| 2022 |
AN EKPHRASTIC CRIMINAL VOICE IN JOHN BANVILLE’S THE BOOK OF EVIDENCE |
Uluslararası |
UÇAR ASYA SAKİNE |
ESSE 2022 |
|
| 2019 |
”Medussa and Matisse: A Pictorial Model of Myth and Art in A.S.Byatt’s ’Medusa’s Ankles’s” |
Uluslararası |
UÇAR ASYA SAKİNE |
Myth and Art Re-visited Conference |
|
| 2019 |
”Unsettling but Creative: From Liminality to Laminations in A.S. Byatt’s Babel Tower” |
Uluslararası |
UÇAR ASYA SAKİNE |
Bakea 6th International Western Cultural and Literary Studies Symposium |
|
| 2019 |
Van Gogh and His Speaking Pictures: An Ekphrastic Encounter at A.. S. Byatt’s Still Life |
Uluslararası |
UÇAR ASYA SAKİNE |
13th International IDEA Conference: Studies in English |
|
| 2018 |
Art’s Labour Found: The Cleaning Lady’s Secret Work of Art in A. S. Byatt’s ‘Art Work’ |
Uluslararası |
UÇAR ASYA SAKİNE |
2nd Comparative Literary and Cultural Studies Symposium “Labour”, Yaşar Üniversitesi, İZMİR |
|
| 2017 |
A Silent Resistance: Objectification and a Clash of Empowerment in Doris Lessing’s “A Woman on a Roof” |
Uluslararası |
UÇAR ASYA SAKİNE |
11th International Idea Conference, Çankaya Üniversitesi, ANKARA |
|
| 2017 |
Aura in a Reproduction: A Challenge to Walter Benjamin’s False Dilemma through Stanley Kubrick’s A Clockwork Orange |
Uluslararası |
UÇAR ASYA SAKİNE |
New Directions in the Humanities, Imperial College, Londra |
|
| 2015 |
Lost in Adaptation: Why the Great Great Gatsby Never Makes a Great Movie? |
Uluslararası |
UÇAR SAKİNE |
Scott Fitzgerald Conference,Başkent Üniversitesi ANKARA |
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