This paper forwards the concept of homohistoricism as a historicism that narrativizes the nation's past as the site of illicit or authentic relations/affections that have the power to pervert or rescue the public sphere in the present-now. In the case of contemporary Turkey, I identify republican, Islamist, and queer homohistoricisms as divergent political projects with interconnected rationales. I analyze two sets of primary materials on queer contention from Istanbul's Gezi Park uprising: Protest records (fliers, brochures, zines, pictures, banners, posters) from Kislak Center's “Gezi Park Protests 2013” collection and the meeting minutes from 657 neighborhood forums produced and archived by the protestors. I argue that queer homohistoricism in Turkey as a contentious repertoire of invoking nostalgic visions of Ottoman cosmopolitanism and urban civility may succeed in authenticating a certain kind of queer politics, but would do so at the expense of perpetuating just as authentic mechanisms of oppression.

The death of the young Kurdish Iranian woman, Mahsa Jina Amini, on September 16, 2022 following her arrest by Iran's now-suspended Gasht-i Irshad (guidance patrol or morality police) for apparent lax conformity to the Islamic dress code ignited protests across Iran. The protests, known as Women, Life, Freedom (Zan, Zendegī, Azadi) quickly spread to Iranian diaspora communities across North America, Europe, and Australia. Initially, diasporic Iranians organized their protests to support and amplify their compatriots’ calls for justice. As the protests continued in Iran and the demands for change grew louder, some members of the Iranian diaspora shifted their focus from the Islamic Republic to the public shaming of Iranians living outside Iran for their purported support of the Iranian regime. Some of the tactics employed by those engaged in public humiliations of suspected regime supporters recalled Gasht-i Irshad's methods of trapping and accosting individuals for perceived infractions. These public confrontations were aimed at isolating, shaming, and silencing perceived allies of the Islamic Republic and, by extension, denouncing the regime for its abrogation of women's and human rights. I refer to this phenomenon among diasporic Iranians as gasht-i intiqām, roving avengers, which reflects a frustration with the absence of justice in Iran and targets purported proxies for the regime. There have been many instances and types of denunciations aimed at silencing and ostracizing individuals, academics, and institutions. As Daniel Block points out in his analysis, “The attacks overwhelmingly target women, most notably in North America and Europe. The victims include gender equality activists, journalists, foreign policy analysts and a historian, each of whom has been accused of colluding with the authoritarian Islamist regime in Tehran.” Block further points out that many of the attacks are anonymous or originate from fake social media accounts. The common denominator he finds among those who target individuals is opposition to “Western-Iranian diplomacy or reporting information that adds subtlety to the debate over how the United States and its allies should handle the Islamic Republic.”1 Often those deemed regime collaborators are Iranian American individuals, journalists, or institutions that supported the 2015 the Joint Comprehensive Plan of Action, otherwise known as the nuclear deal.

The account here is in the spirit of the short pieces that periodically used to appear under the rubric ‘Reports and Announcements’ at the back of New Theatre Quarterly. Its purpose is to invite the journal’s readers from all over the world – and they are truly from across our whole planet – to be aware of the very existence of a major theatre event of socio-historical and artistic significance to our shared field of interest; and to give them some insight into the evolution of this event in its interface with political and social change, which, in the current times, have become increasingly brutal. The theatre field is vast, as vast and varied as the approaches and perspectives within it, the positions long held, shifting, or newly taken, and the stakes at play, differently for different people in different political, social, and cultural contexts. The Theatre Olympics, established in 1995, seek to pay tribute to, and activate interaction between, the multifarious humanity that makes theatre and is embodied in it.

Processes of random tessellations of the Euclidean space $\mathbb{R}^d$, $d\geq 1$, are considered that are generated by subsequent division of their cells. Such processes are characterized by the laws of the life times of the cells until their division and by the laws for the random hyperplanes that divide the cells at the end of their life times. The STIT (STable with respect to ITerations) tessellation processes are a reference model. In the present paper a generalization concerning the life time distributions is introduced, a sufficient condition for the existence of such cell division tessellation processes is provided, and a construction is described. In particular, for the case that the random dividing hyperplanes have a Mondrian distribution—which means that all cells of the tessellations are cuboids—it is shown that the intrinsic volumes, except the Euler characteristic, can be used as the parameter for the exponential life time distribution of the cells.