Increasing numbers of women in Turkey are murdered by their relatives, spouses or significant others. The perpetrators plead provocation for their crimes, claiming their actions are provoked by women’s initial acts which they deem to violate societal norms. Pleading provocation enables more lenient sentences. This article investigates the interplay of the legal rules and societal norms on ‘proper’ female behaviour in femicide, based on data drawn from the Journal of Legal Proceedings, which publishes select rulings of the Court of Cassation (...) – the Highest Court in the Turkish legal system – from 2004 to 2018. This article argues that there is a collision between cultural, societal norms and legal rulings in criminal law, and displays linkages between legal processes and social norms which perpetuate patriarchal structures. Accordingly, the article proposes that legal rulings on femicide reflect societal norms and traditional expectations on women’s roles in Turkish society through employing provocation defence. Consequently, law becomes complicit in femicide through provocation, and provocation could be seen as the legal system’s concession to patriarchy. (shrink)

The early 20thcentury works of Kurdish Islamic thinker Said Nursî explore how cinema can provide access to the divine. Yet, considering the periods of Nursî’s life that were spent in prison, or in exile in remote locations, it is likely that the cinema he was discussing was, very specifically, the early silent cinema of attractions. Thus the distinctive format of this cinema can be uncovered in, and seen to structure, Nursî’s formulation of ‘God's cinema’. With this proposition in mind, this (...) article indicates something of the potential that an engagement with Nursî’s cinematic writing offers for reconsidering topics already much discussed in film-philosophy, such as that of time in the works of Gilles Deleuze. (shrink)

Din, hem toplumsal değişim hem de toplumsal çatışma ve uyum ile etki-leşimi açısından önemli bir toplumsal olgudur. Bu bağlamda tarihi süreçte din olgusunun çatışma olgusuyla da çatışma çözümü olgusuyla da sürekli etkileşim halinde olduğu görülmektedir. Birbirinden farklı niteliklerdeki toplumsal çatışmaların var olduğu günümüzde de bazı çatışma örneklerinde ve çatışma çözüm çabalarında din merkezi konumda yer almaktadır. Ayrıca 20. yüzyılda başlayan birden fazla toplumu ve toplumsal çevreyi olumsuz yönde etkileyen bazı önemli dirençli çatışmalar hala varlığını sürdürmektedir. Birden fazla faktörün etkili olduğu (...) bireyler, gruplar veya topluluklar arasındaki farklı özellikteki çatışmaları çözümleme çabaları farklı şekillerde sonuçlanmaktadır. Ancak doğru çatışma yönetimiyle çatışma süreci kontrol altında tutulabilirse, tarafları ve çatışmanın kendisini anlama yoluyla, çözüm sürecinde gerekli ve uygun yöntemlerin uygulanmasıyla birçok çatışmanın olumlu biçimde sonuç-landırılması mümkün gözükmektedir. Bu açıdan belirli çatışma ve çatışma çözüm örneklerinin yer aldığı bu makalenin konusu, çatışma çözümünün karakteristiğini belirlemeye ve din olgusu gibi önemli bir etkenin tesiriyle çatışma çözüm alanını değerlendirmeye yöneliktir. Bu makalenin amacı, son dönem ve güncel örneklerden hareketle çatışma çözümüne dinlerin yaklaşımlarını ve bu kapsamda İslam dininin çatışma çözümü çerçevesindeki pozisyonunu etkileşimsel olarak anlamaya çalışmaktır. (shrink)

En este texto partiremos de la conocida tensión cinematográfica entre la imagen y la narración, refiriendo a un caso concreto de cine mexicano tipológico costumbrista. Es un género que se distingue por una trama débil constituida por secuencias con un importante peso mostrativo o “descriptivo”, más que narrativo y el espectador se entretiene en el reconocimiento de los estereotipos, obteniendo un goce mimético de reconocimiento. Para abordar tal reconocimiento mimético distinguiremos entre los imaginarios literarios y los imaginarios fílmicos. Los imaginarios (...) literarios son esquemas faltos de concreción. Por el contrario, los imaginarios fílmicos no son lo absoluto una cuestión de la imaginación más o menos vaga, sino que dada su base fotográfica presentan girones de la realidad tal cual es en su apariencia. Este imaginario fílmico ya no consta de imágenes de la mera imaginación, al gusto del que se las imagina, sino que consta de fragmentos fotográficos de la apariencia real, por lo que esas imágenes de calidad fotográfica tienden a generan de inmediato aprobación o rechazo. Puede ser que se lea algo que no gusta y entonces tiende a dejarse de lado, pero es más difícil dejar de lado algo que, aunque no guste no se leyó sino se vio. Para analizar el género de narrativa débil tipologizante recurrimos a la teoría de D. Bordwell sobre la construcción de la historia combinándola con la teoría de R. Barthes acera de los núcleos, catálisis, informantes e indicios narrativos. (shrink)

En este texto discutiremos la tensión entre los nuevos medios y la narratología ocupándonos especialmente del caso del cine. Nuestra tesis será que los nuevos medios tienen que ver básicamente con la ilusión y solo derivadamente con la imaginación; por el contrario, el campo de la literatura tiene que ver solo con la imaginación y no con la ilusión. Si esto es así, algo debe estar mal con la pretensión de la narratología de ser el esquema teórico adecuado para entender (...) cualquier fenómeno cultural, especialmente el de losnuevos medios. Insistiremos, por ello, en la distinción entre ilusión e imaginación. De hecho, los teóricos literarios no lo consideran. Se suele decir que el cine es ficción, y de hecho la literatura es ficción, pero el cine es mucho más que la ficción, es una ilusión.Here we will discuss the tension between the new mass media and narratology and the case in study will be cinema. Our thesis would be that new mass media have to do basically with illusion and only derivatively with imagination; on the contrary, the field of literature has to do only with imagination, not with illusion at all. If it is so, something must be wrong with the pretence of narratology to be the adequate theoretical schema in order to understand every cultural phenomenon, especially in the case of new mass media. We have to insist on the distinction between illusion and imagination. In fact, literary theoreticians do mostly not consider it. It is usually said of cinema that it is fiction, and indeed literature is fiction, but cinema is much more than fiction, it is illusion. (shrink)

In this commentary, I argue that the theory presented by Sagvolden et al. can be much stronger if its scope is limited, if its developmental aspects are refined, if it can be made to generate testable predictions, and if it can be supported with more data from humans.

Arguing that he wants to achieve a better understanding of the philosophy of Emmanuel Levinas, C. Fred Alford in his article “Emmanuel Levinas and Iris Murdoch: Ethics as Exit?” compares Levinas’s ideas with those of Iris Murdoch and concludes that the major difference between the two philosophers consists in their attitude toward everyday reality. Alford claims that although both philosophers are concerned with one’s relation with the other person, Levinas is “never interested in the concrete reality of the other person, (...) whose fleshy reality can only get in the way of transcendence,” 1 whereas for Murdoch, he asserts, the goal is to escape the illusions of the self and see the world as it is, “filled with. (shrink)

While the Prophet's articulation of the message of tawhid resulted in the clustering of his followers around him, it also led to reactions from the majority of his interlocutors. At first, he was tried to be discouraged by not taking his message seriously or by humiliating him, and when it was seen that his followers increased over time, he was tried to be prevented by harsher methods. The polytheists claimed that the Prophet was a magician who spoke incantations from his (...) mouth, a liar who reported news he had learned from others as if it had been revealed to him, and a person who made statements contrary to the religion of ancestors because he had lost his sanity and needed to be treated. In this context, this article deals with the slander of the polytheists that the Prophet was a "majnun" and tries to understand what they meant by this claim. When the translations of the Qur'anic verses that remind us of the allegations of the polytheists are taken into consideration, it is seen that most of the translations give the word "majnun" the meaning of "madness". When we examine the meaning attributed to the expression by the Jahiliyyah Arabs, the word takes on a completely different meaning, and it is understood that the polytheists meant that the word revealed to the Prophet was taught to him not by Allah but by the jinn whom he had befriended. (shrink)