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.
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.
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.
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.
Literary Istanbul Uzuner, Buket; Tokman, Erkut; Hanson, Matt A
World literature today,
03/2023, Letnik:
97, Številka:
2
Journal Article
Recenzirano
Minoa bookstore (Şişli, on the European side) is an independent bookstore with a wide range of books both in English and Turkish. Penguen bookstore (Suadiye, on the Asian side) is a five-story ...bookstore offering different books on each floor along with a cozy café. With few customers inside, especially today, the shop resists the modern new bookshops near the tram stop, as if it was left alone at the end of a passage smelling of old books. The author of novels, short stories, and travelogues, the fourth and final book of her Nature Quartet, Fire, was published in January 2023.
This article applies Joseph Campbell’s mythological perspective to discuss Black’s character as a redeemer in Orhan Pamuk’s My Name Is Red (2002). This is done through discussing him as a lover whose ...dialogic interaction with the outside world helps him restore peace and order in an exemplary multicultural Ottoman society of the sixteenth century that is suffering gradual disappearance under the pressure of monologic strategies of communication. The strategies include Eastern and Western traditions of painting and a religious anti-painting one which refutes the other two as blasphemous. This investigation challenges the dominant reviews of MNR as a pessimistic political allegory that regrets the disappearance of traditional Turkish cultural identity, and argues that MNR develops an optimistic stand toward cultural formation through detailing Black’s practice of self-understanding and adaptability. Highlighting the notion of life-and-death struggle, this article introduces Black as a reviver whose success is signified through his marital reunion.
Bu çalışmada, Orhan Pamuk’un romanı Benim Adım Kırmızı ve İngilizce My name is red’den hareketle Türkçedeki dil bilgisel kanıtsallara edebi çeviride karşılık olarak kullanılan sözlüksel ...işaretleyicileri ve Türkçedeki kanıtsal içeriği İngilizceye aktarma stratejilerini inceledik. Çalışmanın amacı; Türkçe kanıtsalların hedef dildeki karşılıklarını tespit ederek çeviride dil tipolojisi kaynaklı anlam kaybı olup olmadığını ortaya koymak, varsa nedenlerini açıklamaktır. Karşılaştırmalı bir inceleme yapabilmek için Sketch Engine programı yardımıyla incelemeye konu romanın Türkçe ve İngilizcesinden iki ayrı veri tabanı oluşturduk. Derlem temelli incelemede, kurgusal metinde kullanılan çeşitli anlatı türlerini dikkate alarak dil bilgisel kanıtsallar –mIş ve ImIş’ın İngilizcede nasıl karşılandığını belirledik. Bu çerçevede, ilk olarak anlatının oluşturulmasında dolaylılığın alt ulamlarının görünümünü ve kanıtsalların işlevlerini örnekler yardımıyla tartıştık. İkinci aşamadaysa anlam kaybının ortaya çıktığı durumları değerlendirdik. İnceleme sonucunda, –mIş ile işaretlenen çıkarımsal bildirimlerde ve ImIş kullanımlarında dolaylılığın her zaman çeviriye yansıtılmadığını, kaplamsal olarak dolaylılıktan kaynaklanan belirsizlik anlamının da hedef dilde kaybolduğunu ortaya koyduk. Bazı durumlarda, sözlü kültüre ait aktarım ile ikinci el/üçüncü el kanıta dayanan önermelere ise once upon a time, I have heard tell gibi ifadeler eklenerek anlamın açık hâle getirildiğini tespit ettik.
As the cultural capital of both the Ottoman Empire and Republic of Turkey, Istanbul has assumed a central role in the literary imagination of the cultural legacy of the imperial past and the modern ...nation-state. When we consider Turkish literary history, construction of a national literary tradition reveals a close engagement with the West and Western modernity, often resulting in epistemological and ontological questions about the self searching for their place in the world. If Istanbul serves as the main ground for mapping out the anxieties about the national culture, it also provides the opportunity to reach beyond the national boundaries with its multi-layered and cosmopolitan past. In this paper, I contend that Istanbul, for several authors from Turkey, emerges as an important novelistic element and character so much so that it, on the one hand, enables them to discuss the possibilities and limits of the national literature and on the other hand becomes a venue for recognition as part of world literary studies. In this paper, I focus on three novels by three internationally acclaimed authors from Turkey, namely Ahmet Hamdi Tanpınar, Orhan Pamuk and Burhan Sönmez, so as to examine the spatial representation of Istanbul at the intersection of national and world literature. The novels under examination here,
A Mind at Peace
by Tanpınar (1949,
2008
English translation),
The Black Book
by Pamuk (1990, 1994;
2006
English translation) and
Istanbul Istanbul
by Sönmez (2015,
2016
English translation) depict the individual’s search for the self at a specific historical moment of modern Turkey, problematizing the past, present, and future of the nation-state.
This article examines how Orhan Pamuk addresses the food scenes where the Istanbul bourgeoisie are staged in his narratives and what these scenes represent in terms of Turkish modernization. The ...article begins with a discussion of the difficulties in defining the bourgeoisie and the polysemic structure of the concept. Next the article discusses the central position of everydayness in modern literature and how the eating scenes can be considered as 'fillers' in this context as defined by Moretti. Later on, this article analyzes Orhan Pamuk's novels, especially Masumiyet Müzesi Museum of Innocence, Sessiz Ev House of Silence, and Cevdet Bey ve Oğulları Cevdet Bey and His Sons as well as his autobiographic narratives such as İstanbul: Hatıralar ve Şehir Istanbul: Memories and the City and Manzaradan Parçalar Fragments of the Landscape through a deep reading on the axis of food scenes. The article examines the actual content of these scenes as well as the various meanings that have been constructed around them with regard to class, gender, modernity, and tradition. As a result of this investigation, the eating habits of the bourgeoisie in Orhan Pamuk's narratives can primarily be said to have a close relationship with the historically and socially constructed set of meanings. However, these narratives at the same time also emphasize food and eating to have universal and timeless meanings beyond the historical and social contexts.
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