Öz
It has always been women that become the primary
victims of oppression as they have been defined in terms of their relations
with men, who have been regarded as the breadwinners, heads of the household
and decision-makers. Imposed to believe that they have to feed men’s egos by
being passive, innocent, soft, graceful, nurturing and accepting, women have
internalized the ideology of self-denial and they find it improper to demand
things for themselves. Undoubtedly that all of these particular experiences of
women that stem from the phallocentric patriarchal structure and its dominant ideologies
put women into the ‘double-bind’ situations, where women are judged against a
masculine standard. As long as women are assessed by that standard, they are
obliged to lose, whether they claim difference or similarity. In this respect,
Virginia Woof and Erendiz Atasü, carrying the double burden of being both a
‘woman’ and a’ woman writer’ in a patriarchal society, are trapped in these
double-bind situations and lose their body-mind unity as they are divided
between their roles as a woman and aspirations as an artist. Considering these
facts, this study, basing its argument on the theories of post-structuralist
feminism, aims to present how Woolf and Atasü de(con)struct and demystify the
patriarchally imposed gender roles, and achieve a spiritual balance and union,
‘wholeness’, through combining the masculine mind and feminine body.
Anahtar Kelimeler
Body-mind unity de(con)struction phallocentric discourse androgyny feminine writing
Kaynakça
- Atasü, E. (2009). Bilinçle Beden Arasındaki Uzaklık. İstanbul: Everest. Atasü, E. (2013). A Midlife Dream. England: Milet. Atasü, E. (2014). YAZMAK… ve yaşadığımız yüzyıl…. Günseli Sönmez İşçi (Ed.), Erendiz Atasü Edebiyatı (pp. 32-35). İstanbul: Can. Atasü, E. (n.d.). The Author’s Ideas About Women Fiction. Retrieved from http://www.erendizatasu.com/index.php?id=8 Beauvoir, S. (1989). The Second Sex. H. M. Parshley (Trans.). New York: Vintage Books. Cixous, H. & Clement, C. (1986). The Newly Born Woman. B. Wing (Trans.) Manchester: Manchester University. Foucault, M. (1977). Discipline and Punish: The Birth of the Prison. Alan Sheridan (Trans.) New York: Vintage Books. Frank, F. W. & Treichler, P. A. (1989). Language, Gender, and Professional Writing: Theoretical Approaches and Guidelines for Nonsexist Usage. New York: MLA. Frye, M. (1983). Oppression, in The Politics of Reality. California: The Crossing. Gilbert, S. M. and Gubar, S. (1984). The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. London: Yale University. Kristeva, J. (1984). Revolution in Poetic Language. NY: University of Columbia. Lanser, S. S. & Beck, E.T. (1979). The Prism of Sex: Essays in the Sociology of Knowledge. Madison: University of Wisconsin. Matlok-Ziemann, E. (2005). Tomboys, Belles, and Other Ladies: The Female Body-Subject in Selected Works by Katherine Anne Porter and Carson Mc Cullers (Unpublished Doctoral thesis), Uppsala University, Stockholm. Pollock, G. (1988). Vision and Difference: Femininity, Feminism and the Histories of Art. London: Methuen. Rich, A. (2004). (2004). The Moment of Change. USA: Praeger Publishers. Sheldon, A. (1990). Kings Are Royaler Than Queens: Language and Socialization. Young Children, 45 (2), 3-11. Showalter, E. (1979). Toward a Feminist Poetics, Women’s Writing and Writing about Women. London: Groom Helm. Showalter, E. (1981). Feminist Criticism in the Wilderness. Critical Inquiry, 8 (2), 179-205. Stewart, G. (1981). A New Mythos: The Novel of the Artist as Heroine 1877-1977. Montreal: Eden. Tappa, L. (1988). A Protestant Perspective. V. Fabella and M. A. Oduyone (Eds.), With Passion and Compassion: Third World Women Doing Theology (pp. 30-35). NY: Orbis, Maryknoll. Walker, B. B. (1997). Prefiguring the Psychoanalytic Subject. Lily’s Last Stroke: Painting in Process in Virginia Woolf’s To the Lighthouse. Diana F. Gillespie and Leslie K. Hankins (Eds.), Virginia Woolf and The Arts (pp. 32-38). New York: Pace University. Williams, L. (2000). The Artist as Outsider in the Novels of Toni Morrison and Virginia Woolf. Connecticut: Greenwood. Woolf, V. (1929). A Room of One’s Own. New York: Harcourt. Retrieved from http://gutenberg.org Woolf, V. (1979). Women and Fiction. Michele Barrett (Ed.), Women and Writing (pp. 48 – 91) New York: Harcourt. Woolf, V. (1990). To the Lighthouse. USA: HB Classics. Woolf, V. (2000). The Waves. Hertfordshire: Wordsworth.
Öz
Her daim aile reisi, evin direği ve karar
mercileri olarak kabul edilen erkeklerle olan ilişkileri açısından tanımlanan
kadınlar, zulmün ve baskının birincil mağdurları olmuşlardır. Erkek egosunu
beslemek zorunda olduklarına inandırıldıkları için, ‘pasif, talep etmeyen ve
razı olan’ ikincil statüyü benimsemişler ve zamanla özlerini inkâr ederek
talepsizliklerini içselleştirmişlerdir. Hiç şüphesiz ki, fallosentrik ataerkil
yapı ve onun egemen ideolojilerinden kaynaklanan bu durumlar, kadınları eril
yaptırım ve buyruklarına göre oluşturulan ‘ataerkil çıkmazlar’ la karşı karşıya
bırakmaktadır. Kadınlar bu eril ideolojilerce değerlendirildikleri ve tanımlandıkları
sürece, ister farklılık ister benzerlik talep etsinler, kaybetmeye
mahkûmdurlar. Bu bağlamda, yaşadıkları ataerkil toplumlarda ‘kadın’ ve ‘kadın
yazar’ olmanın maddi ve manevi zorluklarını deneyimlemek zorunda kalan iki
yazar, Virginia Woof ve Erendiz Atasü, bu ataerkil çıkmazlarda sıkışıp
kalmışlar; yaratıcı yazarlıkları, erkek egemen ve cinsiyetçi kadın rolleri
tarafından sınırlandırıldığı için beden ve bilinç bütünlüklerini
kaybetmişlerdir. Bu gerçekler göz önünde bulundurularak, bu çalışma, Virginia
Woolf ve Erendiz Atasü’nün erkek-egemen ideolojilerce oluşturulmuş ataerkil
çıkmazları nasıl yeniden yapılandırdıkları ve bu süreçte
‘eril zihin-dişil bedeni’ kapsayan ‘bütünlüğe’ nasıl eriştiklerini incelemeyi
amaçlamaktadır.
Anahtar Kelimeler
Beden-bilinç bütünlüğü yapısöküm fallosentrik söylem androjenlik dişil yazın
Kaynakça
- Atasü, E. (2009). Bilinçle Beden Arasındaki Uzaklık. İstanbul: Everest. Atasü, E. (2013). A Midlife Dream. England: Milet. Atasü, E. (2014). YAZMAK… ve yaşadığımız yüzyıl…. Günseli Sönmez İşçi (Ed.), Erendiz Atasü Edebiyatı (pp. 32-35). İstanbul: Can. Atasü, E. (n.d.). The Author’s Ideas About Women Fiction. Retrieved from http://www.erendizatasu.com/index.php?id=8 Beauvoir, S. (1989). The Second Sex. H. M. Parshley (Trans.). New York: Vintage Books. Cixous, H. & Clement, C. (1986). The Newly Born Woman. B. Wing (Trans.) Manchester: Manchester University. Foucault, M. (1977). Discipline and Punish: The Birth of the Prison. Alan Sheridan (Trans.) New York: Vintage Books. Frank, F. W. & Treichler, P. A. (1989). Language, Gender, and Professional Writing: Theoretical Approaches and Guidelines for Nonsexist Usage. New York: MLA. Frye, M. (1983). Oppression, in The Politics of Reality. California: The Crossing. Gilbert, S. M. and Gubar, S. (1984). The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination. London: Yale University. Kristeva, J. (1984). Revolution in Poetic Language. NY: University of Columbia. Lanser, S. S. & Beck, E.T. (1979). The Prism of Sex: Essays in the Sociology of Knowledge. Madison: University of Wisconsin. Matlok-Ziemann, E. (2005). Tomboys, Belles, and Other Ladies: The Female Body-Subject in Selected Works by Katherine Anne Porter and Carson Mc Cullers (Unpublished Doctoral thesis), Uppsala University, Stockholm. Pollock, G. (1988). Vision and Difference: Femininity, Feminism and the Histories of Art. London: Methuen. Rich, A. (2004). (2004). The Moment of Change. USA: Praeger Publishers. Sheldon, A. (1990). Kings Are Royaler Than Queens: Language and Socialization. Young Children, 45 (2), 3-11. Showalter, E. (1979). Toward a Feminist Poetics, Women’s Writing and Writing about Women. London: Groom Helm. Showalter, E. (1981). Feminist Criticism in the Wilderness. Critical Inquiry, 8 (2), 179-205. Stewart, G. (1981). A New Mythos: The Novel of the Artist as Heroine 1877-1977. Montreal: Eden. Tappa, L. (1988). A Protestant Perspective. V. Fabella and M. A. Oduyone (Eds.), With Passion and Compassion: Third World Women Doing Theology (pp. 30-35). NY: Orbis, Maryknoll. Walker, B. B. (1997). Prefiguring the Psychoanalytic Subject. Lily’s Last Stroke: Painting in Process in Virginia Woolf’s To the Lighthouse. Diana F. Gillespie and Leslie K. Hankins (Eds.), Virginia Woolf and The Arts (pp. 32-38). New York: Pace University. Williams, L. (2000). The Artist as Outsider in the Novels of Toni Morrison and Virginia Woolf. Connecticut: Greenwood. Woolf, V. (1929). A Room of One’s Own. New York: Harcourt. Retrieved from http://gutenberg.org Woolf, V. (1979). Women and Fiction. Michele Barrett (Ed.), Women and Writing (pp. 48 – 91) New York: Harcourt. Woolf, V. (1990). To the Lighthouse. USA: HB Classics. Woolf, V. (2000). The Waves. Hertfordshire: Wordsworth.
Ayrıntılar
| Birincil Dil | İngilizce |
|---|---|
| Bölüm | Türk dili, kültürü ve edebiyatı |
| Yazarlar | |
| Yayımlanma Tarihi | 21 Ekim 2018 |
| Yayımlandığı Sayı | Yıl 2018 Sayı: 12 |
- Makale Dosyaları