Oğuzhan Ayrım

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.

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.

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."