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Discipline
Girdi-temelli iki farklı öğretim yönteminin yabancı dil dilbilgisi öğretimine etkileri: Metinsel girdi ve yapılandırılmış girdi alıştırmaları
This quasi-experimental study investigated the effects of two different types of input-based instructions, namely Textual Enhancement (TE) and Processing Instruction (PI) on the acquisition of English Simple Present Tense third person singular form (–s). To this end, elementary level young learners (n = 43) learning English as a Foreign Language (EFL) were employed for the study, and then randomly distributed into two experimental groups as TE and PI groups. Each group received its own specific instruction for two regular classroom hours: the TE group received textual enhancement; the PI group received processing instruction. The groups were assessed within a pretest, an immediate posttest and a delayed posttest design. The assessment materials included one interpretation task (grammaticality judgment task) and two production tasks (form correction and written production tasks). All the instructional and assessment materials used in the study were piloted twice on a similar group of students prior to the main study to check the difficulty level of the instructional materials, the reliability of the tests and the clarity of the instruction. The overall findings showed that both TE and PI groups improved their performance on the interpretation-level task; however, they failed to improve their performance on the production-level tasks. Key words: Input-based Instructions, Focus-on-form, Textual Enhancement,Processing Instruction, Teaching English to Young Learners
William Makepeace Thackeray'nin Gurur Dünyası ve Samuel Butler'ın Tüm İnsanlar Gibi adlı eserlerinde baskıcı bir mekanizma olarak eğitim
The Victorian era (1837-1901) was a period in which significant transformations took place in various fields such as culture, education and working conditions. This period also saw key educational reforms, leading to notable changes at schools and the overall approach to learning. The Victorian education system reflected and maintained the social norms and class stratifications of the time. Education was seen not only as a path to personal development but also as a mechanism to maintain societal order and class distinctions. Public schools played a crucial role in maintaining aristocratic values and the unequal distribution of power, integrating new wealthy classes into higher societal strata. The role of family in education was significant, particularly among wealthy families, where education was viewed as a means to preserve high social status. However, this study suggests that this emphasis on education also led to oppressive school experiences. Furthermore, schooling which is often regarded as a means of development and advancement, could also function as a means of oppression, especially for marginalized individuals. The literary works of William M. Thackery's Vanity Fair and Samuel Butler's The Way of All Flesh illustrate how education in this era could be used as a tool of societal oppression. The function of schools in shaping individuals' lifestyles and personalities, and the influence of social expectations and family pressures on students' experiences can be considered oppressive aspects of the Victorian education system. This study focuses on the oppressive elements within educational settings, including the behaviours of educators, school administrators, and the overall schooling system. It acknowledges that while education was a sign of privilege and discipline, aiming to elevate social standing, it also had a negative impact on children's personal freedom and development. In this respect, the research provides a comprehensive analysis of the multifaceted role of education and schools in the Victorian period. The study also emphasizes the complex and systematic nature of this oppression at schools examining the educational experiences of the characters in William M. Thackery's Vanity Fair and Samuel Butler's The Way of All Flesh. Keywords: education, schooling, public schools, oppression, Victorian period, Vanity Fair, The Way of All Flesh
Romantik dönemde İngiliz kadın Grand Tour seyahat anlatılarında yüce'nin rolü
In 1796, Mary Wollstonecraft published Letters Written during a Short Residence in Sweden, Norway, and Denmark, which she wrote during her journey to a destination different from the eighteenth-century Grand Tour of Europe. Authorized to restore a ship carrying silver freight lost in Sweden, Wollstonecraft sets off for a business journey. Wollstonecraft traces societal development, the economic and political condition of states through philosophical contemplations, sentimental narrative, accompanied by sublime experience within the framework of the eighteenth-century Grand Tour. A famous writer in the Gothic genre, Ann Radcliffe initiated a journey to continental Europe during the summer of 1794. The outcome of this journey was the travel account A Journey Made in the Summer of 1794, through Holland and the Western Frontier of Germany, with a Return Down the Rhine: to which are Added Observations During a Tour to the Lakes of Lancashire, Westmoreland, and Cumberland (1795). Radcliffe incorporates elements of sublimity and everyday life, not ignoring the physicality of the cities, people, and their manners. The Grand Tour, a widespread form of European travel among the British in the eighteenth century, provided fostering one's classical education through travelling places regarded as centres of civilisation, not only for men but also for women. All these components unite around the function the sublime performs. To answer the questions appearing in minds, this study argues that for the two women Grand Tour travel writers Wollstonecraft and Radcliffe, who travelled in the context of the Romantic period, the sublime represents the mobility of the mind. Encounters with sublime nature display the individual's adequacy in thinking and analysing the external environment, which illustrates that the sublime is an instrument of reason. In brief, I aim to explain my argument through the Grand Tour as travel practice, the context of the Romantic period, and the Kantian sublime. Keywords: travel literature, the Grand Tour, Romantic period, the sublime, women travel writers
Wallace Stevens'ın şiirlerinin şekil-zemin algısı yoluyla bir incelemesi
Within modernist literature, Wallace Stevens' poetry stands as an example of how objects become things. Bill Brown explains this notion in his well-known Thing Theory article. Drawing upon this notion, the presence of such objects becomes a vessel for the poet's worldview. Therefore, this thesis aims to analyze objects in Stevens' poetry, employing techniques to discuss figure-ground perception by revealing the duality of their roles. While these objects stand as aesthetic elements, their hyperpresence and transformative significance also establish a connection between the mundane and the philosophical aspect of life, through which Stevens seeks divinity. In this context, the figure and ground theory application emerges as a practical tool for understanding the significance of objects and their juxtaposition within the context of poems. Consequently, figüre-ground perception helps unearth Stevens' philosophy, intertwining his worldview with exploring the utilization of objects.
George Orwell'in coming up for air ve the road to wigan pier kitaplarında eşikteki zihinsel üslubun incelenmesi
Twentieth-century people experienced rapid historical events, leading them to attempt to understand the dynamics of a newly shaping world. This process of Britain in the modern world between world wars is displayed in Orwell's Coming Up for Air (1939) and The Road to Wigan Pier (1937), which present auto-diegetic middle-class narrators whose minds revolve between socialist and capitalist ideals, modernist and traditional lifestyles. In Coming Up for Air, the middle-class narrator who lives between world wars presents his ideas about the modern world and class issues. In The Road to Wigan Pier, the middle-class narrator travels to Northern England to explain the working class's challenging conditions. The loss of status and the feeling of dislocation in the lives of middle-class narrators cause confusion and uncertainty concerning their future and place in society. Throughout both books, the narrators remain in liminal space, as they are neither completely part of the working class nor genuinely belong to the middle class. This study explores the liminal mind style of George Orwell's middle-class narrators who encounter conflicting ideologies, clashing between socialist and capitalist ideas, and traditional and modernist lifestyles. The study is conducted within the framework of stylistics, emphasizing the narrators' mind styles through modality, epithets, and relevant stylistic devices to show the liminal space they experienced in the 1930s. The findings reveal that the narrator's liminality concludes with his integration into society in Coming Up for Air, while the quasi-fictional narrator experiences permanent liminality in The Road to Wigan Pier.
Kaostan kaçış: Joe Hill'in İtfaiyeci ve Naomi Alderman'ın Güç eserlerinin tarikat zihniyeti bağlamında incelenmesi
This thesis examines how cult mentality shapes power dynamics in society through a comparative analysis of Naomi Alderman's The Power (2017) and Joe Hill's The Fireman (2016). Drawing on Michel Foucault's concept of power, it investigates the influence of disciplinary and repressive powers on cult formation, collective unity, and social effects. This discussion allows the thesis to address the role of disciplinary and repressive powers in determining a cult's capacity to operate and affect the public. In doing so, the thesis reveals that the achievement of alternative societies' goals relies on the effective execution of discipline, repression, and control mechanisms. In this sense, Allie's cult in The Power represents a successful example of group cohesion and societal influence, in contrast to Carol's cult in The Fireman, which crumbles at the hands of its own leader. These fictional cults help the thesis illustrate that establishing a profound counterpower necessitates a combination of repressive and disciplinary powers to instil a collective belief system. This approach extends beyond mere loyalty and fosters environments where alternative power structures can thrive and potentially challenge dominant ones. In this respect, Allie's balanced approach outweighs Carol's oppressive disposition, considering the latter's ineffectiveness in coping with a hostile world. Therefore, while Allie's success in rising to power illustrates a counter-narrative that strongly challenges the established order by empowering the marginalised through religion, Carol's unsuccessful resistance to external forces highlights how an unstructured power falls short in rivalling the government's systematic power. Accordingly, the thesis concludes that a balance has to be maintained between repression and discipline if counterpowers are to survive and reconstruct social dynamics.
İnsan (sonrasın)ın yeniden yazımı: Mary Shelley'nin Frankenstein, Alasdair Gray'in Poor Things ve Jeanette Winterson'ın Frankissstein romanlarında üremeden yaratıma geçiş
In Frankenstein, (1818), Mary Shelley removes reproduction and birth from their natural arena and the female body by transferring it to the scientist. This novel was the origin of discussions of the notion of being human, and lead to the definition of transhumanism and posthumanism. This transition period, initiated by Shelley in the nineteenth century, was reshaped by Alasdair Gray in Poor Things (1992) with a postmodern rewriting of Frankenstein. In 2019, with Frankissstein, Jeanette Winterson further refines the concept of reproduction into an approach which is not only postmodern, but also posthuman. In this thesis, with a comparative study of these literary works shaped by transhuman and posthuman approaches, the change in the views considering human reproduction, how the concepts of human and reproduction come out of the maternal body, and the mysterious and incomprehensible birth process in nature being recreated by humans, have all been examined. In other words, the main discussion points of this thesis are the intervention of the male human on the female body since the advent of anthropocentric humanism; the neglect of the female body with the exclusion of the pregnant body; the replacement of reproduction by creation, and the abuse of the female body. The conclusion of the study is that advances in science and ideologies have changed how human beings are defined as creators and creatures as well as how they reproduce. To put it another way, the desire to replace human reproduction omits the process of pregnancy in order to achieve creation. As a result of this, the concept of the human and humanity may unavoidably be questioned and revisited. The circumstance could make the woman's precarious situation worse and interfere with the development of the human embryo. Therefore, re-evaluation of the role of the maternal body may be necessary for the context of posthumanism and transhumanism.
Posthuman ve engelli bedenlerin Joseph Fink ve Jeffrey Cranor'ın Welcome to Night Vale eserindeki rolü
In 2013, the bi-monthly podcast Welcome to Night Vale ascended to the number one spot on the online platform iTunes and opened a way to a new generation of creative content. As a new way of storytelling and as a renewed version of radio dramas, Welcome to Night Vale is a production that consists of more than 200 radio episodes, three stand-alone novels, and four script books since its first airing in June 2012. Created by Joseph Fink and Jeffrey Cranor, the main story is about a fictional radio show from a bizarre desert town. This strange town is home to many citizens and beings, who are going along with the extraordinary happenings around them. Throughout this fictional community radio programme, hosted by the main character Cecil, who gives information to the citizens and follows the stories through their daily life, the listener or the reader comes across with some side characters that are not able-bodied, some that have abnormal bodies, and some that have no bodies. A teenage girl who is a wheelchair user, a child who only exists as a hand, a faceless old woman who is not limited by time and space are some of these characters who all exist in the same society. This brings out the question of what it means to be human in this town. Night Vale is a town in which the socially formed prejudices, the norms that are set by the ideals of Humanism are evaded. The argument of this study is that through the various stories of the town dwellers, creators Fink and Cranor produce an affirmative posthuman community where everyone has a chance to be accepted and represented. To illustrate, the citizens of Night Vale are analysed in terms of how their bodies affect their value and their humanity. Having non-normative bodies is demonstrated through Rosi Braidotti's theories on Posthumanism, which are also used as a reference in Dan Goodley's Posthuman Disability Theory. The fight against normalcy and surpassing the humanistic, able-bodied, anthropocentric ideals are revealed in references to some of the citizens of Night Vale, namely Janice Palmer, Josh Crayton, Megan Wallaby, the Computer, Fey, Faceless Old Woman, Hiram McDaniels, and the Angels.
James Clarence Mangan'ın düzyazılarında kozmopolitanizm
Living between the years of 1803 through 1849, James Clarence Mangan was a prominent Irish poet and writer who made use of properties of the East and the West in his verse and prose. In this thesis study, James Clarence Mangan's short stories titled "The Thirty Flasks", "The Man in the Cloak. A very German Story" and "The Three Rings" are analyzed to understand how the tenets of cosmopolitanism are treated in the prose work selected. Mangan employs a unifying mode of thinking, which associated him with the notion of the Weltliteratur by and large. Although in the popular imagination the 19th-century European literature has been conceptualized as two opposite entities of progress and decay, Mangan's texts manifest greater political identification with non-Eurocentric modes of thinking among which, as this thesis shows, Cosmopolitanism is the leading one. Mangan's comprehension of cosmopolitanism, as the thesis reveals, significantly differs from its nineteenth-century counterparts. Although in the following centuries Mangan's works became somehow more popular, his use of cosmopolitan ideals in his short stories remained understudied. Therefore, this thesis aims to fill this gap in the studies on Irish literature while paying particular attention to cosmopolitanism presented after the appearance of the concept of Weltliteratur. Hence, the selected short stories of James Clarence Mangan are examined by comparing the principles of cosmopolitanism with their content. In short, this thesis analyzes how James Clarence Mangan adopted cosmopolitan ideals and appropriated them in the three stories selected. Keywords: Irish literature, J. C. Mangan, Cosmopolitanism, Prose, "The Thirty Flasks," "The Man in the Cloak. A very German Story", "The Three Rings"
Virginia Woolf'un Orlando'sunda zihinsel biçemin kitaptan filme çoklu modalite ile dönüşümü
Since Fowler's coinage, mind style has been a term mainly discussed by theoreticians to correspond to the linguistic peculiarities of characters' cognition and psychological state. As the main focus of stylistics is on written language, mind style emerges as its textual transfiguration and projection. Characters or narrators tend to use a particular fictional language to project specific viewpoints or mental states. On the other hand, while examining a semiotic product like film, in addition to the indicators of language in a stylistic approach, different modes such as gestures, mimics, intonation, use of light, framing, and many other major cinematic components contribute to the construction of a mind style, which is called multimodality. Employing a stylistic approach to the novel and a multimodal stance for the film, the purpose of this study is to explore the mind style of Virginia Woolf's protagonist, Orlando, as it is treated in the novel as well as in the film. Fashioned as a comparative study, it is argued that Orlando has an insecure childish mind style that comes to the fore primarily through actions and emotional outbursts characterized by repetitions and palilaic reiterations with specific predicates. However, in Sally Potter's film adaptation, Orlando's childish mind style is replaced with a more mature Orlando who is capable of handling utterances and physical reactions, which is achieved through the use of direct address and editing techniques. This thesis study concludes that comparative analyses of literary texts with their film adaptations have benefits in addition to the findings related to how the verbal is transposed through images.
Bell Hooks'un Aşka Dair: Yeni Vizyonlar ve Duygu Yoldaşlığı: Kadınların Sevgi Arayışı kitaplarında sevgi ve beden olarak kadının yapılandırılması
Gloria Jean Watkins, known as bell hooks (1952-2021), was an African-American feminist theorist, activist, writer, and critic whose work provided feminist theory with fresh insight. Hence, this study examines the liberating relationship between women's love and body as expressed in bell hooks' two books, All About Love: New Visions and Communion: Searching Love for Woman. In addition to adhering to these two primary sources, her related works are also included in the analysis to support the arguments set more profoundly. When hooks' selected works are examined, it is seen that hooks gave great importance to women's love, emancipation/liberation, and body. This triangulation, as this study argues, is the core of hooks' conceptualization of women's problems. In this study, the reader can read a thorough discussion of feminist ideals as reflected in hooks' works, memoirs, and quotes and comments taken from her texts in a direct and friendly manner, just like how hooks did with her open style. Keywords: Feminism, bell hooks, hooksian feminism, liberation, emancipation, love, body
Shakespeare'in Macbeth, Kral Lear ve Hamlet'inde ölümsüzlük yanılsamaları
Death is an inseparable part of life and human beings are always faced with it. Yet, they cannot accept their mortality and tend to deny death by creating illusions of immortality. In this thesis, first an investigation is made about the ways this denial occurs. The relationship of human beings with death is studied by looking at theories of anthropologist Ernest Becker, psychiatrist Robert Jay Lifton, and sociologist-philosopher Zygmunt Bauman. Becker uses the term "denial of death" for the ways human beings call upon to try to overcome their fear of death. Lifton claims that human beings are connected biologically and historically; therefore, their existence does not end with death and they have "symbolic immortality." Bauman discusses "life strategies" which are useful for covering up the knowledge of death. Even though these three theorists use different terminology, the concepts they consider are similar. Their theories used in this study all address the ways in which human beings create illusions of immortality to cope with their mortality and according to these theories illusions of immortality are products of culture human beings live in. These theories have an existentialist-psychoanalytical outlook: existentialist because they address the issue of mortality related to human existence, psychoanalytical because the responses to the problem of mortality are created unconsciously. By applying these theories to a close reading of the opted literary texts, this thesis aims to show that such illusions of immortality can be observed in Shakespeare's Macbeth, King Lear and Hamlet, too. Although these illusions are exemplified in the behaviour of the main characters, to enhance their explanation the illusions experienced by other characters or prevalent in the societies depicted in the plays are also pointed to. As the theories cover a wide range of human behaviour, there are diverse ways of creating illusions of immortality. The immortality strategies found in each play reflect this diversity. Possible comparisons between the theories as well as their reflection in the plays will be offered in the Conclusion of the thesis. In Macbeth, the illusion of immortality provided by survival in battle and a strong social order needs to be strengthened by procreation of children that will continue one's line and the possession of the crown that symbolises kingship and longevity. Macbeth's desire to possess the throne forever although he does not have any children, and therefore murdering those whom he sees as threats to the throne leads to the collective immortality project of the Scottish people as a counter-reaction. The theme of distribution and ownership of land, power and material objects and the collective illusion of immortality substantiated by the inheritance of these by the progeny in King Lear is shown to be related to the human desire to extend existence. After undergoing a death and rebirth process, Lear sees the futility of these illusions in the face of the mortal nature of human beings. The dual universe of Hamlet that encompasses this world as well as the realm of ghosts is reflected in its hero's belief in an eternal afterlife inspired by the doctrines of Plato and Christianity as an alternative to life in this world and his desire to leave a good name behind when he dies. His wish to be remembered posthumously and to remember the dead finds expression in funerary rites. In all the three plays, the illusions are culturally created as the theories of Becker, Lifton and Bauman suggest and cannot prevent death which is inevitable.
T.S. Eliot'ın "Love Song of J. Alfred Prufrock", "Portrait of a Lady", "La Figlia Che Piange" ve "The Waste Land" şiirlerinde aşkın başarısızlığı
ABSTRACT "Failure of love in T.S. Eliofs Poems: 'Love Song of O. Alfred Prufrock', 'Portrait of A Lady', La Figlia che Piange' and The Waste Land' by MİNE ÖZ YURT M. A. in English Literature Advisor: Sam Baskett February, 1994 This dissertation aims at pursuing the failure of love theme in T.S. Eliot's above mentioned poems. In the Introduction, poetry of Eliot, who is one of the most outstanding figures of Modernist Poetry, and the historical-social facts which influenced his poetry are discussed In the light of the phenomena, which appeared during the First World War and the industrialization, such as human isolation, lack of communication, disbelief in traditional beliefs and thoughts, how Eliot revealed the failure of love theme in his poems is studied In the Conclusion, It is pointed out that Eliofs characters, each in his/her prison, are unable to speak and communicate; these silent characters hopelessly look for love which does not exist any more.
Ben jonson`ın üç şehir komedisindeki karnaval özellikleri: volpone, the alchemist ve bartholomew fair
Abstract The Carnivalesque in Ben Jonson's Three City Comedies: Volpone, The Alchemist and Bartholomew Fair Gül Kurtuluş Ph. D. in English Literature Advisor:.Dr. Marcia Vale March, 1997 The idea of carnival is explored in Rabelais and His World, in which Bakhtin shows that the carnival was an officially sanctioned period in which all dogmas and doctrines, as well as the forms and ideologies of the dominant culture could temporarily be overturned. This resulted in activities that could be seen as profane and heretical, such as the parodies of religious rituals, or treasonous and socially subversive, such as the parodies of kingship, inversions of master-servant roles, and the like. Moreover, the phenomenon of carnival allowed the merging of categories that are kept separate by the ideologies of a certain culture: the serious and the ridiculous, the sacred and the profane, life and death, rulers and the ruled, and so on. According to Bakhtin, the advantage of carnival was that it reminded of the attributes of the dominant culture, the characteristics of the people at large, the divisions in the culture, of class distinctions, and of value judgments and differences. Bakhtin considers carnival as an actual socio-cultural phenomenon. In Bakhtin's analysis of carnival, symbolic polarities of high and low, official and unofficial, grotesque and classical are deformed and reconstructed. Ben Jonson's comedies deal with the symbolic extremities of the exalted and the base. In his comedies Jonson plumbs the depths of social classification, taking his characters from the lower strata of the underworld, as well as from the higher IVstratum of the body politic: the advocates, masters, doctors, etc. Thus, Jonson comments on the political and the social changes in the first half of the seventeenth century. In his plays the "licensed release1 of carnival is experienced, which is a kind of protest against the established order. Yet, the carnival Jonson depicts in his comedies is also intended to preserve and strengthen the established order. It is a form of social control of the low by the high. Although the world seems to be turned upside down and the roles change during the carnival, in fact the rulers who were chosen and crowned reaffirm the status quo. Therefore, the carnival spirit in Ben Jonson's comedies is a vehicle for social protest, but at the same time the method for disciplining that protest. Bakhtin's concept of carnivalesque is highly significant in discussing the socio- cultural and political content of Ben Jonson's comedies. His theory helps one see Jonson's comedies in an especially wide perspective. This dissertation aims to link Bakhtin's discovery of the importance of carnivalesque with Ben Jonson's three best known comedies: Volpone, The Alchemist and Bartholomew Fair.
John le Carré'nin casus yazınında ihanet ve paranoya: Köstebek, Bizim Oyun ve Bahçıvan
The spy novels of John le Carré mostly revolve around the concepts of loyalty and betrayal and are imbibed with a sense of paranoia against the evil figure. In Le Carré's fiction, political betrayal usually goes parallel with personal betrayal and the clash of duty with individual conscience is a common theme. John le Carré is the author persona created by David Cornwell, a former officer of the British Secret Service who also served as an intelligence agent during the Cold War era. Although it is not a must to go back to the author's life in literary criticism, in Le Carré's case, it is his insider experience about the clandestine world that distinguishes him as a realistic author and gives his critically acclaimed novels their merit. The aim of this study is to do a close reading of three novels by John le Carré, Tinker Tailor Soldier Spy (1974), Our Game (1995) and The Constant Gardener (2001), in order to examine the elements of paranoia and betrayal in the light of the historical and political atmosphere of their respective era. The study also undertakes a comparison of these novels to portray the evolution of the evil figure parallel to the transformation of the dominant political forces throughout these decades and to point out the author's changing attitude towards the idea of duty from patriotism towards individual conscience. The method also involves an investigation of the people and events from the author's own life that have inspired his literary creation and are moulded into these novels in terms of characters and plot elements. Finally, the evolution of Le Carré's female protagonists is discussed from a feminist point of view within the context of betrayal. Le Carré's Cold War novels feature a strong sense of paranoia against communism as an insurmountable corrupting force. In this period, the author's idea of duty is synonymous with patriotism and his novels often portray the clash of duty with individual conscience, where duty always prevails. Considered as his Cold War masterpiece, Tinker Tailor Soldier Spy (1974) is a roman à clef where the events and characters can be traced back to the author's life. Written in the wake of the revelation of the Cambridge Five spy ring, the novel can also be read as a re-enactment of the greatest treason in the history of the British Secret Service in order to come to terms with the trauma of betrayal. After the fall of communism, Le Carré's focus shifted to new threats that have replaced his former archenemy. Having celebrated the individuals' effort and sacrifices to keep the threat at bay during the Cold War, the author was disillusioned after its demise when Britain left her former spheres of influence to their fate and abandoned the smaller nations to the mercy of the new Russian nationalism in the ruins of the former communist system. Our Game (1995) written in the aftermath of the Cold War presents unbridled nationalism as the new evil figure that has replaced communism. This transitional novel also marks the transformation of the author's idea of duty from patriotism towards individual conscience and action. Seemingly setting out with the same idea of duty as in his Cold War novels, towards the end of the storyline, the author turns the cards over in order to reveal an opposing view, inviting the readers to change their vantage point about the concepts of loyalty and betrayal in a world where loyalty to one's country results in apathy while the conscientious individual has a duty to take heed of the suffering around the world. The Constant Gardener (2001) written in the monopolar, capitalistic world of the new millennium is an example of docu-fiction or a thesis novel where the author focuses on the clash between capitalism and ethics. Also inspired by people, observations and documents from the author's real life, the novel is the story of one woman's quest against wild capitalism; the dominant and unrivalled power which has now replaced communism as the evil force causing the paranoia. In this new world order where multinational companies cannot be controlled by the outdated international organisations and crimes against humanity are committed for the sole purpose of profit, the individual rises above institutions and the conscience becomes the only moral compass in Le Carré's fiction. Unlike communism, which is a force that needs to be destroyed by any means in the author's Cold War fiction, capitalism in the new millennium is presented as a necessary evil that has to be bridled by the appropriate institutions since the author can offer no radical alternative to replace capitalism in a free world. The Constant Gardener is also a first in the author's canon featuring his first independent female protagonist who takes action against the outdated, male-dominated world order feeding the capitalist monster. However, the futility of the death of all his heroic characters for the greater good sheds light to his scepticism towards actually achieving a better world. The study points out that John le Carré's espionage fiction is imbibed with his personal observations and experiences and reflects the shifting vantage point of the author persona to the individuals' choices in the face of the transformation of the political threats over the decades.
Dramanın Ölümü: Sarah Kane'in Blasted, Crave ve 4.48 Psychosis oyunlarında entropi
Entropy is the degree of disorder and randomness in a system. According to the second rule of thermodynamics, entropy in a closed system increase until it reaches the maximum and dies. This principle reflects a universal tendency for elements in the universe to shift from order to disorder. The implications of entropy permeate various facets of life, making it a comprehensive concept applicable across diverse disciplines, including literature. This fundamental notion easily applies to the realm of theatre. In this thesis, the central aim is to illuminate the intimate relationship between entropy and the shift from dramatic theatre to postdramatic theatre, as revealed through a detailed analysis of Sarah Kane's three emblematic plays: Blasted, Crave, and 4.48 Psychosis. This thesis initiates with an examination of Blasted, a play that demonstrates Kane's early investigation of in-yer-face experimentation within the framework of traditional dramatic form. Although Blasted has a fractured storyline and explores challenging subjects, it retains a coherent structure that guides the audience through its complex aspects via a clear roadmap. This state of comparatively low entropy serves as a basic standard for evaluating the increasing disorder shown in Kane's later works. The examination of Crave demonstrates a deliberate deviation from traditional dramatic components, as demonstrated by the conscious absence of plot, stage directions, and structural unity. The deliberate acceptance of ambiguity, fragmentation, and poetic abstraction indicates a significant rise in entropy, requiring a greater degree of active and interpretive involvement from the audience. This change redefines the theatrical contract, making meaning a shared effort between the playwright and the audience. With 4.48 Psychosis, Sarah Kane takes a bold step further into the realm of chaos, extending the structural experiments initiated in her previous work, Crave. This play's total rejection of all the traditional conventions of dramatic theatre marks it as Kane's most entropic work. In embracing this extreme level of disorder and catastrophe, Kane challenges her audience to grapple with a narrative that avoids the safety of traditional storytelling, delving deep into the fragmented psyche of its characters. 4.48 Psychosis not only tests the boundaries of theatrical form but also serves as a compelling example of how entropy can be harnessed to create a disorienting and thought-provoking experience for the audience. By conducting an in-depth examination, this thesis aims to clarify how Kane uses the power of entropy, using it not only as a measure of disorder but also as a potent instrument for exploring the complexities of the human condition and the revolutionary power of theatre. Keywords: Sarah Kane, Blasted, Crave, 4.48 Psychosis, entropy, postdramatic theatre.
Öğretmenlerin ve öğrencilerin güdüleyici öğretmen davranışları hakkındaki algıları
The objective of this study was to investigate teachers? and students? perceptions of the motivational behaviors that English teachers in general perform in the classroom. Additionally, the study attempted to explore the relation between students? and teachers? perceptions, as well as their relations to what has been pointed out in the literature. The participants were seven teachers who taught at two different levels, pre-intermediate and upper-intermediate, and their 138 students from seven classes, during the spring term of the 2006-2007 academic year in Erciyes University School of Foreign Languages (EU SFL). Three classes of each teacher were observed to gather data on their observed motivational behaviors in the classroom, with the guidance of a checklist of motivational behaviors compiled from the literature. In addition, semi-structured interviews were conducted in order to gather more in-depth information about the teachers? perceptions of their own behaviors, and which of their behaviors they identify as motivating. Then, they were given a questionnaire in which they rated 56 motivational behaviors from the literature on a 5-point Likert scale. The questionnaire was also administered to the participant students. The student questionnaire consisted of four parts, reflecting the first research question, regarding what teacher behaviors the students find motivating in the classroom. The aim of the questionnaire was to gather a picture of the perceptions of the students towards teacher motivational behaviors derived from the literature, as well as their own ideas regarding teachers? behaviors that motivate and demotivate them. The analysis of the data revealed that the teachers? and the students? perceptions of motivational behaviors are similar, although there are some mis-matches. Both the teachers and the students think that a good teacher-student relationship and teachers? being friendly and supportive are the most motivating behaviors. On the other hand, although the teachers find encouraging students to try harder and asking them to work toward a pre-determined goal motivating, the students do not find these behaviors as motivating as the teachers do. Furthermore, despite the emphasis given on the effect of learner autonomy on motivation in the literature, the students do not find the items concerning autonomy very motivating, and the teachers did not emphasize the effect of learner autonomy on language learning during the interviews. The findings of the study might be beneficial for teachers as they will gain an insight into their students? beliefs about the motivational behavior of teachers. Teachers? awareness of how their students perceive teacher motivational behavior may help them in considering the effects of their actions in the classroom.
Charlotte Perkins Gilman'ın Herland ve Doris Lessing'in The Cleft başlıklı eserlerinde dil yolu ile kadınlık ve erkekliğin inşası
Language is essential for the construction of individuals' gender behaviours. Built upon dichotomies, gender behaviours ensure that female and male characters remain within the boundaries of femininity and masculinity through language. Charlotte Perkins Gilman's Herland (1915) and Doris Lessing's The Cleft (2009) depict female-only societies that the qualities of femininity and masculinity are attributed to the members of society through language. Even though the selected novels depict different eras of civilisation, in both novels, male-authorised history conveys and interprets women's stories through speech acts that shape feminine and masculine gender behaviours. An analysis of the novels shows that the characters in the novels perform their gender to fit into society. This thesis aims to analyse femininity and masculinity in the select novels through the theoretical framework of John L. Austin's speech act theory, Judith Butler's theory on gender performativity, and the findings of this analysis are further discussed with the major theories on gender behaviours. Consequently, the results of these examinations are used to reveal how the dynamics of being a female and a male are dictated through the language within the texts rather than sex. In light of these, it is concluded that language plays a prominent role in gender attributes compared to sex within the selected literary texts.
Çağdaş distopya edebiyatı romanlarındaki kadın mitleri: Louise O'Neill'in "Kusursuzlar" (Only Ever Yours), Christina Dalcher'ın "Ses" (Vox) ve Leni Zumas'ın "Kırmızı Saatler" (Red Clocks)
The present Master's thesis aims to develop a better understanding of how patriarchial myths of femininity have affected female characters in contemporary feminist dystopian literature. The term "Dystopia" was first used in the late 19th century in opposition to Utopia. Eventually, dystopian as well as utopian novels began to be written by female writers, and their aim was not only to challenge utopian literature but to voice concerns regarding women's issues. The first of these novels was arguably Margaret Atwood's The Handmaid's Tale (1985), which went on to have an important impact on feminist dystopian literature. In this context, this thesis will focus on three contemporary novels, Only Ever Yours (2014), Red Clocks (2018) and Vox (2018), which will be analysed from a feminist perspective, based primarily, although not exclusively, on Simone de Beauvoir's The Second Sex (1949).
Siyaset ve modernite: Hannah Arendt, Virginia Woolf, William Faulkner
The present dissertation weaves together literature with political theory, creating a conversation between Hannah Arendt, Virginia Woolf, and William Faulkner. Drawing upon Arendt's critique of modernity, this study lays bare affinities between Arendt and Woolf, with a keen interest in their reflections on modernity, tradition, and history. By setting out to examine such parallels, it also analyzes their common arguments about violence and totalitarianism that illuminate their understanding of politics as well as the role of narrative in the twentieth century. In what follows, this dissertation scrutinizes Arendt's conceptions of the public and the private sphere and then applies these terms to Woolf's novel To The Lighthouse. I shall first consider Mrs Ramsay's worldlessness, exploring the power of narrative in linking the private and the public, and then turn to Arendt's notion of privacy to propose a countervailing argument for her loneliness. This argument will unearth that the household sphere is not only the space of worldlessness but also the shelter of togetherness. The dissertation also contends that Arendt's account of nature resonates in Woolf's novel. In the rest of the study, my purpose is to argue the meaning of the political for Faulkner and to pursue the traces of the possibility of action and freedom in his novel The Sound and the Fury. Focusing on the characters' commitment to the past and their struggle in a capitalist society, this dissertation proposes rethinking Arendt's concepts of the social, labor, loneliness, forgiveness, and freedom in the context of Faulkner's novel.
Karamazov Kardeşler eserinde rüyaların yorumu
Dreaming is a universal yet elusive phenomenon both in reality and in literature. The scientific explanation of dreams is to unveil the unconscious activities of the dreamer. The primary focus of this thesis is to explore the meanings behind the dreams in Fyodor Dostoevsky's The Brothers Karamazov in the light of psychoanalysis. The study follows Freud's method of dream-interpretation and Kramer's method of dream translation. The theories of dream formation and dream-work are examined, and the relationship between dreams and literature are reviewed to investigate the literary and latent meanings as well as the literary and psychological functions of the dreams. In this context, the interpretation of dreams in Dostoevsky's The Brothers Karamazov is accomplished through a close reading of the three Karamazov brothers' dreams. The next major portion of the study focuses on the translation of these dreams on a Kramerian perspective. This method provides a more objective analysis of the literary dreams since the associations of the dreamer are not required. The interpretation of the latent content and the translation of the dreams suggest similar results that are compatible with the Oedipus complexes of these characters. Therefore, the results offer insights to a more comprehensive understanding of the characters and the author along with the literary work itself.
İran bağlamında minör edebiyat
Using Deleuze and Guattari's discussion of minor literature and Pascale Casanova's "world literary map", this thesis studies minor literature in the Iraninan context in two different historical episodes in Iran- the Pahlavi era and the Islamic Republic. It focuses on the works of Samad Behrangi, Reza Baraheni and Gholam Hossein Sa'edi, who wrote in the dominant Persian language and were influenced by American and European literature, while reflecting on their minor Azarbaijani identity. As part of a literary space that had already witnessed many movements both in Iran and abroad, these writers have been accepted as canonical in the framework of a "committed literature" that turned into a political force.
Entelektüel asimetrik savaş: Batı medyası ve edebi çevrelerinde distopyaların (kötüye) kullanımı
Since the masterpiece of Thomas More, Utopia, the concept of a perfectly balanced and harmonious society, has been a concept that took place in both literary works and the political arenas. On the other end of the spectrum, within the first half of twentieth century, the concept of dystopia emerged, not as a reaction to the utopian concept, but more in a way to reflect on the negatives that await the societies in the future in case that the status quo in the eyes of the author continues to be maintained. While the genre of dystopian novel did not receive critical acclaim until the latter half of the twentieth century, it was utilized in ways that are not purely for the sake of art and literature. Specifically, after the Second World War, during the Cold War era, western media noticed the concept of dystopian novel and utilized it in an unprecedented way. While the use of literary works to influence societies have been commonplace since the Roman Empire, this was not for having the audiences to enjoy the work of art, but rather create a monster that haunts people after reading it. This thesis is going to explain how George Orwell's Nineteen-Eighty-Four and Yevgeny Zamyatin's We have been discovered by the western ideology and how they are used in order to create a demonic image of the Soviet Union, using the most unconventional methods available at their disposal.
"Edebiyatta mevzubahis nedir?" Vonnegut'un Mezbaha-5 ve Kedi Beşiği romanlarında postmoderne Lyotard felsefesinden bakış
This study aims to explore how Kurt Vonnegut's works fit into Lyotard's view of postmodern art and "what is at stake in a literature." Departing from the similarities in their approach to issue of literary representation, two of Vonnegut's novels, Slaughterhouse-Five and Cat's Cradle are investigated from a Lyotardian perspective. Taken in the context of trauma literature, Slaughterhouse-Five focuses on the problem of representation on an individual level in terms of "the differend." Cat's Cradle deconstructs the metanarratives of science and religion, and explores the possibility of presentation based on alternative, "petit récit" that do not conform to the established discourses. The theoretical framework of the dissertation is built on Lyotard's ideas about the postmodern and the postmodern aesthetics as the aesthetic of the sublime sentiment, as influenced by Kantian philosophy, Freudian meta-psychology and Wittgenstein's theory of 'language games'.
Morrison'ın Sevgili ve Süleyman'ın Şarkısı adlı romanında sihirli gerçekçilik ve gotik işlevler ekseninde yeniden hatırlama kavramı
This thesis analyzes the concept of rememory in literature and its indications on Toni Morrison's novels Song of Solomon and Beloved. The author's goal is to stand for the realistic portrayal of the blacks in America. Toni Morrison illustrates the real incidents, people, spectres, supernatural characters and abnormal situations. Connecting reasonable stories which are thought as the pictures of her American legacy and supernatural incidents which come from her African culture, the author reflects the real pictures of African Americans from different points of view. The aim of the thesis is to analyze rememory concepts within the functions of magical realism and gothic in Morrison's two novels Beloved and Song of Solomon. The thesis will focus on a comparison between the two novels in terms of rememory through magical realism and gothic. In the first part of the thesis, the definition of rememory is explored. Then, through the theory of postcolonialism, the history of magical realism and gothic are explained. In the second part, the journey of the oppressed history of slavery is scrutinized under the control of the white system. The third part draws attention to the impacts and memories of a painful past by juxtaposing the gothic and magical realism in Toni Morrison's novels, Beloved and Song of Solomon, and focuses on the requirement of keeping these kinds of memories to provide a powerful and cultural black identity in a repressive society, and to heal the past. Finally, this thesis focuses on how and why Morrison uses rememory in her two important works and through magical realism and gothic elements, the reality of African-Americans which is both realistic and fantastic is explored.
"Mücadele kutsansın": Margaret Atwood'ın "Damızlık Kızın Öyküsü" ve "Ahitler"inde politik radikalizm ve cinsiyet baskısı
The present thesis is a multidisciplinary study with two main objectives. Firstly, it aims to define the fictional Republic of Gilead from Margaret Atwood's novels The Handmaid's Tale and The Testaments as a totalitarian, fascist regime, and contextualize it among the historical precedents from the WW2 and Cold War era. Secondly, it discusses the implementation and outcomes of various violative laws culminating with capital punishments in Gilead, through the often-overlooked male experience. The first chapter scrutinises the formative years of Gilead. Foucault's concept of "governmentality" helps to define some of Gilead's apparatuses, including the death penalty, which is critiqued through Foucault and Derrida; desubjectification and depoliticisation as argued in Arendt's various works; and the Handmaids' formation in conjecture with Kristeva's "abjection". The second chapter investigates the "later-term" and the second generation of Gilead via Foucault's "power/knowledge" and "biopolitics". Using the Sapir-Whorf hypothesis, an in-depth study of Gilead's language reveals its influence on the Gileadean subjects' dispositions. The third chapter analyses the societal structure of Gilead through Bentham and Foucault's elaborations on panoptic models. Supplementarily, Foucault's elucidation of norms defines the methods for the divided social fabric of Gilead. The chapter also references various sources on male victimhood and its invisibility in critical studies and history. Moreover, Arendt's report on Eichmann's trial and Atwood's own remarks provide in-depth perspectives into the victimization of Gileadean men and the double-sided nature of the women as victim-victimizers.
Dame Iris Murdoch'ın romanı, Melekler Zamanındaki Platonik Konular
This study aims to show Irish philosopher Dame Iris Murdoch's moral arguments and Platonic themes in her novel The Times of Angels. Dame Iris Murdoch firmly believes that human nature should be analyzed in human experience in order to learn ethical values, and furthermore demonstrate the good man in the light of Plato's Form of the Good. According to Iris Murdoch, the notion of will and history are not enough to learn true ethical values. Murdoch firmly believes truth should be discovered by doing philosophy, but moral philosophy should centre the idea of love in order to teach ethics. In the Time of Angels, Murdoch wants to prove that human beings can be saved by love, not by Form of the Good, because the latter cannot be defined. Dame Iris Murdoch's aim is to divulge morality in the light of art and Plato's metaphysical arguments, advocating for re-reading Plato in order to devolop one's understanding of art and literature. Art should not be deemed unimportant, on the contrary it yields truth. Iris Murdoch wants to prove that the enemy of the morality is selfishness and fantasy, not godlessness, and furthermore Murdoch wants to prove that Plato's Form of the Good should not be connected with the idea of God. Murdoch firmly belives that Form of the Good should be above everthing. Moreover, Murdoch wants to picture the good man who manages to look at Plato's Form of the Good, without materializing Form of the Good in The Time of Angels, exposing the possibility of goodness in the absence of God.
Oğul, kadın & Hobbit: J.R.R Tolkien'in Yüzüklerin Efendisi romanındaki ikincil karakterlerin cinsiyet temelli okuması
This study offers a gender-based reading of Tolkien's The Lord of the Rings through three of its secondary characters: Sam, Éowyn and Faramir. Although such gender-based readings are common, some of these tend to be anachronistic and biased ways of looking to the novel. As a response to these claims, this study tries to prove otherwise through a reading of secondary characters. While Frodo and Sam are occasionally read through a homoerotic lens, in response homosociality as a concept is utilized to understand Frodo-Sam relationship. A historical perspective that connects Frodo-Sam to the Officer-Batman during the World War I helps understanding the very special bonds between them. Equality feminism and masculinity studies are used to discuss the similar social positions Éowyn and Faramir finds themselves and struggles with. Tolkien is also commonly accused of sexism, yet probably not being ignorant to the philosophies of equality feminism, although putting a relatively few women in his novel, he gave all of them important roles. Éowyn fights against the social norms presented to her, and through sheer will and courage she overcomes them, completing her transformation and finds her place in the new world. The same pose for equality can also be seen with Faramir and his struggle with hypermasculine impositions of his family. Éowyn and Faramir's union presents the reader with an ideal, modern couple which may live in an age of peace and harmony, which can be Tolkien's answer to an ever increasingly industrial, individualistic, and horror-filled world.
Kısa spekülatif kurguda posthümanizm ve ekoeleştiri
This thesis analyzes the critique of anthropocentrism in twentieth-century speculative fiction. While focusing on the representation of the shortcomings of anthropocentrism in the analysis of selected works, this M.A. thesis takes recently emerging critical theories such as posthumanism and ecocriticism as its theoretical framework. The analysis I provide argue that speculative fiction is not only a harbinger of social progress but also one of many catalysts. Therefore, this study analyzes nine short stories, distributed among three separate time periods; the Pulp, Golden Age and New Wave eras of speculative fiction. The analysis in this thesis provides the political context under which these texts were written, comparing and contrasting their circumstances. While earlier texts signal the end of humanism, later ones provide this downfall with an alternative; transcendence through a posthumanist philosophy. To this end, the Pulp era stories are focused on a fear of technological and cultural progress, while Golden Age stories focus on humanity's acceptance of its evolution into more than its antiquated definition. In this regard, selected New Wave stories provide a synthesis through the merging of human and non-human agents into a relationship that is no longer detrimental to all beings involved. I argue that this synthesis is essential to provide ourselves and all other things a habitable environment, because the alternative to embracing change is total annihilation.
Shirley Jackson'ın The Sundial ve We Have Always Lived in the Castle romanlarındaki uzamsal tekinsizlik
This study aims to explain the spatial uncanny in Jackson's two novels, The Sundial (1958) and We Have Always Lived in the Castle (1962), in reference to the gothic trope of the caste and its powerful force over the female character's insecurity that drives them towards violence. Uncanny, defined by Sigmund Freud in his seminal essay "The Uncanny" (1919), emerges in a familiar setting as unfamiliar manifestations incited by hidden childhood complexes and primitive thoughts. When Freud's uncanny is applied to Jackson's gothic texts, the castle/house trope, which emerges in the female gothic, a term coined by Ellen Moers as an infected home, becomes prominent. The castle ostensibly protects women from the dangerous world by separating the two worlds of sexes; the men outside and the woman inside. This uncanny home which belongs to the father cannot offer a window of freedom for women as Friedan pins down in Feminine Mystique (1963), and it turns into as a site of patriarchal entrapment as defined in The Madwoman in The Attic (1979). In both novels, the entirety of the plot occurs in a single house, holding onto the residues of the old aristocratic architecture, promising paternal protection which in fact acts as cultural signs of estrangement as explained by Anthony Vidler. Consequently, houses fail to manifest themselves as a protective and reassuring power while Jackson's characters constantly seek an escape from this institutionalised violence to the extent of committing crimes. However, their attempts yield no result while the Blackwood sisters continue to live in constant terror lest the outer world should remain a threat for them and the wait of the Halloran family ends irresolutely with the death of Orianna, who had secretly hoped to leave the house behind. Key words: Uncanny, Gothic setting, Female Gothic, Castle Trope, Family Institution, Patriarchy, Safety
Orientalism ve Lord Byron'ın The Giaour eserinde Doğulu kadın
Shedding light on Orientalist discourse's impact on the representations of the East and especially on Eastern women in literary works, this thesis concentrates on Orientalism and its mutation throughout history. In his groundbreaking work Orientalism, Edward Said claims that the distinction between the East and the West is not natural but human-made. He asserts that the East-West relationship is a hegemonic relation based on the false image of the East produced by Westerners as the primitive, irrational, feminine 'other' in contrast with the rational, masculine, civilized West. In Orientalist discourse, Orientalist writers construct the West as 'the self,' namely 'the subject' with all the positive aspects, while they define the East as 'the other,' 'the object' with all the negative aspects to reflect their country's political attitude towards 'the other'. The thesis attempts to ascertain the Western perception of the East and its impact on the representation of the Eastern women in Orientalist discourse who often embody the Eastern world itself, written in Western male writers' works. In order to actualize this goal, this thesis examines the stereotypical images of the East throughout history and Eastern women's image in Western discourse through a detailed examination of specific literary works. Such a discourse analysis allows the focus to be maintained on the Eurocentric representations of the East and Eastern women in a survey of the Western literary tradition through the Middle-age, Renaissance, Colonial period, and postcolonial times.. In order to establish a continuity of the Eastern women stereotypes in Western discourse, the thesis also presents a critical analysis of Orientalist travel literary works focusing on a close reading of Lord Byron's The Giaour.
Oscar Wilde'ın Dorian Gray'in Portresi ve Mary Elizabeth Braddon'ın Bayan Audley'in Sırrı'ndaki güç ve güzellik ilişkileri
This thesis endeavours to explore the enchanting power of beauty and its history. This thesis aims at examining the enchanting power of beauty on selected characters in Oscar Wilde's The Picture of Dorian Gray and Mary Elizabeth Braddon's Lady Audley's Secret. It further aims at examining the effects of possessing the power of beauty on the characters that possess it, namely Dorian Gray and Lady Audley. This thesis particularly focuses on the descriptions of the portraits of the protagonists in the two novels, on their effects on whoever looks at them and on the complex relationship between pictorial representation, beauty and truth. Furthermore, the significance of beauty in the two novels will be discussed inside the framework of Victorian Aestheticism. To carry out the research, this thesis addresses the following questions: What is the significance of beauty, and what is the extent of the power of beauty in Lady Audley's Secret and The Picture of Dorian Gray? How is beauty represented in the portraits of Lady Audley and Dorian Gray? What is the relationship between outward and inward beauty in these portraits?
Bir defa ve her zaman: "The Secret History" ve "If We Were Villians" romanlarında arkadaşlık, hauntoloji ve delilik
The present thesis aims to explore and compare the concepts of friendship, hauntology and madness in two significant novels of the Dark Academia genre: The Secret History by Donna Tartt and If We Were Villains by M.L Rio. In the examination of the selected novels, this thesis displays the disintegration of friendship in the face of a tragic event like murder. Murder, as the collective doing of the friends, starts to haunt every aspect of their lives and becomes the trigger for frenzy of behaviour with lethal consequences. Considering the significance of friendship in college years, analyzing the concept of friendship in both novels is crucial in that the events which take place on the college campus have a role in shaping the characters' future life. The Secret History and If We Were Villains provide the reader with a window to observe how a close-knit group of friends reaches the level of murdering one of their own. In order to explain the nature of friendship in the two novels, this thesis builds its theoretical framework mainly on the ideas of Derrida and Arendt. Along with the literary critics such as Mark Fisher and Katy Shaw, Derrida's concept of "hauntology" is employed to explain the alteration of friendship and the repercussions of murder on the protagonists because the more they become haunted by the act they have committed, the darker the events become for them. The protagonists' behaviours in madness not only constitute a trigger in the series of events but also reflect their perception of the world. The conceptual approach utilizing madness in the present thesis centres predominantly on the literary theories of Foucault and Nietzsche.
Kadın seslerinin dönüşümü: Yunan ve Roma mitolojisinde kadınların tecavüzü ve feminist yeniden yazımların anlatıyı geri alması üzerine bir çalışma
This thesis aims to study feminist revisionist rewritings of selected ancient Greek and Roman myths to show the violation of women in myth, its links to today's society and how feminist rewritings change the narration and empower mythological and real women by giving these mythical women voices to tell their own versions of the stories. The mythical women in question are; Daphne, Pygmalion's Statue, Circe and Medusa. They are all studied firstly through Ovid's Metamorphoses, then secondly the other ancient texts (Virgil's Aeneid, Homer's Odyssey, Parthenius's Erotika Pathemata etc.) that have originated or added to their myths and lastly some feminist rewritings of these myths by contemporary writers in different genres such as; Carol Ann Duffy, Ann Stanford, Nina MacLaughlin, Alicia Stallings, Madeline Miller and Micheal Kasenow with the use of feminist theories and theories about the psychology of violation of women. Keywords: rewritings, mythology, feminism, violation.
Herhangi tekillik: The Well of Loneliness ve Oranges are not the Only Fruit romanlarında Quodlibet'in kuirleşmesi
tezin amacı, Radclyffe Hall'un The Well of Loneliness (1928) ve Jeanette Winterson'ın Oranges Are Not the Only Fruit (1985) adlı iki romanda anlatılan 20. yüzyıl İngiltere'sinin kuir insanları için Agamben'in cemaat fikrinden yola çıkarak varsayımsal bir topluluk önermektir. Bu çalışma aynı zamanda 20. yüzyıldaki kuirler sorununu araştırmayı amaçlarken, iki romandan birinin yirminci yüzyılın başında, diğerinin ise sonunda yazılmış olmasına rağmen eşcinsellere uygulanan baskının değişmediğini ortaya koymayı amaçlamaktadır. Agamben'in herhangi tekilliği üzerinden kuir insanlara bir topluluk öneren bu tez, romanlarda tasvir edilen lezbiyen karakterlerin toplum ya da aile tarafından dışlanmasını incelemeye çalışmaktadır. Özetle, bu tez, Agamben'in toplumdaki her bireyi olduğu gibi kabul eden ve aynı zamanda onları olduğu gibi (tel quale) kabul eden herhangi tekillik kavramı üzerinden bahsi geçen romanlardaki kuir insanlara alternatif bir toplum ve/veya topluluk anlayışı sunmaktadır çünkü her insan sevilebilir (quodlibet). Anahtar kelimeler: Herhangi Tekillikler, Kuir Teori, Birliktelik, Agamben, Dostluk, Radclyffe Hall, Jeanette Winterson, 20. Yüzyıl İngilteresi
Muinar ve The Penelopiad'da kadınların arayışı ve revizyonist mitleştirme: Sadece sesler mi yoksa "adalet peşinde" sesler mi?
The aim of the present study is to explore the emancipatory potential of revisionist mythmaking strategies employed in two contemporary novels, Margaret Atwood's The Penelopiad (2005) and Latife Tekin's Muinar (2006), through dialogic, intertextual, and deconstructive relations. Offering a comparative account by means of a three-fold theoretical basis between the two novels, this dissertation explores women's paths to seek justice. Both novels portray rebellious women and give voice to their alternative stories. The analysis demonstrates that the retelling of mythic tales connects the past to the present and narrows the gap between absence and presence via specters. To this end, the thesis firstly examines dialogism and the way it is used to challenge the credibility of a narrator. In doing so, it draws on Bakhtin's dialogism and its feminist interpretations. The second aim is to investigate how women oppose hegemonic discourse(s) through the dynamics of intertextuality. These dynamics and strategies are predominantly discussed with the ideas of various female critics such as Ostriker, Irigaray, and Cixous. In the last analysis, the study focuses on the concept of justice via Derridean deconstruction. Both novels are accordingly analyzed with references to concepts such as différance, justice l'avenir, and hauntology. Key words: revisionist mythmaking, justice, deconstruction, dialogism, intertextuality, Derrida, comparative approach, women authors, Latife Tekin, Margaret Atwood
Marjinalize Viktoryen kadınları örneği: Kate Millett'in feminizminden Charles Dickens'ın Oliver Twist ve Zor Zamanlar'ın analizi
The present dissertation aims to analyse Victorian society and its reflection in the 19th-century novels such as Hard Times and Oliver Twist within the feminist framework. Discriminative attitudes in a patriarchal society and how females meet abuse from childhood are among the main concerns; therefore, these are also examined with a great emphasis and added to the research. Their miserable condition inspires the author of this study to shed light upon the women and children within their fictionalisation both in the Victorian novels and in different periods. Kate Millett's Sexual Politics is considered the secondary source to develop ideas and explain the quotes taken from the mentioned novels. She discusses the inequality between sexes stemming from the religious, psychological, and historical mistreatment of women. The research is mainly based on the analysis of deprived groups such as women and children; thus, Charles Dickens's masterpieces are used as evidence supporting the main idea of this work because he is one of the significant novelists of the Victorian Era for his realistic illustrations of society.
Masallardaki kadın imgeleri: A.S. Byatt'a ait The Djınn in the nightingale's Eye adlı eser ile Angela Carter'a ait The Bloody Chamber adlı eserin analizi
This dissertation examines A.S. Byatt's The Djinn in the Nightingale's Eye and Angela Carter's The Bloody Chamber and the discussion on the contemporary issues of women, a portrayal of gender in the media, and the political position of women. The study also examines the ways in which Byatt and Carter redefined prevailing traditional notions of femininity in their selected stories. In a male-dominated environment, females are presented as emotional, weak, followers, and submissive to males whereas males are presented as bold, strong, and rational beings. Reading both collections offers an intertextual approach that critique the patriarchal codes of contemporary society; thus, evoking post contemporary feminist discourses on women's issues. Byatt's and Carter's awareness of the public perceptions of sexuality and gender made it fundamental to intervene in the culture of the mainstream mass. The study also examines the images of women in the stories, the controversial elements seen in these stories, and understand the several female perspectives to untangle the figures from the restrictions of the sexist and patriarchal ideology. In addition, the study aims to identify the stereotypes in these collections, the way Byatt and Carter discussed these stereotypes, and the narrative techniques and literary devices they both used in their works.
Tanrıların ruhgöçü: Endüstri Devrimi ve Protestanlığa bir tepki olarak Yunan Tanrısı imgelerinin yeniden dirilişinin Jungçu açımlanması
The period of literature and dubbed as ―English Romanticism‖, begins towards the end of the 18th Century with Wordsworth and Coleridge's Lyrical Ballads and ends with the coronation of Queen Victoria (Greenblatt, 2018). This period, marked by great influence from classical works of literature is characterized by a return to the Greek roots of the Western Canon. The rapidly changing environment and the agricultural and industrial revolution it brought about, the Reformation preceding them, naturally had a counterpart which ruminated on bygone eras and the ―simplicity‖ they brought about. However, what the Romantics brought from the Classical Era was not only an idealized version of the past that would be to reduce them into simple reactionaries. The thesis, through the concepts of The Collective Unconscious, Archetypes, Enantiodromia, Abaissement du niveau mental and Synchronicity by Jung is going to argue that the Romantic poets were not reactionaries, but clinicians of the unconscious who undertook the task to warn and heal the society against the maladies it is suffering. The chief arguments of the thesis are going to be assisted by works of Friedrich Nietzsche, Gilles Deleuze, Max Weber, Marie-Louise von Franz and Karen Horney. The works of Jung which are going to be chiefly used in the study are Archetypes and the Collective Unconscious, The Structure and the Dynamics of Psyche, The Relation of Analytical Psychology to Poetry, Modern Man in Search of a Soul and Civilization in Transition. Keywords: Archetypes, Romantic Period, Industrial Revolution, Protestant Reformation, Greek Paganism
Öteki mekan: The Memory Police ve The Giver adlı distopik romanlarda heteotopya, hafıza ve bireysellik
The aim of this thesis is to explore the heterotopic nature of the concept of memory in dystopian fictions The Memory Police by Yoko Ogawa and The Giver by Lois Lowry comparatively and thereby to discuss that memory is possible to be applied as a means of oppression primarily through the destruction of this heterotopic space and individuality. The protagonists in both novels suffer from memory loss that is schemed by the totalitarian authority in their communities. The thesis begins by focusing on the concepts of utopia, dystopia and heterotopia to provide an understanding about the interconnection between them in terms of their emergence, and continues concentrating on memory as a counter-site analysed through Michel Foucault's variously defined and interpreted concept of heterotopia. The approaches regarding individual and collective memory are presented in relation to identity formation. The thesis ultimately discusses that individual memory, in the novels mentioned, besides being a part of collective memory, acts as a heterotopic space for the protagonists since it is a form of the other space created as opposed to the space that is formed by the manipulated collective memory and that the characters are forced to live in.
Çağdaş çok etnikli Afrika kökenli İngiliz kadın yazarların özkurgu eserlerinde bellek, aidiyet ve özün araşıyı temalarının incelemesi
This thesis examines the development of autofiction along with the other directions it has led to such as autoethnography and autotheory, and explores their textual potentialities to reproduce the underrepresented realities of multi-ethnicity. In contradistinction to the white heterosexual male subject of traditional autobiography, the thesis is concerned with the ways in which these mixed literary novelties permit racialised and gendered individuals to resist the dominant systems of representation and to depict their multi-layered subjectivities and existence outside normative definitions. Although the thesis claims to focus specifically on works by the authors who are grouped under the label 'Black British women', it seeks to demonstrate ineffectiveness of homogenising categories of identification by offering a comparative analysis of Welsh-Guyanese Charlotte Williams's Sugar and Slate (2002), Scottish-Nigerian Jackie Kay's Red Dust Road (2010), and English-Nigerian Bernardine Evaristo's Lara (1997/2009). These mixed-descent authors' portrayals of the diversity of their ethnic backgrounds and uniqueness of their life journeys evidence that there is not a single way of being 'British', 'black' or 'woman'. The contention of the thesis is that hybridity and in-betweenness of autofiction mirror the multi-ethnic feeling of being caught between different cultural worlds, and its ambivalence within literary categorisation provides spaces of inclusion for individuals whose multiple ethnicities transcend the strict borders of pre-existing racial, national, ethnic and cultural classifications. It is further argued that autoethnography enables these authors to imagine their personal worlds as intricately connected to multiple collective worlds, and to assert interconnectivity of cultures and societies, which disrupts the hegemonic divisions between Europeanness and Africanness. The thesis is structured around the contemporary perspectives on the concepts of memory, belonging and subjectivity, which are argued to be relevant to the main assumptions of both autofiction and multiethnicity.
Alice Walker'in "Everyday Use" ve Toni Morrison'un The Bluest Eye eserlerinde nesiller arası aktarılan travma ve fetişizm
This thesis analyzes transgenerational trauma in the African American context and fetishistic attachments developed as a coping mechanism to overcome transgenerational traumas. It is a fact that the history of people of African origin in the United States is marked by a centuries-long suffering from slavery, violent oppression, discrimination, and racism, which meant that generations were born into this system in which they have been heavily traumatized. The gravity and the longitude of the situation created a cycle of trauma where current generations, without having suffered from these conditions first-hand, show signs of a traumatic legacy that can be explained by the transmission of trauma within groups of people with the same identity markers. As a result of inherited traumas, a pattern of psychosocial and behavioral effects can be observed such as a lack of self-esteem, racist socialization, or a pervasive feeling of anger. As with any trauma, transgenerational traumas call for coping mechanisms. In certain works of African American literature, a pattern of fetishistic attachments can be observed as a coping mechanism for inherited traumas. By developing fetishistic attachments to arbitrary objects and using them as props, characters try to overcome destructive outcomes of their traumatic legacies. Two important works of African American literature where this transgenerational trauma and the resulting fetishism can be observed are Alice Walker's "Everyday Use" and Toni Morrison's The Bluest Eye. The thesis presents a detailed research on transgenerational trauma and fetishism and examines how the characters display fetishistic attachments due to their inherited traumas.
Kadının hapsedilmesi ve ataerkil aile yapısına karşı mücadelesi: Seçilmiş kadın yazarların eserlerine Kate Millett'ın cinsel politika kavramı çerçevesinde feminist incele
The aim of this thesis is to analyze the main female characters in two short stories and a novel written in three different periods, using the conceptual analysis framework that Kate Millett put forward in her 1970 work Sexual Politics. Kate Millett formulated two important concepts as Sexual Politics and Sexual Revolution in her book Sexual Politics, and criticized the reactionary and sexist literary figures in the literary world after the first wave feminist movement. However, the most important contribution of her work and being one of the founding texts of the second wave feminist movement is that she sees the abolition of the traditional family structure as the basic prerequisite for a real sexual revolution. In this direction, literary works that deal with women who belong to the middle class and try to fulfill their roles as wives and mothers harmoniously in the traditional family lives of the period, but lose their mental balance in this process, fall in search of meaning, and drift into despair and suicide will be discussed. The works to be discussed are Charlotte Perkins Gilman's story "The Yellow Wallpaper" (1892), Doris Lessing's "To Room Nineteen" (1963) and Margaret Atwood's "The Blind Assassin" (2000). One of the reasons for choosing these three works is that their protagonists are in similar dilemmas and it is aimed to make sense of the gender politics that drag them into this dilemma through their traditional family structures
Thomas Hardy tarafından yazılan Tess of the D'urbervilles ve Toni Morrison tarafından yazılan The Bluest Eye romanlarında kurban üçgeni
The drama triangle, a modern concept of psychology that involves three roles, the victim, the rescuer and the persecutor, occurs in many dysfunctional relations. This study aims to analyze how the drama triangle reveals itself in the selected novels and its main reason, which is a system of power dynamics that labels one as "the superior" and the other one as "the inferior." The power dynamics and the drama triangle in Tess of the d'Urbervilles by Thomas Hardy and The Bluest Eye by Toni Morrison will be explained and evaluated through Feminist, Marxist and postcolonial theories. In fact, these theories are the most efficient in explaining why specific characters have certain roles in these novels. To clarify how the characters of the novels experience the drama triangle in their relationships with their dysfunctional families and others, prominent psychologists' definitions and explanations will be used. The clarifications of other concepts, which are 'the Switch,' learned helplessness, addictions and dependency, will also enlighten how the drama triangle works in the novels. With these analyses, the thesis aims to indicate that the drama triangle is not a cultural concept proposed by various scholars and psychologists but a common concept of psychology, which is clearly apparent in all of these novels although they were written in different centuries. All these analyses emphasize that the drama triangle should be applied to more literary works and should not be overlooked in the field of comparative literature, as it is widespread in both literature and true life. Keywords: The drama triangle, victim, rescuer, persecutor, 'The Switch,' addiction, learned helplessness, dependency, feminism, Marxism, postcolonial theory.
İdeolojinin anlamı: George Orwell'in Hayvan Çiftliği ve Yaşar Kemal'in Filler Sultanı ile Kırmızı Sakallı Topal Karınca'nın karşılaştırmalı bir analizi
In this work, the novels Animal Farm by George Orwell and The Sultan of the Elephants and Red Bearded Lame Ant by Yaşar Kemal are analysed comparatively through the Marxist literary theory benefiting from Georg Lukács, Terry Eagleton and Lucien Goldmann. This study examines how Orwell and Kemal from different geographies, nationalities and traditions have been influenced by the Marxist literary tradition. The figures in the two novels are compared according to their characteristics/profile, the changes they have gone through, and the protagonists' endings in their own story. The features of the works have been also examined through an analysis of the writers' lives. In the theoretical part, the meaning of ideology in novels, and its reflections have been evaluated. The topic of the third part will be George Orwell's biography as a writer of the modern period, and the ideological elements as well as sociological ones in Animal Farm; in the fourth part, the biography of Yaşar Kemal and the ideological elements as well as sociological ones in his novel The Sultan of the Elephants and Red Bearded Lame Ant will be studied. The fifth chapter is about a comparative thematic and stylistic analysis of the two novels, which also is the aim of this work.
John Fowles'ın romanında diyalojik söylem
Mikhail Bakhtin is one of the prominent literary theorists of speech genres and stylistics. He was mainly focused on the philosophy of language and the multi-voiced, multi-languaged systems as a result of the oppressive regime he was under. His literary concepts reflect the autonomy of the characters, dialogue, and multi-voiced language systems. He demonstrated his concepts with Dostoevsky's poetics. He advocated for unfinalizability, the idea of freedom of the characters, and the diversity of the languages within a novel. According to Bakhtin, language was not only a tool for communication and should be examined with its social context. His concerns for literature and groundbreaking concepts of dialogism, polyphony, and heteroglossia are the main methodologies for this thesis that aims to figure out the power dynamics between utterances of opposite genders and how female dialogics can be observed in John Fowles's A Maggot and The French Lieutenant's Woman. As a postmodern novelist, John Fowles's novels reflect the heterogeneous style which is compatible with Bakhtinian concepts. Therefore, this thesis will discover the dialogic relationships and how different languages and several viewpoints reflect the centrifugal forces of the literature.
İstanbul'un hayalet hikayeleri: Ahmet Ümit'in "A Memento For Istanbul" (İstanbul Hatırası) ve Barbara Nadel'in "Land of the Blind" (Körler Ülkesi) adlı eserlerinde
This dissertation examines the representations of Istanbul as an Urban Gothic Space in Ahmet Ümit's "A Memento For Istanbul" and Barbara Nadel's "Land of the Blind". The study explores the urban space of Istanbul and argues for its palimpsestic nature, haunted by the blood and memories of the past civilizations and empires that it was once home to. Further emphasis is placed on the constant tug of war between the old and the new and East vs West. The supernatural and various transgressions which are manifested mainly in the historical parts of the urban city are investigated by employing various theories of Gothic and related fields. The first chapter starts with a reading of Ahmet Ümit's historical crime fiction "A Memento for Istanbul" employing an Urban Gothic framework, accompanied by Derrida's concept of "Hauntology". Furthermore, a survey of the city's history in accordance with the theories is conducted. In the second chapter, in Barbara Nadel's crime fiction "Land of The Blind", the intersecting stories of the victim Ariadne Savva and the Negroponte family are explored through Bakhtin's Chronotopes and Carnivalesque. The Negroponte's "Gothic House" is discussed by employing Freud's "Uncanny", together with Poe's recurring Gothic theme, "Fear of being buried alive". Additionally, two Gothic subgenres are investigated, i.e. "The Queer Uncanny" and "Gothic Postmodernism". In the third chapter Walter Benjamin's concept the "Flâneur" and Virgina Woolf's concept the "Flâneuse" are employed.
Sınırdaki 'öteki': Edebiyatta kuşatmalar ve kimlik inşası
In the 20th century, the issue of creating a national identity and fashioning the self gained significant importance as a consequence of the increasing nationalist movements and establishment of the unitary states with the collapse of empires. To create a collective identity consciousness in society, literature was utilized as one of the mediums, as it can be used in the service of different ideologies. First published in 1899, Eclipse of the Crescent Moon (Egri Csillagok) by Géza Gárdonyi focuses on creating the Hungarian national identity through the Turks, whereas The Siege (Kështjella) by Ismail Kadare, first published in 1970, represents the siege of an unknown Albanian citadel by the Ottomans. The Orient – the Turks are the mutual enemy in both novels. In this work, both novels will be studied with their relations to the history and the era, and the political conditions they were written. Frontier Orientalism by Andre Gingrich and Self-fashioning by Stephen Greenblatt will be the main theories to study both literary works.
Jane C. Loudon'ın The Mummy!: A Tale of the Twenty-Second Century romanında karnaval ruhu ve grotesk
Illustrating a grotesque combination of utopian science fiction, the gothic, and fantasy genres, Jane C. Webb Loudon's The Mummy!: Or a Tale of the Twenty-Second Century (1827) stands as one of the precursors of modern science fiction, however, its contributions to the literary body of speculative fiction have remained overshadowed without an adequate amount of scholarly study. The present thesis aims to read Jane C. Webb Loudon's The Mummy! as an epitome of the carnivalesque novel in the framework of Bakhtinian discourse through three main chapters. In the first chapter, the carnivalesque text of the novel will be investigated through the novel's polyphonic (dialogic) composition that incorporates polyglossia, heteroglossia, and parody. It will be discussed that The Mummy! embodies the anticanonical nature of the novel genre as theorized by Bakhtin. Besides, intertextuality and metafiction will be evaluated as carnivalesque characteristics in the textual fabric of the novel. Weaving a thread between Kristevan abject and Bakhtinian grotesque, the second chapter will concentrate on the mummy of Cheops, the first reanimated mummy in English literature, and define him as a carnivalesque monster, which subverts the conventional portrayal of the gothic monster, to establish Cheops' place among the monsters of literature. In the final chapter, the novel's utopian science fiction narrative will be analysed by employing Darko Suvin's cognitive estrangement in relation with uncanny and grotesque. The chapter will unfold the novel's satirical critique of the socio-political, cultural, literary, and historical dimensions of the writer's period, reflecting the aftermath of the French Revolution and the Industrial Revolution in tandem with the political instability, scientific progress, ecological destruction, and imperialism that defined her time.
Gaddar, cüretkar, ve kararlı: Hamlet, Kral Lear ve Macbeth'te gücün boyutları
This thesis argues that there is a symbiotic relationship between the actions of characters making use of different aspects of power, and the plot progression in three tragedies by William Shakespeare; Hamlet, King Lear, and Macbeth, whose plots were built upon a problem of succession. For this purpose, the Aristotelian definition of tragedy was used in conjunction with the notion of power as defined by Steven Lukes throughout the study. To identify how this interaction helps build the dramatic structure, Thomas Pavel's concept of move was utilised to pinpoint the plot progression in the three plays. The first part describes the theoretical framework within which the study was conducted, with the second part providing an analysis of the plots of the three plays in relation to the actions by characters and how they act utilising various dimensions of power to serve their attempts at seizing sovereignty.