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T.R. Suleyman Demirel University Insitute of Social T.R. SULEYMAN DEMIREL UNIVERSITY INSITUTE OF SOCIAL SCIENCES WESTERN LANGUAGES AND LITERATURE DEPARTMENT ENGLISH LANGUAGE AND LITERATURE A COLLOCATIONAL READING OF PYGMALION AND GHOSTS Müjde DEMİRAY 1630224004 MASTER’S THESIS SUPERVISOR Assoc. Prof. Dr. Ömer ŞEKERCİ ISPARTA-2018 T.C. SÜLEYMAN DEMİREL UNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ BATI DİLLERİ VE EDEBİYATI ANABİLİM DALI İNGİLİZ DİLİ VE EDEBİYATI BİLİM DALI PYGMALION VE HORTLAKLAR'IN EŞDİZİMSEL OKUNMASI Müjde DEMİRAY 1630224004 YÜKSEK LİSANS TEZİ DANIŞMAN Doç. Dr. Ömer ŞEKERCİ ISPARTA-2018 (DEMİRAY, Müjde, A Collocational Reading of Pygmalion And Ghosts, MA Thesis, Isparta, 2018) ABSTRACT George Bernard Shaw (1856-1950) and Henrik Ibsen (1828-1906) were the most important figures in Modern European Drama in the late nineteenth century. While Ibsen is regarded as the founding father of Modern Drama in Europe, Shaw is considered to be one of the most important founding figures of the English Drama. They both contributed a lot to the development of modern drama in their times. Shaw is known to have been greatly inspired by Ibsen. Shaw’s Pygmalion (1912) and Ibsen’s Ghosts (1881) are considered to be great dramas of their time, even today, in terms of topics they have dealt with. These two plays are social realistic dramas as drama genre. Our literature survey has shown that plays or drama texts have hardly been analysed collocationally, so we have tried to interpret and read these two major works by the major playwrights from a collocational perspective. The study aims to find out the similarities and differences of collocatioal style between two playwrights. In the first chapter we have talked about stylistics and collocations and their importance in drama. In the second chapter we have given some information about Shaw and Ibsen. Moreover, Pygmalion and Ghosts have been discussed and enlarged to put our argument precisely. The plays, in hand, have been read, analysed and interpreted according to the seven lexical types of collocations by using simple arithmetic calculation. The lexical collocations have shown us how Shaw and Ibsen treated collocations in their works. It is the first of its kind done in Turkey. Key words: Shaw, Ibsen, Collocations, Pygmalion, Ghosts, Style. iv (DEMİRAY, Müjde, Pygmalion ve Hortlaklar'ın Eşdizimsel Okunması Yüksek Lisans Tezi, Isparta, 2018) ÖZET George Bernard Shaw (1856-1950) ve Henrik Ibsen (1828-1906) Modern Avrupa Tiyatrosu’nun on dokuzuncu yüzyıldaki en önemli figürleriydi. Ibsen, Modern Avrupa Tiyatrosu’nun kurucu babası kabul edilirken, Shaw Modern İngiliz Tiyatrosu’nun en önemli kurucu babalarından birisi olarak bilinir. Her iki oyun yazarı da modern tiyatronun gelişimine büyük katkılar vermişlerdir. Shaw’ın, Ibsen’nin oyunlarından büyük ölçüde esinlendiği bilinmektedir. Shaw’ın Pygmalion ve Ibsen’in Hortlaklar oyunu, ele aldıkları konu bakımından kendi dönemlerinin ve hatta günümüzde sosyal gerçekçi drama türü olarak en önemli eserleri olarak kabul edilmektedir. Konuyla ilgili edebiyat araştırmamızda tiyatro eserlerinin eşzidimsel olarak nadiren ele alındığını gördük, bu bağlamda bu çalışmada bahsi geçen iki tiyatro eserini, eşdizimsel perspektiften okumaya ve yorumlamaya çalıştık. Bu çalışma, her iki oyun yazarının eşdizimsel biçemlerindeki benzerliklerini ve farklılıklarını ortaya çıkarmayı amaçlamaktadır. Birinci bölümde biçembilim ve eşdizimler ve eşdizimlerin öneminden bahsettik. İkinci bölümde Shaw ve Ibsen hakkında kısa bilgiler verdik. Buna ilave olarak, Pygmalion ve Hortlaklar kapsamlı olarak ele alındı. Bahsi geçen bu iki oyun, yedi türdeki sözcüksel eşdizimlere göre analiz edildi ve yorumlandı. Oyunlardaki sözcüksel eşdizimler basit matematiksel aritmetik yöntem kullanılarak analiz edilmiştir. Sözcüksel eşdizimlerin analizleri ve okunmaları Shaw ve Ibsen’in eserlerinde sözcükleri nasıl ele aldıklarını bizlere göstermiştir. Bu çalışma alanında Türkiye’de yapılan ilk çalışmadır. Anahtar Kelimeler: Shaw, Ibsen, Eşdizimler, Pygmalion, Hortlaklar, Biçem. v TABLE OF CONTENTS TEZ SAVUNMA TUTANAĞI .............................................................................. i YEMİN METNİ .................................................................................................... ii ACKNOWLEDGMENTS ................................................................................... iii ABSTRACT .......................................................................................................... iv ÖZET ...................................................................................................................... v INTRODUCTION ................................................................................................. 1 CHAPTER I STYLISTICS AND COLLOCATIONS 1.1. Introduction to Stylistics .............................................................................. 4 1.2. The Aim of Stylistics .................................................................................... 7 1.3. Types of Stylistics ........................................................................................ 8 1.4. Introduction to Collocations ....................................................................... 10 1.5. Classifications of Collocations ................................................................... 10 1.6. Grammatical Categories of Collocations.................................................... 11 1.7. Lexical Collocations ................................................................................... 12 1.8. Why We Learn Collocations ...................................................................... 15 CHAPTER II GEORGE BERNARD SHAW AND HENRIK IBSEN 2.1. Some Notes On G.B. Shaw ........................................................................ 17 2.2. Chronology of Shaw ................................................................................... 23 2.3. Pygmalion (1912) ....................................................................................... 27 2.4. Some Notes On Henrik Ibsen ..................................................................... 30 2.5. Chronology of Henrik Ibsen ....................................................................... 34 2.6. Introduction to Modern Drama and Scandinavian Modernism .................. 39 2.7. Ghosts (1881) ............................................................................................. 41 2.8. Comments and Criticism on Ghosts in the English Press .......................... 45 2.9. Collocational Reading and Analyses of Ghosts and Pygmalion ................ 48 CONCLUSION .................................................................................................... 79 BIBLIOGRAPHY ............................................................................................... 81 CURRICULUM VITAE ..................................................................................... 83 vi “Proper words in proper places, make the true definition of a style”. Jonathan Swift INTRODUCTION George Bernard Shaw (1856-1950) and Henrik Ibsen (1828-1906) were the most important figures in modern drama. While Ibsen is regarded as the founding father of Modern Drama in Europe, Shaw is known as one of the most important founding fathers of the English Drama. They both contributed a lot to the development of modern drama in their times. In this study we aim to analyse Ibsen’s Ghosts (1881) and Shaw’s Pygmalion (1912) from a collocational perspective. These two plays are regarded as the masterpieces of Shaw and Ibsen and they are unique in themselves as they are social realistic dramas. After our survey we have found out that those plays have not been analysed or contrasted from a collocational perspective. In that sense it is the first of its kind done in Turkey. The novelty of the study is that we contrast and analyse these two plays in hand collocationally. Another aim of the study is to find out to what extent the style of Shaw and Ibsen is similar to or different from each other, as the former has been greatly inspired by Ibsen drama. Collocations are broadly divided into two categories: grammatical and lexical. Our study deals with the lexical collocation in two plays. Collocations are regarded in the scope of stylistics so we have talked about stylistics in the first chapter to grasp the importance of collocations. Introduction to stylistics, aim of stylistics, and types of stylistics have been covered in brief. Moreover, introduction to collocations, classifications of collocations, grammatical and lexical categories of collocations and why we learn collocations have also been dealt with. In the second chapter Some Notes on George Bernard Shaw, Chronology of Shaw, Pygmalion, Some on Notes Henrik Ibsen, Chronology of Henrik Ibsen, Introduction to Modern Drama and Scandinavian Modernism, Ghosts, Criticism on Ghosts in the English Press and Collocational Reading and Contrasting of Ghosts and Pygmalion have also been covered to delve into those two plays. We have preferred lexical collocations rather than grammatical collocations. It is known that lexical collocations are commonly used by writers in their works as they colour their works. Seven types of lexical collocations have been exploited in 1 our study. They are in seven categories as following: noun + noun, verb + adjective + noun, verb + noun, adverb + adjective, verb + adverb, adverb + verb and adjective +noun. The main sources we have used extensively in our study are The Routledge Handbook of Stylistics by Burke, Henrik Ibsen The Critical Heritage
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