Karamanoğlu Mehmetbey Üniversitesi/Türkiye pinarturan7@gmail.com
Öz
Gülmece, birçok disipline konu olmuş, araştırılmış, hakkında kuramlar yazılmış bir kavramdır.
Aristoteles (M.Ö. 384-322)’den itibaren komedyalarda, şenliklerde, eleştirel bir tavırla hayat bulan kavram, İngiliz edebiyatçı Geoffrey Chaucer (1340-1400), İtalyan yazar ve şair Giovanni Boccaccio (1313-1375)’un eserleriyle pekişmiş, Rönesans döneminde François Rabelais (1483-1553), William Shakespeare (1564-1616) ve Miguel de Cervantes (1547-1616) ile şaha kalkmış, daha sonraki yıllarda Caste, Gender, an Moliere (1622-1673), Charles Dickens (1812-1870), Bernard Shaw (1856-1950), Anton Çehov (1860-1904) ve Nikolay Gogol (1809-1852) gibi usta yazarların eserleri ile en parlak yıllarını yaşamıştır. Gülmece, Sigmund Freud, Henri Bergson, Thomas Hobbes, Mihail Bahtin ve John Morreal gibi filozof ve edebiyat teorisyenleri tarafından da “Üstünlük”, “Uyumsuzluk” (zıtlık) ve “Boşalma” (rahatlama) gibi kuramlar üzerinden de incelenmiştir. Söz konusu kuramlar, gerek psikolojide, gerekse edebiyat sanatında oldukça büyük bir rol oynamaktadırlar. Konu edebiyat olduğunda gülmecenin yazar tarafından bilinçli bir şekilde seçilmiş bir aktarım yöntemi olduğunu söylemek mümkündür. Yazarlar, okuyucuyu ya da izleyeni etkilemek, gerektiğinde şok etmek, düşündürmek ve sorgulatmak amacıyla alay etme, eleştirme, kahkaha, alçalma, abartma gibi gülmece unsurları kullanabilirler. Örneğin küçük şeylerden büyük şeylermiş gibi söz etmek abartma yöntemidir. Abartma uzadığında ya da özellikle sistemli olarak yapıldığında komik olur ve gülmece gerçekleşir. Böylelikle bir aktarım yöntemi rolünü tamamlamış olur. Söz konusu aktarım okuyucu için oldukça çarpıcıdır. Rus edebiyatının usta kalemi Nikolay Gogol, eserlerinde yukarıda adı geçen gülmece unsurlarından yararlanarak gülmecedeki başarısını kanıtlamıştır. Gogol gülmece unsurlarını eserlerinde katman katman işleyerek alay etmek ve eleştirmek istediği kesimlere, kişilere nokta atışı yapmıştır. Halk kültüründen beslenerek eserler üreten her yazarda olduğu gibi Gogol’ün gülmecesinde evrensellik, özgürlük ve halkın gayri resmi gerçekçiliğiyle bağlantılı olması gibi birtakım unsurlar da yer almaktadır.
Bu çalışmada Gogol’ün ilk kez 1836 yılında ünlü Sovremennik dergisinde yayınlanan “Burun”
adlı öyküsü, gülmece bağlamında adı geçen alay, alçalma, abartma gibi unsurlar göz önünde bulundurularak incelenecektir. Öyküde grotesk bir ögeye dönüşen memur Kovalev’in kaybolan burnu, dönemin Rus toplumunun özlemlerinin, ruh sıkıntılarının, ezilmişliklerinin ve çarpık düşüncelerinin trajikomik bir simgesi olarak kullanılmıştır.
Anahtar Sözcükler: 19. yy. Rus Edebiyatı, Gogol, Burun, Gülmece, Mizah
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Unreliable Narrators in Jeanette Winterson’s The Passion Şebnem Düzgün
The University of Southampton/ United Kingdom, Ankara Science University/Turkey duzgunsebnem@gmail.com
Abstract
Jeanette Winterson’s The Passion (1987) is a historiographic metafiction, a term used by Linda Hutcheon, which challenges the traditional historiography favouring objectivity, absolute truths, and the segregation between fact and fiction. In the novel, fact and fiction are blurred by Henry and Villanelle, the main narrators, to show that history is reconstructed and cannot be narrated from a purely realist or objective point of view since each narrator evaluates the past from their own individual perspectives. Moreover, the narrators juxtapose real and fictional events while reconstructing the past. Henri mentions such historical figures and events as Napoleon, his wife Josephine, French Revolution, and Napoleonic Wars, but his narrative has also personal, fictitious elements as he claims that he can hear the dead talking. Villanelle also merges her metafictional story about her heart she left at her lover’s house with such historical stories about Bonaparte and the invasion of Venice in 1797. Moreover, Henry’s admiration for Napoleon prevents him from adopting an objective attitude while recording history, and he tends to idealize Napoleon as a great leader. Removing the distinction between formal and personal histories, both the male and female narrators convey conflicting, multiple facts through adopting an individual, emotional tone. Henry and Villanelle also distort the chronological order used in traditional historiography by configuring the past, present, and future within a unified temporality. Using self-reflexive, unreliable narrators, which is a method of historiographic metafiction, the novel makes the reader notice that history, as well as fiction, is constructed by human beings so there is no absolute truth, and temporal divisions are illusionary. This work aims to show that the line between reality and fiction is obscured by unreliable narrators in Jeanette Winterson’s The Passion to challenge the traditional historiography that is based on hierarchy, reality, and objectivity through mentioning mostly Linda Hutcheon’s discussions on historiographic metafiction.
Keywords: Jeanette Winterson, The Passion, unreliable narrators, Linda Hutcheon, historiographic metafiction
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The Systematization of Rape Culture in The Handmaid’s Tale Muzaffer Derya Nazlıpınar Subaşı
Kütahya Dumlupınar University/Turkey derya.nazlipinar@dpu.edu.tr Abstract
Even in the twenty-first century, in which more tolerance and democratic values are expected, women are still subject to various kinds of violence that range from street harassment, image-based abuse to sexploitation and rape. According to World Health Organization, one in three women worldwide have experienced violence, at least once in their lifetime. In spite of the increasing focus on prevention, the most significant challenge remains for women, which is the persistence of patriarchal norms and constraints that perpetuate negative stereotypes and violence against women. These practices and false images have become so deeply entrenched in public life, news/media, fiction and discourse that men’s violence against women has been internalized and even socio-culturally normalized and/or legally accepted in some societies.
Therefore, this violence rooted in patriarchal masculinities contributes further to the risk to women and gradually it sets the stage for a rape culture. This rape culture keeps its existence using phallocentric language that objectifies female bodies and glorifies sexual violence.
Blaming and shaming the victims, the hegemonic masculinity adopting rape culture seeks the ways for delegitimizing rape and extending the scopes and definitions of consensual sex.
Those pervasive ideas centered on women’s objectification and domination are portrayed in literary works. The Handmaid’s Tale (1985) by Margaret Atwood, a Canadian prolific novelist and critic, is one of those works that depicts the sufferings of women under a theocratic regime that applies a systematic and state-sanctioned rape to enable reproduction. Within this respect, in this study, I have aimed to reveal how hegemonic masculinities use their power to create alternative truths and discourses, and even subvert religion to justify their continuous surveillance, sexual violence and systematized rape by depending on feminist criticism and perspectives concerning women’s degradation in a rape culture.
Keywords: The Handmaid’s Tale, Rape Culture, Hegemonic Masculinity, Feminist Criticism, Men’s Violence, Sexploitation
70
A Social Plague: Comparative Analysis of Orphans in Literature Senem Üstün Kaya
Başkent Üniversitesi/Türkiye efesenem@yahoo.com Abstract
The number of orphans in the world is increasing dramatically as a social plague due to wars, economic instabilities and parental issues. Any child, who grows up without a parental support and a safe environment, is literally considered an orphan. In order to raise the social awareness for the conditions of orphans in society, artists carry a moral burden to reflect the sufferings of these lost children through their art. In world literature, many authors have tended to depict the struggles of orphans in search of identity, emotional security and belonging. Orphan narratives have been one of the most noteworthy topics in world literature and orphan figures are used as archetypes both to underscore orphanhood in society and to awaken the attention of readers to the pathetic conditions of orphans with sympathy and sentimentalism. The recurring motif of
‘orphans’ provide authors possibilities to both criticize the societies and attract the attention of the readers with sympathy and sentimentalism. Although there are several studies and researches based on the depiction of orphans in literature, this study aimed at investigating how orphan figures struggle with the psychological distress, social isolation and emotional alienations in Turkish and western literatures. Within this scope, certain texts, chosen from western literature and Turkish literature, were examined for a comparative analysis. Based on the findings of the analysis, the study concluded that although written in different periods and in different cultures, orphan narrative is preferred by many writers to underscore orphanhood as a social plague, which needs to be improved for prosperous nations.
Keywords: Orphans; archetype; western and Turkish culture; comparative analysis; social plague
71
Fluids, Cages and Boisterous Femininity: The Grotesque Transgression of Patriarchal Norms in Angela Carter’s Nights at the Circus
Md Abu Shahid Abdullah East West University sabdullah@ewubd.edu Abstract
The presentation will show that in Nights at the Circus, Angela Carter’s use of the themes of food consumption and excrement operate as both a grotesque means of emancipation from a feminine point-of-view, and a carnivalesque challenge to subversive patriarchal norms and deconstruction of arbitrary patriarchal hierarchies. By turning the simple act of eating into boisterous spectacle and by handling a bottle of champagne and water hose in a disturbingly masculine manner, Fevvers transgresses the boundary between masculinity and femininity, sheds the patriarchal constraints imposed upon femininity, and thus achieves agency and emancipation. Since she is not able to acquire biological signifier of masculinity, she achieves the transgression of the binary entirely through the performative carnivalesque. The presentation will also discuss that the overflowing nature of grotesque femininity (both physical and behavioral) enables the female characters to speak and act at their own will, and thus performs as a means of critiquing Victorian patriarchal cultural norms. Ultimately, Carter’s text is one which interrogates the naturalised hierarchy that is patriarchy in an attempt to render femininity not simply “a bird in a gilded cage” rather an agent for change.
Keywords: The carnivalesque, Masculinity, Grotesque femininity, Patriarchal constraint
72
A.S.Puşkin’in Yevgeni Onegin Adlı Eserinde Mitolojik İmgelerin İşlevselliği