http://hdl.handle.net/20.500.12627/99 2026-05-01T03:38:41Z 2026-05-01T03:38:41Z Sinem Yazıcıoğlu http://hdl.handle.net/20.500.12627/631 2020-06-18T21:10:57Z 2011-01-01T00:00:00Z

Passion for the Real Through Snuff Film in Bret Easton Ellis's American Psycho Sinem Yazıcıoğlu Alain Badiou defines the twentieth century in terms of "the passion for the real". The aim of this paper is to discuss how the term is materialized through the use of snuff film in Bret Easton Ellis's American Psycho, and how scoff film functions as a narrative apparatus in the novel.

2011-01-01T00:00:00Z Yazıcıoğlu, Sinem http://hdl.handle.net/20.500.12627/479 2020-04-24T16:05:43Z 2020-04-01T00:00:00Z

“This Bloomin’ Country’s A Fraud”: Musical Commodification and Westward Expansion in Sharon Pollock’s Walsh Yazıcıoğlu, Sinem Canadian playwright Sharon Pollock’s Walsh (1973) revisits the aftermath of the Battle of Little Big Horn (1876) when Sitting Bull led the Sioux to cross the Canadian border for seeking refuge, befriended Major John Walsh of the North West Mounted Police and yet was forced to surrender to the American forces despite diplomatic exchanges. Since the play roughly coincides with the centennial celebrations in Canada and marks a renewed interest in Canadian drama for national topics, it has been studied in terms of its critical perspective to official historiography and its metadramatic treatment of the mentioned historical events. However, less scholarly attention has been spared to the use of songs in the play. Prioritizing the song form in its musical structure, Walsh integrates the history of westward expansion with the emerging economy and technology of music, resulting in the commodification of music at the turn of the twentieth century.

2020-04-01T00:00:00Z Akgün, Buket http://hdl.handle.net/20.500.12627/406 2020-04-23T13:47:43Z 2019-01-17T00:00:00Z

Mythology moe-ified: classical witches, warriors, and monsters in Japanese manga Akgün, Buket This is an Accepted Manuscript of an article published by Taylor & Francis in Journal of Graphic Novels and Comics on January 17th, 2019, available online: http://www.tandfonline.com/doi/abs/10.1080/21504857.2019.1566155.

2019-01-17T00:00:00Z Akgün, Buket http://hdl.handle.net/20.500.12627/405 2020-04-23T12:49:30Z 2019-01-01T00:00:00Z

Posthuman Female Identities and Cyborg Alices in Orphan Black Akgün, Buket This article scrutinizes the reception of Lewis Carroll’s Alice’s Adventures in Wonderland (1865) and Through the Looking Glass (1871) in the television series Orphan Black (2013-2017) through the lenses of posthuman and feminist theories. It argues that, reminiscent of Alice’s coming of age anxieties, in the series the self-aware female clones, called the Leda clones, go through their own identity crisis, which can be traced in their near-death experiences followed by metaphorical rebirths and in their conversations with their sestras through mirrors or mirror-like objects. It focuses on these clones’ process of becoming self-aware with regard to the demands of the posthuman condition and the call of Rosi Braidotti for new ways of subject formation. It analyses the clones’ process of becoming through Julia Kristeva’s theories of the mirror phase, the symbolic, and the semiotic. It suggests that these self-aware Leda clones might be read as Donna J. Haraway’s cyborg Alices, in that they explore cyborg female identities in the twenty-first century. These clones eventually overcome their existential crisis and their anxieties over shifting identities through community bonding. Meanwhile, the allusions to the Alice books serve as a source of symbolism and structure for the series. Like the guidance and council of the White Rabbit, the Caterpillar and the Cheshire Cat, they provide guideposts for the deepening, darkening, and branching Orphan Black universe to prevent the viewers from getting confused or lost as they follow the Leda clones deeper into the rabbit hole and through the looking glass. This article is a revised and extended version of a presentation given at the 2017 National Popular Culture & American Culture Conference, San Diego, USA, 2017. I would like to thank Istanbul University Scientific Research Projects Unit (İstanbul Üniversitesi BAP Birimi) for funding support. Project number BEK-2017-24200.

2019-01-01T00:00:00Z