French Language and Literature

Çeviri işleminde yaratıcılığın riskleri

The contemporary translation studies has been concentrating on a new aspect of translation and drawing attention to different issues of translating practice day by day. Even though translation has gained esteem in recent decades, the value of the translator has still a notion that has not fully emerged. The purpose of this work is to demonstrate the necessity of creativity in translation and to define the limits of the implementation of this creativity. Since translator's creativity depends on the translator, we have been able to focus on the translator, protagonist of the translating activity, who has remained for many years under the shadow of the translated work and its author, and to underline also the importance of the linguistic and perilinguistic knowledge necessary for accomplishing a translation that suits the criteria of a true and creative translation. This study provides a brief history of translation by taking into account the past of creativity in translation; and ranges intratextual and extratextual elements like linguistic, cultural and artistic values of the text which should be translated in an equivalent way in order to complete a true translation. We will also see the different approaches that translation researchers propose to deal with the translation problems encountered during the translating practice. However, we will see how the translator should or should not be creative through examples of literary translation from French to Turkish and from Turkish to French; when the teachings of translation studies, a developing science, do not provide a solution to the problems arising from deep linguistic and cultural differences generally, and this approach will enable us to conclude on the limits of creativity in translation.

Georges Perec'in Uyuyan Adam adlı eserindeki kimlik arayışı

Born in 1936, one of the most different writers of French literature, Georges Perec was orphaned at an early age: his father died in the Second World War, his mother disappeared in a concentration camp. As a member of the Oulipo group, he wrote a wide variety of pieces with wordplay that were related to each other with a common theme: tracks of his own life. The subject of my work, A Man Asleep which contains many items about his life, treats the concept of fragmented individual as a fundamental problem. With this approach, we will examine the fragmentation of the personality of the individual who gradually falls into it and becomes intensely uncommunicative.

Bir kadın deneyimi olarak kürtajın göstergeler arası çevirisi: Annıe Ernaux'nun Olay adlı romanından Audrey Dıwan'ın Olay başlıklı filmine

This Master's thesis examines the representation of the feminine experience of abortion in Annie Ernaux's novel Happening (L'événement) (2000), through a comparative study of two analyses: a literary semiotic analysis of Ernaux's autobiographical work and an analysis of its intersemiotic translation to film as Happening (L'Événement) (2021), directed by Audrey Diwan. The novel that functions as the film's starting text is the account of an experience of clandestine abortion survived in 1963, narrated, thirty years after its occurrence, from personal documentation by the author. Twenty years after the novel's publication in 2000, director Audrey Diwan produced a film adaptation of the novel under the same name. The film, which at first glance contains quite different features from the novel, has won numerous awards and is an outstanding example of intersemiotic translation. The first analysis, which focuses on the novel Happening (L'événement), draws on the semiotic theory established by the Paris School of Semiotics (l'École sémiotique de Paris). Based on Ferdinand de Saussure's theory of the linguistic sign, the theory of literary semiotics of the Paris School has evolved since its founding in the 1960s, thanks to the contributions of its members, notably founders Algirdas Julien Greimas and Jean-Claude Coquet. Sündüz Öztürk Kasar has attempted to apply the model of literary semiotic analysis to literary translation. The model she uses is based on several theories developed in and around the Paris School of Semiotics, such as Jean-Claude Coquet's theory of instances of enunciation (la théorie des instances énonçantes), Algirdas Julien Greimas' actantial schema, Roland Barthes' semiological analysis and Gérard Genette's narratological approach. The second analysis treats Audrey Diwan's film Happening (L'Événement) as a corpus from the perspective of intersemiotic translation, a field at the intersection of Adaptation Studies and translatology. The model of intersemiotic analysis is proposed by Katerina Perdikaki, who draws her theories and reference terminology from Adaptation Studies and Translation Studies, but her main point of departure is Kitty van Leuven-Zwart's classification of intersemiotic translation. Perdikaki adopts certain aspects of van Leuven-Zwart's model and adds to it the specific characteristics of cinema as an audiovisual means of communication. Within the framework of these two analyses, the present study aims to observe the evolution of the representation of a lived experience, the female experience of abortion, in the form of a narrative that has circulated between different media.

Göstergebilimsel Şiir Çözümlemesinde Göstergenin Nedenliliği: Baudelaire'in Recueillement, Apollinaire'in La Cravate et la montre, Ponge'un L'Huître Adlı Şiirleri

This master's thesis focuses on the concept of linguistic motivation, and the textual analysis possibilities it offers in the context of poetic semiotics. The arbitrariness of the sign, defined by Ferdinand de Saussure as one of the fundamental principles of language, depends on the absence of a logical relationship that could justify the link between the signifier and the signified. According to this conception, which has served as a model for the modern sciences of language, the relationship between the two facets of the sign is based on social convention, and thus lacks motivation. The Paris School of Semiotics offers a theoretical approach that is linked to the structuralist tradition initiated by Saussure's linguistic work. It has made a major contribution to the development of literary semiotics, thanks to the fundamental concepts and methods of analysis proposed by its founding members, Algirdas Julien Greimas, Jean-Claude Coquet and others. This scientific discipline, which originated in the 1960s, is primarily concerned with the analysis of narrative texts, offering at the same time a framework that can be adapted to the study of poetic ones. The main reference for the methodology adopted in this study is constituted by Essais de sémiotique poétique, a collection, edited by Greimas, of analyses and theoretical discussions by semioticians such as Jean-Claude Coquet, Jacques Geninasca, François Rastier, Julia Kristeva, among others. The introductory article by Greimas, "Pour une théorie du discours poétique", defines the motivation of the sign as a quality that characterises poetic language, identifiable by the realisation of non-arbitrary relations between the plane of expression and the plane of content. Poetic discourse, thanks to its motivated nature, is therefore distinct from other types of discourse where the arbitrariness of the sign dominates. However, poetic motivation does not imply a perfect isomorphism between the two planes of language. To put this methodology into practice, three texts are selected to form the corpus of analysis: Recueillement by Charles Baudelaire, La Cravate et la montre by Guillaume Apollinaire, and L'Huître by Francis Ponge. Keywords: poetic semiotics, poetic motivation, arbitrariness of the sign, Ferdinand de Saussure, Paris School of Semiotics, Algirdas Julien Greimas, Jean-Claude Coquet, Charles Baudelaire, Recueillement, Guillaume Apollinaire, La Cravate et la montre, Francis Ponge, L'Huître

Assia Djebar'ın ve Nedim Gürsel'in yazınında zaman ve mekan sorunsalı

The problem of space and time has been discussed for centuries, taking only one-dimension into account. Starting from the twentieth century the spatial-temporal perspectives began to expand with respect to socio-economic and political changes. The discussion has turned out to be multidimensional, while some kept the focus on time and some others on space. However, the subtle questions, "what is the new understanding of space and time?", "what makes them significant?", and, "what is the female and male perspective for their interpretations?" still remain. Is it possible to talk about intimate time, the collective time, and universal time and, similarly at the same time, intimate, collective and universal space? What are their components? What is the relationship between them? What is their role in the culture? Space and time, are they sufficient conceptions for realization of historical novel? Is time a linear concept, or perhaps self-repeating and even punctual? To analyze these in Assia Djebar's novel "Far from Medina" and in Gürsel's "The daughters of Allah", the present references were primarily based on i- the chronotope theory of Mikhaϊl Bakhtine, ii- geocriticism by Bertrand Westphal and iii- the concept of historical novel by Georges Lukács, iv- the autobiographical consciousness of especially Gérard Genette and Philippe Gasparini. The current study consists of three major headings. In the first part, the conceptions within the chronotopes of Mikhaϊl Bakthine were discussed. Chronotopes in M. Bakthine's work make use of the space and the time as an indivisible structure. They focus essentially on the conception of time. Bakthine takes the time and the space as heterogeneous and complementary, but also relative and absolute conceptions. According to him, the time becomes more visible through space. Resultantly, Assia Djebar, depicts the period of four caliphs in Medina as a reformulation of the years 1985-1990 in Algeria. Using the Medina time, the writer implements the targeted period in Algeria more clearly. Assia Djebar establishes an analogy between Medina and Algeria and the period of four caliphs and the years 1985-1990, respectively. The author visualizes the analogues as complementary and absolute. As for Nedim Gürsel, he elaborates on different times that seem completely divergent in the beginning. However, in his literary style, the different times would gradually merge employing the similarities between his personal history and the history of Turkey. These different times : the Djahilia period, the advent of Islam, the last period of Ottoman Empire, the proclamation of the Republic, the 1950's in Turkey, were revealed by means of Manisa, Istanbul, France and Mecca. As the author considers a story of an individual dependent on public history, he gathers the evident similarities observed between the public Turkish and his own private histories. While these two stories are heterogeneous and relative, they appear complementary and absolute in his style. In view of chronotope, it is always incessant metamorphosis in all areas. Nevertheless, this consciousness is represented by moments of crisis. Therefore, Assia Djebar begins his story by the death of Mohammed, the moment of an essential crisis for the Islamic world, on which it initiated socio-political and economical transformations. As for Nedim Gürsel, autobiographical life is reconstructed from its own moments of crisis and those of Turkey (according to his own interpretation). His personal story begins with his grave in his mother's womb. With the birth, he feels the sense of abandonment for the first time. Now he is left alone in a chaotic world. There are three types of chronotope : the chronotope of i- the encounter, ii- the road, and of iii- the threshold. Chronope for the encounter; In Assia Djebar; There are common destinies of women, whose lives somehow interlace. The confrontation of different historical perspectives : Assia Djebar and the Tabari (historian and Qur'an commentator) : a male and a female history. The overlapping of similar phenomena between two different times. In Nedim Gürsel; Intersection of his inner traits with those of historical figures Intersection of different periods on the fictional timeline of the author For the chronotope of road; This is the common way of life of the various women in Assia Djebar. The path of Nedim Gürsel's life goes through Manisa, Istanbul and France. For the chronotope of threshold; Assia Djebar begins the story by the chronotope of threshold : the death of Mohammed, this phenomenon becomes a turning point for the fate of women. Then, the four titles in the book focus on the chronotopes of threshold for the women: "Freedom and challenge", "the obedient and the disobedient", "the voyagers", "ever-alive sayings". Throughout the book in which the author ridicules men, these four titles serve to reach the chronotope of essential threshold : the emancipation of women. Nedim Gürsel, on the other hand, focuses on threshold chronotopes of his private life and those of the Turkish history. Thus, from the relationship among the past, present and future that have been depicted, Nedim Gürsel tries to escape from the pressure of the present by the stories of the past to illuminate the future by historical inversion. Assia Djebar analyze the period of four caliphs to save Algerian women from their current situation in order to illuminate and guide their future by "Far from Medina". Therefore, chronotopes can be seen as the organizers of the fiction of the phenomena in the novel. This way, the time becomes more realistic/likely. At first, the time is fixed so that the space can be analyzed from the time interval that has already been set. Assia Djebar looks at Medina for Algeria and Algerian women, while Nedim Gürsel incorporates Mecca, Manisa and Istanbul to shape his own life. In the second part of the study, the focus lies on the aspect of geocriticism of Bertrand Westphal and the concept of historical novel by Georg Lukács. The geocriticism is a post-modern representation of space by highlighting the coherence among heterogeneous concepts. His perspective and spatial nomenclature are source of geography, architecture and urbanism. It emphasizes the importance of the individual for the understanding of space. The geocriticism is a literary criticism based on spatio-temporality, transgressiveness, and referentiality. Bertrand Westphal draws attention to the slow-down of the time in order to see and analyze space more efficiently. Thus, Assia Djebar sets the time period of four caliphs to illuminate Medina and, using the same conception, draws parallels in Algeria in the 1990s. On the contrary, the temporal consciousness of Nedim Gürsel is not fixed so that the brakes are loosened. He flies between time and different areas : Manisa, Mecca, the Djahilia period, the advent of Islam, the last period of the Ottoman Empire, the proclamation of the republic, Turkey in 1950's and the present (France and Turkey today). In Gürsel, there is no representation of space in detail. In geocritical consciousness, it is important to identify the evidences for the reciprocal relationship between space and literature. Concerning space in detail, it can be said that it also describes the time. They are fictionalized in a literary work. Therefore, it can be said that geocriticism humanizes space in order to recompose it. For instance, Assia Djebar reconstructs the atmosphere of Algeria in 1990's by means of the Medina period of four caliphs by the voice of women in the Islamic theater. As for Gürsel, he reconstructs his personal space, humanizing various spaces: Manisa as the paradise of childhood; Mecca, his purgatory; and France as his hell. The geocriticism controls a multifocal perspective : the inside and the outside, which is perceived and designed, the real and the imaginary... It aims to show the victory of space over time and even that of geography over history. In particular, Assia Djebar does not describe the atmosphere of Medina, using neither the real historical facts of the period of four caliphs, nor the generally recognized collective history. She describes women's history through the actions and voices of women who are even neglected until now. However, Nedim Gürsel describes the characteristics of the time and space by combining these with intimate features. Places are in the service of the creators by fiction. The fictionalization is performed by the transgression. Transgressing means to go out of a space and to enter another. According to Westphal, this awareness has two mental processes: deterritorialization and reterritorialization. Assia Djebar deterritorializes Algeria and France and she reterritorializes them into Medina. Nedim Gürsel deterritorializes himself from Manisa and France because he reterritorializes himself to Mecca. So, Assia Djebar transgresses Algeria in 1990's to Medina, Nedim Gürsel transgresses his own life to Mecca. These consciences then have effect on spaces, individuals, and creators. These transgressions, then, cause the explicit oscillation between the present and the past in Gürsel, as well as with an implicit style in Djebar. Each novel is a reflection of individual or collective discourse. Fiction is dependent on reality. It is formed by the transgression between the real and the imaginary. This includes the common location(s), proper location(s), improper location(s), factual location(s), fictional location(s), renamed location(s). Bertrand Westphal describes the spatiality of fiction by the homotopic consensus, heterotopic interference, and utopian excursus. In Djebar, it is homotopic consensus between the 1990's Algeria and the period of four caliphs. In Gürsel, the same is true between the history of Turkey and his private life. In the heterotopic interference, the similarity between the two concepts that seem incompatible is highlighted by four methods: juxtaposition, interpolation, overprinting, and misallocation. In the same way, in "Far from Medina", Algeria and Paris are juxtaposed, in "The daughters of Allah", Manisa and Paris even if they look as discordant outside the intimate life of Nedim Gürsel. Then, in conception of interpolation, Far from Medina, his ideal world includes Algeria, Medina, and Paris. For Gürsel, his familiar space is reflected in Manisa, the paradise of his childhood; in Mecca, his purgatory; and in Paris as his hell. Finally, as to the overprint through two familiar spaces Algeria and Paris, Assia Djebar experiments Medina. Nedim Gürsel, by making use of Turkey and Paris, his familiar spaces, he observes Mecca. In addition, Assia Djebar makes the misallocation named as his ideal world by "Far from Medina" and Nedim Gürsel nicknames Manisa after the paradise of his childhood. Thus, utopian excursus mobilizes an imaginary place. According to Umberto Eco, this in itself has the allotopia, utopia, uchronia, and metatopia / metachronia. In "Far from Medina", the author approaches the uchronia. In addition, there exists the metatopia by creating an ideal and imaginary world, Far from Medina, so that it turns into utopia. In "The daughters of Allah", Gürsel uses allotopia and metachronia. It is also close to the metatopia considering his longing for his mother and for his country. So, the Geocriticism is a literary vision which is geocentric, interdisciplinary, multifocalized, multi-sensorial, stratigraphic, and intertextual. The writer must act towards the place, not the place towards the writer(s). Assia Djebar makes feminine geocriticism in her book, however, Gürsel does not totally make geocriticism his literary aspect transfigured self-criticism. It is impossible that such a representation of space is done without reference to history. So, now, the historical novel will be discussed. Historical novel is a redaction of particular time depicted in fictional way. The time is determined by the analysis of the space. The time is framed by the ambiance of the location(s) selected. The central target is to create a momentum for the future by means of metamorphosis. So, the story is a spatio-temporal notion composed of moments: moments of the past and present. "The daughters of Allah" is composed of two parts : the past (history) and the present (autofiction). Nevertheless, "Far from Medina" describes the past, in which it keeps the present Algeria. The interpretation of the past is related to the present and to the experiences of the individual. In both novels, the authors have chosen worldwide historical figures, nevertheless Nedim Gürsel also describes his family. Assia Djebar describes the atmosphere of the period of four caliphs as popular life. The acts of men and women are the only important elements. However, Nedim Gürsel manipulates historical figures as to provide the reflections of his inner values. The historical novel is formed by the moments selected with an emotional and ideological force. There are two types of novel : the historical novel and the contemporary novel. Djebar focuses on a specific period and the style of his work is historical, whereas Gürsel uses introjections from historical themes. As a result, his historical novel transforms into a contemporary novel. By the fictionalization of a particular time, there are various spaces that reflect the psychological state of the author(s) and of the time as tragic, dramatic and epic. Thus Djebar focuses on highlighting the evidences for the women tragedy that lasts for centuries. Djebar's style transforms a post-modern tragedy by changing the components of the classical tragedy, using the harmony of the tragedy of women, and of the tragicomedy of men. In Djebar, the dramatic collision between generations and genders are reflected. This drama was destroyed by the room theater. In "The daughters of Allah", the source of the dramatic state of Gürsel is the dilemma between individual needs and social norms. In addition, he oversees the history of Turkey in a dramatic manner. In his book, Gürsel tries to find himself in the history of Turkey in an epic style. Historical events revolve around him. He talks about himself and he also speaks by means of his characters. He transforms into a national character acting as a representative of Turks, who face the dilemma between the Eastern and Western worlds. In Djebar, women's identity disappears on the way to emancipation in an epical manner. The coexistence of various time and space in the same context results in polyphony. Polyphony and dialogism originate from double enunciation. If this type of discourse transforms into entity, it becomes intertextual. Among the three, there is a reciprocal relationship. In addition, the interpretation of the spatial-temporality creates pressure on intertextuality or the contrary. In Assia Djebar, firstly, the female voice rises due to polyphony, resulting in a plurality of voices and dual expression in the field of spatial-temporality. There are also double expressions, interplay between history and fiction, in italic form, as well as by the use of individual punctuation. There are references to old literary works as well. In Nedim Gürsel, we witness the dialogues between the child Nedim and bastard Ismaϊl, which cause polyphony and dialogism. Double expressions of history and fiction are also present in Nedim Gürsel. This is why it is evident by the fact that the dialectic between the history and his own interpretation causes polyphony. Finally, grotesque style and carnivalesque laugh have been mentioned because laughter is a paradigm where it is of private interpretation of the common history. Mikhaϊl Bakthine highlights three types of carnival; ritual forms and spectacles, comic verbal oeuvres, and different forms and genres of vocabulary. In the first, it should be noted that the event where there exists a second life or another possibility for the happenings in certain periods of time. Assia Djebar establishes his Islamic theater with regard to this conception. All the scenes are revisions of historical facts in order to seek a second choice to change the course of women's fate. In "The daughters of Allah", Nedim Gürsel seeks a new life for himself. This type of carnival is universal renovation for real life and transforms reality. This aspect becomes a popular festival in Djebar, as she sees the present as unfinished and, on the contrary, it translates into a satirical laugh at Gürsel, because he deems the present as completed. In the second type of carnival, as in the novel of Djebar and that of Gürsel, language and language skills occupy an important place: French and Arabic (language of Koran for Nedim Gürsel). Similarly, it is dichotomous conceptions in verbal oeuvres such that "Far from Medina" possesses the carnival and the tragedy simultaneously and "The daughters of Allah" embodies the laughter and the drama at the same time. In the third, there are blasphemous profanities. In addition, Bakthine manifests three aspects of the comic : the buffoon, the burlesque, and the grotesque. At first, laughter, which originates from dissatisfaction, is naïve and there is no expressions of insult. Assia Djebar does not consider Islamic and patriarchal system satisfying for the freedom of women, while Gürsel is not satisfied with himself. The burlesque comic is concerned with the relegation of the importance and value. Assia Djebar deals with the devaluation of the high status of men in the public area. However, Gürsel aims to deprive the value of space and time. Grotesque comic has ridiculing features for some social events. Only in the novel of Gürsel, there are ridiculing exercises for certain socio-historical facts. In the third part of our study, the autobiographical consciousness was attended. The autobiography is the fictional re-composition of the intimate history in the form of both historical and psychological study. This aspect is influenced by the collective history. In "The daughters of Allah", Nedim Gürsel describes his childhood and family by questioning himself on the accounts of the effects of the history of Islam and Turkey. His book also contains a biography of his grandfather and Mohammed. In "Far from Medina", Assia Djebar sheds light on women's biography under the influence of the collective history and the patriarchal system. The identity of Assia Djebar is manifested implicitly by the female biography. Biography and autobiography are reference texts. In Djebar, the similarity among the Muslim women forms the female identity. In Gürsel, it is his own identity that creates the resemblance between his characters and himself. These are four different methods for the representation of the inner life : the autobiographical novel, autofiction, the fictional autobiography, and simple/pure autobiography. All of these definitions are valid for biography: a biographical novel, biofiction, the fictional biography, and pure/simple biography. The auto-fiction and fictional autobiography are the metonymic mechanisms saving the writer(s) limitations and norms. The novel of Gürsel is composed of two parts : the autobiography (the level of the present) and autofiction (the level of the past). In the autobiographical part, Gürsel narrates using the "tu (informal and singular form of "you" in French)" in his epistolary style, using the same pronoun he also addresses readers to infer that the biography refers to the people sharing similar emotions and dilemmas. As a result, Gürsel is transformed into a model for all the citizens of the country. This can also be deemed as his diary where all episodes of the book correspond to a day experienced by Gürsel. By mixing his diary and epistolary writing styles, he tries to express himself using a form of radio language. Assia Djebar, on the other hand, emphasizes the common biography of women. The only important element for her style is to tell all what is experienced by women. Thus, Assia Djebar can be seen as only practicing autofiction. Her style transforms into a bio(auto)fiction due to the fact that she more focuses on probabilities.

Yeni roman: claude simon ve william faulkner

This thesis on the New Roman and its inspired novelty, analyzes the literary inspiration process based on the comparison of a French New Roman author, Claude Simon, and an American novelist, precursor of this movement, William Faulkner. The analysis and comparison of these two writers will be based on those of their respective masterpieces that are The Acacia and The Sound and the Fury. This study allows distinguishing the elements of « novelty » and stylistic creations of the New Roman. Everything seems to separate these two novelists: They are from different continents, different nationalities and ages. They differ by their experiences and issues they deal with. Yet we show in this paper how the writing techniques of the French writer Claude Simon (1913 - 2005), are based on those of the American author William Faulkner (1897-1962). The first part will be devoted to the modem novel and the definition of the New Roman to determine the writing techniques which make the « novelty », the value of « creation » of these novels, also mentioning its limits with postmodernism. In the second part the French novelist Claude Simon, a long misunderstood writer and his prolific work The Acacia will be discussed and the reasons for its classification as a « New Roman » will be analyzed. The third part is devoted to the American writer William Faulkner, a very controversial writer in its time, as well as an analysis of his novel The Sound and the Fury. Furthermore, we will determine that the author is a pioneer of the movement «New Roman » and its influence on Claude Simon. In conclusion, these two books and their authors will be compared to draw points of comparisons and differences to show demonstrate William Faulkner inspired literary creation of Claude Simon. The evolution of the novel towards modern novel marks the end of the omnipotence of the novelist because of the entry in a complex, uncertain and fast world. Given the disruption in the history of the twentieth century, industrial development, wars and global economy, writing should be completely different. Novelists became dissatisfied with the inherited stylistic traditions which can no longer express the reality of the world. The world cannot be explained in dichotomies, oppositions which are fixed and clear. At the end of the nineteenth century, eminent philosophers like Nietzsche and X Bergson showed interest in human perception and consciousness. They agree that the experience is a constant stream of sensations and memories; it is a « stream consciousness ». The writers of the early twentieth century such as Marcel Proust and James Joyce literary experiment these new, open paths. In the 1920s, for writers like William Faulkner, Virginia Woolf and Franz Kafka, writers of different nationalities and cultures, the reality is distorted, inconceivable and ironic. Not only the time intertwines their stories, but also there is an interpenetration and fusion between reason and madness, between intellect and emotion, between the subjective and the objective. The goal of the modernists is not disintegration but « super-integration » where all fragments are integrated into a whole. These authors are clearly precursors of the New Roman. In the late 1950s, critics are strong towards the literature of the time; these are difficult to read due to lack of punctuation or its surplus and the lack of temporal chronology texts. New Roman is the stylistic response to the opacity of this world. It is defined as a research and not as a rigid set of theoretical criteria. This movement arises in the continuation of the novel as a stage of permanent and necessary evolution of the genre process that must be redefined according to the needs and discoveries of its time. Defining New Roman as a literary movement was not obvious. Literary critics have considered the New Roman as a homogeneous movement. As for the writers of the New Roman, they considered this literary grouping as an invention of the critics to impose order in the chaos of contemporary writing. The movement of new novelists, who are especially the part of it, including Alain Robbe-Grillet, Nathalie Sarraute, Claude Simon and Michel Butor must be defined as a convergence of interests in the fight against the rigid laws. Since the reality and objectivity have become related notions, the reader is given an active, creative role. Recent novels require the reader a willingness to let go in the subjectivity of the narrator, to follow this stream of consciousness without trying to make it fit into a grid of logic and linear temporal succession. This is for each reader to find a sense and their own meaning and interpretation. Man is in the center of the New Roman because of the expression of things; everything is done only through its observers and actors. Since the absolute truth does not exist, it is just precisely the subjectivity, the strengths and weaknesses of the narrator, will tell this « truth » which arises in total subjectivity. Recent novels are written in an aesthetic concern, art for art's sake and must be addressed as well as an abstract work of art that you look in all its aspects and include every point of view of the hidden beauty or even a musical work that triggers the complex feelings in us.XI For new novelists, the language is the base for a novel, its reason for being. After two world wars and atrocities, the intelligibility of the world has been called into question and the basis of the naive and simple narration was broken. Linguistic rules were disrupted and syntax, semantics, spelling were devastated or ignored. The traditional rules of punctuation cannot be met because the narrator could not refrain from thinking. The author (or the author's absence) is used as punctuation to make the reader understand his flashbacks, ellipses, inner monologues. In the New Roman « characters » are present but not named. They are just what the characters in the novels have always been, that is to say, the projections of novelist's intimate concerns. This literary movement however avoids the social, psychological and political themes. We are far from surrealism of the pre-war period, and the literature of Sartre which is committed to socialist realism. New Roman may be defined as a set of refusal: refusal of anthropomorphism, a refusal of existentialism, a rejection of realistic illusion and psychologism, a refusal of the notion of character and chronology. After defining and laying the framework of the New Roman and its intentionality and writing technique, the second part of this thesis analyzes one of these new French novelists, a man personally marked by this period of upheaval, the wars of the twentieth century, Claude Simon. This Nobel Prize in Literature has left us a prolific work with a highly biographical character, a search of temporality through a very particular style which we will look through his particular work Acacia. Claude Simon has complicated relations with other new novelists. There is a mutual admiration for him from the writers who have similar ideas to his. Claude Simon nevertheless claims his total artistic freedom and arises as the naturalist of the New Roman. Marked by two World wars, Claude Simon's autobiographical novel uses to transcribe his experience as he felt. However as Claude Simon, and as for William Faulkner, language is inadequate and cannot recreate the psychological reality and the absurdity of war. Thus Simon created new stylistic ways such as; parentheses in parentheses a pictorial and musical writing both as an individual employment of present participle to try to recreate this experience, and chaos. Claude Simon is undoubtedly the creator of a new style what it is fascinating to analyze the sources of his inspiration as an example of literary influence process across countries and over time. His use of the present participle in particular is based on his reading of The Sound and the Fury. Its author, William Faulkner, has traveled a difficult path to become a modernist writer in spite of or in opposition to the strong influence of Victorian values that marked his childhood. In one of his masterpieces, The Sound and the Fury, he describes himself as his « most splendid failure », William Faulkner, the author of the fictional world of Yoknapatawpha, said he failed four times to tell Caddy's history. XII This story reflects not only the decline of the southern United States after the Civil War but also a universal decadence. The fact that the novel opens with the vision of the character Benjy, an adult child mentally very limited, is particularly difficult to follow for the reader. Nevertheless it is precisely because Benjy has no defined personality that he does not need to detach events and he can reveal the whole story of Caddy in all its brutality. From the beginning, the reader is immersed in a text that makes them uncomfortable because it does not match any of his previous reading experiences. Language and grammar are extremely simple and minimized. Instead of allowing the reader to sit comfortably in the familiar fictional world of the novel, William Faulkner forces him to find himself the specific principles that guide its creation. William Faulkner uses the full stream of consciousness writing and thus shows us the inadequacy of words to just express the concepts. William Faulkner especially uses italics to show the interior monologues. Therefore, William Faulkner shows large differences which exist between different human understandings of reality. Comparing Claude Simon and William Faulkner, we see a good example of literary inspiration across continents and eras; a literary inspiration process that led the emergence of the masterpieces. These novels sometimes are criticized as incomprehensible because some inexperienced readers could encounter difficulties in their reading; they are masterworks, virtuoso of literature, and real literary creations. We hope that this study will inspire those wishing to work on the New Roman including the translators of the New Romans in Turkey. Other future comparisons of authors of New Romans with their predecessors of their successors postmodernists could yet shed another light on the literary movement.

Moda reklamlarındaki İngilizce ve Fransızca dil kullanımı konusunda toplumdilbilimsel bir inceleme

This thesis focuses on a sociolinguistic study on the use of English and French in the field of fashion through advertisements. In the era of globalization, socioeconomic phenomena are changing the dynamics of sectors more than ever. One of the areas that is very influenced by globalization, it is the field of fashion. With the influence of globalization and its concepts, brands usually choose to speak English even if they are known as French brands. However, defending and illustrating the French, the French government makes interventions in the context of the language policy. One of the law which is very important in the history of French language policy is put into effect in 1994 under the name "Toubon Law". By cons, after twenty years, Toubon law seems to stop working. We can achieve this argument through the questionnaire and advertising analysis of the L'Officiel we did.

Voltaire'in Le fanatisme ou Mahomet le prophète ve Chateaubriand'ın Les aventures du dernier Abencerage başlıklı yapıtlarında yazarın "öteki-karakter" aracılığıyla görünen kimliği

The thesis comprises of three parts, including the introduction in which the subject is explained thoroughly and the choice of emphasized points is touched upon. Each one of the other two parts is dedicated to one of the chosen writers. The common point of the examined works is that both of them have eastern protagonists, which constitutes the point of departure. The fact that the selected writers have different world views and beliefs play a very important role, as real life opinions and impressions are not in parallel with the representation of characters: Despite his prejudiced and scornful attitude against Muslims, Chateaubriand creates and idealized hero who is a descendant of the only group of Mohammedans of whom he speaks respectfully in his memoires. Voltaire, who is not more hostile to Islam than he is to any other religion, conveys his standpoint against religious bigotry through a negative depiction of Prophet Mohammed, although he doesn't actually aim to vilify Muslims. The subject of the thesis suggests that the depiction of these characters reflect certain aspects of the author's identity rather than what the latter thinks of the race, culture or religion to which the character belongs. In order to emphasize clearly the context of writer/character, both the first and the second parts include the biography of the writer and a profound analysis of his selected work. Finally, the conclusion highlights the essential points of the main purpose of the thesis and offers an introduction to another work of similar nature.

Albert Memmi'nin "La statue de sel" adlı yapıtının yazım dünyası

This study is about the cultural integration of people who comes from different ethnic origins, but who gives creations with the same language. At this point, the creation from Tunisian origin writer Albert Memmi's background La statue de sel was analyzed in order to observe, the language and the individual identities interaction in colonized societies. From beginning of 20th century, process of the integration of Tunisian Jewish minority society to dominant French culture was discussed from the writer's historical perspective. It is followed from the studies on minority societies of Denys Cuches and Jean-Claude Kaufmann's contradicted identity growth under pressure. It is explained by the writer with the related period's popular existentialism flow that the Jewish minority who freed from the "Dhimmi" status are estranged from their roots, especially on their cultural and linguistic legacy. Albert Memmi is defined as a pioneer francophone writer who comes from ancient colonized countries and who used literature world as a tool to become free. After this observation, it is possible to suggest that, damaged minority identity can be improved by education.

Adige dilinde ad diziminin incelenmesi - bir kuzey-batı Kafkasya dili

The subject of the present thesis is the syntactic analysis of the noun phrase in the western dialects of Adyghe, in other words, of Circassian. These dialects, which are the central subject of our research are the dialects of abzakh, temirgoey, bjedough and shapsough. Each of these dialects are spoken in different parts of the North Caucasus where the indigenous tribes of Circassians live. Although the Circassians, obliged to live in different parts of the world after the exile in 1864, tried to maintain their own dialects in their new "homelands", as they are not all coming from the same tribe, the dialect of the most populous tribe outweighs. As generally education in these dialects is not possible, they show differences from one to another. Thus, they are essentially the same. The points that the dialects differ from each other is about phonetics and pronunciation. Therefore, it is not possible to find a difference which causes that two speakers of two different dialects cannot understand each other. The linguistic theory that we followed during our research is the functionalist theory of André MARTINET. As a result, the main principle that we have taken into consideration is the principles of opposition and pertinence. As the subject of our research is the analysis of the noun clause in the western dialects of Adyghe, the center of our research is the morphemes, in other words the minimal meaningful unit, and their relations with each other. We not only have taken into consideration the principle of determination to analyze their relations with each other, but we also have analyzed the other determinants such as the plural, the case-markers and the connecters with the same principle. These analyses are made through the sentences translated from Turkish to Adyghe by our four informers of different ages and speaking different dialects.

Belçikalı Frankofon nüfusun Almanca ve Karolenj Frankçası hakkındaki dilsel temsilleri

This Master's thesis deals with social representations of language deployed by the French-speaking Belgians that are living in direct contact with German, and « Carolingian Frankonian », a regional language of Germanic origin. Drawing on a field study that has been conducted in two municipalities located in the Liège Region, namely Plomières and Welkenraedt, the thesis seeks to illustrate the ways in which the French speakers come to imagine the "otherness" of the other, the language of the other, the linguistic diversity of the space and the issues that are related to the power struggle between the existing languages, through a linguistic analysis of simultaneously produced discourses pertaining to categorization, denomination, evaluation and hierarchization of German, Carolingian Frankish and also the practices of speakers of these languages. Considering that the social reality constantly is constructed and negotiated within discourse by social actors, this study of sociolinguistics will embrace the socio-constructivist epistemology in the same way as social psychology, discipline from which it takes its object of study. The above stated theoretical and epistemological basis necessarily leads to favor a qualitative approach for processing the data collected from the field. In this direction, a micro corpus which is composed of four interviews has been constituted for the purpose of reporting on the discursive construction of social representations about languages. By focusing on the argumentative and discursive resources that the speakers make use of while putting their social representations into words, the thesis argues that the discursive construction of representations in a multilingual context implies at first the discursive construction of the imagined otherness of the other, while this process is done by way of a series of discursive and argumentative strategies that the speakers make use of when they need to express the convergences, divergences, resemblances and differences that they imagine exist between their own language and the languages of the others. Key words : Sociolinguistics, discourse analysis, multilingualism, French-speaking world, linguistic representations, socio-constructivism

Pascal Quignard'da müzik ve edebiyat bağlamında yaratıcılık : Dünyanın tüm sabahları ve müzik dersi

This study opts for a musico-literary reading in two works by Pascal Quignard, All The World's Mornings and The Music Lesson. It reveals how music can enter into the field of literature in the selected works by making use of the Frédéric Sounac's 'Musical Model and Romanesque Composition" method in his identical named work. The first chapter of our study establishes the musical inclusion in the literary work through the logogenic, melogenic and meloformal processes. The second chapter intends for the musico-literary reading of All The World's Mornings through the 'character' notion while the third part is given to the same process for The Music Lesson through the "fragmentary writing technique".

Tahar Ben Jelloun'un yazın evreni: Büyülü gerçekçilik

Tahar Ben Jelloun's L'Enfant de Sable(1985) and La Nuit Sacrée(1987) is based on the construction of postcolonial identity through an androgynous hero. In these novels, the plot is woven into a magical realistic world. Magical realism is a narrative method propagated in the field of literature in Latin America during the postmodern period. This current is dealing with the real and the unreal in harmony allows oppressed and uprooted societies to reinvent themselves by discovering their origins. Tahar Ben Jelloun a French writer of Moroccan origin, builds his romantic universe rich in fantastic elements, merging his Eastern cultural heritage with the mythical heritage of the Occident. This thesis examines the way in which magical realism is exploited in Francophone literatures, especially in the works of Tahar Ben Jelloun.

Drieu La Rochelle'in eserlerinde erkek kimliği

In this thesis, we treat the masculine identity in the work of Drieu la Rochelle, a French writer who lived between 1893 and 1945. This writer, veteran of the First World War, is recognized for his commitment to the Collaboration during the Occupation, during the Second World War. He is also renowned for his fascist ideas, his seductive, dandy and misogynistic side. Regarded as the spokesperson of his generation on the decadence of the bourgeoisie, social values, as well as on warrior literature, this man is judged to be a "hard man" of the time, having all these virile qualifications. In the light of this information, and with the current problematic of "the identity of man, is it in crisis? » We approach our problematic concerning Drieu la Rochelle and its romantic characters in the following form: How does the masculine identity appear in the works of La Rochelle and is there a link with the life of the author? Is it possible to determine the identity of the hero in his works and what are the characteristics of men in his fictional universe? And finally, can we consider La Rochelle as one of the authors at the origin of the advent of psycho-sociological studies aimed at responding to this crisis of masculine identity? To answer these preliminary questions, we dedicate our first part to the biography of La Rochelle so that it helps us and directs us in our research. Son of a bourgeois family, he was raised from his tender age by the Napoleonic epics. His mother, Eugénie Lefèvre, is the daughter of an architect who is in economic ease. His father, Emmanuel Drieu La Rochelle, a businessman without success, marries his mother Eugénie to improve his economic condition, without loving her. His great- grandfather, Jacques Drieu, is a soldier, who served in power in all the campaigns of the Revolution and the Empire between 1791 - 1814; it is at this precise period that it receives the nickname "La Rochelle". He has so many problems in his childhood and adolescence that lead him to a problem of detachment with his mother and which ends up creating superficial relationships with the other women in his life. We see the examples in this part of the biography, especially with his wife Colette Jeramec and Victoria Ocampo. In the second part, in the theoretical part, before focusing on the notion of masculinity, as such, we have agreed to trace the outlines, on theoretical bases, of identity in its most global sense. This is why it seems appropriate to start by analysing the question of identity in the social sciences. Indeed, it seems to us that the semantic and epistemological analysis of the masculine identity can be approached by a research work dealing with the two very distinct notions, namely 'identity' and 'masculinity', which create a conceptual set together. This is why we begin first with the epistemological definition of the notion of identity; then we tackle the test of its applications in the social sciences, and finally, we are interested in the various "gender studies" and the evolutions that they have experienced. This work of theoretical construction allows us to study the psychocritical analysis of the elements of masculinity encountered at Drieu La Rochelle, which we propose to unveil. Our goal is to study Drieu la Rochelle and his characters by relying on the aspect of identity. It must be noted, however, that although he was an author who had an impression on his contemporaries and could be considered as the image of the manners of the men of his time, it is especially important to take this analysis into account from the point of view of the individual identity; because a sociological analysis would exceed the limits of the research that we intend to carry out. In order to specify this plurality of identity we first need to know whether we are facing a self-stated identity or an enunciated identity. In both cases, where the individual unconsciously states his own identity and that of another, there are different data waiting to be examined. It is, according to Mucchielli, various configurations, related to the presentation of the identity of the actor. In the context of the subjects mentioned above, it would be interesting to observe Drieu la Rochelle as the object of a study in which we examine his progress in a continuum; to better specify the presence or absence of the changes he has undergone in a linear lapse of time. Moreover, by discovering his sense of value in the eyes of others, we will try to determine his value as to the social and intimate desirability in his relational development with women. In addition, in order to determine his relationship between himself and his parents, we use elements of Erikson to understand the symbiosis between his father and himself, and from the point of view of the interdependence that links him to his mother. We also use other concepts specified by theorists and philosophers such as Ricœur and Mucchielli to expand further our analysis of the elements of the identity of Drieu La Rochelle and to be able to determine if the identity studied is static or dynamic up to their specificity and appellation. Then, again in the same part, we are addressing, this time, the subject of masculinity. To get to the heart of the matter, we remain loyal in our research to the timeline of evolution of gender studies that start ipso facto by women's studies. From a historical point of view, we describe how women got the right to vote and what, in this emancipation process, were the incidents, the difficulties and the possible oppressions they suffered. On the other hand, we are talking about the reasons for the need for the emergence of a gender study including, over time, men, which inevitably leads to male studies - men, considered for a long time as the default sex, do not have never been subject to in-depth study until the second half of the twentieth century. All the troubles that men went through were considered individual and thus referred to psychoanalysis, because on a collective level the male sex, being privileged, did not suffer. Beginning in the 1960s, researchers began to define men according to their socio-psychological tendencies en masse. In our study, we opt for male theories created from the sixties to the eighties; theories generating new concepts such as "hard man", "soft man" and "weak man". The last theoretical part helps us in our research, to better know the identity and the masculinity by basing ourselves on the psychological elements, by grouping them simultaneously in sets to put them in relation with a certain notion of the masculine identity. The psychocritical tools seem to us particularly practical in order to observe the psychological elements in Drieu La Rochelle, but this analysis cannot be done without the help of tools borrowed from Freud's psychoanalytic analysis - without however having any desire for analysis of psychotherapeutic nature - to define the most repetitive issues in our author and his characters. Initially, we consider the psychoanalytic bases that serve us in our psychoanalytic quest. The basic notion of Freud is found in the part of the study of consciousness. The three founding elements are the unconscious (Id), the preconscious (Ego) and the conscious (Superego). For our research, we approach the unconscious (Id) at the author. Then, according to Charles Mauron's psychocritical theory that we use in our third part of our thesis, the operation consists of four stages: the superposition of various texts, the tracking of the haunting network, the obtaining and the interpretation of the personal myth and finally the autobiographical control of the author. In the third part, we treat the work of Drieu la Rochelle in order to be able to determine the masculine identity of him and his characters. First, we analyse how biography is present in the fictional work by observing the terms "me social" and "me creator" of Mauron. Then we aim to determine the reasons for the sexual confession in the autobiography. As Philippe Lejeune remarks, there are various reasons why an author tends to decompress this desire to pronounce his sexuality in the form of autobiography; in an explicit or implicit way. As Drieu la Rochelle states that in his novels Gilles and Rêveuse bourgeoisie, the autobiographical elements do not exist, we choose these two novels to determine the existing repetitions in order to commit to the haunting networks and personal myths of the author. After studying these framed novels we come to the result of the selected myths: sadism, fascism, woman and money, war and physical appearance, sexuality and homosexuality and finally parents. The study of these myths using his other novels to support them, reveals that Drieu la Rochelle exists behind his characters in his novels. To conclude, we deduce the following terms: Drieu la Rochelle in stating the identity of its characters actually self-enunciates by reflecting in his fictional characters. The Rochellien characters have no trace of sexual problems. This is why we can see that there is a presented identity in his novels. Besides, we notice that there is a total absence of the categories presented by Erikson. This absence shows us that identity is not a defined element for Drieu la Rochelle. In this fuzzy categorization, the lack of not being able to position oneself finally leads to suicide. In addition, according to male studies, we can say that this corrupted identity of Drieu la Rochelle is part of the 'weak man', a theory defined in Denmark in the 80s to define the men of that time. Moreover, we can finalise our work by showing that even before the date of theorisation, this 'weak man' was present, through the rochellien reading, in the period between two wars. However, a later study would be useful in order to determine the chronology or the evolution of men under these various categories of masculine theories which bring them to the crisis of identity of the 21st century. Dans ce mémoire, nous traitons l'identité masculine dans l'œuvre de Drieu la Rochelle, écrivain français qui a vécu entre 1893 et 1945. Cet écrivain, ancien combattant de la Première Guerre Mondiale, est reconnu pour son engagement dans la Collaboration durant l'Occupation, pendant la Seconde Guerre Mondiale. Il est aussi renommé pour ses idées fascistes, son côté séducteur, dandy et misogyne. Considéré comme le porte-parole de sa génération sur la décadence de la bourgeoisie, des valeurs sociales, ainsi que sur la littérature guerrière, cet homme est jugé d'être « un homme dur » de l'époque, ayant toutes ces qualifications viriles. Sous la lumière desdites informations, et avec la problématique actuelle qu'est « l'identité de l'homme, est-elle en crise ? » nous abordons notre problématique concernant Drieu la Rochelle et ses personnages romanesques sous la forme suivante : Comment l'identité masculine se présente-t-elle dans les œuvres de La Rochelle et existe-t-il un lien avec la vie de l'auteur ? Est-il possible de déterminer l'identité du héros dans ses œuvres et quelles sont les caractéristiques des hommes de son univers romanesque ? Et enfin, pouvons-nous considérer La Rochelle comme un des auteurs étant à l'origine de l'avènement des études psychosociologiques ayant pour but de répondre à cette crise de l'identité masculine ? Pour répondre à ces questions préliminaires, nous consacrons tout d'abord notre première partie à la biographie de la Rochelle pour qu'elle nous aide et nous oriente dans notre recherche. Fils d'une famille bourgeoise, il est élevé dès son âge tendre par les épopées napoléoniennes. Sa mère, Eugénie Lefèvre, est la fille d'un architecte étant dans l'aisance économique. Son père, Emmanuel Drieu La Rochelle, homme d'affaires sans succès, épouse sa mère Eugénie pour améliorer sa condition économique, sans pour autant l'aimer. Son arrière-grand-père, Jacques Drieu, est un soldat, qui a été au service du pouvoir, dans toutes les campagnes de la Révolution et de l'Empire entre 1791 – 1814 ; c'est à cette période précise que celui-ci reçoit le surnom « La Rochelle ». Il a tant de problèmes dans son âge enfant et adolescent qui lui mène vers un problème de détachement avec sa mère et qui finit par créer des relations superficielles avec les autres femmes dans sa vie. Nous voyons les exemples dans cette partie de biographie, surtout avec sa femme Colette Jeramec et Victoria Ocampo. Dans un deuxième temps, dans la partie théorique, avant de nous intéresser à la notion de masculinité, en tant que telle, nous nous sommes convenus à tracer les contours, sur des bases théoriques, de l'identité dans son acception la plus globale. Raison pour laquelle il nous semble opportun de commencer par l'analyse de la question de l'identité dans les sciences sociales. En effet, il nous paraît que l'analyse sémantique et épistémologique de l'identité masculine peut être abordée par un travail de recherche portant sur les deux notions bien distinctes, à savoir l''identité' et la 'masculinité', lesquelles créent un seul ensemble conceptuel. C'est pourquoi nous commençons d'abord par la définition épistémologique de la notion d'identité ; ensuite, nous nous attaquons à l'essai de ses applications dans le domaine des sciences sociales ; et pour finir nous nous intéressons aux diverses « études de genre » et aux évolutions que celles-ci ont connues. Ce travail de construction théorique nous permet d'étudier l'analyse psychocritique des éléments de masculinité rencontrés chez Drieu La Rochelle, laquelle nous nous proposons de dévoiler. Notre but est d'étudier Drieu et ses personnages en nous appuyant sur l'aspect de l'identité. Il faut toutefois constater que, bien qu'étant auteur ayant eu une impression sur ses contemporains et pouvant être considéré comme l'image des mœurs des hommes de son époque, il convient surtout de prendre en main cette analyse du point de vue de l'identité individuelle ; car une analyse sociologique excéderait les limites de la recherche dont nous avons l'intention de mener. Afin de spécifier cette pluralité de l'identité il nous faut d'abord savoir si nous sommes face à une identité auto-énoncée ou une identité énoncée. En effet dans les deux cas, cas où l'individu énonce inconsciemment sa propre identité et celle d'un autre, il existe de différentes données attendant d'être examinées. Il se trouve, selon Mucchielli, des configurations variées, liées à la présentation de l'identité de l'acteur. Dans le cadre des sujets cités ci-dessus, il serait intéressant d'observer Drieu comme objet d'une étude dans laquelle nous examinons son murissement dans un continuum ; et ce, pour mieux préciser la présence ou l'absence des changements qu'il a subis dans un lapse de temps linéaire. De plus, par la découverte de son sentiment de valeur aux yeux des autres, nous tenterons de déterminer sa valeur quant à la désirabilité sociale et intime dans son développement relationnel avec les femmes. En sus, afin de déterminer sa relation entre ses parents et lui-même, nous usons des éléments d'Erikson pour comprendre la symbiose entre son père et lui, et du point de vue de l'interdépendance qui le relie à sa mère. Nous avons également recours à d'autres concepts précisés par des théoriciens et des philosophes tels que Ricœur et Mucchielli pour pousser plus loin notre analyse des éléments de l'identité de Drieu La Rochelle et pour pouvoir ainsi déterminer si l'identité étudiée est statique ou dynamique jusqu'à leur spécificité et appellation. Ensuite, toujours dans la même partie, nous abordons, cette fois-ci, le sujet de la masculinité. Pour entrer au vif du sujet, nous restons solidaires à l'évolution des études de genre qui débutent ipso facto par les études féminines. D'un point de vue historique, nous racontons comment les femmes ont obtenu le droit de vote et quels étaient, dans ce processus d'émancipation, les incidents, les difficultés et les éventuelles oppressions qu'elles ont subis. Par ailleurs, nous parlons des raisons de la nécessité de l'apparition d'une étude de genre incluant, au fil du temps, les hommes, laquelle aboutit inéluctablement aux études masculines -les hommes, considérés longtemps comme le sexe par défaut, n'ont jamais été sujet d'une étude approfondie jusqu'à la deuxième moitié du XXe siècle. Tous les troubles que traversait l'homme, étaient considérés individuels et renvoyaient donc à la psychanalyse, car sur le plan collectif le sexe masculin, étant privilégié, ne souffrait pas. À partir des années 60, les chercheurs ont commencé à définir les hommes selon leur tendances sociopsychologiques en masse. Dans notre étude, nous optons pour les théories masculines créées à partir des années soixante et allant jusques aux années quatre-vingts ; théories engendrant de nouvelles concepts tels que « homme dur », « homme doux » et « homme mou » La dernière partie théorique nous aide, dans notre recherche, à mieux appréhender l'identité et la masculinité. En effet, c'est en nous basant sur les éléments psychologiques, en les regroupant simultanément en des ensembles, pour les mettre en rapport avec une certaine notion de l'identité masculine, que nous procédons au sujet ; ce qui donne lieu à une compréhension plus pertinente des faits. Les outils psychocritiques, que nous mentionnons ci-bas, nous semblent particulièrement pratique quant à notre observation des éléments psychologiques chez Drieu La Rochelle. Cette analyse, visant à définir les problématiques les plus répétitives chez notre auteur et ses personnages, ne pourrait sans doute se faire sans l'aide d'outils empruntés à l'analyse psychanalytique de Freud - sans toutefois avoir aucun désir à une analyse de nature psychothérapeutique. Initialement, nous considérons les bases psychanalytiques qui nous servent dans notre quête psychocritique. La notion de base de Freud se trouve dans la partie d'étude de conscience. Les trois éléments fondateurs sont : l'inconscient (Ça), le préconscient (moi) et le conscient (surmoi). Nous abordons, dans notre recherche, notamment l'inconscient (Ça) chez l'auteur. Ensuite, selon la théorie psychocritique de Charles Mauron, sur laquelle nous fondons la troisième partie de notre mémoire, nous nous sentons contraints d'effectuer une opération se composant de quatre étapes : la superposition de divers textes, le repérage du réseau obsédant, l'obtention et l'interprétation du mythe personnel et finalement le contrôle autobiographique de l'auteur. Dans une troisième partie, nous traitons l'œuvre de Drieu la Rochelle afin de pouvoir déterminer l'identité masculine de sa propre personne et de ses personnages. D'abord nous analysons, en observant les termes « moi social » et « moi créateur » de Mauron, la manière dont la biographie se présente dans l'œuvre romanesque. Ensuite nous cherchons à déterminer les raisons de l'aveu sexuel dans l'autobiographie. Comme Philippe Lejeune le remarque, il existe de différentes raisons pour lesquelles un auteur a tendance à décompresser cette volonté de prononcer, soit explicitement ou implicitement, sa sexualité sous forme d'autobiographie. Drieu la Rochelle affirme lui-même que, dans ses romans Gilles et Rêveuse bourgeoisie, les éléments autobiographiques n'existent pas ; cette constatation nous conduit de fait à nous orienter à ces deux romans ; ce qui nous permettra à la fois de déterminer les répétitions existant et d'accéder aux réseaux obsédants et aux mythes personnels de l'auteur. Suite à l'étude de ces romans cadrés, et le vocabulaire adopté par Drieu La Rochelle nous nous retrouvons automatiquement dans une analyse de champs lexicaux se concentrant essentiellement sur les mythes suivants : le sadisme, le fascisme, la femme et l'argent, la guerre et l'aspect physique, la sexualité et l'homosexualité et finalement les parents. L'étude de ces mythes à travers ces deux romans, corroborée par ses autres romans, nous révèle que Drieu la Rochelle existe de manière dissimulée dans ses personnages romanesques. Pour conclure, nous déduisons les traits spécifiques suivants chez Drieu La Rochelle : en énonçant l'identité de ses personnages, Drieu La Rochelle, en fait, s'auto-énonce en se reflétant chez ses personnages romanesques. Les personnages rochelliens ne possèdent aucune trace de problèmes sexuels ; d'où l'existence d'une identité présentée. Par ailleurs nous remarquons qu'il existe une absence totale des catégories présentées par Erikson. Cette absence nous montre que l'identité n'est pas un élément défini pour Drieu la Rochelle. Dans cette catégorisation floue, le fait de ne pas pouvoir se positionner mène finalement ce dernier au suicide. En outre, selon les études masculines, nous pouvons aisément dire que cette 'identité corrompue' de Drieu la Rochelle fait partie intégrante de 'l'homme mou' ; théorie définie au Danemark dans les années 80 pour désigner les hommes de cette époque. Nous pouvons d'ailleurs finaliser notre travail en soulignant, grâce à nos lectures faites sur La Rochelle, que cette réalité d' 'homme mou' était déjà présent dans l'œuvre de La Rochelle, dans la période d'entre deux guerres, même avant la date de théorisation. Or, une étude ultérieure serait utile afin de déterminer la chronologie ou l'évolution des hommes sous ces diverses catégories de théories masculines qui les amènent à la crise identitaire du XXIe siècle.

Fransızcadan Türkçeye geçen aktarma sözcüklerin anlamsal ve sesçil (Fonetik) çözümlemesi

In this work, we have tried to detect words borrowed from the French language into the Turkish. In the first chapter, we have aimed to highlight the definitions of the term borrowing and its classifications based on the findings of linguists; namely, Emile Benveniste, Antoine Meillet, Joseph Vendryes, Charles Barbier, Arsene Darmesteter and Albert Dauzat. Then, we have continued with the interaction between the two languages, French and Turkish, during their historical course. After determining the areas in which the borrowed words appeared, we have categorized these borrowings. As for the second chapter, we have struggled to show the semantic changes the words underwent based on their frequency. We tried to give examples of the most common words in daily usage. In this chapter, we have also introduced examples for word types such as calques, hybrid words, non-existing words in French, and words that changed by grammatical category when they were borrowed into Turkish. In the last chapter, we have found phonetic changes by comparing the phonetic signifiers of words in both languages. With the help of the examples gathered from dictionaries, we have categorized the borrowed words according to their phonetic changes.

Mihail Bakhtin'in edebi teorisindeki çokseslilik görüş açısına göre Perec'in "yaşam kullanma kılavuzu"nda günlük yaşam

Starting with a Bakhtinian approach from polyphony in daily life in Georges Perec's "Life User's Manual", this thesis explores both how this literary work makes use of this literary aspect and, as it offers a suitable ground for applying Bakhtin's theses, how they can be used on a contemporary novel. To analyze, benefiting of the structuralist and narratological literary theory that originated from formalist literary criticism and linguistics criticized by Bakhtin and his friends, this thesis brings these approaches face to face with Bakhtinian dialogism. The thesis shows how, as Kristeva points out, beyond the formalists' concept of "literariness", this work of Perec can be spoken of by Bakhtinian concepts, and which results it gives especially with discoveries as carnivalesque and chronotope that this theoretician used in his work "Rabelais". The thesis achieves itself with the conclusion that the novel offers a structure expressed with the figure of "synecdoche" borrowed from the linguistics, and with the idea that this conclusion could lead to a different poetics by making use of Bakhtinian theories.

Claude Simon'un Yazın Dünyası : La Chevelure de Bérénice

As a result of the First and Second World War in the 20th century, radical changes occurred in all fields of art. The common ground of all artists was the desire to express themselves freely through their work, against the chaotic and oppressive situation caused by wars. In the field of literature, the most important example of this freedom of expression was undoubtedly the New Novel. By the 1950s, some French writers such as Alain Robbe-Grillet, Nathalie Sarraute, Claude Simon, Michel Butor, Claude Ollier and Jean Ricardou turned to radical changes in the understanding of the novel. Previously, elements such as fiction, the flow of time and the use of language, are considered as the most important elements of the novel, began to change fundamentally. In the field of painting, this change started with the impressionist movement and caused different movements such as fauvism and cubism to emerge. Painters such as Paul Cézanne, Pablo Picasso and Joan Miró have revolutionized the world of painting with new techniques such as the use of color and the use of different materials and abstract figures. The aim of this study is to show the innovations used by new novelists, especially the techniques used by Claude Simon and Claude Simon's interest in painting and the effect of painting on Claude Simon's writing style. In our study, we tried to examine the writing techniques of Claude Simon through La Chevelure de Bérénice, which was inspired by the paintings of Spanish painter Joan Miró.

Yöntem kitabımız olan "Nouveau Rond-Point 1"'de Eylemsel yaklaşımın ilkeleri ve uygulanmasında karşılaşılan sorunlar

Our study aims to examine the problems concerning the integration of the action-oriented approach via Rond-Point 1" in a class where French is taught as a foreign language.At that point,We explained the action-oriented approach by demonstrating the essential traits.Action-oriented approach focuses mainly on taking action in social life.In other words, the language and the action are thus interconnected. The communication, the interaction and the co-action take place simultaneously, in their natural atmosphere, which means that, instead of learning by applying particular rules, one gets to discover how a language is learned.In fact, the best method of learning a foreign language is "living" it. we analyse the textbook. Nouveau Rond-Point 1 and the target tasks of six units in the light of the principals of Common European Framework of Reference for Languages. At this stage, it can be clearly stated that this textbook adopts the action-oriented approach which is based on learning through tasks.

Günümüz edebiyatında insanın çöküşü: Michel Houellebecq'in Soumission örneği

Michel Houellebecq is one of the most important representatives of contemporary French literature. The originality of his works lies in the fact that he pushes the limits in order to break the taboos of the subjects he deals with. Immediately after the end of the Cold War, as the Western world proclaimed its ultimate victory, Houellebecq, on the contrary, claimed a place in the literary world by explaining that the West was decomposing from within. He claims that the enlightened classical individual of the West has lost his function and is facing endless internal distress. Unlike representatives of modern literature, he does not propose solutions to human problems, but approaches history in a circular perspective. According to him, every civilization is born, grows up and dies like a living organism. For this reason, he often mentions the Enlightenment philosophers in his works and thinks that it is unjustifiable to approach history with a progressive perspective. In this context, Submission can be considered as the emblematic work of the author's worldview. Houellebecq, in his novel, recounts the subconscious fears of the West and provokes controversy in society. The protagonist of the novel, François, is a conformist but he has a monotonous life. The Islamists, organized under the roof of a political party, come to power thanks to the cooperation of the Social Democrats with them to prevent the National Front. This political change, a first in the history of France, involves many social transformations. Islam, which has a very detailed doctrine of the regulation of public space, threatens European culture on a large scale and offers many opportunities at the individual level. The most attractive of them is polygamy. Polygamy is very seductive for François, who leads an unhappy and lonely life. This religion, which he will accept without giving up his comfort, deserves to be tried by François. These developments, which seem dystopic on the social level, evoke a utopia by the point of view and the narration of François. In this context, the phenomenon of submission in the novel has dual meaning. This novel is one of the most remarkable examples of contemporary postmodern literature. In this respect, it is necessary to define postmodernism and to review its history. Finally, the main topics covered in the novel will be presented to the reader in three parts. In the first part, we will examine the relationship between modernism and postmodernism through a more theoretical framework. We will try to show the effects of postmodernism on the world of thought and contemporary literature by considering the continuities and the breaks of this relation. This part of our study will be useful for the following chapters to make our analysis on Houellebecq and its work more comprehensible. The emergence and formation of postmodernism from the past to the present will shed light on our subject. We will begin the second part of our thesis with an introduction to Soumission, then briefly discuss the decisive moments of his life in order to understand the factors that constitute the literary personality of Michel Houellebecq. We will then discuss our topic of study in several subparts to provide a detailed analysis of Submission. In a sense, we are going to do an autopsy of Submission in the context of literary theory. We will highlight the characters of the novel and the concepts they express in order of importance, then we will carry out an analysis of the relationship Houellebecq-Huysmans by a study of intertextuality. We will thus move on to the third main part by expressing the depth of the theme of decadence in literature. In the third and final part of our study, we will approach the themes of Submission in a more sociological and political perspective. While presenting the problems of today's western world, we will illustrate what Islam can offer in this chaotic environment. We will show that Submission, which at first glance resembles a dystopian novel, represents an opportunism and is a utopia for the average European man. In this regard, we will examine in detail the double meaning of the book.

Yabancı dil olarak Fransızca öğretiminde Fransızca şarkının yeri ve işlevi

In this study, the place and function of French songs used as a methodological tool in the teaching of foreign languages are examined. In addition to researching current pedagogical practices, the surveys conducted are analyzed in depth and aim to understand the importance and effectiveness of using songs in lessons. In line with this information, the aim is to provide teachers and researchers with new perspectives and ideas on tools and methods that can be used more effectively in foreign language learning. The first part focuses on the definition of French song, its historical panorama, the different facets of the genre as well as the various interrelated components that make it up and how they interact to create a successful song. This section will examine the effects of technological advances on the production and distribution of music, focusing on the changes that technical media have made to the way songs are created, recorded and broadcast. The second part focuses on the use of authentic documents, especially French song, as an educational tool in the teaching of French as a foreign language. As the use of French song and online materials in the FLE classroom enhances the communicative skills of learners, the fundamental principles of the communicative approach will be addressed and its importance in the teaching of foreign languages emphasized. The third part focuses on the knowledge of cultures through French song and its role in promoting the French language. It will show how teaching language variants such as verlan and regional accents can help learners to better understand the linguistic and cultural diversity of the language. The fourth part deals with the benefits of music. We will talk briefly about the effects of music on the brain and memory to show that it is a factor that facilitates learning. The fifth part presents the various methods for choosing a song, defining it and using it in class. In this way, teachers will be able to evaluate the pedagogical suitability of a song, especially in terms of words, grammar, structure, culture and pedagogical goals. Finally, we will analyze the results of surveys conducted with a group of students and teachers to assess their perception on this subject. In short, this dissertation aims to make a significant contribution in the field of FLE teaching by proposing didactic avenues for the use of French song in class.

Pierre Loti'nin Aziyade'sinde çevirinin ve kentin izleri: Çeviri göstergebilimi ve kent göstergebilimi çerçevesinde bir özde çeviri örneği

In this research, we studied the concept of watermark translation through Pierre Loti's first work Aziyadé (1879) within the framework of the semiotics of translation and the semiotics of space. Proposed by the semiotician, translator, and translation scholar Sündüz Öztürk Kasar, the concept of watermark translation refers to a narrative from elsewhere, which presents itself either be (a) place (s) of arrival or (a) place(s) of departure and it involves the transfer of linguistic, cultural, social, and historical signs from these places to the context of reception. In this process of transfer, the text is produced through a translation operation carried out in the author's mind. This thesis argues that the novel Aziyadé qualifies as a text of watermark translation and it can thus be cited as an exemple of such works. Since the linguistic and cultural context presented in the work (19th-century Turkish and Salonica and Istanbul) is different from the language and culture in which the work was published (19th-century French and Paris), the author attempts to convey signs from this foreign and 'exotic' environment by translating the natural world into natural language navigating between the conceptual worlds of these two language-cultures, that is, by an operation of preliminary translation accomplished in the author's mind. One of the aims of our research is to examine the signs that have undergone a translation process in the work Aziyadé and to identify the translation techniques by which these signs are conveyed to the reader, thereby demonstrating that Aziyadé is truly a work of watermark translation. The unit of analysis in our work are the signs representing the city, classified by Öztürk Kasar as onomastic, historical, and cultural signs. According to our analysis, conducted at the intersection of translation semiotics and semiotics of space, Loti acts as a translator using different meaning making strategies: such as writing the native name of a sign in French transcription, providing the French equivalent of the sign, offering definitions and explanations in parentheses or as inline quotations within the sentence, comparing a specific sign from Turkish culture with a cultural element present in the conceptual world of French reader, or describing the sign in his text by naming it or not. In this study, in addition to highlighting the traces of translation in the original text, the Turkish translations of the work (the original back-translations) and its English translation (the indirect watermark translation) have also been examined. While most of the strategies manifesting watermark translation are reflected in the original-back translations and in the indirect watermark translation, the definitions and explanations given in parentheses have been omitted to avoid repetition. The decisions of the Turkish translators and the English translator regarding the reproduction of the meaning of the signs were analyzed according to the Systematic of De-Signification in Translation developed by Öztürk Kasar, and we found that the de-signifying tendencies of obscuring the meaning and the under-interpretation of the meaning are predominant. Therefore, we concluded that the majority of signs representing the city return to their context of departure and that since these de-signifying tendencies remain within the semantic field of the work, the city's image has been only slightly altered. By scrutinizing the transfer of signs, we have revealed not only the traces of the city and the translation in the original text of Aziyadé but also demonstrated that Pierre Loti's work titled Aziyadé is indeed a text of watermark translation.

Drieu la Rochelle'in yapıtına özkurgusal bir yaklaşım : L'Homme couvert de femmes ve Gilles örnekleri

This master's thesis focuses on an autofictional analysis of the work of the early 20th century writer: Drieu la Rochelle. We examined Drieu la Rochelle as an example of a collaborationist author from the Second World War since we find the idea of the cursed author intriguing and assume that there is something new or truth to be discovered when we set aside political-social ideas that are arguably problematic. We aimed for an understanding of Drieu through his works and his double, his creature Gille/Gilles. For this, we used the method of autofiction and we tried, through the latter, to try to explain what the "experimental self" is in Drieu la Rochelle. Our work therefore focuses on the analysis of the self which is used as a "laboratory of experience" as Frederic Grover calls it. With similar intentions, we called this phenomenon the "experiential self". In an analysis whose subject is Drieu la Rochelle, the concept of "self" had to be included. In the first chapter of our study, we introduced Drieu's life. First, we tried to examine the author's personality in detail by discussing about his childhood. We then mentioned his adolescence and his years at Science Po, his failure in the final exam and his enlistment in the army a few months before the First World War. We also cited the time of the First World War when he fought in the war and was wounded several times. We subsequently discussed the return from the war and the author's adaptation to Parisian society which was more laudatory and luminous than ever in the 1920s. We mentioned his participation, which lasted a short time, in the group surrealist, and of his separation from this group with three different open letters he wrote against them. Subsequently, the interwar period where Drieu found himself, especially after the events of February 1934, politically positioned himself on the fascist right like a large number of Europeans of his time. We then focused briefly, and once again chronologically, on the work of Drieu la Rochelle in order to subsequently understand the numerous parallelisms which appear between he and his work. We observed Rêveuse Bourgeoisie, L'Homme couvert de femmes, La Comédie de Charleroi and Gilles as examples. In this chronological analysis, divided into different themes, we have matched a part of Drieu la Rochelle's life through each work. We began with Drieu's childhood through Rêveuse Bourgeoisie, continued with the character of Don Juan through L'Homme couvert de femmes, then explored his warrior side through the stories in La Comédie de Charleroi, and his final years and the political position of his last decade through Gilles. It should be noted at this point that we have paid special attention to two of these works ; L'Homme couvert de femmes and Gilles, which we analyze in detail in the third chapter. The reason for focusing on these two works, whose main characters are Gille (L'Homme couvert de femmes) and Gilles (Gilles), for the rest of the study was to provide a panoramic view of the author's literary and personal life by pairing his first novel, L'Homme couvert de femmes, with his youth, and one of his last novels, Gilles (his third to last completed novel), with his later life. To conclude the first part, we focused on how Drieu was received by his contemporaries and later generations. VIII In a second chapter, we focused on the method of analysis, autofiction, that we approached in the study of the work of Drieu la Rochelle. We began first by explaining how the world of literary theory reached this concept by first introducing Lejeune and his famous theoretical work Le Pacte autobiographique which is the first work introducing the analysis of autobiography and these sub-texts. genres in literary theory. We then argued the real appearance of the word autofiction and what it meant for its creator who is Serge Doubrovsky. Subsequently we observed the real implementation of the concept through Vincent Colonna's doctoral thesis entitled L'Autofiction, essai sur la fictionalisation de soi en littérature, an essay on the fictionalization of the self in literature directed by Gérard Genette. This thesis allowed us to analyze the place and differences of the concept of autofiction compared to autobiography or even an autobiographical work. In addition, we were interested in the differences between the three related concepts: autofiction, autofictionalism and self-narrative. In this way, we aimed to better understand the idea behind autofiction by distinguishing it from its counterparts. Simultaneously, this study enabled us to analyze Drieu through the "experimental self" approach and to evaluate the works of Drieu's contemporaries according to the method of analyzing autofiction. As Drieu la Rochelle's contemporaries, we have chosen André Malraux and Louis Aragon from the left-wing tendency and Louis Ferdinand Céline and Henry de Montherlant from the right-wing tendency. This choice is confirmed by the preface to Gilles written by Pierre Drieu la Rochelle three years after its publication (1939). In this preface, which is very important for our study, the author positions himself literarily among these authors with the exception of Louis Aragon who is mentioned in the previous paragraph where the authors' names are mentioned. However, the main feature of this section is that it serves us as a transitional sub-section that justifies the adaptation of these four authors, among others, of course, to the method of self-fiction. In the third chapter, the final part of our study, in which we draw on all the data used so far, we aim to provide an explanation for the distinction between Drieu la Rochelle and his work, which some consider to be artificial. We therefore mainly talked about the Journal which he wrote without any desire to publish during the Second World War from 1939 until his death in 1945. After we examined the Exode, which is a kind of open suicide letter, in order to analyze Gille and Gilles, the main characters of Drieu la Rochelle, we went deeper into L'Homme couvert de femmes and Gilles. We talked about the letters signed by Drieu under the pseudonym "Gille", which are essential to the concept of the "experimental self". These are letters written to Victoria Ocampo, an Argentina woman dear to the author. And the fact that some of them are signed by the name of one of his fictional characters is extremely important for our thesis and proves the irrefutable link between him and this fictional character of his. In the second sub-section, we made a more detailed study of this character and tried to relate him to his author. Through the differences between these two characters, we introduced the concept of the experimental self, influenced by Frédéric Grover's concept of the "laboratory of experience". The "self" we add to this concept gains significance once it is inferred that it is Drieu la Rochelle's own identity that she uses as literary material. As a conclusion to our third part, we analyzed how Drieu's works are read and how this, and many other parameters, influence the interpretation of the author. In this chapter, we have tried to show how Drieu's contemporaries, then the new generation, and finally the generations after him, read Drieu la Rochelle. At this point, we observed that the generation between the two wars understood and admired Drieu's work, while the next generation, dominated by Sartrean thought until the IX 1980s, was completely against everything and everyone that reminded them of those days. Unlike their predecessors, the generation that knew, understood and judged Drieu only through his works painted a portrait of him as misogynist, anti-Semitic and above all collaborator. It was only in the late 1970s that France rediscovered these collaborative writers, and Drieu in particular, through the work of Frédéric Grover and Pierre Andreu. This led to interviews and reports with people who knew Drieu la Rochelle and are now deceased. These reports and interviews have indisputably helped us to understand the kind of man Drieu la Rochelle was. Finally, we have also mentioned the author's reception up to the present day and his image after this rediscovery. It is clear that this rediscovery and publication should not be seen as a simple coincidence. Just as the repeated rise of the right-wing tendency in different geographies and times around the world should not be seen as a coincidence. Surely, both of these situations have many interrelated economic and sociological causalities. We concluded our study by showing Pierre Drieu la Rochelle through his works, what he said about himself, what researchers said about him, what his contemporaries said about him, what the generation that came after him said about him and what today's generations say about him. In our study, we tried to define the author as a whole, and even though Drieu's works are intensely autofictional, as we have mentioned many times in our study, we pursued whether we can understand a person through his works. And at the end of this study, the following question emerged: Does a work of art have the function of representing its creator, or should it be considered as a separate entity? Key words : Drieu la Rochelle, 20th century French literature, Fascism, Selfliterature, experimental self, autofiction

Maïssa Bey yazınında kadın portreleri

Bu çalışma, 1950 yılında Cezayir'de doğan ve halen edebiyat hayatına devam eden Fransızca konuşan ve yazan Cezayirli yazar Maïssa Bey'in eserlerindeki kadın portrelerini ele almaktadır. Bey, kadınlar hakkında yazdıklarıyla tanınır. Eserlerinde her yaştan, sosyal sınıftan ve geçmişten kadına yer verir. Ancak bu kadınların ortak noktaları, okurların onları gerçek yaşamlarında da tanıyabilmeleri, gerçek hayatın bir parçası olmalarıdır. Çalışmamız üç ana bölüme ayrılmıştır. İlk bölümde Cezayir'in tarihsel, dilsel ve edebi bağlamı ele alınmaktadır. İkinci bölümde feminizm ve feminist yazının kuramsal yaklaşımı incelenmektedir. Son olarak, Maïssa Bey'in eserlerindeki kadın portreleri, yazarlardan, araştırmacılardan ve entelektüellerden örnekler ve alıntılarla açıklanmaktadır. Çalışmamızın birinci ve ikinci bölümleri Maïssa Bey'in oluştuğu bağlamı anlamak için faydalıdır. Üçüncü bölüm ise karakterlere ve bu karakterlerin kendilerini içinde buldukları durumlara ayrılmıştır. Bu çalışmanın amacı, Maïssa Bey'in edebi evrenini anlamak ve onu kadınları kadınlar hakkında konuşturmak için yazmak amacıyla dişil yazı tarzını benimsemeye iten nedenleri anlamaktır. Daha önce de belirtildiği gibi, ilk bölümümüz Cezayir'in tarihsel, dilsel ve edebi bağlamına genel bir bakıştan oluşmaktadır. Tarihsel olarak, ülke her zaman yabancılar tarafından işgal tehdidi altında olmuştur, ancak en büyük değişiklik Fransız sömürgeciliği ile gelmiştir. Fransa Cezayir'i kendi toprağı olarak görmüş ve kendi düzenini kurmuştur. Bu yeni düzenle birlikte Fransız kültürü Cezayir kültürünün önüne geçmiştir. Cezayirliler'e karşı bir kültürsüzleştirme ve asimilasyon politikası uygulanmıştır. Bu politika Fransızca dili ve öğretimi üzerinden hayata geçirilmiştir. Bu durum Cezayir'de dilsel bir ikilik yaratmış ve toplumda Fransız yönetiminin kurallarını benimsemeyi reddeden bir tepki de oluşmuştur. Bu ikiliği edebiyatta da görmekteyiz. Bir tarafta Arapça konuşulan Cezayir edebiyatı, diğer tarafta ise Maïssa Bey'in de bir parçası olduğu Fransızca yazılan Cezayir edebiyatı vardır. Bu bölümde Fransızca yazılan Cezayir edebiyatına ve bu edebiyatın en önemli yazarlarına bakacağız. Bir sonraki bölümde, Fransızca yazılan Cezayir edebiyatındaki kadın yazarlara daha yakından bakacağız. Bu kez daha derinlemesine bir bakışla onları üç farklı kategoride inceleyeceğiz: ilk kadın yazarlar, ikinci kuşak ve 1980 sonrası yazarlar. Tarihsel olayları anlamak, Cezayir tarihini bir bağlam olarak kullanan Maïssa Bey'in eserlerinde kendimizi daha iyi konumlandırmamızı sağlayacağı için bu çalışma için yararlı olacaktır. Ayrıca, Cezayir'deki dilsel durum hakkında daha fazla bilgi sahibi olmak, Maïssa Bey'in durumunu ve kimlik kavramını anlamamıza da yardımcı olacaktır. Ülke ve yazar arasında bir paralellik de gözlemlenmektedir. Son olarak, Fransızca yazılan Cezayir edebiyatının ve özellikle de kadın yazarlarının incelenmesi, Maïssa Bey'in edebi mirasının yanı sıra çağdaşlarının mirasını ve ortak taleplerini anlamamıza yardımcı olacaktır. Çalışmamızın ikinci bölümü teorik yaklaşıma ayrılmıştır. Bu bölümün ilk kısmı iki alt bölüme ayrılmıştır. İlk alt bölüm feminizm ile ilgilidir. Analiz kolaylığı açısından bu ideolojik hareketi üç dalgaya ayırıp her bir dalganın özelliklerini ve ortaya çıktıkları koşulları belirlemeye çalışıyoruz. Bu çalışma, ikinci alt bölümde inceleyeceğimiz dişil yazıyı daha iyi anlamamıza yardımcı olacaktır. Dişil yazı, kadın özneye ayrıcalık tanıyan bir yazımdır. Kadınları kendileri hakkında konuşmaya, erkekler tarafından yazılmak yerine yazmaya cesaret etmeye teşvik eder. Başka bir deyişle, nesne olmak yerine özne olmaya teşvik eder. Bu bölümün ikinci kısmı Cezayir'de feminizm ve Cezayirli dişil yazı ile ilgilidir. Bu alt bölüm Maïssa Bey'in evrenine bir geçiş gibidir. Bu bölümde, Doğu dünyasındaki düzen ile Batı'nın düzeni aynı olmadığı için Cezayir feminizminin Batı feminizmi ile paralel gitmediğini göreceğiz. Toplum ve dinamikleri Batı'dakinden farklıdır. Bu bölümün son kısmı Maïssa Bey ve onun edebi evrenine odaklanmaktadır. İlk alt bölüm onun bir yazar olarak bağlılığını ele almaktadır. Kısa bir biyografinin ardından, eserlerine atıfta bulunulacak ve ardından bağlılığının nelerden oluştuğunu göreceğiz. Bu bölümün ikinci alt bölümü Maïssa Bey'in eserlerinin merkezinde yer alan temaları ele alıyor: tarih, kadınlık durumu ve kadın kimliği. Tezin bu bölümü bir alt bölüm olmasına rağmen, kendisinden önceki tüm bölümleri özetlemektedir, çünkü Maïssa Bey'in tarihsel temasını anlamak için, yazarın sık sık atıfta bulunduğu ülkenin dilsel sorunlarını, Cezayir tarihini ve Cezayir edebiyatını bilmek gerekir. Kadınlık durumu teması feminizmin ve dişil yazının etkisini yansıtır, aynı şekilde kadın kimliği teması da dişil yazının amaçlarından biri olan kendi üzerine düşünmeye işaret eder. Üçüncü bölümde Maïssa Bey'in kadın kavramı inceleniyor. İlk olarak, yazarın yarattığı kadın portreleri üzerine bir bölüm var. İlk alt bölüm "Toplumsal statüsünü kabul eden kadınlar ve norm dışı kadınlar" başlığını taşıyor. Bu alt bölümde, Maïssa Bey'in eserlerinden örnekler vereceğiz. Önce kurulu erkek düzenini kabul eden geleneksel kadınlardan sonra geleneğe, kadın olarak kendilerinden beklenene boyun eğmeyen marjinal kadınlardan örnekler verilecektir. Norm dışı denilen kadınlar, kadına atfedilen stereotipi yok etmeyi amaçlayan bir özgürlük arayışı içinde olan kadınlardır. İkinci alt bölüm, bir şiddet nesnesi olarak kadın bedenine odaklanıyor. Öncelikle Maïssa Bey'in çalışmalarında genel olarak şiddetin bir özne olarak varlığına dikkat çekeceğiz. Bu şiddet betimlemesi Cezayir'in şiddet dolu geçmişinden kaynaklanmaktadır, çünkü bu şiddeti anlatan sahneler bağımsızlık savaşıyla ilgilidir. İkinci olarak, şiddet kadın bedenine yöneliktir. Bey'in eserlerinde kocalardan eşlere, babalardan çocuklara karşı yapılan her türlü şiddetin yanı sıra tecavüzü de görüyoruz. Üçüncü alt bölüm yine kadın bedeniyle ilgili, ancak bu kez bir baştan çıkarma nesnesi olarak kadın bedeni inceleniyor. Cezayir toplumunun kuralları erkek algılarına dayandığı için erkekler kadınları baştan çıkaran nesneler olarak gördüklerinden gizlenmeleri ve kamusal alanla etkileşimlerinin sınırlandırılması gerektiğini düşünmektedirler. Dahası, bir baştan çıkarma nesnesi olarak kadın bedeni, kadın bedeninden etkilenmeye izin verdikleri için eril ihtiyaçlarını ön planda tutan erkeklerin zayıflığını gösterir. Kadınlar için ise kadın bedeni bir utanç ve suçluluk kaynağıdır. Menstrüasyon, bedensel haz, kürtaj ve eşcinsellik kadın bedeniyle ilgili konulardır. Ancak, Cezayir toplumunun değer yargıları erkeklere ait olduğu için, utanç ve suçluluk korkusuyla bu konuların kamusal alanda konuşulması mümkün değildir. Kadınlarla ilgili her şey özelde, gizli kalmak zorundadır. Son alt bölümde, kamusal yaşamda tabu haline gelen bu yasaklara bir çözüm olarak kadın dayanışması gösteriliyor. Kadınlar kendilerine ait ve yalnızca kadınların girebildiği bir yer yaratıyor ve erkeklerin alanı olan dış dünyadan soyutlamış oluyorlar. İkinci ve son bölüm kadın ve erkek arasındaki ilişkiyi ele almaktadır. İlk alt bölüm "Anne babaya karşı" başlığını taşıyor ve hem anne hem de baba örneklerine yer veriyor. Geleneksel ve marjinal kadınlarda olduğu gibi, iki tür anne örneği veriliyor: geleneksel olanlar ve geleneğe karşı çıkmaya cesaret edenler. Aynı durum babalar için de geçerlidir. Yine de Maïssa Bey'in çalışmalarında erkek figürünün neredeyse hiç bulunmadığını belirtmek önemlidir. Çoğu zaman ya yokturlar ya da isimsiz ve arka plandadırlar. Bu seçim, okuyucuların kadın karakterlere odaklanabilmesi için bilinçli olarak yapılmıştır. İkinci alt bölüm erkeklerin kadınlar üzerindeki üstünlüğü ile ilgilidir. Bu da yine erkeklerin kadınlardan daha iyi oldukları algısının bir sonucudur. Son iki alt bölüm ise sırasıyla kadın ve erkek arasındaki iletişimsizlik ve karı-koca arasındaki cinsel ilişkileri ele almaktadır. Bu alt bölümlerde de Bey'in eserlerinden alınan örneklerle iki cinsiyet arasındaki iletişimsizliğin yine fallosantrik toplumun bir sonucu olduğunu görüyoruz. Bu bölümü bitirirken, Maïssa Bey'in ezilen kadınların sessizliğini, onları eserlerinin merkezine koyarak, onların koşullarından, ruh hallerinden bahsederek reddettiğini söyleyebiliriz. Son olarak, Maïssa Bey'in kadınların statüsünü iyileştirme taahhüdünü gerçekleştirmek için okuyuculara gerçekçi kadın portreleri sunmaya çalıştığı söylenebilir. Ülkesinin tarihinin izlerini taşıyarak, kadınları kendilerini özgürleştirmeye, soru sormaya ve erkek baskısını ortadan kaldırmanın yollarını bulmaya teşvik etmek istiyor.

Vıctor Hugo'nun Sefiller adlı romanının Türkçe çevirilerinin göstergebilimsel analizi

The object of our study concerns the semiotic analysis of translations of the book Les Misérables by Victor Hugo in the Turkish context from the point of view of the semiotics of translation. In our study, we choose to work on a book Les Misérables by Victor Hugo, one of the classic authors of French literature. The Misérables is a novel written in 1862 by Victor Hugo. The book is considered one of the most important novels of humanity in the world of French literature. It is the story of a former convict Jean Valjean for the theft of a piece of bread. Valjean is a poor peasant. He is the main character of the book. He suffered from the social poverty of the 19th century. The novel depicts the destinies of several characters such as Fantine, Marius, Cosette, Les Thénardiers, Gavroche but it focuses on the story of Jean Valjean. Les Misérables has an importance in the literary world as it is a work with literary particularities thus Les Misérables brings together various types of literary texts such as poetry. Then, it is a work with sociological importance also, so Les Misérables reflects the inequalities, the social injustices of the 19th century. At that time, there were social classes such as the working class, peasants, bourgeois, so each class had different rights and freedoms. In the book, we feel these inequalities. As it is an important work in literary and social context, translations of this book have been made in several languages. The novel has been translated many times into Turkish but its first translation into the Turkish language was made in 1862. This paper studies the four Turkish versions of the novel from the point of view of the semiotics of translation in order to better analyze the meaning and the designification. In the introduction, we give information on 19th century literature. The literary history of the 19th century shows that literary works are created in a relationship with the personal truth of the author. The literature of that time was in the search to stay or flee between reality and will. Les Miserables is a work with traces of the author's truth. In the search for meaning, semiotics is an essential means in literary translation. The essential goal of our work is to show the relationship between semiotics and literary translation. For this purpose, we present the relationship between semiotics and semioanalytic in the following part. Semiotics contributes to the criticism and analysis of the translated text. Thus, we compare the two semantic universes of the original text and the translated text. In our research, we compare the four different translations of the work. Our guide is always semiotics in this research. In the following part, we define our problem, the corpus of analysis and our methodological perspective for this study. We try to represent the signs and meanings of the semiotic universe of each text. We first begin with an overview of four different translations of the work and provide information on their translators. The essential aim of our study is to make the translator aware of the translation process and to reproduce the signs which create the semiotic universe of the original text to be translated. Translation happens daily, spontaneously, and sometimes we do what we call translation automatically in our minds, without questioning it. So, when we speak, we unconsciously translate the situation, event, emotions, feelings and ideas in which we find ourselves. Indicators point to a specific goal and situation. In any type of communication, these signs are repeated and acquire new meanings. With these new meanings, the words we choose, our gestures and our facial expressions create new indicators. Semiotics offers a grammatical, social and cultural field of research that deals with how signs that acquire new meanings are used and understood. According to the swiss linguist Ferdinand de Saussure, language is a system of signs and there is no connection between the meaning of each word and itself. Besides language, semiotics also serves as a guide in the field of art such as painting, architecture and music, because with semiotics each system is understood and analyzed how to understand and interpret those systems. Translation, especially what we call literary translation, is the process of rewriting the text, taking into account not only the words of the work in question, that is, linguistic signs, but also social indicators to which these linguistic signs belong. This rewriting process becomes an easier and more understandable process thanks to semiotics, semiotic methods and semiotic readings. We therefore compare the four semiotic universes reproduced by the four Turkish translators of the novel in order to observe the stages of preserving, modification and degradation of the semiotic universe by comparing the original with its four different translations. For this purpose, we present the notion of designification by Sündüz Öztürk Kasar with her Systematics of designification in translation. We use the table prepared by Sündüz Öztürk Kasar en 2020.6 This table by Öztürk Kasar illustrates the process of achieving meaning at three levels and nine degrees during translation. Öztürk Kasar defines this expression designification as any act or state of distancing, change, deprivation, negation or destruction of meaning during the capture and reproduction of signs in translation. At the first level, with the overinterpretation of meaning, the obscuration of meaning, and the underinterpretation of meaning, we render the modification of meaning. Overinterpretation of meaning constitutes excessive commentary on the meaning of the original or it creates overtranslation. Obscuration of meaning makes the hidden or ambiguous meaning a clear meaning of the original. The underinterpretation of the meaning misses the information provided in the original. At the second level, with the shift of meaning, the alteration of meaning and the opposition of meaning we render the transformation of meaning. The shift in meaning involves the creation of meaning. Alteration of meaning creates false meaning through interpretation. The opposition of meaning provides an opposite meaning compared to the original text. At the third level, with the diversion of meaning, the destruction of meaning and the annihilation of meaning we render the deterioration of meaning. The diversion of meaning creates a meaning that has no semantic link with the original text. The destruction of meaning provides a translation where there is no longer any meaning. The annihilation of the sign completely eliminates significant unity. In the next part of our work, we compare the translations in the context of designation. We observe the stages of transformation, modification or degradation of the semiotic universe of each version. The first translation in our study is the version entitled Magdurin Hikayesi published on Ceride-i Havadis. Les Misérables is the second western novel translated into Ottoman history after Fénelon's Télémaque. The novel has been translated many times into Turkish but its first translation into the Turkish language was made in 1862 under the name Magdurin Hikayesi. On May 5, 1862, the newspaper Ruznâme-i Ceride-i Havadis published a short summary as content of Les Misérables in the form of a short story in order to introduce the work and the author of this work to the Turkish readership. The language of this summary is far from a literary language. As in the original text, the translation also reflects Hugo's life by changing names and places. The second translation of our study is the version of Şemsettin Sami. This translation was published under the same title of the original work. Şemsettin Sami translated the first 402 pages of the work from the beginning to the second chapter entitled Marius of the 9th part. So, the translator Şemsettin Sami has not completed his translation. We learn from the research of Kerman the translation of Şemsettin Sami was completed in 1911 by Hasan Bedrettin Bey, the director of the Editorial Board of Sabah newspaper and he made this translation using Latin characters in 1934. The part translated by Şemsettin Sami contains old words and these words reflect meanings sometimes far from the original version. The third translation in our study is Cenap Karakaya's version. His translation was published under the title Sefiller in 2013. The translation begins with illustrations and a chronological list that compares the life and works of Victor Hugo with the sociological and political events of that time. The fourth translation in our study belongs to Volkan Yalçın Toklu II published his translation under the title Sefiller in 2016. Following the presentation of each version, we compare the examples we found in these translations in the context of the notion of designation. To make this comparison, we prepare tables in which we find examples of the designification in each version comparing with the original text. For each example, we explain the mistranslation parts that we found. In the following part, we discuss the difficulties we encountered during the analysis process. We note that these difficulties are based on linguistic and cultural differences. Language and culture are two inseparable concepts. Thus, a literary text is a cultural product of a language so a text always carries cultural elements of the language to which it belongs. In this context, cultural elements are sometimes challenges for a translator in the translation process. So, a translator must first of all master his own language but also his target language. Then a translator must know the source culture and the target culture as much as possible such as idiomatic expressions. Here we highlight the importance of semiotics for analyzing and translating a literary text. The translator must have the sensitivity to analyze a text before carrying out the literary translation. Semiotics is like a guide to criticizing and analyzing a translated text. Thus, through semiotics we compare the two semantic universes of the original text and the translated text. In the quest for meaning, the translator must form his own method of reading and analysis. Semiotics is like a guide in the creation of these methods of reading and analysis. In particular, certain literary works pose great difficulty in the process of reading and especially analysis due to the style of the author in order to say the language of the author and the choice of words that the writer uses. The methods to follow have great importance so that this translation process takes place with precision and simplicity. The translator must first understand and analyze the sign field in the source text because a text well analyzed in terms of semiotics, especially if it is a literary work, appears as an understandable text and not away from the source text without certain tendencies such as modification, transformation and deterioration of meaning. To compare the prefaces of each version we add the prefaces of the translations in the appendices section. The purpose of adding these prefaces is that each translator or editor adds a preface text different from the source text. This difference in prefaces is influenced by many factors such as the word choices of the translator, the movement by which he is influenced, the period in which he is translating, and these elements also influence the language and the style of the translator, The choice of prefaces is different for each version, and we present these different prefaces with their French translations in the appendices. In fact, these prefaces are like a mirror, because they show us the methods followed by translators in their translation processes, the movement that influences them and the factors that affect their word choices and styles so that we witness the illustrations and the chronological lists of important events in the novel just before the preface in Karakaya's translation. In this section, we defined our thesis subject and summarized the methods we used. During our study, we use the Systematics of designification in translation presented by Sündüz Öztürk Kasar.7 We have seen that each version constitutes a systematic which function in three fields of meaning: the field of meaning of the work, the field of peri-meaning of the work and the field of nonsense. These are the steps to follow in these three fields. In each stage, the designification tendency that we have encountered goes through an operation which affects meaning to a different degree. Finally, we end our study by mentioning the results that we draw from this study. The aim of our study is to raise the translator's awareness in translation process and to reproduce the signs which create the semiotic universe of the original text to be translated.

Dinin mahremiyetinden medyanın kamusallığına: İslami televizyon kanalı Samanyolu TV üzerine örnek olay incelemesi

Antoine de Saint-Exupéry'nin Küçük Prens adlı eserinin dilbilimsel iletişim öğe ve işlevleri açısından incelenmesi

Our paper entitled ?A study of elements and functions of linguistic communication in The Little Prince by Antoine de Saint-Exupery? aims to observe the existence or not of the elements and functions of communication within the Little Prince of Antoine de Saint-Exupery, which is literary and philosophical book.We can see that all elements and all the functions of communication proposed by Jakobson are present in the Little Prince. Our study also noted that it is possible that several functions may overlap and take place simultaneously in a process of literary communication. However, it should be noted that readers of the Little Prince, to receive message(s) of the text, should have knowledge about the social, linguistic, cultural, etc. codes. We believe it would be useful to focus, in a future work, on the role and hierarchy of Jakobson's communication functions as well as the particular characteristics of the ludique function within a literary work.

Yabancı dil öğretiminde motivasyon sorunsalı : Öğretim teknikleri (mizah, geribildirim, eğitim sözleşmesi) ve anket çalışması

Motivation is a subject of study generally treated in various areas such as work, sport. However, in the school context, particularly in the teaching of foreign languages, the motivation poses a problem for student learning. This study aims to analyze the factors that are involved in the motivation of students learning a foreign language from two perspectives: that of students and of teachers with reference to a survey conducted for this purpose.

20. ve 21. yüzyıl Fransız edebiyatında beden imgesine bir bakış

This study is a product of comprehensive readings rather than endless researches. Especially while analyzing the books, it was aimed at revealing the parts related to the subject by interpreting what is written in the book. The reason of this was the desire to highlight the things written in the book, instead of what is said about the books in the corpus. Moreover, to verify the information and the interpretations, many reference books and internet resources were consulted. The synthesises are composed of the information which already exist in the books, but they could only be revealed by comprehensive readings. Furthermore, in the preparation of this study, everything read is based on the axis of human body and body image.This study is presented in three main parts which are: Autobiography and human body, Oppression: External factors affecting the body and The look of ?the other? on the body image. This abstract will primarily mention the axis of the main parts and then the subchapters which are present in each section.The readings and researches made on the image of the human body led us to a literary genre which talks about the ?self?. In this genre the author, the narrator and the protagonist are the same person and it is understood that the internal and external descriptions and the personality development are presented perfectly. This trinity was also pointing out the autobiographical literary genre. In other words, whenever the body image is to be searched for, it is obvious that the books consisting of autobiographical elements provide the most concrete and realistic data. That?s why the books to be studied on were chosen among the ones which had autobiographical elements or were considered as autobiography. As so much importance is given to autobiography, it is attempted to find the connection between the autobiographical literature and the image of the human body following Philippe Lejeune?s theories on autobiography in the first main part. Therefore, the first section is committed to the presentation of this genre and tried to answer the question ?What is autobiography??. This section is also divided into three. Firstly, the theoretical explanation of autobiography is given in ?A glance at autobiography?. Then Philippe Lejeune?s ?the autobiographical contract? in which the sincerity and faith towards the real that requires to take place between the author and the reader is discussed. Lastly, the balance and the link between the real and the fiction are observed in the autobiographical books under the title of real ?I? and the fictional ?I?. In this section it is referred to the relation between autobiography and ?I?. This genre is primarily an inner search of the self in the guidance of real life experiences. The human body has a great importance in this search, because the things which a human being experiences are mostly in a strong relation with his body.The connection between autobiography and ?I? necessitated the examination of another connection. It is between ?I?, which is the main product presented by autobiography, and the human body. In other words in this study, it is considered essential to take a look at the phases before the memories are formed and the section called ?Recognizing the self through body? is composed. Here, there is a two-way search. While analyzing the author?s look on his own past with his adulthood experiences, it is displayed how the same person?s future personality is formed by what he lived in his childhood. With this perspective it is aimed at indicating what an important role the human body has in forming the personality from birth. In this context, the relation between the human body and the personality formation will be presented in the second section. Herein there are three subchapters in which the importance of the human body while forming the individuality is sought for. These are: The first touch with the external world, The role of the body image in personality formation and Psychoanalytical literary theory and autobiography. At this point Sigmund Freud and Jacques Lacan?s theories are discussed and explicated the parts that are related to the subject of this study. As a result, the link between the human body and the personality formation is revealed. This link is important for this study, because while analyzing the author?s retrospective story in the corpus, it was necessary to make the connection between the personality formation of the author/narrator/protagonist, and his own body image. And then, by introducing the usage of this theory as a literary criticism, the theoretical presentation related to autobiography is completed.As closing the first main part, it was dealt with the autobiographical characteristics of Annie Ernaux?s L?Evènement, the first book of the corpus. Thanks to this, a chance stood to give an example for the autobiographical contract mentioned before. As understood from the title, only the elements Philippe Lejeune referred to are looked for. Thence the application of the theoretical elements of autobiographical literary genre in a book is pointed. The comprehensive study of this book is kept to the third main part. This section is also analyzed in four subchapters. First, ?the real elements? and then ?the usage of the proper names? are presented. In these two subchapters, the author does not say directly that what she mentions is real. That?s why the accuracy of some incidents, places and dates is inquired. Apart from that, a chance arose to verify the proper names of some institutions and persons. The author declares that because she knows some of the characters are still alive, she uses abbreviations in order not to reveal their names. With this respectful decision, it is assumed that the characters and the incidents were real. Furthermore, it is meant to indicate the author?s verifications which are her concrete contract. After these, her reasons to commit herself to paper are examined. With this subchapter the main part titled Autobiography and human body is completed. It is assumed that the concepts of autobiography - body image - individuality are clearly attached to each other by presenting the example to the autobiographical contract in this section. In short, it is aimed at showing the connection between the body image and autobiography being inspired by psychoanalysis in this main part.In the second main part of this study the examples of repressive regimes applied on human-kind in the literature were laid and as a title Oppression: External factors affecting the body is chosen. This main part is divided into three sections like the previous one. These are: Totalitarianism and the human body, ?W? of W, or the memory of childhood of Georges Perec, ?The childhood memory? of W, or the memory of childhood. The first section is also divided into three. The first one, which is called A glance at totalitarianism, shortly introduces totalitarianism and gives explanations with some examples. These explanations are guided by Hannah Arendt?s definitions which gave the modern meaning to totalitarianism. In this subchapter the books given as examples are out of the comprehensively studied ones in the corpus. Plus it is aimed at giving theoretical information and short examples from literature here. First of all it should be noted that totalitarianism was chosen, because it is a political system which has the closest relationship with the body image and the body itself. As it is seen in this subchapter, A glance at totalitarianism, totalitarianism differs from the other managerial systems with many of its characteristics. Moreover, it is a political regime which aims at controlling and changing the human body, and among the similar systems it is the cruellest one. After this definition, it is dealt with the social body. The point should be paid attention here is the difference between the terms the social body and the society. The social body is one of the most significant phases in which the plans of totalitarianism are fulfilled. First, a social body is created and then the other projects are easily accomplished. Therefore, the terms social body and the society itself should not be mixed up. Lastly, it was talked about the individual awakening of body, which is the biggest deficit of totalitarianism. With individual awakening of body it is referred to man?s desire to satisfy the needs of his own body instinctively by refusing to be a part of the social body. As it was mentioned before committing to the social body and being included in a society are not the same things, so this commitment definitely does not collide with the other information about the fact that man is a social being.After the section which has a theoretical emphasis, a need of submitting a sample related to the subject in literature occurred. For this reason, an anti-totalitarian work was chosen in order to stress the importance of the human body exposed to oppression. In the second and third sections, Georges Perec?s W, or the memory of childhood is analyzed. This book consists of two different stories, one of which is autobiographical and the other one is fictional. This book takes part in the centre of the study in terms of both ranking in the planning and the importance signifying for the study, because the wish to work on the human body in fact stems from this book. As indicated before, this book is made up of two different textures. It locates between reality and fiction and it is aimed at considering the fictional elements in the autobiographical part and the autobiographical elements in the fictional part. First, it is looked over W, which is the fictional part of the book that is divided into five subchapters. These are: Georges Perec and ?W?, a search for a person, a utopian island:?W?, the destruction of individuality and the end of the Utopia ? the beginning of the anti-Utopia. In this fictional story a totalitarian regime established on an island is being narrated. Sports is in the centre of this system. Totalitarianism and sports are closely linked with the human body. Furthermore, in the combination of these two, poses a great danger for the human body. In this the oppression performed especially through human body is examined.In the fictional section, after going through the correlation between totalitarianism and the human body, the autobiographical part of the memory of childhood is discussed. Here the thing which is mentioned is the author/narrator/protagonist?s discovering his memories through his body. In this section it is scanned how Georges Perec, who himself was also a victim of Nazism that is a totalitarian regime, experienced the correlation above. The subchapters of this section are listed in this order: The combination of the real and the fiction, The pursuit for the father figure and The weak body. In this section, the body image again takes place in the centre, in which the author?s search of his forgotten past due to the sorrows caused by totalitarianism is displayed. Thus, it is perceived that the oppression and the totalitarian system does not appear only in the fictional part but also exists in the autobiographical part. The author of the book himself went through several tests standing out against totalitarianism in his lifetime. His body and the image of his body convey his witnessing the major incidents of his life and consequently it has a crucial role in the search of ?himself?. The main target here was to demonstrate the link between a political regime which is identified through human body and the society. Besides theoretical information, a fictional and an autobiographical story had a contribution to completing this section. In this way, a collation of theoretical information concerning life and literary works is complemented in the second main part, just as the first one.In the third main part, it is attempted to reflect the conflicts of human stemming from his internal world with the guidance of only autobiographical books. The look of ?the other? on the body image is the title of the part and it is divided into three sections. Each section is based on a book and called the female body, the male body and the third sex. In the third and the final main part, three autobiographical books are examined and the usage of the image of the human body is showed. The first section is attributed to Annie Ernaux?s book L?Evènment and divided into three subchapters, which are: The status of woman, symbolic images and concrete images. The purpose here is to reveal how a bodily action can change the social status of a person or how that action can play an active role in this change. With this bodily action, the status of woman is displayed via the body image.The second book analyzed is Michel Leiris? L?Age d?homme and this section also has three subchapters, these are: An average self-portrait, fragility and wounds and sexuality and erotism. In this book, the role of his own body and the image of the others? on the author/protagonist?s personality is examined. Here the body image is discussed more intensively than the other books in the corpus. It is observed that the author/protagonist does not deal only with his own body, but also the body image of his sister?s, parents?, friends?, acquaintances? and even the characters? of art and history. This intensity of body image is an important factor in forming the author/protagonist?s point of view.In the final section Nina Bouraoui?s Garçon Manqué is also examined in three subchapters, which are: Body and the first duality, the other types of duality and a path to homosexuality. This book takes place at the end of the study, because it has a speciality to bring all the other pieces together. Here, we spot a half-blooded girl of a French mother and an Algerian father, being drifted towards homosexuality because of this duality she smothered with. However, this book does not only present one person?s life, but it also consists of many autobiographical characteristics, examples to political and social oppression, internal wounds and personality formation. Besides, all of these gather around the human body image. As a result, this section is centred on dualities displaying the synthesis of the study. In each section of the third main part an autobiographical book related to the title of the section is studied, and the significance of the body image is searched for in these books. Yet, it is attempted not to expose the exclusively sharp body images. Except this, it is aimed at showing the aspects such as the personality formation mentioned before and the connections with the external world. In this main part, the sections were identified with sexes, because human being was evaluated as a whole in the former information and observations. It is desired to finalize the former sections in a detailed diversity. In this way, it is intended to provide an opportunity for other studies to extend.Each section, even each subchapters presented in this study obviously has a potential to be a study individually. The target is to base all these books on a common denominator, which has probably not done before, rather than offering a patchwork composed of pieces available. Finally, this study which is based on the axis of human body and the body image is expected to be an initial point for other studies.

Luc Besson'un Angel-A filminin yapısalcı çözümlemesi

This work titled as «Semiostructural analysis of Luc Besson's movie Angel-a» includes the theoretical illustration of the semio-structural analysis method of Julien Algirdas Greimas, and its application on Luc Besson's movie Angel-A realized at 2004. The Linguistic, who owe his autonomy as a social science to the famous Swiss linguist Ferdinand de Saussure's works, includes many sub-disciplines based on the necessity of the synchronic approach to the analysis and the approach to the observation object. The Semiotics as one of the side disciplines of the linguistic is developed by Lithuanian linguist Julien Algirdas Greimas who's method is based on Danish linguist Louis Hjelmslev's and Russian structural analyst Vladimir Propp's methodologies. This method, as adopting the principal of synchrony of the linguistic, also takes in first plan the dichotomic character of the structuralist methodology. The function of a system is possible only with the relation of opposition and difference between its units. The dichotomic character of the scientific method of Greimas is based on this principal relation form. In the first chapter of this work, to establish a comparatively stable position, the focus has been on the definition of the notions and their transfer. Since the main objective is to observe the meaning in and for itself, it has been deemed appropriate to use the Larousse and the Semiotics and Language: An Analytical Dictionary Julien Algirdas Greimas and Joseph Courtès. It is preferred to transfer the explanation of the notions deductively, the application forms of the theories and as it is realized in this work, by basing of this application to one specific movie chosen. Therefore, first we explained the theories and we did their definitions and explanations, and then we realized the applications of these methods on a specific movie. xvii helps the hero, is called adjuvant, and that puts him obstacles during his quest called the opponent. The narrative component includes then, the contents of the language, by the succession of states and transformations. The discursive component is the one that describes the form of these contents observed in the narrative component. The actantial roles and their functions in the text are qualified by the figures which are the units of the stable content. The figures have two aspects, the virtual aspect that includes the work of a dictionary by referring to the memory; and the aspect realized referring to a discourse or to a context. The figures can be evaluated by a paradigmatic point of view that is by forming a discursive configuration or a syntagmatic configuration by following the path figurative. The path figurative reduced to the discursive roles describe the character, what is called thematic roles. The superficial level that consists of two components is structured by a logical order. The deep level, whose analysis follows that of the first one, consists to clarify and decode the logic that holds it together. The semic analysis whose object of analysis is the seme which is the minimal unit of the signification, make the signified return to the semic features. The difference and the opposition between the semes produce the effects of the meaning and the signification. This effects of the meaning define a figure who's decomposition gives us the nuclear semes and the classemes or the contextual semes. The nuclear semes compose the minimal units of the signification who belongs to the lexis, named «the lexeme». The contextual semes or the classemes guarantee the attachment of the figures in the same context. The isotopy ensures the homogeneity of a message and makes possible the coherence of a subject. The permanence of the minimum features recures and repeats itselfs give coherence to the figuras of the text. This permanence and repetition is called «the redundancy». Following the distinction between the nuclear semes and the contextual semes, and the function of the concepts of the permanence and repetition, we will distinguish the isotopies in two parts; the semantic isotopy, provided by the xviii redundancy of the classemes and who allow to disambiguate the utterances produced; and the semiotic isotopy, ensured by the redundancy and the permanence of the nuclear semes, making possible the word games and the metaphors. The semes articulate and but themselves in a relation of opposition and difference for getting organized in a whole around a message. The model created to define these relationships is represented by a scheme called "The Semiotics Square." The semiotic square is the establishment of a relationship of opposition by the articulation of two elements on the same semantic axis. For example, the opposition man/woman based on semantic axis "human". This game of opposition is formulated by a system of relation of opposition; which is the relation established between man/woman, and non-man/non-woman; and also a relation of hierarchy, which is the relation between man/woman with a semantic axis called «human». The model thus constructed can be considered as the basic structure of the meaning and organizes three kinds of relations in logic-semantic order: the relation of contradiction, the relation of contrariety, the relation of implication. The Greimasian methodology based on relations of opposition and difference by establishing the smallest units of the semiotic system and arriving at the superficial level, ends with the creation of the semiotic square which can be regarded as the seed of the structure. After representing this method we then moved to its application on the film we chose to analyze. The objective of our work was to show that the Greimasian method is applicable to each signifier whatever its structure or nature. The definitions and explanations that we used in the analysis showed us the utility and the necessity of a methodology in a systematic work aiming the scientific objectivity. The film we chose to analyze is a film by Luc Besson, the French director known for his films "Leon", "Nikita", "Jean d'Arc." Our film is called Angel-A, made in 2004 and tells the story of an Algerian man living in Paris by hiding his scams with his so-called work, its so-called kindness and his supposedly being. As in other famous films of the director, our hero is saved by a figure of a strong woman at the end of a journey divided in two.xix Unfortunately we did not get a chance to find the script, even if we have written many times to the offices of companies who produced the film. To compensate that, we have written the subtitle of the film by enriching it the description of the attitudes, facial expressions and body language of the characters for being able to see and feel the flow of the story. As we watched the movie on its DVD, we were not obligated to segment it, since it was already segmented in twelve sequences in total. We divided the practical part in two levels following the Greimasian method; the superficial level and the deep level. We treated the superficial level by combining it with the classical schema narrative of Paul Chevrier. We then divided the plot cinematic into five sections, which we have explained and classified by placing them into the schema. The first two sequences of the film, with their six scenes form the starting point of the plot, where we meet the main character, his routine and his impasse. The four sequences that follow, by their four scenes contain events of provocation showing the course of the plot by preparing the sequel of the journey of the main character by questioning various objects of value at the beginning of their circulations between different characters in the story. The turnaround of the situation, realized by the gain of the consciousness of our hero consists in one sequence of one scene, which is the seventh, and which introduces into the plot a different aspect of what is real or surreal. The completion of the performance, following the events of resolution, is made in three sequences of three scenes that follow. The events of this sequence prepare the total resolution and unification of all the dichotomies that will take place in the next section. The last two sequences with its three scenes consists the closure of the program, the resolution of the plot and the unification of all oppositions, all differences, all dichotomic elements until now discovered. A total balance is established in this last sequence, internally and externally.xx We also analyzed the component narrative and the component discursive in this part of the application of the method. The plot cinematic which we have studied the structure is a story that evolves from a state of disjunction to a state of conjunction, in a situation of the TRUE and realizing the following narrative programs; -The confrontation of reality. -The acceptance of reality. The study of the deep structures is to say the dynamics that define the figurative paths and the narrative programs, forming the superficial structures of the text cinematographic. We then stabilized the figurative path and the figures in whose organization prepares the dominant idea of the film narrative. The figurative paths that we have developed in the first place are "lie", "disequilibrium", "weakness", and "flight". These give us the semic oppositions such as; / honest / vs / dishonest / and / inside / vs / outside /. Following the semic oppositions, we noted the semiotic isotopes where the effects of the meaning derived as; individual / economic / relational. The oppositions of the semiotic registers will be followed by the spotting of the semantic isotopy which makes possible and ensures the consistency of demonstration of registers of the meaning. Taking into account the semic oppositions and the semiotic isotopies, we have stabilized the semantic isotopy as equilibrium/disequilibrium. The gathering of the oppositions stabilized in such with the differential character of the semantic values, thereafter is projected on the semiotic square. We must recall that we have indicated two narrative programs that perform successively, "the confrontation of reality" and "the acceptance of reality." We can therefore summarize the reading of the semiotic square as follows: - / Non-equilibrium / → / disequilibrium /: This passage is realized by the narrative operations of "troubles" of Andre who owed money "throughout Paris." He lies, and he is not respected.xxi - / Disequilibrium / → / non-equilibrium /: This passage is realized by the narrative operations as the "research" of flight of André. American justice, the French justice, the religion and then death. - / Equilibrium / → / non-equilibrium /: This passage is realized the narrative operations of the "flight" of André. He was lying himself and was not accepting anything. - / Non-equilibrium / → / equilibrium /: This passage is realized by the narrative operations of "introspection" of André, which leads him to his purification and liberation. Our work ends in a state of conjunction, where Andre confronts himself, accepts himself, and mixes with his opposite, ending up in balance. The structural method described and applied to the film Angel-A by Luc Besson, is the formula of decoding the meaning constructed, hidden and shown. No doubt, an analysis cinematic by its multidimensionality demand a work much more deeply accomplished. We only realized the textual analysis to uncover the structure of the meaning, the essential of the movie Angel-A, that we could diversify and deepen following the different objectives, depending on the specific method, without ever losing our scientific objectivity.