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HENRIK IBSEN’İN MODERNİZMİ

Yıl 2009, Cilt: 49 Sayı: 1, 119 - 143, 01.01.2009

Öz

Bu çalışma modern tiyatronun öncüsü olan Norveçli yazar Henrik Ibsen’in sanatındaki modernist öğeleri ele alır. Yalnızca modern değil, modernist tiyatronun da ilk ürünlerini vermiş olan Ibsen’in düzyazı oyunları, özellikle Oyuncak Bebek Evi ve Hedda Gabler, eleştirmenlerce modernist tiyatronun başlıca öğeleri olarak belirlenen metatiyatrosallık ve “modernlik” “modernity” ’e ilişkin toplumsal ve bireysel sorunsalları işleyen izlekler çerçevesinde irdelenir. Yazıda, iki dünya savaşı arasında olgunlaşan modernizmin birincil biçimsel ve izleksel öğeleri olan öznellik, içsellik ve bilinçaltının Ibsen’in modernizminin odağına oturtulması gerektiği öne sürülerek, Freud karşıtı feminist eleştiri açısından irdelenmiş olan Oyuncak B,ebek Evi ve Hedda Gabler’in, varoluşçu felsefe ve dekadan estetik açılarından da yorumlanması gerektiği savlanır.

Kaynakça

  • BAUDELAIRE, Charles. (1984). Les Fleurs du Mal. Der. Raymond Decesse. Paris: Bordas.
  • BAUDELAIRE, Charles. (2001). Paris Sıkıntısı. (Çev. Erdoğan Alkan, der. Egemen Berköz). Cumhuriyet Dünya Klasikleri.
  • BENTLEY, Eric. (2003). “What Ibsen Has Meant”. Southwest Review 88. (ASP, 00384712)
  • BRADBURY, Malcolm ve James McFarlane. Der. (1976). Modernism: A Guide to European Literature, 1890-1930. Londra: Penguin.
  • BRADSHAW, David ve Kevin J. H. Dettmar. Der. (2006). A Companion to Modern Literature and Culture. Malden, MA: Blackwell.
  • BRENNAN, Teresa. (1992). Interpretation of the Flesh: Freud’s Theory of Femininity. Florence, KY: Routledge.
  • DECESSE, Raymond. (1984). “Vie de Baudelaire (1821-1867)”. Baudelaire, Les Fleurs du Mal, 3-15.
  • DOSTOYEVSKY, Fyodor. (1982). The Brothers Karamazov. (Çev. David Magarshack). Harmondsworth: Penguin.
  • EDWARDS, Herbert. (1952). “Henry James and Henrik Ibsen”. American Literature 24:208-223.
  • FINNEY, Gail. (1989).Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century. Ithaca: Cornell University Press.
  • FINNEY, Gail. (1994). “Ibsen and Feminism”. McFarlane 89-105.
  • FLETCHER, John ve James McFarlane. (1976). “Modernist Drama: Origins and Patterns”. Bradbury 499-513.
  • FREUD, Sigmund. (1986). Three Essays on the Theory of Sexuality, The Standard Edition of the Complete Psychological Works of Sigmund Freud. (Çev. ve der. James Strachey). Londra: Hogarth. Cilt 7.
  • GARTON, Janet. (1994). “The Middle Plays”. McFarlane 106-125.
  • GERLAND, Oliver. (1998). A Freudian Poetics for Ibsen’s Theatre: Repetition, Recollection and Paradox. New York: Edwin Mellen.
  • GOGRÖF-VOORHES, Andrea. (1999). Defining Modernism: Baudelaire and Nietzsche on Romanticism, Modernity, Decadence, and Wagner. New York: Peter Lang.
  • HODGSON, TERRY. (1992). “Ibsen: Naturalism, Fate and Freedom”. Modern Drama from Ibsen to Fugard. Londra: B. T. Batsford, 13-25.
  • IBSEN, Henrik. (1972). Speeches and New Letters. (Çev. Arne Kildal). New York: Haskel House.
  • IBSEN, Henrik. (2000). Nutidsdramaer: 1877-1899. Oslo: Gyldendal. 3 ciltlik Samlede Verker (Toplu Yapıtları)’in 3. cildi.
  • KOPP, Robert. (2001). “Giriş”. Baudelaire, Paris Sıkıntısı, 9-19.
  • LYONS, Charles R. (1994). “Ibsen’s Realism and the Predicates of Postmodernism”. Contemporary Approaches to Ibsen. Der. Björn Hemmer ve Vigdis Ystad. Oslo: Scandinavian University Press. Cilt 8, 185-204.
  • MCFARLANE, James. Der. (1994). The Cambridge Companion to Ibsen. Cambridge: Cambridge University Press.
  • MEISEL, Perry. (2006). “Psychology”. Bradshaw 79-91.
  • MILLER, Tyrus. (2006). “Politics”. Bradshaw 29-38.
  • MITTERAUER, Michael ve Reinhard Sieder. (1982). The European Family: Patriarchy to Partnership from the Middle Ages to the Present. (Almanca’dan çev. Karla Oosterveen ve Manfred Hörzinger). Chicago: Chicago University Press.
  • MOI, Toril. (2006). Henrik Ibsen and the Birth of Modernism: Art, Theatre, Philosophy. New York: Oxford University Press.
  • NIETZSCHE, Friedrich. (1973). Beyond Good and Evil. (Çev. R. J. Hollingdale). Londra: Penguin.
  • NIETZSCHE, Fierdrich. (2002). Şen Bilim (Çev. Ahmet İnam). İstanbul: Say Yayınları.
  • NORTHAM, John. (1999). “The Wild Duck”. Henrik Ibsen: Modern Critical Views. Der. Harold Bloom. Philadelphia: Chelsea, 59-86.
  • ÖZDEMİR, Erinç. (2002). “A Jungian Reading of Ibsen’s The Lady from the Sea”. Ibsen Studies 2:34-53.
  • RABATÉ, Jean-Michel. (2006). “Philosophy”. Bradshaw 9-18.
  • REKDAL, Anne Marie. (2002). “The Female Jouissance: An Analysis of Ibsen’s Et Dukkehjem”. Scandinavian Studies 74. (ASC, 7730965)
  • RICHARDSON, Angelique. (2006). “The Biological Sciences”. Bradshaw 50-65.
  • SARTRE, Jean-Paul. (1984). Being and Nothingness: A Phenomenological Essay on Ontology. (Çev. Hazel E. Barnes). New York: Washington Square.
  • SHAW, George Bernard. (1994). The Quintessence of Ibsenism. 1904. New York: Dover.
  • SHEPHERD-Barr, Kirstin. (1997). Ibsen and Early Modernist Theatre, 1890-1900. Westport: Greenwood.
  • SHIDELER, Ross. (1999). Questioning the Father: From Darwin to Zola, Ibsen, Strindberg, and Hardy. Stanford: Stanford University Press.
  • TEMPLETON, Joan. (1989). “The Doll House Backlash: Criticism, Feminism, and Ibsen”. PMLA 104:28-40.
  • VOGEL, Ursula. (1993). “Property, Rights and the Status of Women in Germany and England”. Bourgeois Society in Nineteenth-Century Europe. Der. Jürgen Kocka ve Allen Mitchell. Oxford: Berg.
  • WOLLSTONECRAFT, Mary. (1988). A Vindication of the Rights of Woman. Der. Carol H. Poston. New York: W. W. Norton.
  • YAKUPOĞLU, Mehmet Mukadder. (1997). “Çevirenin Önsözü”. Sören Kierkegaard, Ölümcül Hastalık. İstanbul: Ayrıntı, 9-13.

Henrik Iben’s Modernism

Yıl 2009, Cilt: 49 Sayı: 1, 119 - 143, 01.01.2009

Öz

This essay deals with some of the major modernist elements in the works of Henrik Ibsen, who is considered as the father of modern drama, and also as the forerunner of modernist drama. It discusses his prose plays, especially A Doll’s House and Hedda Gabler, within a framework that takes metatheatricality and social as well as individualistic themes related to modernity as the principal elements of modernist drama. It argues that interiority, subjectivity and the unconscious/subconscious as the primary formal and thematic elements of literary modernism, which fully unfolded between the two World Wars, should be located at the core of Ibsen’s modernism as well. It claims that A Doll’s House and Hedda Gabler should be assessed not only from the viewpoint of anti-Freudian feminist criticism, but also respectively from the perspectives of existentialism and the decadent aesthetic.

Kaynakça

  • BAUDELAIRE, Charles. (1984). Les Fleurs du Mal. Der. Raymond Decesse. Paris: Bordas.
  • BAUDELAIRE, Charles. (2001). Paris Sıkıntısı. (Çev. Erdoğan Alkan, der. Egemen Berköz). Cumhuriyet Dünya Klasikleri.
  • BENTLEY, Eric. (2003). “What Ibsen Has Meant”. Southwest Review 88. (ASP, 00384712)
  • BRADBURY, Malcolm ve James McFarlane. Der. (1976). Modernism: A Guide to European Literature, 1890-1930. Londra: Penguin.
  • BRADSHAW, David ve Kevin J. H. Dettmar. Der. (2006). A Companion to Modern Literature and Culture. Malden, MA: Blackwell.
  • BRENNAN, Teresa. (1992). Interpretation of the Flesh: Freud’s Theory of Femininity. Florence, KY: Routledge.
  • DECESSE, Raymond. (1984). “Vie de Baudelaire (1821-1867)”. Baudelaire, Les Fleurs du Mal, 3-15.
  • DOSTOYEVSKY, Fyodor. (1982). The Brothers Karamazov. (Çev. David Magarshack). Harmondsworth: Penguin.
  • EDWARDS, Herbert. (1952). “Henry James and Henrik Ibsen”. American Literature 24:208-223.
  • FINNEY, Gail. (1989).Women in Modern Drama: Freud, Feminism, and European Theater at the Turn of the Century. Ithaca: Cornell University Press.
  • FINNEY, Gail. (1994). “Ibsen and Feminism”. McFarlane 89-105.
  • FLETCHER, John ve James McFarlane. (1976). “Modernist Drama: Origins and Patterns”. Bradbury 499-513.
  • FREUD, Sigmund. (1986). Three Essays on the Theory of Sexuality, The Standard Edition of the Complete Psychological Works of Sigmund Freud. (Çev. ve der. James Strachey). Londra: Hogarth. Cilt 7.
  • GARTON, Janet. (1994). “The Middle Plays”. McFarlane 106-125.
  • GERLAND, Oliver. (1998). A Freudian Poetics for Ibsen’s Theatre: Repetition, Recollection and Paradox. New York: Edwin Mellen.
  • GOGRÖF-VOORHES, Andrea. (1999). Defining Modernism: Baudelaire and Nietzsche on Romanticism, Modernity, Decadence, and Wagner. New York: Peter Lang.
  • HODGSON, TERRY. (1992). “Ibsen: Naturalism, Fate and Freedom”. Modern Drama from Ibsen to Fugard. Londra: B. T. Batsford, 13-25.
  • IBSEN, Henrik. (1972). Speeches and New Letters. (Çev. Arne Kildal). New York: Haskel House.
  • IBSEN, Henrik. (2000). Nutidsdramaer: 1877-1899. Oslo: Gyldendal. 3 ciltlik Samlede Verker (Toplu Yapıtları)’in 3. cildi.
  • KOPP, Robert. (2001). “Giriş”. Baudelaire, Paris Sıkıntısı, 9-19.
  • LYONS, Charles R. (1994). “Ibsen’s Realism and the Predicates of Postmodernism”. Contemporary Approaches to Ibsen. Der. Björn Hemmer ve Vigdis Ystad. Oslo: Scandinavian University Press. Cilt 8, 185-204.
  • MCFARLANE, James. Der. (1994). The Cambridge Companion to Ibsen. Cambridge: Cambridge University Press.
  • MEISEL, Perry. (2006). “Psychology”. Bradshaw 79-91.
  • MILLER, Tyrus. (2006). “Politics”. Bradshaw 29-38.
  • MITTERAUER, Michael ve Reinhard Sieder. (1982). The European Family: Patriarchy to Partnership from the Middle Ages to the Present. (Almanca’dan çev. Karla Oosterveen ve Manfred Hörzinger). Chicago: Chicago University Press.
  • MOI, Toril. (2006). Henrik Ibsen and the Birth of Modernism: Art, Theatre, Philosophy. New York: Oxford University Press.
  • NIETZSCHE, Friedrich. (1973). Beyond Good and Evil. (Çev. R. J. Hollingdale). Londra: Penguin.
  • NIETZSCHE, Fierdrich. (2002). Şen Bilim (Çev. Ahmet İnam). İstanbul: Say Yayınları.
  • NORTHAM, John. (1999). “The Wild Duck”. Henrik Ibsen: Modern Critical Views. Der. Harold Bloom. Philadelphia: Chelsea, 59-86.
  • ÖZDEMİR, Erinç. (2002). “A Jungian Reading of Ibsen’s The Lady from the Sea”. Ibsen Studies 2:34-53.
  • RABATÉ, Jean-Michel. (2006). “Philosophy”. Bradshaw 9-18.
  • REKDAL, Anne Marie. (2002). “The Female Jouissance: An Analysis of Ibsen’s Et Dukkehjem”. Scandinavian Studies 74. (ASC, 7730965)
  • RICHARDSON, Angelique. (2006). “The Biological Sciences”. Bradshaw 50-65.
  • SARTRE, Jean-Paul. (1984). Being and Nothingness: A Phenomenological Essay on Ontology. (Çev. Hazel E. Barnes). New York: Washington Square.
  • SHAW, George Bernard. (1994). The Quintessence of Ibsenism. 1904. New York: Dover.
  • SHEPHERD-Barr, Kirstin. (1997). Ibsen and Early Modernist Theatre, 1890-1900. Westport: Greenwood.
  • SHIDELER, Ross. (1999). Questioning the Father: From Darwin to Zola, Ibsen, Strindberg, and Hardy. Stanford: Stanford University Press.
  • TEMPLETON, Joan. (1989). “The Doll House Backlash: Criticism, Feminism, and Ibsen”. PMLA 104:28-40.
  • VOGEL, Ursula. (1993). “Property, Rights and the Status of Women in Germany and England”. Bourgeois Society in Nineteenth-Century Europe. Der. Jürgen Kocka ve Allen Mitchell. Oxford: Berg.
  • WOLLSTONECRAFT, Mary. (1988). A Vindication of the Rights of Woman. Der. Carol H. Poston. New York: W. W. Norton.
  • YAKUPOĞLU, Mehmet Mukadder. (1997). “Çevirenin Önsözü”. Sören Kierkegaard, Ölümcül Hastalık. İstanbul: Ayrıntı, 9-13.
Toplam 41 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Araştırma Makalesi
Yazarlar

Erinç Özdemir Bu kişi benim

Yayımlanma Tarihi 1 Ocak 2009
Yayımlandığı Sayı Yıl 2009 Cilt: 49 Sayı: 1

Kaynak Göster

APA Özdemir, E. (2009). HENRIK IBSEN’İN MODERNİZMİ. Ankara Üniversitesi Dil Ve Tarih-Coğrafya Fakültesi Dergisi, 49(1), 119-143.

Ankara Üniversitesi Dil ve Tarih-Coğrafya Fakültesi Dergisi

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