Yüzyıllar boyunca etkileşim içinde bulunan Batı ile Doğu arasındaki ilişki üzerine kurulan oryantalizm, Batı’nın Doğu’yu görme biçimlerine dayanan bir bilgi alanıdır. Başlangıçta Doğu bilgisine dayalı kurumsal bir alan olan oryantalizmin, Edward W. Said’in Şarkiyatçılık Batı’nın Şark Anlayışları (1978) adlı kitabı ile kuramsal bir açılım kazanarak bir söylem hâline geldiği görülmüştür.Michel Foucault’nun Bilginin Arkeolojisi(1969) ve Hapishanenin Doğuşu(1975) adlı kitaplarından esinlenen Said, bilginin nesnel değil üretilebilir bir olgu olduğu ve iktidar ile yakın bir ilişki içinde bulunduğukabulünden yola çıkarak oryantalizmi hümanist bir yaklaşımla kurgusal bir zeminde metinler aracılığıyla şekillenen bir söylem biçimine dönüştürmüştür. Bu makalede postmodern Türk romanının başlıca yazarlarından biri olan Orhan Pamuk’un Cevdet Bey ve Oğulları (1982), Sessiz Ev (1983),BeyazKale (1985), Kara Kitap (1990),Yeni Hayat (1994), Benim Adım Kırmızı (1998), Kar (2002), Masumiyet Müzesi (2008) ve Kafamda Bir Tuhaflık (2014) adlı anlatıları kuramsal bir incelemeye tabi tutularak oryantalizmin postmodern anlatıdaki görünümü açığa çıkartılacaktır.
Orientalism, based on the relationship between the West and the East that has been in interaction for centuries, is a field of knowledge based on the ways the West sees the East. Initially, orientalism, which was an institutional field based on Eastern knowledge, became a speech by gaining a theoretical opening with Edward W. Said's book The Songs of the West (1978) in theory. Inspired by Michel Foucault’s Archaeology of Knowledge (1969) and the Birth of the Prison (1975) books, Said, based on the recognition that knowledge is a non-objective and producable fact and is in a close relationship with power, transformed orientalism into a form of speech formed through texts on a fictional ground by a humanist approach. In this article, one of the main authors of the postmodern Turkish novel, Orhan Pamuk's Cevdet Mr. and Sons (1982), Silent House (1983), White Castle (1985), Black Book (1990), New Life (1994), My Step Red (1998), Snow (2002), Innocence Museum (2008) and A Strange in My Mind (2014) will be subject to a theoretical examination and the appearance of orientalism in the postmodern narrative will be revealed.
Orientalism built on the relationship between the West and the East which has been interacting for centuries, is an area of knowledge based on the way that the West sees the East. It was observed that orientalism which was initially an institutional field based on Eastern knowledge became a discourse by gaining a theoretical opening with Edward W. Said's book Orientalism Western Conceptions of the Orient (1978). Said, who was inspired by the books called Bilginin Arkeolojisi (1969) and Hapishanenin Doğuşu (1975) of Michel Foucault, has transformed orientalism into a form of discourse with a humanistic approach shaped by texts on a fictional ground based on the assumption that knowledge is a non-objective, productive phenomenon and closely related to power. In this article, the appearance of orientalism in postmodern narrative will be revealed with subjecting to an examination to the narrations called Cevdet Bey ve Oğulları (1982), Sessiz Ev (1983), Beyaz Kale (1985), Kara Kitap (1990), Yeni Hayat (1994), Benim Adım Kırmızı (1998), Kar (2002), Masumiyet Müzesi (2008) and Kafamda Bir Tuhaflık (2014) of Orhan Pamuk who is one of the main authors of the postmodern Turkish novel, in the context of Edward W. Said's theory of orientalism.
Alan : Filoloji
Dergi Türü : Uluslararası
Benzer Makaleler | Yazar | # |
---|
Makale | Yazar | # |
---|