Orhan Pamuk'un Cevdet bey ve oğulları, Sessiz Ev ve Yeni Hayat adlı romanlarında demiryolu/tren imgesi
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Tarih
2011
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
İstanbul Bilgi Üniversitesi
Erişim Hakkı
Attribution-NonCommercial-NoDerivs 3.0 United States
info:eu-repo/semantics/openAccess
info:eu-repo/semantics/openAccess
Özet
Bu çalışmanın amacı demiryolu/tren imgesinin, Orhan Pamuk'un Cevdet Bey ve Oğulları, Sessiz Ev ve Yeni Hayat adlı romanlarında iktidarın çeşitli veçhelerini temsil eden çok boyutlu ve dinamik `eril/kolonyal bir iktidar imgesi' olarak yer aldığını ortaya koymaktır. Metnin imgelem rengi romanların kronolojik sırasına göre değişirken imgenin iktidar temsili çoğullaşır, genişler ve demiryolu/tren postmodern bir imgeye dönüşür. İmgelem rengi ve iktidar temsilinin dönüşümü sırasında imgenin iktidar alanı olan dişil topos da postmodernleşir ve çoğullaşır. Türk modernleşmesi, Doğu-Batı ve kimlik sorunları temaları bağlamında, postmodern ve postkolonyal bakış açısıyla ve Pamuk romanları arasındaki süreklilik ilişkisi temelinde yapılan yakın okuma tezi desteklemektedir: Klasik gerçekçiliğe yakın duran Cevdet Bey ve Oğulları'nda bilimin `aydınlık'ındaki iktidar temsili eril/kolonyal/ komplekstir; dişil topos, ANAdolu/Doğu'dur. Hem modernist, hem postmodernist özelliklere sahip Sessiz Ev'de bilimsel bilgi-sanatsal bilgi geriliminin `alacakaranlık'ında iktidar imgesi eril/kolonyal/komplekstir, ama postmodern çağrışımlara da sahiptir; dişil topos, ANAdolu/Doğu/ tarihtir. Postmodern roman Yeni Hayat'ta sanatla ulaşılan varoluş bilgisinin `karanlık'ında iktidar imgesi eril/kolonyal/komplekstir, ama iyice çoğullaşır, postmodern çoğulluğun ve Tanrısal iktidarın sınırsız genişliğine sahip bütünlüklü bir iktidarı temsil eden postmodern bir imgeye dönüşür; dişil topos, kelimenin iki anlamıyla: yer ve tema olarak, hem ANAdolu/Doğu, hem de metindir. Anahtar Kelimeler: demiryolu/tren imgesi, modernleşme, eril/ kolonyal iktidar, dişil topos, aydınlık, alacakaranlık, karanlık.
The purpose of the present study is to prove that the railroad/train image appears in Cevdet Bey ve Oğulları, Sessiz Ev and Yeni Hayat by Orhan Pamuk as a multi-dimensional and dynamic `masculine/colonial power image that represents the various aspects of power. As the imagination colour in the text changes in the chronological order of the novels, the power representation of the image is pluralized, expanded and the railroad/train turns into a postmodern image. The feminine topos, the space of power is postmodernized and pluralized through the change of the imagination colour and power representation. The close reading from the postmodern and postcolonial perspective, within the context of the Turkish modernization, East-West, and identity problems themes and on the basis of the continuity relation between Pamuk novels supports the thesis: In Cevdet Bey ve Oğulları, close to classical realism, the power representation in the `light of science is masculine/colonial/complex; the feminine topos is Anatolia/East. In Sessiz Ev, which has both modernist and postmodernist characteristics, in the `twilight of scientific knowledge-artistic knowledge tension, the power image is masculine/colonial/complex, but has the postmodern connotations; the feminine topos is Anatolia/East/history. In postmodern Yeni Hayat, in the `darkness of the existence knowledge provided by art, the power image is masculine/colonial/complex, but thoroughly pluralized, turns into a postmodern image that represents a complete power that has the limitless breadth of postmodern plurality and divine power; the feminine topos, in both senses of the word: as place and theme, is both Anatolia/East and the text. Key Words: railroad/train image, modernization, masculine/ colonial power, feminine topos, light, twilight, darkness.
The purpose of the present study is to prove that the railroad/train image appears in Cevdet Bey ve Oğulları, Sessiz Ev and Yeni Hayat by Orhan Pamuk as a multi-dimensional and dynamic `masculine/colonial power image that represents the various aspects of power. As the imagination colour in the text changes in the chronological order of the novels, the power representation of the image is pluralized, expanded and the railroad/train turns into a postmodern image. The feminine topos, the space of power is postmodernized and pluralized through the change of the imagination colour and power representation. The close reading from the postmodern and postcolonial perspective, within the context of the Turkish modernization, East-West, and identity problems themes and on the basis of the continuity relation between Pamuk novels supports the thesis: In Cevdet Bey ve Oğulları, close to classical realism, the power representation in the `light of science is masculine/colonial/complex; the feminine topos is Anatolia/East. In Sessiz Ev, which has both modernist and postmodernist characteristics, in the `twilight of scientific knowledge-artistic knowledge tension, the power image is masculine/colonial/complex, but has the postmodern connotations; the feminine topos is Anatolia/East/history. In postmodern Yeni Hayat, in the `darkness of the existence knowledge provided by art, the power image is masculine/colonial/complex, but thoroughly pluralized, turns into a postmodern image that represents a complete power that has the limitless breadth of postmodern plurality and divine power; the feminine topos, in both senses of the word: as place and theme, is both Anatolia/East and the text. Key Words: railroad/train image, modernization, masculine/ colonial power, feminine topos, light, twilight, darkness.
