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MARINA CARR'IN “BY THE BOG OF CATS...” ADLI OYUNUNDA HESTER SWANE'IN PSİKOLOJİK OTOPSİS

Year 2018, Volume: 58 Issue: 1, 232 - 256, 01.01.2018

Abstract

Günümüzde önemli bir İrlandalı oyun yazarı olan Marina Carr 1964 , oyunlarında kadınların farklı deneyimlerini göstererek dikkat çeker. The Mai 1994 , Portia Coughlan 1996 ve By the Bog of Cats… 1998 adlı oyunlardan oluşan Midlands üçlemesi, farklı derecelerde saldırganlık ve şiddetle donatılmış alışılmadık anne tasvirleriyle İrlandalı okuyucu/izleyici üzerinde büyük bir etki yarattığından yazarın kariyerinin merkezindedir. Midlands üçlemesinin son oyunu olan By the Bog of Cats… İrlanda sınırlarını aşarak daha çok izleyiciye ulaştığından daha da başarılıdır. Bu oyun Hester Swane tasvirinde mükemmel annelik mitini reddederken, Carr anne karakterinin kişisel sorunlarını ve isteklerini öne çıkarır ve okuyucu/izleyicisini Hester’in farklı türdeki şiddetiyle şaşırtır. Bu anne kızının babası onu terk edince ve başka bir kadınla evlenmeye karar verince zorda kalır. Yedi yaşındayken kendisini terk eden ve Midlands bataklığına geri döneceğine söz veren annesini bekleyen Hester toprağından ve kızından ayrılmak istemez. Bu onu farklı türde şiddete sürükler; öyle ki, kızını bile öldürür ve intihar eder. Bu çalışma, Hester’in şiddeti ve özellikle intiharı ardındakini incelemeyi ve başkarakterin intiharını bir kişinin ölümünü, ölmeden önceki sorunları, duyguları ve düşünceleri bağlamında inceleme süreci olan psikolojik otopsi bağlamında vurgulamayı amaçlar.

References

  • Adshead, Maura, and Jonathan Tonge. Politics in Ireland: Convergence and Divergence in a Two-Polity Island. New York: Macmillan, 2009.
  • Bowlby, John. Attachment and Loss: Attachment. Vol. I. New York: Basic, 1973.
  • ---. Attachment and Loss: Loss: Sadness and Depression. Vol. III. New York: Basic, 1973.
  • ---. Attachment and Loss: Separation: Anxiety and Anger. Vol. II. New York: Basic, 1973.
  • Brown, Terry, and Keri Brown. Biomolecular Archaeology:An Introduction. Oxford: Blackwell, 2011.
  • Burke, Mary. “Tinkers”: Synge and the Cultural History of the Irish Traveller. Oxford: Oxford UP, 2009.
  • Carr, Marina. By the Bog of Cats....London: Faber, 2004.
  • Cousin, Geraldine. Playing for Time: Stories of Lost Children, Ghosts and the Endangered Present in Contemporary Theatre. Manchester: Manchester UP, 2007. ebrary. Web. 15 Dec. 2014.
  • Crawford, M. H., and George Gmelch. “Human Biology of the Irish Tinkers: Demography, Ethnohistory, and Genetics.” Social Biology 21.4 (1974):321-31. tandfonline. Web. 17 June 2015.
  • “Death and the Dance of Death.” A Gustave Flaubert Encyclopedia. Ed. Laurence M. Porter. Westport: Greendwoods, 2001. googlebooks. Web. 20 May 2015.
  • Dedebas, Eda. “Rewriting of Tragedy and Women’s Agency in Marina Carr’s By the Bog of Cats…,Ariel, and Woman and Scarecrow.” Women’s Studies 42 (2013): 248-70. tandfonline. Web. 26 Oct. 2014.
  • Fahey, Tony. “The Family in Ireland in the New Millennium.” The “Irish” Family. Ed. Linda Connolly. New York: Routledge, 2015. 54-69.
  • Finn, Nancy Margaret. “Make me Human and Then Divine”: Irish Cultural Memory, Metaphysical Transformation, and Liminality in Six Plays by Marina Carr.Diss. University of California, 2006. ProQuest. Web. 28 Oct. 2014.
  • Fouéré, Olwen. “Journeys in Performance: On Playing in The Mai and By the Bog of Cats….” The Theatre of Marina Carr: “Before Rules was Made.” Eds. Cathy Leeney and Anna McMullan. Dublin: Carysfort, 2003. 160-71.
  • Freud, Sigmund. Totem and Taboo. The Standard Edition of the Complete Psychological Works of Sigmund Freud: Totem and Taboo and Other Works. Vol. XII (1913-1914).Trans. Alix Strachey. Ed. James Strachey. London: Hogarth, 1964. 1-162.
  • Gladwin, Derek. “Staging the Trauma of the Bog in Marina Carr’s By the Bog of Cats….” Irish Studies Review19.4 (2011): 387-400. tandfonline. Web. 28 Oct. 2014.
  • Gmelch, Sharon Bohn, and George Gmelch. “The Emergence of an Ethnic Group: TheIrish Tinkers.” Anthropological Quarterly 49.4 (1976): 225-38. JSTOR. Web. 17 June 2015.
  • Greenfields, Margaret, Andrew Ryder, and David Smith. “Gypsies and Travellers: Economic Practices, Social Capital and Embeddedness.” Gypsies and Travellers: Empowerment and Inclusion in British Society. Eds. Joanna Richardson and Andrew Ryder. Bristol: Policy, 2012. 101-15.
  • Haodha, O. Insubordinate Irish. Manchester: Manchester UP, 2011. ebrary. Web. 1 Apr. 2015.
  • Harrison, Ann Tukey. “The Theme and its Public.” The Danse Macabre of Women. Ed. Harrison. Kent: Kent UP, 1994. 7-19.
  • Harrower, Natalie Dawn. The Performance of Critical History in Contemporary Irish Theatre and Film. Diss. University of Toronto, 2009. ProQuest. Web. 27 Oct. 2014.
  • Hyde, Abbey. “Age and Partnership as Public Symbols: Stigma and Non-Marital Motherhood in an Irish Context.” The European Journal of Women’s Studies7.1 (2000): 71-89. sagepub. Web. 2 Dec. 2014.
  • Intrye, Tom Mac. “Portia Coughlan.” The Theatre of Marina Carr: “Before Rules was Made.” Ed. Cathy Leeney and Anna McMullan. Dublin: Carysfort, 2003.80- 82.
  • Jeremiah, Emily. “Murderous Mothers: Adrienne Rich’s Of Woman Born and Tomi Morrison’s Beloved.” From Motherhood to Mothering: The Legacy of Adrienne Rich’s Of Woman Born. Ed. Andrea O’Reilly. New York: State U of New York, 2004. 59-71.
  • Johnson-Medlan, N. Thomas. Danse Macabre: Thoughts on Death and Momento Mori from a Hospice Chaplain. Eugene: Wipf, 2011.
  • Keenan, Desmond. Pre-Famine Ireland: Social Structure. New York: Xlibris, 2000.
  • Kenny, Máirín, and Alice Binchy. “Irish Travellers, Identity and the Education System.” Traveller, Nomadic and Migrant Education. Eds. Patrick Alan Danaher, Máirín Kenny, and Judith Remy Leder. New York: Routledge, 2009. 117-31.
  • Klein, Melain. “Envy and Gratitude.” Envy and Gratitude and Other Works 1946- 1963. Vol. III. Ed. Roger Money-Kyrle. New York: Free, 1975. 176-235.
  • Luddy, Maria. “Magdalen Asylums, 1765-1992.” The Field Day Anthology of Irish Writing: Irish Women’s Writing and Traditions. Vol. 5. Ed. Angela Bourke. New York: Field, 2002. 736-37. googlebooks. Web. 14 Jun. 2015.
  • Martinovich, Mary Katherine. A Poetics of Ghosting in Contemporary Irish and Northern Irish Drama. Diss. University of Minnesota, 2012. ProQuest. Web. 9 Jan. 2015.
  • McDonough, Carla J. “‘I’ve Never Been Just Me’: Rethinking Women’s Positions inthe Plays of Christina Reid.” A Century of Irish Drama: Widening the Stage.Eds. Stephen Watt, Eileen Morgan, and Shakir Mustafa. Bloomington: IndianaUP, 2000. 179-92.
  • Mendell, Dale. “The Impact of the Mother-Daughter Relationship on Women’s Relationships with Men: The Two-Man Phenomenon.” The MotherDaughterRelationship: Echoes Through Time. Ed. Gerd H. Fenchel. New Jersey: Aronson, 1998.227-40. Molino, Michael R. “Surviving the ‘House of a Hundred Windows’: Irish Industrial School in Recent Fiction and Memoirs.” New Hibernia Review5.1 (2001): 33- 52. Project Muse. Web. 14 Apr. 2015.
  • O’Brien, Matt. “Always the Best Man, Never the Groom: The Role of the Fantasy Male in Marina Carr’s Plays.” The Theatre of Marina Carr: “Before Rules was Made.” Eds. Cathy Leeney and Anna McMullan. Dublin: Carysfort, 2003.200- 15.
  • O’Dwyer, Riana. “The Imagination of Women’s Reality: Christina Reid and Marina Carr.” Theatre Stuff: Critical Essays on Contemporary Irish Theatre. Ed. Eamonn Jordan. Dublin: Carysfort, 2000. 236-48.
  • Ó Haodha, Micheál. “Travellers and Communal Identity: Memory, Trauma and the Trope of Cultural Disappearance.” Études Irlandaises 36.1 (2011): 1-12. journals.openedition. Web. 8 Marc. 2018.
  • Pembroke, Sinead. “The Role of Industrial Schools and Control over Child Welfare in Ireland in the Twentieth Century.” Irish Journal of Sociology21.1 (2013): 52- 67. ebsco. Web. 14 Apr. 2015.
  • Pine, Emilie. “Living with Ghosts: Synge and Marina Carr.” Synge and His Influences: Centenary Essays from the Synge Summer School. Ed. Patrick Lonergan. Dublin: Carysfort, 2011. 215-24. ProQuest. Web. 30 Dec. 2014.
  • “Psychological Autopsy.” Segen’s Medical Dictionary. Farlex, 2011. Web. 15 Dec. 2014.
  • Rich, Adrienne. Of Woman Born: Motherhood as Experience and Institution. London: Norton, 1986.
  • Roche, Anthony. Contemporary Irish Drama. 2nded. London: Palgrave, 2009.
  • Russell, Richard. “Talking with the Ghosts of Irish Playwrights Past: Marina Carr’s Bythe Bog of Cats….” Comparative Drama40.2 (2006): 149-68. Project Muse. Web. 26 Sep. 2014.
  • Schanoes, Veronica L. Fairy Tales, Myth, and Psychoanalytic Theory: Feminism and Retelling the Tale. Surrey: Ashgate, 2014.
  • Sihra, Melissa. “A Cautionary Tale: Marina Carr’s By the Bog of Cats.” Theatre Stuff: Critical Essays on Contemporary Irish Theatre. Ed. Eamonn Jordan. Dublin: Carysfort, 2000. 257-68.
  • ---. “Greek Myth, Irish Reality: Marina Carr’s By the Bog of Cats….” Rebel Women: Staging Ancient Greek Drama Today. Ed. John Dillon and S. E. Wilmer. London: Methuen, 2005. 115-35.
  • ---. “Introduction: Figures at the Window.” Women in Irish Drama: A Century of Authorship and Representation. Ed. Sihra. London: Palgrave, 2007. 1-22. Stone, Alice. Feminism, Psychoanalysis, and Maternal Subjectivity. New York: Routledge, 2012.
  • Sukenick, Lynn. “Feeling and Reason in Doris Lessing’s Fiction.” Contemporary Literature14.4 (1973): 515-35. JSTOR. Web. 26 Apr. 2015.
  • Trench, Rhona. Reimagining Ireland: Bloody Living: The Loss of Selfhood in the Plays of Marina Carr. Vol. 20. Bern: Lang, 2010.
  • Trotter, Mary. Modern Irish Theatre. Cambridge: Polity, 2008.
  • Zulueta, Felicity de. From Pain to Violence: The Traumatic Roots of Destructiveness. 2nded. West Sussex: Wiley, 2006.

A PSYCHOLOGICAL AUTOPSY OF HESTER SWANE IN MARINA CARR'S BY THE BOG OF CATS..

Year 2018, Volume: 58 Issue: 1, 232 - 256, 01.01.2018

Abstract

Marina Carr 1964- , a prominent contemporary Irish playwright, draws attention by pointing out the different experiences of women in her plays. Her Midlands trilogy, namely The Mai 1994 , Portia Coughlan 1996 and By the Bog of Cats… 1998 , is at the heart of her career since her unconventional mother portraits endowed with aggression and violence at different degrees in each play create a tremendous impression on the Irish reader/audience. The last play of Carr’s Midlands trilogy, By the Bog of Cats…, is also of success as it reaches more audience, exceeding the borders of Ireland. While this play denies the myth of perfect motherhood in the portrait of Hester Swane, Carr puts forward the individual troubles and desires of her mother character and confounds her reader/audience with Hester’s different shades of violence. This mother finds herself in trouble after her daughter’s father leaves her and decides to marry another woman. Waiting for her own mother who left her when she was seven and promised her to return to the bog of the Midlands, Hester does not want to depart from her land and separate from her daughter. This leads her to violence in different degrees in that she even murders her daughter and commits suicide. This paper sets out to analyse what lurks behind Hester’s violence and particularly her suicide and highlight the protagonist’s self-destruction in the context of psychological autopsy which refers to the process of examining one’s death in relation to the person’s problems, feelings and thoughts before the death.

References

  • Adshead, Maura, and Jonathan Tonge. Politics in Ireland: Convergence and Divergence in a Two-Polity Island. New York: Macmillan, 2009.
  • Bowlby, John. Attachment and Loss: Attachment. Vol. I. New York: Basic, 1973.
  • ---. Attachment and Loss: Loss: Sadness and Depression. Vol. III. New York: Basic, 1973.
  • ---. Attachment and Loss: Separation: Anxiety and Anger. Vol. II. New York: Basic, 1973.
  • Brown, Terry, and Keri Brown. Biomolecular Archaeology:An Introduction. Oxford: Blackwell, 2011.
  • Burke, Mary. “Tinkers”: Synge and the Cultural History of the Irish Traveller. Oxford: Oxford UP, 2009.
  • Carr, Marina. By the Bog of Cats....London: Faber, 2004.
  • Cousin, Geraldine. Playing for Time: Stories of Lost Children, Ghosts and the Endangered Present in Contemporary Theatre. Manchester: Manchester UP, 2007. ebrary. Web. 15 Dec. 2014.
  • Crawford, M. H., and George Gmelch. “Human Biology of the Irish Tinkers: Demography, Ethnohistory, and Genetics.” Social Biology 21.4 (1974):321-31. tandfonline. Web. 17 June 2015.
  • “Death and the Dance of Death.” A Gustave Flaubert Encyclopedia. Ed. Laurence M. Porter. Westport: Greendwoods, 2001. googlebooks. Web. 20 May 2015.
  • Dedebas, Eda. “Rewriting of Tragedy and Women’s Agency in Marina Carr’s By the Bog of Cats…,Ariel, and Woman and Scarecrow.” Women’s Studies 42 (2013): 248-70. tandfonline. Web. 26 Oct. 2014.
  • Fahey, Tony. “The Family in Ireland in the New Millennium.” The “Irish” Family. Ed. Linda Connolly. New York: Routledge, 2015. 54-69.
  • Finn, Nancy Margaret. “Make me Human and Then Divine”: Irish Cultural Memory, Metaphysical Transformation, and Liminality in Six Plays by Marina Carr.Diss. University of California, 2006. ProQuest. Web. 28 Oct. 2014.
  • Fouéré, Olwen. “Journeys in Performance: On Playing in The Mai and By the Bog of Cats….” The Theatre of Marina Carr: “Before Rules was Made.” Eds. Cathy Leeney and Anna McMullan. Dublin: Carysfort, 2003. 160-71.
  • Freud, Sigmund. Totem and Taboo. The Standard Edition of the Complete Psychological Works of Sigmund Freud: Totem and Taboo and Other Works. Vol. XII (1913-1914).Trans. Alix Strachey. Ed. James Strachey. London: Hogarth, 1964. 1-162.
  • Gladwin, Derek. “Staging the Trauma of the Bog in Marina Carr’s By the Bog of Cats….” Irish Studies Review19.4 (2011): 387-400. tandfonline. Web. 28 Oct. 2014.
  • Gmelch, Sharon Bohn, and George Gmelch. “The Emergence of an Ethnic Group: TheIrish Tinkers.” Anthropological Quarterly 49.4 (1976): 225-38. JSTOR. Web. 17 June 2015.
  • Greenfields, Margaret, Andrew Ryder, and David Smith. “Gypsies and Travellers: Economic Practices, Social Capital and Embeddedness.” Gypsies and Travellers: Empowerment and Inclusion in British Society. Eds. Joanna Richardson and Andrew Ryder. Bristol: Policy, 2012. 101-15.
  • Haodha, O. Insubordinate Irish. Manchester: Manchester UP, 2011. ebrary. Web. 1 Apr. 2015.
  • Harrison, Ann Tukey. “The Theme and its Public.” The Danse Macabre of Women. Ed. Harrison. Kent: Kent UP, 1994. 7-19.
  • Harrower, Natalie Dawn. The Performance of Critical History in Contemporary Irish Theatre and Film. Diss. University of Toronto, 2009. ProQuest. Web. 27 Oct. 2014.
  • Hyde, Abbey. “Age and Partnership as Public Symbols: Stigma and Non-Marital Motherhood in an Irish Context.” The European Journal of Women’s Studies7.1 (2000): 71-89. sagepub. Web. 2 Dec. 2014.
  • Intrye, Tom Mac. “Portia Coughlan.” The Theatre of Marina Carr: “Before Rules was Made.” Ed. Cathy Leeney and Anna McMullan. Dublin: Carysfort, 2003.80- 82.
  • Jeremiah, Emily. “Murderous Mothers: Adrienne Rich’s Of Woman Born and Tomi Morrison’s Beloved.” From Motherhood to Mothering: The Legacy of Adrienne Rich’s Of Woman Born. Ed. Andrea O’Reilly. New York: State U of New York, 2004. 59-71.
  • Johnson-Medlan, N. Thomas. Danse Macabre: Thoughts on Death and Momento Mori from a Hospice Chaplain. Eugene: Wipf, 2011.
  • Keenan, Desmond. Pre-Famine Ireland: Social Structure. New York: Xlibris, 2000.
  • Kenny, Máirín, and Alice Binchy. “Irish Travellers, Identity and the Education System.” Traveller, Nomadic and Migrant Education. Eds. Patrick Alan Danaher, Máirín Kenny, and Judith Remy Leder. New York: Routledge, 2009. 117-31.
  • Klein, Melain. “Envy and Gratitude.” Envy and Gratitude and Other Works 1946- 1963. Vol. III. Ed. Roger Money-Kyrle. New York: Free, 1975. 176-235.
  • Luddy, Maria. “Magdalen Asylums, 1765-1992.” The Field Day Anthology of Irish Writing: Irish Women’s Writing and Traditions. Vol. 5. Ed. Angela Bourke. New York: Field, 2002. 736-37. googlebooks. Web. 14 Jun. 2015.
  • Martinovich, Mary Katherine. A Poetics of Ghosting in Contemporary Irish and Northern Irish Drama. Diss. University of Minnesota, 2012. ProQuest. Web. 9 Jan. 2015.
  • McDonough, Carla J. “‘I’ve Never Been Just Me’: Rethinking Women’s Positions inthe Plays of Christina Reid.” A Century of Irish Drama: Widening the Stage.Eds. Stephen Watt, Eileen Morgan, and Shakir Mustafa. Bloomington: IndianaUP, 2000. 179-92.
  • Mendell, Dale. “The Impact of the Mother-Daughter Relationship on Women’s Relationships with Men: The Two-Man Phenomenon.” The MotherDaughterRelationship: Echoes Through Time. Ed. Gerd H. Fenchel. New Jersey: Aronson, 1998.227-40. Molino, Michael R. “Surviving the ‘House of a Hundred Windows’: Irish Industrial School in Recent Fiction and Memoirs.” New Hibernia Review5.1 (2001): 33- 52. Project Muse. Web. 14 Apr. 2015.
  • O’Brien, Matt. “Always the Best Man, Never the Groom: The Role of the Fantasy Male in Marina Carr’s Plays.” The Theatre of Marina Carr: “Before Rules was Made.” Eds. Cathy Leeney and Anna McMullan. Dublin: Carysfort, 2003.200- 15.
  • O’Dwyer, Riana. “The Imagination of Women’s Reality: Christina Reid and Marina Carr.” Theatre Stuff: Critical Essays on Contemporary Irish Theatre. Ed. Eamonn Jordan. Dublin: Carysfort, 2000. 236-48.
  • Ó Haodha, Micheál. “Travellers and Communal Identity: Memory, Trauma and the Trope of Cultural Disappearance.” Études Irlandaises 36.1 (2011): 1-12. journals.openedition. Web. 8 Marc. 2018.
  • Pembroke, Sinead. “The Role of Industrial Schools and Control over Child Welfare in Ireland in the Twentieth Century.” Irish Journal of Sociology21.1 (2013): 52- 67. ebsco. Web. 14 Apr. 2015.
  • Pine, Emilie. “Living with Ghosts: Synge and Marina Carr.” Synge and His Influences: Centenary Essays from the Synge Summer School. Ed. Patrick Lonergan. Dublin: Carysfort, 2011. 215-24. ProQuest. Web. 30 Dec. 2014.
  • “Psychological Autopsy.” Segen’s Medical Dictionary. Farlex, 2011. Web. 15 Dec. 2014.
  • Rich, Adrienne. Of Woman Born: Motherhood as Experience and Institution. London: Norton, 1986.
  • Roche, Anthony. Contemporary Irish Drama. 2nded. London: Palgrave, 2009.
  • Russell, Richard. “Talking with the Ghosts of Irish Playwrights Past: Marina Carr’s Bythe Bog of Cats….” Comparative Drama40.2 (2006): 149-68. Project Muse. Web. 26 Sep. 2014.
  • Schanoes, Veronica L. Fairy Tales, Myth, and Psychoanalytic Theory: Feminism and Retelling the Tale. Surrey: Ashgate, 2014.
  • Sihra, Melissa. “A Cautionary Tale: Marina Carr’s By the Bog of Cats.” Theatre Stuff: Critical Essays on Contemporary Irish Theatre. Ed. Eamonn Jordan. Dublin: Carysfort, 2000. 257-68.
  • ---. “Greek Myth, Irish Reality: Marina Carr’s By the Bog of Cats….” Rebel Women: Staging Ancient Greek Drama Today. Ed. John Dillon and S. E. Wilmer. London: Methuen, 2005. 115-35.
  • ---. “Introduction: Figures at the Window.” Women in Irish Drama: A Century of Authorship and Representation. Ed. Sihra. London: Palgrave, 2007. 1-22. Stone, Alice. Feminism, Psychoanalysis, and Maternal Subjectivity. New York: Routledge, 2012.
  • Sukenick, Lynn. “Feeling and Reason in Doris Lessing’s Fiction.” Contemporary Literature14.4 (1973): 515-35. JSTOR. Web. 26 Apr. 2015.
  • Trench, Rhona. Reimagining Ireland: Bloody Living: The Loss of Selfhood in the Plays of Marina Carr. Vol. 20. Bern: Lang, 2010.
  • Trotter, Mary. Modern Irish Theatre. Cambridge: Polity, 2008.
  • Zulueta, Felicity de. From Pain to Violence: The Traumatic Roots of Destructiveness. 2nded. West Sussex: Wiley, 2006.
There are 49 citations in total.

Details

Primary Language English
Journal Section Research Article
Authors

Kübra Vural Özbey This is me

Publication Date January 1, 2018
Published in Issue Year 2018 Volume: 58 Issue: 1

Cite

APA Vural Özbey, K. (2018). A PSYCHOLOGICAL AUTOPSY OF HESTER SWANE IN MARINA CARR’S BY THE BOG OF CATS. Ankara Üniversitesi Dil Ve Tarih-Coğrafya Fakültesi Dergisi, 58(1), 232-256.

Ankara University Journal of the Faculty of Languages and History-Geography

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