Tanzimat Reform Era Research Articles

Orders and Disorders of Marriage, Church, and Empire in Mid-Nineteenth-Century Ottoman Armenia

AbstractThe Ottoman state and the Armenian Patriarchate of Constantinople during the mid-19th-century Tanzimat reform era relied on ethno-confessional and gendered differences, new administrative organization, and coercive institutions like the police to centralize and expand their power. Yet Armenian men and women used those same tools of power to seek justice in ways that created instances of disorder for their families, local community, the church, and the Ottoman state. Attending to the voices and experiences of Armenians through untapped petitions from Erzurum, Mush, and Van, this article highlights the ways in which provincial Armenians interacted with and navigated their diverse ethno-confessional milieus.

The Change and Transformation of a Grand Vizier’s Mansion: Âli Pasha Mansion in Mercan

Tanzimat Dönemi’nde Osmanlı Devleti’nde yaşanan siyasi, ekonomik, sosyo-kültürel sahalardaki değişim ve dönüşüm, kentlerin yapısı üzerinde de etkili oldu. Kent çevresinde yeni konut sahalarının açılması ve kent mekânlarının bilhassa yangından gelen zararları asgariye indirecek yeni inşaat teknikleriyle inşası sayesinde kayda değer bir değişim yaşandı. Tanzimat’ın önde gelen devlet adamlarının konaklarının inşa malzemeleri, teknikleri ve işlevi de bu değişimden nasibini aldı. Batı tarzı ve kârgir görünüme sahip yeni nesil konaklar, aynı zamanda üst düzey devlet adamlarının resmikabul ve toplantılarını da yaptıkları bir idari merkez halini aldı. Zamanla iktidardan düşmeleri veya vefatları sebebiyle bazı paşa konakları devletleştirilerek, çeşitli maksat ve sahalarda kullanılmaya başlandı. Bahsi geçen duruma en güzel örneklerden birisi de Osmanlı Devlet mekanizmasında üst düzey görevlerde bulunan ve döneme damgasını vuran Âlî Paşa’nın (1814-1871) Mercan’daki konağıdır. Bu çalışmada, Âlî Paşa konağına devletçe el konulması, varislerinin geri alma mücadeleleri ile konağın inşasından günümüze değin geçirdiği biçimsel ve işlevsel dönüşüm, arşiv belgeleri ve mevcut kaynaklar ışığında incelendi.

Mehmed Ruhi Bey, A Painter Touches Daily Life

Başlangıcı Rönesans dönemine kadar uzansa da gündelik hayatın resmedilmesi, resim sanatında 17. yüzyılda
 Hollanda resmi ile gelişmeye başlayan bir olgudur. Zaman içinde sadece bir resim türü olarak anılmanın ötesinde
 20. yüzyılda resmedildiği toplumu kavrayabilmenin önemli aracılarından biri haline gelecektir. Türk resminde
 söz konusu sahnelerin betimlenmesi Tanzimat sonrası gelişen edebi eserlerle başlar, tuval resmine aktarılması
 ise II. Meşrutiyet döneminde gerçekleşir. Bu bağlamda 1914 Kuşağı ressamları arasında yer alan Mehmed
 Ruhi Bey (Arel)’in çalışmaları Türk resminde ayrı bir öneme sahiptir. Mehmed Ruhi Bey; Klasizme dayanan,
 güzelliğin, asaletin, denge ve idealleştirme olgusunun vurgulandığı akademik bir eğitim alır. Ancak içerisinde
 bulunduğu kuşağın aldığı eğitimden farklı bir üslupta çalışır. Akademizmin verdiği idealleştirme vurgusundan
 uzaklaşır ve toplumcu gerçekçi bir tavrı benimser. Resimlerinde toplumun içinden figürleri ve yaşamlarını tüm
 gerçekliği ile ele alır. Sanatçının çalışmaları, resmedildiği dönemin sosyoekonomik profilini yansıtan belgesel
 nitelikler taşırken aynı zamanda kendisini de kuşağı içerisinde farklı bir yere taşır.
 Bu makale bilimsel verilere dayanan betimsel modelli nitel bir araştırmadır. Makalede dönemi için yeni
 sayılacak konuları betimleyerek Türk resminin öncü sanatçıları arasında yer alan Mehmed Ruhi’nin sanat
 yaşamının üzerinde durularak dönemi içerisinde bir değerlendirmesi yapılmıştır. Söz konusu çalışmada
 amaçlanan, Mehmed Ruhi’nin üslubu ve çalışmaları göz önüne alınarak, akademik bir eğitim alan sanatçının
 Realizmi neden benimsediği, neden çağdaşlarından farklı bir yol izlemiş olduğu sorularına cevap aramaktır.

Https://dergipark.org.tr/en/download/article-file/1028049

Magazine publishing activities in Turkey started during the Tanzimat reform era. Magazines of that period were mostly publishing organs of scientific societies. Istanbul Sehremaneti Magazine, which was launched in 1924, was largely published thanks to the efforts of cultural historian Osman Nuri Ergin and the name would later be changed to Istanbul Belediye Mecmuasi (Istanbul Municipal Magazine). The magazine is of great importance since it is Turkey’s first municipal magazine. It reflects the social, administrative, economical, scientific and architectural structure of the period in detail and shows that urbanization that started in the Ottoman era in the 19th century in its modern sense continued rapidly into the Republican period. At a time when the West was adopted as an example while protecting the past and historical values, there were many activities in terms of city planning and municipal works. One activity area was the field of water, which is undoubtedly a fundamental human need. The magazine examines water and water structures in both municipal and architectural aspects and we can also find information about the availability of water, construction of water structures and water lines, and renovation of old water lines and structures. Waterrelated studies of Western origin were also published in the magazine, which shows that the West was a source of inspiration in this respect. This study examines 51 issues of Istanbul Sehremaneti Magazine published in Arabic alphabet between the years 1924-1928 before the adoption of the Latin alphabet and all the content related to water in these issues was identified. The obtained data was studied to reveal the water culture, water architecture and water policies in the early years of the Republic and to provide information about the importance attached by the municipality to the water issue and its water works. The study attempts to show through the water issue that Istanbul Municipality entered a rapid renewal period both by benefiting from different ideas from the West and by protecting its own cultural elements.

SERGÜZEŞT ROMANINDA ESTETİK UNSURLAR

Novel, an art of language/literature, is a genre that is based on narrative principle, which stands out with its aesthetic aspect. It is accepted that aesthetics and beauty are dominant elements in the writing of this genre. Serguzest, written by Samipasazâde Sezai within the scope of a distinct artistic delicacy, is a work of art that stands out with its handling of captivity narrative’s realistic aspects of Tanzimat reform era literature and its arty narration. In this sense, aesthetic elements attract the attention in this novel which many critics describes as the transitional work from Romanticism to Realism of its era. The novel attracts notice with its aesthetic aspect especially in terms of handling the plot, characters, location, language, style, narrative forms and techniques. The author prioritized the aesthetic elements by including art forms like poetry, music and mainly painting within the frame of the touching and emotional romance that he added into the captivity narrative. At the same time, he portrayed nature, setting, things and objects by taking aesthetic criteria into consideration. In this study, the novel Serguzest is analyzed in the concept of its aesthetic elements. In the introduction part of the article, the concept of aesthetics is explained and the relation between the novel genre and aesthetics are mentioned. Afterwards, the aesthetic style in Tanzimat era novel, point of view are discussed and Samipasazâde Sezai’s aesthetic delicacy and his approach to the beauty element are laid emphasis on. Later on, the novel is studied in the concept. Although the novel Serguzest is distinguished with its realistic side, It the author’s handling of the characters more with their sensuality; it is valuable in terms of his approach to location, nature, things his approach within an aesthetic integrity. Besides, the fact that the protagonist is a painter and the adoption of poetry and music in the narrative/transmission show that aesthetics and beauty are prioritized in this piece of work.

The Facts of Mahur Maqam With Respect to Musical Creations of Abdulbaki Nasir Dede, Hasim Bey and Huseyin Sadettin Arel; Intellectual and Historical Projections

The Mahur sound which is one of the determinative colors of today’s Turkish music has been an aesthetic fact, towards which musical composers, who lived in different societies and periods, approached with their own specific manners. The motives forming the shape of this aesthetics are individual existences establishing relationships with the said social-periodical facts. Abdulbâki Nâsir Dede (1765-1821), Hâsim Bey (1815-1868) and Huseyin Sadettin Arel (1880-1955) who proved their existence with their musical creations and thus, could make visionary moves, defined the Mahur maqam with their unique nuances. Nâsir Dede approached to the Mahur maqam in the mysterious world of lahn (errors of speech) which belongs to the world of meanings of Yenikapi Mevlevihane and in this context, arranged the relationships of musical intervals according to the features of tune structures determined by masters of music. Hasim Bey approached to the Mahur maqam within the musical expression style of Western culture which was began to be understood and compared by the individuals of Tanzimat Reform Era. Accordingly, the Mahur maqam corresponds to the sol major in the European style in a sense. In this context, according to Huseyin Sadettin Arel, the Mahur maqam is similar to major, but as different from major it is a structure dominated by Cargah tunes containing T-T-B-T intervals. For Arel, the said intervals are musical materials which can adapt to modern mind and emotion definitions of nation-state citizens of the Republic. In this respect, the Mahur maqam constitutes a structure having different effects other than the effect area of major. Arel, thus, claims that Turkish music has its own national materilals which are candidate for universality such as Cargah, Buselik, Kurdi, Rast, Ussak, Hicaz obtained from the nature against the major-minor of the West. Through the article study, the Mahur maqam is questioned intellectually interacted with the perspectives where historicity begins to form which includes society and individual facts in the the triangle of said people’s creations. Keywords : Abdulbâki Nâsir Dede, Hâsim Bey, Huseyin Sadettin Arel, Mâhur, Musical Creation, Intellectuality, Historical, Community, Individuality. DOI : 10.7176/JSTR/5-5-08

The primary schools (sibyans) in Ottoman Cyprus during the Tanzimat reform era (1839–1878)

The nineteenth century is a century of reform for the Ottoman state. The Tanzimat reforms hold a unique place in the Ottoman history of modernization. During the Tanzimat period (1839–1878), the state underwent a restructuring process in almost all of its institutions to establish a centralized modern state and many new institutions were established. The Ottomans paid special attention to education to train the new generation required for the continuity of modernization and the centralized bureaucratic structure. While they opened modern high schools and higher education institutions, they attempted to reform the existing sibyan schools, which were the primary education institutions. This process of restructuring education was also carried out in Cyprus, which had been an Ottoman island since 1571. These attempts remained restricted to efforts to increase the number of sibyan schools in Cyprus. There was a failure to replace the religious education given at schools with a secular program, curriculum or modern education system based on education management. This situation also adversely affected the quality of education at the Rustiye School in Nicosia, the first and only modern secondary school of the period and which was opened in Nicosia in 1864.

The Socio-Economic and Political Structure of the Peasantry in the Tanzimat Reform Era

The Socio-Economic and Political Structure of the Peasantry in the Tanzimat Reform Era

The deadlock of nation state: The problem of nationalisation of music during the early republican era in Turkey

From the early 1930s onwards, there has been an evolution of policies concerning music in Turkey based on the ends, which were targeted through cultural planning and national cultural building. The new republican regime that stood distant to tradition, tried to establish a national music, carrying the legacy of Tanzimat reform era; a music that is nationalist in character but based on major western influences. This period also reflects a time, which a major debate started within the intelligentsia regarding the place of music in state policies, radio broadcasting and education. In fact, this debate had surfaced the bitter discussion upon the cultural evolution, which started during the mid-19th century. Direct intervention by Mustafa Kemal in the search of a national music revealed this art form, in fact, was a major symbol in the process of building the new national character. The so called “Music revolution” as appeared in the written texts of the time, left deep influences on both public life and musical culture of the new nation. This paper aims to present the building of the nationalist character of the music during the early republican era of Turkey in relevance with the usage of political instruments and their reflections on public life. The article will also assess the Turkish experience in terms of 20th century nationalist culture building processes.

TÜRKÇEDE BATI KÖKENLİ KELİMELER SÖZLÜĞÜ ÜZERİNE

The most intense term which culture and civilization interactions of Turkish people and West countries is Tanzimat Reform Era and of course this interactions effect the Turkish language significantly. Accordingly, in this period, words which borrowed from West languages take place both general dictionaries and loanwords dictionaries mostly named “Ecnebi Lugatleri”. In Turkish Rebuplic period, interactive relation and academic studies about this situation has proceeded. In this period, there are many dictionaries which include words from West languages. The newest one of this loanwords

İNAS RÜŞDİYE MEKTEPLERİ: YANYA HAMİDİYE İNAS RÜŞTİYE MEKTEBİ ÖRNEĞİ

The first Ottoman junior high school (rusdiye) , “Mekteb-i Maarif-i Adli” (School of legal education) was founded in 1838 during the reign of Mahmoud II for boys only. The first junior high for girls, Cevri Kalfa School was founded in January 6th, 1859 and for the first time girls started education at the level of junior high. The number of junior highs increased substantially until 1869 and became the foundations of the education system of the Tanzimat reform era. In 1868, 31 more junior high schools were opened their doors for education in several provinces. A Statute of General Education (Maarif-I Umumiye) was issued in 1969 to regulate the educational principles of junior high schools. The initiatives commenced in Tanzimat era on improving the status of women in education advanced during the reign of Abdulhamid II, the number of junior high schools for girls increased significantly especially in the provincial Ottoman Empire. Hamidiye Junior High for Girls in Ioannina was among the schools founded in that period. Ioannina Hamidiye Junior High School for Girls, the only girls’ school in Ioannina city center in that period, was founded during the reign of Abdulhamid II. Although the architecture of the school was under the influence of western style, interiors were redesigned according to Ottoman traditions and culture. The ornaments of the school, prayer and parade grounds combined principal features of Ottoman and Islamic tradition. However, there were also certain handicaps hindering the educational process at the school. The biggest trouble faced by Ioannina Hamidiye Junior High for Girls was the unsatisfactory level of education due to insufficient number of teachers caused byeconomical problems, which even led to the halting of educational activities from time to time during this period. Nevertheless, the educational activities of the school pressed on under dire circumstances, and even certain graduates returned to the school as teachers.

Türkiye’de Politik Tiyatronun Gelişimi

The use of political subjects in Turkish theatre is first observed in theatre-inthe-round in folk drama. As political theatre makes progress during the Tanzimat Reform Era in Turkey, it gains importance with transition periods such as the proclamation of the Turkish Republic and the development of the multi-party system. It was in the 1950s and 1960s when social unrest was unignorable that works of political theatre were most written. The development of political theatre depends on the political events of the period in which it is produced. For instance, while plays written in the Tanzimat Reform Era and the Period of Autocracy depict the oppression of Sultan Abdulaziz, the liberation of art is reflected in the works produced during the Second Constitutional Era. Following this period, political theatre displays the transition period experienced by a divided society with the declaration of the Republic. In the political theatre of the 1950s and 1960s, civil unrest resulting from social disorder is in the foreground. Although some theatre groups still continue dealing with political issues in our day, political theatre, which has regressed after 1971 memorandum and 1980 coup d’etat, seems to have lost its former efficiency.

MİZANCI MURAD VE "TURFANDA MI TURFA MI?" ROMANINDA EĞİTİM

Innovation movements accelerating in every area with the Imperial Edict of Reorganization Tanzimat acquired a different dimension with the appearance of the first private newspaper after 1860. Artists of the era have made the best of the strength of literature in changing socio-cultural perceptions of the society and, in sharing their political views with wide masses of population. Novels, as a genre introduced with translated novels after 1860 has been effectively used in this social transformation. In the novel Turfanda mi, Turfa mi? evaluated in this context, Mehmet Murad Bey, who was one of the leading names of the Young Turcs movement and who became well-known as Mizanci Murad with the newspaper Mizan that he published in 1886, shared his views in vast range of domains from politics to economy, from bureaucracy to education. Presenting his novel with the thought of writing a “National novel”, Mizanci Murad has pointed out the “system of education” as the only remedy to save the country from backwardness.  Yrd. Doc. Dr.; Sakarya Universitesi, Egitim Bilimleri Enstitusu, Turkce Egitimi Bolumu, mehmetoz@sakarya.edu.tr.  Doktora Ogr.; Sakarya Universitesi, Egitim Bilimleri Enstitusu, Turkce Egitimi ABD, zkantas@gmail.com. In this study, primarily our education system after Tanzimat Reform Era and also comments of the artists living in this era have been summarized, later educational values have been determined via content analysis method by scanning the novel of “Is It Modern or Bigoted?” of Mizanci Murad who is offering solution proposals to our country’s problems concerning education that are valid even today.

Ceyhun Atuf Kansu'nun Şiir Sanatı ve Şiirinde Çocuk

The new sense of poetry that emerged in Turkish Literature after 1980 hasn’t been able to avoid being continuation of the old. Although it progressed from to concrete at Tanzimat reform era, failures that occurred while becoming modern were even a little recovered at Servet-I Funun Era. Anatolian people’s taking part in the literature that began with National Literature took place in republican period. In an environment where Garip Movement, which began in 1941, and social realists dominated, Ceyhun Atuf Kansu composed poetry idiosyncratically. Kansu’s art began to take shape in Ankara, where he spent his childhood during Independence War. He developed his nationalist identity in Istanbul, where he attended Faculty of Medicine. He is deeply loyal to Ataturk’s populism principle that’s why he often mentioned society and its problems. The child” and “childhood” have a place in the poetry of Kansu, who was a podiatrist. The poet had a great sensitivity towards children, he saw as future’s adults. He had a lot of poems, which were directly written for children. Kansu’s view of human is universal. Whatever their names, nationalities, religion are, he is with the one who is hard done by. Considering brotherhood of people, he is out of patience for bedevilled people like Latin American people and the Vietnamese and especially the oppressed children. The aim of the study is to define Kansu’s sense of art briefly and to catch his point of view towards the child in his poetry. Within this context, after the introductory of this study, Kansu’s place in Turkish Poetry and his sense of art have been mentioned briefly and how he approaches the theme “children” has been discussed.

TÜRKÇENİN KURALLARI DIŞINA ÇIKAN BİR TOPLULUK: İKİNCİ YENİCİLER

The renovation movement in Turkish Poem started with the Tanzimat Reform Era and in Turkish Poetry eluding from traditional patterns a great deal of difference was observed in terms of form and content. Poets start to write their works with the objectives such as rotating the social life, rearranging the social life and eradicating the available literary understandings. Second Newish poetry movement appearing 1945 onwards in Turkish poetry has been a part of alteration in language with its arguments and its mass protests. The most important feature of this community is the difference in their way of using Turkish. Going beyond the accepted rules, the second newish show their genetics. Poets go beyond the available rules to make different evocations in the imaginary world of the readers. In this study, it is investigated the Second Newishs’ standing against Turkish rules and after giving some theoretical information about Second Newish Poems, some variations in the poets of this community’s poems in terms of semantic, orthography and punctuation, grammar, phonology and morphology are exemplified. The reasons of these variations are brought into question. The attempt of Second newishs’ linguistics engineering goes from the smallest unit “sound” to forming of unusual words and to the fundamental changes in syntax.

Tanzimat Döneminde yol yapım çalışmalarına bir örnek: İzmir-Birunâbâd şosesi inşa ve işletme imtiyazı

Izmir-Birunabad road was on the route of Gebze-Dil Iskelesi -Gemlik - Mudanya - Uluabat - Canakkale - Susigirligi - Mainsa - Izmir - Urla which became an important trade route with a big change in XIX century. Construction of this road had an high importance for the trade of the region. After the construction of the road, the goods traffic to Izmir port from interior and surrounding districts would be easier and there would be an increase on Izmir and its districts' prosperity. Another point raising this road's iportance was that: the concession given for IzmirBirunabad macadamized road was one of the first samples in this area after post tanzimat reform era. It was Monsieur Sarno who aplied to the government for the construction of the road and its concession of management for 25 years in return. Concession of construction and management of the road was given to Monsieur Sarno according to the agreement between Ottoman Empire and Monsieur Sarno's company. In this study, the conditions of the agreement made between government and company, concession of construction and management which was given to Monsieur Sarno and the story of the road's construction are tried to be explained.

THE OTTOMAN LEGACY IN COLD WAR MODERNIZATION

On 19 March 1877, the first Ottoman parliament opened at Dolmabahçe Palace when Sultan Abdülhamit II crossed a velvet carpet to stand beside a golden throne. Seen later as the finale of the Tanzimat reform era, the parliament appeared to diplomatic observers as the strategy of former grand vizier Midhat Paşa. Midhat's constitutionalism was a plan for “reform, revival, and indeed survival” that included seeking allies against Russia and containing Russian influence in the Balkans. Abdülhamit listened as his secretary charged the new body: “The progress effected by civilised states, the security and wealth they enjoy, are the fruit of the participation of all in the enactment of laws and in the administration of public affairs.” Among the most urgent priorities was “the development of agriculture and industry, and the progress of civilisation and of public wealth.” Parliament later responded with a pledge to deliver the empire from its malaise, to “eliminate the last traces of abuses, the heritage of the regime of despotism.”