İngiliz Dili ve Edebiyatı Bölümü

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Browsing İngiliz Dili ve Edebiyatı Bölümü by Author "49324"

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    Citation Count: Uzundemir, Ozlem, "A Maid Came Free": From Sighting to Citing in Tracy Chevalier's Girl with a Pearl Earring", Studia Neophilologica, Vol. 90, No. 2, pp. 195-205, (2018).
    A Maid Came Free: From Sighting to Citing in Tracy Chevalier’s Girl with a Pearl Earring
    (Taylor&Francis LTD, 2018) Uzundemir, Özlem; 49324; Çankaya Üniversitesi, Fen - Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı
    Tracy Chevalier's ekphrastic novel Girl with a Pearl Earring explores the relationship between literature and art, as it narrates Jan Vermeer's paintings from the perspective of the story's narrator, Griet, who works as a maid in the Vermeers's house. In her fictional account, Griet gradually becomes the painter's assistant as well as his model, and subverts the gender issues in ekphrasis; the silent and gazed-upon female image in the eponymous painting gains a voice to critique Vermeer's art. This article will deal with Griet's transformation from a young maid into an art critic with respect to the issues in painting, namely colour, light and realistic representation, as well as the paragone between the viewing subject and the viewed object in ekphrasis.
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    Citation Count: UZUNDEMİR, Ö., (2005). Ayla Kutluís Kadın Destanı and the modification of the epic. Çankaya Üniversitesi Fen-Edebiyat Fakültesi, Journal of Arts and Sciences, Sayı: 3, pp.119-126
    Ayla Kutlu’s kadın destanı and the modification of the epic
    (Çankaya Üniversitesi, 2005-05) Uzundemir, Özlem; 49324; Çankaya Üniversitesi, Fen-Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı
    Ayla Kutlu's Kadın Destanı and the Modification of the Epic:Ayla Kutlu uses historical events in her fiction to make a correspondence between the past and the present, because she sees the historical background as the determining factor of what happens at present (Kutlu 9). Kutlu's work Kadın Destanı (Woman's Epic), published in 1994, is a rewriting of Gilgamesh from the viewpoint of a harlot who is abused by Gilgamesh. The female narrator of Kutlu's epic, Liyotani, talks about her suffering at the temple of Gilgamesh, while she narrates his story. Like Gilgamesh, Liyotani emphasizes the significance of writing, but their aim is different: while Gilgamesh desires to become immortal by engraving his story on clay tablets, Liyotani wants to finish writing her story before she dies in order to share her suffering with other women. In terms of form, Kutlu modifies the epic genre, which can be defined as .A long narrative poem in elevated style presenting characters of high position in adventures forming an organic whole through their relation to a central heroic figure and through their development of episodes important to the history of a nation or race. (Holman and Harmon 171). Although Kutlu.s epic is a narrative written in the form of a poem, the main character is a harlot, not a hero of a nation. Kutlu changes some characteristics of the epic to include heroines and their suffering in a patriarchal society. The aim of this paper is to show how Ayla Kutlu rewrites Gilgamesh and modifies the epic genre to connect women.s experience in the past with their present situation.
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    Citation Count: Uzundemir, Özlem. (2017). "Blake Morrison’s “Teeth” as Palimpsest", Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, Vol.34, No.1, pp.169-176.
    Blake Morrison’s “Teeth” as Palimpsest
    (2017) Uzundemir, Özlem; 49324; Çankaya Üniversitesi, Fen Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
    Blake Morrison’s poem “Teeth”, published in With a Poet’s Eye which is an illustrated Tate Gallery anthology, is replete with allusions and therefore, requires a palimpsestuous reading. Using Gerard Genette’s terminology, this poem is a hypertext, echoing Robert Browning’s “My Last Duchess” in content as well as language and structure. Like Browning’s dramatic monologue, in Morrison’s monologue the unreliable persona, a businessman, talks about the death of his ex-wife to a silent/silenced listener, while he also boasts of his art collection. Unlike Browning’s poem, though, the unreliable persona does not openly declare that he is his wife’s murderer. Moreover, the Duke refers to imaginary works of art, but Morrison’s poem is an ekphrasis on Francis Bacon’s painting Pope. This is a series of paintings designed by the painter to allude to Velázquez’s Pope Innocent X. In this way, Morrison further complicates the structure of the poem by referring not only to a previous poem but also to two paintings. The aim of this paper, then, is to discuss the multi-layered structure of Blake Morrison’s “Teeth” to show how Morrison complicates the act of telling, speaking and gazing through hypertextual and ekphrastic traits
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    Citation Count: Uzundemir, Özlem. (2013). "Challenges to Ekphrastic Poetry: Carol Ann Duffy’s “Standing Female Nude", Cankaya University Journal of Humanities and Social Sciences, Vol.10, No.2, pp.163-169.
    Challenges to Ekphrastic Poetry: Carol Ann Duffy’s “Standing Female Nude”
    (2013-11-02) Uzundemir, Özlem; 49324; Çankaya Üniversitesi, Fen Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
    Ekphrasis rests on the paragone between the sister arts, namely verbal and visual arts, the word and the image. Gotthold Ephraim Lessing in his Laocoön claims that the image is silent and fixed while the literary work is based on voice and action. W. J. T. Mitchell in his Picture Theory enlarges this binary opposition between the word and image in terms of gender roles: the female image versus the male word. The female image is objectified and gazed, while the male author/artist is the subject and the gazer. The poet laureate Carol Ann Duffy’s poem “Standing Female Nude” challenges such binary oppositions by giving voice not to the male artist but to his female model, and by attributing the role of gazing to her. Hence, the aim of this article is to display how Duffy deconstructs the ekphrastic tradition in her poem in order to subvert the domineering relationship between the artist and his model.
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    Citation Count: UZUNDEMİR, Ö., (2013). challenges to ekphrastic Poetry: Carol Ann Duffy’s “Standing Female Nude". Çankaya University Fen Edebiyat Fakültesi Journal of Humanities and Social Sciences, 10/2 (November 2013), pp.163–169
    Challenges to ekphrastic poetry: Carol Ann Duffy’s “standing female nude”
    (Çankaya Üniversitesi, 2013-11) Uzundemir, Özlem; 49324; Çankaya Üniversitesi, Fen-Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
    Bir görsel sanat yapıtını betimleyen şiirler, yazınsal metinler ve görsel sanatlar arasındaki farkların ortaya çıkmasını sağlarlar. Gotthold Ephraim Lessing’in Laocoön adlı kitabında sözünü ettiği gibi sanat yapıtı sessiz ve durağan olmasına karşın, yazınsal metin söze ve harekete dayanır. W. J. T. Mitchell Picture Theory adlı kitabında söz ve imge arasındaki böylesi ikili karşıtlığı cinsiyet rollerini de içerecek şekilde genişletir. İmge dişil, söz ise eril olarak ele alınır. Dişil imge bakılan nesne olmasına karşın, erkek yazar/sanatçı özne ve bakan konumundadır. Carol Ann Duffy “Standing Female Nude” adlı şiirinde, bu tür ikili karşıtlıkları sorgulayabilmek için erkek sanatçı yerine kadın modele söz hakkı verir ve bakma edimini de model üstlenir. Böylece, Duffy anlatıcının ister sanat yapıtı sahibi, ister sanatçının kendisi, isterse de yapıta bakan bir erkek olduğu resimbetimsel şiir geleneğini reddederek sanatçı ve modeli arasındaki güç ilişkisini sorgular.
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    Citation Count: Üstündağ Güvenç, Ö.; Sağlam, B.; Çakırlar, Ö.; Uzundemir, Ö. (2022). "Changes in the Teaching of Literature: A Study of Practices in the English Language and Literature Department at Çankaya University during the COVID-19 Pandemic", Changing English: Studies in Culture and Education, Vol.29, No.1, pp.53-65.
    Changes in the Teaching of Literature: A Study of Practices in the English Language and Literature Department at Çankaya University during the COVID-19 Pandemic
    (2022) Üstündağ Güvenç, Özge; Sağlam, Berkem; Çakırlar, Özkan; Uzundemir, Özlem; 18329; 32109; 105401; 49324; Çankaya Üniversitesi, Fen Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
    During the COVID-19 pandemic, academics and students have had to respond to the unexpected and unplanned shift from face-to-face to online teaching. Since teaching and learning through online portals has been a new experience, this has prompted the academics in the English Language and Literature Department at Çankaya University to seek alternative and creative ideas to promote student productivity, participation and motivation. The aim of this case study is to discuss how the course materials, teaching methods and assessment have been redesigned to meet the needs of online education during the pandemic. With the examples from changes in the syllabi, student survey and sample student responses, this study also reveals how the academics in the department have had an opportunity to re-evaluate systems of teaching both on and offline and to refresh their role as instructors.
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    Citation Count: UZUNDEMİR, Ö., (2012). Once an insider, now an outsider: Doris Lessing’s African laughter. Çankaya Univesity Journal of Arts and Sciences, Sayı: 10, pp.153-160
    Once an insider, now an outsider: Doris Lessing’s African laughter
    (Çankaya Üniversitesi, 2008-12) Uzundemir, Özlem; 49324; Çankaya Üniversitesi, Fen-Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı Bölümü
    Doris Lessing’s African Laughter is a travel book including her four visits in 1982, 1988, 1989 and 1992 to Africa, the place where her childhood memories belong to. Pleased to hear the end of the white man’s supremacy, she traveled to the country, not only to visit her friends and relatives but also to observe the social and political changes that took place after the country gained its independence. The aim of this article is to analyze the dynamism Lessing observes in Zimbabwe, namely the political controversies, the blending of cultures and the continuation of the colonial hatred in people’s attitudes and lifestyle as well as to evaluate her visits as inward journeys to her past through an emphasis on the fallibility of memory.
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    Citation Count: Uzundemir, Özlem, "Reframing Pablo Picasso and Dora Maar in Grace Nicols’s ‘Weeping Woman", Folklor/Edebiyat, Vol. 24, No. 93, pp. 73-79, (2018).
    Reframing Pablo Picasso and Dora Maar in Grace Nicols’s ‘Weeping Woman
    (Uluslararası Kıbrıs Üniversitesi, 2018) Uzundemir, Özlem; 49324; Çankaya Üniversitesi, Fen - Edebiyat Fakültesi, İngiliz Dili ve Edebiyatı
    The Guyanese poet Grace Nichols’s ekphrastic poem “Weeping Woman” in her Picasso, I Want My Face Back challenges Pablo Picasso’s iconic status in twentieth-century art. Written in the form of a dramatic monologue, the poem gives voice to Picasso’s model, muse and lover, Dora Maar, who was a Surrealist photographer before she had an affair with Picasso. Unlike traditional ekphrastic poems which involve the description of a fixed, silenced and gazed beautiful image through a male persona who is also a gazer of that image in poetry, Nichols transforms Maar’s objectified position in Picasso’s painting into a subject by voicing her critique of the artist’s cubist art, his use of colors as well as his geometric figures, and of his maltreatment of her. Through this ekphrastic stance, Maar reconstructs her identity as a photographer and rids herself from the artist’s domination over her in his art and personal life. Hence, the aim of this article is to discuss in what ways Nichols’s poem problematizes the privileged status of the male artist over his silenced female model and acknowledges the artistic talent of the woman through the use of ekphrasis.