Zbigniew Bialas / Hasan Aslan / Mehmet Ali Icbay / Hasan Arslan

81
 
Eighteenth Century Relations between the Ottoman Empire and the Republic of Dubrovnik 
 
 
Beginning  of  the  17
th
  Century]  (Unpublished  masters’  thesis).  Hacettepe  University, 
Ankara, Turkey.  
İnalc k, H.  (1971). İmtiyazat. In Encyclopaedia of Islam (Vol. 3, pp. 1178-1189) Leiden: E. J. 
Brill.  
Jelavich, B. (1983). History of the Balkans Eighteenth and Nineteenth Centuries. New York: 
Cambridge University Press. 
Kahraman,  S.  A.  &  Dağl ,  Y.  (Eds.).  (2010).  Evliya  Çelebi  Seyahatnamesi  [Evliya  Çelebi's 
Travelogue] (Vol. 1, 6
th
 book). Istanbul: Yap  Kredi Yay nlar .   
Kütükoğlu,  M.  (1988).  Ahidn me.  In  Diyanet  İslam  Ansiklopedisi  (Vol.  2,  pp.  536-540). 
Istanbul: Türkiye Diyanet Vakf . 
Miović,  V.  (2013).  Diplomatic  Relations  between  the  Ottoman  Empire  and  the  Republic  of 
Dubrovnik.  In G. Karaman & L. Kuncevic. (Eds.).  The European Tributary States of 
the Ottoman Empire in the Sixteenth and Seventeenth Centuries (pp. 187-209). Leiden 
& Boston: Brill. 
Stuard,  S.  M.  (1992).  A  State  of  Deference:  Ragusa/Dubrovnik  in  the  Medieval  Centuries. 
Philadelphia: University of Pennsylvania Press. 
Şemseddin Sami. (2010). Kamus-ı Türki [Turkish Dictionary], Istanbul: Çağr  Yay nlar .  
Zlatar,  Z.  (1992).  Between  The  Double  Eagle  and  the  Crescent:  The  Republic  of  Dubrovnik 
and the Origins of the Eastern Question. New York: Columbia University Press.  
 
5.3. Web Sites 
http://www.hnb.hr/dub-konf/18-konferencija/havrylyshyn-srzentic.pdf.  Accessed  December 
5, 2015. 
 
1
 A term used in the Ottoman Archives that refers to the aforementioned research method. 
2
 “…'ahd-n me-i  mezkûr merhûm  ve mağfûrun leh Sult n Orhan Gazi hazretlerinin  zaman-  
saltanatlar ndan  berü  südde-i  şeref  bahş -y   sudur  olub…”  (meaning,  in  brief,  “mentioned 
'ahd-n me granted in the reign of Orhan Gazi (Orhan I) is still valid”), A.DVN.DVE.d 20/8, 2 
(f  ev s t-  Safer [1]217). Evliya Çelebi also dates the beginning of the relations back to the 
term  of  Osman  I  (Osman  Gazi-1299-1326)  and  mentions  an  agreement  containing  150 
provisions of peace signed by Dubrovnik and Orhan I.  
3
 TS.MA.d 7018 0001, (Cem ziye’l-evvel 1073), 31. 
4
 A.DVNSMHM 007, 1218 (9 Şevv l 975). 
5
 See A.DVN.DVE.d 20/8, 248 (f  ev hir-i Cem ziye'l-evvel [1]209). 
6
 C.HR. 176/8772 (f  22 Zilk de 1194). 
7
 See for example A.DVN.DVE.d 19/7, 75 (f  ev hir-i Cem ziye'l-evvel 1195). 
8
 A.DVN.DVE.d 20/8, 2 (f  ev s t-  Safer [1] 217). 
9
 A.DVN.DVE.d 19/7, 108 (f  ev s t-  Reb ü’l-evvel 1196). 
10
 See for example A.DVN.DVE.d 19/7, 56 (f  ev s t-  Şevv l 1194). 
11
 For example A.DVN.DVE.d 19/7, 299 (f  22 Muharrem [1]206).
  

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Self Portraits of Frida: Mexican Cultural Context Between the Accident and Diego 
 
Tugba Batuhan 
 
1. Introduction 
Magdalena Carmen Frida Kahlo y Calderón was born on July 6, 1907. Frida Kahlo’s mother 
was born of Mexican-Spanish and Indian parentage, and her father was of German descent. 
She looked to Europe and the Americas in search of her roots because she understood that her 
own lineage could either be the blended or Mestizo culture of colonial Mexico (Dexter, 2005). 
Frida Kahlo expresses her family root and nation best with her own words:  
 
“My mother, Matilde Calderón y Gonzalez, was the oldest of the twelve children of my 
Spanish immigrant grandmother Isabel, daughter of a Spanish general, and my 
grandfather Antonio, a Native American from Morelia in Michoacán. My 
grandmother and her sister Cristina were educated in a Las Vizcaínas convent, where 
they were taken when the general died. So when Isabel left, she married Antonio 
Calderón, a professional photographer who made daguerreo-types                           
(Tibol, 2000, p.30).” 
 
The family roots were important for Frida. Frida Kahlo used one of her names Carmen 
to uncover her German origin. Later she used the name Kahlo, which was of Jewish origin 
(Conde, 2008). Frida Kahlo began the National Preparatory School in 1922 in Mexico. The 
school was one of the many reasons that she became a nationalist artist. She changed her birth 
date in 1922 to 1910 for two reasons: first, she did not want her classmates to know that she 
was older than them and second, because 1910 was the year of the outbreak of the Mexican 
Revolution which was extremely important to her (Herrara, 1991). The National Preparatory 
School possessed thirty-five girl students one of whom was Frida Kahlo who became a 
political elite and sought a pre-Columbian Mexican past for the roots of the new nation 
(Dexter, 2005). 
 
Frida did not have an ordinary life. She faced a blow on her right leg in 1918 and she 
had an accident in 1925 that caused her three months of bed rest at the hospital and 
immobilization with plaster corset that ended up being nonstop pain for her entire life (Tibol, 
2000). Frida Kahlo got married to Diego Rivera in 1929. After the marriage, they came to the 
U.S. in 1930 and stayed until 1933. When Frida Kahlo married Diego Rivera, she was twenty-
two years old and he was forty-two years old. Frida and Rivera lived in Rivera’s apartment in 
Mexico City when they first got married. After returning from the U.S. to Mexico, they lived 
in two international style houses until their divorce in 1939. From this time on Frida led the 
rest of her life until she died in her childhood home, even though Rivera and Frida remarried 
in 1940.  
Rivera was the mentor and inspirer for her painting because of his artistic experiences 
and the huge age gap between the two. Rivera was the only person that helped Kahlo defeat 
physical suffering and gave her self-reliance to paint and draw (Tibol, 2000). While Painting 
was a way to earn a living at the beginning of her artistic life, later on, painting became a life 
style for Frida. She lost three children and had different health problems which made her life 
worse but, she fulfilled her life with painting. Frida Kahlo wanted to paint a portrait each year 
and she started this project in 1932 (Herrara, 1991). She was sometimes uncertain about her 
painting so she began to think about painting a mural around 1934 (Tibol, 2000). Because 
Rivera’s work impressed Frida, her adoration occurred even in her artistic manner. Rivera was 

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