The Legal Status of Transsexuals in Turkey

ABSTRACT

The development of the legal regulations concerning transsexuals in Turkey can be analysed in three phases. The first phase was prior to 1988 when there were no legal parameters at all. The second phase started in 1988 when certain changes made in the Turkish Civil Code (TCC) for the first time gave people who had already undergone sex reassignment surgery (SRS) the possibility to enter this change into the birth register. The third phase commenced in 2002 when the new Turkish Civil Code came into force.¹ Art.40 of the Code now regulates the pre-conditions for a surgery and the procedure for getting a court authorisation in order to be operated as well as the procedure for entering the sex change into the birth register after the operation. Following remarks aim at briefly explaining these historical developments in Turkish law and presenting the current legal situation in Turkey with respect to transsexuals. The deficiencies in the existing regulation and possible ways of surmounting these will also be examined.     

Art, self-censorship, and public discourse: contemporary Moroccan artists at the crossroads

Since the reign of King Mohammed VI in 1999, there has been a recent democratic trend in Morocco that has led to political liberalization and symbolic concessions. This essay explores how a new generation of artists is beginning to test the notions of the Islam, the monarch, and the rights of ethnic groups and women within Morocco. I argue that while they are beginning to test the limits of recent religious, social, and political reforms, these artists show self-restrain and selfcensorship, creating art that falls within the public discourse allowed by the new Moroccan king.

The intuitive concept of art

A great deal of work in analytic philosophy of art is related to defining what counts as art. So far, cognitive approaches to art have almost entirely ignored this literature. In this paper, I discuss the role of intuition in analytic philosophy of art to show how an empirical research program on art could take advantage of existing work in analytic philosophy. I suggest that the first step of this research program should be to understand how people intuitively categorize something as art. Drawing on results from cognitive science and analytic philosophy, I show that the intuitive categorization of an artifact as art rests on the intentions attributed (frequently implicitly) to the creator of the artifact based both on its appearance and on background knowledge. I discuss how the issue of categorization is related to other empirical issues concerning our relationship to works of art, such as perception, appreciation, interpretation, and evaluation.     

The ‘coming of age’ for Southern African psychobiography

This study investigated the effects of perceived values (personal, artistic, and sociocultural) of tourists’ attitude and behavioural intention to visit Africa. Participants were tourists (176 men and 124 women) who visited the Museum of African Art based on Jeju Island in the Republic of Korea. Results, following hierarchical analysis, suggest personal value and sociocultural value rather than artistic value to predict tourists’ attitude and behavioural intention to visit Africa. The findings of this study imply that personal and sociocultural predispositions lead to the tourists’ likely adoption of a tourist destination beyond familiarities with artistic works associated with the destination. Tourism promotion campaigns aimed at promoting African as a destination should customise messages to address the personal and sociocultural predispositions of would-be international tourists.     

The Care-Based Ethic of Nazi Medicine and the Moral Importance of What We Care About

This article reports on an inquiry into ideas used to justify the shift of medical ethos in Germany prior to and during the Nazi era, specifically the principles of care advocated by Erwin Liek and Karl Kötschau, the era's most influential medical theorists, who argued that commitments to care of individual sick persons (Fürsorge) had to give way to a preventive care that respects emerging needs of the entire society (Vorsorge). The article examines both the socio-cultural factors that shaped, and the far-reaching effects of, this manipulation of care. It argues that we should be attentive to the meaning and requirements of the care revealed in this debate, the ancient Greek idea of care as a concerned moral option.     

Finding meaning in art: Preferred levels of ambiguity in art appreciation

Uncertainty is typically not desirable in everyday experiences, but uncertainty in the form of ambiguity may be a defining feature of aesthetic experiences of modern art. In this study, we examined different hypotheses concerning the quantity and quality of information appreciated in art. Artworks were shown together with auditorily presented statements. We tested whether the amount of information, the amount of matching information, or the proportion of matching to nonmatching statements apparent in a picture (levels of ambiguity) affect liking and interestingness. Only the levels of ambiguity predicted differences in the two dependent variables. These findings reveal that ambiguity is an important determinant of aesthetic appreciation and that a certain level of ambiguity is appreciable.     

From bad to worse: Symbolic equivalence and opposition in fear generalisation

The present study compared the impact of symbolic equivalence and opposition relations on fear generalisation. In a procedure using nonsense words, some stimuli became symbolically equivalent to an aversively conditioned stimulus while others were symbolically opposite. The generalisation of fear to symbolically related stimuli was then measured using behavioural avoidance, retrospective unconditioned stimulus expectancy and stimulus valence ratings. Equivalence relations facilitated fear generalisation while opposition relations constrained generalisation. The potential clinical implications of symbolic generalisation are discussed.     

When a Picasso is a “Picasso”: The entry point in the identification of visual art

We investigated whether art is distinguished from other real world objects in human cognition, in that art allows for a special memorial representation and identification based on artists’ specific stylistic appearances. Testing art-experienced viewers, converging empirical evidence from three experiments, which have proved sensitive to addressing the question of initial object recognition, suggest that identification of visual art is at the subordinate level of the producing artist. Specifically, in a free naming task it was found that art-objects as opposed to non-art-objects were most frequently named with subordinate level categories, with the artist’s name as the most frequent category (Experiment 1). In a category-verification task (Experiment 2), art-objects were recognized faster than non-art-objects on the subordinate level with the artist’s name. In a conceptual priming task, subordinate primes of artists’ names facilitated matching responses to art-objects but subordinate primes did not facilitate responses to non-art-objects (Experiment 3). Collectively, these results suggest that the artist’s name has a special status in the memorial representation of visual art and serves as a predominant entry point in recognition in art perception.     

The Crosstown Initiative: Art,Community, and Placemaking in Memphis

This case study examines an arts organization at the center of an urban neighborhood revitalization effort and its contributions to creative placemaking and inclusive community building. The study documents innovative arts practices and explores their meaning for a local context, an understudied city in the Mid‐South region of the United States. It builds on the research team’s ongoing work as teachers, students, and scholars in partnership with the arts organization. It includes systematic participant observation, interviews with stakeholders, and a review of historical and contemporary media coverage. We found that the organization and its practices provided a rich context for exploring an expanded sense of community including bridging social capital and place‐based frameworks. Analysis suggests that the organization’s intentional arts based practices bring multiple understandings of community and art into meaningful dialogue through the generation of creative and social friction. These practices illustrate one context‐specific strategy addressing the tensions in a community–diversity dialectic (Townley et al. in Am J Commun Psychol 47:69–85, 2011 ).