The French Lieutenant’s
W
oman
by
John FOW
LES
Supervisor
Asst. Prof. Dr. Mustafa Zeki
Text ÇIRAKLI
vs. Reality in

Postmo...
Text
Unity of sound, words,
sentences

Reality
Text
W
ith

Fictive & Realistic Elements
Aim
|
|
Giving deeper comprehension with
text including realistic points
I do not know. This story I am telling is all
imagination. These characters I create
never existed outside
my own mind. If...
But this is preposterous? A character is
either “real” or “imaginary”? If you
think that, hypocrite lecteur,
I can only sm...
This tension, then—between lust and
renunciation, undying recollection and
undying repression, lyrical
surrender and tragi...
You may one day come under a similar gaze.
And you may—in the less reserved context of
our own
century—be aware of it. The...
Now the question I am asking, as I stare at Charles,
is not quite the same as the two above. But rather,
what the devil am...
Thank You…
*
Gamze KÖSE
Gül Nihan GÜRSOY
Thank You…
*
Gamze KÖSE
Gül Nihan GÜRSOY
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Text vs reality flw

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Text vs reality flw

  1. 1. The French Lieutenant’s W oman by John FOW LES Supervisor Asst. Prof. Dr. Mustafa Zeki Text ÇIRAKLI vs. Reality in Postmodernism by Gamze KÖSE & Gül Nihan GÜRSOY
  2. 2. Text Unity of sound, words, sentences Reality
  3. 3. Text W ith Fictive & Realistic Elements Aim | | Giving deeper comprehension with text including realistic points
  4. 4. I do not know. This story I am telling is all imagination. These characters I create never existed outside my own mind. If I have pretended until now to know my characters’ minds and innermost thoughts, it is because I am writing in (just as I have assumed some of the vocabulary and “voice” of) a convention universally accepted at the time of my story:
  5. 5. But this is preposterous? A character is either “real” or “imaginary”? If you think that, hypocrite lecteur, I can only smile. You do not even think of your own past as quite real; you dress it up, you gild it or blacken it, censor it, tinker with it ... fictionalize it, in a word, and put it away on a shelf—your book, your romanced autobiography. We are all in flight from the real reality.
  6. 6. This tension, then—between lust and renunciation, undying recollection and undying repression, lyrical surrender and tragic duty, between the sordid facts and their noble use— energizes and explains one of the age’s greatest writers; and beyond him, structures the whole age itself. It is this I have digressed to remind you of.
  7. 7. You may one day come under a similar gaze. And you may—in the less reserved context of our own century—be aware of it. The intent watcher will not wait till you are asleep. It will no doubt suggest something unpleasant, some kind of devious sexual approach ... a desire to know you in a way you do not want to be known by a stranger. In my experience there is only one profession that gives that particular look, with its bizarre blend of the inquisitive
  8. 8. Now the question I am asking, as I stare at Charles, is not quite the same as the two above. But rather, what the devil am I going to do with you? I have already thought of ending Charles’s career here and now; of leaving him for eternity on his way to London. But the conventions of Victorian fiction allow, allowed no place for the open, the inconclusive ending; and I preached earlier of the freedom characters must be given. My problem is simple—what Charles wants is clear? It is indeed. But what the protagonist wants is not so clear; and I am not at all sure where she is
  9. 9. Thank You… * Gamze KÖSE Gül Nihan GÜRSOY
  10. 10. Thank You… * Gamze KÖSE Gül Nihan GÜRSOY
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