Joseph Conrad’s Heart of Darkness intensively presents modernist particularity shown in the form of linguistic obscurity. This paper draws on Friedrich Schleiermacher’s hermeneutics to argue that it has latent meanings and is presented through two categories: “silenced language” and “voiced language.” The former reveals the deception, death and hurt brought by colonial conquest. The latter is best exemplified by Kurtz’s Intended typified as an archetype of the Victorian woman, by which Joseph Conrad intends to criticize the self-deception of many in the colonial era. In short, linguistic obscurity respectively reveals Conrad’s critique of colonialism and his concern for humanity from the two different paths.
{"title":"Linguistic Obscurity in Joseph Conrad’s Heart of Darkness","authors":"Yunfeı Liu, Zuofeng Zhong","doi":"10.47777/cankujhss.1320215","DOIUrl":"https://doi.org/10.47777/cankujhss.1320215","url":null,"abstract":"Joseph Conrad’s Heart of Darkness intensively presents modernist particularity shown in the form of linguistic obscurity. This paper draws on Friedrich Schleiermacher’s hermeneutics to argue that it has latent meanings and is presented through two categories: “silenced language” and “voiced language.” The former reveals the deception, death and hurt brought by colonial conquest. The latter is best exemplified by Kurtz’s Intended typified as an archetype of the Victorian woman, by which Joseph Conrad intends to criticize the self-deception of many in the colonial era. In short, linguistic obscurity respectively reveals Conrad’s critique of colonialism and his concern for humanity from the two different paths.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"58 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139179452","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}
There are two main categories of emotion theories: basic emotion and componential theories. While these theories are generally focused on the contemporary world, they may provide new perspectives on medieval literature. Roman de Horn and Boeve de Haumtone are Anglo-Norman romances that tell the stories of noble, handsome, and good-looking heroes who become courageous along their journeys. Although they somehow begin their journey with bad luck, they both triumph in the end. All these seemingly spectacular characteristics of the heroes naturally evoke envy among others. Envy occurs when someone's autonomy or closely identified persons/property is threatened. In both romances, the heroes battle against false accusations made by their enviers. In this respect, the major concern of this article is to explore how the philosophical and emotional significance of envy performs in medieval tradition.
情感理论有两大类：基本情感理论和成分理论。虽然这些理论一般侧重于当代世界，但它们可以为中世纪文学提供新的视角。Roman de Horn》和《Boeve de Haumtone》是盎格鲁-诺曼的浪漫故事，讲述了高贵、英俊、帅气的英雄在旅途中变得勇敢的故事。虽然他们在旅途开始时运气不佳，但最终都取得了胜利。所有这些看似壮观的英雄特征自然会引起他人的羡慕。当一个人的自主权或与之密切相关的人/财产受到威胁时，就会产生嫉妒。在这两部爱情小说中，主人公都要与嫉妒者的诬陷作斗争。在这方面，本文的主要关注点是探讨嫉妒在中世纪传统中的哲学和情感意义。
{"title":"Haset: Ortaçağ’da İngiltere Anglo-Norman Geleneğinde Sinsi Duygu","authors":"Hülya TAFLI DÜZGÜN, Tuba Arslan","doi":"10.47777/cankujhss.1299860","DOIUrl":"https://doi.org/10.47777/cankujhss.1299860","url":null,"abstract":"There are two main categories of emotion theories: basic emotion and componential theories. While these theories are generally focused on the contemporary world, they may provide new perspectives on medieval literature. Roman de Horn and Boeve de Haumtone are Anglo-Norman romances that tell the stories of noble, handsome, and good-looking heroes who become courageous along their journeys. Although they somehow begin their journey with bad luck, they both triumph in the end. All these seemingly spectacular characteristics of the heroes naturally evoke envy among others. Envy occurs when someone's autonomy or closely identified persons/property is threatened. In both romances, the heroes battle against false accusations made by their enviers. In this respect, the major concern of this article is to explore how the philosophical and emotional significance of envy performs in medieval tradition.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"29 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139188498","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}
The use of mimetic and diegetic modes of storytelling has significant implications for the meaning and interpretation of Wilkie Collins’s (1824-1889) short story collection After Dark (1856). By using a framed narrative structure, Collins highlights the mimetic features of the stories in his collection. He creates a semi-factual atmosphere through dividing the story universe into two levels. On the first level, the discourse of the primary narrator and his wife emphasizes the mimetic nature of the six realistic stories recounted on the second level. Through following such a structure, the author seeks to create the illusion that the stories in the collection are biographical accounts. Verisimilitude, or lifelikeness, is therefore presented as the primary narrative property in After Dark. However, as this article mainly argues, the authorial discourse presented in Collins’s general preface to the collection—which, to use Gerard Genette’s term, is a paratext or threshold—dismantles the characters’ realistic pretentions on the two levels of the storyworld. More precisely, by calling the six narrated stories in the collection the offspring of his own imagination, Collins’s paratextual preface destroys the highlighted mimetic claims on the two levels in the storyworld.
{"title":"The Anti-Mimetic Function of Paratext in Wilkie Collins’s Framed Narrative After Dark","authors":"Karam Nayebpour, Naghmeh Varghai̇yan","doi":"10.47777/cankujhss.1297035","DOIUrl":"https://doi.org/10.47777/cankujhss.1297035","url":null,"abstract":"The use of mimetic and diegetic modes of storytelling has significant implications for the meaning and interpretation of Wilkie Collins’s (1824-1889) short story collection After Dark (1856). By using a framed narrative structure, Collins highlights the mimetic features of the stories in his collection. He creates a semi-factual atmosphere through dividing the story universe into two levels. On the first level, the discourse of the primary narrator and his wife emphasizes the mimetic nature of the six realistic stories recounted on the second level. Through following such a structure, the author seeks to create the illusion that the stories in the collection are biographical accounts. Verisimilitude, or lifelikeness, is therefore presented as the primary narrative property in After Dark. However, as this article mainly argues, the authorial discourse presented in Collins’s general preface to the collection—which, to use Gerard Genette’s term, is a paratext or threshold—dismantles the characters’ realistic pretentions on the two levels of the storyworld. More precisely, by calling the six narrated stories in the collection the offspring of his own imagination, Collins’s paratextual preface destroys the highlighted mimetic claims on the two levels in the storyworld.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139232296","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}
John Belluso’s play Pyretown depicts a single mother’s struggle with the American healthcare system and portrays the destructive consequences of ableism existing in the neoliberal structures. Even though neoliberal ideology promises happiness, health and success through hard work and consumption, the characters in the play are victimized by highly valued autonomy, profit, and privatization. In such a system, disability is also thought to be an individual experience, yet the play shows that it is only a part of complex dynamics in daily life. On her journey to learn disability as a multifaceted experience, Lou engages in affective relationships with Harry and Rebecca whose lives are also jeopardized by the medical industrial complex. The realist portrayal of disability problematizes the job market, the healthcare and welfare system in the United States while promoting for a reform in the social, cultural, and political discourses. Within this context, this article argues that Belluso’s Pyretown exposes and critiques neoliberal ableism as it exists in American society while portraying the complexities of caregiving, motherhood, and disability.
{"title":"Engelli Bireylere Yönelik Ayrımcılıkla Mücadele: John Belluso’nun Pyretown Oyununda Sağlık Sistemi ve Bakım Verme","authors":"Duygu Beste BAŞER ÖZCAN","doi":"10.47777/cankujhss.1409130","DOIUrl":"https://doi.org/10.47777/cankujhss.1409130","url":null,"abstract":"John Belluso’s play Pyretown depicts a single mother’s struggle with the American healthcare system and portrays the destructive consequences of ableism existing in the neoliberal structures. Even though neoliberal ideology promises happiness, health and success through hard work and consumption, the characters in the play are victimized by highly valued autonomy, profit, and privatization. In such a system, disability is also thought to be an individual experience, yet the play shows that it is only a part of complex dynamics in daily life. On her journey to learn disability as a multifaceted experience, Lou engages in affective relationships with Harry and Rebecca whose lives are also jeopardized by the medical industrial complex. The realist portrayal of disability problematizes the job market, the healthcare and welfare system in the United States while promoting for a reform in the social, cultural, and political discourses. Within this context, this article argues that Belluso’s Pyretown exposes and critiques neoliberal ableism as it exists in American society while portraying the complexities of caregiving, motherhood, and disability.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"220 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139245168","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}
Throughout history, some problems have never been solved, and gender discrimination is one of them. While this problem is extremely serious and does not allow women to breathe in some parts of the world, it is also a reality that gender discrimination still continues in developed countries. It cannot be denied that European women had to struggle for equal payment and circumstances even in the 1980s. The cooperation between the capitalist world order and the patriarchal system results in many troubles in women’s social and economic life. Social class primarily creates a big gap with regard to the quality of women’s lives and it results in inequality. In that regard, women in the lower class not only have to endure hard living and working conditions but they also get degenerated and betray their sisters. They are also abused in various ways and the objectification of their bodies is one of the most common forms of abuse they are exposed to. In NSFW, written by Lucy Kirkwood in 2012, these problems and more are brought to attention and dealt with. This study aims to explore class distinction and the objectification of women’s body in different ways from the abuse of women’s bodies to the established and imposed standards for bodily perfection under the influence of the class system in the capitalist economic order.
{"title":"Lucy Kirkwood'un NSFW Adlı Oyununda Sınıf Ayrımı ve Kadın Bedeninin Metalaştırılması","authors":"Elvan KARAMAN MEZ","doi":"10.47777/cankujhss.1323755","DOIUrl":"https://doi.org/10.47777/cankujhss.1323755","url":null,"abstract":"Throughout history, some problems have never been solved, and gender discrimination is one of them. While this problem is extremely serious and does not allow women to breathe in some parts of the world, it is also a reality that gender discrimination still continues in developed countries. It cannot be denied that European women had to struggle for equal payment and circumstances even in the 1980s. The cooperation between the capitalist world order and the patriarchal system results in many troubles in women’s social and economic life. Social class primarily creates a big gap with regard to the quality of women’s lives and it results in inequality. In that regard, women in the lower class not only have to endure hard living and working conditions but they also get degenerated and betray their sisters. They are also abused in various ways and the objectification of their bodies is one of the most common forms of abuse they are exposed to. In NSFW, written by Lucy Kirkwood in 2012, these problems and more are brought to attention and dealt with. This study aims to explore class distinction and the objectification of women’s body in different ways from the abuse of women’s bodies to the established and imposed standards for bodily perfection under the influence of the class system in the capitalist economic order.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139289543","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}
This study examines explicit intertextuality and its impact on the reader in Teresa Driscoll’s crime novel, Her Perfect Family, published in late 2021. Julia Kristeva’s theory of intertextuality stands as a significant milestone in postmodernist literature, positing that any new text is inevitably influenced or enriched by prior writings. British author Driscoll employs explicit intertextuality throughout the work, incorporating references to renowned English writers such as George Eliot, Thomas Hardy, Charles Dickens, Charlotte Brontë, D.H. Lawrence, Mary Shelley, and Lewis Carroll in various chapters. As a result, the reader perceives a connection between these authors and the chapters, contributing to the overall reading experience. It becomes evident that Driscoll, as a contemporary postmodernist novelist, draws from the themes and characters of these established literary figures to enhance the intricacies of her plot. By providing clues and insights relevant to the contemporary context, the author cleverly weaves explicit intertextual references into the narrative, engaging readers in a process akin to solving a puzzle, and creating connections. Moreover, Driscoll assumes the role of an instructor, posing critical questions about the aforementioned acclaimed authors, their works, and their characters. This approach makes the reader feel like a student, encouraging them to establish intertextual connections in Her Perfect Family and to understand the plot more easily.
{"title":"Explicit intertextuality effects on readers in Teresa Driscoll’s Her Perfect Family","authors":"Ajda Baştan","doi":"10.47777/cankujhss.1331732","DOIUrl":"https://doi.org/10.47777/cankujhss.1331732","url":null,"abstract":"This study examines explicit intertextuality and its impact on the reader in Teresa Driscoll’s crime novel, Her Perfect Family, published in late 2021. Julia Kristeva’s theory of intertextuality stands as a significant milestone in postmodernist literature, positing that any new text is inevitably influenced or enriched by prior writings. British author Driscoll employs explicit intertextuality throughout the work, incorporating references to renowned English writers such as George Eliot, Thomas Hardy, Charles Dickens, Charlotte Brontë, D.H. Lawrence, Mary Shelley, and Lewis Carroll in various chapters. As a result, the reader perceives a connection between these authors and the chapters, contributing to the overall reading experience. It becomes evident that Driscoll, as a contemporary postmodernist novelist, draws from the themes and characters of these established literary figures to enhance the intricacies of her plot. By providing clues and insights relevant to the contemporary context, the author cleverly weaves explicit intertextual references into the narrative, engaging readers in a process akin to solving a puzzle, and creating connections. Moreover, Driscoll assumes the role of an instructor, posing critical questions about the aforementioned acclaimed authors, their works, and their characters. This approach makes the reader feel like a student, encouraging them to establish intertextual connections in Her Perfect Family and to understand the plot more easily.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139312194","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}
Emotion, as part of the overall sensorimotor, introspective, and affective system, is an essential part of language comprehension within the framework of embodied semantics. As emotional state influences semantic and syntactic processing, emotional language processing has been shown to modulate mood as well. The reciprocal relationship between language and emotion has also been informative in bilingualism. Here we take a relatively underresearched type of bilingual processing, simultaneous interpreting, as a case of extreme bilingualism and investigate the effect of emotional language rendering in the L1 on subjective affect and prosodic markers of L2 output. 18 trainee interpreters were asked to simultaneously interpret three speeches in Turkish that varied in emotionality, valence (negative, neutral, and positive), and difficulty in English. Responses to emotional language processing were analysed based on participants’ self-reported positive and negative affect using the Positive and Negative Affect Schedule (PANAS) and three prosodic parameters (intensity, pitch, and fluency). Results showed that interpreting emotionally negative speech increased negative affect, whereas interpreting emotionally positive speech did not modify positive affect. Intensity generally reflected cognitive load. Pitch and fluency, in particular, were more sensitive to changes in the valence of the source speech.
{"title":"Emotional Language Processing in Bilingualism: Subjective Affect and Prosodic Markers in Simultaneous Interpreting","authors":"Alper Kumcu","doi":"10.47777/cankujhss.1338278","DOIUrl":"https://doi.org/10.47777/cankujhss.1338278","url":null,"abstract":"Emotion, as part of the overall sensorimotor, introspective, and affective system, is an essential part of language comprehension within the framework of embodied semantics. As emotional state influences semantic and syntactic processing, emotional language processing has been shown to modulate mood as well. The reciprocal relationship between language and emotion has also been informative in bilingualism. Here we take a relatively underresearched type of bilingual processing, simultaneous interpreting, as a case of extreme bilingualism and investigate the effect of emotional language rendering in the L1 on subjective affect and prosodic markers of L2 output. 18 trainee interpreters were asked to simultaneously interpret three speeches in Turkish that varied in emotionality, valence (negative, neutral, and positive), and difficulty in English. Responses to emotional language processing were analysed based on participants’ self-reported positive and negative affect using the Positive and Negative Affect Schedule (PANAS) and three prosodic parameters (intensity, pitch, and fluency). Results showed that interpreting emotionally negative speech increased negative affect, whereas interpreting emotionally positive speech did not modify positive affect. Intensity generally reflected cognitive load. Pitch and fluency, in particular, were more sensitive to changes in the valence of the source speech.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139318226","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}
“Empire and Exception in Amy Kaplan’s Works, and Beyond” explores the relationship between empire and the concept of legal exception in Amy Kaplan’s works. Kaplan (1953-2020) was an influential critic and thinker in the field of American Studies. She is known primarily for her edited volume Cultures of US Imperialism (Duke UP 1994) and her monograph The Anarchy of Empire in the Making of U.S. Culture (Harvard UP 2005). This paper revisits both of these texts and her last book Our American Israel: The Story of an Entangled Alliance (Harvard UP 2018) and re-examines her fierce scrutiny of American exceptionalism and US cultures of Imperialism. The paper reads Kaplan’s contribution to the study of imperialism through the lens of exceptionalism by juxtaposing her work with the works by four other thinkers of Empire and Exceptionalism: Michael Hardt, Antonio Negri, Carl Schmitt, and Giorgio Agamben. The paper traces the shift from culture to law in the critical discourses of U.S. imperialism and argues that a critique of empire needs to take into account, to recall Agamben’s apt formulation, the “permanent state of exception” that he believes we all live in. By referring to two U.S. Supreme court cases, Dred Scott v. Sandford (1857) and Downes v. Bidwell (1901), the paper contends, however, that even though legal exceptionalism is at the heart of imperialism which includes only through exclusion or occupies only to leave the colonized space unincorporated, yet, since the exception is closely related to Sovereignty, a wholesale critique of exceptionalism that we find in many otherwise astute critiques of U.S. imperialism might be counterproductive as it would unwittingly boost the regimes of globalization or universalism.
"艾米-卡普兰作品中的帝国与例外及其他》探讨了艾米-卡普兰作品中的帝国与法律例外概念之间的关系。卡普兰（1953-2020 年）是美国研究领域颇具影响力的评论家和思想家。她主要以编著的《美帝国主义文化》（Cultures of US Imperialism）（杜克大学出版社，1994 年）和专著《美国文化形成中的帝国无政府状态》（The Anarchy of Empire in the Making of U.S. Culture）（哈佛大学出版社，2005 年）而闻名。本文重温了这两部著作以及她的上一部著作《我们的美国以色列》（Our American Israel：The Story of an Entangled Alliance》（哈佛大学出版社，2018 年），重新审视她对美国例外论和美国帝国主义文化的激烈审视。本文通过将卡普兰的作品与其他四位帝国与例外论思想家的作品并列，从例外论的视角解读卡普兰对帝国主义研究的贡献：迈克尔-哈特（Michael Hardt）、安东尼奥-奈格里（Antonio Negri）、卡尔-施密特（Carl Schmitt）和乔治-阿甘本（Giorgio Agamben）。本文追溯了美帝国主义批判论述中从文化到法律的转变，并认为对帝国的批判需要考虑到阿甘本认为我们所有人都生活在其中的 "永久例外状态"--回顾阿甘本的恰当表述。通过引用美国最高法院的两个案例，即 Dred Scott 诉 Sandford 案（1857 年）和 Downes 诉 Bidwell 案（1901 年），本文认为，尽管法律例外论是帝国主义的核心，帝国主义只是通过排斥来纳入或占领殖民空间，但由于例外与主权密切相关，因此我们在许多对美帝国主义的精辟批判中发现的对例外论的全盘批判可能会适得其反。然而，由于例外与主权密切相关，我们在许多对美帝国主义的精辟批判中发现的对例外论的全面批判可能会适得其反，因为这会在不知不觉中助长全球化或普遍主义的制度。
{"title":"Empire and Exception in Amy Kaplan’s Works, and Beyond","authors":"Puspa Damai̇","doi":"10.47777/cankujhss.1340482","DOIUrl":"https://doi.org/10.47777/cankujhss.1340482","url":null,"abstract":"“Empire and Exception in Amy Kaplan’s Works, and Beyond” explores the relationship between empire and the concept of legal exception in Amy Kaplan’s works. Kaplan (1953-2020) was an influential critic and thinker in the field of American Studies. She is known primarily for her edited volume Cultures of US Imperialism (Duke UP 1994) and her monograph The Anarchy of Empire in the Making of U.S. Culture (Harvard UP 2005). This paper revisits both of these texts and her last book Our American Israel: The Story of an Entangled Alliance (Harvard UP 2018) and re-examines her fierce scrutiny of American exceptionalism and US cultures of Imperialism. The paper reads Kaplan’s contribution to the study of imperialism through the lens of exceptionalism by juxtaposing her work with the works by four other thinkers of Empire and Exceptionalism: Michael Hardt, Antonio Negri, Carl Schmitt, and Giorgio Agamben. The paper traces the shift from culture to law in the critical discourses of U.S. imperialism and argues that a critique of empire needs to take into account, to recall Agamben’s apt formulation, the “permanent state of exception” that he believes we all live in. By referring to two U.S. Supreme court cases, Dred Scott v. Sandford (1857) and Downes v. Bidwell (1901), the paper contends, however, that even though legal exceptionalism is at the heart of imperialism which includes only through exclusion or occupies only to leave the colonized space unincorporated, yet, since the exception is closely related to Sovereignty, a wholesale critique of exceptionalism that we find in many otherwise astute critiques of U.S. imperialism might be counterproductive as it would unwittingly boost the regimes of globalization or universalism.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139317773","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}
Abstract Considering the fact that postmodern literature is an intertextual world in which the reader reinterprets the text in an ongoing process, it is evident that referring to the past, particularly ancient myths through various writing strategies is becoming highly popular. Within the framework of this understanding, Salley Vickers attracts attention with Where Three Roads Meet, where she retells the Oedipus myth, published in 2007 as part of the myth series launched by Canongate Publishing House. The author blends the ancient myth with the Oedipus complex that Freud introduced to psychoanalysis, transforming it into a masterfully constructed contemporary myth that oscillates between the fantasy world of myth and Freud's era. This study's primary aim is to examine Vickers' various narrative techniques in rewriting the ancient myth, particularly metalepsis. In this direction, the study also focuses on the author's existential, psychological, philosophical, and fantastic interpretation approaches to constructing her postmodern work. Finally, in her metaleptic version based on the one-to-one dialogue between Freud and the narrator, this study concludes that Vickers deconstructs the myth tradition and creates an illusion effect on the reader that suspends thanks to the ambiguity and multi-layeredness composed in the narrator's core and throughout the account. Keywords: Salley Vickers, Where Three Roads Meet, Retelling, Metalepsis, Mise en abyme Öz Post modern edebiyatın, okurun metni sürekli yeniden yorumladığı metinlerarası bir dünya olduğu düşünüldüğünde, çeşitli yazma stratejileriyle geçmişe, özellikle de antik mitlere atıfta bulunmanın oldukça popüler hale geldiği açıktır. Bu anlayış çerçevesinde Salley Vickers, 2007 yılında Canongate Yayınevi’nin başlattığı mit serisi kapsamında yayımlanan ve Oedipus mitini yeniden anlattığı Where Three Roads Meet ile dikkat çeker. Yazar, antik miti Freud'un psikanalize kazandırdığı Oedipus kompleksiyle harmanlayarak, mitin fantezi dünyası ile Freud'un dönemi arasında gidip gelen, ustalıkla kurgulanmış çağdaş bir mite dönüştürür. Bu çalışmanın temel amacı, Vickers'ın başta metalepsis olmak üzere antik miti yeniden yazarken kullandığı çeşitli anlatı tekniklerini incelemektir. Bu doğrultuda çalışma, yazarın post modern eserini inşa ederken kullandığı varoluşsal, psikolojik, felsefi ve fantastik yorumlama yaklaşımlarına da odaklanmaktadır. Son olarak, Freud ve anlatıcı arasındaki birebir diyaloğa dayanan metaleptik versiyonunda, Vickers'ın mit geleneğini yapı bozuma uğrattığı ve anlatıcının merkezinde ve anlatının genelinde oluşturduğu belirsizlik ve çok katmanlılık sayesinde okuyucu askıya alan bir illüzyon etkisi yarattığı sonucuna varılmıştır. Keywords: Salley Vickers, Where Three Roads Meet, Yeniden anlatım, Metalepsis, Mise en abyme
摘 要 考虑到后现代文学是一个互文性的世界，读者在不断的过程中对文本进行重新阐释，通过各种写作策略借鉴过去，尤其是古代神话显然变得非常流行。在这种理解的框架下，萨利-维克斯（Salley Vickers）于 2007 年出版的《三条道路交汇的地方》（Where Three Roads Meet）引起了人们的注意，她在书中重述了俄狄浦斯神话，该书是 Canongate 出版社推出的神话系列的一部分。作者将古代神话与弗洛伊德引入精神分析的俄狄浦斯情结相融合，将其转化为一个巧妙构建的当代神话，在神话的幻想世界与弗洛伊德的时代之间摇摆。本研究的主要目的是探讨维克斯在重写古代神话时所采用的各种叙事技巧，尤其是金属化叙事。在这一方向上，本研究还关注作者在构建其后现代作品时所采用的存在主义、心理学、哲学和梦幻般的阐释方法。最后，在弗洛伊德与叙述者一对一对话的金属化版本中，本研究得出结论：维克斯解构了神话传统，并在叙述者的内核和整个叙述中构成了模糊性和多层次性，给读者造成了一种悬浮的幻觉效果。 关键词萨利-维克丝，《三条道路交汇的地方》，重述，"金属化"（Metalepsis），"朦胧"（Mise en abyme Abstract） 考虑到后现代文学是一个互文性的世界，读者会不断地对文本进行重新阐释，因此，通过各种写作策略提及过去，尤其是古代神话，显然已变得相当流行。在这一理解的框架下，萨利-维克斯（Salley Vickers）于 2007 年出版的《三条路相遇的地方》（Where Three Roads Meet）引起了人们的注意，这是一部重述俄狄浦斯神话的作品，是卡农盖特出版社（Canongate Publishing House）发起的神话系列的一部分。作者将古代神话与弗洛伊德引入精神分析的俄狄浦斯情结相融合，将其转化为一个巧妙构建的当代神话，在神话的幻想世界与弗洛伊德时期之间摇摆不定。本研究的主要目的是分析维克斯在重写古代神话时所使用的各种叙事技巧，尤其是金属质感。在这一方向上，本研究还侧重于作者在构建其后现代作品时所使用的存在主义、心理学、哲学和幻想的解释方法。最后，研究得出结论：在弗洛伊德与叙事者一对一对话的基础上，维克斯在他的金属论版本中解构了神话传统，并通过叙事者在中心和整个叙事中的模棱两可和多层次性，创造出一种幻觉效果，使读者产生悬念。 关键词萨利-维克斯，《三条路交汇的地方》，重述，"金属化"（Metalepsis），"隐喻"（Mise en abyme
{"title":"Vickers’ Where Three Roads Meet as Metaleptic Retelling of the Oedipus","authors":"Leyla Adigüzel","doi":"10.47777/cankujhss.1323021","DOIUrl":"https://doi.org/10.47777/cankujhss.1323021","url":null,"abstract":"Abstract Considering the fact that postmodern literature is an intertextual world in which the reader reinterprets the text in an ongoing process, it is evident that referring to the past, particularly ancient myths through various writing strategies is becoming highly popular. Within the framework of this understanding, Salley Vickers attracts attention with Where Three Roads Meet, where she retells the Oedipus myth, published in 2007 as part of the myth series launched by Canongate Publishing House. The author blends the ancient myth with the Oedipus complex that Freud introduced to psychoanalysis, transforming it into a masterfully constructed contemporary myth that oscillates between the fantasy world of myth and Freud's era. This study's primary aim is to examine Vickers' various narrative techniques in rewriting the ancient myth, particularly metalepsis. In this direction, the study also focuses on the author's existential, psychological, philosophical, and fantastic interpretation approaches to constructing her postmodern work. Finally, in her metaleptic version based on the one-to-one dialogue between Freud and the narrator, this study concludes that Vickers deconstructs the myth tradition and creates an illusion effect on the reader that suspends thanks to the ambiguity and multi-layeredness composed in the narrator's core and throughout the account. Keywords: Salley Vickers, Where Three Roads Meet, Retelling, Metalepsis, Mise en abyme Öz Post modern edebiyatın, okurun metni sürekli yeniden yorumladığı metinlerarası bir dünya olduğu düşünüldüğünde, çeşitli yazma stratejileriyle geçmişe, özellikle de antik mitlere atıfta bulunmanın oldukça popüler hale geldiği açıktır. Bu anlayış çerçevesinde Salley Vickers, 2007 yılında Canongate Yayınevi’nin başlattığı mit serisi kapsamında yayımlanan ve Oedipus mitini yeniden anlattığı Where Three Roads Meet ile dikkat çeker. Yazar, antik miti Freud'un psikanalize kazandırdığı Oedipus kompleksiyle harmanlayarak, mitin fantezi dünyası ile Freud'un dönemi arasında gidip gelen, ustalıkla kurgulanmış çağdaş bir mite dönüştürür. Bu çalışmanın temel amacı, Vickers'ın başta metalepsis olmak üzere antik miti yeniden yazarken kullandığı çeşitli anlatı tekniklerini incelemektir. Bu doğrultuda çalışma, yazarın post modern eserini inşa ederken kullandığı varoluşsal, psikolojik, felsefi ve fantastik yorumlama yaklaşımlarına da odaklanmaktadır. Son olarak, Freud ve anlatıcı arasındaki birebir diyaloğa dayanan metaleptik versiyonunda, Vickers'ın mit geleneğini yapı bozuma uğrattığı ve anlatıcının merkezinde ve anlatının genelinde oluşturduğu belirsizlik ve çok katmanlılık sayesinde okuyucu askıya alan bir illüzyon etkisi yarattığı sonucuna varılmıştır. Keywords: Salley Vickers, Where Three Roads Meet, Yeniden anlatım, Metalepsis, Mise en abyme","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"27 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-10-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139317877","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}
In Beat the Devil: A Covid Monologue (2020), David Hare gives a personal account of his illness period during the early stage of the Covid-19 pandemic, from the middle of March 2020 to the first week of April. In this monologue play, Hare deals with the decay of his body under the attack of the coronavirus and then dwells on his recovery process. On the one hand, this play appears to be a personal chronicle of the playwright’s experience with the Covid-19 virus. On the other hand, Hare’s narration of the news about the virus from the United Kingdom and the world serves to reveal national and collective memory of the crisis. As a playwright who frequently works on political realities and topical issues, Hare intermingles his personal memory and the collective record of the pandemic to censure the leaders incapable of coping with ambiguous circumstances. Thus, his memoir unveils not only Hare’s political commentary but also his political rage as his tone is tinged with anger and disappointment when it comes to the Conservative Party’s failure to protect people against the virus in the country. This paper intervenes in Hare’s monologue play, Beat the Devil, to investigate the playwright’s use of autobiographical and collective memory and evaluates Hare’s expression of political rage in his exploration of the coronavirus.
{"title":"David Hare’s Memoir of Coronavirus and His Political Rage in Beat the Devil: A Covid Monologue","authors":"Kübra VURAL ÖZBEY","doi":"10.47777/cankujhss.1290670","DOIUrl":"https://doi.org/10.47777/cankujhss.1290670","url":null,"abstract":"In Beat the Devil: A Covid Monologue (2020), David Hare gives a personal account of his illness period during the early stage of the Covid-19 pandemic, from the middle of March 2020 to the first week of April. In this monologue play, Hare deals with the decay of his body under the attack of the coronavirus and then dwells on his recovery process. On the one hand, this play appears to be a personal chronicle of the playwright’s experience with the Covid-19 virus. On the other hand, Hare’s narration of the news about the virus from the United Kingdom and the world serves to reveal national and collective memory of the crisis. As a playwright who frequently works on political realities and topical issues, Hare intermingles his personal memory and the collective record of the pandemic to censure the leaders incapable of coping with ambiguous circumstances. Thus, his memoir unveils not only Hare’s political commentary but also his political rage as his tone is tinged with anger and disappointment when it comes to the Conservative Party’s failure to protect people against the virus in the country. This paper intervenes in Hare’s monologue play, Beat the Devil, to investigate the playwright’s use of autobiographical and collective memory and evaluates Hare’s expression of political rage in his exploration of the coronavirus.","PeriodicalId":169428,"journal":{"name":"Cankaya University Journal of Humanities and Social Sciences","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-09-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139338439","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}
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