Harold Pinter’ın Oda Oyununda İç / Dış Düalizmi ve Hakikat

Öz

Çalışmamın amacı, Harold Pinter’ın Oda oyununda, Lacanın topolojik figürü torusun yörüngesindeki iç ve dış kavramlarını incelemektir. Oyunda, Rose’un psikolojik olarak hissettiği yoksunluğunu, mutfak musluğu tiyatrosunun sah-ne donatıları, karakterlerin sürekli tekrar eden hareketleri, ayrıca kendi yoksun-luklarını gizleyen logos merkezci konuşmaları, davetsiz misafirlerin Rose ve Bert’i rahatsız etmeleriyle sorunsallaşır. Oyunda, metinlerarasılık ve efsaneye dayalı düşünce çerçevesinde, Rose’un asıl kimliği ortaya çıkar ve iç/dış arasın-daki sınırlar birden belirsizleşir. Torusun yörüngesi, siyahi kör Riley’nin Ro-se’a olan mesajında saklı hakikatle, Rose’un odanın merkezine inşa ettiği kim-liğini alt üst eder. Riley’nin odanın içinde Rose’a verdiği mesaj ile dışarıdan gelen hakikat, Bert ile odada yıkıcı bir enerji oluşturur. Çalışmam aynı zaman-da, madun ve hegemonya kavramlarına değinerek odanın korunaklı mikro-kozmik yapısının dışarıdaki kaotik güçlerle nasıl yıkılabileceğini gösterir. Ro-se’un ve davetsiz misafirlerin dile getirdiği metaforik öldürücü soğuk aslında; hakikatin, Rose’un odasının merkezinde açtığı, bir kara delik olan kör talihin aynadaki yansımasıdır. Oda oyununda iç dış ayırımı, karakterler için ontolojik ve epistemolojik açıdan sorunsallaşarak, yaşam tarzlarını varlıklarını etkilemektedir.

Anahtar Kelimeler

• Harold Pinter
• Oda
• iç/dış
• torus
• hakikat

The Dualism of inside and outside and the Truth in Harold Pinter’s The Room

Öz

My study aims to explore the cross binaries of inside and outside considering the trajectory of the Lacanian topological figure, torus, in Harold Pinter’s The Room. The intrusion of uninvited visitors problematizes Rose’s logocentric speech that hides her lack behind continuous movements around stage props of kitchen sink drama repeating itself all the time in the play. The intertextu-ality in the play reveals the truth about Rose’s originary identity within myth-opoeic thought, blurring the boundaries between inside and outside. The tra-jectory of torus elucidates energy that situates outside to the centre of the subject and the room, examined in Badiou’s notion of truth, hidden in black, blind Riley’s message to Rose. The study also draws on the notions of subal-tern and the hegemony to broaden the framework of analysis, concluding that the murderous cold of the outside is right at the centre of Rose’s room like a black hole that reflects the blind fortune supported by the chaotic forces in the play. In the play, the duality of inside and outside has been problematized epistemologically and ontologically for the character, so this situation affects the lives and ontic status of the characters.

Anahtar Kelimeler

• Harold Pinter
• The Room
• inside/outside
• torus
• truth

Kaynakça

1. Badiou, A. (2018). Lacan: Antiphilosophy 3. trans. Kenneth Rein hart and Susan Spitzer. Columbia. Baker, W. (2008). Harold Pinter. Bloomsbury Publishing Plc.
2. Barthes, R. (1975). Pleasure of the text. (R. Miller. Trans.) Jonathan Cape Thirty Bedford Square.
3. Barthes, R., (2009). Yazının sıfır derecesi: Yeni eleştirel Denemeler (T. Yücel. Çev.) Yapı Kredi.
4. Berggren, P., (1995) World masterpieces. Expanded edition. Norton.
5. Bertens, H., (2001). Literary theory: The basics. Routledge. (e-book).
6. Bressler, C., F. (2017). Yazınsal eleştiri. kuramsal ve pratik bir giriş. (D. Evci Çev.) Birleşik.
7. Boyles, S., Annie Tonsiengsom, Red Door Films, & Oregon Public Broadcasting (Producers), & Poulshock, D. (Director). Topology’s Twists and Turns. [Video/DVD] Annenberg Learner. (2008).
8. Retrieved from https://video.alexanderstreet.com/watch/topology-s-twists-and-turns.Bush, J. (2019). (Director) Harold Pinter. Prod. Julian Birkett, and British Broadcasting Corporation. BBC Worldwide.

9. Cevizci, A., (2020). Felsefe tarihi Thales’ten Baudrillard’a. Say.
10. Coppa, F., (2009). The sacred joke: Comedy and politics in Pin ter’s early plays. The Cambridge Companion to Harold Pinter second edition. (P. Raby. Ed.) Homerton College.
11. D’Errico, J,. (2020). The emergence of the real in modernist and postmodernist art: Torus versus rhizome. Boston College Electronic Thesis or Dissertation. http://hdl.handle.net/2345/bcir:108967. Dürüşken, Ç., (2013). Antikçağ felsefesi. Alfa.
12. Epikharmos, (2018) Fragmanlar (C. Çakmak. Çev.) Alfa.
13. Evans, D., (2006). An introductory dictionary of Lacanian psychoanalysis. Routledge.
14. Freud, S., (1987). The origin and development of psycho-Analysis: First and second lectures. The American Journal of Psychology, Autumn-Winter. Vol. 100, No. 3/4, Special Centennial Isue, 472- 488.
15. Gallagher, D., & Columbia broadcasting system (Producers), & Hav inga, N. (Director) (1965).
16. Harold Pinter’s The Room and A Slight Ache Excerpts. [Video/DVD] Creative Arts Television.
17. Retrieved from https://video.alexanderstreet.com/watch/harold-pinter-s-the-room-and-a-slightache-excerpts.Gramsci, A., (1994). Cambridge texts in the history of political thought. Antonio
18. Gramsci Pre-Prison Writings. Cambridge UP, 1994.
19. Hamilton, E., (1989). Mythology: Timeless tales of gods and heroes. Meridian.
20. Hevesi, M. A., (2011). Remembering the present: Ersatz Possible Worlds as alternative realities in Harold Pinter’s ‘Theatre of Absence’ Hungarian Journal of English and American Studies (HJEAS) 17 (1), 59-70. Centre for Arts, Humanities and Sciences (CAHS), acting on behalf of the University of Debrecen CAHS.
21. Hewitson, O., (January 9, 2015). From the bridges of Königsberg – why topology matters in psychoanalysis. LacanOnline.com.
22. Homer, S., (2005). Jacques Lacan: Routledge Critical Thinkers. Routledge and Francis Group, e-book. Innes, C., (1992). Modern British drama. 1890-1990. Cambridge.
23. İşçi, G. S., (2001). Yeni eleştiriden yeni tarihselci eleştiriye Macbeth. Ege Üniversitesi. Krasner, D., (2016). A history of modern drama. Volume II 1960-2000. Wiley Blackwell. Kolocotroni, & Taxidou, O. (2018). The Edinburgh dictionary of modernism (V. Kolocotroni and O. Taxidou. Eds.)
24. “Kuantum.” (2018). In TDK Türkçe sözlük. Atatürk, Kültür, Dil ve Tarih Yüksek Kurumu. Lacan, J., (1986). The seminar of Jacques Lacan Book VII: The ethics of psychoanalysis. 1950-1960. (J. A. Miller, D. Porter. Trans.) Norton.
25. Lefebvre, H., (1991). The production of space. (D. Nichol Son. Trans.) Blackwell.
26. Lewis, M., (2008). Derrida & Lacan another writing. Edinburgh.
27. Nasio, J. (2004). Objet a and the cross-cap. (D.Pat. Trans.) tigrew and François Raffoul. Lacan: Topologically Speaking. Ed. Ellie Ragland and Dargan Milovanovic. Other.
28. Nietzsche, F., (1873). On truth and lies in a non-moral sense. www.abika.com.
29. O’Sullivan, S., (2010). Lacan’s ethics and Foucault’s “Care of the self”: Two diagrams of the production of subjectivity parrhesia Number 10, 51-73.
30. Owens, C. (2010)., Mirrored stages: Monologues, split subjects, andthe truth of the absurd. The Journal of the Midwest Modern Language Association, 43 (1), 57-67 Midwest Modern Language Association.
31. Pinter, H., (1991). Plays: One: The room. Faber and Faber.
32. Pinter, H., (1991). Introduction plays one. Faber and Faber.
33. Pinter, H., (2006). Art truth & Politics: Excerpts from 2005
34. Nobel Lecture: World Literature Today, May - Jun., 80 (3) Board of Regents of the University of Oklahoma https://www.jstor.org/stable/40159078.
35. Russ, J., (2012). Önsöz felsefe tarihi. Cilt 2. Modern dünyanın yaratılması (İ. Yergüz.Çev.) İletişim, 2012.
36. Spinoza, B. D., (2017). The ethics. Gece Kitaplığı.
37. Taylor-Batty, M., (2014). The theatre of Harold Pinter. Methuen Drama EBSCO Publishing: eBook. “Torus”. (2011). Blum, V., Secor A., Environment and planning society and space, 29, 1030-1047 doi:10.1068/d11910.
38. Uchman, J., (2017). Pinteresque dialogue. De Gruyter OPEN. Text Matters, 7 (7), 386-401 DOI: 10.1515/texmat-2017-0021.
39. Urban, W. & Blum, V., (2015) Lacan and meaning. e-book.
40. Wegner, P. E., (2002) Spatial criticism: Critical geography, space, place and textuality. introducing criticism at the 21st century.
41. Yüksel, A., (2011) Dram sanatında ezgi ve uyum. Tiyatro/Kültür Dizisi Mitos Boyut. TEM Yapım.