Oğuzhan Ayrım

This article examines how minority engagements with Shakespeare in Türkiye, specifically Armenian and Kurdish translations and stagings, function as acts of cultural negotia tion, political visibility, and legitimisation rather than as pas sive receptions of a global canon. Drawing on theories of adaptation, appropriation, accessibility, and minor literature, the article argues that Shakespeare’s works have provided minority communities with a sociopolitical resource through which linguistic and theatrical agency have been asserted across different historical moments. Focusing on the Armenian reception of Shakespeare in the late Ottoman per iod and the Kurdish turn to Shakespeare in the Republican era in the 2010s, the article situates these practices within what Lauren Kruger terms “theatrical nationhood.” Particular atten tion is given to Othello and Hamlet, whose representations of displacement, marginality, and political crisis resonate with minority experiences in Türkiye. By tracing translation strate gies at textual and paratextual levels, the article demonstrates how accessibility works bidirectionally: how Shakespeare is appropriated into the Armenian and Kurdish languages, and how these cultures are legitimised within global literary cir cuits at the same time.

This article examines the Brothers Grimm's "Little Red Riding Hood" in comparison with its most recent adaptation in The Grimm Variations (2024) on Netflix, with a particular focus on the concept of voice. Using narratology, feminist narratology, and intertextuality, the study investigates how the notion of voice operates as both a narrative device and a metaphor for authorship. While the Grimms' version sustains patriarchal control by silencing the heroine, the Netflix adaptation reconfigures the female voice as a source of power and agency. To account for this shift, the article proposes the concept of "negative voice", which is the possibility of an encroachment of an outsider on the narrative space in practice and effect. By repositioning voice from absence to presence, the adaptation destabilises patriarchal storytelling and reclaims narrative authority for the female voice. The anime thus functions as an "anti-narrative", reworking familiar motifs to highlight silenced perspectives within the admission of the Grimms' fallibility. Hence, the anime embodies what we term as "negative voice" in perfect conditions. The findings indicate that voice is not only central to meaning-making but also to the cultural and ideological transformations. Through this micro example, the article argues that foregrounding voice as a critical axis allows for a deeper understanding of how contemporary retellings intervene in and reorganise questions of gender, power, and authorship within the cultural afterlives of fairy tales.

This paper considers readers' different backgrounds and perspectives due to the fact that interpretations of literary texts are not static but can change over time and across cultures. The study suggests that political symbolism in Moby-Dick may be interpreted differently by Arab and Middle Eastern readers compared to Western readers. Hence, the article aims to uncover alternative perspectives that have contributed to painting the unobjective image of America in Arab perceptions. Regarding the methodology, this paper applies Wolfgang Iser’s reception theory which gives the reader the full right not only to discover meanings but also to produce them in the text as well. Accordingly, the specificity of the Arab child recipient of an American classic requires a different approach that seeks to uncover the connotations of Melville’s Moby-Dick that certainly has room in the Arab mentality today because the accessibility of Moby-Dick through cartoon adaptations has facilitated its reach to millions of children globally, including those in Arab nations. These adaptations offer Arab audience access to the ethical themes, which are often integrated into televised versions as essential educational content. This paper also explores the television adaptations and cultural localization of Moby-Dick`s cartoons by identifying the unique characteristics of Arab culture embedded within dubbed motion pictures because translating Melville’s work into Arabic involves subtle cultural adjustments that resonate with the values and sensibilities of Arab and predominantly Muslim societies.

The primary focus of this article is to investigate the (in)visible gendered constructs within Dante's Commedia. The article argues that due to the special emphasis on vice and virtue, Commedia lends itself to the archival purposes of cultural memory. The article explores how the cultural memory within the poem takes on a phallocentric perspective in its mechanics of socio-political affirmations doubled by Dante's poetic chiasm. Since the meticulous visibility of such a concept by itself reallocates our focus towards the imperatives of silences and gaps, the poem introduces a nuanced gendered interpretation far beyond the visible space. Therefore, this article employs a critical and deconstructive method to scrutinise the phallocentric dynamism of the poem's memory-dependent derivatives and its invisible underside by taking a gendered approach. Within this framework, this article aims to contribute to the literature on Dante's Commedia with an introduction of a new feminist lens that might enrich various readings of Dante's "poema sacro."

The Grimm Variations is an episodic anime series released on Netflix in April 2024. The series is composed of six classical stories of fairy tales inspired by the Brothers Grimm stories, from Cinderella to Little Red Riding Hood, from Hansel and Gretel to the Town Musicians of Bremen. The nature of the variations in the series does not come from the transfer of the stories as they are, but rather from certain changes in their content. The shifting rendition in each episode, however, comes with what we might call "a dark twist" and poses the question of "what if" Cinderella was not depicted as a passive heroine, and the Little Riding Hood was the one that hunts the wolf? These varied questions and answers are what classify this series as the composition of anti-tales, a phenomenon that is succinctly utilised by the feminist subversions of classical misogynistic stories. A comprehensive study of all episodes would be such a vast subject for this article. Therefore, this article limits itself to the critical standing of the first episode, "Cinderella". The purpose of this article is to investigate the critical feminist standing of the Cinderella story as an anti-tale in its 2024 rendition on a comparative basis with the classical story of the Brothers Grimm version.

Herman Melville’s Moby Dick is open to many readings, but one that has yet to be explored is the existential reading of Ahab’s pursuit from a gender perspective. By weaving together biblical, mythical, and mystical elements, the novel promises that Captain Ahab’s vengeance on the whale actually transcends the expected qualities of a maritime quest. A self-made man, Ahab endures his ever-present obsession and relentlessly clings to his deadliest struggle, which echoes Sartre’s proclamation, “Man is nothing else but what he makes of himself.” Yet, intricately entwined with the spirit of nineteenth-century America, Ahab's character also assumes a canonical representation of American ideals. Thus, his hunting pursuit is overlaid onto America’s expansionist and imperialist mindset in the nineteenth century, which complements the hegemonically masculine manner camouflaged under this political ethos. Bearing this in mind, Melville subtly indicates that Ahab’s urge to assert his superiority over the whale is related to the biblical context of appointing females as something to take revenge on. In this narrative, Ahab's embodiment of the American hero undergoes a metamorphosis into an American Adam figure by asserting dominance over the whale that symbolises female subjugation. Interrogating Ahab's portrayal as an American Adam-type within the broader societal and political contexts of supremacist ideals, this article delves into Ahab's pursuit through the lens of Sartrean Existentialism. By doing so, this article interprets Ahab’s idealistic quest to hunt down the whale as a metaphor for hegemonic masculinity and subordinate femininity by exploring the subject/object, and the pursuer/pursued dynamics.

The central aim of this article is to explore the power politics of perception between English and Irish representations within selected canonised Irish texts. The focal point of this article orbits around the relationship between the observer and the observed with an essential emphasis on the roles of defining and defined subjects. Focusing on the metaphorical framework of Father England as the authority of gaze and Mother Ireland as the object of gaze, this article introduces Ireland’s post-independence era as the inception of a transformative journey that is characterised by a promise of self-definition after liberation from English dominion. In navigating the power dynamics of perception between Father England and Mother Ireland, this article takes a focused approach by analysing key literary works. Specifically, James Joyce’s “The Dead” (1914), Máirtín Ó Cadhain’s The Key (1949), and John Banville’s The Book of Evidence (1989) serve as illustrative examples. With these texts, this article aims to depict the trajectory of Ireland’s evolution from a position of being defined to a self-defining position.

This article proposes to read John Banville’s The Book of Evidence, a crime story narrated from the protagonist’s first-person gaze, from a Lacanian perspective by referring to his mirror stage theory. As an extension of testimonial literature, the novel is deemed to be a narrative of introspective self-examination, thus introducing a creation of “the self” paralleling the text. The protagonist’s mnemonic narrative is accompanied by the idea of an alternative world of not only self-expression but also self-depiction and presentation, as in Lacan’s Imaginary. This self-creation, however, may not be as innocent as it seems. The reason for this is that although the mirror phase involves a transition from the Imaginary to the Symbolic, it presupposes the role of the other, biologically (m)other, in order to accustom the subject to the law of society. However, just because the protagonist, Freddie, mentions his mother’s presence as “nothing,” there is no soothing force for his adaptation to societal laws. Here, Freddie is subject to what Lacan sees as a minor prototype who lives in a society and yet is attached to his own rules, which is the first principle of male violence associated with this novel. Therefore, this article also tries to find answers for Freddie’s performance of male violence within the axis of psychoanalytic postulations elaborated on Lacan’s identity theory.