Browsing by Subject "Sex role in literature."

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Ahmet Mithat Efendi'de mizahın toplumsal cinsiyeti
(2014) Kekeç, Nuran
Ahmet Mithat Efendi, one of the most prolific writers of the establishment phase of modern literature, depicts an age of political and social transformation, while also producing the first examples of novels and stories. In reflection of his social responsibility consciousness, this writer discusses in his texts the necessity of building a society according to neo-traditional forms, without departing from the principle of “useful information”. Acknowledging the advantages of popularization Ahmet Mithat Efendi takes advantage of opportunities provided by the media, in his production of series of novels and stories which depict his view of ideal social order and his conceptualization of modern identities for both men and women. Through such works, and by using media as a channel, he aims to be accessible to all sectors of society and share his views on ideal traditional-modern femininity – masculinity forms. In other words, while reproducing tradition according to Western criteria, his primary goal is to reorganize gender relations. Features of traditional narration function as a vehicle for the author, onto which he transposes the images of men and women who will lead society. Thus, Ahmet Mithat Efendi, aware of the limitations of his contemporary readership and of traditional forms of narrative, inserted his view of ideal gender roles into fictional texts. The writer employs humor for the purpose of combining his view of a new social order with gender identity in his literary texts. Humorous elements contribute both to constructing the text and to determining an ideal gender perception; people and phenomena, though depicted in humorous ways, display a social acceptance of gender roles. In this context, during the Tanzimat period the behavior of the Ottoman citizen and readers’ perceptions of gender identities are shaped according to Western norms Ahmet Mithat Efendi promotes such influences within his fictional works of and he uses humor as a tool to help convince his readership of his ideas.
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Cumhuriyet öncesi kadın yazarların romanlarında toplumsal cinsiyet ve kimlik sorunsalı (1877-1923)
(2012) Günaydın, Ayşegül Utku
Womanhood and gender relationships have been one of the first questions taken up as the natural extension of the modernization paradigm between the declaration of the First Constitution and the Republic. Even though womanhood was declared to be a project, the fact that gender issues were never re-examined in a fundamental manner led to new problems vis-à-vis gender and identity. Opened up by the press, the new public sphere offered women the opportunity to discuss the woman question through articles and novels, and the most significant examples of inquiries concerning identity were expressed through one of the branches of traditional literature and through women‟s novels, a sub-genre that newly came into existence. The questioning of the oppressive mechanisms working on women and created by the responsibilities of the new female identity that went beyond the limits of the family, along with the male point of view floundering in face of this new identity, reflects a common female sensibility and sets forth the essence of this literature. The new female identity emphasizes rationality and the resilience of women, taking certain values of womanhood as its basis, and the female viewpoint is used to demonstrate the consequences of the dissonance between this “new” identity and the expectations of the male identity that represented the mindset of society in general, as personified by husbands, lovers, fathers, and relatives. The image of the isolated and struggling girl, who becomes more profound as she becomes more educated, is the symbol of the newly emerging intellectual woman of the Ottoman society. Opposite this woman in transition are the Ottoman men who are either already “impressed” or ready to be impressed. In short, the female novelists of the era express the need for a social transformation that would have to start at the very foundations of society and restructure the relationship between woman and man, i.e., sexual identities. In discussing the common themes, motifs, and sensibilities of women‟s novels, the dissertation examines the following works: Aşk-ı Vatan (1877) by Zafer Hanım; Muhâdarât (1892), Levâyih-i Hayât (1897-98), Refet, (1898), Udî (1899), and Enîn (1910) by Fatma Aliye Hanım; Uhuvvet (1895) by Selma Rıza Feraceli; Terbiye-i Etfale Ait Üç Hikâye (1895), Hiss-i Rekabet (1896), Bîkes (1897), Mükâfat-ı İlâhiye (1896), Sefalet (1897), Muallime (1899-1901), and Gayya Kuyusu (1920) by Emine Semiye Hanım; Dilharâb (1896-97) by Fatma Fahrünnisa Hanım; Münevver (1905- 06), Ölmüş Bir Kadının Evrak-ı Metrukesi (1905), Yaban Gülü (1920) and Nedret (1922) by Güzide Sabri Aygün; Heyûlâ (1908), Raik’in Annesi (1909), Seviyye Talip (1910), Handan (1912), Yeni Turan (1912), Son Eseri (1913) and Mev’ud Hüküm (1918) by Halide Edib; Şebab-ı Tebah (1911) by Nezihe Muhiddin; Aydemir (1918) by Müfide Ferit Tek; Kara Kitap (1920) by Suat Derviş and Sisli Geceler (1922) by Halide Nusret Zorlutuna.
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Sevgi Soysal'ın yapıtlarında kadın kimliği (Tutkulu Perçem, Tante Rosa, Yürümek)
(2002) Somuncuoğlu, Gamze
Woman characters who are generally in the foreground in the literary works of the prominent Turkish author Sevgi Soysal (1936-1976), draw readers’ attention to the fact that they had been created with similar characteristics. When woman characters who are generally unsatisfied with themselves, especially in Tutkulu Perçem (1962), Tante Rosa (1968), and Yürümek (1970) are analyzed from a psychoanalytic perspective, it can be seen they experience not only personal crises, but also show such characteristics that would fit the definitions of neurotic personality and frigidity. One of the most evident characteristics of this unique type of woman is that she believes she can reach the way of life she had dreamed of by changing herself. However, in the works of Sevgi Soysal, no woman can succeed in this in real life. Sometimes it can be seen that Sevgi Soysal defends women’s rights by using woman characters she has created in her works. When Soysal’s attitude is analyzed in relation to feminism the following may be said: In her early works such as Tutkulu Perçem, Tante Rosa, and Yürümek, Soysal criticizes the perception of woman as “other” in patriarchal society, but her focus is predominantly on individual problems. The question of women in the later works of Sevgi Soysal is seen as part of social disorder and represented in this way. The thesis concludes that Sevgi Soysal cannot be considered a “feminist writer” or her literary works as “products of feminism”. Furthermore, there are quite a few autobiographical elements in the works of Sevgi Soysal. The facts that woman characters in her books carry similar characteristics, and are narrated in a very consistent way cannot be seen as coincidences. The strong correspondence between Soysal’s private life and her narratives shows that the writer was trying to find a solution to her own dilemmas through the fictional characters she had created.
Unknown
Tanzimat'tan Cumhuriyet'e Ressentiment'in dönüşümü : Nezihe Muhddin ve Leylâ Erbil
(2012) Dik, Tuba
Leyla Erbil, in addition to her handling the social and political facts in her literal work, has a unique place in Turkish literature because of her expression techniques. Nezihe Muhiddin, on the other hand, has reflected the problems of her own era to her works; critized the institution of slavery and concubinage. The facts that both Leyla Erbil and Nezihe Muhiddin adapt the sociological aspects of the life to literary texts, and they focus on woman issues make them significant to consider in this work. The aim of this paper is to make comparisons of these two writers who both examine the social events. This comperative work aims to evaluate/explain the problems occured due to the social statue of women, and how these problems are concluded; thus how these conclusions are reflected on literature. Considering the social statue of women; Nietzche's technical term "ressentiment", for which he uses to explain the slavery ethics, will be highlighted in the paper. In the first chapter, some background the information is presented about the identity of writers and their works which are examined in this paper. The works studied are Benliğim Benimdir!(I Am The Master!), Güzellik Kraliçesi(Beauty Queen), Sus Kalbim Sus(Hush Now Hush) which are written by Nezihe Muhiddin, and Leyla Erbil's Tuhaf Bir Kadın(A Strange Woman), Karanlığın Günü(The Day of Darkness), Üç Başlı Ejderha(Three Headed Dragon), Mektup Aşkları(Love in Letters), Cüce(The Dwarf) and Kalan (Remains). After the second chapter, titled as "The Notions that can be Associated with Modernism" which includes the explanation of the "ressentiment and triangular desire" , the modernisation process in Turkey is historically examined in the third chapter, titled as " The Critical view on Turkish Modernisation Project." A new perspective is brought by means of hegemonical menhood and gender. The emergence of ressentiment and the transformation of ressentiment in women's modernization process are examined and explained with the examples from the chosen works, in the last chapter titled as " The Ressentiment of Women on Literal Level".