George Bernard Shaw’un Evlenmek oyununda minör edebiyat ve oryantal bakış açısı

Öz

Deleuze ve Guattari’nin ‘minör edebiyat’ kavramlarının üç temel özelliği vardır: yersizyurtsuzlaşmış bir dil kullanımı, özünde politik olan bir içeriğe sahip olma ve mevcut olmayan geleceğe ait bir halkı yaratmayı amaçlayan kolektif ve devrimci bir söyleme yer verme. Shaw’un 1908 de yazılan Getting Married (Evlenmek) oyunu bu üç karakteristiğe de sahiptir. Birinci olarak, oyunda İngilizcenin yazım kurallarına eleştirel yaklaşılır ve diyaloglarda iki kelimeyi birleştirmeye yarayan apostrof kullanılmaz. İkinci olarak, Kilise evliliğine ve o tarihlerde yürürlükte ola medeni evliliğe karşı “geleceğin isteği” anlamında politik bir duruşla bir atak başlatır. Son olarak oyun beklenmedik bir sonuçla biter ve geleceğe ait henüz mevcut olmayan bir halka davet söylemi olarak Hristiyanlığa karşı reform edilmiş bir İslam’ın savunuculuğunu yapar. Bu son söylemiyle oyun, benim “minoryantal” olarak isimlendirdiğim ve oyunun uzunca olan önsözünde de baskın olarak hissedilen ancak batılı eleştirmenler ve yorumcular tarafından göz ardı edilen bakış açısını daha da pekiştirir. Bu çalışmada, Getting Married oyunu minör edebiyat çerçevesinde ve daha sınırlayıcı bir anlamda Batının Doğu ile karşılaşmalarında müspet, beklenen, ortak yaşamsal, gelişimsel ve bilinç ötesi kaçış hatlarının varlığını temel alan içken bir yaklaşım olarak tanımlayabileceğim “minoryantal” bir perspektifte analiz edilmektedir.

Anahtar Kelimeler

• Minör edebiyat
• evlilik
• oryantalizm
• Hristiyanlık
• reform edilmiş İslam

Minor literature and oriental outlook in George Bernard Shaw's Getting Married

Abstract

Deleuze and Guattari’s concept of ‘minor literature’ has three basic characteristics: the use of a deterritorialised language, having an inherently political content and the call for the creation of a people to come with a collective and revolutionary enunciation. Shaw’s play Getting Married written in 1908 has all three characteristics. Firstly, it is critical of the writing rules of English language and does away with the apostrophe in its dialogues. Secondly, it launches an attack on both the marriage system of Christianity and the current civil marriage act in Shaw’s time in Britain from a political stance as the “will of the world”. Finally, the play ends with a conclusion shocking for both other characters and the reader. It turns out to be a defence of a reformed Islam against Christianity in its call for the creation of a people to come. In this final enunciation, the play reinforces its minoriental outlook already prevalent in its long preface but undermined by most critics and reviewers. In this study, I will analyse the play within the framework of minor literature with a "minoriental” outlook which can be defined as an immanent approach to encounters between the West and the East based on the presence of any positive, prospective, symbiotic, evolutionary and unconscious lines of flight.

Keywords

• Minor literature
• marriage
• orientalism
• Christianity
• reformed Islam

Kaynakça

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