Halkla İlişkiler ve Tanıtım Bölümü Koleksiyonu
Permanent URI for this collectionhttps://gcris.khas.edu.tr/handle/20.500.12469/61
Browse
Browsing Halkla İlişkiler ve Tanıtım Bölümü Koleksiyonu by WoS Q "Q3"
Now showing 1 - 2 of 2
- Results Per Page
- Sort Options
Article Citation Count: 3From Ayran to Dragon Fruit Smoothie: Populism, Polarization, and Social Engineering in Turkey(USC Annenberg Press, 2020) Karaosmanoğlu, DefneFood embedded with symbolic meaning has power in politics. Food as political communication is extensively studied as a nation branding and public diplomacy tool. However, academic studies seem to overlook the role that food plays in populism and political polarization. Pointing out a gap in the field, I explore the role of culinary culture in Turkish politics between 2013 and 2019 to demonstrate its polarizing effect and its role in social engineering. I argue that social engineering as part of constructing native/national culinary items, efforts to polarize people through an AKP-sanctioned culinary tradition, and the particulars of the palace menu, are at once contradictory and consistent. Despite government efforts to appeal to average people and to polarize the public both by replacing alcohol with native/national and familiar ayran and grape juice, and by distributing asure to the people, branded with the symbol of the presidency, the palace kitchen has also invoked the neo-Ottoman exotic by serving dragon fruit smoothie and chia seeds.Article Citation Count: 16KURDISH CINEMA AS A TRANSNATIONAL DISCOURSE GENRE: CINEMATIC VISIBILITY, CULTURAL RESILIENCE, AND POLITICAL AGENCY(Cambrıdge Univ Press, 2014) Koçer Çamurdan, SuncemWithin the last few years, "Kurdish cinema" has emerged as a unique discursive subject in Turkey. Subsequent to and in line with efforts to unify Kurdish cultural production in diaspora, Kurdish intellectuals have endeavored to define and frame the substance of Kurdish cinema as an orienting framework for the production and reception of films by and about Kurds. In this article, my argument is threefold. First, Kurdish cinema has emerged as a national cinema in transnational space. Second, like all media texts, Kurdish films are nationalized in discourse. Third, the communicative strategies used to nationalize Kurdish cinema must be viewed both in the context of the historical forces of Turkish nationalism and against a backdrop of contemporary politics in Turkey, specifically the Turkish government's discourses and policies related to the Kurds. The empirical data for this article derive from ethnographic research in Turkey and Europe conducted between 2009 and 2012.
