Satiric Representations of Violence in Martin Mcdonagh's the Beauty
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Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANNE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş PhD Dissertation Ankara, 2014 SATIRIC REPRESENTATIONS OF VIOLENCE IN MARTIN McDONAGH’S THE BEAUTY QUEEN OF LEENANE, A SKULL IN CONNEMARA AND THE LIEUTENANT OF INISHMORE İmren Yelmiş Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies PhD Dissertation Ankara, 2014 iii ACKNOWLEDGEMENTS First and foremost, I would like to express my gratitude to my supervisor, Prof. Dr. A. Deniz Bozer for her motivation and patient guidance throughout the writing process of this dissertation. She has always been a “light” to me. This dissertation would not have been possible without her great guidance and support. I am extremely grateful to Prof. Dr. Burçin Erol, Prof. Dr. Belgin Elbir, Assoc. Prof. Dr. Huriye Reis and Asst. Prof. Dr. Şebnem Kaya for all their support and suggestions. I would like to thank Prof. Nicholas Grene, for accepting me to Trinity College, which gave me the opportunity to discuss my dissertation with him, to do research at Trinity College Library and to addend the Synge Summer School. I also would like to thank Patrick Lonergan, the academic director of the School, whose discussions on contemporary Irish drama contributed to my academic development. Moreover, I would like to express my thanks to Assoc. Prof. Dr. Gülşen Sayın, Res. Asst. Nazan Yıldız, Res. Asst. Hakan Yılmaz, Res. Asst. Merve Sarı, Res. Asst. E. Seda Çağlayan Mazanoğlu, Res. Asst. Kerimcan Yazgünoğlu, Res. Asst. Osman İşçi, Res. Asst. Kübra Vural, who contributed to my research by sharing their books and articles with me and by always supporting me. I also thank Asst. Prof. Dr. Alev Karaduman, Dr. Pınar Taşdelen, Dr. Aslı Değirmenci, Res. Asst. Oya Bayıltmış Öğütcü, Res. Asst. Murat Öğütcü, Res. Asst. Cemre Mimoza Bartu and all members of the Department of English Language and Literature at Hacettepe University, Atreya Banerjee, Saadet Sündüs and Öznur Türkmen for all their support. I am also grateful to Medu, who always encouraged me and sent me positive energy throughout the writing process of this dissertation. Last but not least, I would like to thank my family for their support throughout my life. I am deeply indebted to my father Ferit Yelmiş, my mother Günay Yelmiş, my sister İpek, my brother Emrah and my sister-in-law Sibel for their help and support. And special thanks to my dear grandmother Zeynep, who encouraged me even throughout her serious illness. I dedicate this dissertation to my dear family... iv ÖZET YELMİŞ, İmren. Martin McDonagh’nın The Beauty Queen of Leenane (Leenane’in Güzellik Kraliçesi), A Skull in Connemara (Connemara’da Bir Kafatası) ve The Lieutenant of Inishmore (Inishmore’un Yüzbaşısı) Adlı Oyunlarında Şiddetin Hicvedilişi. Doktora Tezi, Ankara, 2014. 1990’lar, İrlanda ve İrlandalılara özgü pek çok problemle özdeşleştiği için, onlar için çok önemlidir: ekonomik problemler ve bunun sonucunda meydana gelen işsizlik ve göç, yurtdışında yaşanan ırkçılığa dayalı tacizler, psikolojik sorunlar, ciddi etkisi İrlanda Cumhuriyeti’nde de hissedilen, Katoliklerle Protestanlar arasındaki Kuzey İrlanda’nın politik durumu hakkındaki anlaşmazlıklardan dolayı ortaya çıkan ve 1960’ların sonunda başlayıp 1998’deki Belfast Anlaşması ile son bulan Kuzey İrlanda sorunu (“the Troubles”), 1995-2000 yıllarını kapsayan ve İrlanda’nın ekonomik bakımdan gelişmesi anlamına gelen Celtic Kaplanları döneminin bir özelliği olan ben-merkezcilik ve son olarak, şiddet sorunu, bu problemler arasında sayılabilir. Anglo-İrlandalı oyun yazarı Martin McDonagh, özellikle Leenane Üçlemesi’nde yer alan The Beauty Queen of Leenane (1996) ve A Skull in Connemara (1997) ve Aran Üçlemesi’nde bulunan The Lieutenant of Inishmore (2001) adlı oyunlarında, doksanlarda yaşanan şiddet sorununu vurgulayarak eleştirel ve grotesk biçimde bu problemlere değinmektedir. McDonagh, bu oyunlarda, bu yıllarda gözlemlenen şiddet sorununu yukarıda belirtilen sosyo- ekonomik, sosyo-politik, sosyo-kültürel ve psiko-sosyolojik problemlerin doğrudan sonucu olarak yansıtmaktadır. Her bölümde, farklı bir şiddet türü, farklı bir oyun doğrultusunda analiz edilmektedir. Birinci Bölüm’de, The Beauty Queen of Leenane, McDonagh’nın aile içi şiddet üzerine eleştirisi bakımından analiz edilmektedir. İkinci Bölüm’de, A Skull in Connemara, aile içi ve kurumsal şiddet üzerine eleştirisi doğrultusunda incelenmiştir. Son olarak, Üçüncü Bölüm’de, The Lieutenant of Inishmore, politik şiddet üzerine eleştirisi bakımından tartışılmaktadır. McDonagh’nın 1990’lar İrlandasında yaşanan farklı şiddet çeşitleri üzerine eleştirisi üzerinden şu sonuca varılabileceği tartışılmaktadır: McDonagh’nın eleştirisi sadece İrlanda veya İrlandalılarla ilgili değildir; aynı zamanda evrensel bir boyutu da vardır. McDonagh’nın, İrlanda’da geçen oyunlarında İrlanda’yı ve İrlandalıyı karikatürleştirdiğine dair v eleştirilerin aksine, bu çalışma, bu üç oyunu, McDonagh’nın 1990’lar boyunca İrlanda’da yaşanan “gerçek” şiddet olaylarını hicvetmesi ve “suratına tiyatro” özellikleriyle grotesgi eleştiri araçları olarak kullanması bakımından analiz etmeyi amaçlamaktadır. Anahtar Sözcükler: Martin McDonagh, The Beauty Queen of Leenane, A Skull in Connemara, The Lieutenant of Inishmore, aile içi şiddet, kurumsal şiddet, politik şiddet, şiddet hicvi, 1990’larda İrlanda, suratına tiyatro, grotesk, evrensel şiddet vi ABSTRACT YELMİŞ, İmren. Satiric Representations of Violence in Martin McDonagh’s The Beauty Queen of Leenane, A Skull in Connemara and The Lieutenant of Inishmore. PhD Dissertation, Ankara, 2014. The 1990s have been of utmost importance for Ireland and the Irish as this decade is characterised by a great diversity of problems: economic problems, unemployment and migration which came as a result of these problems, racial harassment experienced abroad, psychological problems, the Troubles whose serious impact was felt not only in Northern Ireland but also in the Republic of Ireland, which emerged as a consequence of the conflict between the Catholics and the Protestants because of the political status of Northern Ireland and which began at the end of the 1960s and ended in 1998 with Belfast Agreement; self-centredness emerging as a repercussion of the Celtic Tiger period which was witnessed between 1995 and 2000 and which means economic development in Ireland, and, lastly, the problem of violence. Martin McDonagh, an Anglo-Irish playwright, represents these problems emphasising the problem of violence encountered in this decade in a satirical but grotesque way particularly in his The Beauty Queen of Leenane (1996), A Skull in Connemara (1997), which are included in his Leenane Trilogy and The Lieutenant of Inishmore (2001), which is in his The Aran Trilogy. In these plays, McDonagh reflects the problem of violence observed throughout the decade as a direct consequence of the above-stated socio-economic, socio-political, socio-cultural and psycho-sociological problems. In each chapter a different kind of violence is analysed in relation to a different play. In Chapter I, The Beauty Queen of Leenane is analysed in terms of McDonagh’s satire on domestic violence. In Chapter II, A Skull in Connemara is examined in relation to his satire on domestic and institutional violence. Lastly, in Chapter III, The Lieutenant of Inishmore is discussed with regard to political violence. It is argued that McDonagh’s satire on different kinds of violence witnessed in Ireland in the 1990s relates not only to Ireland and the Irish but is also universal in scope. Contrary to the general argument that McDonagh caricaturises Ireland and the Irish, this dissertation aims at analysing these three plays with respect to vii McDonagh’s satire on “real” violence witnessed in Ireland throughout the 1990s, and to his use of in-yer-face theatre characteristics and the grotesque as means of his satire. Key Words: Martin McDonagh, The Beauty Queen of Leenane A Skull in Connemara, The Lieutenant of Inishmore, satire on violence, Ireland in the 1990s, in-yer-face theatre, the grotesque, universal violence viii TABLE OF CONTENTS KABUL VE ONAY…………………………………………………………………….i BİLDİRİM……………………………………………………………………………...ii ACKNOWLEDGEMENTS…………………………………………………………..iii ÖZET…………………………………………………………………………………...iv ABSTRACT……………………………………………………………………………vi TABLE OF CONTENTS…………………………………………………………….viii INTRODUCTION……………………………………………………………………...1 CHAPTER I: FAREWELL MOTHER, FAREWELL: DEBUNKING THE MOTHER MYTH THROUGH SATIRIC USE OF DOMESTIC VIOLENCE AS REFLECTED IN THE BEAUTY QUEEN OF LEENANE........................................26 CHAPTER II: “LET BYGONES BE BYGONES”: SATIRIC REFLECTIONS OF DOMESTIC AND INSTITUTIONAL VIOLENCE IN A SKULL IN CONNEMARA................................................................................................................49 CHAPTER III: TERROR “FOR ABSOLUTELY NOTHING”: SATIRE ON POLITICAL VIOLENCE IN THE LIEUTENANT OF INISHMORE.....................87 CONCLUSION………………………………………………………………………125 WORKS CITED……………………………………………………………………..138 1 INTRODUCTION “Is Irishness an integral part to the trilogy[ies], or is it merely the ‘icing on the cake?’ And, most importantly, what remains of McDonagh’s play[s] when most of the Irish features have been cut?” (Vandevelde 350) “If I was writing a book about Martin McDonagh,