writing_womans_lives_symposium_paper_book_v2

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DANCING WOMEN'S LIVES, WOMEN LIVING DANCE FEMINIST AUTO/BIOGRAPHICAL STORYTELLING IN OXANA CHI'S TRANSCULTURAL DANCE ART Layla ZAMM * “I must create alternatives to this widespread mainstream which is actually very intentionally writing a single 'history', which is, for my taste, very very narrow. Widen up the radius, without exclusion. This means: allowing all voices which constituted 'history' to be heard.” Oxana Chi 1 “This is not about me telling her life, it's about me connecting my artistic heart to her artistic heart...” Jawole Willa Jo Zollar 2 Oxana Chi, Neferet iti, Dance(a)Summer Festival, 2012. © Layla Zami Tuning in This paper presents contemporary transcultural dance pieces which tell auto/biographical stories. My purpose is to show the potential of dance art for performing women's 3 biographies which challenge dominant historical narratives, thus offering multilayered cultural memories, alternative to the mainstream yet accessible to a broad audience. I will focus on performing artist Oxana Chi. Let me introduce her. Born in Germany of Eastern European and Eastern Nigerian descent as she likes to say, Oxana is an internationally celebrated artist who works as a choreographer, dancer, filmmaker and curator in Berlin. Dwelling inspiration from her numerous travels and stays in 30 countries in Asia, the Pacific, the USA, Europe and Africa, her work has reached audiences way beyond the West‐ German capital to other islands such as Java and Manhattan. Here I will focus on her last three pieces "Through Gardens (Durch Gärten)", "Neferet iti" and "I step on air", all are, as most of her repertoire, dance solos accompanied by live‐music. Even though each piece has a specific aesthetic and narrative of its own, all of them use an avant‐garde "blending of styles and juxtaposition of choreography, music, text, history, culture, and spirituality" to perform "political, unapologetic, provocative, and ultimately, healing" storytelling. 4 Grounding base * Humbboldt-University Berlin / ELES Foundation PhD Talents Programme 818
I research from a postcolonial perspective, understood as an "anti‐disciplinary intervention" denouncing the creation and fixation of Otherness by hegemonic imperial discourses. 5 Postcolonial is not meant as a time period after colonialism, but as an epistemic attempt to overcome past and present forms of colonial‐racist violence such as the Transatlantic Slave Trade, the European Holocaust and the 21st century persecution of Rroma people. Identifying with Amina Mama's strive to overcome a "dualistic framework which counterposes black and white, western and non‐western, masculine and feminine"6, I view all these categories as historically constructed, which nonetheless makes them real in discursive and material power relations. My epistemology "includes the personal and the subjective as part of academic discourse"7, in a long lineage of feminist and especially Black feminist scholars, based on the conviction that everyone writes from somewhere, somewhen, somehow. Interestingly, this is precisely the reflection underlying Oxana's creative process, especially since performing memory in "Through Gardens": It was important for me, to research further and see: How does 'history' work in Germany ? Who is telling 'history' ? How, when and where is 'history' told? 8 Following Oxana's work and even working with her on stage, I gained a deep interest for the conscious linking of dance and diaspora, storytelling and struggles, performance and politics, movement and memory, bodies and battles. Entering backstage, I found many rooms: the knowledge surrounding the intents of the artist, the acknowledgement of the obstacles met in suggesting alternative historical narratives 9 on stage and the know‐how to negotiate and overcome them through diasporic 10 dancing resistance. Now earning the benefits of an "involved embodied research" 11 , I am very grateful to this exceptional artist for sharing her spaces of feminist reclaiming, spatial‐temporal queerness 12 and fluid resistance. Oxana compares her working process to the one of a scientist who permanently needs to keep on "re‐searching".13 Interestingly, her words resonate with the postpositivist methodology I apply, which reveals particularly relevant in the dance field. 14 Wishing to give dancer's voices the weight they are so often denied, I endeavor to create a dialogue between my reflections and Oxana Chi's own discourse about her work. I strive for interplay at eye level between all creative and theoretical sources, the intents stated by the artist, and my own interpretations. Dancing & Writing... Dance's relationship to writing about it [...] has historically been governed by hierarchical relationships between the verbal and corporeal, the durable and ephemeral, the mindful and the bodiful. 15 My hope is to produce a writing whose melody and rhythm are at the same time accompanying the dance and transformed by the dance as they go along hand in hand. Never‐mind speaking from a queer‐feminist, western‐socialized PoC 16 perspective, situated knowledge means in my case to remain cautious that my writing and my speech, as they fill an often unattended space in academia, do not push the dancer away from the mainstage. What difference does it make whether I hold my paper alone, or whether it is followed by a live performance by Oxana in the language of movement? How can I "write or speak about the dance without silencing the dance" and the dancer? 17 It is fundamental for this academic presentation that it be followed by a live performance by the dancer discussed in the paper ‐ Oxana Chi, bringing together academic and artistic perspectives. This is also a way of transgressing the boundaries of what is acknowledged as knowledge 18 and encountering Oxana's dance which itself re‐defines the space of historical knowledge on stage by telling alternative stories. Jacqueline Shea Murphy's analysis of contemporary Native stage dance in the USA intensely fits Oxana's work: 819
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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
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* Yeditepe University, Faculty of A
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She would give very interesting fac
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Magdi not only suffered from Reynau
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29 Barış Erman is an assistant pr
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ARŞİVLER, HATIRATLAR VE KADIN TAR
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Yeni Asır, in which she reveals me
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Greene (1923-25 and 1945-48), a Wel
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Notes 1 Semiha Sureya during her yo
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Karakaya‐Stump, Ayfer. “Debatin
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anılan Perge’nin kent kurucular
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heykeller arasında kent kurucular
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19 Augustus'un imparatorluk ailesi
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LOVE, MARRIAGE AND FAMILY AFFAIRS 3
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Community College, CUNY. 399
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The inclusion of the entirety of Li
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closely intertwined. Ellen regularl
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QIYĀN AND SEXUALITY: THE SINGING
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elations with Ibrāhīm al‐Mawṣ
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qiyān’s lives, and that is the r
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RE‐CRAFTING THE PAST: LYDIE ROSTO
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Rostopchina mère’s observations
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his letters to family. Quoting Hans
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(1965): 144‐156; Alexander Nikite
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SOUND OF SILENCE 1 /SILENCE OF SOUN
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hills, similar to Fredi Murer’s H
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Keywords: New Turkish Cinema, Sound
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NARRATIVES OF WOMEN BY WOMEN ON SCR
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eginning of the film, without impos
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Notes 1 Karen Hollinger, Feminist F
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For ethical considerations the real
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throughout the journey rather than
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REMEMBER WHAT YOU CANNOT FORGET!:
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In “Memory of a Square (perceived
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WOMEN'S NATRRATIVES AND TESTIMONIES
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Since 1935 Atria collects the herit
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documents (diaries, travel reports)
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4 The history of Atria goes back to
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SOUTH AFRICA: KNOWLEDGE IN RESISTAN
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Nelspoort, a small town that got it
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Furthermore, breaching the norms of
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(GEAR) which sets the following tar
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eighteenth century British doctors
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these intervals she was low‐spiri
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I will never consult a physician,
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Wiltshire, John. “Journals and le
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PİPPA BACCA : “BARIŞ GELİNİ
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görülmektedir. 14 Haberlerde, “
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3. Katil zanlısı “Biz” tanım
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SİYASAL İKTİDARIN CİNSİYETİ:
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Kadınlığın inşası Bu başlık
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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
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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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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, “
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ÜÇ KUŞAK KADININ CİNSİYET ROLL
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görüşme ana tema soruları veril
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…Bizim adetlerimizde ev işlerini
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İktidar ilişkileri Bu ana temaya
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HALK EDEBİYATI ANLATI TÜRLERİ KA
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gayet dinç ve sorunsuz olarak akta
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Anlatıcı, masal metninden çıkma
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Assistant Professor Gönül GÖKDEM
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Bildirileri, Halkbilimi (2000): 22
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DENGBÊJLİĞİN ERİLLİĞİ VE K
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Ulus kurucu olarak aktif bir rol ü
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meziyeti varsa dünyaya duyurmalıd
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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
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KADIN DENEYİMLERİ VE OTO/ BİYOGR
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Yazdıkları çok satan romanlarda
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Romanlarını büyük, küçük ya
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eserleriyle aşk filmlerine kaynakl
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KERİME NADİR Özlem POLAT ATAN *
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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
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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: AUTO/BIOGRAPHY, HISTORY AND HERSTOR
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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