Makale Koleksiyonu

Bu koleksiyon için kalıcı URI

https://hdl.handle.net/20.500.12451/98

Listeleniyor 1 - 19 / 19

A narrative of crisis: nancy emerson’s diary and healing through writing
(John Hopkins University, 2024) Özkan, Hedi?ye
SciVal Topics Abstract Nancy Emerson, a middle-class white woman who lived with her brother’s family in Augusta County, Virginia, kept a diary intermittently between May 1862 and November 1864. Emerson’s diary can be defined as a narrative of crisis, generated to respond to, reduce, contain, and mitigate trauma due to the potential physical and psychological threat of the American Civil War. The narrative construction of traumatic experiences is a form of purification and catharsis, allowing Emerson to experience the stages of recovery by regaining a sense of community and establishing safety through writing, attending prayer meetings, reporting news, remembrance of and mourning for the dead, and Christian resignation. By combining psychiatric, literary, and historical approaches, this study offers contextualization of Emerson’s narration, representation, and writing about physical and psychological crisis as a process of working through and recovery.
Exploring Environmental Ethics: From Exclusion of More-than-Human Beings Towards a New Materialist Paradigm
(Avant Project, 2023) Göçmen, Gülşah
nvironmental ethics deals with discussing the ethical framework of environmental values, their organization and regulation, and their ethical premises. One of the main cul-de-sacs that environmental ethics has is its anthropocen-trism that can be observed through its diverse ethical approaches—even eco-centric ones, developed as non-anthropocentric egalitarian alternatives. This article aims to question the exclusiveness of Anthropos, the practices, values, and discourses that determine the scope and course of environmental ethics, and the exclusion of nonhuman animals or more-than human beings from its focus. It first examines the main approaches in environmental ethics (land ethic, deep ecology, social ecology, and postmodern environmental ethics)— biocentric, ecocentric, anthropocentric, socialist, postmodern—and reveals that they are but limited to the human perspective, deeply rooted in human exceptionalism. All of these approaches provide us with a critical frame that still needs to be deconstructed so that they will not project an anthropocentric orientation. This article posits that the compass of environmental ethics, re-cently aligning itself to embrace the more-than-human world in its ecocentric attitude, still needs to be revisited for its discourses of exclusion. At this point, new materialism functions as a prolific theoretical site as it diminishes the clas-sical boundaries between human and animal or subject and object that anthropocentric environmental ethics relies on. With such concepts as “agential realism” (Barad), “transcorporeal ethics” (Alaimo), “vibrant matter” (Bennett), or “storied matter” (Oppermann and Iovino) the new materialist view of the human and the nonhuman evolves to end set dualities in the discourses of environmental ethics. This article concludes that the new materialist theory de-stabilizes any anthropocentric position in environmental ethics and includes more-than-human beings in its ethical focus, discarding any dualities that serve anthropocentrism or human exceptionalism.
Demythologization of the Mythic Representation of Woman: Critical Reimagining of the Archaic Stories
(Ankara Üniversitesi KASAUM, 2023) Uğurel Özdemir, Ebru
Ancient Greek myths, as the architect of the patriarchal ideology, serve as a panorama of the reality, which women in all ages around the world face and are forced to experience. Based on the fossilized ideas of the archaic philosophy, the mythological narratives are at the center of a canon which reveals, internalizes and legitimates the binary oppositions between the sexes. Although myths are set in the past and thus seem to be bygone, the events and characters still mirror the modern age: nothing seems to have changed concerning the negative perception of womanhood. This essay does echo the feminist writer Cixous’s challenge to awaken all women to discover their own power by not yielding to man-made stories but writing their own realities. In this direction in this study, the classical myths are reimagined from postfeminist perspective with the purpose of subverting the dynamics of patriarchy and phallocentrism.
Healing invisible wounds: Don Delillo’s Falling Man and the recovery of trauma
(Dokuz Eylül Üniversitesi, 2021) Özkan, Hediye
9/11 has not only caused dramatic, social, and political changes in the US history but also created a literature in which many authors seek to understand the aftermath of the attacks on the World Trade Center. Literature about 9/11 focuses particularly on how white or immigrant male masculinity is shaken due to trauma as it fails to present the intricate relationship between traumatized woman and recovery. Furthermore, literary criticism on 9/11 narratives centered on the analysis of the traumatic experiences of individuals does not take the discussion further by examining the recovery process of trauma. Therefore, the purpose of this study is to examine Don DeLillo’s Falling Man and the literary representation of the traumatized woman’s recovery, a topic mostly neglected within the scholarship of 9/11 novels. Confronting trauma creates a psychological and emotional catharsis which is a vital process leading to healing and rejuvenation as well as coming into terms with the self, memory, past, and society. Through the lenses of contemporary literary trauma theory and contemporary trauma stress studies, this paper examines traumatized woman’s recovery and healing to restructure, reorient, and rebuild self and life aftermath of 9/11 and its traumatic effects.
Desperate lovers versus tyrant beloveds: the master-slave analogy in the poems of john keats and felicia hemans
(Uludağ Üniversitesi, 2021) Özkan, Hediye
Although love of for nature as a source of inspiration is one of the primary themes in Romantic period, romantic love, which conveys the passion, pleasure, or the pain of love, often appears as a common theme in Romantic poetry. Romantic poetry becomes as a fertile space where some of the poets explore romantic love as a powerful, intense, and irresistible emotion that gives pain and melancholy rather than pleasure and happiness. I argue that the uneasy relationship between the lovers and beloveds in Romantic poetry, particularly in poems of John Keats and Felicia Hemans parallels with a long-lasting theme, the pain of love, depicted through the sultan-servant or master-slave analogy in Ottoman Divan poetry. Discussing the function of master-slave analogy in Ottoman Divan poetry and theorizing love within philosophical and scientific contexts with the ideas of Ficino and Hegel, this paper examines how Keats and Hemans employs this analogy in their poems and explore the pain of love to demonstrate the power dynamics between the lovers and beloveds. Keywords:
Nostalgic (Re)Visions of Englishness in Merchant Ivory’s Adaptation of Kazuo Ishiguro’s The Remains of the Day
(Taylor and Francis Ltd., 2021) Göçmen, Gülşah; Özmen Akdoğan, Özlem
This article argues that the adaptation of Kazuo Ishiguro’s novel The Remains of the Day (1989) by Merchant Ivory evokes nostalgia as a trope that glorifies the imperial past of the British through portraying extravagantly both the butler protagonist’s professionalism and his attachment to the country house (Darlington Hall), one of the symbolic places used in heritage cinema. In the novel, Stevens’ sense of nostalgia is presented as a sensual impetus or a blueprint to revisit the past to construct a more insightful understanding of the self. Analysing both uses of nostalgia in the source text and its adaptation, this article reveals that the Merchant Ivory adaptation (1993) limits its nostalgic perspective to depicting the idealised imperial past, and it does not evoke any dissident conception of nostalgia for the audience as the novel provides through its protagonist’s retrospection for the reader. Discussing the politics and contextual background of the adaptation, it concludes that Merchant Ivory’s film version of Ishiguro’s novel exemplifies characteristics of heritage cinema to convey dominantly conservative ideologies such as elitism and nationalism as common norms upheld in Thatcher’s Britain.
Disguised subjugation as education: colonial and maternal pedagogy in Jamaica Kincaid's Lucy
(İstanbul Üniversitesi, 2020) Özkan, Hediye
Jamaica Kincaid's Lucy: A Novel, an autobiographical narrative as opposed to what the title suggests, examines the colonial and immigrant experience of an Antiguan girl, who grows up in the British Caribbean and comes to the U.S. at the age of nineteen as an au pair. The colonial and maternal education along with the textual capture and erasure in her childhood controls Lucy's chokes over her intellect, voice, body, mobility, and sexuality, while leading her to a stage where she seeks the new definitions of womanhood, female re-embodiment, and personhood in the New Land. This paper focuses on the autobiographical narrative as a catharsis for Lucy, who confronts the constructed reality through personal reflections on colonial education, and by doing so, who eases the predicament of colonisation and dualisms due to the coloniser inside. I argue that the systematic colonial and maternal pedagogy depicted in the narrative is employed to mythicise reality, obliterate the Caribbean self/culture, and disenfranchise colonial society. Referring to "cultural invasion," a concept developed by Brazilian educational philosopher Paulo Freire to investigate disguised subjugation as education, this paper scrutinises Lucy's retrospection both on her maternal and colonial tutelage that later becomes a leading force of her own decolonisation.
George Chapman's Caesar and Pompey and Cato as the mediator
(Selçuk Üniversitesi, 2020) Özkan, Hediye
The classical Roman past has been a rich source for the playwrights who desire to make literary connections between the ancient political characters and real life figures. George Chapman, a neglected playwright of the seventeenth century, uses the Roman Empire allegory in Caesar and Pompey: A Roman Tragedy (1631) to respond to the political dissagreements which lead England into the Civil War. Through Caesar and Pompey, Chapman conveys possible scenarios that correspond to specific political events in the history of early modern England. Using new historicism as a theoretical framework, this paper analyzes Chapman's play as a political allegory of the dispute between Charles I and Parliamentarians, leading the three kingdoms into war in 1642. Drawing a parallel between the Roman republic depicted in the play and the specific moments of early modern world, this paper discusses how Cato acts as Chapman's mouthpiece and the ardent supporter of political negotiation rather than conflict. Thus, the paper contributes to the scholarship about Chapman who uses the history of Roman republic as a warning for the future of English politics during the Elizabethan period.
Nezihe Meriç’in Sevdican ve SuAndi’nin The Story of M isimli oyunlarında göç ve ırkçılığın kadın bakış açısından irdelenmesi
(Ahmet Yesevi Üniversitesi, 2020) Öğünç, Banu
Nezihe Meriç’in Sevdican isimli oyunu Almanya’ya göçen kadınların yaşadıklarını yansıtmayı amaçlayan tek kişilik bir oyundur. Yine tek kişilik bir oyun olan SuAndi’nin The Story of M (M’nin Hikâyesi) toplumda yaşanan ırkçılığı ve de ayrımcılığı bir kadın karakter üzerinden sahneye taşır. Aynı zamanda Almanya’ya olan Türk göçü ile Birleşik Krallık’a Batı Hint Adaları’ndan göçün de yansıması olan bu iki oyun, nasıl her iki ülkeye olan göç hikâyesi birbiri ile benzerlik gösteriyor ise, karakterler, tema ve de anlatım açısından paralellik göstermektedir. Göç ve ayrımcılık konusunu ele alan bu iki oyun, yaşanan benzer acıları kadın ve anne kimlikleri üzerinden sahneye taşır. Sonuç olarak bu çalışma Nezihe Meriç’in Sevdican ve SuAndi’nin The Story of M isimli oyunlarını teknik ve tematik açılardan karşılaştırarak göç olgusunun iki farklı kültürde yazılan bu iki oyunda nasıl ortak bir noktadan aktarıldığını örneklendirmeyi amaçlamaktadır.
Where do I belong? Power struggle in miss Julie and the Hairy Ape
(Gaziantep Üniversitesi, 2018) Öğünç, Banu
Written 1888 by Swedish playwright August Strindberg, Miss Julie is considered a naturalistic play that deals with power struggles between the characters Jean and Julie in terms of gender and class. As an over-reacher, Jean tries to overpower Julie in order to upgrade his social position. Hairy Ape, on the other hand, is an expressionistic play which was written by American playwright Eugene O’Neill in 1922. The play is about the degraded position of Yank who searches for his social place in the society. After being labeled as a “filthy beast” by the daughter of a steel company owner, Yank internalizes his status as an ape like creature. Throughout the play he involves in a quest as he tries to belong to a social class. Although written in two different centuries reflecting different cultures and cultural problems, both plays employ male characters who struggle to improve their position within the hierarchal and material society in spite of the status quo they face. Their struggle also includes the male characters’ questioning of power over female characters. Consequently, this study aims to analyze Miss Julie and Hairy Ape in order to illustrate power struggles of the male characters that transgress one century to century and one culture to another preserving the core of the problems of the class issue in the modern society.
Let us “Bear Very Much Reality:” T. S. Eliot’s Outsider in “Burnt Norton”
(Gaziantep Üniversitesi, 2019) Göçmen, Gülşah
“Burnt Norton” (1935), the first section of T. S. Eliot’s Four Quartets (1942), mirrors the poet’s inquisitive approach towards the complexity of human condition in the modern age, particularly focusing on the central concepts of life, time, death, or eternity. Engaged in an existentialist exploration of such notions, Eliot designs the Quartets as an analogical musical composition. “Burnt Norton,” as the leading movement of the whole piece, becomes the first notes in Eliot’s poetic musicality in his entire work, with its variance in tone and poetic form and a rhythmical obsession with certain themes such as life, time, infinity, or memory. This paper aims to analyze such modernist pursuits voiced in the poem by treating its persona as a “Stranger,” or a typical quester of existentialist philosophy. As an English philosopher/author, Colin Wilson contributes to the development of the continental philosophy of existentialism, specifically identifying major characteristics of the Outsider figure. Wilson’s analytical work, The Outsider (1956) serves as a theoretical frame to characterize the speaker of the poem as an Outsider in this paper. It argues that the speaker of the Quartets, as primarily reflected in “Burnt Norton,” presents similar central existentialist crises of simultaneously searching for the ways to explore reality or denying its possibility. He questions how much reality a human being “bears” without any meaningful attempt to understand it, and invites the reader to recognize their own unfit answers that deny their position as Outsiders in modern life.
Political theatre in the age of brexit: The state of nation in monologues
(Sciendo, 2019) Öğünç, Banu
On the British stage, political theatre, which emerged in the twentieth century, has been linked with the problems of the working class as initiated in the 1920s until the early 1960s. With the end of the official censorship of theatre in 1968, political theatre in Britain experienced a period in which socialist works marked the stage. Nevertheless, the 1990s challenged the association of political theatre with the conditions of the working class. Considering the current political and social events in Britain and around the world, it is appropriate to underline that political theatre is not only in a constant flux, but its definition has been once again challenged. In this regard, Brexit can be considered as one of the most significant movements to influence the understanding of political theatre in the twenty-first century. Consequently, this study aims to analyse Brexit Shorts: Dramas from a Divided Nation (2017), a co-production by the Guardian and Headlong Theatre Company and discuss their contribution to the changing definition of political theatre. Brexit Shorts will be further explored regarding their influence on the popularity of monologues as a mode of performance.
From mrs warren’s profession to press cuttings: the woman question in george bernard shaw’s plays
(SEFAD, 2017) Öğünç, Banu
George Bernard Shaw, who introduced social realism to the British stage, is considered to be the most significant playwright of the Victorian era. In his plays, he challenged the typical Victorian representation of female characters and introduced a new woman type who stands as a powerful and independent figure. Shaw’s female characters can be analysed in line with the suffragette movement, the fight given by British women to gain their right to vote. In this regard, Shaw’s play Mrs Warren’s Profession exemplifies a female character who can be considered as an advocate for female liberation and power. On the other hand, his play Press Cuttings, which was specifically written to support the suffragette movement, neither exemplifies the new woman image presented by Shaw in his plays nor contributes to the suffragette movement. Hence, this study aims to discuss the theme of the rights of women and to focus on George Bernard Shaw’s Mrs Warren’s Profession and Press Cuttings by means of Shaw’s involvement in and support for the suffragette movement from the Victorian to the Edwardian era.
The sense of uncanny in Agatha Christie’s a Caribbean mystery
(Afyon Kocatepe Üniversitesi, 2018) Öğünç, Ömer
The prolific English detective and crime fiction writer Agatha Christie’s A Caribbean Mystery (1964) has an outstanding status due to the number of controversies involved in the plotline, the complicated relationships between characters and the exotic setting in a supposedly colonial background. Moreover, the novel draws attention due to the tension that keeps rising until the end in addition to the fearful environment. In fact, the psychological response of the characters in the novel is worth studying due to the sense of uncanny. Apparently, only Miss Marple is capable of achieving the rationalising process that includes the familiar and the strange. The psychological understanding of the uncanny seems to be highly related to the fictional account in Christie’s novel. Therefore, this work aims to analyse Christie’s A Caribbean Mystery in the light of the sense of the uncanny to explain the response of the characters.
İzzeddin Çalışlar'ın Büyük Roman: Son Cariye, İlk Sultaniçe'sinde tarihsel üstkurmaca unsurları
(Atatürk Üniversitesi, 2017) Öğünç, Ömer
Tarihsel üstkurmaca ilk kez Linda Hutcheon tarafından A Poetics of Postmodernism adlı eserinde tanımlanmıştır. Postmodern bir açıdan bakıldığında, tarihsel üstkurmaca eserleri kendi yazım sürecini açığa çıkaran ve tarihî olayları yansıttığını iddia eden eserlerdir. Tarihsel üstkurmaca Batı edebiyatında 1980’lerden başlayarak bir teknik olarak sıkça kullanılmıştır. Bu anlatım biçiminde gerçek ve kurgu arasındaki ayrım sorgulanıp reddedilirken, tekil boyuttaki tarihsel bilgi ve gerçek gibi kavramlar yazarlar tarafından tartışmaya açılmıştır. Aslında, yazma sürecinin önem kazanmasıyla, tarihsel üstkurmaca tarihçi ile yazar arasındaki farkı da ortadan kaldırmıştır. Hayden White’ın tarih yazımı konusundaki teorik tartışmaları da tarihsel üstkurmacanın yeni bir anlatım türü olarak gelişmesine katkıda bulunmuştur. Bu teknik Türk yazarlar tarafından benimsenirken, tarihsel üstkurmaca örneği sayılabilecek bazı eserler de yazılmıştır. Bu makale, İzzeddin Çalışlar’ın Büyük Roman: Son Cariye, İlk Sultaniçe (2011) eserinde tarihsel üstkurmaca özelliklerini ve Türk tarihinin tarihsel üstkurmacada kullanımını incelemeyi amaçlamaktadır.
Gaskell’ın Cranford eserinde Viktorya toplumu ve ilericilik felsefesinin sorgulanması: Romantik bir öneri
(Selçuk Üniversitesi, 2017) Öğünç, Ömer
Elizabeth Gaskell’s Cranford (1853) can be regarded as a notable work in terms of the attitude towards the dominant idea of progressivism in the Victorian era. Many works by Gaskell’s contemporaries tended to deal with social problems of the period, among which her own industrial novels can be included. However, Cranford has an exceptional stance in that the novel takes place in English countryside remote from all the turmoil created by industrialisation. Setting her characters in the middle of an idyllic landscape where the railways and impact of the capitalist economy are quite far away from the inhabitants of the little town Cranford, Gaskell presents a lifestyle associated with the remote past, which is still alive in the memories of English people. In view of the representation of a small town in the mid-Victorian period and the praise on a simple lifestyle, Gaskell’s attitude in Cranford can be defined as a challenge against progressivism. Hence, this article aims to analyse Gaskell’s Cranford in the light of the industrial transformation of the Victorian era and argues that Victorianism and the philosophy of progressivism were severely challenged longing for pre-industrial conditions.
The repressed individual in Charles Dickens's Great Expectations
(Ankara Üniversitesi, 2017) Öğünç, Ömer
Charles Dickens's Great Expectations (1861) represents the early nineteenth-century English society from a mid-Victorian perspective and demonstrates the process in which Victorian social ideals are formed through respectability at the beginning of the nineteenth century. In the light of the critical perspective of the Frankfurt School theorists Max Horkheimer and Theodor Adorno, this article argues that the bourgeois society in the early nineteenth century represented in Charles Dickens's Great Expectations controls the individuals through normative values of the middle class and a process of identity construction enabled by false consciousness shapes the individuals' identity in order to protect the established social order. Hence, the hegemonic middle-class values in the early nineteenth century are treated as means of subjecting the individuals to social order. The protagonist Pip desires to become a gentleman almost all his life and he tries to adapt himself to the expectations of the middle-class society in London. Pip believes that social mobility is possible if he conforms to dominant norms imposed on the individuals. In Great Expectations, the con?ict between the individual and the bourgeois society is experienced particularly by Pip whose identity is formed by the normative and homogenous social order to serve society. So, this article argues that, in line with Horkheimer's and Adorno's criticism of the bourgeois industrial society, the early nineteenth-century English society represented in Dickens's Great Expectations creates repressed individuals who conform to the social order, and demonstrates that the individuals are in con?ict with the bourgeois industrial society.
Criticism of the political system on a microcosmic level: Global politics in an industrial town in John Arden's the workhouse donkey
(Ankara Üniversitesi, 2017) Öğünç, Banu
John Arden's The Workhouse Donkey depicts the local politics of a northern English town in order to criticise the corruptions within the local government in a mocking way. Derived from a real-life story, the play speci?cally focuses on the political life that can be experienced in an industrial town in the United Kingdom. According to Arden, the setting and the characters are important for the theme of the play. Nevertheless, what is portrayed in the play transcends the regional problems of a northern town. On the other hand, what is treated in the play on a microcosmic level is, in fact, a re?ection of politics on a macrocosmic, global level since it is the system that is being criticised in the play regardless of its local representation. Hence, the play has a political tone that criticises the political system rather than targeting a political party or a political view. Thus, this study aims to offer a detailed analysis of John Arden's play The Workhouse Donkey in order to justify the signi?cance of the play as a criticism of contemporary political system caricaturised as in the scope of local politics in a northern town in line with the muchdebated de?nitions of politics proposed by Bernard Crick.
Sources of orientalism: Tracing Ottoman empire in British mind
(Selcuk University, 2018) Öğünç, Banu
Established on three different continents, the Ottoman Empire demonstrated unquestioned political success and constituted the representation of orientalism for the West. Both her geographical position and her cultural identity as an Eastern and a Muslim provided the structure to approach the Ottoman Empire representing the Eastern identity as constructed by the West. Hence, a stereotypical representation of Turks created in order to satisfy the oriental approach of the West. This perspective can be observed in British sources as well. Beyond her exotic qualities for the West, the rival position of the Ottoman Empire against the British Empire provoked further interest in British names. As is common in oriental texts, British sources also reshaped the Turkish identity unconsciously to fit the text's stereotypical perspective. In addition to the fixed image of Turks and the Ottoman Empire that is depicted underlining Westernized qualities, British written sources do not hesitate to reinterpret the constructed image of Turks as a medium for their own ideologies. In this regard, tracing the British sources and their representation establishes a problematic depiction of the Ottoman Empire and the Turks that is dominated by Western ideology. Moreover, it can be further argued that the literary works also both fed upon and contributed to the stereotypical depiction of Turks as an exotic eastern. Travel writing of the time also maintained the perception of Turkish identity representing the constructed understanding of the West regarding the East. Consequently, this study aims at tracing the stereotypical image of Turks as depicted in British sources especially with emphasis of sources dating to the 19th century as the highlight of Orientalism in British Empire. Hence, the misinterpretation of the Ottoman Empire and Turks will be laid out in a chronological order underlining their common perspective.

Güncel Gönderiler