Abstract:

René Girard has given a new approach to literary criticism with the model of "triangular desire" (mimetic desire). He created a triangle from the essence, the object and the indifferent in order to reveal the historical structure of his desire. In this triangular relationship where spatial curvation is a triangle, although the object changes with each curvation, he emphasized that the triangle is permanent. Nevertheless, he pointed out that the Christian religion is universal by expressing that the "romancial deha" he used for works that reveal the triangle structure can only be formed by Christian symbolism. It seems that Girard does not count on the romantic experience that other beliefs and cultures form. From here, by moving, it can be said that it has broken its universality by downturning a theory that should be considered a common part of all civilizations, and therefore universal acceptance. At this point, the question comes to mind: Is there any work that illustrates the romantic devil in Turkish literature? Can Roman-sal experience also form Islamism? Is it possible to find a common speech in all religions that form the romantic experience? If such a word is, how should it be interpreted? It will not be possible to support or criticize Girard’s claim without answering these questions. From the universality of the theory to the nature of the romantic devil formed by various cultures and civilizations, many arguments will gain scientific qualification by answering these questions. In this article, a biographical novel entitled A I Am And From Me In (2002) on the subject of the Yunus Order of Emine Işınsu has been addressed in the framework of the triangular desire model. In Turkish literature, it is possible to talk about the existence of the romantic dehan in almost every novel on the subject of the student-murship relationship, but in such texts there is a special position of those written on Yunus Emre. There is no accurate information about the real life story of Yunus Emre. Therefore, in the novels about him, the poems of Yunus and the symbolism of Islam are the primary sources. These two basic sources show that there is a very remarkable similarity, close proximity between the modern man, which Yunus Emre and Girard emphasized when creating the theory. Unlike tradition, it appears that Yunus has a personality that reflects the depression and twisting of modern man. In the article, I am a person who is deeply focused on the example of the romantic dewi formed by Islamic symbolism and I am focused on the terminology of the menkibes and tasavvufs they host. The symbols in the memories that the novel feeds have been identified and resolved. In this way, it has been shown that Işınsu uses Islamic philosophy and symbolic language as a tool, instead of interpreting it as it is traditionally. The writer’s scripts are also focused on his ability in ordering and interpreting. As a result, it has been revealed that biographical novels on the subject of mutasavvives, if they are called the novels, are capable of the series and interpretation of the novels, but they must be re-written and carry up-to-date features. As a result, I am there and I have shown the historical structure of the desire in the novel named In Me. According to the analysis made, despite Girard’s claim, the romantic deha formed by Islamic symbolism has been demonstrated. Thus, it has been observed that the triangular desire model, which should be universal, is not formed by the Christianity alone, but is structured in accordance with the particular belief and culture to which the Roman belongs.

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Abstract:

René Girard has introduced a new approach to literary criticism with his model of the “triangular desire” (mimetic desire). In order to reveal the mimetic structure of desire, he has described various formations of the triangle comprising of a subject, an object and a mediator. He has stressed that in this triple relationship where the spatial metaphor is a triangle, the triangle is permanent although the object may change in each adventure. He, however, by expressing that the novelistic genius he coined for the works that reveal the triangular structure can only be shaped by Christian symbolism, has stated that Christianity is universal. His statement apparently disregards the novelistic experience shaped by other beliefs and cultures. In this respect, by reducing his theory to a single religion he undermines its universality, which should otherwise be the common denominator of civilizations, i.e. universal. Hence the following questions: Is there any work of literature in Turkish which exemplifies the novelistic genius? Can novelistic experience be shaped by Islamic symbolism? Is it possible to find a common discourse in all religions that shapes novelistic experience? If such a discourse exists how should one interpret it? Without answers, the likelihood of agreeing with or criticizing Girard’s statement is improbable. An array of assumptions from the universality of his theory to the characteristics of the novelistic genius shaped by various cultures and civilizations would be scientifically proven, only when one dares to seek answers to those questions.  This article analyzes Emine Işınsu’s biographic novel based on the Turkish mystic Yunus Emre, Bir Ben Vardır Bende Benden İçeri (There is a Self in Myself Deeper than Myself, 2002) within the framework of the triangular desire model. It is possible to find the novelistic genius in almost every Turkish novel based on a disciple-guide relationship. Among such works, however, the ones written on Yunus Emre occupy a special place. The information regarding Yunus Emre’s actual life is scarce, if any; a fact which renders his poems and the hagiography adorned with Islamic symbolism the major sources on the subject. Both sources reveal a remarkable similarity, an affinity between Yunus Emre and the modern man Girard portrays while developing his theory. Contrary to the convention, Yunus’s personality reflects the crisis and the dilemmas of the modern man.  The paper examines the novel’s usage of the Sufi hagiography and terminology to scrutinize Bir Ben Vardır Bende Benden İçeri as an example of the novelistic genius shaped by Islamic symbolism. It identifies the symbols in the hagiography that nourish the novel and examines them. It demonstrates that Işınsu employs Islamic philosophy and the symbolic language as instruments enabling her to interpret the convention instead of merely rewriting it. It also underlines the author’s capacity to arrange and conceive the hagiographic narratives. In tandem with it, it argues that a biographical novel which is based on a mystic should display a competence in putting the hagiographic narratives in order and deciphering them as well as carrying an updating attitude instead of a reproducing one, if it is to be considered a novel. In sum, this study reveals the mimetic structure of desire in Bir Ben Vardır Bende Benden İçeri. By doing so, it shows that, despite Girard’s statement, the novelistic genius can also be shaped by Islamic symbolism. Therefore, it proves that the triangular desire model, which is supposed to be universal, is not molded by merely Christianity but is structured according to the particular belief and culture to which the novel belongs.