169 research outputs found
In conversation: Alejandro Postigo and Naz Yeni
Full text linkIn April 2018, 7 Husbands for Hurmuz (7 Kocalı Hürmüz), a popular musical comedy farce from Turkey, was staged by Arcola Alaturka, a Turkish-speaking theatre group based in East London. This production was performed by migrant actors and musicians with a predominantly migrant audience in mind. A production of 7 Kocalı Hürmüz was included in the Ankara State Theatre’s 2017–18 season, and another large scale production directed and produced by established comedian Müjdat Gezen has, at the time of writing, been selling out in Istanbul.
Set in a time when a man was permitted more than one wife, the plot of 7 Husbands for Hurmuz is a reversal of this situation: the central character is a woman (Hurmuz) who has married six husbands – none of whom knows about the others – as a way of solving her money problems. She sees each husband on a different day of the week, but mayhem ensues when Hurmuz falls in love with a seventh man, and then all seven turn up to see her on the same day. Farce, slapstick and absurdity combine in a satire, which is also an extension of folk theatre forms relating to specific Asian performance styles – drawing on both ortaoyunu and meddah traditions in Turkey. It can be argued that 7 Husbands for Hurmuz has caused controversy because although the play features an array of strong female characters, it has been perceived as both feminist and anti-feminist.
The following piece is a conversation between Naz Yeni, the director of the Arcola production, and Alejandro Postigo, author and performer of The Copla Musical, a tribute to the anti-Franco Spanish drag artist La Gitana. The Copla Musical explores an intercultural adaptation of the early twentieth-century Spanish folkloric song-form of copla, merged with elements found in Anglo-American musical theatre structures such as book musicals, revues and jukebox shows. Copla ceased to develop during Franco’s regime (1939–1975). Forty years later, The Copla Musical aims to rejuvenate copla interculturally. The show is supported by academic research that questions how to share the Spanish experience of copla with an international audience of diverse cultural backgrounds, and how to introduce copla’s background as a storytelling form, a folkloric genre and a subversive tool beyond the Spanish twentieth-century zeitgeist. The conversation explores the many challenges of translating songs and theatre works from one language to another for a multicultural and multilingual audience
Rhythm in the narration of Adalet A ao lu
No full textKurmaca metinlerin yazar taraf ndan tasarlanan bir yap s vard r. Ritim, bu yap n n unsurlar aras ndad r. Bu çal mada ritmin edebi eserde nas l yer ald , yazar n anlat m na neler kazand rd üzerinde durulmaktad r. Bir yazar için amaç, metnin okunmas n sa lamakt r. Ritim, bir yandan okuyucuda estetik haz uyand r rken, bir taraftan da onu metnin içine çekerek okumada süreklilik sa lar. Okur zihninde ritim vas tas yla olu an ça r mlarla metne kat l m art r l r. Adalet A ao lu hikayelerinde okurun estetik haz almas için de çal r. Bunun için hikaye unsurlar n n belli düzende olmas na ve tekrarlar n ahengine dikkat eder.The fiction has a structure which is designed by the author. Rhythm is among the opponents of this structure. In this study, how rhythm is placed in the literature work, what kind of varieties it adds to the author s style will be emphasized. For the author, the important thing is to get their works read. Rhythm not only arouses aesthetic sense, but also fascinates the reader. With the help of the associations created by the rhythm, participation in the text is gained. Adalet A ao lu tries to give an aesthetic sense to her readers. In order to succeed in doing so, she gives importance to story s being in an order and harmony of the refrains
In conversation: Alejandro Postigo and Naz Yeni
No full textIn April 2018, 7 Husbands for Hurmuz (7 Koclai Hurmuz), a popular musical comedy farce from Turkey, was staged by Arcola Alaturka, a Turkish-speaking theatre group based in East London. This production was performed by migrant actors and musicians with a predominantly migrant audience in mind. 7 Husbands for Hurmuz is a popular classic of modern Turkish theatre, and a film version – directed by Ezel Akay – was released in 2009. A stage production of 7 Koclai Hurmuz was included in the Ankara State Theatre’s 2017-18 season, and another large scale production has, at the time of writing, been selling out in Istanbul.
Set in a time when a man was permitted more than one wife, the plot of 7 Husbands for Hurmuz is a reversal of this situation: the central character is a woman (Hurmuz) who has married six husbands – none of whom knows about the others – as way of solving her money problems. She sees each husband on a different day of the week, but mayhem ensues when Hurmuz falls in love with a seventh man, and then all seven turn up to see her on the same day. Farce, slapstick and absurdity combine in what can be argued to be a quasi-feminist satire which is also an extension of folk theatre forms relating to specific Asian performance styles – drawing on both ortaoyunu and meddah traditions. 7 Husbands for Hurmuz has caused controversy because, although the play features an array of strong female characters, it has been perceived as both feminist and anti-feminist.
The following piece is based on a conversation between Naz Yeni, the director of the Arcola production, and Alejandro Postigo, author and performer of The Copla Musical, a tribute to the anti-Franco Spanish drag artist La Gitana. The Copla Musical explores an intercultural adaptation of the early twentieth-century Spanish folkloric song-form of copla, merged with elements found in Anglo-American musical theatre structures such as book musicals, revues and jukebox shows. Copla ceased to develop during Franco’s regime (1939-1975). Forty years later, The Copla Musical aims to rejuvenate copla interculturally. The show is supported by academic research that questions how to share the Spanish experience of copla with an international audience of diverse cultural backgrounds, and how to introduce copla’s background as a storytelling form, a folkloric genre and a subversive tool beyond the Spanish twentieth-century zeitgeist. The conversation explores the many challenges of translating songs and theatre works from one language to another for a multicultural and multi-lingual audience
The situation and position of narrators in the stories of Memduh evket Esendal
No full textEdebi eserlerde yazar ad na anlat m gerçekle tiren bir anlat c vard r. Yazar anlat m daha etkileyici yapmak için anlat c vas tas yla tasvirler yapar. Metin içinde anlat c lar n bak aç s ve konumu tasvirlere okur kar s nda farkl bir de er kazand r r. Anlat c n n olaylara yak nl veya uzakl , anlat m n içinde ya da d nda olmas okurun metne bak n ve esere olan ilgisini ekillendirir. Okur, tasvirin kim taraf ndan yap ld n , kimin bak aç s ndan verildi ini dikkate al r. Bir kurmaca metin tasvirler aç s ndan da incelenirse daha iyi de erlendirme yapmak mümkün olacakt r. Tasvirlerin güvenilirli i metnin güvenilirli ini gösterir. Anlat c n n durumu ve konumu yazar okur yak nla mas nda önemli bir nokta olarak görülür. Hikâyelerini inceledi imiz Memduh evket Esendal, güvenilir tasvirler yapm , tasvirleri ço u zaman olay, ki i ve nesneleri daha iyi anlamak için tamamlay c unsur olarak kullanm t r.In literature works, there is a narrator who narrates the story in behalf of the author. The author use depictions via narrator in order to have a powerful style. The perspective of the narrators in the text makes the depictions more effective in the eyes of the reader. The narrator s being in or out; far or close to the story shapes the attraction and perspective of the reader. The reader takes the one who depict and whose perspective it is into consideration. When a fiction is looked through from the angle of depiction it is possible to have a more reliable evaluation. The reliability of depictions means the text s reliability. The position of the narrator is seen as a significant point in meeting of writer-reader. Memduh Sevket Esendal, whose works have been scrutinized through this work, used depictions as an auxiliary opponent in order to have a better understanding of characters and objects
Tar k Bu ra'n n hikaye dilinde ironi
No full textlî makalede hikayeci-okur ili kisinde devrede olan bir uygulamadan söz edilecektir. Yazar hikaye metnini kurarken okuru dikkate al r. lerleyen sayfalarda esere olan ilgiyi canl tutmak iyin «kuru sarsacak, a rtacak, güliimsetecek noktalan anlat ma katar. Bu yerlerde ilgi artar. Anlat larda ironik anlat m, yazarlar n s k s k kulland bir yöntemdir. Hikaye dilinde ironik anlat m, okur tepkisini çeken bir özellik ta r. Hikaye metni okurla bütünle ti i bu anlarda kal c l k kazan r ve dal a etkili olmaya ba lar. ronik dille okur muhayyilesinde gizli metnin nas l olu tu u ve zenginle ti i anla lm , Tar k fiu ra'n n hikaye dilinde de bu yöntemin önemli bir yer tuttu u görülmü tür. Onun bir hikayesinden hareketle, yöntemin kullan l ve dile katk s sunulmaya çal lacakt r.In this article, an up-to-date implementation in the narrator-reader relationship is to be mentioned. The author takes the reader into consideration when they settle the content. While writing further, they involve aspects which make the reader shocked, surprised and smiled. At these points, attention is drawn. Irony is a mostly used technique in In narrations, irony draws attention of the reader. The content gets to he into the readers and becomes more effective. In the work of Tarik Bugra it is seen that the images are settled and richened as a hidden content in the minds of the reader. Sampling one of the Works of Bugra, the use and contribution of the technique are to be presented
The technique of influx of consciousness and internal monologue in the story book "bu böyledir" (this is so) of Mustafa Kutlu
No full textEdebi eserlerde duygu ve dü ünceler farkl anlat m teknikleriyle okura ula t r l r. Her anlat m yöntemi sanatç ya de i ik ifade imkanlar sunar. Bilinç ak ve iç monolog tekni i ile yazar, söylemek istediklerini roman veya hikaye ki ileri vas tas yla ifade eder. Bu tekniklerle yap lan anlat mlarda, okuyucu arac s z bir ekilde olay ki ilerini izledi i için daha inand r c bir edebi metinle iç içe oldu unu dü ünür. Hikaye yazar , bu yöntemlerle okurun metin üzerinde dü ünmesini, ça r mlarla me gul olmas n , metni tamamlama sürecine dahil olmas n sa lar. Anlat c n n aradan çekildi i, anlat ma çok az müdahil oldu u bu anlat m tekniklerinde az sözle çok ey ifade etme hedefi vard r. Okuyucu, yazar n anlatmak istediklerini iirsel bir anlat m içinden alarak kavramaya çal r. Sembollerle imgelerle ve ça r mlarla zenginle tirilmi bir anlat m elde etmek için bu tür tekniklerin kullan ld anla l r. Bu makalede anlat m tekniklerinden bilinç ak ve iç monolog tekniklerinin anlat ma katt özellikler ve yazar n bu teknikleri seçme sebeplerinin neler olabilece i üzerinde durulmu tur.In literary works, feelings and thoughts are conveyed to readers in different techniques of expression, each of which provides an artist with the possibility of different statements. With the technique of stream of conscience and internal monologue, the author expresses whatever he or she wants to say through the characters in his/her book. In expressions with such a technique, the reader comes to think that he or she is faced with a more convincing literary work, because the reader follows the characters without an intermediary help. The story writer enables the reader to ponder about the text, be busy with associations as well as to get involved in the process of the completion of the text. Such techniques of expression in which the story-teller plays very little intermediary role in expression and leave the reader all by himself aim to express much with few words. The reader tries to comprehend whatever the writer wishes to say from within a poetical expression. It becomes clear that such techniques are used to produce an expression made rich with symbols, images and associations. This article deals with what characteristics are provided by such techniques as the stream of conscience and internal monologue, techniques of expression, for the expression as well as with the reasons why the writer has chosen these techniques
Diagnosis and Treatment of Polycythemia Vera in Pakistan; Barriers and Possible Solutions
Full text linkThis review aims to highlight the challenges encountered in managing Polycythemia Vera in resource-limited settings and to suggest a cost-effective strategy for timely diagnosis and treatment. Presentation to healthcare facilities at an advanced stage due to lack of awareness and limited access to medical care, delay in the diagnosis due to inadequate healthcare infrastructure, unavailability of molecular testing in the majority of centers, and suboptimal disease management, primarily due to lack of physician awareness and expertise in handling this condition are the key factors contributing to the higher rates of complications, including thrombotic events and disease progression, ultimately leading to poorer patient prognoses in Pakistani population. This review describes and evaluates a cost-effective diagnostic and treatment approach to Polycythemia Vera to reduce the morbidity and mortality of the disorder in Pakistan. A tailored investigation plan comprising of JAK2 mutation and serum erythropoietin levels and minimal cytoreductive therapy combined with phlebotomy and anti-platelet agent can be implemented to achieve optimal management of the disease in a resource-constrained country
Insular and inconsistent : India's Naz Foundation judgment in comparative perspective
Full text linkIn this short essay, my co-author, Nilesh Sinha, and I analyze the Indian Supreme Court's recent decision in Koushal v. Naz Foundation in comparative perspective. Naz Foundation upheld the constitutionality of Section 377 of the Indian Penal Code, which criminalizes "carnal intercourse against the order of nature." The Court arrived at this judgment despite strong evidence suggesting that this law has been misused by police to harass and intimidate members of the Indian LGBT community in violation of their rights to equality and privacy, among others. We aim to make two contributions to the academic literature and to in crease awareness of this recent development. First, we argue that the Court's dismissive attitude towards the use of comparative materials is both counterproductive and contrary to its past practice. The decision below in the Delhi High Court relied extensively on both international and comparative sources of law. However, the Supreme Court rejected this methodology, claiming that it was inappropriate to consider any non-Indian sources when determining the constitutionality of a law passed by the Indian Parliament. The Supreme Court also trumpeted the value of judicial restraint and respect for separation of powers. This retreat from comparative materials and the adoption of a more modest judicial role is not adequately explained and does not accord with the Court's past fundamental rights jurisprudence, which is famous (or notorious) for its creativity and interventionism on behalf of marginalized groups. The result is a haphazard and poorly reasoned judgment. Second, we compare the Naz Foundation judgment with same-sex rights cases from the United States and South Africa. This comparison reveals the Indian Supreme Court's lack of appreciation for the dignitary and discrimination-based harms that the LGBT community experiences as a result of laws like Section 377. It also shows how disengaged the Indian Supreme Court is from international developments in this area, as same-sex rights have rapidly gained greater recognition and protection. We argue that the Court's opinion would have benefitted substantially from comparative engagement. Ideally, this engagement would not entail mindless borrowing from international sources, but would use foreign cases dialogically as a means to better locate and understand the normative assumptions behind Indian Constitutional law
‘Impact of Consumer Self Concept and Consumer Life Style on Luxury Goods Purchases’: “A Case of Females in Karachi
Full text linkLuxuries are now being necessities for people day by day because people wants to be improve their life styles and by the utilization of luxury products they can fulfilled their self -concept by having a better social appreciation from society . The core reason of this research paper was to examined Impact of customer self concept and life style on luxury goods purchases a case of females of Karachi. In today's competitive world companies tried their best to make customer satisfied as customer satisfaction is very important because customer is the back bone of the organization. Companies knows that customer want quality, authenticity and a needs the history of a brand. The luxury brands are completely different offers and needed a very detailed approach to marketing and brand management. Quantitative research is used in this research paper and we have targeted females of Karachi who aged between 25-30 years. 200 is sample size of this research paper. The answers of the individuals were geted both electronically and manually. Frequency tables and pie charts were used to checked the result with the help of SPSS. On the basis of result it has been accomplished that there is a positive significant impact of self -concept and life style of customer on purchases of luxury goods Keywords: Luxury goods, Self concept, Life styl
Religion, Conflict and Peacemaking
Full text linkThis article explores the reluctance or unwillingness of modern society to cross the boundaries that have been fixed for religion and politics. Many contemporary civilizations keep religion apart from politics and from all forms of government. A more primordial way of thinking, however, claims that a fundamental relationship between religion and politics remains in effect even in societies where there is no close connection between them. The primordial approach considers ethnicity and religious belonging to be the determining characteristics of communities and individuals. The new awareness of religious plurality evident in the contemporary world has enabled various methods of interreligious dialogue to become instruments of peacemaking
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