hakansabunis/tr-academic-research-agent-index huggingface dataset:
Is Resistance Futile?: The Clash of the Individual and Society in Educating Rita, Billy Elliot and Trainspotting
Is resistance Futile?: The Clash of the Individual and Society in Educating Rita, Billi Elliot and Trainspotting
Yazar: Dönmez, Başak Ağin; , Editörden
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 1, 2014
Anahtar kelimeler: resistance,class mobility,Educating Rita (1983),Billy Elliot (2000),Trainspotting (1996) ; direnifl, s›n›f hareketlili¤i, Educating Rita (1983), Billy Elliot (2000), Trainspotting (1996)

Direniş, bireyin, katmanlaşmış ve belirli bir toplum içerisindeki iktidar sahiplerince üzerinde hüküm kurulan sosyal sistemle mücadele etme biçimidir. Sınıfsal ayrımları gözeten ve sınıf farklılıklarını önem- seyen İngiliz toplumunda, direniş, çağdaş sinema da dâhil olmak üzere, pek çok edebi ve kültürel metin tü- rüne konu edilmiştir. Lewis Gilbert’ın yönettiği ve Willy Russell’ın oyunundan uyarlanan Educating Rita (1983), Stephen Daldry’nin yönettiği Billy Elliot (2000) ve Danny Boyle’un yönettiği, Irvine Welsh’in ro- manından uyarlanan Trainspotting (1996) filmlerinde direniş ana tema olarak karşımıza çıkmaktadır ve yö- netici ve bağlı sınıflar arasındaki çatışmanın merkezinde yer almaktadır. Bu makalenin amacı, hiyerarşik hatların keskin biçimde çizilmiş olduğu ve sınıf ayrımcılığına önem veren bir toplumda direniş ihtimalinin bulunup bulunmadığını tartışmak ve bunu, ismi geçen bu üç filmde örneklendirmektir. Bir başka deyişle, sınıf hareketliliğinin olabilirliği bakımından birey ve toplum arasındaki çatışma, çağdaş İngiliz sineması- nın bu üç örneğinde incelenmektedir

T Resistance is the individual’s way of coping with the stratified social system, which is dominatedby the power holders within a given society, and in the class-conscious British society, resistance hasbecome an inevitable topic for many genres, including the contemporary cinema. In Lewis Gilbert’sEducating Rita (1983), which is based on Willy Russell’s play, Stephen Daldry’s Billy Elliot (2000), andDanny Boyle’s Trainspotting (1996), which is based on Irvine Welsh’s novel, resistance stands as themajor theme, lying at the core of the clash between the ruling and the subordinate classes. The aim of thisessay is to discuss whether there is a possibility of resistance against the mainstream values of a class-conscioussociety, where the hierarchical lines are strictly drawn, and to exemplify the argument through these threefilms. In other words, the conflict between the individual and society as regards the possibility of classmobility is examined in the three examples of contemporary British cinema..
Elements of Translation Acceptabilitiy
Elements of Translation Acceptability
Yazar: Araghı, Fateme; Ramezanpoor, Mostafa
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 1, 2014
Anahtar kelimeler: Elements,Translation,Acceptabilitiy

According to Raffel (1973, as cited in Miremadi, 1991, p. 10), as long as the need to know other cultures is great, the need for translation will be great. This is because “the moreone knows other cultures, the more one knows of one’s self.” Translation has been playing an important role from the beginning of human existence to our era that we are obliged to translate to dig for information and to know about the new explorations to not be retarded and to proceed along with other developed countries. Today that is the era of information, every translator has to translate great bunch of information every day in a short time.

According to Raffel (1973, as cited in Miremadi, 1991, p. 10), as long as the need to know other cultures is great, the need for translation will be great. This is because “the moreone knows other cultures, the more one knows of one’s self.” Translation has been playing an important role from the beginning of human existence to our era that we are obliged to translate to dig for information and to know about the new explorations to not be retarded and to proceed along with other developed countries. Today that is the era of information, every translator has to translate great bunch of information every day in a short time.
Some of the Implications of Contrastive Analysis of Morphology in English and Persian for a Translator: Based on the Theory of Information Structure
Some of the Implications of Contrastive Analysis of Morphology in English and Persian for a Translator: Based on th eTheory of Information Structure
Yazar: Gowhary, Habib
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 1, 2014
Anahtar kelimeler: Implications,Contrastive,Analysis

The grammatical correlate of the above distinction is the formal distinction made in many languages between definite and indefinite noun phrases. In many languages, the cognitive distinction between identifiable and unidentifiable referents is morphologically expressed by definite and indefinite articles and other determiners such as this, his, and etc. It should be noted, however, this distinction between identifiable and unidentifiable referents may have different implications in different languages as far as linguistic coding is concerned. In this study, in particular it is claimed that morphological coding of mental referents affected by identifiability parameter may not be the same in English and Persian.

The grammatical correlate of the above distinction is the formal distinction made in many languages between definite and indefinite noun phrases. In many languages, the cognitive distinction between identifiable and unidentifiable referents is morphologically expressed by definite and indefinite articles and other determiners such as this, his, and etc. It should be noted, however, this distinction between identifiable and unidentifiable referents may have different implications in different languages as far as linguistic coding is concerned. In this study, in particular it is claimed that morphological coding of mental referents affected by identifiability parameter may not be the same in English and Persian.
The Self-Revelatory Tendencies of The Pardoner in the Canterbury Tales
The Self-Revelatory Tendencies of The Pardoner in the Canterbury Tales
Yazar: Çakçak, Nazan
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 1, 2014
Anahtar kelimeler: Pardoner,Self-Revelatory,Tendencies

The Pardoner is the last of the pilgrims to be described in the General Prologue. Although Chaucer asks for forgiveness for not placing the pilgrims in their proper degree, this has some humiliating connotations to the minds of the readers. Putting the Pardoner last in the General Prologue, Chaucer suggests that he is like an unpleasant thought coming into existence slowly in the minds referring to his being narrated as one of the most wicked characters of all.1 There might also be literary and artistic reasons for mentioning the Pardoner at the end of the character list. It is clear that Chaucer has been particularly interested in him in the Pardoner’s Prologue and Epilogue and he reveals more about him than about any other pilgrims except the Wife of Bath.

The Pardoner is the last of the pilgrims to be described in the General Prologue. Although Chaucer asks for forgiveness for not placing the pilgrims in their proper degree, this has some humiliating connotations to the minds of the readers. Putting the Pardoner last in the General Prologue, Chaucer suggests that he is like an unpleasant thought coming into existence slowly in the minds referring to his being narrated as one of the most wicked characters of all.1 There might also be literary and artistic reasons for mentioning the Pardoner at the end of the character list. It is clear that Chaucer has been particularly interested in him in the Pardoner’s Prologue and Epilogue and he reveals more about him than about any other pilgrims except the Wife of Bath.
Postmodern Structures in Lost in the Funhouse by John Barth
Postmodern Structures in Last in the Funhouse by John Barth
Yazar: Erten, Meltem Uzunoğlu
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 1, 2014
Anahtar kelimeler: Postmodern,Structures,Lost

Written in 1968 and set during the World War II, on the surface, Lost in the Funhouse is the story of a thirteen-year-old boy’s trip to the beach with his family on the fourth of July. With Ambrose are his older brother Peter, their mother and father, their Uncle Karl, and a fourteenyear-old neighbor girl, Magda, to whom both Ambrose and Peter are attracted. Having learned that they can not go to the beach, the group decides to go through the funhouse instead. Both boys fantasize about going through the maze with Magda, but it suddenly becomes clear to Ambrose that he has misunderstood the meaning of the funhouse which is associated with sexuality and for which he is not ready yet. He also realizes that he is different from his bother and Magda: he is not the type of person for whom funhouses are fun. Confused and separated from the others, Ambrose takes a wrong turn and loses his way. During the process of finding his way out of the dark corridors, he comes to some realizations about himself and about funhouses.

Written in 1968 and set during the World War II, on the surface, Lost in the Funhouse is the story of a thirteen-year-old boy’s trip to the beach with his family on the fourth of July. With Ambrose are his older brother Peter, their mother and father, their Uncle Karl, and a fourteenyear-old neighbor girl, Magda, to whom both Ambrose and Peter are attracted. Having learned that they can not go to the beach, the group decides to go through the funhouse instead. Both boys fantasize about going through the maze with Magda, but it suddenly becomes clear to Ambrose that he has misunderstood the meaning of the funhouse which is associated with sexuality and for which he is not ready yet. He also realizes that he is different from his bother and Magda: he is not the type of person for whom funhouses are fun. Confused and separated from the others, Ambrose takes a wrong turn and loses his way. During the process of finding his way out of the dark corridors, he comes to some realizations about himself and about funhouses.
Is There a Way Out?: The Inhuman Politics of Noboru and His Gang in Yukio Mishima’s The Sailor Who Fell From Grace with the Sea
Is There a Way Out?: The Unhuman Politics of Noboru and His Gang in Yukio Mishima's The Sailor Who Fell From Grace with Sea
Yazar: Aydoğdu, Merve
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 1, 2014
Anahtar kelimeler: Inhuman,Politics,Noboru

“True beauty is something that attacks, overpowers, robs, and finally destroys.”1 Thus says Yukio Mishima, born in 1925 as Kimitake Hiraoka, the Japanese author. If this sentence is counted as the epitome of his philosophy of life, it will not be surprising to realize his fascination with sexuality, suicide, violence, and death in his works. He was the man of extreme passions; that is why it was hard to satisfy him. To quote by Cawthorne “In his autobiographical novel Confessions of a Mask, [Mishima] revealed that he was a man incapable of feeling passion or even feeling alive unless he was embroiled in sadomasochistic fantasy, dripping with blood and death. He said that he had written the book to channel his own homicidal instincts and the pen-name he chose- Yukio Mishima- could be written so that the characters also read ‘mysterious devil bewitched with death.

“True beauty is something that attacks, overpowers, robs, and finally destroys.”1 Thus says Yukio Mishima, born in 1925 as Kimitake Hiraoka, the Japanese author. If this sentence is counted as the epitome of his philosophy of life, it will not be surprising to realize his fascination with sexuality, suicide, violence, and death in his works. He was the man of extreme passions; that is why it was hard to satisfy him. To quote by Cawthorne “In his autobiographical novel Confessions of a Mask, [Mishima] revealed that he was a man incapable of feeling passion or even feeling alive unless he was embroiled in sadomasochistic fantasy, dripping with blood and death. He said that he had written the book to channel his own homicidal instincts and the pen-name he chose- Yukio Mishima- could be written so that the characters also read ‘mysterious devil bewitched with death.
The Specul(aris)ation of “I”
The Spul(aris)ation of "I"
Yazar: Gündüz, Ela İpek
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 1, 2014
Anahtar kelimeler: Specul(aris)ation,Samuel,Beckett’s

In this article, the main aim is to analyze Samuel Beckett’s short absurd play “Not I” (written as a dramatic monologue in 1972) through speculation/specul(aris)ation concepts of Luce Irigaray including also a Lacanian perspective. Under the light of the Irigarayian concept of specul(ariz)ation, the invisible and unknown nature of the dark hollow (vagina)/ Mouth as a reflection of the female self and sexuality will be explained. Irigaray herself defines the concept as a process of alienation because she thinks the “absence of the subject from its own image” gives specularization a “de-realizing power”. In other words, because women are defamiliarised to their own self as a result of not seeing their own image, they are invisible. Likewise, the Mouth (as a fragment) in Beckett’s play becomes alienated to her unrepresented body.

In this article, the main aim is to analyze Samuel Beckett’s short absurd play “Not I” (written as a dramatic monologue in 1972) through speculation/specul(aris)ation concepts of Luce Irigaray including also a Lacanian perspective. Under the light of the Irigarayian concept of specul(ariz)ation, the invisible and unknown nature of the dark hollow (vagina)/ Mouth as a reflection of the female self and sexuality will be explained. Irigaray herself defines the concept as a process of alienation because she thinks the “absence of the subject from its own image” gives specularization a “de-realizing power”. In other words, because women are defamiliarised to their own self as a result of not seeing their own image, they are invisible. Likewise, the Mouth (as a fragment) in Beckett’s play becomes alienated to her unrepresented body.
A Comparison of Translation Styles of Suzanne Jill Levine and Gregory Rabassa
A Comparison of Translation Styles of Suzanne Jill Levine and Gregory Rabassa
Yazar: Warrıer, Karuna; , Editörden
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 2, 2014
Anahtar kelimeler: ANAHTAR KELİMELERbenimseme, yabancılaştırma, metne bağlı çeviri, özgün çeviri, Skopos, yıkım

Her çevirmenin kendine özgü bir çeviri yöntemi olduğu bilinmektedir. Günümüzde, pek çok çevir- menin bulunması, kullanılan çeviri yöntemlerinin karşılaştırmalı çalışmalarını da tetiklemektedir. Suzanne Jill Levine ve Gregory Rabassa, İspanyolca ve İngilizce olmak üzere aynı iki dilde tercüme yapan çevir- menlerdir. İspanyolca-İngilizce çeviriler yapan Amerika vatandaşı Suzanne Jill Levine, The Subversive Scribe: Translating Latin American Fiction adlı kitabında, kaynak ve erek kültürleri yakınlaştırmak ve okurun kendini rahat hissetmesini sağlamak için kullanılan çeviri yöntemine değinmektedir.  Gregory Rabassa, İspanyolca ve Portekizce’den İngilizce’ye çeviriler yapan bir diğer ünlü Amerika vatan- daşı çevirmendir. If This Be Treason: Translation and Its Dyscontents adlı kitabında görüldüğü gibi, Ra- bassa’nın çeviri yöntemi, okuyucuyu zorlaması bakımından Levine’in yönteminden çok farklıdır. Bu çalışmanın amacı, Suzanne Jill Levine ve Gregory Rabassa’nın kendi kitaplarından hareketle, alıntıla- dıkları örnekler üzerinden farklılıkları öne çıkararak çeviri yöntemlerini karşılaştırmaktır. Çeviride en yay- gın olarak başvurulan yöntemlerden olan “benimseme” ve “yabancılaştırma” yöntemlerinin anlamları araş- tırılarak, bu iki stratejinin çalışmanın konusunu oluşturan çevirilerde nasıl uygulandığı ve okuyuculara çe- viride karşılık olarak ne sunulduğu incelenecektir

Her çevirmenin kendine özgü bir çeviri yöntemi olduğu bilinmektedir. Günümüzde, pek çok çevir- menin bulunması, kullanılan çeviri yöntemlerinin karşılaştırmalı çalışmalarını da tetiklemektedir. Suzanne Jill Levine ve Gregory Rabassa, İspanyolca ve İngilizce olmak üzere aynı iki dilde tercüme yapan çevir- menlerdir. İspanyolca-İngilizce çeviriler yapan Amerika vatandaşı Suzanne Jill Levine, The Subversive Scribe: Translating Latin American Fiction adlı kitabında, kaynak ve erek kültürleri yakınlaştırmak ve okurun kendini rahat hissetmesini sağlamak için kullanılan çeviri yöntemine değinmektedir.  Gregory Rabassa, İspanyolca ve Portekizce’den İngilizce’ye çeviriler yapan bir diğer ünlü Amerika vatan- daşı çevirmendir. If This Be Treason: Translation and Its Dyscontents adlı kitabında görüldüğü gibi, Ra- bassa’nın çeviri yöntemi, okuyucuyu zorlaması bakımından Levine’in yönteminden çok farklıdır. Bu çalışmanın amacı, Suzanne Jill Levine ve Gregory Rabassa’nın kendi kitaplarından hareketle, alıntıla- dıkları örnekler üzerinden farklılıkları öne çıkararak çeviri yöntemlerini karşılaştırmaktır. Çeviride en yay- gın olarak başvurulan yöntemlerden olan “benimseme” ve “yabancılaştırma” yöntemlerinin anlamları araş- tırılarak, bu iki stratejinin çalışmanın konusunu oluşturan çevirilerde nasıl uygulandığı ve okuyuculara çe- viride karşılık olarak ne sunulduğu incelenecektir
Archetypal Mothering: DH Lawrence’s Lady Chatterley’s Lover1
Archetypal Mothering: D. H. Lawrence's Lady Chatterley's Lover
Yazar: Sharma, Pradeep; , Editörden
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 2, 2014
Anahtar kelimeler: mothering,fatherhood,psychoanalysis,feminist theory,archetypes ; annelik, babalık, psikanaliz, feminist kuram, arketipler

D. H. Lawrence, Lady Chatterley’in Sevgilisi’nin yayımlanmasından sonra anlatıdaki iki değişik izlek nedeniyle gelişime açık bir yazar olarak kabul gördü. Bu izleklerden ilki kadın cinselliği ve evlilikleri başarısız olan kadınların cinsel tatmini konusundaki özgür seçimleri, diğeri ise üst sınıfa ait bir erkeğin karısıyla cinsel açıdan tatmin edici olmayan bir ilişki yaşarken, işçi sınıfından bir erkeğin aristokrat bir kadınla yaşadığı cinsel ilişkidir. Fakat 1970’lerin önde gelen feminist eleştirmenleri D. H. Lawrence ve romanını, kadın cinselliğini görmezden gelip cinsellik konusunda erkek bakış açısını yansıttığı, duygusal anlamda tek tatmin edici ilişki türü olarak heteroseksüel ilişkiyi kabul ettiği ve kadınların annelik yoluyla tatmin olmalarını öne sürdüğü için eleştirmişlerdir. Arketiplerin insan kişiliği üzerindeki etkilerini göz önünde bulunduran Jung eleştirisine göre, romanın ana erkek karakteri olan Mellors, ana kadın karaktere göre ne daha üstün ne de daha aşağıdadır. Ama yazar, erkek ana karakterin kadının gözünde onu tanrısallaştıran özellikleri olduğu ve evlilikte karşılıklı mutluluğun yalnızca kadının erkeğinin hayranlık uyandırıcı özelliğine uyum sağlamasına bağlı olduğu düşüncelerini okura dayatır.

DH Lawrence was hailed as a progressive writer after the publication of Lady Chatterley’s Loveras the theme of the narrative suggests a shift in emphasis through (a) giving expression to women’s sexuality, speaking for their freedom of choice in sexual fulfillment if their marriage fails, and (b) depicting aworking class man having sexual relations with an aristocratic woman, when the ruling class man fails tohave sexually fulfilling relations with his wife.But, in the 1970s prominent feminist critics launched a tirade against DH Lawrence and Lady Chatterley’sLover saying that (a) the novel undermines women’s sexuality, endorsing male-centered view of sexuality, hailing heterosexual relationship as the only emotionally satisfying relationship, and (b) it advocateswomen seeking fulfillment through motherhood.From Jungian perspective on the effects of archetypes upon human personality the principal male characterin the novel, Mellors, is hermaphrodite, therefore, neither superior, nor inferior to the principal femalecharacter. However, the writer imposes upon the reader the belief that (a) the male protagonist possessestraits that make him a demigod to be looked at with awe by the female protagonist, and (b) conjugalhappiness in married life solely depends upon the adjustments a woman needs to make owing to the aweinspiring prowess of her man.
Satrapi's Persepolis: a Post-Colonial Work or Not?
Satrapi's Persepolis: a Post-Colonial Work or Not?
Yazar: Mousavı, Seyyed Habib; Mohsenı, Meisam; , Editörden
Dergi: Cankaya University Journal of Humanities and Social Sciences, Vol. 9 No. 2, 2014
Anahtar kelimeler: ANAHTAR KELİMELERanı yazımı, Oryantalizm, yerli kaynak, diaspora, stereotip

Azar Nasifi’nin Reading Lolita in Tehran adlı eserinin başarısı sayesinde son zamanlarda diaspora anı yazılarının sayısı artmaya başlamış ve sonucunda Neo-Oryantalizm, Oryantalizmin güçlü ayaklarından biri haline gelmiştir. Diaspora edebiyatı yazarları, Hamid Dabashi’nin belirttiği gibi “yerli kaynaklardır”: Kendi ülkeleri hakkında “bilgi” üretirken aslında Batı’nın gözünden Doğu’yu inceleyerek kendi halkına zarar veren kaynaklardır. Ürettikleri, herhangi bir değerlendirmeye tabi tutulmadığından diaspora anı ya- zarları, Doğu’nun gerçek yüzünü açığa çıkaran objektif, doğru ve tarafsız yazarlar olarak kabul görürler. Bu görüşe paralel olarak, İranlı bazı diaspora yazarları İran halkını ilkel, gülünç, erotik, şiddet yanlısı Or- yantal stereotipler olarak betimlemektedir. Bu çalışmamızda, İranlı Diaspora yazarlarından Marjane Satra- pi’nin Persepolis adlı eserini inceleyeceğiz. Satrapi, İranlıları, tam da Oryantalist söylemin Doğuluları ta- rih boyunca aktardığı gibi betimlemeye çalışan bir ‘yerli kaynaktır’. Bu çalışmada, Sardar, Said ve diğer- lerinin kuramlarından hareketle Oryantalist söylemde yer alan varsayımlar ortaya konmuş ve bu varsayım- lar ışığında eser incelemesi yürütülmüştür

Azar Nasifi’nin Reading Lolita in Tehran adlı eserinin başarısı sayesinde son zamanlarda diaspora anı yazılarının sayısı artmaya başlamış ve sonucunda Neo-Oryantalizm, Oryantalizmin güçlü ayaklarından biri haline gelmiştir. Diaspora edebiyatı yazarları, Hamid Dabashi’nin belirttiği gibi “yerli kaynaklardır”: Kendi ülkeleri hakkında “bilgi” üretirken aslında Batı’nın gözünden Doğu’yu inceleyerek kendi halkına zarar veren kaynaklardır. Ürettikleri, herhangi bir değerlendirmeye tabi tutulmadığından diaspora anı ya- zarları, Doğu’nun gerçek yüzünü açığa çıkaran objektif, doğru ve tarafsız yazarlar olarak kabul görürler. Bu görüşe paralel olarak, İranlı bazı diaspora yazarları İran halkını ilkel, gülünç, erotik, şiddet yanlısı Or- yantal stereotipler olarak betimlemektedir. Bu çalışmamızda, İranlı Diaspora yazarlarından Marjane Satra- pi’nin Persepolis adlı eserini inceleyeceğiz. Satrapi, İranlıları, tam da Oryantalist söylemin Doğuluları ta- rih boyunca aktardığı gibi betimlemeye çalışan bir ‘yerli kaynaktır’. Bu çalışmada, Sardar, Said ve diğer- lerinin kuramlarından hareketle Oryantalist söylemde yer alan varsayımlar ortaya konmuş ve bu varsayım- lar ışığında eser incelemesi yürütülmüştür