Mahmut

Prof.

Bülent

Assist. Prof.

Özden

Ayşe

MAKALE ÇAĞRISI (HAZİRAN VE ARALIK 2023)

MAKALE ÇAĞRISI

Melih

Servants and Allocation of Narrative Space in  the Eighteenth-Century English Novel

Nilay

Assoc. Prof.

Traumatized Perception of the Self and Time  in Ian McEwan’s The Cement Garden and The  Child in Time

Özge

Res. Assist.

Dismissed Possibilities: Thingness,  Posthumanism and Corporeal Feminism in  Angela Carter’s Nights at the Circus

Elif

The Value of Time is Never the Hand of a  Clock: Marcel Proust’s Time Regained, E.  M. Forster’s A Room with a View and A View  without a Room

Florentina

Tony Harrison’s Adaptation of Phaedra’s  Moral Conflict: Phaedra Britannica

Öznur

Susan Evance’in Melankoliye Sonesinde Melankolik Karakter

Mariya

The Confession of the Other: Mohsin Hamid’s  The Reluctant Fundamentalist

Hilal

This study sets out to explore how fictional accounts of migrant narratives are reconstructed through literary translation. Discursive features (e.g. us and them discourse, code-switching, metaphors, allusions, and the like) in migrant writing serve as strategic elements in reinforcing the role literary translation plays in the representation of migrants. As Moira Inghilleri and Loredana Polezzi (2020, p. 32) emphasise, translators ‘have an ethical responsibility to the voices and to the narratives of those who are positioned as the weaker party in the exchange […]’. In this context, it is reasonable to argue that not only the translation of migrants’ life narratives, but also the translation of fictional accounts spotlights an ethical dimension, since both influence the (re) presentation of the ‘other’In light of these points, this study focuses on the Turkish translation of Mohsin Hamid’s Exit West, which was published in 2017, a year before the number of forcibly displaced people worldwide had reached an all-time high (UNHCR 2019). Given that Hamid’s narrative of the European migration crisis enhances literary discussions of current global migrant crises, the study argues that the translation of his novel would play a key role in renarrating how migrants are devoid of their inalineable rights and become ‘others’.&nbsp;Before analyzing Exit West and its Turkish translation, the study notes that migrant writing contributes to the enlargement of the frontiers of translation to include selftranslation performed by migrant writers who compose works in the language of their host countries. To apply Ngugi Wa Thiong’o’s (2009, p. 18) words to the present context, migrant writing can be seen as an ‘exercise in mental translation’ since migrant writers ‘translate’ themselves by reproducing their cultural specificity in a foreign way (Asad 1986, Bhabha 1994). That is, migrant writing constitutes a form of cultural translation that involves more of a process based upon the movement of the people than the&nbsp;movement of texts. In this context, the analysis of how Hamid’s self-translation is transferred to the Turkish language will be carried out in line with Teun van Dijk’s (2005, 2018) framework, which sheds light on a discourse analytical method for the study of migration. The present study explores, in the words of van Dijk (2018, p. xx), ‘the many ways migration discourse is structured, how it expresses underlying mental models, attitudes and ideologies, and what social and political functions such discourses have’.At this juncture, it is significant to note that Hamid’s style ‘mimics’ the thematic content throughout the novel (Lagji, 2018, p. 2); hence, his text requires the translator’s active role in the generation of literary meaning. The analysis shows that the Turkish translation mirrors the source text’s ‘winding sentences whose words wander across the page, accumulating clauses until the period end point’ (Lagji, 2018, p. 2). It is worth noting here that the long syntax of the source-text sentences seems to denote the long waiting period involved almost in every immigration process. Note also that Hamid’s novel wittily unravels the objectification and delegitimization of migrants in the world. As the analysis illustrates, the Turkish translation diligently recreates the source text’s dehumanizing metaphors, which prevail in the public debates about migration. The target text’s reproduction of those metaphorical expressions is of vital importance for the reception of Hamid’s text in the target society (e.g. for facilitating readerly identification with migrants) because the source text, by and large, deconstructs the mythical narratives (e.g. the construction of a stereotypical migrant identity) that marginalize migrants in line with an ‘us and them’ discourse. The Turkish translation further recreates the source text’s allusions that refer to the key texts in migrant writing and postcolonial literature which foreground the liminal position of the ‘other’. This study concludes that the discursive strategies used in the Turkish translation (re)present the social manifestations of migrancy.&nbsp;

Mohsin Hamid’in Exit West Romanı Işığında  Göçmen Yazını ve Çeviri

Gül

In his second cycle of novels Les Trois Villes - Three Cities: Lourdes (1894), Rome (1896) and Paris (1898), Zola has for a protagonist a Catholic priest named Pierre Froment. The reader visits the three cities of the fin de siècle through the eyes of Pierre and witnesses his loss of faith. Some of the topics covered by this cycle include his visit to Lourdes and his thoughts about the pilgrimage and miracles; his bitter feelings on the exploitation of the ill and hopeless; his New Rome, a book on the primitive purity of Christianity and its condemnation by the Congregation of Index; his journey to Rome and his observations on the papacy, especially on the political and financial ambitions of the high clergy; and his reflections on the social and political corruption, iniquity, and rise of violence in Paris. Zola debates, through the series, many social issues contemporary to the production of these novels. These include infamous financial scandals, unemployment, anarchic attacks, and urban renewal projects carried out to the detriment of both the environment and working-class residents.The trilogy is a basis for discussion of dogmas, the vows of celibacy and chastity, the natural inclination for love and procreation, and the virtue of science and labour. Furthermore, the author emphasizes his disapproval both of terrorism and the death penalty and underlines the absurdity of the conflicts between the theoreticians of numerous social doctrines.Each novel based on a city describes two cities separated by class conflict. These novels are not only about Pierre’s journeys and his wanderings inside the three cities, but they also reveal his spiritual, sentimental, and intellectual path. Guillaume, the priest’s scientist brother, and his family members become, in time, his role models in his research for truth and justice. The women around him also have an important role in his journey. First of all, there are two devout women: his mother, who made him choose the clerical state, and his platonic childhood love, a paralyzed girl whose faith-healing makes him think about miracles. Finally, two independent women help him find his new path: the grandmother of his nephews, an exemplary character of strength and honour, and Marie, an educated young girl with whom he falls in love. The cycle ends with Pierre replacing the notion of charity with that of justice and leaving the Church. If Pierre cannot cure all ills during his travels between the three cities and his comings and goings between two urban poles, he will have, at least, given up the double life of an agnostic priest that he had led just to be able to heal some social injury.&nbsp;&nbsp;Today, the last novels of Zola, especially those of the trilogy of the cities, are not as well-known as his Rougon-Macquart books. Zola critics explain this unfamiliarity with various and sometimes contradictory reasons: the author’s being a celebrity whose popularity might have advanced his work; his becoming an object of hate, especially after the Dreyfus Affair; his severe criticisms of the iniquities of the Third Republic regime; and some scholars’ finding the last novels idealist and didactic, therefore incompatible with Zola’s naturalism and his conception of the experimental novel.&nbsp;In fact, although Zola explicitly exposes his own ideas and feelings in these novels, it is also important to note that they are based as much, perhaps more on reality than his previous works. It isn’t about a recent reality like that of The Natural and Social History of a Family under the Second Empire; on the contrary, the events that take place in these cities and the author’s writing about them are almost simultaneous. Zola depicts Lourdes and Rome according to his travel notes. As for Paris, he knows his birthplace very well, as attested by some of his previous works, famous especially for their urban descriptions. The preparatory notes for the novels as well as the author’s correspondence also witness the exactitude of the reality depicted in the trilogy.&nbsp;To conclude, Lourdes, Rome, and Paris are as important as the previous novels of Zola both for the accurate documentation on which they are based and for the distinguished aesthetic qualities that they display. Last but not least, Pierre and Marie’s sons will be the protagonists of the author’s utopian novels, Les Quatre Évangiles (The Four Gospels), the tetralogy that was unfinished because of his sudden death.&nbsp;

Le parcours de l’abbé Pierre

Simay

According to Alain Rabatel, the argumentation process is far from being limited to neutral reasoning which banishes the speaker’s passions. On the contrary, argumentation, and narration only make sense in relation to each other. According to anthropological studies, before narration became the literary domain’s aesthetical object, it answered the purpose of avoiding crises endangering homo sapiens survival. Communication in a primitive society is achieved first by the narrativization of certain social laws - such as myths - which make explicit the prohibitions within a society. In this context, this article proposes to analyze the argumentative side of literary texts. In our case, the literary character’s personality, attitude, posture, and feelings are manifested through the narration process. At this point, the ethos,known as the identity constructed through discourse, has a crucial weight in the argumentation process in the narrative context. To examine the argumentative process through which a speaker conveys his emotion of fear, this article will study La Peur, one of the short stories of Maupassant, who is renowned for his writings in the fantastic genre. In this short story, a group of soldiers, a commander and a storyteller discuss the concept of fear. The story’s plot is based on a discussion of semantics. In the discussion, the commander claims that he experienced fear when his ship ran onto the rocks. The storyteller disagrees with the commanders meaning of fear by stating that fear is real when it becomes a physical sensation or a lasting feeling. Therefore, he establishes his ethos by maintaining himself as a person who has real experiences about this very emotion.It seems useful to introduce the notions of emotion, sensation, and feeling at this time. Emotion is considered an involuntary behavior experienced simultaneously in the body. In other words, it is a brief response to an external stimulus whereas sensation is a phenomenon by which physiological stimulation provokes a specific physiological reaction. Feeling, on the other hand, settles over a certain period. It is a complex emotional state, fairly stable and lasting depending on the genetic, cultural, and intellectual background of the individual.&nbsp;In La Peur, the storyteller establishes for himself a brave ethos built by war, condemnation, and torture sequences through the instrument of grammatical tenses such as imperfect and conditional, and the connector “but”. His argumentative steps try to prove that fear is hard to forget once you feel it. This unforgettable aspect of fear turns into a long-term feeling, therefore, contributes to the establishment of the storyteller’s ethos. He tells two anecdotes that he uses to illustrate fear’s development in his mind. His first anecdote takes place in Africa, in a wide-reaching desert. After a violent windstorm, followed by a mysterious drum sound, his companion falls off his horse and dies. The storyteller sees this event as the moment when he understands what it is like to be afraid and feel multiple sensations. But according to him, fear is something greater than that, which is why he introduces a second anecdote referring to the night of the second anniversary of a murder committed by an old man. Accompanied by a disastrous rain, the storyteller goes to an old forest guard’s family house for dinner.The living room is dark, family members act awkwardly, and the haunted-looking family dog is possessed by the fear that surrounds them. The storyteller indicates that the fear is now a stable feeling that manifests on each anniversary of the murder as this family has experienced it the very first time.In conclusion, because the final reaction of the storyteller’s interlocutor doesn’t appear at the end of the story, it seems possible that Maupassant wants the final reaction to belong to his reader. When the ethos established by the passions’ argumentation affects readers, the story opens itself to its public with an emotional and emphatic aspect. Therefore, literary discourse ends by going beyond the framework of the imaginary to create a certain reality where reason and passion break the boundaries holding them apart.&nbsp;

Emotion en tant que sensation et sentiment dans  La Peur de Maupassant

This study examines enunciative phenomena within discourse analysis and tries to build ties between these phenomena and their implementation for didactic purposes in a French language course book. The following question stems from the problematic: Which didactic content is proposed by a more or less current French language course book in order to convey information about enunciative phenomena to students?&nbsp;In the light of the above-mentioned question, we review phenomena such as enunciative dimensions, shifting markers, modality markers, enunciative management markers and polyphony in the theoretical section of the study. These phenomena are analyzed in terms of the following components: shifted/non shifted levels, shifters of person/ostension, modalities of enunciation/utterance and polyphonic markers of point of view.As far as enunciation is concerned, we deal with the shifted level where the speaker is subjectively engaged in the utterance, which constitutes in fact the starting point of enunciation according to Benveniste (1966 &amp; 1974). Hence, for this French linguist, it is possible to retrieve linguistic traces or marks in an utterance, as the product of enunciation: These linguistic marks are called shifters (see Jakobson, 1963).Shifters are divided into two broad categories: shifters of person and shifters of ostension. Shifters of person (see Sarfati, 2005; Charaudeau &amp; Maingueneau, 2002, etc.) concern, for the French language, the 1st/2nd-person pronouns (e.g. je, tu, nous, vous), the 1st/2nd-person possessive pronouns (e.g. le mien/le nôtre/le tien/le vôtre and their derivatives) and possessive adjectives (e.g. mon/ton/notre/votre and their derivatives),&nbsp;as these markers acquire a significance according to the speaker and the situation of enunciation. It should also be noted that these markers are different from the 3rd-person related lexical unities of the same grammatical categories which prove to be relevant in terms of textual co-reference as part of cohesion. Shifters of ostension firstly consist of lexical unities which mark spatiality and fall into different grammatical categories such as demonstrative adjectives/pronouns (e.g. ce, ça, ceci, celui and their derivatives), adverbial particles (e.g. –ci and –là), adverbs/adverbial locutions (e.g. ici, là, là-bas, etc.) and presentative constructions (e.g. c’est, voici and voilà). Secondly, they also mark time through the use of adverbs/adverbial locutions (e.g. maintenant, hier, dans trois jours, etc.) and the suffixes of present/past/future tenses serving to conjugate the root verb.&nbsp;Modalities of enunciation (see Sarfati, 2005) refer to two phenomena: first of all, the modality of an utterance (e.g. assertive, interrogative, imperative and exclamatory modalities) and secondly, the speech act undertaken by an utterance (e.g. assertion, demand, promise, order, suggestion, etc.). Nouns (e.g. un chauffard), adjectives (e.g. bon), adverbs (e.g. franchement) and verbs (e.g. espérer) which present subjectivity are categorized as part of the modalities of utterance.&nbsp;Polyphonic markers of point of view (see Riegel et al., 2009) derive from enunciative subjectivity but they also point to the presence of an actual or a virtual co-speaker towards whom the speaker takes position enunciatively. For instance, a prepositional locution such as selon moi indicates that the speaker enunciatively takes charge of the utterance; however, it also refers to the implicit or explicit presence of another enunciative position, hence the polyphonic aspect of such usage.In the light of the above-mentioned enunciative phenomena, the analysis grid is methodologically based on the following components: shifted/non shifted levels, shifters of person/ostension, modalities of enunciation/utterance and polyphonic markers of point of view. In order to carry out the analysis, a part of a chapter (the topic of which being the expression of opinion) in a French language course book (Édito for the B2 learning level, Heu &amp; Mabilat, 2015) was chosen.&nbsp;First of all, the results show that shifting proves to be the starting point of enunciation. In this regard, the 1st/2nd-person pronouns/possessive adjectives, the demonstrative pronoun ça and the presentative c’est especially function as shifters of person/ostension.&nbsp;Secondly, it was found that speech acts may be considered as a rationale for enunciation: We observed that the modalities of enunciation are related to assertion, interrogation, and exclamation, while some specific speech acts concerning the expression of opinion were identified (e.g. asking for an opinion, expressing certainty/ disagreement/possibility, agreeing with someone with reservations, sharing a point of view, etc.).Thirdly, the modalities of utterance operate as the lexical apparatus of subjectivity within enunciation, i.e. some lexical unities are revealed to be the linguistic marks for ensuring subjectivity, especially opinion verbs (e.g. Qu’en pensez-vous&nbsp;? Il me semble que…, ça ne fait aucun doute, etc.), attributive adjectives (e.g. C’est absurde/aberrant/ ridicule/délirant, je n’en suis pas si sûr(e), etc.) and opinion adverbs (e.g. certes, effectivement, probablement, etc.).&nbsp;Lastly, while some markers of point of view (e.g. à ma connaissance, d’après moi, etc.) in the form of prepositional locutions are used for the management of enunciation, they essentially contribute to the polyphony.&nbsp;

Exploitation des phénomènes énonciatifs dans un  manuel de FLE : Exemple d’Édito

Merve

Nurten

The Burial of Ambivalence in Edgar Allan Poe’s  The Cask of Amontillado

Duygu

Ten Thousand Ways of Survival and Healing:  Reading Ten Thousand Sorrows: The  Extraordinary Journey of a Korean War Orphan as An Example of Minor Literature

Oksana

Andrii

Symbols of a Perfect Chaos in Markus Zusak’s  Bridge of Clay: Through Traumatic Past to  Better Future

Öğretim Görevlisi Dr.

After the first public screenings in different countries around the world, audiences in Istanbul first had the opportunity to see films on the silver screen starting at the end of 1896. Improving Ottoman-German relations also showed themselves in cultural life. In particular, with the declaration of the Second Constitution, documentary and featurelength films produced in the German Empire began to be screened at movie theaters in Istanbul and the screening of German films increased as a result of the alliance formed during the war. The films of Asta Nielsen, one of the first stars of the cinema, were also seen by audiences in Istanbul as of 1913. The screening of her narrative films continued and information about these films circulated throughout the 1910s. Full-length films started to be screened at movie theaters starting in 1910, and it has been observed that viewing habits started to change gradually during this period. As cinema evolved into an industry, it experienced a transition from travelling shows to permanent establishments. In other words, the act and experience of watching became more standardized.Although there are studies which focus on the screening of Asta Nielsen films in European or Asian countries, no study has been conducted yet on their course of screening and reception in the Ottoman Empire and the early Republican Era of Turkiye. This article focuses on the circulation of information about cinema in Istanbul, the status of the female audience in the cinema, and the Asta Nielsen films that were screened at Péra between 1913-1918. The research provides historical background information about the screening of films in Istanbul, during a period which also included World War I, by describing the screening conditions of films. This knowledge aims to contribute to the cultural and cinematic history of the time.It is very difficult to access all of the early films. Some have disappeared and some are waiting to be discovered in unknown places far away. The absence of early films, which researchers sometimes experience, requires using different methods in studies.&nbsp;Accordingly, discourse analysis is mainly used in this article. News and advertisements compiled from newspapers and magazines are primary sources. Other primary sources are the films themselves. For this study, the Asta Nielsen films that were shown at Péra were watched to the greatest extent possible. Secondary sources describe the period in socioeconomic terms or provide insight on the history of cinema and specifically Asta Nielsen cinema.&nbsp;The article consists of three main sections: Introduction, main section, and conclusion. The main section includes three sub-headings: 1. Cinema Life in the Ottoman Empire, 2. The Screening of Asta Nielsen Films at Péra, 3. The Female Image and the Reception of Asta Nielsen. In the first section, cinema life in Ottoman Istanbul during the period of 1910-1918 is discussed, with reference points. The first section also discusses the structure of film production and viewing, those who were involved in filmmaking, and the political actors who formalized the mode of screening that was most commonly used. Accordingly, the cinema is evaluated within its economic, political, and historical context. The second section deals with Asta Nielsen’s cinema career and her films. Also, this section discusses the screening conditions of Nielsen films and provides information on film screenings in Istanbul at the time. The conditions under which the films were screened are analyzed using data such as the date and place of screening, any significant features of the movie theater, for how long the films were screened, and the ticket prices. In the third section, the way the female characters played by Asta Nielsen were perceived in her time is discussed and the female roles portrayed by Asta Nielsen in her films Die Suffragette and Engelein are discussed in sub-headings. Reviews of Nielsen by Ottoman audiences also give clues to how the new woman of the period was perceived and evaluated. In this section, the article attempts to lay out the historical evidence for the presence of female audiences in movie theaters as public sphere based on the status of the female Ottoman audience in relation to the films, and the questions that the screenings bring to mind. Based on the data obtained, the screening of Asta Nielsen films at Istanbul Péra, their reception, and the status of female spectators at the movie theater in relation to these films are evaluated in the conclusion. Accordingly, the role that cinema played in the secularization of the Ottoman Empire and the definition of the status of women in the public sphere is read through Asta Nielsen’s films.&nbsp;

Asta Nielsen Filmvorführungen in Istanbul

Anita

The article addresses the question of the extent to which one-word idioms meet the criteria of phraseology. It specifically focuses on idiomatic compound words, especially in the German and Slovak languages. It finds problematic the fact that the class of words that are referred to as one-word idioms forms a heterogeneous group of terms that differ fundamentally in certain aspects. The text distinguishes between two large groups of one-word idioms based on the number of their components, namely one-word idioms with one or at least two components. In the first case, these are autosemantic words with a transferred meaning, especially verbs, nouns and adjectives that have undergone metaphorisation. In the second case, these are compound words, mainly nouns in German and Slovak. (The study draws attention to the fact that in Hungarian this group includes, in addition to nouns and adjectives, two-component verbs whose spelling, i.e. their being written together, signals figurativeness of meaning. On the contrary, the separation of equivalent verb-noun phrases speaks of their literal meaning. It can be perceived as a paradox that writing a two-component verb (together) in a figurative sense leads to the loss of the definitional criterion of phraseology and, due to monolexicality, excludes it from the phraseological fund.) In German there are one-word idioms, according to stylistic parameters, which are especially common in the sphere of communications, including professional jargon from the fields of economics, journalism and administration, and from the language of belles-lettres to the expressive and vulgar lexicon.From the point of view of word formation, subgroups are distinguished, a part of which can be perceived as a class of fully idiomatic, e.g. dephraseological derivatives formed by the conglomeration of a phraseological phrase. In this case, all components of the compound word are idiomatic, similar to the components of exocentric compounds, the denotate of which does not fall within the extension of the term expressed by the basic word when used directly. This feature is also characteristic of possessive composites, which can be perceived as a subclass of exocentric composites, but which, in their literal interpretation, would express an ownership relationship tied to the respective components (e.g. Wendehals). For these types of one-word idioms, the meaning is not compositional, as in determinative or coordinate composites; their significance cannot be determined directly from the significance of their components.The article reflects the opinions of linguists who deal with the comparison of convergent and divergent relationships between the characteristics of one-word idioms and generally accepted phraseological criteria. Although there is controversy in scientific sources about the hierarchy of major phraseological features (compare Vajičková, 2002; Ďurčo, 1994; Mlacek, 1984; Palm, 1997), the determination of affiliation to the phraseological fund is based on the phraseological criteria of idiomaticity, polylexicality, irregularity, stability, lexicalization and reproducibility (compare Burger &amp; Jaschke, 1973; Fleischer, 1982; Vajičková, 2002; Ďurčo, 1994). The study deals most extensively with the discussion of idiomatics, which is understood in terms of phraseology as the most important criterion (Vajičková, 2002; Ďurčo, 1994). The criteria of stability, lexicalisation and reproducibility are presented mainly in regard to irregularity due to their apparent presence. The semantic stability of compound nominal one-word idioms results from their established, transferred meaning.As for their formal side and meaning, they are stable and have a specific meaning (Duhme, 1995). Correct interpretation of meaning is performed automatically (Duhme, 1995) by the recipient, as these terms are “ready-made, reproducible language units” (Duhme, 1995, p. 84), thus meeting the criteria of lexicalisation and reproducibility and are closely related to “phraseolexicon” (Földes, 1987) of the language in question. These are idioms in a broad sense, which are not only codified in lexicons and dictionaries, but are also “stored” in the “memory” of the language user as “mnestic property of the speaker” (Vajičková, 2002).&nbsp;Since the anomaly of one-word idioms lies mainly in their monolexicality, which violates the criterion of polylexicality, the analysis focuses primarily on this feature. The text notes the compound nominal one-word idioms in the German language, which are in terms of word formation mostly dephraseological derivatives or exocentric and possessive compounds.From a semantic point of view, it specifically deals with a class of one-word idioms that express a certain characteristic of a person in an expressive way, either familiarly, ironically or vulgarly.The work offers suggestions for further research into the issue from several perspectives. The possibility of deeper morphological research of idiomatic compounds in the mentioned languages according to the word type affiliation of their components and according to the applied word-formation procedures seems to be promising.&nbsp;

Möglichkeiten der phraseologischen Betrachtung  der Einwortidiome aus der Sicht der  phraseologischen Kriterien auf der Basis von  slowakischen und deutschen Beispielen

Neslihan

Mehmet

Intermodal and Intermedial Translation of  Songs in Stage and Film Musicals: Application  of an Integrated Approach in Turkish Context

Zeynep

From 1936 to 1939, Spain witnessed the most cruel and crucial time of its history: The Spanish Civil War. At the end of the Civil War, writers and artists, philosophers and scientists, professors and historians, that is to say, the intellectuals of major name and the remarkable minds of the country, were forced to abandon their homeland and search for a new life in remote lands all over the world. During the period between the end of the 19th century and the beginning of the Spanish Civil War, the members of three generations of writers and philosophers – the Generation of ‘98, the Generation of ‘14, and the Generation of ‘27 – pioneered the literary and cultural life of Spain. This period that lasted from 1898 to 1936 has been called The Silver Age of Spanish literature. The intellectuals of The Silver Age were exiled, accompanied by nearly half a million of Spanish people; they fought together in a relentless war, lost together, and left together.&nbsp;Considering the exile from a cultural perspective, two fields seem to stand out: poetry and science. Almost all members of the latest generation – the Generation of ‘27 – went into exile. Some of them initially settled in European countries, a few went to the United States, but the majority headed for Latin American countries, where they all found protection and a chance for a new life, far from the native land. A small group returned to Spain shortly after the civil war had finished; some of the refugees returned after a while; the rest of them lived in their respective countries of asylum until they passed away. In the beginning, they all thought that the exile would be temporary and they would eventually return to the homeland, but as time passed, they all became aware of the fact that the exile would be long-lasting.&nbsp;The Spanish intellectuals had an intense political, literary, and academic life at the beginning of the exile. The experience of the exile had been different for each of them, but the grief was a common sentiment for all. The exiles anguished over the loss of their country and of their loved ones; they felt the uncertainty of beginning a new life in a foreign land. The poetry written in the first years of exile reflected generally the pain for their lost country and for all that had been left behind. A violent anger and resistance directed towards the new owners of Spain and a deep melancholy and nostalgia were observed in the poems in the first half of the 1940s. Alongside the common themes developed in the poems, as painful as they were, there was always hope of returning home. However, hope was working against the possibility of a complete integration at all levels.&nbsp;As of the second half of the decade of the forties, when the migrant intellectuals of the Spain realized that return was no longer possible, they decided that it was time to reorganize their lives. As time passed, the topics diversified; each and every one of them took a different path regarding poetic tendency. Facts of everyday life were still there in the works of the poets as testimony of their lives, but as time went by, they felt more peaceful and this growing state of serenity was reflected as well in their works.&nbsp;As a result, the history has been recorded and saved in the literary works of all the Spanish writers who had to leave their country at a critical moment of their history to settle in another. There is a lot of pain- a great sorrow- in the lives of the Spanish people of that time. The lives in those remote lands and all their experiences are present in their literary production.&nbsp;

Poesía española del exilio: crónica sentimental de un destierro

Hadis

Fatma

The collective memory, shaped by a long and intense process of social experiences, is the only way that societies sustain their past knowledge, their essence, which distinguishes them from others, in other words, their cultural accumulation across the centuries. Therefore, poems, legends, books, clothes and various cultural products are the main media that have the ability to transfer cultural characteristics and traditions to the future in order to legate the stored information from the past. At this point, one of the most important cultural productions is architectural spaces or even cities as physical environments. Cities and their constituent places are concrete representatives of the past and accumulated social knowledge. For this reason, literary works, events, lives and stories are constantly addressed through architectural spaces. In other words, architecture becomes the only tool that determines and directs the expression of the story.This is also the case with literary works; independent from the genre, the plot always is accompanied by depictions of physical spaces. Thus, even if indirectly so, architecture becomes the only tool that determines and directs the expression of narratives in the reader.&nbsp;One of the best examples that can be given to this centuries-old tradition is the work of Ivo Andriç called Bridge on the Drina. While focusing on the Drina Bridge located in the city of Visegrad, Andriç tries to investigate and explicate the evolution of the social structure in the region and the great historical thresholds experienced on a global scale, through the bridge.In this direction, the main goal is to examine and evaluate the relationship between literature and architecture in the context of monument and memory, through the example of the Drina Bridge. In short, the study aims to investigate the relationship between the architecture and literature and the role of the architecture in literarty works by investigating Andric’s The Bridge on the Drina. In other words, the study focuses primarily on the storytelling power of the architectural space, the place the architectural structures acquires in collective memory and their ability to transfer past knowledge to the future.&nbsp;The Drina Bridge not only places an architectural product in the center, but also constantly associates a story (that spans centuries) with the bridge and tells all the important events on the bridge. Therefore, in this study, an inquiry has been made on the monumentalization of the bridge, its place in social memory, its power to represent memory, the roles it assumes in the historical process and its value. With this questioning, an attempt is made to discuss the relationship between literature and architecture disciplines in the context of the role and power of architectural structures in literary expressions. In this direction, in order to examine in more detail what role the bridge plays in the story and how the story is shaped within the framework of the bridge, the study is divided into the subheadings: “memory, monumentality and the Drina Bridge”, “the spatial characteristics of the bridge and how the bridge shapes its environment?”, “the place of the bridge in social life”, symbolic value and politicization” and “Bridge of Drina as a storyteller”.Based on the example of Drina Bridge, it can be argued that apart from defining a physical environment in the story as in other literary works, the architectural product is in fact the main elements that can sit in the center of the story, tell the story, identify with the characters in the story, and give direction to the story. With the depictions of the physical environment, architecture actually gives the reader clues about the period, experiences, social classes, and memory, and provides a better understanding of the story. This is also the case with the Drina Bridge. By constructing metaphors on a bridge, Andriç discusses the formation of a nation and its subsequent dissolution, the sense of nationality and the social consequences it brings, the brutality of war, and the phenomenon of living together in peacetime regardless of language, religion or race. Although the Drina bridge, which is the subject of the story, has undergone little physical transformation over the centuries, it has undergone great semantic transformations and takes on different meanings according to time and point of view.&nbsp;&nbsp;In this context, the Drina Bridge emerges as a very powerful example of an architectural product in terms of its story-telling power. The bridge, as an architectural product, is the element that conveys the story, directs it and prepares a background for it. In other words, The Bridge on the Drina contains important data at the point of examining and questioning the mutual interaction established between architecture and literature. As a result, the study reveals that The Bridge on the Drina has strong potential in terms of ‘the relationship between architecture and literature’.&nbsp;

Edebiyatta Mimarlık ve Anıtsallık: İvo Andriç’in  Drina Köprüsü Örneği

Servet

As one of the periodicals that contributed to the world of culture, art and thought in 1940’s Turkiye, Adımlar succeeded in leaving a remarkable imprint in its short history. Adımlar, which first appeared in May 1943 and defined itself as the “Monthly Journal of Ideas and Culture”, continued its publication for 12 issues until it was closed in April 1944. Continuing its publication despite the harsh social and political conditions of World War II, the journal brought various approaches to culture and art with its wide staff of writers.&nbsp;Closely following international and Turkish art and literature movements of the 1940s, Western art and literature were presented in a section titled “This Month” in every issue. There were also articles where recent developments in art and literature were evaluated. In the “Publications” section of the journal, translated works from Western literature were introduced to the reader. In addition, translations of Western novels, stories and poems were also included in the magazine. Analysis and comments on Western literature in Adımlar were made by academics, translators and researchers with a command of Western languages and literature, such as Behice Boran, Nermin Menemencioğlu, Jean Camborde, Walter Ruben and Burhan Arpad.A distinguished team of writers, who had themselves written works and done translation in the fields of art and literature, wrote articles in Adımlar evaluating French literature, primarily, along with American, English and German literature. In terms of genre, the magazine emphasized the novel and presented it from a more social point of view. Evaluations focusing on the relationship between the current age and the&nbsp;novel genre came to the fore. This point of view, which reflects the influence of owner and editor-in-chief Behice Boran’s academic identity, led to approaches to the Western novel within the framework of literary sociology.Adımlar, which drew attention to works from Western literature in order to contribute to the development of Turkish intellectual life, emphasized the transition that the world was experiencing during the war years. With an understanding that nations were in material and spiritual exchange with each other in this period, it kept up with the world and expressed the desire for Turkiye to meet the future as a “nation with advanced technology and culture”.During its short publication period, Adımlar succeeded in bringing discussions and commentary in Western and Turkish intellectual life together with its readers by presenting an example of cultural and intellectual publishing that opens its doors to Western thought. In the 1940s, research, discussion and commentary around humanism, which came to the fore within the framework of Hasan Ali Yücel’s cultural policies, were favoured by Adımlar as well, and they declared that it was a publication that adopted humanist discourse as a principle. By publishing a humanism questionnaire, it provided a space for the views of Turkish and Western researchers, academics and writers, and brought the “People’s Humanism” approach to the fore. This humanist attitude, which was the source of the magazine’s interest in Western literature, made an intellectual contribution to Turkiye in the 1940s.It is seen that the sociological perspective comes to the fore in the evaluations of Western literature in Adımlar. The magazine introduced contemporary Western writers, in particular French novelists, and emphasized socialist realist writers. Accordingly, the subjects that authors such as Andre Malraux, Paul Nizan, John Steinbeck and Erich Maria Remarque dealt within their works were included. As a reflection of the populist humanist approach it adopted, the journal highlighted works in which wars, economic and social inequalities are interpreted from a critical point of view. It has been stated that literature should mirror social problems and produce solutions, and the importance of socialist realist art understanding was emphasized.&nbsp;One of the aspects that distinguishes Adımlar in Turkish cultural and intellectual life was its attitude during World War II. drawing attention to the destruction caused by the war, the magazine represented an anti-war approach that put human values at the&nbsp;centre. The magazine, which reacted to the disaster caused by Nazi Germany in Europe from the perspective of literature and art, became an oppositional voice against the political perspective that was dominant in Turkiye during the Second World War. With its understanding of thought, art and literature, Adımlar was exposed to high criticism from the Turkist-Turanist circles that gained strength in the early 1940s. The journal, which existed in the harsh political climate of the Second World War years, succeeded in being effective in a strictly controlled publication period.As an art and literature magazine in Turkiye in the 1940s, Adımlar tried to stay away from current political debates but did not avoid being party to harsh debates. It contributed to the literary climate with the “populist” perspective it adopted. Thanks to its publication policy, the journal drew attention to the importance of intercultural interaction by pulling back the curtain on the communication channels of World War II.&nbsp;

1940’lı Yılların Türkiye’sinde Batı Edebiyatına  Adımlar

Eylem

Annie Ernaux, born in 1940 and having published her first book in 1974, is one of the French successors of Simone de Beauvoir. If there is one author who has shaped her mind, it is undoubtedly Simone de Beauvoir, whom she knew through her readings, particularly during her university studies of modern literature. This relationship is especially apparent considering that Ernaux cites Beauvoir several times in her works and reading The Second Sex (Le Deuxième Sexe) in particular seems to be a real revelation and “an opening onto the world” for Annie Ernaux (Ernaux, 2007, p. 27). From the perspective of intertextuality, we note a similarity both formally and thematically between several works by the two authors. Both Simone de Beauvoir’s A Very Easy Death (Une mort très douce, 1964) and Annie Ernaux’s I Remain in Darkness (Je ne suis pas sortie de ma nuit, 1997) deal with the illness and death of the mothers of the two authornarrators. Both in Simone de Beauvoir’s Memoirs of a Dutiful Daughter (Mémoires d’une jeune fille rangée, 1958) and in Annie Ernaux’s A Gilrl’s Story (Mémoire de fille, 2016), the two authors deal with their youth and their very choice of titles seem to openly mark the connection between these two books. As for the female question, throughout the reading of Annie Ernaux’s A Frozen Woman (La Femme gelée, 1981) we notice the echo of Simone de Beauvoir’s The Women Destroyed (La Femme rompue, 1967). In the latter, Beauvoir writes a triptych in which she stages three fictional women, destroyed by marriage and/or motherhood, which seems to be a way of warning her female readers against the trap that society could set for them. Alongside this, Ernaux deals with her own marriage to a bourgeois executive in a tone of confession and in an ironic and derisive way. Ernaux writes her book to share her journey as a woman through her personal becoming and development. Through this narrative, she wants to show that in order to gain awareness of her minority situation as a woman in relation to men, she must go through the situation faced by the majority of women. Contrary to Beauvoirian women, who are frozen in a situation of total destabilization, Ernausian woman is subject to a liberation from her situation.&nbsp;We can thus ask ourselves what could be the reason for a writer to choose – voluntarily – subjects already dealt with previously by another writer? In this context, it would be appropriate to focus on intertextuality, and women’s literature in particular. Indeed, in addition to taking up the same topics to update them, women’s writing is reinstated, even to repeat itself, to tackle female questions far from being acquired from a new angle. Moreover, this conception shows a parallelism with Annie Ernaux’s conception of literature in general, according to which, literature would be constantly moving and evolving. In addition to quoting Simone de Beauvoir and her works, while maintaining the content and sometimes even echoing the titles, Annie Ernaux takes on the challenge of rewriting works modelled on them, taking each time care to adapt them to her own generation and socio-cultural condition. Indeed, it is through writing that the Ernausian “frozen woman” frees herself from her situation in the same way that Annie Ernaux carries the torch of the Beauvoirian feminist denunciation by means of her rewritten and reinterpreted work.In this article, Simone de Beauvoir’s The Women Destroyed and Annie Ernaux’s A Frozen Woman, two works dealing with the feminine question, will be compared from the point of view of intertextuality and women’s writing in order not only to understand this process of rewriting among women-authors but also to show how literature is renewed through this process. We can finally deduce that women’s reworking and rewriting are effective ways to consolidate the feminist theses found in women writers’ books. Thus, intertextuality in women’s writing, far from being a simple imitation, may assume the continuity of women’s literature, where each woman author might contribute not only to her own future, but also to other women’s future.&nbsp;

La récriture au féminin : La Femme rompue de  Simone de Beauvoir et La Femme gelée d’Annie Ernaux

Maria

Reseña del libro Las “chicas raras” en la  Literatura Española Contemporánea: activismo,  sexualidad y otredad en las “chicas raras”

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

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

Rafael

METAFORIK BIR SÜREÇ OLARAK ÇEVIRI

İrfan Cenk

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

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

Francis Crequi Ngoyi

Sexisme Dans Les Anglicismes

Gérald

İKİDİLLİ ANAOKULUNDA CAROLİNE VE ALMANCA L2 ÖĞRETİMİ

Leman

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

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

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

İlhami

ÖĞRETİMSEL AÇIDAN TÜRKİYE TÜRKÇESİNDE TEMEL TONLAMA TÜRLERİ VE İŞLEVLERİ

Mélanie

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

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

María Antonia

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

Emrah

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

Türkiye’de İş Yeri Adlandırma Uygulamaları: Yabancı Etkisi

Saliha Seniz

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

Önder

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

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

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

Ulusun Yeniden İlanı: Kölelik ve Amerikan Devrimi

Göksenin

Büşra

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

İngilizcede Birhan Keskin: Şiir Çevirisine Metafor Odaklı Bir Yaklaşım

Ebru

ANADILI TÜRKÇE OLAN ÖĞRENCILERIN İSPANYOLCA ÖĞRENIMINDE KARŞILAŞTIKLARI DILBILGISI ZORLUKLARI

Uğur

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

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

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

Özlem

İSPANYOL FRANKIZM İDEOLOJISININ DOĞUŞU VE GELIŞIMINE YÖN VEREN YAZARLAR

Esra Başak

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

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

Damla

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

Yunan İlkokul Edebiyat Kitaplarında Türk İmajı

Çağatay

Zeynep Seza

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

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

Şevket

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

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

Nkouda Sopgui

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

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

Mehmet Serhan

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

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

Gülşah

Gabriel Garcia Marquez ve Kokuların İmgelemi

Nina

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

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

Francisco Javier

Esin

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

Nedret

Belgelerle İstanbul Üniversitesi Edebiyat Fakültesinde Mülteci Bilim Adamları

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

Nicola

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

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

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

Paola

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

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

Didem

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

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

Mediha

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

Darstellung der Wirklichkeit: Erich Auerbachs Konzept von Erinnerung

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

Aidiyetsiz Kahramanlar: Milan Kundera’nın Bilmemek Romanında Çoksesli Anlatı

Marco

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

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

Ioana

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

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

Alberto

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

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

Jawad

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

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

Emel

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

Nathalie Sarraute’un Çocukluk Anlatısında Bellek

Zafer

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

Postmodern Ögelerin Bir Geçit Töreni Olarak Kuzey Kulesi 107. Kat

Erdoğan

Melek

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

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

Sinan

Instructor

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

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

Lydia

Hakim

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

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

Martina

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

Sifei

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

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

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Sayın Yazarlar,

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

Dergimiz 2021 Haziran sayısından itibaren bir sayıda en fazla 20 makale olacak şekilde yayımlanacaktır. Süreci tamamlanan diğer makaleler bir sonraki sayıya aktarılacaktır.

İstanbul Üniversitesi, Edebiyat Fakültesi, Batı Dilleri Bölümü’nün yayını olan Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi, 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, esas olarak edebiyat, sanat ve kültür alanlarına ilişkin konuların incelendiği, araştırıldığı bir platform sağlar. Derginin amacı edebi ve kültürel çalışmalara ilişkin teorik, kritik makaleler yayınlamaktır. Batı dilleri, edebiyatları ve kültürleri ilgili tartışmaları içeren ya da bu tartışmalara odaklanan multidisipliner yaklaşımlara açıktır. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

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

Açık Erişim İlkesi - İşlemleme Ücreti Alınmaz - Telif Hakkında

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

Litera tezden üretilmiş makale ve tam metni yayınlanmış bildirilerden oluşan makaleleri değerlendirme sürecine kabul etmemektedir.                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          

Sayı Türü	Regular
Editör(ler)	Mahmut Karakuş, Bülent Çağlakpınar

Litera: Dil, Edebiyat ve Kültür Araştırmaları Dergisi

CİLT 32, SAYI 1, 2022

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