İngiliz Dili ve Edebiyatı Bölümü Yayın Koleksiyonu

Permanent URI for this collectionhttps://hdl.handle.net/20.500.12416/419

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Yazınsal Yaratıcılıkta Temel İlke ve Kurallar
(Hayal Yayınları, 2009) Erden, Aysu
Updating the restoration Libertine in Tanika Gupta’s contemporary adaptation of William Wycherley’s the country wife
(Çankaya Üniversitesi, 2009) Coussens, Catherine
This paper analyses Tanika Gupta’s contemporary version of William Wycherley’s Restoration comedy, The Country Wife, particularly in terms of its treatment of the libertine character central to the genre described as ‘sex’ or ‘marriage’ comedy, popular during the 1660s and 1670s (Rosenthal 7-8). By resituating the play in contemporary multicultural London, Gupta enables a critique of contemporary gender and marital mores amongst young, ethnically-hybrid communities to emerge, problematising patriarchal, misogynist or aggressive versions of masculine identity, and asserting the right of individual men and women to choose their own marriage partners. However, she also gives place to the libertine ethos as it was valorised in early modern sex comedies. Critical debate concerning the social and moral implications of the libertine have remained active since the seventeenth century, with the libertine character generally interpreted as either a refreshing freedom-seeker or an anxious misogynist. While Wycherley’s play celebrates but finally limits and condemns the efforts of the libertine to disrupt patriarchal social structures, returning the rebellious upperclass ladies to patriarchal authority, and condemning Horner to future (teputedly impotent) oblivion, Gupta’s female libertines, Dolly and Daisy, remain fun-loving outsiders ready to embark on new adventures, while Hardeep/Horner succeeds in assisting the “country wife” to escape an unhappy marriage. Gupta’s version of the play draws parallels between Restoration social debate – particularly concerning morality, marriage, patriarchy and class – and the ethnically charged debates concerning cultural identity, marriage and gender rights which dominate twenty-first century urban Britain.
Reframing Pablo Picasso and Dora Maar in Grace Nicols’s ‘Weeping Woman
(Uluslararası Kıbrıs Üniversitesi, 2018) Uzundemir, Özlem
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.
Challenges to ekphrastic poetry: Carol Ann Duffy’s “standing female nude”
(Çankaya Üniversitesi, 2013) Uzundemir, Özlem
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.
“To Build a Fire”: An Ecocritical Reading
(2014) Çakırlar, Özkan
Vampire versus the empire: Bram Stoker's reproach of fin-de-siecle Britain in dracula
(Cambridge Univ. Press., 2018) Koç, Ertuğrul; Demir, Yağmur
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.
Nature, Criticism Of The World, And Love In “Dover Beach” And “Love Among The Ruıns”
(2015) Güneş, Ayşe
Matthew Arnold’s “Dover Beach” and Robert Browning’s “Love among the Ruins” have been analyzed comparatively with other poems. However, there has not been a comparative study of these two poems written by two Victorian poets, and such a study is valuable as these poems have common qualities. To cite a few, in both poems, nature is a prevalent theme portrayed through ambivalent images, and the world is criticized for different reasons. These reasons are loss of faith in “Dover Beach” and foul human nature in “Love among the Ruins,” and war in both of them. In relation to the theme of criticism against the world, change is a concept portrayed through contemplation of the past. In “Dover Beach,” this change is expressed through the depiction of loss of faith, and in “Love among the Ruins,” the change is physical within the context of a fallen empire. Love is appreciated in both poems for different reasons. In “Dover Beach,” it is the only saviour, and in “Love among the Ruins,” it is considered as a peaceful and eternal force. This paper attempts to make a further study to compare “Dover Beach” and “Love among the Ruins” which share remarkable thematic similarities as well as differences in terms of their imagery of nature, criticism against the world, and appreciation of love.
The “Morally Ideal Woman” in Middlemarch
(Çankaya Üniversitesi, 2012) Demir, Yağmur
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
Challenges to Ekphrastic Poetry: Carol Ann Duffy’s “Standing Female Nude”
(2013) Uzundemir, Özlem
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.
Dünya Sağlık Örgütü ve Asya-pasifik Endeksleri ile Karşılaştırılan Türkiye Beden Kitle Endisi Kesim Noktaları için Öneri
(2022) Dagalp, Rukiye; Aydıntuğ, Yavuz Sinan; Aydintug, Itir; Aka, Sema P.; Iper, Doruk; Aka, Bahar
Beden Kitle Endisi (BKE) hesaplamalarında, toplumlararası antropometrik farklılıklar nedeniyle ülke ve cinsiyet bazında belirli kesim noktalarının belirlenmesi önemlidir. Bu sebeple bu araştırmada, Türk genç yetişkinleri için spesifik beden kitle endisi [TR-BKE (kg/m2)] kesim noktalarını saptamak için bir çalışma yürütülmüştür. TR-BKE, Dünya Sağlık Örgütü endisi (DSÖ-BKE) ve Asya-Pasifik endisi (AP-BKE) sınıflandırmaları ile karşılaştırılmıştır. Bu araştırmada 196 olgunun (97 Erkek, 99 Kadın, yaş ortalaması 22,5 yıl) ağırlık ve boy ölçümlerini içeren verileri incelenmiştir. DSÖ-BKE ve AP-BKE’ye göre hesaplanan BKE sınıflandırılmıştır. Bu verilere istatistiksel Ampirik Kural uygulanarak TR-BKE ve ayrıca erkekler ve kadınlar için TR-BKE erkek ve TR-BKE kadın endisi kesim noktaları bulunmuştur. Veriler hem DSÖ-BKE hem de AP-BKE’ye göre sınıflandırıldığında sonuçlar tutarsızlık göstermiştir. Bu nedenle TR-BKE hesaplanarak cinsiyete göre belirlenmiştir. Bu çalışmada, Türkiye’ye özgü BKE kesim noktaları ve aynı zamanda erkekler ve kadınlar için ayrı BKE kesim noktaları bulunmuştur. Buna göre “genç erişkin” yaş grubunda erkeklerin %70,1’i kadınlarda ise %78,8’i normal sınıflamaya, erkeklerin %14,4’ü, kadınların ise %10,1’i zayıf gruba girerken, erkeklerin %5,2’i ve kadınların %4,0’ı obez gruba girmektedir. Bu sonuç Türk genç erişkinler için obez olma durumuna kıyasla, zayıf olma durumunun daha ciddi olduğunu ortaya çıkartmıştır. BKE hesaplamalarında araştırılan ülkeye özgün olarak; yaş gruplarının, cinsiyetin ve bu hesaplamalarda yaşlanmaya bağlı boy kısalma miktarının göz önüne alınması önerilmiştir.
Öfkeli genç adam - Holden-
(Çankaya Üniversitesi, 2006) Öner, Uğur; Yılmaz Kurt, Zeynep
Bu çalışmada, Salinger’ın 1950’lerin başında basılan ve genç roman kahramanının ergenlik dönemi bunalımlarını çarpıcı bir biçimde yansıtan romanı, Gönülçelen’in Amerika ve diğer ülkelerdeki yankıları üzerinde durulmuştur. Baş kahraman, Holden’ın asi ve tutarsız davranışlarının psikolojik açıdan incelenmesi, Holden’ı bu ruh haline iten nedenler ve Holden’ın tüm yaşadığı bu sorunlara yaklaşımı ve nasıl üstesinden geldiği irdelenmiştir.
“Things Are Changing Under the Skin of England”: Representation of Immigrant Encounters in Hanif Kureishi’s Borderline
(Albanian Society for the Study of English, 2017) Koç, Ertuğrul; Demir, Y.; Demir, Yağmur; İngilizce Mütercimlik ve Tercümanlık; İngiliz Dili ve Edebiyatı
This paper analyses Hanif Kureishi’s lesser known play Borderline (1981). In this work, written under the influence of 1980 Southall Riots, Kureishi addresses the problems of immigrants living in England and depicts how the idea of Englishness is challenged by the immigrants who are engaged in racist politics, suffer from identity crisis, and strive to gain a sense of belonging. Both first-generation and second generation immigrants who are unable to feel the sense of belonging in the host land (England) are depicted as occupying in-between spaces. A portrait of an immigrant Pakistani family, each member of which goes through different stages of adjusting themselves to the society they have joined is presented along with other immigrant characters in the play. To fight with the injustice and racial abuse, a group of second-generation immigrants establish an organisation called Asian Youth Movement. Although it is implied that England and English people are not ready yet to embrace other cultures, immigrants, especially second generation immigrants, endeavour to make England “habitable.” In the play, Pakistani immigrants are portrayed as subject to certain changes during the integration process, which in the long-term will have permanent effects on English national identity, culture and society. This paper aims to display how immigrants (despite being considered a threat) try to overcome the difficulties they face in the host land, and in the meantime inevitably make a change in the English culture. © Albanian Society for the Study English (ASSE).
Bibliyoterapi: Psikolojik Danışma ve Rehberlik Programlarında Çocuk Edebiyatından Yararlanma
(Ankara Üniversitesi, Eğitim Bilimleri Fakültesi, 2007) Uğur, Öner; Yeşilyaprak, Binnur
Bibliyoterapi, doğru zamanda, doğru bireyle, doğru kitab› buluşturmak olarak tan›mlanabilir. Kitaplar›n psikolojik dan›şma sürecinde kullan›lmas› oldukça eski bir geçmişe dayan›r. Öyküyle okuyucunun kişiliği aras›nda dinamik bir ilişki kurulmas› ile başlayan bu süreç 3 evrede gerçekleşir. (1) Özdeşim ve yans›tma, (2) Ar›nma( katarsis), (3) içgörü ve bütünleşme. Bu evreler öncesinde uygulay›c›- lar için haz›rl›k ve kitap seçimi aşamalar› yer al›r. Kolay bir yöntem gibi alg›lanmas›na karş›n, bu yöntemi uygulayacak psikolojik dan›şman ve öğretmenlerin baz› yeterliklere sahip olmas›, hangi amaçlarla nas›l uygulanacağ›n› iyi bilmesi , s›n›rl›l›klar› dikkate almas› gereklidir. Bu makalede, bibliyoterapi yönteminin kullan›m› ile öykülerin insan yaşam›ndaki yeri ve önemi sunulmuştur.
British national identity, topicality and tradition in the poetry of Simon Armitage
(Çankaya Üniversitesi, 2008) Coussens, Catherine
This paper explores the treatment of British national identity, topicality and tradition in the work of Simon Armitage, alongside broader issues concerning contemporary public poetry in Britain. Armitage, with Carol Ann Duffy, is a major candidate for the position of Poet Laureate in 2009. Both poets have explored constructions of national identity in their work, but it is Armitage who has located himself more assertively within the arena of public, national poetry. Despite his focus on modern life-styles and discourses, and deployment of the mass media to disseminate his poetry into non-literary public spaces, Armitage is particularly sensitive to literary and cultural tradition. Within his work, which is deliberately accessible and contemporary, tradition is always at play in terms of allusion, response and interrogation. In this sense, his poetry both occupies and challenges notions of canonicity and traditional conceptions of British national identity. His recent focus on the theme of conflict also works to expose the inadequacy of mainstream assertions of continuity and meaning when constructing national identity. Armitage places Britishness and British literature within a broader ‘Millennial’ schema of eclipse, destruction and regeneration. For Armitage the recurrence of the theme of conflict throughout literary history both connects the literature of the present day with that of the past and emphasises the future’s instability and eternal lack of resolution. Therefore, Armitage’s modern translations of canonical texts like the Odyssey and Sir Gawain and the Green Knight foreground the fact that disharmony and conflict are, and have always been, national preoccupations
Ayla Kutlu’s kadın destanı and the modification of the epic
(Çankaya Üniversitesi, 2005) Uzundemir, Özlem
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.
Çağdaş Türk Öykü ve Romanında Yaratıcılık
(Hayal Yayınları, 2009) Erden, Aysu
“Social reality versus ontological reality: the differing sense of reality in the great gatsby and heart of darkness
(Çankaya Üniversitesi, 2007) Yılmaz Kurt, Zeynep
F. Scott Fitzgerald’s novel The Great Gatsby is discussed widely for being influenced by Joseph Conrad’s Heart of Darkness. This article refers to the relevance of Conradian influences and the parallels between these two novels in terms of narration techniques, plot and characterization. Despite these parallels, however, it is also argued that the two novels reflect reality on different dimensions. It concludes by stating that Fitzgerald shares the same concern with Conrad in narration technique, in characterization and in handling the idea of corruption and civilisation, but their approach to the subject of corruption and civilisation differs. Fitzgerald considers corruption as a social vice, whereas , in Conrad it is associated with human nature altogether. These differing ideas of corruption, as an ontological fact in Conrad and as a social vice in Fitzgerald, prove also that their concept of reality is different
Citation - WoS: 3
Citation - Scopus: 3
Vampire Versus the Empire: Bram Stoker's Reproach of Fin-De Britain in Dracula
(Cambridge Univ Press, 2018) Koc, Ertugrul; Demir, Yagmur
İçbütünlük sorunu ve modern politik ahlak
(Çankaya Üniversitesi, 2015) Aral, Halide
This article is about the question of integrity in modern political ethics. It regards modern political practice as unethical and relates it to the change in political philosophy introduced by Machiavelli;the sensate civilization of the West in Sorokin’s terms; and the prometeic culture which developed, as Schubart claims, with the Renaissance. Then, it argues that making integrity the central virtue in politics will contribute to the development of ethical political practice.
“Virtue’s commonwealth”: gendering the royalist cultural rebellion in the English interregnum (1649-1660)
(Çankaya Üniversitesi, 2006) Coussens, Catherine
Historians and literary critics have acknowledged the ways in which royalism during the English civil war period came to be associated with the “feminisation” of Stuart court culture, and of the king’s cause as a whole. However, they have failed to attend adequately to the deliberate focus on women and female cultural authority within the literature associated with the “royalist cultural rebellion” (the movement that sought to preserve and recall the ethos and identity of the banished Stuart court). While male poets adopted a self-mocking tone when advertising their artistic dependence on female patrons, alluding self-consciously to their own “feminised” retirement, women’s active role in commissioning, preserving, disseminating and composing royalist literature suggests that their cultural importance was enhanced by the conditions of the Interregnum. Both royalist and parliamentarian propagandists exploited anti-feminist satire to condemn what they saw as illegitimate forms of government. However, royalist traditionalists overtly connected elite royalist women with the ethos and situation of the eclipsed Stuart monarchy, and sought to address a burgeoning female readership by stressing women’s advantages under the Crown. Royalist women in turn responded to these cultural constructions of royalism and femininity, creating powerful authorial identities that would remain potent after the Restoration in 1660

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