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This paper examines the emotional, factual, and documentary elements within Yavuz Bülent Bâkiler’s 1970s poem, Sivas Hasreti (Longing for Sivas). Over several decades, the poet has been a significant contributor to Turkish culture and literature, expressing national sensitivity and the authentic essence of the country. In his rhymed, six-stanza composition, he reflects on memories from the 1940s and 1950s, presenting a nuanced portrayal that captures both positive and negative aspects of his childhood in a realistic manner. All over Sivas Hasreti, Bâkiler sensitively articulates his yearning for his hometown in a nostalgic tone, simultaneously highlighting various factual features of Sivas in Türkiye. Through the lens of nostalgia, the poet intricately weaves together details encompassing demography, religion, architecture, cultural heritage, climate, geography, history, icons, transportation, and life standards of Sivas. In this way, Bâkiler adeptly constructs a vivid mental image of his childhood hometown, allowing readers to immerse themselves in the multifaceted layers of memories from that era. The poet’s skill enriches the emotional depth and historical context of Sivas Hasreti, thereby solidifying the work’s special and enduring place in Turkish literature. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Çankaya University Journal of Humanities & Social Sciences is the property of Cankaya University Journal of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Caryl Churchill's first professional play, Owners, is about ownership as its title implies. One of the highlighted themes in the play is misogyny which has been overlooked by scholars and critics who have commented on Owners. Thus, my aim in this study is to consider and disclose the reasons for misogyny, demonstrated by Churchill as a socio‐political critique, through a feminist reading. As the play is generally examined within the context of themes of power, politics or possession, this article may contribute to correct this omission in the academic domain. In her dark comedy, Churchill emphasises how gender roles are culturally learned and transferred to succeeding generations. In Owners, the married couple Marion and Clegg are both misogynists, but endowed with opposing world views. Churchill, like a sociologist, has made this family the main subject of her play and used it as a point of reference when explaining the reasons for misogyny in a comic and exaggerated style. In this family, while Marion is equipped with bourgeois feminist and anti‐patriarchal ideas, Clegg is a man supporting patriarchal principles. Churchill reveals in her play that Marion and Clegg hate women who do not fit into their ideal world views. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)