Özet:

Women, who have been seen as the source of evil throughout the ages, are also discussed in this aspect in their representations in art and literature. As one of the malevolent female types, the image of the “fatal woman” (femme fatale) that emerged in the nineteenth century is depicted as an important woman who seduces men, surprises them from the right path and drags them into disaster with her charm, beauty and body. With these features, the “mortal woman”, who endanger not only men but also every part of society and shakes the patriarchal order, is either punished or killed in the works. Thus, the malevolent, evil and deadly woman who threatens the man and society is eliminated. In Peyami Safa’s novel Cânân, we see the example of the “deadly woman” image in Turkish literature. In this study, Peyami Safa’s work Cânân published in 1925 How Cânân is evaluated as a deadly woman, how the woman goes through the processes in marriage and love relationships, the frustration of the Turkish man in marriage and love and his regretful return will be examined within the framework of gender and the image of the “deadly woman”. In this work of the author, it is seen that the patterns and boundaries of the patriarchal system are redrawn with the type of “deadly woman”. In the novel, the “mortal woman” Cânân and the “angel woman” Bedia It appears as the expression of the woman’s life determined as the “the second sex” according to the man. Thus, the “ideal” of male and female roles is determined through the characters. Peyami Safa’s analyzed novel is an indication that the image of the “deadly woman” emerges with patriarchal anxiety.

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