Homoerotic desire and the artist manqué
Yükleniyor...
Tarih
2010
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Bilgi Üniversitesi
Erişim Hakkı
Attribution-NonCommercial-NoDerivs 3.0 United States
info:eu-repo/semantics/openAccess
info:eu-repo/semantics/openAccess
Özet
Bu çalışmanın amacı on dokuzuncu yüzyıl sonu ve yirminci yüzyıl başı erkek homoerotik arzu tasvirinde ortaya çıkan eksik sanatçı temsilinin incelenmesidir. Bu karakterin analizi homoerotik arzunun sorunsallaştırıldığı daha önceki bir bağlamda beliren bir başka sanatçı figürünün, üstad karakterinin, tetkikini gerektirmektedir. Eksik sanatçının konumu, üstad temsilinden ve üstadın homoerotik arzuyla ilişkisinden sapmasıyla belirlendiğinden, bu tez, homoerotik arzunun metinsel temsilinde yer alan sanatçı figürünün dönüşümünü izlemektedir. Bu bağlamda, Platon'un üstad figürünü doğuran erotik diyalogları Sempozyum ve Phaedrus okumalarını, Oscar Wilde'in Dorian Gray'in Portresi ve Thomas Mann'ın Venedik'te Ölüm eserlerinin analizi takip etmektedir. Bu çalışmadan çıkan ana sonuç, homoerotik arzuyu dönemin koşulları ve gereksinimleri doğrultusunda sanatçı figürü kullanımıyla sorunsallaştıran edebi bir geleneğin varlığıdır. Bu manada, Wilde ve Mann'ın eserlerinde sanatçının üstad rolünden kopuşu, toplumun çeşitli alanlarında tanınmakta olan homoseksüel kimliği düşündüren homoerotik arzunun bastırılamaz gücünü göstermektedir. Öte yandan, varlığı başarısızlık, dekadans ve ölümle şekillenmiş olan eksik sanatçının doğuşu aynı toplumun bu kimliğe ve arzuya yüklediği çağrışımları işaret etmektedir.
The aim of the present study is to examine the figuration of the artist manque that emerges in the late nineteenth and early twentieth century representations of male homoerotic desire. The analysis of this character necessitates the study of another artist figure, the master, which appears in the problematization of homoerotic desire in an earlier context. Since the status of the artist manqué is defined by its deviation from the master and the masters relation to homoerotic desire, this thesis follows the transformation of the artist figure that takes place within the textual representation of the homoerotic desire. In this regard, the readings of the erotic dialogues of Plato, Phaedrus and Symposium, which gave birth to the master figure, is followed by the analyses of Oscar Wildes The Picture of Dorian Gray and Thomas Manns Death in Venice. The existence of a literal tradition that problematizes homoerotic desire in accordance with the circumstances and requirements of the given period through the use of an artist figure is the major result drawn from this study. The breaking away of the artist from the role of the master in the writings of Wilde and Mann, in this sense, bespeaks the insuppressible domination of the homoerotic desire that is suggestive of the nascent homosexual identity in various fields of society. On the other hand, the appearance of the artist manque, whose formation is marked by failure, death and decadence, betokens the associations that are attached by the same society to that identity.
The aim of the present study is to examine the figuration of the artist manque that emerges in the late nineteenth and early twentieth century representations of male homoerotic desire. The analysis of this character necessitates the study of another artist figure, the master, which appears in the problematization of homoerotic desire in an earlier context. Since the status of the artist manqué is defined by its deviation from the master and the masters relation to homoerotic desire, this thesis follows the transformation of the artist figure that takes place within the textual representation of the homoerotic desire. In this regard, the readings of the erotic dialogues of Plato, Phaedrus and Symposium, which gave birth to the master figure, is followed by the analyses of Oscar Wildes The Picture of Dorian Gray and Thomas Manns Death in Venice. The existence of a literal tradition that problematizes homoerotic desire in accordance with the circumstances and requirements of the given period through the use of an artist figure is the major result drawn from this study. The breaking away of the artist from the role of the master in the writings of Wilde and Mann, in this sense, bespeaks the insuppressible domination of the homoerotic desire that is suggestive of the nascent homosexual identity in various fields of society. On the other hand, the appearance of the artist manque, whose formation is marked by failure, death and decadence, betokens the associations that are attached by the same society to that identity.
