30 Mart 2020 Pazartesi

Survey to English Lit: Romantic Period @ayvansarayunv

Survey to American Lit: The 18th Century American Poetry @ayvansarayunv

Muslims enslaved: https://nmaahc.si.edu/explore/stories/collection/african-muslims-early-america
Five Classic Muslim Slave Narratives (American Islamic Heritage): https://www.amazon.com/Classic-Narratives-American-Islamic-Heritage/dp/1463593279

28 Mart 2020 Cumartesi

“I feel so intensely the delights of shutting oneself up in a little world of one’s own, with pictures and music and everything beautiful” Virginia Woolf

26 Mart 2020 Perşembe

ANNOUNCEMENT for my students @beykentunv

Dear Students,
The material that you need and which you can find on your syllabus are uploaded on "Pusula"
you don't have to read the material before entering the Online Session, but you can check on them before your exams.
best
gh

ANNOUNCEMENT for my students @ayvansarayunv

Dear Students,
The material that you need and which you can find on your syllabus are going to be uploaded each week on "Ayvansaray E-Öğrenme".
pls read the material before entering the Online Session.
best
gh

24 Mart 2020 Salı

ANNOUNCEMENT: For my Students @beykentunv

Dear Students,

We are going to start our lectures: 25.03.2020 via Blackboard Collaborate.

Please use the link that I added to the uni system called PUSULA, go to the 6th week and press the button which says JOIN SESSION.

for further details: please check your mails posted through the OBS system!
and go to: https://www.instagram.com/p/B-IWMBBJHJk/?utm_source=ig_web_copy_link

see you tomorrow

best

gh

Short Story: Bloodchild

Gothic Lit Dracula part 12-15: 24.03.2020

Gulliver's Travels: Last Part

20 Mart 2020 Cuma

ONLINE LECTURE @ayvansarayunv

Dear Students,
We are going to start our lectures: 23.03.2020 via Blackboard Collaborate.
Please use the link that I have send you today via e-mail to the Ois-uni-system.
you can also find some details from this link:
https://www.blackboard.com/teaching-learning/collaboration-web-conferencing/blackboard-collaborate

see you on Monday
best
gh

18 Mart 2020 Çarşamba

Take a Tour: World-Class Museums You can Visit Online

Guggenheim Museum, New York

See online exhibitions like But a Storm Is Blowing From Paradise: Contemporary Art of the Middle East and North Africa and The Little-Known Glass Works of Josef Albers here and virtually tour the building here (you’d save yourself $25).

British Museum, London

Tour the museum’s Great Court and discover the ancient Rosetta Stone here.

Musée d’Orsay, Paris

Get a close look at the works of Monet, Cézanne, Gauguin, and hundreds of other French painters here.

Rijksmuseum, Amsterdam

Walk among Vermeer, Rembrandt, and many more masters from the Dutch Golden Age here.

Pergamon Museum, Berlin

The Pergamon is one of Germany’s largest museums and it’s home for the Ishtar Gate of Babylon and the Greek Pergamon Altar. Visit it here.

National Museum of Modern and Contemporary Art, Seoul

Catch up on the best of contemporary art from Korea here.

National Gallery of Art, Washington, DC

Explore an exhibition of American fashion from 1740 to 1895 and a collection of Vermeer paintings here.

Van Gogh Museum, Amsterdam

Here is where you can find the largest collection of artworks by van Gogh, including more than 200 paintings, 500 drawings, and over 750 personal letters.

Louvre, Paris

The Louvre doesn’t need Google to create online tours for itself. It has its own virtual tours, thank you very much.

MASP, São Paulo

The Museu de Arte de São Paulo is Brazil’s first modern art museum. Do visit it here.

The J. Paul Getty Museum, Los Angeles

Travel back in time to the 8th century with this collection of European paintings, drawings, sculpture, illuminated manuscripts, decorative arts, and European, Asian, and American photographs.

Uffizi Gallery, Florence

Italy was hit hardest by the virus in Europe. Show some solidarity and pay this magnificent gallery a visit.

source: https://hyperallergic.com/547919/2500-virtual-museum-tours-google-arts-culture/

thanks to @SelminHayircil

17 Mart 2020 Salı

Download 150 Free Coloring Books from Great Libraries, Museums & Cultural Institutions: The British Library, Smithsonian, Carnegie Hall & More

Below you can find a collection of 20 free coloring books, which you can download, print, and color until you can color no more. Also find a complete list of 150 coloring books over at this site maintained by The New York Academy of Medicine Library.

To see the free coloring books offered up in 2016, click here. And 2017, here.

“What’s true of all the evils in the world is true of plague as well. It helps men to rise above themselves.” ― Albert Camus, The Plague

15 Mart 2020 Pazar

1,150 Free Movies Online: Great Classics, Indies, Noir, Westerns, etc.

https://www.filmloverss.com/sinema-tarihini-etkileyen-10-film-noir/

Watch 1,150 movies free online. Includes classics, indies, film noir, documentaries and other films, created by some of our greatest actors, actresses and directors. The collection is divided into the following categories: Comedy & Drama; Film Noir, Horror & Hitchcock; Westerns (many with John Wayne); Martial Arts Movies; Silent Films; Documentaries, and Animation. We also have special collections of Oscar Winning Movies and Films by Andrei Tarkovsky and Charlie Chaplin.

for more : http://www.openculture.com/freemoviesonline

11 Mart 2020 Çarşamba

Audiovisual Week 5: Subtitle Guideline 2

7 Mart 2020 Cumartesi

“Earth's crammed with heaven... But only he who sees, takes off his shoes.” ― Elizabeth Barrett Browning

Serena Carone, Pleureuse, 2012 from Les Muses de Paris on Vimeo.

The Runaway Slave At Pilgrim's Point - Poem by Elizabeth Barrett Browning

I stand on the mark beside the shore

Of the first white pilgrim's bended knee,

Where exile turned to ancestor,

And God was thanked for liberty.

I have run through the night, my skin is as dark,

I bend my knee down on this mark . . .

I look on the sky and the sea.

II.

O pilgrim-souls, I speak to you!

I see you come out proud and slow

From the land of the spirits pale as dew. . .

And round me and round me ye go!

O pilgrims, I have gasped and run

All night long from the whips of one

Who in your names works sin and woe.

III.

And thus I thought that I would come

And kneel here where I knelt before,

And feel your souls around me hum

In undertone to the ocean's roar;

And lift my black face, my black hand,

Here, in your names, to curse this land

Ye blessed in freedom's evermore.

IV.

I am black, I am black;

And yet God made me, they say.

But if He did so, smiling back

He must have cast His work away

Under the feet of His white creatures,

With a look of scorn,--that the dusky features

Might be trodden again to clay.

And yet He has made dark things

To be glad and merry as light.

There's a little dark bird sits and sings;

There's a dark stream ripples out of sight;

And the dark frogs chant in the safe morass,

And the sweetest stars are made to pass

O'er the face of the darkest night.

VI.

But we who are dark, we are dark!

Ah, God, we have no stars!

About our souls in care and cark

Our blackness shuts like prison bars:

The poor souls crouch so far behind,

That never a comfort can they find

By reaching through the prison-bars.

VII.

Indeed, we live beneath the sky, . . .

That great smooth Hand of God, stretched out

On all His children fatherly,

To bless them from the fear and doubt,

Which would be, if, from this low place,

All opened straight up to His face

Into the grand eternity.

VIII.

And still God's sunshine and His frost,

They make us hot, they make us cold,

As if we were not black and lost:

And the beasts and birds, in wood and fold,

Do fear and take us for very men!

Could the weep-poor-will or the cat of the glen

Look into my eyes and be bold?

IX.

I am black, I am black!--

But, once, I laughed in girlish glee;

For one of my colour stood in the track

Where the drivers drove, and looked at me--

And tender and full was the look he gave:

Could a slave look so at another slave?--

I look at the sky and the sea.

And from that hour our spirits grew

As free as if unsold, unbought:

Oh, strong enough, since we were two

To conquer the world, we thought!

The drivers drove us day by day;

We did not mind, we went one way,

And no better a liberty sought.

XI.

In the sunny ground between the canes,

He said 'I love you' as he passed:

When the shingle-roof rang sharp with the rains,

I heard how he vowed it fast:

While others shook, he smiled in the hut

As he carved me a bowl of the cocoa-nut,

Through the roar of the hurricanes.

XII.

I sang his name instead of a song;

Over and over I sang his name--

Upward and downward I drew it along

My various notes; the same, the same!

I sang it low, that the slave-girls near

Might never guess from aught they could hear,

It was only a name.

XIII.

I look on the sky and the sea--

We were two to love, and two to pray,--

Yes, two, O God, who cried to Thee,

Though nothing didst Thou say.

Coldly Thou sat'st behind the sun!

And now I cry who am but one,

How wilt Thou speak to-day?--

XIV.

We were black, we were black!

We had no claim to love and bliss:

What marvel, if each turned to lack?

They wrung my cold hands out of his,--

They dragged him . . . where ? . . . I crawled to touch

His blood's mark in the dust! . . . not much,

Ye pilgrim-souls, . . . though plain as this!

XV.

Wrong, followed by a deeper wrong!

Mere grief's too good for such as I.

So the white men brought the shame ere long

To strangle the sob of my agony.

They would not leave me for my dull

Wet eyes!--it was too merciful

To let me weep pure tears and die.

XVI.

I am black, I am black!--

I wore a child upon my breast

An amulet that hung too slack,

And, in my unrest, could not rest:

Thus we went moaning, child and mother,

One to another, one to another,

Until all ended for the best:

XVII.

For hark ! I will tell you low . . . Iow . . .

I am black, you see,--

And the babe who lay on my bosom so,

Was far too white . . . too white for me;

As white as the ladies who scorned to pray

Beside me at church but yesterday;

Though my tears had washed a place for my knee.

XVIII.

My own, own child! I could not bear

To look in his face, it was so white.

I covered him up with a kerchief there;

I covered his face in close and tight:

And he moaned and struggled, as well might be,

For the white child wanted his liberty--

Ha, ha! he wanted his master right.

XIX.

He moaned and beat with his head and feet,

His little feet that never grew--

He struck them out, as it was meet,

Against my heart to break it through.

I might have sung and made him mild--

But I dared not sing to the white-faced child

The only song I knew.

XX.

I pulled the kerchief very close:

He could not see the sun, I swear,

More, then, alive, than now he does

From between the roots of the mango . . . where

. . . I know where. Close! a child and mother

Do wrong to look at one another,

When one is black and one is fair.

XXI.

Why, in that single glance I had

Of my child's face, . . . I tell you all,

I saw a look that made me mad . . .

The master's look, that used to fall

On my soul like his lash . . . or worse!

And so, to save it from my curse,

I twisted it round in my shawl.

XXII.

And he moaned and trembled from foot to head,

He shivered from head to foot;

Till, after a time, he lay instead

Too suddenly still and mute.

I felt, beside, a stiffening cold, . . .

I dared to lift up just a fold . . .

As in lifting a leaf of the mango-fruit.

XXIII.

But my fruit . . . ha, ha!--there, had been

(I laugh to think on't at this hour! . . .)

Your fine white angels, who have seen

Nearest the secret of God's power, . . .

And plucked my fruit to make them wine,

And sucked the soul of that child of mine,

As the humming-bird sucks the soul of the flower.

XXIV.

Ha, ha, for the trick of the angels white!

They freed the white child's spirit so.

I said not a word, but, day and night,

I carried the body to and fro;

And it lay on my heart like a stone . . . as chill.

--The sun may shine out as much as he will:

I am cold, though it happened a month ago.

XXV.

From the white man's house, and the black man's hut,

I carried the little body on,

The forest's arms did round us shut,

And silence through the trees did run:

They asked no question as I went,--

They stood too high for astonishment,--

They could see God sit on His throne.

XXVI.

My little body, kerchiefed fast,

I bore it on through the forest . . . on:

And when I felt it was tired at last,

I scooped a hole beneath the moon.

Through the forest-tops the angels far,

With a white sharp finger from every star,

Did point and mock at what was done.

XXVII.

Yet when it was all done aright, . . .

Earth, 'twixt me and my baby, strewed,

All, changed to black earth, . . . nothing white, . . .

A dark child in the dark,--ensued

Some comfort, and my heart grew young:

I sate down smiling there and sung

The song I learnt in my maidenhood.

XXVIII.

And thus we two were reconciled,

The white child and black mother, thus:

For, as I sang it, soft and wild

The same song, more melodious,

Rose from the grave whereon I sate!

It was the dead child singing that,

To join the souls of both of us.

XXIX.

I look on the sea and the sky!

Where the pilgrims' ships first anchored lay,

The free sun rideth gloriously;

But the pilgrim-ghosts have slid away

Through the earliest streaks of the morn.

My face is black, but it glares with a scorn

Which they dare not meet by day.

XXX.

Ah!--in their 'stead, their hunter sons!

Ah, ah! they are on me--they hunt in a ring--

Keep off! I brave you all at once--

I throw off your eyes like snakes that sting!

You have killed the black eagle at nest, I think:

Did you never stand still in your triumph, and shrink

From the stroke of her wounded wing?

XXXI.

(Man, drop that stone you dared to lift!--)

I wish you, who stand there five a-breast,

Each, for his own wife's joy and gift,

A little corpse as safely at rest

As mine in the mangos!--Yes, but she

May keep live babies on her knee,

And sing the song she liketh best.

XXXll.

I am not mad: I am black.

I see you staring in my face--

I know you, staring, shrinking back--

Ye are born of the Washington-race:

And this land is the free America:

And this mark on my wrist . . . (I prove what I say)

Ropes tied me up here to the flogging-place.

XXXIII.

You think I shrieked then? Not a sound!

I hung, as a gourd hangs in the sun.

I only cursed them all around,

As softly as I might have done

My very own child!--From these sands

Up to the mountains, lift your hands,

O slaves, and end what I begun!

XXXIV.

Whips, curses; these must answer those!

For in this UNION, you have set

Two kinds of men in adverse rows,

Each loathing each: and all forget

The seven wounds in Christ's body fair;

While HE sees gaping everywhere

Our countless wounds that pay no debt.

XXXV.

Our wounds are different. Your white men

Are, after all, not gods indeed,

Nor able to make Christs again

Do good with bleeding. We who bleed . . .

(Stand off!) we help not in our loss!

We are too heavy for our cross,

And fall and crush you and your seed.

XXXVI.

I fall, I swoon! I look at the sky:

The clouds are breaking on my brain;

I am floated along, as if I should die

Of liberty's exquisite pain--

In the name of the white child, waiting for me

In the death-dark where we may kiss and agree,

White men, I leave you all curse-free

In my broken heart's disdain!

Elizabeth Barrett Browning

“What you’re doing is not important. What is really important is the state of mind from which you do it. Performance” ― Marina Abramović

Akış / Flux, an exhibition featuring Marina Abramović + MAI opens at Sabancı University Sakıp Sabancı Museum (SSM), along with its conjunction at Akbank Sanat on January 31, 2020 with the support of Akbank.

The exhibition will constitute Turkey’s first large-scale retrospective of Marina Abramović, who is one of the pioneers of performance art in the world, and will be open to visit until April 26, 2020 between 12:00 - 20:00, six days a week. Akış / Flux, realized with the joint efforts of SSM and Marina Abramović Institute (MAI), will introduce video and photographic documentation of performances by the artist, along with live performances developed with MAI and artists who were brought together by an open call and invitation, as well as a section dedicated to the Abramović Method. Concurrent with the exhibition Akış / Flux at SSM, Akbank Sanat will host a documentary series presenting the history of works by Abramović, as well a video gallery featuring numerous works in performance, aiming to explore the legacy of performance art still informing its present.

https://www.sakipsabancimuzesi.org/en/page/marina-abramovic-institute-mai-istanbul-legacy-marina-abramovic

5 Mart 2020 Perşembe

Popular Text Translation Week 4: Creativity

For my Translation Students @beykentunv

Dear Students,

I usually do not recommend a social media page, however, you might want to check this one for "Word for Word" translations.

best

https://instagram.com/turkishdictionary?igshid=r49g95hc69vq

Presentation Skills Week 5: Short Presentations @beykentunv

Dear Students,
Please check the list.
1. Those who are on the list have to prepare a short presentation from 5-10 minutes.
2. You also have to print out the text (slides) that you are going to use at your presentation.
3. The presentation will be 10% of your grade.
4. GRADING: Late presentations do not have an excuse, however, since you are at a university you are free to decide whether to do a presentation or not. Those who do not present but bring a printed text will receive "50" as a grade. Those who do not print a text and do not present are going to receive a "0". Those who print out their presentation and present it will receive a full grade.

5 140169029 BERK GÜLERYÜZ
6 1901069310 BURCU YILMAZ
7 160169023 BUSE EKİZ
8 150169016 BÜŞRA GİZEM KUNT
9 1901069307 CANER ŞEN
10 1801069010 CEREN ÇELİK
11 1901069326 ÇİĞDEM ÖZMEN
12 17010690050 EMİRHAN DERE

5 17010690051 BAŞAK DURSUN
6 1801069061 BİRSEN İREM UMMAK
7 17010690013 BUĞRA GÖKNAR BOYBAY
8 17010690037 BURCU BAŞAR
9 17010690076 BÜŞRA YUNAR
10 1801069016 ÇİSE PEKEL
11 17010694002 DENİZ KARAOĞLU
12 160169061 EREN URKAÇ

6 Tips for Giving a Fabulous Academic Presentation: https://www.wiley.com/network/researchers/promoting-your-article/6-tips-for-giving-a-fabulous-academic-presentation

Suggested Topics related to Translation Studies:

Translation and Dubbing
Translation and Subtitling Films
Translation of Caricatures/ Cartoons
Translation of Unpredictable Verbal/ Visual Vocabulary in Films
Translation of Gothic/ Romantic/ Young adult/ Adventure/ Horror/ Science Fiction Novels
Translation of Technical Brochures
Translation of Psychological Articles
Translation of Medical Text
Translation of Political Text/ Speeches
Translation of Turkish/ English Law
word-for-word translation
literal translation
faithful translation
semantic translation
adaptive translation
free translation
idiomatic translation
communicative translation
difference between Calque and literal translation
main purpose of translation
back translation
modulation in translation
Forming new words for translation
Transcreation in translation
Translation of music lyrics

2 Mart 2020 Pazartesi

Gothic Lit Prezi: 3.03.2020

For Short Story: A rose For Emily

A Rose for Emily (1983)

Townsfolk discover a warped secret while clearing out the house of a recently deceased, aristocratic spinster.
Director: Lyndon Chubbuck
Writers: H. Kaye Dyal (screenplay), William Faulkner
Stars: Anjelica Huston, John Carradine, John Randolph | See full cast & crew »

“..there is a place in the heart that will never be filled and we will wait and wait in that space” Charles Bukowski

Marina Abramović, The Artist Is Present (2010), Museum of Modern Art, New York. Abramović's former partner Ulay joins her during her performance at her career retrospective.

It’s been a tough few years for Marina Abramović and Ulay, the former longtime romantic and artistic partners. But their tumultuous relationship has turned a corner with a heartfelt reunion at the Louisiana Museum of Modern Art, outside Copenhagen. The occasion was Abramović’s first major European retrospective, and the warm meeting was all the more meaningful given their recent acrimonious disputes.

for more pls read: https://news.artnet.com/art-world/marina-abramovic-ulay-relationship-interview-1045136