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    and now we're here: the Plasticene: Ecological Awareness in Margaret Atwood's Recent Poetry Collection, Dearly
    (Istanbul Univ, Fac Letters, 2024) Altin, Merve
    Dearly , first published in 2020, is the latest poetry collection of the acclaimed writer, Margaret Atwood. In Dearly , Atwood revisits some of her favourite themes and subjects such as love, loss, time, ageing, sexuality, gender, nature, and environment. The book is divided into five sections, and the poems grouped in the same section revolve around a common theme. In section IV, the poems grouped under the title of Plasticene Suite discuss the increasing amount of plastic waste as the distinctive anthropogenic marker of our age. Accordingly, each poem focuses on a different aspect and consequence of this environmental problem. The primary objective of this study is to analyse Plasticene Suite poems, namely Rock -Like Object on Beach, Faint Hopes, Foliage,Midway Island Albatross,Editorial Notes,Sorcerer's Apprentice,Whales, Little Robot, and The Bright Side from Dearly through the lens of ecopoetry to reveal Atwood's criticism of the anthropogenic factors contributing to the current ecological crisis, particularly the ever-increasing generation of plastic waste, and to comment on contemporary poetry's awareness of and power to address the pressing environmental issues. The study also contends that ecopoetic readings of Plasticene Suite poems can help raise awareness about the rise in plastic waste during and after the initial phase of the COVID-19 pandemic. In that sense, the ecopoetic readings of Plasticene Suite poems can urge us to reconsider our dependence on plastic and encourage us to adopt sustainable practices and habits by promoting consciousness about this environmental problem.
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    Reecriture feminine as a conceptual convergence: A paratext-driven analysis of Fitzgerald, Lattimore, Fagles, and Wilson's translations of The Odyssey
    (Logos Verlag Berling Gmbh, 2023) Yildiz, Mehmet; Altin, Merve
    Translation, as Andre Lefevere argues, is a form of rewriting, governed by various idiosyncratic and sociocultural factors and characterized by a certain level of ideological manipulation of the source text to conform to the norms and conventions of the target culture or fulfil ideological purposes. Resonating with this view, ecriture feminine (feminine writing or women's writing), as conceptualized by Helene Cixous, can be employed to make women more visible in literature and society by emancipating them from the dominant phallogocentric conceptualization through the invention of a new insurgent writing. By converging these two concepts, this paper (re)contextualizes reecriture feminine as a translational concept. It builds on the analyses of the English translations of Homer's Odyssey by Robert Fitzgerald (1961), Richmond Lattimore (1965), Robert Fagles (1996), and Emily Wilson (2017), the first woman to translate this classic into English, and of several paratexts on her translation and the previous ones.