Abstract
Bu çalışma, üç çağdaş İngiliz romanında grotesk geleneğinin temsilini inceliyor: William Golding’in Sineklerin Tanrısı (1954), Iain Banks’in Eşek Arısı Fabrikası (1984) ve Neil Gaiman’ın Sokağın Sonundaki Okyanus (2013). Çalışma, groteskin, yazıldıkları dönemde kültürel iklimden duyulan memnuniyetsizliği dile getirmek için önemli bir araç olarak işlev gördüğünü öne sürüyor ve groteskin kaynaklarının bu altmış yıllık süreçte nasıl değiştiğini karşılaştrmalı olarak yansıtıyor. Bu romanların, kusursuz uyum, simetri, statik ve orantı barındıran güzelliği tasvir eden estetik nitelikler olan klasik dönem sanatsal kriterleri nasıl parçaladığını ve bunları grotesk sanatın ikili zıtlıkları olarak nasıl sunduğunu araştırıyor. Çalışmanın göze çarpan özelliği grotesk terminolojisinin eleştirel terim olan brikolaj ile olan ilişkisidir ve grotesk geleneğinin Viktor Şklovski’nin tanımladığı “sanatın amacı”na olumlu bir şekilde hizmet ettiğini savunmaktadır. Analiz, fiziksel grotesk temsilleri, melezliği, ikircikliliği, canavarlığı, tersine çevirmeyi, karnavalesk unsurları (özellikle dışkılamayı), iğrençliği, tekinsiz etkiyi ve anlatısal şok mekanizmalarını derinlemesine inceliyor. Modern dünyanın kolaj portrelerini yaratarak, bu romanlar grotesk imgeleri kullanarak çağdaş bireyin parçalanmış, yabancılaşmış, tekinsiz, şüpheci ve güvensiz duygularını tasvir ediyor ve dönemin yaygın karamsarlığını yansıtıyor.
Keywords
Thanks
This article is based on the doctoral dissertation titled “Representations of the Grotesque in William Golding’s Lord of the Flies, Iain Banks’ The Wasp Factory, and Neil Gaiman’s The Ocean at the End of the Lane,” completed under the supervision of Prof. Dr. Zeynep Zeren Atayurt Fenge in the Department of English Language and Literature, Institute of Social Sciences, Ankara University.
References
- Bakhtin, M. M. (1981). The dialogic imagination: Four essays (M. Holquist, Ed.; C. Emerson & M. Holquist, Trans.). University of Texas Press.
- Bakhtin, M. M. (1984). Rabelais and his world (H. Iswolsky, Trans.). Indiana University Press.
- Banks, I. (2013). The wasp factory. Abacus.
- Barasch, F. K. (2018). The grotesque: A study in meanings. De Gruyter Mouton.
- Barthes, R. (2002). S/Z (R. Miller, Trans.). Blackwell. (Original work published 1970).
- Cixous, H., & Cohen, K. (1974). The character of “character.” New Literary History, 5(2), 383-402. https://doi.org/10.2307/468401
- Crawford, P. (2002). Politics and history in William Golding: The world turned upside down. University of Missouri Press.
- Crawford, P. (2008). Literature of atrocity: Lord of the Flies and The Inheritors. In H. Bloom (Ed.), William Golding’s Lord of the Flies (pp. 103-133). Bloom’s Literary Criticism.
- Derrida, J. (1978). Writing and difference (A. Bass, Trans.). University of Chicago Press. (Original work published 1967).
- Duggan, R. (2013). The grotesque in contemporary British fiction. Manchester University Press.
- Edwards, J. D., & Graulund, R. (2013). Grotesque (The New Critical Idiom). Routledge.
- Freud, S. (1976). The uncanny (J. Strachey, Trans.). In The Standard Edition of the Complete Psychological Works of Sigmund Freud (Vol. 17, pp. 217–256). Hogarth Press. (Original work published 1919).
- Gaiman, N. (2013). The ocean at the end of the lane. William Morrow.
- Golding, W. (1996). Lord of the flies (Educational ed.). Faber and Faber.
- Harpham, G. G. (2006). On the grotesque: Strategies of contradiction in art and literature. Davies Group Publishers.
- Jennings, L. B. (1963). The ludicrous demon: Aspects of the grotesque in German post-romantic prose (Vol. 71). University of California Press.
- Kayser, W. (1981). The grotesque in art and literature (U. Weisstein, Trans.). Indiana University Press.
- Kim, Y. (2015). Not at home: Examining the uncanny. In T. Prescott (Ed.), Neil Gaiman in the 21st century: Essays on the novels, children’s stories, online writings, comics and other works (pp. 152–163). McFarland & Company, Inc.
- Kristeva, J. (1982). Powers of horror: An essay on abjection (L. S. Roudiez, Trans.; Vol. 98). University Presses of California, Columbia, and Princeton.
- Lévi-Strauss, C. (1966). The savage mind. University of Chicago Press.
- Nicholson, J. (1998). On sex and horror. In C. Bloom (Ed.), Gothic horror: A reader’s guide from Poe to King and beyond (pp. 249–277). Macmillan.
- Ordu, F. (2024). Representations of the grotesque in William Golding’s Lord of the Flies, Iain Banks’ The Wasp Factory, and Neil Gaiman’s The Ocean at the End of the Lane [Doctoral dissertation, Ankara University Graduate School of Social Sciences]. Council of Higher Education Thesis Center. https://tez.yok.gov.tr/UlusalTezMerkezi/tezSorguSonucYeni.jsp
- Phillips, B. (2004). Character in contemporary fiction. The Hudson Review, 56(4), 629-642.
- Rogers, M. (2012). Contextualizing theories and practices of bricolage research. The Qualitative Report, 17(48), 1–17. https://doi.org/10.46743/2160-3715/2012.1704
- Seval, A. (2008). A thing one knows not how to name: The female grotesque in early modern English drama [Doctoral dissertation, Boğaziçi University]. Council of Higher Education Thesis Center. https://tez.yok.gov.tr/UlusalTezMerkezi/tezDetay.jsp?id=THel1nsCoGm1gR3IVexNgg&no=DopDs5PoVy3GX4at1Dh7_A
- Scott, W. (1838). The miscellaneous prose works of Sir Walter Scott (Vol. 6). Baudry.
- Shklovsky, V. (1965). “Art as Technique.” In Russian Formalist Criticism: Four Essays, edited by Lee T. Lemon and Marion J. Reis, 37-58. University of Nebraska Press.
- Thomson, P. (1972). The grotesque (Vol. 24). Methuen & Co Ltd.
- Vurmay, M. A. (2019). Comic vision and comedic devices in Kingsley Amis’s Lucky Jim. Cankaya University Journal of Humanities and Social Sciences, 13(2), 172-186.
- Warner, M. (1998). No go the bogeyman: Scaring, lulling, and making mock. Farrar, Straus and Giroux.
Abstract
This study investigates the representation of the grotesque tradition in three contemporary British novels: William Golding’s Lord of the Flies (1954), Iain Banks’s The Wasp Factory (1984), and Neil Gaiman’s The Ocean at the End of the Lane (2013). The study posits that the grotesque functions as an essential tool to voice dissatisfaction with the cultural climate at the time of their writing, explicitly comparing how the sources of the grotesque have shifted across this sixty-year span. It explores how these novels dismantle classical artistic qualities, namely, aesthetic qualities depicting beauty holding flawless harmony, symmetry, statics and proportion, presenting them as binary opposites to grotesque art. A key aspect is the interrelation of grotesque terminology with the critical term bricolage, arguing that the grotesque tradition positively serves Viktor Shklovsky’s defined “purpose of art.” The analysis delves into physical grotesque representations, hybridity, ambivalence, monstrosity, inversion, carnivalesque elements (particularly excrement), the abject, the uncanny effect, and narrative shock mechanisms. By creating bricolage portraits of the modern world, these novels use grotesque imagery to depict the fragmented, alienated, uncanny, sceptical, and insecure feelings of the contemporary individual, reflecting the pervasive pessimism of the era.
Keywords
Thanks
This article is based on the doctoral dissertation titled “Representations of the Grotesque in William Golding’s Lord of the Flies, Iain Banks’ The Wasp Factory, and Neil Gaiman’s The Ocean at the End of the Lane,” completed under the supervision of Prof. Dr. Zeynep Zeren Atayurt Fenge in the Department of English Language and Literature, Institute of Social Sciences, Ankara University.
References
- Bakhtin, M. M. (1981). The dialogic imagination: Four essays (M. Holquist, Ed.; C. Emerson & M. Holquist, Trans.). University of Texas Press.
- Bakhtin, M. M. (1984). Rabelais and his world (H. Iswolsky, Trans.). Indiana University Press.
- Banks, I. (2013). The wasp factory. Abacus.
- Barasch, F. K. (2018). The grotesque: A study in meanings. De Gruyter Mouton.
- Barthes, R. (2002). S/Z (R. Miller, Trans.). Blackwell. (Original work published 1970).
- Cixous, H., & Cohen, K. (1974). The character of “character.” New Literary History, 5(2), 383-402. https://doi.org/10.2307/468401
- Crawford, P. (2002). Politics and history in William Golding: The world turned upside down. University of Missouri Press.
- Crawford, P. (2008). Literature of atrocity: Lord of the Flies and The Inheritors. In H. Bloom (Ed.), William Golding’s Lord of the Flies (pp. 103-133). Bloom’s Literary Criticism.
- Derrida, J. (1978). Writing and difference (A. Bass, Trans.). University of Chicago Press. (Original work published 1967).
- Duggan, R. (2013). The grotesque in contemporary British fiction. Manchester University Press.
- Edwards, J. D., & Graulund, R. (2013). Grotesque (The New Critical Idiom). Routledge.
- Freud, S. (1976). The uncanny (J. Strachey, Trans.). In The Standard Edition of the Complete Psychological Works of Sigmund Freud (Vol. 17, pp. 217–256). Hogarth Press. (Original work published 1919).
- Gaiman, N. (2013). The ocean at the end of the lane. William Morrow.
- Golding, W. (1996). Lord of the flies (Educational ed.). Faber and Faber.
- Harpham, G. G. (2006). On the grotesque: Strategies of contradiction in art and literature. Davies Group Publishers.
- Jennings, L. B. (1963). The ludicrous demon: Aspects of the grotesque in German post-romantic prose (Vol. 71). University of California Press.
- Kayser, W. (1981). The grotesque in art and literature (U. Weisstein, Trans.). Indiana University Press.
- Kim, Y. (2015). Not at home: Examining the uncanny. In T. Prescott (Ed.), Neil Gaiman in the 21st century: Essays on the novels, children’s stories, online writings, comics and other works (pp. 152–163). McFarland & Company, Inc.
- Kristeva, J. (1982). Powers of horror: An essay on abjection (L. S. Roudiez, Trans.; Vol. 98). University Presses of California, Columbia, and Princeton.
- Lévi-Strauss, C. (1966). The savage mind. University of Chicago Press.
- Nicholson, J. (1998). On sex and horror. In C. Bloom (Ed.), Gothic horror: A reader’s guide from Poe to King and beyond (pp. 249–277). Macmillan.
- Ordu, F. (2024). Representations of the grotesque in William Golding’s Lord of the Flies, Iain Banks’ The Wasp Factory, and Neil Gaiman’s The Ocean at the End of the Lane [Doctoral dissertation, Ankara University Graduate School of Social Sciences]. Council of Higher Education Thesis Center. https://tez.yok.gov.tr/UlusalTezMerkezi/tezSorguSonucYeni.jsp
- Phillips, B. (2004). Character in contemporary fiction. The Hudson Review, 56(4), 629-642.
- Rogers, M. (2012). Contextualizing theories and practices of bricolage research. The Qualitative Report, 17(48), 1–17. https://doi.org/10.46743/2160-3715/2012.1704
- Seval, A. (2008). A thing one knows not how to name: The female grotesque in early modern English drama [Doctoral dissertation, Boğaziçi University]. Council of Higher Education Thesis Center. https://tez.yok.gov.tr/UlusalTezMerkezi/tezDetay.jsp?id=THel1nsCoGm1gR3IVexNgg&no=DopDs5PoVy3GX4at1Dh7_A
- Scott, W. (1838). The miscellaneous prose works of Sir Walter Scott (Vol. 6). Baudry.
- Shklovsky, V. (1965). “Art as Technique.” In Russian Formalist Criticism: Four Essays, edited by Lee T. Lemon and Marion J. Reis, 37-58. University of Nebraska Press.
- Thomson, P. (1972). The grotesque (Vol. 24). Methuen & Co Ltd.
- Vurmay, M. A. (2019). Comic vision and comedic devices in Kingsley Amis’s Lucky Jim. Cankaya University Journal of Humanities and Social Sciences, 13(2), 172-186.
- Warner, M. (1998). No go the bogeyman: Scaring, lulling, and making mock. Farrar, Straus and Giroux.
Details
| Primary Language | English |
|---|---|
| Subjects | British and Irish Language, Literature and Culture |
| Journal Section | Research Article |
| Authors | |
| Submission Date | September 22, 2025 |
| Acceptance Date | February 9, 2026 |
| Publication Date | February 9, 2026 |
| DOI | https://doi.org/10.47777/cankujhss.1789284 |
| IZ | https://izlik.org/JA52XC23BB |
| Published in Issue | Year 2026 Volume: 20 Issue: 1 |
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Çankaya University Journal of Humanities and Social Sciences (CUJHSS, e-ISSN 3062-0112) is a peer reviewed, open access, online-only academic journal published by Çankaya University. The journal promotes interdisciplinary scholarship across the humanities and social sciences, aiming to foster innovative perspectives and enhance international scholarly visibility and engagement through its continuous publication model, which ensures the timely and efficient management of editorial and publication processes.
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