In Turkey, from the second half of the nineteenth century, the shaping of an art of painting on the basis of Western understanding was realized with state support. From this period, certain art movements were seen as ...In Turkey, from the second half of the nineteenth century, the shaping of an art of painting on the basis of Western understanding was realized with state support. From this period, certain art movements were seen as the means of modernization and Westernization. Therefore, impressionism, cubism, realism, and classicism were supported by the state as a formal artistic understanding. This attitude continued until the 1940s and artists painted certain subject matters on the basis of these art movements. The main theme and subject matters were the presentations of an idealized society such as palace＇s life, attractive women in Western appearance, happy peasants, war heroes, and beautiful views from the country. In the early 1940s, significant breakup began to take place in point of the theme and the subject matter of art. Social realism began to take shape for the first time in art in Turkey. The artists of Yeniler Grubu （Newcomers Group） focused on social phenomena related disadvantaged social groups rather than an idealized society. Some artists among the 1950 generation, especially Nedim Gunsur, Nuri iyem, and Miimtaz Yener, focused on migration and social problems that occurred correspondingly in the 1960s and 1970s. This paper aims to investigate how these artists depicted and interpreted the migration and its consequences.展开更多
Barrington Moore＇s ＂No bourgeoisie, no democracy＂ made democracy a monopoly of the bourgeoisie. Today, this has evolved into Huntington＇s thesis that the middle class has brought with it democracy. Proceeding from...Barrington Moore＇s ＂No bourgeoisie, no democracy＂ made democracy a monopoly of the bourgeoisie. Today, this has evolved into Huntington＇s thesis that the middle class has brought with it democracy. Proceeding from the relationship between the history of the socialist movement and comparative institutional change, we find that democracy has experienced a process of development involving the combination of positive and negative, from its original purpose of realizing majority rule in which everyone is equal to a tool for protecting the property rights of the minority, viz. the bourgeoisie, and thence to a tool for the mass of the people to realize equal rights today. In the course of its development, the main contribution of the bourgeoisie has been constitution-building and elite democracy, while the advent of mass democracy should be attributed to the workers＇ movement with the lower classes as its main force and to the struggles of other non-bourgeois strata. To gain a renewed awareness of the socialist attribute of democracy on the basis of an examination of the historical course of democracy helps us question the universality of a social science shaped by particular experiences.展开更多
文摘In Turkey, from the second half of the nineteenth century, the shaping of an art of painting on the basis of Western understanding was realized with state support. From this period, certain art movements were seen as the means of modernization and Westernization. Therefore, impressionism, cubism, realism, and classicism were supported by the state as a formal artistic understanding. This attitude continued until the 1940s and artists painted certain subject matters on the basis of these art movements. The main theme and subject matters were the presentations of an idealized society such as palace＇s life, attractive women in Western appearance, happy peasants, war heroes, and beautiful views from the country. In the early 1940s, significant breakup began to take place in point of the theme and the subject matter of art. Social realism began to take shape for the first time in art in Turkey. The artists of Yeniler Grubu （Newcomers Group） focused on social phenomena related disadvantaged social groups rather than an idealized society. Some artists among the 1950 generation, especially Nedim Gunsur, Nuri iyem, and Miimtaz Yener, focused on migration and social problems that occurred correspondingly in the 1960s and 1970s. This paper aims to investigate how these artists depicted and interpreted the migration and its consequences.
文摘Barrington Moore＇s ＂No bourgeoisie, no democracy＂ made democracy a monopoly of the bourgeoisie. Today, this has evolved into Huntington＇s thesis that the middle class has brought with it democracy. Proceeding from the relationship between the history of the socialist movement and comparative institutional change, we find that democracy has experienced a process of development involving the combination of positive and negative, from its original purpose of realizing majority rule in which everyone is equal to a tool for protecting the property rights of the minority, viz. the bourgeoisie, and thence to a tool for the mass of the people to realize equal rights today. In the course of its development, the main contribution of the bourgeoisie has been constitution-building and elite democracy, while the advent of mass democracy should be attributed to the workers＇ movement with the lower classes as its main force and to the struggles of other non-bourgeois strata. To gain a renewed awareness of the socialist attribute of democracy on the basis of an examination of the historical course of democracy helps us question the universality of a social science shaped by particular experiences.
