Ecofeminist Colourings in the Works of Chinua Achebe and Thomas Hardy (Published)
The current global environmental crises urged me to investigate the manner in which writers from different backgrounds represent man’s relationship with nature in their texts and how they tie it to feminist dynamics. More precisely, the work focuses on the Nigerian writer Chinua Achebe’s trilogy Things Fall Apart, No Longer at Ease and Arrow of God and the English writer Thomas Hardy’s The Mayor of Casterbridge, Tess of the D’Urbervilles and Jude the Obscure. The research question that guides the work is: how do Chinua Achebe and Thomas Hardy represent the connection between environmental issues and gender considerations? The hypothesis is based on the premise that the two authors represent the environment and feminine realities with hints to the need for more protection. Second Wave Ecocriticism as outlined by Lawrence Buell and Ecofeminism according to Paul Sanders Quick constitute the theoretical framework while the Comparative Approach of Tötösy de Zepetnek that stresses on an international dimension is the methodology used to bring out the ecofeminist visions of the two writers in the above-mentioned texts.
A Comparative Study of Shakespeare’s Hamlet and Erksan’s Adaptation: Indigenization and Reception of the Play in Turkish Culture (Published)
William Shakespeare’s plays have been vastly adapted to movies by many directors all over the world. Metin Erksan (1929-2012), a Turkish director was one of the mentioned ones. His movie Intikam Meleği – Kadın Hamlet (1977) considered a modern adaptation of Hamlet. This paper intended to present a comparative analysis of Hamlet and its Turkish adaptation with a specific focus on similarities and differences in light of the adaptation theory. Adaptation theory as this study’s main framework will result in finding the news meanings of both Hamlet and its movie .The paper also going to focus primarily on three questions that proposed by Hutcheon and O’Flynn (2013) theory of adaptation including ‘What’, ‘Where’, and ‘When’, since it is quite important to focus on the changes that occur in the transfer from telling to showing mode. The paper aimed also at answering questions such as what features of Hamlet transferred in this adaptation (i.e. Plot, characterization, setting, and themes), how the context of Hamlet is transcoded in this adaptation, finally how did Erksan indigenize Hamlet. In conclusion, what will result from this analysis is that Erksan modified the movie so that it could fit with Turkish society, its traditions, and culture in the 20th century.