Efemerada Ebediyetin Temsili: Osmanlı Dönemi Kartpostallarında Mezarlık ve Türbeler
Notice bibliographique
Résumé
This paper deals with the visual reflections of cemeteries, graveyards, and tombs in different parts of the empire and the culture developed accordingly through the postcards printed in the Ottoman period. Along with miniatures, gravures, paintings, and photographs, postcards are at the top of the list of the resources that contribute the most to the empire’s visual accumulation. In the last quarter of the 19th century, especially with the influence of developments in photography and printing techniques, postcards started to spread all over the world, including the Ottoman Empire. Postcards have various functions besides serving as a means of communication in their one-and-a-half-century history. Due to the diversity of their intended purpose and the texts and images they contain, postcards became documents with a source value over time. As a result of the understanding of the value of postcards, they were first collected by museums, libraries, archives, and collectors and then became the subject of academic studies. Literature made up of books, articles, and theses on postcards has emerged in Turkey, particularly in the last 20 to 30 years. These works usually focus on issues such as settlements (Istanbul, Jerusalem, Izmir, Thessaloniki, Beykoz, Fatih), wars (Balkan Wars, Gallipoli Campaign), political incidents (Constitutional monarchy), minorities (Jews, Armenians), postcard editors, architecture, and women. Our work, on the other hand, bears the significance of presenting new data on the visual history of Ottoman cemeteries by discussing burial places and death culture in postcards that allow different interpretations. The research aims to point out the contributions of postcards, one of the ephemera types, as sources for information on subjects such as history and art history because postcards convey various subjects such as daily life, natural disasters, wars, political events, conflicts, and official, national and religious ceremonies to the masses. Besides, it offers rich content about the panorama, silhouette, architecture, people, professions, clothing, and means of transportation of the period. Cemeteries, graveyards, war graves, and tombs appear as one of the themes featured in a significant number of postcards during the Ottoman period. Another aim of the research is to expose the visual accumulation that shapes graveyard and death culture. Our research examines around 350 original postcards with the theme of cemeteries and tombs printed in the Ottoman period. As a result of the study, although the cemeteries and tombs of many cities are included in postcards, it is seen that they specifically focus on Istanbul, Bursa, Izmir, and Thessaloniki. Postcards were printed both in the empire and abroad (Germany, France). The editors of the postcards were either from minorities (Greek, Armenian, Jewish) or foreigners. They have images of some cemeteries and tombs that have not survived. Not only Muslim cemeteries but Christian and Jewish cemeteries, even the cemeteries of foreign soldiers buried in our country during the wars and occupations, were also used in the postcards. Cemetery postcards served as a means of communication and propagandist and orientalist agendas. In terms of burial culture, it has been confirmed that postcards included funeral rites, cemetery visits, votive offerings, and scenes from daily life.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction distillée sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Apprise à partir de 10 348 étiquettes directes de Codex et de 10 348 étiquettes directes de Gemma. Le mode candidate est l'union des têtes enseignantes seuillées; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont ni des étiquettes humaines ni des étiquettes directes de modèles de pointe.
Scores Codex et Gemma par catégorie
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,000 | 0,000 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,000 | 0,000 |
| Études des sciences et des technologies | 0,002 | 0,001 |
| Communication savante | 0,000 | 0,000 |
| Science ouverte | 0,000 | 0,001 |
| Intégrité de la recherche | 0,000 | 0,001 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,031 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule tête enseignante, pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».