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Publication Metadata only Disciplinary utopias: the Mediterranean as a context and artistic mediations(Penn State University Press, 2024) Department of Comparative Literature; Arslan, Ceylan Ceyhun; Department of Comparative Literature; College of Social Sciences and HumanitiesThis article shifts the emphasis away from debates on how to study the history of the Mediterranean. Instead, it examines the utopian perspectives that Mediterranean as a context and as a framework generates for artists and scholars. Arslan argues that the Mediterranean's longue-durée history does not have to be thought of as a prison or a burden; rather, this history can provide new future visions. The article claims that artists can draw upon the Mediterranean's history to simultaneously resist against Western imperialism and criticize discriminatory practices in their communities. Furthermore, recent works in Mediterranean studies can generate what the author calls a disciplinary utopia, wherein critics can engage with theoretical issues without foregoing attention to the languages and historical contexts of the traditions they study. The Mediterranean is not solely a sea in which narratives are produced; it is also a context in which they can be reassessed.Publication Metadata only Ka’b ibn Zuhayr weeps for Sultan Murad IV: Baghdad, heritage, and the Ottoman Empire in Ma’rūf al- Ruṣāfī‘s poetry(Taylor and Francis, 2023) Department of Comparative Literature; Arslan, Ceylan Ceyhun; Department of Comparative Literature; College of Social Sciences and HumanitiesThis chapter situates Ma’rūf al-Ruṣāfī‘s (1875-1945) poetry within the transcultural context of the Ottoman Empire. The work first provides a brief biography of al-Ruṣāfī, with particular focus on his time in Istanbul. I also pay attention to shifting socioeconomic conditions in the Ottoman Iraq that facilitated al-Ruṣāfī‘s engagement with Ottoman Turkish writings. The chapter then gives a close reading of Süleyman Nazif’s (1870-1927) Firak-ı Irak (The Separation from Iraq, 1918) and al-Ruṣāfī‘s “Nuwāḥ Dijla” (The Lamentation of the Tigris). Both works express a strong grief about the Ottoman defeat in Baghdad during World War I; however, they capture different receptions of the Arabic poetic heritage. In Firak-ı Irak, Ka’b ibn Zuhayr (d. ca. 646/7), Ḥassān ibn Thābit (d. 674), and al-Mutanabbī (d. 965) turn into “Ottoman poets” as they weep for Sultan Murad IV (r. 1623-1640) and ultimately serve an Ottoman imperialistic discourse. Ka’b ibn Zuhayr and Ḥassān ibn Thābit even live in the same world with the Ottoman poet Nef’i (d. 1635) and speak to him in Turkish. While “Nuwāḥ Dijla” also expresses a deep sorrow for the Ottoman defeat, al-Ruṣāfī did not posit the Ottoman defeat in Baghdad as a tragic defeat for Ka’b ibn Zuhayr or al-Mutanabbī. As the chapter’s final section pays attention to representations of heritage and homeland in al-Ruṣāfī‘s works, it examines how different receptions of the Arabic poetic heritage could have contributed to the construction of diverse communal identities. Al-Ruṣāfī situated poets such as al-Mutanabbī within the Arabic heritage (al-turāth); in contrast, Süleyman Nazif saw the same poets as part of an Ottoman canon that members of the Ottoman literati upheld. Finally, I emphasize the need to flesh out the Ottoman literary heritage’s multilingual character to reassesses some key categories that critics take for granted, such as “classical Arabic literature” and “Ottoman literature.”. © 2024 selection and editorial matter, Huda J. Fakhreddine and Suzanne Pinckney Stetkevych; individual chapters, the contributors.Publication Metadata only Turkish literature(Springer, 2018) Parla, Jale; Department of History; Department of Comparative Literature; Ertem, Özge; Uslu, Mehmet Fatih; Teaching Faculty; Faculty Member; Department of History; Department of Comparative Literature; College of Social Sciences and Humanities; College of Social Sciences and Humanities; N/A; 37406My basic thesis about the cultural and epistemological significance of the theme of the fathers and sons has not changed over the years. The quest for a father as absolute authority continued to inform Turkish thought and literature, with only a few exceptional interludes as with the novels of the 1970s. It is, I feel, a mind-numbingly uninteresting phenomenon. Why? Because it has been the same for centuries-the quest for a father, the readiness to escape from freedom, the insecurity when faced with the possibility of a fatherless vacuum, and the need to fill it at all costs. In my subsequent work, I rethought and revisited the Tanzimat (Reorganization) period of 1839-1876, and I came to realize that certain themes that persist in the literary and cultural spheres-modernization, Westernization, issues concerning language reform-were taken up and debated much more judiciously and liberally back then, particularly when compared to the sectarian, prejudiced, and hostile debates of later periods. In this respect, I draw the line with the Servet-i Fünun (Wealth of Knowledge) period of 1891-1901, during which cultural and literary quarrels became harsher and were carried into the partisan disputes of the Republican era.Publication Metadata only Tahar Djaout, 25 years later(Florida State Univ, 2018) Cenier, Adele; Department of Comparative Literature; MacDonald, Megan Catherine; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; N/AN/APublication Metadata only Entwined narratives: Latife Tekin's ecopoetics(Palgrave, 2017) Department of Comparative Literature; Ergin, Meliz; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 101428N/APublication Metadata only A sixteenth century autobiographical work: Arz-ı Hâl ü Sergüzeşt-i Gilanî(Mehmet Dursun Erdem, 2013) Department of Comparative Literature; Taşkın, Gülşah; Teaching Faculty; Department of Comparative Literature; College of Social Sciences and Humanities; 104767Not much is known about the life and works of the sixteenth century Persian poet Mahfî-i Gilanî. The existing pieces of information suggest that he entered the service of Sulaiman the Magnificent in Istanbul following the death of his previous patron, Ebu’l-Muzaffer Bahadır Khan. Ebu’l-Muzaffer Bahadır Khan was the ruler of Gilan for whom Mahfî had served as a poet and joined military campaigns. Mahfi is the author of Arz-ı Hal ü Sergüzeşt-i Gilanî, an autobiographical piece on the unfair conditions he witnessed under the rule of some administrators. He is also the translator of a medicine booklet titled Tercüme-i Bih-i Çinî. It is a well known fact that Suleiman and his administrators have been great patrons of poetry who endorsed poets both from inside and outside the Empire. This was especially the case for the Persian poets who were well-respected by the administrators and received a special treatment from the Sultan. However, despite Suleiman’s benevolent patronage to other poets, Mahfi has not found what he expected from his reign. In Arz-ı Hâl ü Sergüzeşt-i Gilanî, Mahfi acounts his experience of not being supported by his patrons in the way he anticipated. It might be fruitful to look at Mahfi’s work to ask questions about his unique experience as a neglected Persian poet and explore how he represented this experience through his work. Against the backdrop of these questions, I will first present the autobiographical work of Arz-ı Hâl ü Sergüzeşt-i Gilanî and locate it within the history and literature of the Ottoman Empire. I will then move on to some critical questions and suggestions about the classification of works like “Arz-ı hâl”, “Hasbihâl”, “Sergüzeştname” and locate Mahfi’s Arz-ı Hâl ü Sergüzeşt-i Gilanî within the framework of this body of literature. / Gilan (Geylan) hükümdarı Ebu’l-Muzaffer Bahadır Han’ın şairi olan ve onunla birçok sefere katılan Mahfî-i Gilanî, Muzaffer Han’ın ölümü üzerine İstanbul’a gelmiş ve Kanunî Sultan Süleyman’ın hizmetine girmiştir. Şairin; devlet büyükleri tarafından uğradığı haksızlıkları anlattığı Arz-ı Hal ü Sergüzeşt-i Gilanî adlı otobiyografik bir eseri ve Tercüme-i Bih-i Çinî adlı bir tıp risalesi tercümesi bulunmaktadır. Kendisi de usta bir şair olan Kanunî’nin ve çevresindeki birçok devlet adamının, şairlere destek oldukları ve büyük saygı gösterdikleri bilinmektedir. Sadece İmparatorluk sınırlarında yetişenlerin değil, dışarıdan gelen şairlerin de devlet adamları tarafından çoğu zaman aynı şekilde kabul gördüğü; özellikle de İran’dan gelen şairlere ayrı bir saygıyla yaklaşıldığı düşünüldüğünde, böyle bir ortamda her ne sebeple olursa olsun beklediği ilgiyi göremeyen bir şair neler yaşar, nasıl bir ruh hâli içindedir ve bu durumu eserlerine nasıl yansıtır gibi birçok soru akla gelecektir. Kanunî döneminde, alıştığı ve beklediği ilgiyi göremeyen İranlı bir şair olan Mahfî-i Gilanî ve hayatının belli bir döneminde İstanbul’da yaşadıklarını kendi bakış açısından anlattığı Arz-ı Hâl ü Sergüzeşt-i Gilanî adlı eseri bu anlamda ilgi çekicidir. Bu düşünceden hareketle bu makalede öncelikle Mahfî-i Gilanî’nin kaleme aldığı, Klasik Osmanlı edebiyatı ve Osmanlı tarihi açısından önemli ipuçları barındırdığı düşünülen Arz-ı Hâl ü Sergüzeşt-i Gilanî adlı otobiyografik eser tanıtılacaktır. Ardından bahsedilen eserden yola çıkılarak “Arz-ı hâl”, “Hasbihâl”, “Sergüzeştname” gibi adlarla anılan ve otobiyografik malzeme barındıran benzeri eserlerin sınıflandırılmasıyla ilgili bazı soru ve öneriler tartışmaya açılarak Arz-ı Hâl ü Sergüzeşt-i Gilanî’nin bu tür eserler arasındaki yeri sorgulanacaktır.Publication Metadata only AfriKI: machine-in-the-Loop Afrikaans poetry generation(Association for Computational Linguistics (ACL), 2021) Baş, Anıl; Department of Comparative Literature; van Heerden, Imke; Other; Department of Comparative Literature; College of Social Sciences and Humanities; 318142This paper proposes a generative language model called AfriKI. Our approach is based on an LSTM architecture trained on a small corpus of contemporary fiction. With the aim of promoting human creativity, we use the model as an authoring tool to explore machine-in-the-loop Afrikaans poetry generation. To our knowledge, this is the first study to attempt creative text generation in Afrikaans.Publication Metadata only Editor's introduction(Routledge Journals, Taylor & Francis Ltd, 2016) Celestin, Roger; Crowley, Patrick; DalMolin, Eliane; Department of Comparative Literature; MacDonald, Megan Catherine; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; N/AN/APublication Metadata only Reimagining the epic: historical and collective memory in Nâzım Hikmet and Pablo Neruda(Hacettepe Üniversitesi Edebiyat Fakültesi, 2016) Department of Comparative Literature; Dolcerocca, Özen Nergis; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 237469This article explores historical and collective memory in Nazim Hikmet’s Human Landscapes from My Country and Pablo Neruda’s Canto General, bringing these two books of poetry together in their pursuit of a new epic poetry in the aftermath of the Second World War. Hikmet’s Landscapes is a collection of poems in the form of a biographical dictionary that profiles ordinary people’s lives in an encyclopedic manner. The poem is an Account of the history of the twentieth century from the perspectives of multiple characters in Turkey. It presents an alternative history centered on the lives of ordinary people, bringing human experience into the center of the historical narrative that spans nearly half a century from 1908 to 1950, with a vast geographic sweep from villages of Anatolia to Europe and Moscow. In 1950, the year Hikmet completed Landscapes, Pablo Neruda published Canto General, meaning General Song, in Mexico City, another extensive and unorthodox artistic project driven by the ambition to tell all; it is a general/communal song, about an entire history of a continent and of the world. Despite many differences in their works, the poetry of Hikmet and Neruda carry significant parallels that deepens our understanding of the poetry of engagement in the twentieth century. In this article, I discuss the epic elements in Nâzım’s Human Landscapes in relation to its political function as a critical historical memory, and at the same time, by drawing parallels from Neruda’s work I aim to place Landscapes in an international literary perspective. In his pursuit of a new epic, Hikmet created a poetic masterpiece that recounts the history of people through multiple perspectives, bringing together the past, present and future around the destiny of millions of human beings. Pablo Neruda also pursued a similar desire to give expression to a wide landscape and collective populace of America and created Canto General to satisfy “the need for a new epic poetry”. This expression of necessity to turn to the epic genre reveals both poets’ ambition to capture the community in its totality. This paper shows that Neruda’s struggle echoes that of Hikmet who seeks to find a new voice that would revolutionize modern poetry in its embrace of the epic and to create a sweeping chronicle which spans time and space, history and geography to form a self-contained vision of a country and its people. /Öz: Bu makale Nâzım Hikmet’in Memleketimden İnsan Manzaraları ve Pablo Neruda’nın Canto General eserlerinde tarihi ve toplumsal hafızayı incelemekte ve bu iki metni İkinci Dünya Savaşı sonrası yeni bir epik şiir arayışlarında bir araya getirmektedir. Hikmet’in Manzaralar’ı sıradan insanların hayatlarını ansiklopedik bir biçimde anlatan biyografik sözlük halinde bir şiir koleksiyonundan oluşur. Şiir yirminci yüzyıl tarihinin Türkiye’deki farklı izleyicilerin bakış açısından anlatılır. Eser merkezinde insan deneyiminin olduğu, 1908’den 1950’ye yarım yüzyılı ve Anadolu’dan Avrupa ve Moskova’ya geniş bir coğrafyayı kapsayan bir tarihsel anlatıdır. Hikmet’in Manzaralar’ı yazmayı bitirdiği yıl olan 1950’de Pablo Neruda ‘genel şarkılar’ anlamına gelen Canto General’i Meksika’da yayımlar. Bu, her şeyi anlatma arzusuyla yola çıkan geniş kapsamlı ve geleneklere aykırı bir eser; bir kıtanın ve dünyanın tüm tarihi üzerine genel ve toplumsal bir şarkıdır. Eserlerindeki pek çok farklılıklara rağmen, Hikmet ve Neruda’nın şiiri yirminci yüzyıl politik edebiyat anlayışını derinleştirecek önemli benzerlikler gösterir. Bu makale Nâzım Hikmet’in Manzaralar’ı üzerine odaklanarak, eserin epik unsurlarının eleştirel tarihi hafıza içindeki politik işlevini tartışacak. Çalışma aynı zamanda Hikmet ve Neruda’nın eseriyle benzerlikler çizerek Manzaralar’ı uluslararası edebiyat perspektifi içerisinde değerlendirecek. Yeni bir epik arayışı ile, Hikmet bir halkın tarihini farklı açılardan anlatan; geçmişi, şimdiyi ve geleceği milyonlarca insanın kaderinde bir araya getiren bir başyapıt yaratmıştır. Pablo Neruda da benzer bir arayışla Amerika kıtasının geniş manzarasına ve halk kitlelerine ses verecek Canto General’i “yeni bir epik şiir gerekliliği” üzerine yazmıştır. Epik türüne dönüşün her iki şair için de kaçınılmazlığı, ikisinin de toplumu bir bütün olarak yakalama tutkusunun bir sonucudur. Bu çalışma Neruda’nın edebi mücadelesinin Hikmet’inki ile nasıl birleştiğini; her ikisinin de modern şiiri kökten değiştirecek yeni bir ses bulmak amacıyla epiğe yöneldiğini; zaman ve mekanı, geniş bir tarih ve coğrafyayı birleştiren geniş kapsamlı bir tarih yazarak bir ülkenin ve insanlarının bir bütün halinde betimlediklerini gösterecek.Publication Metadata only Capturing the beat moment: cultural politics and the poetics of presence(Southern Illinois University Press, 2011) NA; Department of Comparative Literature; Mortenson, Erik; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; N/ACapturing the Beat Moment examines the assumptions the Beats made about the moment and their attempt to "capture" this "immediacy," focusing on the works of Kerouac and Ginsberg as well as on those of women and African American Beat writers.