Abstract:

One of the interesting and criticized aspects of the narratives that Sevgi Soysal who started to write in the 1960s gave in different literary genres throughout her literary life is her interest in innovation in terms of content and form. Soysal's curiosity and courage to use the possibilities of two literary genres without being stuck between the story and the novel is remarkable. Yenişehir'de Bir Öğle Vakti is considered as a work that differs from contemporary novels with its narrative style and content in the years it was written. In her work, Soysal chooses novel characters from a random crowd representing different socio-economic segments of the society in the same space and prefers to write the story of each one separately rather than placing them in the main story. Mikhail Bakhtin deals with the elements that feed and realize the carnivelesque elements in the novel in a wide spectrum. In the light of Bakhtin's evaluations, titles such as grotesque reality, carnival spirit, dialogic elements have distinctive elements in defining the relationship of any novel with the carnivalesque novel. In this context, Yenişehir'de Bir Öğle Vakti has the characteristics of this novel, albeit partially, in terms of reflecting the carnival spirit, the discourse of grotesque reality about the body-living things, and dialogic elements. In this study, it will be focused on the elements that make it possible to evaluate the carnivalesque elements, which are considered more in the modernist and postmodernist novels in Turkish literature, as an early example in Yeni Şehirde Bir Öğle Vakti.