Book Reviews by Ayşegül Yayla Wierdsma
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Early Modern Culture Online, Jul 2014
Categorization of Lucas van Leyden (1494-1533) is a matter of defining modern at the turn of the ... more Categorization of Lucas van Leyden (1494-1533) is a matter of defining modern at the turn of the sixteenth century. His depiction of Late Gothic and Classic architectural forms in his prints shows an interaction between the Italian Renaissance and the Netherlandish traditions. The use of urban setting is to familiarize the viewer with the story. This technique of grabbing the attention of the viewer by situating him within the audience in the image is a traditional characteristic of medieval art. On the other hand, he employs the new method of Renaissance spatial perspective in order to create the three dimensional effect in the print. Ornaments work as metalingual elements giving away subtle information on the subject. A symbol exists by being a reference to a former incidence, which adds to the discussion of whether Lucas van Leyden was a Renaissance or an early modern artist. His concern is with the narrative rather than the idealistic illustration of architecture. His German contemporary Albrecht Dürer also appears to come and go in representing two styles of architecture. Therefore there will be a comparison between Lucas van Leyden, Albrecht Dürer and Italian contemporaries such as Perugino and Raphael. Yet it is still a question to where to position Lucas van Leyden.
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Türkiye’de 1960 yılı öncesinde meydana gelen yoğun siyasal baskı ve sosyal kargaşa, dönemin edebi... more Türkiye’de 1960 yılı öncesinde meydana gelen yoğun siyasal baskı ve sosyal kargaşa, dönemin edebiyat eserlerine de yansımıştır. Demokrat Parti iktidarının kısıtladığı özgürlüklere olan tepki gerek 2. Yeni Şiiri’nde, gerekse Köy Edebiyatı akımı ve bu akıma karşı gelişen toplumsal gerçekçi yapıtlarda mevcuttur. Aynı parti her ne kadar ülke ekonomisi için gelişim sağlamışsa da, popülerlik arayışı içinde Köy Enstitüleri’ni kapatması, dinî kurumlara ayrıcalıklar tanıması ve özgür düşünceyi engelleyici tavırları yüzünden Türk Ordusu tarafından infazı gerçekleştirilmiştir. Bunun üzerine yenilikçi 1961 Anayasası, yazarlara aynı devre ait geçmiş ve güncel eleştiri yapma imkânını tanımıştır. İçinde bulunduğu siyasal ve sosyal arka plânın etkisiyle toplumsal gerçekçi bir tutumla kurgu romanlar yazan Attilâ İlhan’ın “Kurtlar Sofrası” eseri eğitici ve yönlendirici özellik taşımakla birlikte sınırlı bir toplumsalcılık modeli çizer. Bunun sebebi yazarın, toplumun yönlendirilmesi gerektiğine olan inancıdır. Bu kısa makalede yöntem olarak eserin yapısal, konusal, dilsel ve karakter düzleminde analizleri yapılacak, eleştirmenlerin (Fethi Naci ve Talat S. Halman) eser hakkındaki görüşleri ve bunlara karşılık yazarın kendini savunur nitelikteki kısa yazıları incelenecektir. “Kurtlar Sofrası” Türkiye’nin 1955 ve devamındaki ekonomik, siyasal ve toplumsal sorunlarına ayna tutarken, Attilâ İlhan 1963 sonrasındaki okuyucuya kendi kurgusunu bunlara birer çare gibi sunmaktadır.
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Conference Presentations by Ayşegül Yayla Wierdsma
Sexuality of Vahé Tcheubjian in M. A. Marcom’s The Daydreaming Boy (2004) and Zebercet in Y. Atıl... more Sexuality of Vahé Tcheubjian in M. A. Marcom’s The Daydreaming Boy (2004) and Zebercet in Y. Atılgan’s Motherland Hotel (1973) will be approached from the social breakdown perspective. In Vahé’s case, the collective tragedy of Armenians being forcefully deported from Anatolia to Der el Zor desert in 1915 causes him to develop a conflicting identity due to historical disruption. In the Turkish case, Zebercet’s father being all powerful leaves Zebercet without freedom. Their breakdowns represent Armenian and Turkish national allegories since one is forced to live in another place while the other is incapable of claiming authority. Literary analysis of the characters’ traumas and sexualities will be made in relation to Vahé having the Armenian identity in Lebanon and Zebercet lacking agency within the Turkish modernization project. Individual and collective tragedies and experiencing the past are compared through textual references. In experiencing the past, both Atılgan and Marcom use psychoanalytical methods of stream of consciousness and the post-memory technique. Deterritorialization of language and reversed victimization are found in Marcom’s portrayal of Vahé. By setting off from individual experience to collective trauma, fiction can work as an example of social breakdown.
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This study contributes to the arguments of mise-en-abyme and meta-narratives in literature on the... more This study contributes to the arguments of mise-en-abyme and meta-narratives in literature on the issue of production of a text, story, novel and the act of writing itself. The research question is how the characters in Orhan Pamuk’s postmodern fiction The Black Book (1990) being references to each other reflect the mise-en-abyme structure of the novel. Characters are not mirror images but they are the copies of non-existing originals. Various meanings of the novel lay in the authorship challenge in a meta-level. Transformation of identities within infinitely distorted mirror reflections will be dealt through the structuralist frames of Jean Baudrillard’s simulacrum and Roland Barthes’ concept of the death of the author in connection to Lucien Dällenbach’s explanation on the technique of mise-en-abyme.
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Drafts by Ayşegül Yayla Wierdsma
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Book Reviews by Ayşegül Yayla Wierdsma
Papers by Ayşegül Yayla Wierdsma
Conference Presentations by Ayşegül Yayla Wierdsma
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