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Item Human voice echoing in the silence of god: worldliness and death in Tevfik Fikret’s poetry(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2014., 2014.) Küçük, Deniz Aktan.; Uysal, Zeynep.This dissertation suggests a possible reading of Tevfik Fikret’s poetry with reference to worldliness and its conceptual manifestation of death within the context of nineteenth century Ottoman poetry. In doing this, this dissertation situates Fikret’s oeuvre within the framework of innovation experience of Ottoman poetry after eighteenth century while at the same time keeping a critical distance from the reliance of Westernization/modernization discourse and its categorization of Ottoman poetry as old and new after the second half of the nineteenth century. It interprets this innovation as a process where God-centered paradigm which dominated Ottoman poetry was replaced with a different paradigm locating subject and its worldy experience to the center. More specifically, this dissertation focuses on the story of the Ottoman subject who struggles to build the new paradigm to give voice to its poetry as God ceases to be the sole determinant. Therefore, this dissertation discusses the poetry of Fikret in the course of a struggle which aims to give the ground on which the poetry and then the subject are to be determined. And it takes up death as a key concept in understanding such a subject’s struggle.Item Fantastic novel :|a genre of dubious existence in the shadow of Ottoman/Turkish modernization (1875-1960)(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2010., 2010.) Aslan, Pelin.; Esen, Nüket,This dissertation examines fantastic novel genre in Turkish literature within the period between the late nineteenth century when the novel emerged as a new genre and the mid twentieth century which marks a turning point in terms of fantastic novel. The novel is perceived as a means by which the authors represent the modernization process they favor since they claim an active role in shaping of modernization discourse, starting from Tanzimat period, the Constitutional period and the declaration of the Republic till nineteen sixties. Within this context, the fantastic novel is materialized as a function to convey the authors’ own argumentations on modernization. The fantastic novel aims either to impose a modernization which is based on the rational, materialist and positivist world view or to include spiritual and mystical world view into the modernization. Nevertheless, it does not become widespread due to the social and the literary reasons, apart from the fact that it becomes a popular genre in nineteen forties when the modernization discourse loses its strictness and the publishing industry flourishes and diversifies. Having discussed some of those social and literary reasons, this dissertation concludes that the fantastic novel cannot display itself as a central genre but remains as a peripheral one within the time period of the scope of this dissertation.Item Muhyi's Hüsn ü Dil : an allegorical work(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2010., 2010.) Açıl, Berat.; Sabuncu, Zeynep.Item Stuck between two worlds: Karamanlidika literary production, Evangelinos Misailidis and Temaşa-i Dünya ve Cefakâr u Cefakeş as a case of rewriting(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2014., 2014.) Şişmanoğlu Şimşek, Şehnaz.; Köroğlu, Erol.; Misaēlidis, Euangelinos,This dissertation aims to situate in modern Turkish literature a narrative fiction, previously overlooked by Turkish literary historians, called Temaşa-i Dünya ve Cefakâr u Cefakeş (1871-1872) by Evangelinos Misailidis (1820-1890), an Ottoman Christian-Orthodox citizen. The dissertation is built on three objectives: First of all, Karamanlidika literature is foregrounded as one of the significant aspects forming the plurality of nineteenth century Ottoman literature. Secondly, Karamanlidika literature is analysed in terms of its processes of production and multidimensional relations of dominance with contemporary Ottoman-Muslim-Turkish and Greek literatures analysing Temaşa-i Dünya as a case study. The third objective is to criticise the argument that Temaşa-i Dünya is just an imitation of the Greek novel O Polipathis (1839). Using mainly Gérard Genette’s theoretical framework and narratological concepts, it can be said that Misailidis has significantly transformed Polipathis semantically and literarily, by changing the style and the language of the narrative, adding different characters, stories and contexts as well as traditional folklore forms having muslim and non-muslim origins. Hence, this study also focuses on the problem of the rewriting of a text using varied writing strategies. The major factor determining the content, literary features and the genre of Temaşa-i Dünya is “liminality”; described as “being in a threshold state ‘betwixt and between’ existing orders.” A member of the Turcophone Anatolian Orthodox community, often treated as being an anomaly by the Grecophone Greek authorities from the second half of the nineteenth century onwards, Misailidis, stuck between Ottoman/Greek, Muslim and Anatolian identities, created a narrative which is “liminal” in various aspects. The text moves between the ideology of the Greek Enlightenment, the social and linguistic Ottoman-Greek and Ottoman-Muslim traditions and the Christian Orthodox religion. Finally, this dissertation claims that, as it contains a diversity of genres and speech as well as new narrative possibilities, Temaşa-i Dünya is an original novel that reveals the multicultural Ottoman world and Ottoman literature in the nineteenth century.Item Kemal Ahmed Dede''s verse narrative Tercüme-i Menakıb-ı Mevlana (a verse version in The Menâkıbü'l-Ârifîn tradition)(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2010., 2010.) Sinan Nizam, Betül.; Kut, Günay.The essential aim of this dissertation is to uncover the life of one of the sixteenth century sufis and poets, Kemâl Ahmed Dede, forgotton among the Mevlevî sources, to present his mesnevi Tercüme-i Menâkıb-ı Mevlânâ which is abridged translation of Menâkıbü‟l-Ârifîn in verse, and to discover his translation aims and methods. In order to achieve this, his menakıpname, his only work for the time being, has been examined in the frames of its form, translation aspects, content and style, then compared with main text if needed. There will be given some brief information about Menâkıbü‟l-Ârifîn, the most important work that describes Mevlânâ‟s and his successors‟ menkıbes in Turkish literature, and its translations and abbreviated retellings in Persian. By doing so, it has been tried to putforward the complete body of the works that includes Tercüme-i Menâkıb-ı Mevlânâ as one of its versions. As a conclusion, this dissertation has approached to the subject not only as an analysis of poet and his work, but also as the context of intertextuality owing to its translation nature and aspects.Item The role of the theatre in the construction of state ideology(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2010., 2010.) Dicle Başbuğ, Esra.; Arslan, Nur Gürani,This dissertation examines how theatrical works written during the period of Halkevleri (People’s Houses) functioned to communicate Kemalist ideology to the public and investigates the particular role of these plays in the transformation of social consciousness during the establishment of the modern nation state. For Kemalism, self-describe through its core principles of republicanism, nationalism, populism, statism, secularism and revolutionalism, the 1930’s was a period in which it became clear that a reform movement could not be fully successful or long-lived without public support. Economic, political and social developments both in Turkey and abroad made clear the necessity for Kemalism to seek public support and to organize this support through rapid institutionalization. In this period the Cumhuriyet Halk Partisi (Republican People’s Party) served as a critical bridge between the public and Kemalist ideology. A decision was taken to close all non-governmental organisations and associations active at the time and to establish Halkevleri as official party organs. During the rise of the modern nation state, Halkevleri functioned in multiple domains in order to educate the public in line with the principles of Kemalist ideology and to encourage the public to embrace these principles. In addition to the fields of language and literature, sports, history, and the arts, theater played a particularly important role in 1930’s Turkey at a time when less than twenty percent of the population was literate. The government capitalized on the accessability and persuasiveness of theater in its attempts to gain public support for Kemalist ideology. This period saw a flourishing of scriptwriting in line with explicit rules stated by the directives of Cumhuriyet Halk Partisi and Halkevleri. Much effort went into harnessing the persuasive powers of theater as a means of propaganda when attempting to garner support for nationhood and raise consciousness of the role of the citizenry in a unified nation state. Over a hundred plays were written on the occassion of the tenth anniversary of the founding of the Republic of Turkey adressing the Turkish History Thesis and Kemalism’s village development projects in the hopes of getting broad based grassroots support for Kemalist ideology.Item Heft Peyker Mesnevis in Turkish literature and Hayâtî’s Heft Peyker(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2012., 2012.) Sürelli, Bahadır.; Toska, Zehra.Starting from the question of how the Bahram Gor narratives have emerged in Persian literature, this work researches a sixteenth century Divan poet Hayâtî’s Haft Paykar, in terms of the dispersion of the subject to Anatolian field and examines how the Turkish writers has approached to these narratives. Therefore this thesis has many folds to make it clear. First of all, it should be determined that the historical personality of Sasanian king Bahram V whose life has been told as a legend in both Persian and Turkish literatures, and then we need to find the legendary narrative sources which his life has been nourished from. Hence, we will try to point out what are the sources that the story identified with, and how old are these stories. On the other hand, with a comperative analysis, it is aimed that the story of Bahram which was first in Persian then Turkish, how and by which poets has been told in literary works since Firdausi. As a chain linked between first with Firdausi, Nizami, Hosrau, and Ali Shir Navai and then with the other poets- the journey and the evolution of Bahram romance could have been followed. The other poets, translated Haft Paykar into Turkish until the time when Hayati wrote his Haft Paykar, have also been added to this process and all analized historically together. Another goal is to realize the most common features of the Haft Paykar texts and realize the new dimensions could been observed in the hands of each. Last of all, we tried put stress on Hayati’s text in terms of its unique features, language, and style. Due to the two existing manuscripts of the work we tried to determine the critical edition of the text as well.Item A crisis of representation :|the literary identity of hijabi woman in Turkish novels(Thesis (Ph.D.) - Bogazici University. Institute for Graduate Studies in the Social Sciences, 2021., 2021.) Balta, İclal Didem.; Köroğlu, Erol.This dissertation examines the ethical and problematic meaning attributed to hijabi woman identity representations in Turkish novels (1910-2017) in terms of narrative ethics. Hijabi woman, who is the subject of this dissertation, will be demonstrated masquerading as a guise or a marginal excess at the literary scene in the framework of the post-structuralist approach's information (Derrida, Lacan, Ahmed). Using the notion of "narrative progression," it explores the problematic conditions of production and reception of the hijabi typologies, which also strongly influences the woman's self-image. By focusing on three breaking points in the representation of the hijabi characters, this study argues that hijab carries a meaning that textualizes the woman image as a persona who lacks individual self-identity and agency elements. These breaking points, which are examined in four separate sections, also correspond with the periodization of the issue of hijab, respectively as “conversion” (1910-1960), “neglection” (1960-1997), “exclusion,” and “inclusion” (1997-up to now) in this study. At each breaking point, the definition of hijabi characters changes, and they are categorized as “veiled,” “headscarfed,” and “turbaned” figures who exhibit the problematic aspects of modernization by their bodies. Hijab, as the primary signification of the “conversion,” is examined as the boundary between a woman's self-identity and the representation of this in Turkish novels that function as a symbol for writers to manifest their political stands. This symbolic role requires the woman protagonist to get through mental, physical, and psychological stages that introduce unveiling as the criteria of abandoning the premodern lifestyle and attaining the modern ideal. The different narrative strategies employed in materializing women refer that the problems inherent to women’s representation do not progress solely in a chronology, but multiple dynamics make this open to inner differentiation. In this sense, the problematic identity of hijab unfolds cultural gender issue that essentially shows the symbolic value of the body.Item Âlî Efendi’s Târîh-i Engürüs and the literary context of Ottoman historical narratives(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2020., 2020.) Pomakoğlu, Ayşegül.; Sabuncu, Zeynep.The subject of this dissertation is Târîh-i Engürüs, a literary work which describes the events that took place during the Ottoman campaign on Hungary between 1593 1596. The manuscript is recorded in Revan 1302, Topkapı Palace Museum Library. It is understood from the poems in the text that the work belongs to an author who uses the penname ʿÂlî. In the Ottoman literature, the works which were based on conquests, military campaigns and victories can be named as gazavatname, fetihname or tarih. As a literary genre these works can be gathered under the title of “fetihname” according to their common features in terms of content, language and literary expression. Târîh-i Engürüs which was written in eloquent prose, is a successful example of fetihname genre with its use of inşa style and metaphors. In the first chapter of the thesis we discussed the historical and literary context of Târîh i Engürüs by giving information about the political situation of the Ottoman empire at the end of 16th century and by defining the fetihname genre. In the second chapter, the persona of author ʿÂlî Efendi was discussed. Then the events in Târîh-i Engürüs were summarized. In the third chapter we identified the text’s literary and stylistic aspects. In the sixth chapter, the transcribed text of Târîh-i Engürüs was given. An alphabetical index of people and places was added at the end of the text for people who would make further research on the subject. Moreover a dictionary was compiled to make it easier for the readers to understand the text.Item The representation of Abdülhamid II's era in the post 1908 plays in the national tragedy genre(Thesis (Ph.D.) - Bogazici University. Institute for Graduate Studies in the Social Sciences, 2022., 2022.) İbidan, Zuhal; Köroğlu, Erol.; Dicle Başbuğ, Esra.This dissertation examines the political-documentary (siyasal-belgesel) theater plays written between 1908-1914. I aimed to carry out the textual analysis of the thirty-three plays, on which the dissertation is built, in a holistic way in the light of the data presented by the period's citizenship course books, Ottoman Archive documents, Tanin newspaper, Aşiyan and Millet ile Musahabe magazines. In addition, support was obtained from secondary literature. This dissertation suggests that the political documentary theater texts are the main tools used by the Committee of Union and Progress (CUP/ITC) government in the process of creating the ideal world and its members with the proclamation of the 2nd Constitutional Monarchy. This dissertation also suggests that the plays, which began to be written after the Second Constitutional Monarchy declared in 1908 and whose content and scope were shaped by the Counter Revolution (Karşı Devrim/31 Mart Vakası) in 1909 and the Balkan Wars of 1912-1913, were formed as a result of the change in the mentality of the state. In this context, the role of ideology in the creation of the ideal world and ideal member that the CUP mentality aimed at through a new discourse by instrumentalizing the theater, making use of the possibilities of the stage, was specifically examined. The dissertation is built on two main pillars. First of all, political and historical events were evaluated in order to make sense of the changing mentality of the period in which these texts were written. Considering the French Revolution, which is frequently emphasized as an example in the plays, as well as the Iranian and Russian Revolutions, the relationship between revolution, ideology and theater is approached from a comparative perspective. Then, detailed reading of the plays was carried out in the context of conceptual and genre discussions. These texts are characterized by derogatory expressions such as “shallow, empty, fashionable” in most of the theatrical literature. Although they are utopian, as a result of conceptual and generic reading, it is understood that these texts are very powerful propaganda products that were presented as if they were historical documents, with an effort to make the masses believe in the illusion created, thanks to the many elements these texts contained, as a part of the efforts of the period power to create the “revolutionary members of the community” (cemaatin devrimci efradı).Item The romantic roots of Turkish poetry :|romantic subjectivity in Abdülhak Hamid Tarhan's poetry(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2010., 2010.) Öztürk, Veysel.; Kara, Halim.This dissertation investigates the romantic subjectivity in Abdülhak Hâmid Tarhan’s poetry. It argues that Abdülhak Hâmid was the real pioneer of modern Turkish poetry, the fundamental characteristics and conceptualization of which were justified by Namık Kemal in the second half of the nineteenth century. By closely examining the first examples of new poetry produced by Hâmid, it aims to manifest how modern Turkish poetry was differentiated from classical poetry and on which concepts and themes this differentiation were based. The dissertation is based on the idea that the struggle to modernize literature only makes sense if it is analyzed as a part of grand modernization project that could essentially be seen as a struggle to appropriate a certain kind of European subjectivity; that is, romantic subjectivity. This new subjectivity can be seen in modern literary conceptions of Turkish literature and its first examples of poetry. It is a romantic realism which the founding fathers have propounded when they were trying to value the new literature against the classical one and Hâmid represents romantic realism especially in his poetry on nature. This dissertation further asserts that nature poetry associated with romantic subjectivity is a fundamental characteristic of Hâmid’s poetics. In these poems Hâmid succeeds in creating a poetic conception that stresses on what is seen and transforms the physical reality by means of romantic imagination. This shows a fundamental shift from classical poetry, which was basically an allegory of the world beyond. Along with nature poems, tragic discernment brought by awareness of death appears as another attribute of romantic subjectivity in Hâmid’s poetry. This new poetic expression can be seen in Hâmid’s Makber, considered the most important poetry collection in nineteenth century Turkish literature. By making one’s personal life the subject matter of literature, Hâmid brings romantic individuality into Turkish poetry. Through this way the idea of autonomous originality instead of originality in classical poetry based on diversification becomes one of the fundamental attributions of Turkish poetry. Finally, by creating a poetry showing major characteristics of romantic subjectivity and imagination, Abdülhak Hâmid Tarhan paved the way for modern poetry for the following generation of poets.Item “Constructing the Self” :|representations of masculinity in Ahmet Hamdi Tanpınar's novels(Thesis (Ph.D.) - Bogazici University. Institute for Graduate Studies in the Social Sciences, 2021., 2021.) Atik, Egem.; Kara, Halim.This dissertation explores the representations of masculinity in Ahmet Hamdi Tanpınar’s novels. Each chapter focuses on the principal themes and issues which play a significant role in the construction of masculinities in the novels. In this respect, this thesis examines fatherhood and filiality in Mahur Beste, health and illness in Huzur and Suat’ın Mektubu, militarism and nationalism in Sahnenin Dışındakiler, business life and entrepreneurship in Saatleri Ayarlama Enstitüsü, and love and sexuality in Aydaki Kadın, to investigate the strategies Tanpınar uses for problematizing masculinities and the literary connotations of such problematization. The study primarily argues that the protagonists’ inability to construct socially accepted masculine identities puts them in a state of constant struggle with masculine norms. The portrayal of characters marginalized in the hierarchical gender regime provides the inquiry of the production, and the rooting of relations of dominance caused by such a regime. The protagonists’ relationships with other male characters performing different masculinities are also scrutinized in the study, which demonstrates that even characters who are admired for coming very close to constructing a successful masculinity fall short of the ideal. Thus, it is argued that the novels which depict the impossibility of a perfect model of masculinity question the features that are included and excluded in the definitions of ideal masculinity. Finally, the study sheds light on female characters’ “doing masculinity”, through which the novels undermine the stereotypes of femininity and masculinity.Item The geograpy of Ottoman poetry :|cities in ghazels(Thesis (Ph.D.) - Bogazici University. Institute for Graduate Studies in the Social Sciences, 2021., 2021.) Akçay, Ülkü.; Büyükkarcı Yılmaz, Fatma.In this dissertation, it is aimed to reveal how cities are used as poetic materials in classical Turkish literature. The study is based on the ghazels of almost three hundred and fifty divans, those were written between the 14th and 19th centuries. As it is a necessity to narrow the data into a classifiable amount, the review of the place names in kaside, kıta, terkibibent and similar verse forms are excluded from the scope of the study. The thesis aims to make a contribution to the determination of the geography of Ottoman poetry and the cultural aspect of Ottoman history. In the first chapter of the study; the discussions, descriptions and opinions on the city, the Islamic city and the Ottoman city are mentioned briefly. Furthermore the genres of the classical Turkish literature, in which the cities were mentioned, and the examples of these genres are studied. In the second chapter; information on the locations, social characteristics and historical backgrounds of major geographies, countries, regions and states are provided and the aspects in which these cities stand out in the ghazels are explained with examples. An assessment on how cities were handled in ghazels is also made. With information on the political and social backgrounds of the cities in the ghazels, the third chapter is composed of a detailed review of the usage of cities as poetic materials.Item Writing from the closet :|Bilge Karasu's queer modernism(Thesis (Ph.D.) - Bogazici University. Institute for Graduate Studies in the Social Sciences, 2021., 2021.) Erdoğan Evren, Selen.; Uysal, Zeynep.This dissertation aims to show how Bilge Karasu’s texts represent normative violence and disrupt the heteronormative matrix. For this end, on the other hand, queer theory is an instrument, and on the other hand, I read Karasu’s texts as an exploration of queer thinking themselves. By close reading Death in Troy (Troya), “The Prey” in The Garden of Departed Cats (GKB), Night and Kılavuz, the relationship between the themes of violence, paranoid thinking, writing, desire, and pleasure as well as their aesthetic reflections are scrutinized. This analysis draws a picture of Karasu’s queer modernism composed of queer temporality and affect. (See Appendix A for an extended abstract)Item Subject, nature and deterritorialization in Ahmet Haşim’s poetry(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2019., 2019.) Özkök, Seher.; Uysal, Zeynep.This thesis aims to draw a picture of the subject from nature, subject to society, aesthetics from society. The nature of the subject, which began with the first poems of Ahmet Haşim, was evolved into the nature-maternal image-loss triangle in Şi’r-i Kamer. In Göl Saatleri, this relationship made possible the construction of the subject, displaced aesthetic elements and the picture of the historical period became visible. In Piyale, aesthetic dissolution revealed the desire flows and at the same time the streams of desire were built in a new aesthetic. In this context, the poem of Ahmet Haşim is a poem in which the story of the traditional society's transition from "person" to the subject coincide with the aesthetic plane. From this perspective, the construction of the subject has allowed aesthetic dissolution. The deterritorialized subject of poetry will be hemmed with deterritorialized mazmuns. Because a culture has shifted beneath the feet, the resulting subject is the subject of loss, the resulting metaphors are the scattered pieces from the despotic regime.Item New novel, old village: The history, origin and end of the village novel (1950-1980)(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2018., 2018.) Irmak, İsmail Erkan.; Köroğlu, Erol.This study examines the generic, cultural, historical and political determinants of village novels written roughly between 1950 and 1980. In the history of Turkish literature, every text on the village was included in the village novel genre without any criteria other than the place where the novel passed. In most cases, a similar reductionist approach has been exhibited in world literatures, and village novels have been classified only by looking at the scene where the events take place. In order to show the problems of this point of view, the novel has been analyzed in a conceptual way as a genre. Another issue addressed in the study is the question of how village novels should be defined in Turkish literature. With this intention, the Village Institutes that played a dominant role in the emergence of village novelists were examined and Mahmut Makal’s Bizim Köy, which could be considered as the first important representative of the graduates, was also interpreted historically and generically. In addition to literary theories, the historical, cultural and political conditions that set the stage for the emergence of these texts were taken into account and the question of how village novelists and their works were received in literary debates was questioned. Finally, focusing on Fakir Baykurt's novels, common features encountered in almost all village novels have been interpreted with close reading method. In conclusion, this study seeks to provide a new perspective to village novels, and to build a foundation to help future researches.Item An analysis of the terminology of textual production methods in sixteenth-century Ottoman şair tezkires(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2018., 2018.) Konar, Aişe Handan.; Toska, Zehra.Şair tezkires (tezkiretü’ş-şu‘arâ) or biographical dictionaries of poets are regarded as the most prominent literary/historical sources of Ottoman literature. Originated in the Arabic and remodeled in the Persian tradition, şair tezkires emerged in the sixteenth century as a separate literary genre in the Ottoman realm and continued up until the twentieth century unceasingly. Tezkires not only provide us with the basic background information about a poet’s life and his/her poesy/poetics, but they also give samples of their poems, hence displaying a mixture of the two genres, biography and anthology. This thesis is based upon and derives from sixteenth-century şair tezkires written in the Ottoman literary domain. In this study, methods of textual production are the main focus of interest in the context of those tezkires. There have been various definitions and classifications of the works produced in the Ottoman literature. Yet based on a different type of evaluation, this study pursues a different kind of classification and focuses on how the works/texts were composed; that is, the terms that indicate the ways, methods of textual production which could be listed as tetebbu‘, nazîre, cevâb, terceme, şerh, tasnîf, te’lîf, tazmîn and so on are discussed in detail, and all the usages of these terms by the sixteenth-century tezkire authors are presented with their intra-lingual translations. Thus, this thesis has put forth both a study of terminology and a discourse analysis.Item The economy of sense in Oktay Rifat’s poetry(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2019., 2019.) Aydoğan, Yüce.; Köroğlu, Erol.This dissertation examines the conditions of production, emergence and circulation of poetic sense in Oktay Rifat’s (1914-1988) poetry. Using the notion of “economy of sense”, it explores the problematic of poetic creation and verbal event. By focusing on Rifat’s complete poetic works, it argues that the poetic sense in the way Rifat performs and textualizes it is produced as a non-economic excess. The sense as a non-economic excess unfolds within the framework of contemporary thought (Derrida, Malabou, Stiegler). According to Rifat, sense is a movement that is unrepresentable and impossible to present within a verbal structure. Poetic sense is conceived in three main metaphysical dimensions: Space, time, nature. Oktay Rifat spatialized the poetic sense in the figure of shoreline. Shoreline functions as an emblem so as to mark the limit of presence. The figures of beginning as the way the sense is temporalized shows that time does not work in the mode of chronological succession but instead it entails a peculiar dynamic which is fully open to self differentiation. Rifat’s intransitive type of beginnings unfolds the spacing between poetic text and presence. Beside space and time, the third dimension in which sense revolves around is the irreducible distance between nature and technology. Nature is never natural, but always already technological. Poetic sense as an non-economic excess is produced at where nature surpasses itself. Thus the poetic sense in Oktay Rifat’s poetry shows an essentially prosthetic and plastic character.Item Modernity and subjectivity in the literary critism of Namık Kemal(Thesis (Ph.D.)-Bogazici University. Institute for Graduate Studies in the Social Sciences, 2007., 2007.) Altuğ, Fatih, 1977-; Esen, Nüket,This dissertation examines the relation of the literary criticism of Namık Kemal to modern Ottoman subjectivity. There is a close relation between the literary criticism and the formulation of new Ottoman subjectivity. The late Ottoman production of subjectivity is the foundation of the critical subjectivity of Namık Kemal. This subjectivity is produced as a result of the traumatic encounter between occidental modernity and the 19th century Ottoman symbolic order. Critical attitudes are determined by the conditions of crisis. The literary criticism of Namık Kemal tries to recuperate Ottoman subjectivity which is injured by the alterity of occidental modernity. Within the critical conditions, Arabic, Persian and old Ottoman (divan) literatures in addition to the modern occidental literature are perceived as an alterity which is related to bringing order into the literary chaos. Exclusion, inclusion, abjection, idealization, universalization, nativization or nationalization are the main critical attitudes of Namık Kemal in order to cope with the crisis of literary and cultural alterities. This representational literary system produces the new Ottoman literary subjectivity by eliding the injuring alterity and occluding of the object of criticism in the interests of the modern Ottoman subject. Cultural and literary appropriations of the alterities show that the modern Ottoman literary subject is instituted through constraints, constituted through practices of subjection/subjectivization. The critical subjectivity of Namık Kemal, synchronously, produces an autonomous subject position and performs the essential subjection of the modern Ottoman literary criticism to the Arabic, Persian, old Ottoman and occidental literatures.