French Artist Léon Parvillée (1830-1885) and His Levantine Connections in Istanbul (original) (raw)

Levantines of the Ottoman World: Communities, Identities, and Cultures

This book project aims to go beyond the borders of formalistic narratives and to juxtapose a multiplicity of approaches, methodologies, and perspectives in the study of Levantine lives in the Ottoman Empire. We welcome chapters that engage in the current body of scholarship on topics such as Levantine cosmopolitanism, hybridity, marginality, ambiguity, and transnationalism, but we also encourage submissions that critique the centrality of such terminology and theoretical frames in historical scholarship. Ultimately, it is hoped that these chapters will contribute to a deeper understanding of processes of communal and identity-formation in the Ottoman world, and highlight the possibilities of Levantine studies in challenging entrenched disciplinary boundaries. Proposed chapters might pursue, but are not limited to, the following topics: ● panoramic approaches to Levantine communities or publications ● Levantine families, households, and domestic culture; labor, intimacy, and consumption ● Levantine institutions, clubs, schools, and churches, and other social organizations ● Levantine publications, companies, and commercial enterprises; engaging with port-cities studies and the questions of class formation in the Ottoman Mediterranean ● Cosmopolitanism, transnationalism, and internationalism as a Levantine analytic ● Levantine religious spaces and architecture; Levantine life in urban space and traces/hauntings in the built environment of contemporary cities ● Levantine social and cultural interactions with other communities of the Ottoman world; ambiguities, exchanges, passing, and crossings

Art in the Mediterranean Region

Eds. Ekin Kaynak Iltar – Hasan Hüseyin Aygül, Bütün Yönleriyle Akdeniz, Arkeoloji ve Sanat Yay., İstanbul, 2021

English Text of a published in Turkish introductory chapter, on Art in the Mediterranean, Akdeniz Bölgesinde Sanat, to provide an overview and avenues for thought and inquiry, for the use of students.

The Visual Arts, The Cambridge History of Turkey, vol. 2

Cambridge History of Turkey, vol. 2 ed. Suraiya Faroqhi and Kate Fleet. Cambridge, New York: Cambridge University Press, 2013

Visual articulations of an imperial identity, as well as its dynamic encounters and reformulations beyond the imperial locus, constitute a unifying thread through the century and a half that is examined in this survey. Between the 1450S and the turn of the seventeenth century, the agents of -and the media in which -such articulation occurred changed considerably. Scholarship on Ottoman visual arts has tended to prioritise the "classical era", particularly the second half of the sixteenth century. The progressive and evolutionary emphases of the art historical discipline on the one hand and the correspon-I dence of this period to the "classicism" of Ottoman institutions on the other have reinforced the characterisation of this period as the unquestionable apex of Ottoman arts towards which all converged and after which there followed an insipid lack of creativity. Rather than the "classicization" of the later sixteenth century, with its connotations of maturation, lucidity and stasis, this chapter seeks to foreground the dynamism embodied in the shifting priorities of artists, patrons and intermediaries over this century and a half and to highlight the plurality of loci and actors that shaped the production and use of artworks. The power of the Ottoman centre as the creator and disseminator of cultural trends and of the Ottoman court as the primary arbiter of taste were unquestionable for the larger part of the spatial and temporal expanse with which this survey is concerned.