DOCSLIB.ORG

Bihzad Meets Bellini Islamic Miniature Painting and Storytelling As Intertextual Devices in Orhan Pamuk's My Name Is Red1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bihzad Meets Bellini Islamic Miniature Painting and Storytelling As Intertextual Devices in Orhan Pamuk's My Name Is Red1 Persica 21, 9-32. doi: 10.2143/PERS.21.0.2022784BIHZAD MEETS © 2006-2007 BELLINI by Persica. All rights reserved. 9 BIHZAD MEETS BELLINI ISLAMIC MINIATURE PAINTING AND STORYTELLING AS INTERTEXTUAL DEVICES IN ORHAN PAMUK'S MY NAME IS RED1 P. de Bruijn Leiden University INTRODUCTION ORHAN PAMUK Orhan Pamuk, Turkey’s most prominent writer, winner of the Nobel prize for literature in 2006, started publishing at the beginning of the 1980s.2 Turkish society in the late 1970s and early 1980s was considerably polarized. You were either very leftist (Marxist, Trotskyite or Maoist), or an extreme rightist: such as the Grey Wolves. This polarization affected literature as well. Social realism was the main trend in Turkish literature since the fifties. Writers were generally spoken leftists and they described the poverty and abuses of people living in the Anatolian countryside and the slums of metropolitan areas. After the military intervention of 1980, this polarization gradually diminished and politi- cal commitment became less important in art and literature, as it did throughout Europe. 1 The analysis of Pamuk’s My Name is Red, is based on: Erica van Boven and Gillis Dorleijn, Literair Mechaniek. Inleiding tot de analyse van verhalen en gedichten, Bussum, Coutinho, revised edition, 2003 and Suzanne Keen, Narrative Form, Hampshire and New York, Palgrave Macmillan, 2003. 2 Orhan Pamuk, (Istanbul 1952-) - 1982 Cevdet Bey ve Ogulları (Cevdet Bey and his sons), not translated into English. - 1983 Sessiz Ev (The house of silence), not translated into English - 1985 Beyaz Kale, The White Castle, translated by Victoria Holbrook, Manchester 1990, New York, 1991. - 1990 Kara Kitap, The Black Book translated by Güneli Gün, New York 1994. - 1992 Gizli Yüz (The secret face, script), not translated. - 1994 Yeni Hayat, New life translated by Güneli Gün, New York, 1997. - 1998 Benim Adım Kırmızı, My Name is Red translated by Erdag M. Göknar, New York, 2001. - 2002 Kar, Snow, translated by Maureen Freely, New York 2004. - 2003 Istanbul, Hatıralar ve ≤ehir (Istanbul, memories and city), Istanbul, Memories and the City, translated by Maureen Freely, New York 2005. 10 P. DE BRUIJN There was room for a different sound in Turkish literature and Orhan Pamuk’s Cevdet Bey was in this respect the right book at the right time. It is a rather conventionally told story about a bourgeois Ottoman businessman Cevdet Bey and the next generations. Orhan Pamuk was not the only author and not the first to have departed from social real- ism, but his success had a great impact on the style and themes in Turkish literature from 1980. A clear development can be detected in Orhan Pamuk’s oeuvre from realistic to postmodern and back again to a more moderate postmodernism.3 In Sessiz Ev (The House of Silence), a different character is the focus of each chapter. The doppelganger motif in Beyaz Kale (The White Castle) stressed the fictional natures of identities. Kara Kitap (The Black Book) combined the motifs of the search for identity with Islamic mysticism.4 Kara Kitap was the pinnacle of Pamuk’s Postmodernity. In the following novels he elaborated the main theme of his œuvre ‘Turkish identities between East and West’ in a less postmodern and more accessible manner. Benim Adım Kırmızı (My Name is Red), first published in 1998, is one of them. MY NAME IS RED In the broadest sense the novel covers a period of sixty-two years from 1555 until 1617. The main events take place in 12 winter days in the year 1591 AD; which crucially is the year 999 in the Islamic lunar calendar. Analepses reveal the historical background and events in the youth of the main characters. At the end of the novel there is a short descrip- tion of what happened in the 26 years after the central events. In 1591, Sultan Murad III’s reign (1574-1595) was coming to an end. The Ottoman Empire was past the peak of its grandeur, partly because of internal bureaucratic stagnation and partly because of the ex- panding power of the European nation states: a process of decline that lasted until the end of the Ottoman Empire in 1923. In 1591, the Sultan was still very powerful, but his au- thority was challenged on two fronts: by Europeans (Venetians and Habsburgs) in the West and the Shiite Safavid Shah Abbas (1587-1629) in the East. The Ottoman Empire considered itself the successor of the medieval Caliphate of Baghdad (750-1258) and thereby the protector of Sunni Islam. Under the rule of the Safavids, Shia Islam had be- come the state religion in Iran. During the sixteenth and seventeenth century, the Otto- mans and Iranians fought several wars in which their religious differences were a factor.5 My name is red consists of several parallel storylines; all connected with each other and with the main storyline of the book. One of the most important is the love story be- tween ≤eküre (Shekure6) and Kara (Black). Kara became an orphan at a very young age and became an apprentice with his uncle, Eni≥te Effendi, who was a book dealer and an expert on miniature painting. He was a writer and painter of amatory miniatures. At an 3 Murat Belge, “Orhan Pamuk”, in: Edebiyat Üstüne Yazılar (Articles about literature), Istanbul, Ileti≥im, 1998, pp. 480-482. 4 See for articles on these books: Kara Kitap Üzerine Yazılar (Articles about The Black Book), Nüket Esen ed., Istanbul, Ileti≥im, 1996 and Orhan Pamuk’u Anlamak (Understanding Orhan Pamuk), Engin Kılıç, ed., Istanbul, Ileti≥im, 1999. 5 Stanford J. Shaw, History of the Ottoman Empire and Modern Turkey. Empire of the Gazis. The Rise and Decline of the Ottoman Empire 1280-1808, vol. 1, Cambridge, Cambridge University Press, 1978, pp. 169-216. 6 Anglicized names as used in My Name is Red translated by Erdag M. Göknar, New York, 2001. BIHZAD MEETS BELLINI 11 early age, Kara fell in love with his daughter ≤eküre. Eni≥te Efendi, however, didn’t want to marry her off to Kara. The latter therefore had to leave his house. He traveled to Iran where he worked as a writer/clerk and messenger for the Sultan. Like Eni≥te Efendi, he became a go-between for the illumination of manuscripts. However, he could not forget ≤eküre. After twelve years, Eni≥te Efendi asked him to return to Istanbul to collaborate on a secret book, commissioned by the Sultan, on which he was working with the best illu- minators of the court workshop. In the twelve years of Kara’s absence, ≤eküre had mar- ried an army officer to whom she bore two sons. ≤evket and Orhan. This officer had been missing for four years and thought to have died in the Persian war (1578-1590). His brother Hasan wanted to marry ≤eküre, and tried to seduce her. For this reason, ≤eküre returned to her father’s house with her two children. Under the pressure of circumstances, the murder of her father, ≤eküre agreed to marry Kara. Her dead father served as a wit- ness in the marriage ceremony. However the marriage was never as happy as Kara had hoped. Just as important is the detective story which, with the love story, is one of the two main story lines. It is the story of the murders of Zarif Efendi (Elegant Effendi) and Eni≥te Efendi. One of the most talented illuminators, Zeytin (Olive), had murdered first his colleague Zarif Efendi and later Eni≥te Efendi, because he was afraid that illegal mat- ters would be depicted in the miniatures of Eni≥te Efendi’s secret book for the Sultan. The Sultan ordered Kara and Üstat Osman, the head of the court workshop, to solve these murders within three days. They solved the murder by a meticulous study of the style of the three most important miniature painters of the court workshop. These three painters were also involved in the illumination of the secret book. A rough sketch of a horse with abnormal nostrils had been found on the body of Zarif Efendi. Kara and Üstat Osman searched the treasury of the Sultan, where all illuminated books are kept, until they found an album wherein horses were depicted in the style of the sketch found on Zarif Efendi’s corps. This clue led to the murderer, Zeytin. Together with the other miniaturists Kara visited the murderer. After a long discussion Zeytin stabbed Kara and fled. He was in- vited by the Great Moghul to join his court workshop. India was another center of sub- lime miniature art in the sixteenth and seventeenth century. On his way to the harbor, he decided to pay a last visit to the workshop. Hasan was waiting there for Kara. Assuming Zeytin was one of Kara’s men, he stabbed him to death. The detective storyline and the love storyline form the frame tale for the storyline of the storyteller and the preacher. The storyteller gives voices to the subjects sketched by the miniaturists in the coffeehouse; the same items as they are painting in the last double miniature for the secret book of Eni≥te Effendi. The storyteller criticizes the millenarian preacher Nusret Hoca (Nusret Hoja). In the end, Nusret Hoca’s gang of heavies destroy the coffeehouse and the pictures and kill the storyteller. Pamuk might have wanted to cre- ate a parallel with the end of the traditional Turkish Karagöz shadow play, where Hacivat, one of the main characters, accuses Karagöz that he has destroyed the screen of the pup- pet player. This symbolizes the transition from the fictional world of the theater/novel to real life.
Load more

Recommended publications
  • Orhan Pamuk UGS 302 Instructor: Brian Doherty Office: Parlin 326 Hours: M, 9:15-10:45/ Th, 1:30-3
    Enriched Reading: Orhan Pamuk UGS 302 Instructor: Brian Doherty Office: Parlin 326 Hours: M, 9:15-10:45/ Th, 1:30-3. Ph: 471-8798, [email protected] Course Description: No novel is created in a vacuum—every writer takes a network of influences from other writers, their own history, personal life, tastes, the political climate in which they write, etc., and shapes these elements into their final product. This course proposes to examine a single novel through the multiplicity of artistic and cultural elements that have been instrumental in the composition of the novel, and will be instrumental in the reader’s appreciation of this novel. The Nobel prize winner Orhan Pahmuk’s 1998 novel My Name is Red is a work through which a reader gains a greater understanding of a great many cultural treasures of the Persian World and the Ottoman Empire. Among the visual and literary text we will examine in the course are: • Miniaturist painting (mostly as used for manuscript illustrations). • The “workshop” system of this type of painting. • The epic Shahnama, especially the tragic story of Sohrab and Rostum. • The Story of Layla and Majun, by the Persian poet Nizami. • The career of Pahmuk, with his influences from three continents and the censorship rules he must endure. The novel opens up an antique and Islamic world, but is written with modern styles and themes. It is at its foundation a mystery novel, a sophisticated and elaborate who-done-it. Grading and Requirements: Quizzes on the reading (best 4 of 6 taken for grade) 10% Participation in class discussion 10% Short reaction papers on elements of syllabus with Asterix.
    [Show full text]
  • Sapkota 1 Chapter I: Critique of Western Modernity Through Liminal
    Sapkota 1 Chapter I: Critique of Western Modernity through Liminal Space: An Introduction Ferit Orhan Pamuk, a Turkish writer, presents the critique of western hegemonic modernity through his in-between space in his prize winning novels The New Life and My Name is Red. Orhan Pamuk's novels are philosophical thrillers constructed around the clash between the modern western and Turkish traditional views of artistic meanings, which create a chasm between two world civilizations. The mainstay of the Turkish modernization project in the twentieth century has been relegating religion to the private sphere. To this end, traditions associated with Islamic civilization were banned from Turkish public life. Women gained a degree of public presence and the semblance of equality. Western style clothing became the only acceptable mode in public life. Traditional laws with religious character gave way to modern legal codes and above all, the Arabic script was replaced by its European counterpart. With all due respect to modern Turkey’s founder Kemal Ataturk, especially his vision for a new Turkey and statesman like tact in laying its grounds, the political and intellectual climate of the 1920s was more suitable for carrying out such a radical program of cultural change. Pamuk finds Ataturk’s imposition of modernization in Turkey, the reflection of western hegemonic modernity, which has already relegated the traditional Islamic culture. Turkey has neither come out from the traditional Islamic culture nor has it been fully able to adopt the western idea of modernity. Orhan Pamuk has presented this juncture of the country and liminal identity of his own in his novels The New Life and My Name is Red.
    [Show full text]
  • Pamuk and World Literature
    ORHAN PAMUK & WORLD LITERATURE LIT 276/TURKISH 345-645/SES 345/AMES 382 Spring 2013 Prof. Erdağ Göknar T/Th, 1:25-2:40, 106 Carr Turkish & Middle Eastern Studies Office hrs: T/Th 4:30 (TBD) [email protected] Nobel laureate Orhan Pamuk has gained international recognition for his innovative novels and his status as a dissident author. As such, he and his work have become symbols of intense cultural and political change as Istanbul and Turkey emerge into – and become legible in – the global arena. In tracing Pamuk’s transformation from national to global author, this course undertakes a journey of cultural translation from one national tradition to a “world republic of letters.” We will be reading the novels of the Nobel laureate as an introduction into the politics of world literature, and examining Pamuk's role as an author who mediates between the Ottoman past, the Turkish national tradition and an international canon represented by the work of (and some film adaptations from) Borges, Kafka, Dostoevsky, Faulkner, Nabokov, Eco, and Rushdie. In the process, we will be asking larger questions about secularism, Islam, collective memory, and cultural practice. This is not a traditional literature class, but an interdisciplinary seminar that turns to literature to examine transformations in Turkish history, identity, and culture. Class time will be spent in a combination of discussion and short lecture. Secondary discussions will address key concepts such as historiography, intertextuality, orientalism, Sufism, modernism, metafiction, and postcolonialism. Readings, written responses, journal entries and comparative analyses will provide the context for students to select and develop a final research project.
    [Show full text]
  • Plagiat Merupakan Tindakan Tidak Terpuji Plagiat
    PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI THE RISE OF SPIRITUAL ISLAM IN TURKEY’S IDENTITY QUEST: UNDERSTANDING ORHAN PAMUK’S OEUVRES THROUGH SUFI FRAMEWORK A THESIS Presented as a Partial Fulfillment of the Requirements to Obtain the Magister Humaniora (M.Hum) Degree in English Language Studies by Sri Hariyatmi Student Number: 126332037 THE GRADUATE PROGRAM IN ENGLISH LANGUAGE STUDIES SANATA DHARMA UNIVERSITY YOGYAKARTA 2014 i PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI A THESIS THE RISE OF SPIRITUAL ISLAM IN TURKEY’S IDENTITY QUEST: UNDERSTANDING ORHAN PAMUK’S OEUVRES THROUGH SUFI FRAMEWORK by Sri Hariyatmi Student Number: 126332037 Approved by Alb. Bagus Laksana, SJ., Ph.D. Yogyakarta, May 12, 2014 Advisor ii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI A THESIS THE RISE OF SPIRITUAL ISLAM IN TURKEY’S IDENTITY QUEST: UNDERSTANDING ORHAN PAMUK’S OEUVRES THROUGH SUFI FRAMEWORK Presented by Sri Hariyatmi Student Number: 126332037 Defended before the Thesis Committee and Declared Acceptable Chairperson : __________________ Secretary : __________________ Members : 1. __________________ 2. __________________ Yogyakarta, , 2014 The Graduate Program Director Sanata Dharma University Prof. Dr. Augustinus Supratiknya iii PLAGIATPLAGIAT MERUPAKAN MERUPAKAN TINDAKAN TINDAKAN TIDAK TIDAK TERPUJI TERPUJI STATEMENT OF ORIGINALITY This is to certify that all ideas, phrases, sentences, unless otherwise stated, are the ideas, phrases, and sentences
    [Show full text]
  • Lith in Orhan Pamuk's Novel, the Red Haired Woman
    MY RED HAIR IS MY FREEDOM: IMAGE OF LI- LITH IN ORHAN PAMUK’S NOVEL, THE RED HAIRED WOMAN Doç. Dr. Şahika KARACA * ABSTRACT: In this study, Gülcihan, a woman character in Orhan Pamuk’s The Red Haired Woman referring to the image of Lilith who is known as the first wife of Adam in Western Mythology was ana- lysed. In feminist literature Lilith is one of the representatives of femme fatale/fatal woman/diabolic woman with her libertarian spirit. One of the most significant characteristics of Lilith is being an equalitari- an/libertarian woman, and the other is her leading to catastrophe through her red hair’s fascinating and voluptuous effect. Similarly, Gülcihan in Orhan Pamuk’s The Red Haired Woman forms her libertarian woman identity through her red hair and she has a fatal effect leading to catastro- phes in the novel. In this study, character analysis of Gülcihan in The Red Haired Woman has been targeted referring to the analogy of the image of Lilith. Keywords: Lilith, Orhan Pamuk, The Red Haired Woman , Sexual Identity, Fatal Woman. Kırmızı Saçlarım Özgürlüğümdür : Orhan Pamuk ’un Kırmızı Saçlı Kadın Romanında Lilith İmgesi ÖZ: Bu çalışmada Batı mitolojisinde Hz. Adem’in ilk karısı olarak geçen Lilith imgesi etrafında Orhan Pamuk’un Kırmızı Saçlı Kadın romanın- da kadın karakter Gülcihan değerlendirilmiştir. Lilith feminist literatürde öz- gürlükçü yapısıyla femme fatale/ölümcül/şeytan kadın tipinin temsilcilerindendir. Lilith’in en önemli özelliklerinden birisi eşitlikçi/özgür bir kadın olması, diğeri de kırmızı saçlarıyla haz veren büyüleyici bir etkiyle felaketlere yol açmasıdır. Orhan Pamuk’un Kırmızı Saçlı Kadın romanında da Gülcihan kırmızı saçlarıyla özgür kadın kimliğini inşa eder ve bu kimliğiyle romanda felaketlere yol açan ölümcül bir etkiye sahiptir.
    [Show full text]
  • 3. My Name Is Red – Orhan Pamuk
    My Name is Red Orhan Pamuk 2 You slew a man and then fell out with one another concerning him. —Koran, The“ Cow. ” The blind and the seeing are not equal. —Koran, The“ Creator.” To God belongs the East and the West. 3 I AM A CORPSE I am nothing but a corpse now, a body at the bottom of a well. Though I drew my last breath long ago and my heart has stopped beating, no one, apart from that vile murderer, knows what s’ happened to me. As for that wretch, he felt for my pulse and lis tened for my breath to be sure I was dead, then kicked me in the midriff, carried me to the edge of the well, raised me up and dropped me below. As I fell, my head, which he d’ smashed with a stone, broke apart; my face, my forehea d and cheeks, were crushed; my bones shattered, and my mouth filled with blood. For nearly four days I have been missing: My wife and children must be searching for me; my daughter, spent from crying, must be staring fretfully at the courtyard gate. Ye s, I know they r e’ a l l a t t h e w i n d o w , h o p i n g f o r m y return. But, are they truly waiting? I can t even’ be sure of that. Maybe they ve ’ gotten used to my absence — how dismal! For here, on the other side, one gets the feeling that one s’ former life persists.
    [Show full text]
  • Orhan Pamuk's My Name Is Red and Snow: Representations of the Clash Between the East and the West
    Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi Mustafa Kemal University Journal of Social Sciences Institute Yıl/Year: 2019 ♦ Cilt/Volume: 16 ♦ Sayı/Issue:43, s. 1-17 ORHAN PAMUK’S MY NAME IS RED AND SNOW : REPRESENTATIONS OF THE CLASH BETWEEN THE EAST AND THE WEST Alpaslan TOKER Department of English Studies, Nile University of Nigeria, [email protected] Orcid ID: 0000-0003-4815-8213 Makale Geliş Tarihi: 04.12.2018 Makale Kabul Tarihi: 16.04.2019 Makale Türü: Araştırma Makalesi Atıf: Toker, A. (2019). Orhan Pamuk’s My Name is Red and Snow: Representations of the clash between the east and the west. Mustafa Kemal Üniversitesi Sosyal Bilimler Enstitüsü Dergisi , 16 (43), 1-17. Abstract The clash between the East and the West, in other words, the East-West dichotomy, has various connotations in numerous of scientific fields like sociology, geography, history, religion, and literary studies. Despite the difference in its practices, it continues to represent this historical division or polarization between the two fractions of the world, namely the East and the West, which is still in existence in this modern world of today. This article sought to explore this polarization from literary perspective. In this regard, Nobel Prize-winning author, Orhan Pamuk’s two prominent literary works have been selected for investigating the extent and depth of the clash between two civilizations. Pamuk invited his readers to explore this prevalent conflict between East and West in his novels, My Name is Red and Snow. Although he declared that he did not believe in this clash, Pamuk skillfully presented this prevalent issue, but approached it from a distinct dimension.
    [Show full text]
  • UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations
    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title "NEVER TRUST THE TELLER," HE SAID. "TRUST THE TALE": NARRATIVE TECHNIQUE FROM THE ARABIAN NIGHTS TO POSTMODERN ADAPTATIONS BY RABIH ALAMEDDINE AND PIER PASOLINI Permalink https://escholarship.org/uc/item/7ks9x9gk Author Saleem, Sobia Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ “NEVER TRUST THE TELLER,” HE SAID. “TRUST THE TALE”: NARRATIVE TECHNIQUE FROM THE ARABIAN NIGHTS TO POSTMODERN ADAPTATIONS BY RABIH ALAMEDDINE AND PIER PASOLINI A thesis submitted in partial satisfaction of the requirements for the degree of MASTER OF ARTS in LITERATURE by Sobia Saleem December 2012 The Thesis of Sobia Saleem is approved: ___________________________________ Professor Wlad Godzich, Chair ___________________________________ Professor Vilashini Cooppan ___________________________________ Professor Maria Evangelatou ___________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Sobia Saleem 2012 Table of Contents Introduction 1 Chapter One: The Arabian Nights and an Islamic Aesthetic 20 Chapter Two: Framing, Embedding, and Interlacing 57 Chapter Three: The Hakawati 88 Chapter Four: The Flower of the Thousand and One Nights 119 Conclusion 169 Works Cited 186 iii Abstract Sobia Saleem “Never Trust the Teller,” he said. “Trust the Tale”: Narrative Technique from the Arabian Nights to Postmodern Adaptations by Rabih Alameddine and Pier Pasolini This thesis stems from an examination of Rabih Alameddine’s The Hakawati’s embedded narrative structure. The roots of this structure reside in the Arabian Night’s renowned frame structure, which can be traced to the Islamic aesthetic, primarily its textile culture and organization of the Quran.
    [Show full text]
  • Orientalism in Orhan Pamuk's White Castle*
    bilig AUTUMN 2018/NUMBER 87 59-82 Orientalism In Orhan Pamuk’s White Castle* Beyazıt H. Akman** Abstract The two most well-known works of Orhan Pamuk, The White Castle and My Name is Red, are historical fiction set in the time of the Ottoman Empire. These novels represent some of the most common issues the novelist focuses on, such as the East-West binary, questions of cultural identity and differences, and possi- bilities of local and global co-existence. In this article, by focusing on the case of The White Castle, Pamuk’s life, his Nobel prize ac- ceptance and his controversial statements in international press, I examine how a Turkish-born, Muslim novelist portrays Islamic history and the Ottomans predominantly for the European gaze and argue that Pamuk’s historical narrative borrows considerably from the legacy of European Orientalist writings. Key Words Pamuk, Orientalism, postcolonial studies, comparative literature, Nobel, image of Islam, contemporary fiction Date of Arrival: 22 July 2016 – Date of Acceptance: 22 November 2016 You can refer to this article as follows: Akman, Beyazıt. (2018). “Orientalism in Orhan Pamuk’s White Castle”. bilig – Türk Dünyası Sosyal Bilimler Dergisi 87: 59-82. * This article is based on my Ph.D. dissertation completed at 2012 at Illinois State University, Illinois, USA. **Assist. Prof. Dr., Social Sciences University of Ankara, Faculty of Foreign Languages, Department of English Language and Literature, Ankara, Turkey. [email protected] 59 bilig • Akman, Orientalism In Orhan Pamuk’s White Castle• AUTUMN 2018/NUMBER 87 Introduction Translated into more than fifty languages, the work of the Turkish novelist Orhan Pamuk has always been recognized and appreciated in the internati- onal arena.1 After winning the Nobel Prize for Literature in 2006, Pamuk’s recognition became comparable to figures such as Salman Rushdie and V.
    [Show full text]
  • Fictional Displacements: an Analysis of Three Texts by Orhan Pamuk
    Fictional Displacements: An Analysis of Three Texts by Orhan Pamuk Hande Gurses A Thesis submitted in fulfilment of the requirements for the PhD Degree at UCL June 2012 I, Hande Gurses confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 To my parents Didem & Haluk Gurses 3 Abstract This study aims to discuss the structural and contextual configuration of three books by Orhan Pamuk: The White Castle, My Name is Red and Istanbul: Memories of a City. The central line of enquiry will be the possibility of representing identity as the attempt to capture the elements that make the ‘self’ what it is. Without limiting my analysis to an individual or national definition of identity, I will argue that Pamuk, writing through the various metaphysical binaries including self/other, East/West, word/image, reality/fiction, and original/imitation, offers an alternative view of identity resulting from the definition of representation as différance. I will argue that within the framework of Pamuk’s work representation, far from offering a comforting resolution, is a space governed by ambivalence that results from the fluctuations of meaning. Representation, for Pamuk, is only possible as a process of constant displacement that enables meaning through difference and deferral. Accordingly the representation of identity is no longer limited to the binaries of the metaphysical tradition, which operate within firm boundaries, but manifests itself in constant fluctuation as ambivalence. Within this framework I will suggest that Pamuk’s works operate in that space of ambivalence, undermining the firm grounds of metaphysics by perpetually displacing any possibility of closure.
    [Show full text]
  • Color Symbolism in Islamic Book Painting
    American University in Cairo AUC Knowledge Fountain Theses and Dissertations 2-1-2018 Color symbolism in Islamic book painting Imane Sadek Abaza Follow this and additional works at: https://fount.aucegypt.edu/etds Recommended Citation APA Citation Abaza, I. (2018).Color symbolism in Islamic book painting [Master’s thesis, the American University in Cairo]. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/638 MLA Citation Abaza, Imane Sadek. Color symbolism in Islamic book painting. 2018. American University in Cairo, Master's thesis. AUC Knowledge Fountain. https://fount.aucegypt.edu/etds/638 This Thesis is brought to you for free and open access by AUC Knowledge Fountain. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of AUC Knowledge Fountain. For more information, please contact [email protected]. The American University in Cairo School of Humanities and Social Sciences Color Symbolism in Islamic Book Paintings A Thesis Submitted to The Department of Arab and Islamic Civilizations In Partial Fulfilment of the Requirements For the Degree of Master of Arts By Imane M. Sadek Abaza Under the supervision of Dr. Bernard O’Kane 12/2017 Color Symbolism in Islamic Book Paintings | Imane Abaza Table of Content ACKNOWLEDGMENT ...................................................................................................................... 3 INTRODUCTION .............................................................................................................................
    [Show full text]
  • Reading Orhan Pamuk's Literary Cityscape
    UvA-DARE (Digital Academic Repository) Capitalizing Istanbul: reading Orhan Pamuk’s literary cityscape Almas, H.E. Publication date 2011 Document Version Final published version Link to publication Citation for published version (APA): Almas, H. E. (2011). Capitalizing Istanbul: reading Orhan Pamuk’s literary cityscape. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:24 Sep 2021 Capitalizing Istanbul: Reading Orhan Pamuk’s Literary Cityscape ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. dr. D.C. van den Boom ten overstaan van een door het college voor promoties ingestelde commissie, in het openbaar te verdedigen in de Agnietenkapel op donderdag 22 September 2011, te12:00 uur door Hacer Esra Almas geboren te Istanbul, Turkije Promotiecommissie Promotor: Prof.
    [Show full text]