Nazan Yıldız Çiçekçi | Karadeniz Technical University (original) (raw)
Papers by Nazan Yıldız Çiçekçi
International journal of Language Academy, 2024
As is well known to material culture scholars, the typical identification of women with passivity... more As is well known to material culture scholars, the typical identification of women with passivity and consumption in relation to objects has a long tail that still wags now. In this article, on the contrary, I explore how Anne Brontë, in The Tenant of Wildfell Hall, sketches a young Victorian woman's quest for a space of her own as a producer of art, which is intensely engaged with the world of material objects through which selfhood is manifestly demarcated. Anne's depiction of painting signifies that material objects do not only form bodies and insights but also let their holders create their place in society. I analyse the painting of Helen, the novel's heroine, as an object of individual identity and social authority by foregrounding the active role of women as creators of art. Mobilised as an analogy for women's autonomy and agency, the painting embodies women's active space free from restrictions and male hegemony. In this article, I treat the painting as a material object that depicts the individuality of Helen and how it grows into a non-material, delving into her inner world, her decisions and desires, and radically shaping the social perception of women. Anne's delineation of Helen identified with painting places women in a male-like active space which sets her apart from the Victorian idealistic heroines who epitomise traits uniquely private and feminine in contrast to public and masculine.
English studies at NBU, Dec 19, 2023
Deleted Journal, Feb 22, 2024
The Other, Otherness and Othering in the Middle Ages
This essay examines Begum Rokeya's pivotal work Sultana's Dream (1905) in the context of medieval... more This essay examines Begum Rokeya's pivotal work Sultana's Dream (1905) in the context of medieval dream vision by foregrounding its matches with the dream vision genre. With Sultana's Dream, Rokeya takes women in the Indian community to a realm of freedom away from purdah and the zenana via mainly treating the concerns of gender and education. Rokeya endeavours to raise female consciousness in her story written in a dream format featuring Sister Sara as the guide to forging a self-sufficient female identity equal to men. I read Sister Sara as a wise woman, an exemplar of Boethius' Lady Philosophy, appearing in medieval dream visions to bring people to the truth, the conversion to Christianity in the medieval setting as in The Dream of the Rood. The essay concludes that, apart from her community, Rokeya's call in Sultana's Dream stretches out from medieval to contemporary society within the milieu of a dream vision to a feminist utopia respectively.
Heroism as an unremitting subject conquers and even haunts literature as well as history. Histori... more Heroism as an unremitting subject conquers and even haunts literature as well as history. Historical and fictitious heroes are guiding spirits of human beings regardless of time and geography. Historians and writers have so sternly adhered to the ideals of heroism that this fascination has been transformed into hero worship dating back to antiquity, bringing heroism to the forefront as a metanarrative in history and literature. Particularly contributing to the undying predicament of literature caught between the ideal and the real, causes of heroism have been largely left unquestioned putting heroes in the shoes of a messiah. Peter Ackroyd (1949-), renowned for his historiographic metafictions fashioned within postmodernism, dares to challenge this unimpeached-ism in The Fall of Troy (2006). In the novel, Ackroyd rewrites the history of Troy and introduces an eccentric half-real hero, Heinrich Obermann, against celebrated heroes of history and literature. Accordingly, this paper reads heroism as a metanarrative and delineates how Ackroyd sketches an atypical hero by acting contrary to traditional heroism and heroic literary tradition in his vibrant postmodern parody, The Fall of Troy.
Masculinity and femininity are unremitting subjects of literature from Plato's Symposium to the p... more Masculinity and femininity are unremitting subjects of literature from Plato's Symposium to the present. Embracing diverse gender roles by individuals in line with their sex, masculinity and femininity are a part of the cultural accumulation of societies and their concomitant traditions. These roles, which particularly catch the interest of sociologists, psychologists, feminist authors, and cultural scientists, play a crucial role in the cultural memory of societies. Femininity and masculinity regulate the behaviour of all individuals and their accompanying demeanours are acknowledged as behavioural patterns in society which place gender roles at the centre. Despite the growth of academic interest in gender culture in Turkey, the perusal of the transformation of gender roles delineated in literary texts remains largely ignored. This study examines two Turkish cult classic texts, The Book of Dede Korkut-redounding the ancient Turkish society before the advent of Islam-and Ömer Seyfettin's The Rainbow-sketching contemporary Turkish society just before the establishment of the Republic-to throw light on the radical transformation of gender roles by specifically centring on the change of Turkish masculinity from a shared sphere welcoming women to its realm to a private domain having almost no room for women mainly due to religious values and nation-building process. Keywords masculinity; femininity; Turkish gender roles; The Book of Dede Korkut; The Rainbow. Author Nazan Yıldız received her Ph.D. degree with her thesis entitled "Hybridity in Geoffrey Chaucer's The Canterbury Tales: Reconstructing the Estate Boundaries" from the English Language and
This article reads Aphra Behn's Oroonoko: or, the Royal Slave (1688) as a rewriting of the paradi... more This article reads Aphra Behn's Oroonoko: or, the Royal Slave (1688) as a rewriting of the paradise story of Adam and Eve largely identified with John Milton's Paradise Lost (1667) by literary circles. Meeting the true colours of civilization via slavery, the paradisal innocence of Oroonoko and Imoinda grows into a horrible experience that brings their downfall from African paradise, similar to Adam and Eve losing their innocence for the sake of knowledge. Drawing on the principles of primitivism, Behn emblematicizes a black Adam and Eve as representatives of mankind which subverts colonial and patriarchal discourses all in the same breath. In this respect, the article asseverates that Oroonoko serves as a microcosm of humanity at large which delineates the unremitting war between nature and civilization, and innocence and experience, as foregrounded in recent ecological studies, as well as men and women.
As is well known to material culture scholars, the typical identification of women with passivity... more As is well known to material culture scholars, the typical identification of women with passivity and consumption in relation to objects has a long tail that still wags now. In this article, on the contrary, I explore how Anne Brontë, in The Tenant of Wildfell Hall, sketches a young Victorian woman's quest for a space of her own as a producer of art, which is intensely engaged with the world of material objects through which selfhood is manifestly demarcated. Anne's depiction of painting signifies that material objects do not only form bodies and insights but also let their holders create their place in society. I analyse the painting of Helen, the novel's heroine, as an object of individual identity and social authority by foregrounding the active role of women as creators of art. Mobilised as an analogy for women's autonomy and agency, the painting embodies women's active space free from restrictions and male hegemony. In this article, I treat the painting as a material object that depicts the individuality of Helen and how it grows into a non-material, delving into her inner world, her decisions and desires, and radically shaping the social perception of women. Anne's delineation of Helen identified with painting places women in a male-like active space which sets her apart from the Victorian idealistic heroines who epitomise traits uniquely private and feminine in contrast to public and masculine.
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, Jun 21, 2022
Renowned as a reference book of Dante and Chaucer, Boethius's Consolation of Philosopy occupies a... more Renowned as a reference book of Dante and Chaucer, Boethius's Consolation of Philosopy occupies a peerless room in literary realm. Dante draws on the Boethian elements in his Vita Nuova, the Convivio and the Commedia. Among his other works, Chaucer's making use of Boethius's Consolation in Troilus and Criseyde has been well documented by Chaucerians. A work belonging to the time of the collapse of the Roman Empire, Consolation focuses on fate, fortune and free will and was translated into numerous languages even by Chaucer himself, Boece, and by an Anglo-Saxon king, Alfred the Great. Recognised as a philosophical treatise, this exceptional work embraces a patchwork of Aristotelian, Stoic, Epicurean, and neo-Platonic thoughts. Alongside its philosophical concerns, featuring Lady Philosophy as a guide, teacher and a doctor to Boethius, Consolation suggests the authority of women over men via the power of female discourse. Tracing the footsteps of Lady Philosophy, another female character, Chaucer's Prudence in the Tale of Melibee consoles and guides her husband Melibee to goodness via her powerful discourse. Mostly treated as a dull text by critics, the Tale of Melibee is put in the category of the least favourite tales of Chaucer. In this paper, yet, I will focus on the tale with positive lens and read it as a text revealing the mastery and authority of women over men reversing the gender roles in a period well-known for its misogyny. Thereby, I assert that Prudence is an undisclosed Wife of Bath who raises the flag of victory in the everlasting power struggle between women and men. Finally, the paper comes to an end with an appeal for attraction in that women should take their share in real world alongside in fiction in accordance with Virginia Woolf's argument in A Room of One's Own.
International Journal of Language Academy
Gender culture couches diverse gender roles undertaken by individuals in line with their sex. Gen... more Gender culture couches diverse gender roles undertaken by individuals in line with their sex. Gender roles, which are part of the cultural accumulation of societies, occupy an indisputable place in cultural transmission. Gender roles, shaped by the framework of the society in which they exist, are also directly in parallel with the traditions of society. These roles, which especially attract the attention of sociologists, psychologists, feminist writers, and cultural scientists, also have an essential place in societies' cultural memory. Many researchers also express the performativity of these roles. The encumbrances induced by these roles, forming the identity and the place of the individual in society, especially on women, are among the foremost concerns of literature. Ömer Seyfettin criticizes gender roles and delineates the oppression of women through the eyes of his 10-year-old Ayşe in his story called Eleğimsağma. Virginia Woolf, in her novel Orlando, criticizes the gender roles and how these roles put pressure on women through, similar to Seyfettin's character Ayşe, the sex change. Both works, in addition, reveal the performativity of gender roles. When these two works, written in the same century by a man and a woman, reflecting Eastern and Western cultures respectively, are examined, it is seen that there are copious similarities concerning gender culture, gender roles, and their concomitant performativity. In this context, this study aims to examine Ömer Seyfettin's story Eleğimsağma and Virginia Woolf's novel Orlando from the standpoint of gender culture and gender roles and to accentuate the performativity and universality of these roles along with the pressures they cause on women, regardless of place.
Gender culture couches diverse gender roles undertaken by individuals in line with their sex. Gen... more Gender culture couches diverse gender roles undertaken by individuals in line with their sex. Gender roles, which are part of the cultural accumulation of societies, occupy an indisputable place in cultural transmission. Gender roles, shaped by the framework of the society in which they exist, are also directly in parallel with the traditions of society. These roles, which especially attract the attention of sociologists, psychologists, feminist writers, and cultural scientists, also have an essential place in societies' cultural memory. Many researchers also express the performativity of these roles. The encumbrances induced by these roles, forming the identity and the place of the individual in society, especially on women, are among the foremost concerns of literature. Ömer Seyfettin criticizes gender roles and delineates the oppression of women through the eyes of his 10-year-old Ayşe in his story called Eleğimsağma. Virginia Woolf, in her novel Orlando, criticizes the gender roles and how these roles put pressure on women through, similar to Seyfettin's character Ayşe, the sex change. Both works, in addition, reveal the performativity of gender roles. When these two works, written in the same century by a man and a woman, reflecting Eastern and Western cultures respectively, are examined, it is seen that there are copious similarities concerning gender culture, gender roles, and their concomitant performativity. In this context, this study aims to examine Ömer Seyfettin's story Eleğimsağma and Virginia Woolf's novel Orlando from the standpoint of gender culture and gender roles and to accentuate the performativity and universality of these roles along with the pressures they cause on women, regardless of place.
This study reads the guildsmen of Geoffrey Chaucer's The Canterbury Tales (1387-1400) as the memb... more This study reads the guildsmen of Geoffrey Chaucer's The Canterbury Tales (1387-1400) as the members of the medieval borderline community generated by social mobility which induced the emergence of a "middlegrouping" having new identities out of the accredited individualities of the traditional three estates. Medieval society is notorious for its hierarchical structure owing to feudalism and severe estate divisions; that is, the clergy, the nobility, and the commoners. Medieval people, led by faith, assumed that this division in society was directed by the Creator for the prosperity of the community. However, the drastic financial, societal, and governmental fluctuations of the late fourteenth century, to be exact, the Hundred Years War, the Black Death, and the Peasants' Revolt of 1381, devastated this unbending structure of feudal realm. Those changes brought about the waning of feudalism and a wide-ranging social mobility which gradually formed a "middle-grouping", made up mainly of the social climbers of common origin. The medieval people of the "middle-grouping" could not possess a recognisable ground for themselves in the medieval structure; hence, tried to find an acceptable identity on the borders of the three estates. Furthermore, the social climbers of the "middle-grouping" aped the lifestyle of the nobility, especially their attire, to be accepted into their sphere, which was almost impossible in the medieval context. In other words, the medieval people of the "middle-grouping" grew into Others along with the assortment of the traits of the commoners and the nobility, yet recognised by none of them. Notable members of the "middlegrouping" were the guildsmen of the time who are presented by Chaucer in the Canterbury Tales only in eighteen lines and simply treated as pretentious upstarts by scholars, ignoring their identity crisis. Accordingly, my aim, drawing on their historical counterparts and Homi K. Bhabha's concepts of borderline community and mimicry, is to depict the guildsmen of Chaucer in The Canterbury Tales as the medieval people of borderline identities, or Others, stemming from the middle-grouping, who establish their marginal selfhoods on the confines of the approved identities of the three medieval estates.
Renowned as a reference book of Dante and Chaucer, Boethius's Consolation of Philosopy occupies a... more Renowned as a reference book of Dante and Chaucer, Boethius's Consolation of Philosopy occupies a peerless room in literary realm. Dante draws on the Boethian elements in his Vita Nuova, the Convivio and the Commedia. Among his other works, Chaucer's making use of Boethius's Consolation in Troilus and Criseyde has been well documented by Chaucerians. A work belonging to the time of the collapse of the Roman Empire, Consolation focuses on fate, fortune and free will and was translated into numerous languages even by Chaucer himself, Boece, and by an Anglo-Saxon king, Alfred the Great. Recognised as a philosophical treatise, this exceptional work embraces a patchwork of Aristotelian, Stoic, Epicurean, and neo-Platonic thoughts. Alongside its philosophical concerns, featuring Lady Philosophy as a guide, teacher and a doctor to Boethius, Consolation suggests the authority of women over men via the power of female discourse.
Cumhuriyet Üniversitesi Yayınları, 2018
Uludağ Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi, 2021
Trakya Üniversitesi Edebiyat Fakültesi Dergisi, 2021
Wife come from a "deep sadness" as a result of her exile. In search of her husb... more Wife come from a "deep sadness" as a result of her exile. In search of her husband, the wife tells of her life in isolation as her lord leaves the county and her behind most probably due to a blood feud. Similarly, in Wulf and Eadwacer, the female speaker tells of her life of seclusion due to a blood feud. She is also away from her husband and suffers from the abhorrence of her clan. Included in the group of Old English "elegies", both works are remarkable in that they are only two surviving poems in Old English with a female speaker and they are also rare examples of Old English poems that present the dilemma of the Anglo-Saxon females in the male dominated Germanic world. Accordingly, this article aims to discuss how the roles and identities of Anglo Saxon women are formed by a masculine world of exile, separation and blood feud as depicted in the Wife's Lament and Wulf and Eadwacer and to introduce these unique texts to Turkish readers.
İmgelem, 2021
The need for solutions in the sector of municipal waste management brings different problems whic... more The need for solutions in the sector of municipal waste management brings different problems which can be properly managed by using modern technologies, new ways to capitalize substrates and materials which in normal conditions are not potentially usable. The present study involves chemical and thermal analysis in order to determine the energetic potential and overall properties of one type of municipal waste sludge collected during summer in Caras-Severin County. For confidential reasons, the origin of the waste sludge will not be mentioned.
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, 2021
Geoffrey Chaucer's pilgrims in his monumental work The Canterbury Tales have been widely treated ... more Geoffrey Chaucer's pilgrims in his monumental work The Canterbury Tales have been widely treated by the scholars who produced copious articles and books on the countless matters focusing on each pilgrim. Nevertheless, little attention has been paid to Harry Bailly, the striking innkeeper of the text. Bailly guides a group of medieval people of different ranks to the shrine of Saint Thomas Becket in Canterbury which introduces the reader to the greatest panorama of the medieval period. As the main framework of the text, Bailly asks pilgrims to tell stories on their way to Canterbury. Bailly does not tell a story himself; yet, he becomes so successful in handling of the disputes among the pilgrims and putting all of them in order; and every time he has a say for the stories as well as the story tellers. He is also very cautious about the traditional three estates order which constitutes the backbone of the medieval society. The Canterbury Tales can be envisaged without any of its pilgrims, but not without a Harry Bailly. He is the authoritative figure, and a know-it-all. Throughout the text, he performs divergent roles as a host, a leader, a judge, a critic and a governor. Although his commanding position is impeded by his domineering wife, taken as another Wife of Bath in the paper, Bailly occupies a unique position as the maestro of the pilgrims. Accordingly, this paper aims to dwell on Harry Bailly in the Canterbury Tales to present him as the inalienable yet neglected character of the masterpiece of Geoffrey Chaucer.
International journal of Language Academy, 2024
As is well known to material culture scholars, the typical identification of women with passivity... more As is well known to material culture scholars, the typical identification of women with passivity and consumption in relation to objects has a long tail that still wags now. In this article, on the contrary, I explore how Anne Brontë, in The Tenant of Wildfell Hall, sketches a young Victorian woman's quest for a space of her own as a producer of art, which is intensely engaged with the world of material objects through which selfhood is manifestly demarcated. Anne's depiction of painting signifies that material objects do not only form bodies and insights but also let their holders create their place in society. I analyse the painting of Helen, the novel's heroine, as an object of individual identity and social authority by foregrounding the active role of women as creators of art. Mobilised as an analogy for women's autonomy and agency, the painting embodies women's active space free from restrictions and male hegemony. In this article, I treat the painting as a material object that depicts the individuality of Helen and how it grows into a non-material, delving into her inner world, her decisions and desires, and radically shaping the social perception of women. Anne's delineation of Helen identified with painting places women in a male-like active space which sets her apart from the Victorian idealistic heroines who epitomise traits uniquely private and feminine in contrast to public and masculine.
English studies at NBU, Dec 19, 2023
Deleted Journal, Feb 22, 2024
The Other, Otherness and Othering in the Middle Ages
This essay examines Begum Rokeya's pivotal work Sultana's Dream (1905) in the context of medieval... more This essay examines Begum Rokeya's pivotal work Sultana's Dream (1905) in the context of medieval dream vision by foregrounding its matches with the dream vision genre. With Sultana's Dream, Rokeya takes women in the Indian community to a realm of freedom away from purdah and the zenana via mainly treating the concerns of gender and education. Rokeya endeavours to raise female consciousness in her story written in a dream format featuring Sister Sara as the guide to forging a self-sufficient female identity equal to men. I read Sister Sara as a wise woman, an exemplar of Boethius' Lady Philosophy, appearing in medieval dream visions to bring people to the truth, the conversion to Christianity in the medieval setting as in The Dream of the Rood. The essay concludes that, apart from her community, Rokeya's call in Sultana's Dream stretches out from medieval to contemporary society within the milieu of a dream vision to a feminist utopia respectively.
Heroism as an unremitting subject conquers and even haunts literature as well as history. Histori... more Heroism as an unremitting subject conquers and even haunts literature as well as history. Historical and fictitious heroes are guiding spirits of human beings regardless of time and geography. Historians and writers have so sternly adhered to the ideals of heroism that this fascination has been transformed into hero worship dating back to antiquity, bringing heroism to the forefront as a metanarrative in history and literature. Particularly contributing to the undying predicament of literature caught between the ideal and the real, causes of heroism have been largely left unquestioned putting heroes in the shoes of a messiah. Peter Ackroyd (1949-), renowned for his historiographic metafictions fashioned within postmodernism, dares to challenge this unimpeached-ism in The Fall of Troy (2006). In the novel, Ackroyd rewrites the history of Troy and introduces an eccentric half-real hero, Heinrich Obermann, against celebrated heroes of history and literature. Accordingly, this paper reads heroism as a metanarrative and delineates how Ackroyd sketches an atypical hero by acting contrary to traditional heroism and heroic literary tradition in his vibrant postmodern parody, The Fall of Troy.
Masculinity and femininity are unremitting subjects of literature from Plato's Symposium to the p... more Masculinity and femininity are unremitting subjects of literature from Plato's Symposium to the present. Embracing diverse gender roles by individuals in line with their sex, masculinity and femininity are a part of the cultural accumulation of societies and their concomitant traditions. These roles, which particularly catch the interest of sociologists, psychologists, feminist authors, and cultural scientists, play a crucial role in the cultural memory of societies. Femininity and masculinity regulate the behaviour of all individuals and their accompanying demeanours are acknowledged as behavioural patterns in society which place gender roles at the centre. Despite the growth of academic interest in gender culture in Turkey, the perusal of the transformation of gender roles delineated in literary texts remains largely ignored. This study examines two Turkish cult classic texts, The Book of Dede Korkut-redounding the ancient Turkish society before the advent of Islam-and Ömer Seyfettin's The Rainbow-sketching contemporary Turkish society just before the establishment of the Republic-to throw light on the radical transformation of gender roles by specifically centring on the change of Turkish masculinity from a shared sphere welcoming women to its realm to a private domain having almost no room for women mainly due to religious values and nation-building process. Keywords masculinity; femininity; Turkish gender roles; The Book of Dede Korkut; The Rainbow. Author Nazan Yıldız received her Ph.D. degree with her thesis entitled "Hybridity in Geoffrey Chaucer's The Canterbury Tales: Reconstructing the Estate Boundaries" from the English Language and
This article reads Aphra Behn's Oroonoko: or, the Royal Slave (1688) as a rewriting of the paradi... more This article reads Aphra Behn's Oroonoko: or, the Royal Slave (1688) as a rewriting of the paradise story of Adam and Eve largely identified with John Milton's Paradise Lost (1667) by literary circles. Meeting the true colours of civilization via slavery, the paradisal innocence of Oroonoko and Imoinda grows into a horrible experience that brings their downfall from African paradise, similar to Adam and Eve losing their innocence for the sake of knowledge. Drawing on the principles of primitivism, Behn emblematicizes a black Adam and Eve as representatives of mankind which subverts colonial and patriarchal discourses all in the same breath. In this respect, the article asseverates that Oroonoko serves as a microcosm of humanity at large which delineates the unremitting war between nature and civilization, and innocence and experience, as foregrounded in recent ecological studies, as well as men and women.
As is well known to material culture scholars, the typical identification of women with passivity... more As is well known to material culture scholars, the typical identification of women with passivity and consumption in relation to objects has a long tail that still wags now. In this article, on the contrary, I explore how Anne Brontë, in The Tenant of Wildfell Hall, sketches a young Victorian woman's quest for a space of her own as a producer of art, which is intensely engaged with the world of material objects through which selfhood is manifestly demarcated. Anne's depiction of painting signifies that material objects do not only form bodies and insights but also let their holders create their place in society. I analyse the painting of Helen, the novel's heroine, as an object of individual identity and social authority by foregrounding the active role of women as creators of art. Mobilised as an analogy for women's autonomy and agency, the painting embodies women's active space free from restrictions and male hegemony. In this article, I treat the painting as a material object that depicts the individuality of Helen and how it grows into a non-material, delving into her inner world, her decisions and desires, and radically shaping the social perception of women. Anne's delineation of Helen identified with painting places women in a male-like active space which sets her apart from the Victorian idealistic heroines who epitomise traits uniquely private and feminine in contrast to public and masculine.
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, Jun 21, 2022
Renowned as a reference book of Dante and Chaucer, Boethius's Consolation of Philosopy occupies a... more Renowned as a reference book of Dante and Chaucer, Boethius's Consolation of Philosopy occupies a peerless room in literary realm. Dante draws on the Boethian elements in his Vita Nuova, the Convivio and the Commedia. Among his other works, Chaucer's making use of Boethius's Consolation in Troilus and Criseyde has been well documented by Chaucerians. A work belonging to the time of the collapse of the Roman Empire, Consolation focuses on fate, fortune and free will and was translated into numerous languages even by Chaucer himself, Boece, and by an Anglo-Saxon king, Alfred the Great. Recognised as a philosophical treatise, this exceptional work embraces a patchwork of Aristotelian, Stoic, Epicurean, and neo-Platonic thoughts. Alongside its philosophical concerns, featuring Lady Philosophy as a guide, teacher and a doctor to Boethius, Consolation suggests the authority of women over men via the power of female discourse. Tracing the footsteps of Lady Philosophy, another female character, Chaucer's Prudence in the Tale of Melibee consoles and guides her husband Melibee to goodness via her powerful discourse. Mostly treated as a dull text by critics, the Tale of Melibee is put in the category of the least favourite tales of Chaucer. In this paper, yet, I will focus on the tale with positive lens and read it as a text revealing the mastery and authority of women over men reversing the gender roles in a period well-known for its misogyny. Thereby, I assert that Prudence is an undisclosed Wife of Bath who raises the flag of victory in the everlasting power struggle between women and men. Finally, the paper comes to an end with an appeal for attraction in that women should take their share in real world alongside in fiction in accordance with Virginia Woolf's argument in A Room of One's Own.
International Journal of Language Academy
Gender culture couches diverse gender roles undertaken by individuals in line with their sex. Gen... more Gender culture couches diverse gender roles undertaken by individuals in line with their sex. Gender roles, which are part of the cultural accumulation of societies, occupy an indisputable place in cultural transmission. Gender roles, shaped by the framework of the society in which they exist, are also directly in parallel with the traditions of society. These roles, which especially attract the attention of sociologists, psychologists, feminist writers, and cultural scientists, also have an essential place in societies' cultural memory. Many researchers also express the performativity of these roles. The encumbrances induced by these roles, forming the identity and the place of the individual in society, especially on women, are among the foremost concerns of literature. Ömer Seyfettin criticizes gender roles and delineates the oppression of women through the eyes of his 10-year-old Ayşe in his story called Eleğimsağma. Virginia Woolf, in her novel Orlando, criticizes the gender roles and how these roles put pressure on women through, similar to Seyfettin's character Ayşe, the sex change. Both works, in addition, reveal the performativity of gender roles. When these two works, written in the same century by a man and a woman, reflecting Eastern and Western cultures respectively, are examined, it is seen that there are copious similarities concerning gender culture, gender roles, and their concomitant performativity. In this context, this study aims to examine Ömer Seyfettin's story Eleğimsağma and Virginia Woolf's novel Orlando from the standpoint of gender culture and gender roles and to accentuate the performativity and universality of these roles along with the pressures they cause on women, regardless of place.
Gender culture couches diverse gender roles undertaken by individuals in line with their sex. Gen... more Gender culture couches diverse gender roles undertaken by individuals in line with their sex. Gender roles, which are part of the cultural accumulation of societies, occupy an indisputable place in cultural transmission. Gender roles, shaped by the framework of the society in which they exist, are also directly in parallel with the traditions of society. These roles, which especially attract the attention of sociologists, psychologists, feminist writers, and cultural scientists, also have an essential place in societies' cultural memory. Many researchers also express the performativity of these roles. The encumbrances induced by these roles, forming the identity and the place of the individual in society, especially on women, are among the foremost concerns of literature. Ömer Seyfettin criticizes gender roles and delineates the oppression of women through the eyes of his 10-year-old Ayşe in his story called Eleğimsağma. Virginia Woolf, in her novel Orlando, criticizes the gender roles and how these roles put pressure on women through, similar to Seyfettin's character Ayşe, the sex change. Both works, in addition, reveal the performativity of gender roles. When these two works, written in the same century by a man and a woman, reflecting Eastern and Western cultures respectively, are examined, it is seen that there are copious similarities concerning gender culture, gender roles, and their concomitant performativity. In this context, this study aims to examine Ömer Seyfettin's story Eleğimsağma and Virginia Woolf's novel Orlando from the standpoint of gender culture and gender roles and to accentuate the performativity and universality of these roles along with the pressures they cause on women, regardless of place.
This study reads the guildsmen of Geoffrey Chaucer's The Canterbury Tales (1387-1400) as the memb... more This study reads the guildsmen of Geoffrey Chaucer's The Canterbury Tales (1387-1400) as the members of the medieval borderline community generated by social mobility which induced the emergence of a "middlegrouping" having new identities out of the accredited individualities of the traditional three estates. Medieval society is notorious for its hierarchical structure owing to feudalism and severe estate divisions; that is, the clergy, the nobility, and the commoners. Medieval people, led by faith, assumed that this division in society was directed by the Creator for the prosperity of the community. However, the drastic financial, societal, and governmental fluctuations of the late fourteenth century, to be exact, the Hundred Years War, the Black Death, and the Peasants' Revolt of 1381, devastated this unbending structure of feudal realm. Those changes brought about the waning of feudalism and a wide-ranging social mobility which gradually formed a "middle-grouping", made up mainly of the social climbers of common origin. The medieval people of the "middle-grouping" could not possess a recognisable ground for themselves in the medieval structure; hence, tried to find an acceptable identity on the borders of the three estates. Furthermore, the social climbers of the "middle-grouping" aped the lifestyle of the nobility, especially their attire, to be accepted into their sphere, which was almost impossible in the medieval context. In other words, the medieval people of the "middle-grouping" grew into Others along with the assortment of the traits of the commoners and the nobility, yet recognised by none of them. Notable members of the "middlegrouping" were the guildsmen of the time who are presented by Chaucer in the Canterbury Tales only in eighteen lines and simply treated as pretentious upstarts by scholars, ignoring their identity crisis. Accordingly, my aim, drawing on their historical counterparts and Homi K. Bhabha's concepts of borderline community and mimicry, is to depict the guildsmen of Chaucer in The Canterbury Tales as the medieval people of borderline identities, or Others, stemming from the middle-grouping, who establish their marginal selfhoods on the confines of the approved identities of the three medieval estates.
Renowned as a reference book of Dante and Chaucer, Boethius's Consolation of Philosopy occupies a... more Renowned as a reference book of Dante and Chaucer, Boethius's Consolation of Philosopy occupies a peerless room in literary realm. Dante draws on the Boethian elements in his Vita Nuova, the Convivio and the Commedia. Among his other works, Chaucer's making use of Boethius's Consolation in Troilus and Criseyde has been well documented by Chaucerians. A work belonging to the time of the collapse of the Roman Empire, Consolation focuses on fate, fortune and free will and was translated into numerous languages even by Chaucer himself, Boece, and by an Anglo-Saxon king, Alfred the Great. Recognised as a philosophical treatise, this exceptional work embraces a patchwork of Aristotelian, Stoic, Epicurean, and neo-Platonic thoughts. Alongside its philosophical concerns, featuring Lady Philosophy as a guide, teacher and a doctor to Boethius, Consolation suggests the authority of women over men via the power of female discourse.
Cumhuriyet Üniversitesi Yayınları, 2018
Uludağ Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi, 2021
Trakya Üniversitesi Edebiyat Fakültesi Dergisi, 2021
Wife come from a "deep sadness" as a result of her exile. In search of her husb... more Wife come from a "deep sadness" as a result of her exile. In search of her husband, the wife tells of her life in isolation as her lord leaves the county and her behind most probably due to a blood feud. Similarly, in Wulf and Eadwacer, the female speaker tells of her life of seclusion due to a blood feud. She is also away from her husband and suffers from the abhorrence of her clan. Included in the group of Old English "elegies", both works are remarkable in that they are only two surviving poems in Old English with a female speaker and they are also rare examples of Old English poems that present the dilemma of the Anglo-Saxon females in the male dominated Germanic world. Accordingly, this article aims to discuss how the roles and identities of Anglo Saxon women are formed by a masculine world of exile, separation and blood feud as depicted in the Wife's Lament and Wulf and Eadwacer and to introduce these unique texts to Turkish readers.
İmgelem, 2021
The need for solutions in the sector of municipal waste management brings different problems whic... more The need for solutions in the sector of municipal waste management brings different problems which can be properly managed by using modern technologies, new ways to capitalize substrates and materials which in normal conditions are not potentially usable. The present study involves chemical and thermal analysis in order to determine the energetic potential and overall properties of one type of municipal waste sludge collected during summer in Caras-Severin County. For confidential reasons, the origin of the waste sludge will not be mentioned.
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, 2021
Geoffrey Chaucer's pilgrims in his monumental work The Canterbury Tales have been widely treated ... more Geoffrey Chaucer's pilgrims in his monumental work The Canterbury Tales have been widely treated by the scholars who produced copious articles and books on the countless matters focusing on each pilgrim. Nevertheless, little attention has been paid to Harry Bailly, the striking innkeeper of the text. Bailly guides a group of medieval people of different ranks to the shrine of Saint Thomas Becket in Canterbury which introduces the reader to the greatest panorama of the medieval period. As the main framework of the text, Bailly asks pilgrims to tell stories on their way to Canterbury. Bailly does not tell a story himself; yet, he becomes so successful in handling of the disputes among the pilgrims and putting all of them in order; and every time he has a say for the stories as well as the story tellers. He is also very cautious about the traditional three estates order which constitutes the backbone of the medieval society. The Canterbury Tales can be envisaged without any of its pilgrims, but not without a Harry Bailly. He is the authoritative figure, and a know-it-all. Throughout the text, he performs divergent roles as a host, a leader, a judge, a critic and a governor. Although his commanding position is impeded by his domineering wife, taken as another Wife of Bath in the paper, Bailly occupies a unique position as the maestro of the pilgrims. Accordingly, this paper aims to dwell on Harry Bailly in the Canterbury Tales to present him as the inalienable yet neglected character of the masterpiece of Geoffrey Chaucer.
Geleneksel ataerkil gerçekliği ve cinsiyet kavramını sorgulayan günümüzün en önde gelen İngiliz y... more Geleneksel ataerkil gerçekliği ve cinsiyet kavramını sorgulayan günümüzün en önde gelen İngiliz yazarlarından olan Jeanette Winterson (1959-), bilim kurgudan ekolojiye, peri masallarından postmodernizme uzanan çok yönlü romanlarında kapitalizm, totaliter yönetimler, sömürgecilik ve tüketim kültürünün yanı sıra bu ideolojik sistemlerin ana sebebi olarak gördüğü ataerkil toplum yapısını eleştirir. Feminist bakış açısıyla ünlenen Winterson’ın eserlerinin odak noktasında bulunan erkeklerin şekillendirdiği gerçeklik kavramı mizah ile yoğrularak tarihsel gerçeklik, toplumsal cinsiyet, cinsellik ve kimlik bağlamında irdelenir. Bu bildirinin konusu olan Taş Tanrılar’ı 2007 yılında kaleme alan Winterson, romanında ataerkil söyleme karşı olan
duruşunu postmodern ve ekoeleştirel yaklaşım ile yoğurarak eşsiz bir eser üretir. Winterson özellikle Paskalya Adası’nda geçen romanının ikinci bölümünde ataerkil kabileler arasındaki güç savaşı üzerinden çevrenin nasıl yok edildiğini resmeder. Ataerkil yönetim yüzünden doğa insana hayat veremeyecek duruma gelmiştir. Kan davalı iki kabile reisinin adadaki son ağacı kesmesi ile adadaki ekolojik ölüm yani sembolik anlamda insanın ölümü gerçekleşir. Bu yıkıma engel olmak isteyen kadınlar ise erkekler
tarafından şiddetle karşılanır. Başka bir deyişle, Winterson cinsiyet odaklı ve doğayı yok eden bir güç hiyerarşisinin altını çizer. Bu hiyerarşi ekofeminizmle ve kadının toplumsal konumuyla doğrudan ilintilidir. Bu bağlamda, bu bildirinin amacı Winterson’un Taş Tanrılar romanında doğa, kadın/erkek ve güç ilişkilerini ekofeminist bir bakış açısıyla incelemektir.
Romanda cumhuriyet, cennet benzetmesiyle ayrıca insana hayat veren doğa ile de özdeşleştirilir. F... more Romanda cumhuriyet, cennet benzetmesiyle ayrıca insana hayat veren doğa ile de özdeşleştirilir. Fakat ülkenin gerçek cumhuriyet hikayesinde olduğu gibi Verney’in hayalleri bir kabusa dönüşür ve cennet İngiltere bütün dünyayı sarsan veba salgınına yakalanır. Veba ile gelen bu felaket Verney tarafından bir zamanlar cennet olarak nitelendirilen İngiltere’nin artık “başı sonu görülmeyen bir mezarlığa” benzetilmesiyle çarpıcı bir şekilde betimlenir. Bu bağlamda, bu bölümün amacı İngiltere’nin kaos ve hüsranla sonuçlanan demokrasi ve cumhuriyet girişiminin edebi dünyaya yansımasını Mary Shelley’nin Son Adam romanındaki veba anlatısı üzerinden tartışmaktır.
Different from these interactions and the patriarchal culture victimizing women and children, the... more Different from these interactions and the patriarchal culture victimizing
women and children, the use of Shawili texts, caravan trade, slavery, and Qur’anic and biblical material, which are the main concerns studied in the novel by scholars, in this paper I will specifically dwell on the delineation of the white man in Gurnah’s Paradise. Doing so, I will also compare the depiction of the white man in the novel to that of Heart of Darkness (1899) by Joseph Conrad to spotlight the resemblances and disparities of the portrayals of “Us/Them” in these two widely matched novels. Even though different scholars have compared Gurnah’s Paradise to Conrad’s Heart of Darkness such as Griffiths and Schwerdt, there is still a lack of criticism on the two novels’ representation of the white man. To this aim, I will first examine Conrad’s classic colonial novel Heart of Darkness by mainly centering upon its depiction of the white man and/or Africa. Then, I will
explore Gurnah’s Paradise and its drawing of the white man and/in Africa
comparatively with that of Heart of Darkness.
This study of Geoffrey Chaucer’s The Canterbury Tales reads his pilgrims as the hybrids of medie... more This study of Geoffrey Chaucer’s The Canterbury Tales reads his pilgrims as the hybrids of medieval borderline community, created by social mobility. Thus, drawing on Bhabha’s postcolonial concepts of hybridity, in–betweenness, third space and mimicry, this book argues that Chaucer’s The Canterbury Tales depicts a variety of medieval hybrid identities. The hierarchical medieval society is well–known for its feudal structure and strict estate divisions; namely, the clergy, the nobility, and the commoners. The medieval frame of mind, ruled by religion, believed that this hierarchy in society was ordered by God for the welfare of the community. Yet, the radical economic, social and political changes of the late fourteenth century, namely the Hundred Years War, the Black Death of 1348, 1361 and 1369, and the Peasants’ Revolt of 1381, shattered this rigid construction of the medieval world. These drastic happenings resulted in the weakening of feudalism and a large-scale social mobility. The social mobility, in due time, produced a “middle–grouping”, which emerged out of upwardly and downwardly mobile medieval people. The members of the “middle–grouping” could not be fitted into any of the three estates and lived in the territories, in a Bhabhanian third space, constituted by three estates. The social climbers of the “middle–grouping” also imitated the noble way of life: their attire, customs and manners, and even their discourse to be accepted into the sphere of the nobility. That is to say, the medieval people of the “middle–grouping” turned into hybrids and mimics along with the mixture of values and norms deriving from their former and present status. Chaucer’s The Canterbury Tales presents those people of “middle–grouping” who develop their alternative identities on the borders of the acknowledged identities of the three medieval estates. Accordingly, Chapter I discusses the Knight as a medieval hybrid owing to the changes within his own estate, the nobility, and his consequent downward mobility putting him in-between the realms and required values of his old and new status. In Chapter II, similar to the Knight, yet moving from the nobility to the clergy, the Monk and the Prioress are examined as noble hybrids due to downward mobility. Finally, Chapter III analyses the Franklin and the Miller as the hybrids and mimics of upward mobility, who challenge the social order and ask for their own order by claiming gentility.
Necmettin Halil Onan, Mütareke günlerini ‗karakıĢ'a benzetirken içinde bulunulan Ģartları ‗ölmekt... more Necmettin Halil Onan, Mütareke günlerini ‗karakıĢ'a benzetirken içinde bulunulan Ģartları ‗ölmekten beter' görür: ġimdi anlıyorum ki dedem ne bahtiyarmıĢ, Uzletine çekilmiĢ bu günleri görmeden. Çünkü yurdun üstünde haykırırken kara kıĢ Farkı var mı bu mel'un yaĢamanın ölmekten? 6 Millî Mücadele dönemini de yaĢayan Yahya Kemal ise 1918 adlı Ģiirinde tablonun vahametine rağmen daha ümit vardır: Ölenler öldü, kalanlarla muztarip kaldık. Vatanda hor görülen bir cemâatiz artık Ölenler en sonu kurtuldular bu dağdağadan Ve göz kapaklarının arkasında eski Vatan Bizim diyâr olarak kaldı tâ kıyâmete dek. Kalanlar ortada genç, ihtiyar, kadın, erkek Harâb-olup yaĢıyor tâli'in azâbıyle; Vatanda düĢmanı seyretmek ıztırâbıyle.
