Pub Date : 2023-10-23DOI: 10.30767/diledeara.1379908
Ercan KAÇMAZ
How could a person seek freedom of inner self and find the truth? Acording to Ralph Waldo Emerson, this is possible through Self-Reliance. From Emerson’s transcendental perspective, the most important thing for a person is to know himself. On the other hand, approximately six hundred years before Emerson, the Turkish poet Yunus Emre gave a very similar message with the phrase Know Yourself. Emre’s perspective on inner self, truth, and love is closely related to Emerson’s ethical ideas, indicating that both writers lead us towards Neoplatonic theories of knowledge. Emre and Emerson came from contrasting cultural backgrounds and had distinct living and working conditions and learning envi- ronments. Emre hails from the Turkish culture and is a disciple (murid) of a Sufi spiritual teacher (murshid), in contrast Emerson comes from a Unitarian background, but he does not follow a lineage and relies on his individual actions. Despite this, they both have an inclu- sive attitude that encompasses all of humanity. Although there seems to be no references to the Turkish poet Emre in Emerson’s texts, there are a lot of commonalities in their writings in terms of self and inner-self. These philosophers - who lived in different continents, thou- sands of miles away from each other and at different times - listened to the universe with the same ear, with the same heart. Thus, they appear as two poets who aim to help people know themselves and add meaning to their lives, not only in their own society but also in other societies. Therefore, this study focuses on the unseen connection between these literary figures and through comparative analysis; it seeks to shed light on the shared mystical and transcendental themes that connect Emre and Emerson across time and cultural boundaries.
{"title":"In Search of Inner Self:Yunus Emre’s Mysticism and Emerson’s Transcendentalism","authors":"Ercan KAÇMAZ","doi":"10.30767/diledeara.1379908","DOIUrl":"https://doi.org/10.30767/diledeara.1379908","url":null,"abstract":"How could a person seek freedom of inner self and find the truth? Acording to Ralph Waldo Emerson, this is possible through Self-Reliance. From Emerson’s transcendental perspective, the most important thing for a person is to know himself. On the other hand, approximately six hundred years before Emerson, the Turkish poet Yunus Emre gave a very similar message with the phrase Know Yourself. Emre’s perspective on inner self, truth, and love is closely related to Emerson’s ethical ideas, indicating that both writers lead us towards Neoplatonic theories of knowledge. Emre and Emerson came from contrasting cultural backgrounds and had distinct living and working conditions and learning envi- ronments. Emre hails from the Turkish culture and is a disciple (murid) of a Sufi spiritual teacher (murshid), in contrast Emerson comes from a Unitarian background, but he does not follow a lineage and relies on his individual actions. Despite this, they both have an inclu- sive attitude that encompasses all of humanity. Although there seems to be no references to the Turkish poet Emre in Emerson’s texts, there are a lot of commonalities in their writings in terms of self and inner-self. These philosophers - who lived in different continents, thou- sands of miles away from each other and at different times - listened to the universe with the same ear, with the same heart. Thus, they appear as two poets who aim to help people know themselves and add meaning to their lives, not only in their own society but also in other societies. Therefore, this study focuses on the unseen connection between these literary figures and through comparative analysis; it seeks to shed light on the shared mystical and transcendental themes that connect Emre and Emerson across time and cultural boundaries.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135414410","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 : 2023-10-23DOI: 10.30767/diledeara.1380261
Mehmet Ali ÇELİKEL
The deployment of humour and sadness together in postcolonial literature invites im- portant discussions on ambivalence. These two juxtaposing themes in postcolonial nov- els reflect not only the cultural clashes effectively, but also the emotional ambivalence of the characters. While the use of humour and sadness turns the anti-colonial novels into sub-historical texts, the tragi-comedy created in this context provides an opportunity to view history from an individual perspective and re-interpret it. This can be observed within the early novels of Salman Rushdie, particularly in Shame, Midnight’s Children, and The Satanic Verses, Hanif Kureishi and Arundhati Roy. The excerpts taken from these novels indicate that the cultural clashes occurred by the confrontation of Eastern and Western cul- tures inevitably bring humour and sadness together. Yet, the occurrence of these juxtaposing uses of humour and sadness reveals an emotional ambivalence as well as cultural ambiva- lence of the main sub-continental characters in these works. This paper, therefore, argues that colonial practices, as represented in Rushdie, Kureishi and Roy’s novels in question, function to create a juxtapositional unity of humour and sadness that create the emotional ambivalence of colonial subjects who are not only hybridized culturally but also trauma- tized individually.
{"title":"Humour and Sadness in Postcolonial Novel: Emotional Ambivalence in Early Anglo-Indian Novels","authors":"Mehmet Ali ÇELİKEL","doi":"10.30767/diledeara.1380261","DOIUrl":"https://doi.org/10.30767/diledeara.1380261","url":null,"abstract":"The deployment of humour and sadness together in postcolonial literature invites im- portant discussions on ambivalence. These two juxtaposing themes in postcolonial nov- els reflect not only the cultural clashes effectively, but also the emotional ambivalence of the characters. While the use of humour and sadness turns the anti-colonial novels into sub-historical texts, the tragi-comedy created in this context provides an opportunity to view history from an individual perspective and re-interpret it. This can be observed within the early novels of Salman Rushdie, particularly in Shame, Midnight’s Children, and The Satanic Verses, Hanif Kureishi and Arundhati Roy. The excerpts taken from these novels indicate that the cultural clashes occurred by the confrontation of Eastern and Western cul- tures inevitably bring humour and sadness together. Yet, the occurrence of these juxtaposing uses of humour and sadness reveals an emotional ambivalence as well as cultural ambiva- lence of the main sub-continental characters in these works. This paper, therefore, argues that colonial practices, as represented in Rushdie, Kureishi and Roy’s novels in question, function to create a juxtapositional unity of humour and sadness that create the emotional ambivalence of colonial subjects who are not only hybridized culturally but also trauma- tized individually.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"43 12","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135414874","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 : 2023-10-12DOI: 10.30767/diledeara.1207093
Güneş Muhip ÖZYURT
Ṣāʾib Tabrīzī is one of the most well-known figures of 17th century Persian poetry. He poems are considered typical examples in Indian Style, a poetry movement that was marked with the use of imagery that deviated from established norms of the past centuries. The purpose of this paper is to analyze Ṣāʾib’s imagery and show its differences and similarities with traditional imagery of classical Persian poetry. To this end, Ṣāʾib’s ghazal beyts that focus a particular subject, that is, greed in old age, are scrutinized. Elderliness was one of the recurring themes in Persian poetry even before Ṣāʾib so this topic is suitable for comparison. The review of Ṣāʾib’s beyts show that novel and surprising ideas do permeate his poetry and are a distinguishing feature of his style but in most cases his ideas are not entirely original. His innovation is based on taking metaphors from tradition and giving those metaphors new meanings that is not entirely detached from its former meaning. Ṣāʾib also uses unique imagery that is not seen in the works of any other poets but this happens very rarely. Hence, Ṣāʾib Tabrīzī’s poetry retains its connection with tradition and achieves freshness through this connection rather than representing a style that is completely cut off from past.
{"title":"Ṣâib-i Tebrîzî’nin Gazellerinde Yaşlılık ve Hırs","authors":"Güneş Muhip ÖZYURT","doi":"10.30767/diledeara.1207093","DOIUrl":"https://doi.org/10.30767/diledeara.1207093","url":null,"abstract":"Ṣāʾib Tabrīzī is one of the most well-known figures of 17th century Persian poetry. He poems are considered typical examples in Indian Style, a poetry movement that was marked with the use of imagery that deviated from established norms of the past centuries. The purpose of this paper is to analyze Ṣāʾib’s imagery and show its differences and similarities with traditional imagery of classical Persian poetry. To this end, Ṣāʾib’s ghazal beyts that focus a particular subject, that is, greed in old age, are scrutinized. Elderliness was one of the recurring themes in Persian poetry even before Ṣāʾib so this topic is suitable for comparison. The review of Ṣāʾib’s beyts show that novel and surprising ideas do permeate his poetry and are a distinguishing feature of his style but in most cases his ideas are not entirely original. His innovation is based on taking metaphors from tradition and giving those metaphors new meanings that is not entirely detached from its former meaning. Ṣāʾib also uses unique imagery that is not seen in the works of any other poets but this happens very rarely. Hence, Ṣāʾib Tabrīzī’s poetry retains its connection with tradition and achieves freshness through this connection rather than representing a style that is completely cut off from past.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"45 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136014744","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 : 2023-10-10DOI: 10.30767/diledeara.1349832
Halil İSKENDER
In this study, we chart a course through the labyrinthine array of orthographic systems, casting aside the customary binary of ‘shallow’ and ‘deep’ orthographies. The Turkish language, commonly typecast as a quintessential shallow language, becomes our focal point, unearthing the sophisticated and layered structures that underpin orthographic depth. Our enquiry digs into linguistic elements unique to Turkish, such as the irregular representation of vowel length, a characteristic that weaves additional complexity into the ordinarily clear-cut fabric of grapheme-phoneme correspondence. The driving ambition of this enterprise is to shed light on the richly diverse, and frequently overlooked, intricacies deeply rooted in the orthography of modern standard Turkish. In this endeavor, we aim to redefine the understanding of orthographic depth and its influence on language learning and the development of literacy. Our discoveries position Turkish at an ‘intermediate’ point on the orthographic depth continuum, thus sparking a reassessment of current pedagogical strategies. We put forth a more flexible interpretation of the orthographic spectrum as a fresh approach to the study and pedagogy of orthography. By charting the fluid interplay between orthography and phonology, we craft a comprehensive narrative of their interconnectedness, a perspective vital to the comprehension and application of language. This venture seeks to enrich our communal understanding of orthographic systems and hopes to bring their pivotal role in language instruction and literacy advancement into clearer focus.
{"title":"İkiliğin Ötesinde: Türkçenin Merceğinden Bir İmla Derinliği Muhakemesi","authors":"Halil İSKENDER","doi":"10.30767/diledeara.1349832","DOIUrl":"https://doi.org/10.30767/diledeara.1349832","url":null,"abstract":"In this study, we chart a course through the labyrinthine array of orthographic systems, casting aside the customary binary of ‘shallow’ and ‘deep’ orthographies. The Turkish language, commonly typecast as a quintessential shallow language, becomes our focal point, unearthing the sophisticated and layered structures that underpin orthographic depth. Our enquiry digs into linguistic elements unique to Turkish, such as the irregular representation of vowel length, a characteristic that weaves additional complexity into the ordinarily clear-cut fabric of grapheme-phoneme correspondence. The driving ambition of this enterprise is to shed light on the richly diverse, and frequently overlooked, intricacies deeply rooted in the orthography of modern standard Turkish. In this endeavor, we aim to redefine the understanding of orthographic depth and its influence on language learning and the development of literacy. Our discoveries position Turkish at an ‘intermediate’ point on the orthographic depth continuum, thus sparking a reassessment of current pedagogical strategies. We put forth a more flexible interpretation of the orthographic spectrum as a fresh approach to the study and pedagogy of orthography. By charting the fluid interplay between orthography and phonology, we craft a comprehensive narrative of their interconnectedness, a perspective vital to the comprehension and application of language. This venture seeks to enrich our communal understanding of orthographic systems and hopes to bring their pivotal role in language instruction and literacy advancement into clearer focus.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136294652","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 : 2023-10-09DOI: 10.30767/diledeara.1346091
Duygu YALMAN POLATLAR, Muhammet Ü. ÖZTABAK
This study aims to analyze illustrated story books for children aged 3-6 in terms of the protection right found in the Convention on the Rights of the Child. One of the qualitative research methods, document analysis was used, and the data were decoded through descriptive analysis method. The data set of the research was determined using criteria sampling method out of the best-selling illustrated story books of the publishing houses that participated in Istanbul Book Fair. Upon contacting 30 publishing houses, 102 books were included in the data set. In order to find the messages given directly or indirectly in the illustrated story books, the sentences and pictures were analyzed. “Protection rights” was based on as the main category in this analysis. The most supported rights found in the books were “The best interests of the child”, “Getting informed and protected against harmful publications”, and “Physical protection”, while the most violated rights were “The best interests of the child”, “Getting treated equally and protected against discrimination”, and “Child’s right of being a child”, respectively. Therefore, illustrated story books act as a guide to children in this critical period they are in.
{"title":"3-6 Yaş Çocuklarına Yönelik Resimli Hikâye Kitaplarının Korunma Haklarına Göre Analizi","authors":"Duygu YALMAN POLATLAR, Muhammet Ü. ÖZTABAK","doi":"10.30767/diledeara.1346091","DOIUrl":"https://doi.org/10.30767/diledeara.1346091","url":null,"abstract":"This study aims to analyze illustrated story books for children aged 3-6 in terms of the protection right found in the Convention on the Rights of the Child. One of the qualitative research methods, document analysis was used, and the data were decoded through descriptive analysis method. The data set of the research was determined using criteria sampling method out of the best-selling illustrated story books of the publishing houses that participated in Istanbul Book Fair. Upon contacting 30 publishing houses, 102 books were included in the data set. In order to find the messages given directly or indirectly in the illustrated story books, the sentences and pictures were analyzed. “Protection rights” was based on as the main category in this analysis. The most supported rights found in the books were “The best interests of the child”, “Getting informed and protected against harmful publications”, and “Physical protection”, while the most violated rights were “The best interests of the child”, “Getting treated equally and protected against discrimination”, and “Child’s right of being a child”, respectively. Therefore, illustrated story books act as a guide to children in this critical period they are in.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135146279","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 : 2023-10-08DOI: 10.30767/diledeara.1299320
Murat TURNA
İkinci Yeni, Türk şiirinin ses getiren son büyük tecrübelerindendir. Turgut Uyar da kendi özgün şiiriyle bu harekete zenginlik katan bir şairdir. O; temleri, dili ve kullandığı formlar bakımından İkinci Yeni karakteristiğinin oluşmasında pay sahibidir. Bu makalede, sanatçının şiirinin genel özelliklerine ana hatları ile değinilecek ve belirtilenler çerçevesinde, “Hiçsizliğe” başlıklı şiiri incelenecektir. “Hiçsizliğe”, Turgut Uyar’ın iç dünyasının anlaşılmasına yardımcı olacak nitelikte bir şiirdir. Şimdiye dek ayrı bir makale konusu olmamış bu şiirin din, inanç, Tanrı kavramları etrafında Uyar’ın duygu ve düşüncelerini ihtiva ettiği kaydedilmelidir. Bu çerçevede sanatçının gayet bireysel bir algılayışı olduğu, inanç temelinde soyutla kurduğu bağın iç yüzü anlaşılır. O, yaşadığı çağın özellikleriyle ilgili olan ve döneminden, İkinci Yeni’nin kültürel florasından pek de uzak düşmeyen bir metafizik konumlanış sergiler. Daha önce söz konusu harekete ve şaire yönelik muhtelif değerlendirmeler yapılmıştır. Makale İkinci Yeni’ye ve sanatçıya dair bu değerlendirmelerde tespit edilen bazı hataları tashih etmektedir. Ayrıca söz konusu şiir hakkında dile getirilmiş birtakım hususların da Uyar’ın şiir karakteristiği dâhilinde tekrar ele alınması faydalı olacaktır.
{"title":"Turgut Uyar’ın Şiir Karakteristiği ve “Hiçsizliğe” Şiiri","authors":"Murat TURNA","doi":"10.30767/diledeara.1299320","DOIUrl":"https://doi.org/10.30767/diledeara.1299320","url":null,"abstract":"İkinci Yeni, Türk şiirinin ses getiren son büyük tecrübelerindendir. Turgut Uyar da kendi özgün şiiriyle bu harekete zenginlik katan bir şairdir. O; temleri, dili ve kullandığı formlar bakımından İkinci Yeni karakteristiğinin oluşmasında pay sahibidir. Bu makalede, sanatçının şiirinin genel özelliklerine ana hatları ile değinilecek ve belirtilenler çerçevesinde, “Hiçsizliğe” başlıklı şiiri incelenecektir. “Hiçsizliğe”, Turgut Uyar’ın iç dünyasının anlaşılmasına yardımcı olacak nitelikte bir şiirdir. Şimdiye dek ayrı bir makale konusu olmamış bu şiirin din, inanç, Tanrı kavramları etrafında Uyar’ın duygu ve düşüncelerini ihtiva ettiği kaydedilmelidir. Bu çerçevede sanatçının gayet bireysel bir algılayışı olduğu, inanç temelinde soyutla kurduğu bağın iç yüzü anlaşılır. O, yaşadığı çağın özellikleriyle ilgili olan ve döneminden, İkinci Yeni’nin kültürel florasından pek de uzak düşmeyen bir metafizik konumlanış sergiler. Daha önce söz konusu harekete ve şaire yönelik muhtelif değerlendirmeler yapılmıştır. Makale İkinci Yeni’ye ve sanatçıya dair bu değerlendirmelerde tespit edilen bazı hataları tashih etmektedir. Ayrıca söz konusu şiir hakkında dile getirilmiş birtakım hususların da Uyar’ın şiir karakteristiği dâhilinde tekrar ele alınması faydalı olacaktır.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135197944","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 : 2023-10-08DOI: 10.30767/diledeara.1350013
Mümin HAKKIOĞLU, Mustafa GÜNEŞ
Claire Keegan’s novel Small Things Like These (2021) brings such notions as purity, impurity and scapegoating into discussion within the context of the convent laundries in Ireland. The novel critiques the reduction of morality and immorality to a sexist category and focuses on the “fallen women” as both victims and saviours of society. It also portrays the harsh socio-economic environment of New Ross, Ireland where capitalism and inequality prevail, and the characters are victims of the capitalist system. Drawing a sketch of the Magdalen Laundries, which served as institutions instrumental in creating ideal women for the Irish nation and protecting the public from the “fallen” women until 1996, Keegan points at the complicity between religious and capitalist influences. She emphasises the relationship between Christianity and capitalism by implying out that capitalism prioritises private ownership, profit and competition, and that Christianity propagates the core tenets of the system. The narrative underscores how capitalism’s pursuit of profit can lead to the exploitation and marginalization of vulnerable groups, perpetuating a system of scapegoating to protect the interests of the rich and the powerful. Hence, the primary objective of this study is to analyse the phenomenon of scapegoating as exemplified, particularly by the girls at the convent who have been marginalized and confined within a convent in Keegan’s literary work, Small Things Like These, drawing upon the theories related to “mimetic desire,” “violence,” and “scapegoating mechanism.” It also aims to show how these girls, ostracised and accused of subverting national ideals, function as a mirror to the truth and reveal the unfeasibility of achieving true communal purification within the intricate interplay of church, state, and society– all of which are manipulated by the forces of capitalism.
{"title":"Making of Scapegoats: The Complicity of Church, State and Society in Claire Keegan’s Small Things Like These","authors":"Mümin HAKKIOĞLU, Mustafa GÜNEŞ","doi":"10.30767/diledeara.1350013","DOIUrl":"https://doi.org/10.30767/diledeara.1350013","url":null,"abstract":"Claire Keegan’s novel Small Things Like These (2021) brings such notions as purity, impurity and scapegoating into discussion within the context of the convent laundries in Ireland. The novel critiques the reduction of morality and immorality to a sexist category and focuses on the “fallen women” as both victims and saviours of society. It also portrays the harsh socio-economic environment of New Ross, Ireland where capitalism and inequality prevail, and the characters are victims of the capitalist system. Drawing a sketch of the Magdalen Laundries, which served as institutions instrumental in creating ideal women for the Irish nation and protecting the public from the “fallen” women until 1996, Keegan points at the complicity between religious and capitalist influences. She emphasises the relationship between Christianity and capitalism by implying out that capitalism prioritises private ownership, profit and competition, and that Christianity propagates the core tenets of the system. The narrative underscores how capitalism’s pursuit of profit can lead to the exploitation and marginalization of vulnerable groups, perpetuating a system of scapegoating to protect the interests of the rich and the powerful. Hence, the primary objective of this study is to analyse the phenomenon of scapegoating as exemplified, particularly by the girls at the convent who have been marginalized and confined within a convent in Keegan’s literary work, Small Things Like These, drawing upon the theories related to “mimetic desire,” “violence,” and “scapegoating mechanism.” It also aims to show how these girls, ostracised and accused of subverting national ideals, function as a mirror to the truth and reveal the unfeasibility of achieving true communal purification within the intricate interplay of church, state, and society– all of which are manipulated by the forces of capitalism.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"126 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135198302","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 : 2023-09-30DOI: 10.30767/diledeara.1349377
Şeyma KARACA KÜÇÜK
İntihar, nedenleri itibariyle gerek bireysel gerekse toplumsal bakımdan bazı çatışmalar barındırır. Bu çatışma sosyolojik ya da psikolojik yönü itibariyle değerlendirildiğinde bireyin intihar düşüncesi hakkında fikir verir. Dolayısıyla örneğin toplumsal cinsiyet rolleri ekseninde gelişen bir kadın intiharı birey-toplum arasında yaşanan bir çatışmaya işaret eder ve sosyolojik bakımdan intihar düşüncesindeki motivasyonu anlamaya yardımcı olur.
Bunun yanı sıra mekân da intihar düşüncesi taşıyan bireyin ölümü düşlediği yer olması itibariyle psikolojik bakımdan onun iç dünyasını yansıtır. Zira Gaston Bachelard’ın Mekânın Poetikası adlı eserinde ortaya koyduğu gibi bireyin düşlediği mekân bir içsellik mekânına dönüşerek insan-mekân arasındaki özdeşikliğe işaret eder.
Bu bağlamda Adalet Ağaoğlu’nun Ölmeye Yatmak (1973) ve Michael Cunningam’ın Saatler (1998) adlı romanlarında kadın karakterlerin kendilerinden beklenen roller çerçevesinde toplumla çatışma yaşadıkları ve bu çatışmayı da intihar düşüncesine taşıdıkları görülür. Söz konusu çatışmaya intiharın düşlendiği mekân üzerinden bakmak ise kadın karakterlerin intihar düşüncelerinin nedenlerini, iç dünyalarını aydınlatarak incelemeye yardımcı olur. Bu anlamda otel odası, intihar düşüncesinin kurgulandığı yer olması bakımından kadın karakterlerin toplumsal rolleriyle ve onların iç dünyalarıyla doğrudan ilişkili bir nitelik arz eder.
Bu çalışmanın amacı Ölmeye Yatmak’ta Aysel ve Saatler’de Mrs. Brown adlı kadın karakterlerin içinde bulundukları toplumlarda üstlendikleri toplumsal rollerin her iki karakterin intihar düşüncelerindeki etkisini karşılaştırmak ve intihar etmeyi düşündükleri mekânların intihar motivasyonlarıyla ve iç dünyalarıyla ilişkisini incelemektir. Böylece farklı kültürel ortamlarda kadına atanan toplumsal rollerin intihar düşüncesinde etkili olduğunu ve ortak bir mekân olarak otel odasının toplumsal cinsiyet rollerine paralel biçimde onların iç dünyasını yansıttığını ortaya koymaktır.
从自杀的原因来看，自杀在个人和社会两方面都隐藏着一些冲突。如果从社会学或心理学的角度对这种冲突进行评估，就能了解个人的自杀想法。因此，举例来说，以性别角色为轴心发展起来的女性自杀指向了个人与社会之间的冲突，有助于从社会学的角度来理解自杀意念的动机。因为，正如加斯东-巴赫拉（Gaston Bachelard）在其著作《空间诗学》（The Poetics of Space）中所指出的，个人梦境的空间变成了一个内在性的空间，并指向人与空间之间的同一性。因此，在阿达莱特-阿奥奥卢（Adalet Ağaoğlu）的《Ölmeye Yatmak》（1973 年）和迈克尔-库宁南（Michael Cunningam）的《Saatler》（1998 年）中，我们可以看到女性角色在其被期待的角色框架内经历着与社会的冲突，并将这种冲突带向自杀的念头。通过想象自杀的场所来观察这种冲突，有助于通过揭示女性角色的内心世界来分析她们产生自杀念头的原因。从这个意义上说，酒店房间作为自杀念头的建构地，与女性角色的社会角色及其内心世界直接相关。本研究旨在比较《躺下等死》中的女性角色艾赛尔和《时间》中的布朗太太所承担的社会角色对两个角色自杀念头的影响，并考察她们自杀念头的产生地与其自杀动机和内心世界之间的关系。从而揭示不同文化环境中赋予女性的社会角色对自杀想法的影响，以及酒店房间作为一个共同的空间反映了她们与性别角色平行的内心世界。
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 Bunun yanı sıra mekân da intihar düşüncesi taşıyan bireyin ölümü düşlediği yer olması itibariyle psikolojik bakımdan onun iç dünyasını yansıtır. Zira Gaston Bachelard’ın Mekânın Poetikası adlı eserinde ortaya koyduğu gibi bireyin düşlediği mekân bir içsellik mekânına dönüşerek insan-mekân arasındaki özdeşikliğe işaret eder. 
 Bu bağlamda Adalet Ağaoğlu’nun Ölmeye Yatmak (1973) ve Michael Cunningam’ın Saatler (1998) adlı romanlarında kadın karakterlerin kendilerinden beklenen roller çerçevesinde toplumla çatışma yaşadıkları ve bu çatışmayı da intihar düşüncesine taşıdıkları görülür. Söz konusu çatışmaya intiharın düşlendiği mekân üzerinden bakmak ise kadın karakterlerin intihar düşüncelerinin nedenlerini, iç dünyalarını aydınlatarak incelemeye yardımcı olur. Bu anlamda otel odası, intihar düşüncesinin kurgulandığı yer olması bakımından kadın karakterlerin toplumsal rolleriyle ve onların iç dünyalarıyla doğrudan ilişkili bir nitelik arz eder.
 Bu çalışmanın amacı Ölmeye Yatmak’ta Aysel ve Saatler’de Mrs. Brown adlı kadın karakterlerin içinde bulundukları toplumlarda üstlendikleri toplumsal rollerin her iki karakterin intihar düşüncelerindeki etkisini karşılaştırmak ve intihar etmeyi düşündükleri mekânların intihar motivasyonlarıyla ve iç dünyalarıyla ilişkisini incelemektir. Böylece farklı kültürel ortamlarda kadına atanan toplumsal rollerin intihar düşüncesinde etkili olduğunu ve ortak bir mekân olarak otel odasının toplumsal cinsiyet rollerine paralel biçimde onların iç dünyasını yansıttığını ortaya koymaktır.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135037838","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 : 2023-09-29DOI: 10.30767/diledeara.1343292
Zülal AYAR
Convenient methods for the instruction of foreign languages are constantly in quest as a consequence of incessant technological breakthroughs at a rapid speed. Video-making project has turned out to be a prominent technique that allows learners to be actively involved in the target language and utilize L2 in real-world situations with “intake” they obtained from in-class setting. English language students’ perceptions concerning the effectiveness of these multimodal resources in their learning experience as non-examination assessment tools have not, however, been the objective of many studies within online EFL contexts. Hence, this study was directed at seeking the relationship between EFL learners’ perceptions of the efficacy of group project assignments on their L2 competence, language learning process, and implementations in online classes. To that end, 75 sophomore Turkish students in tertiary-level education enrolled in a compulsory online module of English partook in the research by filling out a 17-item questionnaire. The results portray the positive relations between their perceptions towards the influences of those projects on language proficiency and target language learning phases, whereas a significant relationship was not detected between their implementations in online settings and contributions to the L2 learning process. Nevertheless, the optimistic approach of EFL students to exploit these projects as effective tools for English proficiency mediated the link between these two foregoing sub-dimensions. Accordingly, some suggestions were provided for future research directions.
{"title":"Exploring the Efficacy of Video Project Assignments in English Language Learning through the Lens of Tertiary-Level EFL Students","authors":"Zülal AYAR","doi":"10.30767/diledeara.1343292","DOIUrl":"https://doi.org/10.30767/diledeara.1343292","url":null,"abstract":"Convenient methods for the instruction of foreign languages are constantly in quest as a consequence of incessant technological breakthroughs at a rapid speed. Video-making project has turned out to be a prominent technique that allows learners to be actively involved in the target language and utilize L2 in real-world situations with “intake” they obtained from in-class setting. English language students’ perceptions concerning the effectiveness of these multimodal resources in their learning experience as non-examination assessment tools have not, however, been the objective of many studies within online EFL contexts. Hence, this study was directed at seeking the relationship between EFL learners’ perceptions of the efficacy of group project assignments on their L2 competence, language learning process, and implementations in online classes. To that end, 75 sophomore Turkish students in tertiary-level education enrolled in a compulsory online module of English partook in the research by filling out a 17-item questionnaire. The results portray the positive relations between their perceptions towards the influences of those projects on language proficiency and target language learning phases, whereas a significant relationship was not detected between their implementations in online settings and contributions to the L2 learning process. Nevertheless, the optimistic approach of EFL students to exploit these projects as effective tools for English proficiency mediated the link between these two foregoing sub-dimensions. Accordingly, some suggestions were provided for future research directions.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135295796","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 : 2023-09-29DOI: 10.30767/diledeara.1337504
Ferudun AY
Gustave Flaubert’in Madame Bovary adlı romanı hem anlatım tekniği hem de başkişinin özellikleri bakımından realizmin öncü eserlerindendir. Romanın başkişisi Emma Bovary hem romanın kaleme alındığı yıllarda hem de sonraki dönemlerde, kadının konumu ve toplumsal davranış değerlerinin dışına çıkış bakımından çok tartışılmış bir tiptir. Emma tipinin Türk romanında Aşk-ı Memnu’dan itibaren izlerini görmek mümkündür. Refik Halid Karay’ın Bugünün Saraylısı romanındaki Ayşen’in mutsuzluğu, hayal kırıklıkları, yetişme tarzı ile yaşadığı hayat arasındaki farklılıklar bakımından Emma Bovary ile benzerlikler gösterir. İki kahramanının hayalleri bağlamındaki mekân içinde lüks hayatı ve barındırdıkları gösterişli yaşama tarzı bakımından birbirine yakındır. Emma Bovary’nin Paris hayranlığına karşın Bugünün Saraylısı’ndaki Ayşen’in İstanbul Beyoğlu’na özlemi bulunmaktadır. Bu makalede Emma ile Ayşen arasındaki benzerlik ve farklılıklar ile bunların nedenleri üzerinde durulacaktır.
{"title":"Madame Bovary’nin Türk Edebiyatına Yansımalarından Biri: Bugünün Saraylısı’ndaki Ayşen","authors":"Ferudun AY","doi":"10.30767/diledeara.1337504","DOIUrl":"https://doi.org/10.30767/diledeara.1337504","url":null,"abstract":"Gustave Flaubert’in Madame Bovary adlı romanı hem anlatım tekniği hem de başkişinin özellikleri bakımından realizmin öncü eserlerindendir. Romanın başkişisi Emma Bovary hem romanın kaleme alındığı yıllarda hem de sonraki dönemlerde, kadının konumu ve toplumsal davranış değerlerinin dışına çıkış bakımından çok tartışılmış bir tiptir. Emma tipinin Türk romanında Aşk-ı Memnu’dan itibaren izlerini görmek mümkündür. Refik Halid Karay’ın Bugünün Saraylısı romanındaki Ayşen’in mutsuzluğu, hayal kırıklıkları, yetişme tarzı ile yaşadığı hayat arasındaki farklılıklar bakımından Emma Bovary ile benzerlikler gösterir. İki kahramanının hayalleri bağlamındaki mekân içinde lüks hayatı ve barındırdıkları gösterişli yaşama tarzı bakımından birbirine yakındır. Emma Bovary’nin Paris hayranlığına karşın Bugünün Saraylısı’ndaki Ayşen’in İstanbul Beyoğlu’na özlemi bulunmaktadır. Bu makalede Emma ile Ayşen arasındaki benzerlik ve farklılıklar ile bunların nedenleri üzerinde durulacaktır.","PeriodicalId":476312,"journal":{"name":"Dil ve edebiyat araştırmaları dergisi","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135295797","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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