Roman Türünün Sonu Kuramları

Öz

Diğer edebi türlerle karşılaştırıldığında roman, örneğin İngiliz Edebiyatı’nda, on sekizinci yüzyılın son dönemlerinde Burjuva sınıfıyla ortaya çıkan en son türdür. İngiltere’de aynı zaman diliminde Defoe, Richardson ve Fielding’in yapıtları romanı özellikle orta sınıf okuyucular arasında yaygınlaştırmıştır. Klasik türlerin, esas olarak da destan türünün aksine, roman sıradan insanı ele almıştır. Sıradan insanın günlük yaşantısını betimlemiştir. On dokuzuncu yüzyıl boyunca roman gelişip tam anlamıyla oturmuş bir tür haline gelmiştir. Bu dönem, İngiliz Edebiyatı’nda bu türün en iyi örneklerinin verildiği dönemdir. Yirminci yüzyılda, özellikle de İkinci Dünya Savaşı sonrasında, roman bir tür son algısı tartışmalarının konusu haline gelmiştir. Bu türün geleceğinin olmadığı açıkça ifade edilmiştir. Romanın kısa süre içinde yok olmuş bir tür olacağı öne sürülmüştür. Bütün bu olumsuz beklentiler romanın geleceğini doğru bir biçimde tahmin edememiş olsa da, neden pek çok yazar ve kuramcının bu tartışmalara katıldığını tam olarak anlamak önemlidir.

Anahtar Kelimeler

• Roman,yükseliş,düşüş,zaman,kuram

Theories of the End of the Novel

Öz

Compared to the other literary genres, the novel is the most recent form that emerged, for example, in English Literature with the rise of the bourgeoisie in the late eighteenth century. It was the work of Defoe, Richardson and Fielding in England in the same period of time that popularised the novel especially among the middle class readers. In contrast to the classical genres, particularly the epic, the novel was about common man. It depicted the everyday life of ordinary individuals. During the nineteenth century, the novel developed and became a fully established genre. It was the era of the most refined examples of the genre in English Literature. In the twentieth century, especially after the end of the Second World War, the novel became the subject of the discussions about a sense of an ending. It was openly argued that the genre would not have a future. It was claimed that the novel would soon be a deceased genre. Although all those pessimistic prognostications have failed to predict the future of the novel truly, it is essential to comprehend why a number of writers and literary theorists participated in the discussions.

Anahtar Kelimeler

• Novel,rise,fall,time,theory.

Kaynakça

1. Adorno, Theodor W. (1981). “Cultural Criticism and Society”. Prisms. Samuel Weber (trans.). Massachusetts: MIT P.
2. Aravamudan, Srinivas (2011). “Refusing the Death of the Novel”. NOVEL: A Forum on Fiction. XLIV (1): 20-22.
3. Ayala, Francisco (1974). “Ortega y Gasset, Literary Critic”. Critical Inquiry I (2): 395-414.
4. Barth, John (1984). The Friday Book. Baltimore: The Johns Hopkins UP.
5. Benjamin, Walter (1999). Selected Writings Volume 2, Part 1 1927-1930. ed. Michael W. Jennings, Howard Eiland and Gary Smith. trans. Rodney Livingstone. Cambridge: The Belknap P of Harvard UP.
6. Bergonzi, Bernard (1958). “Morals and the Novel”. Blackfriars. XXXIX (462): 354-367.
7. Bergonzi, Bernard (1979). The Situation of the Novel. London: The Macmillan P.
8. Bradbury, Malcolm (1994). The Modern British Novel. London: Penguin.

9. Federman, Raymond (1977). “Death of the Novel or Another Alternative”. Revue Française d’ etudes Américaines. III: 111-115.
10. Fiedler, Leslie A. (1981). “The Death and the Rebirths of the Novel”. Salmagundi. L/LI: 143-152.
11. Kennard, Jean E. (1970). “John Barth: Imitations of Imitations”. Mosaic: An Interdisciplinary Critical Journal. III (2): 116-131.
12. Livingstone, Leon (1952). “Ortega y Gasset’s Philosophy of Art”. PMLA. LXVII (5): 609-654.
13. Lodge, David (1970). “Realism, Allegory and Symbolism: Some Speculation about the Novel”. New Blackfriars. LI (603): 361-373.
14. Looney, Lora L. (2004). “Art, Culture and Nation: Pérez de Ayala's and Ortega y Gasset's Early Theories of theNovel”. Hispanic Journal. XXV (1/2): 47-56.
15. Okuroğlu Özün, Şule (2012). “Self-Reflexive Metafictional Games in The Life and Opinions of Tristram Shandy”. Çankaya University Journal of Humanities and Social Sciences. IX (1): 75-88.
16. Ortega y Gasset, Jose-Rugg, Evelyn et al. (1957). “The Nature of the Novel”. The Hudson Review. X (1): 11-42.
17. Paetzoldt, Heinz-Westphal, Sue (1977). “Walter Benjamin’s Theory of the End of Art”. International Journal of Sociology. VII (1): 25-75.
18. Reilly, Charlie (2000). “An Interview with John Barth”. Contemporary Literature. XLI (4): 589-617.
19. Robbe-Grillet, Alain (1965). For a New Novel: Essays on Fiction. trans. Richard Howard. New York: Grove P.
20. Shroder, Maurice Z. (1963). “The Novel as a Genre”. The Massachusetts Review. IV (2): 291-308.
21. Trilling, Lionel (1950). The Liberal Imagination: Essays on Literature and Society. New York: The Viking P.
22. Watt, Ian (1957). The Rise of the Novel: Studies in Defoe, Richardson and Fielding. Berkeley: U of California P.
23. Wellek, René (1979). “The Literary Criticism of Lionel Trilling”. New England Review (1978-1982). II (1): 26-49. SEFAD