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Discipline
Fransızca ve Türkçede akıllı telefon bağlamında yeni sözcük kullanımına (Neolojizm) yapısal bir yaklaşım
Neoloji, dilbiliminin üç dalı ile ilgilidir: anlamsal yönüyle sözcükbilimi, yapısal yönüyle biçimbilimi, toplum tarafından kelimenin kabul ve kullanım süreçleriyle ilgili toplum dilbiliminin araştırma sahasına girer. Neolojinin konusu olan neolojizm ise; ortaya çıkan yeni bir gösterilen (anlam) için yeni bir gösterenin üretilmesi şeklinde tanımlanabilir. Gerçekten, bilim ve teknolojinin sürekli gelişmesi yeni kavramların ortaya çıkmasına yol açmaktadır. Hem dilsel ve hem de toplum dilsel boyutları olan bu hadisenin en iyi gözlemlenebileceği alan, bilimsel ve teknolojik gelişmelerin günümüzde en hızlı ve yoğun olarak yaşandığı mobil teknolojileridir. Bu nedenle, bu çalışmada akıllı telefonlarını kullanma kılavuzları veri tabanı kabul edilerek Fransızca ve Türkçedeki neolojizmler yapı bakımından karşılaştırılmıştır. Çalışmada dilin içyapısına bağlı olarak Fransızca ve Türkçede sözcüksel anlamda değişimin nasıl gerçekleştiği, bununla birlikte toplum dilbilimsel etkenlerin dilin zenginleşmesine nasıl etki ettiği sorunsalına cevap aranmıştır. Çalışmada ilk olarak dilbiliminin iki yeni sahası olan neografya (yeni kelimenin sözlükleşme süreci) ve neoloji (yeni kelime yapma yöntemi) konuları ele alındıktan sonra, konunun kuramsal çerçevesi çizilerek, neolojizmin nedenselliği ve neolojizmlerin belirlenmesi ile ilgili bilimsel yaklaşımlar ve kuramlar değerlendirilmiştir. Nicel araştırma yönteminin benimsendiği bu çalışmada, veri tabanından elde edilen veriler, oluşturulan sayısal ispata dayalı araştırma modeli çerçevesinde değerlendirilmiştir. Bunun için farklı dört telefon markasının (Samsung, Sony, Vestel, Wiko) kullanma kılavuzları veri tabanı kabul edilerek tespit edilen neolojizmlerin iki dildeki (Fransızca, Türkçe) yapısal ve sayısal durumları, çıkış sebepleri ile sözlükleşme sürecinin karşılaştırılması amaçlanmıştır. Elde edilen veriler, Türkçe neolojizmlerin Fransızca neolojizmlerden daha fazla olduğunu göstermektedir. Diğer taraftan, İngilizceden Fransızcaya ödünçlenen kelime sayısının İngilizceden Türkçeye ödünçlenen kelime sayısından daha az olduğu anlaşılmaktadır. Bu çerçevede, her iki dilde kısmi ödünçlemelerin tam ödünçlemelerden daha fazla olduğu görülmektedir. İki veya daha fazla kelimenin bir araya gelmesiyle oluşturulan neolojizmler diğer türetme yöntemlerinden daha sık başvurulan bir biçim olarak karşımıza çıkmaktadır. Fransızca ve Türkçede sayısal olarak iki addan oluşan ve ad olan neolojizmler diğer türetme şekillerinden daha fazladır. Kendine özgü (diğer dillerde bulunmayan veya kullanılmayan) türetme şekilleri en fazla Fransızca kullanma kılavuzlarında tespit edilmiştir. İncelenen metinlerdeki neolojizmlerde İngilizce ve Türkçe yapısal benzerliğin Fransızca Türkçe yapısal benzerlikten daha fazla olduğu tespit edilmiştir. Kelime sayısı açısından tek kelimeden oluşan en fazla neolojizm Fransızcada, iki kelimeden meydan gelen neolojizmler Türkçede, üç kelimeden oluşan en fazla neolojizmler İngilizcede saptanmıştır. İki dildeki neolojizmlerin durumlarının yapısal bağlamda ve sözlüğe giriş süreçleri olarak farklı olması birçok nedene bağlanabilir, fakat genel olarak dilin kendi içyapısı ve dışsal yani toplumsal nedenlerden dolayı bu farklılıkların meydana geldiğini söylemek mümkündür.
Une étude sur Travail d'Emile Zola dans le cadre de la méthode de structuralisme génétique
Notre but dans ce mémoire est de faire une analyse en utilisant la méthode de critique littéraire appelée le structuralisme génétique de Lucien Goldmann dans le roman Travail d'Émile Zola et de montrer la pertinence de la méthode dans l'analyse des oeuvres littéraires. Étudier le roman de Zola de manière totalisante et cohérente, grâce à cette méthode prenant en main les oeuvres philosophiques et littéraires avec le matérialisme dialectique de Marx et la conception l'esthétique de Hegel, constitue l'importance du mémoire. Essayer d'expliquer la vision du monde de Zola dans cette oeuvre avec la situation historique et sociale en partant des structures immanentes, serait utile pour les futures études. L'absence d'étude scientifique sur les oeuvres de Zola avec l'approche de structuralisme génétique et la volonté de démontrer que celle-ci est parfaitement pertinente dans l'analyse de ses oeuvres, constituent l'une de principales motivations de cette entreprise. En effet, cette méthode, basée sur le marxisme, vise d'abord à examiner les structures immanentes du travail en utilisant des méthodes de critique littéraire structuraliste. Nous avons également utilisé les méthodes des théoriciens tels que Gérard Genette, Algirdas Julien Greimas et Roland Barthes dans le niveau de compréhension. Ensuite, au cours du niveau d'explication, nous avons discuté du travail à la lumière de la méthode sociologique applicable à toutes les oeuvres littéraires de Goldmann. Sauf des travaux de ces théoriciens, les sources utilisées dans cette étude ont été procurées des bibliothèques, bases de données et librairies. Le XIXe siècle est une période où l'Europe connaît de grands changements et bouleversements dans tous les domaines : les plus grands développements de l'histoire de l'humanité se sont réalisés dans les domaines de la politique, l'économie, la société, l'éducation, l'armée et la technique. Dans cette période de grands bouleversements, les structures sociales changent totalement et de grands mouvements sociaux se révèlent. Avec le système capitaliste développant, il se présente d'une part, une classe bourgeoise très puissante et d'autre part, une classe ouvrière qui tente de survivre en vendant sa main-d'oeuvre en Europe. Alors que les bourgeois s'enrichissent chaque jour, les ouvriers vivent dans des conditions extrêmement difficiles. Dans un tel environnement et telle période, les conflits de classes ont également atteint une phase critique. Au fil du temps, les travailleurs ont formé des organisations, des structurations et des idéologies très efficaces. Émile Zola est né et a grandi à cette époque, et sa vision du monde a été formée en observant ces situations de l'humanité. Tout au long de sa carrière d'écrivain, il a tenté d'examiner la société physiologiquement et a essayé d'en faire un roman, qui est une sorte d'art, une science. Il a formé la théorie du naturalisme en étant influencé par de nombreux penseurs positivistes de l'époque. Dans son ouvrage intitulé Rougon-Macquart, il a tenté de créer l'arbre généalogique de la communauté française et a traité toutes sortes et types de personnes. Surtout, dans la période de la IIIe République, il avait commencé à travailler et à réfléchir non seulement à examiner la société mais aussi à savoir comment la société et les gens devraient être. Par conséquent, faire une étude méthodologique sur Travail de Zola, mettre en évidence les structures internes et transcendantes de l'oeuvre, l'importance de l'idéologie sociale et des événements dans la formation du travail et la démonstration de leurs rôles de façonner les idées et les visions du monde chez les écrivains, constituent l'importance de l'étude. Zola étant également un journaliste et un penseur, en prenant en main les structures internes du roman, on a étudié comment les conditions sociales et historiques ont affecté sa vision du monde, quelles sont ses réactions et quelle est la forme de sa vision du monde dans son livre. Au niveau de la compréhension de notre étude, les structures internes constituant l'oeuvre ont été examinées. Les techniques littéraires qui composent le roman avaient été successivement appliquées et l'auteur adhère aux techniques naturalistes autant que possible. La première moitié du travail est assez réaliste, mais à partir de la seconde moitié, le récit s'installe à un univers fictif. Au niveau de l'explication de l'étude, au cours duquel nous avons visé à examiner les structures transcendantes (politique, culturelle, économique, éducative, etc.) du travail, nous avons constaté que l'auteur avait été impressionné par les conditions sociales et les événements historiques de la période vécue. En approchant cette oeuvre à travers différents points de vue, avec la méthode critique du structuralisme génétique basée sur le marxisme de Lucien Goldmann, nous tentons de montrer l'effet des conflits entre les classes de l'époque sur les idéologies qui dirigent la société ; cela constitue un autre aspect important de l'étude. Travail de Zola a été étudié moyennant la méthode de Lucien Goldmann dans sa structure interne. Après, ce travail est expliqué avec les réalités de la société dans laquelle il s'est produit. En conséquence, l'auteur a présenté une solution à l'humanité en identifiant les problèmes et les détériorations de la société. L'auteur, qui agit comme un intellectuel, offre une thèse à la société et a voulu qu'elle soit comprise par tous. Il s'est opposé à des phénomènes tels que l'exploitation, l'individualisme, l'aliénation, l'esclavage et l'inégalité qui ont conduit la société au désastre et il a proposé des solutions pour les corriger. En concevant cette proposition Zola a bénéficié des idées de nombreux penseurs socialistes et anarchistes importants de son époque. Selon l'auteur, un monde meilleur peut être constitué par les hommes en faisant des sacrifices, en émancipant l'éducation, l'exaltation de travail, la solidarité, la science et la liberté. Dans le résultat de notre étude, nous avons constaté que Zola reflète de nombreux thèmes opposés de la société dans son travail. Mots Clés : Émile Zola, Structuralisme, Travail, Vision du monde, Structuralisme génétique, Lucien Goldmann, Sociologie de la littérature
Kanıtsallık ulamının Türkçe ve Fransızcada karşıtsal bir incelemesi
Dilbilgisi ulamları içinde yer alan kanıtsallığın Fransızcada tipolojik ve semantik görünümünü karşıtsal bir yaklaşımla incelemeyi amaçlayan bu çalışmada, Türkçede zorunlu olarak gramatikalleşmiş bir biçimle işaretlenen bu ulamın Fransızcada dilbilgisel bir ulam olarak mevcut olup olmadığı, farklı türlerinin hangi yollarla belirtildiği ve bu ulamın işaretlenmesinin zorunlu olup olmadığı sorunsalı ele alınmıştır. Bu çerçevede, karşıtsal dilbilgisi yöntemi benimsenerek, Türkçe iki farklı roman ve bunların Fransızca çevirilerinde bulunan kanıtsallık ifadesinin yer aldığı cümlelerden oluşturulan iki dilli bir bütünce üzerinde biçimbilimsel, sözdizimsel ve sözcüksel çözümlemeye gidilmiştir. Bu yöntemle elde edilen bulgular incelendiğinde, Türkçede gramatikalleşmiş bir biçime sahip olan ve zorunlu olarak –(y)mIş biçimbirimiyle işaretlenen bu ulamın Fransızcada işaretlenmesinin zorunlu değil seçimlik olduğu, dolayısıyla belli bir gramatikalleşmenin söz konusu olmadığı tespit edilmiştir. Buna bağlı olarak, dolaylı kanıtsallığın farklı türlerinin biçimsel, sözdizimsel ve sözcüksel bağlamda çok sayıda değişik yollara başvurularak belirtildiği saptanmıştır. Anahtar Kelimeler: Türkçe, Fransızca, Dolaylılık, Kanıtsallık, Duygusal Boyuttaki Tezahürler, Karşılaştırmalı Dilbilim
Özkurmaca roman incelemesi: Patrick Modiano'nun La place de l'Etoile'i
Patrick Modiano, üretkenliği ve özgün yazı biçimiyle 2014 yılında Nobel Yazın Ödülü ile onurlandırılmış çağdaş Fransız yazınının en önemli benli anlatı yazarlarından birisidir. Yirminci yüzyılın ikinci yarısından başlayarak günümüze kadar yazınsal üretimini sürdüren yazar, İkinci Dünya Savaşı sırasında Yahudilere uygulanan soykırımın acılarını ve Nazi işgalinin Fransız halkının üzerindeki etkilerini yapıtlarında temel izlek olarak ele almış, aile, kimlik sorunsalı, bir topluma ait olmak veya olmamak kaygısı, yitip giden geçmişe olan özlem, aile ve baba imgesi, Yahudi soykırımını ön plana çıkaran yapıtlara imza atmıştır. Patrick Modiano'nun yapıtlarının büyük bir çoğunluğunun kendi yaşamından esinlendiği görülmektedir. Yaşamının gençlik yılları, babasına karşı olan karmaşık duyguları, savaş yıllarındaki Fransa ve özellikle Paris uzamı, özyaşamöyküsel ve özkurmaca göndermelerle romanlarında ortaya çıkmaktadır. Çalışmamız beş bölümden oluşmaktadır.Çalışmanın birinci bölümünde anlatının kuramsal çerçevesini oluşturan özkurmaca ve özyaşamöyküsü kavramlarından söz edilmektedir. İkinci ve üçüncü bölümde anlatının yazarı olan Patrick Modino'nun yapıtları genel çizgileriyle özkurmaca bağlamında değerlendirilmektedir. La place de l'étoile adlı romanın özkurmaca okumasına ayrılan dördüncü bölümde romandaki anlatı yerlemleri incelendikten sonra son bölümde romanda öne çıkan kimlik arayışı, savaş, unutuş ve bellek izlekleri çözümlenmektedir.
Bir özkurmaca roman incelemesi: Jorge Semprun'un Büyük Yolculuk'u
Tarih boyunca yaşanan savaşlar, salgınlar, doğal afetler ve kitlelerin kıyımına neden olan tüm olaylar, disiplinlerarası düzeyde yapılan araştırmaların sayısını artırmıştır. Yapılan bu araştırmalar da disiplinlerarası işbirliklerinin güçlenmesini sağlamıştır. 1939-1945 yılları arasında gerçekleşen ve milyonlarca Yahudinin katledilmesi ile sonuçlanan 2. Dünya Savaşı; tarihsel, toplumbilimsel, tinbilimsel ve yazınsal olarak ele alınan bir dönemdir. Bu savaş sürecinin, birey ve toplum üzerindeki etkisi disiplinlerarası yönteme başvurularak araştırılmması gereken bir olaydır. Yahudi Soykırımı (fr. Holocauste) 2. Dünya Savaşı sonrasında hayatta kalmayı başaran pek çok insanın üzerinde uzun süren acıklı etkiler bırakmıştır. Özellikle savaş sırasında toplama kamplarında tutsak olarak bulunan yazarlar, savaşın en önemli tanıkları olmuşlardır. İşkenceye maruz kalan veya öldürülen yahudilerin sesi olmak adına yaşadıklarını yapıtlarına aktaran yazarlar, soy kırımının dehşetini tüm içtenlikleriyle anlatmayı hedeflemişlerdir.20. yüzyılın en önemli tanıklarından olan İspanyol senarist, siyasetçi ve yazar Jorge Semprun; toplama kamplarında edindiği deneyimlerini yazdığı romanlar aracılığı ile okurlarla buluşturmuştur. Semprun, yazmayı savaş sarsıntısından kurtulmak için bir sığınak olarak nitelendirmiştir. Yazar, Fransız Philippe Lejeune'ün kuramsallaştırdığı gerçeğe sıkı sıkıya bağlanmayı gerektiren özyaşamöyküsü kuramından büyük ölçüde yarralanmıştır. Ancak yazar, kurmaca ve gerçekliğin harmanlandığı yeni bir anlatım biçemi kullanmaktan da geri durmamıştır. Yanılsamalı gerçekliği dışa vurmak amacı ile kurmacayı ustalıkla kullanan Semprun, Fransız araştırmacı Serge Doubrovsky tarafından kuramsallaştırılan özkurmacayı kendine daha yakın hisseder. Çünkü özkurmaca, yazara gerçekliği kurmaca ile var edebileceği bir alan açar ve ben anlatıcı-yazara içsel özduyumlarını dışsallaştırma olanağı sunar. Bu çalışma çerçevesinde yapılacak olan roman çözümlemesi, özkurmaca roman inceleme yöntem ve yaklaşımlarına başvurularak gerçekleştirilecektir. Çalışmada öncelikli olarak genel anlamda, benli anlatıların oluşum ve gelişim süreçleri, Philippe Lejeune'ün özyaşamöyküsü kuramı ile Serge Doubrovsky'nin özkurmaca kuramı, özkurmacanın özyaşamöyküsüne eklemlenme aşamaları ele alınacak, daha sonraki bölümlerde ise Jorge Semprun'ın yazın ile olan ilişkisi irdelenerek, yazarın 1963 yılında yayınlanan Büyük Yolculuk adlı romanı Holokost ve Holokost'un beraberinde getirdiği izlekler temel alınarak özkurmaca yöntemi bağlamında çözümlenecektir.
Une etude sur la littérature de l'immigration au québec dans les romans « RU », « Vi » et « Man » de Kim Thuy
The term of "migration", one of the most important events of the last two centuries, means "migratio" (passage from one place to another) in Latin and comes from the verbs "migrare" and "migrate". The Larousse dictionary defines this word as "Voluntary movement of individuals or populations from one country to another or from one region to another, for economic, political or cultural reasons. " The purpose of this study is to explain the universe of novel in which Kim Thuy, who lived the immigration from Vietnam to Quebec for political reasons, by Ali Tilbe's approach that combines Sirkeci's and Cohen's "culture of migration and conflict culture" with L. Goldmann's sociological methodology that he called "Genetic Structuralism". In doing so, we will first talk about "migration literature" and then "Migration literature of Quebec". Speaking of immigration, Canada's immigration policy will also be addressed. Three novels by Kim Thuy (Ru, Vi and Man) were chosen for this study. Being the object of our study, Thuy's romantic universe describes the process of migration and integration of South Vietnamese who lost their security in their country of origin after the end of the Vietnam War. As a result of the study, thanks to the method used, it can be seen that the conflict underlying migration, which may have various causes, does not disappear, even if it changes species; although the characters in the novel adapt to the environment in which they migrate, we saw that they remain between the two cultures and hybridize.
An, historical novel, analyse / Jean Christophe Rufin's "The Land of the Red Trees"
Jean Christophe Rufin's novel, The Land of the Red Trees, published in 2001 and received the Goncourt award in France, was fictionalized the journey of the French to Brazil in the 16th century, along with geographical discoveries, and the historical development of Antarctic France, which they wanted to build here, based on historical reality. In addition to having the basic characteristics of the historical novel, the novel also attracts the attention of the reader with its solid and consistent fiction. In the novel, the plot begins in Normandy, France. Villegagnon, the narrator, was appointed for the colonial community (fr. Colonie) to be formed in Brazil at the request of the King of France. Villegagnon is looking for interpreters in Brazil at a young age that he hopes will work for them. Not knowing that his old friend Clamorgan has children, Just and Colombe recruit the brothers. Thus, the events taking place around a knight who is integrated with the Catholic belief and the two siblings next to him take the reader to the magical decoration of the American mainland. The events, which are set up in a very clear, lively and attractive form, invite the reader to witness the natural beauties of the Brazilian lands, while taking them on a journey towards the historical realities of the Brazilian indigenous cultures. In this study, we aim to examine Jean Christophe Rufin's novel The Country of Red Trees within the framework of historical novel theory.
Amin Maalouf'un Béatrice'ten Sonra Birinci Yüzyıl adlı romanında feminist toplumsal önceleme okuması
Kökleri çok eski dönemlere ait olan Türkçe karşılığı "önceleme" olarak verilen Fransızca "anticipation" sözcüğü "anticiper" eyleminden türetilmiş ad-eylemdir. Bu eylemde "ante" (önce) ve "capare" (almak) öğelerinden Latince "anticipare" (ön almak, önce davranmak) eyleminden Fransızcaya geçmiştir. Le Grand Robert de la Langue Française adlı sözlükte, yazın alanında yaygın olarak kullanılan anlamını da şu biçimde açıklanmaktadır: "gelecekle ilgili varsayılan gerçekleri düşündüren ve sıklıkla fantastik bir yönü olan, içinde yergili, siyasal vb. öğeler barındıran önceleme romanı." Biz bu çalışmada, bilim kurgu roman türü ile çok yakından ilgili olan toplumsal önceleme roman kuramı bağlamında, Amin Maalouf'un Béatrice'ten Sonra Birinci Yüzyıl (Le Premier Siècle Après Béatrice) adlı romanında ele alınan kadın yandaşlığı sorunsalını incelemeyi amaçlıyoruz. Öncelikle bu türün oluşumunu ve gelişmesini artsüremsel bir yaklaşımla inceledik. Bu bağlamda, çalışmamızın birinci bölümünü, önceleme anlatıları ile kadın yandaşlığı kuramının tarihçesi ve çerçevesini incelemeye ayırdık. İkinci bölümde ise, Béatrice'ten Sonra Birinci Yüzyıl'ı yapısalcı ve izleksel yöntemler ışığında romandaki önceleme öyküleme tutumu bağlamında önceleme izleklerini çözümledik. Çalışmanın son bölümünde, bilim kurgu anlatıları bağlamında toplumsal önceleme romanının fantastik, düşülkesel ve karşıtdüşülkesel ilişkilerini ortaya çıkarmayı denedik.
Une etude du point de vue du roman d'anticipation sociale postmoderne: La carte et Le Territoire de Michel Houellebecq
Michel Houellebecq is currently one of the most widely read contemporary French authors worldwide. It is clear that Houellebecq describes the decline of Western society and the loss of identity of postmodern society to the world. Michel Houellebecq's social postmodernist novel La Carte et Le Territoire focuses on the changes and upheavals of the 1950s and 1975s, which led to the emergence of a consumer society and a society of individualists. Houellebecq clearly criticizes the situation of man enslaved by the objects that perpetually surround him, and which are the consequences of the industrial revolution, capitalism and technology that transform man and the world towards an unexpected decadence. The novel shows the decline of Western society, as the emergence of capitalism, the consumer society and the deterioration of current human relations have undoubtedly deeply affected human life. However, the socio-economic crises, the disasters created by the two world wars and the great technological and scientific changes of the twentieth century put an end to the happiness of man in the future. Therefore, postmodernism aims to criticize all situations that have dehumanized man from his happiness and his hope for the future. This work aims to study Michel Houellebecq's La Carte et Le Territoire as a novel of postmodern social anticipation that relates the decadence of man in the next 30 years. Key Words: Anticipation, Decline, Michel Houellebecq, Postmodernism, Novel Michel Houellebecq est actuellement l'un des auteurs contemporains français les plus lus dans le monde entier. Il est clair que Houellebecq décrit le déclin de la société occidentale et la perte d'identité de la société postmoderne dans le monde entier. Houellebecq critique clairement la situation de l'homme, asservi des objets qui l'entoure perpétuellement, et qui sont les conséquences de la révolution industrielle, du capitalisme et de la technologie qui transforment l'homme et le monde vers une décadence inattendue. La Carte et Le Territoire montre le déclin de la société occidentale, car l'émergence du capitalisme, la société de consommation et la détérioration des relations humaines actuelles ont sans aucun doute profondément affecté la vie humaine. Cependant, les crises socio-économiques, les désastres créés par les deux guerres mondiales et les grands changements technologiques et scientifiques du XXème siècle mettent fin au bonheur de l'homme dans l'avenir. De ce fait, le postmodernisme a pour but de critiquer toutes les situations qui ont déshumanisé l'homme de son bonheur et de son espoir pour l'avenir. Le roman La Carte et Le Territoire de Michel Houellebecq s'intéresse aux changements et bouleversements des années 1950-1975 qui suscitent la sortie d'une société de consommation et d'une société individualiste. Ce travail vise à étudier La Carte et Le Territoire de Michel Houellebecq comme un roman d'anticipation sociale postmoderne qui relate la décadence de l'homme dans les 30 prochaines années. Mots Clés : Anticipation, Déclin, Michel Houellebecq, Postmodernisme, Roman
Tarihsel roman çözümlemesi örneği: Pierre Miquel'in Çanakkale Cehennemi adlı romanı
Kuramsal birçok tartışmaya konu olan ve okurlarda oldukça merak uyandıran, ayrıca romanın alt türlerinden birini oluşturan tarihsel roman, yazın dünyasında son yıllarda roman yazarları arasında önemli ölçüde ilgi görmektedir. Yazarın, tarihsel bir dönemi ya da olayı, tarihsel gerçekler ışığında kurgusal bir öyküyle okura aktardığı bu roman türü, tarih ile yazını birleştirerek okurun tarihsel döneme ve olaylara farklı bir açıdan bakmasını sağlamaktadır. Bu bağlamda romanın tarihsel olayları aktarma sırasında, yazınsal nitelikli, akıcı ve coşkulu olması gereğinden hareketle, yazar sadece anlatının tarihsel boyutunu değil; aynı zamanda yazınsal boyutunu da dikkate alır. Üstelik yazar bu roman türüne, okurlarda tarih bilinci yaratmak gibi eğitsel bir yararlılık işlevi yükler. Tarihsel roman en yalın ifadeyle kurgu ve tarihsel gerçeğin karışımıdır. Yazarlar, tarihsel bir dönemi sahneleyerek, resmî belgelerin tamamlayamadığı veya eksik bıraktıklarını doldurarak kişisel yorumlarını eklerler. Tarihsel roman sadece gerçeklerin kronolojik bir sırayla anlatıldığı bir yapıt olmayıp; bir olayın veya bir tarihsel dönemin atmosferini yansıtarak meydana gelen gerçeklerin mantıklı açıklamalarını sunar. Bir romanın tarihsel roman olarak kabul görmesi için öykülenme zamanı ile romana konu olan olaylar arasında belli bir sürenin geçmiş olması gerekir. Kısaca sıralanan tarihsel romanın nitelikleri göz önünde bulundurulduğunda, Çanakkale Cehennemi'nin Çanakkale Savaşı'nı gerçeklere bağlı fakat kurgusal birii yapıyla aktarışı, savaşa dair yorumları, hikâye zamanıyla romanın arasındaki süre gibi nitelikleri nedeniyle tarihsel roman türünde bir yapıt olduğu değerlendirilebilir. Tezde tarihsel roman kuramının tanımıyla birlikte özellikleri sıralanarak gelişimini ve türün çeşitli ülkelerdeki öncülerine yer verilmiştir. Verilen kuramsal bilgiler, alanın kuramcılarının belirlediği ölçütler çerçevesinde Fransız tarihçi ve yazar Pierre Miquel'in Türkçeye Çanakkale Cehennemi olarak çevrilen L'enfer des Dardanelles adlı yapıtı incelenmiştir. Geçmişi, gerçeklere sadık kalarak kurgusal olaylar ve kişileri harmanlayarak okura keyif verici bir şekilde aktaran Çanakkale Cehennemi, tarihsel roman kuramına uygunluk açısından yetkin bir örnek oluşturduğu saptaması yapılmıştır. Pierre Miquel, Çanakkale Savaşı'nı roman kişilerinin tanıklıkları ve yaşanmışlıkları doğrultusunda kesitsel olarak sergilediği romanında, bir yazar olarak tarihçi kimliği ve tarih bilgisi kadar, yazınsal yeteneğe sahip olduğunu da kanıtlar. Sonuç olarak, Türk tarihi ve yazınında önemli bir yeri olan Çanakkale Savaşlarına ilişkin farklı gözlem ve olayların, tarihsel roman teknikleri çerçevesinde tarihsel gerçekliklerine ve tarihsel romanın tanımının gerektirdiği ilkeler doğrultusunda hem tarihsel belgelere dayandırılarak hem de yazınsal bir tür olarak roman gerçekleri doğrultusunda kurguyla yoğrularak öykülendiği tespit edilmiştir. Olayların anlatılmasında yazarın oluşturduğu kurgu evrenine uygun olarak tarihsel kişiliklerin yanı sıra kurgusal kişiliklere yer verildiği gözlenmiş ve tezimizde hangi kişiliklerin tarihsel, hangilerinin kurgusal olduğu belirtilmiştir. Çanakkale Cehennemi'nin ana izleği olan Çanakkale Savaşının yabancı bir yazarın bakış açısından anlatımı hem tarihsel hem de yazınsal bakımdan ilgi çekmektedir.
Mathıas Énard'ın "Hırsızlar Sokağı" adlı göç romanında çatışma ve kültür(süz)leşme okuması
Bu çalışmada; geçmişten günümüze süregelen en temel sorunsallardan biri olan göç olgusunun yazınsal incelemesi yapılmaktadır. Birey ya da toplulukların politik, ekonomik ya da ekinsel nedenlerden başka bir yere göç etme devinimi ve göçün en önemli öznesi 'göçer' kişinin göç eylemi öncesi, sırası ve sonrasında karşılaştıkları zorluklara özellikle de göç sonrasındaki uyum ve kültür(süz)leşme süreçlerine de değinilmektedir. Bu çalışmanın ereği; Faslı bir gencin Arap Baharı'nın etkisiyle İspanya'ya göç eylemi sürecini ve sonrasındaki uyum sorunlarını konu edinen Hırsızlar Sokağı romanını, Prof. Dr. Ali Tilbe'nin göç yazınlarını daha tutarlı ve anlaşılır biçimde incelemek için geliştirdiği karma model göç(er) yazını incelemesinde Çatışma ve Kültür(süz)leşme yöntembilimini kullanarak çözümlemektir. Prof. Dr. İbrahim Sirkeci ve Prof. Dr. Jeffrey H. Cohen'in birlikte geliştirdiği 'çatışma ve göç kültürü̈' modeli üzerine, Prof. Dr. Ali Tilbe, Lucien Goldmann'ın anlama ve açıklama aşamalarından oluşan oluşumsal yapısalcı yazın toplumbilimi kuramıyla, Gérard Genette'in öykülemebilim yöntemini John W. Berry'nin kültür(süz)leşme yaklaşımı ve olası öteki yaklaşımları birleştirerek yeni bir yazınsal okuma modeli oluşturmuş ve göç yazını incelemelerinde göçerlerin yaşadığı göç öncesi ve sırası süreçler ile göç sonrasındaki uyum ve bütünleşme süreçlerini daha anlaşılır kılmak için göç inceleme alanının yararına sunmuştur. Bu çözümleme sürecinde, ilk olarak göç kavramı ve kuramlarından, daha sonra da göçün yazın alanındaki öneminden bahsedilecektir. Ardından bu çalışmaya konu olan romanda (Hırsızlar Sokağı) da geçen Arap Baharı eylemleri ve bu sürecin göçe olan etkisiyle Afrika'dan Avrupa'ya, özellikle de romanda esenlikli uzam olarak sunulan İspanya'ya göç devinimlerine de değinilecektir. Çalışmanın sonucunda, Çatışma ve Kültür(süz)leşme yöntembilimi bağlamında romanda göç öncesi ve sürecinde yaşanan çatışma ortamlarından söz edilerek, roman başkişisinin göç ettiği İspanya'da bulmayı umduğu iş birliği, uyum ve kültür(süz)leşme süreçlerini gerçekleştiremediği görülecektir. Anahtar sözcükler: Göç, göç edebiyatı, göç(er) yazını, göç kültürü, çatışma ve kültür(süz)leşme modeli, Arap Baharı, Mathias Énard, Hırsızlar Sokağı
Yeni bir polisiye roman alt türü <Rom'pol> olarak Fred Vargas'ın Mavi Çemberli Adam'ı
Polisiye roman ortaya çıktığı andan itibaren tür olarak çoğu tartışmanın merkezinde yer alır ve kendini kabul ettirmek için çok uzun yollardan geçer. Fred Vargas çağdaş polisiye romanın kraliçesi olarak bilinir ve romanlarını Fransızca polisiye roman anlamına gelen "roman policier" sözcüklerinin baş harflerinden oluşturarak elde ettiği rom'pol olarak adlandırır. Postmodern dönemde ortaya çıkan karma bir tür olan rom'pol, polisiye romana yeni bir bakış açısı kazandırır ve kesin bir kategoriye konulamaz. Rom'pol, klasik dedektif romanı kalıplarını kırarak, daha derin psikolojik ve toplumsal ögelere odaklanır. Fred Vargas'ın romanlarında bir soruşturmacı, bir veya birden fazla kurban ve bir katilin varlığı yapıtlarını klasik polisiye romana yaklaştırırken olay örgüsünü toplumsal ve psikolojik ögelerle harmanlayarak sunması yalnızca bir suç hikâyesi anlatmanın ötesine geçer. Olay örgüsünden çok karakterlere, sezgilere ve insanın psikolojisine odaklanan Vargas, şiirsel bir anlatım ve simgesel ögeler aracılığı ile suçun ve insanın derinliklerine inmeyi başarır. Vargas'ın özgünlüğü, polisiye romanlarında kullandığı farklı alt türlerle birlikte, ironi ve mizahı harmanladığı biçeminde de kendini gösterir. Vargas'ın polisiye romanlarında klasik kurgunun aksine; önce ipuçları verilir, sonra kıyalar ortaya çıkar ve sır perdeleri aralanır. Arkeolog ve zoolog olan Vargas'ın sahip olduğu bilgi ve deneyim romanındaki hem karakterlerinin düşünce tarzına hem de olayların çözüm sürecine derinlik kazandırmıştır. İnsan davranışlarına dair zoolojik gözlemler, hayvan metaforları, arkeolojik katmanlar ve semboller, romandaki suç çözme sürecini sıradan bir polisiye anlatının ötesine taşıyarak, okura bilimsel ve entelektüel bir perspektif sunduğunu söyleyebiliriz. Vargas'ın 1991 yılında yayınladığı Mavi Çemberli Adam (L'homme aux Cercles Bleus) adlı öyküsü kurguladığı dedektif Jean-Baptiste Adamsberg'i ilk defa ortaya koyduğu romanıdır. Adamsberg mantığını kullanarak soruşturmaları çözen klasik kusursuz dedektif arketiplerinden uzaklaşarak sezgileriyle hareket eden, kusurlu, içe dönük ve duygusal olarak karmaşık bir profil çizmektedir. Vargas'ın bütün bu uygulayımları onun romanlarının özgün ve yenilikçi yapısını ortaya koymakla birlikte rom'pol türü aracılığı ile klasik, çağdaş ve postmodern ögeleri bir araya getirerek geleneksel polisiye kalıplarına meydan okuyan bir yapı sunmuştur. Bu çalışmada başarılı ve çağdaş bir Fransız kadın yazarı olan Fred Vargas'ın Mavi Çemberli Adam'ı polisiye kuramlar çerçevesinde yapısal ve izleksel olarak incelenerek yazarın türe kattığı değişimler irdelenmiştir. Anahtar Kelimeler: Adamsberg, Çağdaş Polisiye Roman, Fred Vargas, Rom'pol, Mavi Çemberli Adam
Bir polisiye roman okuması: Didier Daeninckx'in Geçmişin Ayak Sesleri adlı kara romanı
Polisiye romanların bir türü olan kara roman türü klasik polisiye romanlarından farklı olarak suçun ve suçluların bireysel eylemlerinden çok organize suçlarla bağlantılıdır. Didier Daeninckx'in Geçmişin Ayak Sesleri (fr. Meurtre pour Mémoire) adlı yapıtı, bir dedektifin, basit bir cinayet olayından yola çıkarak devlet görevlilerinin işlediği suçları ve örtülü kalmış tarihsel katliamları açığa çıkarmasını konu almaktadır. Romanda klasik polisiyede olduğu gibi suçluların adalete teslim edilmediği ve bir çözüm sunulmadığı görülmektedir. Böylece, okuyucuyu rahatlatan bir sonuç yerine, adaletsizlik ve şiddetin yarattığı rahatsızlık öne çıkar ve romanın karamsar yapısını ortaya koyar. Tez çalışmamızda, Didier Daeninckx'in Geçmişin Ayak Sesleri adlı romanını polisiye roman kuramı ve kara roman bağlamında incelemeyi amaçladık. Yeni polisiye (fr. neo-polar) akımının etkisiyle gelişen kara roman çerçevesinde değerlendirilen yapıtın yalnızca suçun çözümüne odaklanmak yerine toplumsal çürüme, şiddet ve örgütsel suçları ele aldığı görülmektedir . Yazar romanda Fransa'nın tarihsel ve toplumsal dinamiklerini işlerken, Cezayir kökenli göçmenlerin yaşadığı zorluklar, kimlik sorunları ve devlet yetkilisi olarak çalışan kişilerin işlediği suçlar gibi temaları ortaya koymaktadır. Geçmişin Ayak Sesleri, işlenen cinayetin katilinin bulunmasına odaklanan klasik polisiye romanın sınırlarını aşarak okuyucuya işlenen suçların altındaki toplumsal nedenleri düşünme ve sorgulama olanağı sağlayan önemli bir yapıt olarak değerlendirilebilir. Yapıtta öykü zamanının Bernard Thiraud'nun bireysel cinayetiyle başlayan soruşturmanın babası Roger Thiraud'nun 1961 yılında öldürülmesine kadar uzanan 20 yıllık bir süreyi kapsadığı görülür. Soruşturmanın öyküsü geçmiş tarihlere yönlenirken 1961 yılı Paris Katliamı, 1980'lerin Fransız toplumu dinamikleri ve İkinci Dünya Savaşı dönemine kadar uzanan ve Fransa'daki sosyo-politik olayları içeren tarihsel bir çerçeve etrafında kurgulandığı saptanmıştır. Roman, belirtilen dönemlerde uygulanan siyasi şiddet sonucu yaşanılan trajedileri ele alarak tarihsel ve toplumsal hafızayı kara roman aracılığıyla canlandırmaktadır. Bireysel felaketleri, ahlaki çöküşü ve toplumsal yozlaşmayı merkezine alan Didier Daeninckx'in Geçmişin Ayak Sesleri adlı romanı yapısal ve izleksel olarak kara roman türünün özelliklerini taşıdığından bu türün belirgin örneklerinden biri olduğunu söyleyebiliriz. Anahtar Kelimeler: Polisiye roman, kara roman, Didier Daeninckx, Geçmişin Ayak Sesleri
Modern bilimkurgu ve bir yazar: J.-H.Rosny Aîné
Bu tez çalışmasında J.-H. Rosny Aîné'nin modern bilimkurgunun tek temsilcisi olduğu, bilimkurgunun gelecekten daha çok şimdiki zaman ile insandan önce ve insandan beri olan ayrımın gerçeklik algısıyla olan değişimi; bilimsel mümkünlük temelinde, bir canlının özünün bilinebilirliği gibi konulara açıklık getirilmeye çalışılmıştır. İnsanı merkezinde bulunduran bilimkurgu için bilinenden ziyade bilinmeyene olan merak güdüsü sınırları aşmak için temsiliyet görevi üstlenmiştir. Eskinin eskisini, insanlık tarihinin başlangıcını geriye dönerek karşılaştırmalar yapabilmek, orijinalliğe daha yakın bir bilimi, bilimsel mümkünlüğün olabilirliğiyle değer kazandırmıştır. Yeni Dünya'yı oluşturabilmek ve ona tekrardan biçim verebilmek, evrenin bilinmeyen gizemini anlamayı sağlamıştır. Girişte, bilimkurgunun çeşitli incelemelerle tanımları belirtilip, Aîné'nin Dünya'yı ve evreni tamamen değiştirebilmek amacıyla, "kurguyu gerçeğe çevirmek mümkün olabilir midir?" sorusuna yazarın, ne düzeyde karşılık verebildiğine değinilmiştir. İlk bölümde, Fransa'da bilimkurgu anlayışına dikkat çekilmiştir. İkinci bölümde, Aîné üzerine incelemelerle çağdaş bilimkurgu yazarlarından ayrıldığı noktalar belirtilerek, yazarın başlıca eserlerinin analizi yapılmıştır ve modern bilimkurgunun daha belirgin tanımı oluşturulmuştur. Üçüncü bölümde, Olağanüstü-bilimsel öykülerin içerdiği özelliklerle Poe, Wells ve Maurice Renard'ın bilimkurgu ile görüşlerinin yanlışlıkları belirtilmiştir. Aynı zamanda Jules Verne'in bilimkurgunun asıl öncüsü olmadığı gözlemlenmiştir. Sonuçta, Rosny Aîné'nin bilimkurguyu en zengin haliyle, doğru olarak yansıttığı gösterilmiştir.
Fransa'da manga yayıncılığı ve Fransız kültürüne etkileri
Fransa, Japonya'nın ardından dünyanın en büyük manga pazarı konumunda olup, manga kültürünün Batı'daki en önemli merkezlerinden biridir. 1970'lerde başlayan ve 1990'lardan itibaren hızla büyüyen manga yayıncılığı, Fransız çizgi roman (bande dessinée) geleneğiyle etkileşime girerek hem yayıncılık sektörünü hem de kültürel üretimi dönüştürmüştür. Manganın Fransa'daki bu yükselişi, yalnızca ticari bir başarı hikâyesi değil, aynı zamanda sanatsal ifade, anlatı teknikleri ve gençlik kültürü üzerinde kalıcı izler bırakan bir kültürel diyaloğun sonucudur. Fransız okurlar, mangayı yalnızca bir eğlence formatı olarak değil, aynı zamanda edebi ve görsel bir sanat formu olarak benimsemiştir. Bu ilgi, yerel çizgi roman sanatçılarını etkilemiş, geleneksel Fransız çizgi roman estetiğine manga unsurlarının eklemlenmesine yol açmıştır. Ayrıca, manga kültürünün popülerleşmesiyle birlikte Fransa'da düzenlenen festivaller, sergiler ve akademik çalışmalar, bu etkileşimi daha da derinleştirmiştir. Bu çalışma, Fransa'daki manga yayıncılığının tarihsel gelişimini, yayıncılık stratejilerini ve Fransız kültürü üzerindeki çok katmanlı etkilerini analiz etmektedir. Manganın, Fransız sanatı, edebiyatı ve popüler kültürüne nasıl entegre olduğu, ayrıca Fransa'nın küresel manga endüstrisindeki rolü ele alınacaktır. Sonuç olarak, Fransa'nın manga kültürüne olan bu açıklığı, kültürel çeşitliliğe verdiği önemin bir yansıması olarak değerlendirilebilir.
Autobiographie, autofiction et intertextualité chez Patrick Modiano
This study aims to analyse the genres of autobiography and self-fiction in Patrick Modiano's novels within the framework of intertextual relations. Considering the history of French literature, "I" orientated texts, which have been used since ancient times, have existed for centuries. However, with the second half of the twentieth century, it has been necessary to define "I" orientated novels in literary life. Philippe Lejeune, with his work The Autobiographical Treaty, defined the place of the genre of the autobiography in the literary world. In the 1970s, Serge Doubrovsky stated that it would not always be possible to talk about a pure autobiography and introduced the genre of autofiction. Both of these genres, which are based on the experiences of writers, can be built on memory, books and various objects. The reflection of books and other objects, which is crucial in the lives and works of writers, areseen as an intertextual relation. Memory has an important place in autobiographical and autofictional texts. In such novels, it is intertextuality that enables memory to work. Authors open a unique novel creation space around elements such as references made by other authors, objects accumulated, etc. in a unique way and around their experiences. In this study, it is aimed to analyse the Nobel Prize-winning author Patrick Modiano, who uses intertextuality in many ways in his autobiographical and autofictional novels, within the framework of his novels. Key Words Autobiography, Autofiction, Intertextuality, Patrick Modiano, Memory
Une étude écocritique sur moi, Tituba, sorcière… et traversée de la Mangrove de Maryse Condé
Over the past several decades, ecocritical approaches to literature have become increasingly prevalent, drawing our attention to the important environmental dimensions and impact of cultural productions, an urgent concern amid our current climate crisis. While Anglophone literary criticism and critical theory have engaged substantially with this emerging field, Francophone literary studies has lagged behind. This thesis aims to fill this gap by analyzing two works of Maryse Condé within the framework of postcolonialism and ecocriticism by evaluating ecocritical studies alongside more traditional literary critical approaches. Writing at the nexus of postcoloniality, feminism, and global Francophone literature, Condé and her work promise to bridge key gaps in contemporary scholarship and synthesize what have been all too often disparate literary, critical, and theoretical traditions. Taking up various ecological literary tropes in Condé's work in conjunction with her biography and the ideas of philosophers such as Césaire, Fanon and Glissant, in this thesis we aim to analyze two works by Maryse Condé: Moi,Tituba sorcière... and Traversée de la Mangrove, using the method of ecocriticism to understand the role of natural elements in the construction of identity within Afro-Caribbean society.
Pratiques du collage dans le roman postmoderne Français. Une etude de cas dans la vie mode d'emploi de Georges Perec
This study aims to examine literary collage practises in Georges Perec's novel Life A User's Manual within the context of postmodern literary and novel theories and intertextual relations. Postmodern literary theories categorize certain literary elements observed in literary works, particularly since the second half of the 20th century, according to their definitions and common characteristics. The term "collage", which originated in the plastic arts, particularly in painting, refers in its broadest sense, to the process of combining various heterogeneous elements on a surface. Fragmentation, discontinuity, rupture and heterogeneity, which are the defining qualities of postmodern text, enable an analogical relationship between these texts and the collage method in plastic arts. Postmodern texts are mostly formed by combining diverse heterogeneous elements, text and discourse pieces, similar to the collage approach in plastic arts. Accordingly, the term "collage" is one of the terms used by postmodern literary theory/theorists to define the postmodern text. With the fragmentation, discontinuity, rupture and heterogeneity that it generates in the text, intertextuality is one of the dominant elements which creates the collage image in the postmodern text. Postmodern writers, who are detached from the tenets of modern art such as breaking ties with the imitation principle and tradition or the idea of a genius creative writer creating an original and unique work with his or her own style, compose their works by combining fragments from the literary tradition and various texts. In this context, the postmodern text looks like a collage of fragments taken from previous works. The purpose of this study is to examine literary collage practises within the framework of Georges Perec's postmodern novel(s) Life A User's Manual, created by combining various intertextual and graphic elements based on the puzzle metaphor.
Kültürel diplomasi çerçevesinde edebi eserlerin çevirisi
The purpose of this thesis is to demonstrate the crucial role of cultural diplomacy in general and that literary translation is one of the main tools in the service of a country's cultural diplomacy. Cultural diplomacy is a very broad field that consists of several units and many interrelated units. This aspect of cultural diplomacy is directly related to structuralism, where it is considered that an isolated element has no meaning and that meaning takes place when the elements of the structures work together. Furthermore, it is essential to understand the different dynamics of the different countries applying good cultural diplomacy in the world in order to have a more global view of the phenomenon. Thus, one should first of all have a good vision of traditional diplomacy and public diplomacy. Nowadays, digital diplomacy is also an essential practice, as is the use of social networks, to practice cultural diplomacy. Cultural diplomacy has many aspects and practices, among which literary translation provides a literary work with the power to influence the audience of a target language. Therefore, we decided to analyse two translations of novels in the context of cultural diplomacy, one from French to Turkish and the other from Turkish to French, to find out what effects literary translation can have in a cultural diplomacy context. The aim of our thesis is thus to demonstrate the parallelism between the data provided by the translation of a novel and the issues of diplomacy.
Le motif de retour à la nature chez Rousseau: Le logocentrisme dans le Discours sur l'origine et les fondements de l'inégalité parmi les hommes
In conjunction with being a controversial figure, Jean-Jacques Rousseau has often been a thinker that is difficult to evaluate consistently because, indeed, Rousseau's texts are often incoherent. This is accentuated by the fact that the author of these texts does not like systematization. In this paper, however, we argue that Rousseau's inconsistency is only superficial, and that a deeper investigation reveals that Rousseau is in fact a consistent writer. The source of his coherence, we argue, is that Rousseau's texts revolve around a certain theme: logocentrism. This term, borrowed from Derrida and specifically in its use in the context of Derrida's Grammatology, describes a typical Western way of thinking that is intellectually incapable of thinking without determining criteria such as origin or finally. For Derrida, this logocentrism is also present in all Rousseauian discourse. We agree with Derrida's claim. But in addition to this, in our study, since it would be wrong to approach Rousseau's texts uniformly, we argue that these texts undergo a paradigmatic shift within themselves, each text replacing a particular paradigm. The specific "paradigm" we have chosen is Rousseau's Discourse on the Origin of Inequality, published in 1755. This work is a kind of anthropological/ethnological examination of the pre-civilization conditions of man. According to Rousseau, civilization brought with it its evils, it put man in a much more unhappy state of mind, it detached him from his natural virtues and thus corrupted him. At this point, when we take Rousseau and his works as a paradigm and logocentrism as a theme, the parallels with a much larger subject begin to reveal themselves: the myths of paradise. In the myth of Prometheus and the myth of the Expulsion from Paradise, similar to Rousseau's descriptions, humanity maintains a happy and fulfilled condition of existence before the intervention of a certain "external" element. We argue that these myths are another parallel for Rousseau, and that the frame of mind that Derrida identifies with the concept of logocentrism is much more far-reaching and shows its influence on Rousseau in this way as well. We think that the Discourse on the Origin of Inequality, which is the subject of our analysis, is a rich and articulate text that provides enough material for this research. Ultimately, our aim is to highlight these parallels and prove that Rousseau's supposed inconsistency can be dispelled by a deeper look.
Mythe et literature: La reinterpretation du mythe d'oedipe dans Oedipe Sur La Rote de Henry Bauchau
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La problématique de l'engagement et de l'éthique dans l'œuvre Les Conquérants de Malraux
In this thesis, the engagement and ethic problematics in Andre Malraux's "The Conquerors" book were addressed in a thematic and comprehensive way. The French literature had major transitions during the first half of the 20th century with the influence of avant-garde movements. The human and its values were questioned in intellectual and philosophic aspects as well as in morality standards. So the human in Andre Malraux's novels represents the intellectual engagement who questions the society and its values metaphysically. This engagement always tries to create new ethic values for the human and one of the main problematics for Malraux. Ethics is the main concern in all books of Malraux. All figures in his novels are intellectuals because the presence phase can be questioned only with the help of consciousness. The "The Conquerors" novel of André Malraux propounds new ideas in an intellectual engagement way in order to disentangle from intellectual crisis. Malraux judges the revolution as an intellectual, a philosopher, a critic; not as a revolutioner. But the essential difference in this situation is the intellectual positioning against the revolution. "The Conquerors" brings characters from a different life, values and political views come together in an intellectual atmosphere but also exposes the inevitable association of ethic concern and intellectual thinking or in other words intellectual engagement. Keywords André Malraux, conquerors, ethics, commitment, revolution, existence, absurd.
Jean-Pierre Martinez, Après nous le déluge eserinin ekokritik incelemesi / Ecocritical study of the work of Jean-PierreMartinez Après nous le déluge
In this study, our intention will be to highlight environmental problems and ecol- ogy, which is a topical subject, with the method of ecocriticism and through the work of Jean-Pierre Martinez entitled Apres nous le déluge. Ecocriticism adopts an environmentalist approach and places nature at the center of its work. Thus, in this study we will use the work "Apres nous le déluge" an ecological tragi- comedy from which we will aim to explain the relationship between literature and environment. The nature/culture dichotomy of Claude Lévi-Strauss's Wild Thought and Friedrich Nietzsche's The Birth of Tragedy will also be used to in- vestigate how environmental issues are treated in this work and the meaning that they add to the work. We will also examine with Gérard Genette's concepts of intertextuality, how intertextual references in the work add new meanings. Key Words: Ecocriticism, Ecopoetics Cli-Fi, Utopia, Dystopia, Environmental Theater, Après Nous le Déluge. Dans cette étude, notre intention sera de mettre en relief les problèmes environnementaux et l'écologie, qui est un sujet d'actualité, avec la méthode de l'écocritique et à travers l'œuvre de Jean-Pierre Martinez intitulée Après nous le déluge. L'écocritique adopte une démarche environnementaliste et place la nature au centre de ses travaux. Ainsi, dans cette étude nous nous servirons de l'œuvre Après nous le déluge une tragi-comédie écologique à partir de laquelle nous viserons à expliquer la relation entre littérature et environnement. La dichotomie nature/culture de La pensée sauvage de Claude Lévi-Strauss et de La naissance de la tragédie de Friedrich Nietzsche sera également utilisée pour enquêter sur la manière dont les problèmes environnementaux sont traités dans cette œuvre et sur le sens qu'ils ajoutent à l'œuvre. Nous examinerons également avec les concepts d'intertextualité de Gérard Genette, comment les références intertextuelles dans l'œuvre ajoutent de nouvelles significations. Mots clés : Écocritique, Écopoétique, Cli-Fi, Utopie, Dystopie, Théâtre Environnemental, Après nous le déluge.
Une approche géocritique des images de l'Anatolie chez les écrivains français du XVIe au XIXe siècle
The intimate relations between the Ottoman Empire and France, which started in the 16th century, became a turning point in terms of the two communities getting to know each other. From this century onwards, France sent both ambassadors and important scientists and travellers to the Ottoman lands. Many of them travelled in Anatolian geography and wrote down their impressions and observations of this geography in their works. On the other hand, the exoticism, which has become a trend in art, has opened the doors of different worlds to artists. Writers and poets have used the images of the Orient in their works. In the first part of this study, we will examine the relationship of geographical space with literature and travel writings. We will reveal the general lines of Bertrand Westphal's space-centered literary theory "Geocriticism" and touch on which methods we will use for such an approach. In the second part, we will analyse how Anatolia is perceived and reflected as a geographical space in the travel writings of French travellers and scientists. In the third part, we will focus on the traces of Anatolian geography in the fictional world of French literature and examine how Anatolian spaces are handled in works of novel, poetry and play of writers such as Rabelais, Joachim du Bellay, Étienne Jodelle, François Malherbe, Montesquieu, Voltaire, Victor Hugo, Alfred de Musset and Jules Verne.As a result of all our work, by using the analysis methods suggested by Geocriticism, we will try to reveal how the Anatolian geography is reflected in the literary works of French writers and what kind of Anatolian space is manifested in travel writings.
La polyphonie narrative dans Citadelle D'antoine de Saint-Exupéry
Citadelle is a work by Antoine de Saint-Exupéry, which illustrates the characteristics of the interwar period literature concerning la condition humaine and anticipates the main themes of existentialist philosophy of the postwar period. The influence of the First World War on literature and philosophy appeared in the form of a deep mistrust towards the humanist values that had existed since the Renaissance. Citadelle is a work in search of new values through a pursuit of a new language. What differs Citadelle from those individual pursuits that we observe in author's contemporaries is his effort to build a universal system of values, not through an orthodox dogmatism, but through a polyphony of a heterodox nature. In our study, we set out from the hypothesis that the narrator speaks with two different voices, the voice of the son and of the father, and that the architectonic design of the work presents a polyphonic structure which we have sought to study in accordance with narratological and dialogical approaches in two parts which constitute the two parts of our thesis. In the first part of our study, we analyzed the narratological forms in relation to the dialogism. Through the narrative categories of Gérard Genette, we tried to show that the anomalies concerning the narrator type and the timelessness are pointers of plurality of voices. Citadelle, being a deep investigation on the language's itself in addition to having a fictional context, offers us three different utterances produced by the narrator. We observed that these utterances belong to three different narrative levels, which are (1) the particular utterance in the diégèse, (2) the universal utterance in the moment of narration, and (3) the metalinguistic utterance performing a linguistic investigation at the metatext level. We analyzed the alterations of focalization and discovered that the polymodality deriving from the autobiographical form plays an essential role in the production of these alterations. Additionally, we saw that multiple internal focalizations occur in certain situations during the speaker changes in the diégèse and observed in what way this kind of focalization contributes to the dialogical polyphony. In the second part, we applied a polyphonic and dialogical analysis according to the theory of dialogical polyphony of Mikhail Bakhtin. First, we discussed the dialogism under two separate sections: interdiscursive and interlocutive. In the analysis of the interdiscursive one, we probed the way in which the dialogical relations between the literary genres collide with each other on the object of discourse and determine the architectonic design of the work. We saw that the conception of the world as a grotesque body structures the relationship between general (universal) and individual (particular) discourses in the work. As for the interlocutive dialogism, it was treated in our study according to two distinct axes: the vertical and horizontal. On the vertical axis, we observed the overlap of two different points of view representing the universal (the top) and the particular (the bottom) in the same word; while on the horizontal axis, we searched for the indications of the intertwining of the discourses that belong to the characters responsible of the plurality of voices in the social context. Through these analyses, we identified different forms of the orientation towards the other's word. Our objective was to test the possibility of a universal discourse that does not establish a dogmatic hegemony over the meaning despite its authoritarian character. We have observed that the narrator's discourse in Citadelle allows for a plurality of particular values, despite the fact that the same discourse is the source of production of a universal meaning. Thus, we have concluded that universal discourses producing great metanarratives do not necessarily have to be conceived in a monological way. We are considering this literary work, Citadelle, as an attempt to create an original alternative to mistico-political discourses that resist modernity and market an aspiration of returning to old values, which is one of the biggest problems today. We believe that our study may provide new horizons for fields such as literature, linguistics, sociology, and political sciences. Keywords: Antoine de Saint-Exupéry, Citadelle, Mikhail Bakhtin, Gérard Genette, Narratology, Polyphony, Dialogism, Chronotope, Heteroglossia, Grotesque Body Citadelle est une œuvre d'Antoine de Saint-Exupéry qui illustre les caractéristiques de la littérature de l'entre-deux-guerres concernant la condition humaine et anticipe les thèmes principaux de la philosophie existentialiste de l'après-guerre. L'influence de la Première Guerre Mondiale sur la littérature et la philosophie est apparue sous forme d'une profonde méfiance envers les valeurs humanistes qui existaient depuis la Renaissance. Citadelle est une œuvre qui recherche de nouvelles valeurs à travers un nouveau langage. Ce qui diffère cette œuvre des recherches individuelles que l'on observe chez les contemporains de Saint-Exupéry est son effort pour construire un système de valeurs universels non pas à travers un dogmatisme orthodoxe mais à travers une polyphonie de nature hétérodoxe. Dans notre étude, nous sommes partis de l'hypothèse que le narrateur de Citadelle parle avec deux voix différentes, celle du fils et du père, et que la conception architectonique de l'œuvre illustre une structure dialogique que nous avons tenté d'étudier selon une approche narratologique et polyphonique en deux volets qui constituent les deux parties de notre mémoire. Dans la première partie de notre étude, nous avons analysé les formes narratologiques pouvant faire ressortir le dialogisme. En recourant aux catégories narratives de Gérard Genette, nous avons essayé de montrer que les anomalies concernant le type du narrateur et l'atemporalité étaient des marqueurs de pluralité des voix. Le récit de Citadelle en plus d'avoir un contexte fictif, étant un profond questionnement sur le langage lui-même, nous offre trois situations d'énonciation produites par le narrateur qui appartiennent à trois différents niveaux narratifs tels que (1) l'énonciation particulière au niveau diégétique, (2) l'énonciation universelle au moment de la narration, (3) et l'énonciation métalinguistique réalisant un questionnement sur le langage au niveau du métatexte. Nous avons analysé les altérations de focalisation et découvert que la polymodalité relevant de la forme autobiographique joue un rôle essentiel dans la production de ces altérations. Nous avons également observé que la focalisation interne multiple se réalise, dans certaines situations, pendant des changements d'énonciateur au niveau diégétique, ainsi que la contribution de cette focalisation dans la polyphonie dialogique. Dans la seconde partie, nous avons eu recours à une analyse polyphonique et dialogique selon la théorie polyphonique de Mikhail Bakhtine. D'abord, nous avons traité le dialogisme sous deux rubriques essentielles : interdiscursif et interlocutif. Dans l'analyse du dialogisme interdiscursif, nous avons étudié comment les relations dialogiques entre les différents genres littéraires se heurtent dans l'objet du discours et déterminent la conception architectonique de l'œuvre selon la théorie bakhtinienne. Nous avons vu que la conception du monde en tant que corps grotesque structure la relation entre les discours généraux (universels) et individuels (particuliers) dans l'œuvre. Quant au dialogisme interlocutif, il a été traité dans notre étude selon deux axes distincts, celui vertical et horizontal. Sur l'axe vertical, nous avons observé le chevauchement de deux différents points de vue représentant l'universel (le haut) et le particulier (le bas) dans un même mot ; tandis que sur l'axe horizontal, nous avons examiné l'entrelacement des mots des personnages responsables de la pluralité des voix dans le contexte social. À travers ces analyses verticales et horizontales, nous avons repéré les différentes formes de l'orientation vers le mot d'autrui. Notre objectif était de mettre à l'épreuve la possibilité d'un discours universel qui n'établirait pas un dogmatisme sur le sens malgré son caractère autoritaire. Nous avons constaté que le discours du narrateur dans Citadelle permet une pluralité de valeurs particulières, bien que ce discours soit également producteur d'un sens universel. Ainsi, observons-nous qu'un discours universel produisant de grands métarécits peut ne pas être conçu de façon monologique. Nous considérons cette œuvre comme une tentative de créer une alternative originale face aux discours mystico-politiques qui s'opposent à la modernité et qui se vendent par l'aspiration du retour aux anciennes valeurs, ce qui est l'un des plus grands problèmes de nos jours. Nous considérons que notre travail pourra fournir de nouveaux horizons pour les domaines tels que la littérature, la linguistique, la sociologie et les sciences politiques. Les mots clés : Antoine de Saint-Exupéry, Citadelle, Mikhail Bakhtine, Gérard Genette, Narratologie, Polyphonie, Dialogisme, Chronotope, Hétéroglossie, Corps Grotesque
Nezihe Araz'ın Dertli Dolap ve Jacques Lacarriere'in Dünyanın Tozu romanlarında kahramanın yolculuğu: "Yunus Emre"
"Yunus Emre", Türk toplumu için derin bir bilgelik kaynağıdır. Onun, toplumu yüksek değerlere ulaştırmak için, yüzyıllar öncesinden yaktığı aydınlanma ışığı, bugün hâlâ dünyayı aydınlatmaya devam etmektedir. Jacques Lacarrière'in (1925-2005) Dünya'nın Tozu (1999) (La Poussière du Monde) (1997) romanında kahraman "Yunus Emre"'dir. Bir Fransız yazar olan Lacarrière "Yunus Emre"'yle ilgili menkıbeleri öğrendikten sonra "Yunus Emre"'yi kahraman yaptığı bir roman kurgular. Bu romanda yazarın sadece duydukları üzerinden bir kurgu oluşturmadığını görürüz. Yazar aynı zamanda "Yunus Emre"'yi kendi kültür çerçevesinden anlamaya da çalışan sorular sorar. Diğer yandan çocukluğundan beri duyduğu "Yunus Emre" dizeleri ve menkıbelerinin etkisinde olan Türk yazar Nezihe Araz, (1920-2009) Dertli Dolap (1961) romanını çocukluğundan bugüne kalbinde yetiştirdiği bir kahraman olan "Yunus Emre"'nin yaşamı üzerine kurgular. "Yunus Emre"'nin tekâmül yolculuğunu onun dizeleri üzerinden ilerleyen bir kurguyla aktarır. Bu iki romanı ortak noktada buluşturan kahraman "Yunus Emre", insanın kendi özüne yaptığı yolculuğun en önemli temsilcilerinden birisidir. Öze yolculuk, Carl Gustav Jung'a (1875-1961) göre, arketipler aracılığıyla aktarılan bireyleşmenin başka bir ifade biçimidir. Jung'un bu görüşünden yola çıkan Joseph Campbell, yolculuğu ve bireyleşmeyi kahramanın geçirdiği yolculuk aşamaları bağlamında anlamayı ve açıklamayı önerir ve bu süreci "kahramanın sonsuz yolculuğu " olarak adlandırır. Çalışmamızda, Joseph Campbell'in bu modeli çerçevesinde, farklı iki kültüre ait iki yazarın romanlarında ortak kahraman olan "Yunus Emre"nin, kahramanın yolculuğuna ne ölçüde uyum sağladığının ve iki yazardaki "Yunus Emre" algısının farklılığının tespit edilmesi amaçlanmıştır. Anahtar kelimeler: Yunus Emre, Nezihe Araz, Dertli Dolap, Jacques Lacarrière, Dünyanın Tozu, kahraman, yolculuk
Toplumeleştirel bir inceleme: Leila Slimani'nin başkalarının ülkesi üçlemesinde kimlik sorunsalı
Bu çalışma, Leïla Slimani'nin Başkalarının Ülkesi üçlemesini toplumeleştirel bir yaklaşımla ve yorumsamacı bir bakış açısıyla incelemeyi amaçlamaktadır. Üçleme, sırasıyla Başkalarının Ülkesi, 2020 (Fr. Les Pays des Autres), Başkalarının Ülkesi: Dans Edişimize Baksana, 2022 (Les Pays des Autres: Regarder Nous Danser) ve henüz Türkçe çevirisi yapılmamış olan J'emporterai le feu,2025, adlı yapıtlardan oluşmaktadır. Çalışma kapsamında üçleme, toplumeleştirel bir yaklaşımla incelenmektir. Toplumeleştiri yaklaşımının sunduğu kavramsal araçlar (toplumbetim, toplumsal ilişki ölçeği, söylemlerarasılık vd.) kullanılarak, üçlemede işlenen kimlik sorunsalının çok katmanlı yapısı açığa çıkarılmaktadır. Metinlerin hem üretim süreçlerindeki toplumsal söylem izleri hem de alımlanma aşamasındaki düşüngü ve ekinsel boyutları incelenmektedir. Çalışma, toplumeleştirinin tarihsel gelişimini, kuramsal temellerini ve temel kavramlarını inceleyen bir kuramsal bölüm ile yapıtların çözümlemesini içeren bir çözümleme bölümünden oluşmaktadır. Çözümleme bölümünde, yapıtlar bağlamsal, toplumsal-düşüngü, toplumsal-tarihsel ve toplumsal-kimlik olmak üzere dört temel düzlemde incelenmekte ve her yapıtın çözümlemesi ara bireşimlerle sonlandırılmaktadır. Sonuç olarak, üçlemenin genel toplumeleştirel bağlamı çerçevesinde kapsamlı bir bireşim yapılmaktadır. Bu araştırma, toplumeleştiri yönteminin sömürgecilik sonrası yazın incelemelerindeki etkinliğini ortaya koymayı ve bu yöntemin Türkiye'deki akademik yazında daha yaygın kullanımına katkıda bulunmayı da hedeflemektedir.
L'etude des objets dans le recit Echenozien
Jean Echenoz, romancier français contemporain, utilise souvent des descriptions longues et détaillées dans ses romans. Ces descriptions ne sont pas faites au hasard. Chaque détail a un sens et aide le lecteur à participer activement pour trouver le sens caché lui-même. Dans cette mémoire, l'approche sémiologique de Roland Barthes et la théorie du signe de Ferdinand de Saussure seront utilisées en tant qu'approche méthodologique. L'objectif est de montrer que les objets décrits par l'auteur ne sont pas seulement décoratifs. Ils peuvent aussi avoir des significations plus profondes. Le but de cette étude est d'utiliser l'approche de Barthes et de Saussure pour montrer que le sens des objets peut être différent et qu'ils peuvent offrir des signes et des significations plus profonds qu'ils ne paraissent au premier regard. Echenoz utilise les objets dans ses romans pour compléter le sens. Des objets ou ses descriptions donnent des indices importants. Il ne les choisit pas au hasard. Au contraire, il les utilise pour rendre la lecture plus active et attentive. Ces détails permettent de remplir les vides dans le récit et nous aident à accéder au sens complet. Les ruptures temporelles, les longues descriptions ou un objet simple dans une chambre ont un rôle important, même s'ils semblent sans importance au début. Dans ce contexte, les objets simples et quotidiens présents dans les œuvres d'Echenoz seront analysés de façon détaillée à travers une méthode sémiologique. Cette étude permet de mieux comprendre le rôle des objets pour l'intrigue et les personnages dans l'univers echenozien. Mots-Clés : Sémiologie, Linguistique, Objets, Jean Echenoz, Analyse sémiologique, Symbole, signe.
Alain Robbe-Grillet et la litterature objective: Les Gommes (1953), le Voyeur (1955) et la Jalousie (1957)
Dans ce travail aborde avec la methode litteraire, nous avons eu le but d' analyser trois romans d' Alain Robbe-Grillet, consider^ comme le theoricien du "Nouveau Roman", nous nous interesserons egalement aux idees des autres Nouveaux Romanciers. Nous avons esssaye de preciser les contours de Roman, lequel n'a pas de definition definitive, admise par tout le monde, si Ton en juge par les definitions prises dans differents ouvrages, puis avons etudie revolution du Roman dans l'histoire de la litterature française. Nous avons compart le roman du XDCeme siecle, dit roman "traditionnel", avec le "Nouveau Roman" des annees 50 et 60. Tout au long de ce travail, nous avons examine les elements du Roman comme temps-espace, action, narrateur, personnages, description, et avons mis en evidence ses specifites comme le primat des objets, le goût de la geometrie, la mise en abyme et les techniques du redoublement. Nous avons 6tudi6 les trois romans du point de vue de la presentation, de la composition et de la structure des techniques narratives. Nous avons analyse en details ces romans, lews images auditives, visuelles et mythologiques grace â des citations.En conclusion, cette these de maîtrise doit Stre consideree comme une contribution â la recherche de la possibility de l'utilisation de ces romans representatifs du "Nouveau Roman". Elle a necessite perception et comprehension approfondie, laquelle a permis de proceder â une etude litteraire qui oblige le lecteur â s'interroger sur son propre röle. Les mots cles: Roman "traditionnel", "Nouveau Roman", "mise en abyme", "regard optique", redoublement.
Etude semiologique comparative du language corporel dans le programme televise Turc et Français
Quand on parle d'une langue elle fait souvent allusion â la communication c'est pourquoi nous avons prefere de parler d'abord de la communication puisque notre travail se base en general sur la communication interhumaine et en particulier sur la communication corporelle dont les recherches scientifiques sont encore nouvelles. Ces recherches ont prouve la superiorite de celle-ci par 700000 mouvements corporels ce qui est les multiples du nombre des mots d'une culture existant dans son dictionnaire. Pour mieux comprendre le langage corporel nous avons donne quelques definitions generales de la communication puis nous avons etudie la communication non verbaie dont le passe remonte au debut de I'histoire de 1'homme, son importance, son systeme, son evolution historique, les travaux faits dans ce domaine, les differences entre la communication verbaie et nous avons vu que le langage corporel constituait les 60 % de toute la communication. A la suite d'une comparaison effectuee avec les mouvements corporels des animaux nous avons remarque les points communs entre les deux. Sous titre du langage corporel nous avons parle des gestes et mimiques, des organes contributives, des postures et des facteurs influençant ces mouvements qui sont le statut social, la situation economique, le niveau educatif, le passe, la psychologie, le sexe, l'âge, la culture, les sentiments personnels etc. Pour baser notre travail aux theories linguistiques nous nous sommes referes aux theories de Greimas, â Lipps, â Fieldman, aWilson, â Schleidt et âV Tinbergen defendeurs de la theorie affective, â la theorie cognitiviste qui considere la perception d'autrui comme un jugement et enfin â la theorie corporeiste qui insiste sur la communication directe de corps â corps et parmi les modeles de communication linguistique nous avons parla du schema jakobsonnien pour montrer le systeme de communication et nous i'avons adopte â celui de non verbale. Pour la pratique de nötre etude comparative, nous avons choisi deux programmes tâlevises intitules Loft pour la culture française et Otel pour la culture turque de meme categorie et par les images visuelles decoupees selon les organes communicatives, semiologiquement, nous avons essaye d'evaluer les ressemblances et les divergences de mouvement et de signification. Mots Cles : Langage corporel Kinesique Signe non linguistique Communication non verbale Semiologie Gestes Posture Expression corporelle Gestualite Samiotique corporelle
La femme et lamour dans les romans de therese raquin dEmile Zola et eugenie grandet de Balzac
Cette thèse est une analyse comparative de la vie amoureuse de deux femmes qui sontles personnages principaux des romans Therese Raquin d'Emile Zola et Eugenie Grandet deBalzac et aussi des effets négatifs qu?elles subissent à cause de leurs amours.Le but de ce travail est la vie des femmes,les effetes de l?amour sur Eugenie Grandetet Therese Raquin.Elles ont une histoire commune.Cette histoire attache ces deux femmesdans la même direction.Eugenie a un père riche mais il est un avare.Therese n?a pas defamille.Elle vit avec sa tante et sa cousine malade.En effet,elle doit se marier avec son cousinmalade et cela fait la vie insupportable de Therese.Ces vies malheureux dirigent ces deuxfemmes. En effet elles tombent toutes les deux amoureuses mais l?amour ne les sauvent pasde leur vie monotone et ennuyeuse. L?état psychologique de ces femmes vis à vis à l?amoursera également étudié.Eugenie tombe à amoureux à Caharles qui est différent des gens quil?entourent.Car Charles s?habille bien et il n?a pas le but de mettre la main sur la fortune deson père comme d?autres. Therese tombe amoureux Laurent qui est un peintre.Il est beau et enbonne santé.Cette travail comporte un introduction,quatre parties et une conclusion.Dansintroduction,on avait donné le renseignement générale.Dans le premiere partie on avait étudiéle sujet de notre travail.Dans le deuxieme partie on avait étudié la vie d?amourd?Eugénie.Dans le troisieme partie on avait étudié la vie d?amour de Therese.Dans la conclusion,on avait comparé ces deux héros femmes.Notre travail avait finiavec une ouvrages cites et consultes.Mots-Clés: Emile Zola, Balzac, Eugenie Grandet, Therese Raquin, l'amour
Du latin au Français : La declinaison avec une comparaison au turc
Being given that French comes from Latin like all the Romance languages, it is expected to contain some Latin grammatical rules. But in the passing phase from Latin to French, we see that some of these rules gradually disappear. The Latin substantives, pronouns and adjectives were being conjugated; they had six conjugation: nominative case, vocative, genitive, dative, accusative and ablative. Like German and many Slavic languages, Latin has a different sentence structure. It is the conjugation of the nouns that decides the function of it, not where it is. The old variation with six cases of classic Latin had been reduced as former French to a conjugation of two cases. The disappearance of the substantive conjugation, more precisely the disappearance of the subjet case, is the phenomenon most characteristic of mid French period. From XIV century we don?t see the subject conjugation case in French. The system based on subject conjugation has failed; we thus tried to find which elements of the French language replaced this system and which are the traces of the Latin variation in French contemporary. As for the Turkish language, Turkish uses substantive conjugation (like Latin) which determines the function of the subject in the sentence. In connection with the substantive conjugation, we noted that Turkish has some similar characteristics with Latin. In this case, we decided to seek conjugation case of subject in Turkish language which can correspond to certain functions in French language that will serve us as clearness for analyzing the structure of the French sentence well. Because we, the Turks, being people who are accustomed to making sentences in a free and flexible way, have difficulties in understanding the rigid and inflexible structure of French sentence.
Le Français en Turquie situation actu elle et perspectives d'avenir
Günümüzde uluslarası ilişkilerin siyaset, ekonomi, turizm, yatırımlar ve teknolojik açılardan giderek yoğunlaştığı bilinen bir gerçektir. Öte yandan iletişim araçlarının tüm dünya insanlarını biribirine daha da yaklaştırdığı gözönüne alınacak olursa, çağdaş ülke olma yolunda hızla bu gidişe ayak uydurma çabası içinde olan ülkeler arası yarışa Türkiye'nin de katılımı kaçınılmazdır. Kalkınmış ülkeler arasında Türkiye'nin de, hakettiği yerini alması en büyük temennimizdir. Konu bu doğrultuda ele alındığında, yukarıda sözünü ettiğimiz tüm uluslarası ilişkiler çerçevesinde yabancı dil öğrenimi bir zorunluluk olarak karşımıza çıkmaktadır. Türkiye'de son zamanlarda yabancı dil öğrenimine duyulan ihtiyaç gittikçe artmakta ve artık bir değil ikinci bir yabancı dili de öğrenme gereksinimi duyulmaktadır. Ancak şurası da bir gerçektir ki, günümüzde Milli Eğitim Bakanlığına bağlı ortaokul ve liselerde yabancı dil Öğretimi yetersiz kalmaktadır. Biz bu tezde, fransızcanın yabancı dil olarak ortaokul ve liselerdeki eğitim ve öğretimindeki bu başarısızlığın nedenlerini irdelemeye çalıştık. Sorunun temeline inip konuya günümüzdeki çağdaş eğitim anlayışıyla yeni bakış açıları getirmeye çalıştık. Bu etapta Milli Eğitim Bakanlığına bağlı YADEM bünyesinde, fransızca komisyonu tarafından hazırlanan ve 1992-93 eğitim öğretim yılında bazı ortokul birinci sınıflarda uygulamaya konulan "Je Voyage en Français,l" kitabını kuramsal olarak ele aldık. Yeni eğitimsel yaklaşımlar doğrultusunda hazırlanan bu kitabın, fransızca öğretimine büyük katkıları olacağı ve iyileştirmeler getireceği kuşku götürmez bir 64gerçektir. Ancak şunu da eklemek gerekir ki, sorun tek başına metot olmayıp yeni bir eğitim anlayışımda beraberinde getirmektedir. Bu durumda, hazırlanan yeni yöntemin uygulamada başarılı olması için öğretmenlere düşen görev çok büyüktür. Bu nedenle, onlara gereken eğitim formasyonunun sağlanması ve hizmetiçi eğitim programlarıyla bu yeni yönteme hazırlanmaları gerekmektedir.
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.