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Ltd., 1952), 206. 16 Mehmet is the alter‐ego of Yeşim Ustaoğlu and represents her feelings in 1970s as she lived in that area. Dönmez‐Colin, Cinemas of the Other A Personal Journey with Film‐makers from the Middle East and Central Asia, 139. 17 Gönül Dönmez‐Colin, Cinemas of the Other A Personal Journey with Film‐makers from the Middle East and Central Asia (Bristol: Intellect Books, 2006), 133. 18 Bela Balazs, Theory of the Film. Character and Growth of a New Art (London: Dennis Dobson Ltd., 1952), 206. 19 Craig Sinclair, “Audition: Making Sense of/in the Cinema” The Velvet Light Trap 51, (2003):18. Bibliography Akbal Süalp, Tül. “Sözün Hiç Kimsenin Ülkesine Sürgünü” In Türk Film Araştırmalarında Yeni Yönelimler IV, edited by Deniz Derman, Esra Özcan. 23‐31.Istanbul: Bağlam Yayıncılık, 2004. Arslan, Mizgin Müjde. Yeşim Ustaoğlu. Su, Ölüm ve Yolculuk. Istanbul: İdil Matbaacılık, 2010. Balazs, Bela. Theory of the Film. Character and Growth of A New Art. Trans. Edith Bone. London: Dennis Dobson Ltd., 1952. Derman, Deniz. “Türk Sineması: Hayali Vatanımız” In Türk Film Araştırmalarında Yeni Yönelimler IV, edited by Deniz Derman, Esra Özcan. Istanbul: Bağlam Yayıncılık, 2004. Des O’Rawe. “The great secret: silence, cinema and modernism”. Screen 47:4 (Winter 2006): 395‐405 Dönmez‐Colin, Gönül. Cinemas of the Other A Personal Journey with Film‐makers from the Middle East and Central Asia. Bristol: Intellect Books, 2006. Dönmez‐Colin, Gönül. Turkish Cinema: Identity, Distance and Belonging. (Reaktion Books). Josef Lukomski.https://greatacre.wordpress.com/tag/josef‐lukomski/ (accessed 12 July 2014). John F. Kennedy. http://bestsongsever.com/simon‐garfunkel/the‐sound‐of‐silence) (accessed, 24 February 2014). Ray, Robert Beverley, How a Film Theory Got Lost and Other Mysteries in Cultural Studies, (Bloomington: Indiana University Press, 2001). Sinclair, Craig, “Audition: Making Sense of/in the Cinema” The Velvet Light Trap 51, (2003):17‐28. Filmography Düet (Duet, 1990). Güneşe Yolculuk (Journey to the Sun, 1999). Bulutları Beklerken (Waiting for the Clouds, 2003). Pandora’nın Kutusu (Pandora’s Box, 2008). Büyük Adam, Küçük Aşk (Hejar, 2011). Araf ( Somewhere in Between, 2012).
NARRATIVES OF WOMEN BY WOMEN ON SCREEN: A FEMINIST ANALYSIS OF MAVI DALGA İrem İNCEOĞLU * Cinema in Turkey has flourished and been internationally acclaimed within the last decades. As a progressing cultural industry, cinema provides a significant domain for social and cultural issues to be introduced and elaborated. Gender is, inevitably, one of these issues. Regarding this situation, I would like to scrutinise a recent film, Mavi Dalga (The Blue Wave) produced in Turkey in 2013 and argue that it is one of the unique examples of feminist film in Turkish Cinema as it opens up new opportunities in cinematic narrative. I would like to argue that, it is a feminist film that not only challenges the traditional, patriarchal norms of femininity but also offers an alternative feminist look at women’s representation on screen. However, it should also be noted that this article is not written from the point of a film critic, nor should be considered a piece within the field of film studies. My intention, as a scholar of media and cultural studies, should be regarded as an attempt to analyse a media text, which happens to be a cinematic one, and the way it narrates femininity and womanhood from a feminist perspective. On the other hand, I also would like to recall what Hollinger states; “feminist film theory always had a dual composition: the critique of mainstream cinema and the advocacy an alternate or counter‐cinema.” 1 Therefore, despite the fact that this piece does not claim to be produced in the field of film studies in its strict sense, i.e. film grammar and film language are not the main concern or points of analysis, feminist film theory is utilised in order to comprehend the distinctive forms of cinematic narrative. Moreover, with the help of feminist film theory texts, the article provides an analysis of the discourses in the exemplified film. Claire Johnston suggested a feminist critique of film from a semiotic point of view, arguing that the sign “woman” could be analysed as a structure, a code or convention. According to this conceptualisation, women are negatively represented as “not‐man.” 2 The importance of this analysis is the shift it provides from the conception of cinema reflecting reality to the understanding of cinema as constructing reality. In relation to post‐structuralist perspective, cinema constructs a discourse of femininity and masculinity, men and women as natural, realistic and normal. In relation to this, Smelik states that cinema is a cultural practice, subsumes discourses of femininity and masculinity being produced, reproduced and represented. 3 The moment we accept this proposition, cultural struggles become a political possibility in relation to feminist movement. Therefore, I am interested in feminist films in regards to the argument of political possibility and will focus on Mavi Dalga (The Blue Wave) as an example of feminist cinema, which, I believe, challenges not only the mainstream patriarchal representation but also the traditional feminist representations of women on screen. The film holds out the possibility of a “feminine” narrative for cinema by offering unaccustomed forms of story line and characterisation. That is to say, not having an extraordinary protagonist and a story line that includes the unexpected to happen, the film narrates an ordinary story. But it does it literally by women's voice and standpoint as the co‐scriptwriters; co‐producers and co‐directors as well as the editor of the film are women, who openly claim to be feminists. Hence, the film does not only offer a women's look and narrative but also inserts a conscious feminist approach via cinematic signifiers. I would like to elaborate on this statement with some examples from the film. Mavi Dalga tells a mundane story of group of high‐school teenagers in Balıkesir, Turkey, through everyday life of Deniz, the main character of the film. The plot is rather simple, Deniz and her friends, living in provincial setting in Turkey, are back from summer holiday and as many other high‐school students in Turkey, they are feeling the tension of the university entrance exam in the coming years, which arguably becomes an extremely important experience of their lives. The story is the narration of a few middle‐ * Kadir Has University Faculty of Communications.
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Kadın Hayatlarını Yazmak: Oto/Bi
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SEMPOZYUM KOORDİNATÖRLERİ / SYMP
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Suraiya FAROQHI Şefik PEKSEVGEN Ve
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THE WOMEN'S LIBRARY AND INFORMATION
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Kadın Hayatlarını Yazmak: Oto/Bi
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NOTE FROM THE EDITORS Women must wr
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EDİTÖRLERDEN Kadın kendini yazma
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AÇILIŞ KONUŞMASI / KEYNOTE SPEEC
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ve estetik değerleri temsil ettiğ
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Dolayısıyla Woolf’un saptaması
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FOLLOWING THE TRACES OF THE UNION O
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Union of Turkish Women at the 1931
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could glean about Piraye Sadullah T
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E‐Mail Correspondence Binnur Fenm
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tatilinden sonra Haven House’a, o
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incelendiğinde Plath’ın yaşam
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Sonuç Bu çalışmada Sylvia Plath
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SÖZLÜ TARİH VE TANIKLIKLAR ORAL
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olduğu için “doğal” olarak e
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Burda arkadaşlık falan yok hepsi
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Cezaevinde, koğuş içinde sürekl
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Organization” Academy of Manageme
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karşılaştığı yetişkin Bulgar
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akrabalarına geleceklerini bildire
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Kültürü, dili, cinsiyeti, köken
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KADIN HAYATLARINA YANSIYAN ULUSAL T
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Salih Bey kızlarının eğitimine
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üniversiteye devam etmek istiyordu
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Zühre öyküsünün Farsçasını
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Sonuç Olarak 1939’da üniversite
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din adamları ile temas ve bu konul
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Fransızlardan devir alan heyette y
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‐Tek emelimiz hava ordumuzu en ku
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POLITICAL VOICES IN AUTOBIOGRAPHIES
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these women displayed different inc
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There is another side to the issue,
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POLITICAL VOICE OF MAYA ANGELOU IN
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the conditions of Blacks after the
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for the job, Angelou is initially a
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USING AUTOBIOGRAPHICAL NARRATIVE TO
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continent, is painted as intolerant
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am with will tell me ‘Your eyes a
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Bibliography Bhabha, Homi K. "Signs
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fool.” 3 At that time it was very
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justifying her decision to defy the
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CROSS‐CULTURAL ENCOUNTERS
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capital gain. Anne introduced Linke
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and two‐thousand newspaper articl
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Turkey.” Which reminded me of the
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Bibliography Goethe, Johann Wolfgan
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In 1829 Pálsdóttir moved to Reykj
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the years. While a child Pálsdótt
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Self Presentation in Personal Corre
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BADGES OF HONOUR: CAPTURING NARRATI
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inaugurated with the European City
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other people, that were there from
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academic and community learning and
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I also will analyse my relationship
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or open to the future, to recogniti
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4 Ibid. P.4 5 White, pp. 44‐45 6
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American cinema of the silent perio
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which now started to be viewed in t
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Professor Małgorzata Radkiewicz, P
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KASHMIRI WOMEN’S TESTIMONIOS: LIV
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the choice of remarriage she makes
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unaccountable increase in abuses of
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WOMEN’S ROLE IN THE KHILAFAT MOVE
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urden and march along with our men,
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Turkish relief fund. 49 Women, espe
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KAMU VE İŞ HAYATINDA KADINLAR WOM
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Türkiye’de üniversite eğitimi,
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özellikle de “ulusun babası”
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Notlar 1 Füsun Üstel, “Makbul V
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TÜRKİYE CUMHURİYETİ’NİN İLK
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ve dedesini kaybetmiştir; cumhuriy
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Sahnelerde, özellikle gazinolarda
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kocam çok memnun oldu” der Emine
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31 Ann Daly, 1991,Unlimited Partner
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İnce, Yasemin; Kar , Altan, Yeni G
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ayrıntılı bilgiler edinmek mümk
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Günlüklerde, Tansel’in kişili
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kendini hissettirir. Türlerin iç
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yazarlığı, ebelik ve bazı nezar
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şekilde çalışma hayatına girme
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KADIN YAŞAM ANLATILARINDA FELSEFE
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onu gasp etmekte veya yok etmektedi
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özgür olduğunu söylemek çeliş
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Notlar 1 Simone de Beauvoir, Sade
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The Correspondence of PrIncess ElIs
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together with the objections of suc
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And finally, consistency and resolu
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Sirven, J. Les années d’apprenti
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gece, “herhangi bir ışıkta, la
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görünürde olduğu ama mümkün o
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felsefecileri gibi hayvani bulduğu
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Hypatia’nın ondokuzuncu yüzyıl
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Resim 1 Resim 2 Resim 3 Resim 4 Res
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OSMANLI TARİHİNDE VE TARİH YAZIM
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kümülatif birikim” olarak söz
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da kendisi tercih etmiştir. Fakat
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da görünen o ki bundan fazlası i
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OSMANLI HAREMİNİN EN ÇOK SEYAHAT
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Bu sayede Gülnuş Sultan, haremin
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Gülnuş Sultan’ın da tıpkı K
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11 Baer, a.g.e., 246‐247. 12 Paul
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WOMEN POLITICAL ACTORS IN PUBLIC DE
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ights violations who worked regular
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Notes 1 “Turkish families protest
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woman from Punjab who played a fund
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procession with hundreds of other g
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9 FGM 2002, F/501, PMWT, Lahore. 10
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AUTO/BIOGRAPHY, HISTORY AND HERSTOR
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She also experienced the difference
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needs’ and ‘the body’; it rev
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14 Davis, A Life of learning, 12. 1
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Smith and Watson maintain that in w
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and to break the established patter
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Kutlu’s life‐narrative offers t
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Anderson, Linda. Autobiography. Lon
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… that challenges the very logic
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dominant and often repetitive, clic
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complex, fragmentary, sound snippet
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Some critics supposed that I meant
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or embroidery, serving only for ent
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used to explain the existence of a
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Her two portraits in 1884 : full fa
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Joy is an exception. The Flute Play
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abortion. The suffering is so unbea
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7.2.2. A drama of Ibsen, “When we
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THEORY AND CRITICAL READING OF AUTO
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insights provided by feminist theor
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As for writing, most people secretl
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something or someone from the dead.
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Bahçeşehir University, Department
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WRITING THE OTHER AND TRANSNATIONAL
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Writing the Papua New Guinea memoir
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are very different. Meenakshi is a
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McDonell, Jennifer. “Transgressio
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definitions of “woman’s place
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lot […] The labor newspaper jobs
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Although Friedan had a later evolut
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The Second Stage, New York: Summit
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Interestingly, she found in movie f
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Agustina’s biographies of Paula R
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SINIF, TOPLUMSAL CİNSİYET VE SOSY
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eylik zihniyeti) diye nitelediği c
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sanki sessiz bir anlaşmayla başka
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Lülü Konağında toplam on beş h
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itirdikten sonra okumamış, ailesi
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18 F. Özbay, Türkiye’de evlatl
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elevant illustrated books present a
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women’s accomplishments since the
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“truly belongs” to a district o
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KADININ HAFIZASI: ÇAYKARALI RUMCA
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oluşturulduğunu yani hafızanın,
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Geleneksel olarak da yılbaşını
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Research Assistant , Gülmelek DOĞ
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BODRUMLU KADINLARDAN YAŞAM ANLATIL
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Ya bu elindeki örgü diye soruyoru
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Kaptan - ŞÜKRİYE ER Şükriye Er
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Notlar 1 Bodrum Belediyesi ve Anıl
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deyişiyle, “çocukluktan itibare
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oturursunuz”. Ben yani şok oldum
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getirilmesi; bu arada erkeklerin de
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EV YAPIMI: BİR FOTOĞRAF KUTUSUNDA
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Filmde ayrıca kalp atışını and
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vermekten vazgeçtiklerini söyledi
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GAMZE FİDAN’LA KOP‐ART YOLCULU
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Fluxus dâhisi Nam JunPaik, kurgula
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aşlıklı bir sergi açtık mesela
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Melodram. Hem çok sıradan, hem ç
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ismimi yok etmek, başka sanatçıl
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scenes intentionally. Barry also dr
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and pessimism, she decides to overc
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two brothers grow in this liminal,
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HOME IS AN/OTHER? QUEER TRANSNATION
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These dynamics, in turn, speak to t
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Israel as a gay haven in darker ton
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queerness‐and‐homonationalism/.
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In works such as Spaces of the Past
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Page 363 and 364: 1 The representation of the life ph
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Page 369 and 370: not put out for sale. 4 The article
Page 371 and 372: ARŞİVLER, HATIRATLAR VE KADIN TAR
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Page 377 and 378: 2 Ayfer Karakaya‐Stump. “Debati
Page 379 and 380: ROMALI BİR KADININ HAYATINI MİMAR
Page 381 and 382: İmparatorluk Kültü baş rahibeli
Page 383 and 384: çalışmalar ile ilgili bkz.: Halu
Page 385 and 386: Tarih Kurumu, 1973. Pomeroy, Sarah.
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Page 389 and 390: The inclusion of the entirety of Li
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Page 393 and 394: QIYĀN AND SEXUALITY: THE SINGING
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Page 399 and 400: RE‐CRAFTING THE PAST: LYDIE ROSTO
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Page 411: Keywords: New Turkish Cinema, Sound
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Page 417 and 418: Notes 1 Karen Hollinger, Feminist F
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Page 421 and 422: Notes 1 Thomas, L Lindlof, Qualitat
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Page 425 and 426: 5 Dylan Evans further explains, “
Page 427 and 428: THE WAY SHE MOVES, THE WAY SHE TALK
Page 429 and 430: achievements that are threatened by
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Page 433 and 434: Haagen, Yvonne. Oral history en arc
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Page 441 and 442: NARRATIVES OF BREAST CANCER IN THE
Page 443 and 444: marvelous, and believe most what th
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Page 447 and 448: 12 Maria Edgeworth,”Belinda,” i
Page 449 and 450: TEMSİL VE GÖRÜNÜRLÜK REPRESENT
Page 451 and 452: Basında Pippa Bacca cinayeti Sanat
Page 453 and 454: ailesinin ve İtalyan kamuoyunun du
Page 455 and 456: Kaynakça Alankuş, Sevda. “Neden
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Page 459 and 460: Bugün ilkel olarak nitelendirilen
Page 461 and 462: Sonuç Bütün toplumlar topluluğu
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MEMOIRS AND BIOGRAPHIES OF WOMEN IN
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Contribution of women: Autobiograph
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showed the way. Thus the small maga
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DISCUSSIONS ABOUT MEMOIRS, AUTO/BIO
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2. Conceptualizing a biographical b
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7.1. To be visible or invisible - T
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Hallebone, E. and Priest, J. Busine
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as governmental foreign policy, emp
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famous, published works, and indivi
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Correspondence, Mary Ritter Beard a
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status in society by circumscribing
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Rome to help her mother through the
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Primary Sources ITTCR008, Folder of
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especially during the reign of Sül
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10 From the title of the Robert Wit
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TÜRK RESİM SANATINDA EREN EYÜBO
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folklorik motiflerin özelliklerine
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“Biz Batı’dan geleli epeyce za
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Notes 1 http://www.britannica.com/E
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örneklerinden biri olduğu edebiya
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arasındaki en büyük tartışma k
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4 Banıçiçek Kırzıoğlu, “Sam
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Kendisiyle yapılan söyleşilerde
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Kamusal anlatının kırılma anı
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ARI’NIN YOLCULUĞU Bahar YAZGAN G
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1993 yıllarında açılan Milli E
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Prof. Dr. Pınar Bayhan Prof. Dr. R
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BİR CUMHURİYET AYDINI: CUMHURİYE
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Atatürk için “tarih araştırma
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Şimdi öncelikle hak verilmez alı
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Yayınları, s. 164. 5 Sayın Çı
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If you are going to ask women to ha
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Dunlop’s speech focused on the re
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Faison, Seth. “Women’s Meeting
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SEVGULİ’NİN HİKÂYESİNİ DİN
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olduğunu bize asla belirtmedi. Sad
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Sevguli’ye kumasıyla ilişkisini
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yapayacağını bilmiyor olmak” f
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tartışmalı bir durumdur. Bizler
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Verdiği örnek başarılıdır: He
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şekilde marjinalize gruplardan ö
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Kaynakça Akis, Yasemin. 2009. “P
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BİREYSEL GÖRÜŞMELER VE GRUP GÖ
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yansıtsa bile, analizi izleyen tek
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(Öyle bir şey yok. Peki, ortam ko
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ve Belkıs Kümbetoğlu, İnci User
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de bulundu. Bülent Ecevit’in var
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Sen erkek olduğun için senin içi
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HİKÂYELERİMİZİN PEŞİNDEN Fer
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Feminist bakış açısı kuramına
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2008), 361. 2 Sandra Harding, “Fe
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THE CRITICISM OF MAN‐DOMINATED SO
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It should be noted that Forough doe
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appointment as President. From that
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the poet, which he expresses himsel
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—— Φως τη σκoτία. Ath
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Christian spiritual life. It was in
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Na soberana luz da Mãi tão pura,
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the genders has consisted in the di
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IN HER DAY SHE BROKE THE MOLD: DISC
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camera, suggesting the spirited wom
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conception. Rather, her Shakti, “
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Bailey, Alison and Chris Cuomo. The
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“A MARTYR OF ART”: ‘STAGING
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Maria abandons her husband and his
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For Galanaki, Eleni’s disguise an
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THE FEMININE UNIVERSE OF THE 19 TH
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significant dimension. They are ind
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Izabel MARGATO Associated Professor
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gentlewomen for her reputation as a
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As discussed above, Chen Yulian’s
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When all was lost, she painted hers
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KADIN DENEYİMLERİ VE SOSYAL TARİ
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olarak görüldü (Kollontai, 2000:
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olarak yaşlı kuşak kadınlardan
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Ataerkil kültürde genelevler ayn
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eşitsizlik alanının yanı sıra
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etkilenerek yeniden kurgulanması,
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Dolayısıyla anlatıcı kadın, di
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Kıbrıs Türk edebiyatına baktı
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R. B.: kadın, 1946 doğumlu, ilkok
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KADIN FOLKLORU VE SÖZLÜ GELENEKLE
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yola çıkarak, kilamın, stran ve
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demek yetmemektedir ve “kadın de
Page 631 and 632:
dinletilerinin olması da bu durumu
Page 633 and 634:
GÜL KÜLTÜRÜNDE KİŞİ ADLARI V
Page 635 and 636:
Tablo 1. Tanrıçadan bugüne gül
Page 637 and 638:
(Ö 2 ) bütünleştiği (Ö 2 V N
Page 639 and 640:
Notlar 1 Kayıtların geçmişi Mez
Page 641 and 642:
EVLENME VE DÜĞÜN ERTESİ TÖRENL
Page 643 and 644:
durumu anlatmaktadır. 90'lı yıll
Page 645 and 646:
Eski ve orta kuşaklarca gelenek fa
Page 647 and 648:
AGATHA CHRISTIE VE KERİME NADİR
Page 649 and 650:
metni bitirir. 5 Özel hayatına ay
Page 651 and 652:
edilseler de bunlar mutlu sonla bit
Page 653 and 654:
Dergisi, Sayı 292. Kış 2007‐20
Page 655 and 656:
telakki eden, özellikle kadın oku
Page 657 and 658:
1 Kerime Nadir, Romancının Dünya
Page 659 and 660:
Lüsyen’in ailesiyle çatışmas
Page 661 and 662:
şehre gidiyordu. Hâmid’in kimya
Page 663 and 664:
WOMEN'S EXPERIENCE
Page 665 and 666:
their fathers. Siham’s father was
Page 667 and 668:
My father passed away while I was i
Page 669 and 670:
the one hand, Najat expressed repea
Page 671 and 672:
Women’s petitions and telegrams t
Page 673 and 674:
do agriculture and they worked nigh
Page 675 and 676:
Aşk ağlatır dert söyletir elbet
Page 677 and 678:
WE WILL SHOW YOU THAT YOU ARE A WOM
Page 679 and 680:
You have to accept what is happenin
Page 681 and 682:
subjugation in most African societi
Page 683 and 684:
MODERNIZATION AND WOMEN EDUCATION I
Page 685 and 686:
He told Kemal Efendi, ‐‐ I give
Page 687 and 688:
teachers for Rüshdiye schools. All
Page 689 and 690:
READING HABITS AMONG WOMEN IN THE D
Page 691 and 692:
From libraries to bookshops Althoug
Page 693 and 694:
19 Iorga, Femeile în viața neamul
Page 695 and 696:
ecounting her experience of veiling
Page 697 and 698:
When our respondents veiled abruptl
Page 699 and 700:
Moreover, by sticking together and
Page 701 and 702:
KAMUSAL TARTIŞMALARDA KADIN SİYAS
Page 703 and 704:
yapılanışı içerisinde kadınla
Page 705 and 706:
siyasette yer almalarını etkileye
Page 707 and 708:
Beşpınar, seçmen kadınların de
Page 709 and 710:
İKİNCİ DÜNYA SAVAŞI SONUNDA SA
Page 711 and 712:
Sertel’e göre faşizm geri bir i
Page 713 and 714:
September 27, 2013. http://global.b
Page 715 and 716:
Toplumun dinamikliğini gösteren
Page 717 and 718:
hemcinsi ile kurduğu duygusal bağ
Page 719 and 720:
Bütün bunların ‘kurgu’lanara
Page 721 and 722:
1924 yılına ait Fransızca bir be
Page 723 and 724:
10 Çalışlar, Biyografisine Sığ
Page 725 and 726:
sonrası bütün Batılı değerler
Page 727 and 728:
onun kurumlarına da yönelik olmas
Page 729 and 730:
6 Huda Shaarawi, Harem Years: The M
Page 731 and 732:
BİRBİRİNE DEĞEN HAYATLAR Umut B
Page 733 and 734:
Janis içkiye ve uyuşturucuya on a
Page 735 and 736:
Acı çeker çünkü geleneksel gü
Page 737 and 738:
21 S.Reynolds and J. Press, Seks İ
Page 739 and 740:
olay olarak ele alınacak üç vaka
Page 741 and 742:
tarihlerine ışık tutmayı amaçl
Page 743 and 744:
Sexuality and Museums: A Routledge
Page 745 and 746:
KADINLARIN ANLATILARINDA SAĞLIK VE
Page 747 and 748:
ir toplam gibi birikmiş benliğimi
Page 749 and 750:
Saygınlık uyandıracak bir zarafe
Page 751 and 752:
ahlaki ve estetik yargılardan bağ
Page 753 and 754:
WOMEN'S VOICES IN RELIGIOUS DISCOUR
Page 755 and 756:
the dominant ideology of local soci
Page 757 and 758:
from worldly degradation” and all
Page 759 and 760:
Some readers may consider such narr
Page 761 and 762:
Sakkoudion, in Bithynia, Plato beca
Page 763 and 764:
Ester Kreitman was productive as a
Page 765 and 766:
The Orthodox discourse is grounded
Page 767 and 768:
PLACING A FEMALE PERSON AT THE CENT
Page 769 and 770:
(1888‐1954). This kind of idylliz
Page 771 and 772:
(1) polemics and apologetics betwee
Page 773 and 774:
edited by Maria Heidegger, Nina Kog
Page 775 and 776:
This novel is a hybrid with boundar
Page 777 and 778:
proclaims her miraculous pregnancy.
Page 779 and 780:
of a she‐god. Yahweh, you should
Page 781 and 782:
36 Ibid., 83. 37 Virginia Woolf, Th
Page 783 and 784:
CONVERSATIONS BETWEEN US: A VISUAL
Page 785 and 786:
1. The participants represent their
Page 787 and 788:
young Muslim women living in large
Page 789 and 790:
WOMEN'S EXPERIENCE IN THE MIDDLE EA
Page 791 and 792:
well as from ideas of women as a mo
Page 793 and 794:
In response to the screams of Hamid
Page 795 and 796:
Concluding remarks Having read and
Page 797 and 798:
The Dynamics of Change in Conflict
Page 799 and 800:
DANCING WOMEN'S LIVES, WOMEN LIVING
Page 801 and 802:
Rather than only recounting history
Page 803 and 804:
A similar process is at work in Nef
Page 805 and 806:
agency moving beyond polarization,
Page 807 and 808:
postmodern art trend in the USA. 36
Page 809 and 810:
OBITUARIES INTO LIFE HISTORIES: WOM
Page 811 and 812:
mercantile ethos (liberal and ratio
Page 813 and 814:
adds that she managed the money so
Page 815 and 816:
Haddad, Yvonne and Jane Smith, “W
Page 817 and 818:
distinctions between the person wri
Page 819 and 820:
[…] and slowly everything changed
Page 821 and 822:
Chapel Hill: The University of Nort
Page 823 and 824:
HALİÇLİ KÖPRÜ ROMANINDA ETNİK
Page 825 and 826:
karşılaşabilecek ya da bakışı
Page 827 and 828:
Hepimiz bir yıllığına gelmişti
Page 829 and 830:
Bedenleri” çev. Tansel Güney, d
Page 831 and 832:
Ümmülbanu'nun hayatı Azerbaycan'
Page 833 and 834:
Dış dünyanın insan hayatında b
Page 835 and 836:
EDEBİYAT VE OTO/BİYOGRAFİK KURMA
Page 837 and 838:
Seçilmiş Hikayeler Dizisi’nde y
Page 839 and 840:
Kısa bir süre sonra kocasının e
Page 841 and 842:
GEÇ DÖNEM ONDOKUZUNCU YÜZYIL OSM
Page 843 and 844:
Emine Semiye Emine Semiye Hanım d
Page 845 and 846:
ana dönem kadınları hakkında be
Page 847 and 848:
Bektaş (İstanbul: Klasik Yayınla
Page 849 and 850:
WRITING (OF) THE SELF IN JANE EYRE:
Page 851 and 852:
mediation by the screen as a functi
Page 853 and 854:
though the narrator is true to the
Page 855 and 856:
esidue of unprocessed mourning but
Page 857 and 858:
RELATIONS TROUBLE IN ANNA KOWALSKA
Page 859 and 860:
The perception of the world by the
Page 861 and 862:
OYUNLARDA KADINLAR WOMEN IN PLAYSCR
Page 863 and 864:
about their weaknesses and fears, s
Page 865 and 866:
means that writer is actually an an
Page 867 and 868:
history that she personally had con
Page 869 and 870:
ANTİK YUNAN TRAGEDYALARINDA TOPLUM
Page 871 and 872:
toplumda hüküm süren ataerkil bi
Page 873 and 874:
Elektra oyunu mitin bu noktasından
Page 875 and 876:
4 Althusser, 266. 5 Terry Eagleton,
Page 877 and 878:
EDUCATION, PROFESSION, EMANCIPATION
Page 879 and 880:
dominated societal institution,”
Page 881 and 882:
they were assigned too many respons
Page 883 and 884:
“Forget about it, don’t irritat
Page 885 and 886:
6 Joan I. Roberts and Thetis M. Gro
Page 887 and 888:
EXPERIENCES OF MUSLIM AMERICAN WOME
Page 889 and 890:
I said to myself it cannot be ‐my
Page 891 and 892:
It is obvious from the examples I h
Page 893 and 894:
GROWING UP IN ROMANIA IN THE 1970s
Page 895 and 896:
The burst of laughter her story may
Page 897 and 898:
us that there were people who were
Page 899 and 900:
Kling, Vincent. “Translator’s A
Page 902:
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