Researcher: Dolcerocca, Özen Nergis
Loading...
Name Variants
Dolcerocca, Özen Nergis
Email Address
Birth Date
7 results
Search Results
Now showing 1 - 7 of 7
Publication 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 Foreword(Routledge Journals, Taylor & Francis Ltd, 2017) Department of Comparative Literature; Dolcerocca, Özen Nergis; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 237469N/APublication Metadata only The permanent ‘mousafir’: memory and identity in marcel cohen’s in search of a lost ladino(Dokuz Eylül Üniversitesi Sosyal Bilimler Enstitüsü, 2020) Department of Comparative Literature; Dolcerocca, Özen Nergis; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 237469This article focuses on French author Marcel Cohen’s In Search of Lost Ladino, written in Ladino published in 1985 in Madrid, and analyzes questions of memory and ethnic identity in the work with a deconstructive approach. Lost Ladino brings together questions of exile, multi-lingualism, minority status, assimilation and uprooting, while exploring Sephardic collective identity within its larger historical context, from the 1492 expulsion from Spain, to the rise and fall of Ottoman Empire and to contemporary France. Cohen’s central concern in writing Lost Ladino is to reconstruct the lost world of Sephardic community. He does so by using an almost inaccessible childhood language; by giving accounts of Sephardic customs and cultural history; by incorporating the heritage of Ladino poetry and songs, and by acts of recollection and imagination. By rereading the text through deconstructive analysis, this article argues that it offers more than a conventional diaspora narrative. Linguistic and textual gaps, slips, ambivalences and inconsistencies point to a central conflict in the narration, between imagining home as a securely enclosed and fixed entity and acknowledging its destabilized version grounded in the recognition that unity is transitory. The dialogic nature of the text challenges Cohen’s emphasis on loss and dissociation and uncovers its potential to imagine other configurations of belonging. / Bu çalışma Fransız yazar Marcel Cohen’in 1985 yılında Madrid’te Ladino dilinde yayınlanan Kayıp Bir Ladino'nun İzinde adlı eserindeki bellek ve kimlik öğelerinin yapıbozumcu bir yaklaşımla inceler. Cohen’in metni Sefarad Yahudilerinin kolektif kimliğini 1492'de İspanya'dan sürülmelerinden Osmanlı İmparatorluğu'nun yükselişi ve düşüşüne, oradan günümüz Fransa'sına uzanan geniş bir tarihsel bağlam içinde ele alırken, sürgün, çokdillilik, azınlık statüsü, asimilasyon ve yerinden edilme gibi soruları da bir araya getirir. Cohen'in Kayıp Ladino'yu yazmaktaki temel kaygısı, Sefarad toplumunun kayıp dünyasını yeniden inşa etmektir. Bunu, çocukluğunda kalan ve neredeyse ulaşılmaz Ladino dilini kullanarak, Sefarad gelenekleri ve kültürel tarihinden bahsederek, araya Ladino şiir ve şarkıları ekleyerek, anımsayarak ve hayal ederek yapar. Bu çalışma yapıbozumcu eksende metni yeniden değerlendirerek, metnin geleneksel bir diyaspora anlatısının yapacağından daha fazlasını sunduğunu savunur. Dilbilimsel ve metinsel boşluklar, sürçmeler, kararsızlıklar ve tutarsızlıklar anlatıda merkezî bir çatışmaya işaret eder. Bu çatışma, yuvayı etrafı güvenli bir şekilde çevrilmiş ve sabit bir mevcudiyet olarak hayal etmek ile, onun aslında istikrarsızlaşmış ve sarsılmış doğasını, ve ona kavuşmanın geçiciliğini kabul etmek arasındadır. Metnin söyleşimsel (dialogic) doğası, Cohen'in köklerin ve yuvanın kaybına ve çözülmesine yaptığı vurguya meydan okur, belleğin ve benliğin farklı konfigürasyonlarını hayal eder.Publication Metadata only Free spirited clocks: modernism, temporality and the time regulation institute(Routledge Journals, Taylor and Francis Ltd, 2017) Department of Comparative Literature; Dolcerocca, Özen Nergis; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; 237469This article reads ahmet Hamdi Tanpinar's 1954 novel the Time Regulation institute (TRI) as an inherently modernist text. It provides a nuanced reading of the novel against conventional Tanpinar scholarship, which predominantly interprets it as a straightforward satire, and inserts it into an overdetermined philosophy of civilization attributed to the author. the article shows that Tanpinar's poetics in TRI presents a philosophical alternative to the principle of cultural dualities of East and West, and that it reveals the damaging effects of modernization in the first half of the twentieth century, Articulated in the novel as resistance to calibrating forms of temporal order. TRI engages with problems of time and memory, experimenting with the plurality of temporal experience, flowing in different speeds and belonging to different systems of reference. This article shifts critical emphasis from traditionalism to his aesthetic explorations, turning from "social" questions of identity, Authenticity and cultural theory to representational issues in his writing: novelistic imagery, narrative time, thematic features and stylistic preferences. By foregrounding its modernist elements, it argues that Tanpinar's novel deemphasizes the idea of continuity with the Ottoman past, in favor of a more critical and modernist approach.Publication Metadata only Ecocritical approaches to literature: ecopoetry and Elif Sofya(Selçuk Üniversitesi, 2016) Department of Comparative Literature; Department of Comparative Literature; Dolcerocca, Özen Nergis; Ergin, Meliz; Faculty Member; Faculty Member; Department of Comparative Literature; College of Social Sciences and Humanities; College of Social Sciences and Humanities; 237469; 101428The goal of this study is to shed light on the field of ecocriticism, which studies the relationship between literature and the environment, and to emphasize its importance for contemporary Turkish literature. First, we will discuss how ecocriticism emerged as a field in the 1990s and explain the different areas of study it includes. We will then elaborate on the similarities and differences between econarratives and nature writing in order to underscore the scope and the purpose of the ecocritical approach. In the final two parts of our essay, we will particularly focus on ecopoetry and the tradition of ecopoetics, and offer a reading of the contemporary poet Elif Sofya's work, Dik Âlâ, from an ecopoetic perspective. We will conclude the article by stressing the increasing importance of ecocriticism around the world and calling attention to the need for ecological readings of Turkish literature. / Öz: Bu çalışmanın amacı edebiyat ve çevre ilişkisini öne çıkaran ekoeleştiri alanına ışık tutmak ve bu alanın çağdaş Türk edebiyatı için önemini irdelemektir. Öncelikle ekoeleştiri alanının 1990'lı yıllarda akademide nasıl ortaya çıktığına ve ne tür çalışmaları kapsadığına değinilecek. Daha sonra bu çalışma alanının amacını ve kapsamını vurgulamak için eleştirel bir gözle yazılan ekoyazın ile doğa yazını arasındaki benzerlikler ve farklılıklar incelenecek. Çalışmanın son iki bölümünde ekopoetika geleneğinden ve ona bağlı ortaya çıkan yeni ekoşiir örneklerinden bahsedilerek, çağdaş şair Elif Sofya'nın Dik Âlâ başlıklı eserinin bu mercekten bir okuması sunulacak. Makale bu alanın ülkemizde ve dünyada artmakta olan önemini vurgulayarak ve Türk edebiyatında ekolojik okumalara duyulan ihtiyaca dikkat çekerek sonuçlandırılacak.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 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; 237469