Emanating beyond the confines of academia, the poignant narrative of the renowned Turkish thespian Afife Jale has garnered widespread recognition within Türkiye. Amid a pantheon of successors, her tale stands as the most profoundly heartrending. It has been immortalized through theatrical productions and cinematic adaptations. Despite the widespread familiarity with her story, the enigmatic underpinnings of her tragedy have perpetually shrouded it in mystery. In an effort to cast light upon the chronicle of her life, a convergence of political and societal truths has emerged. Afife Jale's story, in its very essence, embodies the ideals expounded by Joan W. Scott. The realm of feminist historiography endeavors to bring prominence to women's narratives, elucidating their endeavors to champion their entitlements and autonomy within historical contexts. It seeks to delve into the causalities behind the historical obscurity that has veiled women's contributions, while also revealing the obstructions that have curtailed their authority and efficacy. This article aspires to achieve this objective by scrutinizing the careers of the first Turkish Muslim actresses, Afife Jale (1902–41) and Bedia Muvahhit (1896–1994), who commenced their artistic journeys at the onset of the twentieth century. Whereas Afife Jale's stage debut in 1920 coincided with the twilight of Ottoman rule, Bedia Muvahhit made her inaugural appearance in 1923, the very year that saw the founding of the Turkish Republic. Despite this seemingly minor difference, the professional journeys of these two actresses were characterized by stark disparities. Afife Jale bore the weight of authoritarian oppression and persecution, and her legacy remained largely overlooked, even after the Turkish Republic was founded. In contrast, Bedia Muvahhit thrived under the patronage and backing of the political elite, leading to a lengthy and prosperous career.

中文翻译：

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土耳其穆斯林女演员先驱：Afife Jale 和 Bedia Muvahhit 在土耳其舞台上的轨迹


超越学术界的界限，著名的土耳其戏剧家 Afife Jale 的凄美叙述在土耳其获得了广泛认可。在众多继任者中，她的故事是最令人心碎的。它通过戏剧制作和电影改编而永垂不朽。尽管她的故事广为人知，但她悲剧的神秘基础始终笼罩在神秘之中。为了揭示她的人生编年史，政治和社会真相的融合出现了。Afife Jale 的故事，就其本质而言，体现了 Joan W. Scott 阐述的理想。女权主义史学领域努力突出女性叙事，阐明她们在历史背景下捍卫自身权利和自主权的努力。它试图深入探讨掩盖女性贡献的历史模糊背后的因果关系，同时也揭示了削弱她们权威和功效的障碍。本文旨在通过仔细审视第一批土耳其穆斯林女演员 Afife Jale （1902-41） 和 Bedia Muvahhit （1896-1994） 的职业生涯来实现这一目标，她们在 20 世纪初开始了她们的艺术之旅。1920 年，Afife Jale 的舞台首秀恰逢奥斯曼帝国统治的暮年，而 Bedia Muvahhit 则于 1923 年首次亮相，也就是土耳其共和国成立的那一年。尽管存在这种看似微小的差异，但这两位女演员的职业旅程却存在明显的差异。Afife Jale 承受着专制压迫和迫害的重担，即使在土耳其共和国成立后，她的遗产在很大程度上仍然被忽视。 相比之下，Bedia Muvahhit 在政治精英的赞助和支持下蓬勃发展，从而获得了漫长而繁荣的职业生涯。