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Caryl Churchill'ın 'Owners' Adlı Eserinde Geleneksel ve Modern Cinsiyet Normlarının Dönüşümcü Bir Cinsiyet Perspektifiyle İncelenmesi

Yıl 2023, Cilt: 9 Sayı: 1, 59 - 77, 01.05.2024

Öz

Caryl Churchill'ın "Owners" adlı oyunu, 1972'de Royal Court Tiyatrosu'nun Theatre Upstairs sahnesinde ilk kez sahnelendiğinde sahne dramalarına ilk adımını atan son derece başarılı bir eserdir. Oyun, Londralıların sosyal yaşamlarını hicveden bir keşif olarak hizmet eder ve farklı sosyal geçmişleri temsil eden iki çifti içerir. Marion ve Clegg gayrimenkul sahipleridir, Lisa ve Alec ise Marion ve Clegg'in eylemlerine bağımlı olan yoksul kiracıları canlandırırlar. Birinci ve ikinci dalga feminizmin geçiş döneminde yazılan oyun, geleneksel ve modern bakış açılarından çeşitli kadın karakterlerini tanıtır. Marion, merkezi karakter olarak aşırı feminizmi temsil eder, geleneksel kadın normlarından ayrılır ve maskülen bir tavır benimser. Buna karşılık, Lisa adlı diğer bir kadın karakter, kocasına ve çocuklarına bakma gibi geleneksel bir ev hanımı rolünü benimser ve bu da onu Marion'ın entrikalarının kurbanı yapar. Oyun, geleneksel erkek cinsiyet normlarını ihlal eden üç erkek karakteri de tanıtır. Bu makale, farklı feminizm dalgaları aracılığıyla cinsiyet normlarının nasıl evrildiğini incelemektedir ve Caryl Churchill'ı tanıtan bir girişle başlamaktadır. Ardından odak, Marion'ın aşırı kadın maskülenliğine kayar ve ardından üç erkek karakterin geleneksel erkek normlarına göre benzersiz erkek kimliklerini incelemeye devam eder ve bir sonuç bölümüne yol açar.

Kaynakça

  • Aston, E. (1997). Caryl Churchill, Northcote House, London.
  • Billington, M. (2020, June 28). Forgotten plays: No 5 – Owners (1972) by Caryl Churchill. The Guardian. https://www.theguardian.com/stage/2020/ jun/29/forgotten-plays-no-5-owners-1972-by-caryl-churchill
  • Bjornsdottir, R. T., & Rule, N. O. (2020). Emotion and Gender Typicality Cue Sexual Orientation Differently in Women and Men. Archives of Sexual Behavior, 49(7), 2547–2560. https://doi.org/10.1007/s10508-020-01700-3
  • Churchill, C. (2013). Churchill Plays: 1: Owners; Traps; Vinegar Tom; Light Shining in Buckinghamshire; Cloud Nine. A&C Black.
  • Erkan, Ü., & Ayça, B. (2018). TRANSGRESSING GENDER ROLES IN CARYL CHURCHILL’S PLAY OWNERS. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 32, 59–68.
  • Firat, S. (2005). CARYL CHURCHILL AND GENDER ROLES: OWNERS, CLOUD NINE, AND TOP GIRLS. THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY. https://etd.lib.metu.edu.tr/upload/12606786/index.pdf
  • Hall J. (1989) Interviewed with Caryl Chrurchill, in “Close Up” The Guardian, 12 Dec. 1972. File on Churchill, (Comp. L. Fitzsimmons), Methuin Drama Book, London.
  • Khozaei, Z., & Aston, E. (2009). Gender Politics and Deconstruction of Patriarchy in Caryl Churchill’s Selected Plays. Semanticscholar. https:// www.ukm.my/solls09/Proceeding/PDF/zahra.pdf
  • Nuechterlein, J. (n.d.). The Feminist Church? National Affairs. https:// www.nationalaffairs.com/public_interest/detail/the-feminist-church
  • Roberts, P. (2008). About Churchill: The Playwright and the Work, Faber and Faber, London.
  • Saeed, T., & Öztürk, E. (2021). A Woman of a New Era: A Feminist Reading of Caryl Churchill’s Owners. Eurasian Journal of English Language and Literature, 3(1), 280-292.
  • The United Methodist Church. (2019, August 16). History of Hymns: “Onward, Christian Soldiers.” Discipleship Ministries.

Exploring Traditional and Modern Gender Norms in Caryl Churchill's Owners through a Transformative Gender Perspective

Yıl 2023, Cilt: 9 Sayı: 1, 59 - 77, 01.05.2024

Öz

Caryl Churchill's Owners is a highly successful play, marking her debut in stage drama when it premiered at the Theatre Upstairs of the Royal Court in 1972. The play serves as a satirical exploration of Londoners' social lives, featuring two couples representing diverse social backgrounds. Marion and Clegg are property owners, while Lisa and Alec portray impoverished tenants dependent on Marion and Clegg's actions. Written during the transition between the first and second wave of feminism, the play introduces various female characters from traditional and modern perspectives. Marion, the central character, embodies extreme feminism, breaking away from traditional female norms and adopting a masculine demeanour. In contrast, Lisa, another female character, adheres to the traditional role of a domestic housewife, caring for her husband and children, making her and her newborn baby victims of Marion's schemes. The play also introduces three male characters who defy traditional male gender norms. This article delves into how gender norms have evolved through different waves of feminism, starting with an introduction to the playwright, Caryl Churchill. The focus then shifts to Marion's extreme female masculinity before exploring the unique male identities of the three male characters compared to traditional masculine standards, leading to a concluding section.

Kaynakça

  • Aston, E. (1997). Caryl Churchill, Northcote House, London.
  • Billington, M. (2020, June 28). Forgotten plays: No 5 – Owners (1972) by Caryl Churchill. The Guardian. https://www.theguardian.com/stage/2020/ jun/29/forgotten-plays-no-5-owners-1972-by-caryl-churchill
  • Bjornsdottir, R. T., & Rule, N. O. (2020). Emotion and Gender Typicality Cue Sexual Orientation Differently in Women and Men. Archives of Sexual Behavior, 49(7), 2547–2560. https://doi.org/10.1007/s10508-020-01700-3
  • Churchill, C. (2013). Churchill Plays: 1: Owners; Traps; Vinegar Tom; Light Shining in Buckinghamshire; Cloud Nine. A&C Black.
  • Erkan, Ü., & Ayça, B. (2018). TRANSGRESSING GENDER ROLES IN CARYL CHURCHILL’S PLAY OWNERS. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 32, 59–68.
  • Firat, S. (2005). CARYL CHURCHILL AND GENDER ROLES: OWNERS, CLOUD NINE, AND TOP GIRLS. THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY. https://etd.lib.metu.edu.tr/upload/12606786/index.pdf
  • Hall J. (1989) Interviewed with Caryl Chrurchill, in “Close Up” The Guardian, 12 Dec. 1972. File on Churchill, (Comp. L. Fitzsimmons), Methuin Drama Book, London.
  • Khozaei, Z., & Aston, E. (2009). Gender Politics and Deconstruction of Patriarchy in Caryl Churchill’s Selected Plays. Semanticscholar. https:// www.ukm.my/solls09/Proceeding/PDF/zahra.pdf
  • Nuechterlein, J. (n.d.). The Feminist Church? National Affairs. https:// www.nationalaffairs.com/public_interest/detail/the-feminist-church
  • Roberts, P. (2008). About Churchill: The Playwright and the Work, Faber and Faber, London.
  • Saeed, T., & Öztürk, E. (2021). A Woman of a New Era: A Feminist Reading of Caryl Churchill’s Owners. Eurasian Journal of English Language and Literature, 3(1), 280-292.
  • The United Methodist Church. (2019, August 16). History of Hymns: “Onward, Christian Soldiers.” Discipleship Ministries.
Toplam 12 adet kaynakça vardır.

Ayrıntılar

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

Kanan Aghasıyev 0009-0001-3969-1879

Yayımlanma Tarihi 1 Mayıs 2024
Gönderilme Tarihi 4 Ocak 2024
Kabul Tarihi 16 Şubat 2024
Yayımlandığı Sayı Yıl 2023 Cilt: 9 Sayı: 1

Kaynak Göster

APA Aghasıyev, K. (2024). Exploring Traditional and Modern Gender Norms in Caryl Churchill’s Owners through a Transformative Gender Perspective. International Journal of Media Culture and Literature, 9(1), 59-77.

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