EN
TR
“HER SPEECH IS NOTHING”: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE
Öz
Music and drama are known to have a close relationship since the birth of Greek tragedy. This study suggests that Ophelia uses songs and singing as an alternative language in communicating her emotions. In IV.v, which is also referred to as Ophelia’s mad scene, she comments upon her personal experiences concerning her relationship with Hamlet and the death of her father Polonius through singing. This paper aims at displaying the reason why Ophelia requires a different mode of communication other than verbal language. After discussing the submissive and silent role that is attributed to Ophelia in Hamlet, the fragments of songs she sings in IV.v are analysed through a close reading of the text. While investigating what these songs indicate in this particular context, musical conventions of Shakespeare’s time are also discussed.
Anahtar Kelimeler
Kaynakça
- Davis, A. (2006). “Shakespeare’s Clowns”, Shakespeare and Elizabethan Popular Culture, (Ed: S. Gillespie and N. Rhodes), London: Bloomsbury, pp. 67-91.
- Duffin, R. W. (2004). Shakespeare’s Songbook. New York, W. W. Norton & Company, Inc.
- Dunn, L. C. (1994). Ophelia’s Songs in Hamlet: Music, Madness, and the Femnine., Embodied Voices: Representing Female Vocality in Western Culture, (Ed: L. C. Dunn and N. A. Jones), Cambridge: Cambridge University Press, pp. 50-64.
- Field, A. & Scoble G. (2001). The Meaning of Herbs: Myth, Language & Lore. San Francisco: Chronicle Books.
- Foucault, M. (2005). Madness and Civilization (Trans: R. Howard). London and New York: Routledge Classics.
- Grindon, L. H. (2005). The Shakespeare Flora: A Guide to All the Principal Passages in Which Mention is Made of Trees, Plants, Flowers, and Vegetable Productions; with Comments and Botanical Particulars. Manchester: Adamant Media Corporation.
- Kristeva, J. (1989). Language The Unknown: An Initiation into Linguistics (Trans: A. M. Menke). New York: Columbia University Press.
- Lindley, D. (2006). Shakespeare and Music. London: Arden Shakespeare.
Ayrıntılar
Birincil Dil
İngilizce
Konular
Edebi Teori
Bölüm
Araştırma Makalesi
Yazarlar
Yayımlanma Tarihi
14 Nisan 2020
Gönderilme Tarihi
3 Şubat 2020
Kabul Tarihi
20 Şubat 2020
Yayımlandığı Sayı
Yıl 2020 Sayı: 39
APA
Bilge, F. Z. (2020). “HER SPEECH IS NOTHING”: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, 39, 105-116. https://doi.org/10.30794/pausbed.684026
AMA
1.Bilge FZ. “HER SPEECH IS NOTHING”: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE. PAUSBED. 2020;(39):105-116. doi:10.30794/pausbed.684026
Chicago
Bilge, Fatma Zeynep. 2020. “‘HER SPEECH IS NOTHING’: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, sy 39: 105-16. https://doi.org/10.30794/pausbed.684026.
EndNote
Bilge FZ (01 Nisan 2020) “HER SPEECH IS NOTHING”: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 39 105–116.
IEEE
[1]F. Z. Bilge, “‘HER SPEECH IS NOTHING’: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE”, PAUSBED, sy 39, ss. 105–116, Nis. 2020, doi: 10.30794/pausbed.684026.
ISNAD
Bilge, Fatma Zeynep. “‘HER SPEECH IS NOTHING’: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi. 39 (01 Nisan 2020): 105-116. https://doi.org/10.30794/pausbed.684026.
JAMA
1.Bilge FZ. “HER SPEECH IS NOTHING”: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE. PAUSBED. 2020;:105–116.
MLA
Bilge, Fatma Zeynep. “‘HER SPEECH IS NOTHING’: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, sy 39, Nisan 2020, ss. 105-16, doi:10.30794/pausbed.684026.
Vancouver
1.Fatma Zeynep Bilge. “HER SPEECH IS NOTHING”: THE COMMUNICATIVE FUNCTION OF SONGS IN OPHELIA’S MAD SCENE. PAUSBED. 01 Nisan 2020;(39):105-16. doi:10.30794/pausbed.684026