İçeri’nin Dışarısı ve Kabuk’un İçerisi - Hélène Cixous ile Zeynep Kaçar’da Karşılaştırmalı Bir Dişil Yazı ve Yapısöküm Okuması
Esra Başak AydınalpLuce Irigaray, Julia Kristeva ve Hélène Cixous fallus merkezli batı düşüncesini yeni bir düşünsel yaratıcılık ve yazı pratiğiyle yapı söküme uğratarak, eril tahakkümü yerinden oynatmışlardır. Bu düşünürler, dişil yazının felsefi ve edebi metinlerde ikincil plana atılmasının altını oymak suretiyle yeni bir dişil eleştiri dinamiği geliştirmişlerdir. Bu araştırmada Jacques Derrida’nın izleri takip edilerek, Zeynep Kaçar’ın 2017’de yayınlanmış Kabuk adlı eserinin Hélène Cixous’un Medusa’nın Kahkası ve Çıkış adlı denemeleri üzerinden 1969 yılında yayınlanmış İçinde adlı romanının karşılaştırılmalı bir dişil yazı okuması yapılacaktır. Hélène Cixous eril yapı ve retorik hareket ile kuşatılmış tarihsel yazı algısını yapısöküme uğratarak bir dişil yazı pratiği geliştirir. Kendi düşüncesini, yasayı ve sembolik olanı ayrıştırarak, dişil yazı ve cinsel fark üzerine oturtur. Araştırmanın amacı, Zeynep Kaçar’ın Kabuk ve Hèlène Cixous’nun İçinde adlı eserlerinden yola çıkarak rüya/gerçek, beden/ruh, kadın/erkek, yazı/söz, ben/öteki, yaşam/ölüm karşıtlıkları üzerinden Jacques Derrida’nın deyimiyle “bir dilden fazlası” olarak konumlanan dişil yaratımın kaydını yine cinsel fark ve dişil yazı üzerinden bir yapı söküm okumasıyla incelemektir. Yapılmak istenen, içerinin dışarısına yani gerçeğin rüyasına ancak bir iç-yazı ile ulaşmayı beceren Hélène Cixous’un İçinde adlı özkurmaca eserini ve Kabuk dışına yani ruhtan bedene ancak bir iç-ses ile çıkmaya çalışan Zeynep Kaçar’ın kurmaca karakterlerini fallus merkezli bakış açısına sıkıştırılmış ölümü, erkeği, sözü ve ben’i; yaşam, kadın, yazı ve öteki ile besleyerek yapı söküm çabası olarak okumak ve Jacques Derrida’nın deyimiyle yayılan, sürekli değişen, dönüşen bir dişil yazının, estetiğin ve sesin çoğul bir dişil yaratımda izlerini sürmektir.
Outside of the Inside and Inside of the Kabuk(Shell)- A Deconstructive and Comparative Lecture of the Feminine Writing in Hélène Cixous and Zeynep Kaçar
Esra Başak AydınalpBy deconstructing the phallogocentric occidental thinking with a new creativity and writing practice and the masculine domination, Luce Irigaray, Hélène Cixous and Julia Kristeva developed a new dynamic of feminine criticism. They criticised the negligence of feminine writing in philosophical and literary texts. In this study, The researcher intends to do a comparative lecture of feminine writing of Zeynep Kacar’s Kabuk and Hélène Cixous’ Inside based on the essays written by Cixous in 1975 entitled The Laugh of Medusa and Outways. By following the traces of Derrida’s Grammatology, Hélène Cixous develops feminine writing by deconstructing the perception of historical writing conquered by the masculine structure and rhetoric movement. By dissociating the law from the symbolic, she composes her ideas on feminine writing and sexual difference. The aim of this research is to investigate Kabuk and Inside on the dichotomies of body/ soul, woman/man, life/death, and writing/speech, I/other as it is stated as more than one language by Derrida. Thus, the researcher aims to trace the feminine creativity, aesthetics that is transferred, changed and disseminated continuously in Derrida’s words. The aim is to read Cixous’ auto-fictive book which reaches the dream of reality and the outside of the inside via an interior-writing and Kaçar’s book which tries to arrive from the soul to body via an interior-voice and to deconstruct the phallus-centered death, man, speech and self by life, woman, writing and other.
Hélène Cixous appeals to woman through feminine writing and creativity in her essays entitled The Laugh of Medusa and Outways in The Newly Born Woman published in 1975. In these essays, which gained a worldwide recognition, Cixous invites women to write and develops a new thinking and reading approach of sexual differences. She paved the way for feminine writing with mythological and intertextual references by using a deconstructive lecture. The Laugh of Medusa published in Arc deconstructs the phallologocentric thinking in occidental philosophy, the text reads Medusa which was conceived as an enigmatic figure and the dark side of the continent by mentioning the sexual differences in a multiple-voiced discourse. No way out for a hierarchical structuring in which one of the terms applies a kind of violence to the underestimated second term. By following the traces of Jacques Derrida’s deconstruction of phallogocentric occidental thinking the Kabuk of Zeynep Kaçar and the Inside of Hélène Cixous is read by a comparative feminine writing on the basis of The Laugh of Medusa and The Newly Born Woman both published in 1975. The researcher will try to respond to these questions:
- How does Hélène Cixous develop an interior-writing in order to reach the dream of reality by her auto-fictive text entitled Inside?
- How does Zeynep Kaçar find the way leading out of the shell by the interiorvoice of her fictive characters who speak out ?
- How is the phallogocentric thinking linked to the death, the masculine, the speech and I, is deconstructed by the life, the woman, writing and the other?
- How can we evaluate the potential on the plural creativity and the writing aesthetics of “écriture feminine” which disseminates, changes and transforms and follow up on the traces of such writing style?
By deconstructing the phallogocentric occidental thinking with a new creativity and writing practice and the masculine domination, Luce Irigaray, Hélène Cixous and Julia Kristeva developed a new dynamic in feminine criticism. They criticised the negligence of feminine writing in philosophical and literary texts. The researcher intends to do a comparative lecture of feminine writing of Zeynep Kacar’s Kabuk and Hélène Cixous’ Inside on the basis of the essays written by Cixous on 1975 entitled The Laugh of Medusa and Outways. Hélène Cixous develops a feminine writing by deconstructing the perception of historical writing conquered by masculine structure and the rhetoric movement. By dissociating the law from the symbolic, she composes her ideas on feminine writing and sexual differences. In this research, the aim is to investigate Kabuk and Inside on the dichotomies of body/soul, woman/man, life/ death, writing/speech, I/other as it is stated as more than one language by Derrida. Thus, the researcher aims to trace the feminine creativity , aesthetics which is transferred, changed and disseminated continuously in Derrida’s words . The aim is to read Cixous’ autofictive book which reaches the dream of reality and the outside of the inside via an interior-writing and Kaçar’s book which tries to arrive from the soul to body via an interior-voice and to deconstruct the fallus-centered death, man, speech and self by life, woman, writing and other. Consequently, the researcher finds an answer to these questions and a voice, which encounters the appeal of Cixous in Zeynep Kaçar. According to Zeynep Kaçar, women who were abandoned to the imaginary and the unconsciousness should be taken out of the phallocratic discourse and find a way leading to the symbolic order and interior-voice just like the interior-writing in Hélène Cixous. They who were imprisoned and regressed in phallogocentric formulations of the masculine hegemony should break the shell into pieces and overcome the lack associated with them. They should also create their own color, identity and voice on the stage of history.
