Francis Crequi Ngoyi

Sexisme Dans Les Anglicismes

Ellen

Un viaggio in india: L'odore di pasolini e L'idea di moravia

Emire

Assoc. Prof.

Relaciones entre el orden y el desorden de secuencias y cronologia en Pedro Paramo

Maria

El viaje divert/do de Carmen Laforet. El viaje como aprendizaje y transito hacia lamadurez

Gülşah

Gabriel Garcia Marquez ve Kokuların İmgelemi

YAZI ÇAĞRISI - ARALIK 2025

The Wife of Bath’s Sexual Poetics and Politics of Food and Drink

Şebnem

The Moral Economy of English Country Houses in Ben Jonson’s “To Penshurst” and Sarah Scott’s Millenium Hall

Merve

Assist. Prof.

“and now we’re here: the Plasticene”: Ecological Awareness in Margaret Atwood’s Recent Poetry Collection, Dearly

Emre

Representation of Feelings in Two Books: The Anatolikon/To the City by John Ash

Baturay

Existential Anxiety and Spatial Reconstruction in Mohsin Hamid’s Exit West

Selvin

Lecturer

Haunting Words, Fluid Moods: Affect in Samuel Beckett’s Mercier and Camier

Yalçın

An Anti-Transhumanist Reading of Stef Smith’s Girl in the Machine

Yeliz

Yavuz

Res. Assist. Dr.

An Exile of the Black Forests: Characterising Bertolt Brecht as an Intellectual Through His Theatrical Practice

Georg

Prof.

The right-wing extremism in German-speaking countries frequently exploits cultural history for political purposes. This is especially relevant to Germanic history and culture, particularly Nordic-Germanic mythology. The present study examines the forms of Nibelungenlied references in the right-wing extremist scene in light of this. Unsurprisingly, right-wing extremists would turn to the Nibelungenlied, the most important epic of the Middle High German era and contains elements of Nordic-Germanic mythology frequently used in right-wing extremism. Furthermore, the Nibelungenlied has been mentioned numerous times in the past from a national and nationalist perspective. Loyalty to the Nibelungen, in particular, was politically exploited at the turn of the twentieth century, and it played an important role in the Third Reich.This study analyzes and assesses right-wing extremist Internet domains. Full text analysis of the most popular right-wing extremist online encyclopedia Metapedia revealed these domains. In addition, extensive preliminary research from other publications on the reception of Nordic-Germanic mythology in right-wing extremism was considered.The references found on the Internet pages examined are primarily in three areas of right-wing extremist life: martial arts, clothing, and music. Other references to the Nibelungs can be found in isolated cases.In the field of martial arts, an annual event called “Kampf der Nibelungen” (“Battle of the Nibelungs”) is especially noteworthy, as it is prominently anchored in the right-wing extremist scene and had an increasing number of participants in the years preceding the corona pandemic. Here, the Nibelungen references are specifically focused on violence and combat. An associated online mail-order company sells various products related to the Nibelungen.The clothing sold in the right-wing extremist scene includes T-shirts, sweaters, jackets, and other fashion items referring to the Nibelungen, especially to Siegfried and Hagen von Tronje, through inscriptions and symbols.In the field of music, some numerous songs and CDs deal with the theme of the Nibelungenlied. This music is available through various right-wing extremist online stores. Reviews clearly show the importance of this music for the right-wing extremist scene.Finally, references to the Nibelungen can be found in other right-wing extremist areas. Names of right-wing extremist comrades, names of online senders, and even pseudonyms of individual right-wing extremists all refer to the Nibelungen.Overall, right-wing extremist adaptations of the Nibelungen material appear quite common. The adaptation of this material focuses primarily on the two characters Siegfried and Hagen von Tronje. Other figures from the Nibelungenlied play minor roles in right-wing extremist appropriation. In addition to the name references, various right-wing extremist bands use passages from the Nibelungenlied in their songs. Violence, war, and combat are all heavily emphasized. The so-called loyalty to the Nibelungen receives special attention and appreciation. All access to the Nibelungen is used in the spirit of the right-wing extremist worldview, both to spread social Darwinist ideas about survival of the fittest and to shape right-wing extremist identity. There is a very narrow and one-dimensional reception of the Nibelungen material, which only selects appropriate elements of the topic for ideological analysis.Overall, it becomes clear that it is less about a thorough examination of the medieval work and more about a superficial and violent appropriation in the spirit of extremist ideology. This results in clear parallels with the reception and instrumentalization of Nordic-Germanic mythology in the right-wing extremist scene.

Nibelungen-Adaptionen im Rechtsextremismus

Özge

Habib

Ingeborg Bachmann was a luminary among the writers of her era and left an indelible mark on literature through her profound poems and literary works. Her poetic persona and philosophical acumen significantly influenced her prolific output. This paper delves into the unique role that nature plays in Bachmann’s works, not merely as a backdrop but as a refuge intricately intertwined with her ideas. The study aims to uncover and elucidate the nature metaphors in some of Ingeborg Bachmann’s poems, focusing on the interplay between her personal style and her connection to the natural world.The paper centers on the analysis of such selected literary symbols as sun, sea, wind, and tree. The examination employs metaphor and symbolism to highlight the expressive means the author employed as well as their significance in the broader context. While emphasizing the meaninglessness of life, Bachmann guides readers to both havens of hope and confrontations with life’s darkness, portraying life itself through the words of nature as a safer harbor.&nbsp;Born in 1926 in Klagenfurt, Ingeborg Bachmann embarked on a diverse academic journey, studying philosophy, law, psychology, and German literature between 1945-1950. Her early poems found their way into publications in 1948-1949, and she later earned a doctorate in philosophy with a particular focus on Heidegger’s philosophy. 1953-1957 saw Bachmann residing in Italy, specifically Naples and Rome where she immersed herself in the cultural richness of the region. In 1959-60, she assumed the role of a professor of lyric poetry at the University of Frankfurt, making significant contributions to the academic landscape. Her remarkable literary journey culminated in the reception of the Georg Büchner Prize in 1964 and the Grand Austrian State Prize for Literature in 1968. However, Bachmann’s life met a tragic end on October 17, 1973 in a house fire in Rome.Bachmann’s use of metaphor in her poetry is characterized by the strategic placement of metaphors within a contextual framework, allowing them to convey multiple&nbsp;meanings. Her metaphors often rely on contrasting elements, contributing to the complexity of her poems. While her verses may exhibit contradictions, the underlying principle of contrast becomes a carrier of meaning itself.The examination of autobiographical elements in Bachmann’s works becomes particularly intriguing due to her deliberate restriction of private information. Bachmann’s rhetorical strategy involved a conscious withholding of information, reflected in her evasive responses to questions. Her interviews were marked by cautious language, which suggests that she may have used her poetry to express what she preferred not to disclose explicitly. Critics have argued that her silence served as a means to attract attention, especially from the opposite gender, but Bachmann’s careful language usage in her poetry implies a more profound intention. The nature conversations in her poems hint that she perceived nature as a place of escape, perhaps even a secure haven within herself, far removed from external influences.This study illuminates the previously unexplored connection between Bachmann’s poetic expression and her use of nature symbolism. The analysis of selected poems reveals the depth of this relationship, providing valuable insights into the understanding of her works and the myriad connections within them. Bachmann’s legacy as a poet and the significance of nature symbolism in her poetry continue to captivate readers and scholars alike, inviting ongoing exploration and interpretation.As we navigate through the verses that Bachmann crafted with meticulous attention, we find her words to become more than mere expressions: They transform into portals leading to the intricate landscapes of her thoughts. The chosen literary symbols of sun, sea, wind, and tree serve as vessels carrying profound meanings, their significance extending beyond the immediate visual or sensory representations. The interplay of these symbols forms a poetic tapestry that weaves together the threads of nature, philosophy, and personal introspection.The nature conversations embedded in Bachmann’s poems provide a glimpse into her perception of nature as more than an external backdrop; it becomes a realm of escape, a secure haven within herself, shielded from external influences. Her careful choice of words laden with symbolism invites readers to explore not just the physical landscapes but also the internal topography of her thoughts and emotions.The autobiographical dimension adds yet another layer to the intricate tapestry of Bachmann’s works. Her reluctance to unveil personal details during interviews and her strategic use of silence hint at a deliberate choice to let her poetry speak on her behalf. The nature symbolism in her poems, far from being a mere artistic device, becomes a means of navigating the internal landscapes shaped by experiences, emotions, and philosophical reflections.

Naturelemente und ihre Metaphorik in der Poesie von Ingeborg Bachmann

Gülseren

Res. Assist.

Juste la fin du monde [It’s Just the End of the World] by Jean-Luc Lagarce (1990) is a play that depicts a family gathering on a Sunday to mark the return of the eldest son, who, having been distant from his family for a long time, has comes back with the intention of announcing his imminent death to his relatives. For a reader or spectator familiar with the author’s biography, the text of the play contains numerous similarities to Lagarce’s life, and the main character, Louis, bears many resemblances to Lagarce. However, one cannot categorize this play as autobiographical because the author does not claim such an approach and has he emphasized some clearly fictional elements. Nevertheless, through the play’s narrative and scenic techniques, it evidently offers elements of self-writing. Thus, this study attempts to address the following questions: What is the nature of the elements of self-writing in this play? How can they be categorized? Can autofiction be mentioned? What are the stakes involved? To answer these questions, this article initially focuses on the play itself, its author, its writing context, and its basis while considering the novelty and specificity of the theatrical forms highlighted by Lagarce. Subsequently, the article explores the self-writing revealed in the play, first by attempting to define the genre and its subgenres (i.e., autobiography, autofiction, autonarration, and autofabulation) and then by determining which elements in the text related to this writing belong to which categories. Lastly, the article seeks to understand the stakes and functions that underlie the use of these specific techniques. Juste la fin du monde is a complex work with multiple dimensions and readings that are challenging to summarize while conveying the substance of the text. This play is one of Lagarce’s most well-known, especially due to its recent adaptation to film by Xavier Dolan, and can perplex readers and spectators with its innovative use of theatrical structures and the distinctive style of its dialogues. If reading is a moment of laborious pleasure, watching the play adds to this pleasure and the dimensions of the work, especially because the director has contributed to constructing meaning by filling the gaps the author left regarding the direction of the play on stage. Juste la fin du monde creates a sense of blurred lines between fiction and reality: One hesitates between the presence and absence of the author in the work, and determining to which type of self-writing it belongs has been challenging. This analysis of the elements of self-writing based on a definition of its various categories has led to identifying the play as being on the border between autofiction and autonarration because it stages a dramatization of an episode from the narrator’s life: the attempt to return and express imminent death. However, the play also employs the three processes Gasparini (2009) mentioned&nbsp;for defining autonarration: fragmentation, metadiscourse, and alterity (Gasparini, 2009). Fragmentation occurs because, similar to the formal structure of the play, the elements of self that are scattered throughout the work are disparate and only enunciated through fragments and pieces of memories evoked by different characters, sometimes contradicting each other. This gives rise to otherness due to the presence of different perspectives proposed for the same facts over which the quasi-spectral presence of the author’s heteronym, Louis, introduces a metadiscursive discourse that never aims to explain or unravel the complex situation represented in the play. This study has thus determined the possibility of self-writing here to have served a retrospective function, a reconstruction of the author’s self as an attempt to articulate the unspeakable aspects of his existence. The works of Lagarce, both through his diaries and the staging of his heteronyms and doubles, has constantly employed various techniques of self-writing as tools for the quest of the past, the quest for understanding and self-expression in the most tragic aspects of existence.

Écriture de Soi et Autofiction Dans Juste la fin du monde de Jean-Luc Lagarce

Fatma

To say that the simplest definition of autobiography involves a person writing about their own life would not be wrong. However, this genre, which is also referred to as “writing about one’s own life” or as the “I” narrative in the literary world, has been the subject of ongoing debate for many years. Recent literary theorists have argued autobiographical writing to perhaps not be completely possible due to reasons such as unconscious changes that may occur in memory (i.e., forgetting), as well as the voluntary censorship and conscious changes that can occur. The aim of this study is to show how the codes of autofictional narrative function in the novel by the famous Algerian novelist and history professor Assia Djebar titled L’Amour, La Fantasia, in which the historical and individual narratives intertwine within the framework of the concepts of autobiography, autobiographical novel, and autofiction.&nbsp;The cultural codes one is born into and grew up with obviously also influence the writings of a literary person. When considering the situation of the famous Algerian novelist Assia Djebar, the act of writing and saying “I” are a feature of a male-dominated field in Muslim-Arab societies. Clearly the role of women in such societies remains outside of social life, and women completely stay away from the act of writing, which exists only in environments where women are present. In Assia Djebar’s novel L’Amour, La Fantasia, translated into English as Fantasia: An Algerian Cavalcade, she undertakes rewriting Algerian colonial history from a new, female perspective. The main reason for this act of historical rewriting is that the work of historiography has been monopolized by men in a Western masculine field. While Assia Djebar carried out the act of reconstructing the Algerian colonial history from the perspective of an Algerian Muslim Arab woman, she included titled and numbered chapters in her novel. In the titled chapters of the novel, Assia Djebar appears as a girl starting primary school, while the numbered chapters describe the first French siege that had taken place in 1830. Thus, the historical narrative and the self-fictional narratives the author constructed based&nbsp;on her own life story follow one another in the novel. Therefore, while Assia Djebar’s act of writing was considered a violation of the male-dominated literary field, one meanwhile also observes how women have become subjects after having been in the position of object in Maghreb literature for many years.This genre of literature, in which Assia Djebar has put women at the center, consciously abandons the harmony and equality of “author, narrator, and person,” as mentioned by the French theorist Lejeune (1996) in his book Pacte autobiographique. In this regard, mentioning a new concept that another theorist, Serge Doubrovsky (1980), mentioned in the preface of his novel Fils would be appropriate: This concept is autofiction, where reality and fiction are intertwined. Autofiction is actually an amalgam of the strategies used for autobiographies and novels. According to Doubrovsky, because no autobiographical narrative can build a real life, no narrative can possibly be complete and real from beginning to end due to gaps in memory, forgetfulness, and censorship (i.e., conscious and unconscious reasons). The purpose of the autofictional narrative is not to reconstruct a holistic and complete real life; on the contrary, its purpose is to give the impression that the life being told is real. In short, any text, being a field of referential reality, requires autofiction for reconstructing one’s life, a reinvention of an individual journey. Assia Djebar also used the autofictional narrative because of the patriarchal structure of Arab Muslim society, the reprehensible writing of women, the prohibition of the “I” with regard to Islam, and the lack of mastery regarding the Arabic language.

Roman Djebarien en Tangage: Autobiographie et Autofiction dans L’Amour, La Fantasia d’Assia Djebar

Nesibe

Ecological consciousness has in fact been becoming more and more important in many fields around the world, and the increasing awareness in ecological issues encourages people to protect the environment. Correspondingly, many in the world today are willing to adopt new eco-responsible practices (George &amp; Faurite, 2020, p. 6). In translation studies, this awareness stands out with the term eco-translation. In this approach, translation not only highlights the ecological elements in the source text but also creates ecological awareness in the readers of the target text.The eco-translatology approach was proposed and named by the Chinese translation studies researchers Gengshen Hu and Youlan Tao (2016, p. 116) in their study titled “EcoTranslatology: A New Paradigm of Eco-Translation- A Comparative Study on Approaches to Translation Studies.” Their study presented this new approach in the context of ecotranslation, and this approach comprises the theoretical basis for the current study.This study sets out to interpret literary translations in the context of eco-translation, which is a relatively new field of study among translation research. In this framework, the study first explains the eco-translation approach Hu and Tao (2016) proposed alongside its philosophical and theoretical background. The study then identifies the simile expressions in Yılanı Öldürseler written by Yashar Kemal (2016) and analyzes the French translations of these simile expressions in accordance with the eco-translatology approach. Yashar Kemal is a Turkish author who has attached great importance to ecology and skillfully reflects his attitude in almost all of his works.&nbsp;In the process of collecting data, the study found 42 simile expressions in Yılanı Öldürseler. Before analyzing these expressions and their translations, they were classified as follows:a) Translations that are both formed with the basic simile structure and compatible with the principles of eco-translatology. This group has 19 examples. b) Translations that are formed with the basic simile structure but are not compatible with the principles of eco-translatology. This group has four examples. c) Translations that are not formed with the basic simile structure but are compatible with the principles of eco-translatology. This group has 17 examples. ç) Translations that used no simile expression at all. This group has two examples.Apart from this classification, the analysis takes into consideration the following four principles Hu and Tao (2016, pp. 127–128) proposed in the context of the ecotranslatology approach:1) The principle of balance and harmony, 2) The principle of multiple eco-integration, 3) The principle of symbiosis and diversity, 4) The principle of translator responsibility.As a result, the study has found the translations for five of the 42 simile expressions in the source text to be incompatible with the principles of eco-translatology, whereas the translations of the other 37 simile expressions are compatible with these principles. Taken together, these results suggest the simile expressions in the source text to have mostly been translated into French in accordance with the principles of eco-translatology.This study has addressed the eco-translatology approach in the context of literary translation. In today’s world where ecological issues are becoming more and more important in many fields, not only producing new studies in the field of eco-translation or eco-translatology but also conducting new research by interacting with other disciplines will both contribute to the field of translation studies as well as provide researchers with a different perspective. In this respect, two aims of this study have been to inspire new studies in this field and to raise awareness on this issue.

Eko-Çeviribilim Bağlamında Edebî Eser Çevirisi Üzerine Betimleyici Bir Çalışma

The Spanish Civil War began on July 17, 1936, and ended on April 1, 1939. The war ended with the victory of the rebels and the breakdown of the Republican regime. This was the beginning of a long-lasting dictatorial period in Spain that would come to an end in 1975, with the death of Franco. The consequences of the war were severe. Spain was ruined; hundreds of thousands of people died; hundreds of thousands of people went into exile; Spain lost the representatives of the culture of the country who also went into exile with their people. After several months had passed in very painful circumstances in the concentration camps in France, Spanish exiles dispersed all over the world. Most of them went to Mexico, which became, in a sense, the capital of exile. At first, the exiles thought they would return home one day in the not-too-distant future. However, their existence in foreign lands lasted for decades. Most of them died in exile without having the chance to see their homeland before they passed.&nbsp;Spanish intellectuals soon gathered, at the beginning of the exile, to fight for their country. They gave lectures to tell the tragedy of Spain; they published literary journals and expressed in their writings their grief, anger, and hopes for saving the country. The political and literary activities continued without interruption. The Republican politicians of Spain were organized to help Spanish refugees on their arrival in Mexico. Spanish people were united in solidarity to keep alive the spirit of the country in exile. Life in a foreign land was, in the eyes of the exiles, an interval and they would soon return home. Meanwhile, they would try hard to keep and continue Spanish identity, culture, and traditions in exile. The language they used in their literary works was the manifestation of a deep sorrow for their lost country and loved ones and also a rebellion against those who took possession of the country with violence. The task was hard—the continuity of the culture and identity in exile. The language of political activities and literary works was shaped in the first decade around this goal.Children also went into exile with their families. The youngest were two or three years old and the eldest were fifteen or sixteen years old. They went through some difficulties at the beginning of the exile. The families sent them to Spanish schools where they learned the culture of their country from the best teachers from Spain. The common themes spoken of at home were mainly those that revealed the pain of loss; but there was another life in the street, free from sorrow. The children grew up between two cultures and their identities were shaped in an intermediate zone between Spanish life and Mexican life. The families saw the children as a guarantee of continuity; however, they were not the main figures of the exile but they had inherited an obligatory situation. They learned about Spanish culture when they were young and about Mexican culture and other countries’ cultures at university. In time, they became respected engineers, medical doctors, historians, lawyers, anthropologists, and scientists in Mexican life. Some of them preferred to step into the life of literature. In their writings, they freed themselves from the obligations of an imposed language shaped by the pain of exile. Exile was an experience they carried but it did not shape their identities either in their social life or in their literary life. They were born in Spain and grew up in Mexico; the Spanish people did not see them as Spanish because they grew up in Mexico and the Mexican people did not see them as Mexican because they were born in Spain. In a way, they were both Spanish and Mexican but at the same time, they were neither Spanish nor Mexican. The last representatives of the Spanish exile of 1939 were called in Mexico the Hispanic-Mexicans or the Generation Nepantla, which meant a generation in between.

1939 İspanyol Göçünde Sürgün ve Kimlik Kavramlarının Alımlanması

Umut

As a product of social interaction, knowledge is not independent of power relations. Historically constructed knowledge in society is also a tool for control and discipline, as well as a vital necessity for protecting the continuity and reproduction of information. Preserving the knowledge of the government is possible by adopting it in social life. What makes power possible is those who consent and internalize knowledge. In this respect, discourses of power are dependent on preservation and reproduction within the practices of life.As a discourse, modernity has produced its own knowledge as a means of social control. The knowledge of the modern period has been placed in a superior position through discourses because historical developments have created a need to control and direct people more tightly with information. The audience and interaction area governments can control have expanded. After the Renaissance, the knowledge of the modern period was especially organized in a way that enabled the control of closed spaces. Controlling, confining, and monitoring people has begun to develop bureaucratically alongside modernity. Surveillance has become an integral part of modern societies over time. For this reason, Foucault, from whose thoughts the study benefits, evaluated modern society as a disciplinary society.In modern society, individuals are in conflict with power. The power actually needs this conflict and tension in order to maintain its existence. The need for power to be opposed is what brings it into being. However, as the tension between individuals and power increases, the power gains more control and discipline. For this reason, power tends to strengthen its own knowledge. This is why dualisms are important in organizing ways of thinking and living in the modern period. Dualistic thought shapes concepts in the modern period in the West and draws the boundaries of thinking and knowledge&nbsp;by establishing them on the basis of opposition. The system of thought built on opposites is a Western philosophy. Dualities strengthened by opposing concepts also build each side’s knowledge.Contrasts also are found in British author China Miéville’s (2009) novel The City and The City. Two cities with separate structures are found in opposition to one another. As examples of the founding oppositions of Western metaphysics, the two cities simultaneously exclude and marginalize one another. People living in the cities of Besźel and Ul Qoma, who have to live as two different entities in a common space, are not allowed to see or perceive the other. Otherwise, they would be committing a major crime. These are two cities that are opposite each other in terms of culture, economics, philosophy, and politics. The two cities are also off-limits to each other. Miéville, a Marxist writer, reflects his own ideology in this novel as both a criticism of the modern era and a questioning of the dominance of the global capitalist system in the world order. The work falls under the genre of science fiction genre and has a fiction that also touches on power relations in cities and power struggles in the international arena.Conflict and tension always occur between the powers that protect the knowledge and the citizens of the two cities. The novel also describes a rupture that occurred after the collapse of the Soviet Union. The city of Besźel is a city that bears the traces of a period that still continues after the Soviet Union. Besźel resembles Eastern Bloc countries in terms of government and lifestyle. Meanwhile, Ul Qoma is a liberal Westernizing city open to globalization.In The City and The City, a murder investigation is underway. Borlú, a detective living in Besźel, is tasked with investigating this murder. The events that begin with the discovery of an unidentified body turn into an interrogation of two cities. The novel questions the knowledge of power with regard to the cities. This process resembles a criticism of the knowledge of the modern period and makes sense of the existence of opposites. A power is found that will exist as long as the two cities are in opposition. The knowledge of the power established through differences and exclusions is also the explanation for the dualist construction of the cities. The novel offers an example of modern thought patterns in the context of power relations and surveillance.This study has analyzed Miéville’s (2009) novel The City and The City. The study also offers an analysis of knowledge and power relations in the modern period, benefiting&nbsp;from Foucault’s thoughts on power for this purpose. The study examined how control and discipline have been established in the modern period, as well as the dependence of knowledge on power relations. As a result, the study criticizes the instrumental position regarding how the construction of knowledge of power has transformed in the modern period.

China Miéville’’in Şehir ve Şehir Romanında İktidarın İnşası

Departing from the United States in 1948, James Baldwin (1924-1987) lived predominantly in France and Turkey, staying in Istanbul intermittently between 1961 and 1971. Due to his alienation and constant mobility, Baldwin called himself a “Transatlantic commuter,” instead of an exile. Baldwin’s Turkish experience is occasioned by his close friendship with the Turkish actor Engin Cezzar, whom Baldwin met in the late 1950s in the Actor’s Studio in New York City as they worked together on the dramatic adaptation of Giovanni’s Room. Cezzar returned to Istanbul for a short summer vacation, which unexpectedly turned out to be a lifelong commitment to Turkish theater. The two friends remained in touch, informing each other about their work and future projects, and Cezzar invited Baldwin to Istanbul. In the fall of 1961, the New Yorker commissioned Baldwin, as the acclaimed Black writer in America, to write on racial relationships on a larger scale, including the Middle East and Africa. Thus, Baldwin travelled East. As he stated in a letter to his editor, Baldwin felt he was encountering a “somber question” about the historical role of African Americans during the civil rights struggle in the US. Unable to handle that question, he flew to Turkey, chancing upon Cezzar’s engagement with the actress Gülriz Sururi which they were celebrating with a circle of avantgarde artists. This circle welcomed Baldwin, allowing him freedom from the American type of racism and media attention, so much so that Baldwin enjoyed a prolific decade. He finished writing From Another Country and composed much of No Name in the Street. Furthermore, he collaborated with the Gülriz Sururi–Engin Cezzar Theater in producing a translation of the Canadian playwright John Herbert’s Fortune and Men’s Eyes [Düşenin Dostu], which was already radical in terms of subject matter in Western countries, but even more controversial in a Muslim country that was experiencing its own struggles with democracy, secularism, and liberation.&nbsp;Neither Istanbul appears in Baldwin’s published work nor is there any evidence of his interest in Turkish culture or language. Nevertheless, Baldwin’s observations of American containment policy, i.e., providing “strategically important” countries with financial aid to gain political manoeuvre against Soviet influence, as seen from one such country, led Baldwin to scrutinize American claims of freedom and democracy. No Name in the Street manifests his critical understanding of racism as a historical and global component of colonialism that goes beyond the civil rights struggles in the US; an internationalism he developed in Turkey. In this work, Baldwin defines the nuanced processes of the racism-colonialism matrix, meditating on the colonized Arab and African subjects in different geographies, such as France and the United States, but the lives of whom fail to matter in similar ways. The striking difference between Baldwin’s attitudes reflected in the documentary films, both dated 1970, Going to Meet the Man: James Baldwin in Paris, directed by Terence Dixon, and James Baldwin: From Another Place, directed by Sedat Pakay, is worth noting. Annoyed by Dixon’s blind insistence to capture him in famous Paris settings, Baldwin is most amiable when he is filmed in the Algerian quarter. On the other hand, Pakay’s documentary traces Baldwin from the moment he wakes up to his stroll in Istanbul, revealing the handsome visual archive of the artist and the city. It is true that Turkish culture remained opaque for Baldwin; however, the mutual understanding between him and the Turkish artistic scene, and Istanbul’s aura as a city of empires shaped by defeats as well as victories led him to believe that there was a potential in Turkish society in fulfilling an extraordinary postcolonial role by continuing to exist as the remains of an empire without yearning to become one. Sketchy it may be, such an assumption rests on an implied comparison with the American empire, which, in Baldwin’s view, solves its problems by brutally eliminating them and fails to deal with defeat.&nbsp;Complementing the previous proposition about defeat, conveniently translated into Turkish to mean “The Friend of the Fallen,” Herbert’s play, Fortune and Men’s Eyes proved to be a metaphor for Baldwin’s lifelong engagement with imprisonment, the criminalization of African American subjects, and the tyrannical use of power. The event of the play’s production not only marks an important chapter in Turkish theater history but also manifests Baldwin’s interest in the theater and the imprisonment theme. This essay examines the Baldwin–Turkey link with reference to No Name in the Street and the Turkish production of Fortune and Men’s Eyes and further argues that Baldwin’s legacy in Turkey can be understood in the form of a call to “befriend the fallen,” a critique that counters American power and triumphalism.

James Baldwin’in “Kasvetli Soru”su ve Türkiye’de “Düşenin Dostu” Olmak

Aslı

The reflections of the sexist discourse that arose in Europe throughout the 19th century are also observed in works published in Greek in the same period. The core of this discourse is the view that women are weak by their nature and that men are strong as long as they are financially sound. Through the images that were separately established for the two genders, men are empowered while women are expected to show a barely visible presence in the home environment. This study investigates the portrayal of female characters in two examples of prose, both published in Istanbul, and aims to determine the extent to which male-dominated discourse and the feminist critiques of the period are reflected in the two texts, which were published a year apart by two Greek authors living in Istanbul, one a woman (Domna Thoma, Time for Entertainment: Three Select Original Stories, 1896) and the other a man (Fotios I. Lufakis, Rejected Child: Original Novel, 1897). The study aims to answer the following research questions: 1) Do the texts include a male-dominated discourse and critical feminist approach independent of the genders of the authors? 2) Are a male-dominated discourse and critical feminist approach observed in the texts of both authors? 3) Are the female characters in the texts of the two authors who lived in Istanbul during the same period portrayed in a positive or negative manner? 4) Which of the female characters are active, and which are passive? If any of the prose involve active women, when do they become active? Accordingly, the sexist ideology of the period is seen to be dominant in general in the examined texts, whereas considering the period in which they are written and the geography in question, these texts are somewhat outside the dominant ideology.Whether a male-dominated discourse is used in the texts is not related to the gender of the author but rather a consequence of a choice the author either knowingly or unknowingly made. The work of D. Thoma, the female author examined in the study, includes three short stories, and as a result of this unconscious choice, inessential women as created by the dominant discourse are frequently encountered. In this context, the female character, as well as the female author at the same time, starts to&nbsp;subconsciously view herself through the eyes of others based on the angelic and devilish images they’ve created for her. Other frequently encountered situations involve such things as the image of men as the protector of the family, the struggle of widowed women, the usage of angel and demon stereotypes, and the redeeming role of marriage for women. On the other hand, the text also includes traces of the cultural feminist tradition of the period. Based upon the concepts of matriarchy and the divinity of motherhood among the most prominent characteristics of the cultural feminist approach, the work emphasizes female intuition. Accordingly, the female character possesses an intuitive perception that is not seen in men, provided that she is pure and humble. With this skill, she can easily feel the invisible links that connect events, people, and various life forms to one another. When considering all these details, Thoma as an educated woman is understood to have been aware of at least part of the feminist discourses of the period.&nbsp;The novel by Lufakis, the male author examined in this study, deviates from other literary texts of the period in that he selected a woman as the lead character and endowed her with positive traits, thus reversing the image of the weak woman. Nevertheless, the negative stereotypes of the female gender scattered throughout the text suggest that Ariadni Laru, the lead character of the novel, is an exception and has a different position than other women. However lively, active, and involved in the public sphere Ariadni may be, she does not pose a prototype for the ideal woman. Above all, the public sphere in which Ariadni is active is not a context of employment but one of crime, where she has to struggle using illegal means for her son Theodoros’ father to recognize his paternal obligations. This is the issue the novel brings to the attention of the reader as being important for Ariadni. Fedon is the son of a wealthy family and is the one who has forced her to act like this; he has not acknowledged his obligations as her son’s father and did not marry her despite having previously promised to do so.

19. Yüzyılda İstanbul’da Yayımlanan İki Yunanca Kurmaca Metinde Kadın Karakterlerin Sunumu

Sercan

The Postmodern Representation of Reality in Peter Ackroyd’s Chatterton by Arya Aryan

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

John

Jean Raspail, Michel Houellebecq, and Jenny Erpenbeck: Acknowledging the Barbarian Within

Rafael

METAFORIK BIR SÜREÇ OLARAK ÇEVIRI

İrfan Cenk

Since the 1980s, the literary and theoretical output of American women writers with Latin-American roots offered an alternative reading of feminist literary tradition. Sandra Cisneros is probably one of the foremost figures within the American context of “Border Literature” and “Borders Studies”. This article first outlines the parameters, theorems and prominent figures of Border Studies, and then examines Cisneros’ titular short story of her Women Hollering Creek and Other Stories collection, which deconstructs the dualistic mode of thinking in terms of “first world vs. third world” dichotomy, and defies various thematic and structural borders. Hence, Cisneros’s range of ideological commitment extends—or better yet deconstructs spatial, temporal and national borders. This creates a form of transfronteriza feminism, to use Sonia Saldívar-Hull’s term, which merges Chicana feminist theories with social and cultural praxes in multiple Chicana and Mexicana locations. In that sense, Cisneros’ “Women Hollering Creek” employs the tale of a young Mexican woman, Cleófilas, who initially experiences her home in a small town in Mexico through a rather tedious patriarchal context profoundly shaped by the normative gender roles attuned to Mexican culture proper. In that sense, the story is also a parody of the Mexican popular genres of telenovella (soap opera) and fotonovella (photo novel) as it offers a new form of identity formation through the female protagonist’s quest for finding her own voice and subjectivity outside the prescribed gender roles dictated in the aforementioned popular genres. However, the ensuing quest by newlywed Cleófilas on the American side of the border in Texas traces how she gradually acquires the consciousness that will mark her in the end as a speaking subject. With her countermigration from the U.S. to Mexico, she finally leaves behind the institution of a corrupt marriage and false American dreams. Hence, the article offers a close reading of the story’s narrative strategies on a linguistic and semantic level as they inform its thematic concerns.

Sınırlar Ötesinde Yuva Düşlemek: Sandra Cisneros’un “Çığırtkan Kadınlar” Öyküsündeki Bireyselleşme Yolculuğu

Duygu

The ultimate goal of literary discourse is not necessarily for readers to simply accept what the story tells. Literary speech tries to convey a message to the reader by telling a story. This is why Ruth Amossy talks about two discourse types of argumentation: argumentative dimension speeches and argumentative aiming speeches. Using Amossy’s interpretation, this paper will attempt to answer the following question: “Are there some literary discourses in general and novels in particular that have more argumentative goals than others?” In our attempt to answer this question, our present work will be based on Amin Maalouf’s novel The Disoriented (Les Désorientés). This novel tells the story of Adam, who returns to his native country after 25 years of exile. Adam is also the narrator of the novel. Over a sixteen-day period, as the paratopic and intradiegetic narrator of the novel, he tells the story through his personal diary, which also allows him to have several imbedded scenographies. So Adam gives the floor to his friends, who are the protagonists of the novel. The reader travels first through the diary, specifically through 25 years of old letters exchanged to and from Lebanon. The novel tells the history of the disappointments experienced by the “club of Byzantines” – a group of friends who were inseparable in the 1970s but who are nowadays scattered to the four corners of the world because of the civil war in Lebanon. Some emigrated abroad as Adam did; Naim, Jewish, went to Brazil; Albert went to the United States. Bilal, the beloved one of Semiramis, died in the early days of the civil war. Semiramis, Ramzi, Mourad, and Tania remained in Lebanon. Mourad got his “hands dirty” during the war and later became a Minister. Ramez lived in Oman and became a wealthy entrepreneur; he believes he has found dignity in becoming rich. Ramiz found the world he lived in so useless and futile, that he locked himself in a monastery. A libertine hostess, Semiramis lives in Lebanon. Nidal, brother of Bilal, became an Islamist extremist during the war. In other words, as the novel’s title indicates, all these characters are disoriented. Those who left are disoriented because of their detachment from their East; those who remained are disoriented in their own country because they feel bad and have lost their ideals and values from before the war. Adam tries to justify his departure to all those who accuse him of having abandoned the country. He also outlines the arguments made by those who stayed.&nbsp;This is how the narration of the novel is transformed into a celebration of argumentative discourse characterized by processes such as arguments, counterarguments, rebuttals, justifications, syllogisms, paralogisms, etc. The Disoriented builds ethos through Adam’s narration of the story. The reader can easily identify the similarities between Adam’s character and the novel’s author. Amin Maalouf is Lebanese and lived through the civil war in Lebanon. In this novel, he expounds upon the same ideas he expressed and defended in his previously published books. This is why, even if ethos is built into the speech itself, we cannot say that Adam doesn’t thrive on the ethos of the author, or that prediscursive ethos exists based on what Amin Maalouf built on his existing work, knowing that he already wrote about the issues of identity, the Arab-Israeli conflict, and the differences between the West and the East.

Le discours orienté dans Les Dés-Orientés de Maalouf

Gérald

İKİDİLLİ ANAOKULUNDA CAROLİNE VE ALMANCA L2 ÖĞRETİMİ

Leman

EL TREN COMO SÍMBOLO DE PROGRESO/RETROCESO EN LAS OBRAS DE MARIANO AZUELA

In the field of foreign language education, textbooks continue to be one of the most important support materials for language teachers. Foreign language teaching methods are updated according to the requirements and needs that continuously arise over time Authors of textbooks update their materials by following these innovations. Although the changing requirements of foreign language teaching seem to be the main reason for these updates, it is not possible to ignore the fact that the market for these books continues to be very competitive. On the other hand, for teachers, the selection of textbooks seems a major issue, for they have to choose among a wide range of books that promise “efficiency”, “speed”, and “long lasting learning”. It is evident that textbook publishers have financial concerns, too, as they aim to sell as many books as possible. In this case, neutrality becomes a risk factor. In the selection process of teachers, the “foreword” section of the textbook constitutes an important guide for the teacher, who is in the position of having to choose among many textbooks making vert similar promises. In the “foreword” section of each book, you can normally find the general aims of the book, its target public, methodologies and materials that are at the disposal of students, and their intended learning outcomes, and the methodology and materials that are at the teachers’ disposal. However, publishers’ concerns about sales and market competition can result in a gap between what is promised in these sections and what the contents of the book are in reality. Moreover, this situation can lead to a loss of impartiality. In this study, we aim to reveal hidden discourses in the “foreword” sections of textbooks. Although the propositions of textbooks are accepted as explanatory and informative texts, they are not expected to be completely neutral. Neutrality, in turn, is a complicated concept which is extremely difficult to define. The most important reason for this complexity is that every discourse produced by the subject has its own identity, intent, feelings, and so on, and it carries specific clues. For this reason, it is unlikely that any text appears completely unbiased. When the “foreword” sections of textbooks are accepted as a form of text and discourse, indeed, we can see that the purpose of speech, the subject of speech, its intended recipient, its target audience, and the chosen words and phrases to guide the target audience play a decisive role. When these sections are considered as texts, they can be regarded as informative pieces of writing that inform their readers about the overall purpose of writing a&nbsp;book, about the actual book that they refer to, and about the overall characteristics of the subject area. Although the informative features of text need to remain in the foreground, the conative function of these texts is also employed to convince the masses, because publishers have to simultaneously reach sales objectives. The informative features of texts—and their discursive structures aiming to convince the target group—can be either explicit or implicit in these “foreword” sections. Consequently, in this research, we attempt to first classify various types of text. Second, we aim to clarify what types of “foreword” sections can in effect be examined. And finally, we analyze the linguistic deviations and masked discourses that were found in the structures of these text. Altogether, we examined 13 French textbooks— ranging from level 1 to teens and adults—to offer a wide range of examples in this important research field. We gathered subjective words after we determined where the textbook propositions could classify among different text types. Our classification is based on the approach that Kerbrat-Orecchioni (1986) uses when determining the degree of subjectivity. As we classify adjectives, adverbs, actions, and pronouns in the “foreword” sections of 13 French textbooks, we also measure the frequency of these words. We attempt to evaluate the results that will be obtained later in the light of linguistic methods, and in so doing, we will reveal the degree of subjectivity. We believe that this work is particularly useful for those French teachers who are in the position of making the choice for their schools’ future textbooks based on the “foreword” sections of these books.

Les avant-propos comme masque du discours dans les manuels de FLE

İlhami

ÖĞRETİMSEL AÇIDAN TÜRKİYE TÜRKÇESİNDE TEMEL TONLAMA TÜRLERİ VE İŞLEVLERİ

Mélanie

The term ‘beach read’ has been associated with a number of pejorative meanings such as ‘easy-reading’ and ‘fuss-free books’. This study aims to deconstruct these stereotypes in order to show how a book, undercovered by the theme of the beach, can carry a metaphysical reflection that touches both the writing process and the construction of an identity. Alan Pauls retraces his teenage journey by taking the road back to the Argentine beaches he frequented at the time, with the aim of rediscovering himself as a writer but also and above all as a man. The main purpose of this article is therefore to question this beach space and see how it becomes the place par excellence of Pauls‘ intimate writing. The interpretative guidelines given in this study provide a better understanding of how a real “phenomenology” of the beach is born in this autobiographical essay. The first part of the article focuses on the development and exploration of identity through the beach motif. Three identity perspectives are considered. First of all, it is Pauls‘ Latin American historical and cultural heritage that is being explored, including the “beach culture”. After that, it is his literary identity that is analysed. Pauls draws inspiration from other beach writers and builds in his text a well-crafted intertextuality that we decode. Moreover, this part reveals his writing choices and explains his attraction to literary hybridity and the mixing of genres. The last identity perspective concerns the style of Barefoot life, which, like the beach, is composite, granular and multiform. The stylistic analysis that is carried out highlights the concept of writer“ of the intimate” and the process of identifying Pauls as an autobiographer. The second part focuses on the meta-literature that emerges from the text and shows how it is closely linked to the conception of intimate writing, but also to metaphysical reflection. Life ethics are gradually being formed through salty and sandy reminiscences. The beach is given as a metaphor for an autobiographical literature where the writer can meditate on his existence. This book therefore also questions this “exposure” and the dialogue between the intimate and the collective represented by the beach, which is necessary in the process of transmitting universal thought. In the meanders of this reflection, symbolised by the place of the beach, the self is fragmented and manipulated to such an extent that it becomes a Freudian subject. The text therefore also goes through the concept of strangeness and illustrates, through the literary processes at work, a movement of distancing from the&nbsp;“I”. To make sense of this strangeness, the narrator relates to his sensory orientation, constructing in the work a synesthesia that will make it possible to define a writing of memory. The last part focuses on the cult of the image and the importance of the visual. This approach allows to link identity to its plural nature and to complete a text that is intended to be polymorphic. We show that Pauls uses different modalities to visually translate the beach as a pivotal element between the external environment and the narrator‘s intimacy. Graphic precision is one of these modalities: from typographical choices to mises en abyme, as well as through ekphrasis, Pauls makes the beach a place where the self can be observed and where the writer can build this writing of the intimate as one would build a sand castle. We also explore his particular use of photography and cinematographic references, creating a “cinematographic” writing that gives access to a multiplicity of experiences, including sexuality and violence. This approach also helps to understand how cinema has strongly influenced Pauls as a writer. Finally, we show how the beach is represented as a “white screen” and how it becomes a symbol of artistic freedom and liberation of the subject. As he contemplates his own existence, the narrator invites the reader under the umbrella of this symbolic beach and the strength of Pauls‘ text then takes effect: the writing of the intimate takes us like a wave towards the sea of our own memories. In conclusion, Alan Pauls‘ Barefoot life is a hybrid book, between essay and autobiography that unites under the power of one and the same motif: the beach. Our study was able to show the importance of the workings between the intimate and the collective, between writing and visual arts and finally between philosophy and literature. This book defines Pauls‘ identity as a man, a writer and a philosopher, which appears ultimately plural and changing, like the tides.

La plage comme espace de l’écriture intime dans La vie pieds nus d’Alan Pauls

María Antonia

18.YÜZYIL İSPANYOL ANLATISI: CÁNDIDO MARÍA TRIGUEROS’UN EL NÁUFRAGO ESCLAVO ADLI ESERINDE GEMI KAZAZEDESI VE ESIR IMGESI

Emrah

This paper investigates the ongoing influence of foreign lexical elements and Englishization on the practice of naming businesses in Turkey. It is argued that the impact of foreignization and the English language on this business naming continues to increase and manifests itself in various creative ways. It is well-attested that nonnative lexical items are generally used in the process of store-naming across countries. The effect of foreignization and Englishization on the Turkish business context, especially in the practice of business naming, has also been extensively discussed in previous researches. The consensus was that non-Turkish elements used in business naming could be classified into three major categories: (i) foreign lexical items that could either be English or non-English; (ii) hybrid signs that include a combination of elements from Turkish and a foreign language; and (iii) Englishized Turkish signs that are artificially created and use the orthography of English. On the basis of the data gathered using both online research and observation, in this paper, I show that in addition to the existing practices, a new business naming practice has recently emerged in the country. This new strategy, which I call “consonant duplication” in this work, simply duplicates the consonant in the middle of the word and is sometimes accompanied by an English functional word such as a determiner or a pronoun. As a result, the business name bears various foreign elements and looks less native. The analysis indicated that this practice is used in actual shop signs as well as online businesses. Furthermore, it should be noted that the new strategy has some important linguistic consequences because it changes both the syllable structure and the pronunciation of the word to which it applies. In that sense, it dramatically differs from earlier practices that employed foreignization and Englishization in business naming. Further research will shed more light on whether or not the new practice will have certain long-term effects in terms of spelling and pronunciation on the language.

Türkiye’de İş Yeri Adlandırma Uygulamaları: Yabancı Etkisi

Saliha Seniz

EMILIA PARDO BAZÁN’IN MEMORIAS DE UN SOLTERÓN ADLI ROMANINDAKİ ERKEK BAŞKARAKTERE PSİKANALİTİK FEMİNİST KURAM IŞIĞINDA BAKIŞ

Önder

In addition to being a multidisciplinary field of study, critical disability studies have also been adopted by literary thinkers as one of the most widespread work areas of recent times. Narrative Prosthesis, introduced by Sharon Snyder and David Mitchell, both of whom are key theorists of critical disability studies, discusses the way narrative makes use of disability as a tool of representation or metaphor, but fails to further cultivate disability as a multifaceted approach. Thus, the narratability of disability here depends on obtaining some conclusions on the normality of the characters. Martin McDonagh’s characters in The Pillowman represent disabled persons who behave as a “crutch upon which literary narratives lean for their representational power, disruptive potentiality, and analytical insight” (Mitchell &amp; Snyder, 2000, p. 49). However, this leaning is driven by the psychopathological aspects of the characters. The term psychopathology, which has its root in the Greek words ‘psyche’ (soul), ‘pathos’ (suffering) and ‘logos’ (the study of), refers to the appearance of behaviour that points out the incidence of a psychological chaos. Some of the greatest strains of modern society are the psychological ones. World wars are also the greatest factors that increase the anxiety of modern society. Reflecting on the uncontrolled post-war society, McDonagh reveals man’s psychopathology through the psychological and mental strains of various characters. In this play, characters are in a struggle with a psychological situation. Interrupted speech, unconnected expressions, collective monologues are a sign that consciousness is not in a normal state at all. For instance, dialogues between Katurian and Michal and the detectives are indicative of a mental and psychological illness. In the same way, the words spoken are a reflection of depressed mood, and their timid movements are those of physical decadence. The purpose of this study is to try to explain normality as against psychopathology in characterization within The Pillowman taking Narrative Prosthesis to the centre. In order to accomplish this purpose, the work is divided into several sections. The introduction to the study includes a number of analyzes and literature on critical disability studies. In this context, the reason why this work emerged is explained, and some writings by important scholars are cited. The emphasis is placed on the concept of ‘narrative prosthesis’, a new model emerging from the ideas of different scholars in this field of study, and notes on the purposes and examinations&nbsp;that cause this concept to gain importance are evaluated. In addition to the concept of narrative prosthesis, the notion of ‘materiality of metaphor’, another important theory with a different narrative connotation, is also examined. Later on in the work, the main subject comes to the fore and an attempt to relate McDonagh’s The Pillowman to the narrative prosthesis concept is made. On this subject, the study attempts to gain semantic integrity with various quotations from the play. Through the conclusions and interpretations made, the work supports the above-mentioned concepts and definitions.

McDonagh’ın Yastık Adam (The Pillowman) Oyununda Anlatı Protezi: Psikopatolojiye Karşı Normallik

Fethiye

CÓRTAZAR’IN “PUT” ADLI ÖYKÜSÜNÜN İMGELEMİN YAPILARI KURAMINA GÖRE İNCELENMESİ

Aşkın

Ulusun Yeniden İlanı: Kölelik ve Amerikan Devrimi

Uğur

JOSÉ DE ESPRONCEDA’NIN İKİ ŞİİRİNDEKİ İMGELERİN SEMBOLİK İMGELEM KURAMINA GÖRE İNCELENMESİ

Göksenin

Büşra

This article aims to analyze the English translations of six selected poems of Birhan Keskin as a metaphor-based rewriting act, by using the concept of rewriting by Andre Lefevere and the metaphor theory by George Lakoff and Mark Johnson. As a secondary aim, we attempt to explore the implications of the metaphor theory for translation studies along with the probable relations to be built with the concept of rewriting. The article comprises five sections. In the first section, the conceptual basis of the act of rewriting is discussed, along with the studies dealing with the relation between translation and the act of rewriting in translation studies since the 1980s. The second section presents the conceptual framework of translation analysis, with concepts adopted from the metaphor theory proposed by Lakoff and Johnson. The poetic universe of Keskin and its distinctive features are discussed in the third section, with a special focus on analysis of the English translations of the selected poems. In the fourth section, the six selected poems of Keskin are analyzed using the following four concepts of metaphor theory —ontological metaphor, structural metaphor, orientational metaphor, and conceptual mapping. The final section concludes with remarks and observations on the corpus and poetry translation in general. Depending on the analysis of the six poems, each included in a separate book, it is argued that structural, ontological, and orientational metaphors play a significant role in the poetic style and constitute a difficulty for the act of translating. In this context, the translator recreates the source text in the target language by taking its structural, stylistic, contextual, discursive, and cultural elements into consideration and recontextualizing them in the target culture. This signifies that the translator acts as a rewriter who creates the target text as a result of subjective and individual translation decisions, benefiting from his subjective interpreting act and background as put forward by Lefevere within the concept of rewriting. Speficially, we could state that the translator has read the source text, analyzed it, and has resorted to several ways in order to create and/or appropriate the poetic reflections of the source text in the target language and culture. Throughout the analysis, structural, ontological, and orientational metaphors form an important part of the selected poems and the translator has likewise attempted to create these metaphors in the target language. This supports the idea that the translator has attempted to fulfill the actionality of recreating the metaphors of the source text in the target language and culture for the target readership. It is therefore expected and affirmed that the translator has (re) formulated the metaphors of the selected poems, which significantly rely on&nbsp;subjective interpretations. By doing so, the translator has tried to carry over Keskin’s voice together with his own in the poems in the target language, two of which are harmonized by (re)creating the structural, ontological, and orientational metaphors in the target language/literature/culture for the target readership. This inevitably enriches the possibilities of the target literature and language through metaphors peculiar to the source culture and/or Keskin entering into the target system, which leads to the concept of a metaphor-based rewriting act.

İngilizcede Birhan Keskin: Şiir Çevirisine Metafor Odaklı Bir Yaklaşım

Ebru

ANADILI TÜRKÇE OLAN ÖĞRENCILERIN İSPANYOLCA ÖĞRENIMINDE KARŞILAŞTIKLARI DILBILGISI ZORLUKLARI

Kadir Can

The battle between memory and time, which is trapped between a dream and the truth, manifests itself in different forms in the darkness of literary texts. In the mental journey that begins with Alice’s dream, the concepts of time and space are first erased, and then, by experiencing a unique journey, the reader gets out of the story. The narrator, experiencing different dimensions of time that are lost due to an accident in Edgar Allan Poe’s “MS. Found in a Bottle,” again throws a short-term glimpse into the past as a result of an accident in Tanpınar’s “Past Time Dresses.” When one enters this universe, by combining the “chronotope” with the imaginary World, everything changes and loses clarity. Jung’s “anima,” which is given to the feminine image within the man, extends back to the maternity concept, and it is seen that this concept dominates the work of both authors. Considering the scope and extended boundaries of world literature, we can see that literary works advance through each other’s influence, and each work of art adds innovation to the text by introducing a style, a form drawn from the author’s previous work, thus each written text becomes a preliminary stage of another text. This preliminary preparation stage progresses psychologically and is based on the concept of time in the consciousness–unconsciousness plane. First, under the leadership of Bakhtin, who combined the concepts of time and space with the word “chronotope” and based on Edgar Allan Poe’s “MS. Found in a Bottle” story, we will attempt to decode the codes of the imaginary journey within Tanpınar’s “Past Time Dresses.” Also accompanied by the concept of “anima” of Carl Gustav Jung, who adorned the common universes of two authors, the woman who is a myth in Poe’s “Ligeia” will be evaluated comparatively with her appearance in the art-mother cloak in Tanpınar’s imaginary creation called “keti.”

Poe’nun Ligeia ve Şişede Bulunan Not Öykülerinde Tanpınar’ın Geçmiş Zaman Elbiselerini Aramak -Alice’in Düş(üş)ünde Düşsel Kronotop’u ve Anima’yı Yakalamak

Özlem

İSPANYOL FRANKIZM İDEOLOJISININ DOĞUŞU VE GELIŞIMINE YÖN VEREN YAZARLAR

Esra Başak

Hélène Cixous appeals to woman through feminine writing and creativity in her essays entitled The Laugh of Medusa and Outways in The Newly Born Woman published in 1975. In these essays, which gained a worldwide recognition, Cixous invites women to write and develops a new thinking and reading approach of sexual differences. She paved the way for feminine writing with mythological and intertextual references by using a deconstructive lecture. The Laugh of Medusa published in Arc deconstructs the phallologocentric thinking in occidental philosophy, the text reads Medusa which was conceived as an enigmatic figure and the dark side of the continent by mentioning the sexual differences in a multiple-voiced discourse. No way out for a hierarchical structuring in which one of the terms applies a kind of violence to the underestimated second term. By following the traces of Jacques Derrida’s deconstruction of phallogocentric occidental thinking the Kabuk of Zeynep Kaçar and the Inside of Hélène Cixous is read by a comparative feminine writing on the basis of The Laugh of Medusa and The Newly Born Woman both published in 1975. The researcher will try to respond to these questions:&nbsp;<ul><li>How does Hélène Cixous develop an interior-writing in order to reach the dream of reality by her auto-fictive text entitled Inside?</li><li>How does Zeynep Kaçar find the way leading out of the shell by the interiorvoice of her fictive characters who speak out ? </li><li>How is the phallogocentric thinking linked to the death, the masculine, the&nbsp;speech and I, is deconstructed by the life, the woman, writing and the other? </li><li>How can we evaluate the potential on the plural creativity and the writing aesthetics of “écriture feminine” which disseminates, changes and transforms and follow up on the traces of such writing style?&nbsp;</li></ul>By deconstructing the phallogocentric occidental thinking with a new creativity and writing practice and the masculine domination, Luce Irigaray, Hélène Cixous and Julia Kristeva developed a new dynamic in feminine criticism. They criticised the negligence of feminine writing in philosophical and literary texts. The researcher intends to do a comparative lecture of feminine writing of Zeynep Kacar’s Kabuk and Hélène Cixous’ Inside on the basis of the essays written by Cixous on 1975 entitled The Laugh of Medusa and Outways. Hélène Cixous develops a feminine writing by deconstructing the perception of historical writing conquered by masculine structure and the rhetoric movement. By dissociating the law from the symbolic, she composes her ideas on feminine writing and sexual differences. In this research, the aim is to investigate Kabuk and Inside on the dichotomies of body/soul, woman/man, life/ death, writing/speech, I/other as it is stated as more than one language by Derrida. Thus, the researcher aims to trace the feminine creativity , aesthetics which is transferred, changed and disseminated continuously in Derrida’s words . The aim is to read Cixous’ autofictive book which reaches the dream of reality and the outside of the inside via an interior-writing and Kaçar’s book which tries to arrive from the soul to body via an interior-voice and to deconstruct the fallus-centered death, man, speech and self by life, woman, writing and other. Consequently, the researcher finds an answer to these questions and a voice, which encounters the appeal of Cixous in Zeynep Kaçar. According to Zeynep Kaçar, women who were abandoned to the imaginary and the unconsciousness should be taken out of the phallocratic discourse and find a way leading to the symbolic order and interior-voice just like the interior-writing in Hélène Cixous. They who were imprisoned and regressed in phallogocentric formulations of the masculine hegemony should break the shell into pieces and overcome the lack associated with them. They should also create their own color, identity and voice on the stage of history.

İçeri’nin Dışarısı ve Kabuk’un İçerisi - Hélène Cixous ile Zeynep Kaçar’da Karşılaştırmalı Bir Dişil Yazı ve Yapısöküm Okuması

Damla

In Greek schools, literature textbooks are made up of anthologies, titled Anthology of the Literary Canon. In this study, extracts occurring in these books are analyzed together with the informational notes and exercises. There is a reference to Turkish people in two reading texts in Δελφίνι/ (Dolphin), in eight reading texts in Στο σκολειό του κόσμου (The World School), and in seven reading texts in Με λογισμό και μ΄όνειρο (With Ideas and Imagination). Turkish people predominantly feature in the reading texts that deal with significant events in Greek history. In nearly all of these historic events (Tourkokratia, 1922 Asia Minor Catastrophe, and 1974 Cyprus), Greek and Turkish people constitute the two parties in conflict. There is one common element present in these texts with reference to how they deal with the image of the “Turk.” In most cases, even if the main body of the reading text does not include a negative image of Turkish people, this is conveyed by the additional notes that give the reader some extra information on either the text or the author and the reading exercises concerning the text. Thus, the image of the “Turk” is completed with these notes and exercises, although in most instances the text itself proposes a neutral image of who the “Turk” is. First of all, Tourkokratia is not described as a common history shared by Greeks and Turks. In contrast, Greeks are described as citizens who cannot stand the torture of Tourkokratia and who have no other choice but to struggle against it. The stereotype of a “Turk” that is evident in these texts is an anonymous and undefined figure who only represents martyrs and evil rulers. When the Asia Minor Catastrophe is retold via the reading texts, the figure of the “Turk” is not reflected as part of Greek history or geography. In contrast, the “Turk” appears in the final scene of historic events and represents the figure that may be found guilty of the events. The only instance in which we see Turkish people devoid of any historic meaning, appearing as normal citizens and usual parts of the society, is in the narrative of Cyprus, 1974. In these extracts, the Turk is not a soldier but a mother, a father, a child, or the family in general. They do not appear as stereotypes but as identified people whose names we learn. The Cypriot Turks in those reading extracts have a more positive image&nbsp;when compared with other Turks in other reading texts. What is more, they have some common features shared with the Cypriot Greeks. Therefore, the Greek narrative identifies a Turk in Cyprus as someone who is similar to a Greek living on the same island. Except for the reading text concerning Cyprus, only two other texts describe Turkish people as those who share a historical era and geographical proximity with the Greeks. The image of the Turk is considered harmless if they are able to learn and apply the rules of Greek society, religion, and culture. The study also includes detailed tables depicting the exact readings through which the above mentioned analyses have been conducted, the names of the authors, and the historical eras they refer to.

Yunan İlkokul Edebiyat Kitaplarında Türk İmajı

Çağatay

Zeynep Seza

Tahar Ben Jelloun, one of the most important representatives of French literature, has masterfully reflected the individual, social, and cultural troubles of the other. The imaginary atmosphere created by him in his stories is a major factor that attracts readers. Jelloun received the “Prix Goncourt”, considered one of the most important awards in literature. The Sacred Night, for which he won this literary award in 1987, is a continuation of The Sand Child. In this work, Jelloun examines the problem of living as a woman and the struggles occurring from the existence of a woman as an individual in Moroccan society; he presents his story in an impressive way through a character called Zehra who is raised as a boy from childhood although she is a female because of his father’s desire to have a male child. The truth about Zehra’s identity comes to light during Ramadan, at the night of Power, while his father is in his deathbed. Since the time she learns her true identity, the outrageous journey of Zehra to exist as a woman forms the whole of the novel. In this study, we examine Tahar Ben Jelloun’s impressive novel by following the path of the semiotic method of Greimas, also known as the Paris school of Semiotics. This semiotic study aims to reveal the transformation of the narrative process in the text on the basis of semantic oppositions and the relation of the individual to the space and time in the direction of these transformations in the surface and deep structure. Before starting our study, it is necessary to create a definition that involves the concepts of memory and identity in the literature because both memory and identity provide an epistemologically large perspective. Once we limit this perspective in a certain way, we observe the identity structure of the protagonist (Zehra) in her

Tahar Ben Jelloun’un Kutsal Gece Adlı Romanında Bellek ve Kimlik Algısı

Şevket

Romain Gary was born in Lithuania in 1914. After living in Italy and Poland for a while, he and his mother settled in France in the early 1930s. In his childhood, he took an interest in literature by means of the influence of his mother who dreamed of a brilliant career for him. He achieved his first significant success in the field of literature with his novel L’Education européenne, and in 1956, he won the Goncourt Prize for his novel Les Racines du ciel (The Roots of Heaven). Gary, who became mediatic with his marriage to American actress Jean Seberg and who was well known in the world of cinema, continued his literary works. Later, the events in Romain Gary’s literary and personal life became the subject matter of discussions in literary circles known as ‘Affair Ajar’. However, for Gary, this was no longer a literary polemic. It witnesses an existential dimension of life, which gets the literary circles of its time, the critics as well as the readers, into an obfuscation and scam circle. The factor that triggered the more or less severe debate would be critically categorical and ruthless judgments of the writer. Gary planned to play a game with the literary world as critics referred to him as a self-repetitive, exhausted and barren writer. In 1975, with his novel La vie devant soi (The Life Before Us, or Momo), he won the Goncourt Prize for the second time, although this award is usually given to a writer only once in their life. Gary must have completely vindicated his literary avatar; the emergence of the deception would be the big scandal for the writer. In fact, as the award is given to a writer only once in their life, his second award would endanger Gary’s literary career. Although Pseudo, the main concern of this study, appeared as an attempt to rescue Ajar, the author of Gary’s La Vie devant, humorously reveals the insufficiency of literary critics of its period, their malicious intensions, the hypocrisy of society, the slickness of its values, social pressures, the sanctions and constraints that prevent people from becoming oneself. In this study, we try to reveal the impossibility of being-oneself. Being-oneself is primarily the subject matter of ontology. In addition, it is a very controversial and multi-layered discussion of the theology, psychology, sociology, and even political science in the framework of the problem of identity. Being-oneself is not limited to living and knowing who you are. Being-oneself and existence develop as a continuum of existence activity, which shows a continuity in its given condition. In Pseudo, in which Romain Gary uses the pseudonym Emile Ajar, and which is written in the form of an autobiographical fiction, the impossibility of being-oneself appears as Emile-Paul-Romain, with the identity of its first-person’s autobiography of fragmented/ replicated ‘entity’. The condition of the fragmented identity is also reflected through the narrator, Paul’s psychosis. Belonging to a language, a culture created by this language, a character formed by inheritance, and belonging to a certain origin determined by patriarchal factors emerge as components that originally make it impossible to become oneself. Thus, the narrator of Pseudo wants to get rid of the entity. In order not to reveal that he is Ajar, as the narrator, Paul Pavlovitch’s constant attempt to hide himself also proceeds in parallel with an attempt to escape from belonging. Freedom which seems to provide the conditions and means of beingoneself, ‘the other’, an important place where self-recognition and self-awareness are formed and the society into which one is born formed by the norms and becomes an ossified structure also makes being-oneself a matter and almost impossible. At this stage, on the one hand, the choice made by the narrator in his freedom, the trick/ deception he attempts make to be himself impossible, on the other hand, social oppression, sanctions and rules also nourish such an impossibility. In a hypocritical society where it is the basic attitude to pretend, it also turns out that it is impossible to become oneself, and in this respect, the novel also reveals the hypocrisy of society. The normality is also questioned in a society where people who do not participate in the game of ‘pretending’ are sent to a mental hospital on the grounds that they cannot adapt to society. The narrator’s identity which is fragmented into three or which can be called as three-layered, Emile-Paul-Romain, emerges as an important factor in non-beingoneself. In this respect, in the dialectical fight between fact and fiction and the fight between fact and scam, in order to lessen the effect of “belonging”, it is shown how one who wishes to hide himself in an effort of non-being disappears due to the impossibility of his non-being.

Emile Ajar / Romain Gary’nin Yalan-Roman’ında Kendi Olmanın Olanaksızlığı

Nkouda Sopgui

In German historiography, women’s participation in colonial conquests has long been ignored. In fact, as early as the 1880s, the German female bourgeoisie began to take an interest in the colonies. It was common for bourgeois women to gather within a feminist circle and to accompany the men on colonial expeditions, thus putting the patriarchal origin of the German Empire into question. A woman’s main responsibilities in the colonies included nursing, obstetrics, malaria prevention, and household chores. Participating in colonial enterprise allowed women to avoid experiencing the patriarchy as passive victims, thereby portraying the colonies as possible places for female emancipation. Novels about traveling and colonialism were born out of these women’s journeys. These novels not only describe life in the colonies, but also portray the German feeling of superiority and their mission of civilization. This paper examines the role of German women in colonial conquests through study of the novel In the Land of Promises, by German author Frieda von Bülow. Undoubtedly the best-known female writer in the German colonial movement before the First World War, she became the founder of the German colonial novel. After the unification of Germany in 1871, the national and colonial question formed the foundation of German identity. In the wake of these expansionist movements, German colonialism appears to propagate the Pan-Germanist ideology. In this light, feminist movements are not left out. Women’s writings show the legitimacy of the colonies and how the feminine imperialism contributed to creating the colonial profile of the young nation through their participation in the migration to the colonies. Our contribution focuses on Frieda von Bülow’s colonial novel In the Land of Promises. This paper examines women’s emancipation as a strategy for legitimizing colonialism. It argues that female colonialists hampered contact between male colonizers and indigenous women in order to maintain racial purity. The female subject should be the colonial ruler as a necessary cultural and ideological companion. The dispositive participation of women in colonialism was used to dictate colonial racial politics. Women’s presence in the colonies was intended to legitimize the predominance of the colonial metropolis. Von Bülow’s novel shows that women’s presence in the colonies, which at first might seem to be a form of emancipation coupled with exoticism, in fact led to the legitimization of colonization. As a result, the notions of sex, race, and colony are tightly bound together. Ultimately,&nbsp;the novel shows that women’s participation in the colonial process made it possible to establish a racial order in the colonies. Our investigation of the colonial narrative in the novel focuses on the physical representation of the female subject in the colonial situation. Here, gender, race, and colony are three terms that are linked to produce the cultural differences and racial demarcation of colonial space. The colonies serve as a projection screen in a multilayered way for colonial fantasies and also for the women’s freedom to participate in colonialism. An examination of the problem of the female journey within the German Empire led to our conclusion that many roles were assigned to German women who lived in colonies. Their presence represented sexual morality, purity, and national values. Von Bülow addresses German white women’s power and position meticulously in her writing. Women’s active participation in colonization can be seen as an attempt to establish a hierarchical, racist, white order and to participate as mistresses of colonial subjects within the German expansion.

Weibliche Reise im Deutschen Kaiserreich: Frauenemanzipation und Befürwortung des Kolonialismus in Frieda von Bülows Im Lande der Verheißung

Mehmet Serhan

Modern Greek literature has been nourished by the historical, political and social phenomenon since 1821. The historical, social and political events in Greece after the Second World War prepared a literary ground for Greek writers to use their creativity. As thematic elements, the occupation of Italy in the Second World War, the resistance to this occupation, the famine and the civil war enabled the researchers to classify writers within a certain period as the ‘Generation of 45’. These writers depict not only the events during and after the Second World War in Greece, but they also reflect the literary movements and techniques across the world while continuing the Greek tradition that preceded them. In addition, while clearly reflecting on their works the dilemma brought by the period, they also convey personal and sometimes social opinions in a unique style. The work of theater and novel writer Pavlos Matesis, the subject of this study, was examined by some researchers within the Generation of 45 group. However, these studies were found to be inadequate in terms of academic point of view. This work discusses the place and kinships of Pavlos Matesis in Modern Greek literature and the Generation of 45. Thus, it aims to provide a new and comprehensive contribution to the academic work on Pavlos Matesis. The study attempts to clarify the position and artistic style of Pavlos Matesis via his work Dilsizin Kızı (The Daughter). The story, to some extent far from epic historical narration, explains starkly how and by how much Greek society has been affected by the era of the Second World War. Using a fairly ironic style in his work, Matesis strengthens the structure of the story with rich side characters and depicts a traumatic period and its influence on Greek society. Contrary to a heroic epic, the work reflects Greek suburban culture by setting historical events in the background. However, the most genuine characteristic of the novel is not merely the story, but also the presentation of the story with the elements of post-modernist novel. The tale is told directly in a self-referential and episodic way by a woman protagonist, who turns into an anti-hero with incoherent narration. The protagonist examines the era by showing the tragicomic dilemmas, and the absurdity and the ruthlessness of life and history. Side stories in the novel also create a temporal distortion and ask specific questions of the reader, creating the technique of participation. The theater background of Matesis takes place in the story within the narration of the protagonist, which can be considered as self-referential. In addition, both the notion of nationalism and the concept of ‘other’ in the work were examined, and extent that the events in history changed the notion of ‘other’ was explained with the fictional examples. The study aims to show the characteristics of post-modernist fiction and the artistic style of Pavlos Matesis in his work Dilsizin Kızı (The Daughter). Thus, it was found out that the writer and his work constitutes a paradigm of the Greek prose tradition and a post-modernist fiction that questions nationalism, history and modern age through the perception of an unstable anti-hero.&nbsp;

Pavlos Matesis ve “Dilsizin Kızı” Eserinde Postmodernist Nitelikler, Milliyetçilik ve Öteki

Nina

This article is about two important texts of German expressionism: The Spirit of Utopia and Dawn of Humanity. The Spirit of Utopia was written by Ernst Bloch (1885- 1977), a German philosopher associated with the Frankfurt School of Critical Theory. The Spirit of Utopia was written between 1914 and 1917 and published in 1918. It was then revised by Bloch and appeared in a second edition in 1923. The Spirit of Utopia is considered Bloch’s first important philosophical work. It had a profound and lasting impact on many Frankfurt School thinkers, such as Theodor W. Adorno and Walter Benjamin (the latter was not a member, but, like Bloch, closely associated with the Frankfurt School). The Spirit of Utopia contains all the philosophical questions which preoccupied Bloch throughout his life and which found their most elaborate expression in his main philosophical work The Principle of Hope (1959). Dawn of Humanity is an anthology of German expressionist poetry. It was edited by Kurt Pinthus (1886-1975) and first published in 1919. Its complete title is Dawn of Humanity: Symphony of Most Recent Poetry. It is considered the most representative and influential anthology of German expressionist poetry. Its poems were written between 1910 and 1920. Dawn of Humanity contains poems by both well-known writers, such as Else Lasker-Schüler, Franz Werfel, Gottfried Benn, Johannes R. Becher and Georg Trakl, and by lesser known writers, such as Alfred Wolfenstein, Karl Otten, Kurt Heynicke and Ernst Stadler. As editor and critic, Pinthus was an important and influential advocate of German expressionist literature. Throughout his life he was committed to reconstructing and making accessible to the German reading public the life and work of writers who were persecuted by the Nazis from 1933 to 1945 and whose books were suppressed and destroyed by them. The aim of this article is to explore thematic affinities between The Spirit of Utopia and Dawn of Humanity. This article is divided into three parts: Introduction, main part, and conclusion. The main part is subdivided into three sections: 1. Dawn of Humanity as a symphony and Bloch’s philosophy of music, 2. Social critique in The Spirit of Utopia and selected poems of Dawn of Humanity, 3. Utopian vision in selected poems of Dawn of Humanity and The Spirit of Utopia. The first section deals with the conception of Dawn of Humanity as a symphony and with Bloch’s views on music. Special attention is given to the importance of the so-called humanity melody by Ludwig van Beethoven for Bloch and Pinthus. This section mainly refers to the following texts: Zuvor (Before) and Nach 40 Jahren (After 40 Years) by Kurt Pinthus and&nbsp;Philosophie der Musik (The Philosophy of Music) and Zur Theorie der Musik (About the Theory of Music) by Ernst Bloch. The former texts are prefaces to Dawn of Humanity and were published in 1919 and 1959 respectively. The latter texts constitute two chapters of The Spirit of Utopia. The second section of this article focuses on social critique in The Spirit of Utopia and selected poems of Dawn of Humanity. The poems selected for discussion are: Alfred Wolfenstein’s Städter (City Dwellers) and Das Herz (The Heart), Georg Heym’s Der Krieg (The War) and Karl Otten’s Arbeiter! (Worker!). Special attention is given to the problems of loneliness, isolation, alienation, exploitation and war. The third section attempts to trace utopian vision in selected poems of Dawn of Humanity and The Spirit of Utopia. The poems selected for discussion are: Johannes R. Becher’s Mensch stehe auf (Human, Rise), Kurt Heynicke’s Gethsemane and Ernst Stadler’s Zwiegespräch (Dialogue). The focus of this section is on the concepts of brotherhood, reconciliation, communion, redemption, the cultural heritage and home.

Musik, Gesellschaftskritik und utopische Vision in Menschheitsdämmerung und Geist der Utopie

Francisco Javier

Esin

Proverbios. Aforismos de Lugares Comunes Literarios en Elytis y William Blake

Nedret

Belgelerle İstanbul Üniversitesi Edebiyat Fakültesinde Mülteci Bilim Adamları

Selanik’in İspanya Yahudileri (Yerleşme, Yükseliş, Büyük Yıkım)

Nicola

Narratological studies on “unreliability” are arguably even more relevant in an epoch for which the term post-truth was coined. The topic has indeed generated over the past years a large number of investigations, ranging from philosophical disquisitions on the very definition of “unreliability” to more practical, but not less complex, debates on how to detect an unreliable narrator. Broadly speaking, academic perspectives on the matter can be distinguished into two categories: the “rhetorical approach” and the “cognitivist/constructivist approach” (Shen, 2015). The first considers unreliability as an intrinsic textual property, encoded by the implied author for the implied reader to detect. The second approach focuses instead on the agency of the actual reader, framing unreliability as a subjective product of the interpretive negotiation processes that the reader engages in via a text. Within this theoretical landscape, Ansgar Nünning’s essay “Reconceptualizing Unreliable Narration: Synthesizing Cognitive and Rhetorical Approaches” (2005) seems to represent a turning point. Nünning proposes to combine the two approaches in the conviction that “unreliable narration is not only a structural or semantic aspect of the text but also a phenomenon that involves the conceptual frameworks readers bring to it” (p. 95). Drawing upon his reconceptualization, this paper proposes to adopt his “synthetic” approach as an analytical tool to explore the strategies implemented by the narrator of Agatha Christie’s classic novel The Murder of Roger Ackroyd. The novel arguably constitutes a valid corpus. Dr. Sheppard, the narrator, presents himself as a trustworthy doctor who faithfully writes down the intricate case of his friend’s assassination, Roger Ackroyd. However, under the inescapable pressure exerted by Hercule Poirot’s “little grey cells,” the narrator is forced in the last chapter, written as a sort of suicide note, to disclose the “truth”: he declares himself the actual murderer and openly discusses the narrative strategies that allowed him to “lie” all along. This paper focuses on Dr. Sheppard’s metanarrative hints in the attempt to argue that his concealment strategies signal a substantial parallelism with Nünning’s combined approach, containing both rhetorical and cognitivist elements. To make this argument, the paper divides the analysis of the narrator’s unreliability, based on close readings of the texts, into two sections. The first intends to demonstrate that Dr. Sheppard intervenes on the narration by removing “fragments” of facts, quantitatively limited but qualitatively crucial for successfully encoding in the text his fictitious “reliability.” The second section emphasizes the way Dr. Sheppard seems to consciously craft his own image as a rational, well-mannered country doctor, so as to cast on his narrative voice an aura of respectability that could resonate with the general readers’ socially accepted norms. The paper concludes by noticing that Dr. Sheppard, in order to produce an unreliable narration, seems to have mobilized elements ascribable to both the rhetoric and the cognitivist/constructivist approaches. His self-presentation as a reliable narrator arguably indicates a conception of unreliability as a property textually encoded by an authorial agency and, simultaneously, as a result of an interpretive negotiation between reader and text.

Comment devenir un narrateur non fiable : Le cas du Dr Sheppard dans Le meurtre de Roger Ackroyd d’Agatha Christie

Tarihsel ve Coğrafi Açıdan Tekirdağ ve Çevresi: Kent, Kültür ve Kimlik

Paola

This essay investigates the role of empathy in Kazuo Ishiguro’s work A Pale View of Hills, a novel published in 1982. Empathy —which into our collective conscience seems to play a marginal role —is frequently replaced by mere emotional expressions because they are considered the most effective ways of showing human propensity to comprehend sentimental or rational events. Often confused with compassion, empathy does not require the subject to substitute him/herself for another person’s experiences, thus reducing him/herself to a state of object. But, each individual must be conscious of his/her “qualitative difference” (Nussbaum, 2008, p. 338). As Martha Nussbaum points out “compassion is distinct from empathy, which involves an imaginative reconstruction of the experience of the sufferer” (Ibidem, p. 337). Further, the empathetic relationship requires the subject to maintain the necessary distance between him/herself and the other. He/she has to become conscious that the pain or joy of another person does not belong to him/her. This process is exhaustively described by Nussbaum in Upheavals of Thought. The Intelligence of Emotions in which she delineates empathy as a psychological mechanism: “it involves a participatory enactment of the situation of the sufferer, but is always combined with the awareness that one is not oneself the sufferer” (Ibidem, p. 337). Following Nussbaum’s theory, we may consider Ishiguro’s novel as a way through which he leads the reader to explore in depth the nature of empathy between the protagonists: Etsuko and Sachiko. The story is narrated throughout from Etsuko’s perspective, a mature Japanese woman who emigrated to England together with her second husband. From the beginning of the novel the reader is projected into an unusual atmosphere of gloom and silence. Something hangs in the air. Then, the&nbsp;reader finds out that Etsuko’s eldest daughter, Keiko, committed suicide by hanging herself in her bedroom. Etsuko’s second daughter, Niki, attended the funeral service of her sister, though she had never had any relationship with her. This episode opens important reflections on all experiences that encourage the protagonists —and the reader— to comprehend the emotional situation of the moment, and gives them opportunities to try empathizing with the points of view and needs of the others. Ishiguro seems to undermine the dialogic method by transforming it into a relational dimension and by giving emphasis to individual aspects. Gradually, Etsuko and Sachiko enhance relationships by understanding their own feelings and by empathizing with the feelings of others. Thus, the role of empathy, as the author uses it, is not that of substitution. Ishiguro describes it in terms of projection. The empathetic interaction is the result of words —said and unsaid— as well as of gestures and silence. It manifests itself progressively. The author intertwines the emotional events through the female protagonists and gives them the possibility of sharing a common emotional situation in a non-conflictual way. As already observed, empathy is not built on suffering, but on intensity of feelings, and on profound emotions. It primarily focuses on the events experienced by the characters, giving rise to a narration developed through polarity or opposing pairs: emotional/rational. The characters predominantly involved with emotions are Etsuko and Sachiko; on the contrary, those who are related to rationality are Ogata-San and Jiro. As we might argue, all the experiences the female protagonists share —and lived as fundamental elements of their biographies— focus on what we might call the semantic of emotions, as opposed to rationality established by the male characters Ogata-San and Jiro. They focus, instead, on what might be defined as the grammatology of relations, that is, the connection between the characters based on reason rather than emotions. In fact, they are capable of governing themselves: either when they have to face anger and frustration, or when they lose their certainty or their will diminishes, they resort to the acquired rules. Thus, the ethic of responsibility, the sense of duty, and the respect for existing codes of conduct constitute the habitus of the male universe described in the novel. This becomes a fundamental pedagogic moment through which the author reinforces all the rules which define the start of adulthood into the masculine world. On the contrary, the aforesaid female characters are built on different principles. In fact, the protagonists’ relationship becomes a paradigm for the reader who clearly perceives, through them,&nbsp;their authentic emotional state: they promote in themselves the attitude of openness to diversity, the meeting with the Other. In synthesis, we might argue that Ishiguro’s imaginative construction begins with the observation and analysis of elements of the outer world, and culminates in the psychological, focusing his attention on individuals and their inner conflicts. His work constitutes precisely a combination of fundamental aspects in which impulses are fused with emotions; empathy is the core of the novel, and emotions, as Nussbaum observes: “shape the landscape of [the characters’] mental and social lives” (Ibidem, p. 1).

A Pale View of Hills di Kazuo Ishiguro. Empatia e non detto

Didem

“The truth is poison,” goes a Khmer saying. Between 1975 and 1979, an estimated two million Cambodians were massacred following this “truth” that Khmers called “ideology.” In order to fully grasp the dynamics of this poisonous “truth,” Rithy Panh, a survivor of the Khmer Rouge genocide, focused on the legacy of this regime through the examination of its agents and atrocities. Cinema became the first medium that motivated Panh to revisit this most tragic chapter of Cambodian history. Panh, in his films, personally encounters the persecutors and asks them to speak without being a part of the discourse himself. Elimination (2011) emerges from this silence, the strategy of dissimulation in his cinema. In his book, Panh revisits his experience of encountering the persecutors, while expressing himself by presenting a complete picture of the genocide to the public. This paper aims to examine Panh’s holistic approach, as witness, filmmaker, and writer, in order to communicate the reality of the Cambodian Genocide through narrative and visual strategies. Panh’s consummate discourse stands as a visual-narrative construction, where the fragments of history are broken down to reconstruct the memory of the genocide through a combination of images and words. The first part of this paper addresses the strategies and the generic complexity of Rithy Panh’s cinema and narrative. Panh’s primary objective is to reveal the logic behind such brutal violence. His cinema and narrative are both based on the process of extracting meaning both from the interviews with the persecutors and the visual archives that are omnipresent in his works. However, ethical concerns are present in any representation of immoral figures, since the reader could be unintentionally fascinated or identify him or herself with the represented persona, as suggested also by Charlotte Lacoste’s and Dominique Baqué’s theories. In response to that issue, the paper elaborates upon how Panh manages to balance ethics and aesthetics in his representation of the persecutors. Furthermore, Elimination’s narrative device represents a liminal space, in which the fragments of memory are in a constant combat with the problem of denial and omission of the genocide’s reality. In Panh’s work, the intersection of the narrative discourse, parallel to brutal descriptions of decomposed bodies, is not used to hyperbolize the truth of the genocide, but rather to bring the reader closer to the very nature of human beings. Cathy Caruth, in this sense, is a valuable reference, as&nbsp;she elaborates on the relationship between the juxtaposition of the body members and their function in the narrative discourse. Ultimately, Rithy Panh’s capacity for combining images with words facilitates the process of making meaning of the unspeakable and incomprehensible reality of the Cambodian Genocide. In this sense, his narrative could be viewed as a metadiscourse, in which he is in conversation with his reader. In doing so, his path of understanding transforms into a collective effort, and his progressive reconciliation through the artistic production becomes a shared experience of the humanity of recognizing his own nature.

De l’image à la narration: la reconstruction mémorielle du génocide cambodgien par Rithy Panh

Mediha

This article explores Erich Auerbach’s concept of memory as a method of representing reality – “recovery of lost realities in remembrance” – through a close reading of Virginia Woolf’s novel To the Lighthouse (1927) and Marcel Proust’s novel In Search of Lost Times (1913–1927). In the last chapter of Mimesis: The Representation of Reality in Western Literature, Auerbach demonstrates that use of a first-person narrator, an important characteristic of the modern novel, indicates at the same time a preoccupation with the literary depiction of memory. This study’s goal is to shed light on memory as a form of consciousness; thus memory is “the memorizing consciousness,” comparable to a metaphor of a flash (Benjamin) that enlightens the sub-conscious. Defining Proust’s literary depiction, called by Auerbach “recovery of lost realities,” and by his friend Walter Benjamin “visualization” of memory, an interesting analogy can be noted between Benjamin and Auerbach’s concepts of memory. Both terms assume profound engagement with the past. Hence Auerbach and Benjamin have argued that through such engagement, important historical and social moments are made visible as descriptions of reality – the recovery of lost realities in remembrance. Unsurprisingly, therefore, Auerbach and Benjamin’s perspectives intersect in depicting Proust’s novel as “chronicle of memory.” In “Thesis about History of Philosophy,” Benjamin uses another metaphor for memory, the metaphor of a flash in a “moment of danger.” In “The Brown Stocking,” the last chapter of Mimesis, Auerbach elaborates on stylistic characteristics of modernist novels, for instance, multi-personal representation of consciousness, lack of objective authorial perspective,&nbsp;the problem of space and time in comparison to film. He does this through a phenomenological analysis of Virginia Woolf’s To the Lighthouse and Marcel Proust’s In Search of Lost Times. Auerbach’s methodology of research is comparable to gold digging in the deepest layers of the earth. His phenomenological interpretation of text fragments is prolific because it leads to “recovery of lost realities as remembrance.” Walter Benjamin, who co-translated Proust’s two books of Lost Times in 1926, uses in “The Image of Proust” (1929), the term “remembering author,” that is, one who works on memory through “tight weaving” (strenge Webevorschrift). Thus “the weaving of memory” (Proust’s mémoire involontaire) is the key metaphor for Benjamin. Auerbach concludes his elaboration of modernist novels with a critique of their content. He underlines that modernist authors’ writings are characterized by a “turning away from the practical will to live,” “hatred of culture and civilization, brought out by means of the subtlest stylistic devices which culture and civilization have developed,” “a radical and fanatical urge to destroy,” and an “amorphous sadness, and doubt of life” (487–488). Auerbach’s Mimesis is a book of memory that covers Western literature from the ancient world to the modernist novel in the 20th century. Peter Weiss employs the term mnemosyne (“mother of all arts: called memory”). Searching for the development of a historical memory, in his three-volume novel The Aesthetic of Resistance (1975, 1978, 1981), Weiss has discussed works of art from different ages, beginning with antiquity through to the modernist novel, like Auerbach, as memory. The memory of resistance has the same function as the memory of art, with which an analogy to Benjamin’s “Thesis on the Philosophy of History” is associated. “To articulate the past historically does not mean to recognize it the way it really was. It means to seize hold of a memory as it flashes up at a moment of danger.” (Benjamin 1940/1977, p. 253). For Benjamin, the moment of danger meant the total danger of death throughout Hitler’s regime, which threatened dissidents as well as traditions and cultures. In this way, for Benjamin, memory is equivalent to a flash that enlightens the memorizing consciousness.

Darstellung der Wirklichkeit: Erich Auerbachs Konzept von Erinnerung

Bülent

The great losses, pains, and crises caused by the two world wars, coupled with the technological, political and economic developments in the twentieth century, have turned the world into a meaningless and complicated place for modern people. The novelists and literary critics of the period who dealt with this depressive era of humanity rejected the previous era’s theories of the novel by beginning a search for new forms and criticism methods. Bakhtin, who brought an innovative approach to literary criticism, was one of the literary critics of the aforesaid period. He focuses on the novel genre and introduces new terms such as dialogism, heteroglossia, polyphony and carnivalesque to literary criticism. The reason why Bakhtin concentrated his studies in this field is that, for him, the novel is the only narrative genre that can accommodate the polyphonic and multilingual, multi-layered structure and different discourses together. The novel is seen as a field of conversation that proves the existence of multiple autonomous voices and presents various layers of social language in a dialogical relationship. M. Kundera’s novel Ignorance, which we examine in the light of this theoretical information, claims attention as an important example in terms of both the author’s understanding of the genre and the polyphonic structure that we have mentioned. M. Kundera sees the novel as an area of “possibility” and in his novel he reflects that each character can be his/her own field of existence. The author includes the characters in his fiction as the objects of their own worlds, as carriers of their own discourses, instead of passive characters. Protagonists are reflected as self-conscious characters with their own discourses; they are liberated, non-monotonous individuals out of the control of the writer/narrator. Ignorance is a novel centred on themes such as remembering, forgetting, loneliness, alienation, homelessness, nostalgia and memory. The narrator focuses on the experiences of the two heroes Irena and Josef who go back home after years of&nbsp;enforced migration. However, the novel shows that, in a sense, this homecoming is impossible. Seeing that their habits have changed (Irena) and that they have an estranged relation with their own memory (Josef), they realize how disconnected they are from their past. After years of refugee life, they are now treated as fugitives or foreigners in their homeland. The sense of non-belonging during their lives as refugees also continues when they come to their home country. It is not a simple question of homecoming that the author deals with in his novel. The writer who divides his experiences of exile into the characters of Irena and Josef, considers division, lack of a sense of belonging, alienation and inadmissibility as the basic issues of his work. The narrator narrates the journeys of Irena and Josef, first separately, and then together on three main axes. This shows that the novel is based on multiple mechanisms in terms of its structure. Instead of a chronological single main event, a binary structure is created. At the end of the work, although the two journeys are combined, the reader is presented with the openended conclusion that the protagonists will follow different routes. Although the story is narrated by a third person narrator throughout the novel, he/she occasionally crosses boundaries (metalepsis) and intervenes in the universe of the story. The narrator’s intervention with the narrative also takes place in the shape of commenting, giving information or explaining the results of his observations. Bakhtin considers the modern novel as a superficial place where several different voices (characters), including the voice of the narrator, maintain a sort of dialogism between them. We aim to study the chosen novel by showing its polyphonic structure through multiple points of view. This study aims to analyze Ignorance by the Czech novelist Milan Kundera, one of the important writers of the twentieth century, based on the new concepts that Bakhtin has brought to literary criticism.

Aidiyetsiz Kahramanlar: Milan Kundera’nın Bilmemek Romanında Çoksesli Anlatı

Marco

Women’s sports were quite controversial in 1930s Fascist Italy. On the one hand, the regime promoted them: as Mussolini said in his famous Discorso dell’Ascensione (1927), demography was the key to the Empire. Italy could not have any economic growth or go to war without a demographic increase (on that occasion he said, “If our population decreases, we will never become an Empire, but a colony”). For this reason, the Fascist regime promoted physical education in Italian schools, and all forms of female sport: healthier girls would in time become healthier mothers, who would one day give birth to Mussolini’s future soldiers. Then, after the 1932 Olympic Summer Games (whose 1st place in the medal tally was achieved by the USA, thanks in great part to the outstanding performances of their sportswomen), Fascist Italy had one further reason for promoting women’s sports: during the following Games (Berlin, 1936), Italy would win more medals thanks to its female athletes. For this reason, starting from 1933, there was an increase in the promotion of female sports above all Olympic sports, such as athletics and swimming. Yet a large part of Italian society, led by conservative Catholics, protested such innovative activities and (public) competitions, where the audience would be able to watch young athletes and swimmers in shorts and swimsuits. In 1933, a big controversy broke out between Il Littoriale (sports newspaper, mouthpiece of Fascist sports policy) and L’Osservatore Romano (Vatican newspaper) about “immoral” women’s sportswear. An interesting feature of this controversy was the use, by both Fascists and conservatives, of Classical (both mythological and historical) women, such as Cloelia, the Amazons, Atalanta, and Nausicaa, cited as archetypical figures of sportswomen. Cloelia (an Ancient Roman girl mentioned by Livy, who escaped from her imprisonment during a war against the Etruscans by swimming across the Tiber) was given by Il Littoriale as an example of ancient Italian female virtue (being ancient Rome the ancestor of modern Italy, according to Fascist ideology). Rejecting this historical example, L’Osservatore warned that Il Littoriale should search for more appropriate role models for the new Italy envisioned by Fascism, based on a Christian model rather than a pagan one. Moving to mythical women, the Amazons were depicted as negative models by conservatives: their love for physical activity went hand in hand with their “unnatural” love for war. Italian women should prefer Penelope, the good housewife, instead. The supporters of women’s sports found some archetypical positive figures in Greek mythology, such as Atalanta (as a runner)&nbsp;and Nausicaa (as a ball player). Nausicaa seemed to be the most frequently used and diverse archetype, because she was better suited (more than Cloelia) to the Fascist vision of the future Italian donna nuova “new woman”: she was young, she had a healthy body, she was ready to embrace her “natural” fate (being a mother). Mentioning some other women from the Classics (Artemis as a hunter) and European mythology (Undines as swimmers, or even rowers) and from the Bible (Noah’s wife and daughters-in-law as rowers), this study examines these cultural objects, focusing on their language (lexicon) and iconic aspects. The use of these Classical women seems to be a very interesting 20th century cultural clash between the tradition (humanistic literature and mythology, well-known by everyone in 1930s Italy; the traditional view of Italian women) and the revolution (the Italian sportswoman, a very innovative image for the Italian audience, spread by the Fascist regime for demographic reasons). The corpus used for the analysis is composed of journalistic texts (newspapers and magazines) and a sports novel (La palla della principessa “The Princess’ Ball,” written in 1931 by La Gazzetta dello Sport’s journalist Bruno Roghi), in order to test the spread of these archetypes in 1930s mass media. In order to fix this new image of the sportswoman, the Fascist regime had to find some well-known female figures that could be easily admired by the Italian people. Classical myth was the answer.

Nuotare con Clelia, correre con Atalanta, giocare a palla con Nausicaa: Il riutilizzo di figure classiche nelle polemiche sullo sport femminile nell’Italia fascista degli Anni Trenta

Ioana

In the 1980s, a group of people that French society sent back to the periphery finally took the floor and embarked on the literary world: Mehdi Charef, born in Algeria, arrived at the age of ten in France, published in 1983 his novel Le thé au harem d’Archi Ahmed, becoming a pioneer that other descendants of North African immigrants will subsequently follow in this adventure. For these atypical authors, breaking with the canon, writing has become the chance to become visible, chance that the country where they were born far from the land of their ancestors or which they joined in during their early childhood, never gave them. Thus, individuals from North African immigration (whether «economic» or «political») have seized the opportunity to say all the ill-being that their families who had chosen years earlier to leave the village in search for a dreamed Eldorado and who found themselves marginalized and stigmatized by a society that wanted to keep them away, and subsequently themselves, as heirs to uprooting, have lived and continue to live. In their literary writings, these “intrangers” writers will often give voice to two major types of characters: parents and children. The parents represent the “first generation” immigrants; the fathers arrived first in France; they then brought their wives and children born on the other side of the Mediterranean; they were sure that one day they would go back the other way, but, unfortunately, that return was always postponed until it was lost sight of. The children, for their part, lead their painful lives under the sign of alienation; whether they were born in the Maghreb or in France, they are from nowhere, they are neither entirely Maghrebi nor entirely French, hence an incessant quest for identity that is heartbreaking. These two categories of characters – parents and children – because of their intraor extra-terrestrial origin will have a singular relationship (most of the time) with the village. In our contribution, we propose to analyse the two turning points of this report, namely bleophilia and bleophobia, these responses to exile arising in particular from the status of the characters (parents or children), their connection to the land of the ancestors (birth, childhood, regular stays) and their relationship to the land “host country” (adaptation, rejection, cradle). Without being properly exiled, forced for political, ideological or religious reasons to leave their “matrie”, the protagonists (parents and children) novels from&nbsp;Maghrebian immigration all live a painful, sometimes exhausting, exile experience. Far from their home country or the land of their origin, they generally relate to it in two ways. On the one hand, there are those who remain strongly attached to their homeland or who carry it in their hearts as unalterable inheritance transmitted by their parents; they dream of the great return, which they succeed in accomplishing (sometimes only after their death) or not; they so venerate this distant land that they end up becoming unaware of the passing of time and the transformations (even alterations) that all that has remained there (objects, people) suffered. On the other hand, there are those who, for different reasons, want to erase their memories, who are striving (at all costs) to detach themselves from a stormy past, a hostile country (even enemy) to which nothing connects them except contempt, fear or disgust. To illustrate these two possible resolutions in the face of « exilience » - bledophilia and « bledophobia » - we rely on the novels Méchamment berbère by Minna Sif (1997), Mohand, le harki by Hadjila Kemoum (2003), Kiffe kiffe demain by Faïza Guène (2004), Pieds-Blancs by Houda Rouane (2006) and Un homme, ça ne pleure pas by Faïza Guène (2014).

Blédophilie et blédophobie comme possibles « réponses » à l’exilience

Alberto

The aim of this essay is to first re-evaluate the works and the figure of De Amicis (1846–1908), the author of the famous book for youngsters, Cuore (1886). He was one of the most important Italian intellectuals, able to engage personally in order to give a voice to the problems (for example, in the field of school, army, and social situations) and aspirations of a young nation. Nonetheless, De Amicis has not been given adequate critical consideration on the historical level and is still considered a minor author. However, recently some scholars shown a certain curiosity for some of his writings, “heterodox” with respect to the cliché of the sentimental author who was not well known and not well studied. In addition, he was one of the most well-known Italian authors abroad, and he is currently very studied, especially in France, where many of his works are translated. In this “European” perspective (with openings also to the American world), the analysis of the editorial fortune of Constantinople (1877– 78), a travel book written by De Amicis after a brief stay in the metropolis that occurred in 1874, is exemplary. Initially published in two volumes by the Milanese publisher Treves, the book collects the suggestions of many previous writers, in particular French ones, and therefore, it does not escape the vision that, in many ways, is partial and stereotypical of the East. De Amicis weaves a kind of dialogue with these authors, almost challenging them, but he seeks an original way of trying to involve readers in the shows and sensations in that the city, that traveling on foot everywhere, constantly raises. Constantinople was translated into many languages; it was also published in 1882 in an expensive edition, illustrated by about 200 engravings taken from the drawings of the Italian painter Cesare Biseo. Generally, these illustrations commented on the most significant passages of the book, but they also opened up unprecedented paths into the imagination of the reader, eager to see what the writing was attempting to evoke. The verbal and visual languages created an ideal synthesis that extended the semantic value of the book. The illustrated edition, also soon translated into various languages, therefore contributed to form and to confirm the European imagination of Istanbul, and in general, the Orient. A number of general studies have recently been dedicated to Constantinople. On this occasion, the article is addressed to some specific aspects, starting with an explanation of the dedication made by the author, in which De Amicis warns that Constantinople will be his last travel book. In fact, for De Amicis, Constantinople is a sort of arrival point, and a fundamental test to conquer a new conception of the&nbsp;relationship with travel and writing; it also marks the transition to a more engaged literature that, through various stages, will culminate with the publication of the book On the Ocean (1889), dedicated to the problem of emigration. Focusing on the content of the book, the essay takes into consideration the figure of the traveling companion of De Amicis, the orientalist painter Enrico Junck, who plays an important role in Constantinople by introducing a special sensitivity towards the environment and the landscape, enriching the palette of the writer on the color plane. De Amicis dedicates a poem, and other pages in various texts, to him, confirming the deep bond established with him. Inspired by three people thanked by De Amicis, inhabitants in the European district of Pera (which, in a sense, becomes the main observation point of the city), the article focuses on a curious and unknown commemoration of De Amicis: Il genio del cuore. Commemorando Edmondo De Amicis alla Colonia italiana di Costantinopoli (April 24, 1908); its author is Alarico Buonaiuti, the brother of the famous Ernesto Bonaiuti, one of the most important exponents of Italian modernism. The commemoration is important not only for the place in which it is pronounced but because it clearly marks a point of crisis in the relationship between De Amicis and Italian culture. Indeed, in that time, Italian culture was on the threshold of the futurist revolution that would propose a completely different way of conceiving art and literature.

“La fata dei mille amanti”: Appunti su Costantinopoli di Edmondo De Amicis

Jawad

Real events such as imaginary stories are often a matrix of literary productions, especially in travel stories. The latter describes the author’s autobiographical or fictional journeys, highlighting all the routes covered and the routes explored. However, these journeys embody for a large part literary topoi, reminiscences of reading or aesthetics at work. The act of writing is also a journey in action that transposes the event and virtual scheme of the author/narrator/scripter. This article retraces, in an intertextual approach, the links forged between lived historical elements and virtual journeys transfigured in Amelie Nothomb’s travel story La biographie de la faim (The Biography of Hunger). The author seems to draw from Greek mythological heritage in order to trace the itineraries of her journey. In other words, Amélie Nothomb’s story mobilizes Homeric intertexts in the elaboration of the autobiographical framework in which the imagination mixes with reality This crossexamination between the elements borrowed from Greek mythology and the tests of the author’s life inscribes the author’s creative approach in an intertextual continuum. This poetic journey reveals a passage from the memory of the creator to the significant construction of the reader: we postulate that Amélie Nothomb’s story embodies an interaction between literary reminiscences for the author and the actualization of meaning in the reader, hence the presence of intertextuality between a co-presence relationship on one side and significance on the other. Intertextuality embodies the link that a text has with other texts and that the heterogeneity of it is only an avatar of this intertextual dynamism. Dynamism which often takes the pace of transformation of previous or future texts, it can even function as a mode of transposition of texts. We start with the definition of intertextuality and its relationship to meaning. After this, a sketch of the novel La biographie de la faim, a focus on the different interferences and dialogues with other texts. Our intention to address the issue of reminiscences as an integral part of the memory of literature and the relationship&nbsp;with meaning in our work is to show what is the relational relationship as well explicitly that the intertextual practices are allusive: the rewrites, the misappropriations and even the preliterary writings contain a history, an aesthetics, a philosophy and a position with regard to the literature of a given epoch. Intertextuality, it is necessary –he recalls it sets in motion the literary memory by questioning the unconscious of the empirical object –text –and positions the reading with regard to the historical background by opening the way of meaning. Beyond a psychoanalytic perspective, the unconscious text must be understood as “the product of a writing, but also of a subjective history. Lived and written history, history of writing” (Collot, 1985), which shows its traces in textual relationships. Unless the literary language denies the relationship of the text to the world, to the real or, in short, to the referentiality, the construction of meaning encourages us to project ourselves into memory, and to enhance reading with data relating to literary history and the history of forms. Thus, Antoine Compagnon emphasizes the conflicting relationship between literature and the representation of the world. He denounces the fragility of the anti-mimetic conception of Barthes and the validity, in some respects, of the Aristotelian mimesis by leaving a way for the intertextuality to connect the texts, product of the Semiosis, and the reality of the world – intrinsic given – proper to the reader Amélie Nothomb’s travel story embodies this mediation between the real and the imaginary, between the reminiscences and the meaning and the notion of travel remains a motif that abounds with literary topoi. Amélie Nothomb’s travel story is akin to a literary memorial in its own right, where literature refers to itself. The intertexts in this case crystallize the different anchors of the memory and serve as a relay both between the texts, and between the texts and reality itself. These textual gears embrace cultural, if not intercultural, interactions.

L’intertextualité entre réminiscences et signifiance dans le récit de voyage d’Amélie Nothomb

Emel

‘Childhood,’ by Nathalie Sarraute, is an autobiographical narrative work based on the author’s childhood memories until the age of twelve. Throughout the narrative, the use of two narrative voices in conversation lends the work freshness and originality. One of these voices represents the sound of her childhood, and the other represents a more conscious critique that controls memories and prevents the misinterpretation of facts. Thanks to these two voices, the author who writes her memories in the form of a conversation creates a new autobiographical narrative type by changing the traditional structure of the novel. This text-oriented study attempted to analyze the internal structure of Childhood, published by Nathalie Sarraute at the age of eighty-three by following Paul Ricoeur’s methods of “verification search” (la quête véritative) that makes up the memory and the “cognitive recognition” (le processus cognitif) process. One of the most important pioneers of the New Novel, Sarraute reflects her inner conversations in memory with these two voices in conversation. Sarraute was 83 years old when she published this work and tried to find the memories of her childhood. Her childhood is narrated in two voices by two first-person narrators. The purposes of this study are to indicate that memory does not only consist of memoirs, and to find out how memory and forgetting affect one’s identity and the social status of the main character in Nathalie Sarraute’s Childhood. The narrator recalls the events that she experienced in the past as far back as she can. The narrative is about the memories of a child who has suffers because of her parents’ divorce. The father is sensitive to the child, while the mother is indifferent to her. The narrator, through psychoanalysis, gives place to emotional images in her memoirs. The narrator also combines the results by supporting the points that she does not remember with images and narratives. Memory is not just the recollection of things done and said; it is also a recall of the past as a whole and the application of the past that leads to conclusions today.

Nathalie Sarraute’un Çocukluk Anlatısında Bellek

Zafer

Windows on the World is a novel by French literary critic and novelist Frédéric Beigbeder, in which he, on the surface, narrates the demolition of the World Trade Center in 2001 through the deployment of elements of postmodern fictional thematic and formal peculiarities. Although the novel apparently depicts the destruction of the Twin Towers, it turns out to be the cultural, political, economic, and colonial criticism of world affairs. Through the employment of historiographical metafiction, Frédéric Beigbeder re-writes the globally influential terrorist attack by blending his narrative with such postmodern fictional features as pastiche, nonlinear narration, fragmentation in character, setting and time, paranoia, short circuits, and double-binds. The novel Windows on the World, which oscillates between reality and fiction, portrays the colonial aspect of Western countries and the relationship of the so-called “Third World” countries to these powers that prove to be ambivalent within the discourse of postcolonial criticism. It is highlighted, despite the fact that 9/11 attacks can be fixed at a certain date, and its far-reaching impacts stand out to be recurring, somewhat palimpsestic, which triggers new kinds of terror waging strategies mostly in the form of war on war in the way of proxy wars. Hence, reading the novel in question, within the context of postmodern inclinations and features, as well as paying critical attention to socio-cultural and economic variables that have been mostly molded by the media, provides a productive basin on the grasp of ongoing and/or never-ceasing events after the attacks mentioned in Beigbeder’s narrative. As the study focuses on the discussion of the novel Windows on the World in the context of postmodern features, it does so by including cultural criticism, postmodern thinker or philosophers, and we try to present their arguments. However, since the complete discussion of postmodernism is beyond the scope and objective of this study, the discussion of postmodernism is curtailed in relation to the relevance to the issue at hand. Accordinly, Jean Baudrillard’s concept of simulacra, Jean-François Lyotard’s grand narratives, and petit récits are explained, and a brief mention of antipostmodern arguments are cited as the background to the study. While discussing the novel through the lenses of postmodern literary devices within the particular parenthesis of cultural criticism, irony and humor are seen to be blended with subtle and acute evaluations and judgments. This is particularly at stake when doublebinds, intertextuality, and short circuits, which are postmodern literary devices, the meanings and the functions of which are dealt with in the study, are heavily employed. Beigbeder, who conceives the media as a kind of battlefield, organizes his&nbsp;narrative in the form of a minute by minute presentation of the attack in the form of online broadcasting, which is, reminiscent of newscasts. To add a further dimension to the postmodern narrative techniques, the reality of the novel is constantly fragmented through “insignificant” details, such as the difficulty of parenting at an age when responsibility is perceived as an obstacle to freedom. This suspense-like technique, which is used in movies to maintain mostly the feeling of excitement, is now used as an opportunity to fragment the smooth exposition of the events taking place in the novel. It can be regarded both as a chance to comment on the widespread crisis of culture nurtured by postmodern milieu and as a ramification of fragmentation on a thematic level. In stark contrast to the prescriptive nature of traditional novels, in which the novelist usually had an inclination to order a peremptory conduct to be followed without fail, Beigbeder’s novel proves to be descriptive, which solely ends up with diagnosing the ills of the society. Although Windows on the World, by the French novelist and critic Frédéric Beigbeder, seemingly narrates the 9/11 attacks through its nonlinear and metanarrative discourse, it indeed deals with such cultural variables as family and social structure, the effects of globalism on individuals, and an increasing discontent against the Eurocentric view with a mixture of irony. Thus, discussing and examining the novel in the context of postmodern features by the inclusion of cultural criticism will prove beneficial both for the understanding of the literary stance in question, its literary devices, and ongoing conflicts that broke out after the 9/11 attacks.

Postmodern Ögelerin Bir Geçit Töreni Olarak Kuzey Kulesi 107. Kat

Erdoğan

Melek

Upon researching this subject area, it appears that most studies on speaking education are theoretical studies. These were carried out by teachers who have many years of experience. The next thing to determine is how best to teach this language skill, which is prioritized and centralized with a communicative approach (learnercentered) (Galisson, 1980) and described as an actor in today’s action-oriented approach (Conseil de l’Europe, 2001). According to Pallotti (2002), a language teaching class in an educational institution is a communication medium in which students and teacher interact. All rules in this medium are generally defined in accordance with some protocols predetermined by institutions. In this agreement, called the “didactic contract”, what, when, how, when and for how long the student will learn in reality is generally implicit. In this case, we must clarify the existing contract, which defines the “rules of the game”, by redefining it as a “didactic contract” to create awareness about the contract’s emphasis on cooperation. On the other hand, Weiss (1979) argues that students’ linguistic needs must be taken into consideration during the language teaching process. From this point of view, one may think that students must have a say in how they are taught the fundamental language skills. This study aims to analyze prospective French language teachers’ views on how speaking should be taught in the teaching of French as a foreign language. The study uses a qualitative approach and is structured with the case study pattern. It was carried out with the participation of 62 volunteers of 120 students from all grade levels, who study at the Department of French Language Teaching of the Faculty of Education at Bursa Uludağ University, at the end of the Fall 2011-2012 semester. The data was gathered from a survey with semi-structured, open-ended questions prepared by the researchers. The Google Docs link for the survey was sent to the students who were notified in advance by electronic mail via the Uludağ University Institutional, Educational and Research Governance System (UKEY). Students were asked to answer in Turkish after being reminded that their feedback as prospective teachers is vital for improving the current teacher training program. The participants submitted their answers within a 17-day period, from October 30, 2019 to November 17, 2019. The researcher downloaded the data as an e-Table (Excel). The data were then transferred into separate Word documents. The answers were labeled from “S1” to “S62” using the abbreviation “S” for Student. The data was analyzed with the content analysis method. The results were grouped into three sections - the expectations from the instructor, activities and materials. The participants’ top three expectations from the instructor were student-centered teaching (f=11), native speaker instructors (f=9), banning students from speaking Turkish (f=6) and correction of speaking mistakes and feedback (f=6). The highest ranking activities were dialogs (f=19), group work (f=7), drama/improvised plays (f=7), one-on-one practice with native speakers (f=6), role-playing everyday situations (f=6) and Q&amp;A (f=6). Only one participant stated that visual teaching materials should be actively used in the classroom by augmenting these materials with text in speaking skills teaching. For the expectations from instructor section, the results show that studentcentered teaching is the top priority of the students. The focus of student-centered teaching in speaking skills education is promoting students to communicate. One of the most important factors in reaching a certain level of fluency in a language skill is learners’ participation in activities, in which s/he is active, throughout the whole process. One aspect that affects students’ participation is the motivation of their instructors. The students become more eager to communicate when motivated. To support speaking skills step by step, the curriculum can be changed to reflect things that the learners may encounter in their daily lives (Nation &amp; Newton, 2008, p. 17). As the communicative method is a requirement for European language studies, all present activities for foreign language teaching and learning must comply with the communicative approach (İşisağ &amp; Demirel, 2010). Also, the students’ suggestion of banning students from speaking Turkish in the classroom is supported by Guthrie’s (1984) idea that teachers can yield optimal results in a classroom (cite par Savignon, 1991, p. 271) by speaking only in the language of instruction. It was determined that the participants wished to discuss movies as part of speaking skills teaching. The students need preparation that engages their listening and watching skills to improve their speaking skills. Lewis (2002, p. 42) states that teachers can support classes with interesting reading materials, show video examples or invite native speakers to authentically improve students’ language skills. In conclusion, taking the “didactic contract”, and an action-oriented approach while respecting the learners’ speaking skills is a more appropriate means of meeting learners’ needs/expectations in speaking skills education.

Opinions et suggestions des futurs enseignants de Français langue étrangère (FLE) sur l’enseignement de la compétence orale en français : L’exemple de l’Université Uludağ de Bursa

Sinan

Instructor

For many scholars, the 18th century is considered to belong to the genre of novel; but during those years, tragedies were also written with the intention to define the 18th-century English identity and qualities. Therefore, by examining Addison’s Cato. A Tragedy. By Mr. Addison. Without the Love Scenes (1764) (Latin version) and Lillo’s The London Merchant (1731), this article analyzes the masculine characteristics of 18thcentury tragedies as part of the English identity, while investigating the reasons why love scenes were attacked during this period. There is an array of important themes in Cato that could be reinterpreted as a play; nonetheless, this article focuses on another version of Cato, which was published in 1764, in Latin, under the title Cato. A Tragedy. By Mr. Addison. Without The Love Scenes. One of the reasons behind editing Cato by eliminating love scenes stems from the assumption that society, at that time, undervalued love and dismissed any representation of it on stage. Harmonious with the Puritan code of ethics, cultural perceptions of the 18th century render love and any type of passion provoked by it as being sinful. To purify a play from its “sinful” content and restore it to its mission of safeguarding morality and providing absolution, no trace of femininity was used. The London Merchant is taken from a ballad, which tells the unfortunate tale of an apprentice, George Barnwell, who is seduced by Millwood, and, as a result, steals money from his master and kills his uncle. Barnwell ending up at the gallows must have hit a particular nerve that drove Lillo to write a play on the subject. Lillo, however, wove the tragic events around the heralding news of the middle class. In his dedication, he submitted his sincerest respect to Sir John Eyles, who was a Member of Parliament and the sub-governor of the South Sea Company. Characteristically, the play transformed into a eulogy of the character Thorowgood, who was a renowned representative of the middle class and a virtuous portrait of a businessman. While delineating the plight of the apprentice, Lillo portrayed Millwood as an evil character whose femininity seemed to be the driving force for such hazardous business. Millwood was used as a scapegoat to criticize the passions of the time, consciously or unconsciously ostracizing negative feminine values. Lillo enriched the ballad’s limited story by adding the obedient and virtuous Maria as Thorowgood’s daughter, who presented the untainted woman desperately craved by masculine forces. By empowering men and subjugating women, plays were able to portray a masculine and strong Britain. The removal of women from tragedies is due to the fact&nbsp;that tragedies were somewhat out of favor during this era. Hence, excluding female characters can be seen as a playwright’s way of saving the tragedy genre. Although Cato and The London Merchant are completely different plays in terms of setting, period, and messages conveyed, the most remarkable similarity between the two of them is their influence and success in their respective eras. Many tragedies fell out of favor but these two plays became a hit, which was highly unexpected. The reason behind their triumph can be traced to their historical context; evidently, both the plays are pioneering as they contain noteworthy observations of the social, historical, and economic conditions of the 18th century. Despite the textual perplexities, the audience welcomed these plays, primarily due to the ideas they conveyed. In spite of increasing female influence in political and social culture, love, often associated with feminine qualities, was belittled in private domains. Therefore, the concept of love was neglected, undervalued, or dismissed, with playwrights rather offering patriotic or capitalist virtues as a substitute to the idea of love. With this, their plays would have no trace of sentiment, which was considered to be the reason behind the decline of tragedies, and will thus be appropriate for public appreciation. Sublimation of male protagonists as the sole source of virtue enabled playwrights to convey a moral message of caution against women. While reinforcing the idea with renderings from religious texts and constant biblical references, tragedies turned into a device of masculine empowerment to propagate phallocentric values. Perhaps intending to be show a different outcome, Addison and Lillo ultimately contributed to the creation of masculine characters in modern tragedies.

Joseph Addison’un Cato ve George Lillo’nun Londralı Tüccar Eserlerinde Tragedyanın Maskülenleşmesi

Lydia

Hakim

Our orientations for the present contribution are based on the observation made by Castelloti and Moore (2002) that the choice to learn or even to study a language would depend on the representations existing in a given social group, relative to the Other, its culture and language. In other words, the more the subject constructs a positive mental image of a language and its related culture, the more it expresses the interest of learning that language to the point of being its object of study once at the university. In order to follow the path of our reflections and to verify this hypothesis on our sample, to release the socio-cultural representations of the students is a primordial step. Sociocultural representations are in fact a system of perceptions or mental images that an individual has in relation to a socio-cultural group that does not have the same culture as himself. In other words, who does not necessarily have the same standards, the same values or the same way of life as him. Thus, we asked ourselves, first of all, about the way students think about the target culture that relates to their language of study. Then, we sought to find out to what extent socio-cultural representations can determine the choice of a foreign language as an object of study at the university. We stipulated that students would have stereotypical representations of the culture of the Other; and that socio-cultural representations of each foreign language would be at the center of the factors determining the choice to study a particular language. To verify our hypotheses, a survey was carried out by means of questionnaires administered at the faculty of foreign languages of Algiers 2, with first-year students License of each stream taught namely, French, English, German, Spanish and Italian. The questionnaire is divided into two parts that answer our two hypotheses respectively. The first is a word association activity: it asked to quote in a very limited time the first five (05) words that come to mind when mentioning the name of the country (relative to their language of study) and the inhabitants of this same country. The second instruction&nbsp;aims to determine the criteria for choosing the language of the interviewee (why does he choose to study a particular language?); the latter is called to rate from 1 to 5, in order of importance, some selection criteria that we had selected, based on those proposed by L. Dabène (1997). The results of our research revealed that beyond the variability of the respondents’ representations about the target culture, the latter do not escape the phenomenon of stereotyping, these caricature images, either positive or negative, that we have, as a person or a social group, based on an exaggerated and rigid simplification of real or supposed characteristics. Indeed, by analyzing the responses of the students interviewed, many stereotypes were identified as « blond » or « arrogant » for the French, or the image of Spain was stereotyped by « the holidays » or « Flamenco ». All this tends to confirm our first hypothesis concerning the socio-cultural representations of students. In addition, we were able to observe the impact of these representations on the origin of the choice of the language of study of the students surveyed. Indeed, foreign language students largely choose to study a particular language based on a few criteria of appreciation relating to was is social, cultural, economic, epistemology and emotional. As Dabène (1979) points out, the choice of the language of study is based on a certain number of criteria of appreciation united, according to her, under the name of the « informal status of languages » (Dabène, 1994) composed of a set of strongly stereotyped representations that a community attributes to it. As such, we support the hypothesis that the choice of a language as object of study in the university space would depend heavily on images of the country of origin of the language and its inhabitants.

L’influence des représentations socioculturelles sur le choix d’étude des étudiants de langues étrangères - Cas de l’Université d’Alger 2 - Algérie

Martina

Till Dembeck / Rolf Parr (Hrsg.): Literatur und Mehrsprachigkeit. Ein Handbuch

Sifei

Across cultures, a particular case of ambiguity in languages would be jokes, especially word jokes, which feature multiple use of the same material and the use of similar/identical sounding words of varying meaning. “Xiehouyu”, a kind of Chinese proverb created by Chinese working people since ancient times, can also be regarded as a joke due to their similar features. In light of this, an investigation into Xiehouyu could lead us to Sigmund Freud’s theories based on his joke research. This paper explores the ambiguity of Xiehouyu from the rhetorical and psychical aspects, based mainly on Jokes and Their Relation to the Unconscious by Freud. Xiehouyu consists of two parts. The former segment serves as a riddle for the addressee, the latter part acts as the answer. In a conversation one would often only state the first part, expecting the listener to grasp the true meaning of the sentence by himself. Xiehouyu falls into two main categories: Xiehouyu with multiple use of the same material and Sound-Xiehouyu. Jokes with “multiple use of the same material” are of two types: the actual ambiguity and the ambiguity containing factual and metaphorical meaning. We can categorize Xiehouyu in a similar method. A case of the “actual ambiguity” is: A snail attends a party – an unexpected visitor (蜗牛snail 赴宴attend a party —— 不 not 速speedy/invited 之客visitor). The most common meaning of the word “速” is “speedy”. However, as in this context “速” can also mean invited, the “slow snail” here also serves as a metaphor for “unexpected visitor”. The next example is a piece of Xiehouyu regarding the ambiguity containing factual and metaphorical meaning:&nbsp;Eunuch in the palace – no descendant. In addition to its literal meaning, this sentence implies that there is no successor to whom the master can pass on his skill. Sound-Xiehouyu is similar to sound jokes, which contain words that are different in meaning but are pronounced the same. Confucius – a loafer (孔夫子Confucius—— 大great 贤wise/闲leisured 人man) is a particularly good example showing the pleasure effect due to the sharp contrast between the meaning of two homophones. “贤(wise)” and “闲(leisured)” have the identical pronunciation of “xian”. Therefore, both “a very wise man” and “a very leisured man” are pronounced “da xian ren” in Chinese. The fun of Sound-Xiehouyu lies in the way one speaks it, rather than its linguistic form. Similar to the type of “actual ambiguity”, the real thoughts of the speaker need to be understood in context. An intriguing point about Xiehouyu is that within certain contexts, it is able to express double meanings without changing its wording (modification), through which any word replacement and explanation are spared. In this process, as one sees no modification of the linguistic form but its contrasted perceived meanings, the psychical expenditure in terms of inhibition and suppression would be economized to a greater extent, which according to Freud is crucial to the mechanism of pleasure. Freud also proposes that to maximize the feeling of pleasure of a joke, in addition to the first person (the speaker) and the third person (the listener), we still need a second person who acts as the cause of the laughter, so that the psychical energy of the two persons is allowed free discharge. The second person, that is, the object of the ridicule, should ideally not be present. Since many phrases of Xiehouyu are used as irony or mockery, and do not refer to the listener, but to an absent person, the psychical analysis in jokes telling applies to the case of Xiehouyu: if the addressee has a close connection with the person mentioned, he will hear no joke, but invective. Only when the addressee is not a friend of the joke target and to some degree shows the indifference, will a Xiehouyu be a good joke to him. Over time, many old phrases of Xiehouyu have gone out of use, while new ones have continuously emerged in the course of industrialization and globalization. Consequently, modern Xiehouyu and western jokes share more similarities in content and logic than before, making it easier for people with different cultural backgrounds to understand each other’s jokes.

Die Ambiguität des Chinesischen Witzes „Xiehouyu“: Eine Untersuchung Basiert auf Sigmund Freuds Witztheorien

Zouheir

Islam und Orient im Bild der Presse: Zur Suggestivkraft multimodaler Berichterstattung

Larisa

Reflection of the Time Model Through German Derivational Structures

For centuries, language has been a means of expressing people’s feelings and thoughts, naming concepts they see and communicating with other people. Language is a necessity for human life living in a community because one wants to communicate with other people and convey to them what they feel. Therefore, the history of language is as old as human history. It is known that there are many living and inanimate beings that have been discovered in the universe, as well as elements being discovered. Every object and every being should be defined by a word in a proper way in terms of apprehensiveness and ability to be conceived in people’s minds. However, the words to describe them are so limited that it is very difficult to find a root specific to each object in a language. Therefore, at least some objects that are close to each other or connected to one another generally have meaning in words derived from a particular root. New word stems can be created with affixes, provided that no changes are made to the previously existing roots. In other words, existing roots can be expanded with different language elements. From this point of view, although they do not have a meaning on their own, it is revealed that affixes which take on the task of producing meaning by merging with the roots, are elements of language that constitute a very important place in obtaining new words. The need for new vocabulary has been provided for with affixes which are usually extremely practical. A word derived in accordance with the rules of the construction of affixes creates the feeling of that word having seemed to exist for a long time in the language and of it never seeming odd. However, words that are not derived according to the rules and conditions are odd or constitute a structure that contradicts with the logic of the language. The derived word should appear spontaneous and natural in the language. In every period of a language, new words may be needed due to various needs, and some words may fall into disuse depending on changing conditions. Creating new words by forming groups of words is one of the ways of producing a lexical item. This means creating a phrase from the existing words in the language. This is a very natural way for language to have meaning for new concepts. The new concept could also be expressed by a phrase rather than just one word. When the Polish language cannot find a way to derive a word that corresponds to these concepts, objects, discoveries, inventions and terms, it has to borrow that word. Getting foreign words is easy, but it is not suitable for the language. But the language in which new things, new concepts, terms, and tools are invented, carries some of its own words into every language. Along with developments and discoveries in foreign languages, many words reach each language in this way, whether it is intentional or not. Today’s highly advanced communication technology has greatly increased this possibility. While assigning tasks to words in a sentence and deriving new words from them, derivational affix is a priority. Derivational affixes are followed by inflections. Derivation and inflection are at the center of Polish grammar and these concepts are among the basic elements in the functioning of a language. The ending of a word is where the grammatical features of that word are displayed. Inflection discloses the existence of multiple word forms, and most of the time participates in the sentence with a grammatical purpose, and plays an important role in both morphology and syntax. Derivation means making new words with an affix. Within the scope of the study, we first sought the answer to the question of what a word is, and then we examined various ways of word derivation.

Lehçede Söz Türetme Yöntemlerine Genel Bir Bakış

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Elizabeth

Rethinking the Man in Black: The Unconscious as a Mechanism in El cuarto de atrás

Attila

Since 2015 the migration crisis in Europe has posed new political, economic and security challenges for the European Union, particularly for the countries concerned. At the same time, a versatile discourse has emerged which has become visible to the public especially at the level of vocabulary, e.g. in the form of political catchwords as well as multi-word exegeses. These are characteristics of a dynamic discourse, but also signs of continuous linguistic change. This article deals with the problem of linguistic innovation against the background of the current migration crisis. The focus is on the question of how such a complex phenomenon as the refugee crisis is taken up linguistically in public discourse and what sort of changes it initiates. Empirical analyses are based on corpus containing texts from the ‘Frankfurter Allgemeine Zeitung’ and the ‘Süddeutsche Zeitung’ from 01/01/2015 to 28/02/2016. These newspaper articles come from the field of politics and include reports, short news items and reportages. After a brief discussion of the topic and the concept specification of discourse for the purposes of contribution, the theoretical part deals with the connection between issues and changes in society and their reflections in the discourse. In this context, the concepts “upheaval” and “innovation” are clarified. Subsequently, the question of which factors are to be considered in the treatment of linguistic innovation against the background of the refugee discourse is dealt with in detail. Although migration and immigration have been the subject of semantic analysis within German linguistics since the 1990s at the latest (see Niehr &amp; Böke 2000), the refugee debate discussed here takes place in a fundamentally different environment, with aspects such as politics, economics, security, culture and religion being addressed in a particularly diverse way in public discourse. At both transnational (EU) and national level (Germany, Austria, etc.) attempts to cope with the refugee crisis within a regulated framework have resulted in a series of short-term and long-term solutions and at the same time in a polyphony of discourse. This is based on pre-discursive concepts, the so-called topoi (see Wengeler 2003) which at the same time, fundamentally determine the world view and the perception of the respective society. The starting point for the empirical analysis is the so-called discourse-analytical multi-level model by Spitzmüller and Warnke (2011). This is a research program that&nbsp;provides the linguist with an inventory of procedures for analysing discourse at the levels of intertextual and transtextual relations as well as discourse actors. The research interest here is on the lexical level, with other aspects of the discourse not being dealt with here. The empirical analysis refers to two areas: new formations in the discourse vocabulary and allusions that appear in article headings. Traces of linguistic innovation can be found in both areas. Regarding the vocabulary, composites are of primary importance here. The lexemes “asylum” and “refugee” prove to be particularly fruitful, both as determinants and as basic words. However, some of the composites identified must be regarded as ad hoc formations, whose status can only be assessed over a longer period of time, i.e. from a diachronic perspective. For this reason, they are initially regarded as markers of short-term linguistic innovation, but not of longterm linguistic change. Allusions are means of creating interaction between author and reader, producing new knowledge in a creative and innovative way. Their functional principle is explained here using the example of the world-famous statement by the Federal Chancellor Wir schaffen das. The individual variations make it clear that even minimal changes in the original expression open new dimensions and enable the expression of different attitudes. The moment of linguistic innovation is particularly great here as the connection between the familiar and the new is unexpectedly established. The successful decoding of the message requires a certain level of education on the part of the reader, whereby this “playful” nature of allusions also create a space for the respective author to express himself on topics that are classified as ”hot” in society. The refugee discourse is considered as a particularly sensitive topic which is taken up quite differently by public language usage in individual areas. The linguistic innovation described here is based on some empirical examples and therefore regarded on the one hand as a symptom of the dynamics at the lexical level, insofar as the high number of new formations reflects a rapidly changing political-public climate. On the other hand, references can be treated as means of expressing different opinions and positions, rather than expressing them in a coded message.

Sprachliche Innovation im deutschen Migrationsdiskurs

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İstanbul Üniversitesi, Edebiyat Fakültesi, Batı Dilleri ve Edebiyatları Bölümü’nün yayını olan ve  1954 yılında kurulan Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi, açık erişimli, çift taraflı kör hakemlik ilkeli, yılda iki kere Haziran ve Aralık aylarında yayınlanan, çok dilli bilimsel bir dergidir.

Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi, esas olarak edebiyat, sanat ve kültür alanlarına ilişkin konuların incelendiği, araştırıldığı entelektüel  bir platform sağlar. Derginin amacı edebi ve kültürel çalışmalara ilişkin teorik ve eleştirel makaleler yayınlamaktır. Batı dilleri, edebiyatları ve kültürleri ilgili tartışmaları merkeze alan multidisipliner yaklaşımlara açıktır. Derginin hedef kitlesini akademisyenler, araştırmacılar, lisansüstü öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz. Açık Erişim İlkesi ve Telif Hakkında bilgi için: http://litera.istanbul.edu.tr/tr/content/hakkimizda/acik-erisim-ilkesi

Litera yılda iki kere, Mayıs ve Kasım aylarında, bir aylık süre boyunca makale alımı  yapar. Makale gönderim sürecinin bitişini takip eden bir ay boyunca gönderiler toplu şekilde yayın kurulu tarafından ön incelemeye tabi tutulur ve dergi yayın ilkelerine uygun bulunan makaleler için değerlendirme süreci başlar.

Litera tezden üretilmiş veya tam metni yayınlanmış bildirilerden oluşan makaleleri, bir başka yayın organının değerlendirme sürecinde olan makaleleri, sadece bir kuramı açıklayan ve edebiyata odaklanmayan, kuramsal bakış açısı ile sınırlı kalan çalışmaları, yazıldığı dilin kuralları açısından sorunlu olan, dergi yazım kurallarına ve  biçimsel kurallara uygun hazırlanmamış ve benzerlik oranı (alıntı oranı) %10 üzerinde olan makaleleri veya daha önce dergimize başvurup değerlendirme sürecine kabul almayan ve sonraki makale kabul dönemlerinde yeniden yüklenen makaleleri değerlendirme sürecine kabul etmemektedir.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                               

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Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi

CİLT 25, SAYI 2, 2012

Sexisme Dans Les Anglicismes

Un viaggio in india: L'odore di pasolini e L'idea di moravia

Relaciones entre el orden y el desorden de secuencias y cronologia en Pedro Paramo

El viaje divert/do de Carmen Laforet. El viaje como aprendizaje y transito hacia lamadurez

Gabriel Garcia Marquez ve Kokuların İmgelemi

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