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Bu makale, Achilles’den Shakespeare’in Hamlet’ine, çağdaş yazarlar Julian Barnes ve George Saunders’e kadar ölüm olgusuna yaklaşımları tartışmayı amaçlar. Araştırmanın konusu olan yazarların eserleri, kader ve bilinmeyene gidişi kabullenmeden önce nihai adaleti beklerken bile ölümden kaçınma veya onu kontrol etme arzusunu ortaya koyar. Hamlet’in babasının araftaki hayaline olan ilgisi, daha sonra kendi sorunları arasında unutulur; Achilles erken ve şaşalı bir ölümü kabul etmişken Hades’deki kaybolan yaşantısının yasını tutar. Barker ise onu, ölümü kabullenmesine karşın oğlunun geleceğini planlarken gösterir. Çağdaş Saunders, Lincoln’ın genç oğlunun arafın eşiğinde tutulurken sonsuz kaderi, yargılanma ve sona ulaşma için onun cesaretlendirilmesini konu eder. Barnes’ın arzularını tatmin edecek cennet rüyası, aslında böyle bir cennetin bile nihai olarak kötü olduğunu gösterir, yarattığı karakter bir anlam aramakta ve kendi kişiliğinin tuzağına düşmektedir. İncelenen eserler göstermiştir ki, kaleme alındıkları dönemler farklı da olsa ölümden neye mal olursa olsun kaçınmaya çalışır ama sonuçta onu kabullenir ve mümkünse hayata nihai adaleti getirmesini umarlar., This paper offers an existential approach to writers’ responses to death, evaluating their different views regarding our ultimate destiny, Thanatos. It considers the deliberations of Shakespeare’s Hamlet, the archetypal death-ponderer, and Homer’s Achilles, approaching our own time through contemporaries like Julian Barnes, George Saunders and Pat Barker. These writings spanning hundreds of years demonstrate our desire to evade or control death, while anticipating ultimate judgment for behaviour in this life, before loosening our attachment to life in accepting our final fate. We watch Hamlet’s concern for his father’s ghost tortured in purgatory and his wish for revenge, as it became surpassed by Hamlet’s interrogations concerning his own mortality, still obsessed by death, to which force he finally surrenders. While Achilles had initially embraced a gloriously heroic, youthful death, Homer subsequently shows him mourning the loss of his life in Hades; Pat Barker shows Achilles as reconciled to death, even while attached to life in considering his child’s future. The contemporary George Saunders presents Lincoln’s young son caught in a liminal bardo of the dead, who are trapped in attachment to their mortal state, while Willie is enabled to transition to his final state of possible judgment and closure. Julian Barnes’ wish-fulfilment dream or desire of heaven offers this ideal as a debased, corporeal paradise, leaving his character longing for meaning, even while trapped in the limitations of his own personality. Visions and dreams from Homer and Shakespeare onwards offer cryptic clues regarding unknown future states. These literary reflections through disparate eras indicate the human aspiration to evade death and whatever lies beyond it, while often positing a final surrender to death, alongside a wish for it to make sense of life through karmic resolution.

This study examines the long allegorical poem Goblin Market and the literary character of the creator of this unique work, Christina Georgina Rossetti (1830-1894) from different perspectives. Besides, Rossetti’s view of life is suggested as her motivation to write this poem. In this study, Goblin Market is interpreted from a religious perspective. The importance of resistance to desires and to remain morally justified are presented as the virtues of women determined by God. This religious perspective is also supported by the patriarchal world where women serve the sense of decency in the society through the stories they tell to raise virtuous children. This study also examines sisterly and womanly solidarity besides religious aspects as the poem tells the story of two sisters. The goblins in the poem are regarded as Rossetti’s symbolism of men as the seducers of women with their tricky attractions in the real world. In this study, the point of view regarding desires as sins and weaknesses is considered from religious, social and literary aspects.

Bu makale Jane Eyre romanında baş karakter kendi kişisel yolculuğunda ilerledikçe ortaya çıkan ölüm ve hayal kırıklıklarının ötesine geçen dilsel kasvet ve olumsuzluğa irdelemeyi amaçlamaktadır. Tekrar kullanılan olumsuz dilin ve gerçek ya da hayal ürünü çocukların genelde olumsuz yorumlanan simgesel ifadelerinin aksine, romanda kanatlı yaratıklara, perilere, kuşlara ya da meleklere tepeden bakan ayın ilham verici göksel ziyaretleri ile zenginleştirilmiştir. Bu tür gerçek ve simgesel öğelerin bir araya getirilmesi anlatıya yayılan dilsel yokluk atmosferini mayalamaktadır., This paper attempts to penetrate the linguistic gloom and negativity which pervades the novel Jane Eyre through deaths and disappointments on the protagonist’s personal journey to the dénouement. Despite linguistic negatives and negatively presented images of children, the novel also contains inspiring, heavenly visitations of the moon surveying winged creatures, fairies, birds or angels, which richly leaven the text, piercing the gloom of the prevailing atmosphere of negativity against which the narrative is set.

Bu yazı hem babanın hem annenin çocuklarına olumlu veya olumsuz katkılarını üç çağdaş romanda gösteriyor; Angela Carter’ın Heroes and Villains, Iris Murdoch’ın The Time of the Angels, ve Doris Lessing’in The Fifth Child, böylece anne-baba ve çocuk sorunları ve sorumluluklarını aydınlatiyor, This writing evaluates the contribution of the father as well as the mother to their children’s upbringing in three contemporary novels; Angela Carter’s Heroes and Villains, Iris Murdoch’s The Time of the Angels, and Doris Lessing’s The Fifth Child. These three novels suggest a schema of different types of the family and parenting through these examples. The discussion of these novels show how fathers and mothers at times support their children positively through nurture and inspiring positive values like reasoning, while at other times they present negative, even malicious influences over their children, whether causing their children to struggle to survive, or enabling them to be strengthened in life. These extreme examples suggest some of the pitfalls of parenting, illustrating the hazards on both generational sides

This writing evaluates the position of contemporary women through their fiction, assessing how much their position has improved from the times when women were relegated to being a passive angel in the house, or condemned to asserting themselves in aggressive monstrosity. The writings of four contemporary women writers, Margaret Atwood, Angela Carter, A.S. Byatt and Jeanette Winterson, suggest that however much improved the position of women in both their social lives and their careers, women are still frequently confined to a diminished personal and social status as a result of men’s vulnerability and desire for female support, even as they patriarchally assert themselves over them. Women struggle to escape victim status through ruthless methods, while some women manage to achieve fulfilment even despite their oppressions, Bu makale çağdaş kadınların durumunu ürettikleri edebiyat eserleri yoluyla değerlendirmekte ve kadının ya evin edilgen meleği olduğu ya da saldırgan bir canavar olarak suçlandığı zamanlardan bugüne durumunun ne yönde geliştiğini incelemektedir. Dört çağdaş kadın yazar, Margaret Atwood, Angela Carter, A.S. Byatt ve Jeanette Winterson’un eserleri göstermektedir ki kadınların durumu her ne kadar yaşam ve kariyer açısından olumlu yönde gelişmişse de, erkeklerin ataerkil güçlerini ortaya koymadaki kırılganlıkları ve bu konuda karşı cinsten görmeyi arzuladıkları destek nedeniyle kadınlar hala erkeklerden daha düşük bir kişisel ve sosyal statüye mahkûmdurlar. Bazı kadınlar merhametsizce bile olsa bu kurban statüsünden kaçmak için mücadele vermekte, bazıları ise tüm baskılara rağmen kendilerini gerçekleştirebilmektedir

Margaret Atwood’s dystopian, speculative novel, Oryx and Crake (2003) shows the devastating effects of the unbridled, scientific power or hubris of humans as they play god in attempting to contravene against devastation of the environment according to their own lights, whether reengineering humanity according to their own design, or taking drastic action to ensure the survival of the ecosystem, both of these in a desperate attempt to counteract the results of corporate greed which has virtually destroyed the ecosystem. Atwood presents the cataclysmic events of this novel through a double time frame. The past shows the ecological, climactic destruction of the globe effected by rapaciously capitalist multinational corporates which spreads a dark pall over Jimmy’s childhood. The present time leaves Snowman/ Jimmy almost the sole inheritor after an apocalyptic mass death has occurred. He remains trapped in a traumatic survival of these devastations, looking back to wonder at his own responsibility for this destruction, even as he remains caught within the consequences. Atwood’s imaginative presentation of the ecological destruction of the world, presented through the psychic traumas of her protagonist, shows us the possible consequences of human actions in disregard for the planet earth, which just might operate in warning us of the results of such destruction of our environment before they are actually upon us and it will be too late. Margaret Atwood’un distopik, spekülatif romanı Oryx and Crake (2003) bize dizginlenemeyen bilimin gücünü veya insanların doğayı kendi ışıklarına göre mahfetmelerine engel olmaya çalışırken Tanrı rolünü oynamalarının yarattığı gururun yıkıcı sonuçlarını gösterir. Bu ya insanlığı kendi tasarladıkları yeni bir düzen içinde yeniden yapılandırmakla olur; ya da ekosistemi adeta yokeden bir açgözlülüğü önleme çabasında global düzenin hayatta kalmasını garantiye almak için harekete geçmekle. Atwood bu dehşet verici olayları ikili bir zaman çerçevesinde bize sunar. Geçmiş; Jimmy’nin çocukluğuna gölge düşüren açgözlü, kapitalist, çokuluslu şirketlerin dünyayı mahfetmesini gösterir. Günümüz ise bu kahredici olaylar arasında travmatik bir şekilde hayatta kalarak hapsolmuş hisseden, geçmişine bakarak bunun sonuçlarına yakalandığı için bu yıkımda kendi sorumluluğunu düşünen Snowman/ Jimmy’yi kıyametvari bir toplu ölümden sonra yegane varis olarak bırakır. Atwood’un ruhsal travmalar yaşayan karakteri üzerinden gösterdiği dünyanın ekolojik anlamda mahfolmasıyla ilgili imgesel sunumu bize insanların olası hareketlerinin sonuçlarını gösterir, ki bu da yıkım öncesi bize yıkım sonrasında yaşanacaklar hakkında bir uyarı niteliği taşıyabilir.

Mine Ozyurt Kilic’s discussion of gender bending in Angela Carter’s The Infernal Desire Machines of Doctor Hoffman and Nights at the Circus and Jeanette Winterson’s The Passion and The.Powerbook is particularly insightful in illuminating how the fantastic is deployed subversively by these two contemporary women writers. As a part of her analysis, she revisits Tzvetan Todorov’s concept of hesitation between the marvellous and the uncanny, convincingly demonstrating the pertinence of this to the surrealistically winged Fevvers in Carter’s Nights at the Circus and the web-footed Villanelle in Winterson’s The Passion and clarifying how Todorov’s “road to the marvellous” is exemplified by Patrick’s miraculously voyeuristic vision in The Passion.

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This thesis argues that Gerard Manley Hopkins' poetry can make a significant contribution to our current feminist rereadings of the canon. While on a conscious level he was something of a misogynist, as a man of his time, and a Catholic, on a deeper level he gives a very prominent place to feminine or gylanic qualities, because of some ambiguous qualities in his own sexuality, as well as through the prominent role he assigns to the Virgin Mary. This leads to an interesting originality in his theology, although still basically orthodox, and it also allows an erotic reading of his work through the emphasis he gives to the marriage of the Church to Christ, and Mary as being the prototype of fecundity and regeneration, all nature sharing some of these richly creative qualities of hers. An introductory discussion of the role of the Virgin Mary in the Catholic Church Hopkins converted to shows that this mainly patriarchal branch of Christianity has allowed considerable respect for women, mostly because of the prominent position given to Mary, as the prototypical human, partaking in the one ideal relationship between God and humanity. There has also been a gylanic tendency in the church as a whole, seen in the gospel of self-sacrifice and love, as noted by writers as far apart as Julian of Norwich and Nietsche. At times Christ, in his sacrifice, and the Holy Ghost, symbolised by embracing wings and breast, have embodied a nurturing, self-denying and motherly side of experience. Jung describes this dual sexuality as the anima in man, paralleled by the animus in woman. Both a prominent role for Mary, and a gylanic tendency in general can be seen in Hopkins' poetry. Hopkins is also writing in a tradition of erotic mysticism, through which an ascetic self-denial of physical sexuality leads to its emerging in a more indirect form. Hopkins had a very ambiguous attitude towards sex and marriage, and his sexual instincts and emotions were less than perfectly sublimated, which is expressed in his poetry. There were certain powerful early influences in Hopkins' life, such as Dr. Dyne, his school teacher, who savagely tried to discipline Hopkins, and who appears transformed in the poetry into a repressive and cruel expression of God the Father, which he needs to balance with a more feminine form of God. Another is Digby Dolben, the homosexual fanatical Christian, for love of whom Hopkins wrote various poems. From a very young age a strongly sensual, even sado-masochistic, element in his writings can be seen, and this tendency continues afterhis conversion to Catholicism; both the ascetic and sensual are seen in his religious and nature poetry. In `The Wreck of the Deutschland` Hopkins' description of God places Mary in an even more prominent position than the three members of the orthodox trinity. He also describes the nun of this poem as reaching a physical consummation with God, as she partakes of the nature of Mary in her sacrificial death. Another poem of sacrifice, `Andromeda`, traditionally read as an allegory of the marriage of the Church to Christ, in fact suggests a more explicitly sexual meaning than a purely allegorical reading would require. The sacrificial theme in `The Bugler's First Communion` emerges in the way Hopkins' intense feelings for a young parishioner make him prefer the young man's sacrifice rather than the possibility of his being corrupted. His nature poetry is full of the powerful forces of sexuality, regeneration and fecundity, which expression of physicality is sanctioned in nature, unlike in tortured humanity, for whom sexuality is ambiguous. Hopkins stands outside any such experience, as time's eunuch, one starved of any means of emotional and physical self-expression; he is the frustrated observer of human intimacy. The Mary poems are powerful expressions of her fecundity, a veritable Mother Nature. The `Terrible Sonnets` contain images of rape, gestation, and birth, where the human narrator shares some of the experiences of the female sex, as also in `To R.B.`. Very much aware of his own frustrations, Hopkins sees humanity as condemned to a struggle within its physical nature, since complete self-expression is non-problematic only for the non-human, natural world. Although sexuality remains fraught for him, his many expressions of female aspects of his own experience indicate an implicit awareness of the androgynous nature of humanity. Coming to these insights almost in spite of himself, his poetry can be seen ultimately to make a plea for human nature as well as the natural world to be allowed total self-expression in its own uniqueness or 'thisness' rather than being restricted sexually to being solely male or female, so that each sex may share in the qualities of the other sex. These findings give Hopkins' poetry a refreshingly contemporary light. 124

The present thesis, which focuses on D.H. Lawrence and two of his significant masterpieces, seeks to display the critical role and the significance of childhood experiences in the formation of individuality. The principal purpose is to analyze the main characters of these novels according to Freudian psychoanalytical theories. This thesis explores the connection between the characters and their psychological states which account for their behavior. Both Sons and Lovers and Women in Love have various autobiographical traces, since both of them reflect the personality, the time, the experiences, and the psychological state of the writer. As an outcome, this study firstly gives the necessary theoretical background on both D.H. Lawrence and the relevant psychoanalytical discussion. Secondly, the literary discussion starts with the interpretation of Sons and Lovers according to the Oedipus complex. An inappropriate maternal relationship between the characters in this novel results in the destruction of Mrs. Morel’s son Paul, largely representative of Lawrence himself. Excessive possession by his mother creates a dependent person of him. Thus, he is a man that can neither love nor give himself wholly to other women, which means he becomes unable to achieve full satisfaction. This thesis then continues with the discussion of the main characters of Women in Love according to Freud’s topographical and structural models of the mind. The three levels of consciousness and the significance of the unconscious are discussed in the analysis of the four main characters by making some references to their childhood and previous experiences. Their intricate relations, their psychic worlds, and their choices are discussed differentially on the basis of their own individual backgrounds. By presenting such a detailed discussion based on Freud’s psychoanalytical theories, this thesis hopes to display the underlying reasons of the inner conflicts, and the deteriorations of the various characters created by D.H. Lawrence in both the novels discussed here, Sons and Lovers and Women in Love. D.H. Lawrence ve onun önemli başyapıtlarından iki tanesi üzerine yoğunlaşan bu tez, kişilik oluşumunda çocukluk tecrübelerinin kritik rolünü ve önemini yansıtmaya çalışmaktadır. Asıl amaç bu romanların ana karakterlerini Freudyen psikoanalitik teorilere göre incelemektir. Bu tez, karakterler ve onların davranışlarının sebebini ortaya koyan psikolojik durumları arasındaki bağlantıyı araştırmaktadır. Sons and Lovers ve Women in Love çeşitli otobiyografik izler taşımaktadır, çünkü her ikisi de yazarın kişiliğini, zamanını, tecrübelerini ve psikolojik durumunu yansıtmaktadır. Neticesinde, bu çalışma öncelikle D.H. Lawrence ve konu ile ilgili psikoanalitik inceleme için gerekli olan teorik bilgileri verir. Daha sonra, Sons and Lovers’ın Oedipus çatışmasına göre yorumlanmasıyla edebi inceleme başlar. Bu romanın karakterleri arasındaki anneliğe ait uygunsuz bir ilişki, büyük ölçüde Lawrence’ın temsilcisi olan, Bayan Morel’ın oğlu Paul’un mahvolmasıyla sonuçlanır. Annesi tarafından aşırı sahiplenilmesi bağımlı bir insan yaratır. Bu sebeple, o ne sevebilen ne de kendini tamamen bir kadına verebilen bir adamdır; demek oluyor ki o tatmin olamaz duruma gelmiştir. Daha sonra, bu tez Women in Love’ın ana karakterlerinin Freud’un topografik ve yapısal zihin kuramlarına göre irdelenmesi ile devam etmektedir. Bilincin üç düzeyi ve bilinçdışının önemi, dört ana karakterin incelemesinde onların geçmişlerine ve önceki tecrübelerine bazı göndermeler yaparak incelenmiştir. Kişisel geçmişlerinin temeli üzerine, onların karmakarışık ilişkileri, ruhsal dünyaları ve seçimleri farklı açılardan incelenmektedir. Bu tez, Freud’un psikoanalitik teorilerinin temeli üzerine kurulu böyle detaylı bir inceleme sunarak, burada incelenen Sons and Lovers ve Women in Love isimli romanların her ikisinde de, D.H. Lawrence tarafından yaratılmış çeşitli karakterlerdeki iç çatışmaların ve bozulmaların altında yatan nedenleri ortaya koymayı amaçlamaktadır.