How does history fill our memory? We will explore this question through three unfinished works: Giulio Camillo’s Theatre of Memory, Aby Warburg’s Mnemosyne Atlas, and Walter Benjamin’s Arcades Project. These works, each inspiring the next, allow the mobility of past images to compose time in entirely different ways. From a hermetic memory technique to the esotericism of the Orphic tablets; from ghost stories for adults to the stage of the dialectical fairy tale; and ultimately, from the eternal return of paganism to the eternal schizophrenia of humanity, we will examine the arrangement of the past in a temporal collection. In our dream world, which presumes to have long parted ways with myth, which mythical figures have we abandoned to oblivion, or in which tragedy were we once imagined and then left at the mercy of a present that silenced it?
Bio:
She studied philosophy at Hacettepe University and Ege University. She worked as a research academic in the philosophy department at Université Paris 1 Panthéon-Sorbonne. She translated Schmitt’s Hamlet or Hecuba into Turkish. She wrote forewords for Proust’s Days of Reading and Sorel’s Reflections on Violence. Her book Breadcrumbs for a Suitable Disappearance was published by NOD Publishing and awarded the Cevdet Kudret Literature Prize. She contributed to the books Suppose You Don’t Exist (Arter), The Messiah at the Narrow Gate (İthaki), Who Am I, Are You Also Nobody? (Meşher), and A Black Halo Above Our Heads (Arter). She is the editor-in-chief of Punctum magazine.
