Demir, Yağmur
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Sönmez Demir, Yağmur
Demir, Yağmur Sönmez
Demir, Yagmur
Demir, Yağmur Sönmez
Demir, Yagmur
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Dr. Öğr. Üyesi
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yagmurs@cankaya.edu.tr
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İngiliz Dili ve Edebiyatı
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PEACE, JUSTICE AND STRONG INSTITUTIONS
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Article The “Morally Ideal Woman” in Middlemarch(Çankaya Üniversitesi, 2012) Demir, YağmurAs 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 respectivelyArticle Ursula K. Le Guin’in Karanlığın Sol Eli Eserinde Genly’nin Öznelerarası Karşılaşma ile Benlik Reformasyonu(2022) Demir, Yağmur SönmezBu çalışmanın amacı Ursula K. Le Guin’in Karanlığın Sol Eli adlı eserindeki ana karakter Genly Ai’nin benliğinde ve kimlik algısındaki değişimi metin analizi yaparak göstermektir. “Lanet bir gezegen” dediği Gethen’de iki yıl geçirdikten sonra, Genly (efendi) başkasını (köleyi) yani Estraven’i daha yakından tanıma fırsatı bulur ve öznelerarası karşılaşmayı deneyimler. Hegel’in diyalektiği açısından değerlendirildiğinde, Genly kendi benliğinin dışına çıkarak başkasını da kendisinden bağımsız bir benlik olarak kabul eder. Bu süreç onun benliğinde bir değişime sebep olur, ve Gethen gezegenine bağlılık hissetmesini ve kendini orada evde hissetmesini sağlar. Bu makale, başka bir gezegende uzaylı olan Genly’nin benliğini yolculuk, öznelerarası karşılaşma, ve evde hissetme aşamalarıyla yeniden oluşturduğunu öne sürer.Article Citation - WoS: 7Citation - Scopus: 6Locus of Control as a Mediator of the Relationships Between Motivational Systems and Trait Anxiety(Sage Publications inc, 2024) Turan, Aysu; Demir, Yagmur; Kaynak, HandeThe Reinforcement Sensitivity Theory, first proposed by Gray and later revised, describes three motivational systems: Behavioral Inhibition System (BIS), Behavioral Activation System (BAS), and Fight-Flight-Freeze System (FFFS). Studies have shown that high BIS and FFFS activation are positively related to anxiety symptoms, yet the relationship between BAS and anxiety remains unclear. Research data have also suggested that anxiety symptoms occur with the loss of perceived control. Thus, although studies on the direct effect of locus of control (LOC) on trait anxiety have accumulated for many years, the issue of how LOC may mediate the relationship between BIS/BAS/FFFS sensitivity and anxiety has not been addressed. This study aimed to explore the mediating role of LOC orientation on trait anxiety among young adults in association with these three motivational systems. Cross-sectional data were obtained from 422 volunteers. The BIS/BAS Scale, Trait Anxiety Inventory, and Rotter's Internal-External LOC Scale were applied. A series of mediation analyses were performed to estimate total, indirect, and direct effects. The results showed that BIS and FFFS positively predicted trait anxiety. In addition, LOC positively predicted trait anxiety and BIS. The results of the mediation analyses indicated that LOC functioned as a partial mediator between BIS and trait anxiety. This finding revealed that a high BIS level, one of the motivational systems, was associated with external LOC, which in turn contributed to reporting high trait anxiety in young adults. Hence, BIS and external LOC orientation could be suggested as risk factors for trait anxiety. As the external LOC orientation of individuals with high punishment sensitivity increased, their trait anxiety levels also increased. Therefore, it was suggested that it might be useful to be aware that LOC orientations of individuals with BIS sensitivity may pose a risk for trait anxiety.Article Ian Mcewan’ın Benim Gibi Makineler Ve Annalee Newitz’in Otonom Romanlarında Robotik Bedenlerin Cinsiyetlendirilmesi(2023) Demir, Yağmur SönmezCinsiyetlerine bağlı olarak, insanların belirli şekillerde hareket etmeleri, konuşmaları ve davranmaları beklenir. Günümüzde robotik cihazların yaygınlaşmasıyla birlikte, insan benzeri robotlar edebi eserlerin, özellikle de mevcut teknolojiden yola çıkan ve gelecekte toplumların nasıl düzenleneceğini ya da bireylere ne tür kurallar dayatılacağını temsil eden bilim kurgu eserlerinin baş kahramanları haline geldi. Ian McEwan'ın Machines Like Me (Benim Gibi Makineler, 2019) ve Annalee Newitz'in Autonomous (Otonom, 2017) adlı eserlerinde anlatının merkezinde yer alan insansı robotların, mekanik insan üretimleri olmalarına rağmen, heteronormatif cinsiyetlere sahip olmaları ve toplumsal cinsiyet rollerini yerine getirmeleri beklenir. Benim Gibi Makineler 'deki Adam ve Eve robotlar sınırlı sayıda her işi yapacak kapasitede üretilirken, Otonom'daki Paladin askeri bir robottur. Adam görünüş olarak klişe bir erkek olarak yaratılmıştır, dolayısıyla erkek rolünü oynaması beklenir ve o da bunu başarıyla gerçekleştirir. Paladin ise herhangi bir cinsiyete ait olmadan üretilmiştir; aslında omuzlarında bıçakları, gizli kalkanları ve silahları olan bir makinedir, ancak askeri alanda olması ve görünüşü nedeniyle, \"kadın beynine\" sahip olduğu anlaşılana kadar insanlar tarafından \"erkek\" olarak adlandırılır. Kadın beyni meselesi ortaya çıkınca Paladin bir kadın olarak kabul edilmiş ve toplumun kadınlık kimliği beklentilerine uymuştur. Bu çalışmada, yukarıda adı geçen romanlar cinsiyet kuramları çerçevesinden, özellikle de Judith Butler’in cinsiyet edimliliği ve Adrienne Rich’in zorunlu heteroseksüellik kavramı ışığında analiz edilecektir ve robotik bedenlerin de tıpkı insanlar gibi kültürel olarak yapılandırılmış cinsiyet rollerine uymaya zorlandıkları gözler önüne serilecektir.Article Citation - WoS: 3Citation - Scopus: 3Vampire Versus the Empire: Bram Stoker's Reproach of Fin-De Britain in Dracula(Cambridge Univ Press, 2018) Koc, Ertugrul; Demir, YagmurArticle Vampire versus the empire: Bram Stoker's reproach of fin-de-siecle Britain in dracula(Cambridge Univ. Press., 2018) Koç, Ertuğrul; Demir, YağmurMuch 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.Article “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 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).Article The Motif of Death in Percy Bysshe Shelley’s Short Poems(2024) Demir, Yağmur SönmezIn the early 19th century poetic tradition, there was a great emphasis on the poet as the creative genius, and subjectivity was cherished more than ever. As a poet of the Romantic Era, Percy Bysshe Shelley conveyed his emotions, philosophical beliefs, and religious convictions, as well as his fears and motivations, through his literary works. Death was an omnipresent theme in Shelley’s life, and he used poetry as a means to express his thoughts and feelings about it. The passing of those close to him, such as his wife Harriet and children Clara and William, confronted him with his own mortality. He responded to the death of his beloved ones by composing poems. In addition to expressing his grief over these losses, he also voiced the decrease of his life instincts and his death wish. This paper will examine Shelley’s short poems (“Death”, “On Death”, “To William Shelley”, “Stanzas Written in Dejection, near Naples” “Ode to the West Wind,” “To Night,” and “O world! O life! O time!”) through the lens of Sigmund Freud’s concepts of mourning and melancholy, as well as death wish. The chosen autobiographical poems reveal Shelley’s mourning process and his journey towards accepting death, showcasing his death drive, and reflecting his genuine emotions as well as his Neoplatonic philosophy.Book Part Naipaul's the mimic men: The colonized man's attempts to transgress the boundaries(Peter Lang AG, 2017) Kirca, M.; Yarimca, P.Master Thesis Middlemarch: the story about the reformation of female identity in the 19th century capitalist paradigm(2012) Sönmez Demir, YağmurGeorge 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.
