English Language and Literature

Virginia Woolf’s Mrs. Dalloway is a well-packaged Pandora’s box among modernist novels
that focus on life with the evils of death. Death is a widely used theme from ancient times to
modern times both in philosophy and literature. It reminds us that we are alive and life becomes
meaningful through death. Mrs. Dalloway tells about Clarissa Dalloway who is planning a party
in the evening at sixteen hours and starts with the scene where she buys flowers herself for the
party and ends when the day begins. The novel is more than that and sheds light on spiritual
death in the shape of physical death. Clarissa Dalloway and Septimus Warren Smith, who had
never met each other before, are soulmates. This invisible relationship between two different
characters is reflected by the technique of interior indirect monologue that helps understand how
they were conscious of their death instinct. The atmosphere of post-war London was threaded
ingeniously by showing Septimus’s interior thoughts. He always envisions the end of his life. His
memento mori connects the reader to Clarissa’s lifeless life. Memento mori is a ghost reminder
of death that creates concussions in us by prompting our survival instinct and this memento mori
awakens the perception of physical death and spiritual death in the novel. This paper aims to
analyze the memento mori in the lives of Clarissa and Septimus and to demonstrate the visible
and invisible awareness of death through the life motifs

Aslan 1 Dystopic Sexual Identity in Margaret Atwood's The Handmaid's Tale The Handmaid's Tale was written in 1985 as a dystopian novel by Margaret Atwood, a break grounding novelist, critic, story writer, and environmental activist. Atwood focuses on the survival of women in this world. According to Roberta Rubenstein, "[one might say that Margaret Atwood has always been concerned with issues of survival-first as a condition of Canadian experience and, more recently, as a condition of female experience" (11). As an

New historicism rewrites history from different viewpoints in order to prove that the past is inaccessible, and all historians can do is to work on incomplete knowledge, aware of the fact that a teleological, linear approach to their subject is misleading. In this study, Zekiye Er aims not only to analyze Tom Stoppard's Travesties from a new historicist stance, but also to utilize a new historicist approach to an understanding of what Stoppard is doing in the play, in the light of the striking parallels between Stoppard's technique and the new historicist critics' methods of analyzing history and literary texts. She concludes that Stoppard himself plays the role of a new historicist while writing a brilliant comedy of ideas. Zekiye Er received her PhD for a dissertation on Stoppardian drama from Ankara University in 2004.

Since evil has been inherent in man's lot because of his all-too-human imperfections, because he lacks the omnipotence of God, literature -the art of mimesis-has taken it as one of its main topics while illustrating the human nature. Literature dedicates its energy to the representation of reality, in essence it is always realistic, and realism is the place where all other movements find their roots. Literary movements vary according to the way they wrestle with reality and it has been as such since the time of the Classicists. The heterogenous and inconsistent nature of reality, on the other hand, has made the notion of evil a problematic one. Obviously, evil as understood by Samuel Johnson can never be the same as the evil which is illustrated by Dostoyevsky, Flaubert, Lawrence, Kafka or Beckett. In order to come up with a largely accepted notion of evil, the precondition was to find a reliable ground by which evil could be measured, and this ground has always been "reality". Literary movements and literature seem to be proper ground in tracking the footsteps of reality, and, of course, the concept of evil which is shaped by it. This paper is an attempt to analyse how the concept of evil has been handled by the literary movements as classicism, romanticism, realism, modernism and postmodernism, and how literary texts might have changed their attitude to evil from past to present. Baudrillard and his views on simulacra and hyperreal will be referred as a conclusive remark on arousing the question of whether evil can exist or not in a world which has lost its connection with reality for ever.

There is an ongoing and somewhat deliberate evaporation of the term "ideology" from the writings of postmodernism. This evaporation might be detected not only in academia but also in the streets. Ideology does not seem to hold a place in the ordinary people's daily agendas.

Romanla ilişkimiz tıpkı Aziz Augustinus'un “Zaman nedir?” sorusuna verdiği yanıttaki gibidir: Sorulmadığında biliriz ama sorulunca bilemez, şaşırırız. Hemen herkes roman denince ne kastedildiğini bilir. Herkesin romanın ne olduğu veya olmadığıyla ilgili kendince bir görüşü, bir hissi vardır. Ancak “Roman nedir?” sorusuyla karşılaşınca aynı şekilde hemen herkes bocalar, kendince tarifler yapmaya başlar. İşte bu da romanın en belirgin özelliklerinden birine işaret ediyor: Roman tanımlanmaya, sınıflandırılmaya direnen bir kurgusal anlatı biçimidir.Roman, ortaya çıktığı günden beri sıradan insanın, sıradan hikâyelerini anlatır. Ama konu ve karakterler ne kadar sıradan görünürse görünsün, bir romanın bağlamına girdiklerinde sıradan olmaktan çıkarlar. O yüzden belki de roman okuru, kendi yaşamını yansıtan ve bakmaktan hiç bıkmadığı bu aynanın kendisi üzerine de düşünmelidir. Bunu yapabilmek için ise romana felsefi ve kuramsal açıdan yaklaşmak gerekir. Felsefe ya da kuram okumak belki roman okumak kadar zevkli sayılmaz ama eğer romanın kuramını bilirsek roman okumak artık bambaşka bir anlam kazanacak, ölçülemeyecek kadar zevkli olacaktır. Roman Kuramına Giriş kitabıyla Zekiye Antakyalıoğlu, roman okurunu okumaktan zevk aldığı şeyin doğası ve özü üzerine düşünmeye davet ediyor; bunu yaparken de kuramın da keyifle okunabileceğini gösteren yalın ve samimi bir dil kullanıyor.Dünyanın önde gelen roman kuramcılarının düşünceleri ışığında romana türsel, yapısal ve felsefi olarak yaklaşıyor Zekiye Antakyalıoğlu. Roman üzerine geliştirilmiş kuramların zaman içinde nasıl çeşitlendiğini ortaya koyarken romanın kurama, kuramın da romana yaptığı katkıları gösteriyor. Roman okurunu, okuduğu şey hakkında soru sormaya ve roman türü hakkında yeni şeyler düşünmeye teşvik etmeyi amaçlıyor. Bu sebeple romanın epik, hikâye, parodi ve tarihle ilişkisine ışık tutuyor.Bu kitapta, hemen her roman okurunun kafasını karıştıran “realizm”, “modernizm”, “postmodernizm” gibi akımların özet anlatımları yanında, romanın bugün bizler için ne anlama geldiği, bir geleceği olup olmadığı sorularına verilen yanıtları da bulacaksınız.Roman Kuramına Giriş, yalnızca edebiyat öğrencileri ve akademisyenler için değil, roman okumayı seven herkes için yararlı bir başvuru kitabı.

Jeanette Winterson attempts to provoke a new consciousness of existence in her 2007 novel The Stone Gods and stir the masses to re-evaluate the human condition under the encroaching shadow of death awaiting our mother earth. The Stone Gods can be read as the continuation of her 2005 novel Weight where she already implied an alternative perception of space/universe. Along with its apparent postmodern tissue, The Stone Gods offers a lament for the human condition which is acutely suffering from the deprivation of dreams, future hopes and sense of reality on one hand, the ongoing corruption of our ecological system on the other. In the novel the citizens of Orbus (an unknown future world) are presented as dehumanized figures for whom "age is only an information failure" stemming from the body's loss of fluency, nerve disconnection and cell mutation occuring in DNA nucleus. This paper aims at analysing how Winterson detects the postmodern superficiality, obsession with appearance, lack of hope, memory and conscience in The Stone Gods which, contrary to being a postmodern text, concentrates on giving a moral message with its satiric as well as parodic double voice about the changing experience of ageing for man and mother earth in the new millenium.

T.S. Eliot, in his famous essay “Tradition and Individual Talent” overtly attacks the Romanticist understanding of poetry in England, which was defined by William Wordsworth as “the spontaneous overflow of powerful feelings recollected in
tranquillity”. What brings Eliot and Wordsworth together in this paper is their interests in
memory as the main source of inspiration while creating art. Wordsworth’s interest in
personal memory made him an autobiographical poet constantly transforming his diaries
into lyrical poems. Eliot, on the contrary, approaches to memory as collective memory,
never considering himself outside the cultural continuum the product of which he is, and
instead of the autobiographical tone he assumes a rather impersonal one in his poetry.

Stoppardian Drama: The approach towards a text through a postmodernist and counter-postmodernist consciousness brings into mind new methods and theories of criticism like New Historicism. This study, however, is not merely committed to an analysis of the postmodernist aspects of (Czech-born British playwright) Tom Stoppard?s drama with a New Historicist stance; rather it aims to exploit or make use of the New Historicist hints to understand what Stoppard strives to do while writing his plays, because there are striking parallelisms between Stoppard?s technique of creating his plays and the New Historicist critics? method of analysing history and literary texts. In a way Stoppard plays the role of a new historicist while writing his brilliant comedies of ideas. This book, thus, aims to show the parallelism between the New Historicist approach and Stoppard?s playwriting by a close reading of Travesties, Every Good Boy Deserves Favour, Arcadia. The three plays that have been studied in this book are most likely to serve as reflections of the new historicist practice within a fictional framework and prove the very claim that Stoppard is a new historicist playwright.

“Sanat, zamana direnmesi beklenen eserlerden oluşur. Bu kavram ise her şeyi tüketen, çabucak unutan ve çöpe atan bir toplum düzeninde son derece nostaljik olur. Kundera’nın bu toplumsal yapı karşısında kendini konumladığı yer uzak bir köşedir ve elinden o köşeden kayıtsızca ama aynı zamanda hüzünle kahkaha atmaktan başka bir şey gelmez. Romanları hep bu hüzünlü kahkahaların söze çevrilmiş biçimleridir.”

Gülüşün ve Unutuşun Kitabı’nda, “Roman, bir insan hayalinin ürünüdür. Başkasını anlayabilme hayali,” der  Milan Kundera. Uluslararası akademik camianın anlaşılmaz biçimde görmezden gelip hakkında kalem oynatmaması Milan Kundera’nın çağımızın en önemli yazar- larından biri olduğu gerçeğini gölgeleyemese de, büyük bir eksikliktir doğrusu.

Zekiye Antakyalıoğlu’nun, Kundera’nın yapıtını her şeyden önce iyi bir okur, sonra da bir akademisyen olarak büyük bir titizlik ve yetkinlikle inceleyerek son derece ustaca kaleme aldığı bu metin, yazarı daha derinden anlamaya rehberlik etmesinin yanı sıra, eşsiz bir okuma keyfi de sunuyor okura.

the Elder 1525-1560 yılları arasında ya amı Hollanda'lı bir rönesans ressamıdır. Daha çok köy ya amını konu eden pastoral resimler çizmesine ra men bugün Bruegel, Babil Kulesi (1563) ve karus'un Dü ü ü ve Bir Manzara (1558) adlı iki önemli tablosuyla unutlumaz ressamlar arasına girmi tir. Bruegel "köylü Bruegel" olarak da tanındı, kariyerinin büyük kısmını manzara, do a ve kırsal ya am resimleri üzerine in a etti ve bunları hiçbir tarihsel alt-anlam vermeye çalı madan sadece betimleme amaçlı çizdi. Bruegel, bıkmak usanmak bilmeden tarım, avcılık, balıkçılık, festivaller, halk oyunları, köy evleri ve kırsal ya am temalı resimler çizdi ve rönesans ça da ları gibi tarihsel veya dini ikonografiler yapmakla u ra madı. Ancak biz bugün Bruegel'i tanıyorsak bunu Babil Kulesi ve karus'un Dü ü ü adlı iki tablosuna borçluyuz.

Northrop Frye in his seminal work Anatomy of Criticism states that in literary fictions, the plot consists of somebody doing something; and he classifies fictions not morally but by the hero's power of action, which may be greater than ours, less or roughly the same. Thus Frye divides the types of fiction into five according to the types of hero. The first three types involve myth, romance, folk tale and the two high mimetic modes of fiction, namely epic and tragedy. The last two types are representatives of low mimetic and ironic modes, namely comedy and the novel. Frye observed a growing interest in the ironic mode in the last fifteen centuries. It means that the divine and legendary epic hero has been replaced by the ordinary, real and worldly hero of the novel. (33) Following the hint of Frye, this paper will attempt to analyze the reasons behind the replacement of the epic hero by the novelistic hero with the awareness that the history of the hero requires a parallel analysis of the history of the individual.