Günümüzde reklam olgusu, yalnızca bir ürün veya hizmet tanıtımının ötesinde, kitlelere ulaştırdığı anlamlarla kültürel ve ideolojik anlamları da yeniden üreten bir işlev görebilmektedir. Özellikle, reklamlarda kadın imgesinin yer alış biçimleri, reklamın toplumsal cinsiyet rollerini bir söylem olarak inşa etmesini beraberinde getirmektedir. Bu çalışmada Türkiye'de 2013-2015 senelerinde yayınlanmış olan temizlik ürünleri reklamları arasından ölçüt örnekleme yöntemiyle belirlenmiş olan üç ayrı reklam, Pierre Bourdieu'nun "simgesel şiddet" kavramına atıfla feminist eleştirel söylem analizi yöntemiyle çözümlenmektedir. Eleştirel açıdan incelendiğinde reklamda, kadına yüklenen toplumsal cinsiyet rollerinin yeniden üretildiği görülmektedir. Buna rağmen reklam söylemi kadınları hallerinden memnun ve mutlu bir biçimde betimleyerek, kadınlara yönelik ötekileştirici söylemleri görünmez hale getirmekte ve toplumsal cinsiyetin neden olduğu iktidar hiyerarşisini normalleştirmektedir. Reklam aracılığıyla tanıtılan ürünler, kadınları içinde bulundukları iktidar ilişkilerinden kurtarıyor ve onları güçlendiriyor gibi bir imaj çizmektedir; ancak bu doğrultuda inşa edilen söylem, gerçek olumsuzlukları görünmez kılmakta, bu görünmezlik ise simgesel şiddet ile sağlanmaktadır. Sonuç olarak bu çalışma, kadının maruz kaldığı iktidar ilişkilerinin fark edilemez hale getirmesi bakımından reklamın, Pierre Bourdieu'nun kavramsallaştırdığı simgesel şiddetin bir aracı olarak işlev gördüğünü ortaya koymaktadır.

This article engages in a critical discussion of the ways in which public visibility of the Islamic lifestyle is governed through the practices within visual culture in Turkey. It is possible to observe that in a society with a predominantly Muslim population, the media is dominated by the secularized imagery of everyday life, which is systematically abstracted from Islamic signifiers. Following a Foucauldian theoretical framework, this article shows that visual culture provides the necessary ground for the Kemalist modernization project to legitimize particular drives, which are inherently reproduced by a state of anxiety and fear against the Islamic lifestyle. Recent controversies the Turkish context show that Islamophobia should not solely be regarded as a phenomenon, which originated and still operates mainly in the West. Rather, the case of Turkey encourages one to critically negotiate the boundaries of visual culture, which is invested with particular strategies of power that reproduce the images of Islamic lifestyle as undesirable signifiers of culture.

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Representation of women in advertisements has been a crucial point of debate in critical studies on advertising and gender. Advertising has critically been evaluated as an ideological apparatus that reproduces gender roles and promotes sexism. In addition to overt forms of sexist representations, advertisements also construct implicit meanings of gender inequality, which is difficult to recognize. The aim of this article is to show that advertisements generate "symbolic violence" that normalizes and legitimizes gendered relations of power so that gender inequalities would be misrecognized. Based on Pierre Bourdieu's notion of "symbolic violence", this article analyzes the image of "women chewing gum" in an advertisement campaign by Falım, Turkey's leading chewing gum brand with feminist critical analysis. Falım advertisements portray women who are pressured by patriarchy but do not resist it and are content with it. Eventually, the patriarchal narrative brings forth the normalization of gender inequalities and its communication to the wider public via advertising as a rhetorical device.

Postfeminism emerged as a critical interrogation of contemporary feminism, particularly drawing attention to the ways in which feminist motifs are incorporated in consumer ideologies through advertising and popular culture. This article aims to problematize the local articulations of postfeminist representation from the perspective of Turkey's contemporary advertising landscape. A global brand of women's hygiene products, Always launched its "#likeagirl" campaign in June 2014. As the Turkey branch of Always, Orkid adapted the campaign and broadcast an advertisement on TV in January 2015. On discursive level, both ads share in common postfeminist sensibility as they sound women's certain problems by at the same time not providing a radical critique. However, feminists in Turkey observes that Orkid ad is less progressive than the original Always ad, which they celebrate for sounding women's issues despite its postfeminist character. Analyzing two ads and their feminist articulations, this article problematizes the cultural limits of postfeminism in Turkey's social landscape to point out the complexities of a glocal postfeminist experience.

Throughout the 1990s, women’s Islamic headcover (hijab or headscarf) has been subject to restrictions in public offices, leading to faith and gender discrimination in Turkey. In the last two decades, the visibility of Islam in politics and the public sphere has increased, leading to the resolution of the “headscarf ban” in 2013. Since then, discussions about veiling have moved from the official sphere to the cultural sphere. In recent years, there has been a growing tendency among a new generation of conservative women to problematise veiling. In this regard, this article analyses the digital activism of “You Won't Walk Alone,” which was founded in July 2018 as a platform aiming to give visibility to women who experience forced veiling. Through a thematic analysis of ten different testimonies, this article argues that the activism transforms the cultural meaning of veiling and challenges hegemonic religious body politics by facilitating feminist witnessing.