https://hdl.handle.net/20.500.12809/72 Fri, 17 Apr 2026 15:50:48 GMT 2026-04-17T15:50:48Z https://hdl.handle.net/20.500.12809/11075 Raffaello Sanzio’dan Önce Ahmedi Vardı: Osmanlı Devleti’nde Ekfrastik Bir Atina Okulu Tablosu ya da Felsefenin Şiirleştirilmiş Hali İnce, Yunus In his work titled Iskendername, the last copies of which are dated to 1411, Ahmedi describes in an ekphrasis style the discussions of Greek philosophers in the presence of Alexander on philosophical issues such as the essence of existence, its types, and the source and end of existence. In Iskendernâme, a method that aims to reach a conclusion through the comparison of opposing concepts such as limited will-major will, soul-body, world-ukba, youth-age, creator-created, wahdat-continuity, and intellect-nafis is adopted. In the work, philosophers such as Socrates, Plato, Aristotle and Hippocrates represent Greek/Western philosophy, while the unnamed Indian philosopher and the Chinese philosopher named Behram represent Eastern philosophy, and Khidr represents divine theology or Islamic philosophy. The painting known as the School of Athens, on the other hand, is a fresco completed by Raffaello Sanzio in 1511 upon papal commission to show the reconciliation of philosophy and theology. The Greek philosophers depicted arguing among themselves in the work represent Western philosophy. This study aims to compare two works, one produced in the form of poetry and the other in the form of a painting, which deal with the same subject approximately a century apart, in terms of their understanding of philosophy and esthetics. By subjecting both works to a comparison in terms of art and philosophy, it will be possible to draw attention to the differences between the Western and Eastern Civilizations’ understanding of art and philosophy. More detailed studies are needed to determine all the details of the two civilizations’ views on art and philosophy.; Ahmedî, son nüshaları 1411 yılına tarihlenen İskendernâme adlı eserinde Yunan filozoflarının İskender’in huzurunda varlığın özü, türleri, varlığın kaynağı, sonu gibi felsefî konulardaki tartışmalarını ekfrastik bir tarzda betimler (şiirle resmeder). İskendernâme’de cüzi irade-külli irade, ruh-beden, dünya-ukba, gençlik-yaşlılık, yaratıcı -yaratılmış, vahdet-kesret, akıl-nefis gibi zıt anlamlı kavramların karşılaştırılması üzerinden neticeye ulaşmayı hedefleyen bir usul benimsenmiştir. Eserde Sokrates, Platon, Aristoteles, Hipokrates gibi filozoflar Yunan/Batı felsefesini temsil ederken, adı zikredilmeyen Hintli filozof ve Behram adlı Çinli filozof Doğu felsefesini, Hızır ise ilahî kelamı ya da İslâm felsefesini temsil eder. Atina Okulu olarak bilinen resim ise, Rafaello Sanzio tarafından Papalığın felsefe ile teolojiyi uzlaşı içerisinde göstermek için 1511 yılında tamamlanmış bir fresktir. Bu freskte farklı hatta zıt görüşte olan filozoflar belirli gruplara ayrılmış şekilde bir arada resmedilmiştir. Eserde kendi aralarında tartışır vaziyette resmedilen Yunan filozofları, Batı felsefesini, İbn Rüşd ve Zerdüşt, Doğu felsefesini temsil eder. Bu çalışma yaklaşık yüzyıl arayla aynı konuyu işleyen biri şiir diğeri ise resim formunda üretilmiş iki eseri, felsefe ve estetik anlayışları bakımından karşılaştırmak amacındadır. Her iki eserin sanat ve felsefe açısından bir karşılaştırmaya tabi tutulmasıyla, Batı ve Doğu medeniyetlerinin sanat ve felsefe anlayışları arasındaki farklara dikkat çekmek mümkün olacaktır. İki medeniyet dairesinin sanata ve felsefeye bakışı hususundaki tüm ayrıntıların tespiti hususunda daha ayrıntılı çalışmalara ihtiyaç bulunmaktadır Wed, 01 Jan 2025 00:00:00 GMT https://hdl.handle.net/20.500.12809/11075 2025-01-01T00:00:00Z 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