“Dear Shameless Death” Via Magical Realism

CEU eTD Collection ALTERNATIVE FEMALE SUBJECTIVITY IN SHAMELESS DEATH In partialfulfillmentof therequirements the for Gender degreeStudies M.A of FROM SIMILITUDE TOTHEBEYOND Supervisor: Supervisor: Dr. SophieHowlett Department of Gender Studies Central European University European Central Deniz Gundogan Deniz Submitted to Submitted Budapest, Hungary ” VIA MAGICALREALISM 2009 By “ DEAR CEU eTD Collection To my To friend…best mylifetime friendmy onearth… to dearest Aykut,for his endless deal even ofhaze.amount agreat under HarrisI also thank to Alexiou for heramazingsongsandvoice, always for keepingmealive for the last seven years. Without them, this year would be unbearable forme. careandformytheirinvaluable support, their study at CEUand endless friendship during Thanks myto dearest friends Yasemin Kuyucakl myencouraged mu for aspirations, further studying studies. I would alsolike tothankmy dear professor Ozden Sozalan who always with her all kindness time. this during friends craze. Iwouldlike also tothank Seda SalukDefneand Karakayafor being such a lovely me farfrom Istanbul,for being with me in times of laughter, pain and especially thesis during with Aktas, Fatma like tothank Oyawould forthis CEU adventure on embarking especially I alsodebt tomy thanks Kids”“Gender for dear being suchadynamic I andlovely friends. year. the throughout atmosphere friendly and awarm such creating for Department Gender CEU to thanks debt I also like to thank her for the pleasantliterature courses during the semester. friendly and support encouraged me her with ideas brilliant the during whole year. Iwould I wouldlike toextendmy warm Jasminagratitude to my Lukic, reader,whosecond gave me a “magical” project. challenging great deal of labour inindebtedSophie a who my my like to expresssupervisor, Howlett, I woulddeep gratitude to this thesis. I would like to thank for ACKNOWLEDGMENTS her patience and belief in this i Õ Ellison and Nurseli Yesim Sunbuloglu, for CEU eTD Collection I dedicate my thesis to my parents and Aykut, who are the “musts” of my life… my of “musts” the are who Aykut, and my parents to my thesis dedicate I for 30years. love and tolerance support, endless IwouldLast, mylike give parents, my thankstomydearestwarmest mom for theirand dad for being always there for us and having a faith in me. patience, incredible for his support, nights sleepless during I mystay inhim Budapest. thank ii CEU eTD Collection possible feminine magical realist writing. realist magical feminine possible of discourse literary distinct a engenders thesis my novel Tekin’s Latife by analyzing Thus Cixous. Helené andwriter critic feministFrench to reference episteme so as to elicit the distinct metafictive characteristic of characteristic metafictive as toelicit sodistinct the episteme similitude (Renaissance) M.Foucault’s on I initiallyfocus framework, of chapter theoretical first In the in chapters. three basically isorganized thesis My re-reading. launch on a feminist by Latife Tekin. The thesis aims to reveal novel magical realist of a close explore reading to thesis attempts This the distinct literary discourse of the novel so as to ABSTRACT Last of all, my thesis tries to connect all this distinction to encourage adistinct Foucauldian metafiction together, similitude of combined perspectives, two These metafiction. of is strategy a significant which magical I explore realism iii feminine ecriture— feminine Dear ShamelessDeath. Dear Dear Shameless Death Shameless Dear Dear Shameless Dear with a strong a with Death Next, as CEU eTD Collection CHAPTER 2: WRAPPED AROUND THE PATH OFSIMILITUDE CHAPTER 2:WRAPPEDAROUNDTHEPATH 1.5 1.4 1.3.2 1.3.1 1.3 1.1.1 1.2 BIBLIOGRAPHY CONCLUSION REALISM MAGICAL OF DEVICESATWORK-TRANSGRESSIVENESS CHAPTER 3:MAGICAL 1.1 DEATH SHAMELESS OFDEAR DISCOURSE LITERARY CHAPTER 1: INTRODUCTION ABSTRACT ACKNOWLEDGMENTS T M M R R RANGRESSIVNESS OF ESEMBLANCE AND SIMILITUDE VIA LANGUAGE AND LITERATURE AND LANGUAGE VIA SIMILITUDE AND ESEMBLANCE ESEMBLENCE AND T M P AGICAL ETAFICTIONAND ITSVARIANT OSTMODERNIST HE ETAFICTIVE W RITING OF R EALIST C HARACTERISTICS L T N ITERATURE AS AN OVERARCHING TERM OVERARCHING AN AS ITERATURE HINGS S ARRATION IMILITUDE M AGICAL - Table of contents of Table ( -T S R D ) HE EALISM VIA EALISM EFINITION P ROSE OFTHE iv , B C ACKGROUND ONTEMPORARY W ORLD . F EMALE W RITERS 34 III 41 27 23 20 20 17 17 12 80 78 58 11 1 I CEU eTD Collection of an alternative female subjectivity under patriarchal constraints. patriarchal under female subjectivity of an alternative of discourse literary distinct the reveal to us enable will This perspectives. literary different explores thesis My narration. andPre-Islamic Islamic modernity in life. urban In lifethe Aktas familyof focusesand ontheir adjust hardship to themselves tothe ongoing around revolves novel The urban. to rural from family a Turkish of migration traumatic the as themilestoneliterature narrates during in It 1980’s and afterwards. contemporary Turkish Death Shameless Dear us to a profound feminist re-reading of the novel. lead will end the in which perspectives, multilateral from realism magical of use the explore thesis I aim to analyze her magical realist magical her analyze to aim I thesis Latife Tekin is one of the prominent authors Tekin, 2008. of contemporary Oh hidemeaway,Turkish deareststar fiction. In inmy fear every fancy. Oh star,there’s this Oh star, lamentsarepursuing me. grassOnto frail Ifall,totheprickly star I fly, not losing theconnection with reality. (MaggieBowers andviewpoint rational viewpoint. Itpresents the happenings,magical extraordinary events as if theywere real, 1 Stretching outmywings deepintheAkçal Once adjinnedgirl, now birdan ash-breasted amI, INTRODUCTION Magical realism is a postmodernist literary mode. It is the amalgamation of magic and reality; irrational Dear ShamelessDeath with its amalgamation of magic and reality has been recognized been has reality and magic of amalgamation its with Dear ShamelessDeath . Õ sky, —in terms of both its language and the formation the and language its both of terms —in 1 work Dear work 1 ,Magical Realism, 2004:22-23) Realism, ,Magical stems from Anatolian folk tales, myths, Shameless Death (1983). I aim (1983). to CEU eTD Collection of Foucauldian literary literary discourse. of Foucauldian intertwined with turns episteme similitude with intertwined realism magical that argue will I thesis my in initially theories, my on Relying inindeed dominant usedbycontemporary attack writers ideologiesorder andto authority. the of writingmode this of trangressivness the with associated is also so This metafiction. asa distinct smilitude: to subvert monological structures. Amalgamation of magic and reality is resemblences. Thus magical realism carves a carves magical realism Thus resemblences. of relations breaks novel theanalogical magic inthe Tobemore precise episteme. similitude of use an alternative quite is an This episteme. similitude of metafiction a while creating magic andreality of amalgamation uses Tekin magical Latife as realism. variant it’sthen and metafiction term the will explore I framework theoretical my of part second the In a metafiction similitude. Foucauldian of same. (Foucault, 2002:36.).Thus Icould claimitis in sense this beself-reflexive and turns to in the world of resemblance,knowledge, beings.other language mirroringsky, partakes man talkingIn also relation to reflectedearth animal, to talking plant circle: endless in an other each mirror back as well as communicate to itself. It is condemned in language. are scattered formsvastuniverseandthe resemblences, Similitudes, of to knowing only and of knowledge construction rolevital inthe a thatplay andsimilitude itis resemblence the century, sixteenth in the Foucault, to According mythic. and folklore Anatolian from derived choose explore includes this similitudes and I Shameless Death to areasinceDear similitude. Initiallywillfocus I Michel on Foucault’s Renaissance epistemebased on resemblence Shameless Death. make a relatively analysis of chapters close two and following the framework theoretical the to dedicated is chapter first The chapters. three within situated is thesis My Dear ShamelessDear Death 2 difference upon Foucauldian notion of into a distinct metafiction Dear CEU eTD Collection which excludes women. Thus as within alanguage novel a strongrupture the Asitwill beliterary creates style. analyzed, I argue that it brings usShameless Death the possibility discourse. literary Foucauldian of metafiction of distinct the (feminine) and writing realist magical magical of trangressivness both with intersects writing of practice feminine Cixous’s Indeed language whichoppresses as well excludesas women. orfindingruptures holesin the narrations could beasolution breaking theof structure of creating Cixous, to according Thus, truth. monolithic within difference a creating metaphors language.language Herisfluid,non-linear, intense highly around andpoetic, wrapped masculinity an sourceof as origin creativity. Indoing so,shefor hasadistinct using quest subvertvs. to passivity-female and activity-male) attempts attacks binary (suchas oppositions theories to the notion of phallocentrism and advocates for an advocates and phallocentrism the of critique deconstructive a launches analyzed, deeply be will it as Cixous, and Hélene Cixous. writer back upthefeministperspective of form a circle,they alwaysIndeed other. each with referringintertangled closely are theories mentioned to these one seen, As another. In my thesis, to subjectivity patriarchal under and political constraints. close down this circle and to of surrounding resistancesuppression them. female definitely analternative This engenders male authority. As it will be analyzed, they use magic as a female resistance againstas togoagainst repressive all so inthe universe resemblences follow kindsmother Atiye).They andher with similitude are to attributed femalethe in novel the young(the female protagonist Dirmit feministinsights mustof Dear Shameless I notethat magicalDeath. happeningscombined the reveals that language realist magical and narration metafictive distinct this also is It , significantly with its magical realist narration, highly evokes Cixous’s evokes highly narration, realist magical its with significantly , feminine writing—feminine Dear Shameless Death, ecriture feminine with a strong reference to French feminist critic feministFrench to reference astrong with 3 —a feminine practice of writing. She I will try to connect all these Dear CEU eTD Collection been limited only in terms of narrow descriptions been limitedfemale characters’ only under inrepression of of narrow terms re-reading. a feminist for discourse literary distinct with alternative useof languagethe similitude for serves combined magical realist that I argue scope broader a In female. andthe itself both to difference a bringing writing, realist magical (feminine) possible with in hand hand goes episteme femaledistinct subjectivity and tochallenge thepatriarchal Thusconstraints. the similitude mostly youngthe female protagonist Dirmit,use who this episteme alternatively create a to characters, itis thefemale novel In the purposes. feminist explicit the for episteme similitude Foucault’s with usageof intersects alternative the also This perspective realist writing. spiritual mother Atiye) since the release of release Atiye)the since Dear mother spiritual Dirmit,female the (theyoungfemale protagonist her with characters focusattention of manynot a studies feminist the novel.Indeed relating Tekin has been on to the perspective are there However, novel. inthe reality and magic of amalgamation the to opposed as realism migration and planned urbanization. Orithas been analyzed within the critique ofliterary inhas been broad discussed sociological poverty, such relation to literature, themes as novel has stillbeing discussed and analyzed from different viewpoint regardingliterature. It after novels seven written has Tekin Latife though Even within such paradigm. farbeen not addressedso has novel, which feministthe of purposes or feminist perspective characters’female struggleagainstmaleoppression language of realist magical However, tales. folk Anatolian from deriving mostly novel, inthe dimension themagical It goes parallel isindeeda bigchallengeforthisto similitude project. episteme Shameless Death The major reason why I choose to bring these different dimensions together in together dimensions bring different these Ichoose to why major reason The Dear Shameless is definitely the flexibility of its narration. Contemplating Foucault on Death also creates ina rupture similitudevia alsocreates episteme this 4 ShamelessDeath. . This adds tothe doubleplaydefinitely Dear Shameless However, this focus has this However, Dear Shameless Death’s Death Dear , the , CEU eTD Collection information about the plot and magical realistmotifs of Apart from the theoretical magical frame epistemerealism. and suchassimilitude theories setof with other intertwined and aim of my thesis, I would alsoShameless Death like to give some 2 intertwined with magical happenings and reality. Spiritual magical or happenings are accepted is village in the leads family the life The style. mother her than way distinct in a parents developsis who one the female daughter, her repressive femaleresistance against her own Nu with her husband well as as villagers.In the villagethe shegivesbirthfour children:to language. shelanguage Afterwards her ownexclusion finds femalecope soas resistance to scenefrom marries,the falls woman into a harsh whom literate Huvat Atiye,the villagers. However,onedayhepump andetc. comeswith a woman from city the and surprises all the city in tobringorder some new“inventions” to villagethe such abus,as atelevision, awater isfather, an andadventurous man illiterate who always leaves hisfamily behind and goesto the Huvat, narration. metaphoric its to opposed as simple relatively is novel the of plot The Magical Word ofDear Shameless Death give usilluminating insightswhile focusing on deepthe analysis. of literary discourse multilateral andreveal the together theories aforementioned bring to wanted I thesis, my in Thus, constraints. cultural-patriarchal although her other In relation time to and space constraintsfocus I only this particular work of Latife Tekin, years. more contemporary less aroundthe studies revolving literary or Turkish for same the debates for is achallenge novel the with writing realist magical (feminine) of possibility a associating Berci Kristin-Tales From Garbage the Hills (1984), Swords of Ice (1986 ) ÷ ber,Halit, Seyit, Dirmitand Mahmut. Amongst language them the youngest Dirmit, the is also her major piece allowing us to reveal strong feminist insights feminist strong reveal to us allowing piece major her isalso 2 workscould beanalyzedmagical within realist writing.However, 5 Dear Shameless Dear Shameless Death Dear Shameless Death . Moreover, . They will Dear CEU eTD Collection be associated with Foucault’s similitude episteme in my episteme thesis. with similitude Foucault’s be associated Dear ShamelessDeath. in andfigures wecan motifs see many narrations, Islamic PreIslamic and folklore, Anatolian tradition, telling story oral Turkish language, colloquial Turkish the from Drawn in status. of silenced theirterms female characters on significantly perspective relating all kinds to language.of agency inwillinfluential Turkey It be in political and scholar life. of arepressive and non-democratic period lasting 3 years with strict censorship dominantly affecting social, channel. This wasthe third coup d’état in the history of the Republic. This period was theabsolute beginning 1997 Turkey decided thatthey would overthrow the civilian government:” September 1980, General Kenan ofthe Evren National Security Council andthe four service commanders caused murder andother forms ofviolence. There were and right-wing left-wing armed conflicts. On12 of unstablepoliticalsituation of the era. Extremes on both side—basically leftist, nationalist and religious— 3 d’étatof 1980 12September The military coup includes as a to historical Tekin account background also asignificant Atiye’s death. thenovel with ends However, harsh Dirmit. on eye keeps a magical world, and sacred own her questions never who Atiye, aswell. oppression Dirmit’s causes struggles the of urban life. However, as it will be seen in the following chapters Atiye’s way of coping with rely on spiritual the moreand magiceven shedoesin than copehardships villagesoas the to member—theone-room, Atiye nowhaving onemore daughter-in-law. Since starts then to migration misery ongoing inthe urban language. The family movehas to toalittle housewith the thus and unemployment into fall quickly Mahmut and Seyit Halit, brothers the and Huvat father the significantly family, the However, prospects. better for urban to rural from as an ordinary part of the village life. The family’s life totally changes when they migrate Turkishhistorian Sibel Bozdogan states that “the military intervention was a response as well as an outcome Dear Shameless Death Shameless Dear Thus, Turkish Armed Forces, headed by General Evrendeclared coup d'état on the national It is important to introduce them briefly as some of these motifs will . This period ultimately symbolizes repressive. This period absolute the 6 3 alsoplays vital notice asabackground a role Rethinking Modernity and National Identity Dear Shameless Death. in CEU eTD Collection her excessive or catastrophic femininity. Her main aim is to have control of men in havethe of is main control aim to Her femininity. catastrophic or her excessive by mad villagers male the drives and villagers the frightens She male. the on powers spiritual against patriarchal society.against patriarchal Sar Sar in figure magical Another with female,the asit willbe shown in depth inanalysis followingthe chapters. this djinnmotif a as subversive in toemphasize order tool notion the of otherness mentioned in folkloricIslam or tradition, said to lead humans astray.go Tekin uses usually well-behavedmostly Theyare mentioned inQur’an. good. and evil djinns,The corrupted as fiery creatures”. TheyIslamic aswell folkloric in Pre-Islamic tradition aredjinns as“supernatural considered have their own will and they either said to be corrupted, devilish or claims that it is it that claims In Dear In motifs and language. of Travels of narrative, narrative, full ofadventure and humor.” ( also a vast panorama ofthe Ottoman world in the mid-seventeenth century. The core isan autobiographical “ neighborhood of Ottoman Empire. Robert Dankoff fromUniversity of Chicago refers to the book as follows: 5 century. 4 The backto mostly traces sources which have(1998) Magical in Tekin’s influenced writing. happenings novel,the Ottoman as well as Anatolian traces Moran Berna Literature Turkish of critic Literary Refers to the famous Ottoman traveler Evliya Çelebi’s journeys lasted for fortyyears around the A major pre-Islamic epic about Oghuz Turks originated in Central Asia,dating back approximately tosixteenth Book of Travels ÕNÕ z. Thisfigure in appears earlypartof the novel.the usesthis motif Tekin as a challenge 5 and Deli Dumrul-Crazy Dumrul Stories Shameless Death Shameless isthe longest and fullest travel account in Islamic literature perhaps in world literature. It is Dede KorkutStories Dede Book most of the sacred motifs initially derives from derives initially motifs sacred of the most ÕNÕ of DedeKorkut-Dede KorkutStories Dear Shameless Death z appears naked on has strong nakedon a back and z appears a donkey of Turkish which Tekin has been influenced the most in terms of in terms most the influenced been has Tekin which Philology and Evliya Çelebi’s Book of Travels, 7 . However, literary literary Aslan Sema critic However, is the fair-haired witch girl called 4 , Evliya Celebes’sBook , Evliya 2008). djinn associated motif. In CEU eTD Collection it isit a communicates thefemale with Dirmit orcreates vivid who protagonist nature the in thenovel is talking to beingsother likeplants,wind,moon, sea,stars and Significantly etc. In aforementionedaddition to motifs, most visible probably the Anatolianfolkloric influence life Azraelto instead.” (Aslan, 2008). Dumrul’s offer only on Deli Azrael accepts life.savecondition his Azrael to with bargain to starts Dumrul also and Deli that Deli Dumrul thefinds one in someone“Deli Dumrul.” else whoIsrael wouldextendmanages to herlifespanbybargaining fighting Azrael.motif or with is This similar to sits giveon Deli his Dumrul’s white Atiye Every herinforms come. andhas time, time death her that of examinesherheart chest, chest just as he sat on Atiye’s ill frequentlybecomes she Thus, in grief. is always she and therefore, and ignorance meetshusband’s her of because the Angel of death heralways husband anxious about she and the children,carries whole weightof family the four times.is who is awoman When“Atiye follows: as parallelism the Azrael summarizes Aslan Sema Death—Azrael. comes, he sits on with of Atiye of Angel the mother the her scenes Insee novel Azrael. the tragic-comic we well as in as well Another important magical motif tracing back to now to back tracing motif magical important Another Pre Islamic narrations as a faithful servant of Heappearsin of both asGod. faithful Islamica servant narrations Pre “H figure male religious uses also Tekin patriarchal assumptions of society relating to the female. village. Thisis subversive language feminist strategy of underlines soTekin asto the female version of H of version female at some and motif Islamic specific point this to relating narration a playful creates Tekin chapters following compares this male religious figure with a spirited female rescuer—as the Dear Shameless Death Shameless Dear Õ]Õ r Aleyhisselam. r as a rescuer. However, as it will be analyzed in the Õ]Õ 8 r Aleyhisselam”, who is seen in Islamic and Islamic in seen is who Aleyhisselam”, r Deli Dumrul Dede Korkut Stories is the Angel of Death- of Angel the is as CEU eTD Collection twenty years.twenty by moving away from literary realism, literary from away moving by Turkish herwith newlanguage herpresence to literature 1980s.Thus, approach until during literature Turkish contemporary of stage the on been not has amalgamation literary of kind This manner.. fact of matter in a bymagic narrations oldthe retells Latife Tekin As seen, things. in knowing inherent Foucault, to according is, motif This episteme. similitude in seen also is Death in events of foreshadowing the to Atiye refer to attributed dreams. Dreams Thelastmotif tracingbackAnatolian to folk tradition isdivination interpretation or of Stories. narration, folkloric this from stem Death Shameless Dear in similitudes the talking to animal, earth talkingits The nature side:communication drawseverything beings to innature. plant with other to sky or man talking of in terms episteme similitude to relates toalso analyzed, other be will it as motif, This beings. I can say that most of motif is alternately repeated in is alternately repeated motif Uruz, before beingspeak executed toatree…”(Aslan, byhisenemies,wants 2008). This and adog. hisland, towater hunting,he first then speaks to from he returns plundered after his house Kazan When Salur beings. sees from toseekunderstanding other characters the Dede KorkutStories in We traces itself. canseesimilar nature inthe asolid escape way of or seeks foraresolution Dirmit younggrowing the girl. Thus towards of family the attitudes oppressive or restrictions mostlyfrom beings, dialogueto speak.This is the so with position derived the other . Atiye, with her ability of divination has the power of predicting the future. Divination future. the of predicting power hasthe divination herof ability . Atiye, with as well: “…in well: as Dear ShamelessDeath Dede Korkut Stories Dede Korkut Dear ShamelessDeath 9 through the female protagonist Dirmit. , the feeling of feeling, the helplessness of pushes has been discussed for the last the for discussed been has Dear Shameless Dear Dede Korkut CEU eTD Collection 10 CEU eTD Collection call it call followingsections, this self-reflexivness turns each other. Thus in this sense, the novel turns to be self-reflexive. As it will be analyzed in the form way. Each of in similitude in anendless each other revealing similitudes is andnarrationon resemblences dependent magical realist novel now turns into a into turns now novel realist magical whole the section, introduction thesis in the argument my as Mentioned smilitude. of notion a carves realism magical Thus resemblences. repetitive through makesrealism thenovel’s language instead expandoutwards of itself entrapping itwithin magical in following chapters, the As Iwilldemonstrate further. step toone discourse literary Foucauldian of metafiction the carries it since important is narration of mode This novel. of form andthe folk magical myths which the narration realist from tales Anatolian derive in similitudes introduction, my in As mentioned reality. and magic of amalgamation the uses Tekin episteme, similitude of metafiction a creating While in my definition metafiction its the and of framework. narration theoretical in focus on Thus, Iwill place second the based onsimilitude. literary Foucauldian discourse Shameless Death of As “Prose inmy have mentioned The World”. introduction, chapter I second in episteme similitude Foucault’s on focus will I Initially, subjectivity in female formation alternative of andthe literary discourse reveal Iaim distinct theories the to these Utilizing each other. with intersecting literary theories different explores This chapter SHAMELESS DEATH LITERARYCHAPTER 1: OFDEAR DISCOURSE a return to Renaissance episteme with a with Renaissance episteme to Dear ShamelessDeath. Dear ’s narration includes Foucault’s description novel’sof Thesimilitudes. Dear Shameless distinct 11 metafiction of Foucauldian literary discourse. I discourse. literary Foucauldian of metafiction difference, Dear ShamelessDeath Death is reflected back to itself mirroring itself to back isreflected which I will deeply analyze in the analyze deeply will I which difference The Order of Things The Orderof Dear ShamelessDeath Dear into a into of metafiction upon Foucauldian Dear , his , CEU eTD Collection of each other:”Resemblence signifies what it is indicating; that isa similitude” ( 7 alternate function to inrelation merely the second chapter “The Prose of the World” dueto the expediency of similitude episteme and its 6 framework. theoretical my in realism magical of definition the on focus then will I frame, this Within following chapter. formulating its right of its knowledgeformulatingas it speech.”is is of right understood, grounded (2002:19).Here, thatwas of claim nature the its by made manner language, its of declaring existenceand all mirror life the or of theatre the repetition: aform of as was posited of knowledge- or pleasure of in service the –whether representation space…and imitated men. Painting use to were of seeing themselves reflected in the starsfaces sky, echoing itself: the earth in the upon wasfolded them. universe The art representing and plants holdingthe controlled and withininvisible and visible things of their knowledge possible made stems symbols, of play the secrets that largely it that organized andinterpretation of the was resemblancethat exegesis texts; guided play a crucial as well as constructive Primarily, Foucaultargues that in Renaissance epistemology, resemblancerole and similitude regarding Westernin knowledge to relation andlanguage. culture: “…it was resemblance episteme of similitude description focusesthe on It World”. of the “TheProse chapter second work particular Foucault’s to is dedicated this section Death, in alternatively functions episteme similitude how understand to order In World the of Prose Similitude-The and 1.1 Resemblence female writers. contemporary through realism magical of trangressivness the on focus also will I framework, theoretical novel.subvert theAtauthority in endmy the singular version of reality and theof male Here,in this chapter I should note thatFoucault uses “resemblence” and “similutde “moreor lesssynonyms Asmentioned in introduction section as well, I will focus not any other chapters of Dear Shameless Death Dear Shameless Death. with its magical realist language also strongly attempts to attempts strongly also language realist magical its with 12 The Order Things of The Order of Things The Order of Things Dear Shameless Dear , 2002:32). 6 and the and but 7 CEU eTD Collection connection to this, the second form of is this,form is secondconnection the similitude which of indeedasort convenience of to In close together. drawing themselves eachother, communicate in universe the influences with sea,the man the everything him.” around Thusin (2002:20). way,this movements and beings adjust themselveslikethings linkingtogether apair the“In vastchain: of syntax of different world,the the to one another; the plantof convenience” be“the universal to out turns world the claimsFoucault that Moreover, communicates with the animal,smilitudeintertwines. In waya this resemblence between things occurs.(2002:20). two the earth and Hereplace within relation. a spatial andproperties influences, passions movements, things, of communication the is It convenientia. is similitude of form first The resemblences. itself reflect and world in makesuscomprehend that the should beunderstood terms of from other. Indeedeach theyform a circlefor Foucault. This circle isfold inuponitself, very separate not are they thus and other each reinforce They usually each other. intersect and overlap sometimes similitudes These sympathy.” 20-27). andconvenience), analogy (2002: names four of these similitudes as follows: of: conventia, aemultatio-emulation (a sort of Thus Foucault are, beyond essential.”four doubt, of that (2002:20). Thereare articulations. indicateto principal figures the thatdetermine knowledge the of resemblance with their overlap, reinforce or limit one another on the surface of thought. It is enough for the momentintersect, that many notions aregreat there rich…and is extremely century sixteenth the in of web resemblance semantic forms: “The as and are established they other each resemble Things of figures of knowledge. emphasize the similitude to organization the inorder more thanform no similitude. are resemblances Heuses of stating for that resemblance, upanotheritas asynonym similitude anduses concepttakes Foucault Here, resemblances. hisinitself resemblance.Accordingholds by powerof to opinion onto world the absolute the 13 CEU eTD Collection beyond visibility and figures in all the the earth each could beintertwined bringing to other, 24). Foucault, (2002: Thus,with itcan analogy disclosurethis of be that conceived goes animal vegetable isan (the living animal headdown,itsburied mouth in roots the or earth)...” buried…be may ananalogy also uponitself.. turned around old analogy of plant The to globethe inhabit, they between minerals suchas indiamonds and rocks which they are which may beshine they also found: betweenplantsand between living earth, the beingsand in sky the to stars the of relation “…the “shining”: of notion the to relating relations of world mere visibility. Itis the more subtle set of resemblences. Toillustrate this, Foucault depicts a endlessin number of relationships.” (2002:22). analogy of forms the goesbeyondsimilitude superimposed “… isimmense… it its power from a singlean can extend given to point are in Foucault analogy andaemulatio argues that convenientia andmedieval thought. form epistemeRenaissance is isanalogy. This anoldback Greekscience concept tracing to of analysis Foucault’s to according similitude aforementioned of form third The likethan a series of conventia. chain considered as a form is emulation starry Thus, sky. of reflection is the earth dark and of of earth the theplants prevail reflection establishingimages in function world twinship” a the instance which as “natural of eachother. For stars a circular connection are thatthere states Here Foucault each (2002:22). thing.” to allotted place the overcomes with it way in this it; to proper each distance the abolishes world the mirror in a other itself duplicating rather another fromGod’s wisdom, so his two eyes…theone relation of emulation enables things to imitateend one of human face, from theafar emulates the sky and just asman’s intellect is an imperfect reflectionuniverse of is“It themeans through whereby scattered things universethe “The can another: answer one to the other neednot tobespatial.is Thus It mostly bymeans achieved of“reflection and mirroring”: the withoutcalled connection aemulatio. It is not very different or proximity:from conventia. The slight difference by is that it does 14 CEU eTD Collection indicates the way to another resemblence. An find resemblence. signatures how indicates another to theirexample way the of way to it will that from itsoutTherefore signature profounddraw invisibility” (2002:29-30). which,that from depths the of world,the made visible…therethings mustvisible be figure a of form invisible the was Resemblance signatures… these of decipherment and unearthing the Foucault, is the basis decodingof the universe: “Knowledge of similitudes is founded upon for Signature, universe. the signs upon of carved world the be without cannot resemblances However, forcircle. endless in an Foucault, another one to into drawing and other each with these four similitudes this between interplay betweenthem…”(p.27). distance is things resembling a continuous no with thea break, without circle another, one with communicate and together hold would isparts not yet closed. Thereall thesame: featureless of the mass,to a homogenous to alters… It transforms. “sympathy turningmore thingsinto less or identical pairs In each other. of words,other for Foucault He also(2002: 26). sympathy claims has that apenetrating in effectof assimilation of terms phrase goes. Sympathy, therefore, shallholdinstancephrase therefore, for asan goes.Sympathy, the as sense, metaphorical in a another, one towards things draws which movement is a there former association with and mayThe mourning bring pain, sorrow tothose merelywho it, roses theirdeath. due smell to Thus, instead of a forth makeshis Foucault claim use spatial illustration of “mourningof an usedin roses” obsequies. relation or a mirror Whilebringing (2002:26). earth…” heavinessof the the is whatitto heavy mobility; attracts like reflection, to movement world the of things the excites contact…it by a simple being andinto brought be can it instant… can draw even spaces incan an vastest It the traverse the inafreestate. universe of depths through the the most distantlink is prescribed. It is indeed distinct in its of terms free absolute flow: “Sympathy plays of them together… sympathy,argues that for Foucaultsimilitude is norany neither sympathy. distance of kind It is a principle forth a more embracing similitude. Inclose relation to this inclusiveness, last the form of of 15 the same as Foucault contends asFoucault CEU eTD Collection guarantee of guarantee itsknowledge expansion. and setthe to inorder macrocosm is crucial to microcosm relation of the for Foucault Therefore, “infinite richness of resemblance… between signs and theirmeanings…” (2002:35). microcosm to macrocosm is important in knowing things: “microcosm adjusts itself to the of is relation The macrocosm. That the is andadivine world. greater there that indicates and mirror thisit larger its macrocosmicrelation justification on another (2002:34). scale.” manthe inthe “it investigationprovides center: withall an assurance thateverything find will the macrocosm while deciphering signs. Microcosm is the concrete and the visible world with and microcosm the between line the draws Foucault knowingthings, to inrelation Here knowledge: “Knowing anything samethe but thing”. (2002:34). “same” its tothe return dueto is poverty-stricken It other. each revealing resemblances stricken. It is limitless since itnever remains within itself. It alwayspoverty- allows and for anotherlimitless both setis it of that states Foucault similitude. of path the follows always (2002:32).Thus is it exact duplication as seen,knowledge insixteenth first..” of the century marks, sliding over the great circleno more than an intermediate of formsimilitudes, of the same resemblance…As a result theforms totality is signature this butof these asignature; receives resemblance “Every resemblances: a other can reveal second circle which would be it ititshas signature, an andsignature when its requires is Resemblance closed. similitude circle the resemblances, of set revealing signatures of acknowledgment the with Thus, (2002:31). darkness…” up the light as stars just faces our over light spread they because stars are eyes the by analogy: may be recognized “Emulation follows: as bedescribed could resemblences 16 CEU eTD Collection complete the whole understandingThis section of similitude will epistemeexplore in termsthe similitudeof 1.1.1 The words’Things Writing of relation episteme to the in terms of writing literature and language via similitude and 1.2 Resemblance and language. It will episteme. similitude whatitis “literary this means, discourse” important language tounderstand andin literature reveal to order In similitude. based on discourse literary Foucauldian of metafiction distinct things suchthings as djinns or angels. regarding important place in Renaissance era. It refers to the control of natural forces. (Boas Hall, 1994). However, 8 language of of Thisinformation willbe andthus“literature”. things” influentialreveal so the asto distinct “writing the to relation in now episteme similitude on focus will section following The that thing only unattainablethe at endof journey.”an endless (2002:33-35). episteme is nowclosed down but“knowingthrough anything the sameknowing thingand to century sixteenth the Foucault for above, mentioned information all to Referring knowing…” (2002:35-37). selected but a required form…The form inmagicare not contents wasinherent of this way of that define its space. It is this rigour that makes relation of magic to erudition inevitable—they are very meticulous theconfigurations how seen already have magical from practices…we notion derived mixture of knowledge, rational unstable an madeupof learning century was during Renaissance magic the Here, episteme. Foucault argues as follows: “To us it seems that sixteenth Magichere indeed refers to “Natural Magics”, a part ofthe occult—knowledge ofhidden— which occupies an Dear Shameless Death Dear Shameless Death Shameless Dear 8 and divination are also important so as to guarantee knowledge soas important the to and are also divination it both refers to controlling hidden natural forces –earthly things--and spiritual in the following chapter. infollowing the 17 Dear ShamelessDeath is a CEU eTD Collection Renaissance episteme as follows: “… it is ternary, since it requires formal domain of marks, of domain formal requires it since is ternary, it “… follows: as episteme Renaissance the in language of being the back traces Foucault explanation, this with Therefore existence theinfinity andof fidelities similaradjacent ofinterpretation…”(2002:46). itself the task of… attempting to say things about it are similar to it, thereby bringing itinto sets language sameway… the In another. andone upon made dependent to close that them Renaissance episteme: “To know the things was to bring istoIt seenthatexperience oflanguage connotes the in lightknowledge of andnature things the system of resemblances “Same”. the via merely contemplating and interpretations between various texts itself caught language 80).Thus, erafinds where of surfaces…” specific areonly there this (During,1992: “doubling back itself on its finiteness… because itfinds interiors, resonances and analogies its andthus finitude upon scarce,closed something as language theRenaissance perceives Therefore, following the path into everythingfalling but of itself…theand doublingback on same…”(During, 1992:79). During’s explanation on way labyrinthine infinity moves language that attempting cover,explain,towards to delve offinitude…the a word scarcity—in system the repetition,deferral, existence… precisely of forms alone “language follows: as similitude Foucauldian on claims He During. Simon critic They structures. totheformsby literary This relate similitude. isposition reinforced also specific with existence closed its own has language inwhich system a depicts Foucault (2002:39). affinity theirand convenience, necessary analogies.” of laws their have elements its stars or plants animals, like in nature; athing as itself studies be similitudesandsignatures; therefore in of Language partakes dissemination world-wide the be deciphered… to offerbecause themselves... like alanguageand words own enigma mysterious thing, closed in uponitself… becausethings themselves hide and manifest their writing “is in the ratheran things opaque, of argues episteme world. Foucault Renaissance 18 FoucaultLiterature, and Foucault CEU eTD Collection events (texts and utterances) each incommensurable to the other. the to incommensurable each and utterances) (texts events self-reflexivity by or its use of mimesis… butby its intodispersion anumber of linguistic language…” (During, 1992: 86). Therefore, under the light of modern language…”Therefore, under thelightof (During, statement 1992:86). this that, “ on During Simon by reinforced also is position This hasfor atendency, Foucault, tobring itslanguage “forgotten backto being”. sixteenth century..“(2002:48). Thus with this quotation, long itcouldbe said that literature from function signifying languageof tothis raw beinghad that been forgotten since the achievedon literature Artaud— to Anatonin autonomous existence… byfindingits back way throughout nineteenththe up toownday—from Mallarméandcentury right Hölderlin and to andtherefore then by means of reduplication.. of enclosing and concealing it…And yet sign—of signifyingsimultaneously andsomething arrangingsigns thataround thing… of reappearance being living The the languagelanguage… of art of was making a wayof the least expected, itwas atatimemanifests when on age modern the… designated and asit so was constituted may “It bein a “literature” of said signs: sense that reduplication episteme. The writing of is thus and literature things somehow designated through Renaissance the reflects today “literature” that suggest to on goes Foucault Furthermore, episteme. century in for Foucaultsixteenth the of nature writing the is This everceasingin to similitude. relation no its infiniteness—with doubt back to referred languagebe amere turn out to play resemblances andthuslanguage of itself; returns to the language…”seen with Asitis thisexplanation signs of things the to (2002:47). relating in is foundof form…ita single experience the into are resolved of elements articulation this distinct three the content, their as well as signs the of form is the resemblance since but them; link by by contentindicated that the marks similitudes thingsand the the them to designated According to Foucault, modern literature, therefore is not characterized either by its either ischaracterized not therefore literature, modern Foucault, to 19 Foucault andLiterature This is the being of , stating CEU eTD Collection Before introducing metafiction, its strategy magical realist narration and related feminist related and narration realist magical strategy its metafiction, introducing Before term asanoverarching Literature 1.3.1 Postmodernist variant(s) its and 1.3 Metafiction the transgressive feminist strategies to subvert the exploring fixed by notions realism magical to of reality,perspective truth feminist or a authority.bring to try Iwill Eventually narration. Death to attributed reality and magic of amalgamation the is writing—which realist magical focus strategies.I will on Then each ofnarration in other to terms are closely related terms two these since literature postmodernist mention briefly will I metafiction, introducing While metafiction. of focus description on will the section following the Therefore, Shameless Death novelthe carries amalgamation this analyzed, be towill itAs amalgamation. this of part a becomes the beyond amalgamation magic reality.of and causing similitude, Thus self-reflexivness innovel, the of similitudes. It designates a distinct literary discourse of However in However be an important tool reveal to tool important be an will this since episteme similitude Foucauldian of summary brief a give to tried have I forpresent reflect Foucault. all resemblanceand ceaseto the never at analogy—even and which of texts flow literaturethe utterances, and disappearwithin language this approach Within merely thing. same knowingthe or samething the to probably returning another, one and the languageliterature itself a number interwoven from linguistic events are derived of to . This amalgamation is one of the significant variants or strategies of metafictive of strategies or variants significant the of one is amalgamation This . Dear Shameless Death Shameless Dear : distinct metafiction of Foucauldian literary discourse based on similitude. Dear Shameless Death’s Dear Shameless , this metafictive with isnarrated the self-reflexivness , this 20 distinct narration narration language. distinct and Dear Shameless Dear CEU eTD Collection uncertainty which is central to postmodernism: It is the awareness of the absence of centers, of absence the of awareness is the It postmodernism: to iscentral which uncertainty ontological this is precisely it “… asfollows: Bertens quotes Smtyh characteristics. modernism with now its aforementioned distinct significantly features including its playful of continuation a as seen be shall postmodernism that understood is itclaim, With this general…” (1991:9). by been asmeans many adopted of novelcommentators describing in contemporary the has is“postmodernism” usageit from clearthat features… However, common common the are ludism: these dislocation, and decentring, intertexuality, heterogeneity, metafictionality, consciousnessindeterminacy, discontinuity,Fragmentation, reflexivity… and plurality, forward:isputs “…it creativeself- whichexhibits some endeavor elementany of Postmodernism is the abundance of play, plurality as well as fragmentation as Edmund Smyth playfulness rather than a quest for ameaning within a chaos as in modernist fiction. postmodernism isindeed a playful modernismand parodic continuum of with its for quest modernism, to opposition arigid rather than Here, literature. avant-garde or contemporary in importance crucial of and define to difficult is term, a as Postmodernism, femalewriters. for the significantly writing realist magical of trangressivness of account brief a make Iwill Finally realism. magical to connection close metafiction’s demonstrate will I this, Following literature. in representations feminist of in terms importance its and metafiction of definition brief Followingliterature. literature, thisbrief introduction Iwill on postmodernist on a concentrate of postmodernist characteristic thebasic totrace is important it strategies, metafictive of narrative strategies. Since narrative strategies. of in terms writing realist magical and metafiction both embraces indeed literature Postmodernist literature”. “postmodernist to initially will refer section this perspectives, theoretical Dear Shameless Death Dear Shameless 21 is a postmodernist including fiction CEU eTD Collection Shameless Death before, mentioned As self-reflexivity. its with mostly them between boundaries kindsimportant fiction.brings fact of postmodernist andfiction It together blursthe is the of one Metafiction literary realism. to opposed languageas literary of function Thus, postmodernismrepresentative (1983:112-113). table with its playful characteristicmetafictionality, anarchy, play, immanence dispersal, intertexuality and so forth with his and pluralityby all are replaced boundaries centering, transcendence, histories, orgrand narratives leads us to a distinctDismembermentOrpehus: Towards of Postmodern a Literature and absence. theimportance Hassan thus of suggests andunmakinginabsence language brings that andpresence wehavethecompetingdifference forth reality dispersal of as analogy thewithin outside world andthethingsinside.instead Here, of absolute the rules like modernism nor with centering a world; yet breaks down the a-priori affinity asetof fictionprescribed neither with begins Thus,postmodernist language 1991). as (Smyth, well of reality competing the to refer usually and fragmentary is text the by mirrored world stable any that suggests McHale voices. conflicting as well as intersecting multiple, of arena an be are what the work of art itself is looking for.” (Smyth, 1991, p.14). Therefore, texts turn out to rules Those and tothework. text categories tothe or familiarby categories judgment applying determining bejudgedaccording to and theycannot rules bypre-established governed the position of a philosopher;amongst literary genres get fluid as Lyotardthe puts forward: text “A postmodern artisthe or writer the borders Moreover, occurs. narrations literary writes,mobility sense relating to position a strong is in the work he producesnarrations holding their with own rights aforementionedthese features. Thus, with this are not in principleModernism.” Thus, in (Smyth, 1991:10). sense, become a strong texts postmodern their own with mostis… difference striking the that higher discourses, languages, of privileged is the distinct metafiction of Foucauldian literary discourse based onthe literary discourse metafiction Foucauldian of distinct isthe 22 and states that hierarchy, Dear The CEU eTD Collection of literary discourse the to is related also association This metafiction. term with the associated fact is literature. Re-thinking boundaries re-readingamongst of and fiction and postmodernist by entwined somehow is narration metafictive above, summary the from seen isclearly it As John Fowles, 1970. is moreall…Iunreality)find woveninto valid.” “Fiction new this reality (or 1.3.2 MetafictiveCharacteristics style of narrative writing—the realist magical the is which strategy narrative significant its explore smilitude episteme. Therefore, the following section now focuses on metafiction. Then I will metafiction of Foucauldian literary discourse. This is achieved in relation to both the novel’s the both to in relation achieved is This discourse. literary Foucauldian of metafiction Shameless Death of style literary is the it significantly More literature. postmodernist embraced within thus and metafiction of strategies narrative significant the of one is realism Magical writing. realist magical of exploration depth a make also will I chapter, whole this Throughout bring them together. isreflexivness. That whyIcall beginning asan the overarchingpostmodernism at term and a kind of postmodernist fiction mostly itsdue to creative powerasplayfulness and self- in themetafictive narration which creates episteme similitude Foucauldian the is it analyzed, be will it as precise, more be To Dear ShamelessDeath Dear ShamelessDeath. . As it will be analyzed, magical realism definitely adds a distinction to the to adistinction adds definitely realism magical be analyzed, will it As . as the distinct metafiction based on Foucauldian similitude. Dear ShamelessDear Death 23 . This metafictive narration is metafictive narration . This Dear CEU eTD Collection Metafiction is indeed attributed to the very idea of constructed meanings meanings than rather ideaof very tothe indeedconstructed is attributed Metafiction ideological (1995:15). any kindof total position art, ahistorical or orpolitical period postmodern fiction beand it preciselyboundaries definedcannot within of the any of kind an of variant kindor as considered only the is not indeed metafiction that Heclaims definition. aforementioned Waugh with agrees Currie Mark critic and theorist literary Another verbal reader becomes much meaning internal aware that primarily ismerely through constructed the into itself. within thisprocedure, textis fictional the very the Thus process assimilated of with the construction statement, this Therefore (2). fiction” writing practicethe of through fiction writing of atheory “explore which those are works metafictional that states precise she possiblethe fictionality worldthe of outsidefictional theliterary (1984:2).Tobetext.” more explore also they fiction, narrative of structures fundamental the examine only not writings between fiction and reality. In providing acritique of their ownmethods of construction, such draws attention systematically and consciously self which writing tofictional to given itsa term is “Metafiction status as an artefact follows: as in metafiction for order argues Waugh Patricia to critic literary pose with, begin To questions about narration. multilateral and adistinct each on andform achainrelation creating other the relationshipmentioned, dependent they are Indeed, as Foucault’s similitude underthesameroof. episteme and realism magical metafiction, postmodernism, assemble to aim I how is that Thefore, feminist tosubvertmonolithicpurposes: truth— maleso tospeak. authority, doing this,While female. the for I willsignificantly writing, realist magical of focus trangressivness the encourage on contemporary womenlanguage writers who useand magical its realismfeminist for their purposes. Thus at the end of this whole section I will aim to relationships. (1984 : 23). 24 CEU eTD Collection crucial point where feminists take up metafictive narration so as to go againstgothe so asto narration metafictive up take where feminists crucial point is the This thinking. dominant in male founded mostly literature, of structure monolithic the against worldview alternative an engenders also metafiction of definition whole This priori set of signs relating to the world outside. Waugh, metafiction undermines the conventions playfulisit according to ways.Therefore reminds via readersthat an“artefact” various of realismlanguage the as wellsignificantly, However indexical. asnot is subvertslanguage metafictive of definition a system of a amongst signs relating totheoutside world. stemming Thus from position,this Waugh’s relations the by manipulating reality fiction is andan creation of play the between alternative characteristic distinct most the playfulness this Within explicit. fiction of feature playful fundamental element of play and games (Waugh,1984:34).Therefore, metafiction makes the is a pretending and pretending of way elaborate an primarily is fiction worlds; symbolic other A story is a game someone has played so you can play it too… All art is play in its creation of butplayful greatones… we need “What works is not asfollows: characteristic forclaims this beby be toreal achievedfiction”. reality display “tending Waugh strategies to or and tending metafictional areindeed These reality etc. and magicand of amalgamation intertexuality, fiction—pastiche,parody, awareness functions various interplays through within This itis indeeda fiction. that artefact its own of isaware itself the fiction now Thus, useful modellearning for the constructed about notion itself.”(Hutcheon:reality of 1998). becomes entirely a language) fictionof language, constructed literary (words through then metaphor theworldas book of William H. Gassin 1971andis it based upon notionthe of self-exploration on novelist self-conscious and critic by American originated indeed is metafiction term The (1995:15). essences”. “representable : “If our knowledge of this world is now seen to be mediated 25 the traditional CEU eTD Collection roles in relation to fact and fiction. This attempt is important so as to reveal the feminist so as isto reveal the important factfiction.andattempt This to roles inrelation of this mode narrative significantly feministforandpurposes bending for gender accepted trangressivness the show to attempt will I Then strategy. metafictive a as realism magical of definition brief a on focuses section following the realism, magical and episteme similitude of As innarrations. magic andreality of amalgamation the to refers worlds alternative these of One worlds. alternative possible worldthe outside and asks “whichis a world Ilive andhow can it” viaI know callingforth consideration,intostrongly suggestsmetafiction theconstructedness of everything Taking femalepatriarchal an an subject. against absolute subjectivity alternate amalgamation of magic and reality, notable contemporary women writers attempt to develop By such metafiction. strategies metafictive as the narration within magical using realist of nature alternative the on focusing when detail deep in analyzedbe will position This can discourse the therefore be by literary changed conventions. traditional questioning literary of codes meanings,the constructed tothe isif metafiction attributed Greene, For in whichindeed is ofliterary situated discourse patriarchy. conventional codes challenge the somethingnew…” (1991).Thus accordingher, to metafiction is a powerful tool so asto seeks “an ending of her own”…freedom seeks from plots the of past…orin the questioning her writing; lifeher and to “forms” of the relation the about speculates present, the about visions” or to write “the beyond”: “The protagonist looks to the literary tradition for answers “re- on upmetafiction embark take who feminists that Gayle claims Greene statement, In close bourgeois, connection this 1992). disintegration (Hite, to subject.” patriarchal of perspective as follows:is “…it the of subversion stabilitythe pointof of view…the this characterizes Hutcheon metafiction. Linda of perspective thegendered can trace chronological-linear and thus phallocentric language of contemporary fiction. In this sense we Dear Shameless Death Dear Shameless 26 relates to both distinctmetafiction CEU eTD Collection perspective of perspective elements. Thus it is important to clarify the notion of magic in this mode of narration. Magic, narration. of mode in this magic of notion the clarify to important is it Thus elements. own personal interpretation of notably mixedreality, with extraordinary and magical with writers’ isreality. intertangled It to relating aswell chain organic as accurate losing the without narration of mode subjective a as evolved has realism magical Nevertheless 2004:25). (Bowers, fiction and reality understanding to relation in frustration even or suspicion betweennatural explanation Thisleadsa oscillate fiction. the and supernatural within readers Thus viewpoint. arealistic within narrated not are events extraordinary narration, leave butis, aspace extraordinary inevents That readers’ as for hesitation fantastic well. life (2004:24).humans of via the art. modeother narration,fantasy, of upon relies withitis not imagination associated butpure “material mind of reality” expressing theinner Death considering modesbrief boundaries in is these the amongst a way important fantastic. thegenre modes assigning or Thus, of ofnarration:confused surrealism other with often is realism magical term the elements, magical or extraordinary includes it As strategy metafiction. of aspecific or variant fiction—a and fact of amalgamation is the it a high degree, Thus, to including intense folkloric and mythic extraordinary traditions, and magical happenings. significantly narration of mode a distinct is It realism. and magic discourses: conflicting includes It term. oxymoronic an is literature contemporary in realism Background. Definition, Narration- Realist Magical 1.4 Magical ’s language. Surrealism, as Bowers argues, is most distinct from magical realism since realism magical from distinct most is argues, Bowers as Surrealism, language. ’s Dear ShamelessDeath . 27 Dear Shameless Dear CEU eTD Collection This kind of narration with the amalgamation of magic and reality is associated with associated is reality and magic of amalgamation the with narration of kind This race, ethnic and issues gender. problematical time-periodinvarious relation themesto such migration,as post-colonization a presenting of reality—usually part ordinary the becomes imaginary andsetting workings of 2004:31). mind…”the (Bowers, Thus, magical narration realist have arealistic forexploringof the purpose the imaginings mind…or be of They one the simply cannot unseen. or seen material whether of reality, asapart be accepted must magical things the happeningsmagical with in samethe manner but matter-of-fact setting a recognizable realistic andfollows: explainsfiction. narrator proposereal only must “Not the Bowers thisas and narration itself nor they leave a space for any kind of hesitation or irritation in relation to fact feel makes to magicalunaccustomed readers neither happenings story.realist Therefore, arealistic in through way a realistic presented ortales arethus events real. Extraordinary magical realism relies upon the real so 2004:20). Therefore has realm (Bowers, happened.” “somethingextraordinary of that as reality imagined is the or there magical shows, magic of elements extraordinariness of sense or illusion the to are opposed as representedwriting, as include the magic as they butnot do and strange atmosphere talents itmiracles, extraordinary disappearances, is found in a magic in includes magical ghosts, Thevariety science. writing show.”of occurrences (Bowers, 2004:20). by rational unaccountable spiritual or anything particularly and extraordinary occurrence In a magical realistany to magic refers realism, magical “In follows: as magic isdefined scope, abroader In distinctcreative sub-genreliterary of (Bowers,2003:30). realism magicalitis happeningsor on notion of the relying widelyacclaimed asa reality. Therefore of extraordinary arepresentation enables magical realism Nevertheless, knowledge. rational any refers irrationalto of kind and oran spiritual event which approvedelement is by not then 28 CEU eTD Collection articulation, magic functions as a complementary element of the real; yet it does not totally not itdoes yet real; of the element a complementary as magic functions articulation, literary sense. 9 “magic realism” word the coined Roh origin indeed traces Marquez’s Garcia Gabriel with and significantly back to early 1920’s German1950’s-1960s during America Latin with magical realism peopleassociate most While art. German artist as well metafiction. strategy narrative of isthedistinct literary conventions as critic Franz distinct creative Thus, strategies magical(Currie, 1995:25-26). itsrealism with rejection of their with realism literary reject which novels the for term overarching an as metafiction popularizes Scholes Robert critic literary and Indeed, reality. art between itself places realism metafiction magical and Both fact between andfiction. interplay creates metafiction—which the grasp to is important it Roh, itself. For artconcerning familiar real a more the and tangible (Zamaro&Faris, 1995:35).Therefore, with Roh’sclarification magicof the real, and is there refers to a is, Thathis definition “an rationalism”. magical to itauthentic is related yetrather irrationalism”; rationalismfor “sense spirituality inan“ethnological means neither nora“demonic abackquest amongstshould back hold itself behind thisworld…” (Zamora&Faris,1995:35). Magic,for Roh, thebut world depicted realistically into the enter not should “secret” the imply that meant to things outsidemystic to is magic The opposed must as beterm anew. formed object thing,the follows: “the as well “newconcept of from objectivity” differing positionisexpressionism,this explained as as inside thereflections in art with abstract and fantastic elements within it.world.For Roh, accordinghis to own hyperbolic absolute the to refers all which expressionism rejects insistently Roh claims, magicyet realism; explained boundaries it of the within AsGuenther post-expressionism. of definition concise the gave never Roh Guenther, Irene to According painting. expressionist After Roh’s definition of “magic realism” as a form of a visual art, it then shifts to the “magical realism” in a mystery of the object through the painting in a in painting the through object the of 9 in and1925 madestrong references post- to 29 One Hundred YearsSolitude of realistic way. Thus from Thusfrom of pointthis (1967) its CEU eTD Collection defines defines this distinctive characteristicof LatinAmerica as(American) marvellous realism. what is the entire history ofAmerica if not chronicle ofthe marvellous real?”(Bowers, 2004:35). Thushe discovery, its fecund racial mixing ontology, the Faustianpresence ofthe Indianand the black man, the revelation constituted by its recent realism” instead of “magical realism” of Europe: Because of the virginityofthe land,ourupbringing, our description of the term is different relating tothe distinct status LatinAmerica since he proposes “marvellous 10 America hasaform and postcolonial of Europe with relationship in particularly relation the to Latin “Because follows: literal boom the refers as Bowers Gabriel Marque. Garcia writer Colombian with forth comes realism magical to relating boom literal the Nevertheless, America. in of region writers Latin the magicalbe realistand Uslar-Pietri thefirst Arturo (1904-80) who to are said (1906-2001), Carpentier Alejo French-Cuban considerably writers; fiction significant including America, mostly mode tocapture Latin starts narrative However this distinct afterwards, soon 1995:61). by promoted in sense (Zamora&Faris: (1878-1960) a literary MassiomoItalian Bontempelli writer initially is narration realist magical term, the of definition Roh’s since However be asinglegeography. confinedwithin not literature, itshould of towards approach a solid is argues.Since it mode wouldanarrative anda specific bemisleadingasBowers way place a to attributed be could it that suggesting literature, in realism magical Concerning Esquivel, Maxine Hong Kingston, Toni Morrison, Isabel Allende and Angela Carter.) Roy, Laura Arundathi Rushdie, Salman Marquez, Garcia andGabriel Günter Grass Cortazar, tracing back to Kafka. Then Jorge Luis Borges, French-Cuban AlejoCarpentier say critics name, as tosome aswell (so literature in contemporary adopted is itwidely Thus forms. in diversified literature onto way its launches magic and reality of amalgamation this in origin, pictorial initially argue, Faris and Zamora realism magical of critics literary As nor any irritation of kind as opposed to fantasy. hesitation neither with they are accepted However, real of world. the asapart are considered occupy real.the side The real stands by with magical happenings side happenings. Magical Indeed it is Alejo Carpentier who initially introduces magical realism in terms of fiction. However, his > mestizaje @ , America is far from using up its wealth of mythologies. After all, 30 10 , Julio , CEU eTD Collection incidents such as the birth of a child with a pig’s tail as a result incest, of which all narrated in relates toextraordinary feature 2005:40).The second gossip (Bowers: and exaggeration. confusion mixture scalesthat suggestsamythicof time a timereferring of to superstition, fromits strength memories author’s the childhood bringingforth importantfeatures: two a forfailures…” Marquez’s magical mainsources realismhave (Bowers:2005:40).Thus,the is the beliefs, theirit people, is of myths alsocommon the the reality follows: that “Irealized Marquez as quotes legends; they are theirBowers Marquez’s grandmother. to relates story which telling oral backto traces The novel everyday life and Hundred Solitude theyYears of affect their triumphssuch as theand birth of a childMarquez’s writing has atmosphere happenings andmagical of nostalgia an overwhelming with a tail occur as a matter As argues:“Garcia Bowers 2005:39). writing (Bowers: common experimental with people— of everyday reality.”Solitude (39-40). His One Latin Avant-garde. for “newnovel” fiction or the America Latin in direction new a marked has however, writing, Marquez’s Garcia Gabriel reinstating value the of own community’s perspective.” 2005: 43). (Bowers, cultureimported and alien,the of thehegemony perspective—challenging dominant mosttheir “want of reproduce narration, them as Philip apopular notes: to Swanson rural 1950s, more orless originates roots the magical of realistin writing America.Latin Within known the boom Thus of as (Bowers, 2005:33). 1950s and thisboom 1960s…” writing of America… Latin in fiction realist magical of development the with coincided production… perception, and knowledge culture. The shift from away marginal a position of cultural placed that of inon margins the Europe with European mid twentieth century, arelationship colonial of power from Spain many inhabitants migrated,its whence itof hashad,until the (1967) is the turning point of newthis novel: combination folkloreof and pueblo— is a family history that expresses Marquez’s own cultural is afamily expresses own history cultural context. Marquez’s that 31 Hundred Years of Years One CEU eTD Collection perspective in relation politics to of Turkey 1970s-1980s. Thusduring magical are texts realist likeTurkey. Tekin, Latife Marquez, thetraditional from story retells rural a challenging Shameless Death on focusing while important be will Swanson of statement mentioned This community’scultural own (1995). perspective.” the of value the reinstating and culture important dominant alien, the of hegemony the popularperspective—challenging wantreproduce traditional, rural to Marquez seemsto reality, utilizinginherited the oral from hisfantastic grandmother’s storytelling, Garcia be a solid challenge as Swanson notes: “… must be a political whichpower is all and corrupt sunkintoviolence. Therefore his magical language turnsoutto question of reinterpretation of akind mirrors of political Marquez’smagical realism Here, government. by reality a corrupt of manipulation the reflecting tool measuring a of akind functions realism magical Marquez’s argues, Bowers ignorance”. as Thus, “complete a upon is acted of whichaplay sort denial becomes a myth of little interest to the people. “(41). Here as itis argued, massacre becomes a he latertoagreewith one no find sawandmassacre what hecan byJoseArcadio, is witnessed denialthe issuean so astocreate interplay including amassacre:“…although massacre the known…”notnumber killed (Bowers,Thus,hereworkers of is 2004:41). Marquez, takesup exact the lack records... of official place, event a the took that by regime military denial the killed many of the strikers.workers’ Bowersstrike claimsin Marquez’s as follows coastal referring region to the duringnovel: “Duethe civilto the war when the army shot and rule of a dictator or an act of an brutality. act of or a dictator rule of the wars, includescivil which historical tragedies world of Marquez depictsa Moreover, world lived which characters live in. the to related things ordinary as considered are happenings magical style. Thus matter-of-fact ’s attempt for subverting the dominant cultural for subvertingcultural ’s attempt dominant the perspectivesand of political One Hundred Years of Solitude Hundred Years of 32 is an account of banana of account isan Dear CEU eTD Collection identity and combines it with magical realism. Thus he challenges the auhtoritive history by history auhtoritive the challenges he Thus realism. magical with it combines and identity argues, Rushdie hybridthis As Bowers takes both outsideran insidercultures. of an andas as sstatus reflectRushdie’s to tool a profound functions as magic notably Here, happenings. magical many witnesses He country. pickling in a working while tale India’s as well of the narrator anda as amaincharacter breakinga multiplicity downinto 2005:54).Thus,conflicting of factions…” (Bowers: both promise of its diverse full of nation the from moved fifty years in a new confident a country spaceof that the gifts to a nationBritain: “... provides the bestillustration of a novel consciousthat attempts to provide a modern epic for historiographic modern even epic, of its own failings and on the verge of fiction. Thus,(122-123). it refersto the recognition ofan alternative organization or reworking of the past in relation to demarganalize the literary confrontation with the historical anditdoes so both thematically and formally.” asserts thespecificity and particularity of the individual past event. Historiographic metafiction attempts to is one kind of postmodern novel which rejects projecting present beliefs and standards onto the past and 11 with example, For colonialism”. British of “assumed superiority the for attacking tobea strategy out turns andreality magical elements Australia, magical realismWest is the opposition to (British) colonialism in countriesAfrica such as Canada, Bowers, whatusually toEuropean Latin to according refers America. However to attributed and realism the magical of tradition mythic-folkloric and tradition Caribbean. surrealist Roh’s both traces Thus Africa,West Africa, South UnitedIndia States, 2005: and47). England.(Bowers: Rushdie for Rushdiein ithas widespread become 1970s.Then early in inCanada European the region primarily using in way it found has realism Magical writing. of way distinct in his Marquez of influences the amalgamationEnglish of speaking Apartregion from is transgressive in of terms subverting the linearrelating account history to and culture. theLatin British-Indian America, as for Salman male writers,Rushdie. probablyHe spiritedly the best accepts known thewriter in It refers tothe It historiographic metafiction which LindaHutcheon describesas : “Historiographic metafiction 11 meta-epic due histo own distinct status as a immigrant to Midnight’s Children, 33 Midnight’s Children Midnight’s Saleem tells his own tale as tale own his tells Saleem (1981), Rushdie elicits a (1981), CEU eTD Collection significantly ranging from Latin America to India, Britain, Africa and China. Principally it is it Principally China. and Africa Britain, India, to America Latin from ranging significantly Magical besidesrealism, used by maleis writers, by principally adopted female writers, From SilencetoSound—another way ofknowing things Writers 1.5 Trangressivness of Magical Realism via Contemporary Female dependence. emotional and political economic, under thefemale of areinterpretation enables and “other” theirfeminist explicit This adaptation purposes. the challenges from position women of the political unrest. Thus, itis the female writers of Latin America orBritain who adopt and magic forsocial under significantly woman of portrayal alternative the and issue gender concern not do writing magical realist male related other and Marquez’s arguethat can I perspective. a gender from and writers female through significantly introduced be will realist magical this of trangressivness the section, following Inthe male narration. contemporary within subjectivity female into formation the may of thisalternative modenarration of sprawl easily the fixed categories of (monolithic) truth, reality as well as history attributed to the male. Thus disrupts language of in It aswell. terms gender and mode functions asasubversivenarrative definitely magic, or unreal and real of world the both including realism, Magical combined magical with happenings. metafictive strategy narration—a fragmented ahighly with from marginal perspective the and history itthe recreates version of truth singular the to attack tool important asan functions here realism Magical margins. in the live who people the towards dimension political his 2005:55). With has magical (Bowers, realism,creatingof plural conception Indian. Rushdie 34 CEU eTD Collection Maxine Hong Kingston. ShefindsMaxine between herselfHong Kingston. Anglo-European entrapped racist the Chinese-American is realism magical of writer female cultural cross important Another Africa, towhoMorrison her dedicates novel.” (Bowers,2004:81). thrown dead in overboard Atlantic during themiddle-crossing journey slaveon the shipsfrom were enslaved. She is also the symbol of all the women women who of all symbolic a becomes who Beloved escapedslave… heavily traumatized of the are under the water drowned or memories the back bring to form bodily full in child ghost a revenant of device realist magical uses she follows“… as explainsthis perspective female Bowers of perspective slaves. the from notably slavery of stories as aswell memories the reinterpret as to so attempt profound Toni theirMorrison hernovel usthat (1998:40).Moreover, politics. tell adapt folktales or create mythic stories so as to express their suppressed passions and toreveal usually writers women African that states Cooper Brenda critic literary Feminist constraints. cultural or social economic, under for themselves voice elicitan alternative and society hegemonic the on commentary critical a engender women statement this with Thus, poverty.”2004:58). (Bowers, of the African American population… to rebuild asense an Africanof American community at a timeseem of crisis when the majority to be held in a position memory cultural American African cross-cultural a specifically create to incorporated… are of economic and spiritual from past,the women with magical powersborn without navels…magical these happenings magical realist elements including the arrival of an of arrival the including elements realist magical cultural context as African American: “…Morrison’s American: as African context cultural her underline to writes deliberatively Morrison, Toni winner Prize Nobel African-American obviously relates to the notion of cross-cultural woman status. For instance, as Bowers claims, This multiple used toemphasizestatuses. to their relating paradoxical experience cultural own 35 abiku child, presence the of ghostly figures Song of Solomon Song of Beloved (1977) all have (1987) isa CEU eTD Collection create further (plural) categories relating to woman question, this kind of narration gives an narration gives of womankind this question, to relating further categories (plural) create in Thus, to order 2005:67). furthercreate magic category…” (Bowers, between and real to borders the crosses realism magical since transgressive is realism magical that claim can one hand, other on the treatment… serious same the are given they narrative unlike ina realistic but asreal real and magic as identifiable remains magic sense, this In voice. narrative same the using magical the and real the between alternates it because subversive is realism magical that claim can One “… narration: of mode this of flexibility the for advocates notably Bowers issues, aforementioned in indulged get do writers female that true is itwhile However, protagonist. distort to monolithicthe truth,reality history or andbring forth various realities via writings revolve aroundonhybrididentity,margins. and culture life to relating They attempt Ortheir influencing one another. mostly cross-cultural perspectives Theynarrate unrest. Carpentier do not deal with of unsilenced (female) subjectivity under patriarchal Marquez,Borges, constraints. Rushdie or the woman in terms issue difference legitimate their develop to considerably writers female enables writing of mode distinct under this Adopting narration. cultural,story their to in relation “intention” is their writers magical male social or political from fiction contemporary of writers magical female differentiates that point crucial The from subjectivity—cultural a cross Chinese American persepective. her journey distinct alternate revealing tobe narrator’s the turns The whole story novel. in the memory communal American Chinese analternate This creates ofghosts. tales bewhichand is a rewrites saidto taboo including it Chineseoral andstory traditions telling theissue of history. Sheretakes past pasttime of America’s tothe an insiderChinese relating a Memoirofa Girlhood amongGhosts Inhernovel cultures. ChineseAmerican male dominated American and (1976), she usesmagical toreflectrealism herposition 36 The Woman Warrior: male CEU eTD Collection them in terms of the use of magic to create alternate status relating to the female. look attheirfind sincefeministpurposes, writingsimilarities amongst eliciting we distinct to relating analysis ongoing the For tradition. andfolkloric myth magic, with reality intertwined an alternate They create suppression. political and social under subjectivity female a engender to realism magical use Carter Angela British and Allende Isabel Chilean writers, female contemporary significant Two andpatriarchal culture woman negativity.which attribute authority male”. the maleactiveassumptions andattack they dominated question Thus of dominant 2004:68). Feminist thisissue critics take from position of“thethe passivefemale versusthe (Bowers, silenced.” thus and power of denied been have that of otherness “vocabulary as mode narrative this perceive realism magical of critics feminist Furthermore, male (67-68). enable female writersdistorting to create a the“difference” perceptionargues, blurring the boundaries amongst monological, political and andcultural structure withinof reality the worldadvocate Kum asliterary critic Sangari to this statement, In close connection 2005:67). (Bowers, ruled for and female controlled writers. ontological, geographical…” are political, boundaries whetherthe –boundaries transgressing by Shethe claimsexploring—and to suited mode that isa realism magical for women… to theseincreasingly ways for writers… useful mode particularly has madethe that a feature structures, cultural and monological political to resistance encourages atonceness all their in-betweenness, their aresubversive: texts realist “Magical female writers: mode for of this appropriateness the clarify to in order realism magical of side subversive the note also Faris and Zamora (male)narration. female voicemainstream againstthe alternative 37 Dear Shameless Death it is helpful to have a have to helpful is it CEU eTD Collection (male) authority of era. the authority of (male) subvertAllende’s “Thus, magical periods.. strongly to political the realism (75). attempts atcertain time of women dependence emotional and economic about the make apoint such as telepathy against of women that source findanother power Bowers, also accordingHart, states to 2004:73). the violent male (Bowers, feminism…” “magical calls she power: that lives women’s the over control patriarchal “Magic is alternately the of criticism feminist of form a is this Chile… in violence political usedof world male or withheld to Spirits of in realism “Magical follows: as position this explains Hart, paraphrasing Bowers, purposes. feminist for magic uses asAllende malecharacters the with lessen novel the magicalclaimsinfluence its Moreover,in over and undermines (72). thepeople” happenings government’s of “fraudulence the reveals novel in the future the predicting women of ability the proposes Bowers, Hart that Thus (Bowers, inthisway,to according 2004:73). failure...” tomanipulate byfearful of thepopulation attempts and future predictions the political “Allendegovernment: emphasizes factthe the that right-wing dictatorship inhernovel isargues. Indeed much the very itpolitical linked to situation ofChile under the Pinochet Hart Patrica literary critic haphazard, isnot “clairvoyance” Her Clara. with significantly Allende associates magical realist happening with the female characters of the novel; magical realist happenings coup of right-wingthe which of government, “(2005:71).Initially can beinterpreted Pinochet. in the novel refer thatportrays Chile and into descending ahorrific situation itself clearly positions against final the it is a fiction. In addition novel “The in1973.AsBowersstates; depicts coup timeChile during turbulentthe a of to this position, writes Chile’s history from from the history Chile’s writes Allendewho Salvador with previous president Chile isassociated of Allende (1942) Isabel is associated with the women of the novel and lessens with the domination of the of domination the with lessens and novel the of women the with associated is female point of view pointof female 38 . Inher novel The House oftheSpirits House the House she CEU eTD Collection conflicts within dominant ruling classes. In either cases, magical realism in the hand of female of hand inthe realism magical cases, either In classes. ruling dominant within conflicts patriarchal of assumptions female.the Orthey express their understandingcultural of realismlegends usemagic,myths or in toundermine order thefixed relating categories the to magical of writers female examples, several aforementioned from understood is it As Night attheCircus ofintertexuality techniques inmetafictive maleso astorewrite and parody history British male representations of women mostly through the amalgamation offact and fiction. She uses tosubvert woman—bird-like the attempts Fevvers—a winged female character extraordinary definitions of these relations. She binary thesystem turns downand the oppositionsof questions upside patriarchal Or with her another novel themale. versus female upperclassorthe versus working class illegitimate, versus legitimate liveliness…”excessive engendersThus, (Bowers:2004:70). Carter aninterplay amongst their and sex catastrophic as such acts excessive of mixture a is novel the in realism magical longer ideaolder The patriarchal no attractive… thatgoing women against sexually the are wear, they clothes the by sensuality their accentuating on insist twins the elderly are they vocabulary.Although andelocution and sophisticated an speaks perfect precision, with orator he is in whereas slang, speak to preferring language, andcrudewith Theyare raucous actor… of Shakespearean a high-cultured daughters twin illegitimate and unacknowledged whoare dancers hall music two of story the follows novel “…the follows: as position this summarizes working class.Bowers classpatriarchal byforegrounding female-illegitimate the upper feminist perspective, particularly with hernovel with particularly feminist perspective, Little Beard, Blue as tales—such Redfairy traditional the re-tell which writings her Ridingfrom Apart class. Hood, ruling British male of authority the Snow attacks (1940-1992) Carter Angela way, similar a In White, Beauty and the Beast and etc— from a spirited . 39 Wise Children Wise Night attheCircus (1991) she subverts the subverts (1991)she (1984)with her CEU eTD Collection affect each other. affect chapters, while analyzing following in the important be will understanding This purposes. feminist for significantly narration this of trangressivness the highlight I have to tried also literature. contemporary in usage distinct and definition its to in relation writing realist magical the explored have Death all, of Last realism. magical including particularly strategies, narrative its and metafiction of definition focus on the to I havetried Therefore, episteme. century which creates a distinct metafiction of Foucauldian literary discourse based on sixteenth in thenovel episteme similitude useof alternative the belinkedto This will era. Renaissance Foucauldian notion of epistemesimilitude in both terms of knowledge andlanguage during together for thefollowing analysissections. Initially, give tried Ihave to abrief of account has ofmy framework dimensions three aimed of thesis. It atbringing theoretical tothe is dedicated chapter whole this consideration, into Taking everything handsthe offemale provides writers, “another way of knowing things.” 2005:86). (Bowers, in realism, magical claims, Morrison Toni As Establishment. (male) the and Authority (male) writers turns to be a solid literary tool to express the unprensentable via going beyond the is the amalgamation of magic and reality with the combination of similitude episteme, I Dear ShamelessDeath Dear 40 within this circular paradigm—which all paradigm—which circular this within Dear Shameless Death Dear Shameless as Dear Shameless CEU eTD Collection considering magical realist writing as a as writing realist magical considering revealin Iwill to this Atsimilitude. end the of terms chapter, re- distinction this of try Carter has a strong quest to create a non-passive female entity under patriarchal and political patriarchal under anon-passive entity create female questto has astrong Carter Writerswriters’ in like mentioned attempt Allende my Morrison, background. or theoretical male subjectivity the against other contemporary issimilarto domination.women This female an create alternative to attempts episteme similitude with languagecombined unconventionalquite inway. ThusIalso thischapter, Tekin’s arguethat magicalrealist in a similitude of circle the follows language realist magical her with Tekin Latife mentioned, As is magical that narration. realist strategies: metafictive the ispressure achieved through male against subjectivity female creating of way principle the background, theoretical my in As it beenmentioned has subjectivity. female alternative of with formation the associated This distinction, and rupture apart from referring to engendersa whole position the languagethis that demonstrate to try will I analysis my in Thus other. each mirroring reflexively self of the novel, which similitudes beyondof to the narration the carries language. This usage magical realist is also stronglyis, Foucault’s That way with shecombinesdescription. similitudeher to episteme compared in arather unconventional usessimilitudes Tekin metafiction, such a whileHowever creating turns this beanalyzed, will it As narration. its in similitudes of use makes novel the mentioned, Things chapterutilizesThisFoucault’s resemblencesimilitude and epistemein Alternative female subjectivity via similitude SIMILITUDE AROUNDTHEPATH2: WRAPPED CHAPTER OF Dear Shameless Death in order to reveal the distinct literary reveal distinct the in to order difference. into a Foucauldian metafictive level in relation to its language. its to inrelation level metafictive a Foucauldian into distinct metafiction of Foucauldian literary discourse based on based literary discourse of Foucauldian metafiction return 41 to Renaissance episteme: a discourse of Dear Shameless Death return The Orderof with a . As CEU eTD Collection which has been in introduced previousthe Thesesections. stories initiallyrely on one of the most resemblances stem from Anatolian folk and mythic tradition: We can relate this understanding to the distinct world of continuously. another one connecting resemblances inbeen out pointed previous my thesis. sections of isinterplay Theworld arena of has it as way analogical in an together itself draws world the forms these With sympathy. resemblances areallforms convenentia,similitude: which of aemulatio, analogy and of four types basically of analysis makes an Foucault texts. the of the interpretation allows islighthebring Itresemblance which is the meaning argues a resemblance”(2002:33). to to search fora “To century inrole sixteenth in the a knowledge significant play similitude and resemblance Foucault for section theory my in out pointed already have I As language. realist magical with similitude combined in to relation literary discourse Foucauldian metafiction of a distinct Second of all, within a broader scope I aim to show how in results femaleher cultural. alternate ranging from subjectivity against repression to parental to explore way the Dirmitreads the inworld terms of resemblance andsimilitude—which aim I all of First dimensions. significant two within situated is analysis My Dirmit. on merely but characters female other any on not focus deliberately I analysis my in Therefore of inwomen representations novel.the patriarchal Asconstraints. itwill be shown, quest this of hers will subvert the traditional male developfemaleherresemblence against andsmilitude to distinct non-passive character the follows stoutly who Dirmit protagonist female is the it is, That novel. the of re-reading feministprofound a to lead will mentionedunderstanding this my analysis Throughout constraints. 42 Dear Shameless Death Dear Shameless Death Shameless Dear Dede Korkut Dede proves to be to proves Stories, , where CEU eTD Collection correct sense which is covered signs and marks; that is signatures hidden on them. surrounding patriarchal constraints. The only thing she has doto is to decipher the world in its relation of in thingsrelies for whatthey are signs andtakes nature, onits Thus she givesherself theto words to thereads theworldin tofindorder similarities for herpersonal, social and political aspirations. world. Dirmitdeciphering signs. follows Sheconsciously path its of Tobemoresimilitude. the precise,she chooses for herselfawaits world, tothe which bedevotes her,Dirmit carved upon to repression trying this distinctescape from to episteme.harsh Inorder hand goes andsimilitude inhandwith resemblance way so as attempt this novel.in Here the male power creative so called the tode-hierachize subvert or to break the female to of asite of the resistance becomes Magic repression. under visible characters female rather malethan ones. is This strategy makingfor a clear-cut thesilenced and excluded happenings in magical thesis, my of chapter analysis second the in analyzed mostly be will it As episteme.inreading description of terms of Foucault’s similitude (Aslan, 2008). In and earth sea, moon,mountains, stars, etc. tootherin beings likewinds, people monologue We could totheircentury, themselves see adjusting we could seetheenvironment. people to be a dialogue through Dirmit’s interactive ways. Thus, ways. interactive Dirmit’s through dialogue be a to (Foucault, 2002:33).In (Foucault, man plant sea,him…” the communicates with theeverythingaround animal,with earth the forms of similitude; thatis conventia: “the different beings adjust themselves to one another: Dear Shameless Death Dear Dear Shameless Dede KorkutStories Death are attributed significantly female characters the significantly to attributed are as it will be seen in the ongoing paragraphs this turns this paragraphs ongoing the in beseen will it as 43 dating back approximately to the sixteenth the to approximately back dating Dear ShamelessDeath inscribes its inscribes CEU eTD Collection domination. male against world resistant own develop their to female characters causes which exclusion and silence is this it analyzed be will it as However other. the or foreign status—the marginal Tekin deliberately associates thishurling stones motif particularly oppositethe In direction… thegardens,menstopped and turnedher away.her headedSo Dirmit back home, she passed and whenever with she paused, letpeople theirthe children play threwwith her. Even female worse,stones she could no atlonger her. walk about When in the village childrenon herDirmit own. lostfriends herhad because all Wherever village wasthe she known now djinned asthe in to people girland wouldn’t saw emphasizeher coming, they turned in their faces. Heractions had incurred the djinns the village family. due toAtiye’s sacred world and her fears that she wishes to have acontrol over everything falling apart in the episteme. However, her way of forming distinct female subjectivity causes Dirmit’s “divination”—another repressionsort of resemblence inherent in knowing thingsas asFoucault well.argues in similitude This is against her husband’s domineering behaviors through the magic: control of spiritual happenings or via her foreignstatus thein village. However afterwards shedevelops her legitimate difference and resistance with aharsh exclusion herlike daughter. She is too associated with “djinns”—the unknown or the other dueto 12 They also cursed Atiye’slittle daughter to be afraid of andbe whom to disliked andin excluded village:the whom one the becomes She around. djinns her with girl a strange as labeled is always Dirmit in family. the an is outcast Dirmit somehow always and character, playful child her extrovert female.Due to the for andexclusion absolute silence to “djinned girl”refers phrase The sack…(40). Memet… Finally startedshe tosuspectDirmit was that inleague with djinns. … She tied girl’s upinhand a she felt asleep while playing under the divan; all these actions were attributed by Atiye to everything Dirmitthe words did saidand talkedto sheit, when of watched snow the outsideDjinnman cried out and anguish, in when confinedto her the house but to started she spy daughteronher discovering allkinds of odd in meanings and whole, there’s no telling what will befall it!”… In herfear of whatevermight befall Dirmit, Atiye not only pushDjinnmancouldn’t Memet’s Atiye pronouncementof out“Ifchild thoughts: isborn the her healthy in the household. Indeed itis her status as “djinned girl” which carves the silence upon her: Atiye mother her by mostly parents; her have up Since whatever thebeginning, to voiceby Dirmittakes heardis herdistinct precluded Themother figureAtiye will be closely analyzed inthe following chapter. Initially Atiye appearsthe in novel  Dirmit had wandered around without saying the word besmele as she pissed on the djinss feet and at alldoor the along way (71). c  wrath… (42). Dirmit 12  They concluded that it was she who had brought the djinn to . Dirmit is the silenced and excluded female entity female excluded and silenced is the Dirmit . 44 CEU eTD Collection resolution of her female own resistantworld innature. This is interplaythe through of However Dirmit, despiteher. being called as theclosed itself, upon locate to anindividual aiming judge to (her) no anddoubt with tosupervise“djinned girl” and aplace becomes thehome or interior her the home.the Thus, interior, place; the in acertain kept exclusion,be city—should the migration seeksfamily’s the before place takes incident a this rural—since the timethe violence viaenclosure asitis or from Theyoung in seen girl excerpts. the growing isundersignificantly most interior)surveillance,the of kept an outsideto worldopposed (as “repressive family”; trying tosearchfor her. Dirmit’s growing female body and herquest for “home” of lookingseek beyond the boundaries and outward whichdesires character to and youth her to due house to confined being is Dirmit girl young growing Thus, individuality.(Moran, 2007 struggle of Dirmit and eventually her ideological separation from the family, which all heads towards a distinct ideology—the undivided world or the heavenly against material world. The second one revolves around the within two levels. Firstone depicts the events relating to Akta Berna Moran claims about Dirmit status as follows: literary ofTurkish Literature critics important most of One the resistance. individualistic world surrounding her.This position in obviously results a solid formation of her distinct of bit every questions life urban the in on later in and rural the in both Dirmit, Thus bearded hodja who leads Dirmit’s father, Huvat, into thickthe of a violent demonstration… (15). city saw protests, rioting and violence between extreme leftists, nationalists and religious fanatics like the black As a teenager, Dirmit grows up in the Istanbul1980’s of Turkey. Saliha Pakerargues for this position as follows: of the 1970s, a decade of politicalfamily 1970- experienceduring that the military unrest and the migration of traumaticthe repression and unrest.consequences harsh the feels The literally whom character female only the is Dirmit Indeed, DearShameless Deathis indeed consists of small episodes, narrations very similarto folk tales… This occurs :79). 45 ú family’s life style, theirsacred beliefs ortheir CEU eTD Collection resemblances or interacting with another beings. Here, I should highlight once more that the more that once highlight should I Here, beings. another with interacting or resemblances another for looking nature in time more much spends Dirmit by goes time the As resemblance. asanother she “earth” the takes nature, assomethingplayShe takes turd sheep’s eat. to with or Afterwards, by interacting with the intersect each other—givingbeings living episteme in theAs Renaissance argues, Foucault escape. as nature of a way birth to another set ofAs itis seen,resemblances. Dirmit attempts to adjust herself everything around her,This significantly is to the what Dirmit does. I won’t breathe a word. (38). mother. my tell You’ll So eat earth. Roof-flying wind, I’m starving. sort of resemblance: another toseekfor order Dirmit to goforbids she it outside,discovers Atiye mother her When another. one resemble can world the around to the stable. However,glittering reflectionsofsimilitude:as aemulatio Foucaultargues for: similar scattered things this time Dirmit secretly(2008: 40). Or it seems like a dark chocolate that when hungry she can eat it—another form goesof to the windto clayin to Dirmit’s eyes so that sheep’s with appearssomething drawing similar together herself turd them.dried Moreover, she can distract herself from man and herselfDirmit thehim. otherbeings;thewith theadjustsThus everythingaround to repression and play with it For Foucault, this includes which is being communicatingnature, with another indeed or the plant communicatingto seeher talking a wecan mutual Here talk. starts inand stable the sheep community the of with thejoins animal,secretly she “home”, the outside go to Dirmit theforbids Atiye mother earth her when First, with the sea nature in terms of resemblence and similitudes,following their signs. resemblances and theiris Indeedit signs. her“djinned which girl” status hertriggers questin 46 a conventia as Foucault argues. Foucault as CEU eTD Collection Dirmit lifequestions andits prohibitions uponher, acted this path of similitude a becomes As together. world the drawing and world the in things other bringing world; the and nature Huvat, turns tobe Dirmit’sin alter-ego orherdouble rural the allowingher with contacts the father her by village the to brought is which pump, water dog-like the on, then From will bloom the in morning. (40). pretend picnic the pump confided something to “Ifyouher: come to see me atnight, I’lltellyouwhere rosebuds ducked her head under thewagging its tail and callingquilt Dirmit overto its side. when Atfirst Dirmit was scared andshe fora while, she immediatelysaw the pump wagging its tail. But one day, while she was having its secrets: uncover to waiting a window all she sees in the nature is a setDeath of resemblances. She bringsin reality and magic similitudeof kind this of amalgamation the towith theTherefore, signs position. Dirmit’s to relating resemblances other to itself multiplies alternately which similitude magical inhappenings. Thus, narration realist magical presenting while narration fact of matter on relies novel The together. fiction fact and bringinghome her with language mentioned before, writes Thus Latife as Tekin, in Magic, life. Anatolian of rural Central the part ordinary an as case considered are mentioned in Dirmit’s magical magical of These realistfundamental happenings writing. of characteristic kind isillusion. adialogue the merelydue novel, matter-of-fact It inisto narration the the which wind mind otherinteractive talkingherimaginary beingsher is or to or talking of to resultthe magical realistway; bringing fact andfiction Thus, ittogether. cannot be said s Dirmit’s that a in it story the retells and myths and folk Anatolian to refers indeed Tekin information, tale mythic and folk Anatolian aforementioned the from stem resemblances makes Dirmit way Dede KorkutStories Dede revelation of similitude continues. At nights in the village when Dirmit looks out her out looks Dirmit when village in the nights At continues. similitude of revelation At night the water pump looked like a lonesome dog howling at the moon. And it was always Dear Shameless Death as ithas been mentioned several times. Therefore based on this acts as a normal world, instead of something imaginary. 47 Dear ShamelessDeath Dear is indeed a world of Dear Shameless Dear CEU eTD Collection Dirmit’s individuality to a much The individuality Dirmit’s scope. to broader argues, is“occupied space,asFoucault in seen also is similitude another of form analogy—a macrocosm, and microcosm of relationship mutual this on Built resistant world. flying dog-like wind,the waterpump tellingher alternatives tobuild upherownfemale macrocosm or the environment Dirmitlives acts as a guarantee of knowledge forher: the roof as nature Thus,here (2002:35). the knowledge…” of that conceived astheguarantee spiral, it was essential that the relation of microcosm to the macrocosm should be both episteme in which signs and similitudes were wrappedaround one another in an endless “In Foucault; an to According her. around everything with touch is inclose microcosm, the as Dirmit, macrocosm. Here microcosm to of relation the importance the for Thus heargues level. macrocosmic is the That scale. in alarger mirror its finds it, within reside beings the including nature, inargues thateverything the Foucault byconvenientrelationships. together As it from the isits seen nature excerpts, the beings—its and inhabitants— are brought Yes I was pleased… (40) Were you pleased? He said I didn’t look like a peasant What did he say, what did he say_ Guess what he said to me. He’s foryou then… There’s a teacher in the village I’ve got some news foryou Somewhere as cold as my water. He’s somewhere as dark as my well horse white on his teacher the Where’s You bring the moondown to your little pool You tell me where the rosebuds are limitless way of knowledgetrue for herher through mutual conversations with pump.the 2. 1. Water pump water pump Water pump water pump Dear Shameless Death Shameless Dear 48 . This type of similitude carries similitude of type . This CEU eTD Collection guarantee of knowledge similar toFoucault’s description of knowing things in Renaissance episteme. of resemblance is not the exact reference to the Foucauldian similitude in “Prose of the World”, it acts as a 14 Dirmit’s female subjectivity tofurther position.—an ideological breakfromher parents. 13 be“commonist” is to said asateacher village Alacahüvek to comes Whoever unrest 1980’s of Turkey, which has been mentionedalready in my previous sections. itisHowever,more once the political precluded duerepression of military to time:the the pump. the Asit with is herhere.forwater a“teacher” seenshelongs conversations through isher herishome knowledge—that repressiveforto important broader asopposed teacher— quest Dirmit’s illustrate this, her To ownworld. into finds she resemblances these transmits by it. and everything35).itanalogies” (2002: Thus,radiates around Dirmit spiritedly The analogy of “teacher”, “commonist” and “aeroplane” is ironically arbitrary ironically is and“aeroplane” “commonist” “teacher”, The analogy of through the clouds over the village: “Look upthere, good-for-nothing”… That’s commonist! (57). amount of no pleadingcrying and that woulddaughter’s ease her realized mind she pointedshe upatan aeroplanewhen thatwas cutting Finally, her. at stones flung she next the sheepfold, the up to her chased she minute pedlar and gypsiesthe who were pitching their tents. Atiye picked her pinrolling andwent afterDirmit. One on horseback and stood infront of trucks with her hands raised. “What’s a “commonist” she askedbirds. Finally of the visiting she stationed herself before the wing-gate of their house. Shouting, she stopped anyone …but passingmatterwhat no she didshe couldn’t forget by teacher. her asked She thewind, clouds, the the and migrant aswell. formation political her of in terms important is family— repressive the outside knowledge analternate teacher—for for the of longing Dirmit the Thus of era. the leftists extreme and nationalists extreme amongst political repression the to relates undoubtedly beforeign Thisconsidered an to books. foreign outsider with position knowledge and tugged her over schoolhouse… to feet Dirmitcradled her notebook Dirmit’s against tummy…her village (66). the over flew plane a And whenever teacher. her for sky the search would she thunder… the heard she When connection… the out figure to tried Dirmit aeroplane… an out pointed Atiye since Ever … knowledge: relation to in voice distinct own her finds Dirmit that interpretation analogical this through Nevertheless, This refers tothe only arbitrary resemblance in This “commonist” word will be important once more inthe second analysis chapter in terms of carrying Dear Shameless Death 49 . Ishould note that although thissort 13 , since he is he , since 14 here. CEU eTD Collection Dirmitin city. Dirmit’s the Now for knowledgequest in proper educationrelation to via keep an to on eye brothers Huvat aswell father the for time is the it ironically, However chasing Huvat and she devotes herself Halit,to Seyit and Mahmut, seeking them employment. and all once books more forgets his hisfamily. fedabout green-religious Since Atiye gets up with ongoingthe modernity in life. urban his hedevotes time Thus, coffee most to houses or urban life now. He obsessively starts to get engaged in extreme religious beliefs so as upa isit moredifferent withto cope however, Huvatwhotakes road of once hardships tothe cope unemployment; into fall quickly Mahmut and Seyit Halit, brothers the and father, the misery:get trying toadjusted tothe ongoingmodernity for employment.and seeking Huvat, faces migration city. metropolitan Thethe family to the move thefamily’safter traumatic way harsh more a in continues village the in Dirmit upon acted exclusion and Silence for female. the magical realism of hers willbe deeply in analyzed followingthe when chapter focusing of on trangressivness status This politics. to in relation beyond the knowing for quest a has now She well. as terms analogy femalean thepurposeof created inconstructing subjectivity serves alternate political the signatures or marks of the things. As seen in the above excerpt Dirmit does this. Thus, this reading through a set of resemblences. On the other handit tells us that one should go beyond its inscribes strongly reality and magic of amalgamation the with novel the that us reminds In ita sense important. is novel inthe very analogy “created” spontaneously this nature, from further. step thatDirmitfinds in quest one and Apartnatural similitudes resemblences Dirmit’s carry to order in similitudes of forms creates intentionally Tekin Latife Here “free-spirit”. or with “flying” “teacher” of notions the to associate the hidden signs of the true knowledge. The word “commonist” becomes important for Dirmit trace to leads Dirmit macrocosm inthe things different between two a resemblance Therefore, 50 CEU eTD Collection under silence and exclusion. It, in a way, replaces the function of water pump in Alacahüvek. plant which becomes the alter-ego or the double of Dirmit in the urban. It tells her what to do it Thusfrom guarantee furtheris (2002:20). theirthen on, birdie-bird resemblances.” return in adjancies that imposes “Resemblence forward: asFoucault puts similitude, aconventia, form of like village—another just onesinDirmit’s in the park the edge ofthe stones finds appears a birdie-bird plantwhich is similar to onesinthe hergrows village. It on the She for looks “those lay andodds endsthat betweenhouselast Attrapped and street”. she them. to talk can she that so village her in ones the as familiar is she which plants for looks She more. once nature in resemblances other seek to tries Dirmit repression this to Due green booksbefore Dirmit… ThenHuvat started beating Dirmit to make her the read green books… (101). If this girl ever reads any more textbooks…of these books again youHuvatbooks green opened satdown uphis and beside Huvadforbade her… fromjust Dirmit anything studying but tell me,” he ordered Atiye. Then he placed some ideology. Heforbids seekDirmit forto an alternate sourceof knowledge including school: the religious mere via Dirmit silence to attempt strong has a books, green his in indulged as heher Huvat, previousis to self.Now, intensely, compared readingincreases andwriting 4. 3. 2. 1. Birdie-bird plant,I am so angry…. The birdie-bird plant offered her some advice, saying that if she reads books she would learn many learn would she books reads she if that saying advice, some her offered plant birdie-bird The boys? to messages send to girls the for shameful it is plant, Birdie-bird What youknow? What know. you what other teach not should you says she But Why? Don’t be like that... Atlas… (102). one top of the other. Then she pushed it aside and took up another one, which bore the title Historical off to the library (101). trotted then and plant birdie-bird of leaves the stroked She time... closing until day every library the in bow quickly… head her Dirmitlistened birdie-bird tothe plant’s advice swore she wouldand that read pound whenshe enteredlibrary the she shouldbreathing just deeply keep if she blushedand sheshould the otherchildren…The birdie-bird plant made hersit down… and explained… If her heart started to many things. Dirmit mentioned the school library again and said that she felt too shy to go and read like love. you boys the to Just then? messages more Isend Should No, it is not. First she First read throughread book a with apicture on cover its of a donkey, a rooster and a catstanding on 51 CEU eTD Collection would keep herfrom going out…however; Dirmit lost all herfear of her. …at nights she wrote poems that she stoodAtiye sea, the watchembraced Dirmit While thought… allfish…she scaly fact in were day sky inthe glittered that long stars the by the window, she prayedwaters. God to plant an awfulout atthefear sea. First she tookin the sea in herselfher and thendaughter’s she let the sea take her into it… So Dirmit… asgave theherselfheart streetto thatgrew longershe or shorter, it led Dirmitshe shouted.. to And thethe streetseashore… curved into a smile.. Dirmit perchedpeople on laughingand walking… a parentsher wordshuge stopped humming in ears…Waither a rockminute I’m coming” and stared with their branches…pulling openit drawing and itshut the street revealed white toDirmit swirling birds about sea, overthe trees weeping the ground in the wind, a dust a imitates huge curtain, whichhidesits ownmarksbecloud discovered: to of pollen, walls covered in in coloreda way street is, the front That of Dirmit. in reflection another mirrors It black curtain. huge posters, a emulates from afar The street “interior”. tothe nowasopposed “street” the of sign the in is similitude of sort similar Another each other. to intersect andstarts each other to convenient becomes Renaissance episteme. When Dirmitfollows the marks on earth or in a macrocosm everything in objects and betweensigns relationships the unproblematic acknowledges exactly worlds (Mahler, 2004)knowledge shewhich isnot entrapped within.world she The livesindeed into other dissolves but the analogies a way thatinto of leadsDirmit analogical path a way, In her the herforces toread. father that she looks for in the toreligious books asopposed write read and leadsto Dirmit that advice birdie-bird plant’s cosmos prove right. she discovers thesigns hidden her it legitimatewithin and develops own difference.This Itis the plant, birdie-bird with has she conversations spirited the by inspired However, at first. thought similitude; through constraints aswellpatriarchal againstparental voice herher. own She seeks through thefindsDirmitin birdie-bird the sense plant Inthis urban. opensupareliable wayfor similitude birdie-bird that of thepath similitude or itis resemblance through seenfrom extracts, isthe As it clearly plant now. She intersects the plant on the surface of I’d spread it around… (123). What would you do then? I wish Idid! know? you what know don’t you me telling you Are know don’t I 52 Dear ShamelessDeath Dear is when Dirmit follows Dirmit when is CEU eTD Collection objects ina on resemblance and similitude reads the surrounding reflections between signs and the related rejecting socalled rigid ideologies religious carved upon her. She, with a persistentreliance her, of self discovery the into falls literally Dirmit parents. herfrom repressive apart drift enablingher toengender adistinctform In of knowledge. endthe shehasastrongattempt to Dirmit, of subjectivity female alternative an forth brings position whole the Thus deep metaphorical way. a magical and through thus happenings Dirmit’s reveal through position, signs themselves in Here its sign object. between and of relation the aguarantee as acting episteme similitude any This illusion. legitimates ideaof the the lost to of kind them position within due is not analogical. She in her around a correct scattered things of the hidden signs the to read amalgamation factof andleaving fiction without a room for suspicion. Thus,manages Dirmit magical happenings, as world the livesthrough inisnarrated she a magical way—the realist aforementioned invent not does Dirmit that that emphasize more to once important is It family. her of members the amongst subjectivity distinct closer to the sea, all she sees is another sort of resemblance and this starts to open a way to her When gets Dirmit herenvironment. thing—sea—in her herdeciphermakes another takes and a smile into curves that street The of resemblance. set its another marks, revealing to straight eachin Shegoes of inherenvironment. important signatures of terms the thing reading ismacrocosm to relation universe. Dirmit’s vastin the oneanother imitate to enables things above mentioned macrocosm amongst relation the excerpts, longs the from seen is it As cloudswalls, and houses becamebrothers, her tress, sea the herThe mother and sky home… the her father…her (216). streets made and father andher brothers mother, her disowned She sea... the to recited correct way, correct since similitude is based on the smooth reflection between sign and sign between reflection smooth the on based is similitude since 53 CEU eTD Collection in literature. The reason Dirmit chooses to write poem instead of a novel or a short storyantiquityfrom to modern is literature it hasnot justbeen necessarily a a female domain in causalTurkish language and relation 15 Shameless Death realism, magical strategy its and metafiction on framework mytheoretical on Relying yoked merely together into the fiction itself, self tellingconsciously that indeedin They are novel. the within theverbal relations areassimilated perspectives realist uppoetrytakes object related to the world. In the end, as it is seen from the excerpt above, she gradually metafiction of a into novel the turns realism magical how show to like would I argument, earlier my in mentioned as my analysis of end the at mind, in relation smilitude the Keeping female. the for particularly realism, magical status of beDirmitwill deeply analyzed following in the chapterwithin trangressivness of distinct the and perspective feministThis conceptions. patriarchal the challenges somehow and such versus activity-male as passivity-female unmakes thehierarchical discourses magical realism smilitude Inthis wrapped around of sense, (male)hysterical” power. object a “passive” into in“djinned- Thussmilitude, Dirmit turn not this chapter. ora asseen does to theoppressinglanguage in household. Sheliberates the herself pathof the through Dirmitfinds herownlanguage outside herhomea web through of as opposed resemblences silenced excluded and itself. worldanother Moreover, Dirmit, legitimates of existence the malethe oriented thinkingin thehousehold. In a strongsense, analogicalthe through of quest is truth—that of version singular the distort to as so path this use to attempts She similitudes. Latife Tekin, by retelling Anatolian folklore with magic and reality,follows the world of Death of perspectives feminist and episteme similitude where is this Thus, This genre of writingis initially associated withthe female in Western literature; however shouldI note that Dear Dear Shameless Death. strongly intersect, which I have mentioned at the beginning of the chapter. As seen chapter. the of beginning the at mentioned have I which intersect, strongly Foucauldian literarydiscourse 15 as a site of female resistance against all kinds of repression surrounding her. with its amalgamation of magic and reality blurs the boundaries of and fact of blurs theboundaries magic andreality of its amalgamation with 54 based on similitude episteme. Initially magical Initially episteme. similitude on based Dear Shameless Dear it isafiction. distinct Dear CEU eTD Collection mythic space descriptions, as it is seen from the extracts above. Reader is somehow invoked is somehow Reader above. is from extracts itthe seen as descriptions, space mythic derives metaphors, from elevated unconventional phrases andambiguoustime aswell say Latife that languagehasitsTekin’s own principle Thisproliferation of too. position can I self-reflexivity. or scarcity within aforementioned entrapped enclosed or isnot narration in novel,the the ofmagicand reality due to that amalgamation argue the Here I analysis. isworld aThus text. repetitive inthis argue sense I that Dear ShamelessDeath thing: repetition, deferralFoucault’s this same statinglanguage tothe derived thatrefers similitude claim kindof from and scarcity. In this relation. Literary critic Simon inmy asmentioned background,During, reinforces theoretical sense, we can say that the them makes upononeanother, macrocosm whichmirrors the indeed microcosm enclosed and whole language of of brings lightThus,a set tothe of Interpretation” language and (2002:45). the resemblances itself caught.. By means of re-duplication into the same... between primal Text and the infinity languagesinfinity, accumulates itto neverdevelop, since ceasedrevise to itself…found sixteenth century follows:its “Language as inner contains own of principle proliferation… endless Foucault. Foucaultway of knowing things forin claims relation language of to the finds itself thewithin boundaries of abundance of similitude. Thisis a andcontinuous an Thus in narration the as seen excerpts. Dirmit protagonist female the the similitudes through sense of metafiction has its own its has ofmetafiction sense this underline must I here. double-play a is there that note strongly must I Nevertheless, on based similitude. literary discourse of metafiction Foucauldian significantly, more However reality. in to of istruth relation version no singular one signifies there that also fiction. The novel tells us that it is a constructed world within a matter-of-fact narration. It is by is self-reflexive. understood It which process the claims thatthe distinction Dear Shameless Death Dear Shameless as well, mentioned atthe very as beginningmy of 55 traces back to resemblences and back to traces Dear Shameless Death is a CEU eTD Collection difference feminist-oriented analysis could be regarded as a be analysis could regardedas feminist-oriented this via writing realist magical here, However realism. literary of boundaries the blurring in and literature with metafiction ofits postmodernist terms fact and combination of fiction, isassociated realism magical framework, my theoretical in mentioned As narration. realist magical of understanding to analternative we can come episteme, similitude and distinction magical-metafictive this within Thus other. each mirroring self-reflexively resemblences Dear Shameless in female) the to (attributed happenings magical realist have analyzed, AsI narration. realist the analogical self-reflexivness could be carried to a new paradigm in relation to magical beyond going and discourse literary Foucauldian of metafiction distinct this Therefore, discourse basedonsimilitude. is a wholethe narration why that I argue is That Same. the of knowing instead a variety differences of novel carriesto the It relations. position assaults the language narrationthe set instead outwards of enclosing it itswithin own reduplication. Thus ofthis similitude episteme and moresubjectivity. Inthis magic, sense we can inherentfeaturesay that in knowing things, makes or less breaks the analogical her (female) upon adifference Dirmitcarve to attributed happenings magical all excerpts, Yet it merges into a prose of language world. the That is,the follows thepath and stabilities—the of sameness the novel analogies. beyond the goes that magical realism with intertwined of path similitude the repetitions a giving itselfscarcity to as Foucaultand During Nevertheless,it argue. is through not notitlanguage intorevise “same”develop;itself. the turn does does ceases to yet or The never language Latife oppression. Tekin’s parental forsubjectivity and hercultural under by magical- interpretative dynamicthe Dirmit. questof femaleprotagonist the struggles She or a rupture Death difference — breaking the analogical relations of similitude and moving away moving and of similitude — breaking analogical relations the entraps neither characters nor the narration, despite set of set despite narration, the nor characters neither entraps through the female protagonist Dirmit. As it is seen from the from seen is it As Dirmit. protagonist female the through 56 distinct metafiction ofdistinct metafiction return to Renaissance episteme with a Foucauldian literary CEU eTD Collection magical realist happenings attributed tothefemaleas happenings dominant relations.so magical realistpower attributed to subvert will also explore chapter following the malewomen, of representations against subjectivity alternative female the female question. It will focus more a maleachieved not through butthrough dominance protagonist. a female intensively on the function of In addition to this distinct forwriters. women contemporary particularly metafictive status of magical natureflexibility re-consider and literature, the of writing within realist postmodernist theoretical framework. It is nodoubt thisdistinct It framework. that with theoretical in my discussed theories realism magical about paradigm new a be will This Sameness. from 57 Dear Shameless Dear Shameless Death return of Dear Shameless Death This engendering an will make us make will is CEU eTD Collection attributed to the female form bodily counter reactions against the male domination in the in domination male the against reactions counter bodily form female the to attributed significantly happenings magical is, That resistance. female somatic a of site a solid be to writingturns magical realist a withinmagicalhappenings that argue my I analysis In domination. power but theshow notmuch to analysismale attempt only closer Iwill finds alternatives Dirmitagainst other female a femaleHowever within subjectivity. andnon-obedient non-passive creates smilitude which charactersIndeed inmy Ihave chapter, previous explored this position Dirmit’sthrough path of constraints. alsopatriarchal against resistance female of site solid a as function have divination as well theiras magic how on focuses chapter this Thus female. the for realism magical of owntrangressivness way of struggle the explore to aims chapter broader this authority, male of distortion this on Relying under male authority. or of version reality male fragmentation, discontinuity, itopens anotherand anarchy etc, way distortingof singular the realistis, writingfemale. the from for That apart strategies such familiar postmodernist as also importantis distinction this , Nevertheless becauselanguage. realist magical in perspectives literary it other reveal allows us to reconsider other transgressive strategies of magical episteme with a rupture or a or arupture with episteme a and magical realist narration narration of magical realist and episteme similitude Foucault’s of combination distinct the from derive constraints patriarchal As Ihave outin pointed female previousthe chapter, subjectivity under parental and TRANSGRESSIVENESS OF MAGICAL REALISM AT DEVICES 3: MAGICAL CHAPTER WORK- distinct metafiction of Foucauldian literary discourse: a possible return to Renaissance to return apossible discourse: literary Foucauldian of metafiction difference Dear Shameless Death Dear Shameless . This distinction important because it enables us to 58 . This position, as analyzed,engenders . Thisposition, as CEU eTD Collection understand the potential trangressivness of magical realist narration for the female. narration magical realist of trangressivness potential the understand to insight illuminating more a with us provide will attempt This Cixous. Hélene writer and term feminine writing—in abroader female question the and similitude based on discourse literary whole tothe back trace my analysis I will and trywhich is at odds with rigid religious sanctions tryingto tobe carved uponher. In the last part of connect resistance female somatic her of formation distinct the depict will This analysis. her with magicalcontinue will I Dirmit, with chapter analysis previous my realiststarted have I since Secondly, narration malethe household, sotospeak. to the manipulate herto allows household. It in voice the female analternate hercreate makes novel practice ofto thethings deployment intheworld.magicof toAtiye Thus, anddivination inthe attributed feminine relating marks intrinsic the are they Indeed episteme. century sixteenth in the things knowing indiscussed previousthe according chapters, Foucault, to magic anddivination inherentare in Asmore.has been it once episteme similitude of Foucauldian makes description us recall usingmagic anddivination—the control over spiritual happenings. This position definitely motherthe Atiyeher legitimate engendersmale difference household against dominated via how display Iwill initially Thus, realism. magical and question female to in relation analysis comprehensive more a engendering for character female main other the analyze to aim characters’ way distinct of magicfor theirusing (feminist) As purposes. Ihave mentioned, I female of exploration the includes It parts. basic three into divided is analysis My silenced opposed anon engenders to the entities. subjectivity passive female as andexcluded position bethis it analyzed will As call somatic. itas is to That why I choose household. ecriture with a strong reference to French feminist critic feminist French to reference a strong with 59 CEU eTD Collection strangle her and dump her body somewhere, but they were afraid of her djinn, so they threwveranda. out her mattress and All Then they whyknew were sheepthree bloated had up and died… why Huvat’s mother hadfallen of wooden the caused theyby tugged and real was the at redness the seeif her to spit with hairill-omened moistened andyashmaks oftheir skirt. edge the with face her Sherubbed They her. was soon worn down woman to skin and bones. Forwho daysFinally on end the poor womanwas wasshe surroundedcollapsed by a crowdpossessed of women and and children,fainted. who never stopped pawing by a djinn. Theirflame-red cheeks and milky Andskin. her and head legs were bare. (19) first thought was to Huvat— her husband—brings to his village Alacahüvek,farfrom city.the whom foreigner a indeed is Atiye, beginning, the At environment. alien in an herself for make aroom soasto all HoweverAtiye things these does (2008:13). evileye andetc..” the hodjas for amulets toprotectagainst evil, molten lead pouring boiling into watertogetrid of breaking spells, turning on fountains taps the of toopen wayforthe fortune, consulting good theundivided irrational. attached irrational…casting onthe to relies and of world; world She firmly be andremains the most conservative mother whoseems to “Atiye omnipresent isthe partof Dear introduction Saliha inthe Pakerargues translator and critic Literary exclusion. harsh a within scene the on appears Atiye mother The novel. woman margin of and bringing forth a forcible within rupture themale dominance in the thinking in novel.the Herfundamental isconcern eliciting silenced and excluded language of the male-centered languageto pole engenders adouble iswhereof Tekin This woman. for creatingsubversive opportunities asolidformale room resistance against representations to amodish female.attributed most headsmagic leadsto the towards second direction to This as living“silencedfemale characters entities from margins”. on the Resulted this position, the of emergence is the one First directions. distinct two of aworld depicts novel, her in Tekin, realist languagerealist of the “living on the margins” (Zamora&Faris, 1995:408). To begin with, Icould claim that magical of linked beaperception closely with to seems aliterary practice as “Magical realism realism magical follows: as on suggest Kenyon Linda and Kroetsch’s Robert critics Literary Huvat arrived with something that made them forget all about talking box. This time it was a woman, with Dear ShamelessDeath 60 definitely stems from this notion of “margins”. of notion this from stems definitely ShamelessDeath as follows: as CEU eTD Collection happenings women try develop happenings theirpower. particularly to dominant women alternatives try own against magical spiritual and through exclusion, silence and under understanding that greater a move towards we position, With this is seen. asit character female the to significantly magic spiritual folkloric- narration.and attributes Tekin in setting a matter-of-fact realistic a within explicit themselves make devices magical extracts, the to Relating his place.For years Akkad … At that moment, H seized by stabbing pains from herwaist to her tailbone… (21). woman alone in the stable… One evening when the woman had been inthe stable almost nine months, she was black. Slowly the goat backed away itself off hurled and Just at straight a balloflightdropped thenher. fromand thegoat’s hairturned above and pitch disappeared. From then on the the.saintly She at shoutedcharged goat H talking snow-white long-haired ata theuntil on went This top was awake. she ofwhile it her was having she voice, until dream same the but had eyes she theher closed goatshe whenever on, muttered time that From door. iron an somethrough left she Then in comprehensible words instead …Onof herfirst nightbacking in the stable the womandreamt she was bending overironan cradle to kiss asleeping baby. baby. first her to birth give the is about woman foreign the lateron, isit as understood However, female isvery apparent. the to relating exclusion system herethe of Therefore, bringing badlucktotheearth. of ofbecause are afraid be villagers somethingwhich villagers, to turn in then djinns ordered-male relation to world Thus, withnotion of the “other” as she is radically different form thethis villagers, full of evil or harm. explanationShe with is bethe associated likeherisAtiye adjinned to daughter. alsoconsidered woman mostly them. surrounding repression Here the develop against theirdifference to own characters associated will be seen init theis following paragraphs exactly enablesthat femalethis exclusion with chaotic-female asit However, “other”. from the position in toemphasize their order female characters with mentionedhave inmy as chapter previous significantlywell,Tekin associates this motif djinn world rather As I villagers.to the (mortal) asopposed speak“the other” soto associated with or djinns than is somehow villagers thelanguage of know does not woman The foreign whom apparently As it is seen from the extract above, the foreign woman breaks onto the scene via silence a after and bedding lot of talk, shut her up in the stable… (20-21). Õ]Õ r Aleyhisselam came to the baby’s rescue, this time, sending Akkad Õ n beenhad waiting dayher of fulfillment… (21). 61 Õ]Õ r Aleyhisselam never left the Õ n, White Woman, in CEU eTD Collection (Akkad White Woman here,we seea However livesaver. a as rescuer or a mighty literary texts figure seen inAnatolianfolk tales as wellIslamicnarrations.isfigure This in used usually …After Huvat had gone out, Atiye called onhusband. Azrael, who arrived and crouched downmake it, Azrael hagglelife with and her hersparedsoastohold towards on enforcement on her chest. “Take my ill, she encounters informs. Atiye,whenever gets isvarious Azrael This scenewith repeated …AfterAtiye had recovered,Huvat regretted athousand times that he has shaved off beard. his (93). wishes,her would she have to surrender spirither with immediately…comply (93). didn’t they if that however, announced, also She life… her spared had Azrael and a smile with up …That night Atiye sailed off on angels’ wings(92). on a tour of the seven layers chin.of his Dirmit Mahmutof and should be takenout of heaven. mosque Halitschool should and find himself ajob… In the morning she woketo her sideDirmit signaled andbedside…she her to madeover come husband her herand children write her beckoned Atiye downleft, had Azrael as her last wishes… the first was Huvat…Azrael, shouldthe Angel of Death, shave arrived to feelthe her heartbeatbeard and pulse from and talked withthe her fortipa long time. As soon how she seeks a solid site of a subversion relating tomale domination: of signification good a exactly is This Azrael. Death— of Angel the with fights tragic-comic habitual her through strength her gets now Atiye However wife. her ignoring completely hinder doesnot behaviors beatingHowever, as status domineering or herHuvat’s such inthevillage. secure herposition to starts Atiye lifedaily relatingto her skills with First male. develops her own way of magicalfemalehaphazard. under to in isnot having Atiye, characters a night silence such stable, the strategy under the tradition andsingular version Moreover,upside of truth attributingdown. magicalhappenings repression of foreign male folk which so-called worlds other turn creates Tekin strategies, environment viametafictive folklore and and into turned White Woman. Thus,playing with significantly male traditional oriented subversive oftraditional narration. figureisfeminized Herethereligious perception Islamic Here, as it has been introduced in the previous sections, H sections, previous in the introduced been has it as Here, Õ n) who comes to rescue Atiyebaby. isquite anunconventional to who This n) comes and her a and 62 Õ]Õ r Aleyhisselam is a religious a is Aleyhisselam r CEU eTD Collection the introduction part of the novel 16 speech” “incomprehensible Atiye’s Moreover, Azrael. with bargains habitual Atiye’s to similar manipulate (male) viafearful population her This predictions. copingway of struggles is Spirits patriarchal control Asit lives”. women’s over mentioned,has Clarabeen in in my theoretical background, this position may be considered as the “feminist criticism of the Allende’s Isabel to Referring her roots. back trace or husband such as the control over the spiritual: magic. Shebargains with Azrael so as manipulateto her Here Atiye, in the absence of access any other power, finds other alternative sources of power …But Atiye managed to convince them… (170). intensified into an irrepressible passion…She began to… speak and sing in her incomprehensible tongue. complained that they didn’t have a single clue how to trace them... As they pressured herto giveme up Atiye’s wishsome news ofrequest my butbrothers granted her…Azrael stepped just downandfrom Atiye’s chest enough and looked thoughtfullysisters”.. at her long pale face… time didnot reject Atiye’s to complete…We’re all even, girl,” Huvatgroaned (146). Forany unfinished many business…Soondayshaving sothoughtlessly themlaid aside…” Huvat she beggedsaid to mindedHuvat: his ownbusiness… God wouldAtiye forgive “Bringhim, if not God intended to cast Huvat into flames of hell forto abandoncame over and sat sullenly at Atiye’s side… Atiye revealed to her husbandthis that if he spent the rest of his life…idea…“I can’tsaid, give Nowup my spirit”… Huvatandwascalled back aftermuchpleading in from children his he Halit betweenIn deeply. herbreathed mutterings, and wide mouth her she opened Then eyes. her sheclosed and shouted shouted,she Azrael!” oh life, “Take my life! Every now and again until finally she opened her eyes and she ran out in the daybreak to stick a knife in the earth… (89). waves seven andsea’s from poured water collected She it founts. the overin tap each off and Huvat’s turned she where mosques the all head. visited She She clicked locks open and shut tooabove much his for head Atiye. as he Afraidlay sleeping. that unemployment AndDirmitenrolled Hewould also books… and covered drive two-green Mahmut arm his under herclasped husbandcomb and infine-toothed a a knife over the kept he the mosqueedge, she wentschool out her way… and ordered… Soon Huvat lostAtiye his senses and completelyNu and cultivated a beard on the very tip of his chin. In his household:the jacket pocket as go“auhtoritive” so in to voice magic so-called the against together bringand practicality which effects other develops Azrael, with fights habitual her from apart Atiye, Now manipulate theor male household. mind male the confuse soasto tool asubversive hers as of unfamiliarity this uses also Atiye This foreign status of Atiye dates back to her Arabic or Kurdish ancestors, also mentioned by Saliha Paker in uses her clairvoyance skills for feminist purposes. Allende’s characters usedto Allende’spurposes. characters feminist for her skills uses clairvoyance 16 mentioned above signifies her foreign status as foreign mentioned her villagers. However, signifies opposed to the above status Dear Shameless Death 63 . ÷ ber to cover their heads… All of this was The House of Spirits of The House mentioned of CEU eTD Collection adversary sideadversary as “female resisting bodies” tracing diseases likehysteria, agoraphobia, anorexia nervosa. repressive power relations.” (Druxes, 1996:9). Derived from thisnotiondocility,Susan Bordo brings forth the the control ofactivities or distribution of time and place— becomes a docile body: “unconsciously reproducing soldier figure asan ideal figure andshows how the individual internalizes various control regimes—including power through institutions such as schools hospitals, prisons since power ispresent everywhere. He takes u 1997: 18-20).crystallizations of Thus, its culture” (Bordo, shetakesthe body of physical out psychological butalsobeperspectives should as“complex analyzed within cultural context, Weight In diseases. these seeing of way dominant pathologized against a resistance and own one’s mastery of a as slenderness asaself-mastery: or rebellion and resistance potential of site asa diseases these approaches indeed, Bordo, conveying. of in way the exaggerated uptheidea such areparticularly diseases struggle, shetakes andbulimia as anorexia that practices are acted upon as opposed to silence and exclusion. By claiming the body as a site of her, daily the body “siteIn thisofstruggle”is wheresubversive to sense, according a and as materiality is body constructed this iscounts the forHowever, culturally Bordo. what 2008: 64-65).She up thematerialitytakes body of neitherthe asbiological nor physical. cultural inscriptions upon body as a site of resistance and a medium of culture. (Hekman, 17 Foucauldian notion ofdocility feministbody, female (inscribed) to relation close in issue resistance the explore to as so Here, philosopher female resistance. of formation somatic Atiye’s world realist enables Susanmaking about her apointstruggle counter magical Thus within andresistance. viewpoint, this Bordofield of asolid becomes Magicspeak. to so of patriarchy, critique the cry out that reactions asserts and acts magical-bodily isher herbody. It through Atiye acts itbecould saidthat Here that theisworlditherstrongly engenderspatriarchy.Atiye, ownsacredresistant seen, as against body is a culturalbrazier…bolting doorsthe on shehim forced him.(90). …She also started to practice witchcraft. Afterblowing prayers onforty peppercorns, she roasted them ona text. She traces In his work she makes it clear that these diseases can not merely defined from medical from merely defined can not diseases these itclearthat makes she and Discipline and Punish: The Birth of the Prison 17 ; yet differs from him in attempting to reveal internalized reveal to attempting in him from differs yet ; 64 (1978) M.Foucault traces the “reproduction of Unbearable CEU eTD Collection bodily gestures wrapped around magic and spiritual ironically, asI happenings. However andspiritual magic wrapped around bodily gestures As itabove,is assomatic.could seenfrom excerpts beregarded the her distinct from derived folk tales myths and and finds her ownvoice viamagical happenings. Herfemale resistance protection. I argue that she in a way becomes the symbol of a collective memory of Anatolian lacksmemory where she withinof anenvironment her and sacredworld own words, though household male the against voice alternative an finding in succeeds Atiye Thus, as limewash.“His condition is serious” said.he (135) she finally collapsed onto Seyit’s bed… Huvat sped off in a car. Around they break he … Atiyereturned, (107). awoke with astart…his skills… face “They’ve as white telling shot Seyit!”fortune Tearingher her hairand pummeling developed Atiye herbreast more with the grew herfistshe fiercer the books...But green his with down loaded home came he whenever infuriated always was Huvat women… with teemed the on finger her pressing and coffee the bottom of cup ,divinedthe prepared appropriatethe words… Firs she talked andshe got promptly talking… others The house was area…Atiye the through ability fortune-telling her … Atiye now was practicing her latest skill: reading coffee cups. Azmiye Han Azmiye cups. coffee reading skill: latest her practicing was now Atiye … dreams: and institutions deep her from strength her gets to starts Atiye Indeed female. the for truth the path of similitude is again divination is us makes similitude themain Thus,here that of episteme recall knowledge. part intertwined with magic and realityherinfemale effectivehousehold. own themale description power HereFoucault’s of so as to elicit an alternatehave to her enables also divination Atiye’s reactions, bodily her to connection close In andconstraints. relations power patriarchal against femaleitself subjectivity a a formation an of alternate against as site of beginning, wheresheis locked upin However stable.this afterwards, the magicis used As itis seen,silence and magicalAtiye exclusion of iscreated through happenings very at the highly here,metaphorical associates with magicalthe happenings in but anorexic necessarily always not body, the from deriving resistance of sense This society. patriarchal in roles domestic traditional context and fits in cultural context: the body a site of a resistance and rebellion against 65 Õ m, her neighbor spread news of news spread neighbor m, her Dear ShamelessDeath Dear . CEU eTD Collection poetry…No matter how she tried she couldn’t write a second poem…. Fora while she raced with the sun, laying those words, together with all those others say that quietly… into turned chaosDirmit’s in but head no which one to write first. As she wanderedgleaming white teethin made confusion, of false words. Halit banged wordswords on walls. Dirmitrained didn’t know fromwhich way o theturn or clouds and poured out of tap. All of words and sat on a chair of words. Atiye became thousands of words whose days were numbered. Huvat numbered. were gazed at days bottles whose filled withwords of words. Nu thousands became Atiye words. of chair a on sat and words of “From then on, sneaking on to the roof, Dirmit wrappedseriously upon how poetry should be written… (179)herself reflected and head her lowered she up machine, in a sewing quilt the of top on books made out her Spreading of poetry. words. write to She slept on a bed would be spared her mother’s tongue-lashing only if found herself to without actually touching it… She decided …all had allbeendestroyed; came Dirmit upwith anew theory about her mother.It occurred to thatshe her tofollowitis excerpts: the better resistance, herfemale asafor strategy choosesthispath whyshe reason underlying understand the advices of advicesbirdie-bird givesreading of herself plant, to andwriting: andthen encounter of resemblances. Dirmit, in asmentioned counting previousthe chapter, onthe understanding interactivea greater through Sheto comes things oneanother. revealing all mentioned before, Dirmit seeks a resolution in following nature, thehiddenmarks of the As seen, Atiye imprisons Dirmit and her childhood desires, so to speak. However, as “Mark my words! Ifthechild isborn healthy, there’s notelling, what’ll befall it!” (2008:26). cleansing aperson and he is theone who initially associates withDirmit thesilence and exclusion via his words: djinnman who helps Atiye when she is giving a birth to Dirmit. As Saliha Paker argues he acts like an exorcist 18 on up running Dirmit forbade now veranda…Atiye the veranda onto pile ofa dry weeds…But… Atiye beganto believe thatdjinns were Dirmithelping running up on pebbles…during meals and taking them to bedwith her that Atiye became Sonervous. She forbade Dirmit to play with Dirmithere andconversations and pump there water found the to she had with,visits she soonforbade frequent the visits… Dirmit tried all Dirmit’s day inlong to about distract herself, anxious piling up tinythe more pebbles grew she as anotherThen her. on garden… eye It was…Thatspring Dirmit couldn’tway takeasingle step outside the double ofwing-gate house…her Atiye keptaclose only to whendistract Dirmit sanctions: various startedthrough disciplined and herself.surveillance to chat with Shepebbles; spent keepingmembers all themof daythe her household leapingside Memet Djinnman of notch keep off a harsh the eye high on Dirmit. woodenDue Dirmit’sto her sacred female world body andis female toher understanding mother subjectivity of Atiye.controlkeptwhen compared under over spiritual happenings, exclusion.for silence Dirmit’s amuch broader seeks Thus Dirmitand somehow Atiye carries herdaughter causes also way of Atiye’s resistance in chapter, my out previous have pointed the fear of the Thischaracter ofthenovel isintroduced in my previous chapter where Djinnman Memet appears asthe 18 during Dirmit’s birth. Since then, Atiye as well as the male the as well as Atiye then, Since birth. Dirmit’s during ÷ ber satwaiting for words. Zekiye wept words. Seyit smiled with his 66 the verandaand jumping off…(70). poetry . In order to CEU eTD Collection as a woman writer within male tradition that excludes her as follows: “indefinable, excludes herasfollows: alienated, as a within malethat woman writer tradition Gilbertand Gubar claim literary the that, fear of writing is caused bya ofbeingstruggle heard Moreover, image (2000:89). of male desire” such as“the passive,dependent literary text male-authored of object the are writers women be why an to of analysis Itturns perspective. “The it Anxiety into turns and of Influence” “TheAnxiety from Authorship” of a feminist literary RuthRobbinscritic and argues,Gilbert masculist Gubar take critic’s Bloom’sHarold images, and stories fantasies confinement of andAsescape, madness. (Robbins, the 2000:88). ofcertain for women’schoices metaphor and of plot patterns the both analyses which It in theAttic:ThePlace Woman ofthe Writer in theNineteenth Century LiteraryImagination, work influential in their writing women’s century nineteenth the of analysis depth makea andSusan Gubar Gilbert M. Sandra authorship” “anxiety of to relation In more. once explicit purposes feminist makes her is Tekin where a being of terms in female—significantly the to attributed motifs passivity enclosure the and her dueto within the“anxiety authorship” of alsocarries bemay she seen, the mere language; a distinct kind of knowledge. While having this kind of distinct break, as into itfall to starting woman young a of description realist magical the are lines aforementioned male household.rejects all kinds of repression and rigid religious beliefs betrying to carved uponherby the Dirmit because ideological is also break This moon. and sun world: in the beings other with folksimilitudesfrom Anatolian Thus Hereshe tracing deriving interacts backto tales. oncemore sheher parents. This is both an epistemological and ideological break.takes It is epistemological due to a from breakdistinct chooses of the path similitude, following itis via Here as seen, Dirmit, her libertyshe wrote it down One by one she took the world from her headracing withand the moon,put butfrom thethem moon faded awayinto before the herpoemwas heart. written. At last Dirmit When came upon a away…worlda sheet made her heart of pound paper in frontpatriarchal of her at sunrise and commanding herself to write a poem at sunset… Next she tried society as well. The at once… (180). 67 female writer female The Madwoman . This CEU eTD Collection also gives a solid of foreshadowing ideologicalDirmit’s break from male rigidthe religion or incidentin this timeof the Turkey.causing political turmoil Thus, 1980s period to relating often streets, in the gathering commonist the to refers march morning The way. implicit in an commonist word the to refers public, in now voice, own her searching Dirmit, of status This up my poems!”(183). partedshe lips her and firstraised her fist... started asshe shouting: “They’ve her… told up my torn poems!had They’ve snow torn the that remembered she person….Then single a know didn’t she that realized she people, troubles by mixingand shouting with as they marched the along in crowdrows…Lettingcommanded andled go down her a long avenue…of Dirmit beheld multitude a ofher and there people, holding aloft hands hand, the shoutingsnow instructed her to rid herself snow… Dirmittoldthe as everything happened that had before… the night “Come me!” thesnow with of loudher as she wished… As she looked aroundDirmit search to atfor her own femaleall voice in the shoutingpublic now, in a more decisive way: leads This any hesitation. without in way appear via amatter-of-fact-narration a very smooth which actuallyplant, birdie-bird with actsconsults more like once Dirmit her position, alter-ego this from Resulted in the urban. Then she talks to snow. Here magical devices laughing her that first attempt of writing poetry,her notebook is discovered by her parents and torn apart telling her after her.Moreover, create which sanctions parental and by culture the trapped herself Thus, as it is seen from thefeelartists By culturethe trapped... hasthat created them.” (2000:91). previous extract, it couldreveals and that waysin female the an protest… confinementof imagery which obsessive be easily stateda competitive or timidity… thatliteral a as summarized are Dirmit writer woman the on imposed finds andGilbert of Gubar “The limitations asfollows: social consequences and psychological by more reinforced is once This andenclosure. feelingentrapment of spheredueto the enter able male arenot is as a mere to andwomen nineteenth century sphere indeedconsidered for writing Inwords, attemptthe a freakish inthe (2000:90). other significantly outsider.” “What goodpoetry tosomeoneanyway like girl?Huvatyou, andMahmutburst out … mentioned inmy Dirmit, chapter. previous more once now encountersthis word, Dirmit moaned,“Mypoems! My poems!” 68 (182). CEU eTD Collection voice heard with her lived body, which is marked by social To bemoreregulations. precise, marginalized Sheand one(s). excluded makesherselfvisible andcounter makesher own of experiences lived the forth brings she away In writing. of act very the through resistance female her somatic Dirmit oncemore, creates SusanBordo to a reference with roof.the Here, authorship goes parallel to her status—inappropriateness of being a female (writer) inpatriarchal constraints. However, he is praised for this “gift” whereas Dirmit is cruelly scoffed and excluded. Thus, the anxiety of 19 writer being afemale of acknowledgment createdbe to trying exclusion and silence seen obviously be fromcan it excerpts long these With Dirmit lead(234). his hand toand watched it fora long, long while. “What has my sisterwritten about me?” he quietlypoetry. asked thecity. chimney…After of inside while a the and he noticed oftiles a long white underside the ribbonincluding sailing roof, out overentire the the city.He searched He shaded letter. his tearful ofthe rest the eyes find with couldn’t but look to up Heclimbed girl?” letter, the of rest the is “Where asked and came Halit Next purpose.” on Thisher head…A long time later she heard her motherposition proclaim, dangled stringthe of pages over edge…the Having donethat,“There’sshe quietly crept back tobed, pulled quiltthe over nothing wrong with her. She is doingin it all the walls.strings the pages of the letterThenfrom one cornerof the room to theshe other,turns like a rope. Theday restshe she pickedkept stuck a close up on eyeon them.nails On the morning of the seventh day she arose frombedup before anyone elsethem together,one as and one by one shearranged herthoughts.At night she the hid papers in her bosom duringand the end toof the… It was a longletter-stringbe long letter that took her sixa days and wasseven uponthe roof solidbecause…” nights to write.and Dirmit outtook allwith my papers notebookof against my andtummy whenattached the teachersheerwas absent, the city scared me early one morning,trigger when… spiteAndI so she composed went a letter that began:up “ carefully.” I it talkedyouonread that sure to thethe stars and roofthe moon, I went andandto placing school a sheetof of paper in before the her, turnedvillage to them and smiled. “I’m writing this anto all ofresponded. you!” she said. “Be Noone letter!” you Dirmit a write could I then “Well, lookeddecision. their to silence in at herlistened brothers,Dirmit days. seven her mother and her father one firmammentby one... and waters that Then sprang from she God’s earth,got she was up, forbidden took to speak to heranyone seat in the Dirmithousehold was forforbidden to go up on the roof and to write poetry. Next, because she meddledso what can with Ido, the girl? stars Dirmit in shrugged God’s her shoulders… Meanwhile everyone had withdrawn to ….I’d liketo a corner… said,backhe you “But up”, about clouds on keepgoing stars First, the the the and and and sea, the rain magicalbeyond flying through and words letters: devices—through seek for the household repressive to female continues and against her subjectivity alternate notDirmit give forms However, Shegradually does herany performances. up quest. creative from precluded she isagain been, she has learn where when her parents Moreover, as well. oppression. This will allow the formation her politicalof under viewpoint the male oppression Imust note that Dirmit’s brother Halit also writes poetry—a kind of diary he keeps during his military service. 19 . Now Dirmit is literally fallen into language up on up language into fallen literally is Dirmit Now . 69 CEU eTD Collection the wall reminds us the notch of Djinnman Memet’s,mentioned in the previous sections. Both on marking Huvat’s truth. of version male the with associated truth—particularly of version singular subvert as to so writing magical realist of metafictive strategy feature of important is an magical. becomes real This magical becomes oncemorereal and Here netherworld. the from news some reader the telling divination, of makes use Dirmit now is seen, itAs blinked in disbelief.Rising slowly, pluckedshe the carnationred off wall the and pinned it to breast.her (236). Dirmit clenched her teeth and angrily eyed thewet mark, abright red carnationbloomed right out of it. She chasing after her mother’s spirits and, to mark his words, licked he fingerhis and stamped itonthe wall. As family that hermother was turning the netherworld upside down. Huvat swore that she would drive herself mad …delighted that her mother had not givenin demons tothe unableand tocontain joy,her Dirmit announced the liberates Dirmit go to one step further, apart from her writing: difference as well. At the end, I could claim that Atiye’sThus death, althoughwe could causes a deepsay grief, that Atiye, with… distinct way of knowing things, as: only stands acknowledges Dirmit’s divination Amongst about the fate ofherchildren. it them isskills asksGod and who Dirmit results in her isdeath. Howeverwhile in she her deathbed, shestillmakes her use of unfortunately which Azrael, with Atiye of fight stormy last the with ends novel The a flyinginto whitebird,sailing all city.over the words Dirmitthe turns Now female subjectivity. of an languagealternate formation as a into fallen literally instead of hertofeed which allows now “herself” “others”: metaphorical path follows ahighly Here, Dirmit Bordo. of metaphorical statement into the translated to feed notthe self” others, By relying (1989). on viewpoint,this the statusof Dirmitcan be learn women that require femininity… of construction conventional for rules “...the follows: When for lived Bordo argues body the Susan experiences. inas shestates “Double Bind” herbody iswhich be trying to shaped anddisciplined makesitself visiblewriting through the Holding Holding flaga red and madlyrunning caught up with the crowd… (235) 70 CEU eTD Collection position of the margins—significantly of the female. Tekin, in fact uses metafictive uses in fact Tekin, female. the of margins—significantly the of position the from voice own one’s have to purpose: same the for serve all they introduction, my in out pointed already have I As language. realist magical Tekin’s Latife mirror definitely resistance formation and subjectivity characters’ The female here. explicit makes itself writing of gendered Thus, the perspective constraints. my analysis throughout demonstrate to tried have As I perspective. feminist a from myths and tales folk Anatolian the of the reworking ironic an indeed is it urban, the and rural the between novel’soscillation plot and narration resist the basic assumptionslanguage of magical realist the for make Iwould Therefore to like alternative useof claims similitude concluding episteme. of patriarchalinmagic.As thisfemale the analyzed, is chapter previous achieved difference through the through difference female legitimate own their develop characters female both Thus, structures. 2004:86).it Thus (Bowers, enablessituatehere, herself Dirmitto the dominantpower outside Morrison’s claim Toni male authority. undermine the to a real state into extend metaphors way refusal, of tells us thatof them attemptexclude to the female. However with“magical Dirmit picking up the red carnation as a realism provides another way of knowing things” Akta portrays articulation whole this although However, context. arealistic —within useof similitude alternate 2004:126). This allows Tekin articulate thelocal—Anatolianto folkloreintertwined with dimensions, seen and unseen, visible andinvisible, rational mysterious… “(Bowers,and life reality by many tocapture of a way depiction of realism attempts “Magical as follows: Dear Shameless Death Dear Shameless 71 Dear ShamelessDeath . Literary critic Brenda Cooper claims ú family’s hardship against the against hardship family’s via magical realist magical via CEU eTD Collection and Seyit) which usually associated with idleness, tragic-comic illiterateness or getting intohabitual troubles. malevia magic andpoetry failureto the as opposed creativity female solid a engendering of in terms language realist magical Tekin’s to parallel of goes masculinity source as creativity origin language or of phallocentric attemptsubverting upholdof masculinity binary of to as origin oppositions (1993:118).This creativity...” source feminine ofwriting… which a typical practice she swingsinto zestful on working the attack feminine—a anecriture and phallocentrism the discovering critique of deconstructive a launches “she follows: as Cixous about argues Morris Pam critic literary Feminist autobiographical experience. Shameless Death (1937). This linkis indeed due to twosignificantthe perspectives intersecting with Cixous Hélene andcritic writer French feminist reference to with a strong sections previous a of construction the linked to be could magical realism speak. Thus,Tekin’s maketo phallocentriclanguage,to subvert attempt it so astrong aims to in scope male of upsidedown.Or a broader power so-calledcreative the encourages reversing challenging the male dominated thinking. ThusTekin’s magicallanguagedistinct realist woman.a as “writing of notion the through “Atfunctions realism magical spiritual, the over thecontrol end it is turnsDirmit the singular who version Shameless Death makes of truth of the discourse relating literary words metafictive distinct to of the position male. fly whole this ApartTherefore, all from language. over Atiye’s the effective city, bodily definitely 21 descriptions or unconventional proliferation of tenses. use of similitude episteme, amalgamation of irrational and rational viewpoints, blurring the time and space 20 male the undermine strongly creativity female their in terms resistance female somatic strategies Male failure in failure Male InDear Shameless Death metafictive strategies refer toself-reflexivness relying on the function of alternative 20 inmale toprovide new of the order codes relatingrecognition to centered Dear Shameless Death brings a distinct kind of writing which goes beyond analogical narration and narration analogical beyond goes which writing of kind adistinct brings : deconstructive critique of phallocentricism and importance of importance and of phallocentricism critique : deconstructive indeed refers to the characteristics of male household (Huvat, Mahmut 72 21 in the novel. Atiye’s and Dirmit’s and Atiye’s novel. inthe feminine writing,feminine as stated in the Dear Dear CEU eTD Collection (2000:169). Thus(2000:169). in solution inbreaking language theof structure which as women. well oppresses as excludes findingin suppresses in undoubtedly holes thenarrations women Thus general. bea could totalization ontoassertthat She language goes by male.of 2000:169). the (Robbins, totalization against andthinkalternatively atrap usto allows create language of ambiguities the that suggests strongly Cixous writing in creativity female a engendering While restrictions. herfather’s or brothers’ masculine power. Secondly itis Dirmit’s magical poetry which eventually defeats her magic toAtiye anddivination which engenderattributed alternativesanctions subverting the isbut notasmale creative power constructed language, phallocentric to the masculine profit, attempts to bring forth feminine libidinal economy; that comes from comes that economy; libidinal feminine forth bring to attempts profit, masculine to the However Cixous, 1993:119). is asopposed (Morris, with asuccess socially thatdefined…” up mixed is almost profit time…Masculine same the at narcissism phallocentric his reinforce wants… is that women as husbandsas from controlfathers so to Whatpossessions to gain something... he or he gain more masculinity… authority, power or pleasure, allas seenin Yet saylanguage-less-ness. let us of or lack exclusion, which this through language phallocentric the into fall women that note also must within women.function I However rupture alanguagewhich excludes narration astrong as intensions or male authority female. In the over male authority or intensions French colony. In a in as herearly life Algeria, to the binary itwith oppositions experienceshe associates as autobiographical to importance great a attaches also Cixous these, to addition In is themale reality—that singular reality. distinct of metaphors whichperception and and word-plays the leadsto undermine reality Sorties Dear Shameless Death Shameless Dear (1975) she argues that:“Patriarchy (1975)she is argues maintained by exchange the of , the magic and reality as well as Tekin’s mythic as Tekin’s as well magicandreality , the 73 Dear ShamelessDeath Dear ShamelessDeath , amalgamation of magic , as tothe , opposed female : initially : CEU eTD Collection of experience and writing with the narrations of female body inboth of body play narrations female the anda crucial role with of writing experience fly words the fluid Cixous’slanguage. poeticevoke definitely thephilosophies and Moreover, makes she how way the and syntax mythic her puns, and metaphors elevated her meanings, and tenses her pluralized realism, magical useof Tekin’s other. each with several times intersect strongly Tekin Latife of language realist magical and Cixous where is this Thus, text. feminine of a subversiveness to in is“volcanic” relation experience says thatthis whole materialityphysical of femalebody the While her(1993:122). writing through body, Cixous the and excess playful extravagance, creative abundance, on launches writing Cixous’s As argues, version Morris of singular truth. than rather heterogeneity one within metaphors deep around wrapped and intense is language her words, her from seen is it As of the old property carriercrust, of masculine investments; there’s otherno way… (Morris, 1993:120). A feminine text cannot fail to be more than subversive. Itis volcanic; as it is written itbrings about anupheaval anything only by flying; we’ve lived in flight, stealing away… Flying is woman’s gesture—flying in language and making itfly…forof lacking.. centuries afraid we’ve not we are been able and to possess writing; our signs, ourselves…our extend We’re stormy... ourglances,smiles our ,arespent… laughs exude our from mouths; all blood ourflows we and asfollows: writes Cixous Therefore by “female” phallocentrism. the to attributed is which absence the and lack the than rather abundance high to refers style non-linear syntax, unconventional tone, spirited Its writing. feminine a of manifesto a positiveidentity feminine“The through writing. Laughofthe is indeedMedusa” the of hers. In “Laugh the of for she Medusa” the argues (1975) spiritedly thishers: contention of body lived mere be the to turns experiences her about writes definitely and her about tells out, Thus,1993:119). her with that aforementioned statements, place mystical whereCixous pours “end”… herself:is endlessbody,depropriate it (Morris, hercapacity paradoxically without to woman,is goingproperto settling other…If tothe aself out, everywhere down, pouring there never myself…She... Itell be else somewhere has to “There “gift”: the or body female the 74 CEU eTD Collection realist writing in writing realist inless invested quo.” (2000:173).Relying discursivestatus the on magical clarification,this writing; itis just women are more likely men towantthan toengage in it, becausethey have are in society as itis currently constituted. Both women and men are capable of feminine likelywomen occupy more men biology, than she concedesthat this position to are though matter of sex; rather it their in describescultural meanings thaninterested apparently simplemore facts or sex much is or race. Thus for her, femininityCixous is not a a entities, positionbiological are bodies inalthough “… relationfollows: to culture which is indeednot is rigidthat sense bodily of Robbinsdrives. summarizes her suggestionsas not dependent on essentialist or an utopist forbeing for urgingis criticized Cixous a although womanfootnotes, “to earlier my in writementioned Ihave As herself” with the drives of her body, it insights for illuminating afemininesyntax languagewriting. of and upwith practice of come or language, tone style, the to relating strategies subversive the we could only trace Therefore, (Morris,for neverremain, enclosed coded. thisbe 1993:119). can practice or theorized, to Cixous’s understanding offeminine writing—“flying is a woman’s flygesture; in language in relation language of logic patrilinear of edifices the subverts clearly This reality. and magic via narration flying totally and non-linear a engenders Tekin Cixous, like Therefore, as coded Cixous suggests. culturally thatare bodies Dirmit—females Atiye and bodies of lived female of experiences impossibleto is “it follows: as says Cixous writing, feminine of practice this all of consequence a As poetry. realist magical her and Dirmit meaning vianovel, herbody carries young Tekin through significantly the girl Latife the writers. As Ihave already pointed out that define Dear ShamelessDeath Dear a feminine practice of writing and this is an impossibility that will that impossibility an is this and writing of practice feminine a is carried through not much verbal articulation but articulation verbal much not through carried is Dear Shameless Death Dear Shameless 75 isasemi-autobiographical CEU eTD Collection difference a with language phallocentric the challenges and female the to relating oppositions binary of a suggests critique profound Cixous literary Foucauldian discourse. metafiction of magicalof this realistwriting—as analyzed throughout chapter—andthen distinct this trangressivness both with intersects writing of practice feminine Cixous’s where is This linear in way.or return a traditional Shameless Death Even thoughIstrongly magical suggest that realismcombined with in resemblence abigmagical withinrepetition However, creates and paradigm. doubling. realism rupture this tellingfor literature argument is himmodern Foucault’s reinforces that as considered ininscribed the mentioned Simon inmy world. During, backgroundtheoretical aswell, of things finds itsliterature, waybackonreduplications even today, suggests that Foucault discourse. literary Foucauldian in (metafiction) the arupture or senseof difference this creates Shameless Death magical realist writing returning to Renaissance episteme with a rupture or Inthis wecanreconsider sense discourse. literary Foucauldian metafiction of and distinct subjectivity female distinct both creates realism magical with combined episteme similitude The chapter. previous the to back trace to like would I remarks, concluding last the For puns. Thus in this chapter I have tried to show how magical realism functions as a site of a feminine leavingus writing, with boundariesthe of ( have tried I as Moreover thinking. oriented male within narration tonon-obedient feminine a engenders demonstrate in this analysis, it could strongly be twisted into a practice of all meaning takes place within this concept. Words relate to each other in terms of their differences. 22 in realism magical anditfly”—Thus, making have forwardas I in asmy put argument introduction, thesis the Refers to post-structuralist Jacques Derrida’s work. It refers tohis concept of différance; Derrida argues that 22 . In this sense she creates ruptures with pluralized meanings, deep metaphors, meanings, deep with pluralized ruptures shecreates sense . In this goes back to Renaissance episteme of similitude, it obviously not it does similitude, Renaissance obviously of back episteme to goes it is undoubtedly the magic, narrated in a matter-of-fact-manner, which in is narrated magic, the ita matter-of-fact-manner, undoubtedly Dear Shameless Death Dear Shameless turns out to be as a site of a female resistance. It 76 feminine) magical realistfeminine) difference writing . In . Dear Dear CEU eTD Collection and male representations of women in of women andmale representations order to for function accepted gender feminismthe roles inoverturn in definitely analysis this it. found features to All these adistinctreturn of Renaissance evenregardedas episteme and of description is Foucauldian itwith wholeseen from combined the analysis, versatile, is Asit female. mode,for the significantly asanotable narrative atany realism circumstances magical of flexibility the re-consider us makes analysis whole this Thus, writing. realist magical feminine of possibility thus and realism magical of trangressivness the with intersects its reading Shameless Death through theunexploredliterary present, at approach this interpretation wouldbe an overestimation. alternativeRenaissance similitude episteme. Even thisthough isquite an unconventional and an use of smilitudesuggestus anostalgic reworkingmagical of a feminine realistnarration, going backto episteme.patriarchal andconstraints male minds. Consequently I should alsonote Cixousthat doesnot the challenges strongly subjectivity female distinct Dirmit’s and Atiye’s In through and language this repetitive of alternative entrapment the beyond goes It self-reflexivness. metafictive Foucauldian sensenarration it realist magical provides(feminine) novel, in the similitude of path the follow character(s) female a differenceWhile . purposes feminist explicit the for episteme similitude or Foucault’s of usage ratheralternative a rupture. Itof totallythis circle, thisbreaks whole possibilitythe closure the Thusfor feminine writing. Cixous’s with in accordance mostly female resistance analogies of (feminine) and magical thus realist writing intersects with the , with its distinct female characters and its Anatolian mythic nature, inscribes nature, mythic Anatolian its and characters female distinct its with , Dear ShamelessDeath. 77 Dear CEU eTD Collection Dear Shameless Death, which I aimed at revealing at the beginning of my thesis. of discourse literary distinct is the This writing. realist magical (feminine) of possibility a us suggests similitude with alternatively combined narration, magical realist Here Latife Tekin’s of feminine subverting maleauthority interms andof thusphallocentric language. writing the indifference orarupture male the This thinking. goeshanddifference inhand with notion the abig creates similitude of Foucauldian use alternative the analyzed inmychapters, In this thesis, I aimed at demonstrating a close readingCONCLUSION of In doing so, I came to a greater understanding of understanding greater a to came I so, doing In and Hélene Cixous. writer critic feminist French to reference astrong with feminine ecriture, notion of tothe discourse female. Takenthe for significantly realism magical of everything transgressiveness the explore to tried I position, this into account, WithinI constraints. patriarchal against resistance of site as a female trieda solid functions realism to connect the how show wholemagical ofmy to I tried process analysis in novel.the whole In the perspectives distinctfeminist the reveal to tried I combination magical distinct this within all, of Last resemblences. mere realist beyond going metafiction, a distinct out point to realism magical and similitude of use the combined alternatively I so, doing In metafiction. of strategies the of realism—one magical explored I novel. Second, in the narrative metafictive the indicate to Myaim was episteme. read I literary studies. (feminist) literary for a profounddiscourse feminist-reading, be which will notable for the further distinct novel’s the revealing at aimed I perspectives. literary multilateral within Tekin Dear ShamelessDeath in sections:three First, Ifocused on Foucault’s similitude 78 Dear Shameless Death Shameless Dear Dear ShamelessDeath . As I have by Latife CEU eTD Collection structures. monolithic challenging for studies—significantly literary further of in terms thinking worth difference magical realist narration, goingback similitudeto Renaissance episteme- witharupture ora thesis. doesCixous, Therefore, somehow, suggestus in together this brought are Cixous and episteme Renaissance As Foucault’s seen, a question. ask to like would I remark final last the For feminism. and writing realist magical concerning studies literary further thesismay pursueto this Therefore field atpresent. literary unexplored Renaissance episteme with a rupture or a difference.to return a literarydiscourse distinct this call I I thinkremark,concluding a as Moreover, this whole position is a quite an ? As inI havenoted my last chapter, may bethis an yetoverestimation; Ithinkis it 79 a nostalgicreworkinga of feminine CEU eTD Collection Cooper., Brenda., Magical Realism in West African Fiction: Seeing With a Third Eye, BIBLIOGRAPHY Zamora., Louis, Faris., Wendy, Latife, Tekin., Routledge, London and New York, 1984. Waugh., Patricia, Metafiction-The Theory and Practice of Self-Conscious Fiction, Robbins., Ruth., Literary Feminsim., St.Martin’s Press, New York. 2000. Showwalter., Elaine, The New Feminist Criticism,Virago Press, London, 1986. Morris., Pam, Literature and Feminism: an Introduction, Oxford UK: Blackwell, 1993. Moran., Berna, Moran., the Nineteenth Century Imagination, Gilbert., M. Sandra, Gubar., Susan, 1985. Green., Gayle., Foucault., Michel., Printing House, Cambridge, 1998. During.,Simon, Hutcehon., Linda, Hutcehon., Hale., Mc Brian., Hasan., Ihab., Classics, London, 1993. 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