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THE ART AND MUSICAL ELEMENTS IN ANGELA CARTER’S BLOODY CHAMBER

Yıl 2022, Cilt: 8 Sayı: 2, 77 - 90, 01.03.2024

Öz

Angela Carter (1979) tarafından yazılan Kanlı Oda, Fransız hikaye anlatıcısı Charles Perrault (1697) tarafından yazılan bir peri masalı olan Mavi Sakal'ın postmodern feminist versiyonudur. Carter'ın feminist revizyonu, kadın kahramanın kurtarıcı kardeşlerini kurtarıcı bir anneyle değiştirerek geleneksel toplumsal cinsiyet dinamikleri anlayışına yeni bir boyut getiriyor. Onun tekniği, mitolojiden arındırma işi, toplumsal cinsiyet rollerini ve kadınların kurban, erkeklerin de kurtarıcı olduğu arketipini kültürel olarak inşa eden geleneksel masalların ve halk masallarının işlevini çarpıtıyor. Öte yandan Kanlı Oda, olay örgüsüne katkıda bulunacak estetik bir atmosfer yaratan çeşitli sanat ve müzik unsurlarını içerir. Böylece, Carter, geleneksel peri masalları anlatımını altüst etmekle kalmıyor, aynı zamanda sanat ve müzikal unsurların sembolik içerikleri aracılığıyla estetik bir okuma duygusu için çeşitli metaforlar ve semboller sunuyor. Bu makale, sanat ve müzik unsurları arasındaki bağlantının, Marki'nin yozlaştırmak ve sadomazoşist çıkarlarını gerçekleştirmek istediği kahramanın masumiyetini nasıl yansıttığını incelemeyi amaçlamaktadır. Bu makale ayrıca, hikayeye daha derin bir anlam ve paralel bir katman oluşturan müzik ve sanat unsurlarının metaforik ve sembolik içeriği aracılığıyla, sanat ve müzik unsurlarının Carter'ın geleneksel anlatıyı altüst etmesini nasıl yansıttığını da ortaya koyacaktır.

Kaynakça

  • Botstein, L. (2000). Memory and Nostalgia as Music-Historical Categories. The Musical Quarterly, 84(4), 531–536. http://www.jstor.org/stable/742594
  • Carter, A. (2006). The Bloody Chamber: and Other Stories. London: Vintage.
  • Carter, A. (1983) Notes From the Front Line. in On Gender and Writing. ed. Michelene Wandor. London: Pandora Press. 69-77.
  • Day, A. (1998) Angela Carter: The Rational Glass. Manchester, UK: Manchester UP.
  • Day, A. (2012). Angela Carter’s Fairy Orientalism: “Overture and Incidental Music for A Midsummer Night’s Dream.” Marvels & Tales, 26(1), 11–29. http://www.jstor.org/stable/41702488
  • Duncker, P. (1984). Re-Imagining the Fairy Tale: Angela Carter’s Bloody Chambers. Literature and History.
  • Dworkin, A. (1974). Woman Hating. New York: Dutton/New American Library, p. 48. Frontgia, T. (1991). Archetypes, Stercotypes, and The Female Hero: Transformations in Contemporary Perpectives. Mythlore, 18(1 (67)), 15–18. http://www.jstor.org/stable/26812483
  • Haffenden, J. (1985). Angela Carter. Novelists in Interview. London: Methuen, 76-96.
  • Manley, K. E. B. (1998). The Woman in Process in Angela Carter’s The Bloody Chamber. Marvels & Tales, 12(1), 71–81. http://www.jstor.org/ stable/41388482
  • Renfroe, C. (2001). Initiation and Disobedience: Liminal Experience in Angela Carter’s The Bloody Chamber. Angela Carter and the Fairy Tale. Ed. Danielle M. Roemer and Cristina Bacchilega. Detroit: Wayne State UP. 94-1.
  • Rochère, M. H. D., & Heidmann, U. (2009). New Wine in Old Bottles: Angela Carter’s Translation of Charles Perrault’s “La Barbe bleue. Marvels & Tales, 23(1), 40–58. http://www.jstor.org/stable/41388900
  • Roemer, D. M. (1998). The Contextualization of the Marquis in Angela Carter’s “The Bloody Chamber.” Marvels & Tales, 12(1), 95–115. http:// www.jstor.org/stable/41388484
  • Sage, L. (1998). Angela Carter: The Fairy Tale. Marvels & Tales, 12(1), 52–69. http://www.jstor.org/stable/41388481
  • Sheets, R. A. (1991). Pornography, Fairy Tales, and Feminism: Angela Carter’s “The Bloody Chamber.” Journal of the History of Sexuality, 1(4), 633–657. http://www.jstor.org/stable/3704419

THE ART AND MUSICAL ELEMENTS IN ANGELA CARTER'S BLOODY CHAMBER

Yıl 2022, Cilt: 8 Sayı: 2, 77 - 90, 01.03.2024

Öz

The Bloody Chamber, by Angela Carter (1979) is a postmodern feminist version of Bluebeard, a fairy tale written by French storyteller Charles Perrault (1697). Carter’s feminist revision brings a new dimension to the traditional understanding of gender dynamics as she replaces the savior brothers of the heroine with the savior mother. Her technique, demythologizing business twists the function of traditional fairy tales and folk tales that culturally construct the societal gender roles and the archetype of women as victims and men as saviors. On the other hand, The Bloody Chamber involves various art and musical elements that create an aesthetic atmosphere to contribute to the aspects of the plot. Thus, Carter not only subverts the traditional narrative of fairy tales but also provides various metaphors and symbols for a sense of aesthetic reading through the symbolic contents of art and musical elements. This article aims to examine how the connection between art and musical elements reflects the heroine's innocence that the Marquis desires to corrupt and perform his sadomasochistic interests. This article will also reveal how the art and musical elements reflect Carter's subversion of traditional narrative through the metaphorical and symbolic content of the musical and art elements that create a deeper meaning and a parallel layer to the storyline.

Kaynakça

  • Botstein, L. (2000). Memory and Nostalgia as Music-Historical Categories. The Musical Quarterly, 84(4), 531–536. http://www.jstor.org/stable/742594
  • Carter, A. (2006). The Bloody Chamber: and Other Stories. London: Vintage.
  • Carter, A. (1983) Notes From the Front Line. in On Gender and Writing. ed. Michelene Wandor. London: Pandora Press. 69-77.
  • Day, A. (1998) Angela Carter: The Rational Glass. Manchester, UK: Manchester UP.
  • Day, A. (2012). Angela Carter’s Fairy Orientalism: “Overture and Incidental Music for A Midsummer Night’s Dream.” Marvels & Tales, 26(1), 11–29. http://www.jstor.org/stable/41702488
  • Duncker, P. (1984). Re-Imagining the Fairy Tale: Angela Carter’s Bloody Chambers. Literature and History.
  • Dworkin, A. (1974). Woman Hating. New York: Dutton/New American Library, p. 48. Frontgia, T. (1991). Archetypes, Stercotypes, and The Female Hero: Transformations in Contemporary Perpectives. Mythlore, 18(1 (67)), 15–18. http://www.jstor.org/stable/26812483
  • Haffenden, J. (1985). Angela Carter. Novelists in Interview. London: Methuen, 76-96.
  • Manley, K. E. B. (1998). The Woman in Process in Angela Carter’s The Bloody Chamber. Marvels & Tales, 12(1), 71–81. http://www.jstor.org/ stable/41388482
  • Renfroe, C. (2001). Initiation and Disobedience: Liminal Experience in Angela Carter’s The Bloody Chamber. Angela Carter and the Fairy Tale. Ed. Danielle M. Roemer and Cristina Bacchilega. Detroit: Wayne State UP. 94-1.
  • Rochère, M. H. D., & Heidmann, U. (2009). New Wine in Old Bottles: Angela Carter’s Translation of Charles Perrault’s “La Barbe bleue. Marvels & Tales, 23(1), 40–58. http://www.jstor.org/stable/41388900
  • Roemer, D. M. (1998). The Contextualization of the Marquis in Angela Carter’s “The Bloody Chamber.” Marvels & Tales, 12(1), 95–115. http:// www.jstor.org/stable/41388484
  • Sage, L. (1998). Angela Carter: The Fairy Tale. Marvels & Tales, 12(1), 52–69. http://www.jstor.org/stable/41388481
  • Sheets, R. A. (1991). Pornography, Fairy Tales, and Feminism: Angela Carter’s “The Bloody Chamber.” Journal of the History of Sexuality, 1(4), 633–657. http://www.jstor.org/stable/3704419
Toplam 14 adet kaynakça vardır.

Ayrıntılar

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

Atakan Sumer 0009-0005-4357-5749

Sanaz Alizadeh Tabrizi 0000-0001-6085-8541

Yayımlanma Tarihi 1 Mart 2024
Gönderilme Tarihi 18 Kasım 2023
Kabul Tarihi 17 Ocak 2024
Yayımlandığı Sayı Yıl 2022 Cilt: 8 Sayı: 2

Kaynak Göster

APA Sumer, A., & Alizadeh Tabrizi, S. (2024). THE ART AND MUSICAL ELEMENTS IN ANGELA CARTER’S BLOODY CHAMBER. International Journal of Media Culture and Literature, 8(2), 77-90.

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