Dystopias of Tyranny and Misogyny: The Handmaid’s Tale and The Carhullan Army

Displaying the probable future and the doom of humanity and the Earth, Margaret Atwood’s The Handmaid’s Tale (1985) and Sarah Hall’s The Carhullan Army (2007) are two dystopian novels that present the terrible state of women along with the degradation of the society and the nonhuman environment. Atwood’s the Republic of Gilead and Hall’s the Authority enforce an extremely oppressive, exploitative, and misogynist order on women, which corrupts the natural flow of daily life and destroys the human and nonhuman spheres. Depicting the resistance of women against tyranny through female protagonists, these novels picture dystopian worlds of chaos and destruction ruled by anthropocentric and patriarchal dictate. With this perspective, this article aims to discuss the problem of patriarchal oppression on women in dystopian societies as portrayed in The Handmaid’s Tale and The Carhullan Army from the perspectives of the feminist and ecofeminist theories. &nbsp

SARS COV11 AND OTHER CALAMITIES IN ADAM NEVILL’S LOST GIRL

Speculating about future based on the present, climate change fiction (cli-fi) seems to have proved its unique potential to predict the environmental and social repercussions of the forced anthropogenic transformation(s) on Earth. As a cli-fi and horror novel, it is hardly a coincidence that the British author, Adam Nevill’s Lost Girl (2015) predicts no less with its haunting atmosphere. Envisioning a total collapse of the world through grim depictions of the nonhuman environment and restless societies, it recounts the dangerous quest of a father to find his lost daughter amidst (un)natural disasters, pandemics, and chaos. In the oddly realistic world of Lost Girl, originating from extreme weather conditions and the loss of natural balance, new strains of deadly viruses take hold of the world. Prophesying the coronavirus pandemic and other calamities that actually came out to be true five years later, in 2020; such as the destructive wildfires in Australia or the heatwaves in Europe among others, Lost Girl is a noteworthy cli-fi novel with its realistic touch leaving a permanent wake-up call effect on the reader to change their anthropocentric way of living through a posthuman perspective

Im/Possibility of Female Empowerment in Eliza Haywood’s Novel Love in Excess or, The Fatal Enquiry and Elizabeth Inchbald’s Novel A Simple Story

Eliza Haywood’s Love in Excess or, The Fatal Enquiry (1719) and Elizabeth Inchbald’s A Simple Story (1791) speculate the validity of female voice as opposed to women’s suppression and passivity or female conformity as an attitude in-between by presenting various female characters in the patriarchal backdrop of the eighteenth century England through male characters. Employing a male protagonist, D’Elmont and reflecting his transformation along with his eventual maturation through his love affairs with several female characters including Alovysa and Amena, Love in Excess pictures the eighteenth century social, cultural, and economic reality about women who are mostly defined according to their relationship with men. Likewise, A Simple Story recounts different stories of a mother, Millner and her daughter, Matilda. Millner is a woman of challenge and courage while Matilda is lost in a life of submission and silence conducted by her father, Dorriforth. Nevertheless, female characters are not altogether depicted as submissive and oppressed individuals in those novels as some of them still possess female agency to speak their minds while their acts trigger change in male characters, which proves their transgression. On the other hand, other female characters who transgress the boundaries are punished by death or unhappiness, which amounts the idea of female conformity that is most presumably chosen as a safe ground to stand in their novels by Haywood and Inchbald. The aim of this study is to discuss the possibility of female empowerment through transgression pictured with the characters of Alovysa, Ciamara, Violetta and Millner as countered with Amena and Matilda’s silence and passivity, and Melliora’s conformity in the novels, Love in Excess and A Simple Story that represent the social and cultural background of eighteenth century England

On Dokuzuncu Yüzyıldan Yirmi Birinci Yüzyıla Antroposenin Tasviri: Richard Jefferies’in Londra’dan Sonra, Ya Da Vahşi İngiltere, Doris Lessing’in Mara ve Dann: Bir Macera ve Adam Nevill’in Kayıp Kız Romanları

Bringing three novels together, namely Richard Jefferies’s post-apocalyptic work After London, or Wild England (1885) from the nineteenth century, Doris Lessing’s postapocalyptic Mara and Dann: An Adventure (1999) from the twentieth century, and Adam Nevill’s pre-apocalyptic Lost Girl (2015) from the twenty-first century of England within the scope of the Anthropocene, this dissertation aims at displaying the way English novel deals with the actual and/or imagined events and catastrophes in nature due to human intervention for three centuries. The Anthropocene is the name of the epoch reflecting the human impact on the nonhuman nature for centuries constantly accelerating especially after the Industrial Revolution in the late eighteenth century that brought along technological advancement, urbanisation and increased population. The anthropogenic transformation in the nonhuman environment displays the disturbed balance of the Earth that manifests itself through catastrophes and destruction in nature. With this perspective, the focus of the dissertation is also on how the authors’ perspective dramatically alters as a result of worsening environmental conditions of their time and their individual experiences of life. The position of these novels among similar novels dealing with environmental problems will be another focus of study for this dissertation. The three novels in focus, After London, or Wild England, Mara and Dann: An Adventure and Lost Girl will be studied through the Anthropocene theory embodying the green perspective of posthumanism and New Materialisms which bear a potential to generate effective solutions for the environmental, social and political crises in the twenty-first century world by breaking free from anthropocentricism.On dokuzuncu yüzyıldan Richard Jefferies’in kıyamet-sonrası Londra’dan Sonra, ya da Vahşi İngiltere (1885), yirminci yüzyıldan Doris Lessing’in kıyamet-sonrası Mara ve Dann: Bir Macera (1999) ve yirmi birinci yüzyıldan Adam Nevill’in kıyamet-öncesi Kayıp Kız (2015) eserleri olmak üzere üç romanı Antroposen bakış açısı kapsamında bir araya getiren bu tez, İngiliz romanının üç yüzyıl boyunca insan müdahalesi sonucunda doğada meydana gelen gerçek ve/veya hayal ürünü olayları ve felaketleri ele alma biçimini yansıtmayı hedeflemektedir. Antroposen, özellikle on sekizinci yüzyıl sonundaki Endüstri Devrimi’nden sonra giderek hızlanan ve beraberinde teknolojik ilerleme, kentleşme ve nüfus artışını getiren insanın yüzyıllardır doğa üzerinde bıraktığı etkiyi yansıtan çağın adıdır. Doğada meydana gelen antropojen (insan kaynaklı) dönüşüm, kendini felaketler ve doğadaki yıkım ile ortaya koyan bozulmuş dünya dengesini gözler önüne sermektedir. Bu bakış açısıyla tez, ayrıca zamanın giderek kötüleşen çevresel koşulları ve yazarların bireysel hayat deneyimleri sonucunda bakış açılarının nasıl büyük ölçüde farklılık gösterdiğine odaklanmaktadır. Bu romanların çevresel sorunları ele alan benzer romanlar içerisindeki yeri de tezin diğer bir çalışma konusudur. İncelenen üç roman, Londra’dan Sonra, ya da Vahşi İngiltere, Mara ve Dann: Bir Macera ile Kayıp Kız romanları, insan-sonrası ve Yeni Materyalizm kuramlarının çevreci bakış açısını içinde bulunduran Anthroposen kuramıyla incelenecektir ki bu bakış açısı, insan merkezli bakış açısının terk edilmesi yoluyla yirmi birinci yüzyıl çevresel, sosyal ve siyasi krizleri için etkili çözüm üretme potansiyeline sahiptir

Anthropogenic Worlds of Transformation and Destruction: Doris Lessing’s Climate Fiction Duology

Depicting a world stricken with an ice age in the North and drought in the South, Doris Lessing’s Mara and Dann: An Adventure (1999) recounts the survival story of two siblings, Mara and Dann, amidst un/natural and societal havoc. The sequel, The Story of General Dann, Mara’s Daughter, Griot, and the Snow Dog (2005) pictures the dramatic transformations both in the nonhuman nature and the protagonists’ lives after the devastating disasters in the first novel. Migrating among thousands of people from the south towards northern Ifrik and passing through desolate lands scorched with drought, 4re, 3ood, and diseases in Mara and Dann, the protagonists mature as they learn to live in a perilous and erratic world populated with survivalists solely focused on personal gain. Through the horrendous picture of an Ifrik parched with drought in the South and frosted with a solid layer of ice at the top north, the novel pictures the helplessness of humankind through Mara and Dann’s quest for life in the face of unstoppable and inevitable environmental calamities. With the melting of the ice in the Northern Yerrup and the flooding in the Northern Ifrik, General Dann delivers Dann’s struggle to cope with his personal loss as the world changes once again, and the climate gets cooler. Obsessed with knowledge and set on to save a library, he races against time, human beings, and the hostile nonhuman environment. In this light, this study aims to analyse Doris Lessing’s climate fiction (cli-fi) duology, Mara and Dann: An Adventure and General Dann and Mara’s Daughter, Griot, and the Snow Dog as climate fiction novels reflecting the destructive impact of climate change on humans and nonhuman nature in the anthropogenic conditions of the fictional world, which is not a far cry from our world in the twenty-first century

Gülten Akın'ın şiirlerinde folklor ve destansılık

ÖZET Türk şiirine 1950’li yıllarda giriş yapan Gülten Akın, bireysel temalarla işlediği şiirleriyle yazın hayatına başlamıştır. Yalnızlık teması üzerinden ilerleyen ilk dönem şiirleri Kestim Kara Saçlarımı şiir kitabıyla “kadın” teması üzerine yoğunlaşmıştır. Kırmızı Karanfil şiir kitabıyla da Gülten Akın’ın bireysel temalardan toplumsal temalara geçişinin izlerini görürüz. Gülten Akın’ın doğup büyüdüğü coğrafya ve daha sonraki yıllarda eşinin işi sebebiyle farklı bölgeleri dolaşması Anadolu insanını yakından tanımasını sağlamıştır. Dedeler, büyükanneler, amca ve dayıların olduğu geniş bir ailede yetişen Gülten Akın; dedelerinden duyduğu şiirler ve annesinin okuduğu kitaplarla daha o dönemlerde edebi anlamda eğitilmeye başlamıştır. Şâirin Kırmızı Karanfil adlı şiir kitabıyla başlayan toplumsal dönemi 1972 yılında Maraş’ın ve Ökkeş’in Destanı ile farklı bir boyuta geçer ve Türk halk şiiri geleneğinden yararlanarak “destan” dönemi başlar. 1976 yılında Ağıtlar ve Türküler, 1979 yılında Seyran Destanı, 1983 yılında İlahiler, 2007 yılında da Celaliler Destanı ile “destansı ve folklorik” ögeleri içinde barındıran şiirler yazar. Şiirlerindeki folklorik özellikler bireyci ve bilge dönem şiirlerinde de zaman zaman kendini gösterir. Gülten Akın’ın şiirlerindeki “folklor” ve “destansılık” özelliklerini incelemeyi amaçlayan bu tez üç bölümden oluşmuştur. Birinci bölümde terimsel anlamda epik şiir, folklor ve destan kavramları incelenmiş ve Türk şiirinde folklor yansıması olan şiirlere Gülten Akın’ın şiirlerinden yola çıkarak örnekler verilmiştir. İkinci bölümde ise Gülten Akın’ın hayatı ve edebi yaşamı üzerine inceleme yapılmış, kendi ağzından anlatmış olduğu hayat hikâyesine ve şiir görüşlerine yer verilmiştir. Tezin üçüncü bölümünde ise ağırlıklı olarak şiir incelemeleri yapılmış olup şiirler folklorik özellik bakımından incelenmiş, destanlar ise destansılık kapsamında ele alınmıştır. Anahtar kelimeler: Gülten Akın, Türk Şiiri, Folklor, Destan. ABSTRACT Having entered the Turkish Poetry in 1950s, Gülten Akın started her writing career with poems which have personal themes. Loneliness-themed poems of the first period focused on “woman” in her Kestim Kara Saçlarını poetry book. It is seen that the theme changes from “personal” to “social” with her Kırmızı Karanfil poetry book. Gülten Akın closely observed the Anatolian people thanks to the geography she was born and grew in and other different regions she visited because of her husband’s changing job situations. Growing in a big family with grandfathers, grandmothers and uncles, Gülten Akın had been educated in terms of literature through poems her grandfathers told and books her mother read. The poet’s social period, which started with her Kırmızı Karanfil book, changed into a new dimension with Maraş’ın ve Ökkeş’in Destanı in 1972, and the “epic” period began with contribution of Turkish folk poetry tradition. She wrote “epic and folkloric-themed” poems such as Ağıtlar ve Türküler in 1976, Seyran Destanı in 1979, İlâhiler in 1983, Celâliler Destanı in 2007. Folkloric features in her poems also show itself in the individualist and sophisticated era poems from time to time. This thesis aims to analyse the “folklore” and “epicness” characteristics of Gülten Akın’s poems and consists of three sections. In the first section, epic poetry and folklore concepts have been analysed in terms of terminology, and some examples for folklore-reflecting poems of the Turkish poetry have been given through Gülten Akın’s poems. In the second section, Gülten Akın’s personal life and literary life have been analysed, and her life story and opinions on poetry, which she told in person, took place. In the third section of the thesis, poetry analyses have been made by analysing the poems in terms of folkloric characteristic and the epics in terms of epicness. Keywords: Gülten Akın, Turkish Poetry, Folklore, Epic

Gülten Akın'ın şiirlerinde folklor ve destansılık

ÖZET Türk şiirine 1950’li yıllarda giriş yapan Gülten Akın, bireysel temalarla işlediği şiirleriyle yazın hayatına başlamıştır. Yalnızlık teması üzerinden ilerleyen ilk dönem şiirleri Kestim Kara Saçlarımı şiir kitabıyla “kadın” teması üzerine yoğunlaşmıştır. Kırmızı Karanfil şiir kitabıyla da Gülten Akın’ın bireysel temalardan toplumsal temalara geçişinin izlerini görürüz. Gülten Akın’ın doğup büyüdüğü coğrafya ve daha sonraki yıllarda eşinin işi sebebiyle farklı bölgeleri dolaşması Anadolu insanını yakından tanımasını sağlamıştır. Dedeler, büyükanneler, amca ve dayıların olduğu geniş bir ailede yetişen Gülten Akın; dedelerinden duyduğu şiirler ve annesinin okuduğu kitaplarla daha o dönemlerde edebi anlamda eğitilmeye başlamıştır. Şâirin Kırmızı Karanfil adlı şiir kitabıyla başlayan toplumsal dönemi 1972 yılında Maraş’ın ve Ökkeş’in Destanı ile farklı bir boyuta geçer ve Türk halk şiiri geleneğinden yararlanarak “destan” dönemi başlar. 1976 yılında Ağıtlar ve Türküler, 1979 yılında Seyran Destanı, 1983 yılında İlahiler, 2007 yılında da Celaliler Destanı ile “destansı ve folklorik” ögeleri içinde barındıran şiirler yazar. Şiirlerindeki folklorik özellikler bireyci ve bilge dönem şiirlerinde de zaman zaman kendini gösterir. Gülten Akın’ın şiirlerindeki “folklor” ve “destansılık” özelliklerini incelemeyi amaçlayan bu tez üç bölümden oluşmuştur. Birinci bölümde terimsel anlamda epik şiir, folklor ve destan kavramları incelenmiş ve Türk şiirinde folklor yansıması olan şiirlere Gülten Akın’ın şiirlerinden yola çıkarak örnekler verilmiştir. İkinci bölümde ise Gülten Akın’ın hayatı ve edebi yaşamı üzerine inceleme yapılmış, kendi ağzından anlatmış olduğu hayat hikâyesine ve şiir görüşlerine yer verilmiştir. Tezin üçüncü bölümünde ise ağırlıklı olarak şiir incelemeleri yapılmış olup şiirler folklorik özellik bakımından incelenmiş, destanlar ise destansılık kapsamında ele alınmıştır. Anahtar kelimeler: Gülten Akın, Türk Şiiri, Folklor, Destan.ABSTRACT Having entered the Turkish Poetry in 1950s, Gülten Akın started her writing career with poems which have personal themes. Loneliness-themed poems of the first period focused on “woman” in her Kestim Kara Saçlarını poetry book. It is seen that the theme changes from “personal” to “social” with her Kırmızı Karanfil poetry book. Gülten Akın closely observed the Anatolian people thanks to the geography she was born and grew in and other different regions she visited because of her husband’s changing job situations. Growing in a big family with grandfathers, grandmothers and uncles, Gülten Akın had been educated in terms of literature through poems her grandfathers told and books her mother read. The poet’s social period, which started with her Kırmızı Karanfil book, changed into a new dimension with Maraş’ın ve Ökkeş’in Destanı in 1972, and the “epic” period began with contribution of Turkish folk poetry tradition. She wrote “epic and folkloric-themed” poems such as Ağıtlar ve Türküler in 1976, Seyran Destanı in 1979, İlâhiler in 1983, Celâliler Destanı in 2007. Folkloric features in her poems also show itself in the individualist and sophisticated era poems from time to time. This thesis aims to analyse the “folklore” and “epicness” characteristics of Gülten Akın’s poems and consists of three sections. In the first section, epic poetry and folklore concepts have been analysed in terms of terminology, and some examples for folklore-reflecting poems of the Turkish poetry have been given through Gülten Akın’s poems. In the second section, Gülten Akın’s personal life and literary life have been analysed, and her life story and opinions on poetry, which she told in person, took place. In the third section of the thesis, poetry analyses have been made by analysing the poems in terms of folkloric characteristic and the epics in terms of epicness. Keywords: Gülten Akın, Turkish Poetry, Folklore, Epic