Browsing by Author "Kirca, Mustafa"

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Comparative Literature in the Turkish Context: Past, Present and Possible Trajectories
(Routledge Journals, Taylor & Francis Ltd, 2024) Kirca, Mustafa; Baktir, H.
This article aims to offer a concise analysis and evaluation of the historical trajectory and the current state of comparative literature in Turkey with a particular focus on its interdisciplinary nature. Additionally, it seeks to explore the development of comparative literature and translation studies in the Turkish context, aiming to reassess the seemingly close relationship between these adjacent fields within the context of Turkish literature, which can, we believe, encourage border-crossings in comparative and translation studies and open a space for newfangled approaches in comparative studies of translated literature. (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic), (sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic)(sic).
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Gender Performance and Transitivity in Angela Carter’s The Passion of New Eve
(Hebrew Univ Magnes Press, 2023) Kirca, Mustafa; Kırca, Mustafa; Erkilic, Sila; 33693; İngilizce Mütercimlik ve Tercümanlık
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Postmodern philosophy of history and reading its traces in postcolonial (re)writing
(Springer, 2023) Kirca, Mustafa; Kırca, Mustafa; 33693; İngilizce Mütercimlik ve Tercümanlık
Presenting the outlines of the postmodern philosophy of historiography as it shapes the theoretical background for the analysis of the historical novel, this study aims to render that the recent understanding of history and its reconceptualization in decolonizing fictional (re)writings still provides the "re-visionary" stance seen in contemporary postcolonial narratives. After the introduction of postmodern innovations in theoretical and imaginative writing, there has emerged a rather newfangled view of the historical novel and an increasing inclination for narratives that attempt to reimagine historical moments and chronicles they integrate into their fictional worlds to pursue a re-visionary questioning. The critical frameworks of postcolonial historical fiction and speaking subalterns have moved on in postmillennial historical novels and political novels. Considering that postcolonial literary theories and fictional (re)writings attempt to deconstruct homogenous discourses and the Eurocentric (history) writing of the colonizer, it is claimed that, for the sake of textual decolonization, recent works of postcolonial historical writing intersect in several ways with the newfangled view of the historical novel.
Citation - WoS: 1
Citation - Scopus: 1
Reading Rushdie in Translation: Midnight’s Children, Postcolonial Writing/Translation, and Literatures of the World
(Edinburgh Univ Press, 2021) Rundholz, Adelheid; Rundholz, Adelheid; Kirca, Mustafa; Kırca, Mustafa; 33693; İngilizce Mütercimlik ve Tercümanlık
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Tying Memories Into a Pattern: William Golding's Free Fall as Autobiografiction and Trauma Narrative
(Rector Ciu Cyprus int Univ, 2022) Kirca, Mustafa
William Golding's 1959 Free Fall depicts the narrator/character Samuel Montjoy's retrospective interrogation of his past in his "non-chronological" autobiography to understand his present self. His first-person narration is a journey into his memories presented according to their importance for him at different stages of his life (the narrated self) and shows the role of memory in shaping the present self (the narrating self). The narrator regulates his memories to conceive a coherent pattern in his autobiographical account which will also give meaning to his life and help construct a unified identity. However, he adopts a structure that has to rely on his remembering/forgetting, which problematizes the idea of constructing the self through unreliable memory. With this quality of the novel as an early example of the "fiction of memory," Golding's text is inventive and looks forward to contemporary narrative approaches to autobiographical writing. Free Fall has been widely studied as an existentialist novel due to the novelist's questioning the concepts of freedom to choose and fall through the protagonist's quest for self-knowledge. However, the aim of this study is to analyse Golding's work as autobiografiction and trauma narrative where the text presents an account of the protagonist's attempt for reconstructing the self through memories subject to his modifications and offers the therapeutic use of his self-narration.
(Western)Word / (Eastern)Image in My Name is Red: An Imagological Reading of Orhan Pamuk’s Ekphrastic Reimagination
(2022) Kırca, Mustafa; Kirca, Mustafa; 33693; İngilizce Mütercimlik ve Tercümanlık
Bu çalışmanın amacı, Orhan Pamuk’un Benim Adım Kırmızı romanını görsel yansıtma biçimlerinin ve Osmanlı minyatür eserlerinin konu edildiği imgemetin ve ekfrastik anlatı olarak incelemektir. Pamuk’un bu eserinde ekfrastik anlatı, Osmanlı ve İranlı üstatların minyatürlerinde yer alan imgelerin roman karakterlerine ve anlatıcılarına dönüşmesi ve bu sayede sürdürdükleri sanat ve gerçeklik ilişkisi üzerine tartışmalarıyla gerçekleşir. Romanda farklı anlatıcı-karakterler, 16. Yüzyıl Osmanlı minyatür resmi ve aynı dönemlerde Batı resim sanatında en bilinen örneklerini veren perspektifi ikili karşıtlık olarak tartışır. Böylece görsel olan romanda anlatının konusu haline gelir. İmge ve söz arasındaki ayrımın netliğini kaybettiği ve her ikisinin de hiyerarşik olmayan bir düzlemde yer aldığı Benim Adım Kırmızı, imgemetin kavramına örnek oluşturur. Ayrıca Pamuk’un bu romanı imgesel olanın yazılı metne aktarıldığı göstergeler arası bir çeviri olarak da değerlendirilir. Romanda, Frenk ya da Venedik üslubu olarak adlandırılan Rönesans perspektif kullanımı objektif gerçekliğe en yakın yansıtma biçimi olarak görülür. Minyatür ise resmettiği nesnelerin gerçeğine benzemeleriyle değil, “anlamı” yansıtma çabası bakımından daha üstün olarak görülür. Romanın konusunu oluşturan bu iki sanat türünün ve onların gerçekliği görme biçimlerinin Doğu-Batı zıtlığı içerisinde sunulması, “biz ve öteki” imgelerinin yeniden şekil aldığı farklı okumalara açar. İmgebilimin de konusunu oluşturan bu türden kimlik çalışmalarının dinamiğini belirleyen öz ve ötekini tanıma/tanımlama için imge yaratımı, Benim Adım Kırmızı adlı romanda birbirine karşıt olarak verilen görme ve resmetme biçimleri üzerinden tartışılmaktadır.