İNCE YA DA KESKİN SIZI?: PINTER'IN İNCE SIZI'SINDA FREUDYEN UNCANNY

Bir kâse reçelin eşlik ettiği mütevazı bir kahvaltı sahnesinin huzurlu atmosferindeki kırevinde geçen Pinter'ın İnce Sızı (1959) isimli oyunu, eksiksiz sükunet ve yalınlığın hükümsürdüğü sıradan bir dünya sunuyormuş gibi görünür. Ancak, oyunun Sigmund Freud'un"The Uncanny" ("Tekinsiz") makalesi ışığındaki analizi gösteriyor ki, Pinter sıradan birdünya sunmaz ve karakterlerinin 'ince sızıları' gerisine tanımlanmaya ya daçözümlenmeye karşı şiddetle direnen 'keskin sızıları'nı saklayarak, şaşırtıcı birkarmaşıklığın, her an tehdit teşkil eden tehlikenin ve bastırılmış duyguların yer aldığıanlaşılması zor bir dünya sunar. Buna dayanarak, çalışma Pinter'ın tek perdelik oyunuİnce Sızı'yı Freud'un psikanalitik kavramı "the uncanny" ("tekinsiz") kapsamında analizetmektedir ve oyunun mütevazı kahvaltı sofrasındaki evli çiftiyle bu çiftin arkakapılarında sessizce dikilen kibritçi gibi bilindik karakterlerinin oyuna sıradanlık izlenimivermelerine rağmen, sıradan görünümlü kelimelerinin yanıltıcı maskesiyle örttüklerişüpheli geçmişlerine dayanan bastırılmış niyetleri ve düşmanca düşünceleriylebirbirlerine karşı potansiyel olarak tehlikeli ve çatışmacı oldukları için, oyundaki görünenyüzeyin gerisinde uncanny hissiyatının yer aldığını göstermeyi amaçlamaktadır.

A SLIGHT OR A STINGING ACHE?: THE FREUDIAN UNCANNY IN HAROLD PINTER'S A SLIGHT ACHE

Set in a country house's relaxing atmosphere of a modest breakfast scene accompanied by a cup of marmalade, Pinter's A Slight Ache (1959) seems to present a world of utmost simplicity over where a sense of complete tranquility and utter nakedness rule. However, as clari?ed by a reading of the play in the light of Sigmund Freud's "The Uncanny", Pinter presents not a world of simplicity but a convoluted world of bewildering complexity, impending danger, and emotional repression, hiding beneath the 'slight ache' of its characters 'a stinging ache' that vigorously resists both de?nition and resolution. Based on this, the present study analyzes Pinter's one-act play A Slight Ache from the perspective of Freud's psychoanalytic concept of 'the uncanny' and aims to show that although the play gives the impression of re?ecting simplicity for its such known characters as a married couple set at a modest breakfast table or a matchseller silently standing on their back gate, it arouses uncanny feelings beneath the surface because its 'familiar' characters are uncovered to be potentially dangerous and battling towards each other with their repressed intentions and evil thoughts relating to their blurred pasts guised in an illusionary veil of ordinary-looking words.

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