Fahriye

Surviving the Oppression in the Time of the Troubles: Anna Burns’s Milkman

Ayşe

Assist. Prof.

Gender, Animals, and Gaskell’s Cousin Phillis

Hediye

Disguised Subjugation as Education: Colonial and Maternal Pedagogy in Jamaica Kincaid’s Lucy

Roxana

The Rule of the Three, the “third force”, and The Quiet American

Önder

Immigrants as ‘Others’ of 21st Century Britain: Ethnicity, Culturo-Religious Identity and Critical Race Theory in Rachel De-lahay’s Social RealistPolitical Theatre

Sukhdev

Teleological Trajectory of Subjection: A Critique of Marlovian Heroes

Şafak

Res. Assist.

“Light Verse Can Be Serious” in the Songs of W. H. Auden

Prof.

This study aims to analyze the protagonist of the novel titled Kumru ile Kumru by Tahsin Yücel from a semiotics perspective. However, the research is limited to subjectobject relations and subject types.In the narration, Kumru is not defined by subject features because she cannot have a will on anything until she is married. When she realizes that she does not want the person she is married to, she realizes her will. Kumru, who went from her father’s rule to her husband’s rule, and became a dependent empty subject. As dowry, she requests private objects: by obtaining ten new underwear, she also obtains her position on the dependent request subject of her own volition. Kumru comes to İstanbul as an empty subject. With her husband’s imposition, she starts to go to other’s people houses as a cleaner with the dependent request subject and she sees other people, other objects, and special areas. Kumru is affected by only Mrs. Tuna and her refrigerator. The purpose of achieving the value object that turns into a passion changes her. With the placement of the refrigerator in the concierge’s apartment in the basement, Kumru’s object moved from confidential space to private space. Even if it is not mutual, Pehlivan gradually falls in love with his wife and his dominance over his wife is lifted. Thus, the positions changed to the dominant independent request subject, which increasingly feels free, becomes Kumru. The one who is dominated becomes her husband who also becomes the dependent request subject. Kumru is far removed from her husband’s feelings and thoughts that made her the empty subject. Kumru, inadvertently objectifies and devalues her husband whom she considers an empty subject, by comparing her husband to the refrigerator which she is now starting to lose her attention in. Pehlivan’s unexpected rise is embodied by the move from their concierge apartment in the basement to the apartment overlooking the Bosporus. This spatial vertical rise seems to be a symbol of the transition from poverty to wealth, from cleaner to the lady.This sudden change in the life of Pehlivan and Kumru leads to increasingly hostile actions from the doormen and their spouses in the neighborhood. Even though when she was the concierge’s wife, she was always an outsider in that world, Kumru increasingly feels lonely and cuts off from that world.The television eventually transforms her once again, giving Kumru two new objects to reach. She learns how to read and write first as she cannot use this tool as an information object because she does not understand what she reads. It is the first time that she realizes ignorance has made her a dependent request subject. Kumru is a Dependent Separation Subject in terms of the information object. Her second object is the car. Kumru, who never loses the feature to become an Independent Request Subject, becomes the owner of the car without any effort, without dreaming too much, and also learns how to drive. Unlike confidential and private space objects, the car is seen on the street where those who are hostile to them live. Pehlivan is killed by doormen and children whose hostility rose after the violent behavior of Pehlivan.&nbsp;She lost her last object when she lost Pehlivan, who had been with him since she got married, It is like that he seemed to be there, his existence came naturally. She loses her subject position once again because there is no value object left to replace her husband. The fact that she constantly mixes the truth with the dream, and her consciousness cannot turn to a particular object shows that Kumru is no longer in the subject position. Without being able to perceive danger like she will in a dream, she steps on the gas pedal and falls from the sky to the creek at a terrible speed.Kumru ile Kumru is a sad story of a young woman whose will made her subject but could exist with value objects. She is a person without a life and whose life process is composed of step-by-step objects for her. The Request Subject Kumru’s relationship with objects always fits the same line: dreaming, persuading her husband, getting bored, being depressed, turning to a new value object. Kumru as a desire subject, never desires knowledge. Kumru as an acquirer of value objects always becomes stronger, always transforms. But when Pehlivan, the dependent request subject that allows her to obtain these objects, disappears, Kumru enters the process of extinction. She only recognizes the existence of her objectified husband, who has always been there for her. She is not able to find an object to replace him, and has no will, desire, knowledge, or power anymore.

Bir Tutku Öznesi Olarak Kumru

Selin

With the acceptance of various methods offered by the sciences, such as phenomenology and the theory of signs, and the methods proposed by linguistics and semiotics in literature research after structuralism; the field of literary research is no longer object-oriented. Instead, it focuses on the subject and it has shown transformation in an uninterrupted process. In this regard, it is not only important to understand the meaning of the subject, but also two additional subjects, as markers of the utterances in the narrative discourse. Known as “temporality” and “spatiality”, they no longer anchor the text to a place and time, and have no function other than creating a perception of reality.When examining previous research on literary space, objective methods, such as geocriticism and spatial semiotics emerge, and they are scientifically based on analysis and not on interpretation. According to Bertrand Westphal, who is the main figure in geocriticism, multi-layered and space-centered geocritical literature places the space at the center, instead of the subject perceiving the space. Conversely, spatial semiotics aims to determine the meaning of the narrated, represented, fictive, or real space when it comes to literary space, which is different from architecture and urban studies. In this process, the transference of the observing subject is in the primary position because in semiotic method-based readings, the space in the subject’s field of existence, which transforms the subject from the observer to the sensing subject or cognitive subject, is examined.The traveling writer, who assumes the role of the observer in his/her narration, aims to transform the discourse from objectivity to subjectivity by freeing the representation of the space from the monopoly of observation (i.e., seeing). Its purpose is not only to observe the space, but also to experience it by placing it at the center. In other words, it means experiencing it from a “native” perspective. In this regard, Istanbul, one of the spaces in the Journey to the Orient by Gérard de Nerval, is no longer far, but is near, since he (i.e., the subject) places himself inside/ and not outside of this space.When a semiotic reading is created, spatial semiotics prioritizes the perceptions of the observer or subject, especially since it addresses the relationship between subject/ space, rather than placing the literary space at the center. In addition to cognitive and practical processes, the importance of aesthetic systems is based on the principle of placing priority on perceptions. Again, Istanbul, which Nerval presents as a “mystical,” “mysterious,” “dazzling,” and “magical” space, can be described in line with these principles.Through his words, Nerval takes the discourse of “the city that gives pleasure and sweet dreams” from the objectivity of the canonical travel discourse, and transforms it into a space between reality and imagination. This feature can be clearly seen in the spatial use of imaginary words, such as “mirage,” “dazzling,” and “daydream,” and words that fall into the realm of broken reality. Due to this feature, Said placed Nerval in a different place among 19th century travelers within the framework of Orientalism. He also mentioned that Nerval’s space was not a coded, reduced, and ciphered one, but rather an Orient that was experienced as a space full of possibilities in the plane of aesthetics and imagination.Furthermore, Istanbul plays different roles in the narrative. For example, the city, whose representation as a system of opposing values, changes the functions of the subject as well as the aesthetic effects on the perceiving subject, thus causing the perspective to shift between the two aspects. This difference then allows the reader to easily pass between the temporal and spatial layers of the narrative, and adopt the subjective perception of the narrator.Finally, Gérard de Nerval does not choose between reality and imagination in Istanbul, but presents both as values of the city. It is as if the imaginary melts into reality, and reality takes its aesthetic value from the imaginary. Therefore, from the poetry of its cemeteries to the brightness of its nights, and from the harsh reality of the strict rules imposed by the geography and society based on Oriental mysticism, Istanbul appears as a system of opposing values for Nerval.

Düşsel ve Gerçek Arasında Doğu’da Seyahat’i Okumak

Esra Başak

Simone de Beauvoir, as a French writer and feminist philosopher, is a figure who deeply influenced the philosophical, literary and intellectual life of the twentieth century. The Second Sex, written by her in 1949, has not only had an impact on the feminist theory in the second half of the century but has also been at the focus of modern feminist critics, literary, social and cultural studies. The book, dealing with the foundation of the gender problem in social, cultural, historical aspects, had further awaken the interest of feminist philosophers (Betty Friedan, Gloria Steinem, Kate Millett, Luce Irigaray, Julia Kristeva, Hélène Cixous, Judith Butler, etc.).&nbsp;The feminist movement could be considered in three distinct phases. In the first phase, feminists claim the equality, and in the second phase, the difference. According to the second wave feminism developed in 1960s that claims the difference among sexes, sexual differences are not differences developed by patriarchate but rather oppressed by them. They question the hegemony of the phallocratic approach in the symbolic system and the power relations beyond language on the sexes. In the third phase, feminists perceive the sexual difference as a point of convergence, and they do not consider the gender roles excerpt from other identity forms. They take into account sexual difference as an existential aspect embodied in other forms of differences such as ethnic, religious, etc. In this context, Simone de Beauvoir has a point of view according to which the equality among sexes is the base of woman freedom. She claimed equality among the differences, therefore, she had a great impact on the second and third wave feminist movements in the conceptualisation of gender roles.In this context, we will analyse the experiences of Simone de Beauvoir in order to decipher the patriarchal mentality described in The Second Sex, to develop the selfconsciousness and the existential awareness of the woman who had been defined as the other by men who occupy the position of the absolute. The aim is to respond the questions above:&nbsp;&nbsp;- How does Simone de Beauvoir analyse the question of woman in The Second Sex? - How does Simone de Beauvoir approach the immanent position of woman? - How the drama of woman deprived of means to construct herself as an essential being in social, cultural and historical dimensions against the man who has all kind of instruments in the dialectics of immanence and transcendence is defined? - How could the self-consciousness of woman about her freedom and responsibility in her prisoned immanence be developed? - How does woman experience her own existence in Simone de Beauvoir’s terms?&nbsp;According to Beauvoir, becoming woman is not a biological feature, but is acquired culturally and historically. During the Second World War, Beauvoir, based on the responsibilities assumed against others and the nature of freedom, examined in The Second Sex the philosophical and historical dimensions of the power relations which define woman as “Other”. The Second Sex had influenced the intellectual scene worldwide. It had marked a new era in philosophical debates on the forms of woman being in America when it had been translated into English in 1953. In this book, she not only scrutinises in detail the psychoanalytical, cultural, social and historical layers of this positioning of woman as “Other” against man who is the “Absolute”, but also, she explores the lack of self-consciousness of woman and the imposition of this “otherness” by men. In this study, the Woman/Man dialectics will be read from the freedom/responsibility dichotomy in the context of existentialist philosophy. In this context, man defined the existence of woman freed from all essential existential mechanisms. Nevertheless, in the existentialist philosophy, existence precedes essence. Beauvoir deciphers the bad faith of woman and the reasons of woman to not reject the hegemony of man, and to reveal the status of the woman myth by social, cultural, psychanalytical, historical and anthropological means. The objective is to search for the possibilities of woman existence founded on responsibility and freedom, and to retrace the reflections of these possibilities in today’s world.&nbsp;According to Beauvoir, woman should reject the position of a being deprived of freedom and should make man think also about his own mission in the world. Thus, The Second Sex made possible to reconsider gender roles in society, and established a suitable base for the reconceptualization of being women on ethical and ontological backgrounds as a gender. The book deciphered the dynamics and constituents that alienate women to herself, steps that free woman are approved among women and men as well. Therefore, The Second Sex is a milestone.

Varoluşçu Özgürlük Bağlamında Kadın: Simone de Beauvoir ve İkinci Cinsiyet

Abdulfettah

The act of traveling, which, in the context of this work, can be defined as an act of roaming or wandering as well, indicates a process which, from the beginning, is defined by a sort of state of imprecision. After the words of traveler writers, a decision to leave the home, that space offering established norms and limits, seems to involve a shortage of precision in terms of destination, the name which designates the place to arrive by providing, at the same time, a semblance of limited situation. Following that decision with no definitive arrival point, the traveler writer becomes part of a different spatial condition in which her or his senses pass into a new phase. In the first chapter entitled “Going elsewhere: an aleatory decision”, this uncertain origin of the decision to go elsewhere will be correlated to a romanesque quality as it makes the travel an unpredictable, emotional and temporary event. After that, in the second chapter called “Romanesque manner of being in space”, a consideration will be delivered about the behavior of the traveler writer in relation with its exceptional changing because of the new manifestation of elements of the world. That being so, elsewhere will be taken according to its provocative side that generates a kind of metamorphosis which takes place under the unfamiliar circumstances. Correspondingly, it will be shown that the traveler writer represents an unpremeditated and extraneous presence as s/he has the impression to move, during her or his stay in elsewhere, without a solid apprehension of orientation. Given the term romanesque manner of being in space is used here, especially, as a term to denote, by referring to a language that is designed to translate the eccentricity of the moments that have inevitably marked an erratic presence of a perceiver subject, the relatively isolated being of the traveler writer before an unwonted and stimulating authenticity of space. Therefore, as a literary product, travel writing is ascribed to contain fragments that reveal those particular moments lived by the traveler writer in an unusual way and it consequently becomes the final and the most concrete prove of such a metamorphosis that describes a different state of being in space, an alterity that underscores the value of a “sincere experience” which gives way to a “confrontation of the real and the imaginary”. Through this process of transmission and transformation of the experience into words and wordily descriptions, the traveler writer becomes a romanesque traveler as s/he reports to the lecturer the wondering character of her or his individually realized act and travel writing becomes the extraordinary history of this Other who appears to discover the dissimilar and diverse reality of elsewhere. Altogether, through the words of traveler writers representing the two last centuries and different countries and languages, be they French (Canada, France, Swiss and Togo) and Turkish, the act of traveling, in this work, will be reinterpreted after what is suggested in travel writing that presents to the reader an unorthodox figure who is attracted by strangeness, with her or his loose motivation to move further, and who finds herself or himself in a position to see what stands outside the wellregulated path of habitual life. According to what is depicted and formulated about that distinctive state of being in space, which is defined, from the beginning, by imprecise traits and evolved, afterwards, through an unforeseeable set of events, in this paper, the main argument will be that the title “romanesque traveler” takes shape of a term to be the most convenient appellation to make understandable the change of traveler writer that takes place in relation with a surprisingly transformed spatial reality.

Voyageur écrivain, voyageur romanesque: Un phénomène de littérature de voyage

Hafid

Man is only the mirror of immensity according to Bachelard. It is inside man that space spreads out. Because being this passage leads to the reverie of intimate immensity, the look is of major importance. You could say that the eye contemplates the infinity of space and reflects the contemplated landscape. By contemplation and by the look, the intimate immensity is enlarged. It must be said that until they find themselves in a phenomenon of fusion, it is through greatness that intimate space and the space of the world become consonantAccording to Bachelard, daydreaming is a bit peculiar for those who venture into the desert in that the immensity lived in the desert by a dreamer sound in an intensity of being intimate. You can see in the Schmittian desert the space of a rebirth. It is also the space for a fresh start. All of this is experienced intimately by the narrator. It seems opportune to proceed by taking samples from several passages in the novel with the intention of shedding light on this lived intimacy.The first notch that we opened was that of the recurrence of the marks of immensity to cross the Schmittian text as they are felt by the characters. Wherever there are characters contemplating the infinity of the desert, it seems that these brands dot the whole fabric of the novel in several ways. The novel is riddled with these marks of vastness, sometimes in explicit form and sometimes allusive. Words are varied proofs: To grasp their meaning is to understand the reveries that open, in the soul of the narrator, under the sign of the words “infinite” and “immense.” Indeed, these words mark in a natural way the intimate immensity because of having intimate resonances.Regarding humans who inhabit it or cross it, it is quite clear that the figure of the desert in the text is also constructed. Let us also add that there are several references to the human body, to its movements, and to its sensations. In this perspective, it seemed important to us to evoke the posture of the body of the narrator. É. E. Schmitt, lost in the desert for one night, he will be “lying on his back, in a lying position, the figure facing the evening star” (Schmitt, 2015, p. 103) the motionless body facing the sky. This suggests that this posture is only a preamble to a movement that will be accomplished in stillness otherwise, a completely internal movement: “I rise, I exceed the sand, the mass of rocks, and … I float” (Schmitt, 2015, p. 106). This movement is unquestionably imaginary as it describes the epiphany lived by the narrator in the desert. We must see in this movement of the immobile being an attempt to transcend time and space.The immense lodge peacefully in the reverie of the narrator. The vastness of the outside is transformed into the vastness of the interior. It is all thanks to the soul that meditates and dreams that tries to find in an object the nest of immensity and to the “contemplation of grandiose spectacles”Two bodies are put in parallel that one can grasp as a detachment, which occurs fortuitously in the total silence and the heat of the sands: one freed, free by a force that maintains it above and the other below prisoner huge sands that block it. If you think otherwise. It is indeed two spaces: one is intimate, and the other is exterior. The intimate is freed by the force of the immense, and the exterior space is that of the prisoner body, surrounded by the immense dunes. However, it is only when the narrator has become motionless, blocked by the heat of the sand, that his true inner journey begins.The narrator launches into the reverie of the immense reaching an exterior and intimate elsewhere, spatial and temporal. Indeed, the experience of intimate immensity confuses not only the borders between the body and space but also it makes the borders between space and time porous, which gives birth to an “elsewhere.” In the sense of a zone between the real and the imaginary.

Espace et immensité intime dans La nuit de feu d’Éric Emmanuel Schmitt

Duygu

Following the civil war that broke out in 2011 in Syria, Turkey has so far welcomed more than 3.5 million Syrians. At the beginning of this migration, Syrians were perceived favorably because Turkish people believed that the Syrians would go back to their country at the end of the civil war. Unfortunately, this war continues and the Syrians, now numbering 3.6 million, have not returned to their country. Since 2014, the Turkish people were confronted with growing socioeconomic problems such as unemployment, inflation and the Arabization of the signs on the streets of the country, which triggered the emergence of a much more xenophobic and racist discourse toward Syrians. The media played an important role in the construction of this discourse. Disseminating information, the ultimate goal of the print media, is a discourse in action and the construction of meaning in the information discourse encompasses a dual process: transformational and transactional processes. In the information process, the context, characterization, storytelling and argumentation of the events play an essential role. This is why the lexicon used in the context or definition of Syrians also shows the point of view of the speaker and the enunciator (or speaker/enunciator) and plays a triggering role in the receiver/reader. This is why there are various appointments of Syrians including archetypes such as guest, migrant, Syrian, refugee etc. Government political actors label them as guests to mitigate the reaction of the Turkish people toward the Syrians to appeal to the feelings of hospitality of the Turks, while the Turkish people call them Syrians (derogatory in this case) or refugees to denigrate and humiliate them.Moreover, the Syrians, Turkey’s scapegoat, are being used by the government in foreign policy and by the opposition in domestic policy to criticize the government, which is responsible for having conducted this Syrian policy. In this study, we will analyze the role of the media in building this hostile discourse, sometimes resulting in hatred toward Syrians. To do this, we will analyze some randomly selected dispatches and headlines. We will address the questions: “How are Syrians represented in the newspapers?”, “What is the role of media and journalistic discourse in building the positive and/or negative ethos of Syrians?” and “How does journalistic discourse influence the reader?”The analysis shows that the media, and especially the print media, aware of the emotions and negative perception of Syrians among the Turkish people, build a discourse based on misinformation to be able to influence readers and subsequently provoke racist and xenophobic behaviors toward Syrians. In doing this, it gives importance to legibility, visibility, and dramatization as perfectly defined/described by Charaudeau but it transgresses the stage of intelligibility, the one which, according to Charaudeau, aims to explain events and cases.

Le pathos dans le discours journalistique en Turquie, vis-à-vis des migrants syriens

Daouda

Stylistics is a discipline that derives from the sciences of language. It aims to decrypt literary texts through a process that makes texts literary. To achieve its goal, this discipline makes use of concepts and methods borrowed from discursive linguistics, rhetoric, poetics, semiotics and many other areas of text science (Calas, 2015, p. 7). Stylistics is viewed as an eclectic field. Its field of inquiry relates to the literary fact as an enunciative act, a meaning-form which obeys a hermeneutic approach. It is therefore qualified to reveal the aesthetic character of all literary productions. However, this present stylistic study mainly focuses on poetics. It is a science of text which is contiguous to stylistics. Poetics aims to bring out the formal properties of literary creations. It is based on a set of approaches, among which, is intertextuality. In the stylistic analysis of literary texts, intertextuality is one of the most useful theories of poetics. This concept, which was coined by Julia Kristeva in the 1960s, is used in the studies of comparative literature, speech analysis, poetics and stylistics. It is defined as the relationship that one text has with another. As a discursive practice, intertextuality can be studied through various scales of verbal creation: through quotation, pastiche, parody, mise en abyme etc. These processes play an essential role in the African verbal creation. Indeed, since the brilliance of Ahmadou Kourouma’s Les Soleils des independences and Yambo Ouologem’s Le Devoir de violence, African romantic creation has continued to improve over the years. This constantly growing innovation, which translates into the textualization of the African sociolinguistic universe and other processes, contributes to an Africanization of the writing language. The recourse to the Ivorian origin contributes to the lexical connotation. Thus, the terms inserted by the authors in the writing language participate in the enrichment of the French language. One could say that relexification is at the heart of literary creation. It is materialized by the transposition of statements, by the insertion of oral ethno-texts in the novel. This language fabrication is a form of discursive subversion that results in an aesthetic of hybridity. The novel Le-fils-de-la-femme mâle&nbsp;is no exception to this standard. When we read it, it stands out that the author expresses his vision of the world through the incorporation of oral genres in the story. The typographical configuration shows that the enunciative foundations of the work rest on the structure of the traditional African tale. The marks of the tale are inserted in the discourse through processes such as italics and quotation marks. Despite the effort made by the romantic tale teller Maurice Bandaman to hide the tale’s tracks, of the song and myth in the novel structure, the reader is able to perceive these oral intertexts through their characters. Through this process, the classic narration is interrupted. Furthermore, the insertion of the traditional tale into the structure of the novel is not based on any stable rule. Discontinuity leads the reading and the decoding of the message imparted by the novelist to the receiver. Viewed as a discourse, the work is based on an intertextual practice which overturns the architectonics of the classic novel. It breaks with the canon and imposes another reception modality that provides enjoyment to the reader. The dominance of formulas in the strata of this novel provides a basis for generic hybridity. The main purpose of this reflection is to highlight all of the enunciative, linguistic and discursive phenomena that participate in the renovation of this romantic work. Moreover, the examination of the utterance scene attests that the narration is supported by several vocal sources. It offers a hold on an exploitation of polyphony which goes beyond narration and results in the marks of reported discourse and autonymic modalization. The latter highlights the position of the enunciator with regards to his statement. In Ivorian novelist work, autonymic modalization is marked by quotation marks and italics. These linguistic signs underline the words that the author invented to construct his story. The lexical creativity undoubtedly gives originality to Maurice Bandaman’s romantic discursiveness. This is certainly the reason why the mediation authorities awarded the author the “Grand prix littéraire de l’Afrique noire” when the book was published in 1993.

De la créativité lexicale à l’hybridité générique et vocale: une analyse stylistique de Le-fils-de-lafemme-mâle de Maurice Bandaman

Jean Claude

Stanislas

The teacher plays an important role in the teaching and learning process. He or she first defines the objectives of the course and the tools needed to achieve them before implementing the strategies to achieve them. Then he or she initiates, organizes teaching situations, identifies and explains the problem to be solved by explaining the activity before giving instructions. Finally, he organizes the exchanges, validates or invalidates the students’ proposals and evaluates their achievements. In his activity, he is led to appreciate the students’ work. This facet of the teacher’s activity is the subject of this study, which aims to report on the impact of the assessments made by teachers in Côte d’Ivoire on their pupils.It is based on data collected over the period from December 2017 to May 2018 in eleven general secondary schools. The analysis of the lexicon they used was carried out in the light of the theoretical and methodological foundations of the competencybased approach. It revealed on the one hand laudatory and on the other hand pejorative assessments.As for the assessments with a positive connotation, they lead all students to participate in the learning process. The students as a whole experience real satisfaction when teachers reinforce their answers. They see it as a source of motivation that pushes them to give more of themselves, to always want to bring something new and to change their practice. In such a situation, students feel that their efforts and academic achievements are valued, recognized and taken into account. They experience feelings of joy and pride that make learning positive. The implication is that when appreciation is appropriate, it is very useful for learning. This position is similar to that noted among students by Christophe Chapuis (2011, p. 25), for whom students appreciate above all passionate teachers who are really there to give them something and not just because it is their job.&nbsp;On the other hand, when teachers formulate pejorative assessments, they are severely criticized by students who say they are humiliated and frustrated by the derogatory remarks teachers make about them. These assessments, which they find difficult to accept, give rise, they say, to feelings of frustration and humiliation that lead to students dropping out of school and absenteeism. This is to escape the mockery of their classmates, who do not hesitate to make fun of them. Clearly, these teachers seem to be unaware of the significance of what they are saying and the disastrous consequences of their judgements on the learning process of students. It is clear that they have not yet grasped the importance of judgements on learning in general.In sum, assessment in a didactic situation is meaningful in many ways. In view of its importance, their contents must create learning conditions for all students. For this reason, we recommend the integration in teacher training programmes of modules on annotations and assessments of students’ work so that assessments can be effectively taken into account in the definition of teacher training content.

Les impacts des appreciations de l’enseignant sur l’apprentissage en classe de Français en Côte d’Ivoire

Rafael

Since the mid-20th century, rhetoric has experienced a relative renaissance. From the Middle Ages until recently, rhetoric had been seen above all as the study of the figures used in literature, therefore called rhetorical figures. However, that was only one part of the classical rhetoric, which was actually the science of discourse, of oral expression, of speech.It is in the same meaning of science of discourse that it has begun to be considered again with the beginning of neo-rhetoric studies. The development of linguistics has undoubtedly contributed to this, giving greater importance to speech/parole after structuralism, and, above all, to the appearance of pragmatics in linguistic studies, with its insistence on the theory of acts of speech and on discourse as a communicative fact.Since translation is a communicative act that uses linguistic means, it should deserve the attention of neo-rhetorical studies and vice versa. However, there are very few studies of rhetoric dealing with translation and hardly any studies on translation using categories of classical rhetoric. The truth is that the so-called “translation techniques” can be reduced to the four basic operations of classical rhetoric (addition, subtraction, transposition and permutation) at linguistic as well as discursive and pragmatic levels. These operations usually refer to a single part of those that formed the art of rhetoric: elocutio, the form of expression. However, there are other levels at which deeper translation problems can arise: the intellectio and the inventio.The intellectio is an operation prior to the generation of the discourse and, in brief, consists of the correct appreciation from a pragmatic point of view of the context - both referential and textual - by the addresser. Thus, before producing the text, the author must be fully aware of questions such as to whom it is addressed, what the situation is, the means of communication, or the conventions of the textual types of the subject being handled.Classical inventio was a repertoire of themes and subtopics, as well as how to develop them. For example, if you wanted to talk about the passage of time, you could use themes such as tempus fugit or carpe diem. In the latter there should always be a poetic voice - presumably an adult man - addressing a young woman, the poem should begin&nbsp;with a description of this young woman - descriptio puellae - who must be blonde and of pale and delicate skin, etc.Taking into account that the translator is a professional reader of the original text and also the producer of the translated text, it is evident that he must pay careful attention not only to the position taken by the original author - his/her «location» -, but also to his own. In other words, you have to carefully analyze the level of the intellectio before undertaking the translation in order to detect possible problems. The same is true for the level of inventio since not all subjects are treated in the same way in all cultures or at all times.As an example of the problems that can arise both at the level of the intellectio and the inventio, we propose the translation into Spanish from a French or English version of two poems by the Turkish author Ataol Behramoğlu. In the first we can see problems in the approach to the feminine as a theme, a question clearly related to inventio. In the second, a difference, already visible in the English translation, appears in the previous position of the author and the translators, difference that would correspond to the level of the intellectio.In sum, the categories that classical rhetoric offers us are perfectly applicable to translation analysis and need not to be limited to elocutio or rhetorical figures, but may include more “abstract” aspects dealt with by intellectio or inventio.

Intellectio e Inventio en la Traducción de Poesía del Turco

Fatma

History of Hamlet Translations in Turkey

Aysun

Recontextualising Ece Temelkuran in the UK: A Paratextual Look at the English Translations of Her Works

Charles

Lecturer

Electric Lights and Clouds of Dust: A Reading and Translation of Nguyễn Trọng Hiệp’s Paris, capitale de la France / 大法國玻璃都城襍詠

Gülhanım

Assoc. Prof.

Translation has been one of the main methods of intercultural communication and an important form of cultural encounters since the earliest times. It transfers the culture of the “other” between languages and cultures as mediator. In literary translation, the translation of cultural elements is one of the most important problems encountered in the process of rewriting in the target language. This problem becomes even more complicated when the translation of humor makes someone laugh shaped by another culture because every culture has a different sense of humor. Humor is a form of amusement and criticism. Humor is the tool to break the automated environment. Humor is universal and it is a serious activity. Humor is based on tolerance between the receiver and the transmitter. There are many types of humorous elements such as physical, linguistic, situational, cultural, etc. Brevity is the most important characteristic of humor. In translation, explaining for better understanding kills humor. The cultural differences emerge as environment, material culture, social culture, religious culture and language culture. Based on this distinction, it can be said that the humor of each society has a close relationship with the lifestyle (material culture) and region. This is why every society has its own humor. People laugh at different topics such as culture, history, geography, society, language, religion, age, education, etc. depending on the people. Humor holds a very sensitive place in literature with its many varieties. Humor texts are format-oriented. For this reason, it can be said that it is included in the narrative text type in Reiss text typology. In this text type, the writer uses the language in an original and creative way. The formal language characteristics such as voice, word, sentence, etc. are important in this type. This type of texts enriches our lives. The same elements that affect writing and intelligibility of humor appear in the translation of this kind of text. For this reason, humorous texts are considered as either untranslatable or very difficult to translate. It can be said that the difficulties of these translations are linguistic, cultural, stylistic and sociolinguistics. Thus, humor translation is generally&nbsp;considered as lost. In order for the humor components to have the same effect in the target culture, the target-oriented translation approach should be adopted, the humor translation should be directed towards the target culture and the foreignizing between the receiver and the product belonging to a different culture should be removed. On the other hand, if the humor translation is directed towards the source-oriented, there may be alienation between the product and the receiver. In other words, laughing doesn’t happen. And yet, the translator is the person who decides how to represent a foreign culture and what kind of strategy to be followed in translation of the humor. In the translation of humor, the receiver comes before the text. Equivalence can be achieved not by the structure of the original text, but by sticking to the effect it produces. Meaning is translated in the translation of humor. The translator does not destroy the message; s/he changes it for better understanding. Nevertheless, being able to prevent humorous losses in translation will depend on the imagination, creativity and rewriting ability of the translator. Based on this point, in this study, the humorous story by Guy de Maupassant named Nuit de Noël (A Christmas Night) was selected and the humor translation was examined through translator decisions. In this context, the type of humor and the methods and strategies applied in the translation were determined. Accordingly, it was observed that the target-oriented translation approach was adopted in the translation text. It was determined that the adaptation method was used to provide the same effect as the source text. Thus, it provided the dynamic equivalence in the target language. It was identified that among the strategies used were addition, omission, substitution, deletion, word to word translation, borrowing, etc. The translation text was also examined in terms of humor types. The study included five types of humor. These genres can be cited as physical humor, linguistic humor, situational humor, cultural humor and implicit humor. As a result, it was observed that dynamic equivalence was achieved, the target text had almost the same humorous effect as the source text and the translator minimized the loss of humor.

Mizahî Ögelerin Çevirisi Üzerine Bir İnceleme: Bir Noel Gecesi Örneği

Emine

Translators of theater texts generally choose their translation strategies from two perspectives: strategies oriented to performability (translating for stage) and reading by target readers (translating for page). Thus, their translation is evaluated based on how faithful or free their translation is. This study departs from this bipolarized problem and proceeds with two purposes. The first is a textual analysis of the Turkish translations of Edward Albee’s play Who Is Afraid of Virginia Woolf? by Asude Zeybekoğlu—Hain Kurttan Kim Korkar? (1985)—and Tuncay Birkan—Kim Korkar Virginia Woolf’tan? (1993)— within the context of much-debated concepts in theater translation such as performability, playability, speakability, intelligibility, Sirkku Aaltonen’s point of view, and the literary and theatrical systems put forwarded by Aaltonen (1997, 2000) to assess the system they function in. The second purpose is to arrive at a conclusion on how Aaltonen, with his systems, sheds light on going beyond the bipolarization of faithful vs. free translation.&nbsp;These concepts and Aaltonen’s points of view were used to shed light on the analysis of the two translations. With this aim in mind, the first section contains general information about theater of the absurd since the play to be analyzed in the study is an example of this genre. In the second section, the playwright, Albee is introduced as one of the American pioneers of the theater of the absurd theater. His plays have enjoyed critical acclaim, especially Who Is Afraid of Virginia Woolf? which has been performed several times in both state-owned and private theaters in Turkey. A detailed research of the translations of the play shows that Zeybekoğlu’s translation is the preferred one. The third&nbsp;section contains a brief discussion of the Turkish translators of Who Is Afraid of Virginia Woolf? and critical details of the e-mail interview with Birkan. In the fourth section, the general theme of the play is introduced and the shading in the original title of the play explained. Upon giving background information about the research objects of this study, a theoretical framework for the concepts performability, playability, speakability, intelligibility was discussed with an elaborative literature research. Then, in the next section, a panoramic view of the translation strategies used in theater texts was discussed. By bridging these ideas with the purposes of this study, Aaltonen’s points of view and the literary and theatrical system were clarified to shed light on the case study.According to Sirkku Aaltonen (1997; 2000), translation is a purpose-oriented activity that requires design and planning and the strategies undergo a change defined by the system in which they work. Whereas translations that function within a literary system are devoted to the permanence of the language, translations that function within a theatrical system are devoted to performability, speakability, and intelligibility considering theater texts have special attributes such as their being bound to immediate context, immediacy of orality, and communality. Moreover, Aaltonen, adopting a functionalist approach, avers that translations are expected to appropriate the cultural, behavioral, or ideological customs of the target culture. In the case study, the examples selected from the source text and both translations have been explained in depth. Based on the findings in the case study, the final section contains concluding remarks in line with the analysis of the translations.In conclusion, it was observed that Birkan’s translation functioned within the literary system as his goal was a translation for page as he stated in the e-mail interview. Zeybekoğlu made a translation oriented toward performability, speakability, and intelligibility that functions within the theatrical system with omissions and additions by probably considering that theater texts are bound to immediate context, immediacy of orality, and communality. Both translators translated the work based on their purposes and the conventions of their system. Then, it may be argued that making a bipolarized evaluation may lead to a minimalist approach in the translation of theater texts. However, going beyond the bipolarization to evaluate them enables researchers in the field to see different concepts such as purpose and function. In conclusion, Aaltonen’s system framework provides studies with an opportunity to make an evaluation on the basis of the concepts of purpose and function and getting rid of the minimalist approach by going beyond the faithful vs. free bipolarization.

Tiyatro Çevirisi Bağlamında Karşılaştırmalı Bir İnceleme: Yazınsal ve Teatral Sistem Çerçevesinde Edward Albee’nin Who Is Afraid of Virginia Woolf? Başlıklı Oyununun Türkçe Çevirileri

Safiye

Nora-A Doll’s House written by the Norwegian author Henrik Ibsen in 1879 is a universal play which centres on women’s problems. In the play, Nora represents the woman who is dominated by patriarchy and treated like “a doll” by her father when single and by her husband when married. However, although subjected to the domestic sphere and experiencing oppression due to her sex, Nora does not yield to the demands and pressure of patriarchy, and at the end of the play, she leaves “the doll’s house” to set out on a new life of her own. The final stage is of great importance in terms of feminist thought as it represents women’s emancipation from the domestic sphere and the patriarchal burden attributed to her.&nbsp;The play has received great attention all over the world since the day it was released, and has been translated into various languages and staged in many countries. In Turkey, the play was first translated and staged in the municipal theatre of İstanbul in 1929. Since then, it has also been translated by different translators, and staged in state and municipal theatres. The last translational agent of the play is Jale Karabekir, who is the founder and general art director of the Tiyatro Boyalı Kuş.&nbsp;As an alternative feminist theatre enterprise, the Tiyatro Boyalı Kuş won the Ibsen Scholarship Awards in 2009 for its project Nora. The project comprised the Kurdish translation of the play and bringing a feminist comtemporary perspective to it. To this end, the play was first retranslated into Turkish by Jale Karabekir and Feride Eralp, and then their translation was rendered into Kurdish by Aydın Orak. Their version was staged in various eastern cities in Turkey as well as the 17th International Istanbul Theatre Festival.&nbsp;Departing from the example of the Nora project and focusing on Jale Karabekir as a feminist dramaturgist and translational agent, the present study seeks to understand and explore the influence of “professional habitus” on the translation and circulation of women-centred theatre plays. As Christiene Zurbach (2009) emphasizes “[m]ore studies are needed […] especially on the position of the translator as participant in the artistic practice of the theatre and as theatrical specialist” (p. 280). Since theatre is a performing art which brings linguistic and non-linguistic elements together, drama translation also requires many points such as performability, speakability and playability to be taken into account which go beyond the textual and linguistic concerns. Considering this, it goes without saying that the drama translator needs to have qualifications and knowledge in the field of theatre, and it is supposed that the translator’s experiences in the field have a significant effect on the circulation and reception of the plays.&nbsp;&nbsp;Considering all these, in order to seek the traces of relationality in the field of theatre and drama translation, and the effects of “professional habitus” on drama translation, the study first provides general information about the sociology of translation and Bourdieusian concepts. In the second part, definitions and important concepts about theatre, drama translation and feminist theatre are covered. In the third part, after introducing Nora-A Doll’s House and giving short information about its history in Turkey, the study benefits from Jale Karabekir’s biography, various interviews she has given on different platforms and a personal e-mail interview based on three open-ended questions with a view to shedding light on her “professional habitus”. The study suggests that through her “structured” and “structuring” “professional habitus” in the field of theatre, Karabekir plays a key role in bringing a feminist perspective to women-centred plays which were previously staged in traditional theatre forms as well as contributing to establishing “feminist theatre habitus” among the Turkish audience.

Nora-Bir Bebek Evi’ne Feminist Bir Yorum

Jacob

Translation studies on this dilemma have become even more relevant at a time when the term «creativity» has been introduced to express a better understanding of what was once perceived as «betrayal». The resurgence in recent years of the debate on faithfulness versus the creativity alternative, shows that we have not been dissuaded from breaking with the absolute vow of faithfulness which has kept translation in a dilemmatic status. Generally speaking, academic perspectives on the question revolve around several notions that result from this dilemmatic status. The most recurrent are the concepts of equivalence and adequacy. These notions most often indicate divergent views which find their resonance at the level of practice. We therefore have the impression that there is a theoretical instability in translation if we refer to these two trends. The first considers textual faithfulness as an absolute wish, which aims to «instil in the translated work the spirit of a language which is foreign to it» (Schleiermacher, 1999). The second trend focuses on the power of action of the translator who, in the process of interpretative negotiation, engages in a creative project. Looking closely, through the prism of hermeneutics, we think that the concept of creativity somehow comes to assert a theoretical stability in this process.In this theoretical landscape, the appearance of the concept of creativity seems to us to represent a turning point, because it characterizes the very essence of translation. We demonstrate this by referring to the hermeneutic breeding ground which allows us to see creativity no longer as an alternative, but a necessity which is essential when translating and which constitutes the very being of translation. By relying on the interpretative character of translating, we account for an intrinsic fruitfulness which materializes by the fact that we can always say it a different way. This is explained firstly by the fact that having a closure between the idioms means that translating consists of a production rather than a reproduction. Secondly, because the translator-interpreter only redeploys what makes sense according to his own understanding of the language. This implies a possibility of saying more in the face of the ineffable, thus exceeding what has been proposed. «Translation, like all interpretation, is a highlighting. A translator must understand that highlighting is part of his task» (Gadamer, 1996, p. 408). Thus, the restitution is creative, which side-lines any vow of textual faithfulness. What matters is coming to a proper understanding about the subject matter. As soon as there is an understanding, each sign is interpreted from its potential: meaningfulness. This reflects an ability to mean more. At the end of the day, the creative gesture which supposes it,&nbsp;consists of the search for equivalences of meaning. Creativity in translation relates to the idea that «a good translation can only aim for an alleged equivalence that is unfounded in an identity of demonstrable meaning» (Ricœur, 2004, p. 40).However, we cannot ignore the question of limits or the infinity of interpretation. We cannot deny that the interpretation for more meaning could contribute to an abuse of meaningfulness. The creativity that prevails here can be seen as the effect of a refusal to impregnate the culture of the source language. Also, some authors, like Eco, think that «we must resist the temptation to help the text too much, by almost replacing the author» (Eco, 2006, p. 126). According to this author, for example, «a translation that can» say more «may be an excellent work in itself, but not a good translation» (Eco, 2006, p. 139). In any case, we believe that the value of a good translation is judged by the effectiveness of the meaning rendered - which a creative translation can do easily.The article concludes that the vow of faithfulness participates in the dialectic of the emergence of meaning and supports the idea that translation is a creative project. This project seems to have mobilized elements attributable both to the «reception aesthetic» and to «language hospitality» for its effectiveness. Consistent with the fact that creativity is not an alternative, we can say that any translation aims for an equivalence of meaning and value between the two statements following an interpretative negotiation between the translator and the text.

Réflexivité herméneutique de la créativité en traduction

Ertan

According to their origins, languages can be divided into two categories: natural languages (both spoken and sign languages) such as Turkish and French; and artificial languages such as Esperanto. In general, individuals who do not suffer from hearing loss generally use both spoken and body languages. However, for those who have a hearing loss, a visual form of communication also known as “sign language” or “deafmute language” is indispensable. In this regard, the current number of individuals with hearing loss is significant. Although a vast majority of them faced difficulties adapting to social life due to their lack of education, recent developments in the field of education have enabled them to acquire better education and improve their everyday lives. Additionally, with the formulation of various undergraduate and graduate programs, many sign languages studies have been published over the past few decades. In fact, there are 2,460 scientific publications (from 1990 to 2013) on sign languages in the Web of Science database (TID, 2005, p. 48).In Europe until the 18th century, individuals suffering from hearing loss were isolated from society, thus forcing them to create their own form of communication. In France, C. Michel de l’Épée was the first to work on French sign language (LSF or Langue des Signes Française), after discovering its existence. According to the widely known story, he witnessed twin deaf girls on a street in Paris communicating with one another by making a series of signs. Subsequently, he established a school for the deaf and developed a system of “methodical signs” to teach students how to read and write. After the French Revolution, this school became the National Institute of the Young Deaf.Overall, the main elements of effective and correct communication in LSF are signs, just as words are for an oral language. These signs consist of five separate parameters: configuration, orientation, movement, location, and facial expressions. According to the context, they must be correctly performed to accurately signify the word; however, the latest resources; 2) to explain its syntactical and structural differences from oral French by examining short dialogs and drawn images; and 3) to highlight the differences between sentence structures in French sign language [e.g., free order or object-verb-subject (OVS)) and that of oral French (subject-verb-object (SVO)]. Based on the findings, although French sign language is visio-gestural, it can be effectively used to perform all functions in oral French. Keywords: Communication, body language, French sign language, visio-gestural, signer Kuşçu, E. Litera Volume: 30, Number: 2, 2020 781 if the parameter changes, then another sign is used. Ultimately, facial expressions are included, just as intonations are used for those who can hear. Such expressions that accompany signs also provide information on the form of the sentence (i.e., interrogative, affirmative or question). Moreover, configurations, such as the shape or disposition of the hand, are equally important. In this regard, there are approximately 47 different configurations in LSF, such as the index, thumb, middle finger, etc. For example, in order to say “hello” in LSF, the hand leaves the mouth, while smiling.As in all languages, LSF includes its own syntax and grammar. However, its syntax differs from that of oral French. In this regard, while French includes a subject-verbobject (SVO) structure, LSF responds in the following order: When? Where? Who? What? For example, in French we say, “The baby sleeps in his cradle,” whereas in LSF, we sign “cradle, baby, sleep.” In literature, this order resembles a theatrical scene in which the “curtain rises” and reveals the statement, after which the audience sees the setting, the characters, and the action. Additionally, in LSF, the sign for “where do you live?” includes two signs: “where,” in which a lateral movement and an interrogative air is used; and “live,” in which we open and close both hands simultaneously. Moreover, to say “I live in Paris,” we make the sign “P” in the center of the hand to symbolize Paris. There are also no conjugations. Thus, to indicate the tense of a verb, we simply bring our hands closer or farther away. As for the past, we place the hands behind the body, whereas for the present and future, we bring the hands in front of the body. Finally, many verbs in LSF can become either multi or unidirectional, while the same sign can be used to indicate two meanings. For example, “campagne: campaign” and “province: province” are shown with the same sign. To summarize, LSF is a natural language that includes the same linguistic features as oral French.

Expression visuelle de la structure des phrases en langue des signes française

Khedidja

Adam, B., Magdalena, K. & Maciej, S. (Eds.). (2018). Borders and Beyond: Orient-Occident Crossings in Literature. Malaga: Vernon Press. 282 pages. (ISBN: 978-1-62273-383-5)

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Leman

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

Gérald

CAROLINE ET L’APPRENTISSAGE DE L’ALLEMAND L2 DANS UNE ECOLE MATERNELLE BILINGUE

BACK TO BASICS: TRANSFER AS A METAPHORICAL PROCESS

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.

(Re)Imagining Home Across Borders: The Construction of Selfhood in Sandra Cisneros’s “Women Hollering Creek”

John

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

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

Francis Crequi Ngoyi

Sexisme Dans Les Anglicismes

Özge

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

LA NARRATIVA ESPAÑOLA DEL SIGLO XVIII: LA IMAGEN DEL NÁUFRAGO Y DEL CAUTIVO EN EL NÁUFRAGO ESCLAVO, DE CÁNDIDO MARÍA TRIGUEROS.

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.

Business Naming Practices in Turkey: The Foreign Effect

Saliha Seniz

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

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.

The Image of Narrative Prosthesis in McDonagh’s The Pillowman: Normality vs. Psychopathology

Ellen

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

Fethiye

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

Aşkın

Re-publicizing the Nation: Slavery and the American Revolution

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.

English Translations of Birhan Keskin: A Metaphor-Based Approach to Poetry Translation

Ebru

LAS DIFICULTADES GRAMATICALES A LAS QUE SE ENFRENTAN LOS TURCOHABLANTES EN EL APRENDIZAJE DE E/LE

Uğur

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

Zeynep

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

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

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

Gülşah

Gabriel Garcia Marquez ve Kokuların İmgelemi

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

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

Nedret

Belgelerle İstanbul Üniversitesi Edebiyat Fakültesinde Mülteci Bilim Adamları

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.

Masculinization of Tragedy in Joseph Addison’s Cato and George Lillo’s The London Merchant

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

@JOURNAL_BOX_FEATURED

İstanbul Üniversitesi, Edebiyat Fakültesi, Batı Dilleri Bölümü’nün yayını olan Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi – Journal of Language, Literature and Culture Studies, açık erişimli, hakemli, yılda iki kere Haziran ve Aralık aylarında yayınlanan, çok dilli bilimsel bir dergidir. 1954 yılında kurulmuştur.

Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi – Journal of Language, Literature and Culture Studies, esas olarak edebiyat, sanat ve kültür alanlarına ilişkin konuların incelendiği, araştırıldığı bir platform sağlar. Aynı zamanda Batı Edebiyatı dışındaki edebiyat ve kültürlerle ilgili tartışmaları içeren ya da bu tartışmalara odaklanan multidisipliner yaklaşımlara da açıktır. Derginin amacı edebi ve kültürel çalışmalara ilişkin teorik, kritik makaleler yayınlamaktır. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

E-ISSN	2602-2117
Yayın Aralığı	Yılda İki Sayı
Editör	Mahmut Karakuş, Bülent Çağlakpınar
İstanbul Üniversitesi, Edebiyat Fakültesi, Batı Dilleri Bölümü’nün yayını olan Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi – Journal of Language, Literature and Culture Studies, açık erişimli, hakemli, yılda iki kere Haziran ve Aralık aylarında yayınlanan, çok dilli bilimsel bir dergidir. 1954 yılında kurulmuştur. Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi – Journal of Language, Literature and Culture Studies, esas olarak edebiyat, sanat ve kültür alanlarına ilişkin konuların incelendiği, araştırıldığı bir platform sağlar. Aynı zamanda Batı Edebiyatı dışındaki edebiyat ve kültürlerle ilgili tartışmaları içeren ya da bu tartışmalara odaklanan multidisipliner yaklaşımlara da açıktır. Derginin amacı edebi ve kültürel çalışmalara ilişkin teorik, kritik makaleler yayınlamaktır. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Litera: Journal of Language, Literature and Culture Studies

SON SAYI

Surviving the Oppression in the Time of the Troubles: Anna Burns’s Milkman

Gender, Animals, and Gaskell’s Cousin Phillis

Disguised Subjugation as Education: Colonial and Maternal Pedagogy in Jamaica Kincaid’s Lucy

The Rule of the Three, the “third force”, and The Quiet American

Immigrants as ‘Others’ of 21st Century Britain: Ethnicity, Culturo-Religious Identity and Critical Race Theory in Rachel De-lahay’s Social RealistPolitical Theatre

Teleological Trajectory of Subjection: A Critique of Marlovian Heroes

ÖNE ÇIKAN

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

CAROLINE ET L’APPRENTISSAGE DE L’ALLEMAND L2 DANS UNE ECOLE MATERNELLE BILINGUE

ÇOK OKUNAN

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

Sprachliche Innovation im deutschen Migrationsdiskurs

METRİKLER

ABONE OL

İLETİŞİM