Zeynep elik examines the changing face of Istanbul during the period when European cultural and economic influence intensified, integrating architectural analysis with discussion of broader issues of urban design and historical change. Zeynep elik examines the changing face of Istanbul during the period when European cultural and economic influence intensified, integrating architectural analysis with discussion of broader issues of urban design and historical change.

Drawing on a diverse array of published and archival sources, Nicholas L. Danforth synthesizes the political, cultural, diplomatic and intellectual history of mid-century Turkey to explore how Turkey first became a democracy and Western ally in the 1950s and why this is changing today.

"Studies the reconstruction of Byzantine Constantinople as the capital city of the Ottoman empire following its capture in 1453, delineating the complex interplay of socio-political, architectural, visual, and literary processes that underlay the city's transformation"--Provided by publisher.

Exploring the divergent aspects of the rule of neoliberalism in Turkey since 1980s, each chapter in this book highlights a specific dimension of this socio-economic process and together, these essays construct a thorough examination of the whirlwind of changes recently experienced by Turkish society. With particular focus on the new ways in which social power operates, expert contributors explore new discourses and subjectivities around environmentalism, health, popular culture, economic policies, feminism and motherhood, urban space and minorities, class and masculinities. By questioning the primary influence of the state in these micro-political matters, they engage with concepts of neoliberalism and governmentality to provide a fresh, grounded and analytical perspective on the routes through which social power navigates the society. This sustained examination of the new axes of power and subjectivity, with a particular eye on the formation of new political spaces of governance and resistance, deepens the analysis of Turkey’s experiment with neoliberal globalization.

In recent years there has been an upsurge of interest in Turkey's ability to create a secular, constitutional democracy within a predominantly Muslim population. Remaking Turkey provides a comprehensive and detailed account of how Turkey has achieved the possibility of modernity and democracy in a Muslim social setting as well as the important problems and challenges confronting this achievement. Turkey has demonstrated that as an alternative modernity and as a significant historical experience of the co-existence between Islam and democratic modernity in a secular political structure it could make an important contribution to the most needed democratic global governance for the creation of a secure, just and peaceful world. Remaking Turkey starts its investigation with an analysis of the Ottoman legacy, then focuses on identity-based conflicts and civil, economic, and global processes, all of which have brought about significant challenges to modernity and democracy in Turkey. The book concludes with an account of the recent changes and transformations that have given rise to the process of "remaking Turkey." In this way, editor E. Fuat Keyman presents a political theory-based approach to Turkish modernity and its recent changing formation, creating an original study of contemporary Turkey.

Examines the cities of Algeria and Tunisia under French colonial rule and those of the Ottoman Arab provinces, providing a nuanced look at cross-cultural exchanges.

Gathering architectural pieces from all over the world, the Paris Universal Exposition of 1867 introduced to fairgoers the notion of an imaginary journey, a new tourism en place. Through this and similar expositions, the world's cultures were imported to European and American cities as artifacts and presented to nineteenth-century men and women as the world in microcosm, giving a quick and seemingly realistic impression of distant places. elik examines the display of Islamic cultures at nineteenth-century world's fairs, focusing on the exposition architecture. She asserts that certain sociopolitical and cultural trends now crucial to our understanding of historical transformations in both the West and the world of Islam were mirrored in the fair's architecture. Furthermore, dominant attitudes toward cross-cultural exchanges were revealed repeatedly in Westerners' responses to these pavilions, in Western architects' interpretations of Islamic stylistic traditions, and in the pavilions' impact in such urban centers. Although the world's fairs claimed to be platforms for peaceful cultural communication, they displayed the world according to a hierarchy based on power relations. elik's delineation of this hierarchy in the exposition buildings enables us to understand both the adversarial relations between the West and the Middle East, and the issue of cultural self-definition for Muslim societies of the nineteenth century. Gathering architectural pieces from all over the world, the Paris Universal Exposition of 1867 introduced to fairgoers the notion of an imaginary journey, a new tourism en place. Through this and similar expositions, the world's cultures were imported to European and American cities as artifacts and presented to nineteenth-century men and women as the world in microcosm, giving a quick and seemingly realistic impression of distant places. elik examines the display of Islamic cultures at nineteenth-century world's fairs, focusing on the exposition architecture. She asserts that certain sociopolitical and cultural trends now crucial to our understanding of historical transformations in both the West and the world of Islam were mirrored in the fair's architecture. Furthermore, dominant attitudes toward cross-cultural exchanges were revealed repeatedly in Westerners' responses to these pavilions, in Western architects' interpretations of Islamic stylistic traditions, and in the pavilions' impact in such urban centers. Although the world's fairs claimed to be platforms for peaceful cultural communication, they displayed the world according to a hierarchy based on power relations. elik's delineation of this hierarchy in the exposition buildings enables us to understand both the adversarial relations between the West and the Middle East, and the issue of cultural self-definition for Muslim societies of the nineteenth century.