İngiliz Dili ve Edebiyatı Bölümü

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Configuration of Transient Shelters as Alternative Spaces Through Nomadic Acts in Doris Lessing's "an Old Woman and Her Cat
(Cyprus International University, 2019) Güvenç, Ö.Ü.; 18329; 02.01. İngiliz Dili ve Edebiyatı; 02. Fen-Edebiyat Fakültesi; 01. Çankaya Üniversitesi
Doris Lessing's short story "An Old Woman and Her Cat" from her collection, The Temptation of Jack Orkney, revolves around the nomadic experiences of an old and homeless woman in various places and her survival under poor living circumstances with her cat. The places occupied by the old woman in this story such as the Council flats, the room in the slum and the ruined flat in a wealthy neighbourhood cannot be considered as proper homes where people have a sense of belonging; rather, they are just material places she tries to appropriate as shelters temporarily on the way without a feeling of warmth and attachment to them. Focusing on the woman and the cat's relationship with their surrounding provides a discussion on space and nomadism within the framework of Henri Lefebvre's spatial tripartite - the perceived, the conceived and the lived - which is related to Rosi Braidotti's theory on nomadism. It also reveals the social norms and values, which disregard an old woman and her cat's struggle for life in a metropolis. Therefore, this article aims to discuss not only the material qualities of transient places in London and their conceived perspective which segregates the poor and the homeless from the wealthy but also the old woman's configuration of alternative spaces for herself out of the ruins without a sense of home. © 2019 Cyprus International University. All rights reserved.
Reframing Pablo Picasso and Dora Maar in Grace Nicols’s ‘Weeping Woman
(Uluslararası Kıbrıs Üniversitesi, 2018) Uzundemir, Özlem; 49324; 02.01. İngiliz Dili ve Edebiyatı; 02. Fen-Edebiyat Fakültesi; 01. Çankaya Üniversitesi
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.

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