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An architecture of arabesk: The (re)making of İstanbul Manifaturacilar Çarşisi, 1967 – 2017

Başlık çevirisi mevcut değil.

  1. Tez No: 722330
  2. Yazar: PINAR ŞENOL
  3. Danışmanlar: DR. BARBARA PENNER
  4. Tez Türü: Yüksek Lisans
  5. Konular: Sanat Tarihi, Art History
  6. Anahtar Kelimeler: Belirtilmemiş.
  7. Yıl: 2017
  8. Dil: İngilizce
  9. Üniversite: University of London - University College London
  10. Enstitü: Yurtdışı Enstitü
  11. Ana Bilim Dalı: Belirtilmemiş.
  12. Bilim Dalı: Belirtilmemiş.
  13. Sayfa Sayısı: 57

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Özet (Çeviri)

This dissertation explores the relationship between Istanbul Manifaturacılar Çarşısı, 1967-8 (Istanbul Textile-Traders Bazaar) and its users, while discussing the implications of this relationship in terms of the modernisation process in Turkey. Throughout the years, the users changed and appropriated İMÇ by occupying. This occupation appeared in various ways: as the presence of the user, creation of an image and alterations in space. By occupying, users revealed the inherent possibilities the bazaar held, and (re)defined the place by reclaiming flexibility and generating new meanings. In order to understand the meanings generated by use, İMÇ will be situated within the city and modernisation through the frame of arabesk, a hybrid phenomenon of popular culture, as it offers a diverse socio-cultural look at İstanbul and modernity after 1950s. Arabesk is regarded to be a contrast to modernity, yet it also depicts the diverse outcomes of modernisation. This way it enables a contestation of modernisation's presumptions. İMÇ acquired a similar character over the years after being built as a modernist symbol. Its modern status is not lost, yet it is redefined. The users in the bazaar demonstrate their own ways of being modern, through various means of adapting to modernity. The appropriations and everyday acts of the users, contest dualities such as traditional versus modern, or urban versus rural that came to define modernity. The bazaar reveals a hybrid character, which also represents the process of modernisation in Turkey: instead of the modern overcoming the traditional as modernisation assumes, they intertwine and create a new reality. While (re)making the architecture, the users of İMÇ also (re)make themselves and their own modernity

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