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Language Teaching Conference by School of Languages

School of Languages welcomes participants on May 30th & 31st to a language teaching conference which will take place at Minerva Palas. Learner Autonomy along with Teacher Autonomy will be discussed in the conference under the theme “Learners & Teachers on the Road to Autonomy”. The conference will host delegates from a wide variety of countries. 

Three internationally acclaimed researchers and practitioners in the field of learner autonomy will address the vital issues of Learner & Teacher Autonomy in their plenary talks at the conference organized by Sabanci University School of Languages and IATEFL LASIG.

For more detail: http://lasig2014.sabanciuniv.edu/  

The new issue of the new SUdergi is out!

The May 2014 issue of SUdergi, the popular culture journal of Sabancı University, is out.  The 17th issue of SUdergi has a variety of interesting topics to appeal to all readers.

The cover story of SUdergi is an interview by Elif Gülez with Faculty of Arts and Social Sciences professor Ersin Kalaycıoğlu on Conservatism, Democracy, Gezi Park Protests and Civil Society.

SUdergi is now available online and mobile!



Starting with the May 2014 issue, SUdergi will now be available online in Turkish and English.

The full selection of exclusive SUdergi articles and stories are now available on the web and on all mobile devices through issuu.com – one of the world’s largest online journal newsstands with more than 15.000 journals.

Click here to read the new SUdergi.

9th Sakıp Sabancı International Research Awards given

Sakıp Sabancı International Research Awards were given for Gender Equality in Turkey

Sabancı University Board of Trustees Chair Güler Sabancı:

“Gender equality is an important indicator of the level of development in a country.”


“According to World Economic Forum's Global Gender Gap Report in 2013, Turkey ranked 120th among 136 countries.  Only 30% of women in Turkey participate in the workforce compared to 76% of men.  This shows how great the gender gap in Turkey is.”

Established by Sabancı University, the 9th “Sakıp Sabancı International Research Awards” were presented at a ceremony hosted by Board of Trustees Chair Güler Sabancı and President A. Nihat Berker at the Sabancı University Sakıp Sabancı Museum the Seed.  

After the introductory remarks of Sabancı University Board of Trustees Chair Güler Sabancı, Jury Panel Chair Professor Sibel Irzık from the Sabancı University Gender and Women’s Studies Forum explained the reasoning for the Jury Prize, followed by Professor Fuat Keyman, Director of the Sabancı University Istanbul Policy Center, explaining the reasoning for the Essay Awards presented to young researchers.

Given by Sabancı University in fields including Turkish and Islamic art, and the history, economy and sociology of Turkey, the Sakıp Sabancı International Research Awards were given in “Gender Equality in Turkey” this year.  The theme was chosen because despite significant efforts and progress toward reducing the gender gap in its economic, political and social life, Turkey has fallen short of realizing the goal of gender equality by most standards.
The Jury Prize was given to Professor Deniz Kandiyoti of the University of London.  Deniz Kandiyoti was chosen for the prize for her publications on internationally recognized platforms and comparative studies regarding the situation in Turkey.

The recipients of the three equally-weighted Essay Awards were:

• “Beyond Numbers: Rethinking the Education and Empowerment of Girls in Turkey” by Akanksha Misra (University of Washington), 

• “Properties of Modern Women and the Negotiation of Gender Norms within Space” by Emine Gökçen Yüksel (Universität der Bundeswehr Munich), Stephan Stetter (Universität der Bundeswehr Munich) and Jochen Walter (Universität Bielefeld) 

• “Questioning Calculations of Justice: Criminal Law, Hate Crimes and Queer Approaches” by Aslı Zengin (University of Toronto). 

Deniz Kandiyoti received her award from Sabancı University Board of Trustees Chair Güler Sabancı and President Nihat Berker.  Essay Award winners received their prizes from the late Sakıp Sabancı’s daughter and Sabancı University Board of Trustees Member Sevil Sabancı.

“In the current state of affairs, I believe it is imperative that we view gender equality outside of traditional norms, and utilize a scientific approach to the subject.”

Güler Sabancı said, “In the current state of affairs, I believe it is imperative that we view gender equality outside of traditional norms, and utilize a scientific approach to the subject.  Improvements in the legal system are being made on the one hand.  There are declarations of universal values of equality and objectives established to this purpose.  Yet, we have to make more effort in order to ensure that this issue is appreciated in our daily lives.”

“Gender equality is an important indicator of the level of development in a country”

Güler Sabancı said, “Gender equality is an important indicator of the level of development in a country.  According to World Economic Forum's Global Gender Gap Report in 2013, Turkey ranked 120th among 136 countries.  Only 30% of women in Turkey participate in the workforce compared to 76% of men,” and emphasized how great the gender gap in Turkey was as shown by these figures. 

“Gender equality is an issue that the entire society must embrace.”

Arguing that women’s education opportunities must be improved and economic positions must be strengthened to change the current outlook, Güler Sabancı said “We must ensure the active participation of women in politics and prevent violence towards women.  We need to understand each other more in gender equality studies, and work towards a common goal.  Gender equality is an issue that the entire society must embrace.  As Sabancı University, this was what we had in mind when choosing the theme for the 2014 Sakıp Sabancı Research Awards.  We wanted to encourage young researchers in particular to work for gender equality in Turkey.”

Güler Sabancı concluded her speech by thanking esteemed academics who have led the society onwards with their lifelong efforts, young academics making submissions to the awards, and the members of the international jury headed by Sabancı University faculty member Sibel Irzık. 

“The patriarchal is a crumbling structure that has difficulties in re-producing itself.”

Deniz Kandiyoti, this year’s winner of the Jury Prize, said that at one point in history, slave trade was widespread and scientific theories, religious and creationist rationale were used to legitimize this practice.  Kandiyoti remarked that people were still being traded today, although most of them were women and children, and similar scientific, religious and creationist arguments were still being used to make the issue seem legitimate.  Saying that she viewed gender issues like a puzzle that needs solving, Kandiyoti argued that under the 21st century conditions, the patriarchal is a crumbling structure that has difficulties in re-producing itself.  Deniz Kandiyoti concluded, “The patriarchal is being resurrected as an administrative science.  But the new generation rises up against subservience and obedience.  The new generation will lead us to emancipation.”

This year’s jury consisted of Sibel Irzık (Sabancı University – Gender and Women’s Studies Forum), Ayşe Kadıoğlu (Sabancı University), Fuat Keyman (Sabancı University – Istanbul Policy Center), Cemal Kafadar (Harvard University) and Isabelle de Courtivron (Massachusetts Intitute of Technology). 

About Deniz Kandiyoti

Born in Istanbul, Turkey, Kandiyoti received a Bachelor of Arts from University of Paris in 1966 and a Master of Science in Social Psychology from the London School of Economics before receiving her PhD there as well.  Kandiyoti’s academic life has been based in theoretical as well as field-based studies.  From 1969 until 1980, Kandiyoti worked at Istanbul Technical University and Boğaziçi University in Turkey, but then moved to England to teach at Richmond College in Surrey, England. Kandiyoti was a fellow at University of Manchester and the University of Sussex from 1987-1988. In 1988, she coined the term patriarchal bargain, describing a tactic in which a woman chooses to accommodate and accept gender roles that disadvantage women overall but maximize her individual power and options. From 2000-2005, Kandiyoti was part of a research effort sponsored by United Nations Research Institute For Social Development (UNRISD). She is also the editor of the journal Central Asian Survey, “the only established peer reviewed, multi-disciplinary journal in the world concerned with the history, politics, cultures, religions and economies of the Central Asian and Caucasian regions.” 

CAP Awards Given

The CAP (Company Action Projects) Awards were given as part of the School of Management’s MBA program CAP scheme.


YThe Best CAP Award and Best CAP Report Award were given to Team Pfizer and members Dilek Uygungelen, Igor Petrusca and Kadir Bilir, and the Best CAP Presentation Award was given to Team GE and members Banu Özak, Duygu Sanaç and Emir Sunay.

The CAP Competition Jury consisted of Vodafone Talent Development Director Bülent Bayram, Sabancı Holding Board of Directors Member and Strategy and Business Development Director Gökhan Eyigün, Zorlu Holding Strategy and Business Development Director Ali Yalçın and Sabancı University Professional Programs Director Yusuf Soner.

Four teams competed in the competition.  Team Coca-Cola İçecek focused on the audit of international equipment suppliers in the operations project.  Team Deloitte and the finance project dealt with researching different industries, understanding the finance dynamics of companies, and the potential increase of Turkey’s GDP.  Team GE worked on more effective and efficient B2B company launches in its marketing project.  Finally, Team Pfizer and their marketing project focused on management before, during and after promotion, and communicating more effective messages that touch the consumer.

Jack Halberstam presented the “Gaga Manifesto”

Sabancı University Gender and Women’s Studies Forum, in association with the Faculty of Arts and Social Sciences and Gender Club, hosted a lecture by Jack Halberstam, a leader in queer theory.  Jack Halberstam spoke on his book Gaga Feminism: Sex, Gender, and the End of Normal on Wednesday, May 21, 2014 at the Karaköy Minerva Palas.

Jack Halberstam discussed the following: While capitalism changes route and focus to reconsolidate exploitation and prevalence, feminism and other forms of critical thought transform, evolve and change paths as well.  During this process, the critical responses developed against capitalism throughout the 20th century (anti-exploitation, anarchism, socialism, the multitude movement, ‘undercommon’s, punk, critical racial theory, critical ethnical studies et al.) transform themselves from identity claims based on the history of oppression and exploitation to new concepts of solidarity, commonality and political purpose. Halberstam also spoke on the transformation of feminism through interaction with new models of activism.


After discussing the necessity of feminism and the queer theory, Jack Halberstam presented his own manifesto.  Arguing that the pharmaceutical industry and global capitalism reposition the body-pleasure relationship, Halberstam said that pharmaceuticals and medical procedures evolve the human body towards an alternative reality.  Halberstam called for the need to create a new language instead of dividing into small identities and subgroups, saying “As people who desire change and transformation, we must change the discourse that ‘capitalism has already been there.’  Capitalism itself is chaos; poverty itself is chaos; anarchism is solidarity.  Capitalism will find new ways to nurture the wealthy,” and explained why he focused on capitalism with the argument that capitalism is a phenomenon leading to confusion and pessimism.

Jack Halberstam said “Think wild; do not constrain yourself to any one discipline, and look as if you are seeing the world for the first time.  We must reimagine politics.”  Explaining that anarchists become involved in politics not to reach an objective but to be together, Halberstam called for a new politics that is based not on identity politics, but on a new imagining of solidarity.

Jack Halberstam explained that he uses Lady Gaga as the symbol of a new kind of sensibility, and said that the argument in Gaga Feminism is the need for a new gender regime.  Discussing the shift in gender regime, Jack Halberstam said new technologies may relieve women from the responsibility of giving birth.

Halberstam said that his purpose in including the wild in the queer theory is to consolidate theories that are in disarray, and argued that queer activism was in one way or another influenced by the protests of the past, bringing the two together.

Jack Halberstam made comments on the works of artists of various disciplines, saying “Participatory art includes not just the artists, but everyone who happens to chance upon the work.  A new meaning arises when the message is not fully delivered.”

Halberstam was in Ankara on Sunday, May 18 as an invited guest of Kaos GL for the “Anti-Homophobic and Transphobic Summit.”

About Jack Halberstam 

Jack Halberstam is Professor of English and Director of The Center for Feminist Research at University of Southern California (USC). Halberstam's writing focuses on the topic of tomboys and female masculinity and has published a book titled after the concept of female masculinity. His works include Skin Shows: Gothic Horror and the Technology of Monsters, Duke UP 1995; Female Masculinity, Duke UP 1998; In A Queer Time and Place, NYU Press 2005; and Gaga Feminism: Sex, Gender, and the End of Normal, Beacon Press 2012.

Murat Germen publishes his monograph

Sabancı University faculty member and photography artist Murat Germen published his monograph.  Murathan Mungan contributed a review piece to Murat Germen’s book.


Written through Germen’s artistic perspective, the book discusses some of the most caustic issues in the last decade of Turkey, including “damaging” gentrification, industrial growth led by economic development, social engineering, connections between art and capital, road constructions that don’t help public transport and lead to further traffic issues, and the Gezi Resistance as the most significant social movement in Turkish history.  Murathan Mungan contributed a review to Murat Germen’s book. 

Murathan Mungan: “Regardless of their field and creative discipline, I have always been most intrigued by artists that have an ‘issue’.  I believe that only those with an issue can have an adventure.  Considering the works of Murat Germen,  a combination of mastery and artistry, you can see that he is a photographer with an issue above all.”

“…Murat Germen’s eye has a ‘cinemascope’ sensibility.  As far as I can see and understand, Germen photographs every object, every situation, every appearance with a scrutiny that is in close observation of the worldwide network of global photography.  His works apparently require significant preparation and an intense, meticulous labor.

I must also add that looking at Murat Germen’s photographs gives one pleasure.”

Regarded one of the most important Turkish representatives of contemporary photographic art, Sabancı University Faculty of Arts and Social Sciences member Murat Germen published a monographic volume of his work.  The body of the book is composed of unique interpretations by Germen in different experimentations, and has eight chapters on the “New Turkey” from the 2000s to the present day. 

The book also includes opinion pieces by Murathan Mungan and Necmi Sönmez, an interview with the artist by Photographische Sammlung Köln’s curator Barbara Hoffmann Johnson, and notes by Germen. 

It is not a coincidence that Murat Germen’s objective is always focused on the “present time” of Turkey.  Regardless of the subject and how different the perspective and technique are, the artist has an initially obscure, documentary approach due to his unpredictable view of the cultural, economic and social landscape shaped by the New Turkey.  Documentary isn’t necessarily confined to a well-worn, highly-orthodox method of documenting with prescriptive limitations and perceptions, but stands at an angle that knows how to view issues from a perspective of causality.  The meticulously chosen subjects of Germen are the products of a personalized perspective.

The argument in Murat Germen’s book is the unique interpretation that the artist achieves when making the dynamics of social change manifest, based on metaphors and with a clarity that makes literature redundant.  The interpretation is humanist above all, and brings out the various layers of Turkey without criticism, inquisition or comparison; therefore taking the labor, sacrifice and creation of the human being to the forefront rather than its portrait.  The appearance of the urban sphere, areas of production, and nature as shaped by mankind as a leitmotif in Murat Germen’s photography can be considered the internalization of the New Turkey.  Oftentimes, Germen takes this beyond the possibilities of photographic technique and interprets this at a level of contemporary art production.  Having formed his personal perspective through a difficult and interdisciplinary process, Murat Germen has a particularly striking artistic disposition.  Written through Germen’s artistic perspective, the book discusses some of the most caustic issues in the last decade of Turkey, including “damaging” gentrification, industrial growth led by economic development, social engineering, connections between art and capital, road constructions that don’t help public transport and lead to further traffic issues, and the Gezi Resistance as the most significant social movement in Turkish history.

Middle Classes: The New Marketing Favorites

Founded by Sabancı University and the Advertising Foundation, the Brand Practices Platform continues to have discussions on the important aspects of marketing.

On Monday, May 5, 2014, the “Middle Classes: The New Marketing Favorites” lecture was held at the Sabancı University Sakıp Sabancı Museum.

The lecture was given by Istanbul Şehir University Business School Associate Professor Özlem Sandıkcı.  Sandıkcı began by emphasizing the importance of understanding the middle class for growth and sustainable economy.  Sandıkcı said that apart from figures, there was little information regarding the middle class, and the neo-liberal transformation created a new class.  Sandıkcı said that the three main socio-ideological sensitivities defining this class were project individuals, average individualism and suspect cosmopolitan, and that these sensitivities shaped consumption habits.  Özlem Sandıkcı argued that socio-ideological sensitivities gave rise to a new mode of consumption that may be called formulated creativity.

The panel discussion following the lecture was moderated by Sabancı University Executive Development Unit Director Dr. Cüneyt Evirgen.  Speakers were Oya Canbaş from Procter & Gamble; Vural Çakır from IPSOS; and Tülay İdil from Boyner Holding. Participants spoke about the initiatives of their respective companies for the middle class.  Panelist Vural Çakır underscored the middle class lack of confidence, while Cüneyt Evirgen mentioned the difficulty of becoming a global brand without becoming a brand in one’s own industry.

“I want to be a DJ when I grow up”

Wednesday Talks with Nesrin Balkan

Ayşe Kadıoğlu: Music is where I go beyond myself a little.  You know how reason contradicts love; reason is all about weighing and measuring…  It is more coolheaded, whereas love is all about losing yourself, it is free of bounds.  Music is love for me. 

I love listening to rock by women.  Heart is a great band, for instance.  I go back to it every now and then.  I like Joan Jett, Janis Joplin, and from the distant past, Suzi Quatro.  I love Paula Cole’s music too.


Thinking about motherhood and music, I realized something: when you are young, you want people to love you; you feel as if that’s the most important thing.  But then I realized –maybe I as maturity kicked in– that being loved is great and all, but what really matters is to love. 

You are a mother, a professor and a political scientist.  How does being a DJ factor in?

That’s what I want to be when I grow up.  I want to be a DJ. 

 And I wanted to be a singer.

I played a few times and it was as if I awoke a monster from its slumber.  I played on Açık Radyo.  It was great fun, I loved it.  In fact, I started dreaming about doing a radio program.  I prepared extensively beforehand of course; I said a few thing between tracks.  I started off with rock by women, then it was jazz, blues, chansons, all sung by women.  There’s a Nancy Sinatra song that goes “These boots are made for walking, that’s just what they’ll do, one of these days these boots are gonna walk all over you.”  That will be my signal music.  In fact, there is a part in the song that says, “Are you ready boots? Start walking” – maybe that’s how it should start.  The show could be called Women’s Boots.  I’d really like to do a show like that when I have the time.  The short lectures between tracks had a feminist discourse to them; in fact I did a show on March 8th.  I had started that show by saying “March 8th isn’t an oh so sweet day that you give flowers to women and celebrate together, don’t confuse it with Valentine’s Day.  March 8th is a political day.”  The slogan was “private is political.”  I have a large number of CDs that keep growing as I buy more.  I had some of them transferred to my computer.  I have lots of music from the past, that is, my youth.  Recently I’m obsessed with Nina Simone and I keep listening to her over and over again, enjoying every time.

I read about Nina Simone’s life, and that was an interesting occasion.  I recently took up the habit of reading in bookstores.  I read Nina Simone’s life in a bookstore too. 

It makes sense to skim over a book in a bookstore but reading it through as if you were in a library was strange indeed.

That was during my sabbatical in Oxford.  You get a little lonely, that’s how sabbaticals are.  You have people that you work with during the week, but on the weekend I didn’t have my son or Erdağ with me, so I visited bookstores in Oxford.  I saw a book about Nina Simone’s life at the music bookstore in Oxford, and I started to read it.  Over several weekends I met that book at the bookstore like it was my friend, settled in a couch to read it, and slipped out for a cup of coffee every now and then, coming back to it later.  The people working there realized that I was coming there every weekend to read the book.  It’s not that I didn’t want to buy it; reading it there appealed to me more. 

It’s a different experience.

I was interested in Nina Simone.  She marries a detective; it is passionate love at first, but then he starts physical abuse.  How should I put it?  She’s a woman with weaknesses.  The book illustrated perfectly how human it is to have weaknesses.

I love Nina Simone’s music.  I love Tina Turner too, who was similarly abused. 

Yes, she is a fighter too.

She is an astonishing woman.  I listen to the music of these women, knowing about their lives.  I love listening to rock by women.  Heart is a great band, for instance.  I go back to it every now and then.  I like Joan Jett, Janis Joplin, and from the distant past, Suzi Quatro.  I love Paula Cole’s music too; her lyrics are poetic and instruments are excellent too.  I get spirited away when I listen to blues guitar; I don’t hear anything else in the song.  I sometimes pick out individual instruments when I listen to music.

It seems like music is quite a large part of your life.

Music is where I go beyond myself a little.  You know how reason contradicts love; reason is all about weighing and measuring… 

Being detached…

It is more coolheaded, whereas love is all about losing yourself, it is free of bounds.  Music is love for me.  I have been thinking on the similarity of music to love.  I can’t listen to music while I work, for instance; listening to music needs to be separate ad dedicated.  I can’t work or do something else while listening to music. 

Music should be the main thing, not something on the side.

Yes.  Having music play in the background as I read or write isn’t for me.  I can read in cafes or loud places, but I need silence if I am to write.  If a piece of music I love is playing in the background, there is no way for me to read, I get carried away to the music.  I can pick that music up even in a great racket.  I could probably work if elevator music was playing, but I’d rather it didn’t.  Some people work with music – I don’t have that.  I listen to music before or after doing my work as a distinct experience.  It’s not something I can do while I’m busy with something else.

 I can’t do that either.

That doesn’t mean I don’t like music.  I like it so much that I can’t let other things get in the way. 

It is something you like and enjoy, so you don’t want to see it as an ancillary.  What else would you like to say about motherhood?

Motherhood turned out to be very important to me.  It was to my mother, and I guess you learn this job from your mother.  I ended up being like my own mom.

I had tremendous fun when raising my son.  He was a great kid too – he wasn’t difficult, just as difficult as the next kid.  He made me very happy.  He was always a good student.  He smiles all the time, and is very considerate.  Erdağ and I look at him and we are proud that our son became a great person.  He is very successful too, but more importantly, he is a good human being. 

That should be more important.  Success should come second to being a good person.

Thinking about motherhood and music, I realized something: when you are young, you want people to love you; you feel as if that’s the most important thing.  But then I realized –maybe I as maturity kicked in– that being loved is great and all, but what really matters is to love.  I saw a film that illustrated this perfectly.  It’s called Marvin’s Room.  Meryl Streep and Diane Keaton play two sisters.  They have a father who is very ill.  Diane Keaton plays the good child of the family, it is her who cares for their father. 

Diane Keaton is ill too, I think.

Could be.  And Meryl Streep has a son.  Did you remember?  Meryl Streep plays the rebellious child who was never on good terms with the family.  There is a scene where the two sisters are talking, and Meryl Streep tells the other, “You were very lucky because mom, dad, the whole family loved you.  You were always the brilliant daughter.”  Diane Keaton, the good sister, thinks for a moment and replies, “Yes, I was lucky, not because they loved me though, because I loved them.”  Don’t you think that’s quite important?

It is; everyone wants to be loved, but being able to love is essential.

I think that is the source of all positivity.  Does this make sense?

It does.  It has the power to change your whole outlook on life, how you perceive the world.  Such small things can open up a vast landscape.  It could be a couple of words, or a scene from a film.

I had mentioned this film in an essay I wrote after Hrant was murdered.  Hrant’s greatest difference was that he knew how to love.  He was always loaded with positivity.  He had an enormous heart.

You are right, Hrant Dink was full of love and joy. 

I remember the final scene of the film.  Diane Keaton lies beside her father in the bed, and she uses a mirror to project pretty shapes and colors onto the wall.

You remember correctly; it must have moved you too.

Of course it did.

Marvin’s Room.  That’s the impression of the film on me.

Any final words?  How are things for you overall?

I’m good, I’m happy with my life.  I have old friends who are my references; I derive my strength from them.  I’m working with a great team in the faculty, and I’m very happy with that too.  I also like the fact that I’m friends with most of the faculty members here, we have been working together for a very long time.  We rely on each other.

My son Deniz Cihat, Erdağ, my family, close friends…  These are all profound relationships.  I have less and less time because of work, so I need to choose how I spend my time carefully.  I try to live in a more selective way.

You opt for a more refined life without worrying too much about details.

Thank you for this great conversation.

Ayşe Kadıoğlu: An elegant woman with a pretty smile

Wednesday talks with Nesrin Balkan 

Ayşe Kadıoğlu: I love lecturing; it gives me energy.  I have been attending lectures with the same enthusiasm since 1984.  I have been practically living in universities for so many years, but I still feel the excitement of the first day of classes, when all the students arrive.  I still believe universities belong to their students. 

This week’s guest Ayşe Kadıoğlu has been a member of Sabancı University faculty since 1998, and the Dean of the Faculty of Arts and Social Sciences since September 2013.  I also think she is one of the people most associated with Sabancı University, to the extent that her face is among those that I visualize when I think of Sabancı University. 

Her hands –gentle, elegant and feminine hands– were among those that laid the foundational bricks of our university 15 years ago.  I asked about Ayşe to her colleagues, looked up on what her students had written about her.  They all say the same things.  According to her close colleagues, she is subdued, persuasive, a good listener and an easy person to work with.  In this week’s part, I spoke with Ayşe Kadıoğlu on her years as a student, her professors, her students and lecturing today, and motherhood.  Next week’s part will be on an entirely different subject.

Your students love you.  I have read only positive comments about you.  Let’s start from there.

Fine, let’s start with student relationships.  I gave my first lecture in 1984 as a teaching assistant to a University of Boston course similar to our SPS 101-102, which had about 400 students.  I still remember how I had gone beyond myself and prepared for half a day for my first discussion course, which was only an hour long.  Giving lectures has always been important to me; it’s never been something I do on the side while I do research.  I love lecturing; it gives me energy.  I have been attending lectures with the same enthusiasm since 1984.  I have been practically living in universities for so many years, but I still feel the excitement of the first day of classes, when all the students arrive.  I still believe universities belong to their students.

So you have been a lecturer for 30 years.  You certainly don’t look like it.

Yes, I have been a lecturer for 30 years but I still go over what I will do before every class, even if for a few minutes.  Of course I know the topic I will cover in class, but I always consult my notes before I go into the lecture hall.  Having said that, most of the stuff is available online now, so I don’t carry around a bulk of notes when I attend a lecture.  I take it upon myself to explain a difficult subject in a simple way.  I always pay attention to that when giving a lecture.  I will not succumb to the complexity and difficulty of a subject and teach it in the same complex and difficult manner; I will find a way to teach it more straightforwardly. 

You like a crowded lecture.

Yes, I enjoy the dynamics there.  I can’t get bored when I’m giving a lecture, or the lecture would be of no use to the student.  I must feel passionate about the subject I teach.  So I try to shape the lecture in a way that will keep me alert.  I look into the eyes of my students, we share a laugh during the class, there have even been times I cracked up in laughter.

Yes, one of your students wrote about this in Ekşi Sözlük.

 

There are times we laugh so much that our eyes water.  That is the dynamics of a lecture.  I am so keen to give lectures that, during my PhD, I joined a program where we would give lectures to the inmates of a local penitentiary.  One of my fellow PhD students was giving lectures there, and I had joined as a visiting professor.  It was an interesting experience, they had even taken my hairclip from me as I entered.  That is when the gravity of the situation struck me.  About 400 male inmates were pacing in the courtyard.  I was worried if I was doing the right thing.  My friend noticed how nervous I was, and told me not to worry because even if someone was to give me verbal abuse, ten others would stop him from doing that, that the program was precious to them and they would make sure the program doesn’t get cancelled because of some petty trouble.  I really had no issues.  Everyone had done the required reading.  I’d never seen a class like that in my life.  The course was on political economy and I taught Karl Marx.  The early period of Marx was one of my minor specialties in my PhD in Political Thought.  So I taught Marx in a prison. 

A prison in America, above all.

Yes, I taught Marx in an American prison. 

Another student on Ekşi Sözlük says “the professor whose lectures I go to most regularly because she doesn’t take attendance” about you.

Yes, I tell my students beforehand that they best come to class because I teach hard subjects in an easy way.  “It will be difficult if you just try to read the book and borrow notes from another student; I will make your life easier” is what I say. 

Is this your first time as a dean?

Yes, first time. 

What do you think about it?

Like everything, I wouldn’t be able to do it if I weren’t passionate about it.  I took this position not to manage an established structure in monotony, but with the hope that something new can be done.  These can be new programs or improvements in existing ones.  I promised myself that I would not torment myself for not having read or written a single paper for the first semester, and that I would try to understand this job as a whole.  I allowed myself to take a semester off from my academic endeavors.  I came to the office every day and tried to understand how things worked.  I also made an oath not to complain for at least one year. 

No complaining for a year should give you peace of mind.

I try to understand things before complaining about them.  I try to have a positive attitude.  There will be negative days, of course.  But I will not surrender to negativity. 

I have known you for 15 years, and have always seen you calm, smiling and positive – with one exception: years ago, during an international event, you were extremely tense and nervous.  I think something had gone wrong.  You were muttering to yourself, but in English.  I remember you even spoke to me in English.

It’s entirely possible I did.  I run through rough patches like everyone else.  These last two months, I lost two of my friends.  Losing a loved one is devastating.  Both had been ill for a long time, but it is shattering nevertheless.  About the smiling face, I think I inherited my positivity from my mother.  She is 84 years old now, and she still cheers me up when we talk on the phone.  When I feel a bit down, I go to Ankara to visit my parents.  It should be me who helps their energy along now, but my mom and dad still give me a boost.  My mom learned how to go online at 84 just to keep in touch with me, my brother and her grandchildren.  We talk on Skype now.

Your mother is quite admirable and a great example.

She is an amazing woman, yes.  She is a medical doctor.  I think I owe my positive energy to her. 

So you have been in Sabancı since 1998, for 16 years.

Yes, I have been here since the beginning.  Sabancı University grew up right before my eyes, so I feel great attachment.  After returning from the United States, I worked at Bilkent University for seven years.  My alma mater is Middle East Technical, on the other hand.  I graduated from METU in 1982.  I was a student there between 1978 and 1982, punctuated by the military coup in 1980. 

It must have been a great divide.

The university was rife with political tension those days.  We would be frisked every morning as we arrived on campus.  I was in the Political Studies department and that alone was a problem.  The military police would get spooked because my student ID had something “political” on it; I would have to explain every time that it was the department I studied in.  I think this plagued political science students in all universities because politics itself was a suspect back then. 

The word “political” was a taboo.

Politics as a concept was highly suspicious.  Some of our textbooks proved to be troublesome as well; we left them at home so that we wouldn’t have to carry them around.  They would make us put our hands on cars and search us from top to bottom.  We couldn’t hear the voice of the professor over the racket of the armored vehicles in the campus.  It was a crazy period.  Afterwards, I went to the University of Chicago for my graduate degree. 

Suddenly it was a different world.

And it wasn’t any American university.  Chicago’s liberal environment was unlike other schools back in the day, and there was even a Chicago school in Economics because of that.  There, I was introduced to an academic literature that was vastly different.  I learned a lot during my two years in graduate education.  I had distinguished professors.  The two years in Chicago were very important in my life.  After a short break, I moved to Boston and started my PhD at the University of Boston.  Then, I returned home to Bilkent.  I lived in Boston for seven years, in Chicago for two years before that.  So I spent the 80s in America. 

Chicago and Boston played a large part in your career, obviously.

I had two advisors in Boston; one of them was in Middle Eastern Studies and the other in European Studies.  I went back and forth between the two.  I studied migration in Europe for my PhD.  My primary advisor was the Middle Eastern Studies professor.  She taught me how to merge politics and academics.  She had a profound sense of justice, had always been politically involved, and was a prolific scholar who made great contributions to literature.  There is an opinion that a good academic will stay out of politics.  She showed me that this was not true.  So I have been writing in newspapers during my academic career.  I have been writing since 2000, and there was a time when I was writing weekly. 

Yes, you were a regular contributor.

I was writing in the Radikal 2 supplement.  In 2006, I published a collection of my articles printed there.  I have learned about civic involvement and keeping in touch with the community from my advisor Irene Gendzier.  Of course, Edward Said was the most important person to merge politics with academics.  Said had a great influence on my vision.  My other advisor, the European Studies scholar Andrei Markovits, taught me how to teach.  When I was his assistant, I attended every lecture with him and graded his exams.  I was greatly influenced by his style at an early age as I watched him and listened to him.  He was an astonishing professor and a great teacher.  He would have the attention of every student in the huge lecture hall.  I think he also taught me professionalism.  My two advisors in Boston taught me a lot.  I also had legendary professors like Howard Zinn.  I wrote an obituary about Howard Zinn when he died four years ago. 

You had many distinguished professors who influenced your career and your life in a profound way.

Indeed; Howard Zinn was another great influence.  I was his assistant as well.  He had once invited the surviving members of the Abraham Lincoln Brigade, who had fought in the Spanish Civil War.  That was the craziest lecture I had ever seen.  These people had left America and traveled to Spain to join the civil war in 1937.  Hemingway had joined the war as well.  Howard Zinn was politically very active.  He would give political lectures in addition to his courses.  He is the author of A People's History of the United States, which discusses civil movements throughout US history.  The conventional approach to US history dwells on institutions, such as how the parliament and congress was established, how the presidential system evolved.  Zinn, on the other hand, wrote the history of social struggle in America.

That is a great perspective.

It is now a high school textbook in America.  It is a very important book and he had signed me a copy, which is very precious to me.  I hadn’t realized the significance of the book when he first gave it to me.  He had simply said, “Perhaps you’ll read it one day.”  I had thanked him out of courtesy, but I wasn’t aware that I was holding a treasure in my hands – one that was autographed by him, nothing less.  Anyway, that’s my Boston story. 

How about your academic work?

I am passionate about women’s studies.  Speaking about my advisors; they were my professors and my mentors, but you also have your heroes in life.  I have always been inclined towards studies focused on heroines.  In Turkey, İpek Çalışlar has been doing this for years.  She wrote the book on novelist Halide Edip Adıvar and on Atatürk’s wife, Latife Uşakizade.  Yaprak Zihnioğlu has a great book on women’s rights activist Nezihe Muhiddin, which I use in my course.  I have always tried to keep heroines on the front line and include them in my lectures.  As for my heroines, there is Lilith.  According to some, Lilith predates Eve. 

I hadn’t heard of Lilith.

She is a woman who disregards advice and does as she pleases.  Eve is a spouse; she is Adam’s wife.  But Lilith is an independent woman. 

Which faith does Lilith belong to?

Lilith is mentioned in the Jewish apocryphal text called Alphabet of Sirach.  In Ancient Greece, there is Hipparchia, who is a Cynic philosopher.  She is an important figure as well.  In the modern age, I find Mary Wollstonecraft very important.  Mary Wollstonecraft published A Vindication of the Rights of Woman in 1792.  She had an affair with William Godwin, who was known as a liberal anarchist at the time, and they had a daughter.  She had had another daughter before Godwin.  She was condemned by the society because she conceived out of wedlock.  Her daughter from Godwin was Mary Shelley, the author of Frankenstein

Yes, she wrote Frankenstein.

Mary Wollstonecraft died shortly after Mary Shelley was born.  Wollstonecraft was far ahead of the period she lived in, because of which she was at great discord with the times and suffered mental issues.  The same goes for Nezihe Muhiddin.  She was far ahead of her time and she voiced issues and values that were rejected by the society of the time.  Yaprak Zihnioğlu’s book on Nezihe Muhiddin has a very sad ending; Nezihe Muhiddin dies in the La Paix mental hospital in Istanbul. 

Wollstonecraft’s daughter Mary Shelley went on to write Frankenstein.  In one article, I had argued that since Mary Shelley’s mother dies during birth, Frankenstein is her ruminations on motherhood.  I think Frankenstein is about being a mother.  For some, being a mother is giving birth; people talk about how they carried their child for nine months.  I think it has nothing to do with that.  As a biological mother who has given birth, I can say that motherhood actually begins after birth.  That is how I had interpreted Frankenstein.  Dr. Frankenstein gives his creation life, but he doesn’t train him, doesn’t teach him anything, and his creation turns into a monster.  It’s not enough just to give birth; you must put effort into your child, you must raise him.

An important point.

Parenthood begins after birth; it has to do with what you do for your child.  That is how I see it.  I am crazy about my son.  If you asked me what I was, my first response would be “mother.”

Then a professor, and then a political scientist.

I think those two go in tandem.

To be continued…

The contemporary art work honouring Sakıp Sabancı is now at the SSM

The work of art commissioned in 2011 by the Sabancı family to Kutluğ Ataman for the 10th anniversary of Sakıp Sabancı’s parting from us has opened to public viewing at the Sakıp Sabancı Museum on April 29.

The work aims to reflect the personality of the much missed leader, with his innovativeness, his sharing and embracing nature, his overriding principle of always giving first priority to people and his love and respect for them. Throughout his life, Sakıp Sabancı who merged with people with his sharp intelligence, his sense of humour and warm manner had many windows opening to life and people. Kutluğ Ataman’s work makes visible all the windows opened by Sakıp Sabancı. 

Kutluğ Ataman, whose films and video art works have a worldwide audience, created the idea of this work which constitutes a moment of silence in honour of Sakıp Sabancı, emphasizing the industrialist’s contribution to the development of technology in Turkey. The basic element of this work, which utilizes the most advanced technology in visual arts, consists of the people. The work consisting of the passport sized photographs of thousands of people from all walks of life whose paths crossed the famous businessman’s in some way, who supported or were supported by him, shape his portrait, reflecting his sympathetic, tolerant and colourful personality, while implementing an extraordinary artistic idea, ‘beyond time’ as is worthy of Sakıp Sabancı. 

The technical infrastructure of this work, which is one of the largest video art examples worldwide was completed by Larves Artware Solutions in three years. The Project consists of a driver card, a communication card and a control/administration software. The work comprises approximately 10,000 LCD panels, aligned in 144 modules, each consisting of sets of 64, stacked horizontally and vertically. 


The LCD driver card communicates with an advanced level computer, thus transferring the photograph data. The external industrial computer is connected to the communication cards of the subsystems via fiber cables. The communication card  transfers data consisting of thousands of photographs to the driver cards to be viewed on the screens in random order and at random intervals. 

After the Sakıp Sabancı Museum, the work will be exhibited at the Sakıp Sabancı Mardin City Museum and Dilek Sabancı Art Gallery, each time being redesigned in accordance with each building’s architecture. Following Mardin, the piece is planned to be presented internationally at the leading museums worldwide.

What they said…

Güler Sabancı

Chairperson of the Board of Directors of Sabancı Holding 

“Sakıp Sabancı cared for people and he touched people. He really physically touched them while talking to them.  He did not discriminate in any way whatsoever. He had a pluralistic, extraordinary attitude. His positive energy was contagious. He looked straight into the eyes of the person he was talking to. He made everyone feel special. He loved people very much and he embraced them. 

Three years ago, we formed a committee to lead the preparations for the 10th anniversaries of the foundation of the Sakıp Sabancı Museum and the 10th anniversary of Sakıp Sabancı’s parting from us. The Board of the Committee was chaired by Ms Sevil Sabancı. Ideas were discussed as to what to do, and we thought of making a film. Then we came up with the name of Kutluğ Ataman. We briefed him about the concept of the project and the core of the thoughts we have in mind; as a family we decided that an art work which reflects Sakıp Sabancı’s energy, the way he touched people, the way he embraces people will also reflect Sakıp Sabancı himself. And now, here we are, commemorating Sakıp Sabancı on the 10th anniversary of his parting from us, with a work of art worthy of him. I thank the Sabancı family, Türkan Sabancı, Sevil Sabancı and Dilek Sabancı for their support. I thank Nazan Ölçer and her team. I thank Kutluğ Ataman for creating this work of art which reflects Sakıp Sabancı’s energy and which will allow this energy to be shared over many years.” 

Dr. Nazan Ölçer

Director of SSM 

“This work of art is a commemoration by the Sabancı family. While contemplating how to commemorate the 10th anniversary of Sakıp Sabancı’s partisng from us, we consulted our Board and our International Board of Overseers including curators and directors of museums from all over the world. Traditional ways of commemoration may be building a school or a dormitory and naming it after the person; but the Sabancı Foundation has been doing this for years. We never considered commissioning a statue, neither did the Sabancı Family. The work should reflect the energy and emphasize the modern and forward-looking perspective of Sakıp Sabancı. In 2010, it was decided that the work of art should be created by Kutluğ Ataman. 

Don’t ask me ‘why Kutluğ Ataman?’, who else could it be? We all know how well Kutluğ Ataman is known globally. He represents contemporary Turkish art with great success, has won many prestigious awards, and his works are in various collections abroad. When I first saw the work of art he created, my feeling was one of happiness. Kutluğ Ataman’s name was decided upon by the end of October 2010. The contract was drawn in 2011. That is when the preparations of art work started. The family’s wish was the creation of a work whose focus consisted of ‘people’. Kutluğ Ataman was given thousands of photographs. There is also another work by Kutluğ Ataman at our Arts of Book and Calligraphy Collection, the Mesopotamia Dramatourgies No 5, SU.” 

Kutluğ Ataman

Artist

“When I was first approached for the project, my first thought was that I had never met Sakıp Sabancı. And I was not a portraitist. I thought this would be difficult, because I have a hard time with such commissioned works. Something much more than making a documentary on Sakıp Sabancı was required. For me, Sakıp Sabancı is a leader; his leadership lies in the fact that he was a successful and famous businessman, and that he changed the lives of people and the progression of Turkey. This was not something he could have done alone. No leader becomes a leader just by himself/herself. He/she must be able to organize people, to convince people, to bring them together and to make them accept his/her vision. People must feel the person they accept as their leader within themselves. Not everyone has that capability. That is why I wanted to point to the people who formed the leader. 

I suggested to ask people who have somehow touched Sakıp Sabancı to give their passport size photographs if they wish. We needed more than 30,000 participants. This was something not done before. I had not done anything like this, and neither had anyone else. We created something from scratch, designing, testing, and preparing the software. It took a long time. Initially, each mosaic piece of the work was 50 cm thick, we reduced that gradually. Then we mounted it and had Larves, a Turkish firm at the Sakarya University Technocity did the production. The work consisting of almost 10,000 screens became a modern mosaic. His colleagues, his people, are coming together to thank Sakıp Sabancı. The work is liquid actually, you can not hold it in your hand. It is an idea, it is not static like a statue, it is dynamic... It is an energy... I think the most beautiful aspect of the work is that, we can disintegrate all its components and reintegrate them in the form of another work. We can reconstruct the work at another venue and in another form, without disrupting its essence.” 

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