By Bruce Masters
Masters explores the historical past of Christians and Jews within the Ottoman Empire and the way their identities developed over 400 years. whereas early groups lived in the hierarchy of Muslim legislation, the 19th century witnessed radical swap. in line with Western impacts, clash erupted among Muslims and Christians around the empire. This marked the start of tensions that trained the rhetoric of non secular fundamentalism within the empire's successor states during the 20th century. hence Masters negotiates the current in the course of the prior, contributing to our knowing of the modern Muslim global.
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Additional info for Christians and Jews in the Ottoman Arab World: The Roots of Sectarianism
The State Conservatory (Devlet Konservatuarı) was eventually attached to Istanbul Technical University in Maçka in 1976, where it remains. It is within walking distance from the main TRT radio station building in Harbiye and the television studios in Kuruçesme, just a short cab ride north from the main entertainment districts of Taksim and Beyoğlu. On the halkevleri (people’s houses) movement, see Karpat 1963. 61. On the origins of the gazino see Feldman 2002—particularly pp. 16–17, on which most of this paragraph draws.
38 Turkish radio director Mesut Cemil forged an art music style that was in many regards the classical equivalent of Sarısözen’s rural-oriented phonographic realism: disciplined, rationalized, orchestral, and choral. When the new state conservatory was established in Maçka, Istanbul, in 1976, a new status quo was established when art music, folk music, and Western music were officially placed on an equal footing. Fol37. The Darü’l-Elhan conservatory, often referred to as the Istanbul Conservatory or the İstanbul Belediye (Istanbul municipal) Conservatory, was established by the Ottoman state in 1917 under the auspices of the Ministry of Education.
Vakıf-s are pious trusts, now administered by the state. As regards banks, Özyürek (2006, pp. 72–92) discusses the To Create a Citizen exhibition, curated by the Yapı Kredi Bank in 1998, in detail. This was a prominent exhibition on İstiklâl Caddesi in Istanbul’s central business district, showing photographs of, as Özyürek puts it, “mundane transformations in the daily lives of citizens in the 1930s” (2006, p. 72). The “Representations of Life Styles in Turkey” exhibition hosted in 2006 by the Osmanlı Bankası in Karaköy and curated by two sociologists, Meltem Ahıska and Zafer Yenal (see Ahıska and Yenal 2006), contrasted with these displays of “official” intimacy.