“Geçici Kadın” Olarak Siyah Kadın: Maya Angelou’nun Kafesteki Kuşun Neden Şarkı Söylediğini Biliyorum Adlı Eserinin Anzalduan ve Bhabhaian’cı Çerçevede Öznellik İnşası
DOI:
https://doi.org/10.33831/jws.v26i1.529Anahtar Kelimeler:
Öznellik- Geçici Kadın- Lynette Myles- Bilinç- Üçüncü MekânÖz
Lynnette D. Myles, Afro-Amerikan Kadınların Köleleştirme Anlatılarında Kadın Öznelliği (2009) adlı eserinde, siyah kadın öznelliğini karşıt görüş ve kimliklerde değişiklik yaratan öznelerarası bir eylem olarak görüyor ve onu “Geçici Kadın” olarak tanımlıyor. Geçici Kadın, 'Ötekilik'in çeşitli biçimlerini parçalayan öznelliğe doğru 'ara' yerlerde 'ileri geri', 'içeri ve dışarı' hareket eden akışkan bir bilinçtir. Daha ziyade kapalı uçlu bir örnektir. Siyah kadının, kültürel hayal gücünde ve metinsel sunumda yaygın olan siyah kadınlığa dair cinsiyetsiz ya da ahlaksız, şeytani, inatçı, nefret dolu, bağımlı ve başkaları için yaşayan basmakalıp imgelere karşılık verdiği yeni bir bilincin başlangıcı. Anzaldua'nın "Yeni Mestiza" bilincini ve Bhabha'nın "Üçüncü Mekânı"nı kullanan Myles, Geçici Kadın'ın siyah kadınları "bilinçsiz nesnelerden hegemonik toplumdaki kasıtlı güçlere" dönüştürme yeteneğine sahip yeni bir bilinç olduğunu ileri sürüyor. Bu makale, Maya Angelou'nun Kafesteki Kuşun Neden Şarkı SöylediğiniBiliyorum (1969) adlı eserinde Angelou'nun benlik bilincini, bilinçdışından başlayıp yeni bir özerklik bilincine ulaşan gelişim aşamaları boyunca kendini gerçekleştirme yolculuğu olarak dile getirdiğini, Üçüncü Uzay'daki kimliklerin zorluklarını benimseyerek ve dinamik bir öznellik biçimi ortaya koyarak otobiyografik Maya'nın "Geçici Kadın" olarak ortaya çıktığını savunmaktadır.
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