Görsel İletişim Tasarımı Bölümü Koleksiyonu

Permanent URI for this collectionhttps://hdl.handle.net/20.500.12469/62

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Citation - WoS: 6
Citation - Scopus: 9
Contemporary Art on the Current Refugee Crisis: the Problematic of Aesthetics Versus Ethics
(British Journal of Middle Eastern Studies, 2019) Arda Güney, Talat Balca
This article focuses on contemporary artworks outlining the current refugee flow from the Middle East to the West namely to European countries together with the US and Canada. Drawing primarily on Jacques Ranciere's conceptualization of ethical art versus aesthetics I explore how various journeys of refugees in its many forms have been represented in the contemporary art scene. My aim is to concretize the theoretical debate surrounding the 'political' engagement of critical art on the issue of refugee representation through various prominent artworks and art practices starting with the well-known image of Alan Kurdi's and Ai Weiwei's replication of this image in his artwork. I will analyse when and in which configurations aesthetics and ethics can be found in contemporary art on the issue of the 'refugee crisis'. I argue that art on refugees can be grouped into two primary categories that I define as 'human condition assessment' and 'agency empowerment'. As such I demonstrate in practice how contemporary art on the current refugee crisis both employs and moves beyond the ethical subject matters by challenging abject victimhood as well as the ideal of egalitarian art for the underrepresented and thus assumingly voiceless depoliticized refugees.
Citation - WoS: 6
Citation - Scopus: 7
Hidden Archives, Closeted Desires, Postponed Utopias: Queer Ultra-Nationalism in Turkish Opera
(2022) Altınay, Rüstem Ertuğ
How do queer intellectuals produce dramatic texts for utopian archival projects? How do (once) hidden theatre practices exist in a complicated relationship with the claims about covert or clandestine performances in the messy afterlives of such unorthodox archives? This essay explores such processes and how they unfolded in the context of Turkish opera by focusing on the work of Rıza Nur (1879-1942). Rıza Nur was a queer Turkish politician who created an archive of resistance to propagate his ultra-nationalist and eugenicist utopian vision for Turkey’s future during the country’s formative years. In addition to his proposed programs for Turkey’s revivification and the establishment of an ultra-nationalist party, the archive also included Nur’s memoirs, essays, poetry, and two of his librettos. Nur trusted this archive to multiple European libraries on the condition that it would not be accessible until 1960. Nur’s desire was that once his archive would become public, it would transform Turkish people’s understanding of the past, make them recognize him as an unappreciated true leader, and adopt his utopian vision. Rıza Nur’s librettos demonstrate how operatic writing can function as an undercover strategy of queer self-making. The librettos reveal how archives function not only as repositories but also as sites of production, and how dramatic texts can gain queer dimensions and political significance in relation to other texts. Archives can thus provide crucial insights into discrete theatre practices and create important opportunities to review and revise performance historiographies. Nevertheless, the limited scholarly attention Nur’s librettos have received suggests how disciplinary and methodological conventions may render dramatic texts invisible even when they are in plain sight. Finally, Nur’s ultra-nationalist and eugenicist utopian archive challenges the tendency to associate queer utopian performance with progressive politics.
Theatre and Solidarity Among the Transnational Alevi Community: Memory, Trauma and Political Economy
(Taylor and Francis Group, 2023-05-12) Kalıntaş, Rüya
The Alevi religious minority makes up the largest religious minority in Turkey, and their history of persecution dates back before the Republic of Turkey. The inception of the Republic of Turkey as a secular nation-state in 1923 was initially promising for the Alevis, but the regime remained implicitly Sunni Muslim. So, the community’s experiences of citizenship and belonging continued to be characterized by precarity as they occupied a category of national objection. Beginning in the 1960s, the waves of migration from rural areas to urban Turkey and Western Europe gradually transformed the experiences of the Alevi community and they became more visible. With migration, Alevi people’s everyday experiences of oppression and discrimination as well as their need for community-building and solidarity intensified. In Europe, the Alevi diaspora was too often categorized simply as Turkish or Muslim immigrants. Many of them wanted to differentiate themselves from the Sunni Muslim Turkish majority in the diaspora and gain recognition as a distinct group. They organized in their new homelands and established formal and informal networks of transnational solidarity. In the formation and sustenance of these networks and solidarity, theatre has played a crucial role. The plays staged by Alevi community theatres and professional groups in Turkey and its diasporas have focused primarily on the histories of violence and persecution against Alevis. As such, theatre functions as a site for the constitution of public memory and the intergenerational transfer and transformation of trauma and serves the affective politics of community-building and solidarity among the transnational Alevi community. The political economy of these performances is a crucial element of the politics of solidarity, contributing to the sustenance of Alevi cultural producers and their communities.
Wallace Stevens's Poetics of the Other
(Walter De Gruyter Gmbh, 2017) Eken, Bülent
This article reveals a central yet hitherto unsuspected meditation in Wallace Stevens on the problem of the other person in relation to the concept of the other construed by Gilles Deleuze as the "expression of a possible world" (1990: 308). It demonstrates that, seen from this perspective, the figure of subjectivity appears to be a rhetorical means in the service of a poetics centered on the other. In readings of Stevens, it traces the way in which he thinks through the question of the other and detects two main forms in which this is registered in the poems: the other is either associated with 'possibility', an occasion of euphoric affects, or with the foreclosure of a more fundamental reality, an 'outside', of which the other is merely a phenomenal representative and which occasions poignant affects. The reading of Stevens's late poem "Prologues to What Is Possible" shows that these two poles in relation to the other are juxtaposed in a paradigmatic manner.

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