This work aimed at providing a better understanding of the involvement of Ottoman (Muslim) women, both as object and as subject, in the regeneration of nationalism through their activities as... Show moreThis work aimed at providing a better understanding of the involvement of Ottoman (Muslim) women, both as object and as subject, in the regeneration of nationalism through their activities as individuals and in female associational life. By describing and analyzing the feminist, philanthropic/charitable, and patriotic/nationalist activities of Ottoman Muslim women during the period 1908-1918, the study sought to get a better understanding of the identity claims which are part of the particular form of discourse which nationalism is and to show how the processes of community and/or nation building and the creation of state indentity/identities in the late Ottoman Empire were gendered. It shows that Ottoman Muslim women with their organizations and activities not only reflected the multi-tier identities prevailing in late Ottoman society, but actively took part in shaping, shifting and reshuffling them and that knowledge of the activities of Ottoman (Muslim) women in the many feminist, philanthropic and patriotic organizations which existed during the last decades of the Ottoman Empire is indispensible for a better understanding of the development of nationalism(s) in the late Ottoman era and the identity claims involved in it. Show less
This study presents an in-depth analysis of the works of the Dutch architect Cosman Citroen (1881-1935) in Surabaya. Citroen grew up in a Jewish-Dutch diamond worker family in Amsterdam. After... Show moreThis study presents an in-depth analysis of the works of the Dutch architect Cosman Citroen (1881-1935) in Surabaya. Citroen grew up in a Jewish-Dutch diamond worker family in Amsterdam. After graduating from the Quellinus School in 1902, he worked at the office of B.J. Ouëndag (1861-1932). He also was a teacher of geometry. From 1908 onwards he trained young members of Architectura et Amicitia. In 1915 Citroen arrived in Surabaya where he started as a Municipal architect. In 1930 he became an independent architect. From 1915-1935 he produced twenty works, including town planning projects, various types of buildings, interior designs, and bridges. His commissioners were - besides the Municipality - private persons, social and religious communities, trading companies and state institutions. His clients were Dutch, British, Chinese or indigenous. Citroen’s early ideas on architecture were strongly influenced by pre-modern Dutch and European architecture. However, he almost immediately incorporated tropical vernacular features in his buildings. His architectural works of the 1920s are hybrid combinations of modern European stylistic features and elements taken from the typical vernacular architecture of Java. His reputation was recognized not only in Surabaya and the Netherlands Indies, but also in the Netherlands themselves and in international forums. Show less
