Madame Bovary’yi Beden Diliyle Okumak

Madame Bovary, Gustave Flaubert’s well-known novel, is regarded as the first modern realist novel. The novel tells the story of the agonies and collapse of a young middle-class woman who becomes degenerated because of betrayals rather than telling the secret love affairs and her tragic life. Some ce...

Ausführliche Beschreibung

Gespeichert in:
Bibliographische Detailangaben
Veröffentlicht in:Border crossing 2016-09, Vol.6 (2), p.267-291
1. Verfasser: Genc, Hanife Nalan
Format: Artikel
Sprache:eng ; tur
Schlagworte:
Online-Zugang:Volltext
Tags: Tag hinzufügen
Keine Tags, Fügen Sie den ersten Tag hinzu!
container_end_page 291
container_issue 2
container_start_page 267
container_title Border crossing
container_volume 6
creator Genc, Hanife Nalan
description Madame Bovary, Gustave Flaubert’s well-known novel, is regarded as the first modern realist novel. The novel tells the story of the agonies and collapse of a young middle-class woman who becomes degenerated because of betrayals rather than telling the secret love affairs and her tragic life. Some certain reviews about the novel will likely to have a different meaning when Emma’s inner world is thoroughly analyzed. Thus, the most efficient way is to read her body language. Indeedö when the protagonist is analyzed, it will be clearly seen that all her emotions, ideas and expectations are told through body language rather than verbal communication. This can be deduced from Emma’s description, her relationship with her surroundings, her thoughts about the things, her lovers, her expectation of being loved and her pursuit of happiness. Re-reading the novel from this perspective will be important about revealing the profound and hidden meanings in it. Emma, who is described as a female character pursuing her unsatisfied passions, goes after an impossible happiness for the sake of loving and being loved. For the author Emma becomes the victim of the senselessness and idiocy around her. As it can be understood from the novel, Emma is always open and intimate about her feelings, yet her husband and her surroundings do not even try to understand her, and this leads Emma to retire into her own shell like a cocoon, to isolate her from the outer world and to minimize her relationship with life. Throughout the novel, Emma uses different versions of non-verbal communication in her relationships with her husband Charles, Léon, Rodolphe, the other people and local people. Emma uses non-verbal communication methods such as way of dressing, tone of voice and intonation, intimacy and distance as a function of completing, repeating, arranging and replacing. Emma’s use of her voice functions as interpreting her feelings. Emma gives different messages to people by using her voice softly, sharply or strictly in the novel. Moreover, the quality of her voice helps the people who communicate with her to be informed about her personality. Emma communicates with facial expressions, gestures, mimics, posture, looks and voice rather than with words. When Emma dreams and remembers the memories about her lovers, all her emotions and enthusiasm are reflected and find meaning in her face. In the novel, the way of dressing is also an important form of non-verbal communication. The style of t
doi_str_mv 10.33182/bc.v6i2.494
format Article
fullrecord <record><control><sourceid>ceeol_cross</sourceid><recordid>TN_cdi_crossref_primary_10_33182_bc_v6i2_494</recordid><sourceformat>XML</sourceformat><sourcesystem>PC</sourcesystem><ceeol_id>473720</ceeol_id><sourcerecordid>473720</sourcerecordid><originalsourceid>FETCH-LOGICAL-c584-52870dd5d8090327ca55179749c73f08e5c727a72cd067a50be62573a7686c433</originalsourceid><addsrcrecordid>eNo9j71OwzAUhS0EElXpxsiQjYWEG1_b1xlpKT9SUZfulmM7UtqkQYlaKRuvwevxJBiouMu5wzlH52PsOocMMdf8vnTZUdU8E4U4YxMOQqUi3vn_j-qSzYZhCwAxQELjhN2-WW_bkMy7o-3Hr4_PsU7mwYd98lg39diEZL07tHZ3xS4q2wxhdtIp2zwtN4uXdLV-fl08rFIntUgl1wTeS6-hAOTkrJQ5FSQKR1iBDtIRJ0vceVBkJZRBcUloSWnlBOKU3f3Vur4bhj5U5r2v27jM5GB-MU3pzA-miZjRfnOyh9A1Ztsd-n1cZwQhccBv0SBNWQ</addsrcrecordid><sourcetype>Aggregation Database</sourcetype><iscdi>true</iscdi><recordtype>article</recordtype></control><display><type>article</type><title>Madame Bovary’yi Beden Diliyle Okumak</title><source>Ethnic NewsWatch (Alumni)</source><source>Diversity Collection</source><source>Ethnic NewsWatch</source><source>EZB-FREE-00999 freely available EZB journals</source><source>ProQuest Central UK/Ireland</source><source>ProQuest Central</source><creator>Genc, Hanife Nalan</creator><creatorcontrib>Genc, Hanife Nalan</creatorcontrib><description>Madame Bovary, Gustave Flaubert’s well-known novel, is regarded as the first modern realist novel. The novel tells the story of the agonies and collapse of a young middle-class woman who becomes degenerated because of betrayals rather than telling the secret love affairs and her tragic life. Some certain reviews about the novel will likely to have a different meaning when Emma’s inner world is thoroughly analyzed. Thus, the most efficient way is to read her body language. Indeedö when the protagonist is analyzed, it will be clearly seen that all her emotions, ideas and expectations are told through body language rather than verbal communication. This can be deduced from Emma’s description, her relationship with her surroundings, her thoughts about the things, her lovers, her expectation of being loved and her pursuit of happiness. Re-reading the novel from this perspective will be important about revealing the profound and hidden meanings in it. Emma, who is described as a female character pursuing her unsatisfied passions, goes after an impossible happiness for the sake of loving and being loved. For the author Emma becomes the victim of the senselessness and idiocy around her. As it can be understood from the novel, Emma is always open and intimate about her feelings, yet her husband and her surroundings do not even try to understand her, and this leads Emma to retire into her own shell like a cocoon, to isolate her from the outer world and to minimize her relationship with life. Throughout the novel, Emma uses different versions of non-verbal communication in her relationships with her husband Charles, Léon, Rodolphe, the other people and local people. Emma uses non-verbal communication methods such as way of dressing, tone of voice and intonation, intimacy and distance as a function of completing, repeating, arranging and replacing. Emma’s use of her voice functions as interpreting her feelings. Emma gives different messages to people by using her voice softly, sharply or strictly in the novel. Moreover, the quality of her voice helps the people who communicate with her to be informed about her personality. Emma communicates with facial expressions, gestures, mimics, posture, looks and voice rather than with words. When Emma dreams and remembers the memories about her lovers, all her emotions and enthusiasm are reflected and find meaning in her face. In the novel, the way of dressing is also an important form of non-verbal communication. The style of the characters reveals both the social, political and economic situation of the period and their real personalities. When Emma is invited to Vaubeyssard, Marquis d’Andervilliers in the novel, she is impressed by people’s way of dressing at first. The elegant ladies and gentlemen in that magnificent chateau becomes the center of attention in her whole life. Moreover, she names her daughter after a lady called Berthe upon hearing it in the party. Emma is so capable of using her body language to express and fulfill her wishes. For example, when Charles neglects and avoids her, Emma expresses her sadness and discomfort by merely using her body language. When she meets Léon, she can provoke the sentimentality and romanticism between them through her body language. It is beyond doubt that Emma does not use her body language against men. Especially in her relationship with her mother-in-law, Emma expresses her inner world, emotions and true feelings with body language. It can be clearly seen in the novel that Emma becomes aware of that after all the disappointing love affairs and betrayals; the only man who actually loves her is her husband when she looks at him for the first and the last time in the suicide scene. That look can be regarded as a kind of appreciation and apology. In the novel, Flaubert shows his reaction against the idealistic approach of Romanticism with Emma’s body language. An attentive reader will be aware of that Emma uses words or verbal communication, when she tries to hide her true feelings and thoughts.</description><identifier>ISSN: 2046-4436</identifier><identifier>EISSN: 2046-4444</identifier><identifier>DOI: 10.33182/bc.v6i2.494</identifier><language>eng ; tur</language><publisher>Transnational Press London</publisher><subject>Aesthetics ; French Literature ; Gender Studies ; Social Sciences ; Theory of Literature</subject><ispartof>Border crossing, 2016-09, Vol.6 (2), p.267-291</ispartof><lds50>peer_reviewed</lds50><oa>free_for_read</oa><woscitedreferencessubscribed>false</woscitedreferencessubscribed></display><links><openurl>$$Topenurl_article</openurl><openurlfulltext>$$Topenurlfull_article</openurlfulltext><thumbnail>$$Uhttps://www.ceeol.com//api/image/getissuecoverimage?id=picture_2016_29467.png</thumbnail><link.rule.ids>314,780,784,27924,27925</link.rule.ids></links><search><creatorcontrib>Genc, Hanife Nalan</creatorcontrib><title>Madame Bovary’yi Beden Diliyle Okumak</title><title>Border crossing</title><addtitle>Border Crossing</addtitle><description>Madame Bovary, Gustave Flaubert’s well-known novel, is regarded as the first modern realist novel. The novel tells the story of the agonies and collapse of a young middle-class woman who becomes degenerated because of betrayals rather than telling the secret love affairs and her tragic life. Some certain reviews about the novel will likely to have a different meaning when Emma’s inner world is thoroughly analyzed. Thus, the most efficient way is to read her body language. Indeedö when the protagonist is analyzed, it will be clearly seen that all her emotions, ideas and expectations are told through body language rather than verbal communication. This can be deduced from Emma’s description, her relationship with her surroundings, her thoughts about the things, her lovers, her expectation of being loved and her pursuit of happiness. Re-reading the novel from this perspective will be important about revealing the profound and hidden meanings in it. Emma, who is described as a female character pursuing her unsatisfied passions, goes after an impossible happiness for the sake of loving and being loved. For the author Emma becomes the victim of the senselessness and idiocy around her. As it can be understood from the novel, Emma is always open and intimate about her feelings, yet her husband and her surroundings do not even try to understand her, and this leads Emma to retire into her own shell like a cocoon, to isolate her from the outer world and to minimize her relationship with life. Throughout the novel, Emma uses different versions of non-verbal communication in her relationships with her husband Charles, Léon, Rodolphe, the other people and local people. Emma uses non-verbal communication methods such as way of dressing, tone of voice and intonation, intimacy and distance as a function of completing, repeating, arranging and replacing. Emma’s use of her voice functions as interpreting her feelings. Emma gives different messages to people by using her voice softly, sharply or strictly in the novel. Moreover, the quality of her voice helps the people who communicate with her to be informed about her personality. Emma communicates with facial expressions, gestures, mimics, posture, looks and voice rather than with words. When Emma dreams and remembers the memories about her lovers, all her emotions and enthusiasm are reflected and find meaning in her face. In the novel, the way of dressing is also an important form of non-verbal communication. The style of the characters reveals both the social, political and economic situation of the period and their real personalities. When Emma is invited to Vaubeyssard, Marquis d’Andervilliers in the novel, she is impressed by people’s way of dressing at first. The elegant ladies and gentlemen in that magnificent chateau becomes the center of attention in her whole life. Moreover, she names her daughter after a lady called Berthe upon hearing it in the party. Emma is so capable of using her body language to express and fulfill her wishes. For example, when Charles neglects and avoids her, Emma expresses her sadness and discomfort by merely using her body language. When she meets Léon, she can provoke the sentimentality and romanticism between them through her body language. It is beyond doubt that Emma does not use her body language against men. Especially in her relationship with her mother-in-law, Emma expresses her inner world, emotions and true feelings with body language. It can be clearly seen in the novel that Emma becomes aware of that after all the disappointing love affairs and betrayals; the only man who actually loves her is her husband when she looks at him for the first and the last time in the suicide scene. That look can be regarded as a kind of appreciation and apology. In the novel, Flaubert shows his reaction against the idealistic approach of Romanticism with Emma’s body language. An attentive reader will be aware of that Emma uses words or verbal communication, when she tries to hide her true feelings and thoughts.</description><subject>Aesthetics</subject><subject>French Literature</subject><subject>Gender Studies</subject><subject>Social Sciences</subject><subject>Theory of Literature</subject><issn>2046-4436</issn><issn>2046-4444</issn><fulltext>true</fulltext><rsrctype>article</rsrctype><creationdate>2016</creationdate><recordtype>article</recordtype><sourceid>REL</sourceid><recordid>eNo9j71OwzAUhS0EElXpxsiQjYWEG1_b1xlpKT9SUZfulmM7UtqkQYlaKRuvwevxJBiouMu5wzlH52PsOocMMdf8vnTZUdU8E4U4YxMOQqUi3vn_j-qSzYZhCwAxQELjhN2-WW_bkMy7o-3Hr4_PsU7mwYd98lg39diEZL07tHZ3xS4q2wxhdtIp2zwtN4uXdLV-fl08rFIntUgl1wTeS6-hAOTkrJQ5FSQKR1iBDtIRJ0vceVBkJZRBcUloSWnlBOKU3f3Vur4bhj5U5r2v27jM5GB-MU3pzA-miZjRfnOyh9A1Ztsd-n1cZwQhccBv0SBNWQ</recordid><startdate>20160911</startdate><enddate>20160911</enddate><creator>Genc, Hanife Nalan</creator><general>Transnational Press London</general><scope>AE2</scope><scope>BIXPP</scope><scope>REL</scope><scope>AAYXX</scope><scope>CITATION</scope></search><sort><creationdate>20160911</creationdate><title>Madame Bovary’yi Beden Diliyle Okumak</title><author>Genc, Hanife Nalan</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-LOGICAL-c584-52870dd5d8090327ca55179749c73f08e5c727a72cd067a50be62573a7686c433</frbrgroupid><rsrctype>articles</rsrctype><prefilter>articles</prefilter><language>eng ; tur</language><creationdate>2016</creationdate><topic>Aesthetics</topic><topic>French Literature</topic><topic>Gender Studies</topic><topic>Social Sciences</topic><topic>Theory of Literature</topic><toplevel>peer_reviewed</toplevel><toplevel>online_resources</toplevel><creatorcontrib>Genc, Hanife Nalan</creatorcontrib><collection>Central and Eastern European Online Library (C.E.E.O.L.) (DFG Nationallizenzen)</collection><collection>CEEOL: Open Access</collection><collection>Central and Eastern European Online Library - CEEOL Journals</collection><collection>CrossRef</collection><jtitle>Border crossing</jtitle></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext</fulltext></delivery><addata><au>Genc, Hanife Nalan</au><format>journal</format><genre>article</genre><ristype>JOUR</ristype><atitle>Madame Bovary’yi Beden Diliyle Okumak</atitle><jtitle>Border crossing</jtitle><addtitle>Border Crossing</addtitle><date>2016-09-11</date><risdate>2016</risdate><volume>6</volume><issue>2</issue><spage>267</spage><epage>291</epage><pages>267-291</pages><issn>2046-4436</issn><eissn>2046-4444</eissn><abstract>Madame Bovary, Gustave Flaubert’s well-known novel, is regarded as the first modern realist novel. The novel tells the story of the agonies and collapse of a young middle-class woman who becomes degenerated because of betrayals rather than telling the secret love affairs and her tragic life. Some certain reviews about the novel will likely to have a different meaning when Emma’s inner world is thoroughly analyzed. Thus, the most efficient way is to read her body language. Indeedö when the protagonist is analyzed, it will be clearly seen that all her emotions, ideas and expectations are told through body language rather than verbal communication. This can be deduced from Emma’s description, her relationship with her surroundings, her thoughts about the things, her lovers, her expectation of being loved and her pursuit of happiness. Re-reading the novel from this perspective will be important about revealing the profound and hidden meanings in it. Emma, who is described as a female character pursuing her unsatisfied passions, goes after an impossible happiness for the sake of loving and being loved. For the author Emma becomes the victim of the senselessness and idiocy around her. As it can be understood from the novel, Emma is always open and intimate about her feelings, yet her husband and her surroundings do not even try to understand her, and this leads Emma to retire into her own shell like a cocoon, to isolate her from the outer world and to minimize her relationship with life. Throughout the novel, Emma uses different versions of non-verbal communication in her relationships with her husband Charles, Léon, Rodolphe, the other people and local people. Emma uses non-verbal communication methods such as way of dressing, tone of voice and intonation, intimacy and distance as a function of completing, repeating, arranging and replacing. Emma’s use of her voice functions as interpreting her feelings. Emma gives different messages to people by using her voice softly, sharply or strictly in the novel. Moreover, the quality of her voice helps the people who communicate with her to be informed about her personality. Emma communicates with facial expressions, gestures, mimics, posture, looks and voice rather than with words. When Emma dreams and remembers the memories about her lovers, all her emotions and enthusiasm are reflected and find meaning in her face. In the novel, the way of dressing is also an important form of non-verbal communication. The style of the characters reveals both the social, political and economic situation of the period and their real personalities. When Emma is invited to Vaubeyssard, Marquis d’Andervilliers in the novel, she is impressed by people’s way of dressing at first. The elegant ladies and gentlemen in that magnificent chateau becomes the center of attention in her whole life. Moreover, she names her daughter after a lady called Berthe upon hearing it in the party. Emma is so capable of using her body language to express and fulfill her wishes. For example, when Charles neglects and avoids her, Emma expresses her sadness and discomfort by merely using her body language. When she meets Léon, she can provoke the sentimentality and romanticism between them through her body language. It is beyond doubt that Emma does not use her body language against men. Especially in her relationship with her mother-in-law, Emma expresses her inner world, emotions and true feelings with body language. It can be clearly seen in the novel that Emma becomes aware of that after all the disappointing love affairs and betrayals; the only man who actually loves her is her husband when she looks at him for the first and the last time in the suicide scene. That look can be regarded as a kind of appreciation and apology. In the novel, Flaubert shows his reaction against the idealistic approach of Romanticism with Emma’s body language. An attentive reader will be aware of that Emma uses words or verbal communication, when she tries to hide her true feelings and thoughts.</abstract><pub>Transnational Press London</pub><doi>10.33182/bc.v6i2.494</doi><tpages>25</tpages><oa>free_for_read</oa></addata></record>
fulltext fulltext
identifier ISSN: 2046-4436
ispartof Border crossing, 2016-09, Vol.6 (2), p.267-291
issn 2046-4436
2046-4444
language eng ; tur
recordid cdi_crossref_primary_10_33182_bc_v6i2_494
source Ethnic NewsWatch (Alumni); Diversity Collection; Ethnic NewsWatch; EZB-FREE-00999 freely available EZB journals; ProQuest Central UK/Ireland; ProQuest Central
subjects Aesthetics
French Literature
Gender Studies
Social Sciences
Theory of Literature
title Madame Bovary’yi Beden Diliyle Okumak
url https://sfx.bib-bvb.de/sfx_tum?ctx_ver=Z39.88-2004&ctx_enc=info:ofi/enc:UTF-8&ctx_tim=2024-12-26T15%3A23%3A04IST&url_ver=Z39.88-2004&url_ctx_fmt=infofi/fmt:kev:mtx:ctx&rfr_id=info:sid/primo.exlibrisgroup.com:primo3-Article-ceeol_cross&rft_val_fmt=info:ofi/fmt:kev:mtx:journal&rft.genre=article&rft.atitle=Madame%20Bovary%E2%80%99yi%20Beden%20Diliyle%20Okumak&rft.jtitle=Border%20crossing&rft.au=Genc,%20Hanife%20Nalan&rft.date=2016-09-11&rft.volume=6&rft.issue=2&rft.spage=267&rft.epage=291&rft.pages=267-291&rft.issn=2046-4436&rft.eissn=2046-4444&rft_id=info:doi/10.33182/bc.v6i2.494&rft_dat=%3Cceeol_cross%3E473720%3C/ceeol_cross%3E%3Curl%3E%3C/url%3E&disable_directlink=true&sfx.directlink=off&sfx.report_link=0&rft_id=info:oai/&rft_id=info:pmid/&rft_ceeol_id=473720&rfr_iscdi=true