TRIANGLE REMÉMORATIF : ISTANBUL – LE JEUNE PAMUK – ARTISTES/ÉCRIVAINS FRANÇAIS
Loading...
Date
2014
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Namık Kemal Üniversitesi, Fen-Edebiyat Fakültesi
Access Rights
info:eu-repo/semantics/openAccess
Abstract
İstanbul, Hatıralar ve Şehir (2003) adlı yapıtında, anlatıcı-yazar Orhan Pamuk, genç Orhan’ın yaşamıyla özdeşleşen İstanbul hakkındaki anılarını kaleme alırken, Fransız gezgin, mimar ve ressam Antoine Ignace Melling’in (1763-1831) İstanbul’u konu alan gravürlerine yer verir ve her birine bir bölüm ayırdığı, 19. Yüzyıl Fransız yazın dünyasının önemli yazarları Théophile Gautier, Gérard de Nerval ve Gustave Flaubert’in İstanbul’a ilişkin yazdıklarını alt metin olarak kendi yapıtına taşır. Pamuk’un o yazarlarla iletişim halinde olmasının, okurları bu yazarları farklı bir bakış açısıyla okumaya davet etmesi kadar, kaleme almaya çalıştığı anılarını canlandırmak için başvurduğu bir yol olduğunu da düşünmekteyiz. Özyaşamöykülerinde kullanılan alt metinler, bu altmetinlerden hareketle oluşturulan anılar, özyaşamöykülerin doğruluğu konusunda okuru kuşkuya düşürse de, okur, anlatıcı-yazar ile kendisi arasında, gerçeklerin tüm çıplaklığıyla anlatılacağı konusunda “varılan anlaşmaya” (pacte autobiographique) inanmak durumundadır. Çalışmamızda, yapıtın Türkçe başlığını (İstanbul, Hatıralar ve Şehir) ve Fransızca başlığını (Istanbul, Souvenirs d’une ville) yaşamöyküsel ve özyaşamöyküsel göndermeler bağlamında karşılaştırdıktan sonra bu yapıtın, Philippe Lejeune’in 1975 yılında tanımını verdiği “Özyaşamöyküsel Anlaşma”ya (Le Pacte autobiographique) ve Özyaşamöyküsel ölçütlere ne kadar uyduğunu, okur ile varılan bir “içtenlik anlaşması” (Pacte de sincérité/franchise) olup olmadığını, “anlaşmaya” ne derecede uyulmaya çalışıldığını saptamaya çalışacağız. Öte yandan, yukarıda andığımız Fransız sanatçılarının alt metinlerinin, anıların oluşturulmasındaki önemi üzerinde de durulacaktır.
Orhan Pamuk’s work entitled İstanbul, Hatıralar ve Şehir (2003) is an autobiographical account of the first twenty two-years that the author spent in Istanbul and also a reflection of the views and observations of the author about the period which he lived in. In addition to this, as can be understood from the title, this work is also be considered as an autobiography of the city of Istanbul itself. In this context, the author brings together the story of a child, a teenager and a university student- rather the author himself- with Istanbul. The narrator-author Orhan Pamuk, as he recites the life of the young Orhan which overlaps with Istanbul in a separate section, refers to the engravings of French traveler, architect and painter Antoine Ignace Melling (1763-1831) about Istanbul; and in other sections he refers to the writings about Istanbul of the19th century French authors Théophile Gautier, Gérard de Nerval and Gustave Flaubert as a subtext. The fact that Pamuk corresponds with the authors is a way to enliven or visualize his memories that he is trying to pen as he urges us to read their works from a different perspective. The subtexts used in the autobiography and the memories resurrected through these make the reader doubt the reality of the autobiography, but one has to believe in the pacte autobiographique that the author establishes with himself to be able to relay the whole truth. After a comparison of the title in Turkish (İstanbul, Hatıralar ve Şehir) with the title in French (Istanbul, Souvenirs d’une ville) within the scope of biographical and autobiographical metaphors, we will discuss how far this work reflects (Le Pacte autobiographique) that initial definition by Philippe Lejeune in 1975, how far there is an effort to relay the reality to the readers, and how far the author relayed this.
Orhan Pamuk’s work entitled İstanbul, Hatıralar ve Şehir (2003) is an autobiographical account of the first twenty two-years that the author spent in Istanbul and also a reflection of the views and observations of the author about the period which he lived in. In addition to this, as can be understood from the title, this work is also be considered as an autobiography of the city of Istanbul itself. In this context, the author brings together the story of a child, a teenager and a university student- rather the author himself- with Istanbul. The narrator-author Orhan Pamuk, as he recites the life of the young Orhan which overlaps with Istanbul in a separate section, refers to the engravings of French traveler, architect and painter Antoine Ignace Melling (1763-1831) about Istanbul; and in other sections he refers to the writings about Istanbul of the19th century French authors Théophile Gautier, Gérard de Nerval and Gustave Flaubert as a subtext. The fact that Pamuk corresponds with the authors is a way to enliven or visualize his memories that he is trying to pen as he urges us to read their works from a different perspective. The subtexts used in the autobiography and the memories resurrected through these make the reader doubt the reality of the autobiography, but one has to believe in the pacte autobiographique that the author establishes with himself to be able to relay the whole truth. After a comparison of the title in Turkish (İstanbul, Hatıralar ve Şehir) with the title in French (Istanbul, Souvenirs d’une ville) within the scope of biographical and autobiographical metaphors, we will discuss how far this work reflects (Le Pacte autobiographique) that initial definition by Philippe Lejeune in 1975, how far there is an effort to relay the reality to the readers, and how far the author relayed this.
Description
Keywords
Orhan Pamuk, Istanbul, Souvenirs d’une ville, Autobiographie, Récit intime, Récit rétrospectif, Embrayeurs biographiques, Rencontres biographiques, Biographie urbaine, Melling, Baudelaire, Flaubert, Gautier, Nerval
Journal or Series
HUMANITAS - Uluslararası Sosyal Bilimler Dergisi
WoS Q Value
Scopus Q Value
Volume
2
Issue
3
