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A Stylistic Analysis of Ekphrastic Poetry in English

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A Stylistic Analysis of Ekphrastic Poetry in English T.C ANKARA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ BATI DİLLERİ VE EDEBİYATLARI İNGİLİZ DİLİ VE EDEBİYATI A STYLISTIC ANALYSIS OF EKPHRASTIC POETRY IN ENGLISH PhD Dissertation Berkan ULU Ankara-2010 T.C ANKARA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ BATI DİLLERİ VE EDEBİYATLARI İNGİLİZ DİLİ VE EDEBİYATI A STYLISTIC ANALYSIS OF EKPHRASTIC POETRY IN ENGLISH PhD Dissertation Berkan ULU Advisor Asst.Prof.Dr.Nazan TUTAŞ Ankara-2010 T.C ANKARA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ BATI DİLLERİ VE EDEBİYATLARI İNGİLİZ DİLİ VE EDEBİYATI A STYLISTIC ANALYSIS OF EKPHRASTIC POETRY IN ENGLISH PhD Dissertation Advisor : Asst. Prof. Dr. Nazan TUTAŞ Members of the PhD Committee Name and Surname Signature Prof. Dr. Belgin ELBİR ........................................ Prof. Dr. Ufuk Ege UYGUR ........................................ Assoc. Prof. Dr. Lerzan GÜLTEKİN ........................................ Asst. Prof. Dr. Nazan TUTAŞ (Advisor) ......................................... Asst. Prof. Dr. Trevor HOPE ......................................... Date .................................. TÜRKİYE CUMHURİYETİ ANKARA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ MÜDÜRLÜĞÜNE Bu belge ile, bu tezdeki bütün bilgilerin akademik kurallara ve etik davranış ilkelerine uygun olarak toplanıp sunulduğunu beyan ederim. Bu kural ve ilkelerin gereği olarak, çalışmada bana ait olmayan tüm veri, düşünce ve sonuçları andığımı ve kaynağını gösterdiğimi ayrıca beyan ederim.(……/……/200…) …………………………………… Berkan ULU ABSTRACT “A Stylistic Anlaysis of Ekphrastic Poetry in English” covers ekphrasis in English from its early beginnings in the antiquity to the present in order to find out about literary and stylistic characteristics of this thousand-year-old tradition through stylistic analyses. Because there are only a few detailed studies on the development of ekphrasis as a literary device, the study also offers new terminology and classifications when needed. In order to discover the relationship between the visual and the verbal, the study first introduces a brief history of ekphrasis in the Introduction followed by an in-depth critical and philosophical survey of the tradition that will be dealt with in Chapter I. In this section, concepts like meditative ekphrasis, imitative ekphrasis, dead ekphrasis, paragonal relationship, ergon, parergon, and deparagonal relationship have been introduced and explained and these key points have been exemplified and referred to in the following sections. The study also suggests essential points about the definition and etymology of the word ekphrasis and explicates some new conceptual points before moving on to theoretical assumptions. Chapter I, which focuses on the theoretical background of the tradition, puts forward a historical categorisation based on the essential turning points the ekphrasis tradition has undergone and concludes that there are three ekphrastic phases. Beginning from Chapter II, each chapter deals with these ekphrastic phases with reference to the most representative examples of ekphrastic poetry from iv Homer’s description of the Shield of Achilles to Ben Jonson’s “The Mind of the Frontispiece to a Book,” and from Wordsworth’s “Peele Castle” to W.H. Auden’s “Museé des Beaux Arts.” Each chapter begins and ends with an overall analysis of the tradition in that particular phase while Conclusion chapter covers the results of applied stylistic analyses as well as the general characteristics of ekphrasis as a literary phenomenon. Consequently, through stylistic analysis and critical appreciation of representative ekphrastic poems in English, this study aims to re-visit ekphrasis within modern theoretical norms and concludes that ekphrasis, which has experienced various literary, intellectual, philosophical, artistic, and most essentially paragonal shifts, is a well-established and invaluable literary device for poets of all ages. v ÖZET “İngiliz Dili’ndeki Ekfrastik Şiirin Biçembilimsel Bir İncelemesi” şeklinde Türkçeleştirilebilecek bu çalışma İngilizce yazılmış veya İngilizce’ye çevrilmiş ekfrastik şiirlerin Biçembilimsel incelemesini yaparak bin yılı aşkın süredir devam etmekte olan ekfrasis1 geleneğini inceleyerek, bu geleneğin temel özelliklerini ortaya çıkartmayı amaçlamaktadır. Giriş bölümünde ekfrasisin tarihi gelişimi kısaca aktarılmış daha sonra da bu terimin tanımlanmasına ilişkin sorunlara ve önerilere yer verilmiş ve sonuç olarak daha kapsamlı bir tanım önerilmiştir. Bu bölümde ayrıca “ekphrasis” kelimesinin etimolojik kökeni, kullanım rahatlığı ve terminolojik gerekliliği göz önünde bulundurularak, bu alanda yapılan çalışmalarda kullanılmak üzere henüz İngilizce’de bulunmayan “ekphrasize” fiili önerilmiş, örneklenmiş ve tanıtılmıştır. Çalışmanın Birinci Bölümü daha çok ekfrasis geleneği hakkında yapılmış felsefi, eleştirel ve edebi tartışmalara yer vermiştir. Antik Çağ, Rönesans ve sonrası, ve modern dönemlerde yapılan teorik çalışmalar açıklandıktan sonra, bu çalışmalar ışığında ve modern şiir normları çerçevesinde geliştirilmiş meditative ekphrasis (esinci ekfrasis), mimetic ekphrasis (taklitçi ekfrasis), dead ekphrasis (ölü ekfrasis), paragonal ve deparagonal ilişki, ergon ve parergon gibi edebi ve teorik teoremler öne sürülmüş, tartışılmış ve ileriki bölümlerde de örneklenmiştir. 1 Her ne kadar değerli hocamız Yrd. Doç. Özlem Uzundemir İmgeyi Konuşturmak başlıklı kitabında ekphrasis terimini oldukça başarılı bir fonolojik etki yakalayarak resimbetim olarak Türkçeleştirmeye çalışmışsa da, bu çalışmanın teorik bölümlerinde de tartışıldığı gibi, ekfrasis sadece “resim” sanatını betimlemediğinden, Özet bölümünde, ekphrasis terimi, “ekfrasis” şeklinde, Türkçe yazılışıyla kullanılacak ve Latince, Fransızca, ve İtalyanca’dan geçmiş bir çok edebi terim gibi aslına bağlı kalınarak kullanılacaktır. vi Ekfrasisin tarihi ve edebi gelişimi göz önünde bulundurularak, bu eski edebi terim için üç ana tarihsel dönem önerilmiş ve İkinci Bölüm’den başlamak üzere bu dönemler örneklerle detaylı bir biçimde incelenip analiz edilmiştir. Homeros’un Aşil’in Kalkanı betimlemesinden, W.H.Auden’ın “Museé des Beaux Arts” adlı şiirine, farklı dönemlerden seçilmiş birçok ekfrastik şiir Biçembilimsel yöntemlerle incelenmiştir. Çalışmanın teorik altyapısının açıklandığı bölümlerde belirtildiği gibi Biçembilimsel inceleme yapısı gereği çok detaylı olduğu ve uzun sürebildiği için, önceleme (foregrounding), parallel yapılar (parallelism) ve sapma (deviation) gibi Biçembilim’in şiir incelemesinde kullanılabilecek önemli özelliklerine ve kavramlarına yoğunlaşılmıştır. Bu bağlamda incelemeler sırasında özellikle resim ve şiir arasındaki yapısal parallellikler, kelime bilimsel ve cümle bilimsel açılardan öncelenmiş kelime ve yapılar, noktalama ve yazım üslubundaki farklılıklar incelenmiş ve ekfrasisin tarihi boyunca çeşitli değişiklikler geçirerek üç ana dönemden geçmiş olduğu kanıtlanmaya çalışılmıştır. Biçembilimsel analizin yanında tarihi ve edebi gelişmeler de göz önünde bulundurularak şiirler ve dönemler birbirleriyle eşleştirilerek, bu köklü geleneğin temel özellikleri, şiirsel etkisi ve paragonal eğilimleri incelenmiştir. Sonuç olarak ekfrasisin Antik çağlardan günümüze kadar çeşitli gelişmeler ve değişiklikler gösterdiği ve bu bulguların hem ekfrasis kavramı hem de şiir tarihi hakkında önemli ipuçları verdiği kanısına varılmıştır. vii ACKNOWLEDGEMENTS If I could paint a picture of those without whose contributions this work would not have been possible, I would need to paint a crowded Brueghel-like painting and that painting would not be complete without a smiling image of my advisor, Asst. Prof. Dr. Nazan Tutaş. I am grateful for her support, patience, understanding, and above all, kind-heartedness. I would draw Prof. Dr. Belgin Elbir, as a motherly figure cherishing the young, and Asst. Prof. Dr. Trevor Hope, as a figure in contemplation sitting by a river. Without their help, God knows where this work would have led. I would draw the committee members, Prof. Dr. Sema Ege, Assoc. Prof. Dr. Lerzan Gültekin, and Prof. Dr. Ufuk Ege Uygur, around a long wooden table talking about something important. I thank them all for their understanding and kind suggestions. Then I would paint Asst. Prof. Dr. Mustafa Şahiner (with a torch in his hand) along with my friends and colleagues at DTCF (Dr. Fahri Öz, Asst. Prof. Dr. Sıla Şenlen, and all) as figures holding out a basket full of cigarettes, coffee beans, and candies. My friend Taner Can would occupy a great space and I would draw him as a strong man riding a chariot, probably running away from me. He has been kind (and patient) enough to listen to my grumbles and lengthy speeches. I owe him so much. My family (Ergün Güzel, Ayşe Güzel, Bülent Sait Ulu, Mükerrem Ulu, Gürkan Ulu, Bilkan Ulu, Erbil Güzel, Ümit Güzel, Elif Güzel, Erdem Güzel, and all other members of the Güzels and the Ulus) would be drawn as birds building a huge nest. I viii thank them all for evethything they have provided for me and they all deserve a big hug. However the central figures of the painting would be my wife, Çiğdem, and my daughter, Dora. I would draw them as rain clouds – they know I hate sunshine. They pour rain; water feeds the ground; and the earth smells good. They give life and meaning to everything I do. I do not need to paint myself in the picture for they stand for everything I am – for we are one and the picture is complete. ix TABLE of CONTENTS Cover Pages ….………... Cover Pages PhD Committee Page ….………... i Dilekçe ….………... ii Abstract ….………... iii Özet ….………... v Acknowledgements ….………..
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