Kafkaesque and Gothic: A Narratological Analysis of Ahmet Hamdi Tanpınar’s Short Story “Rüyalar”

Emrah Pelvanoğlu

Makale detayları

Kafkaesque and Gothic: A Narratological Analysis of Ahmet Hamdi Tanpınar’s Short Story “Rüyalar”

Yazarlar:

Emrah Pelvanoğlu

Yayıncı:

Istanbul University

Ana Başlıklar:

Edebi Çalışmalar (Diğer)

Dergi:

Türkiyat Mecmuası Vol.33 Issue 2, pp.415-438

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001311573

pISSN:

2651-3188

Anahtar kelimeler:

Özet:

 Ahmet Hamdi Tanpınars short story Rüyalar Dreams was originally published in 1952 and later included in his 1955 short story collection Yaz Yağmuru Summer Rain. Focused on the conclusive scene of the narrative, the story maintains a sense of tension throughout as experienced by the protagonist Cemil and revolves around the pivotal question of what will happen next. Rather than employing a convoluted plot structure syuzhet, the composition relies on a linear storyline fabula that steadily unfolds, adhering to a progressive chronology. This article conducts a close narratological reading of Tanpınars story to analyze its narrative composition, which is distinctive from Tanpınars general works of fiction. The examination reveals the story to employ a linear storyline in chronological progression and to utilize dream scenes to guide readers toward an almost expected and conclusive finale. Despite the deliberate deferral of clarifications related to dream-induced uncertainties, the underlying linear causality of the storyline contributes to the narratives overarching strategy of gradual demystification. While the narrative is presented in the third-person singular, the storys perspective remains firmly rooted in that of the protagonist, Cemil. This literary approach, evocative of the works of Franz Kafka, such as The Trial and The Metamorphosis, serves to uphold Cemils personal crisis as a potential source for a modernist narrative. However, the anagnorisis involving Cemils talkative friend in the final stage, along with the abrupt emergence of the ghost at sea, ultimately diminishes the modernist elements that had been progressively unfolding throughout the narrative.

 Ahmet Hamdi Tanpınars short story Rüyalar Dreams was originally published in 1952 and later included in his 1955 short story collection Yaz Yağmuru Summer Rain. Focused on the conclusive scene of the narrative, the story maintains a sense of tension throughout as experienced by the protagonist Cemil and revolves around the pivotal question of what will happen next. Rather than employing a convoluted plot structure syuzhet, the composition relies on a linear storyline fabula that steadily unfolds, adhering to a progressive chronology. This article conducts a close narratological reading of Tanpınars story to analyze its narrative composition, which is distinctive from Tanpınars general works of fiction. The examination reveals the story to employ a linear storyline in chronological progression and to utilize dream scenes to guide readers toward an almost expected and conclusive finale. Despite the deliberate deferral of clarifications related to dream-induced uncertainties, the underlying linear causality of the storyline contributes to the narratives overarching strategy of gradual demystification. While the narrative is presented in the third-person singular, the storys perspective remains firmly rooted in that of the protagonist, Cemil. This literary approach, evocative of the works of Franz Kafka, such as The Trial and The Metamorphosis, serves to uphold Cemils personal crisis as a potential source for a modernist narrative. However, the anagnorisis involving Cemils talkative friend in the final stage, along with the abrupt emergence of the ghost at sea, ultimately diminishes the modernist elements that had been progressively unfolding throughout the narrative.

 Ahmet Hamdi Tanpınars short story Rüyalar Dreams was originally published in 1952 and later included in his 1955 short story collection Yaz Yağmuru Summer Rain. Focused on the conclusive scene of the narrative, the story maintains a sense of tension throughout as experienced by the protagonist Cemil and revolves around the pivotal question of what will happen next. Rather than employing a convoluted plot structure syuzhet, the composition relies on a linear storyline fabula that steadily unfolds, adhering to a progressive chronology. This article conducts a close narratological reading of Tanpınars story to analyze its narrative composition, which is distinctive from Tanpınars general works of fiction. The examination reveals the story to employ a linear storyline in chronological progression and to utilize dream scenes to guide readers toward an almost expected and conclusive finale. Despite the deliberate deferral of clarifications related to dream-induced uncertainties, the underlying linear causality of the storyline contributes to the narratives overarching strategy of gradual demystification. While the narrative is presented in the third-person singular, the storys perspective remains firmly rooted in that of the protagonist, Cemil. This literary approach, evocative of the works of Franz Kafka, such as The Trial and The Metamorphosis, serves to uphold Cemils personal crisis as a potential source for a modernist narrative. However, the anagnorisis involving Cemils talkative friend in the final stage, along with the abrupt emergence of the ghost at sea, ultimately diminishes the modernist elements that had been progressively unfolding throughout the narrative.

 Tanpınarın ilk olarak 1952 yılında Aile dergisinde yayımlanan ve 1955 tarihli Yaz Yağmuru kitabında yer alan Rüyalar hikâyesi, Ahmet Hamdi Tanpınarın sevdiği gotik unsur ve temaları içermekle beraber, biçim açısından zorluğu ve titizliği ile bilinen yazarın alışılagelmiş edebiyatından farklı bir yerde durmaktadır. Hikâyenin final sahnesine odaklanan ve kahramanı Cemilin yaşadığı gerilimi Şimdi ne olacak sorusu? ile sürdüren kompozisyonu, olay örgüsüyle ilgili bir karmaşıklıktan ziyade, ilerledikçe açılan kronolojik bir hikâye anlatımına dayanır. Bu yazıda Rüyaların, Tanpınarın kurmaca eserlerinden genel olarak farklılaşan kompozisyonunu çözümlemek için hikâyenin anlatı bilimi açısından yakın okuması yapılmıştır. Buna göre Rüyaların çizgisel bir anlatımla kronolojik olarak ilerleyen hikâyesi, hikâyedeki rüya anlatılarının bu çizgisel anlatımın belirlediği final sahnesi için olay-örgüleştirilmesine dayanır. Tanpınarın farklı kurmaca metinlerinde karşılaşılan ve onun belirsizliğe ve biçimselliğe dayanan modernist anlatıcılığının en önemli unsurlarından olan rüya anlatıları, hikâye boyunca hem gizemi askıda tutup hem de her açıklamada yenilerini talep eden muğlaklıklar yaratarak olay örgüsünü belirler. Ancak rüyaların yarattığı belirsizliklerin açıklanması ne kadar ertelenirse ertelensin, hikâyenin çizgisel anlatı özelliği olay örgüsünü nihai gizemsizleştirme stratejisinin bir parçası kılar. Hikâye üçüncü teklik şahıs bir anlatıya sahip olmasına rağmen anlatıcı, hikâyenin kahramanı Cemilin bakış açısının dışına çıkmaz. Değişim, Dava gibi meşhur Franz Kafka kurmacalarında gördüğümüz bu teknik, Cemilin hikâye boyunca finale ertelenen krizini, son ana kadar modernist bir anlatının malzemesi olarak da okutur. Ancak finalde karşılaşılan geveze arkadaşın hikâyenin bütün modernist potansiyelleri ile uyumsuz ve grotesk aleladeliği ve deniz üstünde birden beliren hayalet, Rüyaları Kafkavari ve gotik, ama dümdüz bir hayalet hikâyesi olarak okumamızı gerektirir.

Makale detayları

Kafkaesque and Gothic: A Narratological Analysis of Ahmet Hamdi Tanpınar’s Short Story “Rüyalar”

Yazarlar:

Emrah Pelvanoğlu

Yayıncı:

Istanbul University

Ana Başlıklar:

Edebi Çalışmalar (Diğer)

Dergi:

Türkiyat Mecmuası Vol.33 Issue 2, pp.415-438

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001311573

pISSN:

2651-3188

Narratology

Story

Fabula

Plot

Syuzhet

Motif

GothicAnlatı Bilimi

Öykü (Fabula)

Olay Örgüsü (Syuzhet / Sujet)

Motif

Gotik

Sayı

Makale detayları

Yazarlar: Emrah Pelvanoğlu

Yayıncı: Istanbul University

Ana Başlıklar: Edebi Çalışmalar (Diğer)

Dergi: Türkiyat Mecmuası Vol.33 Issue 2, pp.415-438

Belge Tipi: Makale

Yayın Tarihi: 12/2023

Belge Dili: Türkçe

Document ID (Org No.): 2001311573

pISSN: 2651-3188

Sayı

Yazarlar:

Emrah Pelvanoğlu

Yayıncı:

Istanbul University

Ana Başlıklar:

Edebi Çalışmalar (Diğer)

Dergi:

Türkiyat Mecmuası Vol.33 Issue 2, pp.415-438

Belge Tipi:

Makale

Yayın Tarihi:

12/2023

Belge Dili:

Türkçe

Document ID (Org No.):

2001311573

pISSN:

2651-3188