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Milletleşen Adam serisinin ilk kitabı olan Selçuk Kamucan’da Birinci Dünya Savaşı’ndan yenik çıkan Türk milletinin düşmanlarına karşı verdiği Kurtuluş Savaşı anlatılmaktadır. İdeoloji ve sıcak savaş şeklinde iki ayrı kulvardan akan hikâyede “kurtuluş döneminin ideoloğu” Selçuk Kamucan ile “cesur savaşçı” Seymen Bayraktar karakterleri öne çıkmak-tadır. Diğer karakterler bu iki karakter merkezinde şekillenerek anlatının iyi-kötü kriterlerine göre sınıflandırılmaktadır. Eserde iyi kötü kurgulanması fark etmeksizin daima ikincil planda kalan kadın karakterler ise erkeğin kabul edilen alana olan konumları itibariyle feminist kuram çerçevesinde değerlendirilmektedir. Her halükarda erkeğin sahip olduğu bir nesne muamelesi gören kadın özellikle fedakâr anne ve cefakâr eş pozisyonunda, etkinlik alanı “erkeğin yardımcısı” statüsünü kuvvetlendirecek işlerle kısıtlandığında olumlu kabul edilmektedir. Erkek karakterin sınanmasını sağlayan ve kendilerine çizilen sınırları aşan işlerle uğraşan kadın karakterler ise tehlikeli addedilmektedir. Ulusun tek kurtarıcısının erkek olduğuna dair inanç, söz konusu kadınların ulusun bütünlüğü ve geleceği için de büyük tehlike barındırdığının altını çizmektedir. Diğer bir deyişle iyi-kötü, dost-düşman, cesur-korkak şeklinde ilerleyen anlatıda erkek ve kadın karşı karşıya getirilip aşkınlık bakımından kıyaslanan iki unsur şeklinde okura sunulmakta ve erkek, daima birincil kabul edilen niteliklerle kurgulanmaktadır.
Selçuk Kamucan, the first book of the Nationalized Man series, describes the War of Liberation against the enemies of the Turkish people who were defeated from the First World War. In the story flowing from two separate columns in the form of ideology and hot war, the "ideologist of the period of salvation" Selçuk Kamucan and the "due warrior" Seymen Bayraktar characters are to stand out. The other characters are formed in the center of these two characters and classified according to the good and bad criteria of the story. The female characters who always remain in the secondary level, without notice of good and bad conception in the work, are assessed in the framework of the feminist theory according to the position of the man in the accepted field. In any case, the woman who sees the treatment of an object that the man possesses is positive, especially in the victim mother and the victim spouse position, when the area of activity is limited to the work that will strengthen the status of "the man's assistant". The female characters that allow the male character to be tested and engage in work that exceeds the limits drawn to them are dangerous. The belief that the only savior of the nation is the man is a threat to the integrity and the future of the nation. In other words, the story progresses in the form of good, evil, friend, enemy, courageous and scary, the man and the woman are faced and presented to the reader in the form of two elements compared in terms of excellence, and the man is always established with the primary-accepted qualities.
The novel Selçuk Kamucan, the first book of the trilogy Milletleşen Adam, represents the War of Independence of the Turkish nation having been defeated in the First World War. The story revolves around two characters Selçuk Kamucan, “the liberal ideologist”, and Seymen Bayraktar, “the brave warrior”, and flows through two different tracks from the perspectives of ideology and hot war. Kamucan and Bayraktar are the central characters and other characters are classified and judged as good or bad according to the norms of these characters. As regards the female characters, they are deliberately represented of secondary importance. The portrayal of these characters can be evaluated and analysed within the framework of feminist theory concerning their social roles in the lives of the central male characters. Women are represented as objects of the male characters, their desires, ideas and actions. They are only idealised as altruistic mother (angel in the house), and self-sacrificing devoted wife. The author underlines the belief that the only saviour of the nation is man, and the female characters violating these patterns are considered threatening the future integrity of the nation. In other words, the narrative progresses along with a number of binary oppositions such as good-bad, friend-enemy, brave-coward, man and woman. The reader is presented with two aspects that are criticised and compared in terms of transcendence, and the man is always idealised with the primary and superior qualities.
Alan : Güzel Sanatlar; Mimarlık, Planlama ve Tasarım; Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Ulusal
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