Koç, Ertuğrul
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Prof. Dr.
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ekoc@cankaya.edu.tr
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İngilizce Mütercimlik ve Tercümanlık
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Current Staff
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Scholarly Output
14
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22
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0
14 results
Scholarly Output Search Results
Now showing 1 - 10 of 14
Article Vampire versus the empire: Bram Stoker's reproach of fin-de-siecle Britain in dracula(Cambridge Univ. Press., 2018) Koç, Ertuğrul; Demir, Yağmur; 6497; 30410; İngilizce Mütercimlik ve Tercümanlık; İngiliz Dili ve EdebiyatıMuch 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.Book The Victorians and the novelists: from Dickens to Hardy(Barış Platin, 2010) Koç, Ertuğrul; 6497; İngilizce Mütercimlik ve TercümanlıkArticle Fear and Wish-fulfilling Flights of Fancy: Walpole’s Nightmare of Class Conflict and the Restoration of Aristocracy in The Castle of Otranto(2014) Koç, Ertuğrul; Atcan Altan, Neslihan; İngilizce Mütercimlik ve TercümanlıkThis article discusses The Castle of Otranto by Horace Walpole as the first gothic work dramatizing, through the theme of “usurpation”, the emergence of the new but “greedy” bourgeoisie in England in the eighteenth century as a threat against the long-established, and from Walpole’s perspective, “divinely ordered” aristocratic system. Au fait with the worries and expectations of aristocracy, for he is the son of Robert Walpole (the first Prime Minister of England), and a member of nobility and the Parliament, Walpole, in his work, cannot help defending the established system against the emerging bourgeois paradigm. In the article, Walpole’s concern with the chaotic state of his country, which he reveals through building a devastating class conflict in Otranto, will be analyzed with the help of biographical, historical, and Marxist approaches. Finally, by referring to the Freudian theory of “wish-fulfillment through dreams”, Walpole’s solution for the conflict will be shown to be a self-gratifying one, satisfying the author’s aristocratic selfArticle Tess of the d’Urbervilles: the tragedy of godless human existence(Çankaya Üniversitesi, 2009) Koç, Ertuğrul; 6497; İngilizce Mütercimlik ve TercümanlıkIn Tess of the d’Urbervilles Thomas Hardy depicts a godless world where human consciousness is unable to comprehend the consciousness of the universe. Hardy shows that, having created God as the culmination of his own moral perception, man hopelessly expects mercy and poetic justice from his own creation. Tess’s catastrophe is not the work of Christian God, but the work of the powers beyond the understanding of the character. Although Hardy suggests the solution for the circle of tragedy in human solidarity, in the civilization of man, or in the social stratification of the Victorian world, however, there is no place for peace and harmony. Hence, from Hardy’s perspective, man is alone and defenseless in the face of the tragedy awaiting him. Criticizing in a sardonic way the patriarchal mentality and the ignorance of his main character Tess, Hardy reveals that human existence is tragic, and what defines the life of individual is crass-casualty.Article Citation - Scopus: 0Things 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; 6497; 30410; İngilizce Mütercimlik ve Tercümanlık; İngiliz Dili ve EdebiyatıThis 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).Book Birth of the English novel(Çankaya University Publications, 2005) Koç, Ertuğrul; 6497; İngilizce Mütercimlik ve TercümanlıkArticle Rebirth of the gothic in the metropolitan legends(Çankaya Üniversitesi, 2006) Koç, Ertuğrul; 6497; İngilizce Mütercimlik ve TercümanlıkBu makale onsekizinci yüzyıl gotik roman geleneğinin yirminci yüzyıl grafik roman tarzında yeniden ortaya çıkışını irdelemekte ve gotik edebiyatın büyük sosyal dönüşüm süreçlerinin bir ürünü olduğunu iddia etmektedir. Makale bu tarzın ilk ya da son örnekleri olsun, bu eserlerin kapitalizmin ortaya çıkışı ve insanın bilinç kazanma sürecine paralel giden metaforik göndermeler olduğu değerlendirmesinde bulunmaktadır: Gotik roman tarzının ilk örneklerinde kapitalizm nasıl eleştirilmişse, yirminci yüzyıl grafik romanlarında da kapitalist sistem ve sistemin yarattığı materyalist bireye dolaylı atışar vardır. Sonuçta, bu tarzın örnekleri kapitalist kültüre ait bireyin manevi, ahlaki ve entellektüel boşluğunu dile getirmektedir.Article Rebirth of the gothic in the metropolitan legends(Çankaya Üniversitesi, 2006) Koç, Ertuğrul; 6497; İngilizce Mütercimlik ve TercümanlıkBu makale onsekizinci yüzyıl gotik roman geleneğinin yirminci yüzyıl grafik roman tarzında yeniden ortaya çıkışını irdelemekte ve gotik edebiyatın büyük sosyal dönüşüm süreçlerinin bir ürünü olduğunu iddia etmektedir. Makale bu tarzın ilk ya da son örnekleri olsun, bu eserlerin kapitalizmin ortaya çıkışı ve insanın bilinç kazanma sürecine paralel giden metaforik göndermeler olduğu değerlendirmesinde bulunmaktadır: Gotik roman tarzının ilk örneklerinde kapitalizm nasıl eleştirilmişse, yirminci yüzyıl grafik romanlarında da kapitalist sistem ve sistemin yarattığı materyalist bireye dolaylı atışlar vardır. Sonuçta, bu tarzın örnekleri kapitalist kültüre ait bireyin manevi, ahlaki ve entellektüel boşluğunu dile getirmektedir.Book Part Cultural Intersections in Stoker’s Dracula: Transylvanian and Ottoman Identities as the Vampiric “Other(s)” of Victorians(Cambridge Scholars Publishing, 2019) Koç, Ertuğrul; 6497; İngilizce Mütercimlik ve TercümanlıkThis volume investigates identity discourses and self-constructions/de-constructions in various texts through imagological readings of films, narratives, and art works, examining different layers of cultural identities, on the one hand, and measuring the literary reception of ethnic identity constitution to reveal both the self and hetero images, on the other. The book features theoretical and analytical approaches with insights borrowed from multiple disciplines, and mainly focuses on the application of imagological perspectives in the fields of literature and translation, and specifically in literary works “carried over” from one culture to another. It will be of interest for scholars and researchers working in the fields of literature, translation, cultural studies, and imagology, as well as for students studying in these fields.Article Citation - Scopus: 0Ann Radcliffe’S Life Described As “Helpless Maiden” and the “(Un)Conventional Woman” in the Mysteries of Udolpho(Slovenska Vzdelavacia Obstaravacia, 2015) Koç, Ertuğrul; Koç, E.; Karabulut, T.; Karabulut, Tuğba; 6497; İngilizce Mütercimlik ve Tercümanlık; Yabancı Diller BölümüAnn Radcliffe, an important pioneer of the Gothic genre, is a representative of her culture in terms of revealing the features of the male-dominant 18th century world as acceptable to her audience in The Mysteries of Udolpho. Dealing covertly with the validity of the established values of the patriarchal society, she hardly suggests alternative norms and behaviour types to women. Therefore, if analysed from the biographical and psychological perspectives, Radcliffe can be said to have constructed Emily, the major female character in Udolpho, like herself: Emily is committed to masculine ideas (and ideals), and is submissive to patriarchal authority. By constructing such a character, Radcliffe, in fact, gives hints about her own life which we know little about. The parallelisms between the lives and viewpoints of Radcliffe and her heroine indeed unveil the author’s inner world and her wish fulfilment over the major character. Happy with the masculine civilization, her heroine, like herself, remains anodyne and unengaging. © 2015 Slovenska Vzdelavacia Obstaravacia. All rights reserved.
