IŞIL ŞAHİN GÜLTER | Cornell University (original) (raw)

Papers by IŞIL ŞAHİN GÜLTER

Bilimsel Kitap, 2023

Işıl ŞAHİN GÜLTER Amer kan Kültürü ve Edeb yatı l sans öğren m n Hacettepe Ün vers tes Edeb yat F... more Işıl ŞAHİN GÜLTER Amer kan Kültürü ve Edeb yatı l sans öğren m n Hacettepe Ün vers tes Edeb yat Fakültes 'nde, İng l z D l ve Edeb yatı Bölümü doktora öğren m n (Bütünleş k Doktora Programı) TÜBİTAK bursiyeri olarak başladığı İstanbul Yeni Yüzyıl Üniversitesi'nde tamamladı. 2020 yılından ber Fırat Ün vers tes İng l z D l ve Edeb yatı Bölümü'nde doktor öğret m üyesi olarak görev yapmakta olan yazar, l sans ve l sansüstü düzey nde Shakespeare çalışmaları, çağdaş Br tanya t yatrosu, ekoeleşt rel teor ve çağdaş kurgu dah l olmak üzere çok çeş tl edeb yat dersler vermekted r. Güncel araştırma alanları arasında kl m değ ş kl ğ t yatrosu, ekodramaturj , ekoeleşt r ve son zamanlarda üzer nde gen ş çapta yazılar yazdığı ekofem n zm yer almaktadır. Şu anda yayın aşamasında olan Routledge Companion to Ecofeminist Drama (2023) adlı k taba bölüm yazarı olarak katkıda bulunmuştur. TÜBİTAK 2219-Yurt Dışı Doktora Sonrası Araştırma Programı burs yer olarak 2022-2023 akadem k yılında Cornell Ün vers tes 'nde Prof. Dr. Laura Brown danışmanlığında m saf r öğret m üyes olarak bulunmaktadır.

Research Article, 2023

The term Global South originates in the social sciences, where it invokes the notion of a global ... more The term Global South originates in the social sciences, where it invokes the notion of a global North-South divide to organize nations according to socioeconomic and political status. In a literary context, the Global South signifies an ongoing endeavor to engage with the current global disposition by identifying its externalities and providing the framework in which wide-ranging and cross-regional resistance might be imagined. Drawing on this point of view, the Global South can be regarded as a resilient political imagination originating from the marginalized peoples' mutual recognition of analogous circumstances under contemporary capitalism. Recognition is, therefore, the critical point for the construction of Global South consciousness, which will enable those people to activate solidarities that can be put into action toward the goal of liberation. In this context, this paper intends to investigate Gabriel García Márquez's portrayal of an environmental apocalypse in One Hundred Years of Solitude (1967), which offers rich possibilities for thinking about García Márquez in relation to the Global South. Paying particular attention to the geographical vulnerability of the Global South and Márquez's representation of the transnational banana company's ecocidal practices in Macondo, this paper establishes an analogous connection between capitalism's externalities and its impact on the environmental degradation and the living conditions of local communities. Drawing heavily on Jason W. Moore's notion of "the Capitalocene" and Rob Nixon's theory of "slow violence," this paper indicates that One Hundred Years of Solitude highlights the intersections between the analogous deterioration of the poor people's living conditions and the environment in Macondo, offering multiple entry points from which socio-ecological connections are embodied and conveyed to the readers.

Research Article, 2023

The purpose of this paper is to bring the material, specifically the materiality of the human bod... more The purpose of this paper is to bring the material, specifically the materiality of the human body and the natural world, to the forefront within the context of material feminist theory and practices in Hamlet. Drawing on material feminist literary criticism as the the material world in Hamlet offers fresh insights into the reconsideration of many dichotomous categorizations, including culture/nature, man/woman, and human/nonhuman. In this regard, this provides a critical Hamlet, this paper in her drowning scene within the context of material feminist theory can offer a sense of fluidity, mobility, and dynamism between dichotomous categorizations.

Ekodrama: Çevreci Tiyatro, Performans ve Sahne Ekolojileri, 2022

Research Article (Hacettepe University Journal of Faculty of Letters), 2022

Ecofeminist philosophy has developed sophisticated critiques of the structures in western patriar... more Ecofeminist philosophy has developed sophisticated critiques of the structures in western patriarchal culture that contribute to the continuing domination and oppression, not only of women but of nature as well. Drawing on ecofeminism's critique of dualist structures as its principle guiding paradigm, this paper aims to explore how Ann Jellicoe comes to terms with the anti-dualist insights of ecological feminism in The Rising Generation (1969). The central issues that occupy and motivate ecofeminists, including the domination of women by men and humanity's misappropriation of nature, are also Jellicoe's primary concerns in the play. Jellicoe endeavors to depict characters and settings in a manner that rejects dualisms and embraces multiplicity, offering the basic conditions required for alternative representations of all the categories concerned, 'woman,' 'man,' 'nature,' and 'culture'. In doing so, Jellicoe reconceptualizes the female/male and nature/culture relationships in configurations other than the traditional oppositions produced by the dualist strategy. In light of those preliminary observations, this paper indicates that in The Rising Generation, Jellicoe adopts an anti-dualist strategy to promote an egalitarian and pluralistic point of view through which all oppressive forms of domination within a culture can be unlocked.

Journal of Literature and Humanities (Atatürk University Press), 2022

Ecodramaturgy" interrogates the extent to which the overall values in relation to nature and cult... more Ecodramaturgy" interrogates the extent to which the overall values in relation to nature and culture binary can be reconsidered and conveyed to the public through theatre and performance arts. Placing ecological reciprocity at the center of its dramatic and thematic content, ecodramaturgy places great hope in theatrical performances, which have the potential to alter mindsets of nature-culture interactions and transform audience perceptions of ecological issues. These interactions have been remarkably evident in climate change theatre that emerges as the sub-genre of ecodramaturgy and employs climate change science on the stage. Drawing on the connection between climate change theatre and climate change science, this paper examines Mike Bartlett's Earthquakes in London (2010), in which the playwright provides an opportunity for the audience to interact with the climate crisis beyond a scientific approach. In this regard, this paper indicates that climate change theatre, which appeals to the feelings through story and performance, can enable the audience to interact with ecological thinking in unique ways and encourage them to take action against the climate change crisis.

DTCF Journal (Ankara University), 2021

Ecological thinking, which has recently found expression in a wide range of critical and literary... more Ecological thinking, which has recently found expression in a wide range of critical and literary works, has been slow to take hold in the field of theatre and performance arts, both in scholarship and practice. Ecological theatre, placing ecological reciprocity at the centre of its dramatic and thematic content, rejects the humanist paradigm of Western theatre, situating humans and non-humans in a mutually reliant framework. Thus, ecological theatre problematizes the notion of ecophobia that postulates the superiority of humans over non-humans, shoring up culture/nature dualism. Drawing upon Felix Guattari's notion of 'ecosophy' in The Three Ecologies (2000), ecosophical theatre emerges as a new kind of ecological theatre, which includes not only human-non-human interactions but also social relations and human subjectivity. Therefore, by bringing into the spotlight the ecosophical theatre qualities, this paper aims at exploring how ecosophical theatre connects subjective, social, and ecological registers through new ethico-political and aesthetic paradigms and allows for fresh modes of existence, social reconfigurations, and original communitarian harmonies. In this context, by analyzing French-Canadian playwright Chantal Bilodeau's Sila (2015) from an ecosophical point of view, this paper indicates that Bilodeau participates in the processes of resingularization and social construction by making use of theatre's capacity to modify our subjectivities through the 'ethico-political and aesthetic paradigms' that Guattari suggests. Son zamanlarda çeşitli eleştirel ve edebi eserlerde ele alınan ekolojik düşünce, tiyatro ve performans sanatları alanında, hem teori hem gösteri bağlamında, yavaş yavaş yer bulmuştur. Ekolojik karşılıklılığı, dramatik ve tematik içeriğinin merkezine yerleştiren ekolojik tiyatro, insanları ve insan olmayanları birbirlerine karşılıklı olarak bağlı bir çerçevede konumlandırarak, Batı tiyatrosunun insan merkezci yaklaşımını reddeder. Böylece, ekolojik tiyatro, insanın insan olmayana üstünlüğünü varsayarak kültür/doğa ikiliğini destekleyen, ekofobi kavramını sorunsallaştırır. Felix Guattari'nin Üç Ekoloji (2000) adlı eserindeki 'ekozofi' kavramına dayanan, ekozofik tiyatro, yalnızca insan ve insan-dışı varlıklar arasındaki etkileşimleri değil, aynı zamanda sosyal ilişkileri ve insan öznelliğini de kapsayan yeni bir tür ekolojik tiyatro olarak ortaya çıkar. Böylelikle, bu makale, ekozofik tiyatronun özelliklerini ön plana çıkararak,bu tiyatro türünün öznel, toplumsal ve ekolojik boyutları 'yeni etik-politik ve estetik paradigmalar' aracılığıyla nasıl birbirine bağladığını ve yeni varoluş biçimlerine, toplumsal yeniden yapılandırmalara ve özgün komüniter modellere nasıl olanak sağladığını ortaya çıkarmayı hedeflemektedir. Bu bağlamda, bu makale, Fransız-Kanadalı oyun yazarı Chantal Bilodeau'nın Sila (2015) adlı oyununu, ekozofik bakış açısıyla analiz ederek, Bilodeau'nun Guattari'nin önerdiği yeni 'etik-politik-estetik paradigmalar' aracılığıyla, tiyatronun öznelliklerimizi dönüştürebilme kapasitesinden faydalanarak yeniden özneleştirme va toplumsal oluşum sürecine katıldığını göstermektedir.

Journal of Theatre Criticism and Dramaturgy (Istanbul University Press), 2021

Contemporary British theatre is a crucial avenue for staging trauma as theatre provides both the ... more Contemporary British theatre is a crucial avenue for staging trauma as theatre provides both the potential of emotional identification and critical perspective. By making use of the unique possibilities of embodied performance, theatre allows for a safe space in which traumatic suffering can be reconfigured. Drawing on the notion of Roger Luckhurst's 'traumaculture, ' this paper interrogates the extent to which contemporary British playwright Laura Wade's one-act play, Colder Than Here (2005), situates current traumatic experiences within social and cultural contexts. This paper deals with terminal disease increases, familial dysfunction, and ecological degradation as traumatic experiences that permeate daily existence. Therefore, by bringing into the spotlight the contemporary definition of trauma and traumaculture, this paper aims at exploring how Colder Than Here reflects multifaceted engagements with traumatic cultural experiences onstage with a focus on a middle-class English family.

Handbook of Research on Translating Myth and Reality in Women Imagery Across Disciplines, 2021

The theatre provides the playwrights with a public platform through which they open up a more com... more The theatre provides the playwrights with a public platform through which they open up a more comprehensive framework to reinterpret the concept of the feminine. The chapter, in which translation remains a fundamental instrument that will be utilized to offer new interpretations to old ideas about the feminine, explores how the postwar British woman playwright Ann Jellicoe translates a women-related myth and reinterprets the concept of the feminine in The Sport of My Mad Mother (w.1958, r.1962). In this context, the chapter focuses on the concept of the Terrible Mother archetype which represents the female creative power as well as the potential for destruction in the play within a special reference to Jung's premises on the archetypal nature of the femininity and maternity. Thus, the chapter indicates that Ann Jellicoe, taking on board and challenging the perceived social, ideological, and psychological ideals of femininity, reclaims the legacy of the female strength.

Apocalyptic Visions in the Anthropocene and the Rise of Climate Fiction, 2021

Certainly, at the beginning of the twenty-first century, we live in an epoch in which the future,... more Certainly, at the beginning of the twenty-first century, we live in an epoch in which the future, or even the human race’s survival, is at stake. Human beings are aware that ecological life on earth has been exploited beyond recognition, and limited restraints have been exercised on that capacity. Human beings’ prolonged relationship with nonhuman nature “has largely derived from modernity’s irrational fear of nature and hence has created an antagonism between humans and their environments,” which Simon Estok refers to as “ecophobia.” Estok’s definition of ‘ecophobia,’ emphasizing the irrationality of the antagonism towards nature, demonstrates that the relationship between human and nonhuman nature requires new considerations. As the effects of human conduct on the environment have already been a universal and pervasive condition of the imagination, “the imaginative capacities of the novel have made it a vital site for the articulation of [ecophobia].” The novel has tried to grapple with the realities of the current ecological crisis. By doing so, the novel shows how awareness of this crisis has become part of cultures around the world. In this sense, climate fiction or “literature of extrapolation” constructs “the realistic projection of plausible futures from the present” in which environmental problems cannot be denied longer. Hence, it should be noted that cli-fi provides the crisis’s causes, a reconsideration of those causes, and, more importantly, a potential for change. Liz Jensen’s sixth novel, The Rapture (2009), set at a near-future moment, employs the techniques of the thriller cli-fi and reflects “apocalyptic global climate change.” With an accelerating end-of-the-world scenario, The Rapture addresses increasing temperatures, unpredictable weather patterns, frequent hurricanes, tsunamis, earthquakes. Furthermore, The Rapture turns attention to the unjust human exploitation of the earth, foregrounding deep-sea drilling as a force of destruction. It can be argued, then, that Liz Jensen participates in Estok’s critique of ‘ecophobia,’ which is central to The Rapture and calls for a change that lies in caring more. In this context, the chapter first investigates highly contentious gender dimensions of care and then whether care provides a beneficial environmentalist ethic. Liz Jensen’s concern for the development of the environmentalist ethic of care can be regarded as vital to creating a sustainable environment since “our construction of ‘sustainability’ is driven by a notion of care – care for the nonhuman environment enfolded with a concern for our human descendants.” Indeed, forging an association between women’s caring and environmental politics through maternally and environmentally attuned protagonist Gabrielle Fox, who appears as a carer in the book, the main discussion questions whether women’s caring stance can be a solution to the ecological crisis.

Litera, 2021

The interest in Ottoman court, history, and harem was on the rise in the aftermath of the Restora... more The interest in Ottoman court, history, and harem was on the rise in the aftermath of the Restoration of English monarchy. The Ottoman harem, especially, provided a fertile ground for the English playwrights. Thus, this study aims to analyze the representation of Hurrem Sultan who is regarded as one of the most prominent Sultanate women in Ottoman history in William Davenant's The Siege of Rhodes (1663), Roger Boyle's The Tragedy of Mustapha (1668), and Elkanah Settle's Ibrahim, the Illustrious Bassa (1676). In those plays which deal with Sultan Suleyman's reign, English playwrights rewrite the siege of Rhodes, the death of Sehzade Mustapha, and the relationship between Sultan Suleyman and Ibrahim Pasha in a new dramatical context with a special emphasis on powerful Hurrem Sultan image. By taking a critical look at the representations of Eastern women in Orientalist discourse, this article covers arguments ranging from the Western representations of the harem to Ottoman women sovereignty in the sixteenth century. The common ground which the selected plays share is that there appears a powerful woman of Sultanate image as this study intends to explore. In this context, the present study indicates that the representation of Hurrem Sultan in selected Restoration period plays which depict her both as a powerful Eastern Empress and as an important political actor challenges the particular image of passive, sexually permissive and decadent Eastern woman embedded in other Western representations of the harem.

RumeliDE Journal of Language and Literature Studies, 2020

Düşünsel tabanını dünya savaşları sonrasında ortaya çıkan tinsel bunalımdan kaynaklanan kötümserl... more Düşünsel tabanını dünya savaşları sonrasında ortaya çıkan tinsel bunalımdan kaynaklanan kötümserlik ile Varoluşçuluk ve Hiççilik gibi düşünce dizgelerinin etkisi altında oluşturan Absürd Tiyatro anlayışının asal izleği yaşamın usa aykırılığıdır. Absürd Tiyatro anlayışı, dünya savaşları sonrasında ortaya çıkan kültürel kargaşa ortamının bir sonucu olarak, yaşadığı dünyaya ‘yabancılaşan’ ve ‘yalnızlaşan’ insanın durumunu yansıtmayı amaçlar. Absürd Tiyatro, ‘yalnızlaşan’ insanın durumunu sahneye taşımak için farklı arayışlar içerisinde olan oyun yazarları tarafından benimsenmiş ve toplumlarının deneyimlediği sosyo-politik-ekonomik koşullar bağlamında biçimlenmiştir. Diğer bir ifadeyle, kendi içinde belirlenmiş ilke ve kuralları olmayan, ‘izm’ ya da akım özelliği gösteren herhangi bir anlayışa bağlı olmayan Absürd Tiyatroyu, oyun yazarları kendi tarzlarında yorumlamış ve kendi toplumsal olgularıyla harmanlayarak okuyucuya/izleyiciye sunmuşlardır. Bu bağlamda; bu çalışma, Tom Stoppard’ın Bir Ayrı Huzur (A Separate Peace) (1969) adlı oyununu ve Aziz Nesin’in Çiçu (1969) adlı oyununu Absürd Tiyatro anlayışı ile ele almaktadır. Dramatik yaşamları ve ürettikleri eklektik tiyatro yapıtları bakımından çağdaş tiyatroda ses getiren Stoppard ve Nesin’in, adı geçen oyunlarda modern bireyin kimliğini, seçimlerini ve
‘yalnızlığını’ derinlemesine tartıştığı görülmektedir. 20.yüzyılın ikinci yarısında, farklı coğrafyalarda benzer kaygılarla eserler üreten Stoppard ve Nesin’in kendilerine özgü biçemler geliştirdiği ve bu biçemlerin Absürd Tiyatro geleneği ile benzeştiği vurgulanmaktadır. Bu çalışmada, oyunlardaki baş kişilerin ifadeleri ve biyografik bilgilerine dayanarak, ‘yalnızlığın’ bir çözüm, arzulanan bir olgu, olarak görüldüğü ve bu çözümün kişilere veya kurumlara bağlanmayı reddetme ve modern yaşamın getirdiği sorumluklardan kaçınma yolunda yattığı ortaya konulmaktadır.

Gaziantep University Journal of Social Sciences, 2019

In The Tragedy of Soliman and Perseda, Thomas Kyd tends to portray Sultan Suleyman’s reign in the... more In The Tragedy of Soliman and Perseda, Thomas Kyd tends to portray Sultan Suleyman’s reign in the context of sixteenth century Ottoman -European relations. In the aftermath of Sultan Suleyman’ssuccession to the throne, Ottoman Empire expands its borders towards European territories conquering strategic holds such as Belgrade, Rhodes and Buda. Ottoman westward expansion increases cultural interaction between the Ottomans and the Europeans. More specifically, Ottoman presence in the Mediterranean stimulates Anglo-Ottoman relations. As a result of cultural interaction, the English playwrights frequently people their plays with Ottoman characters and historical episodes. Especially Sultan Suleyman, called ‘Magnificent’ in Europe, is widely depicted on the English stage. However, in this study, it is aimed to analyze Kyd’s Erastus character constructed on the historical figure Ibrahim Pasha, since Ibrahim Pasha is regarded as one of the prominent figures of Sultan Suleyman’sreign. Ibrahim, who ispresented to the service of Suleyman in the years of his princely governorate in Manisa, becomes Suleyman’s ‘favorite’ in a very short time. In the aftermath of Suleyman’s succession to the throne in 1520, Ibrahim is conferred respectively honors of hasodabaşı, içşahincilerağası, grand vizierand beylerbeyi. Besides, Ibrahim is endowed withprivileges that were never granted to the prior grand viziers. Nevertheless, at the peak of power and strength, he is summoned to the palace and executed. In Kyd’s play, Erastus is also presented to the service of Suleyman as a war captive. They bound such an intimate relationship that Erastus is appointed to the highest ranks in the government and granted with many privileges. However, he is accused of treason and executed at the end of the play. Ultimately, this study aims to analyze the image of Ibrahim Pasha represented as Erastus character in Kyd’s The Tragedy of Soliman and Perseda

The Journal of International Social Sciences, 2018

Queen Elizabeth's reign informs dramatists to deal with the themes of power and politics in this ... more Queen Elizabeth's reign informs dramatists to deal with the themes of power and politics in this era, since the sovereign's gender is one of the fundamental social and political considerations of Elizabethan period. The English display an ambivalent reaction to the idea of woman ruler, as a ruler is always identified with masculinity. Queen Elizabeth's reign arouses a vague anxiety among the English people who perceive an inherent danger within female rule. In this context, this study aims to analyze perception of inherent danger within female rule in Fulke Greville's Mustapha (1594) and W. Shakespeare's Macbeth (1606) by focusing on the representation of female participation in state affairs in the light of Hegel's construction of the state. According to Hegel, nature assigns man to the state, and woman to the family; man maintains his power in public affairs while the woman is expected to fulfill the responsibility of training children to be citizens of the state rather than participating in public affairs. In Mustapha, Greville sets his play in the Ottoman state and depicts Rossa (Hurrem Sultan) as an ambitious, manipulative, and intriguing character. Similarly in Macbeth, Shakespeare stages Lady Macbeth as a power-hungry and intriguing character. Rossa (Hurrem Sultan) and Lady Macbeth's preference of political to familial is depicted as unnatural by their nature that results in disorder for the state. This study aims to demonstrate that Greville and Shakespeare represent female participation in the state as a disruptive force in the light of Hegel's construction of the state. Öz Kraliçe Elizabeth hükümdarlığı, dönemin oyun yazarlarını güç ve politika temalarına değinmeleri konusunda yönlendirir; çünkü hükümdarın cinsiyeti Elizabeth döneminin önde gelen sosyal ve politik hususlarından biridir. İngilizler kadın hükümdar fikrine çelişkili bir tutum sergiler, çünkü hükümdarlık erkeklik ile özdeşleştirilir. Kraliçe Elizabeth hükümdarlığı, kadın yönetiminde mevcut bir tehlike sezen İngilizler arasında tanımlanamayan bir endişeye yol açar. Bu bağlamda, bu çalışma Hegel'in devlet inşası ışığında, kadının devlet işlerine katılmasına odaklanarak, Fulke Greville'nin Mustapha (1594) ve W. Shakespeare'in Macbeth (1606) oyunlarında kadın yönetimindeki mevcut tehlike algısını incelemeyi amaçlar. Hegel'e göre, doğa erkeği devlete, kadını ise aileye tayin eder; erkek gücünü kamu işlerinde idame ettirirken, kadının kamu işlerine katılmak yerine, kamuya vatandaş yetiştirme sorumluluğunu üstlenmesi beklenir. Mustapha oyununda, Greville Osmanlı Devleti'ni konu alır, ve Hürrem Sultan'ı hırslı, manipulatif ve entrikacı karakter olarak resmeder. Benzer bir şeklide, Macbeth oyununda Shakespeare Lady Macbeth'i gözünü iktidar hırsı bürümüş entrikacı karakter olarak sahneler. Hürrem Sultan ve Lady Macbeth'in politik olanı ailevi olana tercih etmeleri cinsiyetlerinin doğasına aykırı olarak resmedilir ki, bu da devlet düzeninin bozulmasına neden olur. Bu çalışma, Hegel'in devlet inşası ışığında, Greville ve Shakespeare'in kadının devlet işlerine katılmasını yıkıcı güç olarak resmetmettiklerini göstermeyi amaçlar.

Research Article, 2017

In Little Dorrit, Charles Dickens tends to portray mid-Victorian Britain in the context of new mo... more In Little Dorrit, Charles Dickens tends to portray mid-Victorian Britain in the context of new modes of economy based on commerce, credit and speculation. In the aftermath of Industrial Revolution, Victorian Britain economy witnesses the shift from fixed landed property to the liquidity of portable property. As a result of this major economic change, aristocracy loses its political and economic power over the nation and the middle class emerges as the new ruling class in Britain. The Victorian middle class who controls material forces assumes the right to enforce intellectual forces as a consequence of the interrelation between material and intellectual forces. In order to impose their values natural and inevitable, the Victorian middle class utilizes 'literature' effectively as one of the intellectual forces. The literature contibutes to the diffusion of the middle class ideology reconciling it with Evangelical Christianity and Utilitarian hard work ethic. In this study, Charles Dickens's representation of the middle class values of mid-Victorian period shaped by Evangelical Christianity and Utilitarian commercial spirit will be explored in his Little Dorrit (1857). It will be emphasized that how Dickens tries to illustrate the major socioeconomic changes and their outcomes in the Victorian period through his narrative. Within this context, this study will analyze how Charles Dickens reinforces Evangelical morality and Utilitarian hard work ethic as indispensable to Victorian social life by despising financial speculation prevailing throughout the society. STRUCTURED ABSTRACT In this study, it is aimed to show how Charles Dickens narrates mid-Victorian period within the context of new modes of economy in his Little Dorrit (1857). Dickens tries to illustrate the shift from traditional modes of economy based on fixed landed property to the new Victorian modes of economy based on manufacturing, commerce, credit and speculation. In the aftermath of Industrial Revolution, Victorian Britain  Okutman, Fırat Üniversitesi. El-mek: igulter@firat.edu.tr

Books by IŞIL ŞAHİN GÜLTER

Book, 2019

Contesting the argument that Restoration-period drama referred almost exclusively to domestic soc... more Contesting the argument that Restoration-period drama referred almost exclusively to domestic social and political issues, this text interrogates the extent to which seventeenth century heroic plays justify and perpetuate stereotypical representations of the Ottoman Turks in Western discourse. It provides a comprehensive account of representation of “the Other” based on difference. Joining historical discussions ranging from the Ottoman Empire’s rise as a world power to the development of British imperial ideology, the book asserts that dramatic texts and production provide a rich and unexamined archive in which the issues of representation, difference, and cultural stereotyping are attendant on the emergence of imperial figure largely. This account not only deciphers representation of the Ottoman Turks based on simplification and stereotyping in dramatic representations, but also throws light on the most pressing political issues of seventeenth century England, including revolution, regicide, and restoration, dramatized in the guise of the Ottoman Turks and Ottoman history. The book’s attention to the Ottoman-related themes of a number of plays decisively redraws the map of Restoration drama.

Thesis Chapters by IŞIL ŞAHİN GÜLTER

The Ottoman Turks in English Heroic Plays, 2019

Bilimsel Kitap, 2023

Research Article, 2023

Ekodrama: Çevreci Tiyatro, Performans ve Sahne Ekolojileri, 2022

Research Article (Hacettepe University Journal of Faculty of Letters), 2022

Journal of Literature and Humanities (Atatürk University Press), 2022

DTCF Journal (Ankara University), 2021

Journal of Theatre Criticism and Dramaturgy (Istanbul University Press), 2021

Handbook of Research on Translating Myth and Reality in Women Imagery Across Disciplines, 2021

Apocalyptic Visions in the Anthropocene and the Rise of Climate Fiction, 2021

Litera, 2021

RumeliDE Journal of Language and Literature Studies, 2020

Gaziantep University Journal of Social Sciences, 2019

The Journal of International Social Sciences, 2018

Research Article, 2017

Book, 2019