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Publication Open Access Chronometrics in the modern metropolis: the city, the past and collective memory in A.H. Tanpınar(Johns Hopkins University (JHU) Press, 2015) Department of Comparative Literature; Dolcerocca, Özen Nergis; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 237469Publication Open Access Derrida's otobiographies(University of Hawaii Press, 2017) Department of Comparative Literature; Ergin, Meliz; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 101428
Publication Metadata only Emine Sevgi Özdamar's translingual poetics in Mutterzunge(Univ Toronto Press Inc, 2013) Department of Comparative Literature; Ergin, Meliz; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 101428Publication Open Access From Vienna to the Kalmyk lands: the construction of place in the Seyahatnâme(Harvard University Press, 2015) Department of Comparative Literature; Kim, Sooyong; Department of Comparative Literature; College of Social Sciences and HumanitiesIn the past few decades, scholars have pointed to the importance of a travel account’s very spatial setting in the construction and representation of place, in marking out the cultural and political boundaries. Yet that aspect has been little explored when it comes to Ottoman travel writing, especially from the early modern era. This article examines the role of spatial setting in the construction of place in Evliyâ Çelebi’s Seyahatname, of Vienna and the Kalmyk lands in particular, two places outside the Ottoman imperial realm. The accounts illustrate how greatly the specificity of each place in the Ottoman territorial imagination defines Evliya’s depiction of those locales. For Evliyâ, it is argued, Vienna and the Kalmyks lands represent two wholly different and exclusive foreign places: the former is constructed as an urban space beneficial to Ottoman material interest, and the latter as a pastoral space without such benefit.Publication Open Access Introduction: gender, migration, and the media(Taylor _ Francis, 2018) Mattoscio, Mara; Department of Comparative Literature; MacDonald, Megan Catherine; Faculty Member; Department of Comparative Literature; College of Social Sciences and HumanitiesPublication Metadata only Jack Kerouac and Allen Ginsberg: the letters(Univ Houston, Victoria-Art & Sci, 2013) NA; Department of Comparative Literature; Mortenson, Erik; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; N/AN/APublication Open Access On the possibility of multiculturalism: birds without wings by Louis de Berniéres(2021) Department of Comparative Literature; Ağıl, Nazmi; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 50749At the beginning of the twentieth century a great number of non-Muslim population were driven out of the newly defined borders of the Turkish Republic. In Birds Without Wings, Louis de Berniéres questions the validity of the concepts like race, religion and language as the criteria for nation-building, and laments the loss of an Edenic life-style in an Anatolian town, when its Greek and Armenian inhabitants left. What made life there so good was the long-established multicultural relations, which the writer recreates for us. Hence, this article claims that at the heart of Birds Without Wings lies the concept of “multiculturalism” and points out to the way the dynamic relations connoted by the term are reflected through the novel’s formal and narrative aspects, such as chapter design, changing point of view, mixing genres and languages, and the symbolic use of names.Publication Metadata only Poetry takes centre stage: John Wieners' Still Life at the New York Poets Theatre(Bloomsbury Publishing, 2016) NA; Department of Comparative Literature; Mortenson, Erik; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; N/AReaders and acolytes of the vital early 1950s-mid 1960s writers known as the Beat Generation tend to be familiar with the prose and poetry by the seminal authors of this period: Jack Kerouac, Gregory Corso, Lawrence Ferlinghetti, Diane Di Prima, and many others. Yet all of these authors, as well as other less well-known Beat figures, also wrote plays—and these, together with their countercultural approaches to what could or should happen in the theatre—shaped the dramatic experiments of the playwrights who came after them, from Sam Shepard to Maria Irene Fornes, to the many vanguard performance artists of the seventies. This volume, the first of its kind, gathers essays about the exciting work in drama and performance by and about the Beat Generation, ranging from the well-known Beat figures such as Kerouac, Ginsberg and Burroughs, to the “Afro-Beats” - LeRoi Jones (Amiri Baraka), Bob Kaufman, and others. It offers original studies of the women Beats - Di Prima, Bunny Lang - as well as groups like the Living Theater who in this era first challenged the literal and physical boundaries of the performance space itself.Publication Open Access Reimagining the epic: historical and collective memory in Nâzım Hikmet and Pablo Neruda(Hacettepe Üniversitesi, 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.Publication Metadata only The ghost of humanism: rethinking the subjective turn in postwar American photography(Taylor & Francis Ltd, 2014) NA; Department of Comparative Literature; Mortenson, Erik; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; N/AThis article examines the use of shadow, blur, graininess, and reflection in the work of the postwar photographers Robert Frank, William Klein, and Ralph Eugene Meatyard as a response to the rhetoric of Cold War containment. In contrast to the more comforting images in Edward Steichen's popular exhibit The Family of Man, which sought to downplay Cold War anxieties, the photographs of Frank, Klein, and Meatyard challenged viewer expectation by presenting human figures in varying states of disintegration and disappearance. The term 'subjective' has long been used to describe a return to personal and private concerns during the postwar years, but discussion has focused mainly on the subjectivity of the artist rather than the viewer. By challenging the sanctity of the human figure, Frank, Klein, and Meatyard force viewers to confront such difficult images and, in the process, re-examine the fears and anxieties that lay dormant during the tense years of the early Cold War.