İngiliz Dili ve Edebiyatı Bölümü, Makale Koleksiyonu

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Geoffrey Chaucer’ın The House of Fame ve The Parliament of Birds eserlerinde Orta Çağ hayvan sembolizmi geleneği
(Karamanoğlu Mehmetbey Üniversitesi, 2023) Varal, Seçil; Uçar, Asya Sakine
Açıklamalar ve çizimler ile hayvanlar hakkında bilgi veren bir katalog niteliği taşıyan ve İngilizce bestiary olarak bilinen ‘hayvan sembolizmi’ kitapları Orta Çağ’da oldukça yaygındır. Varlık zincirinde insana en yakın olarak yaratılan ‘hayvan’ eski zamanlardan beri insan yaşamında büyük bir rol oynamış çoğu zaman insanlara yiyecek ve giyecek sağlayarak yaşamlarını kolaylaştırmıştır. Öte yandan Orta Çağ’da çoğunlukla tarım ve ulaşımda kullanılmaya başlanan hayvanlar, yalnızca birer av olmaktan öteye geçerek yaşamın her alanında insanların yanında olan en sadık dostlarına dönüşmüştür. Hayvanların insan yaşamında bu denli büyük bir role sahip olması insanların bu varlıkları tanıma isteğini arttırmış bu da hayvan motiflerinin ve sembolizmin edebiyatta da sıkça kullanılmasına neden olmuştur. Özellikle o dönemde oldukça popüler olan alegori ve sembolizm etkisi hayvanlara çeşitli mistik ve ruhani anlamlar atfedilmesine ve edebi eserlerde sıklıkla kullanılmalarına ortam hazırlamıştır. Hayvan sembolizmi, böylelikle, din olgusunun hâkim olduğu Orta Çağ’da din ve ahlak dersleri vermede önemli bir araç haline gelmiş ve birçok edebi esere esin kaynağı olarak oldukça popüler bir geleneğe dönüşmüştür. Bu bağlamda Orta Çağ’daki bestiary geleneğinden yola çıkan bu çalışma İngiltere’nin ve İngiliz edebiyatının ilk büyük şairi olarak addedilen Geoffrey Chaucer’ın (1340-1400) The House of Fame (Şöhret Evi) ve The Parliment of Birds (Kuşlar Meclisi) eserlerinde hayvan sembolizminin izini sürmektedir. Böylelikle, çalışma Chaucer'ın hayvan sembolizmi mirasını bazen Orta Çağ'ın Hristiyan öğretilerinin merkezinde yer alan geleneğin aksine didaktik kaygı gütmeden okuyucuyu sadece eğlendirmek bazen de dinin yanı sıra bilimsel konularda bilgilendirmek için kullanarak, geleneğe farklı bir bakış açısı getirdiğini göstermeyi amaçlamaktadır.
Two sides of egalitarianism: William Wordsworth and Percy Bysshe Shelley
(Cyprus Int Univ., 2023) Varal, Seçil
Egalitarianism is a social and political philosophy propounding that all mankind should have equal rights and treatment on the premise that everyone is born equal. Although the philosophy dates back to Stoicism in Ancient Greek, it reached its apogee with the American Declaration of Independence (1776) and the French Revolution (1789). Impelled by the egalitarian concepts of equality, fraternity, and liberty as well as the revolutionary ideas of English intellectuals such as William Godwin and Mary Wollstonecraft, English romantic poets expressed a deep concern for injustice and inequality in English society. Although their starting point is the same, the romantic poets’ notion of egalitarianism diverges from each other due to socio-political conditions of their era. This paper traces two sides of egalitarianism in certain works of two different generations romantic poets, Wordsworth and Shelley, to show that Wordsworth’s egalitarian concern is based on the luck egalitarianism that attributes inequality to an individual’s either natural endowments or responsibility; whereas, Shelley adopts political egalitarianism regarding “equality of rights” as a prerequisite to building an egalitarian system. Thus, the paper aims to reveal that Wordsworth primarily detects the problem of inequality by attributing it to ‘luck’, whereas, Shelley due to the heat of current politics offers political solutions to this problem twenty years later.
67-The portrayal of femininity and maternity in Mehmed, My Hawk and The Kalevala
(2022) Sarıbaş, Serap
Over the last few years there have been alterations in the construction of gender, particularly for women. The concepts of sex and gender are divided with sex remaining biological, and gender becoming constructed. The depiction of the idea l woman as passive, faithful, and obedient thus changed. As the gender issue reforms, motherhood has also begun to be questioned due to its association with the female sex. Women who meet these requirements are labelled “good” mothers, while those who do not are “bad”. Such changes in gender and mo therhood led to the distinct characterization of women in daily life and these women began to be portrayed in literature with a special emphasis on their newly constructed fema le images. Novels and plays that display the changing face of motherhood with careless, nasty and irresponsible mothers have also appeared. However, there are still literary works that re present a more traditional woman and mother. In literature, even the representation of traditional womanhood and motherhood differs since some writers use these women to reveal their weakness, oppression, and vulnerability while others use their literary ability to exhibit how a traditional woman and mother can be strong, dedicated and compassionate to her children. Elias Lönnrot, a well-known literary figure in Finland, with his epic compilation of national folklore, The Kalevala, and Yashar Kemal, one of the most noteworthy authors of Turkish literature, with his renowned Memed, My Hawk, unveil entirely divergent attitudes towards the identities of “woman” and “m other”. The aim of this paper is to demonstrate how Kemal portrays womanhood and motherhood positively in Memed, My Hawk, while Lönnrot flaunts a dismissive viewpoint in The Kalevala. Analysis of these two masterpieces from disparate authors and epochs shows their distinctiveness in consideration of the Anatolian and Finnish cultures.
Carlos Fuentes’in "Kraliçe Bebek" adlı öyküsünde büyülü gerçekçi anlatım
(Karamanoğlu Mehmetbey Üniversitesi, 2021) Ekin, Abdurrahman; Sarıbaş, Serap
Büyülü gerçekçilik yirminci yüzyıl Latin Amerikan edebiyatında ortaya çıkmış ve dünyaya yayılmış bir akımdır. Büyülü gerçekçi anlatılarda gerçekle gerçek dışı, düşsel ile sahici ögeler melez bir bütünlükle anlatılır. Gerçekliği farklı bir boyutta işleyen büyülü gerçekçilikte anlatılan zaten yaşamın içindedir. Büyülü gerçekçilik, 1950’lerde ve 1960’larda roman alanında uygulanmış bir yöntemdir ve çeşitli isimlerle tanımlansa da Büyülü gerçekçilik, en çok kabul gören terimdir. Yeni bir anlatım tarzı olarak iki dünya savaşından sonraki bazı post-modern anlatı tarzlarının arasında yaygın olarak kullanılır. Büyülü gerçekçilik bir edebî tür değildir, farklı geleneklerden türeyen bir anlatım üslûbudur. Carlos Fuentes’in Körlerin Şarkısı adlı öykü kitabında yer alan “Kraliçe Bebek” adlı öyküde aşk, geçmiş, belirsizlik temaları masalsı bir anlatımla anlatılırken büyülü gerçekçi eserlerde kullanılan özelliklere rastlanmaktadır. Kraliçe Bebek adlı öyküde gerçeklik ve olağanüstü mutlak bir dengede ele alınmıştır. Çocukluk aşkının peşinden giden kahraman-anlatıcı bu serüvende çeşitli düşlere dalar, geçmişin adeta önünde birer birer canlandığını görür. Duygusal boyutu ağırlıklı olan öyküde bir alacaklı gibi sevgilisinin evine sızan anlatıcı, sonunda hiç beklemediği bir tabloyla karşılaşır, kahraman-anlatıcı bazen neyin yaşanmış neyin yaşanmamış olduğundan şüphe duyar. Kraliçe Bebek adlı öykü de büyülü gerçekçi öğelerle kaleme alınmış bir metindir. Bu makalede Kraliçe Bebek adlı öyküde büyülü gerçekçi öğelerin özellikleri ve nasıl ele alındığı incelenmiştir.
“Life follows myth!”: A Jungian reading of Orhan Pamuk’s The Red-Haired Woman
(2019) Ersöz, Nusret
Red-Haired Woman (2016) by Orhan Pamuk mirrors the east-west dichotomy by father-sonrelationship. The author integrates the narratives of King Oedipus and Rostam and Sohrab in thenucleus of the text and the protagonist’s experiences; thereby, he not only brings a dual approach tothe question of becoming an individual but manifests the inevitability of fate via myths turning intoreality. Pamuk's literary modus operandi in the novel lets coincidence find a palpable meaning andbecome the repetition of past incidents. Carl Gustav Jung’s concepts of collective unconscious andarchetype, in this respect, shed considerable light on the ways in which Pamuk’s characters are led bysome collectively shared entities. According to Jung, every individual possesses some reflexes,tendencies and instincts shared by all humanity and stored in the very depth of human mind. Jungargues that collective unconscious, being of primitive and universal quality, appears in dreams andmyths and latently influences the way man thinks and behaves. Cem Çelik, the protagonist of TheRed-Haired Woman, acts so as to exhibit this holistic influence particularly in terms of father-sonrelationship; to a great extent, his experiences are presented as recurrences of historical/mythicalsituations and occurrences that have been repeated throughout human history with cultural changesand manifested in myths. Hence, this paper aims to elucidate Pamuk’s use of myths and discoursesof patricide/filicide in The Red-Haired Woman through Jungian perspective.
‘Them was the days’: Malignant nostalgia in Patrick Mccabe’s the butcher boy
(2021) Ersöz, Nusret
Nostalgia etymologically corresponds to a longing for returning to a euphoric place or time in past. In some cases (i.e. post-traumatic states), the acuteness of nostalgic feelings is pathologically aggravated so as to lead individual to some belligerent and even delinquent conducts. This sort of a ‘malignant’ nostalgia is delineated by Patrick McCabe, a pre-eminent contemporary Irish novelist, in his most acclaimed novel, The Butcher Boy (1992). McCabe’s protagonist, the schoolboy Francie Brady, undergoes a series of traumatic incidents triggered by his dysfunctional family, hypocritical and self-centered milieu and the corrupt public institutions. This paper, suggesting that nostalgia becomes a pathology in Francie’s case, discusses the ways in which Francie, being overcome with a pathetic obsession to bring the past back, loses his touch with the reality of the present.. This paper also argues that the protagonist’s domestic sense of nostalgia represents a longing for reattaining traditional Irish identity.
Understanding racial divisions in spatial terms: Selvon, Kureishi and Adebayo on being black in London
(Karamanoğlu Mehmetbey Üniversitesi, 2020) Şahin, Yasemin
In this essay, I explore the critical ways in which multicultural landscape of London is portrayed with a view to understanding divisions of race, culture, and social class in the following selected works of fiction: Sam Selvon's The Lonely Londoners (1956), Hanif Kureishi's The Buddha of Suburbia (1990), and Diran Adebayo's Some Kind of Black (1996). These novels, which are respectively set in the fifties, seventies, and nineties, primarily address long-established prejudices against black people by recognising the hardships of immigrant experience in London and attempt to counter racial essentialisms. I show that as changes occur in social and political conditions over time, concerns of immigrant groups change as well, along with the kinds of communality they aspire to be a part of and the response to problems they give. In my analysis, while in Lonely Londoners, London acts as the immediate post-imperial destination for immigrants, who experience prejudice from the locals and have to compete with each other, but still remain friends and a community, in both The Buddha of Suburbia and Some Kind of Black, the idea of being part of a community (even a “black” one) becomes more intricate from the perspective of the descendants of immigrants, who attempt to reformulate binary constructs of race. I conclude that the above-mentioned authors who have written about the experiences of immigrants and later generations in a dialogue with the city have contributed to the creation of a more legible social map of London, which can help achieve a raise in popular interest and awareness regarding racial issues.

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