https://hdl.handle.net/20.500.12809/192 2026-04-04T06:49:16Z 2026-04-04T06:49:16Z Özmen Akdoğan, Özlem https://hdl.handle.net/20.500.12809/10728 2023-05-29T07:49:04Z 2022-01-01T00:00:00Z

A Criticism of the British Left in Trevor Griffiths's The Party in Light of '68 Paris Student Riots Özmen Akdoğan, Özlem Among the political playwrights of the post-war British drama, Trevor Griffiths is known for his commitment to socialist ideals and his continuous search for an ideal social(ist) structure in his works. Coming from a working-class background and having met many notable intellectual socialists prior to his dramatic career, Trevor Griffiths dedicated his playwriting to debate about the present and future of socialism in Britain and elsewhere. Despite Griffiths's loyal attachment to socialism, his works provide a criticism of the left, left-wing parties, lack of unity among the proletariat, and lack of support and cooperation of the leftist parties in his country. The Party (1973) is one of those plays in which he provides a dialectical approach to an ideal understanding of socialism that is based on unity between the workers, the party as an organisation and the intelligentsia. Griffiths's main concern is to lay out some of the reasons for the failure of the left and claim that a true socialist revolution can never be possible unless a commitment is achieved by all involved parties. This paper discusses socialist Trevor Griffiths's play The Party as a criticism of the left in relation to prevalent concerns of Britain in the 1970s.While evaluating the reasons for Griffiths's criticism, the discussion of the play is also related to the Paris student riots as a casein-point failed socialist revolution attempt due to similar problems Griffiths observes in his country.

2022-01-01T00:00:00Z Özmen Akdoğan, Özlem Göçmen, Gülşah https://hdl.handle.net/20.500.12809/9219 2021-05-06T10:40:04Z 2021-01-01T00:00:00Z

Nostalgic (Re)Visions of Englishness in Merchant Ivory’s Adaptation of Kazuo Ishiguro’s The Remains of the Day Özmen Akdoğan, Özlem; Göçmen, Gülşah This article argues that the adaptation of Kazuo Ishiguro’s novel The Remains of the Day (1989) by Merchant Ivory evokes nostalgia as a trope that glorifies the imperial past of the British through portraying extravagantly both the butler protagonist’s professionalism and his attachment to the country house (Darlington Hall), one of the symbolic places used in heritage cinema. In the novel, Stevens’ sense of nostalgia is presented as a sensual impetus or a blueprint to revisit the past to construct a more insightful understanding of the self. Analysing both uses of nostalgia in the source text and its adaptation, this article reveals that the Merchant Ivory adaptation (1993) limits its nostalgic perspective to depicting the idealised imperial past, and it does not evoke any dissident conception of nostalgia for the audience as the novel provides through its protagonist’s retrospection for the reader. Discussing the politics and contextual background of the adaptation, it concludes that Merchant Ivory’s film version of Ishiguro’s novel exemplifies characteristics of heritage cinema to convey dominantly conservative ideologies such as elitism and nationalism as common norms upheld in Thatcher’s Britain

2021-01-01T00:00:00Z İkiz, Sezer Sabriye https://hdl.handle.net/20.500.12809/9138 2021-04-02T08:10:19Z 2020-01-01T00:00:00Z

WORDSWORTH IN HYDERABAD: IDENTITY CRISIS IN MEENA ALEXANDER’S NAMPALLY ROAD İkiz, Sezer Sabriye Meena Alexander is an Indian poet, scholar and writer. Exile, identity crisis, search for roots, migration are discussed in the works of her. Meena Alexander’s first novel, Nampally Road (1991) is not an exception. This short novel is also about displacement and the protagonist’s attempts to create herself an identity in her native land, India. The protagonist is Mira Kannadical. She is an English lecturer who returns to her own country after studying in England for four years and getting a PhD on Wordsworth from Nottingham University. She is uncomfortable and alone in England and decides to return her home country. Mira wants to meet new people and see new places. So, she accepts a teaching position in Hyderabad. Hookha and Shikha assert that “all Mira’s hopes and dreams are shattered to see a totally different picture of India which teems with violence, civil unrest, and turbulence” (2013,2). Mira finds herself trapped in the city. She starts to question her own thoughts and writings. This paper aims to explore the conflicts in the protagonist’s life and identity crisis she experiences while searching for her self with the portrayal of socio- political changes in Contemporary India.; Meena Alexander Hintli bir şair, akademisyen ve yazardır. Sürgün, kimlik krizi, kökleri arama ve göç konuları eserlerinde tartışılmaktadır. Meena Alexander’ın ilk romanı Nampally Road’da bir istisna değildir. Bu kısa roman, yer değiştirme ve ana karakterin kendi yurdunda kendine bir kimlik yaratma çabaları hakkındadır. Mira Kannadical romanın baş kahramanıdır. İngiltere’de dört yıl kalıp İngiliz Edebiyatında doktorasını tamamladıktan sonra Hindistana döner. İngiltere’de rahatsız ve yalnız hissetmektedir. Yeni insanlarla tanışıp yeni yerler görmek istemektedir. Bu nedenle Hyderabad’da bir iş teklifini kabul eder. Hooha Ve Shikha, Mira’nın bütün umutlarının ve hayallerinin tamamıyla farklı şiddet, huzursuzluk ve kargaşa dolu bir Hindistan görünce yıkıldığını iddia eder. Şehirde kendini kapana kısılmış gibi hisseder. Duygularını ve yazdıklarını sorgulamaya başlar. Bu çalışma, başkarakterin yaşadığı çelişkiler ve kendi kimliğini ararken yaşadığı kimlik bunalımı Çağdaş Hindistanın sosyopolitik değişimleriyle birlikte incelemeyi amaçlamaktadır.

2020-01-01T00:00:00Z Ulağlı, Serhat https://hdl.handle.net/20.500.12809/8814 2021-03-08T11:10:25Z 2006-01-01T00:00:00Z

Le Role des Drogmans Dans la Formation de L'Image du Turc en Occident Ulağlı, Serhat The study of the work written by the writer-travellers visiting Turkey in 19th and 20th centuries, shows nearly absence of a linguistic communication between the writer and the population of the visited country. Not knowing the Turkish language, the writers often used " dragomans" to inform themselves on die society, the habits, on the Turkish language itself. All that they knew of the Turks came to them from these dragomans. Broadly speaking, they believed and they wrote what the dragomans affirmed to them. The writers who did not question the validity of the accounts of the dragomans, remained unconsciously captive of their ideologies and their prejudices. And in this direction it would not be false to affirm-1 hat-the Turkish image, diffused in keys works, belongs more to die dragomans dian die writers themselves. Taking into account the fact diat die trade of dragoman is executed, in general, by Greeks or Armenians, i.e. by representatives of nations having carried out a war of independence against die Ottoman Empire, one can easily understand die role diat diese dragomans could have played in die formation of the anti-Turkish tendencies in die Western thought.

2006-01-01T00:00:00Z