HERKES VE ORTALAMA HERGÜNKÜLÜK: VIRGINIA WOOLF'UN “DALGALAR” ROMANINA HEİDEGGERCİ BİR YAKLAŞIM

Virginia Woolf'un eserleri, öz farkındalığı yüksek ve içe dönük bireylerin istikrarlı temsilleriyle modernist romana örnek teşkil etmeye uygun olarak nitelendirilmiştir. Bu durum özellikle, oldukça öz bilinçli ve zıt kişiliklere sahip olan altı karakterin ele alındığı Woolf'un belki de okuması en güç eseri olan Dalgalar (1931) için geçerlidir. Bu doğrultuda, bu karakterleri birbirinden ayırt eden onlara özgü ve onları farklı kılan özellikler derinlemesine incelenmiştir. Bu çalışma, Martin Heidegger'in felsefesinin sunduğu fenomenolojik yaklaşımlardan faydalanarak, Dalgalar romanındaki karakterlerin görünürde çatışan doğalarının altında onları birbirine bağlayan daha temel bir katman olduğunu ve bu karakterler arasındaki (ben ve başkaları arasındaki) öznelerarası ilişkilerin mercek altına alınmasının ontolojik düzlemde onların birbirlerinden çok farklı olmadığını ortaya koyduğunu öne sürmektedir. Heidegger'in Varlık ve Zaman (1927) adlı eserinde öne sürdüğü ortalama hergünkülük, herkes ve evde-olma gibi kavramsal araçları kullanarak, bu çalışma, Dalgalar romanındaki karakterlerin ontolojik açıdan genelde birbirleri arasında ya da Heidegger'in deyimiyle “herkes” arasında nasıl kaybolduklarını (ya da zaman zaman nasıl kaybolmaya çalıştıklarını) tartışmaktadır.

THE THEY AND AVERAGE EVERYDAYNESS: A HEIDEGGERIAN APPROACH TO VIRGINIA WOOLF'S THE WAVES

The work of Virginia Woolf has been deemed exemplary in modernist fiction with its unyielding representations of highly self-conscious individuals. This is especially the case with her perhaps most inaccessible work The Waves (1931) in which six characters are presented as having quite self-aware and contrasting personalities. Accordingly, much attention has been paid to their peculiar and differentiating traits that set them apart from each other. Drawing upon the phenomenological insights provided by Martin Heidegger's philosophy, this paper argues that there is a more primordial layer beneath the seemingly clashing natures of these characters in The Waves that binds them to each other, and that a close examination of the intersubjective relations between the characters (i.e. the self and others) reveals them to be not that different from each other on the ontological level. Resorting to the conceptual tools such as average everydayness, “the they,” and being-athome that Heidegger proposes in Being and Time (1927), this paper discusses how, ontologically speaking, the characters in The Waves, for the most part, are lost (or at times try hard to be lost) among each other.

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