Balkan coğrafyasında farklı milletlerle bir arada yaşayan Kuzey Makedonya Türkleri, bölgeye ilk yerleştikleri zamandan günümüze kadarki süreçte Türk kültürünün geleneksel ögelerini korumuşlardır. Kuzey Makedonya Türklerinin, geçmişte geleneksel Türk tiyatrosu gösterilerini yaşatmalarının yanında modern Türk tiyatrosunun özellikleriyle Türkçe tiyatro oyunları da sahneye koymuşlardır. Sahnelenen Türkçe oyunlara ek olarak yayımlanan oyunların sayısı da oldukça fazladır. Kuzey Makedonya’da Türkçe yayın organlarının başında gelen Sesler Aylık Toplum Sanat Dergisi içerisinde Türkçe tiyatro oyunları tespit edilmiştir. Araştırma kapsamında İlhami Emin, Süreyya Yusuf, Şerafettin Nebi, Hasan Mercan, Lütfü Seyfullah, Cemail Maksut, Nedim Hamit, İrfan Bellür, Sabit Yusuf, Recep Bilginer, Mustafa Balel, Hüseyin Süleyman ve Mustafa Karahasan adlı yazarların eserleri incelenmiştir. Adı zikredilen yazarlardan yalnızca Kuzey Makedonyalı Türk yazarlar tarafından yazılan oyunlara bakıldığında oyunların içerisinde var olan Türk halk edebiyatı unsurları ve Türk kültür ögelerinden dolayı Kuzey Makedonya Türk tiyatrosunun kültür aktarımı görevi üzerinde durulmuştur.
{"title":"Bir Kültür Aktarım Aracı Olarak Kuzey Makedonya Türk Tiyatrosu","authors":"S. Koca, Büşra Yılmaz","doi":"10.52613/ujhc.1493121","DOIUrl":"https://doi.org/10.52613/ujhc.1493121","url":null,"abstract":"Balkan coğrafyasında farklı milletlerle bir arada yaşayan Kuzey Makedonya Türkleri, bölgeye ilk yerleştikleri zamandan günümüze kadarki süreçte Türk kültürünün geleneksel ögelerini korumuşlardır. Kuzey Makedonya Türklerinin, geçmişte geleneksel Türk tiyatrosu gösterilerini yaşatmalarının yanında modern Türk tiyatrosunun özellikleriyle Türkçe tiyatro oyunları da sahneye koymuşlardır. Sahnelenen Türkçe oyunlara ek olarak yayımlanan oyunların sayısı da oldukça fazladır. Kuzey Makedonya’da Türkçe yayın organlarının başında gelen Sesler Aylık Toplum Sanat Dergisi içerisinde Türkçe tiyatro oyunları tespit edilmiştir. Araştırma kapsamında İlhami Emin, Süreyya Yusuf, Şerafettin Nebi, Hasan Mercan, Lütfü Seyfullah, Cemail Maksut, Nedim Hamit, İrfan Bellür, Sabit Yusuf, Recep Bilginer, Mustafa Balel, Hüseyin Süleyman ve Mustafa Karahasan adlı yazarların eserleri incelenmiştir. Adı zikredilen yazarlardan yalnızca Kuzey Makedonyalı Türk yazarlar tarafından yazılan oyunlara bakıldığında oyunların içerisinde var olan Türk halk edebiyatı unsurları ve Türk kültür ögelerinden dolayı Kuzey Makedonya Türk tiyatrosunun kültür aktarımı görevi üzerinde durulmuştur.","PeriodicalId":497739,"journal":{"name":"Universal journal of history and culture","volume":" June","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-07-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141823717","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Images in popular culture provide essential information about the socio-political situation and the self-realisation of gender roles in society. The transformation of women characters in Iranian films after the 1980s has occupied a certain space in scholarship, however everyday self-experiences in the streets and its relation to self realization and women figures are barely included into the analysis. Based on learning from experience, affect and performance theory, this paper focesses on two prominent female stars of Iranian cinema: Niki Karimi and Hediye Tehrani as image transformers in a period of cultural evolution and the smile of women that fades away from the streets. The analysis begins with a general examination of the interaction between politics and culture through the main currents in Iranian cinema. In this part, a periodization of the post-revolution era in Iran is presented through cultural products, especially Iranian films such as the religious era, the war and post-war era, the pastoral era, and the critical era. The last part compares two famous women's images, Niki Karimi and Hediye Tehrani, and shows how this periodization helps to understand the changes in women’s self realization and body politics in everyday life after the revolution.
{"title":"Women, Film and Politics in the Islamic Republic of Iran 1979-2005; A Perspective from Learning from Experience and Performance Theory","authors":"Özlem Sert, Sami Oguz","doi":"10.52613/ujhc.1390962","DOIUrl":"https://doi.org/10.52613/ujhc.1390962","url":null,"abstract":"Images in popular culture provide essential information about the socio-political situation and the self-realisation of gender roles in society. The transformation of women characters in Iranian films after the 1980s has occupied a certain space in scholarship, however everyday self-experiences in the streets and its relation to self realization and women figures are barely included into the analysis. Based on learning from experience, affect and performance theory, this paper focesses on two prominent female stars of Iranian cinema: Niki Karimi and Hediye Tehrani as image transformers in a period of cultural evolution and the smile of women that fades away from the streets. The analysis begins with a general examination of the interaction between politics and culture through the main currents in Iranian cinema. In this part, a periodization of the post-revolution era in Iran is presented through cultural products, especially Iranian films such as the religious era, the war and post-war era, the pastoral era, and the critical era. The last part compares two famous women's images, Niki Karimi and Hediye Tehrani, and shows how this periodization helps to understand the changes in women’s self realization and body politics in everyday life after the revolution.","PeriodicalId":497739,"journal":{"name":"Universal journal of history and culture","volume":"42 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141008195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, special emphasis has been laid on the role of mothers. Who had a lot of influence in politics, culture and society. When a royal woman fell ill, it had many meanings, like Akbar's mother pretended to be ill, after which Akbar went to meet his mother, after which Bairam Khan's reign came to an end. Similarly, whenever a Shah or Sultan fell ill, politics used to start. Like it happened during the times of Alauddin Khilji, Jahangir and Shah Jahan.Many types of drugs were also used during the Mughal period to prevent mother hood. In this way, Babar's wife Mubarika Begum could never become a mother because she was given drugs. When Babar's son Kamran fell ill, he feared that his stepmothers would be poisoned. In this way, the royal illness was sometimes real and sometimes feigned. For example, Malika i Jahan spread rumors about her son's illness and went to Delhi for treatment and overnight deposed Delhi's Sultan Alauddin Masood and her son. Prince Naseeruddin Mahmood was made the Sultan of Delhi.
{"title":"The Politics of Royal illness: Real & Feigned","authors":"Shah Alam","doi":"10.52613/ujhc.1445541","DOIUrl":"https://doi.org/10.52613/ujhc.1445541","url":null,"abstract":"In this article, special emphasis has been laid on the role of mothers. Who had a lot of influence in politics, culture and society. When a royal woman fell ill, it had many meanings, like Akbar's mother pretended to be ill, after which Akbar went to meet his mother, after which Bairam Khan's reign came to an end. Similarly, whenever a Shah or Sultan fell ill, politics used to start. Like it happened during the times of Alauddin Khilji, Jahangir and Shah Jahan.Many types of drugs were also used during the Mughal period to prevent mother hood. In this way, Babar's wife Mubarika Begum could never become a mother because she was given drugs. When Babar's son Kamran fell ill, he feared that his stepmothers would be poisoned. In this way, the royal illness was sometimes real and sometimes feigned. For example, Malika i Jahan spread rumors about her son's illness and went to Delhi for treatment and overnight deposed Delhi's Sultan Alauddin Masood and her son. Prince Naseeruddin Mahmood was made the Sultan of Delhi.","PeriodicalId":497739,"journal":{"name":"Universal journal of history and culture","volume":"10 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141022891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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