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Deposit“Language, Aesthetics, and Ideology: Conceptual Frameworks for Turkish Literary Criticism”

This study attempts to investigate the salient features of Turkish literary criticism through deconstructing the concepts of language, aesthetics and ideology intersecting the disciplines of sociology and history. It questions the nationality of the self-evident category of “Turkish literature” exploring in what ways the Turkish Literary Criticism operates in relation to its aesthetics and ideology. While discussions on nationalism invite us to reconsider Turkish Literature vis-a-vis post-colonial framework, the limitations of this framework for the Turkish literary studies are put to contest. Instead of inserting theoretical standpoints to fit into Turkish Literary criticism, this paper elaborates on interrelated concepts to fashion a stratified literary critical framework.

Deposit“In This Way the Moons and the Seasons Passed”: Distantly Reading the Literary Criticism of Things Fall Apart.

I employ distant reading techniques and data visualization tools to assess the literary criticism of Chinua Achebe’s Things Fall Apart. My findings suggest that the scholarly literary criticism of Things Fall Apart did not occur independently with the publication of Achebe’s work in 1958, but was a part of a larger trend in literary criticism and theory associated with the establishment of postcolonial studies. Moreover, distantly reading the literary criticism of Things Fall Apart points towards the ways in which critics have narrowly focused on framing Achebe’s text as a work of African culture and colonialism, in comparison with other texts in the genre. This has implications not only for locating Achebe’s text within a narrow literary genre but also for the ways in which literary scholars can apply quantitative literary analysis to literary criticism in order to make inferences about the production of literary theory and culture.

DepositUnearthing the ‘gold-bearing rubble’: Ernst Bloch’s Literary Criticism

In lieu of an abstract, here is the beginning of the chapter: Ungleichzeitigkeit and global modernisms Over the last twenty-five years, the modernist canon has been significantly revised as theoretical and empirical interventions have emphasised its transnational and globalised patterns of connection through a range of disciplinary approaches. As scholarship has moved beyond Europe and the United States, the complex nature of modernism’s sociocultural matrices has become prominent, and a re-evaluation of the private and public spaces through which modernist works were disseminated – from the publishing house to the continuation of private patronage – has developed alongside a reconsideration of the way in which we theorise such activities in terms of time (Brooker et al. 1-4). In particular, the Marxist notion of “uneven development” has resurfaced in recent years as a model through which to think the overlapping simultaneities in different parts of the world of aesthetic practices, transnational dialogues, publication and dissemination of texts, institutional engagements and the oppositional, counter public spheres through which various modernisms emerged and were contested.