BİR KUŞUN ARDINDAN: DENİZ FENERİ İLE YAŞLI DENİZCİNİN EZGİSİ ARASINDA ARKETİPSEL SUÇUN VE KOZMİK KEFARETİN İZİNDE

Year 2025, Volume: 8 Issue: 3, 1258 - 1270, 30.09.2025

Serap Sarıbaş

https://doi.org/10.37999/udekad.1689037

Abstract

Bu çalışma, Robert Eggers’ın Deniz Feneri (The Lighthouse, 2019) adlı filmi ile Samuel Taylor Coleridge’in Yaşlı Denizcinin Ezgisi (The Rime of the Ancient Mariner, 1798) adlı şiiri arasında kurulan metinlerarası ilişkileri; anlatı yapısı, mitopoetik temsiller ve doğaya karşı işlenen etik ihlaller bağlamında disiplinlerarası olarak incelemektedir. Her iki eser de bir kuşun öldürülmesiyle sembolleşen asli bir suçun ardından bireyin maruz kaldığı lanet, yalnızlık, delilik ve kefaret süreçlerini merkeze alırken mitolojik ve ahlaki sorunları görünür kılar. Bu bağlamda her iki anlatı da arketipsel imgeler yoluyla insanın kozmos içindeki kırılgan, tekinsiz ve sınır ihlalcisi konumunu yeniden düşünmeye çağırır. Çalışmada Winslow karakteri ile denizci figürü arasında kurulan yapısal paralellikler üzerinden Prometheus ve Proteus gibi mitolojik figürlerle temsil edilen ışık, bilgi ve hakikat arzusunun kibirle ilişkisi tartışılmaktadır. Eggers’ın siyah beyaz estetiği, dar kadraj ve klostrofobik mekân kullanımı; sözlü şiir anlatısının ritmik ve alegorik yapısıyla karşılaştırılarak ruhsal çözülmenin temsiline dair çok katmanlı, estetik açıdan yoğun ve sezgisel bir çözümleme sunar. Film, romantik dönem şiiriyle mitolojik ve estetik diyaloğu ortaya koyarak mitin dönüşen formlarıyla doğa, suç, ceza, günah ve varoluş üzerine yeniden düşünme imkânı sunar. Her iki anlatı da kozmik adaletin bireysel bilinçteki yansımalarını gotik estetik, psikanalitik imgeler, metaforlar ve mitolojik alegorilerle sahneler.

Keywords

Mitos , Simgesellik , Ritüel , Ontoloji , Yapsöküm

AFTER THE BIRD: TRACING ARCHETYPAL SIN AND COSMIC REDEMPTION BETWEEN THE LIGHTHOUSE AND THE RIME OF THE ANCIENT MARINER

Abstract

This study examines the intertextual relationships established between Robert Eggers’s The Lighthouse (2019) and Samuel Taylor Coleridge’s poem The Rime of the Ancient Mariner (1798) through a multidisciplinary approach within the framework of narrative structure, mythopoetic representations, and ethical transgressions against nature. Both works revolve around a primal transgression symbolized by the killing of a bird, leading to isolation, madness, and spiritual reckoning. In this context, both narratives invite a rethinking of the human being’s fragile, uncanny, and transgressive position within the cosmos through archetypal images rooted in the cultural unconscious. The study discusses how the desire for light, knowledge, and truth, represented by mythological figures such as Prometheus and Proteus, rests upon a foundation of hubris, based on the structural parallels between the character Winslow and the mariner figure. Eggers’s black-and-white aesthetic, narrow framing, and claustrophobic spatial design are compared to the rhythmic and allegorical structure of the oral poetic narrative, offering a multilayered, aesthetically dense, and intuitive analysis of psychic disintegration. The film reveals a mythological and aesthetic dialogue with Romantic poetry, presenting a renewed opportunity to contemplate nature, crime, punishment, sin, and existence through the transforming forms of myth. Both narratives are considered powerful expressions of cosmic justice mirrored within individual consciousness through Gothic aesthetics, psychoanalytic imagery, metaphors, and mythological allegories.

Keywords

Myth , Symbolism , Ritual , Ontology , Deconstruction

References

• Abrams, M. H. (1971). Natural supernaturalism: Tradition and revolution in romantic literature. W. W. Norton.
• Bataille, G. (1991). The accursed share: An essay on general economy (Vol. 1, R. Hurley, Trans.). Zone Books. (Original work published 1949).
• Beer, J. (1996). Coleridge the visionary. Macmillan.
• Benjamin, W. (1996). The storyteller: Reflections on the works of Nikolai Leskov. In H. Arendt (Ed.), Illuminations (pp. 83-109). Schocken Books. (Original work published 1923). Bergson, H. (1910). Time and free will: An essay on the immediate data of consciousness (F. L. Pogson, Trans.). George Allen & Unwin.
• Chion, M. (1994). Audio-vision: Sound on screen (C. Gorbman, Trans.). Columbia University Press.
• Coleridge, S. T. (1798/2001). The rime of the ancient mariner. In P. Rogers (Ed.), The Oxford illustrated history of English literature (pp. 287-296). Oxford University Press.
• Eggers, R. (Director). (2019). The lighthouse [Film]. A24.
• Eliade, M. (1957). The sacred and the profane: The nature of religion (W. R. Trask, Trans.). Harcourt.
• Frye, N. (1957). Anatomy of criticism: Four essays. Princeton University Press.
• Hartman, G. H. (1964). Beyond formalism: Literary essays, 1958, 1970. Yale University Press.
• Jameson, F. (2005). Archaeologies of the future: The desire called utopia and other science fictions. Verso.
• Kristeva, J. (1982). Powers of horror: An essay on abjection (L. S. Roudiez, Trans.). Columbia University Press.
• McGann, J. (1985). The romantic ideology: A critical investigation. University of Chicago Press.
• Miller, J. H. (1981). The ethics of reading: Kant, De Man, Eliot, Trollope, James, and Benjamin. Columbia University Press.
• Mulvey, L. (2006). Death 24x a second: Stillness and the moving image. Reaktion Books.
• Neiman, S. (2002). Evil in modern thought: An alternative history of philosophy. Princeton University Press.
• Ricoeur, P. (1967). The symbolism of evil. Beacon Press.
• Wolfson, S. (2014). Borderlines: The shiftings of romantic poetry. Stanford University Press.
• Žižek, S. (2001). Did somebody say totalitarianism? Five interventions in the (Mis)use of a notion. Verso.
• Žižek, S. (2011). Living in the end times. Verso.