Browsing by Author "Süner, Ahmet"

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Citation - Scopus: 2
A critical evaluation of Heidegger’s criticism of aesthetics in ‘The Origin of the Work of Art’
(SAGE Publications Ltd info@sagepub.co.uk, 2017) Ahmet Süner; Süner, Ahmet
This paper examines and critiques Heidegger’s repudiation of aesthetics in his essay ‘The Origin of the Work of Art’ and claims that his alternative approach to artworks in the essay must be understood as a theory of aesthetics and more particularly of aesthetic use which delineates the inseparability of senses and sensations. The paper analyses Heidegger’s explicit remarks on aesthetics in the epilogue discusses his criticism of the aesthetic thing-interpretation at the beginning of the essay and concludes with some critical observations on Heidegger’s own aesthetics. While critical of Heidegger’s separation of the equipment from the artwork the paper claims that Heidegger’s significant contribution to the field of aesthetics must be sought in his focus on the attenuation of the subjective element in aesthetic experience. © 2017 Elsevier B.V. All rights reserved.
Citation - WoS: 1
Citation - Scopus: 1
Air Bubble and the Horrid Image: The Representation of Fear and the Supernatural in Macbeth
(Springer Netherlands rbk@louisiana.edu, 2019) Ahmet Süner; Süner, Ahmet
This article examines the representations of the supernatural in Shakespeare’s Macbeth which served as a significant source for later horror literature. It shows that the play’s rhetoric of horror and of the supernatural depends on its shifting discourse of nature. Nature in Macbeth refers to an external nonhuman nature of cosmic events and elemental figures (air bubble and fire) as well as to an internal human nature of “horrid” images and surmises. Supernatural elements derive from the ontological instability in both external and internal nature and relate particularly to those actions or events through which nature becomes disturbed and duplicated. As the imaginary dagger scene indicates the most terrifying source of the supernatural in the play is the human-made image that duplicates nature internally. © 2019 Elsevier B.V. All rights reserved.
BE NOT AFEARED: SYCORAX AND THE RHETORIC OF FEAR IN THE TEMPEST
(MARQUETTE UNIV PRESS, 2019) Ahmet Suner; Süner, Ahmet
BRINGING BACK THE PICTURE: A REVISION OF THE PICTORIAL UNDERSTANDING OF LANGUAGE IN LIGHT OF WITTGENSTEIN
(ASSOC TRENTINA SCI UMANE, 2022) Ahmet Suener; Süner, Ahmet; Suener, Ahmet
This paper argues that it is possible to recuperate the pictorial understanding of language by way of reconsidering Wittgenstein's objections to it in two passages of the Philosophical Investigations. Working through Wittgenstein's objections in both passages I argue for a different conceptualization of the picture by claiming that the relationship between the picture and language need not be mere correspondence and that pictures are ultimately pragmatic constructs motivated by particular uses of language. Pictures might be thought of as temporal applications rather than static objects which in turn amends and recuperates representationalist accounts of language.
Doyle’un “Speckled Band” İsimli Öyküsünün İki Türkçe Çevirisinin Bir Yorumlama Şemasıyla İncelenmesi
(2020) Ahmet Süner; Ilgın AKTENER; Süner, Ahmet; Aktener, Ilgın
Bu makale Arthur Conan Doyle tarafından yazılmış “The Adventure of the Speckled Band” isimli bir Sherlock Holmes öyküsünün karakterin 2000’li yıllarda görsel medyada popülerleşmesinden önce ve sonra basılmış iki Türkçe çevirisini çevirmenlerin öyküdeki edebi yorumlama açısından önemli olan belli başlı özellikleri nasıl ele aldıklarını belirlemek amacıyla betimleyici olarak incelemektedir. Bu önemli özellikleri belirlemek için Damrosch’un (2003) “dünya edebiyatı” ile ilgili görüşlerinden esinlenilmiş ve “göndergesel ” “türsel” ve “biçimsel” özellikler olmak üzere üç kategoriden oluşan bir “yorumlama şeması” kullanılmıştır. Bu incelemenin iki amacı vardır: birinci olarak inceleme iki çeviride önemli özelliklerin yorumlanmaları arasında farklar olup olmadığını ve eğer varsa bu farkların Sherlock Holmes’ün popülerleşmesinin bir sonucu olup olmadığını belirlemeyi amaçlamaktadır. İkinci olarak inceleme yukarıda belirtilen önemli özellikleri ele alırken çevirmenlerin yaptıkları tercihlerin eğitsel etkilerini araştırmayı ve Türkçe konuşan bir okuyucu kitlesine İngiliz edebiyatının öğretilmesi amacıyla metin seçme sürecinde çeviri metinlerin çözümlenmesinde bir yorumlama şemasının kullanılmasının nasıl faydalı olabileceğini tartışmayı amaçlamaktadır.
Citation - WoS: 1
Citation - Scopus: 1
On the Contribution of Tenniel's Illustrations to the Reading of the Alice Books
(SPRINGER, 2020) Ahmet Suner; Süner, Ahmet
While John Tenniel's illustrations to Lewis Carroll's Alice books are nearly as famous as the books themselves the question of whether these illustrations contribute to or compromise the effects produced by the written text has rarely been explored. In this paper it is argued that the status of the illustrations is problematic unless the actual process of reading is taken into account. However humorous strange or witty they may appear on paper Carroll's words ultimately depend on the reader's interest to achieve their desired effects fully. Words alone may prove to be insufficient to achieve the sense of nonsense within the vicissitudes of a temporal reading. Focusing on several of John Tenniel's illustrations which attempt to draw out the impossible references and the strangely humanized animals of Carroll's text this article shows that Tenniel's illustrations often reinforce the effect of nonsense that might remain buried in a perfunctory reading or without them might not be generated at all.
Reinventing the everyday in the age of spectacle: Jean-Luc Godard's artistic and political response to modernity in his early works
(ROUTLEDGE JOURNALS TAYLOR & FRANCIS LTD, 2015) Ahmet Suner; Süner, Ahmet
Godard's films prior to 1968 are usually received as pure experimentations of style as if these films were little more than art-historical examples of a certain kind of avant-garde cinema. The author argues instead that Godard's often frenzied cinematic experimentations in his early movies may be understood as reflections on the political cultural and historical issues of France in the 1950s and 60s. In his early films Godard engages the political and aesthetic strategy of much of French philosophy and avant-garde: the playful and often self-contradictory project of resisting the spectacles of modernity while transforming the everyday. The author contends that this project constitutes what Jameson calls the political unconscious of Godard's early work. To sketch this unconscious the author refers to the larger context in which philosophers cultural critics and filmmakers take issue with notions of the everyday spectacle style resistance festivity consumerism as well as with the signs of postwar modernity such as cars modern households traffic polls and movies.
Citation - WoS: 2
Citation - Scopus: 2
Sartre'sDessin Literature and the Ambiguities of the Representing Word
(SPRINGER, 2020) Ahmet Suner; Süner, Ahmet
Seemingly a minor part ofL'Imaginaire Sartre's literary examples therein are of great significance especially in the way they highlight the implicit yet crucial role of linguistic signs and words in his psychology of the image. While commenting on the act of reading a novel he views literary words practically as images endowing them with both an affective and representative status and illustrating the word-image through the figure of a drawing ordessin. The novel's word-images ordessinssolve an important problem in his phenomenology: in order to represent they do not need an original perception as other more typical images do. While thedessinsuggests the opportune possibility of representation without presentation it also introduces ambiguity in meaning running counter to Sartre's demand that linguistic signification be clear and transparent. Sartre attempts to contain such ambiguity by ascribing the image-like representative use of words to poetry inWhat's Literature?but I argue that thedessinindeed allows for a more comprehensive understanding of the linguistic sign and representation that covers both poetry and prose.
Sınıf Farkı Özel Hayat ve Puşkin'in Maça Kızı Hikâyesinin Çelişkili Ahlaki Bahisleri
(2019) Ahmet Süner; Süner, Ahmet
Gerçek ve fantazi korku ve ironinin ustaca bir karışımı olan Puşkin’in Gotik hikâyesi Maça Kızı kahramanı Germann’ın hikâyeye ait ahlaki evrenin kurallarını çiğnediği için cezalandırıldığı bir meseldir. Bu ahlaki evreni anlamak için hikâyenin özellikle sınıf farkı ve özel hayat meselelerini nasıl işlediğini incelemek gerekir. Böyle bakıldığında hikâyenin özel hayatı ihlal ederek sınıf farkını ortadan kaldırmanın dehşetine işaret ettiği görülebilir. Bu makale özellikle Tomsky’nin anekdotu ve Lizaveta’nın evin sırlarını ifşa edişi üzerine odaklanarak hikâyenin karakterlerin özel hayatlarını açığa çıkardığı ikircikli yolları araştırır. Aynı zamanda hikâyenin kadın karakteri Lizaveta’nın Germann'den farklı bir bahisle ilgilendiğini ve bu bahisle birlikte Pushkin'in onu acınası bir karakter olarak betimlemesine rağmen gerçek bir kahramana ve varoluşsal bir kumarcıya dönüştüğünü iddia eder.
Citation - Scopus: 1
Spectral narration and the houses of desire in Charlotte Brontë's Villette
(West Chester University kmyRsiades@weuPA.EDU, 2017) Ahmet Süner; Süner, Ahmet
[No abstract available]
The Late Victorian Economy of Countenance in Strange Case of Dr. Jekyll and Mr. Hyde
(SOUTHERN ILLINOIS UNIV, 2018) Ahmet Suner; Süner, Ahmet
The sublimating and suspending uses of music in radcliffe's the mysteries of udolpho
(Johns Hopkins University Press bjs@press.jhu.edu, 2020) Ahmet Süner; Süner, Ahmet
[No abstract available]
Citation - Scopus: 2
What is the literary image in 2019? A reevaluation of Mitchell’s Encyclopedia entry
(Penn State University Press 820 North University Drive University Support Building 1 Suite C University Park PA 16802-1003, 2019) Ahmet Süner; Süner, Ahmet
This article attempts to reinstate the inherent rigor of “image” as a literary term by addressing the theoretical issues related to the image that W. J. T. Mitchell discusses in his encyclopedia entry and his articles on the concept. The image is usually considered an overly psychological concept that lacks the rigor of rhetorical devices such as metaphor. This article clarifies the relationship between the image and metaphor by arguing that while an image may not be immediately considered a metaphor a metaphor may be thought of as a composite and relational proposition-image. It underscores the futility of insisting on the concrete sensual (or visual) aspect of the image arguing that before any sensual attribution the image must primarily be thought of as a reference or picture which may at times be obscure indefinite or even empty. It also raises some objections to the conceptualization of the mental picture as private by arguing that the word on which the mental image is based cannot be less private or “mental.” © 2020 Elsevier B.V. All rights reserved.