Haliloğlu, Nagihan
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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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Nagihan Haliloğlu
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Area Studies Social Sciences , Religion Literature Government & Law
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Yayın Replacement and genealogy in Jane Eyre and wide sargasso sea(Palgrave McMillan, 2018) Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat BölümüThis is a polemical paper trying to formulate a poetics of replacement and genealogy based on Charlotte Bronte’s Jane Eyre and Jean Rhys’s Wide Sargasso Sea. Thornfield, in the book Jane Eyre, is one of the most famous haunted houses of British literature where, at the superficial level, the character of Jane Eyre replaces Antoinette as the female partner of the man of the house. Thornfield and the two women in it, representing different types of femininity, have haunted both novelists and theorists for decades, and have given us the typology of the ‘mad woman in the attic’. The idea of replacement, in the context of ‘writing back’, can be seen as a larger question of the literary cannon: just as one character can be a replacement for another, so can one literary work act as replacement for another. This idea allows us to conceptualize replacement as a function of genealogy: replacement can be a mode of reiteration, or even a compulsive repetition. When it comes to the story line, the central ‘replacement’ in Jane Eyre is Rochester trying to replace Antoinette as partner; the replacement in Wide Sargasso Sea is the replacement of Jane Eyre with Antoinette as the protagonist.Yayın The failed asabiyya and cultural suicide in Michel Houellebecq's submission [extended abstract](İlmi Etüdler Derneği, 2021) Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat BölümüSince 1994, contemporary French novelist Michel Houellebecq has been offering projections for the future where the European culture and way of life come to an end. The aim of this article is to analyze his 2015 novel Submission using concepts developed by Ibn Khaldun and to show what kind of a political project Houellebecq’s novel serves. Europe, or the Occident as Houellebecq likes to put it, as described in his novels is always being threatened by barbarians at the gates, and these barbarians almost always come from the Mediterranean. With refugee crises, Europe has indeed become wary of Mediterranean passages, and Houellebecq describes how the sea has become an uncontrollable border. Houellebecq’s novels always invite us to question the borders of the Mediterranean. This article studies the novels of a French author who claims the Greeks and the Romans as his heritage through the work of Ibn Khaldun, another author of Mediterranean heritage this time from Andalusia. In this sense, studying Houellebecq with Ibn Khaldun contributes to the discipline of provincializing Europe.Yayın The genealogy of Halide Edib’s modernist impulse in masks or souls(2017) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat BölümüIn Masks or Souls, written in Paris in 1937, Turkish author Halide Edib Adıvar makes use of elements of modernist theatre to express her political views. Having been brought up in the metropolis of Istanbul, she spent time in other urban centres like London and Paris, always corresponding and exchanging ideas with literati both in Europe and Turkey. In the play I’m going to talk about, Halide Edib names Nasreddin Hoca, a country savant/sufi whose anecdotes range from the surreal to the sublime, as her inspiration. The tone of the play is informed by Hoca’s sufi embracing wit, and yet Nazım Hikmet’s ‘I want to become a machine’ poem recurs like a refrain as the modernist, futurist reflection of the sign of the times. There are several disembodied voices, poems and songs in the play: even the bodies on stage are used as masks or puppets, and thoughts are given through voice over. Masks or Souls’ aspirations are cosmological as Halide Edib brings the masks of larger than life, almost mythical figures of Nasreddin Hoca, Shakespeare, Tamurlaine and Ibn Khaldun to comment on the state of the world.Yayın [Book Review]: "E. Khayyat, Istanbul 1940 and Global Modernity: The World According to Auerbach, Tanpinar, and Edib"(İlmi Etüdler Derneği, 2020) Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü[No Abstract Available]Yayın Recasting imperial pasts and palimpsest in Balat, Istanbul(2017) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat BölümüThis paper aims to trace the afterlives of a neighbourhood of Istanbul that sprawls along the western side of the Golden Horn. Today, Balat has become the name of an area that comprises the neighbourhoods of Fener, Balat and Ayvansaray, because it is perceived as having the most recognizable ‘period features’ in which the Byzantine and Ottoman traces are conflated. This paper explores its representation in Byzantine, Ottoman and Republican times and tries to parse the layers of history. In my reading of this metonymic neighbourhood I will take recourse to the concepts of palimpsest, chronotope (macera) and heterotopia, bearing in mind that all three are concepts derived from Greek, a local language.Yayın Multiculturalism and revolutions in the caucasus: Ali and Nino(İbn Haldun Üniversitesi, 2017) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Sosyoloji BölümüKurban Said’s 1937 novel Ali and Nino tells the story of a pair of lovers from Baku whose lives are dramatically altered in the aftermath of the revolutions and new nation states arising post World War I. Although, from the juxtaposition of names, the premise seems to be an ‘intercultural love story’, the trials and tribulations of Ali and Nino, a Muslim Azeri and a Christian Georgian, stem more from jealous rivalry and the vicissitudes of war than from irreconcilable differences between their life styles. The lovers’ fate being bound to larger revolutions in the world comes across more strongly in the successful 2016 film version directed by Asif Kapadia, than in the novel which lingers over Ali’s brooding that Nino might not fit in within a harem context. These musings, however, mostly remain conjecture on Ali’s part, and the discussion between the lovers, and later as man and wife, continue as to what kind of living quarters they will set up once the wars have ended and Ali who has killed his Armenian rival and is afraid the man’s family will take revenge can return to Baku. Their love flourishes in makeshift homes in the mountains of Dagestan and during a brief sojourn in Iran before its ultimate test against the rigours of keeping a house as a married couple.Yayın Sensing and resisting the colonial port in Istanbul in Leonard Woolf and Halide Edib’s writing(TORCH, Oxford University, 2019) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat BölümüThis is a polemical paper about how a city may be perceived in different registers, and how ‘the colonial port city’ becomes a spectre that haunts port cities that are not colonial in a strict sense. Istanbul will serve as an example how occupied cities are sensed as colonial cities, particularly when the occupier, in this case Britain, has a colonial past. I will look at texts that test out Istanbul’s status as a colonial port city: Leonard Woolf’s The Future of Constantinople, and Halide Edib’s Shirt of Flame and The Turkish Ordeal. While Woolf sets out a plan for Istanbul to become a free port, modeled on his experiences of Ceylon as a colonial port city, the local author and activist Halide Edib pushes against this, all the while aware of the colonial resonances that a British occupation brings. The Future of Constantinople is set out as an anti-war tract: Woolf pits internationalism against cosmopolitanism, arguing for an international body to rule Istanbul. According to Woolf, Constantinople is the stage where internationalism should at last beat imperialism, through the exclusion of Turks from Bosphorus, and physically locating them elsewhere. His is a capitalist reading, indeed, sensing of the Bosphorus where the city itself is obliterated, and becomes the strait that should facilitate the transportation of goods. A supposedly anti-imperial vision of the future founded on the exclusion of local subjectivities, reiterating a colonial grammar. According to Woolf, Constantinople should be the city that should cease to live and breathe and be stripped down to its economic activity, so that all other European cities should live in peace- a vision of the colonial city. This approach is not lost Halide Edib who reads the behavior of the occupying allies as colonial officers in her memoir The Turkish Ordeal and her novel Shirt of Flame. I argue that Halide Edib, by invoking the spectre of a colonial port city, uses her writing as a call to arms to prevent Woolf’s vision for Istanbul from becoming reality.Yayın Constantinopolitan modernities: Leonard Woolf, Virginia Woolf and Halide Edib(2018) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat BölümüThis is a polemical paper about how a city may be perceived in different registers. Istanbul as a bartering piece in peace negotiations, as in the case of Leonard Woolf’s The Future of Constantinople (1917), and Istanbul as a space that evokes modernist responses by two female writers- one of them a young British novelist on her tour of the continent before WWI, and the other a Turkish novelist writing about her experience of the British Occupation in 1918, a year after Leonard Woolf’s tract (Brits occupied Istanbul from late Nov 1918- Sep 1923).1 Gathering these modern responses to Constantinople’s geographical and symbolic location, I try to formulate aspects of ‘Constantinopolitan modernities’ that engage with the meanings that the city has taken on and generated.Yayın Ottoman chronotope for the mediterranean in Evliya Çelebi’s seventeenth-century travelogue Seyahatname(University of Malta, 2017) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat BölümüThis article investigates the ways in which the Ottoman traveller Evliya Çelebi perceived and represented the various political powers and cultural heritages in the Mediterranean, through a reading of his seventeenth-century travelogue, Seyahatname. I argue that Evliya’s text reveals the palimpsest of political power and cultural hegemony extant in the Mediterranean of his time and attempts to legitimise Ottoman rule, employing several tropes and narrative threads. For Evliya, the Mediterranean is primarily a battlefield that has witnessed the victories and defeats of the Ottomans throughout their history. Evliya’s Seyahatame, in that sense, is within the tradition of travel writing in the service of imperial meaning-making and meaning-sustaining processes. I call the narrative structure under which Evliya’s observations are gathered the Ottoman Chronotope: a chronotope that highlights the project of sustaining a commonwealth, through ties of commerce and faith. In Evliya’s text the islands become a geography where the Ottomans’ sense of mission and empire is bolstered by ‘old books’ and oral narratives that he claims were popular particularly among the Mediterranean Greek population.Yayın Parsing a neighborhood palimpsest: The case of Balat(Indiana University Press, 2022) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat BölümüThis paper explores how layers of history can be parsed in a neighborhood through narrative analysis, using Balat, an old quarter of Istanbul, as a case study. The study tests the relevance of several methodologies and concepts, including palimpsest, chronotope and heterotopia, to see whether local, Constantinopolitan iterations of these ways of reading can be marshalled instead. To that end, it has recourse to Ahmet Hamdi Tanpınar's extensive writing on Istanbul to expand on concepts such as terkip, macera and buhran. These concepts are traced backwards and forwards in time to see how they apply to different writers' work on Istanbul/Constantinople through the ages, such as Odo of Deuil, Evliya Çelebi, John Ash and Orhan Pamuk. This comparative exercise reveals an affective bond between the writers, one that favors imperial melancholia and nostalgia. The contemporary nostalgia/melancholia affect is then shown to be either savored or shunned by Istanbulites and visitors, as they make use of this poetics of the past as cultural capital, they may invest in for use on social media today.
