Orhan Pamuk

Abstract: This article focuses on the relationship between religion and politics in contemporary Turkish novel, based on Orhan Pamuk’s novel Kar. The study aims to understand and explain paradigms of religion-politics relations in Kar, which approaches Turkey’s recent religious and political debates with a literary fiction, and reflects how religious and political cultures are reflected in Turkey in this frame. In the novel, a new development momentum after 1980, and with the right, conservative and Islamist circles that motivated politics more actively during the 1990s, the modernization that has not undergone in Turkey in a way, in fact, within the framework of the approach of the writer, the values of provincial representatives in Turkey conflicts have been brought forward. In a postmodern perspective, the Kar shared important photographs of religion and politics at this stage of the modernization struggle between Islamist-secular, Eastern-Western conflicts. Finally, religion in the novel was dominated ideologically by the instrumentalist of poverty and deprivation, rather than the character of preventing change according to its place. Politics is described as more Jacobean and secular, and also as provincial in relation to modernization there.

Summary: There is no doubt that literature in the process of transition from the empire to the republic; the novel, especially as a Western product played an important role in the consciousness level of modern Turkey. This literary influence, rather than pursuing a certain line, took place within two centuries of adventurous journey, generally in harmony with the periodical historical, social and political conditions of the Turkish society. In this context, the Turkish novel was seen as a means of producing different powers and ideologies, especially at the points reached by the modernization in the last half century, while at the beginning adopting a legitimizing attitude to make politics more intense. But with it, as an important element of the cultural system, religion has always been one of the main themes in the journey of the novel.

The article deals with the study of religion-politics relations in the contemporary Turkish novel in terms of sociology of religion. As an example of the study, Orhan Pamuk was chosen as the Snow novel, which made its first publication in 2002 and took the subject of tense religious-political relations matched by the 1980s conditions in Turkey with a broad cultural background. The aim of the study is to understand and explain the approach of the contemporary Turkish novel to religion-politics relations which always created a tension environment in Turkey. By making a historical comparison in this framework, the place of the Snow is glanced in the politics and religion perception of the Turkish novel, Orhan Pamuk was emphasized as a social personality and writer, and then different levels of consciousness constructed by the social events, phenomena and processes in the novel have been evaluated from a phenomenological perspective.

In this study, the Snow was regarded as a novel whose recent religion-politics relations of modern Turkey were treated with a postmodern allegory through different sets of meanings of religious and political cultures. In this regard, the Snow has presented itself as a literary product, as well as a text that sheds light on the fundamental problems of today’s religion-politics relations, which include different levels of consciousness about the religious, political and ideological knowledge of society. From here it can be said that the novel, in the context of literature-society relations, has brought wealth from the one side by organizing the events within the framework of the religious and political values of the society while offering postmodern points of view to these values from the other side. Finally, in the Snow, Pamuk realized a literary expression on the basis of society of religion and politics relations in Turkey. This expression, however, has not been independent of the religious and political accumulation that has been transferred from the Ottoman to the Republic, as well as the social personality that it shapes around an institutional baggage.

Clearly, Pamuk has put a number of meanings in religion and politics and their relationship to each other, sometimes through different characters, sometimes through irony and criticism in the Snow. Around the postmodern paradigm, the Snow has presented different meanings worlds of religion and politics and the different images of these two old social institutions in a philosophical and sociological perspective. In other words, Pamuk deals with the novel’s event pattern, social typologies, social classes and their epistemological accumulations in their natural socioeconomic, cultural, religious and political environments. The Snow is fictionalized around an identity struggle shaped by the Islamist-modernist thriller. Here, although the individual-compromising aspects of religion and politics “Kemalist” and “Islamist” have emphasized the imperative, populist political understandings and the exclusionary and ideological aspects of religion. Thus, the novel inspired by the military intervention on February 28, 1997, shed light on the religious and political culture of Turkey, and finally attracted significant photographs of the society, which are reflected on the meaning networks of religious and political institutions.

In the Snow, religion and politics are based on the meanings of concepts such as “coup”, “Kemalism”, “political Islam”, “turban”, “Islamist”, “secular”. In the novel, the social and political images put forward in the context of “coup” carried a number of symbols representing the last half-century of the Republic in the 2000s. As a matter of fact, the coup that was taken on the novel was made especially against the “religious” who organized and strengthened around the socioeconomic, cultural, political, religious and ethnic problems that occurred after 1980. On the other hand, in the novel “Kemalism” and his ideology have become another important theme in which politics is evaluated in Turkey. In this context, in general terms, the view of the “Kemalism” and the military bureaucracy on the public and its values have been presented in a Jacobean and elitist attitude, which restricts individual rights and freedoms to the state, with different categorical characteristics.

In addition to stressing the characteristics of being a subclass of religion, compensating for the deprivations and preventing social change in place, in the novel emphasized the fact that, with its coup, it gained a political, ideological, populist and instrumental identity. As a matter of fact, girls with headscarves have been seen as a symbolic case by political Islamists and they have made this case a political material. In the Snow, religion and politics are regarded as social institutions that are separate and sometimes in conflict with each other, but also the mutual relations between the two institutions in the context of the interest relations of Sheikh Efendi and some bureaucrats. Thus, the novel also points to the old relations of religion-politics relations in Turkey that find their place on the symbolic plane.

The Snow, which manifested itself as a literary attitude against all kinds of political and religious impositions have proposed for religion and politics a pluralistic view. This situation which can be regarded as new in terms of the Turkish novel has in fact provided new universes for the reader about religious and political culture. However, the proposals and perspectives are not shaped independently of their own dynamics of religious and political cultures.

The glorious, classical legacy of Greece is universally revered. But this legacy has come at a price. How will Greece ever move beyond its ties with the past? Is there such a thing as modern Greece? This book is the first to present an alternative cultural history of Greece. Beginning with the growth of Greece as a nation-state through to the present, it shows how modern Greece has long been undervalued and neglected. From the compositional process of the first National Poet to the first feminist text, the first sustained Marxist treatise of Greek society to the Athens subway system, this groundbreaking book brings together a fascinating mix of literary texts, maps and aspects of material culture to uncover the identity of modern Greece. In considering these rich cultural landmarks, Calotychos argues that a new relationship with the past must be forged if Greek literature, culture and society are to be truly part of the present and meet the challenges of modernity.

The present paper examines the role of the translation of Orhan Pamuk’s İstanbul, Hatıralar ve Şehir (2003) into Slovene, in reshaping the image of Istanbul as perceived by the receiving audience. Considering Pamuk as a “translator” of Istanbul and focusing on the “metonymics” of translating cities, the present paper illustrates that translations can challenge and change the stereotyped images of cities as perceived by receiving audiences. It also shows that the narratives of cities which are bound by their authors’ choices as “translators” can only provide a partial representation of the “real” cities and can give more clues about the literary intentions and historical environment of their authors than they can give about the real cities.

Murmures à Beyoğlu by David Boratav (Paris, 1971), winner of the Prix Gironde Nouvelles Écritures (2009), is a transcultural and postmodern novel, influenced by the writings of Nabokov and Pamuk, namely The Real Life of Sebastian Knight (1941) and Lolita (1955), and Istanbul (2003). Therefore this paper attempts to summarise certain strands to the omnipresence of the work and personality of Nabokov and Pamuk that modulates Boratav’s first novel, which I interpret as a noteworthy homage to the former. Moreover, I would like to go even further and state that thanks to their influence, Boratav’s work takes on a unique dimension and should be ranked alongside that of the masters for its highly original and complex portrait of Istanbul. This subtle tribute to both writers results in a highly original book where the main character’s wanderings, marked with a paradigmatic in-between-ness, portray an Istanbul I define as a ‘border chronotrope’.


Key words: Nabokov / Pamuk / Surconscience langagière /Writer-translator/ Intertextual interplay/Linguistic ideologization/ City as a translocational chronotrope

Comparative Critical Studies Electronic Supplement (2018): 97–116 Edinburgh University Press
DOI: 10.3366/ccs.2018.0281

Öz: Kadınlık, toplumsal, siyasal ve kültürel yapıların üzerinde etkili olduğu ve çeşitli söylemler aracılığıyla eril dil tarafından belirlenen bir konumdur. Sessiz Ev’de sessizliğin kadınlar için bir kader olduğu ve kadınların eril tahakküm karşısında suskunluklarını korudukları görülür. Romandaki sessiz kadınlar, suskunluklarını bozduklarında ya şiddet aracılığıyla felakete sebep olmuştur ya da eril iktidar için tehlikeli görülmüş ve şiddete uğrayarak öldürülmüştür.
Tarihsel zaman akışı içerisinde Meşrutiyet Dönemi’nden, 1980’lerin eşiğine kadar gelmekte olan Sessiz Ev, Osmanlı’dan Cumhuriyet’e geçişte kadın meselesini geniş bir bakış açısıyla görme imkânı sağlamaktadır. Sessiz Ev’de erkek egemen bir toplumsal düzenin ve eril bir dilin yansımalarının bulunması problem olarak ele alınmış, bu düzen içinde kadının konumu ve kendini ifade etme olanakları sorgulanmıştır.
Sessiz Ev’in toplumsal cinsiyet eleştirisiyle incelendiği bu çalışmada kadınlar merkeze alınarak, cinsiyetle ilgili toplumsal kodların kadınların hayatı üzerindeki etkisine yer verilmiştir. Ayrıca ataerkil dil ve eylem alanı aracılığıyla kadınlara uygulanan baskı, dışlama, sessizleştirme ve şiddet gibi eylemler, eleştirel bir bakış açısıyla irdelenmiştir.
Anahtar kelimeler: Sessiz Ev, kadın, şiddet, sessizlik, Türk romanı, Orhan Pamuk.
The View of Women in the Silent House: Silence and Violence
Abstract: Femininity is a position influenced by social, political and cultural structures and determined in various discourses by masculine language. In the Silent House, silence is the destiny of women who remain silent under the pressure of masculine domination. When silent women of the novel, broke their silence, either they caused violent disaster, or they were considered dangerous for the masculine power and met a violent death.
The Silent House, covering the historical period from the Constitutional Period to the 1980s, provides an opportunity to examine the issue of women in a broad perspective in the transition period from the Ottoman period to the Republic. The presence of a male-dominated social order and reflections of a masculine language in the Silent House is considered as a problematic framework, and the position of
women and their self-expression opportunities in this structure is questioned.
This study, examines the Silent House based on gender criticism. Women are placed in the center while analyzing the effects of gender-related social codes on the life of women. Moreover, the study examines critically the oppression, exclusion, silencing and violence applied to women through patriarchal language and physical action.
Keywords: Silent House, Woman, Violence, Silence, Turkish Novel, Orhan Pamuk.

Orhan Pamuk's The Museum of Innocence offers prevalent examples of melancholy which is based on the pratoganist Kemal's state of mind. Even before losing the object of desire, Kemal mourns about the future separation which signals the beginning of melancholy that increases after the end of the affair with Füsun and turns into a mood of life that lasts as long as he lives. Attached to the lost object (Füsun) and the gesture of its loss, Kemal yearns to be a part of Füsun's life. Therein resides the cause of his attachment to the objects that belong to Füsun which he gathers in Mer-hamet Apartment that already functions as a museum. This paper analyses object attachment and the idea of museum that devoloped from this which direct us to the concept of the " aura " and transmissibility of the past to the future.

Since its birth, psychoanalysis has been in a reciprocal relationship with literature. Through this reciprocal relationship, many literary works play an essential role in the foundation of the psychoanalytic approach while psychoanalytic theory has also shaped the interpretation of many literary works. In this article, The New Life novel, written by Orhan Pamuk with a postmodern approach in 1994, will be analyzed with the psychoanalytic concepts of French psychoanalyst Jacques Lacan. Writing the novel with a postmodern approach provides an opportunity for many expressions in the novel to have multi-layered meanings. Thanks to that, the meaning in the novel could be constructed differently in each reading. French psychoanalyst Jacques Lacan, whilst developing his psychoanalytic theory, recognized the importance of linguistics. He located the unconscious within the signifier-signified relationship. Drawing attention to the concept of metaphor in unconscious and language studies, Lacan also handled his studies on literary works through this concept. Thus, analysing this novel through Jacques Lacan's psychoanalytic concepts will add richness to the interpretation of the novel. The novel is about the character of Osman encountering a book and traveling to find the new life mentioned in that book, and it is fictionalized around Osman, Canan, with whom Osman falls in love, Mehmet with whom he competes, and Dr. Narin of whom he wants to be a son. In this context, the expressions of "book," "Canan", "journey", "Mehmet," and "Dr. Narin" are considered as metaphors because of having multi-layered meanings. These five expressions selected from The New Life novel; has been studied with the basic concepts of Lacanian psychoanalytic theory as the object a, das Ding, jouissance, ideal-ego and paternal function.

This paper is a philosophical analysis ofHeidegger and Nietzsche's approach tometaphysics and the associated problem ofnihilism. Heidegger sums up the history ofWestern metaphysics in a way which challengescommon sense approaches to values education.Through close attention to language, Heideggerargues that Nietzsche inverts thePlatonic-Christian tradition but retains theanthropocentric imposition of ‘values’. Ihave used Nietzsche's theory to suggest aslightly different definition of metaphysicsand nihilism which draws attention to theontological parameters of human truths as astruggle between competing sets of conflictingor contradictory values (perspectives) thatopens space for rethinking and re-educatinghuman possibilities. How this openness willshow up in educational theory and practice isonly beginning to be evoked. The twophilosophers indicate an approach to issues ofmorality, decision making and knowledgeproduction which may surprise and disconcerttraditional views. As the forefathers ofpost-structuralist thinking, Nietzsche andHeidegger offer a critique of Humanism whileretaining the Renaissance tradition ofpositioning education as the well spring ofvalues in society. It is through the generationof new knowledges, the development of critiqueand the nurturing of character that societyreformulates itself in relation to the earth.The ethical evaluation of these new forms ofknowledge is crucial to the creative and caringregeneration of the human environment, asopposed to the corrosive adoption ofconsumerism and usury.

In light of the current debate over the Islamic headscarf in Turkey, this article argues that women’s bodies, caught in the crosshairs of political strife between state forces and fundamentalist groups, have become sites of a debate that often ignores the voice of women. Current suicide statistics within the country mirror the increased number of suicides among the “headscarf” girls in Orhan Pamuk’s Snow. By looking closely at the suicides of the female characters, specifically Teslime, and criticism regarding veiling and resistance, the article posits that these women have found suicide to be their only tenable form of resistance in a state system plagued by an anxiety about change and that otherwise ignores their choices. In noting the parallels between a literary and sociological crisis, the article works toward recognizing the struggle of women to have their voices heard, without their eliminating themselves through suicide in the process.

This chapter discusses the genesis of the ‘Ottoman Myth’ in Turkish literature, focusing on a broad variety of retrospective narratives that are tied together by (post-)imperial melancholy. As a defining feature of the Ottoman Myth, melancholy results from the experience of losing a political, cultural, and symbolic order that is retrospectively and literarily remembered or imagined as Ottoman lifeworlds. ‘Empire’, or what is evoked as such, functions as a prism through which authors outline what is perceived as the ills of today, such as modernity, westernisation or nationalism. Melancholy is intrinsically connected to literary discussions about Turkish identity between East and West and links to broader questions about modernisation and progress. Through the analysis of literary texts written by Ahmet Midhat, Recaizade Mahmut Ekrem, Peyami Safa, Halide Edib Adıvar, Ahmet Hamdi Tanpınar, Orhan Pamuk, Elif Shafak, and Sema Kaygusuz this chapter explores how the Ottoman Myth has evolved throughout the history of late Ottoman and (post)modern Turkish literature.

The Red-Haired Woman (2016) by Orhan Pamuk mirrors the east-west dichotomy by father-son relationship. The author integrates the narratives of King Oedipus and Rostam and Sohrab in the nucleus of the text and the protagonist's experiences; thereby, he not only brings a dual approach to the question of becoming an individual but manifests the inevitability of fate via myths turning into reality. Pamuk's literary modus operandi in the novel lets coincidence find a palpable meaning and become the repetition of past incidents. Carl Gustav Jung's concepts of collective unconscious and archetype, in this respect, shed considerable light on the ways in which Pamuk's characters are led by some collectively shared entities. According to Jung, every individual possesses some reflexes, tendencies and instincts shared by all humanity and stored in the very depth of human mind. Jung argues that collective unconscious, being of primitive and universal quality, appears in dreams and myths and latently influences the way man thinks and behaves. Cem Çelik, the protagonist of The Red-Haired Woman, acts so as to exhibit this holistic influence particularly in terms of father-son relationship; to a great extent, his experiences are presented as recurrences of historical/mythical situations and occurrences that have been repeated throughout human history with cultural changes and manifested in myths. Hence, this paper aims to elucidate Pamuk's use of myths and discourses of patricide/filicide in The Red-Haired Woman through Jungian perspective.

O objetivo deste artigo é discutir as condições da transmissão da cultura a partir dos referenciais situados pela psicanálise de Sigmund Freud e pela teoria política de Hannah Arendt. A elaboração operada é tecida às questões situadas por Orhan Pamuk, em Meu nome é vermelho, romance que permite desdobrar a complexidade implicada na transmissão, quando da passagem das sociedades organizadas pela tradição para as sociedades sustentadas pela produção individual. O argumento que atravessa o texto é o de que a transmissão, em nosso tempo, se sustenta em uma perda, efeito da apropriação de cada sujeito da herança que lhe é disponibilizada. É essa perda que permite, paradoxalmente, manter a referência ao passado.

Deconstruction has hardly ever been applied as a method to the analysis of Orhan Pamuk’s Snow, which is surprising because the novel itself is deconstructive to some extent. The following article addresses this issue by providing a deconstructive view of the text according to the approach of Jacques Derrida. The paper starts with a short account of Derrida’s understanding of texts as universal "differences and traces of traces“. This perspective is exemplified with the aid of the metaphor for snow and Franz Kafka’s Castle. In connection with the latter, Derrida’s thoughts about "différance“, which thwarts the presence of meaning, are explained as well. The following section addresses Pamuk’s depiction of a "suicide epidemic“ which is combined with the complex issue of headscarf. The attempts of the protagonist Ka to discover the reasons of the suicides are futile because, as will be shown, individual cases are affected by postponements of meaning, which are related with the notion of "différance“. Understanding is also a problem for the narrator Orhan. The hypothesis developed in the concluding section of the analysis is that he is in fact narrating a deconstructive genesis of a lost manuscript. The collection of Ka’s poems titled Snow, which Pamuk’s novel is about for the most part, has disappeared. Meanwhile, the replacement of the poems with informations about the circumstances of their creation makes the contextual socio-cultural problematics apparent.

Pamuk‘s Istanbul. Memories of a City (2005), more than a book of individual memoirs, is a review of significant moments of Turkey‘s history, through which the writer addresses issues of national representation and identity. By analysing how Pamuk‘s book revises Turkey‘s cultural memory when the country‘s membership in the EU is considered a controversial key issue to the stability of Europe in the future, my aim is to examine to what extent the debate on Turkey‘s membership in the EU perpetuates Western representations of the oriental world in cultural and ideological terms.

This study explores the Turkish modernization through stream of consciousness in the works of Ahmet Hamdi Tanpınar, Oğuz Atay and Orhan Pamuk. The first instance, reflected by Tanpınar's A Mind at Peace, presents a collective and historical projection of national identity. On the basis of synthesis, Tanpınar's collective consciousness suggests a civilization resolution, an alliance in lieu of clash of civilizations". The second instance, presented by Atay's The Disconnected, illustrates the inner paradox of an intellectual and his struggle between the Eastern and Western world of values. Thus The Disconnected, through characters' consciousness, vocalizes the mental flux and reflux of those living in a social purgatory. Finally, in the instance of The Silent House, Orhan Pamuk draws a mental manifestation of an abyss between the East and the West. For Pamuk, this gap can only be filled up through an intellectual transformation. Stream of consciousness, as the manifestation of human mind, sets a common ground for all the above-mentioned novels.

The relationship between the novel and history has always been controversial. Various ideas have been put forward about the extent to which the novelist should benefit from the historical material and how s/he should describe the historical figures in the work. The new historicist discourse, which has become widespread following the postmodern discourse, reveals that the historian cannot be objective and that there are some parallels between history and fictional literature. Postmodern novelists who adopt the new historicism can fictionalize the historical material as they wish and can eliminate the line between fiction and historical reality. Although Orhan Pamuk's novel Nights of Plague, written in the context of his new historicism, is based on a plague event in the Ottoman Empire in 1901, it focuses on an imaginary island and some fictional heroes. In addition, it refers to one of the last sultans of the Ottoman Empire, Abdul Hamid II's understanding of politics and his personality. Using a fictional heroine named Mina Mingerli as a narrator; the author creates a narrative in the triangle of plague, love, and crime on the imaginary Minger Island in 1901. Although this narrative touches on the Minger people' process of becoming a nation, it is fictionalized as the irony of the nation-state. The novel, which narrates the transformation of the events experienced during the establishment of the nation-states over time and the transformation of the nation-state founders into a national myth through parody, tries to eliminate the line between fiction and reality. While telling the past, the narrator tries to show that historical knowledge is necessarily based on fiction by referring to current events from time to time. Nights of Plague is a novel in which the events and people fictionalized through the fictionalization of historical knowledge are intertwined. In this study, the focus will be on how history is fictionalized and how the fictionalized events and people are reflected in history in the context of Nights of Plague.

Aynı soydan gelen üç kuşağın hikâyesinin anlatıldığı Sessiz Ev, yaklaşık yüz yıla yayılan tarihsel zamanıyla, Türkiye'de yaşanan değişim ve dönüşümlerin, toplumsal cinsiyete yüklenen anlam ve değerler aracılığıyla okunmasına imkân sağlar. Toplumsal cinsiyet normlarının sadece kadınlar değil, erkekler üzerinde de etkili olduğu, erkekleri de yaş, meslek, fiziksel görünüm, toplumsal statü vb. etkenlere göre sınıflandırdığı görülür. Bu bağlamda erkeklik, erkekler arasındaki bir mücadele alanı olarak toplumsal rekabeti içinde barındırır. Çalışmanın merkezinde yer alan toplumsal cinsiyete ait söylem ve uygulamaların erkekler arasındaki hiyerarşiyi belirlediği ve erkekler üzerinde baskı kurduğu incelenen roman aracılığıyla görünür kılınmıştır. Çalışmada, erkeklik ile ilgili toplumsal normların, erkekler üzerinde baskı kurulmasına sebep olduğu, onları kuşatan ve engelleyen bir yapıya dönüştüğü tespit edilmiştir. Sessiz Ev'de birinci kuşağın temsilcisi Doktor Selahattin Bey, toplumsal cinsiyet normları tarafından erkeğe atfedilen birincil toplumsal konumun başarılı, güçlü ve üstün olma gibi değerlerine sahip değildir. Selahattin Bey, mesleğinde, aile yaşamında ve toplumsal hayatta iktidar sahibi bir erkek görünümüne sahip olamamıştır. Selahattin Bey'in soyundan gelen erkeklerin tümü, toplumsal cinsiyet normlarının erkek için belirlediği üstün değerleri taşımayan ve bu sebeple iktidardan pay alamayan bir erkekliğin temsilcisidir. Roman üzerine yapılan incelemede, erkeklerin toplumsal cinsiyet yapıları içindeki kendi erkekliklerini kurgulama biçimlerinin, önceki nesillerin izlerini taşıdığı ve erkeklik algısında belirleyici olduğu görülmüştür. Sessiz Ev'de Selahattin Bey'in soyundan gelen meşru ve gayrimeşru tüm erkeklerin, bir önceki nesilden farklı bir erkeklik kurmayı hedefleseler de başarılı olamadıkları, babalarının ya da dedelerinin eril iktidardaki payından uzaklaşmalarının mümkün olmadığı tespit edilmiştir.

The Silent House, where the story of three generations of the same lineage is told, with its historical time spanning about a century, allows to read the changes taking place in Turkey through the ascribed meanings and values of gender. It is seen that gender norms are effective not only on women but also on men and these norms categorize men according to their age, occupation, physical appearance, social status etc. In this context, masculinity, as a battleground between men embodies social competition. Though the novel it is seen that gender discourses and practices, that are at the center of this study, determine the hierarchy between men and put pressure on men. In the study, it is determined that social norms related to masculinity cause pressure on men and turn into a structure surrounding and preventing men.
As the representative of the first generation in the Silent House, Doctor Selahattin Bey, does not have the values such as being successful, strong and superior that are ascribed to man as a primary social position of gender norms. Selahattin Bey could not have the appearance of a man with power in his profession, family life and social life. All of the descendants of Selahattin Bey, are the representatives of a masculinity that does not have superior values determined by the gender norms for men and therefore cannot get a share of power. In the study on the novel, it has been observed that the way men construct their masculinity within their gender structures, carries the traces of previous generations and this is decisive in their perception of masculinity. In the Silent House, it has been determined that all legitimate and illegitimate men who are descendants of Selahattin Bey, are not successful even if they aim to establish a different masculinity from the previous generation, and it is not possible for them to get away from the share of their fathers or grandfathers’ male power.

The scholarship on world literature has often used a center/periphery model and analyzed how Orhan Pamuk’s works have been received by different cultures, especially the Western. Rather than analyzing Pamuk’s reception in other cultures, this study will examine how Pamuk overlooks and even sometimes undermines the hierarchies that shape the international literary domain by writing “as if in the center.” As a case study, a close reading of Orhan Pamuk’s Istanbul: Memories and the City (İstanbul: Hatıralar ve Şehir, 2003) will be given and the narrative techniques that Pamuk uses to upend the center/periphery dynamics will be examined. This article argues that Pamuk transforms elements that threatened to marginalize Istanbul, such as the Western gaze, into sources that nourish his artistic vision that endows Istanbul with a central status. The first section demonstrates that although Istanbul was marginalized within the international realm, Pamuk describes the act of writing as a means to endow Istanbul with a central status. It points out that Pamuk generates his vision of the city through a process that this study calls interweaving or artistic translation. The second section shows that the writer uses different mediums such as photography and painting to foreground the complexity of the city. Furthermore, it will claim that Ara Güler’s photos that are used throughout Istanbul further enriches Pamuk’s work by not always confirming Pamuk’s observations and sometimes even contradicting with them. The final section examines Pamuk’s perspectives on the Western gaze. Pamuk notes that the European gaze becomes a source of nourishment rather than a threat. He writes about the shortcomings of Edward Said’s theories and criticizes the tendency to view East and West as two well-defined regions.

The article dwells on the theme of journey towards spiritual healing by
comparing the works of Naguib Mahfouz and Orhan Pamuk. Mahfouz’s allegorical short story is based on the protagonist’s search for a remedy for his incurable disease. In fact, the unknown disease, which modern medicine fails to cure, is a metaphor representing the erosion of spiritual values and corruption in the Egyptian social strata in the twentieth century.
Likewise, in Pamuk’s novel, the protagonist’s father takes his young son to a Sheikh to cure him of his fear of Istanbul’s stray dogs. The Sheikh’s prayer helps him to forget his fear not to be revived until adulthood. It is seen that both protagonists’ spiritual ailment stems from a metaphorical “communal disease,” and both try to heal their wounds through non-scientific ways. The article handles the parallels and differences between the two cultures’ approach to the issue of spiritual healing.

As the objectivity of history has begun to be questioned, changes have also been observed in historical novel writing. In historical novel writing; the way that history is handled in contexts such as time, event, person, narrative technique and place has changed and the historical novel gains a different momentum. New Historians focus on the fictional dimension of history. They think that historical texts are fiction. For this reason, between history and literatüre they argue that there is no difference. They interpret the meaning of the text according to the context of the text and the culture of the society in which it is produced. Postmodern historical novels are the projection of the New Historicalism movement in the literary field. In such novels, the existence of objective information is not accepted. The concept of intertextuality, which is among the principles of the New Historicalism theory, is among the narrative strategies frequently used in postmodern historical novels. With the metafiction technique, the historical events, situation and the
reality of the people, which are the subject of the text and thus the works, are problematized. They approach historical reality from a pluralistic perspective. Similar attitudes are observed in postmodern historical novels. We are confronted with a number of elements of New Historicism in My Name is Red novel of Orhan Pamuk. Pamuk, reflects the details of the period which cannot be grasped easily by making use of the reality of historical characters and events, complementing them in his mind, and presents them to the reader on a fictional plane. In this study, ıt is aimed to bring up the reflections of new historicism principles in My Name is Red novel.

A partir du repérage d’un point aveugle de la littérature générale et comparée, ce travail vise à faire de la littérature turque le site d’interrogation de la discipline et de l’intelligibilité régionale de la littérature européenne. La mondialisation du discours critique permet de situer la réception de la littérature européenne chez un romancier turc contemporain dans le cadre des échanges littéraires inégaux entre un espace littéraire ancien et très doté et la périphérie turque. Les particularités de ce champ socio-historique dont Orhan Pamuk est tributaire permettent de comprendre sa trajectoire exceptionnelle, mais aussi son ethos de lecteur de la bibliothèque européenne, marqué par l’excentricité et l’héritage de la dépendance. Dès lors, l’étude du recours d’Orhan Pamuk au roman européen met en valeur trois usages de celui-ci : un usage mimétique, un usage générique et un usage architextuel dont témoigne la réécriture des Buddenbrook de Thomas Mann. Le recours au roman dostoïevskien met en lumière, quant à lui, l’homologie structurale de deux anciens empires dans le rapport à l’Europe, et révèle à Orhan Pamuk l’intelligibilité des « démons » de la Turquie. Le roman pamukien se présente alors comme une négociation poétique de la dépendance et de l’excentricité de la littérature et du roman turcs. La poétique intertextuelle très appuyée, dans un geste de réécriture du canon (Proust, Dante, Dostoïevski) permet la captation de l’héritage littéraire européen ; la poétique de la taklit, centrée sur les jeux fictionnels et les feintises ludiques, permet enfin de transmuer le complexe de dépendance mimétique dans une nouvelle catharsis romanesque de laquelle émerge la « fiction » de l’auteur pamukien.

Bu çalışma, fotoğraf ile edebi bir metnin birbiri ile ilişkisi üzerine odaklan-maktadır. Orhan Pamuk 2003 yılında İstanbul-Hatıralar ve Şehir adlı kitabını 200 fotoğraf ile yayınlamış ancak daha sonra kitaba 230 tane fotoğraf daha ek-leyerek ve ebatlarını büyüterek yeniden, Resimli İstanbul-Hatıralar ve Şehir adıyla 2015 yılında baskıya vermiştir. Böylece kitap, fotoğraf ve metin ilişkisi kuvvetlendirilerek ve fotoğrafın yarattığı etki arttırılarak, metinlere dayanan bir kitaptan, görselliğe dayanan bir kitaba dönüşmüştür. Bu çalışmanın ama-cı da fotoğrafların yarattığı görsel ve imgesel gücün metinler üzerinde nasıl etki yarattığı ve tam tersi bir noktadan hareketle de, metinlerin fotoğraflarla nasıl ilişkiye girdiğinin incelenmesine dayanmaktadır. Fotoğraf ve edebiyatın üretim şekli ve niteliği bakımından farklı sanatsal çerçevelere sahip olmaları birbirleri ile hangi noktalarda etkileşime girdikleri konusunu daha da önem-* Doç.Dr., Adnan Menderes Üniversitesi, İletişim Fakültesi.

Despite its crucial function within the global capitalist system, the semi-periphery has received relatively little critical attention within the burgeoning field of world literature. As a transitional space between the core and the periphery, the semi-periphery is particularly sensitive to the economic, social and cultural uneveness of the world-system, making it invaluable for understanding the transformations and crises of capitalism. This thesis therefore explores the form and aesthetics of semi-peripheral literature by comparing a selection of novels from the borders of Europe. The study is structured around two case studies, both located on Europe’s continental fringes: the North Atlantic island nations, Iceland and the Faroe Islands, and Turkey; a set of very different social and cultural landscapes, which each illustrate a different historical transition to semi-peripherality. Starting in the North Atlantic, the first part of the thesis will explore the form and structures of colonial domination in Iceland and the Faroe Islands, and will consider how the systematic underdevelopment of both nations has impacted the peripheral nationalist aesthetics in the works of Halldór Laxness and William Heinesen. Expanding the project’s comparative scope to Turkey, the second part considers how the history of imperial decline and nation-building in the twentieth century are reflected in Orhan Pamuk and Latife Tekin’s semi-peripheral city- and borderscapes. Together the two sections cover different, but overlapping aspects of semi-peripherality, including the overdetermination of historical consciousness; the thematisation of language and translation; and the dialectical tension between ‘local’ and ‘global’ perspectives, which in different ways shape the particular aesthetics of semi-peripheral literature. Through comparative analysis of how each text mediates the distinct political, economic, cultural and social relations of the semi-periphery, this thesis argues that the conflicts and contradictions of the capitalist system are registered with particular intensity in the spaces that make up the semi-periphery, resulting in an antinomic literary aesthetic which testifies both to the unevenness of the capitalist world-system and to the radical potential of the semi-periphery as a space for political and social transformation. This project thereby engages in current debates about the intersections of postcolonial, comparative and world-literature and contributes to mapping literary registrations of the capitalist world-system.

Karşıtlıkları/çelişkileri romanın temeli olarak gören Orhan Pamuk’un tema dünyasında Doğu-Batı çatışması önemli bir yere sahiptir. Pamuk, Doğu ve Batı kültürünün kesiştiği önemli bir yer olan Türkiye’de, İstanbul’un Nişantaşı semtinde büyümüştür. Bu ortamda yetişen Pamuk, iki kültürü birlikte tanımıştır. Bu iki ayrı dünya, Doğu ve Batı kültürü, Pamuk’un sorgulamalarının merkezine yerleşmiştir. Bu araştırmanın amacı, Orhan Pamuk’un tema dünyasında önemli bir yeri olan Doğu-Batı çatışmasının eserlerine yansımasını belirlemek ve betimlemektir. Araştırma süreci nitel araştırma yöntemlerinden doküman incelemesiyle yürütülmüş, elde edilen verilerin analizinde betimleyici-yorumlayıcı analiz kullanılmıştır. Araştırma sonucunda, farklı konular üzerinden işlenen çatışma unsurlarının çok boyutlu ve karmaşık olan yapılarının bozulmadan, hayatın içerisinde olduğu gibi aktarıldığı, bir sonuca varma amacı taşımadığı; sorgulama, yorumlama ve sonuca varma gibi anlamsal işlemlerin okuyucuya bırakıldığı tespit edilmiştir.

Nobel Prize laureate Orhan Pamuk's novel Snow (2002), which local scholars argue that it takes its name from 'karsu' (snow-water), takes place in Kars 3 , a city located on the northeastern border of Turkey. As a borderline city, it stands as the nexus of distinguished civilisations, such as that of Armenians, Russians, and Ottomans; and bears the traces of several ethnic, cultural, and political characteristics of diverse identities. Snow represents modernist Turkey's political, cultural, and religious turmoil experienced in the late twentieth century. The novel depicts the city of Kars as a witness to deep-seated conflicting political views and social values. The concepts of secularism, nationalism, and the Islamic Revival, including experiences of poverty that have been felt, unemployment, and suicide are all inscribed within the plot of this provocative novel. Hence, depicted concepts and felt experiences stir up much controversy among critics who explore Pamuk's intention to understand the reasons why he might have thematised such problematic issues. However, Pamuk's elaboration of a political issue in Snow seems to have been misconceived through political standpoints minimizing his artistic ability to solely a political gaze. In this respect, I will explore and discuss Pamuk's Snow as a polyphonic novel inviting its readers to contemplate both the question of 'the other' and the dangers of radicalism rather than as a novel supporting a certain political group.

This essay analyzes fiction by Orhan Pamuk and William Faulkner as examples of a discursive formation that I term “global provincialism.” Whereas Goethe’s influential notion of Weltliteratur imagined a secular “market where all nations offer their goods,” Pamuk's and Faulkner’s writings emphasize the local and parochial. Thus, while these authors have garnered ostensibly global literary importance, their fiction is rooted in seemingly narrow narrative worlds. I argue that this parochialism functions as a self-referential technique for linking up fiction with the idea of “world literature.” I also argue that Pamuk’s fiction interrogates some of the conventions of “global provincialism” put forward in Faulkner’s work.

Edebiyat sahasına iletişim cephesinden bir bakış sayılabilecek bu çalışmada; öncelikle Orhan Pamuk'un kendi romancılık anlayışı içerisinde "roman" ve "hedef kitle" kavramları arasında nasıl bir ilinti kurduğu irdelenmiştir. Böylece Pamuk'un roman dışındaki metinlerinden de yararlanarak, özellikle hedef aldığı okur kitlesiyle kurgu düzleminde nasıl bir ilişkiyi benimsediği tespit edilmeye çalışılmıştır. Ardından Pamuk'un roman kurgularında hedef kitleye yönelik müdahalelerin izi sürülerek, üretim ilişkilerinin yapıtın niteliğinde olan etkileri tartışılmıştır. Ayrıca "hedef kitle" kavramının çağrıştırdığı pazarlama ile edebiyatın "yüce" ve estetik yaratımının yan yana gelmesinin yol açtığı kuşku ve rahatsızlıktan kaynaklanan eleştiriler, çağdaş roman anlayışı da göz önünde bulundurularak değerlendirilmiştir.

Afin d'analyser la portée encyclopédique des collections et des musées, cette étude compare trois textes narratifs du XX e siècle : Le Musée du silence de Yoko Ogawa, « Le musée du Dr Moses » de Joyce Carol Oates, et Le musée de l'Innocence d'Orhan Pamuk. Il s'agit d'interroger les tensions entre les savoirs incarnés par les collections et les contextes dans lesquels elles s'inscrivent, afin de mesurer leur degré de marginalité.

In order to analyse the encyclopaedic significance of collections and museums, this study compares three Twentieth century narrative texts : Yoko Ogawa's The Museum of Silence, Joyce Carol Oates' « The Museum of Dr Moses » and Orhan Pamuk's The Museum of Innocence. It questions the tensions between knowledge, represented by the collections, and the contexts in which they figure, so as to gain a measure of their marginality.

Mukayeseli edebiyat bağlamında Umberto Eco’nun Gülün Adı ile
Orhan Pamuk’un Benim Adım Kırmızı romanları arasında bazı
paralellikler göze çarpmaktadır. İki eser arasındaki benzerlikler çeşitli
vesilelerle dile getirilmiş, fakat benzerliğin mahiyetine pek girilmemiştir.
Hadiselerin birbirine yakın yüzyıllarda geçmesi, bilgi ve sanata dayanan
muhtevalara sahip olmaları; yenilik taraftarlarıyla muhafazakârlar
arasındaki çekişme; cinayetlere yaklaşma ve onları çözme tarzları iki
roman arasında bazı çağrışımlar yapmaktadır. Makalede Gülün Adı
romanının Benim Adım Kırmızı üzerindeki muhtemel tesirleri, bu
tesirlerin ne derece olduğu incelenmeye çalışılmıştır.
Anahtar Kelimeler: Mukayeseli edebiyat, Umberto Eco, Orhan
Pamuk, Gülün Adı, Benim Adım Kırmızı.

Orhan Pamuk'un 2003 yılında yayımlanan İstanbul: Hatıralar ve Şehir adlı kitabı, İstanbul'un biyografisiyle yazarın otobiyografisinin iç içe geçerek anlatıldığı bir anı kitabıdır. Doğduğu günden 22 yaşına kadar ki anıları, düşünceleri ve çevresindikler üzerinden kendi hayat hikayesini anlatması bakımından otobiyografi, İstanbul'un tarihi olaylarını, insanlarını, sokaklarını ve en önemlisi İstanbul'da hayatı hüzün temasıyla özdeşleştirerek anlatmasıyla da biyografi özeliği taşıdığını söyleyebiliriz. Orhan Pamuk'un doğduğu günden itibaren İstanbul'un tarihiyle beraber ilerleyen akış, gazete haberleri, afişler ve fotoğraflarla destekleniyor. Doğduğu evle başlayan anlatı İstanbul sokaklarında son buluyor. "Bu kitapta anlatının merkezi Pamuk olduğu için, en başta kendi çocukluğunu anlatırken, İstanbul'u da kendi gözünden, içten dışa doğru, anne-baba-ağabey-ev-sokak-mahalle sırasıyla, oturduğu yer olan Nişantaşı'ndan anlatmaya başlar. Sanki önce İstanbul'u anlatacak "ben"i tanırız. Ama aslında İstanbul ve "ben"in resmi birlikte oluşur." 1 Yazarın hafızası, şehrin geçmişinde gezinirken aynı zaman da İstanbul'u dışarıdan bakan gözlerden de görürüz. Hatıralar üzerine kurulu bu kitabı, öncelikle hafıza kavramı açısından incelemek şehirle birleştiği noktaları, kendi kimliğini şehir üzerine nasıl kurduğunu anlamak açısından yardımcı olacaktır. Halbwaches'ın kolektif hafızaya dikkat çekmesinin ana tanımı olan, "Hatırlamak için ötekilere ihtiyacımız vardır."görüşünü şöyle açar; "bireyin hafızası öznel gelişen bir süreç olmaktan ziyade toplumun içinde ve ona bağlı olarak gelişen bir olgudur. 1 Nüket Esen, Modern Türk Edebiyatı Üzerine Okumalar (İstanbul: İletişim,2006),225.

This paper discusses about socio-psychological dimension in paintings pictured in Orhan Pamuk's novel My Name is Red. The novel shows us fi ne examples about how paintings can be a media of painters who lived in a repressive era of Sultan Murat III which established rigid rules adopted from Islamic principles of how a painting should be done. This idea manifested in the characters' behaviour, especially Velijan Eff endi, who hold the Islamic or East principles, but dilemmatically fond of Western principles as an aesthetic way of painting. This kind of dilemma born from the presence of East and West principles intertwined in Turkey at the era pictured in the novel. Results determined that Velijan Eff endi is narcistic as a result of his needs to be acknowledged, to exist in his repressed life. He uses his paintings as the media of expressing his needs.

Cevdet bey et ses fils d'Orhan Pamuk représente la première importation dans le champ turc du genre de la saga familiale. Cet article étudie la manière dont Orhan Pamuk, à travers ce premier roman de famille, adapte le roman mannien au contexte turc. Il tente également de cerner les limites et les spécificités de l'adaptation-acculturation d'un modèle canonique du roman euro-péen à la périphérie turque. Cevdet bey and his sons by Orhan Pamuk represents the first importation in the Turkish literary field of the family novel genre. This article focuses on the way Orhan Pamuk, through this first family novel, adapts the mannian novel to the Turkish context. It also tries to figure out the limits and the specificities of the adaptation-acculturation of a canonical model of the European novel at the Turkish periphery.

Bu çalışma, Orhan Pamuk’un, postmodern özelliklerin ön plana çıktığı ilk romanı olan Kara Kitap’taki Borges etkisini incelemektedir. Söz konusu çözümleme için, Göran Hermerén’in edebiyat ve sanatta etkiye dair kuramından yararlanılarak, ilgili roman çok yönlü bir biçimde çözümlenmiştir. Sonuç olarak, Arjantinli yazarın Pamuk’un bu eserinde, yaratıcı ve sanatsal bir yansımaya işaret eden, “dar anlamda” veya “özgün” etki olarak adlandırılan düzeyde etkisi olduğu belirlenmiştir. Büyük ölçüde dolaylı bir yansımayı ifade eden bu etki biçiminin yanı sıra, Kara Kitap’ın yazarının, Borges’e yaptığı çeşitli göndermeler ve aynı kökene sahip motifler de incelenmiştir.

İkinci Dünya Savaşı’ndan sonra Alain Robbe–Grillet ve arkadaşları,
kendilerinden önceki roman anlayışlarını eleştirerek “Yeni Roman” akımını
başlatmışlardır. Bu akım, zaman içinde postmodern roman denen türün
oluşmasını sağlamıştır. Bu romanın en belirgin özelliklerinden biri, metinlerarası
ilişkileri afişe etmesidir. Metinlerarasılık olarak ifade edilen bu yeni anlayışa göre
metinlerin kendilerinden önceki metinlerden etkilenmesi kaçınılmazdır.
Dolayısıyla bu etkileri gizlemenin anlamı yoktur. Orhan Pamuk, Benim Adım
Kırmızı romanında mesnevilerle romanı arasında metinlerarası bir ilişki
kurmuştur. Çalışmada, Benim Adım Kırmızı romanıyla mesneviler arasındaki
ilişki, metinlerarası teknikler olan parodi ve pastiş düzeyinde ele alınacaktır.