Özet:

From a philosophical and sociological point of view, it is not difficult to find a answer to the question which field/discipline postmodernism reflects most. Concepts such as "postmodern music" or "postmodern cinema" are not heard as often as "postmodern literature". In addition, when Lyotard’s rejection of interdisciplinary distinction and the achievement of concepts like “interdisciplinary” and “transdisciplinary” together with Postmodernity are taken into account, it is “unreasonable” in this respect to emphasize the relationship of Postmodernism with literary discipline. Nevertheless, even if we see "Postmodernism" and "roman" as concepts belonging to two different disciplines, their ties to each other are quite tight. The novel, which is the greatest product of the world of narrative literature, has brought the novel from Postmodernism to a different dimension. The postmodern novel looks like a period at first glance, but it is a kind. We cannot claim that every novel written in postmodernity period is a postmodern novel. Postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel, postmodern novel. In addition to these (some subtypes) the same situation is also mentioned in techniques such as assembly, collage, paste, parody, irony. The number of postmodernist novelists/roman writers, who put the writer's deception and the reader's stupidity in the forefront, is limited alongside the remaining countless novelists. In the world, Italo Calvino, Umberto Eco, Paul Auster, Patrick Süskind; a limited number of Romans from Turkish literature, such as Son Atay, Orhan Pamuk, offer postmodern novel examples. In this study, the reading process is discussed in postmodern novels that are quite tired but so pleasant for the "quality" reader, but offer only limited information to the "aptal" reader. Postmodern novels are wondering what the postmodern elements are and how the reader has become one of these elements.

Anahtar Kelimeler:

Özet:

Postmodernity, whose connection with modernity has not yet been fully revealed, has carried itself beyond being a philosophical and sociological value system. It is possible to see postmodernism in literature, cinema, music, architecture and plastic arts today. Postmodernism, which can conceptually date back to 1870s through the painter Chapman, in fact, made its presence felt in the 1960s. The reflection of the concept in literature, which has been discussed by some platforms today about whether it is a period or a current, is quite interesting. We see a trend in the literature that pushes aside the traditions and judgments that have been created up to that day and does not care about this situation. From a philosophical and sociological point of view, it is actually not difficult to find an answer to the question of which field/discipline Postmodernism is reflected in the most. Concepts such as "postmodern music" or "postmodern cinema" are not heard as often as "postmodern literature". In addition, when facts such as Lyotard's refusal of interdisciplinary distinction and concepts such as "interdisciplinary" and "transdisciplinary" gaining importance together with Postmodernity are concerned, it is "irrational" in this respect to emphasize the relationship of postmodernism with the discipline of literature. Still, even though we see "postmodernism" and "novel" as concepts belonging to two different disciplines, their connection to each other is quite tight. The things that the novel, perhaps the biggest product of the narrative world of literature, took from Postmodernism, carried the novel to a different dimension. Although the postmodern novel may seem like a period at first glance, it is a genre. We cannot claim that every novel written in the postmodern period is a postmodern novel. Elements such as intertextuality and metafiction that give postmodern novels their unique characteristics are not present in every novel written after Modernity. Apart from these, the same situation is valid in techniques such as montage, collage, pastiche, parody, irony (some of which are subgenres). The number of postmodernist novelists who put forward the genius of the writer and the stupidity of the reader is limited compared to the countless remaining novelists. Novelists, who are not limited to names such as Italo Calvino, Umberto Eco, Paul Auster, Patrick Süskind in the world, and Oğuz Atay, Orhan Pamuk in Turkish literature, but are still limited, offer postmodern novels. In this study, postmodern novels, whose reading process is rather exhausting but equally pleasurable for "quality" readers, and which offer only limited information to "stupid" readers, are discussed. The study examines what the postmodern elements of postmodern novels are and how the reader turns into one of these elements.