İngiliz Dili ve Edebiyatı Bölümü / Department of English Language and Literature

Permanent URI for this collectionhttps://hdl.handle.net/11413/6786

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    Studies in English: Proceedings from the 6th International IDEA Conference, 13-15 April 2011
    (İstanbul Kültür Üniversitesi, 2012) Kolektif; ed., Patrick Hart
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    (Re) Reading Mishima Reading Sade: An Aesthetics of Transgressive Feminine Sexuality
    (2019-12) BAŞ, IŞIL; 207312
    A recurrent internovelistic theme in the work of Japanese writer Yukio Mishima is the threat of insidious, emasculating feminine sexuality and cruelty set against an idealized and purified femininity.However, in the play Madame de Sade (1965) Mishima seems to reveal a much more complex vision of feminine agency and sexuality from the fictional perspective of real women characters in Marquis de Sade's life. This paper will reread Mishima's play in the context of Simone de Beavoir's Must We Burn Sade and Angela Carter's The Sadeian Women both of which refuse to see in Sade a misogynistic, animalistic and banal cruelty.
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    The Sense of Belonging and Unbelonging in Halide Edip’s Proto-Feminist Works in English
    (2019-06) BAŞ, IŞIL; 207312
    Europe is being defined in new ways. On the first hand there is the issue of postsocialist countries in central and eastern Europe. Secondly due to high level of migrations now Europe is more multicultural than ever. Hence any European perspective necessarily involves the recognition of internal gender regimes of countries and cultures that comprise it. It also goes without saying that women's movements are "embedded in particular histories and geographies" hence any gender agenda should take into account the diversities. My paper will concentrate on Turkey's specific place in Europe and our experience in the feminist movement and women's studies both of which are inextricably linked to our sense of belonging and unbelonging to the European culture. To that end I will be analyzing Halide Edip Adivar's works many of which were published in English due to her exile upon the fall off between her and Ataturk, the founder of modern Turkey over her views on authoritarian regimes. Her autobiographies, articles and novels display the sense of belonging and unbelonging of this exceptional woman who was the first graduate of American Academy of girls in Istanbul, the first woman in 1928 to lecture on politics at the Williamstown Political Institute, lecturer at Colombia University, founder of the very first English Language and Literature department in Turkey, writer of the first English Literature survey in 3 volumes as well as being a proto-feminist, nationalist and sergeant during the years of the War of Independence.
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    Bone and Flesh, Death and Life: Representing the Human Body in Anil's Ghost
    (2019-04) TURAN, AYŞEGÜL; 273470
    Michael Ondaatje’s Anil’s Ghost portrays the events evolving around Anil Tissera, a forensic anthropologist who, after living in England and the US for fifteen years, returns to her homeland Sri Lanka as part of an international human rights group to help with the investigation of mass murders. Anil and Sarath, a local archaeologist, are to identify the victims of unknown extrajudicial executions, which proves difficult and dangerous in the volatile and violent atmosphere of Sri Lanka as represented by the discovery of a recently buried skeleton in an ancient burial site controlled by the army. In this paper, I will focus on the depictions of the body, specifically those of skeletons and bones, to examine the novel’s metonymic representation of the individual and collective memory. As the violence of civil war becomes etched onto human bodies, bones start to serve as a repository of cultural memory after death. In the novel, “Sailor,” the recently buried skeleton, stands for all those bodies that have disappeared under not-so-mysterious circumstances. In other words, the attempt to give the Sailor a name and a face becomes emblematic of the desire to acknowledge the loss and suffering as well as honoring the dead. I contend that in the novel, the conscious effort to strip the bodies of their identity and to anonymize them does not lead to their ultimate erasure from history; on the contrary they, through the lifeless bones, draw attention to this attempt and hence become an essential part of cultural memory.
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    Intertextuality and Nostalgia in Paolo Bacigalupi’s The Windup Girl
    (2019-04) KABAK, MURAT; 275466
    After the massive outbreaks of violence and catastrophes at the dawn of the twentieth century, experiences of dislocation and dissonance, as well as their reflection in the human psyche, nostalgia, captivated the interest of various disciplines from literary studies to politics. Although viewed through various lenses, nostalgia as a state of a wistful affection for the past still permeates the present discourses. These studies on nostalgia overlap with a rising trend in the Western literary canon, the surge of derivative forms of utopia. Building on the contemporary interdisciplinary approaches on nostalgia and dystopian tradition, this paper investigates the individual’s position in a dystopian setting with an emphasis on the experience of nostalgia in Paolo Bacigalupi’s novel The Windup Girl (2011). Set in a near future in which the world is dominated by mega companies, the novel exhibits intertextual features shaping its meaning through the readers’ knowledge of various myths, Biblical stories and canonical texts. The novel’s acknowledgement of a text prior to itself bears a thematic significance in terms of nostalgia. Hence, this paper aims to explore the web of textual relations from a perspective of nostalgia in the selected work. And retrospectively, through understanding the nature of the textual dialogue that The Windup Girl engages, we shall gain more insight into the relationship between dystopian novels and nostalgia. This paper aims to investigate how the novel problematizes the nostalgic attitude of four different characters through representing their inability to move on and to adapt themselves to their new environment.
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    Through the Darkness of Future Past’: How Twin Peaks: The Return Transformed Television
    (2018) KABAK, MURAT; 275466
    From The Fuller House to The X-Files and to Star Wars, cinema and television have witnessed a surge of revivals, remakes and continuations in the last decade. The obsession with the nostalgia and recapturing the past are so permeated into our visual culture that even Charlie Brooker's futuristic satire / technotopia Black Mirror had its fourth season premiere with an homage to Star Trek. As Laura Palmer promised to see Agent Cooper in 25 years in the first episode of Twin Peaks, the creators of the show, David Lynch and Mark Frost have revived the series 27 years after its final episode. Yet, the third season of Twin Peaks has managed to avoid the pitfalls of a revival through its deconstruction of memory and nostalgia. As the literature written on the first two seasons of Twin Peaks showed, the series has reinvented the television series both in terms of its genre and its distinct visual style. The focus of this paper; however, is the third season of the show and with an emphasis on the 8th, 22nd and 23rd episodes, this paper aims to analyze how the show's creators played with the viewer expectations to emphasize the impossibility of recapturing the past. I argue that Twin Peaks: The Return is a critique of a culture that is obsessed with nostalgia. Through the 18-hours third season of the show, the creators Lynch and Frost have not only transformed the series itself but our understanding of revivals and remakes.