Mit Ögelerini Yeniden Yapılandırmak: Kaptan Corelli'nin Mandolini'nde Dr. Iannis'in Postmodern Odysseus Olarak Tematik Temsili

Louis de Bernieres'nin Yüzbaşı Corelli'nin Mandolini romanı, kahramanın canavarlar ile karşılaşması ve kahramanın zekasını kullanması gibi Odysseus mitinden tanınan mitsel öğeler (''mythemes'') üzerine kurulmuştur. Romancı, bu mitsel öğeleri kullanma sürecinde onların hem yapılarını hem de belirlenmiş anlamlarını revize eder ve sorgular. Bu çalışma, Dr. Iannis karakterinin bir Odysseus figürü olarak temsil edilmesi üzerinde durmaktadır. Romancı bunu yaparken, Odysseus mitinin özünü, yani kahramanın bilgeliğini, üstünlüğünü ve zaferini her macerada ispat etmesini bozar ve mitsel öğeleri tekrar oluşturur. Eski, ve yeni anlamları yan yana koyarak, Louis de Bernieres eski mitsel öğelerin sonsuza dek belirli kalıplar içinde kalma yetisine sahip olmadıklarını vurgular. Louis de Bernieres'nin miti yeniden işlerken, Dr. Iannis'in postmodern bir Odysseus olması mit paradigmalarının beklentilerini karşılamaz, bunun yerine zeka, bilgi ve otorite konusunda limitleri olduğunu gösterirLouis de Bernières' novel Captain Corelli's Mandolin revives some of the mythemes of the Odysseus myth, such as the hero's encounter with monsters and the hero's dominance by intelligence, among others. In the process of using these mythemes, the novelist revises and challenges both their structures and earlier established meanings. This study focuses on the representation of the character Dr Iannis as an Odysseus figure. In doing so, the novelist deconstructs the essence of Odysseus myth, namely the hero's assertion of his wisdom, supremacy and victory in each enterprise, and reconstructs the mythemes anew. By juxtaposing the old meanings with new ones, Louis de Bernières stresses the incapability of the earlier mythical units to serve forever as fixed signifiers. In Louis de Bernières' reworking of the myth, Dr Iannis as a postmodern Odysseus fails to rise to the expectations of the mythical paradigm, presenting instead his limits concerning intelligence, knowledge and authority

The Grotesque Atrides in Martin McDonagh’s The Beauty Queen of Leenane

The first staging of Martin McDonagh’s play The Beauty Queen of Leenane received extreme praise and box-office success, but this accomplishment was overshadowed by some contradictory comments regarding the playwright’s attitude towards Irish identity and culture. This study aims to argue that the Irish-born dramatist engages with the grotesque conventions while depicting the image of native land, culture, and societal norms. In order to achieve this, our study reveals the ways in which McDonagh’s play interacts with the myth of Atrides, Wolfgang Kayser’s notion of grotesque, Mikhail Bakhtin’s concepts of carnivalesque and grotesque, as well as Julia Kristeva’s state of abject, which are used by the playwright to expose the societal anxieties related to the issues of identity, motherhood, emigration, and rootedness. Eventually, in the collision between mythical matrix and the grotesque depictions, McDonagh raises the spectators’ awareness of the necessity of some individual and societal reforms

Baskı altındaki imgelem: Danilo Kis'in Boris Davidovich için bir mezar ve Milan Kundera'nın gülüşün ve unutuşun kitabı

Bu çalışma, Stalin etkisinin yoğun olduğu komünist rejimlerdeki Doğu ve Orta Avrupa yazınında kurgusal tarih ve tarihsel kurguya ilişkin karşıt söylemlerin irdelenmesini içerir. Bu bağlamda belirli ideolojik sınırlar içerisindeki gerçekliği dile getiren Danilo Kis’in Boris Davidovich Için Bir Mezar adlı yapıtı ile Milan Kundera’nın Gülüşün ve Unutuşun Kitabı adlı yapıtı arasında karşılaştırmalı bir inceleme yapılmıştır. Yazarın ideolojik baskı altındaki imgelemiyle somutlaştırdığı kurgusal yapıtını incelerken, genel anlamda tarihin, özel anlamda tarihsel doğruluğun önemi, “bellek” ve “unutma” motiflerine yazarın yaklaşımı, görünüşte farklı olsalar da, tarihsel doğruluğu dillendirme aracı olarak benzer anlatı biçimleriyle bireysel öyküler içeren birbirinin bütünleyicisi farklı eleştirel etmenlerin varlığı ve son olarak Kis ve Kundera’nın mizah anlayışlarıyla karşılaşılır. Her iki yazarın mizah anlayışının kara mizahtan düşündüren mizaha, iğneleyici olanından duyguları hedef alanına kadar farklı mizah anlayışına sahip olduklarının ve çeşitli şekillerde insanın ölüm karşısında duyumsadığı acıyı ve yası ortaya koyduklarının ayrımına varılır. İnsanlık tarihinin belirli bir kriz döneminde kaleme alınmış yapıtlar olarak, iki yapıtın yazınsal söylemi ve biçemi arasında benzerlikler olduğu göze çarpar. İzleksel ve anlatısal bir çözümlemeyle, iki yapıt arasındaki benzerlikleri açığa çıkartmak bu çalışmanın temel amacıdır.The present study focuses on fictional history and historical fiction as forms of oppositional discourse in the East-Central European literature during highly Stalinized communist regimes. The study evaluates comparatively Danilo Kiš’ A Tomb for Boris Davidovichand Milan Kundera’s The Book of Laughter and Forgetting, two literary works that express a reality which takes place within restricted ideological limits. While exploring the fictional material reified by the writers’ imagination being under the pressure of ideology, a number of aspects have attracted our critical attention. The first regards the importance of history, in general, and of the historical truth, in particular, as being expressed in the texts of the two writers. The second is represented by the authorial attitude towards the motif of ‘memory and forgetting’. The third concerns the originality of the genre: both novels receive the form of a collection of individual stories consisting of certain narrative lines which, on one hand, are seemingly separate, but, on the other hand, are linked within a given collection as a means of expressing the historical truth. The fourth refers to the characteristic humor of Kiš and Kundera’s novels. The works of the two writers reveal a very complex humor, alternating from black humor to thoughtful, from biting to sentimental, exposing the human experiences of grief, pain of existence and anguish at facing death. These aspects represent the main similarities between the two literary discourses, which were written in a period of crisis in the history of humanity, and, in order to reveal this, the investigation of these aspects in their thematic and narrative perspectives becomes the main aim of this study

Aeschylus, Sophocles, Euripides and Menelaos Shaping the Significance of Electra Myth: A Dialogue Between Arts

The present study focuses on the tragic heroine, Electra, who rose to prominence in the Athenian dramas of the fifth-century BC, particularly in Aeschylus’s Choephori, Sophocles’s Electra and Euripides’s Electra, but this enigmatic figure continued to stir the imagination of the artists of the subsequent generations to the extent of making its presence memorable not only in literary texts but also in visual arts and music. This paper attempts to reveal the ways in which Electra myth has delighted and inspired various artists by stressing out the peculiarities of this myth that never seems to go out of fashion. It can also be observed that Electra’s figure, even sculpted in marble severity, continues to arouse both pity and admiration in her quest and demand for justice as well as her attempts to re-establish the religious, moral and societal values

Innovations and advanced technologies – sources to increase the competitiveness of agricultural enterprises from the horticultural sector of the Republic of Moldova

Achieving success in business depends indisputably by the notion of competitiveness, which is a very used term in the modern economy, characterizing the level of performance of an enterprise. We can speak about the notion competitiveness at different levels: product competitiveness, enterprise’s competitiveness, competitiveness of a branch of economy and competitiveness of a country. Although competitiveness has many definitions al over the World, we can conclude that it doesn’t exist an unique opinion regarding this notion and we can afirm that the competitiveness of a country depends on the competitiveness of the enterprises from this country. It is crucially for any long-term organizational development strategy to introduce innovations, advanced technologies in the adopted business models, in the processes of production, which will determine high level of productivity, thus contributing at the increasing of the competitiveness of the enterprises. The purpose of this scientific research is to: analyze the innovations and advanced technologies as a source of increasing the competitiveness of agricultural enterprises from the horticultural sector of the Republic of Moldova, to highlight the major problems faced by the agricultural enterprises in introducing innovations and new technologies in the production of horticultural production, to reveal the role of the state in application of innovations and advanced technologies to develop a high performance agriculture and to propose measures for enhancing the competitiveness of agricultural enterprises through innovations and new technologies

AÇLIK OYUNLARI ADLI ROMANDAKI YENİ KADIN KAHRAMANIN MONOMİTİK YOLCULUĞU

Suzanne Collins’ novel The Hunger Games has as its central metaphor the monomythic journey of the hero. This research focuses on the novelist’s attempt to redefine the monomyth in terms of gender, and on the ways in which Collins’s retold version represents human experience in the contemporary world. This study presents Collins’s protagonist, Katniss, who embarks on the traditional heroic quest and confronts multiple challenges and frustrations on her journey to success. During her heroic enterprise, Katniss turns inward, discovers and embraces her feminine nature and seeks a satisfactory life paradigm as a result of which she attains the inner integration and reconciliation of both masculine and feminine aspects of her personality; she also understands and accomplishes her purpose in life. By recognizing the mythical and archetypal situations, which are subverted or inverted in the novel, Collins revises the significance of private and public achievements in the contemporary community.Yazar Suzanne Collins’in romanı Açlık Oyunları’nın merkezindeki metaforda monomit yolculuğu bulunmaktadır. Bu araştırma, yazarın kahraman kavramını cinsiyet açısından yeniden tanımlamasına odaklanmış olup, aynı zamanda Collins’in monomitin yeniden anlatılmış versiyonunun günümüz dünyasındaki insan deneyimini temsil etmesine de değinmektedir. Bu çalışma, Collins’in başkahramanı olan Katniss’in başarıya giden yolda çok sayıda engel ve hayal kırıklığı ile yüzleşmesi konusuna değinilmektedir. Katniss kendi iç dünyasına dönmekte, feminen doğasını kucaklamakta ve kişiliğinin hem maskülen hem de feminen yanlarının entegrasyonu ve uzlaşısının sonucunda tatminkar bir hayatın arayışına girmekle birlikte, aynı zamanda hayattaki amacını da anlamakta ve gerçekleştirmektedir. Collins, romanda tersyüz ya da altüst edilmiş mitik ve arketipik durumları kabul etmekle birlikte, çağdaş toplumdaki özel ve genel başarıların önemini de yeniden ele almaktadır

THE BYRONIC HERO MYTH RELOADED IN E. L. JAMES’S FIFTY SHADES OF GREYSERIES

Assuming that the Byronic hero can be properly considered to be a literary myth and our contemporary popular culture keeps a constant interest in various ancient and modern myths by continuously rewriting and reshaping their thematic perspectives in its literary and not only products, the present study argues about and exemplifies these assumptions by focusing on E.L. James’s famous novel trilogy Fifty Shades of Grey. This study draws on the Byronic hero as depicted in the nineteenth-century literature and attempts to reveal how this literary representation continues to fascinate the contemporary artists and readers and is reshaped unexpectedly in the contemporary romance. The postmodern romance fuses high and low culture and this study presents the ways in which the novelist wittily combines mythical and literary heritages with the striking images allowed by the romance mode in order to convey some stringent concerns of the present day society, such as childhood abuse, trauma and violence. The myth of the Byronic hero, as expressed in E.L. James’s series, reveals a transformed version, a neo-Byronic protagonist who becomes adaptable to the norms of his community, is capable of moving beyond his trauma and is healed as a result of discovering his genuine love

The Byronic Hero Myth Reloaded in E. L. James’s Fifty Shades of Grey Series

Assuming that the Byronic hero can be properly considered to be a literary myth and our contemporary popular culture keeps a constant interest in various ancient and modern myths by continuously rewriting and reshaping their thematic perspectives in its literary and not only products, the present study argues about and exemplifies these assumptions by focusing on E.L. James’s famous novel trilogy Fifty Shades of Grey. This study draws on the Byronic hero as depicted in the nineteenth-century literature and attempts to reveal how this literary representation continues to fascinate the contemporary artists and readers and is reshaped unexpectedly in the contemporary romance. The postmodern romance fuses high and low culture and this study presents the ways in which the novelist wittily combines mythical and literary heritages with the striking images allowed by the romance mode in order to convey some stringent concerns of the present day society, such as childhood abuse, trauma and violence. The myth of the Byronic hero, as expressed in E.L. James’s series, reveals a transformed version, a neo-Byronic protagonist who becomes adaptable to the norms of his community, is capable of moving beyond his trauma and is healed as a result of discovering his genuine love

THE STRUGGLE FOR SELF-AWARENESS AS REFLECTED IN MARK RAVENHILL’S PLAY SOME EXPLICIT POLAROIDS

The concern with self-awareness has dominated the Western philosophy and literature being reflected mostly through the ancient Greek motif “know thyself”. The awareness of the self would promote one’s identity as a unique entity, which should be capable of expressing individual thoughts and experiences in order to confer moral significance to one’s actions. The present study focuses on Mark Ravenhill’s play Some Explicit Polaroids which offers a portrait of the societal chaos in a desensitised London, where human life and emotions are commodified and engender the human potential for genuine feelings and expression of moral judgement, thus thwarting the creation of true relationships. Through the characters of his play, Ravenhill generates an awareness of the moral vacuum, which is created as a result of indifference or/and violence of the government apparatus which forces the individual to develop survival mechanisms that abandon altogether the moral significance of their actions and, respectively, any concern with the development of an authentic self. Nadia, a character in Ravenhill’s play, who lacks individual critical judgement and self-knowledge, forms her identity in terms of transaction and exchange that allows her to be easily objectified. This research explores Nadia’s attempt to regain self-value and self-awareness in terms of the transformative power of negativity and will to truth as the transgression and destabilization of the illusion of perfections as to bring the conflictual state into focus by posing the lethargic values and disintegration of faith which are inherent in the happy world myth.The concern with self-awareness has dominated the Western philosophy and literature being reflected mostly through the ancient Greek motif “know thyself”. The awareness of the self would promote one’s identity as a unique entity, which should be capable of expressing individual thoughts and experiences in order to confer moral significance to one’s actions. The present study focuses on Mark Ravenhill’s play Some Explicit Polaroids which offers a portrait of the societal chaos in a desensitised London, where human life and emotions are commodified and engender the human potential for genuine feelings and expression of moral judgement, thus thwarting the creation of true relationships. Through the characters of his play, Ravenhill generates an awareness of the moral vacuum, which is created as a result of indifference or/and violence of the government apparatus which forces the individual to develop survival mechanisms that abandon altogether the moral significance of their actions and, respectively, any concern with the development of an authentic self. Nadia, a character in Ravenhill’s play, who lacks individual critical judgement and self-knowledge, forms her identity in terms of transaction and exchange that allows her to be easily objectified. This research explores Nadia’s attempt to regain self-value and self-awareness in terms of the transformative power of negativity and will to truth as the transgression and destabilization of the illusion of perfections as to bring the conflictual state into focus by posing the lethargic values and disintegration of faith which are inherent in the happy world myth

THE REPRESENTATION OF DASEIN’S AWARENESS OF DEATH IN LOUIS DE BERNIÉRES’ NOVEL BIRDS WITHOUT WINGS

Throughout the human history, people have searched the ways of being different and unique. This quest has shaped various literary representations of uniqueness and especially in the postmodern period this concern gains more ground. Particularly, Heidegger’s theory of Dasein becomes most appealing, as Dasein’s difference and uniqueness emerges with his awareness. His level of awareness determines his status among ordinary people. His decisions and behaviours prepare him to become Dasein. The switch from everyday mode to authentic mode takes place through questioning. Authentic mode brings another level of awareness which establishes Dasein’s difference and characteristics. His awareness brightens his difference even in most terrific, outrageous situations such as the experience of death. This study focuses on Louis de Berniéres’ novel Birds Without Wings which depicts death as the most personal, unique and traumatic experience in one’s life. The novelist reveals how this trauma, experienced by his characters, leads to great suffering and pain. Using Heidegger’s perspective, Louis de Berniéres depicts Dasein’s difference during this experience. His awareness of his fragmentariness and his acknowledgement of his loneliness in this universe thwart the attempt to complete himself. This fragmentariness makes him Dasein. It is the reason that he accepts and embraces death of others. On another level, he embraces his own death, death of the self. This study considers mostly Georgio P. Theodorou from Birds Without Wings, a character who is beyond limitations as a Dasein, as he grasps the meaning of death and makes the readers aware of his dying process. His awareness of nothingness comforts him in the process of dying and allows him to be conscious during this process.Throughout the human history, people have searched the ways of being different and unique. This quest has shaped various literary representations of uniqueness and especially in the postmodern period this concern gains more ground. Particularly, Heidegger’s theory of Dasein becomes most appealing, as Dasein’s difference and uniqueness emerges with his awareness. His level of awareness determines his status among ordinary people. His decisions and behaviours prepare him to become Dasein. The switch from everyday mode to authentic mode takes place through questioning. Authentic mode brings another level of awareness which establishes Dasein’s difference and characteristics. His awareness brightens his difference even in most terrific, outrageous situations such as the experience of death. This study focuses on Louis de Berniéres’ novel Birds Without Wings which depicts death as the most personal, unique and traumatic experience in one’s life. The novelist reveals how this trauma, experienced by his characters, leads to great suffering and pain. Using Heidegger’s perspective, Louis de Berniéres depicts Dasein’s difference during this experience. His awareness of his fragmentariness and his acknowledgement of his loneliness in this universe thwart the attempt to complete himself. This fragmentariness makes him Dasein. It is the reason that he accepts and embraces death of others. On another level, he embraces his own death, death of the self. This study considers mostly Georgio P. Theodorou from Birds Without Wings, a character who is beyond limitations as a Dasein, as he grasps the meaning of death and makes the readers aware of his dying process. His awareness of nothingness comforts him in the process of dying and allows him to be conscious during this process