Araştırma Makalesi
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Jung’ın Gölge Arketipi ve Marina Carr’ın Kadın ve Korkuluk Oyunundaki İzleri

Yıl 2021, Sayı: 25, 81 - 90, 18.01.2021
https://doi.org/10.17484/yedi.756262

Öz

Dünya edebiyatına sürekli köklü yazarlar kazandıran, büyük yazarların gözünde bir tür eğitim ülkesi olarak da dikkat çeken bir ülke olan İrlanda, geçmişten günümüze kadar uzanan süreçte görkemli bir edebiyat geleneğini ve birikimini bünyesinde barındıran bir ülke konumundadır. İrlandanın dünya edebiyatına sunduğu yirminci yüzyıl çağdaş İrlanda tiyatrosunun kadın oyun yazarlarından biri olan Marina Carr İrlanda’nın son dönem yetiştirdiği önemli kadın yazarları arasında göze çarpar. Carr oyunlarının temel eylemi ülke sınırları içerisinde yaşayan ve İrlanda kültürü ile yoğrulmuş bireylerin psikolojik açmazlarını yansıtmaktır. Bu psikolojik çerçevede depresyondaki insanların içe dönük sıkıntılarını göstermeyi amaçlamış olan Carr, genellikle oyunlarında gerek mitleri tekrar yazmasıyla gerekse İrlanda toplumunun alışık olmadığı konuları ele almasıyla öne çıkan önemli bir oyun yazarı olarak belirir. Kadın ve Korkuluk oyununda diğer oyunlarından farklı olarak mitleri tekrar yazma stratejisini kullanmamış olsa da Korkuluk karakteri ile oyuna hem gotik bir hava vermeyi başarır hem de kendi yazım stiline uygun yeni karakterler yaratır. Kadın ve Korkuluk oyunu Carr’ın ölüm temasını merkeze alarak bireyin ölüm gerçeği ile karşılaştığı anda yaşamın bir anlamının olmadığını fark ederek yaşayacağı o ölüm anını ve ölüm korkusunu izleyiciye hissettirmektedir. Carr ölüm gerçeğini bir gölge karakteri üzerinden izleyiciye yansıtmayı amaçlar. Geçmişiyle ölüm döşeğinde hesaplaşmaya çalışan ve bunun acısını kendisinden çıkaran yaşlı bir kadının ölüm anı Carr tarafından oyundaki Kadın ve Korkuluk karakterleri ile ölüm gerçeğinin simgeleştirilmeye çalışılmasıdır. Bu çalışma, Carl Gustav Jung’un kişilik kuramı bağlamında ele aldığı ve bilinçaltımızdaki imgelerin oluşturduğu kişiliğin karanlık yönünü oluşturan gölge arketipini, Carr tarafından yaratılan Korkuluk karakteriyle ele almaktır.

Kaynakça

  • Burger, J. M. (1997). Personality. California: Brooks/Cole Pub. Co.
  • Campos, H. J. (2008). Marina Carr's hauntings: Liminality and the addictive society on and off the stage. (Doctoral dissertation, Brigham Young University, Provo). Retrieved from: https://scholarsarchive.byu.edu/etd/1451
  • Carr, M. (2007, Eylül 23). Playwrights in profile [Radio broadcast]. RTE Radio 1.
  • Carr, M. (2010). Woman and scarecrow. New York: Dramatists Play Service, Inc.
  • Curtin, A. (2019). Death in modern theatre: Stages of mortality. Manchester: Manchester University Press.
  • Dedebaş, E. (2013). Rewriting of tragedy and women's agency in Marina Carr's by the bog of cats…, Ariel, and woman and scarecrow. Women's Studies, 42(3), 248-270.
  • Diamond, S. (1996). Anger, madness and the daimonic: The psychological genesis of violence, evil, and creativity (Foreword by Rollo May. A volume in the SUNY series in the Philosophy of Psychology). Albany: State University of New York Press.
  • Doyle, M. (2010). Slouching towards Raftery's hill: The devolving patriarch in Marina Carr's midlands plays. Modern Drama, 53(4), 495-515. Retrieved from: https://muse.jhu.edu/article/407725
  • Haughton, M. (2013). Woman’s final confession: Too much hoovering and not enough sex. Marina Carr’s woman and scarecrow. Mortality, 18(1), 72-93.
  • Jung, C. G. (1960). Psychology and religion. Connecticut: Yale University Press.
  • Jung, C. G. (1967). The philosophical tree. In Adler G. & Hull R. (Eds.), Collected Works of C.G. Jung, Volume 13: Alchemical Studies (pp. 251-350). Princeton: Princeton University Press.
  • Jung, C. G. & Hull, R. (1997). The psychological foundations of belief in spirits. In Psychology and the Occult: (From Vols. 1, 8, 18 Collected Works) (pp. 108-125). Princeton: Princeton University Press. Retrieved from: www.jstor.org/stable/j.ctv10crg6v
  • Jung, C. G. (2014a). The archetypes and the collective unconscious. London: Routledge.
  • Jung, C. G. (2014b). Two essays on analytical psychology. London: Routledge.
  • Keppler, C. F. (1972). The literature of the second self. Arizona: University of Arizona Press.
  • Rees, C. (Ed.). (2014). Changes in contemporary Ireland: Texts and contexts. Newcastle: Cambridge Scholars Publishing.
  • Rees, C. (2017). Adaptation and nation: Theatrical contexts for contemporary English and Irish drama. London: Springer.
  • Richards, S. (Ed.). (2004). The Cambridge companion to twentieth-century Irish drama. Cambridge: Cambridge University Press.
  • Sayın, G. (2008). Quest for the lost m/other: Medea re-constructed in Marina Carr’s By the Bog of Cats... (1998). Cankaya University Journal of Arts and Sciences, 1(9), 75-87. Retrieved from https://dergipark.org.tr/tr/pub/cankujas/issue/4015/53020
  • Sierz, A. (2010). Marina Carr. In Martin M. and Peter P. S. (Eds.), The Methuen Drama Guide to Contemporary Irish Playwrights (pp. 37-56). London: Methuen.
  • Sihra, M. (2001). Marina Carr in conversation with Melissa Sihra. Theatre Talk: Voices of Irish Theatre Practitioners (pp. 55-63). Bray: Carysfort Press.
  • Sihra, M. (2003). Reflections across water: New stages of performing Carr. In Leeney C. and McMullan A. (Eds), The Theatre of Marina Carr: Before Rules Was Made (pp. 92-113). Bray: Carysfort Press.
  • Sihra, M. (2005). ‘Nature noble or ignoble’: Woman, family, and home in the theatre of Marina Carr. Hungarian Journal of English and American Studies (HJEAS), 11(2), 133-147.
  • Sihra, M. (2018). Marina Carr: Pastures of the unknown. London: Springer.
  • Walter, J. A., Walter, T. & Walter, H. E. (1994). The revival of death. Hove: Psychology Press.
  • Živković, M. (2000). The double as the ‘unseen’ of culture: Toward a definition of doppelgänger. Facta Universitatis-Linguistics and Literature, 2(7), 121-128.

Jung’s Shadow Archetype and Its Traces in Marina Carr’s Play Woman And Scarecrow

Yıl 2021, Sayı: 25, 81 - 90, 18.01.2021
https://doi.org/10.17484/yedi.756262

Öz

Being a country that constantly provides well-established writers to the world literature and draws attention as a kind of education country in the eyes of great writers, Ireland embodies a magnificent literary tradition and accumulation from the past to the present. Marina Carr, one of the female playwrights of the contemporary Irish theater of the twentieth century and a contrbuiton of which Ireland to the world literature, stands out among the most important female writers. The main action of Carr's plays is to reflect the psychological dilemmas of individuals who live within the borders of the country and are shaped with Irish culture. In this psychological framework, Carr, who aims to show the introversion of people with depression, often appears as an important playwright, both by rewriting myths and addressing issues that are not familiar to Irish society in her plays. Although, unlike her other plays, she did not use the strategy of rewriting myths in Woman and Scarecrow, she succeeds in giving the play a gothic atmosphere with the Scarecrow character and creates new characters suitable for her own writing style. The play Woman and Scarecrow focuses on Carr's theme of death and makes the audience feel that moment of death and the fear of death that the individual will experience upon realization that life has no meaning when faced with the reality of death. Carr aims to reflect the reality of death to the audience through a shadow character. The moment of death of an old woman who tries to come to terms with her past on her deathbed and takes her pain out of herself is an attempt by Carr to symbolize the reality of death with the characters of Woman and Scarecrow in the play. This study deals with the shadow archetype that Carl Gustav Jung handles in the context of personality theory, forming the dark side of the personality produced by the images in our subconscious, with Scarecrow character created by Carr.

Kaynakça

  • Burger, J. M. (1997). Personality. California: Brooks/Cole Pub. Co.
  • Campos, H. J. (2008). Marina Carr's hauntings: Liminality and the addictive society on and off the stage. (Doctoral dissertation, Brigham Young University, Provo). Retrieved from: https://scholarsarchive.byu.edu/etd/1451
  • Carr, M. (2007, Eylül 23). Playwrights in profile [Radio broadcast]. RTE Radio 1.
  • Carr, M. (2010). Woman and scarecrow. New York: Dramatists Play Service, Inc.
  • Curtin, A. (2019). Death in modern theatre: Stages of mortality. Manchester: Manchester University Press.
  • Dedebaş, E. (2013). Rewriting of tragedy and women's agency in Marina Carr's by the bog of cats…, Ariel, and woman and scarecrow. Women's Studies, 42(3), 248-270.
  • Diamond, S. (1996). Anger, madness and the daimonic: The psychological genesis of violence, evil, and creativity (Foreword by Rollo May. A volume in the SUNY series in the Philosophy of Psychology). Albany: State University of New York Press.
  • Doyle, M. (2010). Slouching towards Raftery's hill: The devolving patriarch in Marina Carr's midlands plays. Modern Drama, 53(4), 495-515. Retrieved from: https://muse.jhu.edu/article/407725
  • Haughton, M. (2013). Woman’s final confession: Too much hoovering and not enough sex. Marina Carr’s woman and scarecrow. Mortality, 18(1), 72-93.
  • Jung, C. G. (1960). Psychology and religion. Connecticut: Yale University Press.
  • Jung, C. G. (1967). The philosophical tree. In Adler G. & Hull R. (Eds.), Collected Works of C.G. Jung, Volume 13: Alchemical Studies (pp. 251-350). Princeton: Princeton University Press.
  • Jung, C. G. & Hull, R. (1997). The psychological foundations of belief in spirits. In Psychology and the Occult: (From Vols. 1, 8, 18 Collected Works) (pp. 108-125). Princeton: Princeton University Press. Retrieved from: www.jstor.org/stable/j.ctv10crg6v
  • Jung, C. G. (2014a). The archetypes and the collective unconscious. London: Routledge.
  • Jung, C. G. (2014b). Two essays on analytical psychology. London: Routledge.
  • Keppler, C. F. (1972). The literature of the second self. Arizona: University of Arizona Press.
  • Rees, C. (Ed.). (2014). Changes in contemporary Ireland: Texts and contexts. Newcastle: Cambridge Scholars Publishing.
  • Rees, C. (2017). Adaptation and nation: Theatrical contexts for contemporary English and Irish drama. London: Springer.
  • Richards, S. (Ed.). (2004). The Cambridge companion to twentieth-century Irish drama. Cambridge: Cambridge University Press.
  • Sayın, G. (2008). Quest for the lost m/other: Medea re-constructed in Marina Carr’s By the Bog of Cats... (1998). Cankaya University Journal of Arts and Sciences, 1(9), 75-87. Retrieved from https://dergipark.org.tr/tr/pub/cankujas/issue/4015/53020
  • Sierz, A. (2010). Marina Carr. In Martin M. and Peter P. S. (Eds.), The Methuen Drama Guide to Contemporary Irish Playwrights (pp. 37-56). London: Methuen.
  • Sihra, M. (2001). Marina Carr in conversation with Melissa Sihra. Theatre Talk: Voices of Irish Theatre Practitioners (pp. 55-63). Bray: Carysfort Press.
  • Sihra, M. (2003). Reflections across water: New stages of performing Carr. In Leeney C. and McMullan A. (Eds), The Theatre of Marina Carr: Before Rules Was Made (pp. 92-113). Bray: Carysfort Press.
  • Sihra, M. (2005). ‘Nature noble or ignoble’: Woman, family, and home in the theatre of Marina Carr. Hungarian Journal of English and American Studies (HJEAS), 11(2), 133-147.
  • Sihra, M. (2018). Marina Carr: Pastures of the unknown. London: Springer.
  • Walter, J. A., Walter, T. & Walter, H. E. (1994). The revival of death. Hove: Psychology Press.
  • Živković, M. (2000). The double as the ‘unseen’ of culture: Toward a definition of doppelgänger. Facta Universitatis-Linguistics and Literature, 2(7), 121-128.
Toplam 26 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Bölüm Araştırma Makaleler
Yazarlar

Cüneyt Özata 0000-0002-9179-9537

Yayımlanma Tarihi 18 Ocak 2021
Gönderilme Tarihi 22 Haziran 2020
Kabul Tarihi 7 Aralık 2020
Yayımlandığı Sayı Yıl 2021 Sayı: 25

Kaynak Göster

APA Özata, C. (2021). Jung’s Shadow Archetype and Its Traces in Marina Carr’s Play Woman And Scarecrow. Yedi(25), 81-90. https://doi.org/10.17484/yedi.756262

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