Istanbul memories and the city pdf

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istanbul memories and the city pdf

Istanbul: Memories and the City Summary & Study Guide

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The Suffering of Light: Thirty Years of Photographs by Alex Webb

But Orhan Pamuk is the author of the unique book Istanbul: Memories of a City that reveals the unknown Istanbul. Istanbul that synthesizes his memories from.

Istanbul: The Imperial City

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Pamuk spent his entire life in Istanbul. The book ties Pamuk's family's gradual decline to the similar decline of Istanbul since the fall of the Ottoman Empire, and it describes at length the melancholy that pervades both the city and its residents. Orhan Pamuk was born in Istanbul in and has never left the city. He grew up in a close but dysfunctional family headed by a father who engaged in affairs with other women and a mother who also had a volatile personality, surrounded by other members of his large extended family. The gloomy home in which he was raised felt like a dark museum and reflected the gloom that settled over the entire city and its residents. As a child and young adult, Pamuk watched his city struggle with becoming more westernized while clinging to its eastern heritage, simultaneously resenting and embracing both sides of its evolving culture.

Esra Mirze Santesso Since its rise in the late s, photography, as an art form, has attracted equal measures of praise and scorn from critics: on the one hand its tangible proximity to real life and unmatched "recording abilities" seemed to herald a new era in artistic representation; on the other, it was seen as an inferior art form to painting, where specific training was required, and where the aesthetic and moral values of the artist were more readily apparent. Almost a hundred years later, the establishment of the Department of Photography at the Museum of Modern Art in , under the curatorship of Edward Steichen reflected the increasing dominance of those voices arguing for photography to be recognized as a legitimate form of art. Yet even this institutional confirmation did not settle the original debate about photography's inherent investment in reality, and the question of whether it was "a mere simulacrum or mirror image of visual reality" Nochlin qtd. In , the new curator of the Photography Department at MoMA, John Szarkowski wrote a piece defending this contested form as "a different kind of art," arguing that the goal of photography was to reveal the "private vision" of the photographer, and reflect an individualized interpretation of reality, rather than a mechanical documentation of it. For Szarkowski, the perception of the photographer was central in producing an aesthetic effect; the true substance of a photograph is not "what [it] is of, [but] what it is about. Nevertheless, for all the respect that photography has garnered in many quarters as a subjective art form, it retains a certain reputation as a simplifying force, a complement or clarification to more ostensibly personal and interpretative art forms—including literature. In On Photography , Susan Sontag makes a clear distinction between writing and photographing, suggesting that: "What is written about a person or an event is frankly an interpretation, as are homemade visual statements, like paintings and drawings.

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