Görsel İletişim Tasarımı Bölümü Koleksiyonu

Permanent URI for this collectionhttps://gcris.khas.edu.tr/handle/20.500.12469/62

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    Citation Count: 1
    ‘I am here’: women workers’ experiences at the former Cibali Tekel Tobacco and Cigarette Factory in Istanbul
    (Routledge, 2017) Selen, Eser; O'Neil, Mary Lou
    This study presents oral history research which investigated the experiences of surviving women workers from the former Cibali Tekel Tobacco and Cigarette Factory in Istanbul Turkey. For most of its history the factory was home to thousands of workers many of who were women and at times outnumbered men two to one. While the site is now known for the university that it houses photographs and archival records from the early twentieth century reveal the centrality of women in the process and production of tobacco and cigarettes until the factory completely shut down in 1995. Using oral history methods we recorded the memories of 17 women who worked in the factory. A multi-faceted analysis reveals the gendered nature of the space at the time as well as the importance of the factory as a place in the lives of these women. © 2017 Informa UK Limited trading as Taylor & Francis Group.
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    Citation Count: 15
    The stage: a space for queer subjectification in contemporary Turkey
    (Routledge Journals Taylor & Francis Ltd, 2012) Selen, Eser
    This article focuses on the role of the stage in complex modes of gender performativity in the work of three Turkish performers: Zeki Muren (1931-1996) Bulent Ersoy (b. 1952) and Seyfi Dursunoglu (b. 1932) a.k.a. Huysuz Virjin [Cranky Virgin]. These three I suggest are the pioneers of contemporary Turkish queer performance. Their performances - both on-and off-stage - are validated through a reiterative absence of queerness in their everyday lives and stand in the midst of various negotiations between queers and the secular Islamic nation-state in Turkey. In the works of Muren Ersoy and Huysuz the stage is suggestive of a space where queerness can be managed. It is a contested space that does at least allow for the communication of queer ideas to a wider audience. I discuss the works of these three performers as three variations of queerness in Turkey in relation to different eras and different political climates that are directly related to the nation-state's desire to perform modernity. While explicating complicated modes of gender performativity I consider the stage as the primary space for a queer body to exist. Through this discussion I aim to activate debates both within and against the context of secular Islam on gendered political space and on those overlooked sexualized spaces in which the nation-state produces powerful yet unstable values to manage queer subjectivity in contemporary Turkey.