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William Shakespeare'in seçilmiş oyunlarındaki epizodik bellek ve bilişsel ahenksizliğin ayak izleri
Memory is the vault of moments which determine the present, inspire the future, and create the person we are today. Episodic memory which is a part of the memory system, allows an individual to mentally travel through time towards a particular experience which may be in the past, in the future or it may be a counterfactual situation. On the other hand, cognitive dissonance which is also associated with the mind occurs when a discrepancy is detected between an individual's belief system and behaviour. This study's aim is to analyse the instances of episodic memories and cognitive dissonances in Shakespeare's plays Othello and Hamlet while investigating the correlation of both theories. The study mainly follows Endel Tulving's episodic memory and Leon Festinger's cognitive dissonance approaches with a close reading of key moments in the selected plays. In this context, it has been observed that the correlation of episodic memory and cognitive dissonance has an impact on the character's decision-making in the plays Hamlet and Othello.
Samuel Beckettin oyunlarındaki "Writing Befpore the Letter"
This thesis aims to re-read the questions of language, subjectivity, and expression in selected short plays of Samuel Beckett. It explores the violence of writing in music in Words and Music and Cascando and the violence of writing in bodily/inner voice in Footfalls, Not I, and Rockaby. By revealing the problematics of the metaphysics of music, the metaphysics of voice, and "the logic of supplementarity" in the interpretations of these texts, it hopes to open them to a different reading, focusing on the Dionysian force of différance in these texts within which "expression" neither can be attached to an "origin" nor can be said to arrive at a telos, but rather deferred in an infinite "chain of supplementarity." This thesis offers "the complicity of origins" instead of "the myth of the simplicity of origin," the embracement of force instead of the effacement of it. It offers the possibility of reading the infinite movement—différance—as the aporia in language, subjectivity, and expression, that is, is the possibility and the impossibility of language, subjectivity, and expression.
E. M. Forster'ın "Hindistan'a Bir Geçit" romanında iki öteki, Doğu ve Batının kesişmesi
This dissertation reconsiders the intersection between the East and the West against the background of the Lacanian O/other to explore the inside/outside intricacy between the Anglo-Indians and the Indians in E. M. Forster's A Passage to India. The moebius band trajectory is prevalent in both the narrative structure of the novel and the reversal of the characters' relation to the external reality that generates rupture because of traumata. This eradicates intersubjectivity between the characters who lack a shared Other. Thus, the thesis also consults Bhabha's notion of mimicry and the Saidian Other to provide a wider contextual background for the analysis. The Western binary patterns such as the coloniser/colonised, rational/irrational are incompatible with the plurality of the Indian culture and their standards of living. The dissertation claims that the ambivalence is on the side of the Anglo-Indians. Adela, and Mrs Moore experience this ambivalence resulting from the unknowability of the phenomena in A Passage to India. Their images are reversed respectively. The non-linearity and one-sidedness of the mobean structure mirror the non-linear intersubjectivity among the characters in Chandrapore. The band's figure also emerges in the imperialistic practices of the Anglo-Indians' discrediting the truth against the colonised and the experience of the traumatic real. Aziz's poetry metamorphoses as his sinthome, adding coherence to his life wishing independence for the Indian women and his country. The East and the West are never mirror images of one another and they do not constitute the Lacanian O/other for each other in the novel.
Woolf ve Mekân: Virginia Woolf romanlarında baskın sosyo-mekânsal düzenin çağdaş mekânsal oluşumlarına ve söylemlerine karşıt müdahaleler
Virginia Woolf is one of the leading figures of modernism, a way of seeing and representing the world characterized by the period's breakdown of social norms, rejection of outdated social systems, disillusionment and alienation. Keenly aware of repressive social systems and unequal power relations functioning in practices and discourses of societies in various locations or territories, in and through her fiction Woolf analysed and criticized her more conventional contemporaries' ways of producing and representing physical and mental space. The notion of "social space," as developed by Henri Lefebvre in The Production of Space (1974), when sought in Woolf's fiction reveals heterogeneous spatial experiences and perceptions, which differ in individuals of different gender, class and nationality. This study claims that Woolf's novels lend themselves to a spatial analysis and they demonstrate and challenge the spatial codes and practices of dominant social systems that regulated the ways in which members of her society constructed and lived space, resulting in the idea that social space is heterogonous, multiple and dynamic, which is in line with the arguments of space theorists such as Henri Lefebvre and Yi-Fu Tuan. For its theoretical and conceptual framework, the thesis also draws on the work of Gaston Bachelard, who attributes the house with certain fixed characteristics echoing the rigid construction of physical and mental space by the status quo, to demonstrate how Woolf critically exposes a suppressive power system whose ideologies are manifested and reproduced by conventional codes of thought about physical and mental space in her novels.
Kayıp Cennet adlı eserde epik bakış
This study aims to investigate the workings of gaze in John Milton's Paradise Lost with regard to Helen Lovatt's book on epic gaze and the theoretical insights of three important writers on gaze: Sartre, Foucault and Lacan. The study focusses on four main characters of the epic: Satan, God, Adam and Eve. Lovatt's epic gaze proves to be an appropriate starting point for this study, while the other named theorists' ideas are employed more or less for different characters and for different scenes. Sartre's notion of the gaze concerns the ontological level rather than everyday experience and is used mostly for the analysis of the gazes of Satan, Adam and Eve. Foucault's view of the gaze, however, concerns power relations and therefore offers most insights into God's gaze in the poem. For the investigation of Satan and Eve's gazes in different phases, in contrast, the analysis employs mostly Lacan's ideas of the gaze, which are related to his developmental psychological model. All the findings show that Milton's epic uses gaze in differing and distinctive ways, producing cinematographic scenes.
Samuel Beckett'in üç oyununda zihni mekânlar semiyotiğin semboliğe zorla girişi
This thesis examines the intrusion of the abjected semiotic into the symbolic in Waiting for Godot, Endgame and Happy Days by Samuel Beckett. A survey of studies in drama finds that the recent spatial turn has largely ignored spaces of drama, and that the current state of spatial criticism alone cannot adequately explain spaces in the drama of Beckett. Spatial binarism and the imagery of death, being relevant in these plays, are used as the initial steps for investigating psychic spatiality in the drama of Beckett and provide the analytical tools of this thesis. Furthermore, these elements of the plays also repeatedly demonstrate the very concerns that Kristeva refers to in her theory of the symbolic, the semiotic and abjection. According to Kristeva, the subject-to-be becomes a subject in the symbolic and the semiotic no longer exists after the thetic break. There may still be, however, vestiges or residues of the semiotic that may appear as abjected elements such as death. The hypothesis of this thesis is that in the aforementioned plays Beckett shows the intrusion of the abjected semiotic into the symbolic, and this is done through the following three steps: firstly, a spatial binarism is created between the onstage and offstage spaces at the beginning of each play; secondly, gradual information is provided through language and actions of the characters about the offstage space that is depicted with images of death throughout the plays; thirdly, the imagery of death or the abjected semiotic initially abjected to the offstage space intrudes into the onstage space and the order in the onstage space is broken at the end of each play. Therefore, it is suggested that, in the drama of Beckett, the abjected semiotic intrudes into the symbolic but that this has no outcome, because the symbolic cannot deal with these abjected semiotic vestiges. Keywords: Beckett, the semiotic, the symbolic, abjection, psychic space
Caryl Phillips'in romanlarında transkültürel bellek ve kimlik inşası
Caryl Phillips's engagement with the past, particularly the history of the black diaspora in Britain, is a significant aspect of his literary production. Focusing closely on Crossing the River (1993), A Distant Shore (2003), and In the Falling Snow (2009), this study argues that Phillips's works of fiction illustrate the transcultural memory of Britain and the black Atlantic that moves across the seemingly impermeable borders to unsettle the homogeneous construction of categories such as nation, culture, and identity. The theoretical framework of this study considers Paul Gilroy's concept of the black Atlantic as a form of mobility that creates the transcultural memory of Britain. The shared anti-nationalist perspective of transcultural memory and the black Atlantic concept provides a foundation to explore how mobility across national and cultural borders throughout ages have shaped cultural dynamics and racial politics in Britain. In these novels, which chart the evolution of the black diaspora, transcultural memory runs contrary to British national amnesia and brings to the fore multiple representations of diaspora experience. Thus, this study investigates how memory contributes to the construction of identity and to the ways individuals deal with social change and conflict through remembrance and forgetting. The formal elements of the novels mirror their thematic engagement with mobility; therefore, this study also examines the ways Phillips uses a mnemonic strategy that is shaped by a fragmented narrative structure and a temporal zone shifting back and forth to demonstrate the effects of the past on the present.
Milenyum sonrası İngiliz romanında yöresel kozmopolitlik
Handling the world as a whole with its collective problems has become a matter of considerable concern for social, cultural and literary studies with the turn of the millennium. The first two decades of the twenty-first century have witnessed a renewal of attention to cosmopolitanism and its gradual transformation, especially since the global financial crisis of 2008. It is from this vantage point that this dissertation looks at British cosmopolitan fiction and its features, arguing that postmillennial cosmopolitan fiction is able to reflect these evolutionary changes in the definition of cosmopolitanism. Departing from universalist ideals of cosmopolitan thought, this thesis adopts particularist or local senses of the concept, which can be subsumed under the term vernacular cosmopolitanism, which is elaborated within the scope of this study so as to demonstrate its validity as a term that is able to display postmillennial British fiction's thematic and aesthetic aspects. With a view to contemporary theories of cosmopolitanism not only in the field of Anglophone literature but also in other disciplines, this study suggests new perspectives on how to read cosmopolitan fiction and, to this end, creates a theoretical framework with a number of definitions and tools that can be employed analytically. This thesis also examines, with recourse to this framework, three postmillennial British novels that can well-deservedly be categorized as cosmopolitan: Ian McEwan's Saturday (2005), Zadie Smith's NW (2012) and Salman Rushdie's The Golden House (2017), which make visible the transition from universalism to particularism through their versions of vernacular cosmopolitanism.
Brian Friel oyunlarında topoğrafik uzamdan ilişkisel uzama geçiş: Lughnasa'da Dans, Harika Tennessee ve Molly Sweeney'de uzamın yeniden oluşumu
This study explores the spatial dynamics of Brian Friel's drama, mainly in his three plays of the 1990s, Dancing at Lughnasa (1990), Wonderful Tennessee (1993), and Molly Sweeney (1994) against the backdrop of Doreen B. Massey's relational understanding of space. Drawing on Massey's reconceptualization of "space" , "place", and "landscape", it will be argued in this dissertation that Brian Friel's plays challenge the conventional idea of rootedness and authentic identity attached to Ireland and Irishness. These plays, subverting the prevalent notions of sense of place and cultural identity, and emphasizing the multiple, shifting, and unbounded nature of places and people, offer an alternative way of approaching space and subjectivity in Ireland and Irish writing. Along with Massey's conceptual tools, Edward Soja's concept "Thirdspace" will be employed in order to highlight how spaces and places in Friel's drama are open and porous, and how they draw attention to the intertwining nature of the spatial and the social. Through the analysis of these late plays of Ballybeg, an imaginary town epitomizing Friel's vision of the fifth province, an-Other realm for rethinking Ireland and Irishness, this study will conclude that Friel, undermining monolithic constructions of national space and identity, forges a relational understanding of Ireland which embraces multiplicity, the cluster of relations, meetings, encounters and transformation –- a "global sense of place" embodying "the chance of space" within and beyond in Doreen Massey's terms.
Abdulrazak Gurnah'nın Deniz Kenarında, Son Hediye ve Çakıl Yürek romanlarındaki konukseverlik, çok kültürlülük ve anlatı eylemliliği
This thesis analyzes Abdulrazak Gurnah's three novels, By the Sea, The Last Gift, and Gravel Heart with respect to hospitality and multiculturalism which permeate negotiations of identity and narrative agency through asymmetric power relations of multicultural home/hostlands settings. It shows how the novels explore negotiations of identity, narrative agency, and hospitality in physical and relational (human relationships) spaces in their multicultural settings of home- and hostland. In Gurnah's fictional world, the representations of these settings and of characters at the intersections of class, race, gender and sexuality, and nationality, illustrate (in)hospitality to processes of identity negotiation, and the texts show this (in)hospitality through their use of political and social references and literary intertextualities, familial and societal relationships, and the inclusion/exclusion of certain narratives (female narrative agency in particular). The first analytic perspective of this thesis addresses how the novels present hospitality in multicultural home/hostland settings through sociopolitical allusions and references and literary intertextualities, to probe into their impact on negotiations of identity and agency. Secondly, with a focus on positionality with regard to the formation of identity and agency, the thesis highlights the significance of hospitality for story sharing within familial and societal relationships in (in)hospitable multicultural spaces and settings and its contribution to the power/knowledge system in resistance to dominant discourses of knowledge in the novels. Based on these interrelated perspectives, the thesis argues that the novels present inhospitality and inhospitable spaces and relationships as hindering characters' negotiations of identity and narrative agency, and thence as blocking their resistance to dominant and powerful discourses that define them through stereotypical perceptions and representations, undermining any multiculturalism practiced in home- and hostland settings. It is suggested that, although partially empowered through their stories narrated in hospitable relationships and spaces, inhospitality is shown, ultimately, to disallow the subversion of subalternity and negotiation of power.