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URL:http://sefad.selcuk.edu.tr/sefad/article/view/48 ; Alienation is a feeling of not harmoniously blending in. This feeling can manifest itself in various sorts such as physical, psychological, economical, mental, social, religious, political or spiritual. Even though the term 'alienation' is not widely used in American literature, it is an issue that manifested itself quite frequently and vigorously in the literary works of several writers of the twentieth century. Among various contemporary authors to grapple with this issue of alienation, William Faulkner's vivid accounts of twentieth century man's quest for self in his literary works reveal the reader the morbid facets of the sense of being alienated. This paper tries to find out the traces of alienation in several characters and delve into the roots of their isolation in Faulkner's Light in August. ; Yabancılasma bir uyumlu olarak karısmama duygusudur. Bu duygu kendisini fiziksel, psikolojik, ekonomik, zihinsel, sosyal, dini, siyasi ya da manevi gibi farklı sekillerde açıga çıkarabilir. 'Yabancılasma' terimi Amerikan edebiyatında yaygın bir sekilde kullanılan bir terim olmasa bile, kendisini bir çok yirminci yüzyıl yazarlarının eserlerinde oldukça sık ve aktif bir sekilde gösteren bir sorundur. Yabancılasma sorununu kıskacına alan çagdas yazarlar arasında, William Faulkner'ın eserlerindeki yirminci yüzyıl insanının kendini arayısını tasvir eden etkili beyanları yabancılasmıs olma duygusunun korkunç yönlerini okuyucunun gözleri önüne sermektedir. Bu yazı Faulkner'ın Light in August eserinde bulunan muhtelif kisilerdeki yabancılasma izlerini ortaya çıkarmak ve soyutlanmalarının esas nedenlerini arastırmaya çalısmaktadır.

URL: http://sefad.selcuk.edu.tr/sefad/article/view/55 ; Yabancılaşma bir uyumlu olarak karışmama duygusudur. Bu duygu kendisini fiziksel, psikolojik, ekonomik, zihinsel, sosyal, dini, siyasi ya da manevi gibi farklı şekillerde açığa çıkarabilir. 'Yabancılaşma' terimi Amerikan edebiyatında yaygın bir şekilde kullanılan bir terim olmasa bile, kendisini bir çok yirminci yüzyıl yazarlarının eserlerinde oldukça sık ve aktif bir şekilde gösteren bir sorundur. Yabancılaşma sorununu kıskacına alan çağdaş yazarlar arasında, William Faulkner'ın eserlerindeki yirminci yüzyıl insanının kendini arayışını tasvir eden etkili beyanları yabancılaşmış olma duygusunun korkunç yönlerini okuyucunun gözleri önüne sermektedir. Bu yazı Faulkner'ın Light in August eserinde bulunan muhtelif kişilerdeki yabancılaşma izlerini ortaya çıkarmak ve soyutlanmalarının esas nedenlerini araştırmaya çalışmaktadır. ; Alienation is a feeling of not harmoniously blending in. This feeling can manifest itself in various sorts such as physical, psychological, economical, mental, social, religious, political or spiritual. Even though the term 'alienation' is not widely used in American literature, it is an issue that manifested itself quite frequently and vigorously in the literary works of several writers of the twentieth century. Among various contemporary authors to grapple with this issue of alienation, William Faulkner's vivid accounts of twentieth century man's quest for self in his literary works reveal the reader the morbid facets of the sense of being alienated. This paper tries to find out the traces of alienation in several characters and delve into the roots of their isolation in Faulkner's Light in August.

Light symbolises the highest good, it enables all visual art, and today it lies at the heart of billion-dollar industries. The control of light forms the foundation of contemporary vision. Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another. Light is at once universal and deeply historical. The invention of mechanical media (including photography and cinematography) allied with changing print technologies (half-tone, lithography) helped structure the emerging electronic media of television and video, which in turn shaped the bitmap processing and raster display of digital visual media. Digital light is, as Stephen Jones points out in his contribution, an oxymoron: light is photons, particulate and discrete, and therefore always digital. But photons are also waveforms, subject to manipulation in myriad ways. From Fourier transforms to chip design, colour management to the translation of vector graphics into arithmetic displays, light is constantly disciplined to human purposes. In the form of fibre optics, light is now the infrastructure of all our media; in urban plazas and handheld devices, screens have become ubiquitous, and also standardised. This collection addresses how this occurred, what it means, and how artists, curators and engineers confront and challenge the constraints of increasingly normalised digital visual media.

While various art pieces and other content are considered throughout the collection, the focus is specifically on what such pieces suggest about the intersection of technique and technology. Including accounts by prominent artists and professionals, the collection emphasises the centrality of use and experimentation in the shaping of technological platforms. Indeed, a recurring theme is how techniques of previous media become technologies, inscribed in both digital software and hardware. Contributions include considerations of image-oriented software and file formats; screen technologies; projection and urban screen surfaces; histories of computer graphics, 2D and 3D image editing software, photography and cinematic art; and transformations of light-based art resulting from the distributed architectures of the internet and the logic of the database.

Digital Light brings together high profile figures in diverse but increasingly convergent fields, from academy award-winner and co-founder of Pixar, Alvy Ray Smith to feminist philosopher Cathryn Vasseleu.

In this volume renowned scientists and theologians discuss the concept of light as understood by modern physics and employed by biblical and patristic writers. Light from Light deepens readers' understanding of light as posited by recent cosmological and physical theories, drawing connections with "light" as a theological metaphor. Striking glimpses into new scientific developments offer additional insight and interest