Translation Studies

Dilbilimci, psikanalist ve yazar Julia Kristeva'nın İstanbul Psikanliz Derneği'nin davetlisi olarak 12 Temmuz'daki konferansının konusu, kadın dehasıydı. Son dönemde kadınlar üzerine yazması, ve bir konferansının konusunun kadın dehası olması düşün dünyasında bir değişimin beklentisi yaratıyor ister istemez. Cinsiyet üzerine kurulu bir kimliğin, dişi öznenin, ve dişi dilin imkansızlığını savunan Kristeva'nın, bir kadın yazar, Colette, bir kadın siyaset bilimci, Hannah Arendt ve bir kadın psikanalist, Melanie Klein bağlamında kadın dehası üzerine çalışması, bir kadın kimliğine yönelme olduğu izlenimini veriyor. Sonuçta, semiotik olarak adlandırdığı, anne ve çocuk arasında baba kanunuyla yasaklanmamış temsil öncesi ilişki döneminin, duyusal, ritimsel vurgularını, enerjisini, akışlarını erkek sanatçı ve yazarların eserlerinde okumakla eleştirilen, Freud mirasçısı Kristeva'nın özellikle kadın yazını üzerine yazması, bu eleştirilere bir yanıt gibi görünse de Kristeva kadın dili, dişi özne konusunda Freud ve ardından Lacan' ın çizdiği 'penis hasedi'

In The Stone Gods (2007), Jeanette Winterson creates a subject position that defies humanism by getting rid of the body and biology completely by creating the character Spike, a robo sapiens who presents herself as a woman that decides to be a lesbian later on. This robo sapiens, detached from its body at the end, provides an interesting position to discuss the deconstructionist and feminist critique of the subject and gender. I will argue that, despite its radical divergence from the subject of humanism, this subjectivity is actually embedded in the religious and humanist conception of the subject, which is revealed in the apocalyptic pattern of the novel. This apocalyptic pattern and the logic of ending is in accordance with the Biblical apocalyptic pattern which also encompasses the rational perception of apocalypse which defines the discourse of global warming. An analysis of the apocalyptic philosophy of the Bible will show that the intelligible and rational world view dominates both religious and secular writings such as The Stone Gods, and this world view implies a certain subjectivity that this apocalyptic vision can accommodate. This subjectivity is a complete entity that has free will defined in its difference from and in relation to others – human, animal or divine – and this difference and relation is what constitutes the subject of humanism. This humanist subject is in opposition to the subject of change and shape-shifting of mythology or pre-monotheistic religions as illustrated in Joseph Campbell’s study of Oriental mythologies and in Mikhail Bakhtin’s study on the carnivalesque. In other words, the narration of apocalypse that marks the end of time and follows a rational logic of reward and punishment as featured in The Stone Gods inheres a certain understanding of subject that cannot diverge much from the male humanist subject, which is the case regarding the character of Spike.

Apocalyptic narratives usually engage in an effort to create alternative subjectivities on the base of a certain critique of the human. They offer a stance against humanism but still the basic premises of humanism lurk behind even the most subversive subject positions. Here, I will discuss how the subjectivity offered in secular apocalyptic narratives reflects the religious and humanist conception of the subject. The endings, apocalyptic visions, catastrophes reflect the logic of ending, progress, guilt, and control we find in the Bible and in humanism. The apocalyptic philosophy of the Bible offers a worldview which accommodates a certain subjectivity which is one of free will, a complete entity defined in its difference from othershuman, animal and divine. In contrast, the self that we can infer from Joseph Campbell's work on oriental mythologies and Bakhtin's study on carnivalesque is completely at odds with the subject of humanism. The incomplete, shape-shifting, grotesque body in the folk culture of the Middle Ages, as Bakhtin suggests and the divine subject that deconstructs the oppositions between life and death, human and divine in Campbell's study on the oriental mythologies opposes the Western subject built on dualities. This comparison will show that the deconstruction of the male subject requires a completely different configuration of the human. To illustrate the recurrence of the same pattern of thought in apocalyptic narratives, I will analyse two opposing modes of subject offered in Jeanette Winterson's

Öz Bu makale Margaret Atwood'un 2005 yılında yayınladığı The Penelopiad adlı romanını Luce Irigaray'ın dişi özne ve ataerkil ve anaerkil kültürlerin çatışma alanı olarak mitolojinin yeniden okunması tartışması bağlamında inceleyektir. The Penelopiad Penelope'ye ve Odysseus'un Ithake'ye dönüşünde katlettiği Penelope'nin on iki hizmetçisine özne konumunu verir ve epik şiiri bir de onların dilinden bakış açısından dinleriz. Odesa'daki sessiz karakterlerin kalemi eline aldığı, çeşitli yazın türlerinin bir kolajı olan bu romanda, tür, cinsiyet, dil sorunsalları bir araya gelir ve yeni bir özne ve cinsiyet paradigması ortaya çıkar. Bu yeniden yazımda ortaya çıkan Odesa anlatısının bastırdığı, varlığını inkar ettiği farklı bir özne ve cinsiyet kavramına işaret eden ataerkil kültür öncesi anaerkil bir toplum yapısıdır. Bu yeni özne anlayışı da Luce Irigaray'ın, hümanizmin erkek egemen, tekil ve tek sesli öznesine alternatif olarak sunduğu dişi özne anlayışına benzer; çoğul ama cinsiyet farklılığının farkında olan bir öznedir. Roman böylece erkek egemen öznenin dayandığı temelleri sarsar ve bizi bir kez daha 1990'larda baş-layan, feminist eleştirmenlerle ve Derrida'nın izinden giden yapısökümcü eleştirmenleri karşı karşıya getiren dişi özne tartışmalarını gözden geçirmeye davet eder. Margaret Atwood bu romanında, kadınların özne konumuna eriş-melerinin temsil ve güç ilişkilerini sorgulamaya olanak sağlayan yeni bir dil ve edebiyat üretebileceğini gösteriyor. Abstract This article analyzes Margaret Atwood's 2005 novel The Penelopiad in the light of Luce Irigaray's argument of female subjectivity and re-interpretation of mythology as the site of the representation of patriarchal power turnover and suppression of matriarchal cultures. Giving subject positions to silent agents and using various gen-res, The Penelopiad brings together gender, genre and language in such a way that results in a paradigm shift in conceptualizing subjectivity and sexuality in a similar vein that Luce Irigaray calls for. Reconstructing the silent characters such as Penelope and her twelve maids whom Odysseus murders upon his return to Ithaca in The Ody-ssey, Atwood unfolds the traces of a previous socioeconomic structure's existence and its suppression in the epic. Revealing history in myth and myth in history, she criticizes patriarchy through its exclusions and suppression of female traditions that indicate a different construction of sexuality and subjectivity in pre-patriarchal cultures. The novel destabilizes the foundations of the male subject, which occasions revisiting the controversial issue of female subjectivity that has produced an immense amount of literature since the 1990s with the rise of deconstructionist criticism. Atwood's text shows that women's claim to a subject position helps produce a different language and literature that allows for the exploration of suppression and representation.

The female sphere of marriage and romantic relationships, and the conflicts women face in their roles as wives, is a common issue in George Eliot's works. Even though the marriages at the end of her novels seem to conclude the female protagonists' quests, marriage never signifies a complete resolution of the conflicts women struggle with. In one sense, there is the suggestion that the female protagonists, who find themselves in contradiction with their environment, have to settle for this resolution because their desires can never be fulfilled within the present conditions. While marriage and love can be depicted as pessimistic as that of Rosamond and Lydgate's in Middlemarch, there is also the implication that certain characters of a certain bent are more deserving of marital bliss as much as it can be gained in society as such. Dorothea's second marriage to Will Ladislaw, for example, even though it is not offered as the perfect life for Dorothea, is contrasted with her oppressive and suffocating first marriage to Casaubon and Rosamond and Lydgate's unhappy marriage. It is nevertheless an incomplete resolution and one that Dorothea has to contend herself with. George Eliot attributes this incompleteness, which accounts for the pessimistic atmosphere of the novel as well, to the social conditions women find themselves in but all these women, both Dorothea and Rosamond, are subject to the same conditions. Then, for George Eliot, some women merit marital bliss whereas others are excluded from this state. I will look at these female characters in the light of Luce Irigaray's argument of female subjectivity based on her criticism of the psychoanalytic theory to understand what kind of female subjectivity deserves happiness in George Eliot's Middlemarch. The comparison between Dorothea and Rosamond, whose echoes can be found in Mirah and Gwendolen in Daniel Deronda, will show the religious characters that search for unity with God, rather than with the mother are those who can achieve marriage. Hence, Rosamond who objectifies herself in the place of the mother will be unworthy of the moral centre of the novel. The motherless characters such as Dorothea and Mirah, on the other hand, are affiliated with the place of a real absence; the place that both God and

In the last decades, intertextuality has been used to question issues of gender identity and desire, and, in a lively dialogue with theoretical debates within feminist thought, has come to define women's writing. An early example of such intertextuality is the rewriting of the female subject in Angela Carter's spectacular novel Nights at the Circus (1984). Fevvers, the self-proclaimed bird woman found at the door of a brothel, hatched from an egg, raised by prostitutes, and trained by the witch-like anarchist Lizzie, wanders around the world, traversing alternative communities, ideologies, and the world of fiction, while exploring the feminine experience in relation to her indeterminate female body symbolized by her alleged wings and searching for a place and language for the new woman. The figure of the woman writer in confrontation with the literary heritage is ubiquitous in contemporary women's writing; a recent example is Kate Atkinson's Emotionally Weird , a postmodern novel that produces its new woman by rewriting and questioning the realist novel. Unlike most of their fictive predecessors in the realist novel, who begin as single women and end up in socially appropriate, acceptable heterosexual marriages, the female protagonists of postmodern fiction strive to break free of both their biological roots and the marriage institution and stage female experience in the discursive field. While exposing the inadequacy of traditional literary forms and their implicit gender norms, this figure of the woman writer in search of a language offers a viable, desirable form of female existence instead. 1 Sarah Waters's 2002 Fingersmith is another example of a novel whose playful discursive production of the woman writer illustrates the

Howards End presents a world in flux and mobility in the advent of modernism where art and literature are tested for their ability to save the individual in the context of a quest for an English house, Howards End, which on a symbolic level represents not only the English but all humanity. Forster shows the world of literature and art in a very pessimistic and critical way with an emphasis on the lower-class’ futile striving for art and culture and on the over determination of class differences even for a cultivated upper-class individual with socialist aspirations. The destruction of the lower class, represented by Leonard, by the two upper-class families, the Schlegels, representing the German idealism and the Wilcoxes, the brutal capitalists, shows that appreciation of art does not make the refined mind immune to sharing a common ground with the philistine upper-class. Forster suggests that literature does not have the power to change the society, and that class and gender hierarchy cannot be overcome by literature or art.

Many women writers employ intertextuality to question gender identity and to produce female characters who are free of the narratives that have proven to be violent, oppressive and not viable for the contemporary female experience. In this article, I propose a reading of Kate Atkinson’s 2000 novel, Emotionally Weird in the light of Bakhtin’s argument on intertextuality in novelistic discourse to understand how the novel rewrites the gendered individual. Emotionally Weird combines the quest for a new female character and the investigation of postmodern novel’s relation to previous novelistic discourses. Kate Atkinson stages a quest of identity, crystallized in Euphemia Stuart Murray’s search for her true parentage, which merges with the quest of the paternity of the novel searched through the rewritings of literary traditions. The new woman that emerges when these quests are resolved is an illegitimate woman writer; a bastard born out of wedlock who disrupts the law of inheritance while the postmodern novel is similarly shown as an illegitimate novelistic discourse born out of its dialogism with previous novelistic discourses and other literary forms.
Keywords: Postmodern novel, women's writing, parody, feminism, rewriting.

This paper discusses the subversion of the epic and medieval romance tradition through the elements of grotesque realism in William Shakespeare’s Troilus and Cressida. The play exposes chivalric values, courtly love, and romance values as invalid forms in the new age that is defined in more mercantile terms. Shakespeare shows the absurdity and hypocrisy of the concept of honor and courtly love ideals of the medieval culture through the fool and the go-between, Thersites and Pandarus, who can be interpreted as elements of grotesque realism of medieval folk culture as Bakhtin describes. For Bakhtin, this festive, carnivalesque spirit is crucial in the emergence of the Renais-sance, a new culture with its own set of values and literary forms.
Key Words: Bakhtin, Epic, Courtly Love, Grotesque, The Fool.

The female sphere of marriage andromantic relationships, and conflicts women face in their roles as wives is a central issue in George Eliot's works. Even though the marriages at the end of her novels seem to conclude female protagonists' quests,marriage is never a complete resolution of the conflicts that the female protagonists have struggled with. In one sense, there is the suggestion that the female protagonists,whose quests clash with their social conditions, have to settle for this resolution because their desires can never be fulfilled. While marriage and love can be depicted as pessimistic as that of Rosamond and Lydgate's in