DJUNA BARNES'IN LYDIA STEPTOE ÖYKÜLERİ'NDE YIKICI KATEGORİLER OLARAK GÜNLÜK BİÇİMİ VE TOPLUMSAL CİNSİYET

Amerikan-İngiliz yazar Djuna Barnes (1892-1982), İngiliz modernist yazınında önemli bir isim olmuştur. Çalışmalarında hem içerik hem de biçim düzeyinde denemelerde bulunarak cinsiyet ve toplumsal cinsiyet kategorilerine yönelik geleneksel yaklaşımlara meydan okumuştur. Barnes öznelliğin akışkanlığını savunma ve Kartezyen Benlik anlayışına karşı çıkma eğilimini, özellikle tür kategorilerini sorunsallaştırdığı yazınında ortaya koymuştur. Başka bir deyişle, Barnes’ın, eserlerinde geniş bir tür yelpazesini yeniden formüle edişi, “doğallaştırılmış” toplumsal cinsiyet/cinsiyet kategorilerinin radikal bir eleştirisini sunar. Bu bağlamda, Barnes’ın Lydia Steptoe mahlasıyla yazdığı üç kısa öyküsünü inceleyen bu çalışma, yazarın günlük yazma biçimiyle nasıl oynadığını ve bu türü neden öykü türü içinde konumladığını araştırmayı amaçlamaktadır. Bu çalışma, Barnes’ın “The Diary of a Dangerous Child” (“Tehlikeli Bir Çocuğun Günlüğü”), “The Diary of a Small Boy” (“Küçük Bir Çocuğun Günlüğü”) ve “Madame Grows Older: A Journal at the Dangerous Age” (“Hanımefendi Yaşlanırken: Tehlikeli Bir Yaşın Güncesi”) adlı öykülerinin, günlük biçimini yeniden ele alıp kısa öykü türü içerisine yerleştirerek feminist/yapısökümcü bir kavram olan oluşmakta-olan-özne kavramına ışık tuttuğunu savunmaktadır. Barnes’ın tür üzerindeki bu deneylemesi, toplumsal cinsiyet sınırlarının üretimini ve istikrarsızlaştırılmasını açıkça ortaya koyma işlevi görür ve böylece öykü anlatımının bir parçası olarak sunduğu günlük yazımını, öznelerin ontolojik oluşumuna tanık olan ve/veya buna katkıda bulunan yıkıcı bir eylem olarak sunar.

Anahtar Kelimeler:

Djuna Barnes, Lydia Steptoe Öyküleri, Günlük, Tür, Edimlilik, Öznellik

THE DIARY FORM AND GENDER AS SUBVERSIVE CATEGORIES IN DJUNA BARNES'S THE LYDIA STEPTOE STORIES

The American-English writer Djuna Barnes (1892-1982) has been an influential figure in the English modernist fiction. Her works challenge the conventional approaches to sex/gender categories through experimentation on the level of both context and form. Barnes’s tendency to uncover the fluidity of subjectivity and disrupt the Cartesian understanding of the stable Self particularly shows itself in her problematization of genre categories. In other words, she offers a radical critique of “naturalized” gender/sex categories in her works by re-formulating a wide range of genres. Reading her three short stories, written under the pseudonym Lydia Steptoe, this study aims to explore how she plays with the diary form and why she locates it within the genre of short story. It argues that Barnes’s “The Diary of a Dangerous Child” (1922), “The Diary of a Small Boy” (1923), and “Madame Grows Older: A Journal at the Dangerous Age” (1924) shed light on the feminist/poststructuralist notion of the subject-in-the-making through the re-appropriation of the diary form within the genre of short story. Her experimentation on the genre functions to lay bare the production and destabilisation of gender boundaries, and thus, presents diary writing as part of storytelling as a subversive act witnessing and/or contributing to the ontological becoming of subjects.

Keywords:

Djuna Barnes, The Lydia Steptoe Stories, Diary, Genre, Performativity, Subjectivity,

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