This article explores the changing relationship between paupers and the parish authorities in Tongue, in the far north of Scotland, between the passing of the Scottish New Poor Law in 1845 and the end of the nineteenth century. It does so by focusing on Scottish pauper letters and petitions for relief. Such sources, though relatively abundant in the archives, have so far been ignored by welfare historians. The article begins with a discussion of the trials of Tongue's poor crofting community in the early years of the century, the impact of widespread land clearance, and the dislocation of long-established communities. Following on from this, through a close reading of pauper appeals alongside other official sources the authors demonstrate that, despite persistent hardship and inadequate resources, the relationship between paupers and the parish authorities changed markedly over the period. An attitude of supplication and entreaty, rooted in Highland traditions of deference and reflective of a rigid social hierarchy, gave way to a clear sense of entitlement and an expectation that paupers' appeals would—indeed, must—be heard toward the end of the century. This fundamental shift mirrored, and was profoundly influenced by, wider agitation among crofting communities for change.

The Free Republican Party (FRP; Serbest Cumhuriyet Fırkası), founded and dissolved in 1930, represented the second attempt to transition to a multi-party system in Turkey, following the formation of the Progressive Republican Party (Terakkiperver Cumhuriyet Fırkası) in 1924. In contrast to the oppositional establishment of the latter, the FRP seemed to be a state-originated project whose establishment was decided upon by the elites of the day, led by Mustafa Kemal Atatürk. Its representation in contemporary cartoons is deemed important today given the political cartoon’s ability to simplify complex political messages into understandable symbols and metaphors and to address or reach those who may not be literate. Taking into account the social structure of society during this period, this aspect of the reach of cartoons becomes particularly important. Political cartoons’ ability to both support the text in a newspaper and penetrate historical memory through stereotypes is also significant in terms of the representation of personalities and events. This article will attempt to analyze the formation of the FRP and the depiction of its elites through newspaper cartoons. Three prominent and pro-Republican People’s Party (Cumhuriyet Halk Partisi) newspapers of this period—namely Cumhuriyet, Milliyet, and Vakit—will provide the material for the content and thematic analysis of the study.

This article offers a critical reading, from the perspective of gender studies, of films produced in the politically charged environment of the 1990s and 2000s by directors Tomris Giritlioğlu and Yeşim Ustaoğlu. Giritlioğlu’s Ms. Salkım’s Diamonds (Salkım Hanımın Taneleri, 1999) and Autumn Pain (Güz Sancısı, 2008) were based on Yılmaz Karakoyunlu’s novels Salkım Hanım’ın Taneleri (1990) and Güz Sancısı (1992), while Ustaoğlu’s Waiting for the Clouds (Bulutları Beklerken, 2004) was inspired by Yorgo Andreadis’ biography, Tamama (1993). The films claim artistic license in presenting individual stories, yet they embellish their representation through documentary footage about silenced historical traumas, depicting female subjects as the store of traumatic national memories, such as the exodus of Pontic Greeks in 1916, the anti-minority Wealth Tax of 1942, and the anti-Greek pogroms of 1955. Underscoring Julia Kristeva’s notion of the “feminine” as a crucial aspect of these films, this article traces two strategies used by the directors: (1) recording personal stories in order to complicate nationalist narratives and their appeal to essentialized identities, and (2) gendering trauma as female suffering inflicted by patriarchal authority. The article concludes that, regardless of their public positions to the contrary, the directors engage in feminist politics by questioning the relationship between women and the nation, by broaching issues of social justice, and by highlighting the hybridity of identities and plurality of cultures.