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TOWARDS A FEMINIST APPROACH OF MIMESIS

Year 2022, Issue: 49, 463 - 477, 02.03.2022
https://doi.org/10.30794/pausbed.980045

Abstract

Mimesis, as an aesthetic concept, has evolved and transformed from the point of view of many philosophers, practitioners in theater and other artistic branches, and artists since Ancient Greece, but it has essentially been a concept that emphasizes the imitation and re-creation features of art. Handled as a creation of the artistic by imitating the truth, mimesis has entered a process of questioning again to determine more political, more social and cultural points of what needs to be addressed in the imitation and re-creation process. In the times when universal truths began to be questioned, the origin of imitation and the way it should be handled became one of the main topics of feminist artists and writers. The fact that mimetic activity has come to this day through the filter of patriarchal society, has been criticized in feminist works and thus led feminist artists to bring in distinctive features to the forefront in terms of subject, form, language, and staging elements especially in feminist theater plays. This study, which is expected to lead to future studies, points out the place and importance of contemporary feminist concepts such as gender in terms of acting, stage text and staging forms, based on feminist examples in our country and the world.

References

  • Abrams, M. H., & Harpham, G. G. (1999). A Glossary of Literary Terms. Boston, Mass: Thomson Wadsworth.
  • Adichie, Chimamanda Ngozi. (2015) We Should All Be Feminists. New York: Anchor Books.
  • Asena, Duygu (2008). Kadının Adı Yok. İstanbul: Doğan Kitap.
  • Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. Trans. Judy Barba. London: Routledge.
  • Benjamin, Walter. (1978). “On the Mimetic Faculty.” In Reflections: Essays, Aphorisms, Autobiographical Writings. (Çev. Edmund Jephcott), New York: Harcourt Brace Jovanovich.
  • Brown, Janet. (1979). Feminist drama: definition & critical analysis. Metuchen, N.J.: Scarecrow Press.
  • Burwick, Frederick. (2001). Mimesis and Its Romantic Reflections. Pennsylvania: Pennsylvania State UP.
  • Butler, J. (1999). Gender trouble: Feminism and the subversion of identity. New York: Routledge.
  • Cameron, Deborah (ed.) (1998). The Feminist Critique of Language: A Reader. Second Ed. New York: Routledge.
  • Case, Sue Ellen. (1988). Feminism and Theatre. New York: Methuen.
  • Diamond, Elin. (1990). “Realism and Hysteria: Toward a Feminist Mimesis Discourse.” Vol. 13. No. 1. A Special Issue on the Emotions (Fall-Winter)
  • Diamond, Elin. (1997). Unmaking mimesis: essays on feminism and theater. London: Routledge.
  • Docherty, Thomas. (1990). Anti-Mimesis: The Historicity of Representation. Forum for Modern Language Studies. Vol. xxvi, No. 3.
  • Dolan, J. (2012). The Feminist Spectator as Critic. Ann Arbor: University of Michigan Press. doi:10.3998/mpub.5169198.
  • Eagleton, T. (1996). Literary theory: An introduction. Minneapolis, MN: University of Minnesota Press.
  • Eckert, P., & McConnell-Ginet, S. (2003). Language and gender. Cambridge: Cambridge UP.
  • Elgin, Suzette Haden. (1984). Native Tongue. New York: DAW Books.
  • Ensler, Eve. (2008). The Vagina Monologues. New York: Villard.
  • Fuchs, Barbara. (2001). Mimesis and empire: the new world, Islam, and European identities. New York: Cambridge UP.
  • Gebauer, G., & Wulf, C. (1995). Mimesis: Culture, art, society. Berkeley: University of California Press.
  • Gilbert, Sandra M. (1979). The madwoman in the attic: the woman writer and the nineteenth-century literary imagination. New Haven: Yale UP.
  • Glaspell, S., Ayres, R., Hackett, J., Madigan, A., McMurray, S., & L.A. Theatre Works,. (2011). Trifles. Los Angeles, CA: L.A. Theatre Works.
  • Harris-Perry, M. V. (2011). Sister citizen: Shame, stereotypes, and Black women in America. New Haven: Yale UP.
  • Hart, Lynda. (1989). Feminist Essays on Contemporary Women’s Theatre. Ann Arbor: The University of Michigan Press.
  • Kristeva, Julia. (2002). Intimate Revolt: The Power and Limit of Psychoanalysis. Trans J. Herman. New York: Columbia UP.
  • Irigaray, Luce. (1974). Speculum of the Other Woman, (Çev. Gillian C. Gill), Ithaca, NY: Cornell UP.
  • Mills, Sara. (2003). Gender and Politeness. New York: Cambridge UP.
  • Mock, Janet. (2014). Redefining realness. New York: Atria Books.
  • Cormican, Muriel. "Masculinity and Transnational Paradigms: The Cinema of Fatih Akin." Colloquia Germanica 46, no. 1 (2013): 21-46. Elde edilme tarihi: 4 Ocak 2021, http://www.jstor.org/stable/43653048.
  • Newton K.M. (1997) Roland Barthes: ‘The Death of the Author’. In: Newton K.M. (eds) Twentieth-Century Literary Theory. Palgrave, London.
  • Oscar Wilde, (1902). The Decay of Living. New York: Sunflower Co.
  • Jameson, Fredric. (1972). The Prison-House of Language, Princeton: Princeton UP.
  • Pak, Yavuz. (2018). “Yücel Hocadan etik ve estetik bir ders: Hırçın Kız.” Tiyatro Dergisi. Elde edilme tarihi: 4 Ocak 2021, https://tiyatrodergisi.com.tr/yucel-hocadan-etik-ve-estetik-bir-ders-hircin-kiz/
  • Phelan, P. (1993). Unmarked: The politics of performance. London: Routledge.
  • Potolsky, Matthew. (2006). Mimesis. New York: Routledge.
  • Prasad, Pallavi. (2019). Láadan: The Fictional, Feminist Language Designed to Convey Unique Female Experiences. Elde edilme tarihi: 4 Ocak 2021, https://theswaddle.com/laadan-feminist-language-made-for-women-experiences.
  • Reilly, Cole. (2016). "Chapter Four: An Encouraging Evolution Among the Disney Princesses? A Critical Feminist Analysis." Counterpoints 477: 51-63. Elde edilme tarihi: 4 Ocak 2021, http://www.jstor.org/stable/45157186.
  • Rine, Abigail. (2010). "Phallus/Phallocentrism". Faculty Publications - Department of English. 76.
  • Selisker, Scott. (2015). “The Bechdel Test and the Social Form of Character Networks.” New Literary History, vol. 46, no. 3, s. 505–523, Elde edilme tarihi: 4 Ocak 2021, www.jstor.org/stable/24542676. Accessed 1 Mar. 2021.
  • Shange, N. (1989). For colored girls who have considered suicide when the rainbow is enuf: A choreopoem. New York: Collier Books.
  • Shannon, Sandra. (2005). What is a Black Play? Tales from my theoretical corner. Theatre Journal, Dec., 2005, Vol. 57, No. 4, Black Performance (Dec., 2005), pp. 603-605.
  • Solga, Kim. (2016). Theatre and Feminism. Palgrave: London.
  • Solnit, R., & Fernandez, A. T. (2014). Men explain things to me. New York: Atria Books.
  • Taussig, Michael. (1993). Mimesis and Alterity. New York and London: Routledge.
  • Wandor, M. (1984). The Impact of Feminism on the Theatre. Feminist Review, (18), 76-92. doi:10.2307/1394862.
  • Wollstonecraft, M. (2004). A vindication of the rights of woman. London: Penguin Books.

FEMİNİST TİYATRO VE MİMETİK AKSİYON

Year 2022, Issue: 49, 463 - 477, 02.03.2022
https://doi.org/10.30794/pausbed.980045

Abstract

Mimesis, estetik bir kavram olarak Antik Yunan’dan bugüne birçok felsefecinin, tiyatro ve diğer dallardaki uygulamacının ve sanatçının bakış açısından evirilerek dönüşümlere uğramış ancak özünde sanatın taklit ve yeniden yaratma özelliklerine vurgu yapan bir kavramdır. Hakikati taklit ederek sanatsal olanı yaratım olarak ele alınan mimesis, yaratım sürecinde ele alınması gerekenlerin daha politik, daha sosyal ve kültürel noktalar katılarak yeniden bir sorgulama sürecine girmiştir. Evrensel hakikatlerin sorgulanmaya başladığı dönemlerde mimesisin neyin taklidi olduğu, mevcut konuları nasıl işleyeceği feminist sanatçı ve yazarların temel konularından olmuştur. Ataerkil toplumun süzgecinden geçerek bugüne gelen mimetik aktivitenin feminist eserlerde farklı bir şekilde ele alınması, özellikle tiyatro metinlerinde başta yazar olmak üzere, konu, biçim, dil ve sahneleme unsurları açısından farklı özellikler ön plana çıkarmıştır. İleride yapılacak olan çalışmalara öncülük etmesi beklenen bu çalışma, feminist örneklerden yola çıkarak toplumsal cinsiyet gibi çağdaş dünyamızın kavramlarının, feminist mimesisteki yerini ve önemini oyunculuk, sahne metni ve sahneleme biçimleri açısından ele almaktadır.

References

  • Abrams, M. H., & Harpham, G. G. (1999). A Glossary of Literary Terms. Boston, Mass: Thomson Wadsworth.
  • Adichie, Chimamanda Ngozi. (2015) We Should All Be Feminists. New York: Anchor Books.
  • Asena, Duygu (2008). Kadının Adı Yok. İstanbul: Doğan Kitap.
  • Barba, Eugenio. (2010). On Directing and Dramaturgy: Burning the House. Trans. Judy Barba. London: Routledge.
  • Benjamin, Walter. (1978). “On the Mimetic Faculty.” In Reflections: Essays, Aphorisms, Autobiographical Writings. (Çev. Edmund Jephcott), New York: Harcourt Brace Jovanovich.
  • Brown, Janet. (1979). Feminist drama: definition & critical analysis. Metuchen, N.J.: Scarecrow Press.
  • Burwick, Frederick. (2001). Mimesis and Its Romantic Reflections. Pennsylvania: Pennsylvania State UP.
  • Butler, J. (1999). Gender trouble: Feminism and the subversion of identity. New York: Routledge.
  • Cameron, Deborah (ed.) (1998). The Feminist Critique of Language: A Reader. Second Ed. New York: Routledge.
  • Case, Sue Ellen. (1988). Feminism and Theatre. New York: Methuen.
  • Diamond, Elin. (1990). “Realism and Hysteria: Toward a Feminist Mimesis Discourse.” Vol. 13. No. 1. A Special Issue on the Emotions (Fall-Winter)
  • Diamond, Elin. (1997). Unmaking mimesis: essays on feminism and theater. London: Routledge.
  • Docherty, Thomas. (1990). Anti-Mimesis: The Historicity of Representation. Forum for Modern Language Studies. Vol. xxvi, No. 3.
  • Dolan, J. (2012). The Feminist Spectator as Critic. Ann Arbor: University of Michigan Press. doi:10.3998/mpub.5169198.
  • Eagleton, T. (1996). Literary theory: An introduction. Minneapolis, MN: University of Minnesota Press.
  • Eckert, P., & McConnell-Ginet, S. (2003). Language and gender. Cambridge: Cambridge UP.
  • Elgin, Suzette Haden. (1984). Native Tongue. New York: DAW Books.
  • Ensler, Eve. (2008). The Vagina Monologues. New York: Villard.
  • Fuchs, Barbara. (2001). Mimesis and empire: the new world, Islam, and European identities. New York: Cambridge UP.
  • Gebauer, G., & Wulf, C. (1995). Mimesis: Culture, art, society. Berkeley: University of California Press.
  • Gilbert, Sandra M. (1979). The madwoman in the attic: the woman writer and the nineteenth-century literary imagination. New Haven: Yale UP.
  • Glaspell, S., Ayres, R., Hackett, J., Madigan, A., McMurray, S., & L.A. Theatre Works,. (2011). Trifles. Los Angeles, CA: L.A. Theatre Works.
  • Harris-Perry, M. V. (2011). Sister citizen: Shame, stereotypes, and Black women in America. New Haven: Yale UP.
  • Hart, Lynda. (1989). Feminist Essays on Contemporary Women’s Theatre. Ann Arbor: The University of Michigan Press.
  • Kristeva, Julia. (2002). Intimate Revolt: The Power and Limit of Psychoanalysis. Trans J. Herman. New York: Columbia UP.
  • Irigaray, Luce. (1974). Speculum of the Other Woman, (Çev. Gillian C. Gill), Ithaca, NY: Cornell UP.
  • Mills, Sara. (2003). Gender and Politeness. New York: Cambridge UP.
  • Mock, Janet. (2014). Redefining realness. New York: Atria Books.
  • Cormican, Muriel. "Masculinity and Transnational Paradigms: The Cinema of Fatih Akin." Colloquia Germanica 46, no. 1 (2013): 21-46. Elde edilme tarihi: 4 Ocak 2021, http://www.jstor.org/stable/43653048.
  • Newton K.M. (1997) Roland Barthes: ‘The Death of the Author’. In: Newton K.M. (eds) Twentieth-Century Literary Theory. Palgrave, London.
  • Oscar Wilde, (1902). The Decay of Living. New York: Sunflower Co.
  • Jameson, Fredric. (1972). The Prison-House of Language, Princeton: Princeton UP.
  • Pak, Yavuz. (2018). “Yücel Hocadan etik ve estetik bir ders: Hırçın Kız.” Tiyatro Dergisi. Elde edilme tarihi: 4 Ocak 2021, https://tiyatrodergisi.com.tr/yucel-hocadan-etik-ve-estetik-bir-ders-hircin-kiz/
  • Phelan, P. (1993). Unmarked: The politics of performance. London: Routledge.
  • Potolsky, Matthew. (2006). Mimesis. New York: Routledge.
  • Prasad, Pallavi. (2019). Láadan: The Fictional, Feminist Language Designed to Convey Unique Female Experiences. Elde edilme tarihi: 4 Ocak 2021, https://theswaddle.com/laadan-feminist-language-made-for-women-experiences.
  • Reilly, Cole. (2016). "Chapter Four: An Encouraging Evolution Among the Disney Princesses? A Critical Feminist Analysis." Counterpoints 477: 51-63. Elde edilme tarihi: 4 Ocak 2021, http://www.jstor.org/stable/45157186.
  • Rine, Abigail. (2010). "Phallus/Phallocentrism". Faculty Publications - Department of English. 76.
  • Selisker, Scott. (2015). “The Bechdel Test and the Social Form of Character Networks.” New Literary History, vol. 46, no. 3, s. 505–523, Elde edilme tarihi: 4 Ocak 2021, www.jstor.org/stable/24542676. Accessed 1 Mar. 2021.
  • Shange, N. (1989). For colored girls who have considered suicide when the rainbow is enuf: A choreopoem. New York: Collier Books.
  • Shannon, Sandra. (2005). What is a Black Play? Tales from my theoretical corner. Theatre Journal, Dec., 2005, Vol. 57, No. 4, Black Performance (Dec., 2005), pp. 603-605.
  • Solga, Kim. (2016). Theatre and Feminism. Palgrave: London.
  • Solnit, R., & Fernandez, A. T. (2014). Men explain things to me. New York: Atria Books.
  • Taussig, Michael. (1993). Mimesis and Alterity. New York and London: Routledge.
  • Wandor, M. (1984). The Impact of Feminism on the Theatre. Feminist Review, (18), 76-92. doi:10.2307/1394862.
  • Wollstonecraft, M. (2004). A vindication of the rights of woman. London: Penguin Books.
There are 46 citations in total.

Details

Primary Language Turkish
Subjects Creative Arts and Writing
Journal Section Articles
Authors

Sinan Gul 0000-0002-4529-6699

Early Pub Date March 15, 2022
Publication Date March 2, 2022
Acceptance Date November 17, 2021
Published in Issue Year 2022 Issue: 49

Cite

APA Gul, S. (2022). FEMİNİST TİYATRO VE MİMETİK AKSİYON. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi(49), 463-477. https://doi.org/10.30794/pausbed.980045
AMA Gul S. FEMİNİST TİYATRO VE MİMETİK AKSİYON. PAUSBED. March 2022;(49):463-477. doi:10.30794/pausbed.980045
Chicago Gul, Sinan. “FEMİNİST TİYATRO VE MİMETİK AKSİYON”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, no. 49 (March 2022): 463-77. https://doi.org/10.30794/pausbed.980045.
EndNote Gul S (March 1, 2022) FEMİNİST TİYATRO VE MİMETİK AKSİYON. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 49 463–477.
IEEE S. Gul, “FEMİNİST TİYATRO VE MİMETİK AKSİYON”, PAUSBED, no. 49, pp. 463–477, March 2022, doi: 10.30794/pausbed.980045.
ISNAD Gul, Sinan. “FEMİNİST TİYATRO VE MİMETİK AKSİYON”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 49 (March 2022), 463-477. https://doi.org/10.30794/pausbed.980045.
JAMA Gul S. FEMİNİST TİYATRO VE MİMETİK AKSİYON. PAUSBED. 2022;:463–477.
MLA Gul, Sinan. “FEMİNİST TİYATRO VE MİMETİK AKSİYON”. Pamukkale Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, no. 49, 2022, pp. 463-77, doi:10.30794/pausbed.980045.
Vancouver Gul S. FEMİNİST TİYATRO VE MİMETİK AKSİYON. PAUSBED. 2022(49):463-77.