Gotik kadın kahramanların evrimi: Ann Radcliffe'in Sicilyada bir Aşk Hikayesi ve Emily Bronte'nin Uğultulu Tepeleri
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Date
2023
Authors
Elbir, Nüket Belgin
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Open Access Color
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Abstract
Onsekizinci yüzyılın sonlarına doğru ortaya çıkışının ardından gotik edebi yazın türü, birçok alt-edebi türe zemin hazırlamış olup, türün kendisi de kendi içinde birçok alt türe bölünmüştür. Gotik türünün en yaygın alt türlerinden biri kadın gotiktir. Bu romanların olay örgüsü kadınların durumunu tasvir etmek için gotik gelenekleri kullanır ve mutlu bir sona ulaşmadan önce erkek kötülüğüne maruz kalması gereken bir kadın kahramana odaklanır. Bugün on sekizinci ve on dokuzuncu yüzyıllar arasında kadınlar tarafından yazılan gotik romanlar, feminist eleştirmenler tarafından kadın gotik romanları olarak görülmektedir. Erkek gotik romanlarının birçoğunda, gotik kadın kahramanın tasviri, kadın yazarların tasvirinden farklıdır. Bu nedenle gotik kahramanların tasviri, yazarın cinsiyetine bağlı olarak eleştirmenler tarafından farklı biçimde değerlendirilmektedir. Kadın gotik edebiyatının en önemli öncülerinden birinin de yazar Ann Radcliffe'tir. Radcliffe, romanlarının çoğunda gotik kadın kahramanlar canlandırarak kendine özgü bir üslup yaratmıştır. Birçok kadın yazar da Radcliffe'in gotik hikâyeyi kendine özgü anlatım biçiminden ilham almış ve kendi kadın kahramanlarını yaratmışlardır. Gotik roman geleneği, on dokuzuncu yüzyılda da devam etmiştir. Emily Bronte de Uğultulu Tepeler (1847) romanında kendi gotik kadın kahramanını yaratmıştır. Bu çalışmanın konusu, iki kadın yazarın romanının karşılaştırmalı olarak incelenmesi ve farklı tarihsel dönemlerde yazılmış olmalarının öneminin değerlendirilmesidir. Bu iki romanda tasvir edilen gotik kadın kahramanların karşılaştırmalı incelemesi, kadın gotik türünün değişimini göstermesi açısından önemlidir. Bu tez, incelenen romanlardaki gotik kadın kahramanların betimleme biçimini karşılaştırarak, kadın gotik geleneğinin farklı dönemlerde yazılmış romanlardaki özelliklerini incelemekte ve bir değerlendirme sunmaktadır.
After its emergence towards the end of the eighteenth century, the gothic literary genre laid the groundwork for many sub-literary genres, and the genre itself was divided into many sub-genres. One of the most crucial sub-genres of the gothic genre is the female gothic. These novels usually use gothic conventions to portray women's condition and focus on a heroine who has to undergo male villainy before she pursues happiness. Because many gothic novels written by women authors have similar qualities, the twentieth-century literary critics coined the term female gothic. The gothic novels written by women between the eighteenth and the nineteenth centuries today are regarded as female gothic novels by feminist critics. In many of the 'male gothic' novels, the depiction of the gothic heroine is different from female authors' depiction. Also, early gothic female novelists changed the classic style of the male authors' gothic heroine qualities. They reshaped the plot, also the characters, in order to present particular gothic heroine qualities. Author Ann Radcliffe is one of the most important pioneers of female gothic fiction. In many of her novels, Radcliffe created a unique style when she portrayed gothic heroines. After Radcliffe's formation of the gothic heroine, many women writers were inspired by her unique way of telling the gothic story and created their heroines. Subsequently, in the nineteenth century, Emily Bronte also created her kind of gothic heroine in the novel Wuthering Heights (1847). Therefore, a comparative analysis of the gothic heroines depicted in these two novels will also provide an opportunity to examine the change and development of the female gothic genre. In this regard, this thesis attempts to investigate the characteristic elements of female gothic conventions in terms of comparing the formation of the gothic heroines in the novels; A Sicilian Romance (1790) and Wuthering Heights (1847).
After its emergence towards the end of the eighteenth century, the gothic literary genre laid the groundwork for many sub-literary genres, and the genre itself was divided into many sub-genres. One of the most crucial sub-genres of the gothic genre is the female gothic. These novels usually use gothic conventions to portray women's condition and focus on a heroine who has to undergo male villainy before she pursues happiness. Because many gothic novels written by women authors have similar qualities, the twentieth-century literary critics coined the term female gothic. The gothic novels written by women between the eighteenth and the nineteenth centuries today are regarded as female gothic novels by feminist critics. In many of the 'male gothic' novels, the depiction of the gothic heroine is different from female authors' depiction. Also, early gothic female novelists changed the classic style of the male authors' gothic heroine qualities. They reshaped the plot, also the characters, in order to present particular gothic heroine qualities. Author Ann Radcliffe is one of the most important pioneers of female gothic fiction. In many of her novels, Radcliffe created a unique style when she portrayed gothic heroines. After Radcliffe's formation of the gothic heroine, many women writers were inspired by her unique way of telling the gothic story and created their heroines. Subsequently, in the nineteenth century, Emily Bronte also created her kind of gothic heroine in the novel Wuthering Heights (1847). Therefore, a comparative analysis of the gothic heroines depicted in these two novels will also provide an opportunity to examine the change and development of the female gothic genre. In this regard, this thesis attempts to investigate the characteristic elements of female gothic conventions in terms of comparing the formation of the gothic heroines in the novels; A Sicilian Romance (1790) and Wuthering Heights (1847).
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İngiliz Dili ve Edebiyatı, 18. yüzyıl, English Language and Literature, 18. century, 19. yüzyıl, 19. century
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