https://hdl.handle.net/20.500.12809/72 Sat, 04 Apr 2026 04:55:52 GMT 2026-04-04T04:55:52Z https://hdl.handle.net/20.500.12809/11030 Haydar Efendi'nin İran Sefaretnamesi] Sarıkçıoğlu Ökten, Melike; Güngör, Mertcan In the history of diplomacy, which lasted for centuries from the foundation of the Ottoman Empire to its collapse, the tradition of writing sefaretname (the book of embassy) about the activities of the ambassadors was maintained by many ambassadors. Among the ones written during the Ottoman period, most of the sefāretnāmes that have survived to the present day were written by temporary ambassadors or their entourage. There were also sefāretnāmes scribed by permanent ambassadors. The work named "Haydar Efendi's Sefāretnāme in Iran", which is the subject of the study, was the first sefāretnāme written after the permanent embassy was opened in Iran. This sefāretnāme written by Haydar Efendi who took part in the delegation of Ahmet Vefik Efendi, when appointed as ambassador to Tahran on June 15, 1851, as the embassy undersecretary. In this sefaretname, the journey of the delegation of Ottoman embassy and how the Iranian side welcomed the Ottoman embassy are explained in detail. In addition, the sefaretname contains detailed information about the attitudes and behaviours of both the Ottoman delegation and the ambassador in connection with the welcoming ceremonies by the Iranian side. Sun, 01 Jan 2023 00:00:00 GMT https://hdl.handle.net/20.500.12809/11030 2023-01-01T00:00:00Z https://hdl.handle.net/20.500.12809/10959 70. Tracking civility and westernization through the performances of the characters in Pride and Prejudice and Aşk-ı Memnu Uslu, Muazzez This study investigates the transition of Western culture into the late Ottoman society and the traces of westernisation through cultural performances and performances of culture in private and public life. Since the concept of civility in English culture appears to be compatible with westernisation in late Ottoman culture, this study discusses how these concepts were digested in the two societies and how they were transformed into real-life performances. An in-depth comparative analysis of the performances of the characters in Jane Austen's Pride and Prejudice (1813) and Halid Ziya Uşaklıgil's Aşk-ı Memnu (1900) points out the analogy between the socio-cultural lives of societies and sheds light on how structured cultural performances move from one society to another. Even the habits and daily routines of members of the communities in private or public spheres, which can be taken as performances of culture, are shaped according to the socio-historical context they are situated in. Thus, several daily performances which are considered civilized in British society are considered western in Ottoman society and indicate a social code. Since the patriarchal structure of societies leads to segregated roles between the two sexes, this study discusses female education and its reflections on their performances seperately.; Bu çalışma, Batı kültürünün geç dönem Osmanlı toplumuna aktarılmasını incelemekte ve Batılılaşmanın izlerini toplumsal hayattaki kültürel performanslar ve kültür performansları üzerinden takip etmektedir. İngiliz kültüründeki nezaket kavramının geç dönem Osmanlı kültüründeki batılılaşma ile uyumlu olması nedeniyle bu çalışma, bu kavramların toplum tarafından içselleştirilmesi ve gerçek hayatta performanslara dönüşümünü sorgulamayı amaçlamaktadır. Jane Austen'ın Pride and Prejudice (1813) ve Halid Ziya Uşaklıgil'in Aşk-ı Memnu (1900) adlı eserlerindeki karakterlerin performanslarının derinlemesine karşılaştırmalı analizi, toplumların kültürel ve sosyal yaşamları arasındaki paralelliğe işaret etmekte ve kalıplaşmış kültürel performansların bir toplumdan diğerine nasıl aktarılabileceğine ışık tutmaktadır. Bir topluluğun üyelerinin bir kültürü nasıl icra ettiklerini gösteren davranışları ve günlük rutinleri, içinde bulundukları sosyo-kültürel tarihsel bağlam tarafından şekillendirilebilir. Buna göre, ister özel ister toplumsal alanda olsun, İngiliz toplumunda medeni, Osmanlı toplumunda ise Batılı olarak kabul edilen pek çok gündelik performans bu amaca hizmet eden araçlardır. Toplumların ataerkil yapısı,kadın ve erkekler arasında ayrışmış rollere yol açtığından, kadınların toplumsal ve özel alandaki eylem ve alışkanlıklarını şekillendirmeyi amaçlayan kadın eğitimi ve bunun yansımaları çalışmanın son bölümünde ele alınmaktadır. Sun, 01 Jan 2023 00:00:00 GMT https://hdl.handle.net/20.500.12809/10959 2023-01-01T00:00:00Z https://hdl.handle.net/20.500.12809/10913 Milas Kazası Vakıflarının İdarî ve Malî Durumları [Vakıf Kayıtlarına Göre / 1848-1885] Keleş, Erdoğan; Yazıcı, Muhammed; Karsandık Yazıcı, Özlem Wakfs have an important place in the development and growth of cities in the Ottoman State. Especially in city centers the maintenance, repair and basic needs of buildings for public benefit were met by means of wakf institutions. In this context, a number of wakf endowments which could support institutions that would benefit the community were established in kaza – or sub-district-of Milas and its villages. The wakfs of Firuz Pasha, Ahmed Gazi Bey and İlyas Bey are quite old in terms of history and continued their existence and functions until the 19th century. Again, in the 18th century, the wakfs established by Abdulaziz Aghas, who were administrators in and around Milas, made an important contribution to the amelioration and polishing of the city. Apart from these, mosques, masjids, zaviyes, madrasas, schools, drinking fountains and water well wakf endowments were established in Milas and its villages by different people. Total number 108 wakf institutions with 78 different names established in the town and villages of Milas. Of these wakfs, 99 wakfs were founded by men and nine wakfs founded by women. It is understood that the majority of the founders of the wakf were the notables of the district and village. The reason for this is that people turned their properties into wakfs with the thought of doing charity. Its rulers were usually descended from the founder of the wakfs. However, in a small number of wakfs, people such as imams, hafizes or muezzins served as trustees. In general, wakfs are in good economic condition and have maintained their income-expenditure balance. Therefore, the subject of our study is to determine the status of these wakfs through the record books (defters) created during the control of their financial and administrative structures between 1848 and 1885 and to reveal the place of Milas in the wafks endowment culture. Sat, 01 Jan 2022 00:00:00 GMT https://hdl.handle.net/20.500.12809/10913 2022-01-01T00:00:00Z https://hdl.handle.net/20.500.12809/10894 Çine’de Bir Kaya Kütlesi İçinde Yer Alan ‘İsa’nın Doğumu’ Sahnesi Üzerine İncelemeler Özyurt Özcan, Hatice The village of Dinecik in the cine district of Turkiye's Aydin province has a single scene depicting the birth of Jesus among the Byzantine wall paintings on the mass rock. This depiction of the Nativity of Jesus is the only surviving Nativity scene among paintings of Latmos, Yatagan, and the southern Carian coasts close to cine. Because the Cappadocian wall paintings have the widest range of subjects among the paintings in Anatolia, they were influential in this study's iconographic analysis of the Nativity painting. The scene consists of many episodes covering a large surface, and while a significant portion has survived, especially the hands and faces of the figures, the fact that some of the depictions have been largely destroyed makes it difficult to make a sound evaluation. Still, a detailed examination of the work was able to be made with what remained of some of the scenes that provide period clues. The center of the depiction shows the baby Jesus and Mary. To the right of Mary on a square cradle with long legs is the baby Jesus with a halo on his head, wrapped in white swaddling cloth. Behind the cradle are figures of oxen and donkeys. Joseph is in the lower right corner of the scene seated on a chair with his back to Mary. The first bathing scene in the lower left corner of the stage shows the midwives who will wash Jesus. The upper left section of the scene is understood from the remaining fragments to involve shepherds; however, most of them have been destroyed. The upper right corner has the figure of an angel and the three soothsayers. The scene contains a crowded compositional arrangement that brings together episodes such as the Prophet Kings, the Adoration of the Shepherds, and the First Bath, each being depicted as a separate scene after the depiction of the Nativity in the early period as a style that had become widespread in the paintings of the Cappadocia region toward the end of the 10th century. The fact that Mary didn't begin being depicted in a semi-sitting position in nativity scenes with her head aimed at Jesus in the cradle until after the 10th century and that the technical and stylistic features commonly applied to 11th-century buildings had also been used in the depiction at Dinecik indicates the painting to have bene painted by local craftsmen in the late 10th and mid-11th centuries with regional characteristics. Sun, 01 Jan 2023 00:00:00 GMT https://hdl.handle.net/20.500.12809/10894 2023-01-01T00:00:00Z