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Öğe Ekphrastic Expression of Western Painting and Cultural In-Betweenness in Evliyá Çelebi's Seyahatname (The Book of Travels)(Brill, 2022) Kaya, NilayEkphrasis, a part of the ancient Greek and Roman rhetorical practices, is, in its most basic sense, the verbal expression of a visual object. Since the description of Achilles' shield in Homer's Iliad, ekphrasis has been a literary practice used for the portrayal of visual artworks through fiction and poetry, as well as in prose written in history, art criticism and travelogues. Ekphrasis is a convenient literary tool for analysing the author's treatment of the object depicted. Ekphrastic studies enable the identification of the author's relationship with objectivity and subjectivity, and the building blocks of the said subjectivity, through literary elements. What kind of fictional language does ekphrasis, which is essentially the act of making the mute object speak, point to, in Evliya celebi's representation? This article will aim to examine the subjective factors, personal taste and cultural positioning that emerge in Evliya celebi's writing practice, mainly in his ekphrastic narration of the Western paintings that he saw in the Balkans and Vienna, which he describes in great detail in his Seyahatndme. It is of the author's opinion that, although Evliya celebi's cultural positioning imposed limitations on his aesthetic perception and ekphrastic narration, he had an admiration for the Western art; and his actual cultural position manifests itself in an in-betweenness in the East-West spiral, which also reflects his unique literary mode.Öğe Gözlerimi Kaparım, Seyahatimi Yaparım: Susan Sontag’ın Alice Yatakta Adlı Oyununda Hayalî Seyahat(Istanbul University, 2024) Kaya, NilaySusan Sontag’ın 1993’te kaleme aldığı tiyatro oyunu Alice in Bed (Alice Yatakta), tarihi bir figürü, on dokuzuncu yüzyılda yaşayıp aldığı ayrıcalıklı eğitime ve sahip olduğu yaşam standartlarına rağmen kendini gerçekleştirme fırsatı bulamayan, romancı ağabeyi Henry James ve diğer meşhur ağabeyi psikolog ve düşünür William James’in gölgesinde kalan Alice James’i konu alır. Alice James’in ölümünden sonra yayımlanan günlüklerinden faydalanarak bu oyunu yazan Sontag, ömrünün çoğunu hastalıklarla boğuşarak geçiren Alice James’e Londra’daki hasta odasında, artık yatağa bağımlı olduğu zamanlara odaklanarak ses ve hayat verir. İki sahnesi tamamen Alice’in zihninde geçen oyunun altıncı sahnesi, hayalî bir Roma seyahatini konu alır. Edebiyatta başlı başına bir tür olarak değerlendirilebilecek hayalî seyahat anlatılarına ayrıcalıklı bir biçimde dahil olan bu sahne, on dokuzuncu yüzyılda toplumsal açıdan son derece güvencesiz bir konumda olan kadının özerk bir kimlik inşası çabasına işaret eder.|Susan Sontag’s 1993 play Alice in Bed focuses on Alice James, a historical figure from the 19th century who, despite having a privileged education and lifestyle, was unable to fulfill her own dreams. She lived in the shadow of her novelist brother Henry James and her other famous brother, psychologist, and thinker William James. Drawing from Alice James’ diaries published posthumously, Sontag breathes life into her, concentrating on the times when she was bedridden in her sickroom in London, having struggled with illness for most of her life. The sixth scene of the play is set entirely in Alice’s mind and depicts an imaginary journey to Rome. This scene can be considered as a distinct genre in literature, is privileged in narratives of imaginary travel, and points to the efforts a socially very precarious woman in the 19th century made to construct an autonomous identity.Öğe Immortal Love: Metin Erksan Reimagines Wuthering Heights(Routledge Journals, Taylor & Francis Ltd, 2019) Kaya, Nilay; Tekcan, RanaThis article aims to look at a Turkish film adaptation of Emily Bronte's Wuthering Heights. The 1966 black-and-white film, directed by the renowned director Metin Erksan, carries the story to a farm on the hills of Bosphorus, Istanbul. Although Erksan emphasizes the issue of class in the film, he is particularly interested in recreating the novel's atmosphere in his own cinematic language. A director very much drawn to dark, destructive love stories throughout his career, Erksan manages to capture 'the spirit' of the novel with the help of his two lead actors. Immortal Love is an example of the avant-garde, at the crossroads of the national and the universal. It is an affirmation of the novel's seemingly endless appeal and inspiration.Öğe Karşılaştırmalı edebiyatın deniz feneri’ne: Jale Parla’ya armağan(İstanbul Bilgi Üniversitesi, 2023-06-05) Kaya, Nilay[Abstract Not Available]Öğe Karşılaştırmalı Edebiyatın Deniz Feneri’ne: Jale Parla’ya Armağan(2023) Kaya, Nilay[Abstract Not Available]Öğe The Drama of Ekphrastic Affect: Sculpture in Evilya Celebi's The Book of Travels(Univ Illinois Press, 2019) Kaya, Nilay[Abstract Not Available]
