Contemporary Turkish Novel

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.

Özet
Bu çalışmanın amacı, postmodern anlatılarda dilin art alanında yatan felsefeyi; dil kullanımı ve anlatım tekniklerini incelemektir. Dil kullanımları ve anlatım tekniklerinin birbirinden ayrılmaz kullanımlara sahip olduğunu ve bunların postmodern metinlerde içerikten daha belirleyici olduklarına değinmektir. Böylece postmodern romanların, içerikten ziyade biçimsel olarak kimlik kazandığını ifade etmektir. Postmodern romana özgü bu dil kullanımları ve anlatım tekniklerini de Tutunamayanlar, Tehlikeli Oyunlar, Kafes, Kara Kitap, Postmodern Bir Kız Sevdim, Bin Hüzünlü Haz, Eylülün Gölgesinde Bir Yazdı gibi romanlar üzerinden göstermektir.
Anahtar sözcükler: Postmodern roman, postmodern Türk romanları, dil kullanımları, anlatım teknikleri. 
Abstract
The purpose of this paper is to examine philosophical background of language; the use of language and literary devices in postmodern narratives.  To mention the use of language and literary devices are inseparable in practices and upon touch that these uses and techniques more determinant than content in postmodern texts. In this way, it is expressed that postmodern narratives is characterized formalistically more than content and the use of language and literary devices are demonstrated through novels such as Tutunamayanlar, Tehlikeli Oyunlar, Kafes, Kara Kitap, Postmodern Bir Kız Sevdim, Bin Hüzünlü Haz, Eylülün Gölgesinde Bir Yazdı.

Özet Bolşevik İhtilâli'nden sonra Sovyetler Birliği'nde kolektifleştirme siyaseti hâkim olur. Bu siyaset an-layışının teorisi eşitlik esasına göre kurgulanmasına rağmen uygulaması çok büyük toplumsal trav-malara sebep olur. Özellikle Stalin dönemi bu konuda en ileri uygulamalara sahne olur. Bu çalışmada Elçin'in Ölüm Hükmü ve Cengiz Aytmatov'un Gün Olur Asra Bedel romanlarında yansımasını bulan kolektifleştirme siyasetinin Kırgızistan ve Azerbaycan'da toplumu benliğinden koparan uygulamaları ele alınmıştır. Her iki romanda da topluma şiddet yoluyla benimsetilen yeni sistemin, yüzyıllardır toplu-mu oluşturan dinamikleri başka bir ifadeyle kültürel belleği nasıl paramparça ettiği görülür. Toplumun geçmişten miras aldığı manevi bir güç olan bu dinamiklerin parçalanmasına duyarsız kalmayan Elçin ve Aytmatov eserlerinde Sovyet idaresi altında milletlerinin zorla yaşadığı trajik değişimi anlatmaya çalışırlar. Her iki yazar da eserlerinde efsane, masal, halk hikâyeleri, din, dil, âdetler, mezarlık ve eğitim sistemi gibi hususlara yoğunlaşır ve yitirilmeye çalışılan millî şuuru canlı tutmaya çalışır. İkisi de yeni sistem tarafından silinmeye çalışılan toplumsal belleğin korunması için eserlerinde yalın ama usta bir kurgu oluştururlar.

Türk modernleşmesinin toplumsal hayattaki karşılığını Türk romanlarından izlemek mümkündür. Yakup Kadri de Türkiye’nin modernleşme sürecini, toplumdaki etkileri açısından en geniş biçimde ele alan romancılarımızdan biridir. Yakup Kadri 19. yüzyılın sonlarından 20. yüzyılın ortalarına kadar yaşanan modernleşme sürecini dokuz ayrı romanda toplar. Bu romanlardan Hep O Şarkı’da modernleşme sürecinin önce zihniyet dünyasında başladığı görülür. Daha sonra Kiralık Konak’ta konak aile yapısından -bir anlamda patriarkal geleneksel aile yapısından- apartman aile yapısına -bir anlamda kentsel/batılı aile yapısına- geçiş ve çatışmaların ele alınması söz konusudur. Yine toplumsal/dini bir kurum olarak dergâhlar üzerinden modernleşmenin geleneksel yapılar üzerindeki etkisini, dini dergâhların sekülerleşme sürecini Nur Baba romanı üzerinden izleriz. Bir Sürgün’de modernleşmenin Batı üzerinden insan ilişkilerine yansıyan olumsuz yönleri eleştirilirken, modernleşmenin aşağıdan yukarıya doğru değil de bir politik yaklaşım olarak yukarıdan aşağıya doğru ele alınmasının dramatik/trajik eleştirel öyküsü Hüküm Gecesi’dir. Modernleşmeye milli bir renk veremeyen toplumların Sodome ve Gomore’ye dönüşme tehlikesi vardır. Diğer yandan Türkiye’de en önemli toplumsal sınıflardan biri olan aydınların kendi toplumlarına Yaban olması sorunu çıkar karşımıza. Batıyı eleştirmekten geri kalmamamız gerektiği; ama modernleşmenin sıkı bir savunusu vardır Ankara’da. Yirminci yüzyılın ortalarına gelindiğinde modernleşme sürecinin önemli bir parçası olarak görülen Atatürk devrimlerinin toplumda karşılık bulamamasının üzüntüsü, hayal kırıklığı “Panaroma”tik olarak ortaya çıkmaktadır artık Türkiye’nin modernleşme sürecinde.
Anahtar Kelime: Modernleşme, Türk Modernleşmesi, Roman, Türk Romanı, Yakup Kadri

There is a relationship between the perception of aesthetics and the understanding of cosmology and reality. Every era has an understanding of aesthetics in accordance with the conception of reality and the universe it has. For this reason, periods of mimetic (reflective), religious or realistic, human-centered aesthetic understandings and paradigms shaped accordingly have been seen throughout history. Today, one of the most appropriate expressions for the aesthetic attitude produced by postmodern literature is “pluralist aesthetics”. Plurality and pluralism are the reason for the existence of this aesthetic understanding. The "modernist novel", which is one of the important stops in the progress from the realistic novel to the postmodern novel, also includes a serious plurality. However, in postmodernism, pluralism is taken to a higher
level and a more participatory pluralist structure where privileges disappear emerges. The aim of this article is to mention the ideas of some thinkers who form the background of pluralist aesthetics and to reveal the conceptual framework of pluralism and pluralist aesthetics. It is also aimed to show the reflections of pluralist aesthetics in Turkish novels written between 1980 and2000, to draw attention to the fragmentation and discontinuity of the fiction, the pluralization of perspective, and the expansion of the thematic scale in the formation of a pluralist structure, and to termine what kind of reflections the hybridity created by inter-textual and inter-genre
relations have in the novel. In this context, the novels titled Çocukluğun Soğuk Geceleri, Bin Hüzünlü Haz, Eylülün Gölgesinde Bir Yazdı, Sessiz Ev, Yeni Hayat, Kafes, Fındık Sekiz, Mahrem, Bir Cinayet Romanı will be examined as examples.
Key Words: Postmodernism, postmodern novel, pluralist aesthetics, Turkish novel after
1980.

Bu yazıda, Türk romanındaki Teşkilat-ı Mahsusa imgesine dikkat çekilmekte ve konu üzerinde tahakküm kuran anlayışın bir birey, parti veya kuşağın düşünme biçimleri, daha çok da ihtirasları olduğu öne sürülmektedir. Kemal Tahir, bu çerçevede, hem standart tarih romanını aşan nispi gerçekçilik ve nesnelliği hem de tasvirle tahlili buluşturup yerli bir tarih bilinci kurulmasındaki ısrarı ve böylece Türkiye’yi ve tarihini yargılamak yerine anlamaya çalışmasıyla ayrı bir yerde durmaktadır. Tarihçi veya bilim adamı olmamasına rağmen, sahip olduğu bu biriciklik Tahir’in Teşkilat-ı Mahsusa hakkındaki düşüncelerini başka şeylere bağlamadan kendi içinde gözden geçirmeyi haklılaştırmaktadır.

Çağımız insanının muzdarip olduğu manevi problemler içerisinde değerlendirilen ve edebi eserlerde sıkça yer alan varoluşsal tükenişler ve bireyin yaşamı-evreni anlamlandırma/sorgulama çabalarını tarihsel düzleme taşıyarak romanlarında işleyen Gürsel Korat, Çiftaslan dörtlemesinin ilk üç eserinde zaman kavramını felsefi ve varoluşsal açıdan irdeler. Zaman Yeli, Güvercine Ağıt ve Kalenderiye romanlarında zaman, asli özelliğinden sıyrılarak izleksel bir yapıya bürünür ve bireyin tükenişine ortam hazırlayan yıkıcı yönünü göstererek kahramanın trajedisinin okura yansımasında etkin bir role bürünür. Romanlarda yer alan kahramanlar; Haydar, Saruca Abdal, Hristo, Mahzun Yusuf ve Bahri Efendi zamanın döngüselliği ve önlenemez olan kaderi yaşamların üzerine yönlendirmesi sonucunda birbiriyle bağlantılı fakat farklı zamanlarda vaka bulan trajedilerin öznesi olurlar. Günümüz insanının yaşamının en büyük açmazlarından olan varoluş sorunsalını günümüzden yüzyıllar öncesinde yaşayan karakterler üzerinden kurguya yansıtan Gürsel Korat günceli, tarihsel olanla harmanlayarak insana dair olan kavramların insanın bulunduğu her zaman diliminde varolduğunu vurgular. Bu çalışmada Gürsel Korat’ın Kapadokya Serisi romanlarından Zaman Yeli, Güvercine Ağıt, Kalenderiye romanları, varoluşsal boyutuyla zaman izleği çerçevesinde incelenecektir.

Kemal Tahir’in geç dönem romanlarından olan ve 1969’da yayınladığı Kurt Kanunu, belki başlığı kadar ünlü şu epigrafla açılır: “Kurtlukta düşeni yemek kanundur.” Roman, bu başlık ve epigrafla uyumlu bir biçimde, 1926 İzmir Suikasti hazırlıklarını, komplonun başarısız olmasıyla hem suikastçıların hem de bazılarının olayla ilişkileri bugüne kadar kesinleştirilememiş eski İttihatçı öndegelenlerin tutuklanıp İstiklâl Mahkemesi’nde yargılanmalarını özellikle eski İttihatçı fedai ve vali Abdülkadir’i temsil eden Abdülkerim ve tarihsel figür Kara Kemal’in tutuklanmaktan kaçış öyküleri üzerinden anlatır. Romanda, Kemal Tahir romanlarında adet olduğu üzere bol kabadayı erkek söylemi, cinsellik ve şiddetin yanı sıra tarihsel ve siyasal sırlar üzerinden yürütülen uzun yorum/dedikodular mevcuttur. Bu açıdan romanın temelde kurtlukla, düşeni yemekle, kurt kanunuyla ilgili olduğunu kabul etmek gerekir.

ÖZET
Ayla Kutlu, 1980 sonrasında roman ve öykü tarzında eserler veren yazarlar
arasındadır. Eserlerinde kadınlar üzerinden yoğunlaştığı trajik yaşamlar dikkat
çeker. Sanatçı, yalnızlık ve kaçış gibi izlekleri çatışmacı ve sloganik söylemlerden
uzak kalarak işlemesiyle özgünlüğü yakalar. Eserlerinde toplumsal olayları ve
toplum sorunlarını göz ardı etmeyen Ayla Kutlu’nun romancılığı genel anlamda bu
çizgide ilerler.
Cadı Ağacı’nda da yalnızlaşmayı, kaçışı ve intiharı, toplumda aydın tabaka
içerisinde yer alan; fakat yaşamın onu içerisine çektiği trajediye karşı çaresiz kalan
ve direnmeyi bırakıp kendisini yaşamına akan kötücül olaylara teslim etmiş bir
kadın üzerinden aktaran yazar, Doktor Nilüfer’de yaşam bulan özellikleri ve
Nilüfer’in trajedisini okura aktarır.
Cadı Ağacı romanı yalnız, mutsuz ve umutsuz bir kadının romanıdır. Bunun
sonucu olarak eserde öne çıkan izlekler de umutsuzluk, yoksulluk, intihar ve kaçış
olmuştur. Çalışmamızda eser, roman tekniği ve izleksel kurgu çerçevesinde
irdelenecektir.
ENG
THE STRUCTURE AND THEME IN AYLA KUTLU’S CADI AĞACI
NOVEL
Abstract
Ayla Kutlu is one of the writers who wrote novels and stories in the 1980s The
tragic life that they concentrate on women in their works catches their authenticity
by working away from conflicting and slogan discourses such as loneliness and
escape. Ayla Kutlu's novelism, which does not ignore social events and social
problems in his works, goes on this line in general. Loneliness, escape, and suicide
in the Cadı Ağacı also occur in the enlightened layer of society; but the writer
discusses over a woman who has fallen desperate to the tragedy in which life has
taken her into her hands, and who has left the resistance and delivered herself to the
evil events that flow into her life, transfers the traits of Nilufer's traits and traits of
life to the Doctor Nilufer. The Cadı Ağacı novel is a lonely, unhappy and hopeless
woman's novel. As a result, prominent tragedies were despair, suicide and escape.
In our work, the work will be examined in the framework of novel technique and
watchdog fiction.

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.

Yazmak her zaman geçmişle bir diyaloğa girmek anlamına gelir. Bir romancı, eserlerini ortaya çıkarırken kendini daha önceki yazarların ayak izlerini takip ederken bulur ki, bu biraz da ölülerle konuşmak gibi bir şeydir. Doğuda yaşayan bir romancı ise, kendini yalnızca geçmişle değil Batı ile bir diyalog içinde bulur ister istemez. Doğulu sanatçı şu ikilemle yüzyüzedir yaratma pratiği içindeyken: bir yandan kendine sadık kalmak ve özgün malzemesini mümkün olan en saf haliyle aktarmak ister, öte yandan yalnızca kendinden önce söylenmiş sözlerin değil, bu sözlerin içinde yer aldığı Batılı formların da ağırlığını duyar üzerinde. Doğu’da yeni bir söz söylemek belki de bu nedenle Batı’da olduğundan daha da zordur.

Oğuz Atay'ın Tutunamayanlar'ı da, yerel malzeme ve Batılı biçim arasındaki bu gerilimden beslenir; geçmişle kurduğu diyalog içinde, yalnızca kendisinden önceki yazarlarla değil, Batı kanonunun ağırlığı ile de yüzleşmek zorunda kalır. Bu kitap söz konusu bu ilişkiyi açığa çıkarmak umudu ile yazılmıştır.

The novels of Orhan Pamuk (b.1952), one of the contemporary names of Turkish literature, deal with individuals belonging to different social life levels from almost all walks of life. Mevlut, the protagonist of the novel Kafamda Bir Tuhaflık, is also a special character with his work, experiences, imagination, fears, pleasures, and intentions.
The modern narrative is directed to the individual, to the inner world of the individual. The discovery of the individual of modern narratives includes the discovery of the individual himself. This discovery may be apparent or implicit. Mevlut wanders the streets of Istanbul while selling boza. In this act of making a living, he is also on a stroll to discover his inner world. These rides, where Mevlut listens to what the streets tell, are also an indicator of his strangeness. There are two pleasures for Mevlut from strolling the streets of Istanbul. One is the pleasure he gets from listening to the streets. The other is the pleasure he gets from wandering within himself. Mevlut likes to visit the city while listening to the
sounds of the streets. In his inner world, he has dreams and fears. The change of the city over the years causes Mevlut’s view of life to change. This article will discuss whether Mevlut, the protagonist of the novel Kafamda Bir Tuhaflık, is a flaneur through the pleasure he gets from strolling the streets of Istanbul.

For a published edition of this article in Turkish see below:
https://www.academia.edu/9202739/_Sahici_Bir_Ba%C5%9Flang%C4%B1%C3%A7la_Bitmek_Adalet_A%C4%9Fao%C4%9Flunun_%C3%9C%C3%A7_Be%C5%9F_Ki%C5%9Fisinde_Kimlikler_Aras%C4%B1nda_Kalm%C4%B1%C5%9Fl%C4%B1k_

This paper is about the semiotics of "Hüzün" (a similar feeling to melancholia) that exists in the hearts of Istanbul's inhabitants. This feeling is discussed in the 10th chapter of his book, Istanbul.
In this paper, I delve into the phenomenology of the same feeling that emerges in the migrants to Istanbul--in comparison to Orhan Pamuk.

Salgın hastalıkların geçmişi, insanlığın ortaya çıkışı kadar eskidir. Toplu ölümler, insanların hastalık karşısındaki çaresizlikleri, ıstırapları edebiyat açısından zengin bir malzeme kaynağıdır. Türk Romanında Salgın Hastalıklar isimli bu çalışmada, Tanzimat’tan günümüze romanlarda salgın hastalıkları konu eden eserler tespit edilmeye çalışmıştır. Tespit edilen eserler içerisinden kronolojik sıralamayla Felâtun Bey ile Râkım Efendi, Taaşşuk-ı Talât ve Fitnat, Aşk-ı Memnu, Hakka Sığındık, Yeşil Gece, Salgın, Hüyükteki Nar Ağacı, 30 Şubat Bir Gülme Salgının Romanı, Sıcak Kafa, Y, Hastalık, Meraklı Adamın On Günü isimli romanlar değerlendirmek üzere seçilmiştir. Bu romanları değerlendirmekteki amaç salgın temasının romanlardaki değişimini gözlemlemektir. Nitekim Tanzimat ve Servet-i Fünûn romanlarında verem hastalığı öne çıkarken, II. Meşrutiyet ve Cumhuriyet Dönemi romanlarında salgın, toplumsal sorunların tespit edilmesinde bir araç halini alır. 2000’li yıllarda kaleme alınan romanlarda ise salgın teması distopik/fantastik unsurlar etrafında şekillenir.

Kerem Eksen: Yıllar sonra "tarih" adı verilecek olan, yaşandığı hâliyle mutlak kabul edilip yorumlanacak olan, artık dönüşü olmayan bir anlatının parçalarıyız, sanki o anlatıya şimdiden hapsolmuş gibiyiz... Kerem Eksen'in öğretim üyesi Fikret'in hikâyesini anlattığı ikinci romanı Uyku Krallığı, Everest Yayınları tarafından geçtiğimiz günlerde yayımlandı. Fikret, kronik sinüzitten yatağa düşünce, tarih doktorası yaptığı Wisconsin günlerini ve İstanbul'daki gençlik yıllarını hatırlamaya başlıyor. Geçmişe gidiş gelişlerde kendi gerçeğiyle yüzleşiyor. Zaman zaman da "bir Fikret tarihçisi" Fikolog ile şenlikli bir konuşkana dönüşüyor. Kerem Eksen, Seyyar Sahne'nin kurucuları arasında yer aldı, tiyatroyla uğraştı. Çeviriler yaptı. İTÜ'de felsefe dersleri veriyor. Eksen'le Uyku Krallığı üzerine konuştuk. İlk romanınız Buradayız'dan (2013) dört yıl sonra, ikinci romanınız Uyku Krallığı yayımlandı. Yazmayı sürdüren, ikinci romanını yayımlamış bir yazarın bir iddiası olduğunu kabul edersek, Uyku Krallığı sizin için ne ifade ediyor? Sizin dünyanızda neye karşılık geliyor?

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.

Be it the top-down secularism of the Kemalist reforms or the authoritarian conservatism of the present Islamist government, the political will in Turkey has persistently ignored the individual, the most valuable component of democratic modernity.
The Turkish Bildungsroman voices the confusion that spreads from this contradiction. Being doomed to a state of eternal puberty, the novelistic hero cannot go out into the world and take his place in the history of civilization/culture (Bildung). This is especially true for the female Bildungsheld, who finds it even harder to find a spot in the public sphere, which in the Turkish case, has come to imply a realm that belongs to the State or its institutions [kamu], a strictly masculine space. The novelistic hero, therefore, who typically fails to take part in the network of actual “give and take” that defines all exchanges in the symbolic realm, withdraws to a private space where she locks the world outside and becomes a hermit, starves herself of life and lives stoically, or indulges in religious ecstasy that borders on hysteria.
Focusing on the femininity of the “eternally ill” “Beautiful Soul” (in Goethe’s Wilhelm Meister) in contrast to the social masculinism of the Bildungsroman, this essay refers to the elaboration of the same theme by Hegel and Lacan, and traces variations of this neurotic character in the Turkish novel.

This article focuses on the relationship between religion and politics in contemporary Turkish novel, based on Orhan Pamuk’s novelKar. 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 author, 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.

LUMINIŢA MUNTEANU * L'action rocambolesque du roman Atlas des continents brumeux (en turc, Puslu Kıtalar Atlası) par Ihsan Oktay Anar 1 débute, suivant la précision insérée dans le premier paragraphe du livre, « à 7079 ans après la Genèse, 1681 ans après le Messie et 1092 ans après l'Hégire 2 » (ACB : 13), c'est-à-dire à la fin du XVII e siècle.

The concept of liminality, which is primarily an anthropological term, is not new, but in fact it is a neglected area in Turkish literary and cultural studies. The concept of liminality and its potential to open avenues for future studies remains under-researched. As one of the first steps to fill this gap, the anthropological term liminality is used to analyse a literary text as it pertains to the narration of migrant experience, living in between the rural and the urban, and the use of magical realism in Latife Tekin’s Berji Kristin: Tales from the Garbage Hills (1984). Tekin’s novel is presented as a test case to show the applicability of liminality to the field of literary and cultural studies. Reading Tekin’s Berji Kristin through the lens of liminality reveals how it can be used to understand Tekin’s interest in the problems of liminal communities and her concern for the environment.
Keywords: liminality, magical realism, migrant experience, Latife Tekin, Turkish novel

Evlatlık ya da evlat edinme konusu gerek dünyada gerekse ülkemizde uzun yıllar boyunca gündemi meşgul etmiş ve etmeye devam eden önemli bir mevzu olarak dikkati çekmektedir. Konu birçok farklı disiplin tarafından gerek akademik düzlemde gerekse serbest manada incelemeye tabi tutulmuş, çeşitli açılardan ele alınmıştır. Biz de bu çalışmamızda evlatlıklar konusunu Cumhuriyet Dönemi romanları arasından seçmiş olduğumuz üç roman üzerinden irdelemeye çalışacağız.

The Turkish formation story does not follow the pattern of the classical Bildungsroman. Neither does its protagonist. As opposed to his Western counterpart, who usually ends up as a “reformed idealist,” the Turkish novelistic hero, failing to overcome the dichotomy of tradition and modernity, sets on a journey in search of authenticity and gets stuck at the end. His “becoming,” if there is any, is not reminiscent of Hegelian Bildung. Being trapped in a schizoid dividedness of interiority and outside reality, the Turkish Bil- dungsheld becomes a purist obsessed with the idea of an “immediate meaning,” which he cannot get hold of. Instead of “actively” taking part in social reality and going through a process of maturation, he steps back and seeks transcendence in pure contemplation, which turns him into a spiritual dandy, i.e. “the Beautiful Soul.”

Résumé
Le roman est un genre dont toute définition, même très large et rudimentaire, engendre des exceptions. Son expansion universelle à partir du XIX e siècle va de pair avec un jeu de temporalités historiques, stylistiques et structurales, dans lequel la novation prend souvent la forme d'une référence métalittéraire à des formes anciennes dans la matière même du texte, ou encore une synchronie formelle, postmoderne ou postcoloniale transpose narrativement en chaos ou en anomie la coexistence, polémique mais complice, de la fragmentation et de l'uniformisation imposées par la mondialisation et les résistances à celles-ci.
Summary
Any definition, however open and minimalist of the novel generates exceptions. Its worldwide expansion from the 19 th century onwards goes hand in hand with historical, stylistic and structural time games in which innovation will often take the form of metaliterary reference to older forms in the material concreteness of the text. Or it can manifest itself as a formal, postmodern or postcolonial synchronicity that transposes narratively into a chaos or anomy the agonistic but complicit coexistence of fragmentation and uniformization imposed by globalization and resistance to it.

Copil fiind, omul trăieşte într-o mare Ńară a fericirii şi nechează vesel, gonind fără judecată în toate direcŃiile cu putinŃă. Apoi creşte şi, pe măsură ce creşte, se prosteşte, iar pe măsură ce se prosteşte dă uitării acel tărâm miraculos şi, într-un fel, moare. Răstimpul dintre copilărie şi bătrâneŃe aduce cu puntea dintre Rai şi Iad: vieŃi deşarte, întocmai ca suferinŃa îndurată la umbra unei pietre de mormânt a cărei inscripŃie sfârşeşte prin a se alcătui din strădanii molcome, socoteli mărunte şi nefericiri temeinice. AdulŃii sunt ca nişte zombi...