The Sung Home. Narrative, Morality, and the Kurdish Nation
Autor Wendelmoet Hamelinken Limba Engleză Paperback – 25 oct 2023
Preț: 306.88 lei
Nou
Puncte Express: 460
Preț estimativ în valută:
58.72€ • 62.01$ • 48.87£
58.72€ • 62.01$ • 48.87£
Carte nepublicată încă
Doresc să fiu notificat când acest titlu va fi disponibil:
Se trimite...
Preluare comenzi: 021 569.72.76
Specificații
ISBN-13: 9789004690288
ISBN-10: 900469028X
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
ISBN-10: 900469028X
Dimensiuni: 155 x 235 mm
Greutate: 0 kg
Editura: Brill
Colecția Brill
Notă biografică
Wendelmoet Hamelink, Ph.D. (2014) works at the Centre for Gender Research, University of Oslo. She is an associate editor of the international peer-reviewed Kurdish Studies Journal. As a cultural anthropologist and gender specialist, the main focus of her work has been on cultural politics, music and conflict, oral history, migration and displacement, gendered experiences of genocide, war and violence, women´s movements, minoritized groups in the nation-state, and visuality.
Recenzii
"...an excellent bridge between the Kurdish past and the current state of social reorganization, taking place amid the impact of modernity, artfully discerned from the songs, laments, and stories sung/narrated by the dengbêj. It captures some crucial historical, social, political, and cultural dynamics that have shaped the collective Kurdish experience." Ozan Aksoy in Bustan Vol. 8, No. 2 , 2017.
Cuprins
List of participating performers
List of songs discussed
List of figures, maps and tables
List of terms and abbreviations
Notes on language use and translation
Acknowledgements
Introduction
i.1 The Sung Home 2
i.2 Some notes on the dengbêj art 17
i.3 Folklore, nationalism, and (self-)Orientalism in Turkey 31
i.4 Narrative and morality 50
i.5 Engaged writing 56
i.6 Chapter outline 58
Part I Songs and Performance
Chapter 1. ‘My heart is on fire.’ Singing a Kurdish past.
Introduction 63
1.1The kilams and the corpus 69
1.2Time, place, and figures
1.3 Women and men 73
1.4 Elite and commoners 86
1.5 Armenians 90
1.6 Local leaders in battle songs 96
1.7 A Kurdish geography: place names and landscape marks108
1.8 Kurdish rebels and the Turkish state111
1.9 Evdalê Zeynikê: the dengbêj as a figure122
Conclusion126
Chapter 2. ‘It would disappear in a moment.’ Performing tradition.131
Introduction132
2.1 The empersonment of Kurdishness135
2.2 The Diyarbakır Dengbêj House and its dengbêjs138
2.3 Performing the village145
2.4 Tribes and battles154
2.5 Rebellions and tribes in performance159
Conclusion179
Part II Life stories 183
Chapter 3. ‘A language is a life, and art is a bracelet.’ A landscape of silence. 184
Introduction 185
Life story 1: Politicization of Kurdish language and culture 191
Life story 2: A female dengbêj 201
Life story 3: Landlords and support 214
Life story 4: Armenian voices 222
Life story 5: The religious class 236
Life story 6: Turkish experiences 245
Life story 7: The prohibition on musical instruments 251
Conclusion 262
Part III Conflict and Activism 266
Chapter 4. ‘Decorate your heart with the voice of the dengbêjs.’ Cultural activism. 267
Introduction 268
4.1 Kurdish television in Europe 278
4.2 Zana Güneş and TV activism 285
4.3 The Dengbêj House in Diyarbakır 291
4.4 Zeki Barış and activism in the House 298
4.5 Individual dengbêjs referring to political narratives 302
4.6 Istanbul, a market for dengbêjs 312
Conclusion 320
Chapter 5. Songs crossing borders: musical memories of a family on the run. 324
Introduction 325
5.1 Context and history 331
5.2 Experiencing borders 356
5.3 The embodied experience of singing songs 365
5.4 Resignifying cultural memory and redefining the position of women 367
Conclusion 377
Bibliography 396
General index
List of songs discussed
List of figures, maps and tables
List of terms and abbreviations
Notes on language use and translation
Acknowledgements
Introduction
i.1 The Sung Home 2
i.2 Some notes on the dengbêj art 17
i.3 Folklore, nationalism, and (self-)Orientalism in Turkey 31
i.4 Narrative and morality 50
i.5 Engaged writing 56
i.6 Chapter outline 58
Part I Songs and Performance
Chapter 1. ‘My heart is on fire.’ Singing a Kurdish past.
Introduction 63
1.1The kilams and the corpus 69
1.2Time, place, and figures
1.3 Women and men 73
1.4 Elite and commoners 86
1.5 Armenians 90
1.6 Local leaders in battle songs 96
1.7 A Kurdish geography: place names and landscape marks108
1.8 Kurdish rebels and the Turkish state111
1.9 Evdalê Zeynikê: the dengbêj as a figure122
Conclusion126
Chapter 2. ‘It would disappear in a moment.’ Performing tradition.131
Introduction132
2.1 The empersonment of Kurdishness135
2.2 The Diyarbakır Dengbêj House and its dengbêjs138
2.3 Performing the village145
2.4 Tribes and battles154
2.5 Rebellions and tribes in performance159
Conclusion179
Part II Life stories 183
Chapter 3. ‘A language is a life, and art is a bracelet.’ A landscape of silence. 184
Introduction 185
Life story 1: Politicization of Kurdish language and culture 191
Life story 2: A female dengbêj 201
Life story 3: Landlords and support 214
Life story 4: Armenian voices 222
Life story 5: The religious class 236
Life story 6: Turkish experiences 245
Life story 7: The prohibition on musical instruments 251
Conclusion 262
Part III Conflict and Activism 266
Chapter 4. ‘Decorate your heart with the voice of the dengbêjs.’ Cultural activism. 267
Introduction 268
4.1 Kurdish television in Europe 278
4.2 Zana Güneş and TV activism 285
4.3 The Dengbêj House in Diyarbakır 291
4.4 Zeki Barış and activism in the House 298
4.5 Individual dengbêjs referring to political narratives 302
4.6 Istanbul, a market for dengbêjs 312
Conclusion 320
Chapter 5. Songs crossing borders: musical memories of a family on the run. 324
Introduction 325
5.1 Context and history 331
5.2 Experiencing borders 356
5.3 The embodied experience of singing songs 365
5.4 Resignifying cultural memory and redefining the position of women 367
Conclusion 377
Bibliography 396
General index