Sports and dance in reconciliation of binary oppositions: “Master Harold” ... and the boys (1982) and “Invictus” (2009)

Selçuk Şentürk

Makale detayları

Sports and dance in reconciliation of binary oppositions: “Master Harold” ... and the boys (1982) and “Invictus” (2009)

Yazarlar:

Selçuk Şentürk

Yayıncı:

Ordu University

Ana Başlıklar:

Edebi Teori | Sömürge Dönemi Sonrası Edebiyatı

Dergi:

Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi Vol.14 Issue 2, pp.613-622

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

İngilizce

Document ID (Org No.):

2001319781

pISSN:

1309-9302

Anahtar kelimeler:

Özet:

 The purpose of this study is to critically examine the play Master Harold and the boys 1982 and the film Invictus 2009 with a focus on their role in reconciling the division between other and self through sports and dance. Grounded in the scope of postcolonial studies with an interdisciplinary approach, the study benefits from Homi Bhabhas concept of the Third Space and Gayatri Spivaks interpretation of the Subaltern as its theoretical frame. The film Invictus 2009 is predicated upon the narrative of Nelson Mandela and his endeavour to forge unity among the populace of South Africa, facilitated by the national rugby team known as the Springboks. Within the confines of South Africa, the institutionalized racism known as apartheid had starkly delineated the white Afrikaners from the black populace, who were relegated to a status deemed inferior, devoid of equitable human rights. Athol Fugards theatrical piece, Master Harold and the boys 1982, unfolds against the backdrop of 1950s South Africa, where apartheid holds sway, thereby fuelling the binary opposition between white and black, alongside the institutionalized animosity directed towards the latter. Nevertheless, the dynamic between Sam and Willie, two middle-aged black servants, and Hally, their young master, exhibits promise, as they engage in candid dialogue concerning life and ballroom dancing. Clint Eastwoods cinematic interpretation and Fugards play both illuminate interstitial spaces that destabilize the binary dichotomy of self and other upon which racial divisions are predicated. The two productions demonstrate that these liminal spaces are cultivated through the mediums of sports and dance, subverting the delineations imposed by such systems and creating a shared national identity. The study concludes that through their ability to transcend barriers and create inclusive spaces, sport and dance serve as powerful tools in reshaping social dynamics.

 The purpose of this study is to critically examine the play Master Harold and the boys 1982 and the film Invictus 2009 with a focus on their role in reconciling the division between other and self through sports and dance. Grounded in the scope of postcolonial studies with an interdisciplinary approach, the study benefits from Homi Bhabhas concept of the Third Space and Gayatri Spivaks interpretation of the Subaltern as its theoretical frame. The film Invictus 2009 is predicated upon the narrative of Nelson Mandela and his endeavour to forge unity among the populace of South Africa, facilitated by the national rugby team known as the Springboks. Within the confines of South Africa, the institutionalized racism known as apartheid had starkly delineated the white Afrikaners from the black populace, who were relegated to a status deemed inferior, devoid of equitable human rights. Athol Fugards theatrical piece, Master Harold and the boys 1982, unfolds against the backdrop of 1950s South Africa, where apartheid holds sway, thereby fuelling the binary opposition between white and black, alongside the institutionalized animosity directed towards the latter. Nevertheless, the dynamic between Sam and Willie, two middle-aged black servants, and Hally, their young master, exhibits promise, as they engage in candid dialogue concerning life and ballroom dancing. Clint Eastwoods cinematic interpretation and Fugards play both illuminate interstitial spaces that destabilize the binary dichotomy of self and other upon which racial divisions are predicated. The two productions demonstrate that these liminal spaces are cultivated through the mediums of sports and dance, subverting the delineations imposed by such systems and creating a shared national identity. The study concludes that through their ability to transcend barriers and create inclusive spaces, sport and dance serve as powerful tools in reshaping social dynamics.

 The purpose of this study is to critically examine the play Master Harold and the boys 1982 and the film Invictus 2009 with a focus on their role in reconciling the division between other and self through sports and dance. Grounded in the scope of postcolonial studies with an interdisciplinary approach, the study benefits from Homi Bhabhas concept of the Third Space and Gayatri Spivaks interpretation of the Subaltern as its theoretical frame. The film Invictus 2009 is predicated upon the narrative of Nelson Mandela and his endeavour to forge unity among the populace of South Africa, facilitated by the national rugby team known as the Springboks. Within the confines of South Africa, the institutionalized racism known as apartheid had starkly delineated the white Afrikaners from the black populace, who were relegated to a status deemed inferior, devoid of equitable human rights. Athol Fugards theatrical piece, Master Harold and the boys 1982, unfolds against the backdrop of 1950s South Africa, where apartheid holds sway, thereby fuelling the binary opposition between white and black, alongside the institutionalized animosity directed towards the latter. Nevertheless, the dynamic between Sam and Willie, two middle-aged black servants, and Hally, their young master, exhibits promise, as they engage in candid dialogue concerning life and ballroom dancing. Clint Eastwoods cinematic interpretation and Fugards play both illuminate interstitial spaces that destabilize the binary dichotomy of self and other upon which racial divisions are predicated. The two productions demonstrate that these liminal spaces are cultivated through the mediums of sports and dance, subverting the delineations imposed by such systems and creating a shared national identity. The study concludes that through their ability to transcend barriers and create inclusive spaces, sport and dance serve as powerful tools in reshaping social dynamics.

 Bu çalışmanın amacı, 1982 yapımı Master Harold and the boys oyununu ve 2009 yapımı Invictus filmini eleştirel bir şekilde incelemek ve eserlere konu olan spor ve dans faaliyetlerinin öteki ve ben arasındaki ayrımı uzlaştırmadaki rolüne odaklanmaktır. Disiplinler arası bir yaklaşım ile postkolonyal çalışmalar kapsamındaki bu araştırma teorik çerçevesini Homi Bhabhanın Üçüncü Mekân ve Gayatri Spivakın Subaltern kavramları üzerinden şekillendirir. Invictus filmi 2009, Nelson Mandelanın hikayesine dayanmakta ve Mandelanın Güney Afrika halkı arasında birlik sağlama çabalarını, Springboks olarak bilinen milli ragbi takımı üzerinden iletilmektedir. Güney Afrikanın sınırları içinde, apartheid olarak bilinen kurumsallaşmış ırkçılık, beyaz Afrikanerleri, eşit insan haklarından yoksun olarak aşağılanmış bir statüye iten siyah halktan keskin bir şekilde ayırmıştır. Athol Fugardın Master Harold ve the boys 1982 adlı tiyatro oyunu ise apartheidin hakim olduğu 1950lerde geçmektedir, ve beyazlar ile siyahiler arasındaki ikili karşıtlığın nasıl şekillendiği ve bunun da siyahilere karşı sistematik düşmanlığı nasıl arttırdığını gözler önüne sermektedir. Bununla birlikte, eserdeki iki orta yaşlı siyah hizmetçi Sam ve Willie ile genç efendileri Hally arasındaki yaşam ve salon dansları üzerine samimi ve dinamik diyalogları ikili karşıtlığın minimize edilmesi açısından umut verici bir zemin sunmaktadır. Clint Eastwoodun sinematik yorumu ve Fugardın oyunu ile birlikte ele alınması, ırksal ayrımların temellendirildiği ben ve öteki kavramlarını içeren ikili ayrımların kararlılıkla yok edilmesine destek olan ara alanları ortaya çıkarır. İki yapıt da bu ara alanların, spor ve dans gibi araçlar aracılığıyla oluşturulduğunu ve bu sistemler tarafından dayatılan ayrımları altüst ederek ortak bir ulusal kimlik oluşturabileceğini göstermektedir. Çalışma, engelleri aşma ve kapsayıcı mekânlar yaratma potansiyelleri sayesinde, spor ve dansın toplumsal dinamikleri yeniden şekillendirmede güçlü araçlar olarak hizmet ettiği sonucuna varır.

Makale detayları

Sports and dance in reconciliation of binary oppositions: “Master Harold” ... and the boys (1982) and “Invictus” (2009)

Yazarlar:

Selçuk Şentürk

Yayıncı:

Ordu University

Ana Başlıklar:

Edebi Teori | Sömürge Dönemi Sonrası Edebiyatı

Dergi:

Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi Vol.14 Issue 2, pp.613-622

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

İngilizce

Document ID (Org No.):

2001319781

pISSN:

1309-9302

Invictus

“Master Harold”... and the boys

Sport

Dance

Binary OppositionsInvictus

“Master Harold”... and the boys

Spor

Dans

İkili karşıtlıklar

Sayı

Makale detayları

Yazarlar: Selçuk Şentürk

Yayıncı: Ordu University

Ana Başlıklar: Edebi Teori | Sömürge Dönemi Sonrası Edebiyatı

Dergi: Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi Vol.14 Issue 2, pp.613-622

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: İngilizce

Document ID (Org No.): 2001319781

pISSN: 1309-9302

Sayı

Yazarlar:

Selçuk Şentürk

Yayıncı:

Ordu University

Ana Başlıklar:

Edebi Teori | Sömürge Dönemi Sonrası Edebiyatı

Dergi:

Ordu Üniversitesi Sosyal Bilimler Enstitüsü Sosyal Bilimler Araştırmaları Dergisi Vol.14 Issue 2, pp.613-622

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

İngilizce

Document ID (Org No.):

2001319781

pISSN:

1309-9302