İngiliz Dili ve Edebiyatı Bölümü

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Browsing İngiliz Dili ve Edebiyatı Bölümü by Author "30410"

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    Citation Count: Sönmez Demir, Y. (2022). "Genly’s Reformation of His Self through Intersubjective Encounter in The Left Hand of Darkness by Ursula K. Le Guin", Celal Bayar Üniversitesi Sosyal Bilimler Dergisi, Vol.20, No.2, pp.206-213.
    Genly’s Reformation of His Self through Intersubjective Encounter in The Left Hand of Darkness by Ursula K. Le Guin
    (2022) Sönmez Demir, Yağmur; 30410; Çankaya Üniversitesi, Fen-Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
    The purpose of this study is to display the transformation in the self and identity of the protagonist Genly Ai in The Left Hand of Darkness (1969). Having spent two years on what he calls as a “damned planet”, Genly (master) has a chance to recognize the other (the slave), namely Estraven closely, thus experiences intersubjective encounter. In the framework of the Hegelian dialectic, Genly comes outside of his own self on Gethen and recognizes the other as a self consciousness that is other than himself. This process makes him transform as a person, develop an attachment to Gethen, and feel at home there. Hence, this study claims that Genly, an alien on another planet, reconstitutes his own self in three stages: journey, intersubjective encounter, and feeling at home on Gethen.
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    Citation Count: DEMİR, Y., (2012). The “Morally Ideal Woman” in Middlemarch. Çankaya University Journal of Humanities and Social Sciences, 9/2 (Nov. 2012), pp.295–309
    The “Morally Ideal Woman” in Middlemarch
    (Çankaya Üniversitesi, 2012-11) Demir, Yağmur; 30410; Çankaya Üniversitesi, Fen Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
    As a Victorian novelist, George Eliot depicts the 19th century English society and its system of values with respect to class stratification in her novel Middlemarch. Three main social classes of English society- aristocracy, middle-class, and working class- are rendered in detail with the help of three women figures representing the classes. With realistic representations related to society, Eliot lets the reader reach conclusions about the events and characters. The readers are introduced to the moral values of the classes, and the implicit moral teachings of Eliot. In this frame, Dorothea, Rosamond, and Mary are portrayed as the products of their classes’ moral values, aristocracy, middle class and working class respectively
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    Citation Count: Koc, Ertugrul; Demir, Yagmur, "Things are changing under the skin of England”: Representation of Immigrant Encounters in Hanif Kureishi’s ‘Borderline", Victorian Literature and Culture, Vol. 43, No. 2, pp. 425-442, (2018).
    Things are changing under the skin of England”: Representation of Immigrant Encounters in Hanif Kureishi’s ‘Borderline
    (Cambridge University Press, 2018-06) Koç, Ertuğrul; Demir, Yağmur; 6497; 30410; Çankaya Üniversitesi, Fen - Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı
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    Citation Count: Koç, E., Demir, Y. (2018). Vampire versus the empire: Bram Stoker's reproach of fin-de-siecle Britain in dracula. Victorian Literature And Culture, 46(2), 425-442. http://dx.doi.org/ 10.1017/S1060150317000481
    Vampire versus the empire: Bram Stoker's reproach of fin-de-siecle Britain in dracula
    (Cambridge Univ. Press., 2018-06) Koç, Ertuğrul; Demir, Yağmur; 6497; 30410; Çankaya Üniversitesi, Fen Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
    Much has been said about Bram Stoker's Dracula (1897), the out-of-tradition exemplar of the Gothic which, perhaps, has had a more pervasive effect on our understanding of life and death, gender roles and identity, and sex and perversity than any other work of the genre. The vampire from the so-called dark ages has become a symbol standing for the uncontrollable powers acting on us and also for all the discarded, uncanny phenomena in human nature and history. The work, however, has usually been taken by the critics of Gothic literature as “a paradigmatic Gothic text” (Brewster 488) representing the social, psychological, and sexual traumas of the late-nineteenth century. Hence, it has been analysed as a work “breaking [the] taboos, [and in need of being] read as an expression of specifically late Victorian concerns” (Punter and Byron 231). The text has also been seen as “reinforc[ing] readers’ suspicions that the authorities (including people, institutions and disciplines) they trust are ineffectual” (Senf 76). Yet, it has hardly ever been taken as offering an alternative Weltanschauung in place of the decaying Victorian ethos. True, Dracula is a fin-de-siècle novel and deals with the turbulent paradigmatic shift from the Victorian to the modern, and Stoker, by creating the lecherous vampire and his band as the doppelgängers of the sexually sterile and morally pretentious bourgeois types (who are, in fact, inclined to lascivious joys), reveals the moral hypocrisy and sexual duplicity of his time. But, it is also true that by juxtaposing the “abnormal” against the “normal” he targets the utilitarian bourgeois ethics of the empire: aware of the Victorian pragmatism on which the concept of the “normal” has been erected, he, with an “abnormal” historical figure (Vlad Drăculea of the House of Drăculești, 1431–76) who appears as Count Dracula in the work, attacks the ethical superstructure of Britain which has already imposed on the Victorians the “pathology of normalcy” (Fromm 356). Hence, Stoker's choice of title character, the sadistic Vlad the Impaler, who fought against the Ottoman Empire in the closing years of the Middle Ages, and his anachronistic rendering of Dracula as a Gothic invader of the Early Middle Ages are not coincidental (Figure 8). In the world of the novel, this embodiment of the early and late paradigms is the antagonistic power arrayed against the supposedly stable, but in reality fluctuating, fin-de-siècle ethos. However, by turning this personification of the “evil” past into a sexual enigma for the band of men who are trying to preserve the Victorian patriarchal hegemony, Stoker suggests that if Victorian sterile faith in the “normal” is defeated through a historically extrinsic (in fact, currently intrinsic) anomaly, a more comprehensive social and ethical epoch that has made peace with the past can be started.