The Turkish Drawbridge: European Integration and the Cultural Economics of National Planning

This article examines the relations between the Turkish State Planning Organisation (SPO) and the Western economic system during the first two decades of national planning in Turkey (1960–1980). It traces how the SPO, established with the guidance and full endorsement of international economic institutions came to vehemently oppose Turkish participation in one of their pillars: the European Economic Community (EEC), the predecessor of the European Union. It argues that the shift in the SPO's world-view was founded upon two distinct understandings of the Turkish nation and its development, situates these understandings within the intellectual history of Turkey's past ambivalence towards the West, and, in doing so, provides a historical case-study of the ideological clash between modernisation and dependency theories of development.

The Modernity of la Mode: a History of the French Revolution Through the Lens of Fashion, Culture, and Identity

In my thesis, I explore the cultural history of the French Revolution and its relation to the modern era which ensued. Many historians have studied the French Revolution as it relates to culture, the rise of modernity, and fashion. I combine the unique histories of all three of these aspects to reach an understanding of the history of the French Revolution and fashion’s role in bringing about change. In the majority of literature of costume history, discussion of fashion surrounds its reflective properties. Many historians conclude fashion as a reflection of the broader cultural shifts that occurred during the Revolution. I, on the other hand, propose that fashion is an active force in bringing out cultural change during this time. In exploring fashion as a historical motivator, I examine the aesthetic world of fashion from 1740 to 1815, the modern system of cultural dissemination of fashion through particular historical heroes, and the rise of “taste” and its relation to modern identity. Through aesthetics, culture, and identity, I argue that fashion is a decisive force of culture in that it creates a visual world through which ideas form and communicate.