http://hdl.handle.net/20.500.12416/414 Mütercim Tercümanlık Bölümü (İngilizce) yayınlarını içerir Wed, 28 Oct 2026 17:47:52 GMT 2026-10-28T17:47:52Z http://hdl.handle.net/20.500.12416/8360 William Beckford's Depiction of the Orientand the Oriental as Infernal in Vathek Koç, Ertuğrul Vathek, Abbasi halifelerinden Al-Wathik'in zalim yönetimini konu edinirken, bir yandan da İslam halifeliği ve İslam kültürünü itibarsızlaştırma çabasındadır. Beckford için doğunun egzotik bir cazibesi olsa da, bu dünya aynı zamanda tehditkâr ve tehlikelidir. Eserde, sihir ve büyüyle uğraşan zorba, şeytani hükümdarların tahakkümü altındaki 'iyi' Müslümanlar kuru kalabalık olmaktan öteye gidemezler ve doğunun bu teslimiyetçi kültürel kimliği de Beckford tarafından batıyı tanımlayan 'öteki' şeklinde resmedilir. Eserlerinde Protestan ahlâkını 'çürümüş' Katolik inancına karşı öven geleneksel İngiliz Gotik yazarların aksine batı dilleri ve kültürleriyle tanışık olan Beckford, çok kültürlü Avrupalı bireyden yanadır: Aydınlanma Çağı'nın idealize ettiği bu bireyin şeytani ikizini çıkarmak adına da İslam topraklarının halifesini öfkeli, kibirli, açgözlü, tembel, şehvetli, kıskanç ve obur biri olarak betimler. Beckford'un doğu ve doğulu için çizdiği bu sosyo-kültürel, psikolojik şema da, birinci ve ikinci kuşak romantik şairlerin Beckford'u örnek almaları sebebiyle doğuyu, İslam'ı ve Müslümanlar'ı Beckford gibi çarpıtılmış biçimde tasvir etmelerinin yolunu açmıştır Fri, 01 Jan 2016 00:00:00 GMT http://hdl.handle.net/20.500.12416/8360 2016-01-01T00:00:00Z http://hdl.handle.net/20.500.12416/8310 The Problematic of Reading Generic Signals in Parodic Discourse Kırca, Mustafa The aim of this study is to analyze the double-function of generic signals in double-voiced discourse of parody which involves by its nature the parodied and the parodying voices simultaneously. The paper claims that generic signals, which are supposed to be working mostly at an unconscious level to create a generic context for the reader in interpreting a text, become double-voiced by the parodist’s manipulation and work at a conscious level. It is common that the parody writer barrows and appropriates generic signals of the genre he parodies to indicate the parodied genre and also his departure from this genre. Parodic intentions become palpable immediately with the „parodic stylization” — to use Bakhtin’s term — of the generic signals, which brings about the Bakhtinian refraction of the authorial voice in parody. Since the parody writer intentionally appropriates the speech of the prodied genre, authorial refractions become clearer in parodic discourse. Through studying such refractions with a particular emphasis on genre parodies and specific examples from Cervantes’ Don Quijote, the present study argues that generic signals in parodic discourse assume the double-function of signaling the parodied genre and the parodying voice simultaneously. In order to show how generic signals assume a highly communicative function in parody, this study focuses on texts where the author parodies not a single writer and a single work, but a whole genre with its conventions. As a genre parody which aims for the governing discourse behind the genre it imitates, Cervantes’ Don Quijote produce significant examples that the double-function of generic signals can be seen explicitly through the authorial refractions in the text. Tue, 01 Jan 2013 00:00:00 GMT http://hdl.handle.net/20.500.12416/8310 2013-01-01T00:00:00Z http://hdl.handle.net/20.500.12416/8175 Postmodern philosophy of history and reading its traces in postcolonial (re)writing Kırca, Mustafa Presenting the outlines of the postmodern philosophy of historiography as it shapes the theoretical background for the analysis of the historical novel, this study aims to render that the recent understanding of history and its reconceptualization in decolonizing fictional (re)writings still provides the "re-visionary" stance seen in contemporary postcolonial narratives. After the introduction of postmodern innovations in theoretical and imaginative writing, there has emerged a rather newfangled view of the historical novel and an increasing inclination for narratives that attempt to reimagine historical moments and chronicles they integrate into their fictional worlds to pursue a re-visionary questioning. The critical frameworks of postcolonial historical fiction and speaking subalterns have moved on in postmillennial historical novels and political novels. Considering that postcolonial literary theories and fictional (re)writings attempt to deconstruct homogenous discourses and the Eurocentric (history) writing of the colonizer, it is claimed that, for the sake of textual decolonization, recent works of postcolonial historical writing intersect in several ways with the newfangled view of the historical novel. Thu, 01 Jun 2023 00:00:00 GMT http://hdl.handle.net/20.500.12416/8175 2023-06-01T00:00:00Z http://hdl.handle.net/20.500.12416/8137 The Victorians and the novelists: from Dickens to Hardy Koç, Ertuğrul Fri, 01 Jan 2010 00:00:00 GMT http://hdl.handle.net/20.500.12416/8137 2010-01-01T00:00:00Z