İngiliz Dili ve Edebiyatı Bölümü Tezleri

Permanent URI for this collectionhttps://hdl.handle.net/20.500.12416/132

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A comparative study on the theme of woman's initiation in Kate Chopin's the awakening and Doris Lessing's the summer before the dark
(2016) Kümbül, Tuba
This study offers some insight into the rise and development of feminist movement, with special focus on a comparative analysis of two novels, Kate Chopin's The Awakening and Doris Lessing's The Summer Before the Dark – products of the late nineteenth-century American Literature and the late twentieth-century English Literature, respectively. Although these two authors lived in different ages and societies, the female protagonists they portrayed in these two novels have some common features and live through similar problems and follow similar paths to cope with these problems. Undoubtedly, women in the late twentieth century enjoyed greater freedom and better opportunities than those who lived in the previous century. However, it is clear that not much has changed in terms of women's emotional response to their position in society and the kind of problems they were confronted with. For all their differences, what remains the same is women's sense of dissatisfaction with their own lives and their determination to break out of the chains in family and society. Women's familial and social responsibilities prevent them from becoming aware of their own capabilities, realizing their potential, and accomplishing their ideals. In the novels under discussion, two female protagonists -Kate and Edna- go through a process of awakening and self-discovery after a long period of suffering as wives and mothers. Unwilling to follow the established norms of society, the female protagonists, refuse to fulfill the traditional roles of wifehood and motherhood assigned to them by the patriarchal society. They set out on a journey (both physical and spiritual) in their attempt to achieve autonomy and identity. In the end, Kate (in The Summer Before the Dark) decides to return to her family with a heightened sense of confidence and greater feeling of fulfillment, while Edna (in The Awakening), who has lost all her hopes for a better life, ends up committing suicide.
A psychoanalytic reading of Joseph Conrad's Heart of Darkness from frommian perspective
(2011) Ataşer, Ceren
This study of Conrad’s Heart of Darkness aims at a psychoanalytic reading of the relationship between Marlow and Kurtz, the two main characters of the novel, and the role of civilization and nature duality play a great role in determining the fate of Marlow and Kurtz in the light of Frommian theory. The first chapter presents a detailed exploration of the milestones of Conrad’s life as well as his struggle for survival. Living within a Modernist milieu, Conrad investigates the situation of man in this world and also questions the meaning of life. As the representation of Conrad’s perception of Western civilisation and reality, varying critical considerations, Freudian psychoanalysis included, of Heart of Darkness will be discussed to prepare the ground for application of Frommian psychoanalysis to the novel. The second chapter is an examination of Fromm and Frommian psychoanalysis. Attention is focused on the revised form of psychoanalysis after Sigmund Freud’s psychoanalysis and what Fromm himself has to say on the nature- man relationship, the nature of the individual and effects of civilisation on the individual. The third chapter consists of a detailed reading of the novel from a Frommian psychoanalytic perspective. This reading explores the unconscious reasons in the psyche of Europeans, for their colonialist attitude and degradation in Congo. Kurtz’s primitivity and violence is explained as a narcissistic behaviour, in Frommian terms, that represents the need to turn back to the security of the mother’s womb. The idea of horror expressed by Kurtz at the end of his voyage to the dark realms of the human psyche, reflects man’s loss of unity with nature in the modern world, his limitation by the impositions of the society and social institutions, and their repression on the human unconscious
A qualitative study on instructors' attitudes, readiness, and challenges toward flipped teaching in preparatory schools
(2020) Yılmaz, Tuğçe
The main purpose of this qualitative study was to investigate the attitudes of instructors in terms of the flipped teaching model. Another purpose in this respect was to understand preparatory school instructors' perceptions related to their readiness for the flipped teaching model. Finally, a third purpose involved examining instructors' attitudes toward possible challenges while applying the flipped teaching model from their point of view. To be able to acquire this data the researcher implemented an interview with the preparatory school instructors. The participants of this study were 20 preparatory school teachers, who were working in state and foundation universities in Ankara, Turkey. A qualitative phenomenological study was conducted and the data was gathered through semi-structured interviews. The findings of the study indicated an overall positive attitude towards the flipped teaching model. The results for the readiness level reveal that even if the instructors' have positive attitudes; most of them do not feel ready for using this model because of the lack of training they received on the implementation of this model. In this regard, universities need to invest in training to raise instructors' awareness and readiness in this respect. Possible challenges were also expressed by instructors and grouped according to their source. Findings suggest that Flipped Teaching Model would be preferable for preparatory schools on condition that the substructure is prepared and the necessary training is provided by the universities.
A study of the psychology of migrant identities and the psychoanalytic roots of non-belonging in Monica Ali’s Brick Lane
(2010) Çakmaktepe, Müzeher
Monica Ali’s novel, Brick Lane (2003) has become the subject of a critical controversy concerning Ali’s depiction of a migrant diaspora living in London. Ali has been criticized for writing about a community she does not truly belong to or understand. The novel has therefore been judged in terms of its integrity as a post-colonial text. However, this thesis will demonstrate that rather than attempting to construct a postcolonial critique of migrant experience the novel constructs a detailed exploration of the psychological responses of particular individuals to the traumas of migration and marginalization, alongside an investigation of the psychological roots of the current conflicts between different ethnic and religious groups. The thesis represents an interdisciplinary study, combining a detailed reading of Brick Lane with recent psychoanalytic analyses of personality development and the effects of geographical displacement and migration on the individual and collective psyche. The introduction will present a brief discussion of recent literary and political debates concerning Brick Lane. The rest of the thesis will analyze the novel through the ideas of three contemporary psychoanalytic theorists. In Chapter 1, Salman Akhtar’s work on the psychological causes and consequences of migration will be used to interpret Ali’s depiction of the characters’ complex and diverse responses to their situations. In Chapter 2, Vamık Volkan’s exploration of the psychological factors behind the identification of enemies and allies in collective thinking will be brought to bear on the novel’s treatment of group conflict. Chapter 3 presents an analysis of the major characters through the work of another recent theorist, J. F. Masterson, whose studies of the roots and consequences of disorders of the self have widened the field of theories of personality to include ways in which unresolved hidden conflicts, especially in childhood, may manifest themselves as disorders of the self in later life. In uncovering the connections between the psychological and political issues raised in the novel, the thesis will offer an original contribution to the debate concerning Brick Lane’s status in what has been termed the “new English literature.”
Affinity between the fiction writer and the filmmaker: Viewpoint, aesthetics, and cinematographic representation in Sherwood Anderson's and James Joyce's short stories
(2003) Taner, Neşet Erdem
The affinity between fiction and film can be explained by the affinity between fiction writer and the filmmaker. The fiction writer begins with a series of images which he conserves in his mind and which he has obtained from his past experiences. He sets these into motion while creating his fiction. Whenever there is a conflict, there is a story to be told. Filmmaker puts into motion the still images in his mind and he forms his film. From this perspective, it can be put forward that both the fiction writer and the filmmaker are artists who activate the mental photographs in their minds and who create their art through their selective perception. Therefore both the fiction writer and the filmmaker establish the still pictures in their minds from an aesthetic viewpoint and subjectivity to reach at their viewers or readers. American writer Sherwood Anderson and Irish writer James Joyce have reflected still pictures in their Winesbura. Ohio and Dubliners respectively by transforming those pictures into the form of motion pictures from their own Ill viewpoints and aesthetical perspectives. They have worked as if they were filmmakers in transmitting their fiction. To conclude fiction writing and film language have similar language, have similar characteristics, and both are based on the principle of putting into motion a sequence of still pictures relying on an expressionistic and subjective viewpoint and aesthetics.
An Existential approach to freedom of choice in John Fowles's the French Lieutenant's Woman
(2015) Ahmed, Abdulazeez Taha
This thesis concerns itself with a comprehensive analysis of John Fowles's novel The French Lieutenant's Woman with a special focus on the philosophy of existentialism. The main argument of this study is that, as a typical example of postmodern fiction, The French Lieutenant's Woman explores the idea of existential freedom in a historical perspective. The study also reveals Fowles's conviction that existential freedom is a significant challenge that confronts the individual with the need to prove his existence. Fowles presents existential freedom throughout the narrative process and the conduct of the employed narrator and the characters. Fowles puts the readers in a position where they can exercise freedom of choice. The study proves that The French Lieutenant's Woman is a postmodern novel though, on the surface, it looks like a Victorian novel. This study explains the basic elements that make the novel a distinctively postmodern work. Furthermore, this thesis aims to show that The French Lieutenant's Woman reflects a worldview which challenges the traditional narrative techniques. The study also illustrates the way Fowles criticizes and breaks up the established methods of the traditional narrative style.
Assimilation of The Other through feudalism as the dominant paradigm in Sir Gawain and The Green Knight
(2015) İşleyen, Onur
14. Yüzyıldaki sosyo-kültürel değişimler öyle bir noktaya ulaşmaktadır ki, Gawain şairi ortaya çıkmakta olan değerler sistemlerini feudal düzene yönelik tehditler olarak algılamaktadır. Sir Gawain ve Yeşil Şövalye, Gawain'in 5. Yüzyıldaki hatasını hatırlatarak tarihi gelişmeler açısından ülkenin durumunu daha geniş bir bağlamda sunarak yükselmekte olan bireyci ve ticaretçi akımları bu bakış açısıyla tartışmaktadır, ve zamanının psikesini kadınların rolüne özel bir göndermede bulunarak tartışmaktadır. Yazarın kurguyu bu şekilde oluşturması onun özellikle Galler'in konumunu ilgilendiren politik sorunları tartışabilmesini sağlamakta, ve metin, Gal halkını, farklı sınıf ve topluluklar arasında birlik sağlamak amacıyla sisteme entegre edilmesi gereken feodal yapının 'öteki'si olarak konumlandırmaktadır. Yazar, yeni değer sistemlerinin paganlaşmakla eşdeğer olduğuna inanmaktadır, ve aristokratlar da saflıklarını kaybettikleri için uzun zamandır dine hakaret halindedirler. Kadınların politikada yer alması, yazarın, kendi zamanının yöneticilerinin göremediğine inandığı bir musibet olarak değerlendirilmektedir. Bu açıdan, bu tez, dini, 'öteki'ni feodal hiyerarşiye entegre etme zorluğunun çözümü olarak nasıl sunduğunu, Gal halkı ve diğer sosyal sınıfların asimile edilmesine duyulan ihtiyacı, ve yazarın Galler'den İskoçya'ya farklı alanlarda İngiltere'nin yürüttüğü kolonileşme politikasını nasıl haklılaştırmaya çalıştığını incelemektedir.
Dracula: the story of a terrorist against “order”
(2006) Körpe, Ahmet Emre
In Dracula, Stoker deals with the harmful effects of capitalism acting upon environment and people. He depicts bourgeois characters as neurotic, and as products of industrialism. Count Dracula fights against bourgeoisie and threatens the capitalist order. Thus, the novel represents Stoker’s disgust with capitalism and the new social classes it created. Through the clash between vampires and sentimental characters, he reveals his desire to amalgamate the Victorian paradigm with the feudal, more humane one. Bourgeoisie rejects the past, thinking that those times were “barbaric and nasty.” Stoker, however, shows that medieval paradigm was a humane one. Although he exploits the archetypal fears of both the characters and the readers, he reveals that those ages were more virtuous when compared with the nineteenth century. For Stoker, the “modern” world is hypocritical; there is real tyranny in the “civilized” paradigm. Dracula belongs to the past paradigm. His hatred of the general hypocrisy in the capitalist world turns out to be his virtue. He converts bourgeois characters to his own paradigm. By converting characters he, in fact, creates free individuals. What Stoker is after is not the appraisal of the medieval paradigm, but rather a suggestion that an amalgamation between the two paradigms is necessary. However, he knows that Dracula and what he represents will not be able to find a place in the modern world. The defeat of the Count at the end should be read as the warning of Stoker for the coming of capitalist dystopia or neoimperialism.
Dublin as ancestral matrix: the rebirth of the Irish fetus into self-recognition in James Joyce’s “Eveline” and “the dead”
(2006) Kızrak, Meral
James Joyce’s Dubliners depicts the city of Dublin as a metaphor for the Irish soil. Though self-exiled, Joyce the Irish patriot introduces Dublin to be the ancestral matrix from which the Irish may be reborn to claim their Irish identity. The dilemma with Irishness, as Joyce explores, is that the Irish are in a state of denying their identity. Mistakenly apprehending Dublin as a city of decay, Dubliners are compelled to desert it. Their impetus to escape from Dublin and its psychological detention results in an inevitable loss of Irish identity. However, Dubliners are, shockingly and almost instinctively, dragged into Dublin, the ancestral matrix, where they undergo an embryonic state: they are nourished by the genuine Irish blood, and reborn as themselves, with the Irish identity from which they have sought escape. The protagonists of “Eveline” and “The Dead” are in a state of selfdenial, thus becoming invisible in Dublin, which causes them to quest for identity. From a psychoanalytic perspective, theirs is an instinctive drive to seek maternal safety and protection, a reason for their futile attempt to escape into a Platonic and idealized womblike cocoon. However, having done away with the anxiety resulting from impersonating an alien identity, they undergo “the oceanic feeling” of oneness with the ancestral womb. This regression into the form of the Irish fetus provides the characters with the pleasure of claiming their individuality and of becoming regenerated through an introspective self-realization. Therefore, in Dubliners, Joyce attempts to hold up a mirror to his compatriots to help them realistically visualize and appreciate their actual self, reflected on the “liquor amnii” of Dublin, the ancestral matrix.
Etched on the body: Fear of the female in Ainsworth's The Lancashire Witches
(2022) Yıldırım, Ozan Çağlayan
Bu tez William Harrison Ainsworth'ün The Lancashire Witches (1848) adlı romanında cadı figürünün 16. ve 17. yüzyıl Avrupa'sındaki metinler ve söylemdeki oluşumunu inceler. İngiliz edebiyatının Viktorya dönemi temsilcisi olan bu roman, karakterlerini ve olayları Pendle'da düzenlenen cadı avlarının tek 'tarihsel' anlatımı olan Thomas Potts'un The Wonderful Discoverie of Witches in the Countie of Lancaster (1613) eserinden alarak kurgulaştırır. Bu çalışma Michel Foucault'nun "söylem ve iktidar" kuramını kullanarak, cadı avı kavramının ataerkilliğin tüm dünyada uyguladığı "epistemik şiddet" aracılığıyla nasıl kadın avı kavramı ile eşanlamlı hale geldiğini tartışır. Hristiyan teolojisinin, demonolojisinin ve engizisyonun uyguladığı bu şiddet, romanda kadınların doğası gereği özünde nasıl kötü ve gühahkar olduğunu gösteren tasvirlerle kadın kimliğinin nasıl bu epistemik şiddete mağruz kaldığını gösterir. Özellikle Thomas Potts karakteri, ataerkilliğin temsilcilerinin kendi siyasi çıkarları için, egemen güç tarafından üretilen bu söyleme nasıl dayandığını vurgular. Temel amaç, bu söylemsel şiddetin kadın bedeninin erkek egemenliği için yaydığı iğdiş kaygısı nedeniyle üretildiğini göstermektir. Bu kaygı roman içerisinde belirli cadıların anormal betimlemeler ile tasvir edilmesine yol açar. Cadı Nan Redferne'in yer aldığı işkence sahneleri, ataerkilliğin bu iğdiş edilme kaygısının üstesinden gelmek için nasıl baskı uyguladığını ve cadının "iğrenç" bedenini fetişleştirdiğini ortaya koyar. Özellikle Mother Demdike ve Alice Nutter karakterleri ataerkil düzeni ve erkek egemenliğini kadın cinsiyet kimliğine uygunsuz davranışlarıyla tehdit ederek, bu iğdiş edilme kaygısının vücut bulmuş hali olarak cadı ismi altında canavarlaştırılmıştır.
Eugenics and social order in Aldow Huxley's brave new world and Margaret Atwood's Oryx and Crake
(2004) Çolak, Olcay
The scientific and industrial revolution of the nineteenth century has led to urbanization and mass-production. These changes had dramatic effects on the lives of workers. They were regarded as the part of a machinery to run the factories. Efficiency and progress were the catch-phrases of the era. Eugenics, an old idea which can be traced back to Spartans, was revived. The principles of the Theory of Evolution were applied to form a theory of better human breeding. This thesis is both a summation of the origin and nature of the eugenics movement in Britain and itsa reflections in literary utopias and dystopias. Aldous Huxley's Brave New World and Margaret Atwood's Orxy and Crake, which are reactionary dystopias, have been analysed in context to their involvement with eugenics to form the social order in their respective societies. The positive aspect of the application of eugenics as a social movement and Utopian theme for the creation of ideal societies can easily be nullified by the coercive manipulations of those in power. In the chosen works this possibility and its disturbing consequences have been examined through transformed complex worlds created by the literary imagination of both authors.
Existential struggles of the self and the other: Jean Rhys’s Voyage in The Dark ve Wide Sargasso Sea as postcolonial novels
(2012) Soysal, Mustafa
George Eliot lived in the early Victorian age which witnessed a transformation in the social structure because of the Industrial Revolution. In Middlemarch, she analyzes the emergence of the capitalist paradigm, and the impact of the new system on individuals and institutions. To demonstrate the interaction among history, culture, industry, defined gender roles and the position of woman in the newly formed social strata, she creates a set of characters from all the layers of the society and weaves their stories in a web of relations. The stories of three women, Dorothea, Rosamond, and Mary from the main classes of the society (aristocracy, middle class, and working class), are rendered along with the expectations of the specific classes in society, with social and political changes, and with the institution of marriage and the moral values pertaining to each class. Eliot indicates that the classes, the products of the capitalist economy, shape the personality of the characters. In the male dominated socio-economic model, women are left outside the production mechanisms, and their efforts for self-development are hindered by the norms of patriarchal society. Appreciating the individual efforts of women who try to go beyond the limits, but seeing also that women suffer from the insufficiency of opportunities, Eliot attempts in her work to depict an ideal heroine. Hence, Middlemarch is the story revealing the evolution of the female identity in capitalist patriarchal order. Born to a Creole mother and a Welsh father, Jean Rhys, in her novels, Voyage in the Dark and Wide Sargasso Sea, reflects her own background and experiences in those of her characters. As both a white Creole and an English woman, and as the embodiment of postcolonialism, Jean Rhys, reflects her own dilemma and existential struggle in these novels. In her novels, Voyage in the Dark and Wide Sargasso Sea, she reveals the social, cultural and economic paradigms of two different nations and cultures that is to say, England and the West Indies. Her handling of her material identifies her with postcolonialism, which speaks for the ‘oppressed’ and ‘silenced’, as an aspect that reflects the existential struggles of the Self and the Other. This thesis seeks to analyze Voyage in the Dark and Wide Sargasso Sea as postcolonial novels through the perspective of existentialism. After a brief introduction, the first chapter of the thesis examines Jean Rhys’s own life alongside basic principles of postcolonialism and existential philosophy. In the second chapter, Voyage in the Dark is analyzed as a postcolonial novel representing existential characters. The third chapter applies the same existential and postcolonial perspectives to Wide Sargasso Sea. In conclusion, the existential struggles of the self and the other reflected in these novels are considered as postcolonial entities.
Freudian uncanny and the double in the picture of Dorian Gray
(2019) Şahin Bektaş, Zehra
Karakterlerin daha iyi anlaşılmasına katkıda bulunan psikanalitik unsurların izini süren bu çalışma, Oscar Wilde'in eseri Dorian Gray'in Portresi'ni incelemektedir. Çalışmanın başlıca odak noktası, travmatik çocukluk döneminin, kimlik kriziyle sonuçlanmasıyla parçalanmış benliğinden dolayı acı çeken başkarakter Dorian Gray'dir. Romanın diğer karakterleri Lord Henry ve Basil Hallward, Dorian ile ilişkileri bakımından incelenmiştir. Bu iki karakter birbirine zıt karakterler olarak ele alınmıştır. Psikanalitik bağlamda, Lord Henry ve Basil, bu çalışmada Dorian'ın zihninin birer parçası olarak yorumlanmaktadır: Lord Henry, Dorian'ın alt benliğini ve dürtüleri üzerine şekillenen kimliğini temsil etmektedir; Basil Hallward ise Dorian'a toplumdaki ahlaki kodları hatırlatan ve onu diğerlerine karşı kaba davranışlarını terk etmesini öğütleyen üst benliğini temsil etmektedir. Çalışma kapsamında romandaki tekinsiz öğeler olan çatı katı ve portre de incelemektedir. Her ikisi de Dorian'ın tekinsizliği tecrübe ettiği araçlar olarak açıklanmaktadır. Tekinsizlik bu çalışmada, bireyin baskı altında tuttuğu benliğiyle yüzleştiği deneyim olarak tanımlanmıştır ve bu yüzleşmeden kaynaklanan şok, korku ve iğrenme duygularını da kapsamaktadır. Bu anlamda, Oscar Wilde'ın tek romanı olan Dorian Gray'in Portresi, içsel arzuları ve sosyal normların baskısı arasında sıkışıp kalmış, sadece fiziksel olarak değil aynı zamanda zihinsel olarak da dengeyi sağlamak için mücadele eden bireyin tekinsizliği deneyim etmesine bir örnek olarak düşünülebilir.
Graham Swift's waterland as historiographic metafiction
(2019) Duman, Volkan
Bu tez, Graham Swift'in romanı Su Diyarı'nı Linda Hutcheon'un tarihsel üst kurmaca kavramı ışığında postmodern tarihi roman olarak incelemeyi amaçlar. Temelde, bu teori tarihin kurmaca olduğunu ve saf gerçekliği sunamayacağını söyler. Bu fikirlerin ışığında, bu çalışma Graham Swift'in romanı ana karater ve ayrıca tarih öğretmeni ve romandaki tek anlatıcı olan Tom Crick üzerinden Su Diyarı'nın tarihi üst anlatı olarak görmediğini ileri sürmektedir. Özdüşünümsel bir anlatıcı olarak, özgönderimsel bir metinde, Tom Crick ilk olarak tarih, hikâye, gerçeklik, ilerleme ve masal gibi kavramların anlamlarını bulanıklaştırır. Sonrasında, tarihi gerçeklerin uygunluğu üzerindeki çelişkili varsayımları okuyucuda kafa karışıklığına yol açar. Günahlarından arınma adına, hikâyeleri yoluyla gerçekleri saptırması kendi dışında hiç bir kimsenin işine yaramamaktadır. Sonuç olarak, bu çalışmayla Tom Crick'in nasıl güvenilmez bir anlatıcı ve tarihçi olduğu ve tarihsel gerçekliklerin Swift'in bu postmodern tarihi romanında objektif olarak temsil edilemeyeceği ortaya konmuştur.
Henry James retrospective conception of evolution in the Turn of the Screw and Beast in the Jungle in respect to Nietzsche and Darwin
(2003) Atar, Özge
Henry James, as an author, was not in isolation from his cultural, intellectual and philosophical impacts dominant in his times. Therefore, he was affected from the philosophical approaches of his contemporaries, Nietzsche and Darwin. With respect to this, James' understanding of evolution and history was shaped by Nietzsche's conception of 'Superman' and 'History' as well as Darwin's 'Theory of Evolution'. Man has the capacity to reach to self-fulfillment in life and form the base for the Superman by improving himself, enhancing his life, questioning history and learning from past mistakes. In addition, man is in a continuous struggle for existence and a better life. As a social human being, he enriches his standards of living through adaptation to the environment. According to the approaches of Nietzsche and Darwin, the evolutionary process occurs in historical time from the past to the present and future. Henry James, in his fiction, reflects how his characters experienced life and reached at accomplishment through self-development and self-realization and how they managed to use their past lives to enhance their present living. What makes James as IV outstanding as Nietzsche and Darwin is his suggestion of anti-thesis, that is, the reversed form of evolution. The evolutionary process takes place in historical time from the present to the past and to the sub-conscious mind as if a journey to the past in retrospection and the origin of one's life. Only then is it possible for man to continue his evolution to the future, in a linear historical process of becoming. i
History, his story, and story conceptions of reality and freedom in The French Lieutenant's woman
(2005) Ulusoy, Emel
John Fowles is one of the famous novelists of the twentieth century. The French Lieutenanfs Woman is considered to be his best work in which he demonstrates the interacting natures of fiction and life, culture and ideology, and man and freedom. He sees the novel as an evolving genre, and draws a parallel between the evolution of fiction and the evolution of man. Fowles rejects the traditional understanding of novel writing. He gives a new shape to the genre by asserting a metafictional style. He compares and contrasts his style with those of the Victorian novelists. To do this, he assumes a pseudo-Victorian tone which enables him to act both in and out of the Victorian tradition. While constructing the work, he makes use of documentary, history, sociology, and psychology. The novel becomes an amalgam, and with this amalgam, Fowles is able to draw a three-dimensional picture of his society in which man is destined to evolve horizontally. Hence, different from the nineteenth century novelists, Fowles IV depicts an alternative, horizontal evolution model contrary to the vertical one of the Victorians. The female character Fowles creates is the prototype of the horizontally evolving "modem" woman. However, Fowles does not limit modernity with twentieth century only. The gist of modernism (or postmodernism) for him lies in the idea of evolution itself, and it is timeless. Through the relation between Charles and Sarah, he shows that change is inevitable, and at the same time he expects his readers to evolve through the reading process of the novel. Finally, Fowles comes to reveal that there is a parallelism between life and fiction because man has always created fictitious pasts and presents, and an image of a fictitious future.
I am not What I am: Iago as a diabolical manipulator in Othello
(2012) Majed, Mohammed Hameed
Bu tez Iago'nun şeytani yönlerini karakteri şeytanla alakalandırarak tartışmaktadır. Shakespeare'in eserinin bütününe bakıldığında, Iago ve oynadığı rol daha bir vurguludur. Kraliçe Elizabeth döneminin ?şeytan? algısından yola çıkarak ve şeytanın kişilik tahlili yapılarak, tezde bu tartışma oluşturulmuştur. Dönemin algısına gore; bir insane şeytanla anlaşma yapabilir, hatta şeytan, insanda vücut bulmuş olarak da ortaya çıkabilir. Bu tezin vurgusu da, detaylı bir Iago betimlemesi yoluyla?ve dahası?Iago'nun sarfettiği sözler ve davranışlardan yola çıkarak, şeytani karakterin kişiliği üzerinedir. Mutsuz evlilik temasının işlendiği eserde ?alçak? diye nitelenebilecek karakterin cinselliğinin, karakterinin amaçlarıyla alakalı ipuçları vereceği de bir gerçektir. Gerçekte, Iago'nun neyi amaçladığı eserde bir bilinmez olarak kalır. Sonuçta, Iago'nun şeytani yönlerinin eserdeki tahlili, Othello'nun sembolik ve etkileyici bir eser olmasını da beraberinde getirmiştir. Shakespeare'in ?manadünya?ya olan ilgisi dikkate alındığında, aslında Iago karakterini yöneten gücün de şeytan olduğu söylenebilir.
Martyrdom for knowledge in Christopher Marlowe’s Doctor Faustus
(2010) İşçi, Osman
Doctor Faustus başlıklı oyunun yazarı Christopher Marlowe, dinin egemen olduğu Ortaçağ döneminden, sorgulayıcı insan zihninin evrimi aracılığıyla seküler Rönesans dönemine geçişi sergiler. Oyunun ana karakteri Doktor Faustus, Tanrı tarafından yasaklanan mutlak bilgi alanına girecek kadar cesaretlidir. Aydınlanma yolunda, benliğini öncellerinden aldığı miras ile insanlık adına adamaktan kaçınmaz. O, doğa bilimleriyle sınırlı mevcut bilgiyi aşarak evrensel bilgiye ulaşacak ve bu yolda bir bilim şehidi olarak anılacaktır. Bunu sağlamasına olanak tanıyan eyleminin beş önemli özelliği bulunmaktadır. Bu özellikler şu şekilde tanımlanır: bir teist olan Doktor Faustus, insan zihninin ötesinde mutlak başarıyı algılar; bunun için Tanrı’nın logos’undan sapar; Tanrı tarafından tanımlanan edilgen bir nesne değil aktif bir özne olarak tarihteki yerini alır; böylelikle, Hazreti İsa’ya bir alternatif olarak, bilim adına şehadet mertebesine yükselir. Bundan dolayı Marlowe’nin seküler yaklaşımı, Doktor Faustus’u, geri dönüşü olmayan, insanlık adına kaçınılmaz bir yola girmek sorumluluğunda olan bir bilim insanı olarak sergilemektedir. Doktor Faustus, yaşamının kritik bir noktasında, hayati bir karar vererek Tanrı’nın sözünden sapıp, acı çekip, işkence görüp cehenneme sürüklenir. Ancak, Hıristiyan dogmasının buyurduğu şekliyle günah işlediğini itiraf edip, tövbe etmez. Bilgi yoluna girmesi ve kendisini bilim yoluna adayan bir birey olması, bu yolda sonuna kadar devam etmesini sağlayan temel itici güç olduğundan, Doktor Faustus kararlıdır. Özgür iradesi, onu seçiminin sonuçlarını karşılamaya hazırlar. Tanrı’nın iradesine karşı duruşu, onu Hıristiyan dogma temelinde suçlu kılar fakat seküler bakış açısına göre Doktor Faustus bir bilim şehididir.
Mary Shelley and the capitalist paradigm: formed and deformed bodies in Frankenstein
(2010) Güzey, İdil
Mary Shelley lived in an age that witnessed a great paradigmatic change: the shift from the mercantilist to the capitalist world order. In Frankenstein, she unveils the social and psychological impacts of the new system acting on the individual by illustrating the case of Victor Frankenstein, who, by creating a monster for his own social emolument, turns into a symbolic figure standing for Western unethical capitalist mentality. Her target of criticism being capitalism itself, she shows that the system is, in fact, self destructive. While attacking the capitalist system of her age, Mary Shelley reveals that capitalist culture is the greatest of all challenges for man for it forms and deforms the individual. Frankenstein, the culturally formed scientist of the new capitalist age, represents both the social and psychological deformity in the Western paradigm for he creates a destructive “monster,” the pathetic residue of Frankenstein’s selfish social and individual pursuits, as well as an emblem of the disrupted psychology of the character. The two clash in the novel, and their mutual struggle ends in the Arctic with the destruction of the two, showing that this capitalist civilization itself is the threat to its own existence. She demonstrates that capitalist and progressive mentality of both individual and society produces perversity, disrupting the healthy growth of human psyche and the constituents of Western culture. Finally, through Frankenstein Mary Shelley indicates the catastrophe awaiting mankind.
Middlemarch: the story about the reformation of female identity in the 19th century capitalist paradigm
(2012) Sönmez Demir, Yağmur
George Eliot lived in the early Victorian age which witnessed a transformation in the social structure because of the Industrial Revolution. In Middlemarch, she analyzes the emergence of the capitalist paradigm, and the impact of the new system on individuals and institutions. To demonstrate the interaction among history, culture, industry, defined gender roles and the position of woman in the newly formed social strata, she creates a set of characters from all the layers of the society and weaves their stories in a web of relations. The stories of three women, Dorothea, Rosamond, and Mary from the main classes of the society (aristocracy, middle class, and working class), are rendered along with the expectations of the specific classes in society, with social and political changes, and with the institution of marriage and the moral values pertaining to each class. Eliot indicates that the classes, the products of the capitalist economy, shape the personality of the characters. In the male dominated socio-economic model, women are left outside the production mechanisms, and their efforts for self-development are hindered by the norms of patriarchal society. Appreciating the individual efforts of women who try to go beyond the limits, but seeing also that women suffer from the insufficiency of opportunities, Eliot attempts in her work to depict an ideal heroine. Hence, Middlemarch is the story revealing the evolution of the female identity in capitalist patriarchal order.

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