scholarly journals Foucault’un İktidar Görüşleri Işığında Erdal Öz’ün Yaralısın Romanı / Yaralisin, the Novel by Erdal Oz, in the Light of Foucault’s Power Theory

2017 ◽  
Vol 6 (6) ◽  
pp. 564
Author(s):  
Koray Üstün
Keyword(s):  
Michel Foucault ◽  
Power Structure ◽  
New Order ◽  
The Novel ◽  
Second Person ◽  
Private Space ◽  
Power Theory ◽  
History Of ◽  
The Subject ◽  
The Individual

<p><strong>Abstract</strong></p><p>In the light of the power concepts theorized by Michel Foucault, this article investigates Erdal Oz's novel Yaralisin (You’re Wounded). Foucault’s power structure that systematized in Subject and Power (1961), History of Sexuality (1984), Birth of Prison (1975), The Birth of Biopolitics (2004), has similarities with crime production that the novel reflects. Accordingly, individuals are being standardized in the prison through programs, strategies and technics that the power structure determined. In this process, there is no direct enforcement on the individual. The power structure connects the individual to itself through knowledge and body. In Oz’s novel the subject depending on space changing are being standardized and transformed into the “Nuri” character, as we read in the text. At the base of becoming standard individual through lost of identity, there is crime production. As for crime production, it takes shape in accordance with space. In the novel, space dependent suffering, inflicted on individuals, places the subject on a hierarchical plane, as Foucault has also indicated, and brings an end to existence. The power structure, cutting off the individual from his private space, taking him first into the interrogation room, and then to the prison, has made him a part of the system and has objectified him. The digestive effect of the power structure has become even more concrete with the presence of the second person narrator within the narrative plane; depersonalization has taken place within the new order.</p><p><strong>Öz</strong></p><p>Bu makalede Michel Foucault’un kuramsallaştırdığı iktidar kavramı ışığında Erdal Öz’ün <em>Yaralısın</em> romanı incelenmiştir. Foucault’nun <em>Özne ve İktidar </em>(1961),<em> Cinselliğin Tarihi </em>(1984)<em>, Hapishanenin Doğuşu </em>(1975)<em>, Biyopolitikanın Doğuşu</em> (2004) gibi kitaplarında sistemleştirdiği iktidar, romanda aktarılan suç üretimi ile paralellik taşımaktadır. Bireyler, iktidar tarafından belirlenen program, strateji ve tekniklerle hapishanelerde tek tipleştirilmektedir. Bu süreçte bireyler üzerine doğrudan bir yaptırım uygulanmaz; iktidar, bilgi ve beden yönetimi üzerinden bireyi kendine bağlar. Öz’ün romanında da uzamsal değişimlere bağlı olarak tekil özneler, tek tipleştirilerek metindeki karşılığıyla “Nuri”lere dönüşür. Bireyin kendi kimliğini yitirerek tek tipleşmesinin temelinde suç üretimi vardır. Suç üretimi ise uzama göre şekillenir. Romanda uzama göre değişen çektirilen azaplar, Foucault’un da belirttiği gibi özneyi hiyerarşik düzleme yerleştirir ve varoluşu sona erdirir. İktidar, özneyi kişisel mekânından ayırıp önce sorgu odasına ardından da hapishaneye götürerek onu düzenin bir parçası hâline getirmiş ve nesneleştirmiştir. İktidarın sindirici etkisi, anlatı düzlemindeki ikinci tekil anlatıcının varlığıyla daha da somutlaşmış; kurulan düzen içerisinde özne yitimi gerçekleşmiştir. </p>

scholarly journals NOVEL “ORANG-ORANG PROYEK”: SEJARAH ORDE BARU

TELAGA BAHASA ◽  
2021 ◽  
Vol 8 (1) ◽  
Author(s):  
Ramis Rauf
Keyword(s):  
Set Theory ◽  
Positive Relationship ◽  
New Order ◽  
The Novel ◽  
Literary Works ◽  
Alain Badiou ◽  
History Of ◽  
The Subject

This study wants to reveal the truth procedures in Ahmad Tohari's novel Orang-Orang Proyek, as a part of an event and a factor in the presence of a new subject. This research would answer the problem: how was the subjectification of Ahmad Tohari in Orang-Orang Proyek novel as truth procedures? This study used the set theory by Alain Badiou. The set theory explained that within a set there were members of "Existing" or Being and events as "Plural" members.  The results proved that the subjectivity between Tohari and New Order events produced literary works: Orang-Orang Proyek. This happened because there was a positive relationship between the author and the event as well as on the naming of the event. Not only as of the subject but also do a fidelity to what he believed to be a truth. The truth procedures or the void—originating from the New Order event—was in the history of the making of a bridge in a village in Java island, Indonesia during the New Order period that filled with corruption, collusion, and nepotism. Tohari then embodied it in his novel. By the presences of the novel, we could know the category of Tohari's presentation as a new subject such as faithful, reactive, and obscure.

Educational Software Evaluation

2011 ◽  
pp. 699-711 ◽  
Author(s):  
Michael Shaughnessy
Keyword(s):  
Educational Software ◽  
Evaluation Methodology ◽  
Evaluation Methodologies ◽  
Initial Investigation ◽  
History Of ◽  
The Subject ◽  
Software Methodologies ◽  
The Individual ◽  
Evaluation Techniques ◽  
Complete History

From 1980 to 2000, there were many articles written on the subject of software review and evaluation. Upon initial investigation of educational software methodologies, it appears that there are as many evaluation methodologies as there are authors presenting them. Several articles (methodology analyses) have been written describing these evaluation techniques (Bryson & Cullen, 1984; Eraut, 1989; Holznagel, 1983; Jones et al., 1999; McDougall & Squires, 1995; Reiser & Kegelmann, 1994, 1996; Russell & Blake, 1988). Each of these articles describes various methodologies and presents the most current evaluation methodology available, but fails to provide a complete history of the types of evaluation methodologies. These analyses of evaluation methodologies focus on the individual methodology, but refrain from putting individual methodologies into a greater systematic context.

Body and law in late Anglo-Saxon England

1998 ◽  
Vol 27 ◽  
pp. 209-232 ◽  
Author(s):  
Katherine O'Brien O'Keeffe
Keyword(s):  
The Body ◽  
Anglo Saxon ◽  
Manuscript Production ◽  
History Of ◽  
The Subject ◽  
The Law ◽  
The Individual ◽  
And Control ◽  
Point Of Departure

This article explores some textual dimensions of what I argue is a crucial moment in the history of the Anglo-Saxon subject. For purposes of temporal triangulation, I would locate this moment between roughly 970 and 1035, though these dates function merely as crude, if potent, signposts: the years 970×973 mark the adoption of the Regularis concordia, the ecclesiastical agreement on the practice of a reformed (and markedly continental) monasticism, and 1035 marks the death of Cnut, the Danish king of England, whose laws encode a change in the understanding of the individual before the law. These dates bracket a rich and chaotic time in England: the apex of the project of reform, a flourishing monastic culture, efflorescence of both Latin and vernacular literatures, remarkable manuscript production, but also the renewal of the Viking wars that seemed at times to be signs of the apocalypse and that ultimately would put a Dane on the throne of England. These dates point to two powerful and continuing sets of interests in late Anglo-Saxon England, ecclesiastical and secular, monastic and royal, whose relationships were never simple. This exploration of the subject in Anglo-Saxon England as it is illuminated by the law draws on texts associated with each of these interests and argues their interconnection. Its point of departure will be the body – the way it is configured, regarded, regulated and read in late Anglo-Saxon England. It focuses in particular on the use to which the body is put in juridical discourse: both the increasing role of the body in schemes of inquiry and of punishment and the ways in which the body comes to be used to know and control the subject.

scholarly journals Ethnic Chinese during the New Order: Teaching Materials Development for History Learning based on Multiculturalism

2020 ◽  
Vol 30 (1) ◽  
pp. 46-54
Author(s):  
Hendra Kurniawan
Keyword(s):  
New Order ◽  
Chinese Society ◽  
Teaching Materials ◽  
Materials Development ◽  
History Teaching ◽  
Ethnic Chinese ◽  
History Learning ◽  
History Of ◽  
Qualitative Descriptive ◽  
The Subject

The history of Indonesian Chinese society is still rarely studied in history learning at school. One of them concerns the discriminatory treatment of them during the New Order era. This article aimed to describe discriminatory policies against ethnic Chinese during the New Order era, to present it as a history teaching materials, and to elaborate on the importance of studying it for the younger people. This research used historical and qualitative descriptive method using literature. The result showed that (1) Ethnic Chinese in the New Order era received discriminatory treatment in various sectors. It was a violation of human rights and susceptible to trigger conflict. (2) The study of the Chinese people can be served as a history teaching material in the subject of the New Order era. (3) Teaching materials development is expected to be used to create awareness of multiculturalism through history teaching.Sejarah masyarakat Tionghoa Indonesia masih jarang dikaji dalam pembelajaran sejarah di sekolah. Salah satunya mengenai perlakuan diskriminatif terhadap mereka pada masa Orde Baru. Maka penelitian ini bertujuan untuk mendeskripsikan kebijakan diskriminatif terhadap etnis Tionghoa selama Orde Baru, menyajikannya sebagai bahan ajar sejarah, dan menguraikan arti penting mempelajarinya bagi generasi muda. Penelitian ini menggunakan metode historis dan kualitatif deskriptif dengan studi pustaka. Hasil penelitian menunjukkan bahwa (1) Etnis Tionghoa pada masa Orde Baru menerima perlakuan diskriminatif di berbagai sektor. Hal itu merupakan pelanggaran atas hak asasi manusia dan terbukti rentan konflik. (2) Studi tentang dinamika masyarakat Tionghoa tersebut dapat disajikan sebagai bahan ajar sejarah pada pokok bahasan masa Orde Baru. (3) Kajian tersebut diharapkan dapat menciptakan kesadaran multikulturalisme melalui pembelajaran sejarah.

scholarly journals A CONSTITUIÇÃO DO SUJEITO EM MICHEL FOUCAULT A PARTIR DA HISTÓRIA DA SEXUALIDADE

2019 ◽  
Vol 3 ◽  
pp. 158
Author(s):  
Ketlin Kroetz ◽  
José Luis Schifino Ferraro
Keyword(s):  
Michel Foucault ◽  
The Self ◽  
History Of Sexuality ◽  
Care Of The Self ◽  
Single Reading ◽  
History Of ◽  
The Subject

RESUMOEste ensaio objetiva discutir o modo como Michel Foucault abordou a constituição do sujeito a partir de a História da Sexualidade em seus volumes (I) A vontade de saber, (II) O uso dos prazeres e (III) O cuidado de si. O trabalho utiliza aportes teóricos de autores que trabalham “com” o filósofo francês em torno dos processos de subjetivação. Sem querer fechar conclusões e/ou propor uma leitura unívoca sobre o tema, o texto que segue conduz o debate em torno da invenção do sujeito e dos distintos modos de constituir-se/devir-a-ser sujeito da experiência no interior dos estudos foucaultianos e seu entrecruzamento com a Educação.Palavras-chave: Constituição do sujeito. História da sexualidade. Michel Foucault.ABSTRACTThis essay aims to discuss how Michel Foucault approached the theme of the subject constitution from the History of Sexuality in its volumes (I) An Introduction, (II) the use of pleasure and (III) The care of the self. The work use a series of theoretical contributions from authors who works “with” the French philosopher around the subjectivation processes. Without any pretention of closing conclusions and/or propose a single reading about the theme, the following text lead us to the debate around the invention of the subject and the different ways to constitutes/becomes the subject of the experience in the field of the Foucauldian studies and its intersection with Education.Keywords: Subject constitution. History of sexuality. Michel Foucault.

scholarly journals Concept “Happiness” in the Autobiographical Prose of Vladimir Nabokov

2020 ◽  
Vol 2020 (2) ◽  
pp. 112-121
Author(s):  
Nadezhda S. Stepanova
Keyword(s):  
Cultural Memory ◽  
Vladimir Nabokov ◽  
Point Of View ◽  
Personal History ◽  
Artistic Experience ◽  
The Gift ◽  
History Of ◽  
The Subject ◽  
The Individual ◽  
Artistic Image

«Happiness» is one of the most significant cultural universals, semantically related to the concepts of the spiritual life of a man, the most important element performing meaning-forming and plot-forming role in an artistic work. The study of the reflection of notions about happiness in the autobiographical prose of V. Nabokov in the context of the literary and cultural situation of the first wave of Russian emigration is defined by the specifics of autobiography as a text that is created at the end of life and involves its recognition from the point of view of a person summing up intermediate or final results. The article analyzes the artistic concept «happiness» in the autobiographical prose of V. Nabokov; it determines its individual author’s content that is correlated with the general cultural content of the concept. The article is devoted to the study of the concept «happiness» as a complex emotional and value formation which reflects the universal artistic experience, recorded in the cultural memory, expresses the individual author’s understanding of the essence of objects and phenomena. The conceptual component of the word «happiness» in the creativity of V. Nabokov includes the harmonious fullness of life, freedom, the gift of creativity, the happiness of childhood, family, the hearth, the happiness of love and marriage, the enjoyment of life and its joys, a reflection of the personal history of upbringing and testing. The concept «happiness» implements not only semantic, but also axiological possibilities, reflecting both the own characteristics of the subject of the artistic image and the features of idiostyle of the writer.

scholarly journals Magical Realism as Historical Discourse Reflected on Eka Kurniawan's 'Beauty is A Wound'

2020 ◽  
Vol 9 (1) ◽  
pp. 87-102
Author(s):  
Sadam Nurrahman ◽  
Mohamad Ikhwan Rosyidi
Keyword(s):  
Magical Realism ◽  
New Historicism ◽  
New Order ◽  
The Novel ◽  
Historical Discourse ◽  
Irreducible Elements ◽  
Time Space ◽  
History Of ◽  
Five Elements ◽  
Independence Era

This study aims to uncover magical realism as historical discourse portrayed in the novel Beauty is A Wound by Eka Kurniawan. Descriptive qualitative method used in this study. The data were collected by reading, classifying and interpreting. The result is the novel Beauty is A Wound has five elements of magical realism as Faris stated, they are; irreducible elements, phenomenal world, the unsettling doubt, merging realms and disruptions of time, space and identity. In relation with magical realism, New Historicism also applied to unearth Indonesia historical discourse since the time of late Dutch colonization, the invasion of Japan, the Independence Era and the New Order Era. Then, the massacre of everyone who were labeled as communist. And the genocide of all the thugs or preman in order to make safer and better society. In this novel, the history of Indonesia was camouflaged and mixed with magical realism because every event that categorized as magical realism led to the past events which related to the history of Indonesia. Keywords: historical discourse, magical realism, new historicism

scholarly journals Critical Dystopia: Local Narrative in the Threshold in Ahmed Khaled Towfik’s Utopia

2019 ◽  
Vol 19 (1) ◽  
pp. 175-194
Keyword(s):  
Twentieth Century ◽  
System Structure ◽  
Close Reading ◽  
The Novel ◽  
Totalitarian Regime ◽  
Critical Orientation ◽  
The Subject ◽  
The Individual ◽  
Knowledge Memory ◽  
Critical Dystopia

This study is an exploration of critical dystopia within a postmodern context. Literary and historical viewpoints associate dystopia with the failed utopia of twentieth-century totalitarianism manifested in regimes of extreme coercion, inequality, and slavery. Raffaella Baccolini and Tom Moylan, of whose perspective this study makes use, theorize that critical dystopia provides a potential for change through rejecting the traditional dystopian ending marked by the subjugation of the individual. Problematizing critical dystopia further, the study proposes that the critical orientation of this sub-genre originates mainly from the “local narrative” of a subject whose agency generates from his position in the “threshold” between those in and under control, combined with the “counter-conducts” he uses to acquire knowledge, memory, and awakened consciousness. As a full agent, the subject resists the “utopian” “metanarrative” of an oppressive system/structure and offers possibilities of meaning in a process of “différance” which entails a potential for change. This proposition is clarified through the close reading of Ahmed Khaled Towfik’s Utopia (2011; first published in Arabic in 2008). The novel is discussed as a critical dystopian text in which Gaber, the subject in the “threshold,” opposes the totalitarian regime of Utopia in his “local narrative.”

scholarly journals The metaphor of stopped time in the novel “The Tin Drum” by Günter Grass

2020 ◽  
pp. 34-40
Author(s):  
Kseniya Sergeevna Oparina
Keyword(s):  
Emotional Development ◽  
Crimes Against Humanity ◽  
The Novel ◽  
Main Character ◽  
Special Contribution ◽  
The World ◽  
History Of ◽  
The Subject ◽  
Ethical Norms ◽  
Günter Grass

The goal of this article consist in interpretation of the major metaphor in G&uuml;nter Grass&rsquo; novel &ldquo;The Tin Drum&rdquo;, &nbsp;and coverage of its interrelation with symbolism of the image of the protagonist Oskar Matzerath. The subject of this research is the metaphor of stopped time. The time stops for Oscar with regards to physical and emotional development. Special attention is given to the fact that the protagonist of the novel, who comes into the world with adult intelligence, deliberately stops his development at the age of three. Using the indicated metaphor, the author of the novel forms the key traits of the image of the protagonists: perpetual child, demiurge, trickster. The novelty of this research and special contribution of the author consists in revelation of direct correlations between the aforementioned traits of the main character of the fundamental problems of human existence. A child who refuses to grow up, symbolizes infantilism and denial of the generally accepted socio-ethical norms. At the same time, G. Grass describes dissolution of the surrounding world and blames specific nation in the crimes against humanity, endowing Oskar Matzerath with the traits of trickster and demiurge. The acquired results can be used in textbooks on the history of foreign literature and culturology; as well as in writing term and graduation theses by students majoring in the humanities.

scholarly journals Bernard Cohen’s Snowdome: somewhere in a postmodern time

2007 ◽  
pp. 185
Author(s):  
Andrés Romero Jódar
Keyword(s):  
Space Dimension ◽  
World Order ◽  
The Novel ◽  
Contemporary Society ◽  
Time Space ◽  
The Media ◽  
The Subject ◽  
The Individual ◽  
Near Future ◽  
The City

Occidental societies, according to certain visions of a postmodern future as reflected in literature and arts, are heading towards a dystopian decadent world order. It is inside this perspective that I place the following essay with the aim to analyse the representation of Postmodernism and Postmodernity in Bernard Cohen’s experimental work, Snowdome. This novel can be conceived as a complex portrayal of contemporary existence and life in the city. By means of three different narrations and two stories separated by the unstable boundary of time, Cohen depicts contemporary Sidney from a nightmarish present of noise that leads to the complete isolation of the subject in a near future. The novel emphasises the multiplicity of information in contemporary society and the way in which that information becomes a constant noise flooding the city. The individual is unable to grasp a bit of that “pure reality” outside the simulacrum offered by the media and by the terrifying museum. Sidney and Australia become, in Cohen’s work, a prolongation of contemporary North-American invasive culture, based on the power of the TV screen and the falsehood of simulacrum, whereas individuals are plunged into a new time-space dimension which is placed somewhere in a postmodern time.

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