Browsing by Author "Eradam, Yusuf"

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    Fahrenheit 2000: Edward Albee'nin oyunlarında yabancılaşma teması
    (Sosyal Bilimler Enstitüsü, 2001) Yamangümeli, Fatma Devrim Kılıçer; Eradam, Yusuf; Batı Dilleri ve Edebiyatı
    ABSTRACT The introduction gives a general information on Edward Albee's biography, his views on theatre and life, provides insight into the alienation theme which shapes his works. It gives a summary of the general features of existentialism and absurd theatre in which the concept of alienation has an indispensable place. It also touches upon Albee's complete plays except for The Man Who Had Three Arms, Marriage Play, The Lorca Play and The Play About the Baby. Part I focuses upon characters who, by being able to break the illusion they are in, step into a new life within the framework of the alienation theme. In this respect it analyses The Zoo Story, Who's Afraid of Virginia Woolf?, A Delicate Balance, Box and Quotations from Chairman Mao Tse-Tung, Seascape and Three Tall Women comparatively in detail. Part II focuses upon the characters who, by not showing the capacity to experience an awakening, cannot overcome their illusions and prefer to maintain the status quo they are in. In this respect it analyses The Death of Bessie Smith, The Sandbox, The American Dream, Tiny Alice, All Over, Counting the Ways, Listening and The Lady from Dubuque comparatively in detail. Conclusion establishes the assertion that Edward Albee uses alienation theme to underline the necessity of freedom, and exemplifies this goal.
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    Postmodern Goddesses in Contemporary Chicana Feminist Novel: Peel My Love like a Onion, Caramelo, or, Puro Cuento: A Novel, and Face of an Angel
    (Sosyal Bilimler Enstitüsü, 2008) Terci, Fatma Tuba; Eradam, Yusuf; Batı Dilleri ve Edebiyatı
    This dissertation analyses the role of goddess-like postmodern characters and their connection to issues of the border and cultural identity in three contemporary Chicana feminist novels: Ana Castillo?s Peel My Love like an Onion (1999), Sandra Cisneros?s Caramelo, or, Puro Cuento: a Novel (2002) and Denise Chávez?s Face of an Angel (1995). These three works are seen as representative of the contemporary Chicana feminist novel?s importance within the context of Chicana feminist activism. The goddess-like fictional characters, drawing on representations of ancient goddesses like Coatlicue and Tonantzin as well as hybrid personages like the Virgin of Guadalupe, are read as empowering symbols, the result of a process of reworking and syncretizing dominant mythologies.Roland Barthes provides a theoretical model for understanding the ways in which such mythologies are ideologically constructed to fortify the Western binarisms of gender, race and class. U.S. third world feminist theory has deployed elements of poststructuralism to provide an understanding of the resistance and reworking of dominant ideologies within textual practices. In particular Chela Sandoval offers a methodology that she calls ?meta-ideologizing? for this process. Gloria Anzaldúa?s concept of the ?borderland? develops a new understanding of the Chicana experience stigmatized by a dualistic conception of split identities and a positive model of cultural production that resists dualisms which are the products of androcentric and anglocentric consciousness.
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    Staging the soul: Eugene O'Neill and American expressionism
    (Sosyal Bilimler Enstitüsü, 2002) Soran, Sırma; Eradam, Yusuf; Batı Dilleri ve Edebiyatı
    This study examines Eugene O'Neill as an expressionist playwright and reads his theatre (1920-1926) as an expressionistic transition. The study analyzes the elements of European expressionist tradition O'Neill chose to make use of and those he decided to leave out. The importance of this research lies in its argument that O'Neill's experiments in expressionistic drama make many of his plays significant not merely as curiosities in the evolution of American theatre art but as an infusion of new dramatic methods into exhausted forms such as melodrama and surface realism. And it is this infusion, this blend that has served to redefine the way we perceive modern dramatic literature and the culture that produced it. The study has been divided into two parts. The division corresponds to the theory and practice of the expressionist movement (in Europe and America), New Stagecraft (in America) and O'Neillian drama. Part One deals with European theories of the expressionist movement in general (Chapter 1) and its features in the field of drama (Friedrich Nietzsche, Gordon Craig, Adolph Appia, Frank Wedekind, Georg Kaiser, August Strindberg), and its conjunction with theories of American New Stagecraft Movement in the early twentieth century (Kenneth Macgowan, Robert E.Jones) (Chapter 2) which serve to clarify how Eugene O'Neill adopted new techniques of setting, staging and characterization in his own work (Chapter 3).Part Two of this study is devoted to an analysis of expressionistic dramatization O'Neill used in a selection of plays belonging to years 1920- 1926. Part Two, Chapter One titled "Ghosts" emphasizes expressionistic drama's major visual images- ghosts and phantoms- as they are seen in The Emperor Jones (1920) and examines O'Neill's interest in the unconscious workings of man, which is reflected in the play through a rich usage of dream-like images, gestures and apparitions. The chapter "Machines" under which The Hairy Ape (1922) is observed discusses the process of mechanization of the individual in the modern era in relation to the play's thematic concern. The chapter emphasizes the imagery of the 'machine' as it is seen in the play and its correspondence to expressionistic dramaturgy. Chapter Three of Part Two, "Masks" offers an analysis of The Great God Brown (1926) and All God's Chillun Got Wings (1924) and looks at how the function of the mask coincides with the basic principles of expressionistic drama. Chapter Four of Part Two titled "Desire" explores how the setting of Desire Under the Elms(\924) serves as a symbolic function which is a primary goal of expressionism. The chapter focuses on the play as a synthesis of different theatrical traditions such as realism, use of symbolic presentation and expressionism. A complete work devoted only to O'Neill's expressionist drama is lacking in the area of O'Nellian studies. This study, therefore, is original in its focus on the roots of O'Neill's innovative dramaturgy which is the act of borrowing, exploiting, eliminating and synthesizing that which was originally European expressionism but eventually formed into an O'Neillian expressionism. O'Neill's expressionist plays included in this study serve asIll illustrations of how O'Neill has blended the European with American drama and has formed the distinctive theatre of America.
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    Symbolic and ontological meanings of skyscraper New York city in american culture
    (Sosyal Bilimler Enstitüsü, 2006) Yarangümeli, Fatma Devrim Kılıçer; Eradam, Yusuf; Batı Dilleri ve Edebiyatı
    The purpose of this study is to provide a socio-psychoanalytic lens through the works of psychoanalysts Sigmund Freud and Jacques Lacan together with social theorists Michel Foucault and Pierre Bourdieu in understanding why New York City has been expanding vertically and what this architectonic verticality tells us about the American. The study focuses on Manhattan because it is the very place where the skyscraper form was fully exploited. Manhattan also housed the ?Twin Towers? of World Trade Center before their fall in September 11, 2001. Part I sets the historical and economic background for the skyscraper form. Part II offers a psychoanalytic lens to the relationship between the subject and the built environment. Part III establishes the workings of diffuse power relations as mediated by the built environment. Part IV examines the relationship between the subject and the skyscraper form as a masked power dispersal as exemplified by the proposed ?Freedom Tower? in New York. The conclusion establishes the assertion that the skyscraper form mediates masked power relations, becoming an objectification of the ego ideal of the nation, that of being a winner in the competition to materialize the American Dream.