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Copyright of Universal Journal of History & Culture is the property of Universal Journal of History & Culture and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Faced with the challenges of modernization, Turkish society has experienced significant cultural changes since the late Ottoman Empire period. To achieve faster and smoother modernization, the government has embraced the creation and implementation of cultural policies. The principles of the conservative modernization program in the Ottoman Empire were based on gradually and partially adopting Western culture. While aiming to introduce unfamiliar ideas to society and create a transition between the Western world and society without causing significant harm to the cultural fabric, the state acted quite cautiously. Instead of directly copying and adopting Western norms, it aimed to introduce a new “modus vivendi” to the public by presenting a system that is reasonable to adopt in its own way against extreme examples that may provoke a reaction. Theater has become an important source of entertainment and cultural enrichment for Turkish people, reaching various parts of the country and attracting more viewers every day. After 1985, many theaters faced challenges in filling their seats, with performances often attended by only a few rows of spectators. This change resulted in a range of venues, from alternative spaces to traditional theaters. Alternative theaters, hosting smaller audiences of 30-50 people and often featuring amateur actors, have become platforms for recent graduates or current students of conservatories to showcase their talent. These "small theaters" resemble mini-schools with their semi-educational atmosphere. State and City (Municipality) Theaters follow a certain tradition, receiving funding to ensure high-quality performances in terms of actors, stage design, costumes, and music. Turkish-funded theaters, occasionally representing Turkish theater abroad, excel in style, acting, and bold performances compared to many subsidized theaters in other countries. They also put on plays which are highly political and it seems subsidized theaters will continue to be the most "political" theater groups in the country, alongside the declining number of political-social theater companies [ABSTRACT FROM AUTHOR]

Copyright of Journal of Social & Cultural Research (SKAD) is the property of Journal of Social & Cultural Research (SKAD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of TURKAV Institute of Public Adminsitration Journal of Social Sciences / TÜRKAV Kamu Yönetimi Enstitüsü Sosyal Bilimler Dergisi is the property of TURKAV Institute of Public Adminsitration Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Theatre and the dramatic arts are majorly considered an art of “mimesis” (representation) while also “diegesis” (narrative) is seen in both theatre and other dramatic forms. In the dramatic forms, however, diegesis/narrative remains secondary due to their intrinsic properties. In the study of theatre and the dramatic arts, diegesis mostly appears as a “diegetic space” (mentioned/narrated space) in connection with the use of space. In the present article we will first focus on the concept of diegesis and diegetic space and then attempt to show that characters, just like events, can be included in plays only by narratives rather than necessarily being physically present in the cast. In connection with this, we emphasized that such people, who are not part of the cast but included in the play only through the narrative, should be named as “diegetic person”, similar to the term “diegetic space”. We concentrated on the prominent five plays from Western and Turkish theatre within a timeframe from the Ancient Greeks to the 1950’s to suggest the universality of this approach. In addition to the analyzed plays being prominent works of their periods, the fact that the diegetic people in those plays are dead fathers is another shared aspect of the five plays we have chosen.This study reveals that the existence of diegetic people, who have not been individually addressed up to present day in theatre studies, is parallel with that of the theatre and remains present in the modern theatre as well. It indicates that such people can be just as influential as tangible creatures in plays and accordingly emphasizes that diegetic people should also be taken into account in theatre studies. Keywords: theater, mimesis, diegesis, diegetic person, West

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Modern European theater disseminated both revolutionary discourse and a nationalist project in the aftermath of the French Revolution to every region it entered -- a situation, which led to staggering impacts in multi-national, multi-religious, and decentralized territories such as the Ottoman Empire. Local individuals who engaged in European-style theatrical productions within the Ottoman Empire were initially and primarily Armenians. As a politicized form in terms of public opinion, urbanization, westernization, and education, the Ottoman Armenian theatrical experience became a legacy that was able to serve a budding Armenian nationalism, the idea of a shared Ottomanism during a specific time, and, eventually, to bolstering Turkishness as the Empire evolved into a nation-state. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nasreddin Hodja as an ageless figure for Turkish cultural geography always known by people and his effects still continue for today. Nasreddin Hodja, who has felt his influence and formed a universal identity even though it has passed ages since then, is a philosopher who thinks that his seven-hundred year time period fuses generations with each other and makes him laugh with his witty intelligence. To understand and recognize him, one of the most important figures of Turkish culture, it is necessary to analyze the narratives/jokes of him. Even though it is accepted that Şinasi of the Turkish theater in the Western sense started with the "Şair Evlenmesi (Poet's Marriage)", the existence of the theater works written in Turkish outside the Ottoman borders is known. One of them is “Nasreddin’s Mansıb”. The date of the writer's writing and the date of his writing is not known precisely yet. Although the reason why for writing on the axis of Nasreddin Hodja can not be fully predicted, the work draws attention to the fact that the Turkic language deals with the beings and beauties of Nasreddin Hodja. In the work, Nasreddin Hodja annexes were added one after the other and these annexes were added to each other by a simple event mesh. The theme of the play is in Konya. The person who is appointed to Konya wants to give one to the muderris (professor). One of the candidates is the poor Nasreddin Hodja, and the other is the wealthy and deceitful Uzun Osman. In the end, despite all the tricks of Uzun Osman, the authority is given to Nasreddin Hodja. Hodja's ingenuity and humor plays an important role in this task. Actually, the bey (the governor) intends to give this authority to the island, which has the largest wax and the most desirable gift. The most important feature of the play is that it reflects the technical characteristics of the Western theater and the tradition of the traditional Turkish theater. In this declaration, the reason why Nasreddin Hodja takes center and develops around him and takes place in a theater piece will be evaluated within the scope of the work.

Copyright of International Journal of Language Academy is the property of Rota Kariyer and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Marmara University Journal of Turkology / Marmara Türkiyat Araştırmaları Dergisi is the property of Marmara University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Nasreddin Hodja as an ageless figure for Turkish cultural geography always known by people and his effects still continue for today. Nasreddin Hodja, who has felt his influence and formed a universal identity even though it has passed ages since then, is a philosopher who thinks that his seven-hundred year time period fuses generations with each other and makes him laugh with his witty intelligence. To understand and recognize him, one of the most important figures of Turkish culture, it is necessary to analyze the narratives/jokes of him. Even though it is accepted that Şinasi of the Turkish theater in the Western sense started with the "Şair Evlenmesi (Poet's Marriage)", the existence of the theater works written in Turkish outside the Ottoman borders is known. One of them is "Nasreddin's Mansıb". The date of the writer's writing and the date of his writing is not known precisely yet. Although the reason why for writing on the axis of Nasreddin Hodja can not be fully predicted, the work draws attention to the fact that the Turkic language deals with the beings and beauties of Nasreddin Hodja. In the work, Nasreddin Hodja annexes were added one after the other and these annexes were added to each other by a simple event mesh. The theme of the play is in Konya. The person who is appointed to Konya wants to give one to the muderris (professor). One of the candidates is the poor Nasreddin Hodja, and the other is the wealthy and deceitful Uzun Osman. In the end, despite all the tricks of Uzun Osman, the authority is given to Nasreddin Hodja. Hodja's ingenuity and humor plays an important role in this task. Actually, the bey (the governor) intends to give this authority to the island, which has the largest wax and the most desirable gift. The most important feature of the play is that it reflects the technical characteristics of the Western theater and the tradition of the traditional Turkish theater. In this declaration, the reason why Nasreddin Hodja takes center and develops around him and takes place in a theater piece will be evaluated within the scope of the work. [ABSTRACT FROM AUTHOR]

Copyright of Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (CUIFD) is the property of Cukurova Universitesi Ilahiyat Fakültesi Dergisi (CUIFD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

As a performing art theater has a feature of forming and generalizing a conscious. Through this feature it has been used to socialized some political views in both Western and Eastern societies many times in history. Turkish theatre in modernization period that arised with a mission to form and shape a new identity of society in the Ottoman Empire in the nineteenth century failed in this effort. In the modernization period, the effort of forming and generalizing a conscious in the theatre was limited with government section in the Ottoman Empire. It changed in to an effort of giving an identity to the society in Turkish Republic, but resulted in failure. On this occasion, we tried to base our hypothesis by dealing with the modernization of Turkish theatre in the Ottoman Empire and the new topics of it and by connecting with the continuity and the rupture after the structure of Turkish Republic. [ABSTRACT FROM AUTHOR]

Theatre, beganas a kind of Western modern sense to appear in Turkish literatüre from the Tanzimat period on. Muhsin Ertuğrul, several authors haveal so grown at the initiative of the Republican era. Haldun Taner, who is an important process in the world of literature as the author replaces. He works in the works of modern and traditional elements together successfully. The author has greatly contributed to the modern Turkish theater in the formation and progression. Although many games to write Taner, epic is known for not pay. This works in our country, now a pioneer of epic theater, the first native, gave an instance of musical play. Haldun Taner, a critical perspective, the community The Ballad of Ali of Keshan. In this game, the conflict between urbanization and urban life, social distortions, administrators negligence, economic problems and so on issues be heard. The author, using the power of literature, social, community life in the 1960s, offer scross-sections. [ABSTRACT FROM AUTHOR]