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Publication Metadata only (Post) humanist tangles in social ecology and new materialism(Palgrave, 2017) Department of Comparative Literature; Ergin, Meliz; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 101428This chapter argues that entanglements lie at the core of two prominent schools of ecological thought: social ecology and new materialism. While social ecology, spearheaded by Murray Bookchin, stresses the tangle of ecological and socio-political issues and advocates for a transformative viewpoint in both spheres, new materialism destabilizes the nature/culture dichotomy by reading the production of matter and meaning as co-extensive praxes and by defining phenomena, in Karen Barad’s terms, as the “ontological inseparability of intra-acting agencies.” Ergin reads social ecology and new materialism, respectively, in relation to deconstruction to tease out the different models of entanglement in each school of thought and to elucidate what is at stake in the motif of entanglement. She rethinks these three strands of thought vis-à-vis each other to capture some of the breadth and variety in reconceptualizations of natural-social and material-discursive entanglements.Publication Metadata only 2 July 1993 in Turkish Literature: representations of the Sivas Massacre(Routledge Journals, Taylor & Francis Ltd, 2014) Department of Comparative Literature; Ağıl, Nazmi; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 50749On 2 July 1993 the fire set on Hotel Madimak in Sivas, Turkey by religious fanatics claimed the lives of 37 people. Such traumatic events need to be narrated to heal the wound they have opened in the public consciousness. Yet it is also true that they pose a serious challenge to the narrator as they lie beyond the reach of usual means of representation. This article examines the ways the massacre is represented in the two recent Turkish novels, Atesve Kugu (Fire and the Swan) by Burhan Gunel and Seytan Minareleri (Seashells) by Hidayet Karakus, with a view to examining the approaches these works offer to meet the challenge.Publication Metadata only A hidden poet in the period of Suleiman the magnificent: Mahfî-i Gilani and his translation of bih-i çinî(Mehmet Dursun Erdem, 2012) Department of Comparative Literature; Taşkın, Gülşah; Teaching Faculty; Department of Comparative Literature; College of Social Sciences and Humanities; 104767We have little information about the life and works of the sixteenth century Persian poet Mahfî-i Gilanî. He was from Gilan and composed poetry under the patronage of Muzaffer Khan, the ruler of Gilan, with whom he also participated in campaigns. After Muzaffer Khan died, he escaped from Safavid’s cruelty and came to Istanbul where he entered Süleiman the Magnificent’s service. While he was living in Istanbul he wrote an Arz-ı Hal in which he narrated his life in Istanbul and complained about unfair manners of certain statemen. He also wrote a translation booklet about medicine titled Tercüme-i Bih-i Çinî. Bih-i Çinî had previously been translated into Turkish by Musluhiddin Sürurî who was a well known poet and commentator of Masnavi. This booklet was later translated from its original into Persian by Mahfî and presented to Muzaffer Khan. The same booklet in which bih-i çinî’s features are explained in detail was also translated in Turkish and presented to Süleiman the Magnificent. This article has two parts. The first part is about the life and works of Mahfî-i Gilanî. An analysis of Tercüme-i Bih-i Çinî will be given in the second part of the article. For the purpose of stimulating further research the full text of Bih-i Çinî with transcription is given at the end of the article. / Mahfî-i Gilanî Kanunî’nin Irakeyn Seferi sonrasında, Şah Tahmasb’ın zulmünden kaçarak Osmanlı’ya sığınan ve Farsçanın yanı sıra Türkçe eserler de kaleme almış İranlı bir şairdir. Kaynaklarda, on altıncı yüzyıl şairlerinden biri olan Mahfî-i Gilanî hakkında pek fazla bilgi bulunmamaktadır. 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. Aslı Hintçe olan bu risaleyi Mahfî-i Gilanî önce Muzaffer Han için Farsçaya, ardından Kanunî için Türkçeye tercüme etmiştir. Ünlü Mesnevi şârihi Gelibolulu Musluhiddin Sürurî tarafından da Türkçeye tercüme edildiği bilinen bu eserde bih-i çinînin özellikleri, hangi hastalıklara iyi geldiği ve bih-i çinî terkibinin nasıl uygulanacağı ayrıntılı olarak anlatılmaktadır. Bir tıp risalesi olmasına rağmen yer yer edebî bir eserin özelliklerini de taşıyan Bih-i Çinî, Osmanlı’da ilim ve edebiyatın her zaman için kesin çizgilerle ayrılmadığını da gösteren bir örnektir. İki bölümden oluşan bu makalenin ilk bölümünde, Farsçanın yanı sıra Türkçe eserler de vermiş İranlı bir şair olan Mahfî-i Gilanî’nin hayatı ve eserleri hakkında bilgi verilecek, ikinci bölümde ise yukarıda sözü edilen tıp risalesi incelenecektir. Makalenin sonunda araştırmacılara kaynak olması açısından eserin transkripsiyonlu metni verilmiştir.Publication 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 Adab as a way of life: towards an ethical turn in history(Brill, 2022) Department of History; Department of History; Gubara, Dahlia Eltayeb Mohammed; Wick, Alexis Norman; Faculty Member; Faculty Member; Department of History; College of Social Sciences and Humanities; College of Social Sciences and Humanities; 326936; 294015Like ancient philosophy in Pierre Hadot's conception, the polysemic notion of adab in the Arabic-Islamic tradition was a way of life, and not merely a scholarly discipline or cultural field. This essay explores this proposition in reference to the life and work of the Palestinian historian.arif al-Khalidi, where adab has been a central locus of reflection. Although steeped in present-day historical, literary, and philosophical discussions, we argue that al-Khalidi's approach has an uncanny resemblance to classical conceptions of adab and thereby invites a re-examination of current scholarly practices, presaging an ethical turn in the study of history.Publication Metadata only Ambiguous borderlands: shadow imagery in cold war American culture(Southern Illinois University Press, 2016) NA; Department of Comparative Literature; Mortenson, Erik; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; N/AThe image of the shadow in mid-twentieth-century America appeared across a variety of genres and media including poetry, pulp fiction, photography, and film. Drawing on an extensive framework that ranges from Cold War cultural histories to theorizations of psychoanalysis and the Gothic, Erik Mortenson argues that shadow imagery in 1950s and 1960s American culture not only reflected the anxiety and ambiguity of the times but also offered an imaginative space for artists to challenge the binary rhetoric associated with the Cold War. After contextualizing the postwar use of shadow imagery in the wake of the atomic bomb, Ambiguous Borderlands looks at shadows in print works, detailing the reemergence of the pulp fiction crime fighter "the Shadow" in the late-1950s writings of Sylvia Plath, Amiri Baraka, and Jack Kerouac. Using Freudian and Jungian conceptions of the unconscious, Mortenson then discusses Kerouac’s and Allen Ginsberg’s shared dream of a "shrouded stranger" and how this dream shaped their Beat aesthetic. Turning to the visual, Mortenson examines the dehumanizing effect of shadow imagery in the Cold War photography of Robert Frank, William Klein, and Ralph Eugene Meatyard. Mortenson concludes with an investigation of the use of chiaroscuro in 1950s film noir and the popular television series The Twilight Zone, further detailing how the complexities of Cold War society were mirrored across these media in the ubiquitous imagery of light and dark. From comics to movies, Beats to bombs, Ambiguous Borderlands provides a novel understanding of the Cold War cultural context through its analysis of the image of the shadow in midcentury media. Its interdisciplinary approach, ambitious subject matter, and diverse theoretical framing make it essential reading for anyone interested in American literary and popular culture during the mid-twentieth century.Publication Metadata only An East-West conversation: Gürpınar's A Marriage under the Comet and Chaucer's The Canterbury Tales(Wiley, 2018) Department of Comparative Literature; Ağıl, Nazmi; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 50749The Turkish writer Huseyin Rahmi Gurpnar's 1922 novel A Marriage under the Comet shows similarities with The Miller's Tale and The Wife of Bath's Tale from Chaucer's fourteenth-century The Canterbury Tales in terms of its subject and its characters. In the first part of the novel, Irfan, like Nicholas, makes fun of the uneducated people, frightening them with his astrological explanations and predictions. The second part of the novel, like The Wife of Bath's Tale, ends with a speech on an ideal marriage. Here too, it is advised that when choosing his/her spouse, one must value inner beauty more than appearance and that if they want a happy marriage, husbands should submit their will to their wives. The enormous interest shown the Turkish version of The Canterbury Tales, since it was translated in 1994 for the first time, might be attributed to these similarities. In the tales above, Chaucer satirizes the religious, sexual, and class culture of the English society of his age unsparingly. It is possible that Gurpnar's well-loved novel, which adapts similar stories from a different culture and time to the local context, might have played a role in preparing the relatively more conservative Turkish readers for Chaucer's work, which they would meet eighty years later. Turk yazar Huseyin Rahmi Gurpnar'n 1912'de yaynlanan Kuyruklu Yldz Altnda Bir izdivac adl roman, Chaucer'n Canterbury Hikayeleri'ned Deirmenci ve Bath'l Kadn'n anlattklar hikayelere konu ve karakter acsndan benzerlikler gosterir. Soyle ki, romann birinci bolumundeki irfan karaketri Nicholas gibi astrolojik acklamalaryla cahil insanlar korkutark elenir. ikinci bolum ise, Bath'l Kadn'n anlats gibi, ideal evlilik uzerine bir soylevle biter ve yine e seciminde karakter guzelliine baklmas, mutlu beraberlik icin kocalarn iradelerini elerine teslim etmesi tavsiye edilir. 1994 ylnda eksiksiz olarak Turkceye cevrilen Canterbury Hikayeleri'nin bunca yldr gorduu buyuk ilgi soz konusu benzerlikler uzerinden acklanabilir. Buna gore, farkl bir kulturde din, cinsiye ve snf gibi konulardaki yanllar serbest bir dille hicveden hakayeleri yerel kulture uygun balam ve uslupla yeniden anlatan Gurpnar'n bu cok sevilen roman, gorece muhafazakar yeni okur kitlesini yakla 80 yl sonra tanacaklar Canterbury Hikayeleri icin hazrlamada rol oynam olmaldr.Publication Metadata only Beat Turkey: a belated influence(Routledge, 2018) NA; Department of Comparative Literature; Mortenson, Erik; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; N/AN/APublication Metadata only Canons as reservoirs: the Ottoman ocean in Ziya Pasha's Harabat and reframing the history of comparative literature(Penn State University Press, 2017) Department of Comparative Literature; Arslan, Ceylan Ceyhun; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 280297This article analyzes the introduction of Ziya Pasha's Ottoman anthology Harabat (AH 1291-1292 [1 8 74/1875-1875/1876]), which provides a comparative history of Arabic, Turkish, and Persian literatures. I argue that Harabat compiles texts from diverse geographical and temporal origins and, instead of defining them as members of distinct national traditions, projects this compilation as what I call a literary "reservoir" that constitutes the multilingual Ottoman canon. My argument draws upon Ziya Pasha's characterization of the Ottoman culture as an "ocean" that encompasses Arabic, Persian, and Turkish "streams." This description undermines the typical scholarly view that the Ottoman culture emerged and developed under Arabic and Persian influences. I then reframe our understanding of canonization through using the conceptual repertoire that the world literature scholarship has brought into literary studies-circulations, target culture, and source culture. Building upon John Guillory's work on the process of canon formation, I propose that each source text can be "deracinated" when its context is ignored in the target culture to facilitate this text's incorporation into a new canon, or "reservoir." This article finally calls for rewriting the history of comparative and world literature by demonstrating that Harabat is constitutive of the nineteenth-century comparative literature paradigm.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.