When Orhan Pamuk won the Nobel Prize for Literature in 2006, he was honored as a builder of bridges across a dangerous chasm. By rendering his Turkish characters and settings familiar where they ...would otherwise seem troublingly foreign, and by speaking freely against his authoritarian state, he demonstrated a variety of literary greatness that testified also to the good literature can do in the world.Gloria Fisk challenges this standard for canonization as "world literature" by showing how poorly it applies to Pamuk. Reading the Turkish novelist as a case study in the ways Western readers expand their reach, Fisk traces the terms of his engagement with a literary market dominated by the tastes of its Anglophone publics, who received him as a balm for their anxieties about Islamic terrorism and the stratifications of global capitalism. Fisk reads Pamuk's post-9/11 novels as they circulated through this audience, as rich in cultural capital as it is far-flung, in the American English that is global capital'slingua franca. She launches a polemic against Anglophone readers' instrumental use of literature as a source of crosscultural understanding, contending that this pervasive way of reading across all manner of borders limits the globality it announces, because it serves the interests of the Western cultural and educational institutions that produce it.Orhan Pamuk and the Good of World Literatureproposes a new way to think about the uneven processes of translation, circulation, and judgment that carry contemporary literature to its readers, wherever they live.
In this reaction to the attack on Sir Salman Rushdie in August 2022 I suggest that he and several other writers represent powerful role-models for autoethnographers who also aspire to be ...freedom-writers. Some of those I reference include Nobel prize-winners such as Orhan Pamuk and Annie Ernaux as well as other literary and political figures such as Maya Angelou, Elena Ferrante, James Joyce, and George Orwell. I then turn to Norman Denzin, recently honored in a warm festschrift, as a prime exemplar of an academic autoethnographer whose work has encouraged others to become their own kind of freedom-writer.
This collection of essays brings together scholarly examinations of a writer who-despite the prestige that the Nobel Prize has earned him-remains controversial with respect to his place in the ...literary tradition of his home country. This is in part because the positioning of Turkey itself in relation to the cultural divide between East and West has been the subject of a debate going back to the beginnings of the modern Turkish state and earlier. The present essays, written mostly by literary scholars, range widely across Pamuk's novelistic oeuvre, dealing with how the writer, often adding an allegorical level to the personages depicted in his experimental narratives, portrays tensions such as those between Western secularism and traditional Islam and different conceptions of national identity.
Ce réalisme-magique un brin décalé n'est pas sans rappeler les premières pages de Mon nom est rouge d'Orhan Pamuk : là aussi, un cadavre nous raconte sa condition, avant que le livre donne la parole ...à une tapisserie, à un animal, à d'autres personnages.
The East-West issue, which constituted the main thematic agenda of the Turkish novel from its beginning until the period when class conflicts began to be discussed more in the 1940s, has been a ...subject that Orhan Pamuk has emphasized in almost all of his novels since his first novel. He with the reality of the Turkish society, which experiences the conditions of being in a position between East and West geographically and culturally, in his novels – this is especially true in “Kırmızı Saçlı Kadın” (The Red-Haired Woman). He has designed its story around the axis of the meaning that Eastern and Western thought ascribe to the relationship between competence and subject, and how each approach both phenomena. He handles the relationship between competence through two sets of symbols: father/son and master/apprentice in the novel. He does this to discuss, contrast, and compare the texts/narratives built by Eastern and Western societies and how they reflect the collective subconscious. The novel focuses on the conflict between the father, who is the representative figure of competence, and the son who tries to be himself against him. He examines the cultures of obedience to power and rebellion in the context of the narratives of King Oedipus, Rüstem, and Sührab, lending it an intense inter-textual relationship. In this study, we shall examine and emphasize the relationship between authority/competence, the main theme of “Kırmızı Saçlı Kadın,” and the son's effort to understand himself in the face of authority.
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Dostopno za:
DOBA, IZUM, KILJ, NUK, ODKLJ, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Since the existence of the word, human beings have always felt the need for an expression. Although this was verbal at first, it continued until today both orally and in writing with the invention of ...writing. As Aziz Nesin puts it, “There was no word that was not said under the sun.” The fact that the text has direct or direct affinity, similarity or contrast with the oral and written texts before it is due to this. This postmodernism-centered study has been prepared as a short review of Orhan Pamuk’s novel Kar named in terms of intertextuality. In this article, firstly, based on the definitions of intertextuality, the summary of the book and the sections containing the intertextuality elements were tried to be determined. The intertextuality established by Orhan Pamuk in this novel has directed the reader to different sources with the referents.
Orhan Pamuk, Secularism and Blasphemy is the first critical study of all of Pamuk's novels, including the early untranslated work.
In 2005 Orhan Pamuk was charged with "insulting Turkishness" under ...Article 301 of the Turkish penal code. Eighteen months later he was awarded the Nobel Prize. After decades of criticism for wielding a depoliticized pen, Pamuk was cast as a dissident through his trial, an event that underscored his transformation from national literateur to global author. By contextualizing Pamuk's fiction into the Turkish tradition and by defining the literary and political intersections of his work, Orhan Pamuk, Secularism and Blasphemy rereads Pamuk's dissidence as a factor of the form of his novels.
This is not a traditional study of literature, but a book that turns to literature to ask larger questions about recent transformations in Turkish history, identity, modernity, and collective memory. As a corrective to common misreadings of Pamuk's work in its international reception, Orhan Pamuk, Secularism and Blasphemy applies various analytical lenses to the politics of the Turkish novel, including gender studies, cultural translation, historiography, and Islam. The book argues that modern literature that confronts representations of the nation-state, or devlet, with those of Ottoman, Islamic, and Sufi contexts, or din, constitute "secular blasphemies" that redefine the politics of the Turkish novel.
Concluding with a meditation on conditions of "untranslatability" in Turkish literature, this study provides a comprehensive and critical analysis of Pamuk's novels to date.
In this article we bring Marshall Berman’s writings on public space, politics and subjectivity into dialogue with a literary rendering of similar themes by Orhan Pamuk in his 2015 novel A Strangeness ...in my Mind. Our aim is to elaborate upon Berman’s undeveloped notion of ‘existential space’—first suggested in a review of an earlier Pamuk novel—through an extended encounter between the authors. This article begins by comparing the urban writings of Berman with Pamuk’s novel across three broad, overlapping themes: (1) the contingency of space; (2) authenticity and experience; and (3) openness, inclusivity and danger. In the analysis that develops out from this dialogue, we interpret existential space to imply any urban space—a room, a street, bar or square, for example—that is appropriated, in an act of struggle, by occupants or users as ‘an everywhere’: an inclusive place from which to connect with others and from where to pursue transcendent goals such as love, creativity, equality, justice or joy. This points to the fragile temporality of existential space, to how the meaning of the ‘present’ may be deferred or ‘hidden away in the back of the mind’ because such spaces are simultaneously concrete and preoccupied with another time (and place).
Orhan Pamuk published The Museum of Innocence in 2008, two years after getting his title of the first Turkish Nobel laureate. He opened the city museum named “Museum of Innocence” four years after ...the publication of this novel, which he had dreamed of collecting the objects to be exhibited for many years. In the same year, he published a catalogue titled The Innocence of Objects (2012) for this museum in which Pamuk writes about the objects, their relations to his life and his city İstanbul. The documentary film on this city museum, Innocence of Memories (2015), is shot in a collaboration between Pamuk and British director Grant Gee. Finally, a retrospective book titled The Innocence of Memories–which includes the screenplay, the conversation between the author and the director, and selected frames of this film–was published in 2016. All these written and visual texts by Pamuk, which are preferred to be named The Texts of Innocence in this study, open the way for an interplay and intertextuality re-represented by the spiral metaphor. This paper suggests, based on this metaphor that signifies an ‘unwinding path’ going through all these narratives, Orhan Pamuk produces the dynamics of the sublime that is related to presenting the unpresentable, free play, aesthetic formation, and the gaze of the perceiver in the postmodernist era. In this sense, this study aims to trace the postmodern dynamics of the sublime, turning around a set of objects presented and (re)presented to the reader, the museum-goer, and the audience within the fiction, the fictionalized non-fiction, and visual art narratives by Orhan Pamuk.
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