‚Goblen‘ is Turkish version of French ‚gobelien‘, the word for a meticulous needle-guided intertwining of colored threads that (re)produce an image. The photo fragment (0b) contains at least two memos regarding the visible part of locally framed ‚goblen‘:
1. How I recall, this ‚goblen‘ was hand-stitched by a housewife in her intimate retreat. With a needle, she has countlessly and meditatively reentered the idea of an iconic image.
2. What I recall, the sunflowers were painted to decorate a Dutch painter’s home abroad. He has imagined his house with the guest room for the visiting migrant artists.
The eyes of a female person are gazing under the ‚goblen‘. She looks at the camera and holds the glass in the gesture of toast. Her face is veiled by a cut, as in the case of needlework above her. The cut sharpens her gaze. She is the wife of Nikola’s son, the man in charge of remembrance of Nikola. However, during my pre-research, the others in charge of family secrets are female members. Nikola’s wife is the one who has embroidered ‚goblen‘ – I will need to recheck this with my mom, Nikola’s daughter.
Following are two author’s that provide orientation on the female perspective on history:
1. Simone de Beauvoir, in her book „The Second Sex“ / Volume I (1949):
[I]n large part, woman’s history is intertwined with the history of inheritance … the owner alienated his existence in property; it was more important to him than life itself; it goes beyond the strict limits of a mortal lifetime, it lives on after the body is gone … Cultivating paternal lands and worshipping the father’s spirit are one and the same obligation for the heir: to ensure the survival of ancestors on earth and in the underworld. … when woman becomes man’s property, he wants a virgin, and he demands total fidelity at the risk of severe penalty; it would be the worst of crimes to risk giving heritage rights to a foreign offspring … the crime of high treason.
2. Julia Kristeva, in the novel „Murder in Byzantium“ (2006)
Europe does not imagine how much she is integrated into imaginary realm criss-crossed by abstruse and gracious paths, paths that have made it fertile without its least knowledge or recognition.
Kristeva’s book rethinks the complex histories of borderlands between Europe and Azia. Specifically, it restructures Byzantine legacy for Europe today and Byzantium as Europe’s repressed Oriental self. This historical, philosophical, and psychoanalytical novel is essential external guidance to my research of family memory in the frameworks of broader history.