PETER ACKROYD’UN CİNAYET SANATI’NDA İKİLİLİK SANATI

Abstract

Bu makale Peter Ackroyd’un Cinayet Sanatı romanını teorisyen Linda Hutcheon’un postmodernism tanımlaması ışığında incelemektedir. Hutcheon postmodernizmin en belirleyici özelliğinin “çifteliğe veya ikili olmaya olan bağlılık” olduğunu savunur. “Anti-detektif roman” diye tarif edilen detektif romanının parodisini yapan başka eserlerin aksine,  Ackroyd’un romanı detektif romanını tamamen alaşağı etmektense iki görünürde çelişkili işlevi bir arada yürütüyor. Bir yandan okuyucuların bu türden beklentilerini karşılayan keyifli bir detektif romanı işlevi görürken, aynı ayna bu türün kurallarını ve metotlarını yıkan bir postmodern parodisi işlevi görüyor. Her iki işlevin birlikte nasıl bir etkileşim içinde bulunduğu ve birbirlerini nasıl bir yandan beslerken bir yandan da zayıflattığı incelenecektir.

Keywords

• çiftelik,ikililik,postmodern,parodi,detektif romanı,Ackroyd

DUPLICITOUS DETECTION IN PETER ACKROYD’S DAN LENO AND THE LIMEHOUSE GOLEM

Abstract

This paper analyses Peter Ackroyd’s novel Dan Leno and the Limehouse Golem in view of Linda Hutcheon’s definition of postmodernism as a “commitment to doubleness, or duplicity”. Unlike other postmodern parodies of crime fiction that have been termed the “anti-detective novel”, Dan Leno and the Limehouse Golem does not fully deconstruct the genre on which it is founded. Instead, Ackroyd’s novel manages to function on two apparently contradictory levels: as an enjoyable crime novel that satisfies readers’ expectations of that genre and simultaneously as a postmodern parody of the crime novel that subverts its conventions. Both of these functions of the novel, how they interact and how they work to both undermine and bolster one another will be analysed.

Keywords

• duplicity,postmodern,parody,crime fiction,Ackroyd

References

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