Boğaziçi University (Istanbul, Turkey), Assistant Professor of Literature in English (open field)

The Department of Western Languages and Literatures at Boğaziçi University invites applications for a full-time position of Assistant Professor of literature in English to be filled by a Turkish national starting in the academic year of 2022-2023. Candidates should demonstrate the ability to integrate active scholarship with excellent teaching. PhD thesis defense is required by June 30, 2021. Please send your CV, a writing sample of approximately 20 pages, a teaching statement, and a cover letter in one PDF file to Three confidential letters of recommendation should be sent to the  same address. The deadline for applications is May 15, 2021.



Cem Taylan Awards

We congratulate the 2019-2020 recipients of the CEM TAYLAN awards:

duygu deniz baş   Duygu Deniz Baş (Sophomore)

ece zeynep bilgucu   Ece Zeynep Bilgücü (Sophomore)

zeynep özer    Zeynep Özer (Junior)

ali emir dağlar    Ali Emir Dağlar (Senior)

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.

 CEM TAYLAN (1946-2001)


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.



We welcome Dr. Melih Levi to our department…



PhD (2020) Stanford University; Comparative Literature

B.A (2015) Amherst College; English Literature

Research Interests

the poetic image, literary modernism, The New York School, German expressionism, abstract expressionism, anxiety, melancholy and affect


Zoom talk by Dr. Melih Levi: “Gesturing Beyond the Avant-Garde: Frank O’Hara and the Performing Self”, June 25

Department of Western Languages and Literatures presents a zoom talk by Dr. Melih Levi: ”Gesturing Beyond the Avant-Garde: Frank O’Hara and the Performing Self” on June 25 at 2 pm.


FEF Meeting Room 2 is inviting you to a scheduled Zoom meeting.

Time: Jun 25, 2020 02:00 PM Istanbul


Join Zoom Meeting

Meeting ID: 954 2613 8697


Abstract: Legacies of the avant-garde in post-war America provide compelling case studies for understanding early departures from modernist conceptions of objectivity and impersonality. These departures also announce the onset of confessionalism in lyric poetry and the aesthetic  appreciation of personality attributes like authenticity, truthfulness, reliability, and sincerity. The New York School poet Frank O’Hara is often celebrated for the urban, spontaneous and performative style of his “I do this, I do that” poems and his effortless movement between diverse perceptions. But his earlier experiments with various avant-garde techniques (those of Surrealism in particular) reveal deeper and lengthier attachments in the object-world. Though the fluidity of Surrealist assemblages prepares O’Hara’s poetry for a swift responsiveness in urban contexts, the Surrealist interest in disguise and distortion puts pressure on his direct and plainspoken performance. As a result, his speakers consistently worry that undue emphasis on the activity of the self may end up turning the self into yet another object of study. How does O’Hara overcome this anxiety and perform a dynamic sense of self that resists being turned into a linguistic construct? We will observe that O’Hara stages purposeful encounters with modernist art to imagine what it would take to escape modernist claims of impersonality, as well as turning to gestures and painterly grammars to increase the resourcefulness of plain language.