Motherhood as institution and experience in Caryl Churchill`s plays Owners, Vinegar Tom, Cloud Nine, Top girls

Abstract

öz Bu tezde, Caryl Churchill'in Owners, Vinegar Tom, Cloud Nine ve Top Girls adlı oyunlarında kurum ve deneyim olarak `annelik` ele alınmıştır. Ataerkil ideolojinin özne kurma biçimleri incelenmiş, ve ataerkil söylemlerin ilettiği mutlak gerçekliğin kadınlara özne konumunu yasakladığı görülmüştür. Ataerkil temsiliyet düzlemlerinde kadınların indirgendiği nesne konumunun incelenmesi üzerine, kadınları ataerkil ideolojinin süreçlerine maruz bırakan unsurun, bu ideolojinin sunduğu kuşatmacı dil olduğu görülmüş, ve bu dilin içinde barındırdığı mutlak gerçeklik vasıtasıyla kadınların hem bedenlerinin, hem de doğurganlık potansiyellerinin kontrol edildiği saptanmıştır. Annelik deneyiminin kurumsallaştınlmasının, kadınların ataerkil düzenin tasarrufu altında tutmak sürecindeki temel unsur olduğu anlaşılmıştır. Bu bağlamda, incelenen oyunlardaki kadın karakterlerin ataerkil söylemlerle kuşatılmaları ile ne bedenleri, ne de doğurganlık potansiyelleri üzerinde söz sahibi olabilmeleri arasındaki ilişki 1. Owners, 2. Vinegar Tom, 3. Cloud Nine ve 4. Top Girls bölümlerinde tartışılmıştır. ABSTRACT In this thesis, `motherhood` as an institution and experience is studied in four plays by Caryl Churchill, namely Owners, Vinegar Tom, Cloud Nine and Top Girls. First, patriarchal ideology's modes of subject construction is discussed, and it is argued that the `truth` conveyed by its discourses denies subjectivity to female subjects and defines them as `objects`. The object position they are given in patriarchal ideology's realms of representation is analysed, and it is found out that the language they are given to `speak` renders them vulnerable to the patriarchal processes that control not only their bodies, but their procreative potentials. Finally, it is argued that the establishment of institutionalized motherhood ensures female subjects' economization under the patriarchal authority. In this context, the link between female characters' encapsulation within the patriarchal discourses and their inability to claim authority on their bodies and their procreative potentials is foregrounded in 1. Owners, 2. Vinegar Tom, 3. Cloud Nine, and 4. Top Girls. m

PREFACE I was experiencing an overwhelming predicament in coming to terms with my identity as a `woman` when I started reading Caryl Churchill's plays. As I read her plays, I was astounded at her competence in proposing answers to the very questions I asked myself in resolving this predicament. In seeing her careful analysis of the patriarchal processes which render subject position unattainable to female subjects and economize their bodies, I eventually decided to study her plays in my thesis. In this context, I would like to thank my supervisor Özden Sözalan for introducing Caryl Churchill to me, and would like to emphasize the fact that my strenuous efforts in writing this thesis would have remained futile without her adorable guidance, patience and understanding. I am grateful to Güven Şener, whose experience as an academic has contributed a lot to the writing of this thesis. I owe a lot to Emre Erbatur, who has enlightened me with his brainstormings. Finally, because this thesis stole much of her time and energy, I would like to thank my mother, Fatiş Güner, with all my heart. She had to live with a capricious daughter and had to endure the nicotine smell abounding in our house. This thesis is dedicated to her, with love and respect. IV