DİĞER
"The erotic, particularly concerning women in the Arab world and for women of Arab heritage, has become a very tricky terrain to navigate, there is the spectre of Orientalist voyeurism and salacious pornographization, and the more recent Islamophobic permutations of the same idea, which transforms women from being hyper-sexual to being non-sexual."
An interview with Susan Stewart: "Poetry is in and for itself, just as persons are in and for themselves. No one has to read or write it.”
K24 dossier: a platform to discuss the developments in and challenges to the institutional structures that facilitate the study of women's, gender and sexuality studies in Turkey.
"An important aspect of Şule Gürbüz’s texts, and one of the elements that creates her writing style is tradition. The desire and eagerness to live the life like a religion, and keep religion at one side of life as a perception and culture at the same time like writers, such as Yahya Kemal and Ahmet Hamdi Tanpınar also exist in Gürbüz’s works."
"Turkish Kaleidoscope is an oral history of the past. It is also, in some important sense, a pre-history of the present moment."
A virtual lecture series that focuses on life narratives as gendered historical or literary texts in the Near East and Eastern Mediterranean
"The crimes committed by our ancestors are not considered relevant to the British official narrative, and non-white history has long been suppressed. Our collective refusal to deny the violence of the past brings discrimination, 'victim-blaming' and an exhausting and protracted struggle over how our shared history is told."
"İhsan Raif was a pioneer poet who used a novel style in her poetry. She is also the author of the lyrics of some quite well-known songs in Turkey. She composed music and sang classical Turkish tunes while masterfully playing the piano. Unfortunately, most people who still sing these songs today do not know that the lyrics belong to her."
"What we see in this exhibition are works created by Zehra Doğan with persistence and resilience during her prison sentence, using any surfaces, objects and materials she could find (including brushes made out of her own hair and menstruation blood used as paint; an expression of body politics in its fullest sense) and other manifestations of the alternative realm she created while in prison."
"We certainly have no issue with discussing the content and arguments of our review, or indeed of Mikhail’s book. We in fact welcome this opportunity to expand on our critique of the book rather than dwell on the curious set of personal attacks."
“We cannot read our fellow historians’ minds, let alone the mind of an early sixteenth century ruler. Why a historian in a respectable university has been possessed to concoct this tissue of falsehoods, half-truths and absurd speculations remains a mystery to us. Why a paper like the Washington Post would publish it, and then block responses to it, is also a question that would bear examination.”
"Iraida Viacheslavovna Kedrina Barry's presence in Istanbul was akin to a 'message in a bottle' floating in uncharted waters. She had an inner world that she kept for herself. She remained guarded and aloof from the society that increasingly discriminated against non-Muslims. Her messages that metaphorically remained in a bottle in Istanbul finally reached the shores to be disclosed at the archives at Columbia University."
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