Nagihan Haliloğlu

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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Listeleniyor 1 - 10 / 12

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 Bölümü
This 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.
Constantinopolitan modernities: Leonard Woolf, Virginia Woolf and Halide Edib
(2018) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
This 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.
Romeo ve Jülyet: Komedi ve trajedi arasında
(İdeal Bilge Edebiyat, 2019) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
Shakespeare’in oyunları genellikle komedi, trajedi ve tarih oyunları olarak tematik türlere ayrılır. Karakter ismi taşıyan oyunlar, olay örgüsü o karakterin özellikleri ve seçimleri çerçevesinde geliştiği için trajedi olarak düşünülür. İki karakterin ismini taşıyan Romeo ve Jülyet oyunu da iki gencin ölümüyle sonuçlanan bir hikaye olarak trajedi kategorisindedir. Fakat oyunun kurgulanma şekli ve karakterlerin başlangıç noktası komediye daha uygundur. Evlenmek isteyen iki gencin aileleri tarafından alıkoyulmaları Shakespeare’in hemen hemen tüm komedilerindeki ana olay örgüsüdür. Komedilerde evlilikle sonuçlanan bu olay örgüsü, Romeo ve Jülyet’te ölümle sonuçlanır. Oyunun gerginliği de seyircinin olayların hangi noktada geri dönülemez bir yola girdiği üzerine kafa yormak zorunda kalmasından kaynaklanır. Shakespeare bu gerginliği en son sahneye kadar korur, ve bu hikayenin bir trajedi olduğu karakterlerin ölüp geri dönmesi kadar radikal teatreal oyunlar sonunda belli olur.
Fransız Edebiyat’ını İbn Haldun’la okumak
(İstanbul Üniversitesi Farabi Avrasya Çalışmaları Uygulama ve Araştırma Merkezi (FAMER), 2019) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
Bu makale İbn Haldun’un asabiyet, mülk ve hanedan kavramlarını tahlil birimleri olarak kullanıp Michel Houellebecq'in Teslimiyet romanındaki karşılıklarını tespit etmektedir. Makalenin yöntemi böylelikle Müslüman Akdenizli bir düşünürün kullandığı kavramların günümüzde yazan beyaz Akdenizli bir yazarın romanlarında ne kadar geçerli olduğunu tespit edip, bir yandan Beyaz Avrupa'yı taşralaştırırken bir yandan da sürekliliklere dikkat çeker. Bu bakımdan kullanılan yöntem karşılaştırmalı edebiyat olarak da nitelendirilebilir. Makale İbn Haldun'un asabiyet, mülk, hanedan kavramlarını merkeze koymakla beraber Kuzey Avrupa'nın taşralaştırılmasını Dipesh Chakrabarty, Akdeniz'deki alışverişleri de Fernand Braudel'in kavramsal desteğiyle inceler. Houellebecq yazınının tümünde Akdeniz’I yabancı unsurların giriş yaptığı tekinsiz bir sınır olarak kurgular. Teslimiyet’te de Akdeniz’den gelen yabancı unsur Müslümanlardır ve Müslüman bir aday Fransa’da devlet başkanı olur. Romanın anlatıcısı François Fransa’nın bu ‘çöküş’ünün ve kültürel intiharının beyaz sınıflar arasındaki dayanışma eksikliğine, beyazların Mağripli göçmenlerin kültürünü benimsemedeki gönüllülüklerine bağlar ve başa geçecek Mağrip kökenlilerin yakında beyaz Fransızların düştüğü aynı hatalara düşeceğinin sinyallerinden bahseder. Houellebecq’in anlatıcı üzerinden okurla paylaştığı tüm bu gözlemler Ibn Haldun’un Mukaddime’sindeki döngüsel sosyal hareketlerin devinimleriyle örtüşmektedir.
Re-reading the Magus: English, classics and orientalism
(National and Kapodistrian University of Athens, 2019) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
‘I needed a new land, a new race, a new language; and although I couldn’t have put it into words then, I needed a new mystery’, ends the first chapter of John Fowles’s 1965 novel The Magus. This paper argues that in the narrator/hero of the novel Nicholas Urfe, Fowles has marries the Classicist/Orientalist personas still prevalent in the British world of letters, through Urfe’s (self)associations with myth. In Orientalism Said speaks consistently of a ‘private’ or ‘personal’ mythology – of how ‘literary pilgrims’ find in the Orient ‘a locale sympathetic to their private myths, obsessions, and requirements’. This is exactly how Greece, the Aegean, functions for Urfe, the literary pilgrim. Bored of his life in London, Urfe sets off on an ‘eastern adventure’ and accepts a job at an English school in the (fictional) Greek island of Phraxos. There, he meets the magus of the title, Conchis, who proves to be the master of revels as he puts on several masques and plays for the benefit/ordeal of Urfe. The Aegean, the birth place of significant European myths, becomes the stage on which Urfe’s knowledge of myth is humoured and tested. It is a show tailored for an English and/or Classics graduate, and we see Urfe identifying with various mythical figures throughout the novel. Conchis, as the Prospero of the novel, applies his team of ‘spirits’ to work out ‘mythical’ scenes for Urfe, including satyrs and rape of maidens. This Aegean island then becomes the now mythologized island of Prospero, where not only ancient Greek, but also Ottoman (read Oriental) myths are intimated through the harem and the mute black eunuch. Combining all these different registers of myth in one novel, Fowles creates an Aegean chronotope that thickens with every other narrative staged by Conchis.
Colonial and orientalist tropes in travel-writing
(IIIT Georgia Winter School, 2019) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
This study examines the relation between travel writing and postcolonialism. In order to dothis it first looks at the history of travel literature, by doing a close reading of selectedpassages from travel literature, and link the history to contemporary practices. The closereading will focus on whether one can hear local voices in the accounts of the travel writers,taking Gayatri Spivak’s question ‘Can the Subaltern Speak’ as its focus. A related question iswhether the subaltern can travel. Spivak reminds us to focus on the production of knowledge,archive, dissemination of knowledge and access to sources concerning knowledge of a space.The relationship between the privileged traveller and disprivileged/dispossesed native iscrucial and in that sense, this relationship is not necessarily between a European and thenative- people living in the same country may equally exoticize one another. The experienceof travel and writing of travel is shaped by race, class and gender at all periods of time.
Religion and re-enchantment in werner herzog and lars von trier’s work
(2017) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
This paper is part of a larger project I am working on, on re-enchantment and melancholia in contemporary narratives. In it, I will focus mainly on two films as emblematic of recent approaches to religion in the global north, particularly in northwest Europe.
Islamophobia in French Fiction: Michel Houellebecq
(IIIT Georgia Winter School, 2019) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
Michel Houellebecq’s novel Soumission, about an Islamic party coming to power in France, attracted a lot of critical attention after the horrendous attacks on the Charlie Hebdo offices. This paper aims to look at the novel Submission and its reception by reviewers, which reveals the book to be yet another cultural product upon which we can transfer our agendas and silences. I will look at reviews from the Anglophone world and a radio programme ‘Saturday Review’. These are assessments of the novel that claim that Houellebecq’s gender politics, and the metaphors he uses for gender politics too often get neglected in favour of his apocalyptic approach to the state of society in Europe. The reviews both question and demonstrate how acceptable it is to use misogynist and anti-Muslim rhetoric in works of fiction, and through that discussion reveal, once again how anti-woman and anti-Muslim rhetoric and wording can be interchangeable; particularly when it comes to intellectual capacity. When critics condemn one, they have to condemn the other, and it reveals current understandings of the limits of free speech: some identities are more malignable than others. Houellebecq’s Soumission, I argue, forms a part of the geneaology of conflating all manners of subalterns, in this case women and Muslims.
The genealogy of Halide Edib’s modernist impulse in masks or souls
(2017) Haliloğlu, Nagihan; Haliloğlu, Nagihan; İnsan ve Toplum Bilimleri Fakültesi, Karşılaştırmalı Edebiyat Bölümü
In 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.
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 Bölümü
This 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.

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