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    Rights statement: This is an Accepted Manuscript of an article published by Taylor & Francis in Third Text on 4/10/2019, available online: https://www.tandfonline.com/doi/full/10.1080/09528822.2019.1667622

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From Melling’s Harem to Eviner’s Harem: displacement as parrhesia

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From Melling’s Harem to Eviner’s Harem : displacement as parrhesia. / Diken, Bulent; Tuncer, Ezgi.

In: Third Text, Vol. 33, No. 6, 01.12.2019, p. 671-686.

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Diken, Bulent ; Tuncer, Ezgi. / From Melling’s Harem to Eviner’s Harem : displacement as parrhesia. In: Third Text. 2019 ; Vol. 33, No. 6. pp. 671-686.

Bibtex

@article{7e8f4832762e49c68e10350efe5fb9df,
title = "From Melling{\textquoteright}s Harem to Eviner{\textquoteright}s Harem: displacement as parrhesia",
abstract = "Antoine-Ignace Melling's engraving Inside the Harem of the Sultan (c 1810) depicts women's everyday life and their relationships, rituals and spatial practices in the Ottoman harem. Two centuries later, İnci Eviner, one of the leading contemporary artists internationally acclaimed for her solo and group exhibitions as well as for her contribution to numerous biennials, animates the same anonymous women in her video Harem (2009) by displacing the spatio-temporal nexus of Melling's work and exposes, in the manner of a visual parrhesia, the desires, the revolting gestures and the violence inherent in the harem. To discuss the nature of this displacement, we open with a few initial remarks on Melling's Harem. Then we focus on Eviner's Harem, elaborating on the forms of subjectivity and spatiality it evokes. In this discussion we pay special attention to the role of becoming, sacrifice, resurrection and the virtual in Eviner's work. The power relation specific to the harem, that of between the despot and the female slave, plays a pivotal role in this context. To end with, we turn to another significant work by Eviner, The Parliament, which, rather unexpectedly, relates the subjective and spatial nexus of the Oriental harem to Western politics.",
keywords = "B{\"u}lent Diken, Ezgi Tuncer, İnci Eviner, Antoine-Ignace Melling, Harem, parliament, Orientalism, becoming, resistance, resurrection, virtual, sacrifice, refugees",
author = "Bulent Diken and Ezgi Tuncer",
note = "This is an Accepted Manuscript of an article published by Taylor & Francis in Third Text on 4/10/2019, available online: https://www.tandfonline.com/doi/full/10.1080/09528822.2019.1667622",
year = "2019",
month = dec,
day = "1",
doi = "10.1080/09528822.2019.1667622",
language = "English",
volume = "33",
pages = "671--686",
journal = "Third Text",
issn = "0952-8822",
publisher = "Routledge",
number = "6",

}

RIS

TY - JOUR

T1 - From Melling’s Harem to Eviner’s Harem

T2 - displacement as parrhesia

AU - Diken, Bulent

AU - Tuncer, Ezgi

N1 - This is an Accepted Manuscript of an article published by Taylor & Francis in Third Text on 4/10/2019, available online: https://www.tandfonline.com/doi/full/10.1080/09528822.2019.1667622

PY - 2019/12/1

Y1 - 2019/12/1

N2 - Antoine-Ignace Melling's engraving Inside the Harem of the Sultan (c 1810) depicts women's everyday life and their relationships, rituals and spatial practices in the Ottoman harem. Two centuries later, İnci Eviner, one of the leading contemporary artists internationally acclaimed for her solo and group exhibitions as well as for her contribution to numerous biennials, animates the same anonymous women in her video Harem (2009) by displacing the spatio-temporal nexus of Melling's work and exposes, in the manner of a visual parrhesia, the desires, the revolting gestures and the violence inherent in the harem. To discuss the nature of this displacement, we open with a few initial remarks on Melling's Harem. Then we focus on Eviner's Harem, elaborating on the forms of subjectivity and spatiality it evokes. In this discussion we pay special attention to the role of becoming, sacrifice, resurrection and the virtual in Eviner's work. The power relation specific to the harem, that of between the despot and the female slave, plays a pivotal role in this context. To end with, we turn to another significant work by Eviner, The Parliament, which, rather unexpectedly, relates the subjective and spatial nexus of the Oriental harem to Western politics.

AB - Antoine-Ignace Melling's engraving Inside the Harem of the Sultan (c 1810) depicts women's everyday life and their relationships, rituals and spatial practices in the Ottoman harem. Two centuries later, İnci Eviner, one of the leading contemporary artists internationally acclaimed for her solo and group exhibitions as well as for her contribution to numerous biennials, animates the same anonymous women in her video Harem (2009) by displacing the spatio-temporal nexus of Melling's work and exposes, in the manner of a visual parrhesia, the desires, the revolting gestures and the violence inherent in the harem. To discuss the nature of this displacement, we open with a few initial remarks on Melling's Harem. Then we focus on Eviner's Harem, elaborating on the forms of subjectivity and spatiality it evokes. In this discussion we pay special attention to the role of becoming, sacrifice, resurrection and the virtual in Eviner's work. The power relation specific to the harem, that of between the despot and the female slave, plays a pivotal role in this context. To end with, we turn to another significant work by Eviner, The Parliament, which, rather unexpectedly, relates the subjective and spatial nexus of the Oriental harem to Western politics.

KW - Bülent Diken

KW - Ezgi Tuncer

KW - İnci Eviner

KW - Antoine-Ignace Melling

KW - Harem

KW - parliament

KW - Orientalism

KW - becoming

KW - resistance

KW - resurrection

KW - virtual

KW - sacrifice

KW - refugees

U2 - 10.1080/09528822.2019.1667622

DO - 10.1080/09528822.2019.1667622

M3 - Journal article

VL - 33

SP - 671

EP - 686

JO - Third Text

JF - Third Text

SN - 0952-8822

IS - 6

ER -