This project explores a curious facet of early cinema that has not been studied as yet: the relationship between Turkish modernity and the culture of spectatorship within the context of the late nineteenth century’s viewing habits along with the era of early and silent cinema in Istanbul. The aim of this project is to examine the evolution of viewing habits in Istanbul at a particular period in which a radical cultural transformation was experienced, namely from the 1890s to the 1930s, when the late Ottoman era with its pre-cinematic shows, the cinematograph, and silent films led to the early Turkish Republic and the end of silent cinema. In order to cover the shift in the reception of early cinema, this study makes use of revisionist works on early cinema and on modernity in Ottoman history. To this end, newspapers, novels, memoirs and consular trade records that formed the majority of the primary sources of this project are analyzed. The transformation of Istanbulite spectatorship was initially experienced through a rupture in the late nineteenth century created by the global flow of mechanical images. The cinematograph was viewed by a multi- ethnic public that was accustomed to seeing both traditional and other more widely recognized pre-cinematic shows such as the shadow play, public storytelling, dioramas, panoramas and magic lanterns. At first the early cinematograph displays were haphazard and parts of other shows. Yet, the international influence of the early cinema attracted a curiosity-driven public even if the same public was critical of the imperfect technology of the apparatus. With the outbreak of World War I, nationalist resistance played a role in the reception of popular European films, particularly Italian melodramas. The end of the war caused the demise of the Ottoman Empire and the foundation of the Turkish Republic, after which, cinema started to be seen as an educational tool in the service of nation-building.

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Adopting an inside out perspective to city branding, this doctoral thesis examines the significance of residents and their relationship towards cities in terms of association, identity and ownership of the physical environment, in the context of city branding. This is important because the growing interest towards city branding not only challenged the traditional understanding of branding concepts but also forced academics and practitioners to seek ways to mould and shape existing concepts to the context of city branding. This qualitative study was undertaken within a constructivist grounded theory methodology and uses Leeds, UK and Istanbul, Turkey as deliberately contrasting case studies. In accordance with grounded theory, the literature was only used to inform rather than direct the research design. The sampling design involved initial and theoretical sampling and in total of 22 residents interviewed from both cities. The emergent place brand identity mosaic comprises of four main categories of social process (SP), place attachment (PA), sense of place (SoP) and built environment (BE), and the most significant feature of the place identity mosaic is that it is processual, dynamic, and time and context specific. In terms of contribution to knowledge, the present study bridges the gap in between the subject fields of branding (brand management) and urban studies by proposing an inside out approach to branding cities. The findings indicate that the place brand identity mosaic elements provide a platform to explain how residents make sense of where they live and to begin to understand the concept of the city brand identity. Moreover, in regards to practice, it brings a new perspective to the existing city managements by highlighting a focal point of “keeping the existing customers happy” through investigating and understanding the role and significance of residents, their attachment to where they live and how this insight can be cooperated into creating and developing a sustainable city brand.

Thesis (Ph. D.)--University of Chicago, Dept. of History, June 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--University of Chicago, Dept. of History, June 2001. / Includes bibliographical references. Also available on the Internet.

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Sociology, 2008. / Includes bibliographical references.

Habilitationsschrift, Universität Wien, 1979. / Includes indexes. Includes bibliographical references (p. 11-19).

Thesis--Cologne. / Includes bibliographical references (p. [xi]-xxxi).

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Sociology, 2008. / Includes bibliographical references.

This dissertation offers a critical examination of the Mangana Quarter in Byzantine Constantinople, which was renowned for the Mangana Complex consisting of an imperial monastery and a palace commissioned by Constantine IX Monomachos (reigned 1042–1055), through an archaeological perspective. The Quarter was situated on the eastern slopes of the Acropolis of Byzantion and today is concealed by the gardens of the Topkapı Palace in Sarayburnu. The area remains one of the least-explored urban districts in Istanbul, thus a void in current scholarship on the historical topography and archaeology of Byzantine Constantinople. To this date, the only large-scale archaeological fieldwork in the area was conducted by Robert Demangel and Ernest Mamboury between 1921 and 1923. However, the findings of this excavation have been found problematic, especially with respect to the identifications, architectural chronology and functions with regard to the architectural complexes of the Mangana Quarter, such as the Hodegon monastery, the Mangana Gate and the Church of Christ the Savior. This dissertation revisits the textual and archaeological evidence on the Mangana Quarter and resituates it within a broader historical context of the urbanism of the acropolis and city of Constantinople. In doing so, it offers a fresh perspective about the Byzantine monuments of Sarayburnu drawing on new archaeological evidence. As such, the dissertation presents the first comprehensive analysis of the Mangana Complex and its place within the monastic and palatial architecture of the Middle Byzantine period. Archaeology is given a particular emphasis, and new discoveries from Sarayburnu are examined with the sight of deconstructing the Byzantine-period building complexes of the Mangana Quarter. The dissertation reaches three main conclusions that offer new insights into the archaeology of Byzantine Constantinople, as well as the history of Byzantine archaeology in Turkey. First, through a thorough analysis of Ottoman Turkish, French and Turkish archival documents, the dissertation yields significant insights about the history of the previous fieldwork in Sarayburnu both conducted by the French Army during the occupation of Istanbul after World War I -a period entirely overlooked in previous scholarship- and by the Istanbul Archaeological Museums. Secondly, the new archaeological evidence from the Mangana Complex, analyzed for the first time in this dissertation, challenges previously held architectural chronologies and interpretations, and suggests alternative locations particularly for the Mangana Palace and the Mangana katholikon. Lastly, on the basis of this critical reading of the archaeology of the Mangana Complex, the dissertation reconsiders the architectural history of the church of St. George Tropaiophoros and its alleged pivotal role in manifesting cross-cultural interactions between the Caucassian and Byzantine lands.