The Postmodern ‘Sublime’ in Orhan Pamuk’s Texts of Innocence

Yıl 2023, , 219 - 236, 01.02.2023

Seda Arıkan

https://doi.org/10.22559/folklor.2319

Öz

Orhan Pamuk published The Museum of Innocence in 2008, two years after getting his title of the first Turkish Nobel laureate. He opened the city museum named
“Museum of Innocence” four years after the publication of this novel, which he had dreamed of collecting the objects to be exhibited for many years. In the
same year, he published a catalogue titled The Innocence of Objects (2012) for this museum in which Pamuk writes about the objects, their relations to his life
and his city İstanbul. The documentary film on this city museum, Innocence of Memories (2015), is shot in a collaboration between Pamuk and British director
Grant Gee. Finally, a retrospective book titled The Innocence of Memories–which includes the screenplay, the conversation between the author and the director, and selected frames of this film–was published in 2016. All these written and visual texts by Pamuk, which are preferred to be named The Texts of Innocence in this study, open the way for an interplay and intertextuality re-represented by the spiral metaphor. This paper suggests, based on this metaphor that signifies an ‘unwinding path’ going through all these narratives, Orhan Pamuk produces the dynamics of the sublime that is related to presenting the unpresentable, free play, aesthetic formation, and the gaze of the perceiver in the postmodernist era. In this sense, this study aims to trace the postmodern dynamics of the sublime, turning around a set of objects presented and (re)presented to the reader, the museum-goer, and the audience within the fiction, the fictionalized non-fiction, and visual art narratives by Orhan Pamuk.

Anahtar Kelimeler

Orhan Pamuk, The Museum of Innocence, postmodern sublime, object, representation

Orhan Pamuk’un Masumiyet Metinleri’nde Postmodern ‘Yüce’

Öz

Orhan Pamuk, ilk Nobel ödüllü Türk unvanını aldıktan iki yıl sonra, 2008 yılında Masumiyet Müzesi’ni yayımlar. İçinde sergilenecek nesneleri toplayarak uzun yıllardır açma hayali kurduğu “Masumiyet Müzesi” adındaki şehir müzesini ise romanın yayımlanmasından dört yıl sonra açar. Aynı yıl, müzede sergilenen nesneleri, bu nesnelerin yaşamıyla ve yaşadığı şehir İstanbul ile ilişkisini anlatan Şeylerin Masumiyeti (2012) adlı müze kataloğunu yayımlar. Bunları takiben, bu şehir müzesini konu alan Hatıraların Masumiyeti (2015) adlı belgesel, Orhan Pamuk ve İngiliz yönetmen Grant Gee iş birliğiyle çekilir. Son olarak, belgeselin senaryosunu, yazar ile yönetmen arasındaki röportajı ve bu belgeselden seçilmiş kareleri içeren
Hatıraların Masumiyeti adlı retrospektif bir kitap 2016 yılında yayımlanır. Bu çalışmada Masumiyet Metinleri olarak adlandırılması tercih edilen Orhan Pamuk’un tüm bu yazılı ve görsel metinleri, sarmal metaforu ile temsil edilen bir karşılıklı etkileşimin ve metinlerarasılığın yolunu açmaktadır. Bu makale, Orhan Pamuk’un tüm bu anlatılarının içinden “çözülerek giden bir yolu” temsil eden sarmal metaforundan yola çıkarak, Pamuk’un postmodernist çağda temsil edilemeyeni, serbest oyunu, estetik biçimi ve metinleri algılayan kişinin bakışını ortaya koyan bu metinlerinde yücenin dinamiklerini ürettiğini öne sürmektedir. Bu anlamda bu çalışma, okura, müze gezginine ve izleyiciye sunulan ve yeniden temsil edilen bir dizi nesne
etrafında dönen yücenin postmodern dinamiklerinin Orhan Pamuk’un kurgusunda (roman), kurgulaştırılmış kurgu-dışı anlatılarında (müze kataloğu ve film üzerine
kitap) ve görsel sanat anlatılarındaki (müze ve belgesel film) izini sürmeyi amaçlamaktadır.

Anahtar Kelimeler

Orhan Pamuk, Masumiyet Müzesi, postmodern yüce, nesne, temsil

Kaynakça

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