Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| ART and VISUAL CUL. PERCEPTION in the 19th CENT. OTTO. EMP. | - | Spring Semester | 2+0 | 2 | 2 |
| Course Program |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | English |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Elective |
| Course Coordinator | Assist.Prof. Mustafa ERDEM |
| Name of Lecturer(s) | Lect.Dr. Fatma COŞKUNER |
| Assistant(s) | |
| Aim | This course presents a critical history of art and visual culture, exploring how this culture has functioned continuously within Ottoman civilization during the “long” nineteenth century. It will examine how a Western modality of art was introduced into Ottoman visual culture. First, it will discuss the impact of the eighteenth century and then the transition into the nineteenth century. The focal point of the course will be the utilization of art and visual culture during this period to represent the psychological, physical, and imaginative experiences of the “empire.” This course also illuminates the relationship between artistic production, court patronage, visual exchanges between Ottomans and Europeans. In so doing, the seminar offers an entwined history of global power and modernity. Students will read key theoretical texts on Orientalism, post-colonialism, and cosmopolitanism, and examine the conditions and possibilities for dominance, transculturation, and subversion at intersectional nodes of power structures and visual cultures. |
| Course Content | This course contains; Introduction: Historical and Theoretical Background,The Eighteenth Century: Interactions in Art and Architecture,The Nineteenth Century Part I: Painting,The Nineteenth Century Part II: Architecture,Art and Patronage: The Re-Invention of Ottoman History,Photography and the Empire,Orientalism through the Ottoman Perspective: Theoretical Background ,Orientalism through the Ottoman Perspective II,Gender, Empire and Orientalism: Women Artists and Patrons,Archaeology and the Empire,Institutionalization of Art: Part I,Institutionalization of Art: Part II,Possible Visit to Pera Museum; Sabancı Museum; Dolmabahçe Palace Painting Museum; Istanbul Museum of Painting and Sculpture,Final Exam. |
| Dersin Öğrenme Kazanımları | Teaching Methods | Assessment Methods |
| Offering a critical history of art and visual culture, it explores how this culture operated continuously in Ottoman civilization throughout the "long" nineteenth century. Examines how a Western art style was incorporated into Ottoman visual culture. It first discusses the influence of the 18th century and then the transition to the 19th century. Explains the relationship between artistic production, palace patronage, and visual exchange between the Ottomans and Europeans. Explores the intertwined history of global power and modernity. You will read key theoretical texts on orientalism, postcolonialism, and cosmopolitanism and examine the conditions and possibilities of domination, interculturalization, and destruction at the intersections of power structures and visual cultures. | 14, 16, 9 | A, E, H |
| Teaching Methods: | 14: Self Study Method, 16: Question - Answer Technique, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, E: Homework, H: Performance Task |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | Introduction: Historical and Theoretical Background | |
| 2 | The Eighteenth Century: Interactions in Art and Architecture | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 3 | The Nineteenth Century Part I: Painting | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 4 | The Nineteenth Century Part II: Architecture | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 5 | Art and Patronage: The Re-Invention of Ottoman History | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 6 | Photography and the Empire | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 7 | Orientalism through the Ottoman Perspective: Theoretical Background | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 8 | Orientalism through the Ottoman Perspective II | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 9 | Gender, Empire and Orientalism: Women Artists and Patrons | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 10 | Archaeology and the Empire | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 11 | Institutionalization of Art: Part I | |
| 12 | Institutionalization of Art: Part II | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 13 | Possible Visit to Pera Museum; Sabancı Museum; Dolmabahçe Palace Painting Museum; Istanbul Museum of Painting and Sculpture | |
| 14 | Final Exam |
| Resources |
| Donald Quataert, “The Nineteenth Century,” in The Ottoman Empire: 1700 – 1922. Cambridge: Cambridge University Press, 2000, pp. 54 – 73. Günsel Renda, “Ottoman Painting and Sculpture,” in Ottoman Civilization 2, edited by Halil İnalcık and Günsel Renda. Ankara: Ministry of Culture and Tourism, 2004, pp. 932 – 967. Şükrü Hanioğlu, “The Ottoman Empire at the Turn of the Nineteenth Century,” “The Tanzimat Era,” in A Brief History of the Late Ottoman Empire. Princeton: Princeton University Press, 2008, pp. 6 – 41; 72 – 108. Wendy Shaw, “Introduction: The Translation of Art,” in Ottoman Painting: Reflections of Western Art from the Ottoman Empire to the Turkish Republic. London and New York: I.B. Tauris, 2011, pp. 1 – 10. Baki Tezcan, “Rethinking Decline in the Second Ottoman Empire,” Ottoman History Podcast, accessed May 23, 2021. İlber Ortaylı, “Osmanlı Tarihinde Bâb-ı Âli Asrı,” and “Tanzimat Adamı ve Tanzimat Toplumu,” in İmparatorluğun En Uzun Yüzyılı. İstanbul: İletişim Yayınları, 2000, pp. 89 – 122; 229 – 262. Suraiya Faroqhi, “The Longest Century of the Empire: From Küçük Kaynarca to the End of World War I,” in The Ottoman Empire: A Short History. Princeton, New Jersey: Markus Wiener Publishers, 2009, pp. 109 – 136. Stanford J. Shaw and Ezel Kural Shaw, “The Era of Modern Reform: The Tanzimat, 1839 – 1876,” in History of the Ottoman Empire and Modern Turkey, volume II: Reform, Revolution and Republic. Cambridge: Cambridge University Press, 1977, pp. 55 – 172. Dana Sajdi, “Decline, Its Discontents and Ottoman Cultural History: By Way of Introduction,” in Ottoman Tulips, Ottoman Coffee: Leisure and Lifestyle in the Eighteenth Century, edited by Dana Sajdi. London: I.B. Tauris, 2007, pp. 1 – 40. Gül İrepoğlu, “Innovation and Change” in The Sultan’s Portrait: Picturing the House of Osman. Istanbul: Türkiye İş Bankası, 2000, pp. 378 – 401. Günsel Renda, “The Birth of a New Genre of Painting: Mural Painting” in Günsel Renda, Adnan Turani, Turan Erol, Kaya Özsezgin and Mustafa Aslıer, A History of Turkish Painting. Genève, Switzerland: Palasar; Seattle: In association with University of Washington Press, 1988, pp. 69 – 86. Nebahat Avcıoğlu, “Introduction,” in Turquerie and the Politics of Representation, 1728 – 1876. Farnham Surrey and Burlington: Ashgate, 2011, pp. 1-41. Serpil Bağcı, Filiz Çağman, Günsel Renda and Zeren Tanındı, “From Walls to Canvases,” in Ottoman Painting. Ankara: T.C. Kültür ve Turizm Bakanlığı Yayınları, 2012, pp. 301 – 311. Shirine Hamadeh, “Introduction,” in The City’s Pleasures: Istanbul in the Eighteenth Century. Seattle: University of Washington Press, 2007, pp. Shirine Hamadeh, “Ottoman Expressions of Early Modernity and the “Inevitable” Question of Westernization.” Journal of the Society of Architectural Historians (2004): 32 – 51. Ali Uzay Peker, “Return of the Sultan: Nuruosmânîye Mosque and the İstanbul Bedestan,” in Constructing Cultural Identity, Representing Social Power, edited by N. Kısakürek, O. Rastrick, K. Esmark and C. Bilsel. Pisa: Plus - Pisa Univertsity Press, 2010, pp. 139 – 157. Nurdan S. Küçükhasköylü. “Circulating Images: Ottoman Painters, Travel Books, Overtones,” in Comité International des Études Pré-Ottomanes et Ottomane. Rethymno: University of Crete, 2012, pp. 1 – 7. Serpil Bağcı, Filiz Çağman, Günsel Renda, Zeren Tanındı, “Revivals and Innovations,” in Ottoman Painting. Ankara: Ministry of Culture and Tourism, 2006, pp. 264 – 283. Tülay Artan, “Istanbul in the 18th Century: Days of Reconciliation and Consolidation” in From Byzantion to Istanbul: 8000 Years of a Capital, edited by Koray Durak. Istanbul: Sabancı University Sakıp Sabancı Museum, 2010, pp. 300 – 313. Gülsen Sevinç Kaya, “Saray ve Resim Sanatı” in Milli Saraylar Tablo Koleksiyonu, written and prepared by Gülsen Sevinç Kaya. Istanbul: TBMM Milli Saraylar, 2019, pp. 13 – 49. Günsel Renda, “European Artists at the Ottoman Court: Propagating New Dynastic Image in the Nineteenth Century” in The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism, edited by Zeynep İnankur, Reina Lewis and Mary Roberts. Istanbul: Pera Museum, 2011, pp. 221 – 232. Pelin Şahin Tekinalp, “Links between Painting and Photography in Nineteenth-Century Turkey” History of Photography 34, no. 3 (2010): 291 – 299. Wendy M. K. Shaw, “From Old Niches to New Paintings” in Ottoman Painting: Reflections of Western art from the Ottoman Empire to the Turkish Republic. London, New York: I. B. Tauris, 2011, pp. 9 – 39. Zeynep İnankur, “Official Painters of the Ottoman Palace,” in Turkish Art: 10th International Congress of Turkish Art / Art Turc: 10e congress international d’art turc. Geneva: Fondation Max van Bercham, 1999, pp. 381 – 388. Ahmet Ersoy, “Architecture and the Search for Ottoman Origins in the Tanzimat Period,” Muqarnas 24 (2007): 117 – 139. Meltem Ö Gürel. “Dolmabahçe as Liminal Space,” in 150. Yılında Dolmabahçe Sarayı Uluslararası Sempozyumu, edited by Kemal Kahraman. Ankara: TBMM Milli Saraylar, 2007, pp. 261 – 270. Paolo Girardelli, “Architecture, Identity and Liminality: On the Use and Meaning of Catholic Spaces in Late Ottoman Istanbul,” Muqarnas 22 (2005): 233-264. Zeynep Çelik, “Introduction,” “An Architectural Survey of the City,” in The Remaking of Istanbul: Portrait of an Ottoman City in the Nineteenth Century. Berkeley: University of California Press, 1993, pp. xv - xviii, 3 - 30. Mary Roberts, “Ottoman Statecraft and the Pencil of Nature,” Ars Orientalis 43 (2013): 10 – 30. Mary Roberts, “The Battlefield of Ottoman History” in Istanbul Exchanges: Ottomans, Orientalists, and Nineteenth-Century Visual Culture. California: California University Press, 2015, pp. 37 – 74. Selim Deringil, “Long Live the Sultan: Symbolism and Power in the Hamidian Regime,” in The Well Protected Domains: Ideology and the Legitimation of Power in the Ottoman Empire, 1876 – 1909. London and New York: I. B. Tauris, 1998, pp. 16 – 43. Semra Germaner and Zeynep İnankur, “The Imperial Court,” “Sultans, Artists, and the Role of the Embassies,” “Court Artists,” and “The Ottoman Imperial Art Collection,” in Constantinople and the Orientalists. Istanbul: Türkiye İş Bankası Kültür Yayınları, 2002, pp. 75 – 119. Ayşe Erdoğdu, “Picturing Alterity: Representational Strategies in Victorian type Photographs of Ottoman Men,” in Colonialist Photography: Imag(in)ing Race and Place, edited by Eleanor Hight and Gary Sampson. London, 2002, pp. 107 – 125. Edhem Eldem, “Powerful Images: The Dissemination and Impact of Photography in the Ottoman Empire, 1870 – 1914,” in Camera Ottomana: Photography and Modernity in the Ottoman Empire, 1840 – 1914, edited by Zeynep Çelik and Edhem Eldem. Istanbul: Koç University Press, 2015, pp. 106 – 153. Edhem Eldem, “Following Ottoman Photographs,” Ottoman History Podcast, accessed May 23, 2021. Michelle Woodward, “Between Orientalist Clichés and Images of Modernization: Photographic Practice in the Late Ottoman Era.” History of Photography 4 (2003): 363 – 374. Nancy Micklewright, “Alternative Histories of Photography in Ottoman Middle East,” in Photography’s Orientalism: New Essays on Colonial Representation, edited by Ali Behdad and Luke Gartlan. Los Angles: Getty Publication, 2013, pp. 75 – 92. Wendy M. K. Shaw, “Ottoman Photography of the Late Nineteenth Century: An ‘Innocent’ Modernism?” History of Photography 33, no. 1 (February, 2009): 80 – 93. Bahattin Öztuncay, The Photographers of Constantinople: Pioneers, Studios and Artist from Nineteenth-Century Istanbul, 2 vols. Istanbul: Aygaz, 2003. Camera Ottomana: Photography and Modernity in the Ottoman Empire, 1840 – 1914, edited by Zeynep Çelik and Edhem Eldem. Istanbul: Koç University Press, 2015, exhibition catalog. Engin Özendes, Osmanlı İmparatorluğu’nda Fotoğrafçılık, 1839 – 1923. Istanbul: YEM Yayın, 2013. Carter Vaughn Findley “An Ottoman Occidentalist in Europe: Ahmed Midhat Meets Madame Gülnar, 1889,” The American Historical Review 103, no. 1 (February 1998): 15 – 49. Christoph Herzog and Raoul Motika, “Orientalism Alla Turca: Late 19th / Early 20th Century Ottoman Voyages into the Muslim Outback,” Die Welt des Islams 40, no. 2 (July 2000): 139 – 195. Mary Roberts, “Ottoman Art, Empire and the Orientalism Debate,” in The Routledge History of Western Empire, edited by Robert Aldrich and Kirsten McKenzie. London and New York: Routledge, 2014, pp. 364 – 381. Mary Roberts, “Ottomans, Orientalists, and 19th Century Visual Culture,” Ottoman History Podcast, accessed May 23, 2021. Selim Deringil, “They Live in a State of Nomadism and Savagery: The Late Ottoman Empire and the Post-Colonial Debate,” Comparative Studies in Society and History 45 (April 2003): 311 – 342. Ussama Makdisi, “Ottoman Orientalism,” American Historical Review 107, no. 3 (June 2002): 768 – 796. Ahmet Ersoy, “Introduction,” in Architecture and the Late Ottoman Imaginary: Reconfiguring the Architectural Past in a Modernizing Empire. Farnham Surrey, Burlington: Ashgate, 2015, 1 – 28. Ahmet Ersoy, “Architecture and Late Ottoman Historical Imagination,” Ottoman History Podcast, accessed May 23, 2021. Ahmet Ersoy, “Osman Hamdi Bey and the Historiophile Mood: Orientalist Vision and the Romantic Sense of the Past in the Late Ottoman Culture,” in The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism, edited by Zeynep İnankur, Reina Lewis and Mary Roberts. Istanbul: Pera Museum Publication, 2011, pp. 145 – 155. Edhem Eldem, “Making Sense of Osman Hamdi Bey and His Paintings,” Muqarnas 29 (November 2012): 339 – 383. Mary Roberts, “Gérôme in Istanbul,” in Istanbul Exchanges: Ottomans, Orientalists, and Nineteenth-Century Visual Culture. California: University of California Press, 2015, pp. 75 – 110. Semra Germaner and Zeynep İnankur, “Early Depictions of the Ottoman Capital,” “Ambassadors and Les peintres de Turcs” “Western Orientalism and Ottoman Westernization,” “A New Fashion in the West,” and “Western Artists and Their Ateliers in Istanbul,” in Constantinople and the Orientalists. Istanbul: Türkiye İş Bankası Kültür Yayınları, 2002, pp. 13 – 74. Zeynep Çelik, “Speaking Back to Orientalist Discourse,” in Orientalism’s Interlocutors: Painting, Architecture, Photography, edited by Jill Beaulieu and Mary Roberts. Durham and London: Duke University Press, 2002, pp. 19 – 41. Zeynep Çelik, “Orientalism in the Ottoman Empire,” Ottoman History Podcast, accessed May 23, 2021. Ahmet Ersoy, “A Sartorial Tribute to Tanzimat Ottomanism: The Elbise-i Osmaniyye Album,” Muqarnas 20 (2003): 187 – 207. Edhem Eldem, “Osman Hamdi Bey ve Oryantalizm.” Dipnot 2, (2004): 39 – 67. Emine Fetvacı, “The Art of Osman Hamdi Bey,” in Osman Hamdi Bey and the Americans, edited by Renata Holod and Robert Oustershot. Istanbul: Pera Museum Publication, 2011, pp. 118 – 136. Zeynep Çelik, “Search for Identity: Architecture of National Pavilions,” in Displaying the Orient: Architecture of Islam at Nineteenth-Century World's Fairs. Berkeley: University of California Press, 1992, pp. 95 – 138. Lady Mary Wortley Montagu, The Complete Letters of Lady Mary Wortley Montagu, edited by Robert Halsband. Oxford: Clerandon Press, 1965. Mary Roberts, “Oriental Dreams,” in Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature. Durham and London: Duke University Press, 2007, pp. 128 – 149. Mary Roberts, “Contested Terrains: Women Orientalists and the Colonial Harem,” in Orientalism’s Interlocutors: Painting, Architecture, Photography, edited by Jill Beaulieu and Mary Roberts. Durham and London: Duke University Press, 2002, pp. 179 – 203. Mary Roberts, “Harem Portraiture: Elisabeth Jerichau-Baumann and the Egyptian Princess Nazlı Hanım,” in Local/Global Women Artists in the Nineteenth Century, edited by Deborah Cherry and Janice Helland. London: Ashgate, Aldershot, 2006, pp. 77 – 98. Reina Lewis, “Only Woman Should Go to Turkey: Henriette Browne and the Female Orientalist Gaze,” in Gendering Orientalism: Race, Femininity and Representation. London and New York: Routledge, 1996, pp. 127 – 190. Reina Lewis, “Women Orientalist Artists: Diversity, Ethnography, Interpretation,” Women: A Cultural Review 6, no. 22 (Spring 1993): 53 – 64. Zeynep İnankur, “Mary Adelaide Walker,” in The Poetics and Politics of Palace: Ottoman Istanbul and British Orientalism, edited by Zeynep İnankur, Reina Lewis and Mary Roberts. Istanbul: Pera Museum Publications, 2011, pp. 199 – 209. Edhem Eldem, “Orientalism and Archaeology: The Orient Where Time stands Still,” in 1001 Faces of Orientalism, edited by Ayşen Anadol. Istanbul: Sakıp Sabancı Museum Publication, 2013, pp. 32 – 43. Edhem Eldem, Zeynep Bahrani and Zeynep Çelik “Introduction,” in Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 13 – 43. Edhem Eldem, “From Blissful Indifference to Anguished Concern: Ottoman Perceptions of Antiquities, 1799 – 1869,” in Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 281 – 329. Ussama Makdisi, “The Rediscovery of Baalbek: A Metaphor for Empire in the Nineteenth Century,” In Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 257 – 279. Zeynep Çelik, “Defining Empire’s Patrimony: Resurrecting Antiquity for Ottoman Modernity,” In Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 443 – 477. Wendy M. K. Shaw, “Introduction,” “Moving Toward the Museum: The Collection of Antique Spolia,” in Possessors and Possessed: Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire. Berkeley; Los Angles and London: University of California Press, 2003, pp. 1 – 44. Zeynep Yasa Yaman, “Different Impressions, Changing Traditions,” in Different Impressions, Changing Traditions: The Art Collection of the Central Bank of the Republic of Turkey, Ed. Zeynep Yasa Yaman. (Istanbul: Türkiye Cumhuriyeti Merkez Bankası, 2012), pp. 10 – 32. Zeynep Yasa Yaman, “A New Beginning: Mekteb-i Sanayi-i Şahane, Sanayi-i Nefise Mekteb-i Alisi, and the Painting and Sculpture Museum” in Different Impressions, Changing Traditions: The Art Collection of the Central Bank of the Republic of Turkey, Ed. Zeynep Yasa Yaman. (Istanbul: Türkiye Cumhuriyeti Merkez Bankası, 2012), pp. 32 – 38. Mary Roberts, “Genealogies of Display: Cross-Cultural Networks at the 1880s Istanbul Exhibitions.” In The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism, edited by Zeynep İnankur, Reina Lewis and Mary Roberts, 127 – 142. Istanbul: Pera Museum Publication, 2011. Wendy M. K. Shaw, “From Mausoleum to Museum: Resurrecting Antiquity for Ottoman Modernity,” In Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 423 – 441. Zeynep Çelik, “Scholarship and the Museum,” in About Antiquities: Politics of Archaeology in the Ottoman Empire. Texas: University of Texas Press, 2016, pp. 43 – 64. |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | DESIGN (Knowledge-Theoretical, Factual): During planning, implementation, management and supervision processes; Knowledge of creative problem defining and solving | ||||||
| 2 | DESIGN (Skill-Cognitive, Applied): Design-oriented research fiction, execution and evaluation of results and design process planning, management, application skills | ||||||
| 3 | DESIGN (Competencies-Ability to Work Independently and Take Responsibility): Ability to work within a team, to emphasize interdisciplinary interaction and apply technology-based business association methods | ||||||
| 4 | DESIGN (Competencies-Learning Competence): To evaluate critically the knowledge and skills gained in the field, to plan and to develop constantly professional knowledge, skills and approaches | ||||||
| 5 | DESIGN (Competencies-Communication and Social Competence): Transferring design solutions as oral, written and visual (2D and 3D) presentations on national and international platforms | ||||||
| 6 | DESIGN (Competencies-Field Specific Competence): Contributing to the design of industrial products to improve the quality of life of the society. | ||||||
| 7 | HISTORY, CULTURE, ART (Knowledge-Theoretical, Factual): To make connections between the information obtained by the analytical approach and the information on historical and cultural development and current situation in Turkey and in the world, and to expand the boundaries of vocational education proficiency to develop new ideas | X | |||||
| 8 | HISTORY, CULTURE, ART (Skill-Cognitive, Applied): Ability to solve the design related problems encountered in concept development, by using the knowledge gained in the field of history, culture and art | X | |||||
| 9 | HISTORY, CULTURE, ART (Competencies - Independent Work and Ability to Take Responsibility): To be able to do interdisciplinary work by using the knowledge gained in the field of history, culture and art | X | |||||
| 10 | HISTORY, CULTURE, ART (Competences-Learning Competence): Ability to develop the knowledge gained in the field in the direction needed, using the research methods | X | |||||
| 11 | HISTORY, CULTURE, ART (Competencies-Communication and Social Competence): Awareness of social and cultural phenomena and continuous change and arranging plans, strategies, projects, collaborations and activities for the social environment with social responsibility consciousness. | X | |||||
| 12 | MATERIALS AND TECHNOLOGY (Knowledge-Theoretical, Factual): To gain knowledge concerning technology, material, product and production methods - that is to be used in the solution of the problem related to the field. | ||||||
| 13 | MATERIALS AND TECHNOLOGY (Skill-Cognitive, Applied): Knowing materials, technology and production methods and developing designs compatible with these methods, proposing new technologies and production methods, developing creative design solutions by interpreting and using technology. | ||||||
| 14 | MATERIALS AND TECHNOLOGY (Competencies - Independent Work and Ability to Take Responsibility): To be able to work together with stakeholders working on different areas and needs in construction and production technologies | ||||||
| 15 | MATERIALS AND TECHNOLOGY (Competencies-Learning Competence): Understand the compatibility and flexibility between the technological tools that meet the requirements according to the needs | ||||||
| 16 | MATERIALS AND TECHNOLOGY (Competencies-Communication and Social Competence): Ability to use appropriate communication techniques and technologies | ||||||
| 17 | MATERIALS AND TECHNOLOGY (Competencies-Field Specific Competencies): Producing and applying knowledge to serve sustainable production and life | ||||||
| 18 | MATERIALS AND TECHNOLOGY (Competencies-Filed specific competencies): To be able to develop creative design solutions by mastering technological development, interpreting the developments and pioneering such developments. | ||||||
| 19 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Knowledge-Theoretical, Factual): -Ethics related to the field, -project management issues, -legal rights and responsibilities, -To gain knowledge about legal responsibilities and regulations affecting design works | ||||||
| 20 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Skill-Cognitive, Applied): Ability to recognize and apply the techniques used and legal responsibilities in planning, design, construction and operation phases of project management. | ||||||
| 21 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Competences - Capability to Work Independently and Take Responsibility): To adapt to the different working environments and forms required by the profession and to contribute to the development of these environments | ||||||
| 22 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Capabilities-Learning Capability): Monitoring and learning the legal, administrative and procedural requirements of design and construction projects throughout professional life, developing new strategic approaches in solving complex problems, taking responsibility | ||||||
| 23 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Competencies-Communication and Social Competence): Being able to lead the process -deploying the necessary communication skills and tools- during planning, designing, construction and operation stages, and demonstrating leadership in providing the solution in the work environment. | ||||||
| 24 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Competencies-Field Specific Competence): To be able to transfer knowledge to the level of expertise, to use theoretical and practical knowledge on the field of Professional Practice, Project Management and Legal responsibilities, knowledge of interdisciplinary interaction | ||||||
| 25 | ENVIRONMENT, STRUCTURE AND HUMAN HEALTH (Knowledge-Theoretic, Factual): Methods and techniques that will be used in the solution of the problems related to the field – to gain knowledge to apply the techniques in the context of environmental health, -building health, -human health | ||||||
| 26 | ENVIRONMENT, STRUCTURE, HUMAN HEALTH (Skill-Cognitive, Applied): Understanding the relationships between environment, structure and human health and creating solutions to related design problems. | ||||||
| 27 | ENVIRONMENT, STRUCTURE, HUMAN HEALTH (Competences - Capability to Work Independently and Take Responsibility): Taking competence and responsibility in the fields of urban / space / product planning, design, implementation and supervision of environment, strcuture and human health | ||||||
| 28 | ENVIRONMENT, STRUCTURE, HUMAN HEALTH (Capabilities-Learning Capability): Competence in researching theoretical and applied information systems on environment, structure and human health | ||||||
| 29 | ENVIRONMENT, STRUCTURE, HUMAN HEALTH (Competencies-Communication and Social Competence): Be able to communicate with all areas of expertise in environment, structure and human health | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 50 | |
| Rate of Final Exam to Success | 50 | |
| Total | 100 | |
| ECTS / Workload Table | ||||||
| Activities | Number of | Duration(Hour) | Total Workload(Hour) | |||
| Course Hours | 14 | 3 | 42 | |||
| Guided Problem Solving | 1 | 5 | 5 | |||
| Resolution of Homework Problems and Submission as a Report | 2 | 5 | 10 | |||
| Term Project | 0 | 0 | 0 | |||
| Presentation of Project / Seminar | 0 | 0 | 0 | |||
| Quiz | 0 | 0 | 0 | |||
| Midterm Exam | 1 | 20 | 20 | |||
| General Exam | 1 | 20 | 20 | |||
| Performance Task, Maintenance Plan | 1 | 10 | 10 | |||
| Total Workload(Hour) | 107 | |||||
| Dersin AKTS Kredisi = Toplam İş Yükü (Saat)/30*=(107/30) | 4 | |||||
| ECTS of the course: 30 hours of work is counted as 1 ECTS credit. | ||||||
Detail Informations of the Course
Course Description
| Course | Code | Semester | T+P (Hour) | Credit | ECTS |
|---|---|---|---|---|---|
| ART and VISUAL CUL. PERCEPTION in the 19th CENT. OTTO. EMP. | - | Spring Semester | 2+0 | 2 | 2 |
| Course Program |
| Prerequisites Courses | |
| Recommended Elective Courses |
| Language of Course | English |
| Course Level | First Cycle (Bachelor's Degree) |
| Course Type | Elective |
| Course Coordinator | Assist.Prof. Mustafa ERDEM |
| Name of Lecturer(s) | Lect.Dr. Fatma COŞKUNER |
| Assistant(s) | |
| Aim | This course presents a critical history of art and visual culture, exploring how this culture has functioned continuously within Ottoman civilization during the “long” nineteenth century. It will examine how a Western modality of art was introduced into Ottoman visual culture. First, it will discuss the impact of the eighteenth century and then the transition into the nineteenth century. The focal point of the course will be the utilization of art and visual culture during this period to represent the psychological, physical, and imaginative experiences of the “empire.” This course also illuminates the relationship between artistic production, court patronage, visual exchanges between Ottomans and Europeans. In so doing, the seminar offers an entwined history of global power and modernity. Students will read key theoretical texts on Orientalism, post-colonialism, and cosmopolitanism, and examine the conditions and possibilities for dominance, transculturation, and subversion at intersectional nodes of power structures and visual cultures. |
| Course Content | This course contains; Introduction: Historical and Theoretical Background,The Eighteenth Century: Interactions in Art and Architecture,The Nineteenth Century Part I: Painting,The Nineteenth Century Part II: Architecture,Art and Patronage: The Re-Invention of Ottoman History,Photography and the Empire,Orientalism through the Ottoman Perspective: Theoretical Background ,Orientalism through the Ottoman Perspective II,Gender, Empire and Orientalism: Women Artists and Patrons,Archaeology and the Empire,Institutionalization of Art: Part I,Institutionalization of Art: Part II,Possible Visit to Pera Museum; Sabancı Museum; Dolmabahçe Palace Painting Museum; Istanbul Museum of Painting and Sculpture,Final Exam. |
| Dersin Öğrenme Kazanımları | Teaching Methods | Assessment Methods |
| Offering a critical history of art and visual culture, it explores how this culture operated continuously in Ottoman civilization throughout the "long" nineteenth century. Examines how a Western art style was incorporated into Ottoman visual culture. It first discusses the influence of the 18th century and then the transition to the 19th century. Explains the relationship between artistic production, palace patronage, and visual exchange between the Ottomans and Europeans. Explores the intertwined history of global power and modernity. You will read key theoretical texts on orientalism, postcolonialism, and cosmopolitanism and examine the conditions and possibilities of domination, interculturalization, and destruction at the intersections of power structures and visual cultures. | 14, 16, 9 | A, E, H |
| Teaching Methods: | 14: Self Study Method, 16: Question - Answer Technique, 9: Lecture Method |
| Assessment Methods: | A: Traditional Written Exam, E: Homework, H: Performance Task |
Course Outline
| Order | Subjects | Preliminary Work |
|---|---|---|
| 1 | Introduction: Historical and Theoretical Background | |
| 2 | The Eighteenth Century: Interactions in Art and Architecture | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 3 | The Nineteenth Century Part I: Painting | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 4 | The Nineteenth Century Part II: Architecture | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 5 | Art and Patronage: The Re-Invention of Ottoman History | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 6 | Photography and the Empire | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 7 | Orientalism through the Ottoman Perspective: Theoretical Background | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 8 | Orientalism through the Ottoman Perspective II | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 9 | Gender, Empire and Orientalism: Women Artists and Patrons | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 10 | Archaeology and the Empire | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 11 | Institutionalization of Art: Part I | |
| 12 | Institutionalization of Art: Part II | It is mandatory that the students complete the assigned reading before the topics are discussed in class. |
| 13 | Possible Visit to Pera Museum; Sabancı Museum; Dolmabahçe Palace Painting Museum; Istanbul Museum of Painting and Sculpture | |
| 14 | Final Exam |
| Resources |
| Donald Quataert, “The Nineteenth Century,” in The Ottoman Empire: 1700 – 1922. Cambridge: Cambridge University Press, 2000, pp. 54 – 73. Günsel Renda, “Ottoman Painting and Sculpture,” in Ottoman Civilization 2, edited by Halil İnalcık and Günsel Renda. Ankara: Ministry of Culture and Tourism, 2004, pp. 932 – 967. Şükrü Hanioğlu, “The Ottoman Empire at the Turn of the Nineteenth Century,” “The Tanzimat Era,” in A Brief History of the Late Ottoman Empire. Princeton: Princeton University Press, 2008, pp. 6 – 41; 72 – 108. Wendy Shaw, “Introduction: The Translation of Art,” in Ottoman Painting: Reflections of Western Art from the Ottoman Empire to the Turkish Republic. London and New York: I.B. Tauris, 2011, pp. 1 – 10. Baki Tezcan, “Rethinking Decline in the Second Ottoman Empire,” Ottoman History Podcast, accessed May 23, 2021. İlber Ortaylı, “Osmanlı Tarihinde Bâb-ı Âli Asrı,” and “Tanzimat Adamı ve Tanzimat Toplumu,” in İmparatorluğun En Uzun Yüzyılı. İstanbul: İletişim Yayınları, 2000, pp. 89 – 122; 229 – 262. Suraiya Faroqhi, “The Longest Century of the Empire: From Küçük Kaynarca to the End of World War I,” in The Ottoman Empire: A Short History. Princeton, New Jersey: Markus Wiener Publishers, 2009, pp. 109 – 136. Stanford J. Shaw and Ezel Kural Shaw, “The Era of Modern Reform: The Tanzimat, 1839 – 1876,” in History of the Ottoman Empire and Modern Turkey, volume II: Reform, Revolution and Republic. Cambridge: Cambridge University Press, 1977, pp. 55 – 172. Dana Sajdi, “Decline, Its Discontents and Ottoman Cultural History: By Way of Introduction,” in Ottoman Tulips, Ottoman Coffee: Leisure and Lifestyle in the Eighteenth Century, edited by Dana Sajdi. London: I.B. Tauris, 2007, pp. 1 – 40. Gül İrepoğlu, “Innovation and Change” in The Sultan’s Portrait: Picturing the House of Osman. Istanbul: Türkiye İş Bankası, 2000, pp. 378 – 401. Günsel Renda, “The Birth of a New Genre of Painting: Mural Painting” in Günsel Renda, Adnan Turani, Turan Erol, Kaya Özsezgin and Mustafa Aslıer, A History of Turkish Painting. Genève, Switzerland: Palasar; Seattle: In association with University of Washington Press, 1988, pp. 69 – 86. Nebahat Avcıoğlu, “Introduction,” in Turquerie and the Politics of Representation, 1728 – 1876. Farnham Surrey and Burlington: Ashgate, 2011, pp. 1-41. Serpil Bağcı, Filiz Çağman, Günsel Renda and Zeren Tanındı, “From Walls to Canvases,” in Ottoman Painting. Ankara: T.C. Kültür ve Turizm Bakanlığı Yayınları, 2012, pp. 301 – 311. Shirine Hamadeh, “Introduction,” in The City’s Pleasures: Istanbul in the Eighteenth Century. Seattle: University of Washington Press, 2007, pp. Shirine Hamadeh, “Ottoman Expressions of Early Modernity and the “Inevitable” Question of Westernization.” Journal of the Society of Architectural Historians (2004): 32 – 51. Ali Uzay Peker, “Return of the Sultan: Nuruosmânîye Mosque and the İstanbul Bedestan,” in Constructing Cultural Identity, Representing Social Power, edited by N. Kısakürek, O. Rastrick, K. Esmark and C. Bilsel. Pisa: Plus - Pisa Univertsity Press, 2010, pp. 139 – 157. Nurdan S. Küçükhasköylü. “Circulating Images: Ottoman Painters, Travel Books, Overtones,” in Comité International des Études Pré-Ottomanes et Ottomane. Rethymno: University of Crete, 2012, pp. 1 – 7. Serpil Bağcı, Filiz Çağman, Günsel Renda, Zeren Tanındı, “Revivals and Innovations,” in Ottoman Painting. Ankara: Ministry of Culture and Tourism, 2006, pp. 264 – 283. Tülay Artan, “Istanbul in the 18th Century: Days of Reconciliation and Consolidation” in From Byzantion to Istanbul: 8000 Years of a Capital, edited by Koray Durak. Istanbul: Sabancı University Sakıp Sabancı Museum, 2010, pp. 300 – 313. Gülsen Sevinç Kaya, “Saray ve Resim Sanatı” in Milli Saraylar Tablo Koleksiyonu, written and prepared by Gülsen Sevinç Kaya. Istanbul: TBMM Milli Saraylar, 2019, pp. 13 – 49. Günsel Renda, “European Artists at the Ottoman Court: Propagating New Dynastic Image in the Nineteenth Century” in The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism, edited by Zeynep İnankur, Reina Lewis and Mary Roberts. Istanbul: Pera Museum, 2011, pp. 221 – 232. Pelin Şahin Tekinalp, “Links between Painting and Photography in Nineteenth-Century Turkey” History of Photography 34, no. 3 (2010): 291 – 299. Wendy M. K. Shaw, “From Old Niches to New Paintings” in Ottoman Painting: Reflections of Western art from the Ottoman Empire to the Turkish Republic. London, New York: I. B. Tauris, 2011, pp. 9 – 39. Zeynep İnankur, “Official Painters of the Ottoman Palace,” in Turkish Art: 10th International Congress of Turkish Art / Art Turc: 10e congress international d’art turc. Geneva: Fondation Max van Bercham, 1999, pp. 381 – 388. Ahmet Ersoy, “Architecture and the Search for Ottoman Origins in the Tanzimat Period,” Muqarnas 24 (2007): 117 – 139. Meltem Ö Gürel. “Dolmabahçe as Liminal Space,” in 150. Yılında Dolmabahçe Sarayı Uluslararası Sempozyumu, edited by Kemal Kahraman. Ankara: TBMM Milli Saraylar, 2007, pp. 261 – 270. Paolo Girardelli, “Architecture, Identity and Liminality: On the Use and Meaning of Catholic Spaces in Late Ottoman Istanbul,” Muqarnas 22 (2005): 233-264. Zeynep Çelik, “Introduction,” “An Architectural Survey of the City,” in The Remaking of Istanbul: Portrait of an Ottoman City in the Nineteenth Century. Berkeley: University of California Press, 1993, pp. xv - xviii, 3 - 30. Mary Roberts, “Ottoman Statecraft and the Pencil of Nature,” Ars Orientalis 43 (2013): 10 – 30. Mary Roberts, “The Battlefield of Ottoman History” in Istanbul Exchanges: Ottomans, Orientalists, and Nineteenth-Century Visual Culture. California: California University Press, 2015, pp. 37 – 74. Selim Deringil, “Long Live the Sultan: Symbolism and Power in the Hamidian Regime,” in The Well Protected Domains: Ideology and the Legitimation of Power in the Ottoman Empire, 1876 – 1909. London and New York: I. B. Tauris, 1998, pp. 16 – 43. Semra Germaner and Zeynep İnankur, “The Imperial Court,” “Sultans, Artists, and the Role of the Embassies,” “Court Artists,” and “The Ottoman Imperial Art Collection,” in Constantinople and the Orientalists. Istanbul: Türkiye İş Bankası Kültür Yayınları, 2002, pp. 75 – 119. Ayşe Erdoğdu, “Picturing Alterity: Representational Strategies in Victorian type Photographs of Ottoman Men,” in Colonialist Photography: Imag(in)ing Race and Place, edited by Eleanor Hight and Gary Sampson. London, 2002, pp. 107 – 125. Edhem Eldem, “Powerful Images: The Dissemination and Impact of Photography in the Ottoman Empire, 1870 – 1914,” in Camera Ottomana: Photography and Modernity in the Ottoman Empire, 1840 – 1914, edited by Zeynep Çelik and Edhem Eldem. Istanbul: Koç University Press, 2015, pp. 106 – 153. Edhem Eldem, “Following Ottoman Photographs,” Ottoman History Podcast, accessed May 23, 2021. Michelle Woodward, “Between Orientalist Clichés and Images of Modernization: Photographic Practice in the Late Ottoman Era.” History of Photography 4 (2003): 363 – 374. Nancy Micklewright, “Alternative Histories of Photography in Ottoman Middle East,” in Photography’s Orientalism: New Essays on Colonial Representation, edited by Ali Behdad and Luke Gartlan. Los Angles: Getty Publication, 2013, pp. 75 – 92. Wendy M. K. Shaw, “Ottoman Photography of the Late Nineteenth Century: An ‘Innocent’ Modernism?” History of Photography 33, no. 1 (February, 2009): 80 – 93. Bahattin Öztuncay, The Photographers of Constantinople: Pioneers, Studios and Artist from Nineteenth-Century Istanbul, 2 vols. Istanbul: Aygaz, 2003. Camera Ottomana: Photography and Modernity in the Ottoman Empire, 1840 – 1914, edited by Zeynep Çelik and Edhem Eldem. Istanbul: Koç University Press, 2015, exhibition catalog. Engin Özendes, Osmanlı İmparatorluğu’nda Fotoğrafçılık, 1839 – 1923. Istanbul: YEM Yayın, 2013. Carter Vaughn Findley “An Ottoman Occidentalist in Europe: Ahmed Midhat Meets Madame Gülnar, 1889,” The American Historical Review 103, no. 1 (February 1998): 15 – 49. Christoph Herzog and Raoul Motika, “Orientalism Alla Turca: Late 19th / Early 20th Century Ottoman Voyages into the Muslim Outback,” Die Welt des Islams 40, no. 2 (July 2000): 139 – 195. Mary Roberts, “Ottoman Art, Empire and the Orientalism Debate,” in The Routledge History of Western Empire, edited by Robert Aldrich and Kirsten McKenzie. London and New York: Routledge, 2014, pp. 364 – 381. Mary Roberts, “Ottomans, Orientalists, and 19th Century Visual Culture,” Ottoman History Podcast, accessed May 23, 2021. Selim Deringil, “They Live in a State of Nomadism and Savagery: The Late Ottoman Empire and the Post-Colonial Debate,” Comparative Studies in Society and History 45 (April 2003): 311 – 342. Ussama Makdisi, “Ottoman Orientalism,” American Historical Review 107, no. 3 (June 2002): 768 – 796. Ahmet Ersoy, “Introduction,” in Architecture and the Late Ottoman Imaginary: Reconfiguring the Architectural Past in a Modernizing Empire. Farnham Surrey, Burlington: Ashgate, 2015, 1 – 28. Ahmet Ersoy, “Architecture and Late Ottoman Historical Imagination,” Ottoman History Podcast, accessed May 23, 2021. Ahmet Ersoy, “Osman Hamdi Bey and the Historiophile Mood: Orientalist Vision and the Romantic Sense of the Past in the Late Ottoman Culture,” in The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism, edited by Zeynep İnankur, Reina Lewis and Mary Roberts. Istanbul: Pera Museum Publication, 2011, pp. 145 – 155. Edhem Eldem, “Making Sense of Osman Hamdi Bey and His Paintings,” Muqarnas 29 (November 2012): 339 – 383. Mary Roberts, “Gérôme in Istanbul,” in Istanbul Exchanges: Ottomans, Orientalists, and Nineteenth-Century Visual Culture. California: University of California Press, 2015, pp. 75 – 110. Semra Germaner and Zeynep İnankur, “Early Depictions of the Ottoman Capital,” “Ambassadors and Les peintres de Turcs” “Western Orientalism and Ottoman Westernization,” “A New Fashion in the West,” and “Western Artists and Their Ateliers in Istanbul,” in Constantinople and the Orientalists. Istanbul: Türkiye İş Bankası Kültür Yayınları, 2002, pp. 13 – 74. Zeynep Çelik, “Speaking Back to Orientalist Discourse,” in Orientalism’s Interlocutors: Painting, Architecture, Photography, edited by Jill Beaulieu and Mary Roberts. Durham and London: Duke University Press, 2002, pp. 19 – 41. Zeynep Çelik, “Orientalism in the Ottoman Empire,” Ottoman History Podcast, accessed May 23, 2021. Ahmet Ersoy, “A Sartorial Tribute to Tanzimat Ottomanism: The Elbise-i Osmaniyye Album,” Muqarnas 20 (2003): 187 – 207. Edhem Eldem, “Osman Hamdi Bey ve Oryantalizm.” Dipnot 2, (2004): 39 – 67. Emine Fetvacı, “The Art of Osman Hamdi Bey,” in Osman Hamdi Bey and the Americans, edited by Renata Holod and Robert Oustershot. Istanbul: Pera Museum Publication, 2011, pp. 118 – 136. Zeynep Çelik, “Search for Identity: Architecture of National Pavilions,” in Displaying the Orient: Architecture of Islam at Nineteenth-Century World's Fairs. Berkeley: University of California Press, 1992, pp. 95 – 138. Lady Mary Wortley Montagu, The Complete Letters of Lady Mary Wortley Montagu, edited by Robert Halsband. Oxford: Clerandon Press, 1965. Mary Roberts, “Oriental Dreams,” in Intimate Outsiders: The Harem in Ottoman and Orientalist Art and Travel Literature. Durham and London: Duke University Press, 2007, pp. 128 – 149. Mary Roberts, “Contested Terrains: Women Orientalists and the Colonial Harem,” in Orientalism’s Interlocutors: Painting, Architecture, Photography, edited by Jill Beaulieu and Mary Roberts. Durham and London: Duke University Press, 2002, pp. 179 – 203. Mary Roberts, “Harem Portraiture: Elisabeth Jerichau-Baumann and the Egyptian Princess Nazlı Hanım,” in Local/Global Women Artists in the Nineteenth Century, edited by Deborah Cherry and Janice Helland. London: Ashgate, Aldershot, 2006, pp. 77 – 98. Reina Lewis, “Only Woman Should Go to Turkey: Henriette Browne and the Female Orientalist Gaze,” in Gendering Orientalism: Race, Femininity and Representation. London and New York: Routledge, 1996, pp. 127 – 190. Reina Lewis, “Women Orientalist Artists: Diversity, Ethnography, Interpretation,” Women: A Cultural Review 6, no. 22 (Spring 1993): 53 – 64. Zeynep İnankur, “Mary Adelaide Walker,” in The Poetics and Politics of Palace: Ottoman Istanbul and British Orientalism, edited by Zeynep İnankur, Reina Lewis and Mary Roberts. Istanbul: Pera Museum Publications, 2011, pp. 199 – 209. Edhem Eldem, “Orientalism and Archaeology: The Orient Where Time stands Still,” in 1001 Faces of Orientalism, edited by Ayşen Anadol. Istanbul: Sakıp Sabancı Museum Publication, 2013, pp. 32 – 43. Edhem Eldem, Zeynep Bahrani and Zeynep Çelik “Introduction,” in Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 13 – 43. Edhem Eldem, “From Blissful Indifference to Anguished Concern: Ottoman Perceptions of Antiquities, 1799 – 1869,” in Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 281 – 329. Ussama Makdisi, “The Rediscovery of Baalbek: A Metaphor for Empire in the Nineteenth Century,” In Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 257 – 279. Zeynep Çelik, “Defining Empire’s Patrimony: Resurrecting Antiquity for Ottoman Modernity,” In Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 443 – 477. Wendy M. K. Shaw, “Introduction,” “Moving Toward the Museum: The Collection of Antique Spolia,” in Possessors and Possessed: Museums, Archaeology, and the Visualization of History in the Late Ottoman Empire. Berkeley; Los Angles and London: University of California Press, 2003, pp. 1 – 44. Zeynep Yasa Yaman, “Different Impressions, Changing Traditions,” in Different Impressions, Changing Traditions: The Art Collection of the Central Bank of the Republic of Turkey, Ed. Zeynep Yasa Yaman. (Istanbul: Türkiye Cumhuriyeti Merkez Bankası, 2012), pp. 10 – 32. Zeynep Yasa Yaman, “A New Beginning: Mekteb-i Sanayi-i Şahane, Sanayi-i Nefise Mekteb-i Alisi, and the Painting and Sculpture Museum” in Different Impressions, Changing Traditions: The Art Collection of the Central Bank of the Republic of Turkey, Ed. Zeynep Yasa Yaman. (Istanbul: Türkiye Cumhuriyeti Merkez Bankası, 2012), pp. 32 – 38. Mary Roberts, “Genealogies of Display: Cross-Cultural Networks at the 1880s Istanbul Exhibitions.” In The Poetics and Politics of Place: Ottoman Istanbul and British Orientalism, edited by Zeynep İnankur, Reina Lewis and Mary Roberts, 127 – 142. Istanbul: Pera Museum Publication, 2011. Wendy M. K. Shaw, “From Mausoleum to Museum: Resurrecting Antiquity for Ottoman Modernity,” In Scramble for the Past: A Story of Archaeology in the Ottoman Empire, 1753-1914, edited by Zainab Bahrani, Zeynep Çelik and Edhem Eldem. Istanbul: SALT, 2011, pp. 423 – 441. Zeynep Çelik, “Scholarship and the Museum,” in About Antiquities: Politics of Archaeology in the Ottoman Empire. Texas: University of Texas Press, 2016, pp. 43 – 64. |
Course Contribution to Program Qualifications
| Course Contribution to Program Qualifications | |||||||
| No | Program Qualification | Contribution Level | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | DESIGN (Knowledge-Theoretical, Factual): During planning, implementation, management and supervision processes; Knowledge of creative problem defining and solving | ||||||
| 2 | DESIGN (Skill-Cognitive, Applied): Design-oriented research fiction, execution and evaluation of results and design process planning, management, application skills | ||||||
| 3 | DESIGN (Competencies-Ability to Work Independently and Take Responsibility): Ability to work within a team, to emphasize interdisciplinary interaction and apply technology-based business association methods | ||||||
| 4 | DESIGN (Competencies-Learning Competence): To evaluate critically the knowledge and skills gained in the field, to plan and to develop constantly professional knowledge, skills and approaches | ||||||
| 5 | DESIGN (Competencies-Communication and Social Competence): Transferring design solutions as oral, written and visual (2D and 3D) presentations on national and international platforms | ||||||
| 6 | DESIGN (Competencies-Field Specific Competence): Contributing to the design of industrial products to improve the quality of life of the society. | ||||||
| 7 | HISTORY, CULTURE, ART (Knowledge-Theoretical, Factual): To make connections between the information obtained by the analytical approach and the information on historical and cultural development and current situation in Turkey and in the world, and to expand the boundaries of vocational education proficiency to develop new ideas | X | |||||
| 8 | HISTORY, CULTURE, ART (Skill-Cognitive, Applied): Ability to solve the design related problems encountered in concept development, by using the knowledge gained in the field of history, culture and art | X | |||||
| 9 | HISTORY, CULTURE, ART (Competencies - Independent Work and Ability to Take Responsibility): To be able to do interdisciplinary work by using the knowledge gained in the field of history, culture and art | X | |||||
| 10 | HISTORY, CULTURE, ART (Competences-Learning Competence): Ability to develop the knowledge gained in the field in the direction needed, using the research methods | X | |||||
| 11 | HISTORY, CULTURE, ART (Competencies-Communication and Social Competence): Awareness of social and cultural phenomena and continuous change and arranging plans, strategies, projects, collaborations and activities for the social environment with social responsibility consciousness. | X | |||||
| 12 | MATERIALS AND TECHNOLOGY (Knowledge-Theoretical, Factual): To gain knowledge concerning technology, material, product and production methods - that is to be used in the solution of the problem related to the field. | ||||||
| 13 | MATERIALS AND TECHNOLOGY (Skill-Cognitive, Applied): Knowing materials, technology and production methods and developing designs compatible with these methods, proposing new technologies and production methods, developing creative design solutions by interpreting and using technology. | ||||||
| 14 | MATERIALS AND TECHNOLOGY (Competencies - Independent Work and Ability to Take Responsibility): To be able to work together with stakeholders working on different areas and needs in construction and production technologies | ||||||
| 15 | MATERIALS AND TECHNOLOGY (Competencies-Learning Competence): Understand the compatibility and flexibility between the technological tools that meet the requirements according to the needs | ||||||
| 16 | MATERIALS AND TECHNOLOGY (Competencies-Communication and Social Competence): Ability to use appropriate communication techniques and technologies | ||||||
| 17 | MATERIALS AND TECHNOLOGY (Competencies-Field Specific Competencies): Producing and applying knowledge to serve sustainable production and life | ||||||
| 18 | MATERIALS AND TECHNOLOGY (Competencies-Filed specific competencies): To be able to develop creative design solutions by mastering technological development, interpreting the developments and pioneering such developments. | ||||||
| 19 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Knowledge-Theoretical, Factual): -Ethics related to the field, -project management issues, -legal rights and responsibilities, -To gain knowledge about legal responsibilities and regulations affecting design works | ||||||
| 20 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Skill-Cognitive, Applied): Ability to recognize and apply the techniques used and legal responsibilities in planning, design, construction and operation phases of project management. | ||||||
| 21 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Competences - Capability to Work Independently and Take Responsibility): To adapt to the different working environments and forms required by the profession and to contribute to the development of these environments | ||||||
| 22 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Capabilities-Learning Capability): Monitoring and learning the legal, administrative and procedural requirements of design and construction projects throughout professional life, developing new strategic approaches in solving complex problems, taking responsibility | ||||||
| 23 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Competencies-Communication and Social Competence): Being able to lead the process -deploying the necessary communication skills and tools- during planning, designing, construction and operation stages, and demonstrating leadership in providing the solution in the work environment. | ||||||
| 24 | PROFESSIONAL PRACTICE, PROJECT MANAGEMENT AND LEGAL RESPONSIBILITIES (Competencies-Field Specific Competence): To be able to transfer knowledge to the level of expertise, to use theoretical and practical knowledge on the field of Professional Practice, Project Management and Legal responsibilities, knowledge of interdisciplinary interaction | ||||||
| 25 | ENVIRONMENT, STRUCTURE AND HUMAN HEALTH (Knowledge-Theoretic, Factual): Methods and techniques that will be used in the solution of the problems related to the field – to gain knowledge to apply the techniques in the context of environmental health, -building health, -human health | ||||||
| 26 | ENVIRONMENT, STRUCTURE, HUMAN HEALTH (Skill-Cognitive, Applied): Understanding the relationships between environment, structure and human health and creating solutions to related design problems. | ||||||
| 27 | ENVIRONMENT, STRUCTURE, HUMAN HEALTH (Competences - Capability to Work Independently and Take Responsibility): Taking competence and responsibility in the fields of urban / space / product planning, design, implementation and supervision of environment, strcuture and human health | ||||||
| 28 | ENVIRONMENT, STRUCTURE, HUMAN HEALTH (Capabilities-Learning Capability): Competence in researching theoretical and applied information systems on environment, structure and human health | ||||||
| 29 | ENVIRONMENT, STRUCTURE, HUMAN HEALTH (Competencies-Communication and Social Competence): Be able to communicate with all areas of expertise in environment, structure and human health | ||||||
Assessment Methods
| Contribution Level | Absolute Evaluation | |
| Rate of Midterm Exam to Success | 50 | |
| Rate of Final Exam to Success | 50 | |
| Total | 100 | |