This book is about the conflict which resolved the Greek–Turkish War of 1919–1922: the Great Offensive. On 26 August 1922, the army of the GNA executed the Great Offensive against the Greek defence line extending from the Bay of Gemlik to the Meander River. The Turkish Forces split the Greek Army into two large groups, annihilated one of the groups in the field at the Battle of Dumlupınar on 30 August and pursued the remaining forces of the Greek Army towards the Aegean and Marmara coasts until 18 September. Within these 24 days, the face of Western Anatolia changed unalterably: numerous towns, villages and cities of Western Anatolia were reduced to ashes. This conflict was a turning point in the histories of Turkey and Greece, as it played a significant role in shaping the present-day demographic and geopolitical landscapes of both nations. It resulted in a population exchange in 1923 that dramatically altered the lives of Muslims in Greece and Greek Orthodox people in Turkey and paved the way to the foundation of the Republic of Turkey. Despite the outcome of this war and the existence of a rich literature on its military and political history, the landscapes, memoryscapes and material culture have not been systematically investigated. This book bridges that gap via an archaeological, historical and oral-historical study of the Great Offensive and its aftermath. With its wide chronological perspective, this book is not a pure analysis of a historical war, it is instead a journey into the foundation myth of the Turkish Republic and the ideological foundations of the Turkish state.

This book provides an analysis of the treatment of impossibility in modern private law. The author explains the regulation of impossibility in German, Swiss and Turkish laws with a comparative analysis of the subject under (i) the United Nations Convention on International Sale of Goods (CISG), (ii) UNIDROIT Principles of International Commercial Contracts (PICC), (iii) Principles of European Contract Law (PECL also known as the Lando-Principles), (iv) Draft Common Frame of Reference (DCFR) and (iv) Common European Sales Law (CESL).

This book, the first multi-disciplinary study of nostalgia and videogame music, allows readers to understand the relationships and memories they often form around games, and music is central to this process. The quest into the past begins with this book, a map that leads to the intersection between nostalgia and videogame music. Informed by research on musicology and memory as well as practices of gaming culture the edited volume discusses different forms of nostalgia, how video games display their relation to those and in what ways theoretically self-conscious positions can be found in games. The perspectives of the new discipline ludmusicology provide the broader framework for this project. This significant new book focuses on an important topic that has not been sufficiently addressed in the field and is clear in its contribution to ludomusicology. An important scholarly addition to the field of ludomusicology, with potential appeal to undergraduate and graduate scholars in many related fields due to its inherent interdisciplinarity, including musicology more broadly, game studies and games design, film studies, as well as cultural and media studies. It could also appeal to practitioners, particularly those nostalgic and self-reflexive artists who already engage in nostalgic practice (chiptune musicians, for instance). Also to those researching and studying in the fields of memory studies and cultural studies. Readership will include researchers, educators, practitioners, undergraduate and graduate students, fans and game players.

This book, the first multi-disciplinary study of nostalgia and videogame music, allows readers to understand the relationships and memories they often form around games, and music is central to this process. The quest into the past begins with this book, a map that leads to the intersection between nostalgia and videogame music. Informed by research on musicology and memory as well as practices of gaming culture the edited volume discusses different forms of nostalgia, how video games display their relation to those and in what ways theoretically self-conscious positions can be found in games. The perspectives of the new discipline ludmusicology provide the broader framework for this project. This significant new book focuses on an important topic that has not been sufficiently addressed in the field and is clear in its contribution to ludomusicology. An important scholarly addition to the field of ludomusicology, with potential appeal to undergraduate and graduate scholars in many related fields due to its inherent interdisciplinarity, including musicology more broadly, game studies and games design, film studies, as well as cultural and media studies. It could also appeal to practitioners, particularly those nostalgic and self-reflexive artists who already engage in nostalgic practice (chiptune musicians, for instance). Also to those researching and studying in the fields of memory studies and cultural studies. Readership will include researchers, educators, practitioners, undergraduate and graduate students, fans and game players.