Browsing by Subject "Mikhail Bakhtin"

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Düzenin ve kadının karşısında bir "garip" Oğuz Atay
(2011) Yavuz, Ayşe Duygu
One of the most important authors of the 20th Century Modern Turkish novel, Oğuz Atay's (1934-1977) works have not so far been taken into consideration in light of gender-focused literary analysis as a whole. In this thesis, I argue that the male characters in Oğuz Atay's fiction, who stand up against the patriarchal system, are in fact in conformity with the status quo when exhibiting a repressive attitude against women. In the course of the project, analyses on author's Tutunamayanlar, Tehlikeli Oyunlar, Oyunlarla Yaşayanlar and short stories titled ―Unutulan‖ and ―Beyaz Mantolu Adam‖ in Korkuyu Beklerken are presented. Dominance of male voice in the subject-matter literary works seem to stand as obstacles in reaching female voice. As a reading strategy for this specific context, the theory of ―polyphonic novel‖ of Mikhail Bakhtin's is employed. According to Mikhail Bakhtin, voice is a medium that expresses not only ―timber‖ but also consciousness. For a literary work to count as embedding ―polyphonic‖, characters are to have representations of consciousness that are independent of both the author, the ―meta-narrator‖, and each other. Given the emphasis by certain feminist theorists that Bakhtin's theory could be employed for gender-focused literary analysis, marginalization of female consciousness in Oğuz Atay's works is discussed. Means of the alleged marginalization is revealed by how male characters otherize female characters in the fictional worlds of Oğuz Atay's. In order to give an account for this analysis, two pioneers of the French school of feminism, Simone de Beauvoir and Luce Irigaray‘s stance on the dialectic of the I and the other is associated with Oğuz Atay's literary works. Regarding the short stories, the literary analysis rather focuses on the cases in which female characters, even when situated as the narrator of the fiction, cannot have an independent voice, and on the destructive character of gender roles. In another chapter, the question of how bourgeois tendencies are affiliated with married female characters in Oğuz Atay's literary works is addressed. Final remarks of the thesis are on how the married female characters of Atay's fictional worlds are situated in the hierarchy of social classes within the narrations, when Marxist and feminist approaches are in question.
Open Access
Edip Cansever şiirinde tek seslilik : Tragedyalar ve Ben Ruhi Bey Nasılım
(2010) Atabağsoy, Naim
One remarkable point about the poetry of Edip Cansever (1928–1986), who is among modern Turkish poetry’s most distinctive voices, can be seen in the relationship between his poems and the concepts of polyphony and novelization. First published in 1964, Cansever’s article “Tek Sesli Şiirden Çok Sesli Şiire” (“From Monophonic Poetry to Polyphonic Poetry”)—in which he makes a connection between the concept of polyphony and that of authority—pioneered later arguments concerning polyphony in Cansever’s poetry. Alongside this, the inclusion in Cansever’s poetry of more than one character and its usage of certain distinctive structural features led to a connection being made between his poetry and the genre of the novel. This study uses the ideas of Mikhail Bakhtin, who was the first to fit the concept of polyphony into a theoretical framework, in an attempt to reevaluate concepts such as novelization and polyphony—which is one of the novel’s distinctive features—and to reconsider earlier ideas on Cansever’s poetry in this regard. Focusing, in the light of Bakhtin’s theory, on the poems Tragedyalar (“Tragedies”) and Ben Ruhi Bey Nasılım (“I Am Ruhi How Am I”)—both of which were also the focus of previous studies in this regard—this study will attempt to show the monophonic nature of these poems. In accordance with this aim, firstly, previous claims concerning Cansever’s poetry will be opened up to argument, and secondly, the concepts of polyphony and novelization will be explained and examined. Subsequently, the study will look at the relationship between tragedy— defined by Bakhtin as monophonic—and Cansever’s poem Tragedyalar, and, using Cansever’s own ideas, examine the question of whether or not Tragedyalar reflects the class contradictions that the poet expressly claims it does. In this regard, it will be observed that, although the task attributed to tragedy by Karl Marx and Friedrich Engels does appear in Cansever’s ideas, this relationship is not fully reflected in the text. As regards the examination of the poem Ben Ruhi Bey Nasılım, this will attempt to analyze the relationship between polyphony and Cansever’s poetry in a broader sense. Specifically, it will attempt to show through textual example that, although this poem does have more than one character, it does not, in fact, exhibit polyphony.