19. yüzyıldan bir asır evvel Avrupa’da sanatlar bilimden ayrılmış ve “güzel sanatlar” nevi şahsına münhasır bir kategoride konumlandırılmıştı. Dahası Estetik, bir bilim olarak tartışılmaya başlanmıştı. Tek kelimeyle, büyük harfle “Sanat” ve “Estetik” doğmuştu. Bugün kıta Avrupası ve Amerika’daki nitelikli felsefi dergilerin tartışmalarıyla güncelliğini devam ettiren estetik ve sanat felsefesinin vardığı noktadan hatta sanatın sonunun dile getirildiği bir zaviyeden bakıldığında Guyau’nun sanat, bilim ve şiire ilişkin yaklaşımlarının eskidiği görülebilir. Yine de Guyau’nun fikirlerini okurken değindiği meselelerin aynı dönemde birçok kişi tarafından ele alındığını hatırda tutmak gereklidir. Ancak böylesi karşılıklı bir okuma Guyau’nun bize hikemi gelen yaklaşımlarının değerini ifade edebilir. Bunun için de 19. asırdan beri basınımızda ifadesini bulan estetik ve sanata dair çevirilerin yaygınlaşması gerçekleşmesini arzu ettiğimiz bir temenni olmuştur. Elinizdeki kitap bu temenniyle aktarılmıştır.

“The title of Salman Rushdie’s famous essay, which later formed the title of a book of essays by him, ‘Imaginary Homelands’, is based on one side of a common and age-old perception of home: we make it in the mind or the imagination. Ordinary language has versions of it too: home is where the heart is, I don’t feel at home in my own town/country, this is my spiritual home, etc. On the other hand, there is a physical aspect to home too – ranging from walls associated with ancestral property or parents or some other such inheritance, and extended, through the imagining of communities, as Benedict Andersen would phrase it, sometimes to a land, a country, even a nation. To say that any one of these broad definitions of home is wrong is to cut off large sections of humankind: those who do not belong where they live or those who cannot return to where they used to live. To feel at home and to live at home are both valid cravings, and though they do not necessarily overlap, neither can be dismissed in favour of the other” Tabish Khair

Home in Western Language is a compilation of selected papers presented at the 7th BAKEA Symposium, 2021. In the time of the pandemic, when home has acquired more meanings, this book reads the idea of home and explores its connotations as presented in different genres and ages of English, American, French and literatures.

In The Myth of the Female Hand: Forms of Female Power, Şeyda Sivrioğlu explores the symbolic representations and the significance of the female hand as a means to open up literary and critical space for the oppressed and marginalized female figure in different centuries and in different patriarchal cultures and genres. Inalterably, in a culture where creativity is defined purely in male terms, women “exist only to be acted on men, both as literary and sensual objects” (Gilbert and Gubar, 8). This comprehensive study, however, traces the origins of the female hand symbolism from a fairy tale to a play-text and finally to a science fiction novel in order to illustrate how, to borrow Margaret Atwood’s words, the hand as an extension of the brain, in this case the female brain, becomes an important tool for indicating the development of the power of women.