Revise your introduction to subtly challenge assumptions and create generative instability for readers by Thursday 16.11.2023 6 PM.
Post your 1 or 2 paragraph(s) in the blog.
Have your revision “ready” by November 20, as we will have an intensive review session.
Feel free to discuss the matters of problem crafting, instabilities, costs and benefits, gaps in the blog.
We can all benefit from reviewing each other’s topics, paragraphs, feedback.
OpenEdition schlägt Ihnen vor, diesen Beitrag wie folgt zu zitieren:
Victoria Mummelthei (15. November 2023). writing seminar, task for session #6: peer review session. Keine Disziplin – No Discipline. Abgerufen am 15. Oktober 2026 von https://doi.org/10.58079/13jog
Deconstructing Beirut’s Architectural Memory: Blending Disciplines for a Future Insight
Beirut’s architecture is a clear example of its intrinsic history. From the traditional houses of the Ottoman period to the characteristic reflections of French style, to the incipient modernism that later gave rise to genuine and avant-garde contemporary works, its peculiar urbanism is a fundamental part of that spatial identity carved out through the historic urban narrative. This science or rather art, from the beginning of its existence, like other artistic disciplines, has served as a universal language, that is to say, it has not been static in time, and in this case it has been able to recall and reflect the resilient collective memory of a nation.
This aspect has commonly been treated from a somewhat traditional and conventional perspective based on the events that took place. Therefore this study aims to delve more deeply into the human and emotional aspect, establishing a common thread between mere architectural body, social memory and human subject. At the same time its main purpose therefore is to show how architecture as art evokes and heals those feelings and invisible wounds, transforming historical trauma and striving for the construction of a new and strengthened collective memory. Therefore architecture is linked, much more than is often believed, to the human being in both body and soul.
Seven years ago, Middle East Eye published an article about Syrian children playing and swimming around a crater caused by a bomb during an airstrike in Aleppo. On October 26, 2023, Al Jazeera published a similar article about Gazan children painting and playing amidst Israel bombing Gaza, just before al-Shifa Hospital was bombed. Following the twin earthquakes in Kahramanmaraş that devastated the city of Hatay in Turkey, UN Türkiye also published a blog post about children continuing their education in tents and container houses titled “Depremin vurduğu Hatay’da umutları yeşertmek.” In moments of war and disaster, such news and social media posts featuring children playing seem to aim for a sense of hope and resilience. However, as seen in the example of Anadolu Ajansı (Turkey’s official news agency) and its articles about AFAD tents and Turkish soldiers playing with children survived the earthquake, these news could also be used as propaganda. The correlation between play and resilience, on the other hand, finds a place in novels written in the style of magical realism, as seen in examples like Latife Tekin’s “Dear Shameless Death” and Shokoofeh Azar’s “The Enlightenment of the Greengage Tree,” both of which revolve around child characters. Nevertheless, categorizing these novels under the title of magical realism carries the danger of being culturally essentialist. Therefore, in this paper, I will compare these novels to demonstrate local and regional specific variants of magical realism and how such differentiation could expand our understanding of literature and resistance.
(1) https://www.middleeasteye.net/news/life-isnt-over-aleppo-children-play-bomb-crater-pool
(2) https://www.aljazeera.com/gallery/2023/10/26/painting-for-palestinian-children-at-shifa-hospital-is-small-release
(3) “To nurture hope in Hatay struck by the earthquake.”; https://turkiye.un.org/tr/225304-depremin-vurdu%C4%9Fu-hatay%E2%80%99da-umutlar%C4%B1-ye%C5%9Fertmek
(4) https://www.aa.com.tr/tr/asrin-felaketi/iskenderundaki-gecici-barinma-alaninda-kalan-cocuklar-cadirlari-resimleriyle-renklendirdi-/2826760
(5) After the earthquake, despite the Turkish government having collected an earthquake tax since the 1999 Marmara Earthquake, both AFAD (The Disaster and Emergency Management Presidency) and the Turkish government fell short in providing adequate help to the victims. The incompetence of both the Red Crescent and AFAD resulted in a loss of accountability.
Time before any schools of medecine or herbal work, plant uses bloomed and varied. On accounts passed down through generations of anscestors through oral storytelling, the effect of this knowledfe shows up most vividly in the hearth of homes; the kitchen.Since the first colonilzation of the Maghreb, women have been bound to their homes and husbands. A practise arriving with the Arab invasion in 681. Remnant stories dipped in Magical Realism still tell taales of the switch into the patriarchal society and the witchess that went to live in the mountains. Since then, this place names ‘kitchen’ has become center, heart and soul of homes. A place where gossip is spead, tv dramas are on all day, and where laughter bounces off walls. Here hands are in continuous moion and words strung endlessly together. This hearth is a centre that moves between all social economic classes. The kitchens bigger and emptier still fill with comfort and women, the smalles communal oven houses too gather crowds of sing songing and baking that fill homes and hearts. In delving into the balming teas and foods that emerge from these centres of home, I aim to bring into light the still existent uses of the most widespread herbal medecines emerging from Morocco’s kitchens.
Dear Blü,
Your exploration of the rich history and cultural significance of herbal medicine in Morocco is fascinating. The kitchen, as you described, is indeed a hub of activity and a repository of generations-old wisdom. It’s interesting how these traditional practices have endured through time, from the era before formal medical schools to the present day. It’s a rich field of study that blends history, culture, and science. I want to share with you my questions: How has the use of herbal medicine evolved over time in Morocco? What are some common herbal medicines used in Moroccan cooking? These are coming to my mind. Best, Bilgesu.
A challenge to the mould of the heroic male detective in Turkish crime fiction: Nihal Karamağaralı’s female sleuths
Crime fiction is a field related to social reality in terms of genre. It presents to the reader the part of the crime that is not presented by the police, laws and courts. It allows us to question the construction of the crime and the conditions of the criminal. In crime fiction, the eyes of the reader are the eyes of the detective who deciphers the unsolved puzzle; the flow between the author and the reader is provided by the detective. Thus, the detective, the protagonist of the fiction, takes his share of social roles.
Sally R. Munt defined the detective hero as an ‘archetype’ in early crime fiction, explaining that this type is the warrior knight, the tough cowboy, the dispenser of commonsense justice, the focus of morality; the mythic hero adapted to modern culture. However, the high volume of detective novels written by women in the second half of the 19th century, breaks the classic archetypal mould, thereby transforming the relationship of the detective protagonist with the reader. The breaking of the mould of heroic masculinity transformed the relationship of either the detective or the reader with the novel. Classic male self-confidence dominates the detective genre, demanding the reader to follow him. When the character of the detective is instead able to ask for help, make mistakes, have weaknesses, and display fragility, then the effect is to better equalise the reader with such a detective.
When the first female authors of the crime fiction genre created female detectives, they confronted readers’ expectations of femininity and masculinity, because the perceptions at the time of gender roles did not easily allow for a woman to pursue murders professionally but female writers were still preserving their femininity. Because the reader’s perception of reality and the manifestation of gender roles come into play at this point. It is not socially expected for a woman to pursue murderers professionally, to be in constant danger due to her profession, and to overcome criminals with her strength and intelligence; to have a female detective act on par with the male detective would not have seemed realistic. One of the reasons why the first ‘uninvited guests’ of the genre are amateur sleuths is the effort to preserve the connection with this reality. It is not usual for female writers to construct plots independent from society when creating female detectives. However, when the fictions are analysed, it will be seen that they push the limits at this point. Socially, single women are a factor of fear regardless of whether they are single, widow, old or young. Women who can live without a man or a family, the ‘most important’ cornerstone of society, create uncertainty; they are seen as dangerous. Or older women are attributed as occult figures – equipped with, magic and supernatural powers – and metaphysical characteristics. Choosing such a model as a heroine is risky and destructive. Even though the boundaries of society’s standards are pushed to the limit, at some point the woman detective’s eccentric and dazzling image is broken. Lucy Sussex interprets this situation as the punishment of the female detective who enters the male domain. In her study analysing the female detectives of women writers, Sussex states that when the women who solve the puzzle return to their own social lives, they are either left penniless, unhealthy or abandoned by their lovers. In other words, the ‘unladylike’ behaviour of women detectives is punished.
Dear Sinem,
Firstly, thanks for sharing this insightful post. The concept of “older women as occult figures” in crime fiction caught my attention. However, I find the thesis statement a bit unclear. Are you critiquing the portrayal of female characters or is this more of a review article? Clarifying your stance at the end of the first paragraph could make for a compelling introduction.
Additionally, could you narrow down your topic? Specify which authors you’ll discuss and consider exploring if there’s a comparison between male and female authors. For example, why should I be interested in Nihal Karamağaralı’s novels? What sets Karamanağaralı’s detective novels apart?
While you’re referencing academic resources and citing examples from 19th-century detective fiction, I’m curious if the genre has evolved. Are there alternative definitions emerging, or has the essence remained the same?
I hope these suggestions help in refining your article. I think this could be a really interesting article, especially, if you could give some comparisons between Turkish detective novels and other famous examples of the genre.
Best,
Gökçe
Proposed title: Shifting Perspectives: Berlin’s Evolving Relationship with Islamic Arts from the Nineteenth Century Onward
The nineteenth century marked the emergence of museology as a burgeoning cultural phenomenon in Europe. Inheriting the colonial mindset of discovering antiquities, coupled with a keen interest in non-European cultures, spurred the creation of collections in European museums showcasing indigenous arts from various parts of the world.
The arts of the “Orient” held a particularly remarkable allure during this era of collecting. Many pieces from Middle Eastern lands found passionate homes in various prominent European museums. While some of these acquisitions had a legal basis, others were acquired through illicit means.
Berlin, a pioneer in museology and collecting, is home to some of Europe’s greatest museums, including remarkable collections of Islamic arts. However, these collections have elicited varying reactions over time. The critique of colonialism, especially prevalent in the second half of the twentieth century, inevitably extends to question these collections.
My paper aims to trace the evolving perspectives and thoughts of Berliners regarding the Islamic collections exhibited in Berlin. I intend to explore the changing attitudes within Berlin’s academic community from the nineteenth century to the present day concerning pieces relocated from their original places to Berlin. In doing so, I will take into consideration scholarly literature recorded through publications since the nineteenth century.
“Pioneering Brushstrokes: Mihri Rasim and the Shifting Canvases of Ottoman Art and Gender Dynamics”
In early life, the daughter of an Ottoman pasha escapes to France with a forged passport, subsequently undergoing artistic training in Italy. Upon returning, she established the first women’s art school, İnas Sanayi-i Nefise Mektebi, in the Ottoman Empire. In the political turmoil, familial pressures, and the challenges of being a female artist in the early 20th century, Mihri Rasim represents the narrative of the Empire’s first women painter. Born during the reign of Abdulhamid II, a period when education was first provided to women, the inclusion of art education for them was still a distant prospect. As women were newly engaged in social life and began to occupy roles in society, there was also an emergence of Ottoman art in a Western sense. Seeking to prove her talent through, Rasim embarked on a journey, concluding with the gift of a school for all women. Despite her successes becoming subjects of various Ottoman innovations, Rasim, due to political problems, spent her final years far from her homeland, in America, where she eventually passed away.
The central issue of this article will be the challenges women faced when integrating into society in the early 20th century, particularly those engaged in fields such as art, which were not among the empire’s priorities within the politically troubled period. While Mihri sheds light on the broader struggles of Ottoman women as they participate in social life, the research on Rasim aims to reconsider the historical period with a feminist perspective. Despite contemporary articles, Mihri remains a relatively recent character in history due to missing documents. Therefore the investigation into Mihri’s life is creating a workload and therefore instability issue. In the end, this research will meet the efforts as it will provide an opportunity to read the socio-cultural and artistic conditions of the period through the lens of gender roles, specifically in terms of women’s art education in the Ottoman Empire.
Fadime Sendal was killed just because she rejected an arranged marriage, Tina Isa was stabbed by her father, Gonul Aslan`s family tried to drown her in the river Euphrates when she run away with her lover and this horrendous list sadly goes long with names of many more women on it. They are all victims of honor crimes. Honor crimes/ killings/ violence whatever you call are committed to cure the harm that offending woman caused across the world including Pakistan, India, Bangladesh, and many countries in the Middle East. In such cultures where honor killing takes place, the reputation of the family relies on chastity, obedience, and fidelity of a woman. When the family believes that family honor is threatened by her by any means, the only alternative is to kill her. As the reason behind such extreme act does not really matter, anything about women sexuality ranging from getting involved in an emotional relationship, losing virginity, running away, disobedience against family decision is utterly enough to kill daughters, wives, sisters and see their bloods in the hands of their male relatives who are traditionally their guardians such as father, brother, cousins.
…….
Considering the societies in which honor crimes widespread, it seems that honor crimes are closely related to sex, culture, and religion particularly Islam. However, such conventional perspective underestimates the complexities of gender roles and ideologies in the Middle East which is patrilineal and patriarchal in orientation on one side. On the other side, it draws a unilateral portrait of the problem by stigmatizing a religion, a specific culture as the principal blameworthy. To see inside story, it is imperative to answer some crucial questions. Why are honor crimes committed and is the society forgiving to such acts? Why does the state fail to protect women and how are laws inefficient? What perspectives do crime perpetrators and legislators have? Why are women hopeless? What are the roles of women in honor crimes? Are men harshly and equally punished like women in case of rape, marital rape, or illicit sexual relationship? To what extent are crimes of heat of passion and honor killing related? And above all we should question codes and meaning of honor and how honor became an integral part of the cultures to compose a meaningful dialogue which intends gender equality and put an end to femicide.
Thank you for this introduction!
I find the topic very important and interesting.
Maybe the analysis of the paper could be expanded if you also would focus on or benefit from how feminist movement in Middle Eastern countries view honor killings and handle the stories and the trials of these women. For example, even the usage of “honor killing” plays a role for the men who kill, so that they are getting haksız tahrik indirimi / unjust provocation argument to get less prison time. So what does honor mean and how honor plays a role in such trials from the state’s perspective? As well, many of the men who kill the women, get appreciated and sympathy within their community including other women relatives too. Understanding this subtle justification of the killing through the glorification of honor would help in building a counter feminist understanding of honor and a counter activism against these killings within our communities. And maybe this can help to create the value (the benefit of writing this paper) in your paper.
Here, i suggest some reading in Turkish that analyses honor killings (in case you understand the language or you could translate in DeepL)
*1*
http://www.sosyalistfeministkolektif.org/feminist-politika/onceki-sayilar/feminist-politika/
Feminist Politic, no. 5, Nükhet Sirman’s text on “Namus Kavramının Feminizme Düşündürdükleri” pg. 28
Other articles from this magazine is also worth checking.
*2*
https://www.academia.edu/43569838/Honour_based_violence_in_Kurdish_communities
‘Honour’-based violence in Kurdish communities
*3*
http://www.sosyalistfeministkolektif.org/kampanyalar/istanbul-feminist-kolektif/kadn-cinayetlerine-isyandayz/kad-n-cinayetlerine-isyanday-z-kampanyas/
Resistance to Femicide Campaign from Socialist Feminist Collective
this writing explores the history of the campaign, and talks about the feminist movement’s argumentation against the naming of honor killings and why the some feminist groups in Turkey rejects this usage in relation to its subsequent impact on legal procedure.
Examining the Power Dynamics Behind Purple: A Study of Paint Splashing Protests
The act of throwing liquids as a form of protest has gained traction in recent years. In October 2022, the group “Just Stop Oil” made headlines by splashing tomato soup on Van Gogh’s Sunflowers painting in London (Feldman, 2022). Two weeks later, climate activists from “Letzte Generation” threw mashed potatoes on Monnet’s painting in Potsdam, emphasizing the urgency of the climate crisis and the perceived triviality of concerns about artwork defacement (Mandler, 2022). These incidents highlight a trend where protesters aim to capture public attention, generate popularity, and increase visibility through unconventional means.
This paper investigates into a distinctive paint-throwing protest adopted by the feminist organization “Üniversiteli Feminist Kollektif” (University’s Feminist Collective) in Turkey. They employ purple paint, terming it a feminist self-defense technique. The choice of this example aims to explore the feminist collective’s perspective on their actions—whether they perceive the paint-splattering protest as a form of performance, an attack, or a self-defense mechanism.
Furthermore, the research seeks to expand its scope by examining how various protest methods serve different objectives. It investigates whether these protests arise from individual choices or the emergence of a collective identity. The study aims to uncover the extent of similarities or differences between the protest styles of climate activists in Europe and feminists in Turkey. Specifically, it aims to discern the nuances between using paint to create a stage for attention versus using it to target something specific.
Apparently I was very struck by the purpose with which you approached the work, I think it’s a very correct and interesting way of showing that behind these kinds of acts there is a non-verbalized world, which symbolizes more than one might think at first glance. Bearing in mind that it links art with activism, in a certain way, I think it would be very enriching if you could give the reader a starting point, that is to say, if this perhaps originates from some specific historical event, as well as if it had some repercussion or improvement in the situation after them. Ultimately, to delve more into the aspect of the purple colour as a feminist self-defense tool, which I think is the most intriguing aspect of this topic. As you mentioned that another of your goals with this work is to show the different objectives that result from various methods of protest, I think it would be very important for you to make it clear which ones you want to focus on or name the ones that you see as most relevant and have some relation to your work, so as not to lose the thread of the academic narrative.
On the other hand, in addition to providing information and clarifying the purpose of it and its mission, I think it would be very appropriate to give many more real examples and situations in which these activists are involved (especially with visual support through images). What happens is what gives life to this kind of stories and what arouses interest and attracts the audience more, creating a closer link between reader and reading. You’ve won me over with this topic and I’ll be happy to read it once you’ve finished it, good luck through the process!
I changed my topic from “Religious Movements and their political representation in Turkey ” to focusing on a specific religious-social movement abroad.
In a world that is rapidly globalizing, it is evident that national movements and organizations have the ability to “frame their claims in terms that resonate beyond territorial borders” (Zaid, Kennedy, Guidry, 2003). The spread of social and religious movements beyond nation-state borders in the form of transnational development, NGO networks, and private foreign enterprises are clear examples of this phenomenon. These transnational networks are, inherently, informed by certain ideas and practices inspired by religious and/or political underpinnings. The following paper will discuss such a transnational network that is recognized under various names such as; “the Gülen Movement”, “Hizmet Movement”, or “Fetö”. The examination of the movement’s role and its organizational presence in Turkish society and politics has garnered increased attention in academic literature, particularly in the aftermath of the 2016 coup attempt. While the movement’s actions within Turkey and its political landscape have been extensively scrutinized, it is equally imperative not to overlook the activities and connections the movement has been establishing abroad. This assumes even greater significance given the ongoing closure of movement-affiliated organizations within Turkey, prompting a notable shift in focus towards intensified activities on an international scale.
The paper aims to question the movement’s self-professed characterization as a mere “global, faith-based social movement” committed to advancing interfaith and intercultural dialogue through education (Gulay, 2007). It will achieve this by closely scrutinizing the movement’s activities abroad and assessing them as manifestations of the broader Islamic revival ideology. This promises a fresh outlook, offering a deeper understanding of the motives driving the movement abroad. This approach goes beyond existing assessments, enriching our comprehension of the movement’s dynamics and objectives in an international context. Furthermore, Such an examination of the movement through the lens of the Islamic revival ideology and the Muslim world’s confrontation with modernity is of high importance as it will have broad implications on how ‘non-political’ socio-religious transnational networks can be utilized in favor of certain ideological aims. Moreover, the study has the potential for further development by exploring the impact of the movement on Turkish and Muslim diaspora communities abroad. This extension would provide valuable insights into the broader influence and implications of the movement beyond its immediate geographical and cultural context.
A “Middle East” is implied by definition as a territorial hierarchy, which fosters an interpretation that denies the existence of a matching “Middle West” and creates a framework that has been crucial in maintaining power and conflicts of interest. This term, which is commonly used to refer to a wide area that includes North Africa and South Asia, has drawn rightful criticism due to its Eurocentric roots and inherent preconceptions.
This term has continuously imposed an Oriental framework onto a diverse and historically rich geographical area, covering the nuances of its distinct cultures, history, and identities. It emerged out of colonial ambitions and geopolitical goals. The way the region is viewed is shaped by a sort of intellectual colonization brought about by the term’s persistent use and adoption in our language. However there are questions to be asked; what are the borders of Middle East? It is in the middle or east of what? To be able to journey to an answer, one needs to look colonial perspective in the 19th century. Today the institutions, the media, international organizations use the term ‘Middle East’ and so frequently that not everybody is aware what it means or why it is bothering.
In Indian media they often say West Asia 🙂
Good afternoon Esra, since it so happened that I naturally commented on your post and the topic intrigues me too, I’ll try to provide my feedback in regards to the written paragraphs. I like the way you start by presenting counter-intuitive data that since ME exists, where is the Middle West. I would continue reading this paper with such an “intriguing” start. I would include a bit of context in regards to the origin of the term and inconsistencies it can bring to the society in different regions. Additionally, I would make more visible thesis statement at the end of the first paragraphs with your intensions and dhilemma you’re trying to untangle. Also, what would the primary focus of your research be? Is it going to be a linguistic aspect and the origin of the word or regarding the concrete borders of the ME? (However there are questions to be asked; what are the borders of Middle East? <- This sentance was the cause of ambiguity in my opionion ) I very much like the sentence " It is in the middle or east of what?" however I would try to enrich it with vocabulary and sceptical rhetoric to give it more engaging feel. The last thing which stood out to me was the hook at the end laying out the problem with the term, perhaps give more clarity on what is the downside of using this term and possible preconcieved notions that it is associated with? Historical context of other names that existed for this region would clarify why today's version is misleading the public. Overall I liked what I've read and I hope this feedback will be useful to Esra, good luck with the paper!
Thank you so much for the feedback! I agree with the ambiguity the question brings but I think it is an important point to show because actually, the answers to these questions are always ambiguous.. In my writing, I want to discuss both the foundation of this term and also the impact of the use of this term in politics, in media, and in education, since we still use it to describe the region but actually, the accuracy is debatable.
Analyzing the Impacts of Middle Eastern Immigration to Europe by the Agency of the Immigrants: Cultural and Socio-Psychological Experiences of Immigrants
Today, immigration’s effects are a major issue in the world, and this continues to be a significant ongoing problem for developing and already developed countries. As a recently well-known one, Middle Eastern immigration to Europe leads to ever-growing conflicts and clashes between different cultural backgrounds. One of the causes of the effects becoming issues is that many so-called experts usually address them as unavoidable outcomes stemming from divisiveness to escape from holding any responsibilities as quickly as possible. Hiding behind such plain and vague explanations doesn’t change anything in their favor, in fact, the social turmoil also gets bigger, unavoidably playing a negative role in the outcome. In that regard, the aim should be to look at a different perspective as a new examination is required to tackle this issue.
In analyzing the impacts of Middle Eastern immigration to Europe, the aim should be to focus on the agency of immigrants in the process and not treating them as if they are a horde, otherwise, it could be misunderstood, and the analysis ultimately becomes superficial. It is of utmost importance to speak about the experiences of the immigrants and avoid generalizing the immigration’s impact on all areas because the effects of immigration take place in a complex process that is between the immigrants and the policies, social and cultural systems, community networks, public attitudes, and owing to them, the effects are not akin in everywhere. Some aspects generate non-repetition and such are varied as cultural and socio-psychological experiences of immigrants, how they challenge such difficulties of being in a completely different environment, what they receive, how are they treated for being different, etc. Examining such experiences will help to challenge simplistic narratives and the fallacies such as: “Immigrants can’t live here, and can’t adapt because they came from the Middle East, are not willing to learn, or are not capable of learning.” Without not addressing the agency, such statements can become a general analysis that can escalate the tensions and create yet more issues. In that regard, the analysis should shed light on the issue by centering the Middle Eastern immigrants’ cultural and socio-psychological experiences after immigration to Europe, challenging such shortcomings of narrowing the perspective while looking at the immigration’s impacts. Such an analysis can bring positive contributions not only to cultural studies and social psychology fields but also outside academia in implementing a more effective strategy.
Investigating Anarchist Principles in the Gezi Protests
In May 2013, when the Gezi Protests started to take place in Istanbul, quickly spreading all over the country, no one knew how it would affect Turkeys political atmosphere, rhetoric, and history. Starting with a small group, that had the idea of saving just a park from urban development, it swiftly transformed into a broader movement, encompassing diverse transgressions, and attracting a multitude of participants from various backgrounds. There were multiple factors in the uprising playing a role than merely the destruction of the park: discontent with AKPs injustices and authoritarianism, erosion of civil liberties and the dissatisfaction of the people who felt their voice did not want to be heard.
Anarchism, a political and philosophical spectrum which offers to reject all the institutions and believes that the individuals should take part about their part about any decision-making activity, has got a chance to put its creeds to use at Gezi protests, such as direct action, autonomy, decentralization, horizontal organizing and anti-authoritarianism. Taking a look at the historical events of Gezi and interviews of protesters, it will be assessed how anarchist principles have been implemented in the context of the protests and how the Turkish political context shaped and was shaped by them. This opens up new and critical avenues to talk and think about anarchism in a Middle Eastern context.
Bashar Al-Assad’s Diplomatic Rehabilitation
World has seen many examples of rulers turning into tyrants and tyrannies crumbling under their own population’s unrest and thus, people nowadays seem to expect every autocracy to ultimately end. However, with recent diplomatic initiative by the Arab League to invite one such tyrant, Bashar Al-Assad, this tendency might take a U-turn and set a dangerous precedent for the Middle East and beyond. Instead of being trialed by International Criminal Court for having multiple accounts of crimes against humanity, upon arrival to Jeddah, he was met with hand-shakes, happy faces and sweet words of welcome. In his speech at the conference in 2023, Bashar said the following: “We need to heal the cracks that emerged on the Arab Scene, the league should restore its role in healing wounds and not deepening them and leave internal affairs to its own people”. When Arab spring protests started to emerge and internal affairs were up to its own people, Syrian people demanded vital reforms and tragically, were met with brutal resistance which included usage of chemical weapons banned under 1992 The Chemical Weapons Convention (CWC) which ultimately resulted in Syria’s suspension from the League. Same exact league that kicked their founding member Syria, now tries to reintegrate Syria back without holding its leader accountable for the crimes that had been committed. Did leaders of the Arab league decide to forget the atrocities and forgive Bashar? (~Or are there other dynamics at work?~)
Since 2011, Syria has been one of the most militarized regions in the Middle East with vast presence of foreign military personnel from various countries and their proxy groups. What started as a civil war between Assad’s unitary state and the opposition, ended with a geopolitical free-for-all in the region which caused chaos and instability across all of Syria. With involvement of US, Russian, Turkish, Iranian, Pro-Assad forces, Syrian Democratic Forces, ISIS, Opposition Rebel groups, Iraqi Shia militants, Hezbollah and other Gulf States since 2011, stability is unimaginable. Every force had their own agendas, goals and motives to maintain their presence in Syria and these goals differed. Not only these aims didn’t align with one another, but quickly changing agendas shifted balance of power in the region with devastating ripple effect on the civil population. Iran and Russia have been supporting Assad’s regime, whether directly or indirectly, in order to maintain Assad in power. Russia seems to use this geopolitical situation in order to project its power outside of its borders and possibly curry favors with Syria such as maintaining its military presence in Tartus and Hmeimim military bases. On the other hand, Iran has been supporting Assad while concurrently hedging against him in case he was toppled. Turkiye’s President Recep Tayyip Erdoğan has had his own interest and concerns with Kurdish population in and out of Syria. The interest of the US and Turkiye conflicted and as a result Syrian Democratic Forces found themselves in crossfire between Turkiye and ISIS. The United States completely shifted its own agenda before, during and after Donald Trump’s presidency, which played a key role in development we see in 2023.
It is easy to get lost in this multifactorial conflict, however Syrian population’s attitude towards Assad hasn’t positively changed since 2011. A decade later, although Syrian election bureau stated that the elections were held in a free and fair way, which gave Bashar Al-Assad 95% of the votes, was deemed illegitimate by NATO members US, Germany, Italy, France and Turkey. The Invitation to the Arab League contradicts a common preconceived notion that dictators ultimately always lose and puts ordinary citizens at risk of further violence and injustice. Such a diplomatic gesture from the members of Arab league, same exact members who expelled Assad, might have influence on other rulers who are leaning towards isolation established years prior and gives the dictator credibility to rule further in the same manner, unhindered, without fear of future accountability neither from the global political scene, nor the local population. This in itself poses huge humanitarian risks not only for Syrian people, but rather other communities which face similar struggles worldwide.
…ordinary citizens at risk of further violence and injustice. Such a diplomatic gesture from the members of Arab league will inadvertently have negative influence on current and future rulers leaning towards absolutism. Considering recent rebellious uprisings in Sunni-majority countries such as Mali, Burkina Faso, Guinea and Niger, many transitional governments and regimes have yet to prove their respect to The Universal Declaration of Human Rights (UDHR). Changing established status quo, during which Bashar Al-Assad was expelled, sanctioned and isolated, gives the dictator credibility to rule further in the same manner, unhindered, without fear of future accountability neither from the global political scene, nor the local population. This in itself poses huge humanitarian risks not only for Syrian people, but rather other communities which face similar struggles worldwide.
*an edit, last one had a sentence which abruptly finished,*
On Feminist Counter-violence and Importance of Legal Recognition, To Kill For Liberation under Patriarchal State/Justice: Evidences from Turkey
what was Inez supposed to do for
the man who declared war on her body
Jayne Cortez, Rape (1)
Let’s imagine that there is a woman shooting and then beheading the man who systematically sexually abused her. She then throws the head into the village square in front of a café, where many other men of the village are sitting, playing, and chatting, knowing what she has experienced during those years. As said in Aja Monet’s poem “#sayhername”, she deserves “a name to fit all the horror in” (2). Her name is Nevin Yıldırım (3).
Some, including me as the writer of this paper, would question various aspects of this action by asking “Why would Nevin decide to behead the man and throw the head in front of a group of men, and not stop once he is dead through the shooting? What does Nevin have to say that this act appears as a way to convey her message? Is Nevin’s action relevant only to the man who raped her and then why does she bother to show the head of this man to others in expense of exposing her action?”.
These questions and many more are the ones that make me think, write and have a strong positioning regarding her life sentence after nine years long imprisonment and legal procedure. Now, I am writing, imagining Nevin in the prison cell and then all other women who chose life and therefore killed the abusers, and finally those who aim collective liberation for women by any means necessary (4).
All considered, in this paper, I would like to question the limits of our understanding of violence and when we consider an action to be an example of feminist counter-violence as a political strategy or legitimize it in the name of self-defense within the legal evaluation. Moreover, I would like to aim grasping a deeper analysis of concepts such as non-violence, violence, counter-violence, and try deepening our answers to this fundamental question: “Who has and/or should have the right to legitimate use of violence (5)?”.
(1) To listen the poem through Jayne Cortez’s voice: https://www.youtube.com/watch?v=Q297Cd-Lo2g
(2) To listen the poem through Aja Monet’s voice: https://www.africanamericanpoetry.org/media-library/aja-monet-reads-sayhername
(3) To learn more about Nevin Yıldırım and her legal case: https://www.duvarenglish.com/despite-right-to-self-defense-top-turkish-court-upholds-life-sentence-of-nevin-yildirim-who-killed-rapist-news-59930
(4) For the usage of this phrase, I would like to credit Malcolm X’s speech in 1965. To read the whole speech: https://genius.com/Malcolm-x-by-any-means-necessary-annotated
(5) To deepen what I mean by legitimacy of violence, check Weber’s definition of state: http://www.fact-index.com/m/mo/monopoly_on_the_legitimate_use_of_physical_force.html
Human Stories Behind Migration from the Middle East to Europe
After losing my position as a data analyst in the oil and gas industry in 2015, due to the ongoing conflict, I was compelled to leave Yemen. In 2016, I decided to move to Germany to pursue a master’s degree in Geology. Originally, my plan was to leave Germany upon graduation, but it has now been eight years.
MS’s story is one of many vivid illustrations of migrants as they embark on a new journey in life. As they travel across continents, these migrants carry more than just physical baggage; they bear the heavy emotional toll of leaving behind a life once known, in a country now unrecognizable.
Upon their arrival in an unfamiliar country like Germany, they face a unique set of challenges. Their stories are tales of resilience in the face of adversity, where everyday conversations become daily struggles, and cultural nuances turn into complex puzzles. Language barriers create unseen walls, often leading to misunderstandings and the distress associated with unsuccessful communication and isolation. Encounters with racial bias are even more troubling, serving as painful reminders of the challenges they face. Their path to fitting in is obstructed not only by linguistic and cultural differences but also by the need for social acceptance.
Yet, amidst these hardships, their stories are not just of suffering but of remarkable strength and adaptability. Migrants like the Yemeni academic MS navigate their new world with determination, shaped by the turmoil they have left behind. Their experiences illuminate the human dimension of migration, illustrating not just the struggles but also the profound courage and hope that fuel their journey. This narrative is not merely about moving from one place to another; it’s about the human spirit’s quest for peace, understanding, and a place to call home in a world that is constantly changing.
Dear RA,
I believe the topic you choose is significant for those living in this situation and is not very well seen in the public eye. Most people coming to Europe from these countries are considered they have been given a chance and mostly given positive approaches. Language barriers, culture shocks, and difficulty in adapting processes are very good points. What I would like to see in this article also whether people migrating from these countries to Europe are adequately understood by experts and organizations that provide assistance to them, and how much they can actually help in this adaptation process? As far as I see, even if the adaptation to language and culture is successful for the person who moved to Europe, they still face challenges because they are not originally from ‘Europe’. It would not be strange if the public does not understand immigrants or cannot fully accept them, but I actually wonder how much people who have trained themselves to understand immigrants and work in this field can understand and help them. I like the topic very much, I would love to read more and I wish you good luck with writing 🙂
End of two eras; the home stretch of the Ottoman Empire and the erasure of Armenian Craftspeople, special focus one of the oldest instrument makers in the world; the Zildjian family.
The era of the downfall of the Ottoman Empire, especially the late 19th and the early pre-republic 20th is when a profound historical transformation unfolded. Simultaneously, it brought upon many cultural and political transformations. One of the groups that has suffered through this era the most was the Armenian community of İstanbul. These were the times were almost all of them were deported, killed or escaped. These events eventually lead to the series of events we now call Armenian Genocide, regarded by some as the first genocide of the 20th century. Most of these Armenians of Istanbul were craftspeople, journalists, and intellectuals who had close relationships to the empire and the Saray (palace) for many centuries at that point.
One of the families who can be regarded as an example would be the Zildjian family, an Armenian family of cymbal makers who worked with the Ottoman Sultans for almost 300 hundred years by the beginning of the 20th century. The descendants of the Zildjian family ended up moving to the United States and became the oldest running in instrument making company today and directly influencing the drum kit, therefore; many music genres like jazz, rock and many more. The story of the Zildjian family, their relationship to the political climate of the 20th century Ottoman Empire and the ‘erasure’ of Armenian culture along with the Genocide is very complex, however; the history and the craft of the Zildjians stand as the testament of resilience of the Armenian culture, broader themes of struggle, forced migration and the attempt of annihilation of Armenian heritage in the centennial Turkey.
The politics of space in silent film in 20th century Istanbul
Silent cinema in Istanbul during the late 19th and early 20th centuries ushered in a transformative era characterized by cultural shifts and technological advancements. The introduction of the cinematograph and silent films disrupted traditional viewing habits, captivating Istanbulites accustomed to shadow plays and magic lanterns. Despite the fact that many films from that era have been lost or are not widely documented, some notable examples and pioneers from the early Turkish cinema period survived, including films like Ayastefanos’taki Rus Abidesinin Yıkılışı (1914) by Fuat Uzkınay, which depicts the fall of the Russian monument in Ayastefanos (modern-day Yeşilköy) during the Russo-Turkish War of 1877-78, and Leblebici Horhor Ağa (1911) by Şehzade Abdülkerim, considered to be one of the earliest Turkish narrative films.
The silent films of this era, akin to transnational crossings and exchanges characterizing early cinema, serve as invaluable windows into the evolving cultural and historical fabric of Istanbul. The interplay between visual narratives and spatial dynamics in these films serves as a captivating lens through which to unravel the sociopolitical fabric of the bygone era. This study embarks on a captivating exploration into the intricate tapestry of spatial politics within silent films that unfolded against the backdrop of early 20th-century Istanbul, a cinematic landscape influenced by two world wars, and whether these wars and technological advancements had been woven on the political insinuations of silent cinema. Additionally, this paper will be delving deeper into the notion that in the aftermath of World War I, which witnessed the establishment of the Turkish Republic, cinema evolved from mere entertainment to a potent tool for education in nation-building. The discussion will extend to examine whether silent cinema in Istanbul mirrored the city’s socio-political transitions, contributing to a rich cultural tapestry that defined Istanbul’s identity during this transformative period.
Public bathing as a medicinal space
When public bathing comes to question whether in Ancient Greece, Rome, the far east or the middle east; historians generally do their research on them as social spaces. Although it is true that public baths provided social encounters for people and especially women, these social benefits should be understood as a byproduct of the concept altogether. With the emergence of modern medicine, it has become well known that hygiene is pretty important to counter diseases and technological advancements made bathing available for everyone. Nowadays if one wants to go to a public bath, they either go with their friends or relatives to enjoy and experience public bathing. However, historically building bathing rooms inside houses was quite impossible while most of the houses even in cities did not have running water. Thus, public bathing should be thought of medicinal spaces where people should be able to take care of their proper hygiene and not as a place where people went to socialize away from their worries.
Hey Dogan first of all thank you for the introduction and your topic is really very intriguing. You say that you will approach public baths as medical spaces, and as you mentioned, this is different from the social life that is usually covered, but on the other hand, I don’t understand how you can cover the public baths as a medical space without mentioning its existence as a social space. Addition to that if there is any examples it would be interesting for me to see how public baths are differentiated by gender. I really interested in Gendered space in Ottoman and it would be amazing to see how medical purposes in public bathroom changes according to gender. First question pops in my mind is is there any childbirth cases in public baths or are there any examples of “anadolu şifacılığı” dating back to this era.
Best,
Gülru
Reactions to the Israel-Hamas Conflict in Iranian Non-Governmental Social Media
Following the October 7 Hamas attack on Israel, numerous expressions of pro-Israel sentiment were published on a broad range of Iranian social media channels. Taken together, these posts – which range from a video showing thousands of soccer fans vocally protesting an attempt to raise the Palestinian flag during a match at a Tehran stadium to condemnations of the attack by a range of Iranian opposition figures – offer a snapshot of the popular reaction in Iran and its diaspora both to the attack itself and to the Iranian government’s public endorsement of it.
That these pro-Israel sentiments emanate mostly (though not exclusively) from young, liberal minded individuals – the same segment of the population that formed the backbone of the Mahsa Amini protests – may come as no surprise. Yet a close examination of the posts reveals a more nuanced picture, reflecting tensions inherent in the Iranian opposition and the possibility that its vocabulary of protest is being shaped by the Israel-Hamas war. These subtle shifts – occurring against the backdrop of a highly medialized and globally polarizing conflict – may have dramatic implications for the future of the Iranian opposition movement on the international stage.