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Joanna Baillie’s De Monfort: A Crisis of Class Identity

Yıl 2024, Sayı: 29, 206 - 217, 21.03.2024
https://doi.org/10.30767/diledeara.1409456

Öz

The late eighteenth and the early nineteenth centuries in Britain are characterised by socio-cultural and political turmoil and transformations specifically due to the impacts of the revolutions, the growth of the middle class and thus the changing class hierarchies. Within this chaotic socio-political atmosphere, the Gothic becomes a very dominant and popular genre projecting these transitions of this period. Joanna Baillie who is influenced by the Gothic craze of the age like many writers is regarded as one of the most significant playwrights of the period. In one of her well-known Gothic plays, De Monfort (1798), Baillie portrays the anxiety and fear of the loss of power and status by the aristocracy. Thus, she creates a Gothic atmosphere surrounded by claustrophobic and paranoid anxiety of De Monfort. De Monfort, who is also affected by fear and paranoia dominating the period as a result of the political sanctions, cannot adjust himself to the changing social structure. Considering the changing class hierarchies, particularly De Monfort’s attachment to his family name becomes the core of the play in terms of his fear of obliteration. In the context of the socio-cultural and political dynamics of the Romantic period, this study aims to argue how Baillie illustrates the shifting class dynamics and the anxieties of the period with reference to her Gothic play, De Monfort.

Kaynakça

  • Armitt, Lucie. (2011). Twentieth-Century Gothic. Cardiff: U. of Wales P.
  • Backscheider, P. R. (1993). Spectacular Politics: Theatrical Power and Mass Culture in Early Modern England. London: The Johns Hopkins UP.
  • Baillie, Joanna. (1821a) Introductory Discourse. A Series of Plays. 1st edition. London: Longman. 1-71.
  • ---. (2000b). De Monfort. Five Romantic Plays, 1768-1821. Ed. Paul Baines ve Edward Burns. Oxford: Oxford UP. 108-184.
  • Baines, Paul and Edward Burns, eds. (2000). Five Romantic Plays, 1768–1821. Oxford: Oxford UP.
  • Bennet, Susan. (1999). Genre Trouble: Joanna Baillie, Elizabeth Polack – Tragic Subjects, Melodramatic Subjects. Women and Playwriting in Nineteenth-Century Britain. New York: Cambridge UP. 215-32.
  • Botting, Fred. (1996). Gothic. London: Routledge.
  • Burrough, Catherine B. (1995a) ‘Out of the Pale of Social Kindred Cast’: Conflicted Performance Styles in Joanna Baillie's De Monfort. Romantic Women Writers: Voices and Countervoices. Eds. Paula R. Feldman and Theresa M. Kelley. Hanover: UP of New England. 223-35.
  • ---. (1997b). Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers. Philadelphia: U of Pennsylvania P.
  • Clery, E.J. (2000). Women’s Gothic from Clara Reeve to Mary Shelley. Devon: Northcote House.
  • Colón, Christine A. (2009). Joanna Baillie and the Art of Moral Influence. Oxford: Peter Lang.
  • Cox, Jeffrey N. (1992a). Seven Gothic Dramas: 1789–1825. Athens, OH: Ohio UP.
  • ---. (2000b). English Gothic Theatre. The Cambridge Companion to Gothic Fiction. Ed. Jerrold H. Hogle. Cambridge: Cambridge UP. 125-144.
  • Crochunis, Thomas C. (2001). Writing Gothic Theatrical Spaces. Gothic Studies, 3(2), 156-169.
  • Curran, Stuart. (1988). The I Altered. Romanticism and Feminism. Ed. Anne K. Mellor. Bloomington and Indianapolis: Indiana University Press. 185-207.
  • Elliott, Nathan. (2007). ‘Unball’d Sockets’ and ‘The Mockery of Speech’: Diagnostic Anxiety and the Theater of Joanna Baillie. European Romantic Review, 18(1), 83-103.
  • Freud, Sigmund. (2003). The Uncanny. Trans. David McLintock. London: Penguin Books.
  • Gilbert, Deirdre. (2003). Joanna Baillie, Passionate Anatomist: From Masquerade to Myth in Her Early Drama. Ph.D. dissertation, University of Denver.
  • Haggerty, George E. (2013) Psychodrama: Hypertheatricality and Sexual Excess on the Gothic Stage. Sex and Death in Eighteenth-Century Literature. 1st edition. Ed. Jolene Zigarovich. New York: Routledge.
  • Hoeveler, Diana Long. (2000a) Gothic Drama as Nationalistic Catharsis. The Wordsworth Circle, 31, 169-172.
  • ---. (2001b). Joanna Baillie and the Gothic Body Reading Extremities in Orra and De Monfort. Gothic Studies, 3, 117-133.
  • Levy, Maurice. (1994). ‘Gothic’ and the Critical Idiom. Gothick Origins and Innovations. Eds. Allan Lloyd Smith and Victor Sage. Amsterdam: Rodopi. 1-15.
  • Miles, Robert. (2000). Gothic Writing: 1750-1820: A Genealogy. Manchester. Manchester UP.
  • Punter, David. (1996). The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day: The Gothic Tradition. Vol. 1. London: Longman.
  • Rigby, Mair. (2009). Uncanny Recognition: Queer Theory’s Debt to the Gothic. Gothic Studies, 11(1), 46-57.
  • Schaff, Barbara. (2017). Joanna Baillie, Plays on the Passions. Handbook of British Romanticism. Ed. Ralf Haekel. Berlin: de Gruyter. 326-343.
  • Sedgwick, Eve Kosofsky. (1985). Between Men: English Literature and Male Homosocial Desire. New York: Columbia UP.
  • Wagner, Corinna. (2014). Introduction. Gothic Evolutions: Poetry, Tales, Context, Theory. Ontorio: Broadview P.
  • Watkins, Daniel P. (1993). A Materialist Critique of English Romantic Drama. Gainesville, Fla.: University Press of Florida.
  • Worrall, David. (2000). The Political Culture of Gothic Drama. A New Companion to the Gothic. Ed. David Punter. Oxford: Blackwell. 148-160.
  • Wozniak, Heather Anne. (2008). Brilliant Gloom: The Contradictions of British Gothic Drama, 1768-1823. PhD. U of California.

Joanna Baillie’nin De Monfort Adlı Eserinde Sınıfsal Kimlik Bunalımı

Yıl 2024, Sayı: 29, 206 - 217, 21.03.2024
https://doi.org/10.30767/diledeara.1409456

Öz

Özellikle devrimlerin etkisi, orta sınıfın büyümesi ve böylece değişen sınıfsal hiyerarşiler dolayısıyla Britanya’da 18. yüzyıl sonu ve 19. yüzyıl başı, sosyo-kültürel ve politik karmaşa ve dönüşümlerin olduğu bir dönem olarak nitelendirilir. Bu kaotik sosyo-politik ortamda Gotik, dönemin bu değişimleri yansıtan baskın ve popüler bir tür olarak karşımıza çıkar. Birçok yazar gibi dönemin Gotik furyasından etkilenen Joanna Baillie bu dönemin en önemli oyun yazarlarından biri olarak kabul edilir. En bilinen Gotik oyunlarından biri olan De Monfort (1798) adlı eserinde Baillie, aristokrasinin güç ve statü kaybetme kaygısını ve korkusunu işler. Böylece yazar, De Monfort karakterinin klostrofobik ve paranoyak kaygılarıyla çevrili Gotik bir atmosfer yaratır. Politik uygulamalar sonucu döneme hâkim olan korku ve paranoyanın da izlerini taşıyan De Monfort değişen yapıya ayak uyduramaz. Dönemin değişen sınıfsal hiyerarşileri göz önüne alındığında, özellikle De Monfort’un aile soyadına olan bağlılığı, yok olma korkusu açısından oyunun ana noktasını oluşturur. Romantik dönemin sosyo-kültürel ve politik yapısı bağlamında, bu çalışmanın amacı, Baillie’nin De Monfort adlı Gotik eserinde dönemin değişen sınıfsal dinamiklerini ve kaygılarını nasıl yansıttığını tartışmaktır.

Kaynakça

  • Armitt, Lucie. (2011). Twentieth-Century Gothic. Cardiff: U. of Wales P.
  • Backscheider, P. R. (1993). Spectacular Politics: Theatrical Power and Mass Culture in Early Modern England. London: The Johns Hopkins UP.
  • Baillie, Joanna. (1821a) Introductory Discourse. A Series of Plays. 1st edition. London: Longman. 1-71.
  • ---. (2000b). De Monfort. Five Romantic Plays, 1768-1821. Ed. Paul Baines ve Edward Burns. Oxford: Oxford UP. 108-184.
  • Baines, Paul and Edward Burns, eds. (2000). Five Romantic Plays, 1768–1821. Oxford: Oxford UP.
  • Bennet, Susan. (1999). Genre Trouble: Joanna Baillie, Elizabeth Polack – Tragic Subjects, Melodramatic Subjects. Women and Playwriting in Nineteenth-Century Britain. New York: Cambridge UP. 215-32.
  • Botting, Fred. (1996). Gothic. London: Routledge.
  • Burrough, Catherine B. (1995a) ‘Out of the Pale of Social Kindred Cast’: Conflicted Performance Styles in Joanna Baillie's De Monfort. Romantic Women Writers: Voices and Countervoices. Eds. Paula R. Feldman and Theresa M. Kelley. Hanover: UP of New England. 223-35.
  • ---. (1997b). Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers. Philadelphia: U of Pennsylvania P.
  • Clery, E.J. (2000). Women’s Gothic from Clara Reeve to Mary Shelley. Devon: Northcote House.
  • Colón, Christine A. (2009). Joanna Baillie and the Art of Moral Influence. Oxford: Peter Lang.
  • Cox, Jeffrey N. (1992a). Seven Gothic Dramas: 1789–1825. Athens, OH: Ohio UP.
  • ---. (2000b). English Gothic Theatre. The Cambridge Companion to Gothic Fiction. Ed. Jerrold H. Hogle. Cambridge: Cambridge UP. 125-144.
  • Crochunis, Thomas C. (2001). Writing Gothic Theatrical Spaces. Gothic Studies, 3(2), 156-169.
  • Curran, Stuart. (1988). The I Altered. Romanticism and Feminism. Ed. Anne K. Mellor. Bloomington and Indianapolis: Indiana University Press. 185-207.
  • Elliott, Nathan. (2007). ‘Unball’d Sockets’ and ‘The Mockery of Speech’: Diagnostic Anxiety and the Theater of Joanna Baillie. European Romantic Review, 18(1), 83-103.
  • Freud, Sigmund. (2003). The Uncanny. Trans. David McLintock. London: Penguin Books.
  • Gilbert, Deirdre. (2003). Joanna Baillie, Passionate Anatomist: From Masquerade to Myth in Her Early Drama. Ph.D. dissertation, University of Denver.
  • Haggerty, George E. (2013) Psychodrama: Hypertheatricality and Sexual Excess on the Gothic Stage. Sex and Death in Eighteenth-Century Literature. 1st edition. Ed. Jolene Zigarovich. New York: Routledge.
  • Hoeveler, Diana Long. (2000a) Gothic Drama as Nationalistic Catharsis. The Wordsworth Circle, 31, 169-172.
  • ---. (2001b). Joanna Baillie and the Gothic Body Reading Extremities in Orra and De Monfort. Gothic Studies, 3, 117-133.
  • Levy, Maurice. (1994). ‘Gothic’ and the Critical Idiom. Gothick Origins and Innovations. Eds. Allan Lloyd Smith and Victor Sage. Amsterdam: Rodopi. 1-15.
  • Miles, Robert. (2000). Gothic Writing: 1750-1820: A Genealogy. Manchester. Manchester UP.
  • Punter, David. (1996). The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day: The Gothic Tradition. Vol. 1. London: Longman.
  • Rigby, Mair. (2009). Uncanny Recognition: Queer Theory’s Debt to the Gothic. Gothic Studies, 11(1), 46-57.
  • Schaff, Barbara. (2017). Joanna Baillie, Plays on the Passions. Handbook of British Romanticism. Ed. Ralf Haekel. Berlin: de Gruyter. 326-343.
  • Sedgwick, Eve Kosofsky. (1985). Between Men: English Literature and Male Homosocial Desire. New York: Columbia UP.
  • Wagner, Corinna. (2014). Introduction. Gothic Evolutions: Poetry, Tales, Context, Theory. Ontorio: Broadview P.
  • Watkins, Daniel P. (1993). A Materialist Critique of English Romantic Drama. Gainesville, Fla.: University Press of Florida.
  • Worrall, David. (2000). The Political Culture of Gothic Drama. A New Companion to the Gothic. Ed. David Punter. Oxford: Blackwell. 148-160.
  • Wozniak, Heather Anne. (2008). Brilliant Gloom: The Contradictions of British Gothic Drama, 1768-1823. PhD. U of California.
Toplam 31 adet kaynakça vardır.

Ayrıntılar

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

Tuğba Şimşek 0000-0002-9532-3165

Yayımlanma Tarihi 21 Mart 2024
Gönderilme Tarihi 25 Aralık 2023
Kabul Tarihi 9 Şubat 2024
Yayımlandığı Sayı Yıl 2024 Sayı: 29

Kaynak Göster

APA Şimşek, T. (2024). Joanna Baillie’s De Monfort: A Crisis of Class Identity. Dil Ve Edebiyat Araştırmaları(29), 206-217. https://doi.org/10.30767/diledeara.1409456

Dil ve Edebiyat Araştırmaları Dergisi Creative Commons Atıf-GayrıTicari-Türetilemez 4.0 Uluslararası Lisansı (CC BY-NC-ND 4.0) ile lisanslanmıştır.