Pub Date : 2024-01-27DOI: 10.47777/cankujhss.1426760
Ahmet Can Vargün
Stephen Knight’s monograph, Wilkie Collins: The Complete Fiction (2023, Routledge) is a detailed study of Wilkie Collins’ life and career as a complex and accomplished author; ultimately, it presents a call for more scholarly attention and interest in his works. The study engages Collins’ complete fiction by grounding his texts in historical and biographical context. Knight offers extensive background about events, politics, anecdotes, and interactions as Collins built his writing career. Moreover, the study presents details about Collins’ life, his engagement with the publishing industry, and his interaction with other authors at the time. By this approach, the book explores Collins’ literary production considering the influence of consumption, and the criticism of his works to better understand and position him as a complex and successful author. Knight’s monograph also offers historical context and recent scholarly criticism of Collins studies. While this exploration sheds light on Collins’ development as a successful author, producer of novelty, and a political voice, the study repeats the argument that Collins’ works have not received the scholarly attention they deserve.
{"title":"Wilkie Collins: The Complete Fiction, by Stephen Knight","authors":"Ahmet Can Vargün","doi":"10.47777/cankujhss.1426760","DOIUrl":"https://doi.org/10.47777/cankujhss.1426760","url":null,"abstract":"Stephen Knight’s monograph, Wilkie Collins: The Complete Fiction (2023, Routledge) is a detailed study of Wilkie Collins’ life and career as a complex and accomplished author; ultimately, it presents a call for more scholarly attention and interest in his works. The study engages Collins’ complete fiction by grounding his texts in historical and biographical context. Knight offers extensive background about events, politics, anecdotes, and interactions as Collins built his writing career. Moreover, the study presents details about Collins’ life, his engagement with the publishing industry, and his interaction with other authors at the time. By this approach, the book explores Collins’ literary production considering the influence of consumption, and the criticism of his works to better understand and position him as a complex and successful author. Knight’s monograph also offers historical context and recent scholarly criticism of Collins studies. While this exploration sheds light on Collins’ development as a successful author, producer of novelty, and a political voice, the study repeats the argument that Collins’ works have not received the scholarly attention they deserve.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"44 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140492794","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-27DOI: 10.47777/cankujhss.1426754
Barışcan Özkuzey
Edited by William Baker and Richard Nemesvari, Wilkie Collins in Context is an extensive collection of essays that mark the 200th anniversary of Wilkie Collins’s birth by celebrating the multifaceted life of the author in four parts: life and works, critical response and afterlife, literary contexts, and cultural and social contexts. In the preface, Baker and Nemesvari put emphasis firstly on the treatment of Collins’s writing in his age as belonging to a second-class status, stemming from the fact that the most impact he had on the period’s culture has been through his sensation novels, especially The Woman in White and The Moonstone. Wilkie Collins in Context makes an invaluable contribution to the current scholarship of Collins, especially by including an extensive context regarding Collins in the same place as knowledge of his life and critical reception of his work.
由威廉-贝克和理查德-内梅斯瓦里编辑的《语境中的威尔基-柯林斯》是一本内容广泛的论文集，旨在纪念威尔基-柯林斯诞辰 200 周年，从生平与作品、评论界的反应与来世、文学语境以及文化和社会语境四个部分颂扬了这位作家多姿多彩的一生。在序言中，贝克和内梅斯瓦里首先强调了柯林斯的写作在他那个时代被视为二等作品，这是因为他对那个时代文化的最大影响来自于他的轰动一时的小说，尤其是《白衣女人》和《月光石》。Wilkie Collins in Context》对目前有关柯林斯的学术研究做出了宝贵的贡献，尤其是将有关柯林斯的广泛背景与对其生平的了解和对其作品的评论性接受放在了同一位置。
{"title":"Wilkie Collins in Context, ed. by William Baker and Richard Nemesvari","authors":"Barışcan Özkuzey","doi":"10.47777/cankujhss.1426754","DOIUrl":"https://doi.org/10.47777/cankujhss.1426754","url":null,"abstract":"Edited by William Baker and Richard Nemesvari, Wilkie Collins in Context is an extensive collection of essays that mark the 200th anniversary of Wilkie Collins’s birth by celebrating the multifaceted life of the author in four parts: life and works, critical response and afterlife, literary contexts, and cultural and social contexts. In the preface, Baker and Nemesvari put emphasis firstly on the treatment of Collins’s writing in his age as belonging to a second-class status, stemming from the fact that the most impact he had on the period’s culture has been through his sensation novels, especially The Woman in White and The Moonstone. Wilkie Collins in Context makes an invaluable contribution to the current scholarship of Collins, especially by including an extensive context regarding Collins in the same place as knowledge of his life and critical reception of his work.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140492077","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-26DOI: 10.47777/cankujhss.1426321
Yeşim İpekçi̇
Andrew Mangham’s monograph entitled We Are All Monsters: How Deviant Organisms Came to Define Us (2023, The MIT Press) explores the polyvocal nature of monster science across the period 1750-1900 and its dialogue with nineteenth-century literature. Mangham’s “monsters,” as defined in biological sciences, are “organisms … born with at least one permanent physiological defect” (p. 1). Guided by the approach disability studies takes towards the term “disability,” he explores how monster science defines monstrosity “not as a failure, but as an embodiment of, or a cog in the machine of, organic law” (p. 2). Monsters with their corporeal singularities and differences are integral to the laws of nature. They are not “by-products of the laws of natural development which they had failed in varying ways to embody,” but “the adaptive workings and the dynamic forces to which all life forms, normal and abnormal, owe their being” (p. 2). In other words, congenital anomalies or corporeal deviations are structural variations which are not the antithesis of what is “normal” or “natural,” but significations of life’s variety and the ingenuities of nature. Mangham’s choice of literary works from the long nineteenth century helps explore the interplay between monster science and literary or imaginary monsters, emphasizing how they represent monstrosity as central to the interpretation of nature’s diversity and creativity. Offering an in-depth survey of monster science across the period and its literary reverberations in nineteenth-century novels, We Are All Monsters interrogates the causes and meanings of monstrosities with the claim that congenital structural deformities or differences are not failures or violations of nature’s laws, but symbols of vital creativity. With this claim at the center of his work, Mangham explores how Mary Shelley’s Frankenstein (1818), Charles Dickens’s The Old Curiosity Shop (1840-1841), and Lucas Malet’s The History of Sir Richard Calmady (1901) engage in dialogue with the ideas developed in monster science and problematize the meanings of difference and normalcy.
{"title":"We Are All Monsters: How Deviant Organisms Came to Define Us, by Andrew Mangham","authors":"Yeşim İpekçi̇","doi":"10.47777/cankujhss.1426321","DOIUrl":"https://doi.org/10.47777/cankujhss.1426321","url":null,"abstract":"Andrew Mangham’s monograph entitled We Are All Monsters: How Deviant Organisms Came to Define Us (2023, The MIT Press) explores the polyvocal nature of monster science across the period 1750-1900 and its dialogue with nineteenth-century literature. Mangham’s “monsters,” as defined in biological sciences, are “organisms … born with at least one permanent physiological defect” (p. 1). Guided by the approach disability studies takes towards the term “disability,” he explores how monster science defines monstrosity “not as a failure, but as an embodiment of, or a cog in the machine of, organic law” (p. 2). Monsters with their corporeal singularities and differences are integral to the laws of nature. They are not “by-products of the laws of natural development which they had failed in varying ways to embody,” but “the adaptive workings and the dynamic forces to which all life forms, normal and abnormal, owe their being” (p. 2). In other words, congenital anomalies or corporeal deviations are structural variations which are not the antithesis of what is “normal” or “natural,” but significations of life’s variety and the ingenuities of nature. Mangham’s choice of literary works from the long nineteenth century helps explore the interplay between monster science and literary or imaginary monsters, emphasizing how they represent monstrosity as central to the interpretation of nature’s diversity and creativity. Offering an in-depth survey of monster science across the period and its literary reverberations in nineteenth-century novels, We Are All Monsters interrogates the causes and meanings of monstrosities with the claim that congenital structural deformities or differences are not failures or violations of nature’s laws, but symbols of vital creativity. With this claim at the center of his work, Mangham explores how Mary Shelley’s Frankenstein (1818), Charles Dickens’s The Old Curiosity Shop (1840-1841), and Lucas Malet’s The History of Sir Richard Calmady (1901) engage in dialogue with the ideas developed in monster science and problematize the meanings of difference and normalcy.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"81 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140494330","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-22DOI: 10.47777/cankujhss.1418721
Mahinur Gözde Kasurka
Wilkie Collins’s novel The Woman in White (1860) can be taken as an embodiment of patriarchal dominion over-sexualized others of the discourse. In line with women’s holding a “less than” status when compared to men in the text, they are reduced to disposable bodies in posthumanist critic Rosi Braidotti’s sense of the term. The male characters’ representation as the universal representative of the human falls short in embracing the female characters. Hence, Anne’s imprisonment and Laura’s forced marriage in the text demonstrate the working mechanism of epistemic and material violence exerted against the ones who are deprived of the politically representable status by stripping them off their agentic potentialities. In tune with these considerations, this paper aims to find an answer if male and female characters in the novel are human to the same degree against the backdrop of feminist dimensions of posthumanism by highlighting exceptionalist politics as a consolidation of patriarchal logic. By extension, this study proposes to demystify how hierarchical binary thinking excludes more than what it includes in relation to woman. The article also interrogates if a bond of solidarity among women based on nondialectical relations of the self to the other might offer a solution by instilling feminist orientations of posthumanism.
{"title":"The Epistemic and Material Violence Exerted Against Women in The Woman in White from a Posthuman Feminist Perspective","authors":"Mahinur Gözde Kasurka","doi":"10.47777/cankujhss.1418721","DOIUrl":"https://doi.org/10.47777/cankujhss.1418721","url":null,"abstract":"Wilkie Collins’s novel The Woman in White (1860) can be taken as an embodiment of patriarchal dominion over-sexualized others of the discourse. In line with women’s holding a “less than” status when compared to men in the text, they are reduced to disposable bodies in posthumanist critic Rosi Braidotti’s sense of the term. The male characters’ representation as the universal representative of the human falls short in embracing the female characters. Hence, Anne’s imprisonment and Laura’s forced marriage in the text demonstrate the working mechanism of epistemic and material violence exerted against the ones who are deprived of the politically representable status by stripping them off their agentic potentialities. In tune with these considerations, this paper aims to find an answer if male and female characters in the novel are human to the same degree against the backdrop of feminist dimensions of posthumanism by highlighting exceptionalist politics as a consolidation of patriarchal logic. By extension, this study proposes to demystify how hierarchical binary thinking excludes more than what it includes in relation to woman. The article also interrogates if a bond of solidarity among women based on nondialectical relations of the self to the other might offer a solution by instilling feminist orientations of posthumanism.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"29 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139607359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-22DOI: 10.47777/cankujhss.1417570
Gönül Bakay
First published in 1852, Wilkie Collins’s sensation novel Basil offers a very fascinating portrayal of anima projection through the story of an aristocratic young man against the backdrop of Victorian England. The protagonist of the novel falls head over heels in love with a mysterious dark lady called Margaret after a chance encounter on an omnibus. Following a hasty marriage with strange conditions, he spends a whole year in her company – neglecting his own family – until he discovers that he was deceived by Margaret who had been having an affair with her father’s clerk Mannion. This article argues that the intensity of the connection Basil feels for Margaret can be attributed to what the Swiss psychiatrist C.G. Jung called anima projection. Jung defined the archetype of the anima as the feminine element in a man and suggested that it was knowable only through projections that contained our own psychic contents. When we project our anima or animus on to a person, our perception of that person is fundamentally altered. As Basil’s case aptly illustrates, when the anima is projected, it is almost impossible to recognize it in us since it appears outside of us, embodied in another human being. Drawing on insights from Jungian psychoanalysis, this article will examine the archetype of the anima and the phenomenon of anima projection in Wilkie Collins’s Basil.
{"title":"The Archetype of the Anima and the Phenomenon of Anima Projection in Wilkie Collins’s Basil","authors":"Gönül Bakay","doi":"10.47777/cankujhss.1417570","DOIUrl":"https://doi.org/10.47777/cankujhss.1417570","url":null,"abstract":"First published in 1852, Wilkie Collins’s sensation novel Basil offers a very fascinating portrayal of anima projection through the story of an aristocratic young man against the backdrop of Victorian England. The protagonist of the novel falls head over heels in love with a mysterious dark lady called Margaret after a chance encounter on an omnibus. Following a hasty marriage with strange conditions, he spends a whole year in her company – neglecting his own family – until he discovers that he was deceived by Margaret who had been having an affair with her father’s clerk Mannion. This article argues that the intensity of the connection Basil feels for Margaret can be attributed to what the Swiss psychiatrist C.G. Jung called anima projection. Jung defined the archetype of the anima as the feminine element in a man and suggested that it was knowable only through projections that contained our own psychic contents. When we project our anima or animus on to a person, our perception of that person is fundamentally altered. As Basil’s case aptly illustrates, when the anima is projected, it is almost impossible to recognize it in us since it appears outside of us, embodied in another human being. Drawing on insights from Jungian psychoanalysis, this article will examine the archetype of the anima and the phenomenon of anima projection in Wilkie Collins’s Basil.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"31 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140500691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-22DOI: 10.47777/cankujhss.1423334
Elif Toprak Sakız
Exploring the rhetorical functions of the multiple-narrator structure and constantly changing focalization in Wilkie Collins’s epistolary novel The Moonstone is the focus of this study. Key events with regard to the loss of the Indian diamond are narrated in a repetitive pattern, each time with a shift in perspective depending on who remains in the focal position. Genettian concepts of alternating internal/external focalization and multifarious functionalities of narrator(s) are embodied in The Moonstone, culminating in a prevailing sense of mystery, ambiguity as well as an equivocal state of reality as generic conventions, yet on an underlying level, they reflect the ambivalent engagement with imperialism in the novel. The witness-narrator, Gabriel Betteredge, is constantly involved in a number of extranarrative roles alongside his narrating function: the directing function, communication function, testimonial function and ideological function that help to establish a relationship with the implied reader. The multiple-narrator structure and the use of focalization shifts as well as various narrative and extranarrative functions as sources of power are the main features in the novel that expose its uncertainty in response to the idea of empire.
{"title":"Rhetorical Functions of Multiple Narrators and Focalization Shifts in Wilkie Collins’s The Moonstone","authors":"Elif Toprak Sakız","doi":"10.47777/cankujhss.1423334","DOIUrl":"https://doi.org/10.47777/cankujhss.1423334","url":null,"abstract":"Exploring the rhetorical functions of the multiple-narrator structure and constantly changing focalization in Wilkie Collins’s epistolary novel The Moonstone is the focus of this study. Key events with regard to the loss of the Indian diamond are narrated in a repetitive pattern, each time with a shift in perspective depending on who remains in the focal position. Genettian concepts of alternating internal/external focalization and multifarious functionalities of narrator(s) are embodied in The Moonstone, culminating in a prevailing sense of mystery, ambiguity as well as an equivocal state of reality as generic conventions, yet on an underlying level, they reflect the ambivalent engagement with imperialism in the novel. The witness-narrator, Gabriel Betteredge, is constantly involved in a number of extranarrative roles alongside his narrating function: the directing function, communication function, testimonial function and ideological function that help to establish a relationship with the implied reader. The multiple-narrator structure and the use of focalization shifts as well as various narrative and extranarrative functions as sources of power are the main features in the novel that expose its uncertainty in response to the idea of empire.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"19 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139609204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-22DOI: 10.47777/cankujhss.1413123
Andrew Mangham
In Wilkie Collins’s 1872 novel Poor Miss Finch, epilepsy is represented as an event which brings modifying effects through the kind of writing developed in Collins’s earlier, more ‘canonical’ sensation fictions. Drawing on ideas explored in the medical literature of his day, especially the works of Edward Sieveking, Charles Radcliffe, and Russell Reynolds, Collins portrays epileptic disorder as a shock which establishes a new plot trajectory and allows for an examination of the apparent intersections between biology, identity, and different models of (biological) determinism. The argyria experienced by Oscar Dubourg in response to chemical treatment for epileptic seizures and the theft of his identity by his identical twin brother Nugent both literalise a perceived loss of character believed to be an effect of epilepsy. But in Oscar the neurological condition also allows for modifications in the development of new, heroic, and sympathetic depths of character. The theories of neurological compensation developed by John Hughlings Jackson inspired Poor Miss Finch to demonstrate how the calamitous and the sensational (embodied here in epileptic seizures) play a fundamental role in real life and that our constitutions have evolved to respond creatively and dynamically to such events.
{"title":"Out of the Blue? Epilepsy, Sensation and Wilkie Collins’s Poor Miss Finch","authors":"Andrew Mangham","doi":"10.47777/cankujhss.1413123","DOIUrl":"https://doi.org/10.47777/cankujhss.1413123","url":null,"abstract":"In Wilkie Collins’s 1872 novel Poor Miss Finch, epilepsy is represented as an event which brings modifying effects through the kind of writing developed in Collins’s earlier, more ‘canonical’ sensation fictions. Drawing on ideas explored in the medical literature of his day, especially the works of Edward Sieveking, Charles Radcliffe, and Russell Reynolds, Collins portrays epileptic disorder as a shock which establishes a new plot trajectory and allows for an examination of the apparent intersections between biology, identity, and different models of (biological) determinism. The argyria experienced by Oscar Dubourg in response to chemical treatment for epileptic seizures and the theft of his identity by his identical twin brother Nugent both literalise a perceived loss of character believed to be an effect of epilepsy. But in Oscar the neurological condition also allows for modifications in the development of new, heroic, and sympathetic depths of character. The theories of neurological compensation developed by John Hughlings Jackson inspired Poor Miss Finch to demonstrate how the calamitous and the sensational (embodied here in epileptic seizures) play a fundamental role in real life and that our constitutions have evolved to respond creatively and dynamically to such events.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"254 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140500186","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-22DOI: 10.47777/cankujhss.1418446
Sinem Oruç
Since Wayne Booth’s coinage of the term “unreliable narrator,” much critical ink has been spilled over the instances where the reliability of a narrator’s account is compromised, though without exploring the effects of the narrator’s intentional agency on unreliability. This study introduces the narratorial intent across the three levels of unreliable narration offered by Olson as a factor designating the disposition of a narrator and the gap between the implied reader and the narrator. With a rhetorical narratological approach that is in dialogue with cognitivist/constructivist approaches, the butler-narrators Stevens and Betteredge, from Kazuo Ishiguro’s The Remains of the Day (1989) and from Wilkie Collins’s The Moonstone (1868) respectively, will be analyzed in terms of how the difference in their narratorial intent pertains to their being diametrically opposed unreliable narrators. It is claimed that the lack of intrinsic motivation distances Betteredge from the implied reader and makes him an untrustworthy narrator while strong narratorial intent and agency bonds Stevens’s audience to his narration and shows him as an unreliable, yet fallible, narrator.
{"title":"Narrative Cracks: Reconsidering Intentionality in Unreliable Narration in The Remains of the Day and The Moonstone","authors":"Sinem Oruç","doi":"10.47777/cankujhss.1418446","DOIUrl":"https://doi.org/10.47777/cankujhss.1418446","url":null,"abstract":"Since Wayne Booth’s coinage of the term “unreliable narrator,” much critical ink has been spilled over the instances where the reliability of a narrator’s account is compromised, though without exploring the effects of the narrator’s intentional agency on unreliability. This study introduces the narratorial intent across the three levels of unreliable narration offered by Olson as a factor designating the disposition of a narrator and the gap between the implied reader and the narrator. With a rhetorical narratological approach that is in dialogue with cognitivist/constructivist approaches, the butler-narrators Stevens and Betteredge, from Kazuo Ishiguro’s The Remains of the Day (1989) and from Wilkie Collins’s The Moonstone (1868) respectively, will be analyzed in terms of how the difference in their narratorial intent pertains to their being diametrically opposed unreliable narrators. It is claimed that the lack of intrinsic motivation distances Betteredge from the implied reader and makes him an untrustworthy narrator while strong narratorial intent and agency bonds Stevens’s audience to his narration and shows him as an unreliable, yet fallible, narrator.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"105 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140500635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-22DOI: 10.47777/cankujhss.1373096
Gülden Hati̇poğlu
The aim of this article is to explore the critical role of vision and act of seeing in the poetics of Wilkie Collins’s The Woman in White in the context of the ocular dynamics of the nineteenth-century in general and the generic markers of the sensation novel in particular. The conceptual equivalence Collins builds between the agencies of seeing and knowing will be explored by paying particular attention to the ways in which power is exercised on the axis of the modality of the visual. Taking visibility and invisibility as the controlling agencies in The Woman in White, the discussion will focus on exploring the scopic aspects of the novel in its historical and theoretical context, and reading the semiosphere of the novel as a dynamic space of interaction between and vision and ocular power.
{"title":"Ocular Poetics of Wilkie Collins’s The Woman in White","authors":"Gülden Hati̇poğlu","doi":"10.47777/cankujhss.1373096","DOIUrl":"https://doi.org/10.47777/cankujhss.1373096","url":null,"abstract":"The aim of this article is to explore the critical role of vision and act of seeing in the poetics of Wilkie Collins’s The Woman in White in the context of the ocular dynamics of the nineteenth-century in general and the generic markers of the sensation novel in particular. The conceptual equivalence Collins builds between the agencies of seeing and knowing will be explored by paying particular attention to the ways in which power is exercised on the axis of the modality of the visual. Taking visibility and invisibility as the controlling agencies in The Woman in White, the discussion will focus on exploring the scopic aspects of the novel in its historical and theoretical context, and reading the semiosphere of the novel as a dynamic space of interaction between and vision and ocular power.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"5 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139607465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-22DOI: 10.47777/cankujhss.1418501
Sercan Öztekin
Victorian sensation novels, in addition to their scandalous topics such as fraud, murder, adultery, bigamy, and madness, refer to Victorian laws and their construction by social and cultural standards. As a significant sensation novelist, one of the most important subjects Wilkie Collins calls for attention is illegitimacy, a social, political, and literary topic he recurrently employs in his fiction. In his novels The Woman in White (1860) and No Name (1862), he dwells on this issue, motivating the characters’ crimes and scandalous acts. In both novels, illegitimate characters act illegally to reconstruct their identities by challenging Victorian norms especially about illegitimacy. Concerning his life and his critique of Victorian laws and moral certitudes, this paper explores how Wilkie Collins employs and questions the theme of illegitimacy about crime, sensations, and social and legal problems that influence illegitimate children. After briefly examining illegitimacy and laws about it in Victorian England, it explores how the concept of illegitimacy is shaped and influenced by Victorian conventions and gender ideologies in the two novels.
{"title":"Wilkie Collins’in The Woman in White ve No Name Adlı Eserlerinde Gayrimeşruluk ve Yasalar","authors":"Sercan Öztekin","doi":"10.47777/cankujhss.1418501","DOIUrl":"https://doi.org/10.47777/cankujhss.1418501","url":null,"abstract":"Victorian sensation novels, in addition to their scandalous topics such as fraud, murder, adultery, bigamy, and madness, refer to Victorian laws and their construction by social and cultural standards. As a significant sensation novelist, one of the most important subjects Wilkie Collins calls for attention is illegitimacy, a social, political, and literary topic he recurrently employs in his fiction. In his novels The Woman in White (1860) and No Name (1862), he dwells on this issue, motivating the characters’ crimes and scandalous acts. In both novels, illegitimate characters act illegally to reconstruct their identities by challenging Victorian norms especially about illegitimacy. Concerning his life and his critique of Victorian laws and moral certitudes, this paper explores how Wilkie Collins employs and questions the theme of illegitimacy about crime, sensations, and social and legal problems that influence illegitimate children. After briefly examining illegitimacy and laws about it in Victorian England, it explores how the concept of illegitimacy is shaped and influenced by Victorian conventions and gender ideologies in the two novels.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"287 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140499739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：