İngiliz Dili ve Edebiyatı Bölümü

Permanent URI for this communityhttps://hdl.handle.net/20.500.12416/418

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Citation - Scopus: 1
Alevism in Recent Researches Written in English
(Gazi Univ, Turk Kulturu ve Haci Bektas veli, 2010) Kurt, Zeynep; Yilmaz Kurt, Zeynep; İngilizce Mütercimlik ve Tercümanlık
As a religious ethnic group that covers a considerable number of Turkish population, the history of Alevis goes back to the Ottoman-Safavid conflict in the 16(th) and 18(th) centuries. The history of Alevis, however, has not been well recorded, and relevantly researched. Starting from the 1980s, and due to the developing communication technologies and globalization, it has been possible to talk about an "Alevi revival" since the 1980s. This study aims to review the large bulk of research that is done on Alevism since the 1980s. The achieved results display a deep concern with Alevis in contemporary life, their history, traditions and beliefs as well as identity and integration problems of the Diasporas.
Changes in the Teaching of Literature: a Study of Practices in the English Language and Literature Department at Cankaya University During the Covid-19 Pandemic
(Routledge Journals, Taylor & Francis Ltd, 2022) Cakirlar, Ozkan; Uzundemir, Ozlem; Guvenc, Ozge Ustundag; Saglam, Berkem
During the COVID-19 pandemic, academics and students have had to respond to the unexpected and unplanned shift from face-to-face to online teaching. Since teaching and learning through online portals has been a new experience, this has prompted the academics in the English Language and Literature Department at Cankaya University to seek alternative and creative ideas to promote student productivity, participation and motivation. The aim of this case study is to discuss how the course materials, teaching methods and assessment have been redesigned to meet the needs of online education during the pandemic. With the examples from changes in the syllabi, student survey and sample student responses, this study also reveals how the academics in the department have had an opportunity to re-evaluate systems of teaching both on and offline and to refresh their role as instructors.
Citation - WoS: 3
Citation - Scopus: 3
Vampire Versus the Empire: Bram Stoker's Reproach of Fin-De Britain in Dracula
(Cambridge Univ Press, 2018) Koc, Ertugrul; Demir, Yagmur
Vampire versus the empire: Bram Stoker's reproach of fin-de-siecle Britain in dracula
(Cambridge Univ. Press., 2018) Koç, Ertuğrul; Demir, Yağmur
Much has been said about Bram Stoker's Dracula (1897), the out-of-tradition exemplar of the Gothic which, perhaps, has had a more pervasive effect on our understanding of life and death, gender roles and identity, and sex and perversity than any other work of the genre. The vampire from the so-called dark ages has become a symbol standing for the uncontrollable powers acting on us and also for all the discarded, uncanny phenomena in human nature and history. The work, however, has usually been taken by the critics of Gothic literature as “a paradigmatic Gothic text” (Brewster 488) representing the social, psychological, and sexual traumas of the late-nineteenth century. Hence, it has been analysed as a work “breaking [the] taboos, [and in need of being] read as an expression of specifically late Victorian concerns” (Punter and Byron 231). The text has also been seen as “reinforc[ing] readers’ suspicions that the authorities (including people, institutions and disciplines) they trust are ineffectual” (Senf 76). Yet, it has hardly ever been taken as offering an alternative Weltanschauung in place of the decaying Victorian ethos. True, Dracula is a fin-de-siècle novel and deals with the turbulent paradigmatic shift from the Victorian to the modern, and Stoker, by creating the lecherous vampire and his band as the doppelgängers of the sexually sterile and morally pretentious bourgeois types (who are, in fact, inclined to lascivious joys), reveals the moral hypocrisy and sexual duplicity of his time. But, it is also true that by juxtaposing the “abnormal” against the “normal” he targets the utilitarian bourgeois ethics of the empire: aware of the Victorian pragmatism on which the concept of the “normal” has been erected, he, with an “abnormal” historical figure (Vlad Drăculea of the House of Drăculești, 1431–76) who appears as Count Dracula in the work, attacks the ethical superstructure of Britain which has already imposed on the Victorians the “pathology of normalcy” (Fromm 356). Hence, Stoker's choice of title character, the sadistic Vlad the Impaler, who fought against the Ottoman Empire in the closing years of the Middle Ages, and his anachronistic rendering of Dracula as a Gothic invader of the Early Middle Ages are not coincidental (Figure 8). In the world of the novel, this embodiment of the early and late paradigms is the antagonistic power arrayed against the supposedly stable, but in reality fluctuating, fin-de-siècle ethos. However, by turning this personification of the “evil” past into a sexual enigma for the band of men who are trying to preserve the Victorian patriarchal hegemony, Stoker suggests that if Victorian sterile faith in the “normal” is defeated through a historically extrinsic (in fact, currently intrinsic) anomaly, a more comprehensive social and ethical epoch that has made peace with the past can be started.

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