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Sevinç Çokum’un 2000’de yayımlanan Deli Zamanlar romanı, 27 Mayıs sonrası toplumsal hayatı okura sunarken, modern olanın eril hegemonya ve gelenekle ilişkisi, kadın iradesinin ve özgürlüklerinin sınırları gibi konular yeni bir bakış açısıyla değerlendirilir. Romanın anlatıcısı ve ana karakteri konumundaki üniversiteli genç kızın gözünden aktarılan olaylar, hem kendisinin hem de çok sevdiği arkadaşı Aypare’nin yaşam öyküsü üzerine odaklanır. Romanda hayatlarını kendi iradeleri etrafında yaşama gayreti gösteren, eğitimli ve partili kadın tipinin temsili olan anlatıcı/ana karakter ile Aypare, hem toplum hem de kendi hayatları ekseninde yaşadıkları çetin ve travmatik deneyimleri ile okura yeni kadın bilincinin yollarını açar. Bu bilinç, eskiyle bağını koparmakta zorlanan ve kadını eşikte yaşamaya âdeta tutsak eden ikircikli bir yaşam alanıdır. Bu ikilemli varoluş okura sunulurken yeni kadının güç aldığı eskinin dayanıklı kadın portreleri ve hikâyeleri ihmal edilmez. Ayrıca değişimin vitrininde kalan modern koketlerin ve kadını kıskaç altına alarak onu kendi nesnesi haline getirmeye çalışan hegemonik erkekliğin de eleştirisi yapılır. Böylece romanda anlatıcının hem arzuladığı hem de içten içe endişe duyduğu değişim fikri, pek çok açıdan okura sunulmuş olur. Çalışmada daha özgür ve iradeli yeni kadının resmi çizilmeye çalışılırken değişme gayretlerini sekteye uğratan kültürel bilinçaltının toplumsal ve cinsiyetçi dayanak noktaları tespit edilecektir. Bu bilincin hegemonik erkeklikle ve kültürel hafızayla olan ilişkisi açıklanmaya çalışılacak, geleneksel cinsiyet rollerinin bireyler tarafından kanıksanmış halleri romanın kurgusu etrafında yeniden tartışmaya açılacaktır.
The 2000 novel The Crazy Times of Joyce Chukum presents the social life after May 27 to the reader, while the issues such as the relationship of the modern to the eril hegemony and tradition, the boundaries of women’s will and freedoms are evaluated with a new perspective. The events transmitted from the eyes of the university young girl in the novel's narrative and main character's position focus on the life story of both herself and her very loved friend Aypare. With the narrative/mother character Aypare, who is a representative of the educated and party-based female type, who tries to live their lives around their own wills, the hard and traumatic experiences they live in both the society and their own life axis, opens the ways of the new female consciousness to read. This consciousness is a two-cylindrical area of life that is difficult to break its connection with the old and that holds the woman in prison to live in the edge. This dual existence is presented to the reader while the resilience of the old woman portraits and stories that the new woman has gained power are not overlooked. There is also a criticism of the modern cocktails left in the exhibition of change and the hegemonic masculinity that tries to make her own object by taking the woman under the shell. Thus, the idea of change in the novel that the reader both desires and deeply concerns, is presented to the reader in many ways. The study will try to draw the image of a more free and willful new woman while the social and gender basis points of cultural subconsciousness that will be subjected to change efforts will be identified. The relationship of this consciousness with hegemonic masculinity and cultural memory will be attempted to be explained, and the status of traditional gender roles proven by individuals will be reopened to the discussion around the fiction of the novel.
Sevinç Çokum’s novel Deli Zamanlar, was published in 2000. While picturing social after ‘May the 27th, it evaluates concepts like the relationship of the modern with masculine domination and traditions and limits of the woman’s will and freedom. Events are conveyed through the narrator and the main character, who is a young, female university student are focused on her own and her best friend Aypare’s life. In the novel, the narrator and Aypare represent well-educated, party member characters who try to live their lifes on their own will. Around the axis of difficult and traumatic experiences of them and the society they make inroads into the consciousness of the new woman type. This consciousness is an ambivalent living quarter, which forces traditional women to remain in limbo, who slog on breaking with the past. While this hesitant existence is presented to the reader, portaraits and stories of robust women of the past, from whom the new woman take stregth are not neglected either. Moreover, the modern cocotte, which remaine in the shop window of evolution and masculine domination who grabs women by the throat and tries to make them object to men are criticised, as well. Thus, the idea of changing, which the narrator both desires and fears from is conveyed to the reader on several aspects. In the study, more independent and strong-willed women will be tried to be depicted and social and sexist references of cultural subconscious, which disrupts endeavour for changing will be tried to be established. The relationship of this consciousness with hegemonic masculinity and cultural retention will be tried to be explained and inured states of traditional gender roles will be discussed within the framework of the novel’s fiction.
Journal Type : Uluslararası
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