Offsets in International Weapons Acquisitions: The Turkish Experience, Ilbas Ahmet

Автор: Ahmet Hamdi Tanpinar
Название: The Time Regulation Institute
ISBN: 0141195754 ISBN-13(EAN): 9780141195759
Издательство: Random House - Penguin
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Цена: 1451.00 р.
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Описание: Tells the story of the misadventures of Hayri Irdals, an unforgettable antihero who, along with an eccentric cast of characters (a television mystic, a pharmacist who dabbles in alchemy, a dignitary from the lost Ottoman empire, the "life-artist" Halit), founds The Time Regulation Institute.

Автор: Bindal, Ahmet
Название: Electronics for embedded systems
ISBN: 3319394371 ISBN-13(EAN): 9783319394374
Издательство: Springer
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Цена: 10480.00 р.
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Описание: Fundamentals of Passive Circuit Analysis.- Diode and Bipolar Transistor Circuits.- MOS Transistors and CMOS Circuits.- TTL Logic and CMOS-TTL Interface.- Physics of Sensors.- Operational Amplifiers and Circuits.- Data Converters.- Front-End Electronics for Embedded Systems.- Review of Combinational and Sequential Logic Circuits and Design.

Автор: Ersoy, Dr. Ahmet
Название: Architecture and the late ottoman historical imaginary
ISBN: 1472431391 ISBN-13(EAN): 9781472431394
Издательство: Taylor&Francis
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Цена: 22202.00 р.
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Описание: While European eclecticism is examined as a critical and experimental moment in western art history, little research has been conducted to provide an intellectual depth of field to the historicist pursuits of late Ottoman architects as they maneuvered through the nineteenth century’s vast inventory of available styles and embarked on a revivalist/Orientalist program they identified as the ’Ottoman Renaissance.’ Ahmet A. Ersoy’s book examines the complex historicist discourse underlying this belated ’renaissance’ through a close reading of a text conceived as the movement’s canonizing manifesto: the Usul-i Mi’mari-i ’Osmani [The Fundamentals of Ottoman Architecture] (Istanbul, 1873). In its translocal, cross-disciplinary scope, Ersoy’s work explores the creative ways in which the Ottoman authors straddled the art-historical mainstream and their new, self-orientalizing aesthetics of locality. The study reveals how Orientalism was embraced by its very objects, the self-styled ’Orientals’ of the modern world, as a marker of authenticity, and a strategically located aesthetic tool to project universally recognizable images of cultural difference. Rejecting the lesser, subsidiary status ascribed to non-western Orientalisms, Ersoy’s work contributes to recent, post-Saidian directions in the study of cultural representation that resituate the field of Orientalism beyond its polaristic core, recognizing its cross-cultural potential as a polyvalent discourse.