Aktar, Merve

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Araştırma projeleri

Career-wise, this project provided some of its researchers their valuable first experience with project development, coordination, execution, in addition data analysis. Specifically in terms of the topic, the project facilitated: - deeper understanding in three dimensions of the undertaken work: the experiences and coping strategies of students in Turkey during the pandemic lockdown, - the extension of the analytical focus of argument analysis from propositions to narrative stories. - the formation of a competent core research team in performing argument analysis of everyday discourse and narratives - endeavors to write and apply to large-scale projects with the core research team and partnerships. - a PhD dissertation on the project topic, in progress, by ACI student, Hossein Turner.

Organizasyon Birimleri

Organizasyon Birimi
İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
Karşılaştırmalı Edebiyat Bölümü’nün vizyonu, özellikle Avrupa ve Orta Doğu dillerinde yazılmış eserleri hem birbirleriyle hem de Türk Edebiyatı’yla mukayese ederek, medeniyetlerin geçişkenliği hakkında bilgi üretmek ve farkındalık yaratmaktır. Eleştirel bakış açısının temel alınacağı Bölümde, edebiyat, dil, kültür, sinema alanlarındaki gelişmeleri yakından takip edip, tartışmalara katkı sağlayacak bilim insanları yetiştirmeyi hedeflemektedir.

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Merve Aktar

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  • Yayın
    Reading the elements of the romantic psyche in Percy Shelley’s The Witch of Atlas
    (North American Society for the Study of Romanticism (NASSR), 2019) Aktar, Merve; Aktar, Merve; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
    Imagination, as in Coleridge’s mystical-philosophical “eternal act of creation in the infinite I AM” 1 , is a primary element of Romantic poetry, whose material substance is, I claim, the Spenserian romance form. They combine to form a composite, the Romantic psyche, that I close read in Percy Shelley’s The Witch of Atlas. This choice rests on Shelley’s representative position among his peers for having written the most fanciful poem that methodologizes this “esemplastic” 2 element. The titular Witch and her creation, the Hermaphrodite, allude to the story of False Florimell’s creation in Book III of The Faery Queene; yet, Shelley literalizes the metaphor of the “Imagination … (as) heady romance--an inspiring force, a dangerous seduction,” 3 but provocatively overturns its negative connotations. I read the Witch as spirit and the Hermaphrodite as her imagination, through which “She did unite [friends torn apart] again with visions clear/Of deep affection and of truth sincere” (LXXVII, 663-4). I illustrate how the “dilation” 4 of the romance mode of the poem, that contains no forward thrust and no conclusion, supports Shelley’s conceptualization of the Romantic psyche as made of the elements that in a very Blakean sense “unite again with visions clear” the hitherto fragmentary, conflicting meanings available through reason. Patricia Parker’s concept principally guides my close reading, and the leads me, and, I hope my listeners, to trace how the frustrations of “unawakened eyes” (XL, 361-68) is essential to the recovery of lost vision— the totality of experience.