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Interviews with double major applicants will be held on Tuesday, January 26, at 11, in room TB 490. For application requirements, please contact double major advisor Dr. Hande Tekdemir at firstname.lastname@example.org
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Gelin, “Kadına Karşı: Sınır ve Kültür Tanımayan Şiddet” sempozyumunda buluşalım!
Şiddetin tüm formlarını tartışalım, eylem biçimlerimizi zenginleştirip güçlendirelim!
Amacı, kadınların geçmişlerine ve bugünlerine ait belgeleri toplamak ve kadının insan hakları konusunda çalışmalar yürütmek olan Kadın Eserleri Kütüphanesi ve Bilgi Merkezi Vakfı olarak kuruluşumuzun 25. Yılında kadına karşı sınır ve kültür tanımayan şiddet üzerine bir sempozyum düzenliyoruz.
29 Kasım 2015’te gerçekleşecek bu etkinliğimizde, kadınlara yönelik şiddete dair sözü olanlar, çeşitli ülkelerden aktivistler, yerel yöneticiler, yasa koyucular, hukukçular ve akademisyenlerle buluşacak ve sınır tanımayan şiddete karşı birlikte çözüm yolları üretebilmek için bir araya geleceğiz.
Şiddet derken tam olarak neyi kastediyoruz? Kadına yönelik şiddetin hayatımızdaki türleri ve eylemlerimize yön veren unsurları nelerdir? Şiddeti önleyici pratikler nasıl geliştirilebilir? Şiddete maruz kalan kadınlar için ne tür eylem stratejileri geliştirilebilir ve bu uygulamalar nasıl hayata geçirilebilir? Cevabını arayacağımız sorular bunlarla sınırlı olmasa da bu sorular tartışmalarımızın çıkış noktasını oluşturmaktadır.
Şiddete karşı söyleyecek sözümüz var. Eylemlerimizi farklı bakış açılarıyla zenginleştirerek yeniden düşünmek ve paylaşmak için, tartışmalarımızla kadına karşı sınır ve kültür tanımayan şiddete dur diyebileceğimiz zeminleri birlikte inşa etmek üzere 29 Kasım’da Boğaziçi Üniversitesi’nde gerçekleşecek olan etkinliğimize katılım ve katkılarınızı bekliyoruz.
Tarih: 29 Kasım 2015 Pazar
Başlangıç Saati: 10:00
Yer: Albert Long Hall
Boğaziçi Üniversitesi ve İsveç Başkonsolosluğu’nun işbirliğiyle gerçekleştirilmektedir.
İletişim Adresi: email@example.com
Those who are interested in participating in koçluk projesi need to contact the department by November 8, 2015.
We congratulate the 2014-2015 recipients of the CEM TAYLAN awards:
Sena Şahin (Sophomore)
Melike Nazlı Kaplan (Sophomore)
The Cem Taylan Award is a monetary prize offered to sophomore, junior and senior students of outstanding academic achievement. The evaluations are done by the faculty at the beginning of the fall semester of each academic year. The award is presented to the students in early October.
BA in English Literature, Istanbul University (1972)
MA University of Keele (1974)
PhD University of Keele (1978).
Dissertation title: ‘D. H. Lawrence’s Responses to Visual Arts and Theories of Art and Their Effect on his Earlier Fiction’.
Cem Taylan joined the BU, Department of Western Languages and Literatures in 1979 and taught courses on Modern English Poetry, Victorian Poetry and Prose, Modern American Poetry, Analysis of Poetry, Classical American Novel, Modern American Theatre, Translation, Novel Adaptations in Cinema and History of the Turkish Cinema. His research predominantly on modern English, American and Turkish poetry, modern English novelists, cinema as a medium of literary work, Turkish cinema, etc. appeared in literary as well as popular journals and daily newspapers.
His published books are:
1986. D.H. Lawrence, Oğullar ve Sevgililer (trans.).E Yayınları.
1999. Oğullar ve Sevgililer (reprint). Oğlak Yayınları
1992. Modern İngiliz Şiiri: Willian Butlar Yeats ve Ezra Pound. Korsan Yayınları.
2000. Igor Stravinsky, Müziğin Poetikası (trans.). Pan Yayıncılık.
2000. Darwin Kuramı Seçme Yazılar ve Eleştiriler (trans.). Pan Yayıncılık.
2002. Dil Bilimi Düşününde Dönüm Noktaları I: Socrates’ten Saussure’e Batı Geleneği
(Landmarks in Linguistic Thought) (trans. with E. Taylan)Ankara: TDK Yayınları 799.
“Violence and Sexuality In In-Yer-Face Drama: Sarah Kane’s Phaedra’s Love, Mark Ravenhill’s Some Explicit Polaroids, and Anthony Neilson’s Penetrator”
In-yer-face theatre arising in the 1990s in Britain is generally renowned for staging extreme and explicit images of violence and sexuality. This study aims to discuss the nature of violence and sexuality in in-yer-face drama as part of a continuum in dramatic history, by considering it as a descendant of Ancient Greek Theatre, Jacobean Theatre and Theatre of Cruelty. Through brief studies of past aesthetic movements, in-yer-face theatre is situated within Western dramatic tradition in terms of its similarities as well as differences. Three plays by provocative contemporary playwrights are studied in detail. The concept of violence and sexuality is examined in Sarah Kane’s Phaedra’s Love (1996), Mark Ravenhill’s Some Explicit Polaroids (1999), and Anthony Neilson’s Penetrator (1993). Kane’s Phaedra’s Love explores the violence inherent in the language through portraying the clash of symbolic and literal levels of language. Ravenhill’s play, Some Explicit Polaroids investigates the violence in the creation and perception of body as an image that is generated by the global capitalist system. Lastly, Neilson’s Penetrator examines the violence in sexuality by showing the clash of private and public reality and how the prohibitions and taboos of the society impede the expression of private reality with regards to sexuality.
“The Moral and Political Worlds of Macbeth”
Unlike Shakespeare’s greatest villains such as Richard III and Iago, Macbeth is not really comfortable in his role as murderer and usurper thanks to his acute awareness that he is acting against the moral and political values which underpin the social fabric. The aim of this thesis is to explore the ways in which Macbeth falls afoul of the commonly accepted ethical and political norms in the discourse of the Renaissance era and finds himself in the role of a would-be “Machiavel”. He puts ‘words’ and his imagination into use to seize power and later to maintain his status as king of Scotland. Macbeth emerges as a great exemplar of how desire for political power silences the claims of conscience.
“Narrative Voice in Feminist Drama: A Study of Adrienne Kennedy, Caryl Churchill and Sarah Kane”
Much as narratives are an essential part of human life, the scholarly research on narratives under the branch of narratology is quite recent. Particularly the Russian formalism and French structuralism played a vital role in the development of classical narratology within the theoretical framework. However, classical narratology studied narratives mainly in the novels and evaded including the genre of drama in its scope. Flourishing in the 1980s, postclassical narratology has been critical of this omission and paved the way for scholarly studies extending the scope of narratology to other media and genres.
In the light of the theoretical works that postclassical narratology produced in relation to drama, this thesis intends to apply narratology to feminist drama. Feminist narratology, a recent branch of postclassical narratology, has restricted its scope primarily to novels and considerably neglected the narrative voice in feminist drama. Yet, drama can convey the narrator-narratee relationships among women characters through the dialogues in the storyworld. More importantly, a playscript does have an agent conveying the story with certain techniques even though this is not seen as overtly as in novels. In feminist plays, this (often invisible) agent may use various narrative techniques to attract attention to gender-related problems. Witin this content, this thesis discusses the intradiegetic and extradiegetic narrative techniques in the plays of Adrienne Kennedy, Caryl Churchill and Sarah Kane, which problematize the issue of gender and womanhood.
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