WoS İndeksli Yayınlar Koleksiyonu
Permanent URI for this collectionhttps://hdl.handle.net/20.500.14627/6
Browse
Search Results
Article Speculative Fiction and Pattern Recognition: Narrative Models for a Retrained Intuition(Rector Ciu Cyprus int Univ, 2023) Ustun, BerkayThe notion of pattern recognition emerged in the late 1950s as an extension of advances in cybernetics and information theory. From the start, authors of science fiction and speculative fiction narratives made their own explorations of the concept, taking it to fields and extremes not predicted by the state of development of pattern recognition technologies. I argue that a pair of these narratives provide opportunities to observe the development of a public understanding of, and imaginaries deriving from, a vision of perception geared toward patterns, arrangements, and configurations that involve historical change. More specifically, these narratives stage questions of historical meaning and intuitive grasp of patterns of consumer behavior by modifying the notion they borrow from computational research through the intermediary of media theory. A second goal of the article is to examine literary history by taking the relevant works of Brunner and Gibson as favorable cases for observing the beginnings and transformations of the reception of pattern recognition concept by speculative fiction. The common reference they make to historical concretion serves as a constant across their differences here. Both fictions seem to stage the possibilities of pattern literacy as a human capacity that includes but is not reducible to one of its most famous and problematic avatars, which is that of a sense of conspiracy, belief gone awry, and/or paranoia (which, according to Fredric Jameson, is the "poor person's cognitive mapping''). Methodologically relying on a combination of media theory and close readings, the goal here is to ascertain whether such fictions constitute viable cases for a "pattern recognition from below", as distinct from a data-intensive pursuit. In this sense, this study neither constitutes an intellectual history of pattern recognition that reduces the object of its study to mere accouterments of context nor simply a close reading of each of the texts on their own terms. It is a comparative exercise that aims to gain surplus of historical and textual intelligibility through the juxtaposition of its chronologically distant narratives. From different angles, the two close readings treat the same core problem of the possibility to retain an affirmative approach to the historical-morphological possibilities inherent in pattern recognition and not consign it to an "ideology" of the information society. Keywords: Concrete, abstract, pattern recognition,Article Utopian Imagination in Modernist Poetry: Passage From Transcendence To Language(Rector Ciu Cyprus int Univ, 2023) Uyurkulak, Serhat'' Modernist literature '' is a capacious term that designates both an epoch and a variety of political attitudes espoused or rejected by the authors grouped under this title. On the one hand, the widely used concepts of high and late modernism refer to the period approximately between 1900 and the 1960s, divided by World War II. On the other, they concern the politics of literary modernism discussed on the basis of how writers and poets relate to their own social-historical conditions and to the utopian vision of a radically different kind of individual and collective existence that aims to transcend the given modes of subjectivity and sociality. In this article, I have traced specifically the changing politics of modernist literature with respect to that utopian desire for transcendence which some theorists call the modernist absolute. Differing from much of the scholarship on the politics of modernist literature that privileges the novel genre, in the present study, I have focused on the poetry of W. B. Yeats and Wallace Stevens. Through textual and theoretical analyses of '' In the Seven Woods '' and '' A Collar-bone of a Hare '' by Yeats and '' Of Mere Being '' by Stevens, I have demonstrated how the high modernist imagining of transcendence turns with late modernism into a theme or a motif that reveals the linguistic character of such visions and the ideological function of their utopianism. In my discussion, I have tried to show that Yeats, who is part of high modernist literature in terms of periodization, belongs to this category due to his political imagining that prioritizes transcendence. Furthermore, unlike Yeats, Stevens stands close, especially in his last poems, to the late modernist mindset that anticipates the politics of postmodern literature and the poststructuralist awareness of the role of language in constructing meaning and value.