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The Museum of Innocence Orhan Pamuk
The Museum of Innocence Orhan Pamuk Discussion Questions 1. Kemal says he has become "with the passage of time—the anthropologist of my experience." Talk about what he means by this remark—what he collects, preserves and his reasons for doing so. What objects do all of us hold onto from our past and why? What do we want them to provide us? 2. What kind of character is Kemal? What kind of narrator is he? (Is there a difference?) How would you describe him? 3. Why is Kemal so drawn to Fusun? Why doesn't he break off his engagement with Sibel? How does his obses- sion with Fusun shape (or misshape) his life, perhaps stop him from grasping "the ordinary beauty of things"? 4. What kind of young woman is Fusun? And what about Sibel? What does Sibel mean when she comments, "It's because she was a poor, ambitious girl that you were able to start something so easily?" 5. What do you make of the fact that Pamuk puts himself into his story? When he shows up at Kemal and Sibel's engagement party, Kemal tells us, "Those interested in Orhan Bey’s own description of how he felt while dancing with Fusun should look at the last chapter, entitled ‘Happiness.'" What's the game about? 6. How does Kemal describe his social circle? 7. What is the political context that surrounds this story? Why does Kemal seem blind to the dire circumstances around him—the bombs, riots, crackdowns and jailings? Is it apathy, love-sickness, or innocence that distracts him? 8. -
Spaces Through Things/Objects in the Selected Works of Georges Perec and Orhan Pamuk
CONSTRUCTION OF “PHYSICAL” AND “DREAM” SPACES THROUGH THINGS/OBJECTS IN THE SELECTED WORKS OF GEORGES PEREC AND ORHAN PAMUK A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF NATURAL AND APPLIED SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY MÜGE ÖZMEN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARCHITECTURE IN ARCHITECTURE SEPTEMBER 2014 Approval of the thesis: CONSTRUCTION OF “PHYSICAL” AND “DREAM” SPACES THROUGH THINGS/OBJECTS IN THE SELECTED WORKS OF GEORGES PEREC AND ORHAN PAMUK submitted by MÜGE ÖZMEN in partial fulfillment of the requirements for the degree of Master of Architecture in Architecture Department, Middle East Technical University by, Prof. Dr. Canan Özgen _____________________ Dean, Graduate School of Natural and Applied Sciences Prof. Dr. Güven Arif Sargın _____________________ Head of Department, Architecture Assist. Prof. Dr. Sevil Enginsoy Ekinci _____________________ Supervisor, Architecture Dept., METU Prof. Dr. Ayşen Savaş _____________________ Co-Supervisor, Architecture Dept., METU Examining Committee Members: Prof. Dr. Ali Cengizkan _____________________ Architecture Dept., METU Assist. Prof. Dr. Sevil Enginsoy Ekinci _____________________ Architecture Dept., METU Prof. Dr. Ayşen Savaş _____________________ Architecture Dept., METU Assoc. Prof. Dr. Esin Boyacıoğlu _____________________ Architecture Dept., Gazi University Inst. Dr. Haluk Zelef _____________________ Architecture Dept., METU Date: 05.09.2014 I hereby declare that all information in this thesis document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as reqıired by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last Name: Müge Özmen Signature: iv ABSTRACT CONSTRUCTION OF “PHYSICAL” AND “DREAM” SPACES THROUGH THINGS/OBJECTS IN THE SELECTED WORKS OF GEORGES PEREC AND ORHAN PAMUK Özmen, Müge M.Arch., Department of Architecture Supervisor: Assist. -
Literary Translation from Turkish Into English in the United Kingdom and Ireland, 1990-2010
LITERARY TRANSLATION FROM TURKISH INTO ENGLISH IN THE UNITED KINGDOM AND IRELAND, 1990-2010 a report prepared by Duygu Tekgül October 2011 Making Literature Travel series of reports on literary exchange, translation and publishing Series editor: Alexandra Büchler The report was prepared as part of the Euro-Mediterranean Translation Programme, a co-operation between the Anna Lindh Euro-Mediterranean Foundation for the Dialogue between Cultures, Literature Across Frontiers and Transeuropéenes, and with support from the Culture Programme of the European Union. Literature Across Frontiers, Mercator Institute for Media, Languages and Culture, Aberystwyth University, Wales, UK This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 2.0 UK: England & Wales License. 1 Contents 1 EXECUTIVE SUMMARY ............................................................................................ 4 1.1 Framework .......................................................................................................... 4 1.2 Method and scope ................................................................................................. 4 1.3 Conclusions ......................................................................................................... 5 1.3.1 Literary translation in the British Isles ................................................................... 5 1.3.2 Literature translated from Turkish – volume and trends .............................................. 6 1.3.3 Need for reliable data on published translations -
Istanbul: Memories and the City Genre: Memoir
www.galaxyimrj.com Galaxy: An International Multidisciplinary Research Journal ISSN: 2278-9529 Title of the Book: - Istanbul: Memories and the City Genre: Memoir. Author: Orhan Pamuk. Paperback: 400 pages. Publisher: Vintage; Reprint edition (11 July 2006). Language: English. Reviewed By: Syed Moniza Nizam Shah Research Scholar Department of English University of Kashmir Turkey’s only Nobel Prize laureate (till date) Orhan Pamuk is undoubtedly one of the most significant and a widely debated novelist of the contemporary world literature. Seldom does a novelist in his fifties merit and receive the kind of critical attention that has come to Orhan Pamuk. He is the bestselling novelist in contemporary Turkey. His novels have been studied meticulously by critics such as Maureen Freely, MehnazM.Afridi, ErdağGöknar, Kader Konuk, SibelErol et al. Pamuk was born in a Muslim family in Nistantasi, a highly Westernized district in Istanbul. He was educated at Roberts College, the elite, secular American high school in Istanbul, a city which bifurcates or connects Asia and Europe. Presently, he is a professor in the Humanities at Columbia University, where he teaches comparative literature and writing. His upbringing and schooling in a highly secularized Istanbul made him a typical Istanbul like man who is torn between the traditional values of the city (century’s old Ottoman culture) and Kemalist Cultural ideology/Kemalism. Pamuk is deeply attached to his city—Istanbul, where he was born and breaded and continues to live in. Whether Pamuk is writing about the contemporary Turkey as in The Museum of Innocence or historical times as in My Name is Red, the city of Istanbul has almost been the main character/setting in his novels. -
Pamuk's Kars and Its Others
PAMUK’S KARS AND ITS OTHERS: AN ETHNOGRAPHY ON IDENTIFICATIONS AND BOUNDARIES OF ETHNICITY, NATIONALISM AND SECULARISM A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF SOCIAL SCIENCES OF MIDDLE EAST TECHNICAL UNIVERSITY BY KÜBRA ZEYNEP SARIASLAN IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN THE PROGRAM OF SOCIAL ANTHROPOLOGY SEPTEMBER 2010 Approval of the Graduate School of Social Sciences ____________________ Prof. Dr. Meliha Altunı şık Director I certify that this thesis satisfies all the requirements as a thesis for the degree of Master of Science. ____________________ Prof. Dr. Ay şe Saktanber Head of Department This is to certify that we have read this thesis and that in our opinion it is fully adequate, in scope and quality, as a thesis for the degree of Master of Science. ____________________ Assoc. Prof. Dr. Sabine Strasser Supervisor Examining Committee Members Prof. Dr. Tayfun Atay (A.Ü., ETH) ____________________ Assoc. Prof. Dr. Sabine Strasser (METU, SOC) ____________________ Assist. Prof. Dr. Aykan Erdemir (METU, SOC) ____________________ I hereby declare that all information in this document has been obtained and presented in accordance with academic rules and ethical conduct. I also declare that, as required by these rules and conduct, I have fully cited and referenced all material and results that are not original to this work. Name, Last name : Kübra Zeynep Sarıaslan Signature : iii ABSTRACT PAMUK’S KARS AND ITS OTHERS: AN ETHNOGRAPHY ON IDENTIFICATIONS AND BOUNDARIES OF ETHNICITY, NATIONALISM AND SECULARISM Sarıaslan, Kübra Zeynep M.S., Department of Sociology Supervisor: Assoc. Prof. Dr. Sabine Strasser September 2010, 118 pages Kars is an ethnically diverse city located at the North East Turkey, neighboring Armenia. -
Reykjavík Unesco City of Literature
Reykjavík unesco City of Literature Reykjavík unesco City of Literature Reykjavík unesco City of Literature Reykjavík City of Steering Committee Fridbjörg Ingimarsdóttir Submission writers: Literature submission Svanhildur Konrádsdóttir Director Audur Rán Thorgeirsdóttir, (Committee Chair) Hagthenkir – Kristín Vidarsdóttir Audur Rán Thorgeirsdóttir Director Association of Writers (point person) Reykjavík City of Non-Fiction and Literature Trail: Project Manager Department of Culture Educational Material Reykjavík City Library; Reykjavík City and Tourism Kristín Vidarsdóttir and Department of Culture Esther Ýr Thorvaldsdóttir Úlfhildur Dagsdóttir and Tourism Signý Pálsdóttir Executive Director Tel: (354) 590 1524 Head of Cultural Office Nýhil Publishing Project Coordinator: [email protected] Reykjavík City Svanhildur Konradsdóttir audur.ran.thorgeirsdottir Department of Culture Gudrún Dís Jónatansdóttir @reykjavík.is and Tourism Director Translator: Gerduberg Culture Centre Helga Soffía Einarsdóttir Kristín Vidarsdóttir Anna Torfadóttir (point person) City Librarian Gudrún Nordal Date of submission: Project Manager/Editor Reykjavík City Library Director January 2011 Reykjavík City The Árni Magnússon Institute Department of Culture and Audur Árný Stefánsdóttir for Icelandic Studies Photography: Tourism/Reykjavík City Library Head of Primary and Lower Cover and chapter dividers Tel: (354) 411 6123/ (354) 590 1524 Secondary Schools Halldór Gudmundsson Raphael Pinho [email protected] Reykjavík City Director [email protected] -
Orhan Pamuk and Vladimir Nabokov on Dostoevskii1 Neil Cornwell
Orhan Pamuk and Vladimir Nabokov on Dostoevskii1 Neil Cornwell Orhan Pamuk’s writing, his fiction and non-fiction, is not by any means short of references, allusions, and often tributes to other writers. Prominent among such literary foils or mentors are both Dostoevskii and Nabokov.2 The present chapter will concentrate first on surveying Dostoevskii’s role in this respect, before proceeding to a discussion of Nabokov, in order to initiate certain comparisons between the attitudes struck by Pamuk and Nabokov towards Dostoevskii.3 Pamuk and Dostoevskii Pamuk’s activities as a collector of books, and other objects, ‘in the early days’ (referring to his formative period of around 1972), he told himself (and much later us, in his memoir), would eventually ‘all form part of a great enterprise - a painting or a series of paintings or a novel like those I was then reading by Tolstoy, Dostoyevsky and Mann’ (Istanbul, 319).4 And, indeed, we are also told: ‘[Pamuk’s] early untranslated novels, Cevdet Bey and His Sons (1982) and The Quiet House (1983), were family sagas, modelled on Dostoevsky, Tolstoy and Thomas Mann’.5 Mann is another author (along with Dostoevskii) to whom Pamuk, unlike Vladimir Nabokov, wants to return ‘again and again’ (see Pamuk’s essay volume, Other Colours, 3). In addition to Tolstoi, an author much admired by both Pamuk and Nabokov is Flaubert. Other Russian writers to make appearances in Pamuk’s works include Turgenev and Pushkin, for instance in the novel Snow (2002).6 Demons (or The Devils [Áåñû]) is referred to as The Possessed in The Black Book (1990, probably Pamuk’s major novel), in which its plot is said to be ‘replicated […] down to the last detail’ in the carrying out of a political murder (Black Book, 244). -
Javier Marías
Edinburgh Research Explorer Javier Marías Citation for published version: Grohmann, A 2011, 'Javier Marías' The Literary Encyclopedia. <http://www.litencyc.com/php/speople.php?rec=true&UID=12897> Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: The Literary Encyclopedia Publisher Rights Statement: © Grohmann, A. (2011). Javier Marías. The Literary Encyclopedia General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 © Grohmann, A. (2011). Javier Marías. The Literary Encyclopedia Javier Marías Javier Marías is a major European writer and the author of eleven novels (including Tu rostro mañana [Your Face Tomorrow], published in three volumes between 2002 and 2007), which have been translated into forty-one languages and published in fifty-one countries, two collections of short stories, and nineteen collections of essays, articles, newspaper columns and biographical portraits. Born in Madrid in 1951, he is the fourth of five sons of Dolores Franco and Julián Marías. (The firstborn, Julianín, died at the age of three and a half in 1949 and is movingly evoked by Javier Marías in Negra espalda del tiempo (1998) [Dark Back of Time], as well as by the father in his memoirs). -
How Stories Relate to Places? Orhan Pamuk's
16 How stories relate to places? Orhan Pamuk’s Museum of Innocence as literary tourism1 Marie-Laure Ryan Introduction Literally implementing the title of the present volume – Locating Imagination – a sign at a busy intersection in Istanbul that reads “Pamuk, Kemal” points towards a museum created by Orhan Pamuk, the Turkish Nobel prize–winning author, and devoted to a novel whose hero, Kemal, is a product of Pamuk’s imagination. There are many museums in the world that commemorate the life and work of real authors, and there are some fictional or legendary characters who inspired museums (Don Quixote, Sherlock Holmes, William Tell),2 but Pamuk’s Museum of Innocence is unique among literary museums and consequently as a target of literary tourism in that it does not fit into either category. It was not conceived as a collection of Pamuk memorabilia but as a companion piece to a novel of the same name, and, unlike the afore- mentioned characters, the hero of the novel is not a popular transfictional character who appears in many texts and media. In this chapter, I will discuss the museum in terms of its relation to the plot of novel, actual subject matter (for “innocence” is a subjective characterization of that which it is about), and type of experience that it offers to visitors. But before I address these questions, I will explore the foundations of literary tourism ( Bulson, 2009; Reijnders, 2015 ) by asking how stories relate to space, what attracts fans of fictional stories to real-world locations, and how narrative theory can be made to account for such fan behaviour, which goes against much of the teachings of the schools of literary theory that dominated academia in the second half of the 20th century, from new criticism to deconstruction. -
Galaxy: International Multidisciplinary Research Journal the Criterion: an International Journal in English ISSN: 0976-8165
About Us: http://www.the-criterion.com/about/ Archive: http://www.the-criterion.com/archive/ Contact Us: http://www.the-criterion.com/contact/ Editorial Board: http://www.the-criterion.com/editorial-board/ Submission: http://www.the-criterion.com/submission/ FAQ: http://www.the-criterion.com/fa/ ISSN 2278-9529 Galaxy: International Multidisciplinary Research Journal www.galaxyimrj.com www.the-criterion.com The Criterion: An International Journal In English ISSN: 0976-8165 Conflict, East Vs West and Inferiority Complex in Orhan Pamuk’s The Silent House Dr. Qamar Talat Professor of English & Seema Panjwani Research Scholar Govt. V. Y. T.PG. Autonomous College, Durg.(C.G) Abstract: Contemporary novelist Orhan Pamuk is one of most popular writer in the sphere of Turkish Literature. He has written on various ideological aspects of contemporary Turkish society and Politics. Orhan Pamuk is considered as the Istanbul writer like Joyce of Dublin, Proust of Paris, whose readers perceive the cities by the eyes of the novelist. The present paper intends to explore the conflicting aspects and inferiority complex of class, culture, ignorance in The Silent House. Here author reveals inferiority complex of the Turks and melancholic soul of his country under the enchantment of westernization throughout the novel. The conflict of East Vs West, Tradition Vs Modernity, Science Vs Religion and Political conflict of the 1970s in Turkey are perceptible through the characters and dialogue. Though, Pamuk’s second novel The Silent House has been written some thirty years ago of its English translation in 2012.But, still its representing the present Turkish society. Keywords: Conflicts, East Vs West, Tradition Vs Modernity, Science Vs Religion, inferiority complex, Kemalism, seclusion, Postmodernism. -
The Museum of Innocence: Cities and Their Authors Yeşim Kartaler*
03 2012 www.camoc.icom.museum Orhan Pamuk and his museum. Photo: Refik Anadol & Innocence Foundation The Museum of Innocence: Cities and Their Authors Yeşim Kartaler* “It was knowing that all these things, saturated with Whether seen through the eyes of a child or of a memories of people who had once walked the streets of narrator in pursuit of an everyday object, the city is Istanbul, and lived in its houses, and were now mostly an indispensable element of Pamuk’s novels. At the dead, would eventually disappear without ever having same time, the novelist’s work traces his own life story, been brought together in a museum, or sorted, or set highlighting its integral connection to the historical flow of within a frame.” the city around him. Orhan Pamuk, The Museum of Innocence In a manner not unlike Pamuk’s stories, contemporary Some writers have always been identified with particular city museums connect the personal stories of their cities: Dickens and London, Dostoevsky and St. visitors to the wider history of their community--helping Petersburg, Joyce and Dublin, Kafka and Prague. them to become, in a sense, the actual owners of the To this list, in more recent years, must be added the city. It seems particularly appropriate, then, that Pamuk name of Orhan Pamuk, the great chronicler of modern has conceived of a project that draws on the capabilities Istanbul. of the museum and of the novel. * Museologist, freelance researcher CONTENTS IN THIS ISSUE 01 - The Museum of Innocence 09 - Lisbon International Workshop 03 - From the CAMOC Chair 10 - CAMOC Registration Announcement 04 - BERLINmakers ‘n’ shakers 11 - CAMOC Meeting Tentative Programme 06 - Seizing the Olympic Opportunity 15 - Conference Alert 07 - A Match at the Museum? 17 - Application for the 2013 Luigi Micheletti Award 08 - A seminar in Trento 1 Museum of Innocence as a Museum Although the events of the novel begin in 1975, its flashbacks and memories make it possible for the reader to trace life in Istanbul as far back as 1950. -
1 Beyond Secularism: Orhan Pamuk's Snow and the Contestation Of
Konturen 1 (2008) 1 Beyond Secularism: Orhan Pamuk’s Snow and the Contestation of ‘Turkish Identity’ in the Borderland Ülker Gökberk Reed College This paper explores the multifaceted discourse on Islam in present-day Turkish society, as reflected upon in Orhan Pamuk’s 2002 novel Snow. The revival of Islam in Turkish politics and its manifestation as a lifestyle that increasingly permeates urban environments, thus challenging the secular establishment, has occasioned a crisis of ‘Turkish identity’. At the core of this vehemently contested issue stands women’s veiling, represented by its more moderate version of the headscarf. The headscarf has not only become a cultural marker of the new Islamist trend, it has also altered the meanings previously attached to socio-cultural signifiers. Thus, the old binaries of ‘tradition’ and ‘modernity,’ ‘backwardness’ and ‘progress,’ applied to Islamic versus Western modes of living and employed primarily by the secularist elites and by theorists of modernization, prove insufficient to explain the novel phenomenon of Islamist identity politics. New directions in social and cultural theory on Turkey have launched a critique of modernization theory and its vocabulary based on binary oppositions. I argue that Pamuk participates, albeit from the angle of poetic imagination, in such a critique. In Snow the author explores the complexities pertaining to the cultural symbolism circulating in Turkey. The ambiguity surrounding the headscarf as a new cultural marker constitutes a major theme in the novel. I demonstrate that Snow employs multiple perspectives pertaining to the meaning of cultural symbols, thus complicating any easy assessment of the rise of Islam in Turkey.