Samuel Beckett’ın Oyunun Sonu Adlı Yapıtında Anlatı Parçaları ve Öykü Anlatma

Year 2012, Volume: 52 Issue: 2, 1 - 11, 01.01.2012

Fahri Öz

Abstract

Anlatı ve öykü anlatma bilgi, anlam, gelenek ve kimlik gibi unsurları içeren insana özgü önemli kavramlardır. Samuel Beckett’in genellikle öykülemeye ve anlatıya yabancı ve uzak olduğu düşünülen Endgame Oyunun Sonu adlı oyunundaki karakterler bütün başarısızlıklarına karşın öyküler yaratmaya ve anlatmaya girişerek öykü anlatma edimini sorunsallaştırılar. Durağan bir şimdiki zamana hapsolan bu oyun kişileri gene de öyküler, anılar, fıkralar anlatmaktan ve yaşadıkları boşluğu doldurmak için diyaloga girmekten geri durmazlar. Bu makalenin amacı Beckett’in oyununu zaman, iktidar ve kimlik bağlamında incelemektir.

Keywords

Öykü Anlatma, Anlatı, Zaman, İktidar, Kimlik, Anlam, Metinlerarasılık, Anlatıda Sapma

Narrative Fragments and Story-telling in Samuel Beckett’s Endgame

Abstract

Narrative and story-telling are important human concepts encapsulating such issues as cognition, meaning, tradition and identity. Characters in Samuel Beckett’s Endgame, which is assumed to be antagonistic to story-telling, problematise the act of story-telling by attempting to create or retell stories, despite their obvious failures and difficulties and objections they come across. Being trapped within the uneventful present, they tell stories, anecdotes, jokes, and fill in the void with dialogues. This paper examines story-telling in the play within the context of time, power, and identity.

Keywords

Story-telling, Narrative, Time, Identity, Meaning, Power, Intertextuality, Digressive Narration

References

• ATKINS, Kim (2004). “Narrative Identity, Practical Identity and Ethical Subjectivity”, in Continental Philosophy Review (2004), 37: 341-366. http://www.springerlink.com/index/U7089356154M5034.pdf, accessed 14 March 2008.
• BAIR, Deidre (1978). Samuel Beckett: A Biography. London: Jonathan Cape.
• BECKETT, Samuel (1970). Proust. New York: Grove.
• - (1973). Endgame: A Play in One Act followed by Act without Words: A Mime for One Player. London: Faber.
• DIAMOND, Elin (1975). ‘“what? … who? … no! … she!” - The Fictionalizers in Beckett’s Plays.’ Samuel Beckett: A Collection of Criticism. Ruby Cohn, ed. NY: McGraw Hill. 111-119.
• FREUD, Sigmund (1976). Jokes and Their Relation to the Unconscious. James Strachey (trans.), Angela Richards, ed. The Pelican Freud Library. Volume 6. Harmonsworth: Penguin.
• HAWTHORN, Jeremy (2000). A Glossary of Contemporary Literary Theory. London: Arnold.
• HALE, Jane Alison (1992). “‘Endgame’: ‘How Are Your Eyes?’” Waiting for Godot and Endgame: Contemporary Critical Essays. (Ed. Steven Connor). New Casebooks. MacMillan: London. 71-85.
• HERRERO-MARTÍN, R. (2007). “Narrative Performance of the Word in Beckett’s Early Theatre”. Tiyatro Araştırmaları Dergisi, 23. Ankara: Ankara Üniversitesi Yay. 193-221.
• KENNER, Hugh (1975). “Life in the Box.” Samuel Beckett’s Endgame. Ed. by Harold Bloom. NY: Chelsea House, 41-48. Reprinted in Drama For Students. Vol. 18.
• KEMP, T. P. (1989). “Toward a Narrative Ethics: A Bridge between Ethics and the Narrative Reflection of Ricoeur.” Kemp, T. Peter and Rasmusson, David, eds. The Narrative Path: The Later Works of Paul Ricoeur. Cambridge. MIT P. 65-88.
• LAUGHLIN, Karen (1988). “‘Sadism Demand a Story’: Looking at Gender and Pain in Samuel Beckett’s Plays”. Samuel Beckett: A Casebook. Ed. Jennifer M. Jeffers. Garland: New York. 39-62.
• MARTIN, Wallace (1991). Recent Theories of Narrative. Ithaca: Cornel UP.
• MCQUILLAN, Martin (2000). ed. The Narrative Reader. London: Routledge.
• MILLER, J. Hillis (1998). Reading Narrative. Norman: U of Oklahoma P.
• MORRISON, K. (1983). Canters and Chronicles: The Use of Narrative in the Plays of Samuel Beckett and Harold Pinter. London: U of Chicago P.
• NEVE, Michael (1988). “Freud’s Theory of Humour, Wit and Jokes”. Laughing Matters: A Serious Look at Humour. Ed. John Durant, Jonathan Miller. Harlow: Longman. 35-44.
• POSTLEWAIT, T. (1978). “Self-Performing Voices: Mind, Memory and Time in Beckett’s Drama”. Twentieth Century Literature Vol. 24. No:4, 473-491.
• PRINCE, Gerald (1990). “On Narratology (Past Present Future).” French Literary Studies, 17 (1).
• RICHARDSON, Brian (2001). “Denarration in Fiction: Erasing the Story in Beckett and Others.” Narrative May v9 i2. 168.
• RICOEUR, Paul (1991): “Life: A Story in Search of a Narrator.” A Paul Ricoeur Reader: Reflection and Imagination. Ed. Mario J. Valdes. New York: Harvester. 425-437.
• SCHOLES, Robert and KELLOGG, Robert (1996). The Nature of Narrative. New York: Oxford UP.
• ST. AUGUSTINE (1992). Confessions. (trans. by Henry Chadwick). Oxford: Oxford UP.
• WORTON, Michael (1990). “‘Waiting For Godot and Endgame: Theatre as Text”. The Cambridge Companion to Beckett. John Trilling, ed. Cambridge: Cambridge UP, 67-87.