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Göstergebilim alanında Türkiye’de önde gelen isimlerden olan Tahsin Yücel’in roman ve öyküleri, bir anlamda bu eleştirel yöntemin kuramsal boyutunu ve uygulamasını örneklendirmektedir. Ancak, bu çalışma, Tahsin Yücel’in Komşular adlı öykü kitabındaki üçüncü öyküsü olan “Aramak”ı yapısökümcü bir bakış açısıyla okumayı amaçlamaktadır. Post-yapısalcı felsefe, temel olarak Aydınlanma projesi ve metafiziğine radikal bir eleştiri getirir. Bu felsefenin öncülerinden olan Jacques Derrida’nın post-yapısalcı felsefesine dayanan yapısökümcülük, bir kuram ya da yöntembilim olmaktan çok bir okuma biçimidir. Çünkü her koşulda aynı şekilde uygulanan kurallar bütününe ya da uygulama yöntemine sahip değildir. Yapısökümcülük, belirli bir yordam önermemesine rağmen çalışmanın tutarlılığı için bir yol haritası çıkarılabilir. İnceleme, öncelikle metin içindeki ikili karşıtlıkları (binary oppositions) saptayıp, bu karşıtlıklar arasındaki sıradüzeni (hierarchy) yok etmeye çalışıp, daha sonra çıkmaza giren noktalara (impasses of meaning) odaklanıp bu noktalar vasıtasıyla metnin kendi mantığını nasıl bozuma uğrattığını anlamayı hedeflemektedir. Bu kapsamda, öncelikle Ötegeçe’nin uzamsal çağrışımları, ikili karşıtlıkların arasındaki bağlantılar ve “aramak” eğretilemesinin yol açtığı çok anlamlılık değerlendirilecektir; sonrasında, öyküyle ilgili eleştiriler ve yazarın söyleşileri de göz önünde bulundurularak, metin içerisindeki tutarsızlıklar saptanarak metnin ulaşmak istediği anlama tam manasıyla neden ulaşamadığı tartışılacaktır. Sonuç olarak, kavramsal karmaşalar yaratarak öyküyü bütüncül ve tutarlı bir anlama indirgemekten kaçınmak, daha önce rahatlıkla kullanılan ikircikli kavramların yer değiştirmesi ve sonucunda eleştirel bir engelin oluşmasını sağlamak Derridacı bir yapısökümün yapmaya çalıştığı şeydir. Tahsin Yücel’in “Aramak” öyküsüne yapısökümcü yaklaşımla getirilen bu okuma, öykü içindeki eleştirel çıkmazlara yeni bir bakış açısı olarak değerlendirilebilir. Çünkü bu yordamla, metnin aktarmak istediklerini aktarmakta yetersiz kaldığı, söyler gibi göründüğünün tersini söylediği ve merkez aldığı ikili karşıtlıkların temelsizliği gösterilmeye çalışılmıştır.
The novels and stories of Tahsin Yücel, one of the leading names in Turkey in the field of indication, in a sense illustrate the theoretical dimension and application of this critical method. However, this study aims to read the "Aramak", the third story in Tahsin Yücel's story book Neighbors, from a structural perspective. Post-creative philosophy brings a radical criticism to the Project of Enlightenment and metaphysics. Structurality, based on the post-creative philosophy of Jacques Derrida, one of the pioneers of this philosophy, is a form of reading rather than a theory or methodology. For in all circumstances the rules applied in the same way do not have the whole or the method of application. Structurality, although it does not suggest a specific procedure, can be drawn a road map for the consistency of the work. The review is aimed first to identify the binary oppositions in the text, to try to destroy the hierarchy between these oppositions, and then to focus on the impasses of meaning and to understand how the text is distorted through these points. In this context, it will first be assessed the extensive calls of the Ötegeçe, the many meaning that the link between the bilateral contradictions and the curvation of the "armak" will lead; then, taking into account the criticism of the story and the speeches of the author, it will be discussed why the text is not able to reach the meaning that the text wants to reach by identifying the incoherences within the text. As a result, avoiding the deduction of the story into a comprehensive and consistent meaning by creating conceptual complexities, ensuring that previously conveniently used binary concepts change place and as a result a critical obstacle forms, is what a Derridactic structure tries to do. This reading brought with a structural approach to the story of Tahsin Yücel's "Aramak" can be regarded as a new perspective on the critical discrepancies in the story. For with this procedure, the unfoundedness of the two contradictions that the text is not enough to transmit what they want to transmit, that it seems to say the opposite, and that it is centered on, has been tried to demonstrate.
Tahsin Yücel, a prolific Turkish novelist, essayist, critic and short story writer, is one of the first practitioners of semiotics in Turkey after his close contact with A. J. Greimas. His oeuvre is usually analysed through the lens of semiological principles and structuralist reading regarding Yücel’s writings about the semiological tradition; however, this paper attempts to read Tahsin Yücel’s third short story, “Aramak”—which can arguably be translated as “Quest”—in his short story collection entitled “Komşular” (“Neighbours”) through deconstructive strategies which focus on the instability of meaning within a text, try to dismantle the binary oppositions and question the authority of the writer. “Aramak” (“Quest”) is about a postman in a remote Anatolian village called Ötegeçe who is in search of a new wife after the death of his father. The story ironically revolves around Postman Münür’s marital life, his declining masculinity and social hypocrisy about the institution of marriage and conception of beauty. The climax of the story takes place when Münür seeks to get married to a woman who looks exactly the same as his first wife who is notoriously ugly. The details that the unreliable narrator of the story provides make a deconstructive reading of the text possible. The theoretical framework briefly revisits the principles of structuralist reading in order to comment on how deconstruction is both a continuation of and a resistance to Saussurean linguistics which views language as a closed system and semiological analysis which focuses on an inherent, stable structure within a text. Acknowledging the fact that Derrida avoids having a set of rules while deconstructing a text, I follow certain reading strategies used by Derrida himself in his writings: concentrating on the aporias within the text and on the moments when the text undermines its own logic/structure; critiquing the hierarchy between binary oppositions—particularly, beauty and ugliness, presence and absence, masculinity and femininity; and finally showing the instability of meaning through textual references. Ötegeçe, not only Yücel’s actual birthplace but also the setting of the story, comes to have a mystical presence with the descriptions of the narrator. The demasculinized body of Postman Münür becomes the locus of the definitions of transcendental beauty, questioning the binary oppositions of beautiful/ ugly, masculine/feminine and presence/absence. The aporias in the text reveal that the central narrative of the story—the idea of searching a new wife for postman Münür or subverted quest theme—comes to have a meaningless and absurd ground since the narratological ellipses and authorial commentary cancel any accurate meaning to be achieved by textual details. This deconstructive interpretation of “Aramak” has also aimed to open Yücel’s oeuvre to new interpretations along with those which concentrate upon structuralism and semiotics. Such a deconstructive reading does not intent to be conclusive about the particular story analysed; on the contrary, it foregrounds the pleasure that the reader takes while dissecting the text through its minute details, finding the impasses of meaning and showing the defaults in the logical structure of the story.
Alan : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Dergi Türü : Uluslararası
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