Even before the collapse of the Ottoman Empire, Turkic communities, living in states newly independent from Ottoman rule, were 'protected' by the Ottomans. With the creation of the new Turkish Republic, the notion of 'Outside Turks' became embedded in a new foreign policy which aimed to unite these communities, with whom Kemalist Turkey claimed to share ethnic origin, to the homeland. After 1980, and particularly during the Justice and Development Party rule, the country's domestic agenda, however, was transformed to imagine Outside Turks along cultural and religious lines, rather than in a purely ethnic sense. Husrev Tabak provides a foreign policy analysis to account for this vital shift, arguing that four post-Kemalist norms are responsible: Ottomania, de-ethnicized nationhood, Turkish Islam and Islamic Internationalism. By focusing on the case of the Kosovar Turks, the book reveals that the post-Kemalist move to re-imagine Outside Turkish communities was largely counterproductive. In losing Turkey as a secure point of reference for their ethnic identity, these communities began to fashion a nationalism which gained a reactionary character.The Kosovar Turks now more vehemently embrace Kemalist attitudes and discourses and their sense of Turkish ethnicity has been sharpened. In tracing the impact of norm changes within Turkey on ethnic Turks beyond Turkey, the book illustrates the way in which domestic norms can be used as a significant foreign policy analysis tool. The Kosovar Turks and Post-Kemalist Turkey will therefore be essential reading for those interested in Turkey's foreign policy and post-Kemalism, as well as those researching the ongoing impact of the Ottoman Empire's multinational, multicultural legacy.

In these essays, dancers and scholars from around the world carefully consider the transformation of an improvised folk form from North Africa and the Middle East into a popular global dance practice. They explore the differences between the solo improvisational forms of North Africa and the Middle East, often referred to as raqs sharki, which are part of family celebrations, and the numerous globalized versions of this dance form, belly dance, derived from the movement vocabulary of North Africa and the Middle East but with a variety of performance styles distinct from its site of origin. Local versions of belly dance have grown and changed along with the role that dance plays in the community. The global evolution of belly dance is an inspiring example of the interplay of imagination, the internet and the social forces of local communities. All royalties are being donated to Women for Women International, an organization dedicated to supporting women survivors of war through economic, health, and social education programs. The contributors are proud to provide continuing sponsorship to such a worthwhile and necessary cause.

This book presents gendered readings of cultural manifestations that relate to the Ottoman era as a preferred past and a model for the future. By means of claims of authenticity and the distribution of imaginaries of a homogenous desirable alternative to everyday concerns, as well as invoking an imperial past at the national level. In this mode of thinking, shaped around a polarised worldview, Republican ideals serve as a counter-image to the promoted splendour and harmony of the Ottomans. Yet, the stereotypical gender roles inextricably linked with this neo-Ottoman imaginary remain largely unacknowledged, dissimulated in the construction of the desire of an idealised past. Our adaption of a cultural studies perspective in this volume puts special emphasis on agency, gender, and authority. It provides a shared ground for the interrogation, through the contributions comprising this project of knowledge production about the past in light of what constitutes acceptable legitimacy in interpreting not only the canonical literature, but history at large.

Diplomats had multiple tasks: not only negotiating with the representatives of other states, but also mediating culture and knowledge, and not least elaborating reports on their observations of politics, society, and culture. Culture, according to the studies featured in this book, is defined as a complex sphere including aspects like systems of communication, literature, music, arts, education, and the creation of knowledge. This edition containing contributions from six conferences held in Vienna and Istanbul by the Don Juan Archiv Wien focuses on the complex diplomatic and cultural relations between the Ottoman Empire and Europe from the time of the early embassies to Istanbul up to "Tanzimat".

In an increasingly connected world, the engagement of diasporic communities in transnationalism has become a potent force. Instead of pointing to a post-national era of globalised politics, as one might expect, Banu Senay argues that expanding global channels of communication have provided states with more scope to mobilise their nationals across borders. Her case is built around the way in which the long reach of the proactive Turkish state maintains relations with its Australian diaspora to promote the official Kemalist ideology. Activists invest themselves in the state to 'see' both for and like the state, and, as such, Turkish immigrants have been politicised and polarised along lines that reflect internal divisions and developments in Turkish politics. This book explores the way in which the Turkish state injects its presence into everyday life, through the work of its consular institutions, its management of Turkish Islam, and its sponsoring of national celebrations. The result is a state-engineered transnationalism that mobilises Turkish migrants and seeks to tie them to official discourse and policy. Despite this, individual Kemalist activists, dissatisfied with the state's transnational work, have appointed themselves as the true 'cultural attaches' of the Turkish Republic. It is the actions and discourses of these activists that give efficacy to trans-Kemalism, in the unique migratory context of Australian multiculturalism. Vital to this engagement is its Australian backdrop - where ethnic diversity policies facilitate the nationalising initiatives of the Turkish state as well as the bottom-up activism of Ataturkists. On the other hand, it also complicates and challenges trans-Kemalism by giving a platform to groups such as Kurds or Armenians whose identity politics clash with that of Turkish officialdom. An original and insightful contribution on the scope of transnationalism and cross-border mobilisation,this book is a valuable resource for researchers of politics, nationalism and international migration.

This volume starts out with two contrasting studies of monuments. How does the seemingly stability of stone and bronze hide a constantly changing cultural use? Anne Eriksen looks at the history of ruins in Norway. The murmur of ruins turns out to be a speech of modernity, a way of emotionalising place and history. Viktoriya Hryaban discusses the fate of socialist monuments in Ukraine and shows how the attempts to create alternative post-socialist memorials reproduce a traditional Soviet cultural grammar. Lace is a dominating decorative element in many Turkish Dutch homes. It has become a sign of "Turkishness" but as Hilje van der Horst points out, people's relations to this mundane domestic element mirror some important conflicts and ideas about modernity and ethnicity. From the cultural media of monuments and lace, the discussion moves on to two more classic mass media and their role in identity politics. Stijn Reijnders explores a popular Dutch game show that has managed to survive for decades, becoming something of a national institution for some, an example of an outmoded genre for others. How does the involvement mirror ideas of an imagined national community? Finally, Silke Meyer looks at an 18th century national stereotype of "The German quack" in English popular debate and mass media. How did this caricature of Germanness become an alter ego of the English?

God Does Not Love The Workers The sewers of Bucharest, Romania, Christmas 1989. Vlad and other Securitate secret police comrades fan out across a city about to fall to counter-revolution. The show trial and execution of Nicolae and Elena Ceausescu are broadcast on television. Vlad, raised as an assassin in a Securitate orphanage in Targoviste, home of Vlad the Impaler, vows to avenge the death of his adoptive 'parents' in that very town. Moving from safe-house to safe-house, with help from remnants of the regime, he begins to pick off those involved in the murders. Vlad wanders around the new Romania, observing the turning of coats, the miners' rampages, meeting other post-communist undead. As European integration and a 'fully functioning market economy' beckon, he carves, quite literally, a lucrative and grisly niche. Love and fatherhood remain a possibility. But Vlad, like the stray dogs and street walkers he frequents, knows that life is becoming increasingly dangerous. As one victim exclaims: 'God does not love the workers!'

Whether re-creating an actual event or simply being set in a bygone era, films have long taken liberties with the truth. While some members of the audience can appreciate a movie without being distracted by historical inaccuracies, other viewers are more discerning. From revered classics like Gone with the Wind to recent award winners like Argo, Hollywood films often are taken to task for their loose adherence to the facts. But what obligation do filmmakers have to the truth when trying to create a two-hour piece of entertainment? In Bringing History to Life through Film: The Art of Cinematic Storytelling, Kathryn Anne Morey brings together essays that explore the controversial issue of film as a purveyor of history. Examining a range of films, including highly regarded features like The Last of the Mohicans and Pan’s Labyrinth, as well as blockbuster franchises like Pirates of the Caribbean, chapters demonstrate that the debate surrounding the role of history on film is still as raw as ever. Organized in five sections, these essays discuss the myths and realities of history as they are portrayed on film, from “Nostalgic Utopias” to “Myths and Fairy Tales.” The fourteen chapters shed light on how films both convey and distort historical realities to capture the “essence” of the past rather than the past itself. Ultimately, they consider what role cinema plays as the quintessential historical storyteller. In addition to cinema and media studies, this book will appeal to scholars of history and fans of a wide range of cinematic genres.

A valuable resource for the latest research on rodents, highlighting links across palaeontology, developmental biology, functional morphology, phylogenetics and biomechanics.