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Öğe Brecht's Epic Theatre: Demystifying the Dogmatic Tradition of Aristotelian Drama in the Western Theatre(Vernon Press, 2023) Ekler, Onur[Abstract Not Available]Öğe From Captivity to Liberty: A Study on the Prison Writings of Martin L. King, Ngugi and Soyinka(Rector Ciu Cyprus Int Univ, 2024) Bolat, Eren; Ekler, OnurPrisons, like other disciplining apparatuses of the state, are used to reform the prisoners so that they can be re-conditioned back to a set of pre-ordained roles designed in the system. These are places hostile to individuality, freedom, and creativity. They function like rehabilitating institutes to suppress the reactionary or rebellious voices of the prisoners by effacing their individuality under harsh conditions so that they can make them docile bodies. However, this objective fails when the prisoner-intellectuals are of concern. For them, prisons become their shrines where they are overwhelmed by the transformative power of imprisonment. The experience of confinement shapes their perspectives, deepens their commitment to social justice, and fuels their advocacy for change. Although the physical conditions of the prisons hamper their urge to write, they never give up writing. Some write on the prison walls and some on toilet papers. Despite such horrible conditions, they manage to produce their most influential works which can be classified in prison literature. The writings of these prisoner-writers have paved the way for the liberation of colonized/discriminated people in their own countries and in diverse diasporas. Martin L. King's Letter from Birmingham Jail (2018), Ngugi wa Thiong'o's Detained: A Writer's Prison Diary (1981) and Wole Soyinka's The Man Died: The Prison Notes (1988) are three significant works to be featured in this genre. Through an interdisciplinary approach, this article identifies the distinctive elements and commonalities in the prison writings of King, Ngugi, and Soyinka. This study explores the universal concepts of incarceration, resistance to oppressive systems, and the struggle for freedom as portrayed in the works these writers, and aims to examine how these writers have transformed their works into tools of resistance.Öğe In Search of The Anarchist Poet: A Study On Lawrence Ferlinghetti’s A Coney Island of The Mind(2022) Ekler, OnurIn the cynical totalitarian-capitalist world** where the gaze is absorbed by the encoded signs of mass media, people have been trapped in the cycle of endless consumption. They are therefore easily conditioned, docile bodies in the hyperreal space of the Postmodern world whose simulacras atrophy their critical and creative faculties. They have begun to lose their interpretive-predictive skills since there is no room for anarchy. Ironically enough, even artists have little or no hesitation in rushing into such a predetermined course upon which languor and somnolence descend. In his work, An Artist’s Diatribe, Lawrence Ferlinghetti (1919-2021), an American poet, painter, and anarchist, criticizes this situation with an example of the conversion of artists (with few exceptions) into academics enjoying the comforts of their offices, which are disconnected from real life. He blames them for taking the easy road which eventually destroys the artist’s insurgent soul. He further adds that this road makes them too docile to grasp the overall interpretation of the contemporary world. Ferlinghetti embarks on a quest for anarchist poetry to revive the insurgent souls of the artists. It is not wrong to claim that the poet-anarchist is Ferlinghetti’s “ur voice” which bridges the gap between the poet and the street. Ferlinghetti constantly risks his position as a poet by experimenting with various components of the poem such as language, style, and organization in order to find out his “ur voice”. This reminds us of Nietzschean ropedancer walking on a thin line between light and darkness. It is where his originality lies. In this context, the poet-anarchist is what Ferlinghetti calls the fourth-person singular. This article aims to trace Ferlinghetti’s sense of the anarchist poet through his fourth- person singular theory in his best-selling book of poetry, A Coney Island of the Mind (1958). In the cynical totalitarian-capitalist world where the gaze is absorbed by the encoded signs of mass media, people have been trapped in the cycle of endless consumption. They are therefore easily conditioned, docile bodies in the hyperreal space of the Postmodern world whose simulacras atrophy their critical and creative faculties. They have begun to lose their interpretive-predictive skills since there is no room for anarchy. This age is what Matthew Arnold would call an epoch of concentration with the difference that people’s deviation from the sphere of intellectuality is induced not by their fervent political engagements but by the submission of their will to totalitarian-capitalist systems which obstruct any anarchic space of mind where people can foster free-flowing ideas. Ironically enough, even artists have little or no hesitation in rushing into such a predetermined course upon which languor and somnolence descend. In his work, An Artist’s Diatribe, Lawrence Ferlinghetti (1919-2021), an American poet, painter, and anarchist, criticizes this situation with an example of the conversion of artists (with few exceptions) into academics enjoying the comforts of their offices, which are disconnected from real life. He blames them for taking the easy road which eventually destroys the artist’s insurgent soul. He further adds that this road makes them too docile to grasp the overall interpretation of the contemporary world. Ferlinghetti can be called a clown: a sad, serious and comic soul in the circus since his prophetic cries regarding the suffering humanity in the capitalist world have long been ignored. However, his witty language, fused with his ironical tone on the serious issues, makes Ferlinghetti a unique poet. His poetic genius seems to have been dimmed by the popularity of some famous Beat poets. he deserves more recognition by academic circles. Although his work, A Coney Island of the Mind, was his most widely-read collection among his works, it was critically underrated. This collection is noteworthy in that it incorporates the phases of Ferlinghetti’s poetic evolution. Ferlinghetti embarks on a quest for anarchist poetry to revive the insurgent souls of the artists. This article aims to trace Ferlinghetti’s sense of the anarchist poet through his fourth-person singular theory in his best-selling book of poetry, A Coney Island of the Mind (1958). There are three main phases in his poetic quest: the poet-painter, the poet- activist and the poet-anarchist. In various poems in this collection, one may realize that each poetic voice has a different reaction to the bloody gears of capitalism. While the poet-painter portrays the sufferings of humanity in the capitalist world, the poet-activist calls the academic poets to action since they have long been lulled into sleep by the opium of capitalism. The poet-anarchist, however, is Ferlinghetti’s “ur voice” that bridges the gap between the poet and the street. Ferlinghetti constantly risks his position as a poet by experimenting with various components of the poem such as language, style, and organization in order to find out his “ur voice”. This reminds us of Nietzchean ropedancer walking on a thin line between light and darkness. It is where his originality lies. The poet-anarchist is what Ferlinghetti calls the fourth-person singular. To gain more insight into Ferlinghetti as the poet-anarchist, this article will examine Ferlinghetti’s fourth-person singular which he mentions intermittently in his various works. This concept is theorized, however, by Deleuze. In his influential article, “The Eyes of the Fourth-Person Singular”, Bradley claims that Deleuze’s fourth-person singular is non-person and non-subjective (2015, p.190). It is an impersonal voice in a nomadic space that leads to the demise of the “sedentary” self (Ferlinghetti, 1976, p.5). It makes way for the rhizomic, mobile, fluid, and chaotic network that opens up to endless possibilities. As Deleuze argues, “there is no longer a form, but only relations of velocity between infinitesimal particlesÖğe The Surveillant Assemblage: A Critical Reading of Dave Eggers’ The Circle As Today’s Dystopia(2023) Ekler, OnurSurveillance studies have gained momentum in today’s societies. These studies have put forward various theorems on surveillance since the states and/or corporations’ purposes of monitoring people are nebulous and open to discussion. However, the dystopian aspect of surveillance holds a common ground in most of these studies. No doubt, they have a fair share in their discussion since the growing fear of surveillance societies deeply instilled in the worlds of the futuristic-dystopian fiction has become a fact of our present world. That is, surveillance society has become today’s dystopia. Unlike the Foucaldian panopticon, surveillance in today’s society is relatively more complex and decentralized. This kind of surveillance is, what Haggerty and Ericson call, “the surveillant assemblage”. Dave Eggers’ The Circle is perhaps one of the best examples that portray it blatantly. As it shows us the complexities of the surveillant assemblage, it portrays its role to destroy individual zone by making them the willing agents to expose themselves to full transparency. This will eventually lead to the demise of the individual. With this purpose in mind, this research article examines Dave Eggers’s The Circle as today’s dystopia by giving utmost consideration to Haggerty and Ericson’s theory of surveillant assemblage and its discontents.Öğe The Tauroctony and Artaud’s The Cenci: Back To The Ritual Drama(2021) Ekler, OnurThe Tauroctony, commonly known as the bull-slaying cult can be regarded as the manifestation of the anima mundi, or the life-giving and taking energy (libido-thanatos) in the Jungian psychology. The symbolical significance of this cult is essential to see the totality of life in the natural circulation of the anima mundi. Artaud in Theatre and Its Double argues that the natural cycle of the unbridled energy has long been disrupted in the Western society since the Western civilization has cut the organic ties with the nature and has infected itself with the worn-out institutions in the grip of the poisonous, hegemonic language with its totalizing principles. He asserts that an uncontrollable plague has struck Europe due to the infection in the language. However, interestingly enough, he takes a positive stance towards the uncontrollable plague. He sees the potential procreation in the destructive power of this plague that would eventually melt the decomposed organs in the society. Thanks to this, the flattened body of the society cleansed of the rotten institutions will cure itself back to its original cycle. Artaud justifiably asserts that the plague best manifests itself in its double: In theatre. The corrosive effect of the language is best observed in the Western theatre. Artaud sees the plague as an opportunity to restore it back to its ritual roots. He develops a new form of theatre, “the Theatre of Cruelty” to cleanse the infected body of the Western society. In this context, this study aims to explore the cleansing mission of Artaud’s Theatre of Cruelty by corroborating the discussion with a detailed study on his notable play, Cenci.
