DICKENSIAN CONCEPT OF ANDROGYNY: GENDER RELATIONS IN DAVID COPPERFIELD

Yıl 2021, Cilt: 5 Sayı: 9, 329 - 347, 17.12.2021

Nazan Yıldız

https://doi.org/10.53791/imgelem.982785

Öz

Dickens wrote in times when women were officially possessions of their husbands, fathers or of any male who was acknowledged as the head of the family. Families forbade their girls to read novels whose heroines were contentious such as Anne Brontë’s The Tenant of Wildfell Hall and Charlotte Brontë’s Jane Eyre. Although Dickens is widely attacked for his feeble female characters in line with the angel in the house doctrine, according to his great granddaughter Lucinda Dickens Hawskley, he is the fruit of the able women in his life aside from the Victorian ideals. Elizabeth Dickens, his paternal grandmother, was a housekeeper who inspired him with her kind nature and storytelling. It was his mother, Elizabeth Barrow, who taught him mathematics, literacy and Latin. According to Dickens, to be a complete human being, the masculine sides of men should be harmonized with the feminine traits of women. Similar to the influential women in his life, Dickens’ weak, angelic female characters are, at the same time, the women who complete a lack in men and enable them to become ideal human beings via their feminine characteristics. In this respect, a new type of androgyny, which the paper names as the Dickensian androgyny, might be observed in Dickens’ male characters. Accordingly, this paper aims to dwell on Dickens’ concept of androgyny to grow into a complete human being through the harmony of male and female characteristics as mirrored in his character David in David Copperfield.  

Anahtar Kelimeler

Charls Dickens, David Capirfield, Androgyny, Gender Relations

DICKENS’IN ANDROJENLİK KAVRAMI: DAVID COPPERFIELD’DA TOPLUMSAL CİNSİYET İLİŞKİLERİ

Öz

Dickens wrote in times when women were officially possessions of their husbands, fathers or of any male who was acknowledged as the head of the family. Families forbade their girls from reading novels whose heroines were contentious such as Anne Brontë’s The Tenant of Wildfell Hall and Charlotte Brontë’s Jane Eyre. Although Dickens is widely attacked for his feeble female characters in line with the angel in the house doctrine, according to his great granddaughter Lucinda Dickens Hawskley, he is the fruit of the able women in his life aside from the Victorian ideals. Elizabeth Dickens, his paternal grandmother, was a housekeeper who inspired him with her kind nature and storytelling. It was his mother, Elizabeth Barrow, who taught him mathematics, literacy and Latin. Apart from his family members, there were copious impressive women in Dickens’s life including the novelist Anne Thackeray Ritchie, the anti-slavery campaigner Elizabeth Jesser Reid; and Elizabeth Gaskell whom Dickens encouraged to write about bastardy and prostitution which were not fitting subjects for female novelists of the time. Similar to the influential women in his life, Dickens’s weak, angelic female characters are, at the same time, the women who complete a lack in men and enable them to become ideal human beings via their feminine characteristics. In this respect, the concept of androgyny might be observed in Dickens’s male characters. Accordingly, this paper aims to dwell on Dickens’s concept of androgynous self to grow into an ideal human being through the amalgamation of male and female characteristics as mirrored in his character David in David Copperfield.

Anahtar Kelimeler

Charles Dickens, David Copperfield, androgyny, gender relations

Kaynakça

• Alexander, Doris (1991). Creating Characters with Charles Dickens, Pennsylvania: Pennsylvania UP.
• “Androgynous.” (1995). The Oxford Advanced Learner’s Dictionary. Oxford: Oxford UP.
• Dickens, Charles (2000). David Copperfield, Hertfordshire: Wordsworth Editions Limited.
• Dyson, A. E. (1968). Dickens: Modern Judgements, London: McMillan.
• Farwell, Marilyn R. (1975). Virginia Woolf and Androgyny, Contemporary Literature, (16.4), 433-451.
• Fielding, K. J. (1965). Charles Dickens: A Critical Introduction, London: Longman.
• Gold, Joseph (1972).Charles Dickens: Radical Moralist, Minneapolis: Minnesota UP.
• Gordery, Gareth (2008). David Copperfield. David Paroissien (Ed.), A Companion to Charles Dickens içinde (369- 379), Oxford: Blackwell.
• Hager, Kelly (1996). Estranging David Copperfield: Reading the Novel of Divorce, ELH, (63. 4), 989-1019.
• Houston, Gail Turley (1994). Consuming Fictions: Gender, Class and Hunger in Dickens’s Novels, Carbondale: Southern Illinois UP.
• John, Juliet (2001). Dickens’s Villains. Melodrama, Character, Popular Culture, Oxford: Oxford UP.
• Langland, Elizabeth (1992). Nobody’s Angels: Domestic Ideology and Middle-Class Women in the Victorian Novel, PMLA, (107. 2), 290-304.
• Lockhart, G. Ann (1986). The Problem of Androgyny in Virginia Woolf’s A Room of One’s Own, Yayımlanmamış Lisans Tezi, Oklahoma State Universitesi.
• McGowan, John P. (1979). David Copperfield: The Trial of Realism, Nineteenth-Century Fiction, (34. 1), 1-19.
• McGuire, Matthew J. (1995). The Role of Women in the Novels of Charles Dickens, Montreux: Minerva.
• McKnight, Natalie (2008). Dickens and Gender. David Paroissien (Ed.), A Companion to Charles Dickens içinde (186-198), Oxford: Blackwell.
• Myers, Margaret (1985). The Lost Self: Gender in David Copperfield, Gender Studies: New Directions in Feminist Criticism, (161), 120-132.
• Needham, Gwendolyn B. (1954). The Undisciplined Heart of David Copperfield, Nineteenth- Century Fiction, (9.2), 81-107.
• Newey, Vincent (2004). The Scriptures of Charles Dickens: Novels of Ideology, Novels of the Self, Hants: Ashgate.
• Ruth, Jennifer (1999). Mental Capital, Industrial Time, and the Professional in David Copperfield, NOVEL, (32. 3), 303-330.
• Slater, Michael (1983). Dickens and Women, London: J. M. Dent & Sons.
• Strout, Irina I. (2009). Bridging Bildungsromane from London to Russia- Paradigms of Masculinity in Charles Dickens’s and Leo Tolstoy’s Fiction, Yayımlanmamış Doktora Tezi, Tulsa Üniversitesi.
• Urgan, Mina (2009). Virginia Woolf, İstanbul: Yapı Kredi Yayınları.
• Woolf, Virginia (1981). A Room of One’s Own, New York: Hartcourt Brace and Company.
• ---. (2006). Orlando, Orlando: A Harvest Book.