strangers. The films analyzed include ‘A Touch of Spice’ (2004), ‘Men on the Bridge’ (2009), ‘A Run for Money’ (1999), ‘Distant’ (2002), and ‘10 to 11’ (2009). The theoretical framework of this book is based on the works of Georg Simmel, Zygmunt Bauman and Richard Sennett. These three thinkers have all attempted to look for answers to the sociological question of strangerhood in urban living. This book accomplishes this connection by discussing the similarities and differences between each of their theories regarding the city, cinema and strangerhood.
Whose City is That? shows that Istanbul is produced not only by strong and systematic efforts, corporate influences and/or marketing activities, but also by individual contributions and coincidences. As such, the primary purpose of this book is to find the answer of to whom Istanbul does belong, presenting the reader with the richness of human experience and the practice of everyday life. The chapters in this book are therefore focused on the physical and economic dimensions, as well as the imaginary, fictional and hyper-real dimensions, expressing the concern of bringing the real and imaginary borders of the city together. The book provides an understanding that for each inhabitant there is another city, another Istanbul. Each person living in the city creates or lives in another city which is made of their own personal and particular experiences. In addition, the Istanbul the authors understand and describe turns into something different moment by moment, which cannot be defined or identified because of its very nature as a megacity. However, its flow is not aimless and non-directional, and each sign is not causeless or dateless. In this context, in order to make the possibilities of the city visible, the contributors to this volume ask: “Istanbul, whose city is it?” The title of the book enables different academics to ask the same question using different methodologies and subjects. The question “Whose City is That?” and the necessity of studying Istanbul using multidisciplinary perspectives brought many researchers from different fields together, because the city is larger than one approach and the constraints of one “unique” field. Gathering researchers and academics from various disciplines, such as communication studies, cultural studies, cinema/media studies, literature, the fine arts, city and regional planning, political science, social and economic geography, anthropology, and architecture enables each to think about the city alone and together, so as to create new forms of thought and discourse about Istanbul.
This book explores how the museum concept has expanded beyond the boundaries of a single building into the historic city itself through musealization. Articulating the musealization of historic cities as a specific urban process, the book here presents a study of the transformation of the Sultanahmet district on Istanbul’s historic peninsula, which has been the major focus of planning, conservation and museological studies in Turkey since the 19th century as the public face of the city. The author aims to offer empirically grounded and context-specific insight into the role of museums in the regeneration of historic cities. Musealization as an urban process varies in different geographical, cultural and ideological contexts, and across different time periods. By discussing the Sultanahmet district as a specific context of yet another city subjected to the musealization process, this book provides further insights into this important global phenomenon.
Turkey: Modern Architectures in History offers a journey through the iconic buildings of Turkey that begins with the end of World War I, when the new Turkish Republic was born out of the disintegration of the Ottoman Empire, includes its democratization in the midst of the Cold War’s competing ideologies, and concludes with the present day, in which Turkey continues to be dramatically transformed through globalization, economic integration, and a renewed appreciation for its Islamic and Ottoman heritage. Sibel Bozdogan and Esra Akcan explore modern institutional masterpieces and architect-designed buildings through the decades. Their focus includes informal residential plans, and they discuss how these have evolved from small settlements to colossal urban quarters that exist at a slippery threshold of legality. This richly informative history of Turkey’s built environment goes beyond typical surveys of Western modern architecture and is unique in tackling the issue of the modern and contemporary periods that are often omitted in studies of Islamic art and architecture. Offering a perceptive overview of modern Turkish architecture, this book places it within the larger social, political, and cultural context of the country’s development as a modern nation in the twentieth century.
In the first decade of the twenty-first century Turkey experienced an extraordinary set of transformations. In 2001, in the midst of financial difficulties, the country was under IMF stewardship, yet it has recently emerged as one of the fastest growing economies in the world. And on the international stage, Turkey has managed to enhance its position from being a backseat NATO member and outside candidate for EU membership to being an influential regional power, determining and developing its own individual foreign policy. Shane Brennan and Marc Herzog explore how these and other changes have shaped the way people in Turkey perceive themselves and how the country's self-image shapes its actions. In the modern age, the sovereign nation-state still continues to be one of the basic building blocks of social or political identity. The Turkish Republic, founded in 1923, is a good example. In weaving together and selecting certain elements of memory, myth, tradition and symbols, the narratives of national identity in Turkey have been, to a large extent, socially constructed.This volume offers analysis of the ways in which these narratives have been created, maintained and negotiated, and how current economic and political interests have been incorporated into the construction of a modern identity. External forces such as those of cultural and economic globalisation have also been influential agents in this process. As a result, the space and opportunity for social and cultural expression has increasingly widened while alternative identities and life-style choices at both the collective and individual levels have also become more visible. Bearing this in mind, this book examines issues such as those of alternative gender identity and sexual orientation, formerly taboo issues. Through different approaches engaging with politics, economy, society, culture and history, Turkey and the Politics of National Identity offers new perspectives on the transformation of national identity in this increasingly influential country in the Middle East.
