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Hicran leaves home after being forced into an engagement with Rıza, who later travels to Istanbul to find her as love, pride, freedom, and possession become intertwined.
The scene of Rose and Jack after the sinking recalls the composition, bodily struggle, and delayed rescue of The Raft of the Medusa.
An unnamed teacher sent to an isolated village in Hakkari confronts snow, deprivation, linguistic distance, and the limits of his own authority and knowledge.
Former guerrilla Iskandar returns from the Indonesian war of independence and confronts trauma, corruption, alienation, and the collapse of national ideals.
Play, performance, representation, repetition, self-forgetfulness, transformation into structure, total mediation, recognition, and contemporaneity define Gadamer’s ontology of the artwork.
Kant, Hegel, Heidegger, and Gadamer transform the relation among subject, history, world, tradition, language, interpretation, and the event of understanding.
Gadamer’s ontology distinguishes the picture from mirror image, copy, sign, and symbol, grounding representation in presence, truth, and an increase in being.
Şaban Teoman Duralı connected biology, philosophy, language, culture, morality, science, and civilisation through an integrated investigation of life and the human being.
Erol Güngör examined cultural change, nationalism, values, religion, modernisation, historical continuity, and the role of intellectuals through social psychology and social analysis.
Taner Timur examines Ottoman and Republican history through social structure, class, political institutions, ideology, identity, Marxism, modernisation, and the methodology of historiography.