Azer Banu Kemaloğlu

Robert Louis Stevenson's novella, The Strange Case of Dr. Jekyll and Mr. Hyde (1886) appears to be a Victorian novel. Yet, the highly acclaimed novella experiments with traditional concept of dualism and rejects the notion of dependent entities within a single body. Stevenson portrays two separate bodies embodying two separate attributes of human beings constantly in fight over power. This power relationship is reinforced by the fragmented spaces depicted by the novelist. Dr. Jekyll's decentred house with two ambiguous entrances is read as an extension of his fragmented body in a postmodern context. In this respect, the novella suggests possibilities, impossibilities and multiplicities in terms of geographical, temporal and cultural experiences. Stevenson attempts to show how modernist assumptions about the perfectibility of mankind are perverted as the novella rejects the relationship between reality and appearance celebrating a postmodern duality. Taking from Frederick Jameson's argument that postmodernism rejects essence versus reality, the aim of this paper is to examine the fluctuations of Stevenson's place in Victorian, modernist and postmodernist ideologies. Since there is no fixed reference or stability in postmodern condition or postmodern temporality, Stevenson challenges the values of Western culture and belief as a whole. As a consequence, the fragmented selves of a single body and multiple narratives of the novel further explicate the fragmented place of Stevenson within a single ideology and condition.

This particular research is an attempt to unearth and analyse an Australian novel The Turkish Spy (1932)-not yet known to the Turkish readers. Written by an Australian First World War veteran named Charles Cooper, the novel is rich with stories of espionage and the narrative bears elements of travel literature. In Cooper's narrative depictions of Istanbul and Cairo turn into an oriental space. Rather than a story based on Gelibolu Campaign (1915) or the First World War, the novel attempts to play with the delicate boundary between fact and fiction, a feature of spy or espionage novels. Cooper offers a challenging narrative based on the portrayal of a female Turkish spy-in which a Turkish nurse Mebrookeh takes on her brother's mission as a spy after her brother is killed by an Australian soldier. Set in Gelibolu, the novel moves to Egypt and France as Mebrookeh turns into a skillful spy. With a striking story at the fulcrum novel questions the influences of war, politics and international affairs during the interwar years. The narration rejects a single authoritarian voice, transcends a monological national narrative in Mikhail Bakhtin's terms, as different voices describe enemy in different ways. In a New Historical reading, by recovering the voice of a female Turkish spy in a spy story, Cooper attempts to uncover an alternative discourse to the grand historical narratives of the Gelibolu Campaign reminding readers a century old campaign and the missing female voice in war literature.

The Picture of Dorian Gray (1891) manifests the aesthetic perception of Oscar Wilde in terms of a choice between objective reality and subjective sensing. Wilde privileges the subjective over the objective modes of experience since he believes in the power of knowing through impulses. The novella continuously calls for the intuitive world of pleasure through subjective experience. In this world of detached reality, Dorian experiences the world non-purposively through subjective sensing. Non-purposive experience coincides with Immanuel Kant's concept of disinterested free beauty which is perceived subjectively as discussed in the Critique of Judgement (1790). Hence, free beauty and the way of knowing through the senses in Kantian terms seems to be the model for Wilde's protagonist as Dorian's judgements arise spontaneously. Such purposeless perceptions dominate Wilde's novella and Dorian's world of senses as aesthetic pleasure becomes a necessary supplement for Dorian's life. Within this scope, this study aims to elucidate Kant's theories in the Critique of Judgement (1790) as reflected in Wilde's novella. However, Kant's idea of a mutual agreement between rationally knowing and subjectively sensing seems to be disregarded by the novelist, as Wilde perceives reality and objectivity as antagonists. It is with this critique in mind that I have pursued the aesthetic aspect of Wilde's novella. In this respect, this paper attempts to analyse Wilde's sensing the world as opposed to knowing it. Taking from Kant's judgement, Wilde's attempts to separate two ways of knowing is elucidated through the depiction of inner and outer spaces, Dorian's attachment to his portrait and artistic objects, and detachment from reality as exemplified by the deaths of Sibyl Vane, the actress and, Basil Hallward, the artist. Öz: The Picture of Dorian Gray (1891), Oscar Wilde'ın estetik algısını göstermekte ve Wilde'in nesnel ve öznel algı arasındaki seçimini ortaya çıkarmaktadır. Wilde dürtüler vasıtasıyla edinilen bilgilerin gücüne inandığı için öznel deneyim otonomisini kurarken nesnel gerçekliği yok eder. Kısa romanı sürekli olarak öznel deneyimlerle sezgisel bir zevk dünyası arayışındadır. Gerçeklikten uzaklaştığı bu dünyada, Dorian dünyayı öznel deneyimlerle bir amaç gütmeden deneyimler. Dorian'in bu deneyimi Immanuel Kant'ın Critique of Judgement (1790) adlı kitabındaki duyularla algılanan başka bir şeye bağlı olmayan güzellik kavramıyla örtüşmektedir. Bu sebeple Kant'ın bağımsız güzellik kavramı ve duyular yoluyla bilme teorisi, Dorian'ın dünyayı algılayış şekliyle örtüştüğünden Wilde'ın romanında örnek alınmış gibi görünmektedir. Estetik nesnelerden alınan keyif Dorian'ın hayati için zaruri olmaya başladıkça, belli bir amaç gütmeden duyularla karara varma Wilde'ın kısa romanında ve Dorian'ın duyularla algıladığı dünyasında baskın olmaktadır. Bu makale bu çerçevede Kant'ın Critique of Judgement (1790) kitabında savunduğu teorilerini Wilde'ın kısa romanında görüldüğü şekliyle açıklamayı amaçlamaktadır. Ancak Kant'ın rasyonel bilme ve öznel algı arasında oluşturduğu uzlaşı kısa romanında Wilde tarafından göz ardı edilmiş gibi görülmektedir çünkü Wilde gerçek ve nesnelliği düşman olarak algılamaktadır. Wilde'in kısa romanının estetik duruşu bu mantıkla araştırılacaktır. Bu çalışma, Wilde'ın dünyayı bilmek yerine hissetme tercihini analiz edecektir. İç ve dış mekânların romanda temsili, Dorian'in portresine ve sanatsal nesnelere bağlılığı ve aktris Sibyl Vane ve sanatçı Basil Hallward'ın ölümleri ile örneklendirilen gerçekten uzaklaşma çabaları temel alınarak Wilde'ın iki farklı algılama yöntemi irdelenecektir.

Gelibolu Campaign (1915) is an inspiration for fiction writers as they delve into the ancient and present history of the campaign in their fictional constructions. Although in different ways the novels pay tribute to the memories and heroes of the campaign while connecting the carnage of 1915 to the classical times, of Homer's Troy. References to Iliad and Odyssey appear in fictional stories representing Gelibolu battlefield as a mythical land. T.S. Eliot's anti-war poem The Wasteland (1922) is echoed in novels lamenting the loss. Besides classical examples British war poets Rupert Brooke and Siegfried Sassoon are also remembered in fictional representations of the campaign. Yet, the representations offer an alternative discourse sought by New Historicism replacing the romantic and heroic representations of war with bitter and traumatic ones. This study aims to analyse the tributes to Brooke and Sassoon in Stanton Hope's Richer Dust (1925), Bruce Scates's On Dangerous Ground (2012), Rachel Billington's Glory (2015), and Peter Yeldham's Barbed Wire and Roses (2007) as they try to unearth the voices of First World War poets and discuss new perspectives offered by novelists in their understanding of the poets. Although wars consume poets besides the intellectual and educated mass, the power of poetry is still heard and remembered thanks to fictional representations creating a dialogue between voices of past and present.

Unlike the title suggests, Henry James's famous novel The Portrait of a Lady is not the story of one particular lady as is commonly assumed. The novel proves to be an outstanding one in that it not only presents in its centre one of the most charming heroines of the nineteenth-century but also spins a web of challenging travelling women around Isabel Archer. What makes the novel unique is James's handling the gender roles. On one hand there are the outstanding female characters challenging the fixed gender roles imposed by the Victorian period, and on the other hand there are still women seen as 'objects'. My aim will be to reveal this complex gender issue by studying the female characters through travel. Taking from James Clifford and Judith Butler's theories I will try to open up this discussion to better understand how travel works.'in ünlü romanı Bir Kadının Portresi, başlığın düşündürdüğünün aksine tek bir kadının hikayesi değildir. Sadece hikayenin merkezine ondokuzuncu yüzyılın en etkileyici kadın kahramanlarından birini koymasıyla değil, fakat aynı zamanda Isabel Archer'ın etrafında güçlü kadın kahramanlardan oluşan bie ağ örmesi ile de roman sıradışı olduğunu kanıtlamaktadır. Romanı farklı yapan James'in toplumsal cinsiyet kavramını irdeleyiş tarzıdır. Romanda bir tarafta Victoria döneminin dayattığı belirlenmiş toplumsal cinsiyet rolerine meydan okuyan kadınlar, diğer tarafta da hala birer 'nesne' olarak algılanan kadınlar vardır. Benim amacım romandaki kadın karakterleri yaptıkları seyahatlerle inceleyerek bu karmaşık toplumsal cinsiyet konusunu ortaya çıkarmak olacaktır. Bu tartışmayı James Clifford ve Judith Butler'ın kuramlarından yararlanarak seyahatin toplumsal cinsiyet üzerindeki rolünü daha iyi anlamak için açmaya çalışacağım.

Charles Dickens is not only a writer of human suffering, but also of nonhuman nature. Written in Lausanne,
Switzerland in 1846, Dombey and Son brings Dickens’ keen observations on the human and nonhuman together.
Dickens raises the question about nonhuman nature as he asks ‘’how men work to change her’’ (737) and reminds
us of London; ‘’Breathe the polluted air,…that is poisonous to health and life;..offended, sickened and disgusted…
by which misery and death came along’’ (737). Dickens transforms his concept of natural world with tranquillity
and fresh air compared to darker London. He listens to nature and shapes his writings in terms of a relationship to
nonhuman nature and eventually tries to raise consciousness towards pollution in London. My aim in this paper is
to show how Dombey and Son is textualized to create nature writing. Taking from the critical theories of Raymond
Williams, William Howarth and Christopher Manes I will attempt to find a common ground in Dickens’ text
between the human and the nonhuman and show how they can coexist since our environment becomes a pivotal
part of our existence.