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Öğe Edward Albee and Existentialist Theatre: Reality and Illusion in Who’s Afraid of Virginia Woolf?(2024) Ashmawy, Merve FeryalThis article underscores that Edward Albee’s 1962 play Who’s Afraid of Virginia Woolf? is notable for its capacity to scrutinize social norms and ideals, with its potential libertarian approach leaving a shocking impact on the audience. The play revolves around a night involving the middle-aged couple George and Martha and the young couple Nick and Honey. It primarily explores the intricate dynamics between couples, the concept of reality, and the absurdity of existence, delving into the depths of human psychology by addressing the characters’ past traumas and disappointments. Communication breakdowns and conflicts among the characters accentuate the fragility of human relationships, with disappointment being a central theme that underscores the disparity between past expectations and reality. The play, analyzed within the framework of existentialist theatre, provides a thorough examination of individual freedom, responsibility, and existential experience, focusing on the fundamental tenets of existentialist philosophy. It addresses existentialist themes by enabling characters to confront their own existential realities and understand their identities. The intricate relationship between Martha and George reveals the fine line between reality and illusion, and the dissolution of this illusion provides the audience with the opportunity to explore the inner worlds of the characters. In this context, the play emerges as a potent dramatic work that underscores the complexity of human relations through its engagement with existentialist themes. The play has made a significant contribution to American theatre, influencing modern dramatic structures and securing a prominent position in the literary world.Öğe Ethics of Storytelling: The Wounds of Deception and Pseudo-PTSD in Atonement(Karadeniz Technical University, 2024) Turki, Harith Ismael; Ashmawy, Merve FeryalIan McEwan’s Atonement (2001) is one of the most controversial novels due to the complexity of its narratives and characters, particularly its central character. Therefore, this article deals with pseudo-PTSD in Atonement, examining how trauma is delineated, built, and manipulated within the metafictional framework of the novel. While classical PTSD is depicted through forced memories of traumatic events, McEwan’s protagonist produces an unreliable narrative of guilt and redemption that parodies trauma without genuine experience. This study explores the character’s psychological state, arguing that her self-imposed suffering functions as a simulacrum of PTSD—what can be termed pseudo-PTSD—a term coined by Rosen & Tylor (2007). Drawing their perspective, the article examines Briony’s retrospective storytelling as both a coping mechanism and an act of self-mythologization, highlighting the ethical and epistemological implications of traumatised narrator, narrating trauma and traumatic narrative. Ultimately, Atonement challenges the reliability of memory and the legitimacy of self-inflicted psychological ‘wounds’, raising critical questions about authorship, responsibility, and the commodification of suffering in fiction. © 2024 Karadeniz Technical University. All rights reserved.Öğe INTERACTIVE REPRESENTATION OF TRAUMA IN POSTMODERN THEATRE: AUDIENCE AND CHARACTER INTERACTION IN BRYONY LAVERY'S FROZEN(Konstantin Preslavsky University of Shumen, 2025) Ashmawy, Merve FeryalThis study explores the interactive representation of trauma in Bryony Lavery’s Frozen (2015), emphasizing the crucial role of audience and character interaction in postmodern theatre. Rather than portraying trauma as a static or detached narrative, Lavery utilizes theatricaltechniques thatengage the audience emotionally andcognitively, transforming them into witnesses and participants. Drawing on trauma theorists such as Cathy Caruth, Shoshana Felman, and Judith Herman, the study illustrates how trauma is not only represented but transmitted through performance. The characters Nancy, Ralph, and Agnetha – each embody different aspects of trauma, inviting the audience into a shared emotional space. Through direct address, monologues, and fragmented narrative, the play destabilizes conventional storytelling and fosters catharsis. This paper analyzes how postmodern theatrical strategies blur boundaries between character and audience, enabling an immersive experience of trauma and recovery. The implications of such interactive forms are discussed, with suggestions for future research on trauma representation in contemporary performance. Copyright © 2025 Merve Feryal Ashmawy.Öğe PARANOIA AND IDENTITY CRISIS IN HAROLD PINTER’S THE BIRTHDAY PARTY: A PSYCHOANALYTIC PERSPECTIVE(Ovidius University, 2025) Ashmawy, Merve FeryalThis paper explores the intricate themes of identity crisis and paranoia in Harold Pinter’s play The Birthday Party through a psychoanalytic lens. By analyzing the character of Stanley Webber, the study delves into how Pinter masterfully intertwines these themes with the psychological theories of Freud and Lacan. Stanley, who is initially portrayed as a reclusive and paranoid individual, gradually succumbs to an overwhelming identity crisis, exacerbated by the arrival of two enigmatic strangers, Goldberg and McCann. The paper argues that Stanley's identity crisis is deeply rooted in his traumatic past, which resurfaces with the intrusion of these external forces, pushing him further into a state of paranoia. Drawing on Freud’s concepts of defense mechanisms and repression, and Lacan’s theory of the mirror stage, the analysis reveals how Stanley’s fractured identity and paranoid tendencies reflect the broader societal anxieties of post-World War II. Pinter’s depiction of an atmosphere filled with menace and ambiguity serves as a powerful commentary on the existential fears of the modern individual, highlighting the fragile nature of identity in a world characterized by constant threat and uncertainty. The study contributes to the existing literature by offering a nuanced understanding of how identity and paranoia are thematically and psychologically interwoven in Pinter’s work, ultimately underscoring the play’s enduring significance in the context of modern theater. © 2025, Ovidius University. All rights reserved.Öğe REPRESENTATION OF NARCISSISM IN TENNESSEE WILLIAMS’S SUDDENLY LAST SUMMER(Karabük Üniversitesi, 2022) Ashmawy, Merve FeryalThe concept of narcissism, named after a mythological hero, Narcissus, began to be used in psychoanalysis at the end of the 1800s. This concept, which was used to express the mental state of people who admire their own body and love themselves very much, is a psychological state that is discussed in detail in psychoanalysis by being expanded within this framework.Freud used the concept of narcissism in the sense of homosexuality and expressed it as a situation that can be seen in every individual. Narcissism, which can be considered as a part of normal development as long as it does not disturb the individual and his environment, can also become pathological with the variables in the development of the individual. It is common for individuals with narcissistic characteristics to constantly see themselves as right and superior, and to underestimate and value others.In this study, the main characters of Tennessee Williams, one of the important names of American theater, in his play Suddenly Last Summer will be examined in terms of narcissism. Williams, who is a playwright who deeply feels the crises he has experienced in his own life, deals with a main theme that can be evaluated in terms of narcissism in Suddenly Last Summer. The most obvious manifestation of narcissism in the play is Mrs. Veneable’s overconfidence in herself and her son, and that she has the right to humiliate and treat everyone else for herself.
