Grotesk Bedenler ve Cinsiyet Performativitesi: Carson McCullers'ın The Ballad of the Sad Café Eserinde Güneyli Güzelin Yıkılışı

Year 2025, Volume: 10 Issue: 3, 673 - 686, 30.09.2025

Kadir Lüta

https://doi.org/10.30622/tarr.1769178

Abstract

Bu çalışma, Carson McCullers’ın The Ballad of the Sad Café adlı eserinde grotesk estetiği kullanarak Güneyli kadınlık imgesini ve özellikle de Güneyli güzel (Southern Belle) idealini nasıl sorguladığını incelemektedir. Güney Gotik geleneği içinde önemli bir yere sahip olan bu eser, normatif toplumsal cinsiyet düzenini kırılgan kılan sıra dışı karakterler aracılığıyla kadınlık ve erkeklik rollerinin yapaylığını gözler önüne serer. Miss Amelia’nın “cinsiyetsiz ve beyaz” bedeni, kambur Cousin Lymon ve ahlaki yozlaşmanın sembolü Marvin Macy üzerinden McCullers, Ioana Baciu’nun “üçüncü kategori” olarak tanımladığı, ikili cinsiyet düzeninin ötesine geçen bir alan yaratır. Analiz, Mikhail Bakhtin’in grotesk beden teorisi ile Judith Butler’ın cinsiyet performativitesi yaklaşımını bir araya getirir. Bakhtin’e göre grotesk beden, sınırları aşan ve tamamlanmamış yapısıyla sabit toplumsal kategorilere meydan okur. Butler ise cinsiyetin biyolojik bir gerçeklik değil, tekrarlanan performanslar yoluyla inşa edilen kültürel bir pratik olduğunu ortaya koyar. Bu kuramsal çerçeve aracılığıyla Amelia’nın androjen kimliği, Lymon’un toplumsal cinsiyet beklentilerini bozan davranışları ve Macy’nin yüzeysel maskülenliği, Güney’in ataerkil düzeninin çelişkilerini açığa çıkarır. Çürüyen kafe ve izole kasaba ise bu cinsiyet altüst oluşlarının geçici olarak mümkün olduğu grotesk mekânlar işlevi görür. Ancak Amelia’nın yenilgisiyle gelen çöküş, bireysel direnişin ataerkil sistemler karşısındaki sınırlı gücünü vurgular. Sonuç olarak, McCullers grotesk estetiği yalnızca edebî bir araç olarak değil, aynı zamanda politik bir strateji olarak kullanır. Bu strateji, Güneyli kadınlık imgesinin yapay doğasını sergilerken, normatif sınırların ötesine geçen kimliklerin karşılaştığı şiddetli baskıları da görünür kılar. The Ballad of the Sad Café, bu yönüyle hem Güney Gotik geleneğinin grotesk mirasını sürdürür hem de çağdaş non-binary tartışmaların öncülü olarak değerlendirilebilecek bir metin sunar.

Keywords

İngiliz Dili ve Edebiyatı , Güney Gotik , grotesk beden , cinsiyet performativitesi , Carson McCullers , üçüncü kategori

Grotesque Bodies and Gender Performativity: Dismantling the Southern Belle in Carson McCullers's The Ballad of the Sad Café

Abstract

This study examines how Carson McCullers employs grotesque aesthetics in The Ballad of the Sad Café to deconstruct the ideal of the Southern Belle and challenge traditional gender roles in the American South. As part of the Southern Gothic tradition, the novella portrays eccentric characters whose non-normative bodies and behaviors expose the artificiality of femininity and masculinity. Through Miss Amelia, described as “sexless and white,” the hunchbacked Cousin Lymon, and the morally corrupted Marvin Macy, McCullers creates what Ioana Baciu has called a “third category” of gender that exists beyond the male–female binary. The analysis draws on Mikhail Bakhtin’s theory of the grotesque body and Judith Butler’s concept of gender performativity. For Bakhtin, the grotesque body is excessive, unfinished, and transgressive, undermining fixed social categories. Butler’s framework highlights that gender is not a biological essence but a repeated performance shaped by cultural norms. Combining these perspectives reveals how Amelia’s androgyny, Lymon’s inversion of masculine expectations, and Macy’s corrupted masculinity confront the rigid patriarchal order of the South. The dilapidated café and isolated town amplify these disruptions as grotesque spaces where alternative identities temporarily flourish, but Amelia’s eventual defeat demonstrates the fragility of resistance within entrenched systems of power. The study argues that McCullers employs the grotesque not merely as a literary motif but as a political strategy. By foregrounding bodily excess, inversion, and unconventional identities, she exposes the constructed foundations of Southern femininity while revealing the violent measures patriarchal systems employ to preserve authority. In this way, The Ballad of the Sad Café functions both as an extension of the Southern Gothic tradition and as a precursor to contemporary discussions of gender fluidity and non-binary identity. Ultimately, the novella demonstrates how grotesque aesthetics can destabilize gender norms and create spaces for alternative identities, yet also highlights the limitations of individual resistance under patriarchal control. McCullers’s text therefore offers a powerful critique of gender and authority that resonates with ongoing debates on identity and cultural power.

Keywords

English Language and Literature , Southern Gothic , grotesque body , gender performativity , Carson McCullers , third category.

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