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ELIZA HAYWOOD'UN “LOVE IN EXCESS OR, THE FATAL ENQUIRY” VE ELIZABETH INCHBALD'UN “A SIMPLE STORY” ROMANLARINDA KADIN GÜCÜNÜN İMKÂNSIZLIĞI

Year 2018, Volume: 58 Issue: 1, 973 - 991, 01.01.2018

Abstract

Eliza Haywood ve Elizabeth Inchbald’un onsekizinci yüzyıl İngiltere’si ataerkil zemininde erkek karakterler aracılığıyla çeşitli kadın karakterler tanıtan Love in Excess or, The Fatal Enquiry 1719 ve A Simple Story 1791 romanları, kadın sesinin geçerliliğine karşılık kadınlara uygulanan baskı ve bu iki tutum arasında kadınların kurallara biat etmesi konularını tartışmaktadır. Love in Excess, erkek karakter D’Elmont aracılığıyla, onun Alovysa ve Amena gibi çeşitli kadın karakterlerle olan aşk ilişkileri sonucunda değişimini yansıtarak, erkeklerle olan ilişkilerine göre tanımlanan kadınlarla ilgili onsekizinci yüzyıl sosyal, kültürel ve ekonomik gerçekliklerini betimler. Aynı şekilde, A Simple Story, Millner ile kızı Matilda’nın birbirinden farklı hikayesini aktarır. Millner, meydan okuyan ve cesaretli bir kadınken, Matilda babası Dorriforth’un yönettiği itaat ve sessizlik dolu bir hayat içerisinde kaybolmuştur. Yine de, bu romanlarda kadın karakterler bütünüyle itaatkar veya baskı altında resmedilmemiştir, çünkü bazıları halen fikirlerini ifade edebilecek kadınsal bir güce sahiptir ve hareketleri erkeklerde değişimi başlatır. Bu durum ise, kadınların kurallara boyun eğmediğinin kanıtıdır. Öte yandan, kuralları ihlal eden diğer kadın karakterler ölüm veya mutsuzlukla cezalandırılır, ki bu da Haywood ve Inchbald’un romanlarında, büyük olasılıkla güvenli bir zemin olarak kurallara boyun eğme yolunu seçmiş olabileceğini ifade eder. Bu çalışmanın amacı, onsekizinci yüzyıl İngiltere’sinin sosyal ve kültürel zeminini temsil eden Love in Excess ve A Simple Story romanlarında, Amena ve Matilda karakterlerinin sessizliği ve pasifliğine ve Melliora’nın kurallara uygun hareket etmesine karşılık Alovysa, Ciamara, Violetta ve Millner karakterlerinde resmedildiği gibi, kadınların kuralları ihlal etme yoluyla güç kazanmasının mümkün olup olmadığını tartışmaktır.

References

  • Barker, Hannah and Elaine Chalus. Gender in Eighteenth-century England: Roles, Representations, and Responsibilities. New York: Longman, 1997.
  • Bruening, Megan. Cunning Authors and Bad Readers: Gendered Authorship in Love in Excess. M.A. Thesis. Wake Forest University Graduate School of Arts and Sciences, Winston-Salem, North Carolina, 2015.
  • Butler, Judith. Bodies That Matter: On the Discursive Limits of "Sex". New York: Routledge, 1993.
  • ---. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1999.
  • Case, Sue-Ellen. Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
  • Craft-Fairchild, Catherine. Masquerade and Gender: Disguise and Female Identity in Eighteenth-Century Fictions by Women. Pennsylvania: Pennsylvania State University Press, 1993.
  • Creel, Sarah. Authorial Self-Fashionings: Eliza Haywood in Text, Image, and Performance. PhD Dissertation. Simon Fraser University, Faculty of Arts and Social Sciences, Department of English, 2015.
  • Csengei, Ildigo. “‘She Fell Senseless on His Corpse’: The Woman of Feeling and the Sentimental Swoon in Eighteenth-Century Fiction.” Romantic Psyche and Psychoanalysis. A Romantic Circles Praxis Volume. Web. 15.12.2016.
  • Dowd, Emily Joan. Evoking the Salon: Eliza Haywood's the Female Spectator & the Conversation of Protofeminist Space. PhD Dissertation. Florida State University, College of Arts and Sciences, 2010.
  • Downie, J. A. The Oxford Handbook of the Eighteenth Century Novel. Oxford: Oxford University Press, 2016.
  • “Excessive women: The novels of Eliza Haywood, Charlotte Lennox, and Elizabeth Inchbald.” Exotic and Irrational Entertainment. August 24, 2014. Web. 15.12.2016.
  • Fowler, Joanna Elizabeth. Theorizing Voice and Perspective in the Narratives of Eliza Haywood and her Contemporaries. PhD Dissertation. Loughborough University, 2010.
  • Freeman, Barbara Claire. The Feminine Sublime: Gender and Excess in Women's Fiction. Berkley: University of California Press, 1995.
  • Getz, Bethany Lee. Virtue Embodied: Fathers and Daughters in the EighteenthCentury Novel. PhD Dissertation. Baylor University, Department of English, 2010.
  • Ghosh, Amrita. Amatory Fiction of Eliza Haywood: A Study of Protofeminism in Her Select Novels. PhD Dissertation. University of Burdwan, West Bengal, 2013.
  • Göller, Karl Heinz. “The Emancipation of Women in Eighteenth-Century English Literature.” Anglia: Journal of English Philology 101(2009): 78-98.
  • Haywood, Eliza. Love in Excess or, The Fatal Inquiry. Hertfordshire: Broadview, 2000.
  • Inchbald, Elizabeth. A Simple Story. London: Henry Frowde, 1908.
  • Jones, Vivien. Women in the Eighteenth Century: Constructions of Femininity. London: Routledge, 2006.
  • Kjelland, Jim. “The Eighteenth Century Novel: Defining and Redefining Realism.” The Delta 3.1 (2008): 31-44.
  • Lee, Hye-Soo. “Women, Comedy, and A Simple Story.” Eighteenth-Century Fiction 20. 2 (2008): 196-217.
  • Luhning, Holly. “A Crafted Debut: Haywood's Love in Excess and the Literary Marketplace.” Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies / Lumen 28 (2009): 97-110.
  • Maurer, Shawn L. Proposing Men: Dialectics of Gender and Class in the EighteenthCentury English Periodical. Stanford: Stanford University Press, 1998.
  • McGuire, Kelly. Dying to be English: Suicide Narratives and National Identity, 1721– 1814. Oxon: Routledge, 2012. (E-book)
  • Oakleaf, David. “Introduction.” Love in Excess or, The Fatal Enquiry. Hertfordshire: Broadview, 2000.
  • Read, T. The Whole Duty of a Woman, Or, An Infallible Guide to the Fair Sex Containing Rules, Directions, and Observations, for Their Conduct and Behaviour through All Ages and Circumstances of Life, as Virgins, Wives, or Widows. London: White-Fryers, 1737.
  • Robertson, Ben P. Elizabeth Inchbald's Reputation: A Publishing and Reception History. London: Routledge, 2013.
  • Rottiers, Elien. Marriage and gender in Aphra Behn’s The Rover and Eliza Haywood’s Love in Excess. M.A. Thesis, Ghent University Faculty of Arts and Philosophy, Belgium, 2011.
  • McKeon, Michael. “Historicizing Patriarchy: The Emergence of Gender Difference in England, 1660-1760.” Eighteenth-Century Studies 28. 3 (1995): 295-322.
  • Novakova, Sona. “The Great Lie, or the Case of the Lost Women.” Brno Studies in English 19 (1991): 157-166.
  • Spacks, Patricia Meyer. Desire and Truth: Functions of Plot in Eighteenth-Century English Novels. Chicago: University of Chicago, 1994.
  • ---. Novel Beginnings: Experiments in Eighteenth-Century English Fiction. New Haven & London: Yale University Press, 2006.
  • Strachey, G. L. “Introductory Note.” A Simple Story. London: Henry Frowde, 1908.
  • Sweet, Rosemary. “The Ordering of Family and Gender in the Age of Enlightenment.” Ordering the World in the Eighteenth Century (2006): 112- 143.
  • Tiago, Marina Estavao. “Eliza Haywood’s Love in Excess- Figuring Women, Subverting Conventions.” A Moderna Diferença. Studies in Identity (2009): 17-31.
  • Turner, Cheryl. Living by The Pen: Women Writers in the Eighteenth Century. London: Routledge, 2002.
  • Walker, Gena B. A Language of Signs: Obtaining Power in Elizabeth Inchbald’s A Simple Story. M.A. Thesis. Department of English, University of North Carolina Wilmington, 2005.
  • Youngquist, Paul. Monstrosities: Bodies and British Romanticism. Minneapolis: University of Minnesota Press, 2003.

IM/POSSIBILITY OF FEMALE EMPOWERMENT IN ELIZA HAYWOOD'S NOVEL LOVE IN EXCESS OR, THE FATAL ENQUIRY AND ELIZABETH INCHBALD'S NOVEL A SIMPLE STORY

Year 2018, Volume: 58 Issue: 1, 973 - 991, 01.01.2018

Abstract

Eliza Haywood’s Love in Excess or, The Fatal Enquiry 1719 and Elizabeth Inchbald’s A Simple Story 1791 speculate the validity of female voice as opposed to women’s suppression and passivity or female conformity as an attitude in-between by presenting various female characters in the patriarchal backdrop of the eighteenth century England through male characters. Employing a male protagonist, D’Elmont and reflecting his transformation along with his eventual maturation through his love affairs with several female characters including Alovysa and Amena, Love in Excess pictures the eighteenth century social, cultural, and economic reality about women who are mostly defined according to their relationship with men. Likewise, A Simple Story recounts different stories of a mother, Millner and her daughter, Matilda. Millner is a woman of challenge and courage while Matilda is lost in a life of submission and silence conducted by her father, Dorriforth. Nevertheless, female characters are not altogether depicted as submissive and oppressed individuals in those novels as some of them still possess female agency to speak their minds while their acts trigger change in male characters, which proves their transgression. On the other hand, other female characters who transgress the boundaries are punished by death or unhappiness, which amounts the idea of female conformity that is most presumably chosen as a safe ground to stand in their novels by Haywood and Inchbald. The aim of this study is to discuss the possibility of female empowerment through transgression pictured with the characters of Alovysa, Ciamara, Violetta and Millner as countered with Amena and Matilda’s silence and passivity, and Melliora’s conformity in the novels, Love in Excess and A Simple Story that represent the social and cultural background of eighteenth century England.

References

  • Barker, Hannah and Elaine Chalus. Gender in Eighteenth-century England: Roles, Representations, and Responsibilities. New York: Longman, 1997.
  • Bruening, Megan. Cunning Authors and Bad Readers: Gendered Authorship in Love in Excess. M.A. Thesis. Wake Forest University Graduate School of Arts and Sciences, Winston-Salem, North Carolina, 2015.
  • Butler, Judith. Bodies That Matter: On the Discursive Limits of "Sex". New York: Routledge, 1993.
  • ---. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1999.
  • Case, Sue-Ellen. Performing Feminisms: Feminist Critical Theory and Theatre. Baltimore: The Johns Hopkins University Press, 1990.
  • Craft-Fairchild, Catherine. Masquerade and Gender: Disguise and Female Identity in Eighteenth-Century Fictions by Women. Pennsylvania: Pennsylvania State University Press, 1993.
  • Creel, Sarah. Authorial Self-Fashionings: Eliza Haywood in Text, Image, and Performance. PhD Dissertation. Simon Fraser University, Faculty of Arts and Social Sciences, Department of English, 2015.
  • Csengei, Ildigo. “‘She Fell Senseless on His Corpse’: The Woman of Feeling and the Sentimental Swoon in Eighteenth-Century Fiction.” Romantic Psyche and Psychoanalysis. A Romantic Circles Praxis Volume. Web. 15.12.2016.
  • Dowd, Emily Joan. Evoking the Salon: Eliza Haywood's the Female Spectator & the Conversation of Protofeminist Space. PhD Dissertation. Florida State University, College of Arts and Sciences, 2010.
  • Downie, J. A. The Oxford Handbook of the Eighteenth Century Novel. Oxford: Oxford University Press, 2016.
  • “Excessive women: The novels of Eliza Haywood, Charlotte Lennox, and Elizabeth Inchbald.” Exotic and Irrational Entertainment. August 24, 2014. Web. 15.12.2016.
  • Fowler, Joanna Elizabeth. Theorizing Voice and Perspective in the Narratives of Eliza Haywood and her Contemporaries. PhD Dissertation. Loughborough University, 2010.
  • Freeman, Barbara Claire. The Feminine Sublime: Gender and Excess in Women's Fiction. Berkley: University of California Press, 1995.
  • Getz, Bethany Lee. Virtue Embodied: Fathers and Daughters in the EighteenthCentury Novel. PhD Dissertation. Baylor University, Department of English, 2010.
  • Ghosh, Amrita. Amatory Fiction of Eliza Haywood: A Study of Protofeminism in Her Select Novels. PhD Dissertation. University of Burdwan, West Bengal, 2013.
  • Göller, Karl Heinz. “The Emancipation of Women in Eighteenth-Century English Literature.” Anglia: Journal of English Philology 101(2009): 78-98.
  • Haywood, Eliza. Love in Excess or, The Fatal Inquiry. Hertfordshire: Broadview, 2000.
  • Inchbald, Elizabeth. A Simple Story. London: Henry Frowde, 1908.
  • Jones, Vivien. Women in the Eighteenth Century: Constructions of Femininity. London: Routledge, 2006.
  • Kjelland, Jim. “The Eighteenth Century Novel: Defining and Redefining Realism.” The Delta 3.1 (2008): 31-44.
  • Lee, Hye-Soo. “Women, Comedy, and A Simple Story.” Eighteenth-Century Fiction 20. 2 (2008): 196-217.
  • Luhning, Holly. “A Crafted Debut: Haywood's Love in Excess and the Literary Marketplace.” Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies / Lumen 28 (2009): 97-110.
  • Maurer, Shawn L. Proposing Men: Dialectics of Gender and Class in the EighteenthCentury English Periodical. Stanford: Stanford University Press, 1998.
  • McGuire, Kelly. Dying to be English: Suicide Narratives and National Identity, 1721– 1814. Oxon: Routledge, 2012. (E-book)
  • Oakleaf, David. “Introduction.” Love in Excess or, The Fatal Enquiry. Hertfordshire: Broadview, 2000.
  • Read, T. The Whole Duty of a Woman, Or, An Infallible Guide to the Fair Sex Containing Rules, Directions, and Observations, for Their Conduct and Behaviour through All Ages and Circumstances of Life, as Virgins, Wives, or Widows. London: White-Fryers, 1737.
  • Robertson, Ben P. Elizabeth Inchbald's Reputation: A Publishing and Reception History. London: Routledge, 2013.
  • Rottiers, Elien. Marriage and gender in Aphra Behn’s The Rover and Eliza Haywood’s Love in Excess. M.A. Thesis, Ghent University Faculty of Arts and Philosophy, Belgium, 2011.
  • McKeon, Michael. “Historicizing Patriarchy: The Emergence of Gender Difference in England, 1660-1760.” Eighteenth-Century Studies 28. 3 (1995): 295-322.
  • Novakova, Sona. “The Great Lie, or the Case of the Lost Women.” Brno Studies in English 19 (1991): 157-166.
  • Spacks, Patricia Meyer. Desire and Truth: Functions of Plot in Eighteenth-Century English Novels. Chicago: University of Chicago, 1994.
  • ---. Novel Beginnings: Experiments in Eighteenth-Century English Fiction. New Haven & London: Yale University Press, 2006.
  • Strachey, G. L. “Introductory Note.” A Simple Story. London: Henry Frowde, 1908.
  • Sweet, Rosemary. “The Ordering of Family and Gender in the Age of Enlightenment.” Ordering the World in the Eighteenth Century (2006): 112- 143.
  • Tiago, Marina Estavao. “Eliza Haywood’s Love in Excess- Figuring Women, Subverting Conventions.” A Moderna Diferença. Studies in Identity (2009): 17-31.
  • Turner, Cheryl. Living by The Pen: Women Writers in the Eighteenth Century. London: Routledge, 2002.
  • Walker, Gena B. A Language of Signs: Obtaining Power in Elizabeth Inchbald’s A Simple Story. M.A. Thesis. Department of English, University of North Carolina Wilmington, 2005.
  • Youngquist, Paul. Monstrosities: Bodies and British Romanticism. Minneapolis: University of Minnesota Press, 2003.
There are 38 citations in total.

Details

Primary Language English
Journal Section Research Article
Authors

Kübra Baysal This is me

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

Cite

APA Baysal, K. (2018). IM/POSSIBILITY OF FEMALE EMPOWERMENT IN ELIZA HAYWOOD’S NOVEL LOVE IN EXCESS OR, THE FATAL ENQUIRY AND ELIZABETH INCHBALD’S NOVEL A SIMPLE STORY. Ankara Üniversitesi Dil Ve Tarih-Coğrafya Fakültesi Dergisi, 58(1), 973-991.

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

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