Araştırma Makalesi
BibTex RIS Kaynak Göster

Güzelliğin Laneti; Carol Ann Duffy'nin "Güzel" Adlı Şiirinin Analizi

Yıl 2023, Cilt: 3 Sayı: 6 - CUMHURİYET'İN 100. YILINA İTHAFEN, 1 - 13, 29.12.2023
https://doi.org/10.5281/zenodo.10456353

Öz

Carol Ann Duffy'nin "Güzel" şiiri, güzelliğin alışılmadık yönlerinin eşsiz bir incelemesini sunuyor. Şiir, canlı imgeler, imalar, mecaz ve çağrışımcı bir dil kullanarak güzelliğin karmaşıklığını ve kadının sosyal yaşamda yıkımına neden olma potansiyelini analiz eder. Dört farklı kadının -Truvalı Helen, Kleopatra, Marilyn Monroe ve Prenses Diana- dört farklı zamanda dört farklı açıdan incelenmesiyle şiir, kadınların hayatlarına getirdiği hem fiziksel hem de zihinsel yıkımı göstererek geleneksel güzellik kavramına meydan okuyor. Bu nedenle, Duffy'nin şiiri, çağlarında güzelliğin hem sembolü hem de kurbanı haline gelen, açıkça ismi verilmeyen ancak ima edilen kahramanların trajedileri etrafında döner. Duffy, ataerkil geleneklere, erkek düzenine ve kadını baştan aşağı süzen bakışlara nasıl maruz kaldığını ve dahası, kadınların sosyal düzen içinde nasıl kapana kısıldığını ve güzellikleri nedeniyle insanlık dışı muameleyle insani statülerinin onlardan nasıl gasp edildiğini gösteriyor. Duffy'nin güzelliğin karanlık tarafını sunması, kadının değerini ataerkil düzende alınıp satılabilen basit bir metaya indirger. Güzelliğin bu metalaştırılması, her yaşta kadının nesneleştirilmesine ve sömürülmesine yol açar. Duffy, şiirde farklı çağlarda farklı isimlerin kullanılmasıyla çağların değişse de sorunun aynı kaldığını kanıtlıyor. Sonuç olarak, güzelliğin ve güzel olanın takdir edilmesi artık olumlu değerini korumaz, kadının hayatını zehirleyen bir lanet haline gelir. Bu nedenle, bu makalenin amacı, Duffy'nin “Beautifull” şiirinde kadın olmanın ve güzel olarak etiketlenmenin karmaşıklığının nasıl irdelediğini analiz etmektir.

Kaynakça

  • Belmont, Georges (2007), Silver Marilyn: Marilyn Monroe and the Camera, Munich: Schirmer Art Books.
  • Blondell, Ruby (2010), “‘Bitch that I Am’: Self-Blame and Self-Assertion in the Iliad”, Transactions of the American Philological Association (1974-), 140(1), 1–32. http://www.jstor.org/stable/40652048.
  • Blondell, Ruby (2013), Helen of Troy: Beauty, Myth, Devastation, Oxford: Oxford University Press.
  • Burstein, Stanley Mayer (2007), The Reign of Cleopatra, Westport, CT: Greenwood Press.
  • Conrad, Joann (1999), “Docile Bodies of (Im)Material Girls: The Fairy-Tale Construction of JonBenet Ramsey and Princess Diana. Marvels & Tales”, 13(2), 125–169. http://www.jstor.org/stable/41388540.
  • Dyer, Richard (2013), Heavenly bodies: Film stars and society, New York: Routledge.
  • Escoffier, Jeffrey (2015), “The Sexual Revolution, 1960-1980", GLBTQ Encyclopedia Copyright, 1-7.
  • Gitlin, Martin (2008), Diana, Princess of Wales: A Biography, London: Greenwood Press.
  • Griffiths, J. Gwyn (1961), “The Death of Cleopatra VII”. The Journal of Egyptian Archaeology, 47, 113–118. https://doi.org/10.2307/3855871.
  • Hallman, Emily (2020), “Gems of Gods and Mortals”: The Changing Symbolism of Pearls Throughout the Roman Empire. Armstrong Undergraduate Journal of History, 10(1), 1-17.
  • Helmers, Marguerite (2001), “Media, Discourse, and the Public Sphere”: Electronic Memorials to Diana, Princess of Wales. College English, 63(4), 437-456. https://doi.org/10.2307/378889.
  • Hermes, Joke & Merel Noordhuizen (1999), “Diana. Death of a media-styled secular Saint”. Etnofoor, 12(2), 76–91. http://www.jstor.org/stable/25757966.
  • Historic Events, (22 Mar 2017 / 6 Sep 1997) The Funeral of Princess Diana 1997 [Video]. Youtube. https://youtu.be/n2ICGs_XA5Q.
  • Homer (2006), The Iliad. Richer Resources Publications. (I. Johnston, Trans.). (Original work published with n.d).
  • Hornum, Michael B. (2015), Nemesis, the Roman State and the Games, Leiden: Brill Publication.
  • Hospodar, Miriam (2004), “Aphrodisiac Foods”: Bringing Heaven to Earth, Gastronomica, 4(4), 82–93. https://doi.org/10.1525/gfc.2004.4.4.82.
  • Jones, Prudence Jones (2006), Cleopatra: A sourcebook, Oklahoma: University of Oklahoma Press.
  • Lestari, Nanny Sri (2019), J”asmine flowers in Javanese mysticism", International Review of Humanities Studies, 4(1).
  • Kut Belenli, Pelin (2013), “Are the Speakers Mad or Bad?: Browning’s ‘The Laboratory’ and Duffy’s ‘Havisham.’” Concerning Evil. Eds. Grace Holden and Gabriela Màdlo. Oxford: Interdisciplinary Press, 2013. 99-108.
  • Longman Dictionary of Contemporary English: [DCE new edition for advanced learners]. Harlow Pearson Longman.
  • Mackinnon, Catharine (1989), Toward a Feminist Theory of the State, Cambridge: Harvard University Press.
  • Mulvey, L. (1989). “Visual pleasure and narrative cinema”, in Visual and other pleasures” (pp. 14-26). London: Palgrave Macmillan UK.
  • Paprocki, Sherry Beck (2009), Diana, Princess of Wales: Humanitarian, New York: Infobase Publishing.
  • Reis, Huriye (2004), "‘Presenting it, as it is’: Poetics of realism and politics of representation in Carol Ann Duffy's poetry”, Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 21 (2), 133-142.
  • Roisman, Hanna M. (2006), “Helen in the ‘Iliad’ ‘Causa Belli’ and Victim of War”: From Silent Weaver to Public Speaker. American Journal of Philology, 1-36.
  • Roller, Duane W. (2010), Cleopatra: A Biography, Oxford: Oxford University Press.
  • Rollyson, Carl (2014), Marilyn Monroe: A Life of the Actress, Jackson, Mississippi: Univ. Press of Mississippi.
  • Scheibel, Will (2013), “Marilyn Monroe, ‘sex symbol’: film performance, gender politics and 1950s Hollywood celebrity”. Celebrity Studies, 4(1), 4-13.
  • Sherrow, Victoria (2023), Encyclopedia of Hair: A Cultural History, Santa Barbara, Greenwood Publications. Farrell-Smith, Janet (1986), “Possessive power”. Hypatia, 1(2), 103-120.
  • Spencer, D. (20 November 1995). An Interview with H. R. H. The Princess of Wales. BBC. https://archive.org/details/panorama.-an.-interview.-with.-h.-r.-h.-the.-princess.of.-wales.-1995.-hdtv.-576p.
  • Varriano, John (2005), “Fruits and vegetables as sexual metaphor in late renaissance Rome”, Gastronomica, 5(4), 8-14.
  • Vries, Ad de (1974), Dictionary of Symbols and Imagery, Amsterdam: North-Holland Publishing Company.

Curse Upon Beauty: Analysis of Carol Ann Duffy’s “Beautiful”

Yıl 2023, Cilt: 3 Sayı: 6 - CUMHURİYET'İN 100. YILINA İTHAFEN, 1 - 13, 29.12.2023
https://doi.org/10.5281/zenodo.10456353

Öz

Carol Ann Duffy’s poem “Beautiful” presents an unmatched exploration of unusual aspects of beauty. With the use of vivid imagery, allusions, metaphor, and evocative language, the poem analyses the complexities of beauty, and its latent potential to cause the destruction of women in social life. Through the exploration of four different women namely —Helen of Troy, Cleopatra, Marilyn Monroe, and Princess Diana— of four different times from four different aspects, the poem challenges the conventional notions of beauty by showing both the physical and mental devastation that it brings to women’s lives. Thus, Duffy’s poem revolves around the tragedies of the clearly unidentified but hinted protagonists that become both the symbols and victims of beauty in their ages. By being exposed to the patriarchal conventions, male order, and the gazing eye, Duffy shows how women are entrapped in the social order and how their human status is usurped from them in their inhuman treatment based on their beauty. Duffy’s presentation of the dark side of beauty reduces women’s value into a simple commodity that can be bought and sold in the patriarchal order. This commodification of beauty results in the objectification and exploitation of women in every age. Through the use of different names for different ages, Duffy proves that even though the ages change, the problem remains the same. As a consequence, the appreciation of beauty and what is beautiful no longer preserves its positive value but becomes a curse that poisons women’s life. Therefore, the aim of this paper is to analyse how Duffy delves into the complexities of being a woman and being labelled as beautiful in her poem “Beautiful”.

Kaynakça

  • Belmont, Georges (2007), Silver Marilyn: Marilyn Monroe and the Camera, Munich: Schirmer Art Books.
  • Blondell, Ruby (2010), “‘Bitch that I Am’: Self-Blame and Self-Assertion in the Iliad”, Transactions of the American Philological Association (1974-), 140(1), 1–32. http://www.jstor.org/stable/40652048.
  • Blondell, Ruby (2013), Helen of Troy: Beauty, Myth, Devastation, Oxford: Oxford University Press.
  • Burstein, Stanley Mayer (2007), The Reign of Cleopatra, Westport, CT: Greenwood Press.
  • Conrad, Joann (1999), “Docile Bodies of (Im)Material Girls: The Fairy-Tale Construction of JonBenet Ramsey and Princess Diana. Marvels & Tales”, 13(2), 125–169. http://www.jstor.org/stable/41388540.
  • Dyer, Richard (2013), Heavenly bodies: Film stars and society, New York: Routledge.
  • Escoffier, Jeffrey (2015), “The Sexual Revolution, 1960-1980", GLBTQ Encyclopedia Copyright, 1-7.
  • Gitlin, Martin (2008), Diana, Princess of Wales: A Biography, London: Greenwood Press.
  • Griffiths, J. Gwyn (1961), “The Death of Cleopatra VII”. The Journal of Egyptian Archaeology, 47, 113–118. https://doi.org/10.2307/3855871.
  • Hallman, Emily (2020), “Gems of Gods and Mortals”: The Changing Symbolism of Pearls Throughout the Roman Empire. Armstrong Undergraduate Journal of History, 10(1), 1-17.
  • Helmers, Marguerite (2001), “Media, Discourse, and the Public Sphere”: Electronic Memorials to Diana, Princess of Wales. College English, 63(4), 437-456. https://doi.org/10.2307/378889.
  • Hermes, Joke & Merel Noordhuizen (1999), “Diana. Death of a media-styled secular Saint”. Etnofoor, 12(2), 76–91. http://www.jstor.org/stable/25757966.
  • Historic Events, (22 Mar 2017 / 6 Sep 1997) The Funeral of Princess Diana 1997 [Video]. Youtube. https://youtu.be/n2ICGs_XA5Q.
  • Homer (2006), The Iliad. Richer Resources Publications. (I. Johnston, Trans.). (Original work published with n.d).
  • Hornum, Michael B. (2015), Nemesis, the Roman State and the Games, Leiden: Brill Publication.
  • Hospodar, Miriam (2004), “Aphrodisiac Foods”: Bringing Heaven to Earth, Gastronomica, 4(4), 82–93. https://doi.org/10.1525/gfc.2004.4.4.82.
  • Jones, Prudence Jones (2006), Cleopatra: A sourcebook, Oklahoma: University of Oklahoma Press.
  • Lestari, Nanny Sri (2019), J”asmine flowers in Javanese mysticism", International Review of Humanities Studies, 4(1).
  • Kut Belenli, Pelin (2013), “Are the Speakers Mad or Bad?: Browning’s ‘The Laboratory’ and Duffy’s ‘Havisham.’” Concerning Evil. Eds. Grace Holden and Gabriela Màdlo. Oxford: Interdisciplinary Press, 2013. 99-108.
  • Longman Dictionary of Contemporary English: [DCE new edition for advanced learners]. Harlow Pearson Longman.
  • Mackinnon, Catharine (1989), Toward a Feminist Theory of the State, Cambridge: Harvard University Press.
  • Mulvey, L. (1989). “Visual pleasure and narrative cinema”, in Visual and other pleasures” (pp. 14-26). London: Palgrave Macmillan UK.
  • Paprocki, Sherry Beck (2009), Diana, Princess of Wales: Humanitarian, New York: Infobase Publishing.
  • Reis, Huriye (2004), "‘Presenting it, as it is’: Poetics of realism and politics of representation in Carol Ann Duffy's poetry”, Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 21 (2), 133-142.
  • Roisman, Hanna M. (2006), “Helen in the ‘Iliad’ ‘Causa Belli’ and Victim of War”: From Silent Weaver to Public Speaker. American Journal of Philology, 1-36.
  • Roller, Duane W. (2010), Cleopatra: A Biography, Oxford: Oxford University Press.
  • Rollyson, Carl (2014), Marilyn Monroe: A Life of the Actress, Jackson, Mississippi: Univ. Press of Mississippi.
  • Scheibel, Will (2013), “Marilyn Monroe, ‘sex symbol’: film performance, gender politics and 1950s Hollywood celebrity”. Celebrity Studies, 4(1), 4-13.
  • Sherrow, Victoria (2023), Encyclopedia of Hair: A Cultural History, Santa Barbara, Greenwood Publications. Farrell-Smith, Janet (1986), “Possessive power”. Hypatia, 1(2), 103-120.
  • Spencer, D. (20 November 1995). An Interview with H. R. H. The Princess of Wales. BBC. https://archive.org/details/panorama.-an.-interview.-with.-h.-r.-h.-the.-princess.of.-wales.-1995.-hdtv.-576p.
  • Varriano, John (2005), “Fruits and vegetables as sexual metaphor in late renaissance Rome”, Gastronomica, 5(4), 8-14.
  • Vries, Ad de (1974), Dictionary of Symbols and Imagery, Amsterdam: North-Holland Publishing Company.
Toplam 32 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular İngiliz ve İrlanda Dili, Edebiyatı ve Kültürü
Bölüm Araştırma Makaleleri
Yazarlar

Sinem Özkan 0009-0004-5110-3410

Yayımlanma Tarihi 29 Aralık 2023
Gönderilme Tarihi 6 Ağustos 2023
Yayımlandığı Sayı Yıl 2023 Cilt: 3 Sayı: 6 - CUMHURİYET'İN 100. YILINA İTHAFEN

Kaynak Göster

APA Özkan, S. (2023). Curse Upon Beauty: Analysis of Carol Ann Duffy’s “Beautiful”. Bitig Edebiyat Fakültesi Dergisi, 3(6), 1-13. https://doi.org/10.5281/zenodo.10456353
AMA Özkan S. Curse Upon Beauty: Analysis of Carol Ann Duffy’s “Beautiful”. bitig. Aralık 2023;3(6):1-13. doi:10.5281/zenodo.10456353
Chicago Özkan, Sinem. “Curse Upon Beauty: Analysis of Carol Ann Duffy’s ‘Beautiful’”. Bitig Edebiyat Fakültesi Dergisi 3, sy. 6 (Aralık 2023): 1-13. https://doi.org/10.5281/zenodo.10456353.
EndNote Özkan S (01 Aralık 2023) Curse Upon Beauty: Analysis of Carol Ann Duffy’s “Beautiful”. Bitig Edebiyat Fakültesi Dergisi 3 6 1–13.
IEEE S. Özkan, “Curse Upon Beauty: Analysis of Carol Ann Duffy’s ‘Beautiful’”, bitig, c. 3, sy. 6, ss. 1–13, 2023, doi: 10.5281/zenodo.10456353.
ISNAD Özkan, Sinem. “Curse Upon Beauty: Analysis of Carol Ann Duffy’s ‘Beautiful’”. Bitig Edebiyat Fakültesi Dergisi 3/6 (Aralık 2023), 1-13. https://doi.org/10.5281/zenodo.10456353.
JAMA Özkan S. Curse Upon Beauty: Analysis of Carol Ann Duffy’s “Beautiful”. bitig. 2023;3:1–13.
MLA Özkan, Sinem. “Curse Upon Beauty: Analysis of Carol Ann Duffy’s ‘Beautiful’”. Bitig Edebiyat Fakültesi Dergisi, c. 3, sy. 6, 2023, ss. 1-13, doi:10.5281/zenodo.10456353.
Vancouver Özkan S. Curse Upon Beauty: Analysis of Carol Ann Duffy’s “Beautiful”. bitig. 2023;3(6):1-13.
bitig Edebiyat Fakültesi Dergisi 88x31.png Creative Commons Atıf-GayriTicari-AynıLisanslaPaylaş 4.0 Uluslararası Lisansı ile lisanslanmıştır.