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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). 424
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 <strong>lives</strong>. The story is the narration of a few middle‐ * Kadir Has University Faculty of Communications. 425
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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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OSMANLI TARİHİNDE VE TARİH YAZIM
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In Her Day She Broke The Mold: Disc
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ERKEK‐AKIM TARİH YAZIMINA MEYDAN
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My efforts in this study have been
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physician Pakize Tarzi, who was bor
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From the life stories I have collec
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SYLVIA PLATH’IN SMITH COLLEGE YIL
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Sınıfımdaki kızlardan olabildi
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erkek olsun, kadın olsun, ilgisini
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16 Sylvia Plath, Bütün Günceleri
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FARKLI HAYATLAR, FARKLI HİKAYELER:
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gerçek arkadaşlıkların kurulama
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koyduğunu ve bu özlemini dindirdi
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Kendi cezaevi deneyimini anlatan P
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ÜLKELERİN SAHİPLERİ VE MİSAFİ
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“Bu uygulama ile insanlar bir şe
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olduğunu söylüyor. Ayşe ve Ayli
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13 A.g.e., 6. Kaynakça Birdal, Meh
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KALBİYE TANSEL (1913‐2001) BİR
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yine iç bahçede yanyana bulunan m
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“Ali Nihat Tarlan Metin Şerhi de
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“Profesör Fuat Köprülü bizi k
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BİR CUMHURİYET KADINI - ZEKİYE O
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en çok bahsedenler, haksızlığı
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arkadaşlarım arasında Kadının
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1 Nüket Sirman, “Turkish Feminis
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THE INTERSECTION OF THE PUBLIC AND
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Oya Baydar (1940) and Melek Ulagay
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of their political and intellectual
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I Know Why the Caged Bird Sings fit
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Therefore, Angelou is indicating th
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18 Ibid., 192‐193. 19 Ibid., 194.
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culture”. 2 And if the tragic mes
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autobiography is wholly inauthentic
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Conclusion Stories challenge the la
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REFLECTIONS ON THE ECONOMIC STATUS
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intervening time she got a job in A
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Bibliography Narendra, Mohan. “Pr
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LILO LINKE: A STORYTELLER OF SOCIAL
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lasted until his death in 1947. Dur
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who stated, “My girls are good an
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Notes 1 Veblen, (1899), 2009. 2 Goe
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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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çıkmaya başlar., tahminen 14 ya
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1951’de kapatıldığında, yerel
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irlikte gezerler ve bu yakınlık s
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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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BETWEEN “SEEKING SALVATION IN LIT
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it is why I is not excluded so radi
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own stories (and to confirm the fre
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Estelle C. Jelinek, ed. Women's Aut
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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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Gönül BAKAY Bahçeşehir Universi
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WRITING THE OTHER AND TRANSNATIONAL
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Identity politics: Mosaic or meltin
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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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Voicing the everyday - Maternal bei
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1 The representation of the life ph
Page 373 and 374: * Yeditepe University, Faculty of A
Page 375 and 376: She would give very interesting fac
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Page 379 and 380: 29 Barış Erman is an assistant pr
Page 381 and 382: ARŞİVLER, HATIRATLAR VE KADIN TAR
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Page 387 and 388: Notes 1 Semiha Sureya during her yo
Page 389 and 390: Karakaya‐Stump, Ayfer. “Debatin
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Page 393 and 394: heykeller arasında kent kurucular
Page 395 and 396: 19 Augustus'un imparatorluk ailesi
Page 397 and 398: LOVE, MARRIAGE AND FAMILY AFFAIRS 3
Page 399 and 400: Community College, CUNY. 399
Page 401 and 402: The inclusion of the entirety of Li
Page 403 and 404: closely intertwined. Ellen regularl
Page 405 and 406: QIYĀN AND SEXUALITY: THE SINGING
Page 407 and 408: elations with Ibrāhīm al‐Mawṣ
Page 409 and 410: qiyān’s lives, and that is the r
Page 411 and 412: RE‐CRAFTING THE PAST: LYDIE ROSTO
Page 413 and 414: Rostopchina mère’s observations
Page 415 and 416: his letters to family. Quoting Hans
Page 417 and 418: (1965): 144‐156; Alexander Nikite
Page 419 and 420: SOUND OF SILENCE 1 /SILENCE OF SOUN
Page 421 and 422: hills, similar to Fredi Murer’s H
Page 423: Keywords: New Turkish Cinema, Sound
Page 427 and 428: eginning of the film, without impos
Page 429 and 430: Notes 1 Karen Hollinger, Feminist F
Page 431 and 432: For ethical considerations the real
Page 433 and 434: throughout the journey rather than
Page 435 and 436: REMEMBER WHAT YOU CANNOT FORGET!:
Page 437 and 438: In “Memory of a Square (perceived
Page 439 and 440: WOMEN'S NATRRATIVES AND TESTIMONIES
Page 441 and 442: Since 1935 Atria collects the herit
Page 443 and 444: documents (diaries, travel reports)
Page 445 and 446: 4 The history of Atria goes back to
Page 447 and 448: SOUTH AFRICA: KNOWLEDGE IN RESISTAN
Page 449 and 450: Nelspoort, a small town that got it
Page 451 and 452: Furthermore, breaching the norms of
Page 453 and 454: (GEAR) which sets the following tar
Page 455 and 456: eighteenth century British doctors
Page 457 and 458: these intervals she was low‐spiri
Page 459 and 460: I will never consult a physician,
Page 461 and 462: Wiltshire, John. “Journals and le
Page 463 and 464: PİPPA BACCA : “BARIŞ GELİNİ
Page 465 and 466: görülmektedir. 14 Haberlerde, “
Page 467 and 468: 3. Katil zanlısı “Biz” tanım
Page 469 and 470: SİYASAL İKTİDARIN CİNSİYETİ:
Page 471 and 472: Kadınlığın inşası Bu başlık
Page 473 and 474: Eğer kocalar barışmak isterlerse
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(Diyanet Vakfı Meali). 18 İncil,
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placed Biography and History togeth
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Context‐specific writings: As the
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A1 Pure • A1a Elegy • A1b Obitu
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“TO WRITE A BIOGRAPHICAL BOOK ON
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I had prepared an open ended interv
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and publicising it as a thing which
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REVEALING SOURCES: HISTORICAL RESOU
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scholarly endeavors amongst its fac
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country of origin. These records in
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RECOVERING WOMEN’S VOICES: THE PR
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Once again, Chryssoni turned to the
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Mediterraneans: North Africa and Eu
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MYTH‐SPINNING and TWO LATE 16 th
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argues that “the fact that tradit
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ÖNCÜ KADINLAR PIONEERING WOMEN 50
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astlanır. Bir kısmı İaşi ‘Ge
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Portreleri incelendiğinde genel ç
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Resim 6 Resim 7 Resim 8 Resim 9 Res
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TÜRKİYE’NİN 20.YÜZYILINDA Bİ
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...Haçlı Garp, Doğu’dan Batı
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önemli bir yere sahip olduğunu be
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YAZAR ESMA OCAK’IN BİYOGRAFİSİ
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ayrıntılar da ritüelleri, mitik
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Notlar 1 Yazarın eserleri: Berdel
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Giriş ’’Arı’nın Yolculuğu
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Her zaman yolumu aydınlattınız v
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13 Prof. Dr. Meziyet Arı halen aka
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Tüm bu zorluklara rağmen Cumhuriy
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Sayın Çığ kadınların toplumsa
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getirdiği bir yük var. Aslında
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A ROBUST CHARACTER WORKING FOR THE
Page 539 and 540:
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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haline gerçekten geçmeyi sağlaya
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ÖRNEK 4: BU ÖRNEKTE ARAŞTIRMACI
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3 Uwe Flick, Qualitative Sozialfors
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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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the democratic transition, the retu
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friendship with the French poet Pie
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—— Ώρες του Σινά. At
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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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then‐Viceroy of India, Lord Linli
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Conclusions Is the Hindu goddess a
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Feminist? The Politics of South Asi
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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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Varikas, Eleni. I exegersi ton kyri
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The first of these attributes was t
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In his essay “Paris of the Second
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PARA/TEXTS AND THE CONSTRUCTION OF
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When the author speaks out Chen Yun
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erudite woman. 19 In the third poem
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9 Zuo Chen, in Chen, Xinfangge, “
Page 623 and 624:
ÜÇ KUŞAK KADININ CİNSİYET ROLL
Page 625 and 626:
görüşme ana tema soruları veril
Page 627 and 628:
…Bizim adetlerimizde ev işlerini
Page 629 and 630:
İktidar ilişkileri Bu ana temaya
Page 631 and 632:
HALK EDEBİYATI ANLATI TÜRLERİ KA
Page 633 and 634:
gayet dinç ve sorunsuz olarak akta
Page 635 and 636:
Anlatıcı, masal metninden çıkma
Page 637 and 638:
Assistant Professor Gönül GÖKDEM
Page 639 and 640:
Bildirileri, Halkbilimi (2000): 22
Page 641 and 642:
DENGBÊJLİĞİN ERİLLİĞİ VE K
Page 643 and 644:
Ulus kurucu olarak aktif bir rol ü
Page 645 and 646:
meziyeti varsa dünyaya duyurmalıd
Page 647 and 648:
1. Sakin, Elif, Gülbeyaz Sert, “
Page 649 and 650:
Bütün bu göndergeler Türkçe Ka
Page 651 and 652:
tarafından temsil edilmiştir. Kon
Page 653 and 654:
Güllü adların varlığı Hz. Muh
Page 655 and 656:
Rasonyi, Laslo. ‘‘Türklükte K
Page 657 and 658:
"Yüksekten atlamayın kızlığın
Page 659 and 660:
söylemektedir. Aynı genç kadın
Page 661 and 662:
KADIN DENEYİMLERİ VE OTO/ BİYOGR
Page 663 and 664:
Yazdıkları çok satan romanlarda
Page 665 and 666:
Romanlarını büyük, küçük ya
Page 667 and 668:
eserleriyle aşk filmlerine kaynakl
Page 669 and 670:
KERİME NADİR Özlem POLAT ATAN *
Page 671 and 672:
Nadir’i arayarak “Alay mı ediy
Page 673 and 674:
HİÇLİĞİN RENGİ (ABDÜLHÂK H
Page 675 and 676:
zaman bir otel odasına tıkılıp
Page 677 and 678:
yığıldı. Lüsyen ise ne olduğu
Page 679 and 680:
SURVIVING THE NAKBA: A NARRATIVE OF
Page 681 and 682:
That night, my father picked up his
Page 683 and 684:
this period. It was her mother’s
Page 685 and 686:
OTTOMAN WOMEN’S RESISTANCE TO VIO
Page 687 and 688:
Zihniyye, “soldier’s son” Nur
Page 689 and 690:
To sum up, Ottoman women’s resist
Page 691 and 692:
WOMEN'S EDUCATION 691
Page 693 and 694:
Nigeria whom he hardly knows withou
Page 695 and 696:
I am sure, frustration and hardship
Page 697 and 698:
160. 14 Abdulmajid, Rahama. Mace Mu
Page 699 and 700:
“an educational development which
Page 701 and 702:
In every quarter and village or in
Page 703 and 704:
Leiden, 2001. Szyliowicz, Joseph. E
Page 705 and 706:
skills.” 9 Iorga also mentioned a
Page 707 and 708:
Reading periodicals Many princes, i
Page 709 and 710:
In “Celălalt autentic.” Lumea
Page 711 and 712:
Taliha started veiling when she tur
Page 713 and 714:
esilient in the face of setbacks th
Page 715 and 716:
context of education. In contexts w
Page 717 and 718:
KAMUSAL TARTIŞMALARDA KADIN SİYAS
Page 719 and 720:
Siyasal katılımın sadece parlame
Page 721 and 722:
İnsanlar için bir şeyler yapmak,
Page 723 and 724:
Beşpınar, seçmen kadınların de
Page 725 and 726:
İKİNCİ DÜNYA SAVAŞI SONUNDA SA
Page 727 and 728:
Sertel’e göre faşizm geri bir i
Page 729 and 730:
September 27, 2013. http://global.b
Page 731 and 732:
Toplumun dinamikliğini gösteren
Page 733 and 734:
hemcinsi ile kurduğu duygusal bağ
Page 735 and 736:
Bütün bunların ‘kurgu’lanara
Page 737 and 738:
1924 yılına ait Fransızca bir be
Page 739 and 740:
10 Çalışlar, Biyografisine Sığ
Page 741 and 742:
sonrası bütün Batılı değerler
Page 743 and 744:
onun kurumlarına da yönelik olmas
Page 745 and 746:
6 Huda Shaarawi, Harem Years: The M
Page 747 and 748:
BİRBİRİNE DEĞEN HAYATLAR Umut B
Page 749 and 750:
diye değil, okulda yeni bir labora
Page 751 and 752:
gibi bağırır haykırırlar, acı
Page 753 and 754:
19 Gottfried Blumenstein, Janis Jop
Page 755 and 756:
olay olarak ele alınacak üç vaka
Page 757 and 758:
tarihlerine ışık tutmayı amaçl
Page 759 and 760:
Sexuality and Museums: A Routledge
Page 761 and 762:
KADINLARIN ANLATILARINDA SAĞLIK VE
Page 763 and 764:
ir toplam gibi birikmiş benliğimi
Page 765 and 766:
Saygınlık uyandıracak bir zarafe
Page 767 and 768:
ahlaki ve estetik yargılardan bağ
Page 769 and 770:
WOMEN'S VOICES IN RELIGIOUS DISCOUR
Page 771 and 772:
contributing to the official corpus
Page 773 and 774:
to him for a blessing and spiritual
Page 775 and 776:
The years passed and the monks, fee
Page 777 and 778:
of Sakkoudion, in Bithynia, in 794
Page 779 and 780:
POWER AMONG ORTHODOX WOMEN TO CHANG
Page 781 and 782:
Why? Did she want to capture her an
Page 783 and 784:
Why did none of her literary charac
Page 785 and 786:
PLACING A FEMALE PERSON AT THE CENT
Page 787 and 788:
the pastor, including his wife and
Page 789 and 790:
(1) polemics and apologetics betwee
Page 791 and 792:
edited by Maria Heidegger, Nina Kog
Page 793 and 794:
Michael Benton asks pointedly of th
Page 795 and 796:
handmaid? 27 That Mary writes at al
Page 797 and 798:
After years of grief, Mary becomes
Page 799 and 800:
outside influences, their education
Page 801 and 802:
Manchester: Manchester University P
Page 803 and 804:
London for at least two years. In e
Page 805 and 806:
The second finding of this study is
Page 807 and 808:
Finch, Janet. “It’s Great to Ha
Page 809 and 810:
HISTORICISING WOMEN THROUGH FICTION
Page 811 and 812:
most writers of these texts are men
Page 813 and 814:
soldiers removed the corpse of the
Page 815 and 816:
8 The website of the organisation c
Page 817 and 818:
AUTO/BIOGRAPHY, HISTORY AND HERSTOR
Page 819 and 820:
I research from a postcolonial pers
Page 821 and 822:
the way ancient Egypt's Nefertiti (
Page 823 and 824:
also in a horizontal, present tense
Page 825 and 826:
of resistance (...) marking disrupt
Page 827 and 828:
Cooper Albright, Ann. Engaging Bodi
Page 829 and 830:
produce Islam. In both approaches t
Page 831 and 832:
also worked in the fields or in sho
Page 833 and 834:
education and healthcare. 8 Nikki K
Page 835 and 836:
FICTIONS OF SELVES: AUTO/BIOGRAPHIE
Page 837 and 838:
egg shell in coffee to clarify. [
Page 839 and 840:
eality; and the mutual bond between
Page 841 and 842:
KADINLARIN GÖÇ DENEYİMİ WOMEN
Page 843 and 844:
Haliçli Köprü romanında, bedeni
Page 845 and 846:
Wonaym’da ikamet eden ve markete
Page 847 and 848:
üzerinden ortaya koyduklarının d
Page 849 and 850:
MUHACİR KADININ ÖMÜR YOLU HATIRA
Page 851 and 852:
Memuar eserlerinin özelliği şudu
Page 853 and 854:
Keywords: Migrant, Ummulbanu, Cauca
Page 855 and 856:
LEYLA ERBİL’ İN YAŞAMI VE ROMA
Page 857 and 858:
edilemez. Ölümün yarattığı y
Page 859 and 860:
omanlarında yaratılan klişe kad
Page 861 and 862:
u sorgulama sonucu ulaştığı do
Page 863 and 864:
Şair Nigâr Hanım Nigâr bint‐i
Page 865 and 866:
çıkılmamaktadır. Diğer bir dey
Page 867 and 868:
Bekiroğlu, Nazan. Şair Nigâr Han
Page 869 and 870:
they help effect restoration to her
Page 871 and 872:
narrative (Brontë, 2006: 289).Thor
Page 873 and 874:
2 Trauma theory in literary and cri
Page 875 and 876:
Felman Shoshana and Dori Laub, M.D.
Page 877 and 878:
In 1946, Anna gave birth to a daugh
Page 879 and 880:
Ph.D. student at the Institute of P
Page 881 and 882:
WOMEN’S BIOGRAPHIES IN PLAYS Faki
Page 883 and 884:
addition, this composition forms an
Page 885 and 886:
iographical plays, takes some of th
Page 887 and 888:
very well composed and important pl
Page 889 and 890:
ideolojiyi yaşatma konusunda fark
Page 891 and 892:
ölçülü, iyi bir yurttaş olmakt
Page 893 and 894:
Tragedyayı geri dönülmez bir yol
Page 895 and 896:
Freud, Sigmund. Ruh Çözümlemesin
Page 897 and 898:
STRATIFICATION IN ARMY NURSING: THE
Page 899 and 900:
with different educational backgrou
Page 901 and 902:
family, at school, and at work hind
Page 903 and 904:
hierarchies. Women have generally h
Page 905 and 906:
Fry, Sara T., Rose M. Harvey, Ann C
Page 907 and 908:
The hijab is viewed by Americans as
Page 909 and 910:
narrative that Muslims are terroris
Page 911 and 912:
Mahmood, Saba. Politics of Piety: T
Page 913 and 914:
crossing physical borders, as many
Page 915 and 916:
confusion as a general state of bei
Page 917 and 918:
Keywords: Romanian prose, Women wri
Page 919:
919
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