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Öğe History, Truth and Mythmaking in Thomas Kilroy’s the O’neill and Brian Friel’s making history(Atatürk Üniversitesi, 2016-11-19) Alemdaroğlu, Şefika NüvidIn a programme note to his play Making History, Friel said that ‘history and fiction are related and comparable forms of discourse and that an historical text is a kind of literary artifact .’ Approached in this context, two plays focusing on a significant date of Irish history, the sixteenth century Anglo Irish relations revolving around Hugh O ‘ Neill, the Earl of Tyrone offer two different versions of the same historical period. The O’Neill written by Thomas Kilroy and Making History by his contemporary playwright Brian Friel. Both playwrights drew upon Sean O’Faolain’s biography, The O ‘Neill (1942). Kilroy focuses on O’Neill’s dilemma between his loyalty to his traditional Gaelic heritage and his commitment to the new modern order. In Friel’s play, O’Neill is portrayed as a leader who is aware that he is making history. Discussing history openly with Lombard, the historian who is recording the moment, O’Neill reads history differently from him and suggests to Lombard to put Mabel, his wife, at the centre of his history of O’Neill. However, in the historical myth, Lombard is creating she remains peripheral and O’Neill becomes a hero of counter-reformation. It is Friel in his own re-making of history who will reinstate her in the centre about four hundred years later. This re-making has, in its turn, ‘metabiologically’ created an atmosphere leading to the Good Friday Agreement of 1998. The paper will focus on this multiple fictive and real functions of history as truth and mythmaking in the plays mentioned above.Öğe William Blake: ”Maskesiz Bir Adam” (1757-1827)(Klaros Yayınları, 2019-12-27) Alemdaroğlu, Şefika Nüvid; Tutaş, Nazan19.yüzyılın dahi sanatçısı, İngiliz Romantizminin kendine özgü şair, gravür sanatçısı ve ressamı William Blake ‘in çizimleri günümüzde Avrupa’nın en tanınmış müzelerinde sergilenmektedir. 1757-1827 yılları arasında Londrada yaşayan sanatçı şiirlerini el yazısıyla yazıyor, yine kendisi, karısı Catherine’nin de yardımıyla gravürlüyor ve kendisi basıyordu. En tanınmış eseri “ Songs of Innocence and Experience” ‘da hayata diyalektik bir bakış açısıyla bakan Blake kitabının önsözünde “insan ruhunun birbirine karşıt durumlarının” görüldüğünü söylemiştir. Şair Osman Tuğlu'nun adeta yeniden yazdığı şiirleriyle Blake tekrar nefes alıyor. Nüvit AlemdaroğluÖğe Gardens in literature: looking back from an anthropocentric world(Journal of Narrative and Language Studies, 2018-06) Alemdaroğlu, Şefika NüvidFrom the famous poem The Gardenby Andrew Marvell, to that of Seamus Heaney’s Digging, gardens have been depicted as idyllic places, as in classical pastoral poetry and Renaissance poetry and symbolic of ideas about identity, the past and memory. In what is now suggested by the scientists as the appropriate term for the controversial last geological period, some starting it with The Industrial Revolution and some dating it as early as the Agricultural Revolution and the Neolithic Age, “the anthropocene”, the human outlook on gardens and nature as a whole has to be reassessed. The globally catastrophic threat of the immanent extinction of humans as a species loudly drawn attention to by Slavoj Zizek in his 2012 text Welcome to the Anthropocene, calls for a further repositioning of the human than the ecocritical approaches up to now. In this light the whole world can be seen as Eden, the ‘Garden of Bliss’ about to be lost by humans who have inextricably doomed themselves in capitalism. This paper will look at the depiction of gardens in various examples of literature such as the Epic of Gılgamesh, religious poems, Romantic Poetry, Bacon’s Essay on Gardens , Shakespeare’s plays and Lewis Carrol’s Alice in Wonderland within an anthropocentric framework.Öğe The playfulness of memory in Brian Friel’xxs Play” Philadelphia here i come(IDEA, 2019-04) Alemdaroğlu, Şefika Nüvid
