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From Mary Sue to Mary Magdalene: First-Person Narration in Female Drag

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From Mary Sue to Mary Magdalene: First-Person Narration in Female Drag IBN HALDUN UNIVERSITY ALLIANCE OF CIVILIZATIONS INSTITUTE DEPARTMENT OF CIVILIZATION STUDIES MASTER‟S THESIS FROM MARY SUE TO MARY MAGDALENE: FIRST-PERSON NARRATION IN FEMALE DRAG NATASHA CHEVIK JUNE 2018 ONAY SAYFASI Bu tez tarafımızca okunmuĢ olup kapsam ve nitelik açısından, Medeniyet AraĢtırmaları alanında Yüksek Lisans Derecesini alabilmek için yeterli olduğuna karar verilmiĢtir. Tez Jürisi Üyeleri: KANAATĠ ĠMZA Dr. Öğr. Üyesi Nagihan HALĠLOĞLU (Tez DanıĢmanı) Dr. Öğr. Üyesi Önder KÜÇÜKURAL Dr. Öğr. Üyesi Özlem KARADAĞ Bu tezin Ġbn Haldun Üniversitesi Medeniyetler Ġttifakı Enstitüsü tarafından konulan tüm standartlara uygun Ģekilde yazıldığı teyit edilmiĢtir. Tarih Mühür/Ġmza 13.06.2018. Ibn Haldun University Alliance of Civilizations Institute DECLARATION I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Natasha Chevik Ibn Haldun University Alliance of Civilizations Institute ABSTRACT FROM MARY SUE TO MARY MAGDALENE: FIRST-PERSON NARRATION IN FEMALE DRAG Chevik, Natasha MA in Civilization Studies Thesis Supervisor: Asst. Prof. Nagihan Haliloğlu June 2018, 123 pages This thesis analyzes two bildungsromans – ReĢat Nuri Güntekin's Autobiography of a Turkish Girl and Alberto Moravia's Woman of Rome (both written by male authors, but narrated by female protagonists from a first-person perspective) – through the prism of a Japanese drag performance style josō buntai, the Madonna/whore dichotomy embodied in the two protagonists, and a transcivilizational emphasis on the construction of femininities in two different post-WWI nation-building settings (Atatürk's Turkey and Mussolini's Italy). Keywords: transvestite ventriloquism; male gaze; gender studies; Madonna/whore dichotomy; ReĢat Nuri Güntekin; Alberto Moravia. iv Ibn Haldun University Alliance of Civilizations Institute ÖZ MARY SUE‟DAN MECDELLĠ MERYEM‟E: BĠRĠNCĠ ġAHIS ANLATIMINDA KADIN TAKLĠDĠ Chevik, Natasha Medeniyet AraĢtırmaları Yüksek Lisans Programı Tez DanıĢmanı: Dr. Öğr. Üyesi Nagihan Haliloğlu Haziran 2018, 123 sayfa Bu çalıĢmada, her ikisi de erkek yazarlar tarafından birinci tekil kiĢi bakıĢ açısıyla bir kadının ağzından yazılmıĢ geliĢim romanı örnekleri olan ReĢat Nuri Güntekin‟in Çalıkuşu romanı ile Alberto Moravia‟nın Romalı Kadın, Japon drag performansı (josō buntai) stili açısından, iki romanın baĢkahramanına da biçilen Bakire Meryem/fahiĢe kompleksi karĢılaĢtırmalı olarak ele alınacaktır. Buna ek olarak, “kadınlık” algılarının iki farklı I. Dünya SavaĢı sonrası ulus devletinde (Atatürk‟ün Türkiye‟si ve Mussolini‟nin Ġtalya‟sı) nasıl kurulduğu ve anlaĢıldığı medeniyetlerüstülük vurgusu ile ele alınacaktır. Anahtar Kelimeler: kadın ağzından erkek yazını; erkek bakıĢı; cinsiyet çalıĢmaları; Bakire Meryem/fahiĢe kompleksi; ReĢat Nuri Güntekin; Alberto Moravia. v Ibn Haldun University Alliance of Civilizations Institute DEDICATION To Ariel Melisa, my newly found and infinite source of strength and inspiration. vi Ibn Haldun University Alliance of Civilizations Institute CONTENTS ABSTRACT ...................................................................................................................... iv ÖZ………………………………………………………………………………………...v DEDICATION …………………………………………...……………………………..vi CONTENTS ..................................................................................................................... vii INTRODUCTION ............................................................................................................. 1 1. ASPECTS OF TRANSVESTITE VENTRILOQUISM ................................................ 7 1.1. Origin of Drag ......................................................................................................... 9 1.2. Josō Buntai ............................................................................................................ 11 1.2.1. Female Characters as Simulacra ..................................................................... 13 1.3. Male Orgastic Patterns of Narratives vs. Écriture Feminine ................................ 14 1.3.1. Sentimentality in Good-Cry Novels ............................................................... 18 1.4. Pen as a Metaphorical Penis and Female Anxiety of Authorship ......................... 19 1.4.1. Female to Male is like Nature to Culture, or Civilization to Culture ............. 22 1.5. Characters in Drag and the Phallic Woman .......................................................... 23 2. KUNDERA‟S TYPOLOGY ........................................................................................ 26 2.1. Machos-Poets vs. Misogynists-Gynophobes ......................................................... 26 2.1.1. Christian Tradition (and Orientalism): Female Love is Self-Sacrifice........... 27 2.1.2. Islamicate Tradition: Female Beauty is Obedience, Silence, Immobility ...... 28 2.2. Lyrical-Romantic vs. Epic-Libertine Ventriloquist............................................... 30 2.3. Male Gaze and Castration Anxiety ....................................................................... 31 2.3.1. Nude vs. Naked: Voyeur vs. Lover ................................................................ 34 2.3.2. The Man Rapes, the Woman Castrates (the Female Gaze) ............................ 35 3. GENEALOGY OF THE MADONNA/WHORE DICHOTOMY ............................... 40 3.1. Mother vs. Prostitute ............................................................................................. 41 3.2. Angel vs. Monster ................................................................................................. 46 3.2.1. Angel of Death ............................................................................................... 48 3.3. Princess vs. Wicked Witch .................................................................................... 52 3.3.1. Snow White vs. Evil Queen ............................................................................ 53 3.4. Mary vs. Eve and Cuckold Anxiety ...................................................................... 60 vii Ibn Haldun University Alliance of Civilizations Institute 3.4.1. Lilith ............................................................................................................... 64 3.5. Woman as Fitna .................................................................................................... 66 4. OTHER FEMALE ARCHETYPES ............................................................................. 68 4.1. Apollonian vs. Dionysian ...................................................................................... 68 4.2. Feride from The Autobiography of a Turkish Girl ................................................ 69 4.2.1. Artemis ........................................................................................................... 69 4.2.2. Aisyt ............................................................................................................... 70 4.2.3. Shahmaran ...................................................................................................... 72 4.2.4. „Aishah ........................................................................................................... 73 4.2.5. Virgin Mary .................................................................................................... 74 4.2.6. Peter Pan ......................................................................................................... 74 4.3. Adriana from The Woman of Rome ....................................................................... 76 4.3.1. Danaë .............................................................................................................. 79 4.3.1.1. Virgin Mary ............................................................................................. 80 4.3.2. Juno ................................................................................................................. 81 4.3.3. Mary Magdalene ............................................................................................. 82 4.3.4. Meretrix .......................................................................................................... 83 4.3.5. Little Mermaid ................................................................................................ 84 5. HISTORICAL REALITIES BEHIND THE TWO NOVELS ..................................... 86 5.1. Implied Author ...................................................................................................... 86 5.2. Atatürk‟s Turkey: the Kemalist Woman ............................................................... 90 5.3. Mussolini‟s Italy: the Fascist Woman ................................................................... 98 6. FORM AND POPULARITY ..................................................................................... 106 6.1. Stories‟ Emotional Arcs ...................................................................................... 106 6.2. Diary Format Facilitating Transvestite Ventriloquism ...................................... 107 CONCLUSION .............................................................................................................. 111 BIBLIOGRAPHY ......................................................................................................... 115 CURRICULUM VITAE ...............................................................................................
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