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The twentieth century witnessed the death of at least 100 million people due to wars, genocides, and conflicts. Catastrophic and violent events that emerged in the last decades of the 20th century led to new trends in Britain, such as in-yer-face theatre. One of the forerunners of this movement, Mark Ravenhill, reflected the realities on stage in order to create a new awareness about the case of violence. In this respect, this study will attempt to demonstrate that the Foucauldian approach to violence did immensely affect the English drama of the time by apparently showing itself in Ravenhill’s Shopping and Fucking. This play was first performed on 26th September, 1996 at the Royal Court Theatre. Together with the content, the title is enough to shock the public. The playwright is surely good at finding affective titles for his plays; however, this one affects the norms and values more than the others since the title of the play is printed with asterisks as Shopping and F***ing. Shortly, the aim of this article is to analyze the dynamism, changes, socio-political importance, and effects of violence in Ravenhill’s infamous play by taking power and family relations into consideration.

This study applies an interdisciplinary and comparative approach to the selected works through panentheistic philosophy to visualize the abstract expressions and perception of theology and philosophy on panentheism using concrete and representational expressions of the selected novels. In the dystopian work Lord of the Flies by William Golding, this study benefits the limitless opportunities fiction offers to unveil the problem of evil and goes beyond the boundaries of the teachings, experiences and social norms the human world. The dystopian fiction Lord of the Flies, which portrays the inner and subconscious conflict between good and evil within individuals, is scrutinized from a panentheistic perspective to question the existence of evil. Midnight’s Children by Salman Rushdie, as a genre of magic realism and historiographic metafiction, will enlighten the study to reveal the conflicts between destruction and creation to clarify the problem of evil which is ambiguous from a panenthestic view.

When talking about literature and King Arthur, the premise of the Arthurian legend is vague. The myth of King Arthur and the Knights of the Round Table might have been real or merely fairy tales. However, historical aspects of a questionable kingdom are one thing, and the fictional aspects of King Arthur and his knights in the realm of Camelot is another thing. Therefore, through literary myths, an intertextual analysis of Arthurian legacy will be applied to selected literary texts to display the radial transformation of the attempted meanings of King Arthur’s legacy under the influence of history and pseudo-history.

Bu makale, ortak dil kavramının günümüzdekidönüşümünü genel hatlarıyla tartışmayı amaçlamaktadır. Dünyamız git gideküçülüyor. İnsanlarımız arasındaki hayatı yaşama biçimlerindeki farklar da gitgide azalıyor. Dünya Edebiyatı bizi bir çatı altında birleştiriyor: geçmiştenbugüne dünyanın insanı olmak. Semaya baktığımızda hepimiz aynı mavi rengigörüyoruz. Hayallerimiz ve umutlarımız benzer. Ancak dillerimiz farklı. Farklıdiller yine de duygularımızı aktarabilmek için bir engel değil. Artık gelişenteknoloji sayesinde medya ve internet dili ortak bir dil haline dönüştü. İşiniiyi yapan bir tercüman ister sözlü ister yazılı olsun sözlerin görsel sanataaktarıldığı bu çağdaş dönemde artık ortak hislerin sözcüsü olmaktadır. Edebiadaptasyonlar 20. ve 21. yüzyılın ana akımını oluşturarak dijital medyaaracılığıyla milyonlarca izleyiciye ulaşıp istediği mesajları iletebilmektedir.Bu adaptasyonlar yeni bir ortak dil oluşturarak izleyicilerin yine paydaş duyguve düşüncelerine tercüman olmakta ve benzer izdüşümleri yansıtmaktadır.Dolayısıyla yazılı metinler yerlerini görselliğe bırakırken edebiyatın beyazperdedeki mecrası daha da genişleyerek yeni nesille yolculuğuna dijitalleşmeyoluyla devam etmektedir. Böylelikle internetle birlikte ortaya çıkan yenidiller ortak bir konsolidasyon sağlarken özünde hala edebi olarak yazılı metningücünü görselle birleştirerek artık bu yeni mecrada kendine yeni yollar açmaktave Dünya Edebiyatını yeni bir boyuta taşımaktadır. Sonuç olarak ilerleyentekniklerle birlikte değişen medya da değişime kendini adapte etmiş ve edebiyatile arasındaki sınırları kaldırarak artık dijital edebiyatın yeni bir şeklikarşımıza çıkmıştır., This article purports to discuss thetransformation of the concept of common language in contemporary times throughgeneral terms. Our world is getting smaller. The differences between our peoplein the way they live their lives are also decreasing. World Literature unitesus under one roof: to be a person of the world from past to present. When welook at the sky, we all see the same blue color. Our dreams and hopes aresimilar. But our languages are different. Different languages, however, are notan obstacle to conveying our feelings. With the ever-evolving technology, mediaand internet language have become a common language. Any interpreter doinghis/her job well now becomes the spokesman of the common sensations in thiscontemporary period when words, whether verbal or written, are transferred tovisual art. Literary adaptations create the main stream of the 20thand 21st century by reaching out to millions of viewers throughdigital media and conveying the messages they want. These adaptations create anew common language that actually interprets the emotions and thoughts ofbillions of people and reflect similar projections. Thus, while the writtentexts leave their places to the visuality, the white screen of literature isfurther expanded and the journey to the new generation continues throughdigitalization. In this way, the new languages emerging with the Internetprovide a common consolidation, while still incorporating the power of literarytext in a visual way, it now opens new paths in this new medium and takes WorldLiterature to a new level. Consequently, along with the advancing techniques,the changing media has also adapted itself to this adjustment and by removingits boundaries between literature, a new version of digital literature hasemerged.