İngiliz Dili ve Edebiyatı Bölümü Yayın Koleksiyonu
Permanent URI for this collectionhttps://hdl.handle.net/20.500.12416/419
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Article Ayla Kutlu’s kadın destanı and the modification of the epic(Çankaya Üniversitesi, 2005) Uzundemir, ÖzlemAyla Kutlu's Kadın Destanı and the Modification of the Epic:Ayla Kutlu uses historical events in her fiction to make a correspondence between the past and the present, because she sees the historical background as the determining factor of what happens at present (Kutlu 9). Kutlu's work Kadın Destanı (Woman's Epic), published in 1994, is a rewriting of Gilgamesh from the viewpoint of a harlot who is abused by Gilgamesh. The female narrator of Kutlu's epic, Liyotani, talks about her suffering at the temple of Gilgamesh, while she narrates his story. Like Gilgamesh, Liyotani emphasizes the significance of writing, but their aim is different: while Gilgamesh desires to become immortal by engraving his story on clay tablets, Liyotani wants to finish writing her story before she dies in order to share her suffering with other women. In terms of form, Kutlu modifies the epic genre, which can be defined as .A long narrative poem in elevated style presenting characters of high position in adventures forming an organic whole through their relation to a central heroic figure and through their development of episodes important to the history of a nation or race. (Holman and Harmon 171). Although Kutlu.s epic is a narrative written in the form of a poem, the main character is a harlot, not a hero of a nation. Kutlu changes some characteristics of the epic to include heroines and their suffering in a patriarchal society. The aim of this paper is to show how Ayla Kutlu rewrites Gilgamesh and modifies the epic genre to connect women.s experience in the past with their present situation.Article Once an insider, now an outsider: Doris Lessing’s African laughter(Çankaya Üniversitesi, 2008) Uzundemir, ÖzlemDoris Lessing’s African Laughter is a travel book including her four visits in 1982, 1988, 1989 and 1992 to Africa, the place where her childhood memories belong to. Pleased to hear the end of the white man’s supremacy, she traveled to the country, not only to visit her friends and relatives but also to observe the social and political changes that took place after the country gained its independence. The aim of this article is to analyze the dynamism Lessing observes in Zimbabwe, namely the political controversies, the blending of cultures and the continuation of the colonial hatred in people’s attitudes and lifestyle as well as to evaluate her visits as inward journeys to her past through an emphasis on the fallibility of memory.Article Challenges to ekphrastic poetry: Carol Ann Duffy’s “standing female nude”(Çankaya Üniversitesi, 2013) Uzundemir, ÖzlemBir görsel sanat yapıtını betimleyen şiirler, yazınsal metinler ve görsel sanatlar arasındaki farkların ortaya çıkmasını sağlarlar. Gotthold Ephraim Lessing’in Laocoön adlı kitabında sözünü ettiği gibi sanat yapıtı sessiz ve durağan olmasına karşın, yazınsal metin söze ve harekete dayanır. W. J. T. Mitchell Picture Theory adlı kitabında söz ve imge arasındaki böylesi ikili karşıtlığı cinsiyet rollerini de içerecek şekilde genişletir. İmge dişil, söz ise eril olarak ele alınır. Dişil imge bakılan nesne olmasına karşın, erkek yazar/sanatçı özne ve bakan konumundadır. Carol Ann Duffy “Standing Female Nude” adlı şiirinde, bu tür ikili karşıtlıkları sorgulayabilmek için erkek sanatçı yerine kadın modele söz hakkı verir ve bakma edimini de model üstlenir. Böylece, Duffy anlatıcının ister sanat yapıtı sahibi, ister sanatçının kendisi, isterse de yapıta bakan bir erkek olduğu resimbetimsel şiir geleneğini reddederek sanatçı ve modeli arasındaki güç ilişkisini sorgular.