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Impacts of Westernization on Turkish Painting Osman Hamdi Bey- Vasiliy Vereshchagin
6.References
Cezar, M. (1995). Müzeci ve Ressam Osman Hamdi Bey [Museum Founder and Painter
Osman Hamdi Bey]. İstanbul: Türk Kültürüne Hizmet Vakf .
Cezar, M. (1971). Sanatta Bat ya Aç l ş ve Osman Hamdi [Westernization Tendency on Art
and Osman Hamdi]. İstanbul: EKAV Sanat Merkezi.
Demirsar, B. (1989). Osman Hamdi Tablolar nda Gerçekle İlişkiler [Relationship with
Reality
on Osman Hamdi Paintings]. Ankara: Kültür Bakanl ğ .
Duben Aksüğür, İ. (1990). 1873-1908 Pera Ressamlar Kataloğu [The Catalogue of Pera
Painters]. İstanbul: Beymen
Yay nevi
Germaner, S. & Z. İnankur. (1989). Oryantalizm ve Türkiye [Orientalism and Turkey].
İstanbul: İstanbul Türk Kültürüne Hizmet Vakf Yay nlar .
İrepoğlu, G. (1986).
Feyhaman Duran, İstanbul: Türk Kültürüne Hizmet Vakf .
Lebedev, A. & A. Solodovnikov. (1987). Vasiliy Vasileviç Vereşçagin [Vasily Vasilevich
Vereshchagin]. Leningrad: Hudojnik RSFSR.
Renda, G. (1977). Bat l laşma Döneminde Türk Resim Sanat 1700-1850 [Turkish Painting
Art 1700-1850 in the Westernization Period]. Ankara: Hacettepe Üniversitesi Yay nlar .
Renda, G. & T. Erol (1980). Başlang çtan Bugüne Çağdaş Türk Resim Sanat Tarihi [Turkish
Painting Art From Beginning to Present]. C. I. İstanbul: Tiglat Yay nevi.
Sevengil, R. A. (1962). Saray Tiyatrosu [Palace Theatre]. İstanbul: Milli Eğitim Bas mevi.
Uzelli, G. (1995). XVIII.-XIX. Yüzy llarda Rus Resim Sanat [Russian Painting Art in the
18
th
and 19
th
century]. (Yay mlanmam ş Doktora Tezi). İstanbul Üniversitesi, İstanbul,
Türkiye.
A Writer from Istanbul Who Served Three Tsars
Zeynep Gunal
1. Introduction
Fyodor A. Emin (1735-1770), is the only writer of the 18
th
century Russian Literature
***
who
was in the shadow of the writers such as Kantemir, Lomonosov, Sumarokov, Novikov,
Fonvizin and Chulkov and who was even not taken seriously as a man of letters by his
contemporary writers, neverthless who was both productive and mysterious. Publishing
twenty-five works in the genre of novel and translation within seven years, Emin penetrated
courageously into the Russian literary scene in a period when sentimentalism was blossoming
as a response to the serious, statist and competence oriented aspects of classism, populist
perception raised its voice and newspapers was firing at the works published so far by means
of satire and prose genre was underrated.
In this period, classism supporters approached prose genre with both apathy and prejudice due
to its limited theme and narrow individualism. For classists, the only exception in prose genre
was Fénelon’s politic statist novel “Télémaque”. However, manuscripts of stories and novels
were quite popular among country nobles, merchants, half rich townspeople and privileged
villagers. On the other hand, translations had a very significant place in the printed prose
literature. In the second half of the 18
th
century when the changes in the social life of the
country also guided the literature, Russian translations of the leading examples of the prose
genre in the world literature were published. Thus, Russian readers who were not noble and
could not speak a foreign language had the chance to read pieces like “One Thousand and
One Nights”, “Don Quixote” and “Robinson Crusoe” and get to know writers like Le Sage,
Prévôt, Scarron, Voltaire, Rousseau, Swift, Fielding, Richardson, Stern and Goethe. Original
Russian novels were started to be written since 60’s (Blagoy, 1955, p. 365-367).
2. Emin’s Works
Giving the first examples of Russian novel art, Emin stepped into this environment, where
inner dynamics were shaken by an invisible storm. The prose works, which became popular
among the lower class people resisted against the nobles as emphasized by D. D. Blagoy and
democratic tendencies were sensed, in 1763 with his translation of
Unlucky Floridor, A Story
on Racalmuto Prince (Beshchastnoy Floridor, istoriya o printse rakalmutskom) from Italian.
Right after that,
Love Garden or Invincible Loyalty of Kamber and Arisena (Lyubovn y
vertograd ili nepreoborimoe postoyanstvo Kambera i Arisen ), which was doubted to be an
imitation rather than a translation, but was claimed to be translated from Portuguese by the
author himself, was published. Since it was appreciated by the readers, it was printed twice.
According to Blagoy, it must have been written by Emin according to its all aspects and it is a
“
self-trial” written with the impact of the European love-adventure novels (Blagoy, 1955, p.
368).
Emin’s works followed by
Unfaithful Fortune or Adventure of Miramond (Nepostoyannaya
fortuna ili pohozhdenie Miramonda, 1763), that was printed three times and read by the
famous Russian sentimentalist writer N.M. Karamzin, who was a child back then;
The
***
For more information please see: İNANIR, Emine. (2008
). I.Petro ve II.Katerina’nın Kanatları Altında,
XVIII. yy. Rus Edebiyatı, İskenderiye Yay nlar , İstanbul.