Enis arikan biography of william
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Ilahiyat Studies
Abstract
Both supporters and opponents of the headscarf ban in Turkey refer to the freedom of the individual. This case makes it necessary to address the headscarf problem in the context of discussions on freedom. This study aims to evaluate the headscarf problem in the context of two approaches that we call “the enlightened perspective” and “the liberal perspective.” The enlightened perspective supports the headscarf ban in Turkey and is based on a particular interpretation of the idea of positive liberty. According to this interpretation, freedom means the manifestation of the rational self. Hence, people’s freedom is connected with the sovereignty of their true lifestyle. Because religion equals “the irrational,” the religious lifestyle is a deviation from the true way of life. For that reason, the use of the headscarf, which is a sign of a religious lifestyle, in the public sphere is seen as a threat to the correct lifestyle. The liberal perspective addresses the demand for the abolition of the headscarf ban in the context of the individual’s freedom of belief. In this sense, it is possible to say that behind the liberal perspective’s assessments about the headscarf issue lies the idea of negative liberty. Negative liberty means the lack of any outer int
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William Shakespeare has been the subject of many reflective poetry throughout history. Maybe not as known as John Milton’s “On Shakespeare” (1630), a famous Turkish actor, Kamran Yüce, also wrote a poem contemplating on acting and on Shakespeare.
Born in 1926 in Elazığ, a major city in Eastern Türkiye, he abandoned his law education in favour of starting a career as an actor in 1951 in Küçük Sahne, led by the famous director Muhsin Ertuğrul. He then moved to work with the Kenterler Theatre Company led by Yıldız Kenter, Müşfik Kenter and Şükran Güngör.
Acting in several theatre productions, Yüce also performed in many motion pictures of the golden age of Turkish cinema, where he also worked as a dubbing artist.
Yüce was also a poet, who wrote several anthologies of his reflective poems.
In one of those poems, he reflected upon his profession as an actor. “Gölge” (1954), “Shadow” reflects on the life of an actor, tracing its origin to ancient Greece. He considers himself a clown who sometimes makes people laugh, sometimes cry. In the familiar tone, Yüce reveals that while he might seem joyful he has deep sorrows in his soul which he, through catharsis, temporarily sells to his audiences. Applause makes him happy but only for a whi
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