Anlatısal Mercekler: “Beyaz Mantolu Adam” ve “Korkuyu Beklerken”de Odaklanma Biçimleri

Abstract

Odaklanma, kurmaca söylemin mobilize olmuş görüş hatlarını araştırmaya ayarlı yazınsal bir araçtır. Bu anlamda anlatı dinamiklerini, belirli görme istasyonlarına sabitleyen konvansiyonel bakış açısından ayrılır. Odaklanma, kurmacanın görüş alanını hem minör hem majör açılara böler ve daha ince taneli bir görsel ve duyusal analizin önünü açar. Bu anlamda odaklanma biçimleriyle beraber anlatısal mercekler bakış açısının rijit kategorizasyonunun mahrum olduğu bilişsel ve geometrik bir üretici bir kapasiteye ulaşır. Böylelikle Gérard Genette’in rehberliğinde gelişen odaklanma terimi, çağdaş anlatı poetikasının şablon kırıcı etkileriyle ve eleştirel kazanımlarıyla beraber terakki eder. Bu çalışma; kurmacanın lenslerin işte bu tür bilişsel ve geometrik yenilenmeyle kabuk değiştirdiği görüş dinamiklerini, odaklanma teriminin rehberliğinde analiz eder. Bakış açısının durağan ve genel kalıplarının dışına çıkarak anlatısal söylemi, hareketli merceklerle optik parçalanmaya tabi tutar. Oğuz Atay’ın “Beyaz Mantolu Adam” ve “Korkuyu Beklerken” adlı öyküleri, bu optik parçalanmaya ve odak analizine temel sağlayan önemli eserlerdir. Her iki öykü aracılığıyla da anlatısal merceklerin hem dinamik hem de angaje olmuş söylemsel örüntüleri açığa çıkar. Bu anlamda “Beyaz Mantolu Adam” ve “Korkuyu Beklerken” öyküleri, bu araştırmanın uygulayıcı ilkelerinin ve ayırt edici pratiklerinin belirginleştirilmesinde temel rol oynayan iki yazınsal üründür. Araştırmanın amacı, her iki öykünün de işlevsel bir seçicilikle materyalize ettiği kurmacanın göme biçimini, odaklanma biçimleri aracılığıyla çözümlemektir.

Keywords

• Çağdaş Türk Edebiyatı
• Oğuz Atay
• Kurmaca Anlatı
• Mercek
• Odaklanma
• Optik

Narrative Optics: Forms of Focalization in Oğuz Atay’s “The Man in a White Overcoat” and “Waiting for the Fear”

Abstract

Focalization acts as a narrative lens, precisely calibrated to probe how lines of vision are mobilized and channeled through fictional discourse. In this regard, focalization breaks away from conventional point of view which confines narrative optics to predetermined and unwavering viewing stations. Therefore, focalization facilitates more granular visual and sensory inspection by partitioning fictional field of vision into minor and major segments. In this fashion, departing from rigid classification of point of view, narrative optics enable cognitive and geometric generative capacity through fluid forms of focalization. Thus, Gérard Genette’s articulation and formulation evolves through pattern-breaking impacts and shifting dynamics of contemporary narrative poetics. This research explores and scrutinizes kinetics of narrative vision through which fictional lenses are operationalized by cognitive and geometric orientations, surpassing their conventional boundaries. Stepping outside the sweeping generalizations and stationary constructions of point of view, the paper subjects narrative discourse to optical deconstruction through mediation of transitionary lenses. Oğuz Atay’s short stories “Beyaz Mantolu Adam” and “Korkuyu Beklerken” are characteristic fictional narratives which establish discursive bases for such optical deconstruction and focal dissection. Both short stories employ fictional lenses which are programmed and fine-tuned by narrative utterances so as to demonstrate intricate and clinical ocular and sensual positioning. In this sense, Oğuz Atay’s referred short stories play pivotal role in highlighting defining characteristics and practices of this optical narrative research. The present paper seeks to interrogate how narrative vision and focalization operates inside literary discourse and sketch out rolling and floating discursive performances of seeing and sensing.

Keywords

• Contemporary Turkish Literature
• Oğuz Atay
• Narrative Fiction
• Lenses
• Focalization
• Optics

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