Arzu Öztürkmen | Bogazici University (original) (raw)
Papers by Arzu Öztürkmen
Disguised Impact of the Distribution Processes in Turkish Television Domestic Strategies for the Global Dizi, 2023
The rise of dizis, Turkish drama series, and their circulation around the world has generated a g... more The rise of dizis, Turkish drama series, and their circulation around the world has generated a growing news media and academic interest in the history and structure of "Turkish content." A report issued by the Ministry of Development in 2018 stated that dizi export had reached around 400 million viewers in more than 140 countries, with a volume of 350 million dollars, ranking second following U.S. series (T.C. Kalkınma Bakanlığı 2018). During the 2010s, the foreign press covered this issue several times
"Turkish Content": The Historical Rise of the Dizi Genre, 2018
Sözde Masum Milliyetçilik der. Herkül Millas. İstanbul: Kitap Yayınları, 2010
Western Folklore, 2020
Folklore served Turkish nationalism in different ways. This essay explores five original texts of... more Folklore served Turkish nationalism in different ways. This essay explores five original texts of folklore written by Young Turk intellectuals, namely Ziya Gökalp, Yusuf Akçura, Fuat Köprülü, Rιza Tevfik and Selim Sιrrι Tarcan, between 1913-1929. It elaborates on the ways in which these Ottoman intellectuals approached this new discipline and discussed its use in the context of rising Turkish nationalism.
http://www.westernfolklore.org/WFCurrent.html
NEW PERSPECTIVES ON TURKEY, 2006
From a folkloristic point of view, memory is a repertoire, a potential knowledge that we store, o... more From a folkloristic point of view, memory is a repertoire, a potential knowledge that we store, only to perform when we choose. The selective process that defines what to tell is in folklore a function of the performance context. Why we choose to tell a particular story depends on who listens to it and how it is situated within the performative event. From an archeological-historical perspective, 1 however, what we choose to preserve in our landscapes, archives and museums reflects choices made through historical-political processes. Within this framework, for an ethnographer in search of memory, there is an ongoing dialogue between narratives on what people remember and the material cultural context in which these narratives are produced. 2 This essay is an attempt at writing an ethnography of memory in a small Black Sea town, Tirebolu/Tripoli, whose material culture and demographic structure radically changed since the 1900s through the effects of war, harsh climate, forces of modernization, and nationalism. To sum up very briefly, communities in Tirebolu-Muslims and non-Muslims alike-have been displaced at different times, temporarily or permanently since the First World War. Displacement has been experienced since the 1900s in two different ways: (1) The migration and exile of non-Muslim communities (escaping from military service in the late 1800s and from the local militia in early 1910s); and (2) the period often referred to as muhacirlik, the temporary refuge of
From a folkloristic point of view, memory is a repertoire, a potential knowledge that we store, o... more From a folkloristic point of view, memory is a repertoire, a potential knowledge that we store, only to perform when we choose. The selective process that defines what to tell is in folklore a function of the performance context. Why we choose to tell a particular story depends on who listens to it and how it is situated within the performative event. From an archeological-historical perspective, 1 however, what we choose to preserve in our landscapes, archives and museums reflects choices made through historical-political processes. Within this framework, for an ethnographer in search of memory, there is an ongoing dialogue between narratives on what people remember and the material cultural context in which these narratives are produced. 2 This essay is an attempt at writing an ethnography of memory in a small Black Sea town, Tirebolu/Tripoli, whose material culture and demographic structure radically changed since the 1900s through the effects of war, harsh climate, forces of modernization, and nationalism. To sum up very briefly, communities in Tirebolu-Muslims and non-Muslims alike-have been displaced at different times, temporarily or permanently since the First World War. Displacement has been experienced since the 1900s in two different ways:
Deconstructing Images of The Turkish Woman, 1998
Imaging Dance, Visual Representations of Dancers and Dancing, 2011
A Companion to Folklore, 2012
Encyclopaedia of Women and Islamic Cultures (EWIC), 2006
ness, fought wars, and imparted religious education to non-relatives.
Encyclopaedia of Women and Islamic Cultures (EWIC), 2006
Encyclopedia of Women's Folklore and Folklife, 2009
Since the 1980s, the second wave of the feminist movement in Turkey contributed a great deal to t... more Since the 1980s, the second wave of the feminist movement in Turkey contributed a great deal to the launching of important academic research on women’s history, established activist associations, and continued to be vocal and visible in different aspects of women’s issues. While academic research focused on a critical review of the women’s movement during the late Ottoman era (the nineteenth century) and early Republican decades (1923–1950), activism focused primarily on a feminist critique of civil law, women’s visibility in the political arena, socially traumatic issues like domestic violence and honor crimes, and on peace regarding the Kurdish issue. This article tries to conceptualize the turning points of this historical journey, which led us in new directions in Turkish women’s history and its changing paradigms.
Disguised Impact of the Distribution Processes in Turkish Television Domestic Strategies for the Global Dizi, 2023
The rise of dizis, Turkish drama series, and their circulation around the world has generated a g... more The rise of dizis, Turkish drama series, and their circulation around the world has generated a growing news media and academic interest in the history and structure of "Turkish content." A report issued by the Ministry of Development in 2018 stated that dizi export had reached around 400 million viewers in more than 140 countries, with a volume of 350 million dollars, ranking second following U.S. series (T.C. Kalkınma Bakanlığı 2018). During the 2010s, the foreign press covered this issue several times
"Turkish Content": The Historical Rise of the Dizi Genre, 2018
Sözde Masum Milliyetçilik der. Herkül Millas. İstanbul: Kitap Yayınları, 2010
Western Folklore, 2020
Folklore served Turkish nationalism in different ways. This essay explores five original texts of... more Folklore served Turkish nationalism in different ways. This essay explores five original texts of folklore written by Young Turk intellectuals, namely Ziya Gökalp, Yusuf Akçura, Fuat Köprülü, Rιza Tevfik and Selim Sιrrι Tarcan, between 1913-1929. It elaborates on the ways in which these Ottoman intellectuals approached this new discipline and discussed its use in the context of rising Turkish nationalism.
http://www.westernfolklore.org/WFCurrent.html
NEW PERSPECTIVES ON TURKEY, 2006
From a folkloristic point of view, memory is a repertoire, a potential knowledge that we store, o... more From a folkloristic point of view, memory is a repertoire, a potential knowledge that we store, only to perform when we choose. The selective process that defines what to tell is in folklore a function of the performance context. Why we choose to tell a particular story depends on who listens to it and how it is situated within the performative event. From an archeological-historical perspective, 1 however, what we choose to preserve in our landscapes, archives and museums reflects choices made through historical-political processes. Within this framework, for an ethnographer in search of memory, there is an ongoing dialogue between narratives on what people remember and the material cultural context in which these narratives are produced. 2 This essay is an attempt at writing an ethnography of memory in a small Black Sea town, Tirebolu/Tripoli, whose material culture and demographic structure radically changed since the 1900s through the effects of war, harsh climate, forces of modernization, and nationalism. To sum up very briefly, communities in Tirebolu-Muslims and non-Muslims alike-have been displaced at different times, temporarily or permanently since the First World War. Displacement has been experienced since the 1900s in two different ways: (1) The migration and exile of non-Muslim communities (escaping from military service in the late 1800s and from the local militia in early 1910s); and (2) the period often referred to as muhacirlik, the temporary refuge of
From a folkloristic point of view, memory is a repertoire, a potential knowledge that we store, o... more From a folkloristic point of view, memory is a repertoire, a potential knowledge that we store, only to perform when we choose. The selective process that defines what to tell is in folklore a function of the performance context. Why we choose to tell a particular story depends on who listens to it and how it is situated within the performative event. From an archeological-historical perspective, 1 however, what we choose to preserve in our landscapes, archives and museums reflects choices made through historical-political processes. Within this framework, for an ethnographer in search of memory, there is an ongoing dialogue between narratives on what people remember and the material cultural context in which these narratives are produced. 2 This essay is an attempt at writing an ethnography of memory in a small Black Sea town, Tirebolu/Tripoli, whose material culture and demographic structure radically changed since the 1900s through the effects of war, harsh climate, forces of modernization, and nationalism. To sum up very briefly, communities in Tirebolu-Muslims and non-Muslims alike-have been displaced at different times, temporarily or permanently since the First World War. Displacement has been experienced since the 1900s in two different ways:
Deconstructing Images of The Turkish Woman, 1998
Imaging Dance, Visual Representations of Dancers and Dancing, 2011
A Companion to Folklore, 2012
Encyclopaedia of Women and Islamic Cultures (EWIC), 2006
ness, fought wars, and imparted religious education to non-relatives.
Encyclopaedia of Women and Islamic Cultures (EWIC), 2006
Encyclopedia of Women's Folklore and Folklife, 2009
Since the 1980s, the second wave of the feminist movement in Turkey contributed a great deal to t... more Since the 1980s, the second wave of the feminist movement in Turkey contributed a great deal to the launching of important academic research on women’s history, established activist associations, and continued to be vocal and visible in different aspects of women’s issues. While academic research focused on a critical review of the women’s movement during the late Ottoman era (the nineteenth century) and early Republican decades (1923–1950), activism focused primarily on a feminist critique of civil law, women’s visibility in the political arena, socially traumatic issues like domestic violence and honor crimes, and on peace regarding the Kurdish issue. This article tries to conceptualize the turning points of this historical journey, which led us in new directions in Turkish women’s history and its changing paradigms.
The Delight of Turkish Dizi: Memory, Genre and Politics of Television in Turkey, Seagull Books-Distributed by the University of Chicago Press., 2022
Beykoz Kundura serves as a set for the television and film industry; numerous projects are shot a... more Beykoz Kundura serves as a set for the television and film industry; numerous projects are shot amid the historical ambiance of a former factory. • 1 3 See Sacit Akdede and Şansel Özpınar (2016); Himli Yazıcı (2016) and Kathryn Woodard (2007). Even tourism made its leap in the 1980s with state support; see Arzu Öztürkmen (2005). For the flourishing Istanbul night life in the 1990s onwards, see Mine Eder and Özlem Öz (2015). 4 From the 1990s onwards, Turkey entered, with the so-called handshake tradition, many markets in the Middle East and post-Soviet countries that Western business firms found too risky. With the rising global investments since the 1990s, 'business guides' gave tips to expats who came to work in Turkey.
Celebration, Entertainment and Theatre in the Ottoman World, 2014
Medieval and Early Modern Performance in the Eastern Mediterranean, 2014
Yapı Kredi Kültür Sanat Yayıncılık, 2021
Bir arşiv nasıl korunmalı? Kamuya ve araştırmacılara nasıl açılmalı? Bir arşivin tarih yazımına v... more Bir arşiv nasıl korunmalı? Kamuya ve araştırmacılara nasıl açılmalı? Bir arşivin tarih yazımına ve toplumsal belleğe etkileri nelerdir? “Kulis: Bir Tiyatro Belleği, Hagop Ayvaz” sergisinde izleyiciyle buluşan Hagop Ayvaz Arşivi'nden hareketle düzenlenen bu söyleşide Boğaziçi Üniversitesi Tarih Bölümü Öğretim Üyesi Prof.Dr. Arzu Öztürkmen'in moderatörlüğünde Bilkent Üniversitesi Tarih Bölümü Öğretim Üyesi Dr. Oktay Özel, SALT Araştırma ve Programlar Yardımcı Direktörü, tarihçi Dr. Lorans Tanatar Baruh ve Marmara Üniversitesi Bilgi ve Belge Yönetimi Bölümü Başkanı Prof. Dr. Tuba Çavdar Karatepe özel arşivlerin sunduğu imkânları, korunması ve erişime açılmasıyla ilgili sorunları tartışıyor.