THOMAS HARDY'NİN ŞİİRLERİNDEKİ TEMSİL KRİZİ

Year 2016, Volume: 56 Issue: 2, 389 - 412, 01.01.2016

Nilüfer Özgür

Abstract

İngiliz şair ve romancı Thomas Hardy, eserlerinin çoğunu Viktorya döneminde yazmış olsa da, şiirlerini, şiir anlayışının göze çarpacak biçimde modern olduğu 20. yüzyılın başında yayımlamıştır. Her ne kadar Hardy ana akım Modernistlere çok benzemese de, kaotik ve rastlantısal bir dünya algısının, sorunsallaşmış bir dil anlayışının ve bunların sonucunda ortaya çıkan “temsil krizinin” zeminindeki kaygı duygusunun üstesinden gelme çabası Modernistlerle paylaştığı bir özelliktir. Yapısökümcülük felsefesinin öncüsü, Jacques Derrida, Batı kültürünün ontolojisinde ve epistemolojisinde Platon'dan itibaren süregelmiş ve hâkim olmuş mevcudiyet metaziğinin logosantrik düşünme biçimini gözler önüne sermiş, bu düşünce biçiminin, ikili zıtlıkların ve ikilikçi yapıların sınırları içinde kısıtlanmış olduğunu iddia etmiştir. Derrida yalın bir iddia ile ortaya çıkmaktadır—bir logos, bütünleştirici ilke, orijin, merkez yoktur. Bu gibi kavramlar dilin ötesinde bir alandadır, dili aşkındır. Merkez daima başka bir yerdedir ve “gösterenlerin serbest bir oyunudur.” Dolayısı ile Modernist şairin sabitlenmiş bir gönderge noktası bulma çabası, hem dilsel hem de semantik anlamda bir kaygıya, bir “temsil krizine” dönüşmektedir. Bu “temsil krizi” dil ve anlam arasında, gösteren ve gösterilen arasındaki sorunsallaşmış ilişkiye işaret etmektedir. Bu dilsel gerilim Hardy'nin şiirlerinde de gözlemlenmektedir.

Keywords

Yapısökümcülük, Derrida, Temsil Krizi, Hardy, Modernizm

CRISIS OF REPRESENTATION IN POEMS BY THOMAS HARDY

Abstract

Thomas Hardy is a poet who produced most of his poetry in the Victorian age but published it largely in the twentieth century when the literary sensibility was predominantly modern. Although Hardy is not conventionally considered a Modernist poet, he shares with Modernists an element that can be referred to as the linguistic crisis by which they try to get over the sense of anxiety against the backdrop of a chaotic world and problematized language. The forerunner of Deconstructionism, Derrida, exposes a long established history of logocentric thinking, which has continually been moving between binary oppositions and Platonic dualities. Derrida simply puts forward the idea that there is no logos, no origin, and no centre of truth. The centre is always somewhere else; he identies this as a “free play of signiers.” Consequently, the anxiety of the poet with modern sensibility to nd a point of reference inevitably results in a “crisis of representation,” or, in a problematic relation between language and truth, signier and signied. This crisis can be observed in Hardy's poetry, too.

Keywords

Deconstructionism, Derrida, Crisis of Representation, Hardy, Modernism

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