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Literary and Cinematic Adaptations of Daniel Defoe's Robinson Crusoe

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Literary and Cinematic Adaptations of Daniel Defoe's Robinson Crusoe Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies Programme A BAKHTINIAN ANALYSIS OF ROBINSONADES: LITERARY AND CINEMATIC ADAPTATIONS OF DANIEL DEFOE’S ROBINSON CRUSOE Seda ÖZ Master’s Thesis Ankara, 2015 A BAKHTINIAN ANALYSIS OF ROBINSONADES: LITERARY AND CINEMATIC ADAPTATIONS OF DANIEL DEFOE’S ROBINSON CRUSOE Seda ÖZ Hacettepe University Graduate School of Social Sciences Department of English Language and Literature British Cultural Studies Programme Master’s Thesis Ankara, 2015 iii To my mother & father... iv ACKNOWLEDGEMENTS The expression of my gratitude to my advisor Assist. Prof. Dr. Sinan Akıllı cannot be accomplished through the abstract and alien space of words. Without him, it would be impossible for me to be who I am as a young scholar now. I feel lucky and privileged to have the chance of being his student. I would like to thank to him because of his academic guidance, hours of endless discussions, and most of all, because of his belief in me. My gratefulness must also be extended to Prof. Dr. Burçin Erol, the Department Chair, who dedicates her time to her students and to the Department and creates a harmonious environment for all of us. I am also thankful to Prof. Dr. Serpil Oppermann, Assoc. Prof. Dr. Aytül Özüm, and Assist. Prof. Dr. Alev Karaduman for their contribution as members of the Thesis Jury. I especially would like to thank Assist. Prof. Dr. Laurence Raw, who introduced to us the exciting field of Adaptation Studies, not only because of his significant contribution to the thesis but also for his constant encouragement and for the trust he placed in the future prospects of this study. Starting with Prof. Dr. Mehmet Emin Küçük, who has kindly created for me, whenever possible, spare time enough to complete my work, Assoc. Prof. Dr. Umut Al, Assoc. Prof. Dr. İrem Soydal and Assist. Prof. Dr. Gülten Alır, I cannot express my thankfulness to every single member of the Librar-e Turkey Project Team. I also would like to extend my thanks to my professors at İstanbul University Department of English Language and Literature who prepared me for this journey for four years. I do not think I can thank enough to my friend Hüseyin Can Akpınar or express his meaning for me. His encouragement and substantial support in my life for the last eight years cannot be exchanged with anything else. I would like to thank my friends Nihan Badem, Tuğba Tüysüz, and Gizem Örnek for being in my life, and standing there almost in every lucky and unlucky incident. I also would like to express my gratitude to Dr. Serhat Okar for the “exquisite” feeling of the exchange of minds and for all those times we spent in the library, around the PR section. His belief in me makes me believe in myself more and give me the motivation I need. I want to thank my friends in Hacettepe University Department of English Language and Literature. My road-mate Cemre Mimoza Bartu deserves more than what is written for her patience with me. She made me laugh whenever I needed and experienced almost every awkward situation during this journey. I also would like to thank Dr. Pınar Taşdelen, Selim Erdem, Özlem Özmen, and Zümre Gizem Yılmaz for their support and friendship. I hope I have been able to deserve the confidence and love that has been given me by my parents Hayriye and Mustafa Öz. I cannot thank them enough for their support and belief in me. The three of us, as a family, could not have been more supportive of one another in our entire life. I would also like to express my thankfulness to my cousin Damla Özakay and Aunt Mihriye Topçular for their endless moral support throughout the completion of this work. Last but not least, I want to thank my room-mate, my life company, precious Arthur who keeps me sane and stable. v ÖZET ÖZ, Seda. Robinsonadların Bakhtin’in Kuramsal Çerçevesi İçinde İncelenmesi: Daniel Defoe’nun Robinson Crusoe Romanının Edebi ve Sinematik Uyarlamaları, Yüksek Lisans Tezi, Ankara, 2015. Daniel Defoe’nun 1719 tarihli romanı Robinson Crusoe’nun yayımlanmasının hemen ardından başlayarak, bu ünlü macera hikayesinin “Robinsonadlar” olarak tabir edilen bir çok edebi ve sinematik uyarlamaları yapılagelmiştir. Robinson Crusoe hikayesinin Mikhail Bakhtin’in “macera kronotopu” olarak isimlendirdiği yapının bir fonksiyonu olan esnek yapısı sebebiyle, Defoe’nun romanının farklı tarihsel, kültürel, sosyal ve ideolojik bağlamlarda, “hakim” ve/veya “ortaya çıkmakta olan” “duygu yapıları”nın yansıtılabildiği bir çok medyalararası ve medyaiçi uyarlamaları üretilmiştir. Dolayısıyla, bu çeşitli uyarlamaların bir sonucu olan ve Robisonad olarak tabir edilen eserlerin bütününe bakıldığında, birçok farklı ve karşıt fikirlerin bir arada bulunduğu çoksesli bir yapıyı gözlemlemek mümkündür. Bu tez, öne sürdüğü tartışmayı Robinson Crusoe hikayesinin bir medyaiçi (Elizabeth Whittaker’ın “Robina Crusoe and Her Lonely Island Home” adlı eseri) ve bir medyalararası (1997 yapımı Robinson Crusoe başlıklı film) uyarlaması bağlamında örnekleyerek, Defoe’nun Robinson Crusoe romanının uyarlanabilirliği konusundaki incelemelere katkı sağlamaktadır. Giriş bölümünde, macera yazını türü üzerine kısa bir açıklamanın ardından, Raymond Williams’ın “duygu yapıları” modeli Robinson Crusoe hikayesi ve Robinsonad geleneğiyle bağlantılı olarak tanıtılmakta ve Bakhtin’in “kronotop,” “macera kronotopu” ve “çokseslilik” kavramları ile bu tezde ele alınan uyarlamaların incelenmesinde kullanılan metodolojik yaklaşımın ana hatları anlatılmaktadır. Birinci bölümde, Elizabeth Whittaker’ın “Robina Crusoe and Her Lonely Island Home” adlı eseri üzerinden dönemin geleneksel kadın figürünün temsiline ek olarak, İmparatorluk ve kadın arasındaki değişerek gelişen ilişki ve bu değişimin sonucunda yine aynı dönemde ortaya çıkan Yeni Kadın figürünün nasıl sesini duyurmaya başladığı anlatılmaktadır. Ayrıca, bu durumun, metnin çağdaş okuyucu kitlesinin ilgi duyduğu belirli tema ve gerilimlere atıfta bulunabilme ve Geç Viktorya Çağı İngilteresindeki “hakim” ve/veya “ortaya çıkmakta olan” “duygu yapıları”nı yansıtabilme yeteneğine nasıl işaret ettiği tartışılmaktadır. Benzer bir yöntem kullanılarak, ikinci bölümde, medyalararası bir uyarlama olan ve sömürgecilik dönemi sonrası çokkültürlülük olgusu üzerine hem “hakim” hem de “ortaya çıkmakta olan” söylemleri yansıtan Robinson Crusoe adlı filmden seçilen sahnelerin incelenmesi yoluyla, Robinson Crusoe hikayesinin söylemsel ve ideolojik esnekliği örneklendirilmektedir. Ayrıca, genel bağlamda Robinsonadların bütününe atfedilen çokseslilik özelliğinin, bu metinler bütünü içerisinde başlı başına bir eser olan Robinson Crusoe adlı filmde de gözlemlenebildiği, metinden örnekler verilerek tartışılmaktadır. Sonuç bölümünde, Robinson Crusoe hikayesinin esnekliğinin ve heterojenliğinin, bu hikaye yapısının Bakhtin’in “macera kronotopu” adını verdiği “edebi kronotop”a ve içerisinde farklı ideolojik söylemlerin yansıtılabildiği “çokseslilik” kavramına uyması ile açıklanabileceği sonucuna varılmaktadır. Anahtar Sözcükler: Uyarlama Çalışmaları, Robinsonadlar, Daniel Defoe, Robinson Crusoe, Mikhail Bakhtin, Macera Kronotopu, Çokseslilik, Girl’s Own Paper. vi ABSTRACT ÖZ, Seda. A Bakhtinian Analysis of Robinsonades: Literary and Cinematic Adaptations of Daniel Defoe’s Robinson Crusoe, Master’s Thesis. Ankara, 2015. Since soon after the publication of Daniel Defoe’s 1719 novel Robinson Crusoe, there have been many different cinematic and literary adaptations of this famous adventure story, which are collectively known as “Robinsonades.” Due to the plastic nature of the Robinson Crusoe story, which is a function of what Mikhail Bakhtin defines as the “adventure chronotope,” there are many intra-medial and inter-medial adaptations of Defoe’s novel in different historical, cultural, social and ideological contexts in which the “dominant” and/or “emergent” “structures of feeling” are represented. Thus, as an outcome of all these various adaptations, it is possible to observe a polyphonic voice in the entirety of the Robinsonades, in which many contradictory ideas and voices are highlighted. This thesis furthers the exploration of the adaptability of Defoe’s Robinson Crusoe by illustrating the central argument with reference to an intra-medial (Elizabeth Whittaker’s “Robina Crusoe and Her Lonely Island Home”) and one inter-medial adaptation (Robinson Crusoe, 1997) of the Robinson Crusoe story. In the introduction part of the thesis, following a brief account of the adventure genre, Raymond Williams’s “structures of feeling” model is introduced with reference to the Robinson Crusoe story and the Robinsonade tradition. Then, Bakhtin’s ideas on “chronotope,” “adventure time,” and “polyphony” and the main methodological approach that is used in analysing these adaptations are explained. In the first chapter, Elizabeth Whittaker’s serialised fiction “Robina Crusoe and Her Lonely Island Home” is dealt with to argue that Whittaker’s “Robina” not only exemplifies the conventional woman character of the period, but also articulates and highlights the changing relationships between the Empire and the woman, and, in turn, gives voice to the New Woman in this same period, showing the text’s ability to address certain themes and tensions which were relevant for its particular reading audience and which represented the “dominant” and/or “emergent” “structures of feeling” in late Victorian Britain. The same method is also used in the second chapter while illustrating the discursive and ideological plasticity
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