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Article Power and Love versus Death : "Death Constant Beyond Love " by Gabriel Garc ía Márquez(Konstantin Preslavsky University of Shumen, 2024) Tekin,K.This article analyses the philosophy and literary aesthetics of Gabriel García Márquez's political satire with reference to his short story, "Death Constant beyond Love."The analysis is based on the author's views concerning the common personality traits, actions and ends of tyrannical rulers made manifest in the main character of the story - Senator Onesimo Sanchez. It is observed that the philosopher-emperor Marcus Aurelius' meditations on the transience of existence, and the mortality of man serve as the backdrop to the power-drunk Senator's vain attempts to keep exercising his tyranny despite his awareness of his looming death. The story's central theme is that misused political power - no matter how wide its scope - is limited by man's transient corporeal existence, or by death, to put it more simply. The author's reflections upon dishonest politicians as fictionalized in the Senator display how corruption defiles each individual in society. The discussion on the nature and ramifications of man's boundless ambition for power also draws on Nietzsche's will to power/will to life equation, andFoucault's views on resistance-freedom/power proposition. © 2024 Kuǧu Tekin.Article ANALYSING THE ALLOGRAPHIC NOTES IN THE TURKISH TRANSLATION OF AN ECOLOGICAL WORK: SILENT SPRING(Konstantin Preslavsky University of Shumen, 2024) Hastürkoǧlu,G.Paratextual elements play a crucial role in original and translated works, serving as a bridge between the creators and the recipients of the works. Analysing these elements can provide a deeper understanding of the motives of the authors, publishers, and translators. This study aims to investigate the allographic notes, specifically the translator's notes, in the Turkish translation of Silent Spring, a work that raises awareness about environmental impacts of DDT on ecology. The study also seeks to reveal, in such an ecological context, the translator's approach and motives in using footnotes categorized as factual and interpretive notes and their functions. The qualitative analysis indicates that the factual notes outnumber the interpretive notes and the main function of the translator's notes is to provide definitional and explanatory information about the ecology-related terminology which is in line with the genre of the text and the characteristics of the target readers. © 2023 Gökçen Hastürkoglu.Article SPACES AND PLACES OF MODERNITY AND THE MODERN ARTIST IN OĞUZ ATAY’S “RAILROAD STORYTELLERS - A DREAM”(Konstantin Preslavsky University of Shumen, 2024) Aksoy,N.B.This paper examines Atay’s “Railroad Storytellers - A Dream” in terms of Atay’s modernist experimentation in his depiction of space and spatiality, emphasising his contribution to Turkish literature as a pioneer modernist author. Oğuz Atay’s distinctive and innovative style, which forms his affinities with the early Western modernists such as James Joyce and Virginia Woolf, establishes his significant place as a pioneer modernist author in Turkish literature in the 1970s. The concept of ‘house/ home’ by Gaston Bachelard in The Poetics of Space (1957, 2014) is instrumental for me as it pertains to the predicament of three storytellers as artists in the nameless and remote railroad station. The narrator of the story and his fellow storytellers gradually sink into disconnection, confusion, misery and poverty in an environment that represents the cold and unwelcoming face of technological modernisation symbolised by the space of the train station. The narrator’s quest for finding a ‘home’ to connect him to his readers and where he could exist as an artist comes to life in his attempt to write a letter to his readers, telling them he is still ‘here’ and asking them where they are. No matter how blighted that effort is since the narrator has no address to send the letters to, the endings for Atay’s story imply a need for connection with his readers expressed in the impossible meeting of the ‘here’ with the ‘where’ in spite or because of the estrangement and alienation of the artist/author in the modern world. Hence, the possibility of space as a ‘home’ for the author/narrator dwindles in the not forthcoming answer to the letter that will never reach its destination. Copyright © 2024 N. Berrin Aksoy.
