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Öğe J.G. Ballard'ın The Drowned World ve The Drought Romanlarında Derin Zaman Algısı ve Ekolojik Bilinç Tezahürleri(Kriter Yayınevi, 2023) Aykanat, Fatmaİngiliz roman yazarı James Graham Ballard'ın iklim kurgu türünün ön-örnekleri sayılabilecek, The Drowned World (1962) ve The Drought (1965) romanlarından seçilmiş örneklemelere yer veren bu kitap bölümü, insan kaynaklı çevresel dönüşümlerin tetiklediği kurgusal bir coğrafyada hayatta kalmaya çalışan bir grup insanın psikosomatik ve nörolojik sorunlar şeklinde kendini gösteren çeşitli zihinsel meydan okumalar ile derin zamansal ve uzamsal dolaşıklıkları tartışır. Bu çalışmada, kuramsal altyapı olarak ise, Theodore Roszak'ın "ekolojik bilinçaltı" kavramı ve ekopsikoloji yaklaşımları kullanılmıştır.Öğe Obje Odaklı Ontoloji ve Şey Kuramı(Kapadokya Üniversitesi Yayınları, 2023) Çelikel, Mehmet Ali; Bayraktar, NurtenObje Odaklı Ontoloji (000) Graham Harman'ın ilk kez 1999' da yazdığı doktora tezinde ortaya attığı, insanın canlı olmayan varlıklara karşı üstünlüğünü reddeden bir felsefedir. Harman bu felsefede Martin Heidegger'in varlık felsefesinden yola çıkmış, Kantçı 'kuran özne' anlayışını yadsıyarak nesnelerin özneden bağımsız bir eyleyen olduğu düşüncesiyle hareket etmiştir. Nesne Yönelimli Ontoloji olarak da Türkçeleştirilen bu kavram, terimin içerdiği sözcüklerin İngilizce baş harflerinden (Object-Oriented Ontology) kısaltılarak "000" biçiminde ifade edilmekte ve "Üçlü O" şeklinde söylenmektedir1 (Harman, 2017, s. 6). Türkçe kaynaklarda genellikle NYO kısaltması ile nitelenen Obje Odaklı Ontoloji'yi çalışan diğer kuramcılar arasında Ray Brassier, Quentin Meillassoux, Levi Bryant ve lain Hamilton Grant de bulunmaktadır.2 000 çalışmaları insanın evrenin merkezinde olmadığını, nesnelerin eyleyen özneye bağlı kalmaksızın bir özerkliğe sahip olduklarını vurgular. Timothy Morton'a göre "şeyler" eğer tabiatları gereği kendi içlerine çekilmiş ve "algılanma" durumlarına, ilişkilerine ya da kullanımlarına indirgenemezlerse, birbirlerini tuhaf bir alan içinde karşılıklı olarak etkilemeye başlar (2013, s. 17).Öğe "The Rise of the Novel and the Narrative Labor of Horses in the English Novel of the Early Anthropocene"(Bucknell University Press, 2022) Akıllı, Sinan; Hediger, RyanN/AÖğe New Materialism and the Nonhuman Story(Cambridge University Press, 2021) Oppermann, SerpilOffers a comprehensive introduction to the environmental humanities. It addresses the 21st century recognition of an environmental crisis.Öğe Embodied Anthropocentrism in Anatolian Novel and Film(Peter Lang, 2020) Gündüz Özdemirci, Ekin; Kaya, NilayThe first discussions of environmental justice in Turkish cultural scene in the early years of Turkish Republic appeared in the late 1950s, under the influence of social realist movement both in literature and film. Drawing upon the subject of ‘right to water’, Dry Summer is one of the first examples in Turkish film and literature that explore the issue of social justice from an environmental justice perspective. In this comparative analysis of the novella and the film we will discuss the treatment of environmental issues in social realist works, and comment on the ethical understanding of non-human nature in a period that is largely unexplored within ecocriticism studies in Turkey. Necati Cumalı’s Dry Summer has not been studied through an ecological approach so far, yet there has been some mention of its premonition that within years to come water would exceedingly turn into a private property, in parallel with the increase of deforestation and draught.1 Considering today’s extreme global manipulation of water resources in the form of dams, reservoirs, canals or expanded bottled water markets, and the obstructing effects of hydroelectric power plants on natural habitats, which is a highly up-to-date local problem in Turkey, Dry Summer deserves to be studied in terms of its plot. But the main question here is how far does Dry Summer actually present, predicate or draw attention to an ecological problem “of an entire agricultural village faced with water shortage”.Öğe Britanya Savaş Şiirinde Savaş Karşıtı Söylem Üzerine Bir Değerlendirme(Fenomen Yayıncılık, 2021) Atasoy, EmrahBu bağlamda bu çalışmanın amacı, İkinci Dünya Savaşı Britanya savaş şiirini kısaca tanıtmak ve John Wedge, Sidney Keyes, Alun Lewis ve Hamish Henderson gibi bu çalışma kapsamında ilgili türe katkılarından dolayı seçilen Britanyalı şairlerin konu ile ilgili şiirlerindeki savaş ve kahramanlık tasvirlerini ve savaş karşıtı söylemi incelemektir. Bu incelemede, şiirlere ve konu ile alakalı ikincil kaynaklara yapılan göndermeler üzerinden savaş karşıtı söylemi tartışmak amaçlanmıştır. Bu tartışmanın sonucunda, savaş ve kahramanlık kavramlarının, evrensel bir geçerliliği olmadığı, aksine, şairin içinde bulunduğu topluma göre şekillendiği ve aktarıldığı, savaş karşıtı söylem analizi üzerinden ortaya konacaktır. Buna göre, toplumların savaşa dair farklı anlamlarda deneyimlerinin şiir yoluyla nasıl yansıtıldığı, yakın okuma ve eleştirel tartışma yoluyla ifade edilecektir.Öğe Moving Stills: The Idea of Nature in New Turkish Cinema(Routledge, 2019) Gündüz Özdemirci, EkinEnvironmental issues started to find place in Turkish films from 1950’s, but in the period after 1990’s, there was a rise in the films that embody an ‘intuitive approach’ to nature, mostly in the narratives that are not necessarily focusing on environmental themes. This chapter examines the shifting ecological understandings in Turkish film history and focus on realist art house films of this ongoing period of New Turkish Cinema. These films follow stories evolving around issues of non-belonging and identity as they portray an external nature in rural contexts, mainly from an outsider perspective of urbanite directors and characters. It is claimed that they build up a cinematographic eco-awareness, while at the same time create a binary between nature and society, opposite to the ecological discourse that calls for a relational approach. Taking examples from the films of internationally acclaimed directors such as Reha Erdem, Nuri Bilge Ceylan and Semih Kaplanoğlu, the idea of nature that these films promote in a social context is discussed considering debates on urban-rural dichotomy in contemporary Turkey.Öğe “Epistemological Warfare(s) in Dystopian Narrative: Zülfü Livaneli’s Son Ada and Anthony Burgess’s The Wanting Seed.”(McFarland & Company, 2020) Magid, Annette M.Late 19th century science fiction stories and utopian treatises related to morals and attitudes often focused on economic, sociological and, at times Marxist ideas. More than a century later, science fiction commonly depicts the inherent dangers of capitalism and imperialism. Examining a variety of conflicts from the Civil War through the post-9/11 era, this collection of new essays explores philosophical introspection and futuristic forecasting in science fiction, fantasy, utopian literature and film, with a focus on the warlike nature of humanity.Öğe Öğe “How the Material World Communicates: Insights from Material Ecocriticism”(Routledge, 2019) Oppermann, SerpilN/AÖğe Öğe “The Agency and Matter of the Dead Horse in the Victorian Novel”(Chicago University Press, 2019) Akıllı, SinanIn an attempt to move away from the anthropocentric approaches to the study of literary animals as mere metaphors or symbols of the cultural work that they do for humans, in this essay I try to address the question of how to “confuse and conflate” literature, humans, and animals – an idea borrowed from Mario Ortiz-Robles. In moulding a posthumanist theoretical framework for my discussion, I draw on Karen Barad’s work on “agential realism,” focusing specifically on her notions of “intra-action” and “ethico-onto-epistem-ology”; Bill Brown’s “Thing Theory”; and Bruno Latour’s “Actor Network Theory.” I argue that from the mid-nineteenth century onward novelists like George Eliot and Thomas Hardy were preoccupied with equine death not only because the horse occupied a central place in the social and economic organization of contemporary human society, but also as a result of their awareness of the ontological and Darwinian affinity between human and nonhuman animals, at the center of which was – as Derrida powerfully expressed – mortality. I show how in “confusing and conflating” literature, humans, and animals, Eliot and Hardy intra-acted with, but also responded to, felt an “ethico-onto-epistem-ological” responsibility for, wrote about, gave central roles, and thus accorded narrative agency to dead horses: Wildfire in Silas Marner and Prince in Tess of the d’Urbervilles, respectively. I also define Eliot and Hardy as “semantic humanimals” who, in grafting their responses to equine mortality on matter by writing about horses, in effect, represented and reflected upon their daily experience of horses in their everyday environments, giving visibility and agency to equine bodies. I suggest that such a reading of literary works serves toward our need to develop a notion of (animal) mortality rather than being tied to the evidently limited notion of (human) morality to understand and acknowledge the agency of animals, both human and nonhuman.
