Süner, Mustafa Ahmet
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01.01.05.01. İngiliz Dili ve Edebiyatı Bölümü
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22
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22
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Documents
23
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21
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0.54
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3
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3
| Journal | Count |
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| Oxford German Studies | 2 |
| Children's Literature in Education | 2 |
| College Literature | 1 |
| Eighteenth-Century Studies | 1 |
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Article Citation - WoS: 3Citation - Scopus: 2The ambiguous picturesin the theory of languagein wittgenstein's tractatus(Fabrizio Serra Editore luci.corsi@libraweb.net, 2016) Ahmet Süner; Söner, Ahmet; Suner, AhmetThis paper explores the ambiguities in Wittgenstein's Tractatus Logico-Philosophicus that result from the conceptualization of the picture as a middle term in between the translations between language and the world. The picture is an odd inclusion that can not help suggesting the work of the cognitive mind odd because the analytic tendency in the Tractatus is to foreground the logical structure of the correspondences between language and the world that should not necessitate the mediation of the picturing mind. In my close reading of the statements in the Tractatus that refer to the picture I show how 'the picture theory of language' cannot produce a plausible account of the truth or reality mainly because the concept of the picture in the Tractatus is not developed adequately and therefore cannot explain how linguistic propositions can ever correspond to any reality. In following Wittgenstein's thinking on the Tractatus picture I show that this inability results from the theory itself since it does not allow the picture and hence the picturing mind to deal with any sense of ambiguity and to exist in a sufficiently independent way from the facts of language and the world. © 2017 Elsevier B.V. All rights reserved.Article Citation - WoS: 2Citation - Scopus: 2The Representation of Time Modernity and Its Prehistory in Dracula(ROUTLEDGE JOURNALS TAYLOR & FRANCIS LTD, 2018) Ahmet Suner; Suner, AhmetThe essay deals with the bifurcated representation of time in Dracula that is split into a modern and pre-modern time. In Stoker's novel the time of Western modernity and the modern nation depends on the repression of the past and of the past-becoming of the present. While modern technologies purportedly create an imaginary sense of control over the wayward mythologies of the past supplementing and stabilizing the modern present they cannot fully obstruct the haunting of the prehistory of modernity represented by the vampire and Transylvania. The predominant fears of the novel derive from the powerful eruption of this prehistory in the form of a Gothic romance that spawns unspeakable sexual perversions adulterating both the modern time and the Victorian body. This essay performs a close reading of the passages primarily belonging to the first part of the novel that depict the perils and pleasures of being haunted by the distant past and shows how the oft-sexualized eruption of the past in the novel forces modernity to regress to the romance genre.Article BE NOT AFEARED: SYCORAX AND THE RHETORIC OF FEAR IN THE TEMPEST(MARQUETTE UNIV PRESS, 2019) Ahmet Suner; Süner, AhmetMaster Thesis Trauma-Language Relationship in Arundhati Roy’s undefinedThe God of Small Thingsundefined(2014) Nediceyuva, Funda; Süner, Mustafa AhmetArundhati Roy's The God of Small Things is about how seemingly small events can result in major tragedies which radically change peoples' lives. The novel aims to recreate the traumatic experiences of the characters for the reader. The main elements used in order to recreate trauma in the novel are the depiction of time and language. While telling her story, the author uses specific literary and stylistic devices such as the use of Malayalam dialect, ungrammatical capitalization, repetitions, flashbacks, intertextual elements, and children's language. The irregular use of language and non-sequential time in the novel allows readers to experience the characters' traumas. What is aimed in this thesis is to analyze Roy's use of time and language while the depicting various traumas that the novel's characters go through. It is proposed that Roy mimics the post-trauma experiences of trauma victims through the novel's language. In order to achieve this, the novel does not use the literary styles of conventional literary texts. Roy toys with the order of the events, discards a reliable narrator, and uses word-plays extensively. Thus, she mimics the disorientation of the traumatized characters through the novel's language. Keywords: Trauma, language, time, contemporary Indian Literature ,intertextualityArticle The comic tragedy of mere men and women: The ambiguously distracting use of laughter in The Castle Of Otranto and its prefaces(Spanish Association of Anglo-American Studies, 2016) Ahmet Süner; Suner, AhmetThis paper attempts to analyze the curious effects of the comic scenes in The Castle of Otranto (1764) through a close reading of Walpole's famous prefaces to the novel. The comic scenes evoke an incongruous dramatic response and contradict the claims made in the prefaces according to which comic elements highlight dramatic ones. While being often thought of as indicative of a general aesthetic failure the comic elements in this foundational text of the Gothic are indeed subtle complex and artful. More precisely Walpole's curious use of laughter makes a complex appeal to an extra-dramatic level which undercuts the reader's identification with the dramatic situations represented in the novel. © 2017 Elsevier B.V. All rights reserved.Article Citation - Scopus: 1FRAMES WORLD-PICTURES AND REPRESENTATIONS: HEIDEGGER'S CRITIQUE OF THE PICTURE(PHILOSOPHY DOCUMENTATION CENTER, 2019) Ahmet Suner; Suner, AhmetThis essay analyzes key aspects of Heidegger's critique of the picture (Bild) based on an objection to world-pictures as well as a negative understanding of two other related concepts: Gestell and Vorstellen (representation). The restrictive frames of world-pictures Heidegger claims must be opposed by instances of thinking and language use associated with poiesis. For him the revelation of the world in poiesis results in a subject-less experience of things and words akin to the experience of art and literature and presumably outside the representational hold of pictures. I argue against Heidegger's repudiation of the picture by underscoring the inescapability of Vorstellen. Heidegger's world may be seen as a world-picture as well as a particular system of representation that we associate with affective uses of language i.e. a literary system similar to the one discussed by Wolgang Iser.Master Thesis Jane Austen'ın Aşk ve Gururu: Romans ve realizm arasında bir roman(2019) Aydemir, Gülce; Süner, Mustafa AhmetBu tezin amacı, Jane Austen'ın Aşk ve Gurur (1813) romanının, genellikle birbirlerinden oldukça farklı olduğu düşünülen iki türe - 'duygusal romans' ve 'içsel/ ailevi gerçeklik' –benzerliklerinden yola çıkan yakın bir analizini sunmaktır. Özellikle Northrop Frye ve Ian Watt olmak üzere çeşitli eleştirmenlerin teorilerini kullanarak, Austen'ın Aşk ve Gurur eserinin arada kalmış bir roman olduğunu tartışmaktayım. Aşk ve Gurur'un eleştiri incelenmesinde göz önünde bulundurulacak ana terimler, karakterleştirme, anlatım ve zaman/mekân kullanımıdır. Jane Austen'ın başyapıtı hakkındaki 'arada kalmış' statüsüne dair bir sonuca varmadan önce hem duygusal romansa has olan 'kahramanın yükselişi, arayışı ve de mutlu sona erme fikrine' hem de iç/ailevi gerçekliğine 'gerçeğe yakınlık ve ironiye' özgü unsurlar tartışılacaktır. Romanın başkahramanı Elizabeth Bennet'ın karakterleştirmesine odaklanarak, onun 'arayış' benzeri hikâyesi, birkaç mühim engeli aşması yolunda varoluşsal ve finansal ihtiyaçları, bilinçli olarak geciktirdiği ama en uygun şekilde gerçekleşen mutlu sonu, gerçekçi bir şekilde resmedilmiş sosyal çevresi ve son olarak da roman boyunca takındığı alaycı tutumunun genel hatlarını tartışacağım. Nitekim zaman zaman kusurlu ama sonuç olarak idealize edilmiş bir kahraman yaratarak ve bu kahramanın kendini keşfettiği içsel ve sosyal etkileşimler sunarak, Austen hem duygusal romansın hem de içsel/ailevi gerçekliğin unsurlarından yararlanmıştır.Article Citation - WoS: 1Citation - Scopus: 1Air Bubble and the Horrid Image: The Representation of Fear and the Supernatural in Macbeth(Springer Netherlands rbk@louisiana.edu, 2019) Ahmet Süner; Süner, AhmetThis 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.Article Citation - WoS: 2Citation - Scopus: 4The visual way to language and literature in Heidegger's 'Work of Art' essay(Maney Publishing, 2014) Ahmet Süner; Suner, AhmetIn his 'Way to Language' essay as well as in his other later work Heidegger argues for a self-referential and non-subjective understanding of language. I argue that Heidegger sketches a different way to understanding language in one of his earlier works which is his 'Work of Art' essay. In a reversal of sorts I argue that language and not the work of art constitutes the underlying subject matter throughout the essay and from its very beginning. The essay may be construed as the exposition of a theory of language in which Heidegger employs various interpretations of works of art as analogies that exemplify his thoughts on language. In my rhetorical analysis of Heidegger's references to the Van Gogh 'shoes' painting I show that Heidegger is engaging with literature and a literary kind of writing which have a direct bearing on his understanding of both language and the philosophical truth. Heidegger's writing on the truth may then be thought to reflect an intricate interplay between literature the philosophy of language and the interpretation of visual artworks. © 2021 Elsevier B.V. All rights reserved.Article AN INTERPRETATION OF SARTRE'S PHENOMENOLOGY OF THE IMAGE AS A PHENOMENOLOGY OF THE SIGN(PHILOSOPHY DOCUMENTATION CENTER, 2020) Ahmet Suner; Suner, AhmetSartre's phenomenology of the image in L'Imaginaire includes analytical distinctions between the mind's comportments towards perceptual objects images and signs which he refers to as different forms of consciousness. Sartre denies any possible convergence between imaging and sign consciousness arguing that there are essential differences in the way they relate to the notions of resemblance positionality and affect. This essay argues against his phenomenological distinctions by stressing the continuity of imaging with sign consciousness: between images and words. In particular it argues that his understanding of the sign as affectless is questionable and that there is no reason to believe that images and signs cannot elicit similar affects or perform the same functions. Consequently it is possible to interpret Sartre's physical images or analoga as pictorial signs: his phenomenological descriptions of physical images may indeed be recast in the language of the sign and reformulated as acts of consciousness that involve pictorial signs.
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