The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through/To the Private Space*

Pelin Aytemiz

Research Article

The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through/To the Private Space*

Year 2018, Volume: 5 Issue: 1, 7 - 30, 05.06.2018

Pelin Aytemiz

Abstract

Inspired by the subaltern studies the purpose of this article is to
examine how the dichotomy of private/public in Metin Kaçan’s Ağır Roman1
Novel is reproduced on the axis of the visual language used by Mustafa
Altıoklar’s cinematic adaptation Cholera Street.2 The article is
interested in the peculiar choice of slang usage and reads this as an
invitation to blur the borders of private/public space that modern life
demands to keep separate. In this sense, Cholera Street can also be
regarded as a brilliant piece of social commentary, offering a vivid
peek into the life of the “other” trapped in the peripheral
neighborhood. This article unravels further how Cholera Street through
visual film grammar and various metaphors sends strong critical messages
about the silence of subalterns who often lack the means to speak for
themselves and how the violation of privacy turns out to be a
challenging act against the dominant order.

Keywords

Private/public space , privacy , slang , subaltern

References

1 Metin Kaçan, Ağır Roman (İstanbul: Metis, 1990). 2 Mustafa Altıoklar, (director) Ağır Roman - Cholera Street (1997) 3 Sıdıka Yılmaz, “Her İletişim Bir Mahremiyet İhlalidir ve her Mahremiyet İhlalinin bir Haber Değeri Vardır,” in Medya Mahrem: Medyada Mahremiyet Olgusu ve Transparan Bir Yaşamdan Parçalar, ed. Hüseyin Köse (İstanbul: Ayrıntı, 2011), 132. 4 Begüm Burak, “Turkish Political Culture and Civil Society: An Unsettling Coupling?”Alternatives Turkish Journal of International Relations 10 (1) (2011): 60-64. 5 Nurdan Gürbilek, Vitrinde Yaşamak-1980’lerin Kültürel İklimi (İstanbul: Metis, 1993), 18-19. 6 In order to prevent any confusion, I am using the original title “Ağır Roman” to indicate Metin Kaçan’s novel, and the films English title “Cholera Street” to refer to Altıoklar’s film. 7 Zeynep Altan, “Yeni Medyada Eşcinsel Mahremiyet ve Toplumsal Okunuşları: Türk Sineması Örneği,” in Medya Mahrem: Medyada Mahremiyet Olgusu ve Transparan Bir Yaşamdan Parçalar, ed. Hüseyin Köse (Istanbul: Ayrıntı, 2011), 226. 8 According to Burçak Evren, Turkish cinema goes into one of the greatest crises of its history after television, when the foreign companies gain the rights to establish companies and distribute in Turkey, due to the amendments made in the Foreign Capital Law. Giant American companies not only bring their newest films to Turkey at the same time as Europe but also blocks all the ways of national cinema by getting distribution and demonstration rights. In this sense, Ağır Roman is also important in attracting more audiences to the movie theaters than in American films to initiate a socio-economic change. Burçak Evren “Türk Sinema Tarihine Genel Bir Bakış,” in Temel Verileri ile Türk Sineması 1996-2000 (İstanbul: Cine Türk Web Sitesi Yayını, 2006), 19. In this sense, Ağır Roman has an important place also in revealing the change in the structure of the audience. 9 Yılmaz, “Her İletişim,” 139. 10 Access date: 30.09.2017, https://wikivisually.com/wiki/Metin_Kaçan. 11 Yıldız Ecevit, Türk Romanında Postmodernist Açılımlar, (İstanbul: İletişim, 2004). 12 Access date: 01.10. 2017, http://www.weloveist.com/20-best-books-set-istanbul, 01.10.2017. 13 Fuat Uğur, “Metin Kaçan’ın Son Röportajı” Aktüel, 2013. Access date: 01.10. 2017 http://www.aktuel.com.tr/kultur-sanat/2012/11/21/yasadigim-olaylarin-intikamini-yazarak-aliyorum. 14 Sample dialogues quoted from the film that uses the peculiar terminology and phrases of Kolera Street in its original language: “O bin tılsımlı anın çarşafından ağır ağır geçirirken hayatını, Bilemezdi üç tekerlekli bisikletin karanlığa takla atacağını.” “Ölümüne tav oldum kevaşeye”, “Alem göt olmuş”, “Ruhum calkanalıyor be”, “Ulan delikanlının en yakın arkadaşı tekerlek olur mu?”, “Leyn güzelleş be oğlum şimdilik ölümüne kadar ayaktasın”, “Manitalar gece güzelleşir”. “İmparatorlar cigaralarından babacasına çektikleri dumanı üflerken... ağır ablalar esrarı daha kallavi götürmek için zıvanalar hazırlamaktaydı.” “Ulan yine koftiden Taksim atıyorsunuz ha!”, “Ruh kemikten ayrıldığı vakit darbukacı Balık Ayhan üzerine örtü koyduğu darbukayı çaldıkça Kolerada yaşayan softaların tüyleri diken diken oldu”, “Zaman ki sana hasta olmuş, incelikli haytasın.” 15 Hulki Aktunç, Türkçenin Büyük Argo Sözlüğü (Tanıklarıyla) (İstanbul: YKY Yayınları, 2015). 16 Filiz Bingölçe, Kadın Argosu Sözlüğü (İstanbul: Metis, 2001) 17 Fuat, Metin. 18 Roland Barthes, Mythologies, trans. Annette Lavers, (New York: The Noonday Press, 1957), 152. 19 Osman Cemal Kaygılı, Çingeneler (İstanbul: Destek Yayınları, 2011). 20 Yağmur Coşkun, “A Wretched Heaviness, Metin Kaçan: The Case for Translation” Bosporus Review of Books. Access date: 25.10.2017, https://bosphorusreview.com/why-you-should-read-a-wretched-heaviness/ 21 Veysel Şahin, “Sosyolojik Açıdan Ağır Hayatın Ağır Roman’ı ve Metin Kaçan” Mecmua: Uluslararasaı Sosyal Bilimler Dergisi, 1(2), (2016), 15-18. 22 Özgür Taburoğlu, Nazar: Başkası Nasıl Görür? (Ankara: Doğu-Batı Yayınları, 2017) 264. 23 Michael Reinhard Hess regards Kaçan’s Ağır Roman and Fındık Sekiz novels as having lots of autobiographical details as the writer grew up in Dolapdere and even have a gang called Beyaz Eldiven in his youth. Michael Reinhard Hess “The Turkish Car Novel on a Trip: Fındık Sekiz by Metin Kaçan”, Wiener Zeitschrift für die Kunde des Morgenlandes (95) (2005), 88. 24 Coşkun, Wretched Heaviness. 25 Defined as having a Post-colonial, anti-imperialist, post-structuralist and critical tendency Subaltern Studies represented by historians such as Dipesh Chakrabarty, Gayatri Spivak, Samit Sarkar and Gyan Prakash, emerged in India between 1982-86 aiming to write the history of the silenced groups; the subalterns, is based on “the understanding of history from below.” Ludden, David “A Brief Study of Subalternity” Reading Subaltern Studies: Critical History, Contested Meaning and the Globalization of South Asia (2002). In Turkey, Subaltern Studies (Maduniyet Çalışmaları in Turkish) was initially recognized in Necmi Erdoğan’s research-which is later published as a book entitled Yoksulluk Halleri: Türkiye’de Kent Yoksulluğunun Toplumsal Görünümleri and conceptualized and translated to Turkish as “Poor Subalterns” (Yoksul Madunlar in Turkish). 26 Gayatri Spivak, Madun Konuşabilir mi? (İstanbul: Dipnot, 2016) 27 Hüseyin Köse, Gözdeki Kıymık: Yeni Türkiye Sinemasında Madun ve Maduniyet İmgeleri (İstanbul: Metis, 2016), 13-15. 28 Necmi Erdoğan, “Devleti ‘idare etmek’: Mâduniyet ve Düzenbazlık”, Toplum ve Bilim: Osmanlı: Müktedir ve Madunlar (83) (2000), 9-12. 29 The original tip of Gaftici Fethi is “Efendim, manita “seni seviyorum, evlenelim” ayakları yaparsa önce yüz mumluk ampule yarım metre mesafeden bakın sonra gözlerinizi ampulden ayırıp manitanın gözlerinin içine dikin. Eğer hâla cıvırın gözlerini görüyorsanız onunla hemen evlenin.” 28 < ilef dergisi 30 Habermas, Jürgen, Kamusallığın Yapısal Dönüşümü Çev. Tanıl Bora, Mithat Sancar (İstanbul: İletişim, 2000). 31 Cumhur Aslan, “Türkiye’de Özel Alanın İfşası ve Mağduriyet Halleri: ‘Deniz Baykal’ Örneği”, in Medya Mahrem: Medyada Mahremiyet Olgusu ve Transparan Bir Yaşamdan Parçalar, ed. Hüseyin Köse (İstanbul: Ayrıntı, 2011), 225-246. 32 Hannah Arendt, İnsanlık Durumu, trans. B.S Şener, (İstanbul: İletişim Yayınevi, 1994), 13. 33 Oskay, as cited in Sıdıka Yılmaz, “Her İletişim Bir”, 132. 34 Thomas Keenan, “Windows: Of Vulnerability” in The Phantom Public Sphere, ed. Bruce Robbins (Minneapolis: Minnesota University Press, 1993), 135 35 Nazmiye Kete, “Yoksulluk, Mahremiyet ve Ölüm İlişkisini Medya Üzerinden Okumak,” in Medya Mahrem: Medyada Mahremiyet Olgusu ve Transparan Bir Yaşamdan Parçalar, ed. Hüseyin Köse (İstanbul: Ayrıntı, 2011), 72. 36 Duygu Çayırcıoğlu “Sinemada Kamusal/Özel Alan Örneği: Demir Leydi,” Fe Dergi 6, 1 (2014), 69. 37 The original lines are: “Çok yorgunum, tüm gece abinle tepiştik!” 38 The idea of the public is also challenged via the interesting visual depiction of the Polish poet Adam Mickiewicz’s handless bronze statue. Pickpocketing and stealing is a way of living at Cholera. To apprehend the act as regular and mundane is also a way of commenting on the categories of ownership. Just like the space that is not fragmented in the world of Cholera, the exchange of the objects that are passing from the public to private or vise-versa, is only a matter of action. The niches, overhangs of streets are like the drawers of the characters. For example, Salih instead of using his own home for a cache hides some money and knife under a statue in a common square. When he needs them, finds them back in this hidden place. In another scene one sees Salih trying to cut the hand of the bronze statue of poet Adam Mickiewicz that is situated in the garden of the museum. Salih melts the hand of the statue and uses it to renovate an old American car. The meanings are transforming like the ideas attached to objects in Cholera Street. Mickiewicz is also a minority that has lived in Turkey. Although he is valued and given importance by the state (his home is turned into a museum) the powerful image of the statue that is missing hands is proposing a critical comment. The cut hand of the poet might be read as representing his inability to write anymore as a minority. 39 Benedict Anderson, Imagined Communities: Reflections on the Origins and Spread of Nationalism. (London: Verso, 1991). 40 Anderson, Imagined Communities 41 As cited in Serazer Pekerman. Film Dilinde Mahrem: Ulusötesi Sinemada Kadın ve Mekan Temsili. İstanbul: Metis (2012) (21) 42 Mary, Wollstonecraft, The Vindications: The Rights of Men and The Rights of Woman. Ed. D.L. Macdonald and Kathleen Scherf. (Toronto: Broadview Literary Texts, 1997). Pelin Aytemiz • The Wide Open Windows of Cholera Street: ... > 29 43 Aksu, Bora, “Kamusal Alan Sahiden ‘Kamusal’ mı?,” in Kamusal Alan, ed. Meral Özbek (İstanbul: Hil Yayın, 2004), 529. 44 Çayırcıoğlu, Sinemada Kamusal/Özel Alan, 69. 45 Bora, Kamusal Alan, 531. 46 Pekerman. Film Dilinde Mahrem, 21 47 Unlike heroines of Pekerman who reads the fictional woman character who leave their homes for independancy, Ceyda Kuloğlu’s striking research that focuses on the case of displaced Kurdish woman in Turkey, focus on real actors who can not leave home and their neighborhood for several reasons, which cab be defined as “neighborhood imprisonment” which is worth mentioning in this context. Ceyda Kuloğlu, “Coping Strategies of the Kurdish Women Towards Deprivation Situations After the Conflict-Induced Internal Displacement in Turkey,” International Journal of Business and Social Research, 3, no 5 (2013): 163. 48 Mikhail Bakhtin. Rabelais and His World. trans. Hélène Iswolsky. (Bloomington: Indiana University Press, 1984) 49 Bakhtin, Rabelais, 49. 50 Renate Lachmann; Raoul, Eshelman; Marc, Davis “Bakhtin and Carnival: Culture as Counter-Culture. Cultural Critique”, no 11 University of Minnesota Press (1989): 116. 51 Coşkun, Wretched Heaviness.

Mustafa Altıoklar’ın Ağır Roman’ı: Kolera’nın Sokağa Açılan Pencereleri ve Mahreme/Mahremden Sızan Işık ve Ses Üzerine

Year 2018, Volume: 5 Issue: 1, 7 - 30, 05.06.2018

Pelin Aytemiz

Abstract

Maduniyet çalışmalarından ilham alan bu yazı Metin Kaçan’ın Ağır Roman kitabındaki özel/kamusal alan ikiliğinin romanın Mustafa Altıoklar tarafından yönetilen sinematik uyarlamasında görsel dil kullanımı ile nasıl yeniden üretildiğini incelemektedir. Yoğun argo içeren dil kullanımına odaklanan yazı, bu dil seçimini modern yaşamın kamusal alandan ayrı tutmayı talep ettiği mahrem alanın sınırlarını bulanıklaştırmak için bir davet olarak okur. Bu anlamda, bir kenar mahallesinde sıkışıp kalan “ötekinin” yaşantısına kulak veren Ağır Roman filminin toplumsal bir eleştiri içerdiği söylenebilir. Bu yazı, Ağır Roman’ın film grameri ve kullandığı çeşitli metaforlarla çoğu zaman kendi adlarına konuşma imkanı bulamayan madunların sessizlikleri ve mahremiyet ihlallerinin egemen düzen karşısında nasıl meydan okuyan bir anlayış haline geldiği ile ilgili ortaya koyduğu eleştirel mesajları irdelemektedir.

Keywords

Özel/kamusal alan , mahremiyet , argo , madun

References

1 Metin Kaçan, Ağır Roman (İstanbul: Metis, 1990). 2 Mustafa Altıoklar, (director) Ağır Roman - Cholera Street (1997) 3 Sıdıka Yılmaz, “Her İletişim Bir Mahremiyet İhlalidir ve her Mahremiyet İhlalinin bir Haber Değeri Vardır,” in Medya Mahrem: Medyada Mahremiyet Olgusu ve Transparan Bir Yaşamdan Parçalar, ed. Hüseyin Köse (İstanbul: Ayrıntı, 2011), 132. 4 Begüm Burak, “Turkish Political Culture and Civil Society: An Unsettling Coupling?”Alternatives Turkish Journal of International Relations 10 (1) (2011): 60-64. 5 Nurdan Gürbilek, Vitrinde Yaşamak-1980’lerin Kültürel İklimi (İstanbul: Metis, 1993), 18-19. 6 In order to prevent any confusion, I am using the original title “Ağır Roman” to indicate Metin Kaçan’s novel, and the films English title “Cholera Street” to refer to Altıoklar’s film. 7 Zeynep Altan, “Yeni Medyada Eşcinsel Mahremiyet ve Toplumsal Okunuşları: Türk Sineması Örneği,” in Medya Mahrem: Medyada Mahremiyet Olgusu ve Transparan Bir Yaşamdan Parçalar, ed. Hüseyin Köse (Istanbul: Ayrıntı, 2011), 226. 8 According to Burçak Evren, Turkish cinema goes into one of the greatest crises of its history after television, when the foreign companies gain the rights to establish companies and distribute in Turkey, due to the amendments made in the Foreign Capital Law. Giant American companies not only bring their newest films to Turkey at the same time as Europe but also blocks all the ways of national cinema by getting distribution and demonstration rights. In this sense, Ağır Roman is also important in attracting more audiences to the movie theaters than in American films to initiate a socio-economic change. Burçak Evren “Türk Sinema Tarihine Genel Bir Bakış,” in Temel Verileri ile Türk Sineması 1996-2000 (İstanbul: Cine Türk Web Sitesi Yayını, 2006), 19. In this sense, Ağır Roman has an important place also in revealing the change in the structure of the audience. 9 Yılmaz, “Her İletişim,” 139. 10 Access date: 30.09.2017, https://wikivisually.com/wiki/Metin_Kaçan. 11 Yıldız Ecevit, Türk Romanında Postmodernist Açılımlar, (İstanbul: İletişim, 2004). 12 Access date: 01.10. 2017, http://www.weloveist.com/20-best-books-set-istanbul, 01.10.2017. 13 Fuat Uğur, “Metin Kaçan’ın Son Röportajı” Aktüel, 2013. Access date: 01.10. 2017 http://www.aktuel.com.tr/kultur-sanat/2012/11/21/yasadigim-olaylarin-intikamini-yazarak-aliyorum. 14 Sample dialogues quoted from the film that uses the peculiar terminology and phrases of Kolera Street in its original language: “O bin tılsımlı anın çarşafından ağır ağır geçirirken hayatını, Bilemezdi üç tekerlekli bisikletin karanlığa takla atacağını.” “Ölümüne tav oldum kevaşeye”, “Alem göt olmuş”, “Ruhum calkanalıyor be”, “Ulan delikanlının en yakın arkadaşı tekerlek olur mu?”, “Leyn güzelleş be oğlum şimdilik ölümüne kadar ayaktasın”, “Manitalar gece güzelleşir”. “İmparatorlar cigaralarından babacasına çektikleri dumanı üflerken... ağır ablalar esrarı daha kallavi götürmek için zıvanalar hazırlamaktaydı.” “Ulan yine koftiden Taksim atıyorsunuz ha!”, “Ruh kemikten ayrıldığı vakit darbukacı Balık Ayhan üzerine örtü koyduğu darbukayı çaldıkça Kolerada yaşayan softaların tüyleri diken diken oldu”, “Zaman ki sana hasta olmuş, incelikli haytasın.” 15 Hulki Aktunç, Türkçenin Büyük Argo Sözlüğü (Tanıklarıyla) (İstanbul: YKY Yayınları, 2015). 16 Filiz Bingölçe, Kadın Argosu Sözlüğü (İstanbul: Metis, 2001) 17 Fuat, Metin. 18 Roland Barthes, Mythologies, trans. Annette Lavers, (New York: The Noonday Press, 1957), 152. 19 Osman Cemal Kaygılı, Çingeneler (İstanbul: Destek Yayınları, 2011). 20 Yağmur Coşkun, “A Wretched Heaviness, Metin Kaçan: The Case for Translation” Bosporus Review of Books. Access date: 25.10.2017, https://bosphorusreview.com/why-you-should-read-a-wretched-heaviness/ 21 Veysel Şahin, “Sosyolojik Açıdan Ağır Hayatın Ağır Roman’ı ve Metin Kaçan” Mecmua: Uluslararasaı Sosyal Bilimler Dergisi, 1(2), (2016), 15-18. 22 Özgür Taburoğlu, Nazar: Başkası Nasıl Görür? (Ankara: Doğu-Batı Yayınları, 2017) 264. 23 Michael Reinhard Hess regards Kaçan’s Ağır Roman and Fındık Sekiz novels as having lots of autobiographical details as the writer grew up in Dolapdere and even have a gang called Beyaz Eldiven in his youth. Michael Reinhard Hess “The Turkish Car Novel on a Trip: Fındık Sekiz by Metin Kaçan”, Wiener Zeitschrift für die Kunde des Morgenlandes (95) (2005), 88. 24 Coşkun, Wretched Heaviness. 25 Defined as having a Post-colonial, anti-imperialist, post-structuralist and critical tendency Subaltern Studies represented by historians such as Dipesh Chakrabarty, Gayatri Spivak, Samit Sarkar and Gyan Prakash, emerged in India between 1982-86 aiming to write the history of the silenced groups; the subalterns, is based on “the understanding of history from below.” Ludden, David “A Brief Study of Subalternity” Reading Subaltern Studies: Critical History, Contested Meaning and the Globalization of South Asia (2002). In Turkey, Subaltern Studies (Maduniyet Çalışmaları in Turkish) was initially recognized in Necmi Erdoğan’s research-which is later published as a book entitled Yoksulluk Halleri: Türkiye’de Kent Yoksulluğunun Toplumsal Görünümleri and conceptualized and translated to Turkish as “Poor Subalterns” (Yoksul Madunlar in Turkish). 26 Gayatri Spivak, Madun Konuşabilir mi? (İstanbul: Dipnot, 2016) 27 Hüseyin Köse, Gözdeki Kıymık: Yeni Türkiye Sinemasında Madun ve Maduniyet İmgeleri (İstanbul: Metis, 2016), 13-15. 28 Necmi Erdoğan, “Devleti ‘idare etmek’: Mâduniyet ve Düzenbazlık”, Toplum ve Bilim: Osmanlı: Müktedir ve Madunlar (83) (2000), 9-12. 29 The original tip of Gaftici Fethi is “Efendim, manita “seni seviyorum, evlenelim” ayakları yaparsa önce yüz mumluk ampule yarım metre mesafeden bakın sonra gözlerinizi ampulden ayırıp manitanın gözlerinin içine dikin. Eğer hâla cıvırın gözlerini görüyorsanız onunla hemen evlenin.” 28 < ilef dergisi 30 Habermas, Jürgen, Kamusallığın Yapısal Dönüşümü Çev. Tanıl Bora, Mithat Sancar (İstanbul: İletişim, 2000). 31 Cumhur Aslan, “Türkiye’de Özel Alanın İfşası ve Mağduriyet Halleri: ‘Deniz Baykal’ Örneği”, in Medya Mahrem: Medyada Mahremiyet Olgusu ve Transparan Bir Yaşamdan Parçalar, ed. Hüseyin Köse (İstanbul: Ayrıntı, 2011), 225-246. 32 Hannah Arendt, İnsanlık Durumu, trans. B.S Şener, (İstanbul: İletişim Yayınevi, 1994), 13. 33 Oskay, as cited in Sıdıka Yılmaz, “Her İletişim Bir”, 132. 34 Thomas Keenan, “Windows: Of Vulnerability” in The Phantom Public Sphere, ed. Bruce Robbins (Minneapolis: Minnesota University Press, 1993), 135 35 Nazmiye Kete, “Yoksulluk, Mahremiyet ve Ölüm İlişkisini Medya Üzerinden Okumak,” in Medya Mahrem: Medyada Mahremiyet Olgusu ve Transparan Bir Yaşamdan Parçalar, ed. Hüseyin Köse (İstanbul: Ayrıntı, 2011), 72. 36 Duygu Çayırcıoğlu “Sinemada Kamusal/Özel Alan Örneği: Demir Leydi,” Fe Dergi 6, 1 (2014), 69. 37 The original lines are: “Çok yorgunum, tüm gece abinle tepiştik!” 38 The idea of the public is also challenged via the interesting visual depiction of the Polish poet Adam Mickiewicz’s handless bronze statue. Pickpocketing and stealing is a way of living at Cholera. To apprehend the act as regular and mundane is also a way of commenting on the categories of ownership. Just like the space that is not fragmented in the world of Cholera, the exchange of the objects that are passing from the public to private or vise-versa, is only a matter of action. The niches, overhangs of streets are like the drawers of the characters. For example, Salih instead of using his own home for a cache hides some money and knife under a statue in a common square. When he needs them, finds them back in this hidden place. In another scene one sees Salih trying to cut the hand of the bronze statue of poet Adam Mickiewicz that is situated in the garden of the museum. Salih melts the hand of the statue and uses it to renovate an old American car. The meanings are transforming like the ideas attached to objects in Cholera Street. Mickiewicz is also a minority that has lived in Turkey. Although he is valued and given importance by the state (his home is turned into a museum) the powerful image of the statue that is missing hands is proposing a critical comment. The cut hand of the poet might be read as representing his inability to write anymore as a minority. 39 Benedict Anderson, Imagined Communities: Reflections on the Origins and Spread of Nationalism. (London: Verso, 1991). 40 Anderson, Imagined Communities 41 As cited in Serazer Pekerman. Film Dilinde Mahrem: Ulusötesi Sinemada Kadın ve Mekan Temsili. İstanbul: Metis (2012) (21) 42 Mary, Wollstonecraft, The Vindications: The Rights of Men and The Rights of Woman. Ed. D.L. Macdonald and Kathleen Scherf. (Toronto: Broadview Literary Texts, 1997). Pelin Aytemiz • The Wide Open Windows of Cholera Street: ... > 29 43 Aksu, Bora, “Kamusal Alan Sahiden ‘Kamusal’ mı?,” in Kamusal Alan, ed. Meral Özbek (İstanbul: Hil Yayın, 2004), 529. 44 Çayırcıoğlu, Sinemada Kamusal/Özel Alan, 69. 45 Bora, Kamusal Alan, 531. 46 Pekerman. Film Dilinde Mahrem, 21 47 Unlike heroines of Pekerman who reads the fictional woman character who leave their homes for independancy, Ceyda Kuloğlu’s striking research that focuses on the case of displaced Kurdish woman in Turkey, focus on real actors who can not leave home and their neighborhood for several reasons, which cab be defined as “neighborhood imprisonment” which is worth mentioning in this context. Ceyda Kuloğlu, “Coping Strategies of the Kurdish Women Towards Deprivation Situations After the Conflict-Induced Internal Displacement in Turkey,” International Journal of Business and Social Research, 3, no 5 (2013): 163. 48 Mikhail Bakhtin. Rabelais and His World. trans. Hélène Iswolsky. (Bloomington: Indiana University Press, 1984) 49 Bakhtin, Rabelais, 49. 50 Renate Lachmann; Raoul, Eshelman; Marc, Davis “Bakhtin and Carnival: Culture as Counter-Culture. Cultural Critique”, no 11 University of Minnesota Press (1989): 116. 51 Coşkun, Wretched Heaviness.

There are 1 citations in total.

Details

Primary Language	English
Journal Section	Articles
Authors	Pelin Aytemiz
Publication Date	June 5, 2018
Published in Issue	Year 2018 Volume: 5 Issue: 1

Cite

APA	Aytemiz, P. (2018). The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through/To the Private Space*. Ankara Üniversitesi İlef Dergisi, 5(1), 7-30.
AMA	Aytemiz P. The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through/To the Private Space*. Ankara Üniversitesi İlef Dergisi. June 2018;5(1):7-30.
Chicago	Aytemiz, Pelin. “The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through To the Private Space*”. Ankara Üniversitesi İlef Dergisi 5, no. 1 (June 2018): 7-30.
EndNote	Aytemiz P (June 1, 2018) The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through/To the Private Space*. Ankara Üniversitesi İlef Dergisi 5 1 7–30.
IEEE	P. Aytemiz, “The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through/To the Private Space”, Ankara Üniversitesi İlef Dergisi*, vol. 5, no. 1, pp. 7–30, 2018.
ISNAD	Aytemiz, Pelin. “The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through To the Private Space”. Ankara Üniversitesi İlef Dergisi* 5/1 (June2018), 7-30.
JAMA	Aytemiz P. The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through/To the Private Space. Ankara Üniversitesi İlef Dergisi*. 2018;5:7–30.
MLA	Aytemiz, Pelin. “The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through To the Private Space*”. Ankara Üniversitesi İlef Dergisi, vol. 5, no. 1, 2018, pp. 7-30.
Vancouver	Aytemiz P. The Wide Open Windows of Cholera Street: On the Light and Sound Leaking Through/To the Private Space*. Ankara Üniversitesi İlef Dergisi. 2018;5(1):7-30.