Analyzing Literary Space through ‘The Spatial Triad’ by Henri Lefebvre in Orhan Pamuk’s ‘The Museum of Innocence’

Yıl 2022, Cilt: 39 Sayı: 1, 237 - 252, 30.06.2022

Belgin Yuncu Zeynep Tuna Ultav Aslı Ceylan Öner

https://doi.org/10.32600/huefd.958012

Öz

This paper aims to present a different approach to the notion of literary space in a work of literature with regards to Henri Lefebvre’s spatial triad. Orhan Pamuk’s representation of space in his acclaimed novel; The Museum of Innocence and the actual museum along with the narrative will be referred as the case study since it is a unique example of a narrative transforming into an architectural form. Lefebvre’s spatial triad –perceived, conceived, lived space– that looks at space as a social product, will be applied as an investigatory tool to understand the notion of literary space. Relying on the fact that space can be a narrative acting independently within the narrative itself, Pamuk’s design becomes an affluent space for everyday life objects, without which, a sense of inadequacy would occur all throughout the novel and the actual museum. Conclusively, the main principle behind the selection of Lefebvre over many other existing theories on space is that Lefebvre’s spatial categories has provided the necessary grounds and flexibility in explaining the transition from a literary work into an architectural one on account of his acknowledgement that it would be better if the space in literary texts could be represented architecturally.

Anahtar Kelimeler

Literary space, Henri Lefebvre, spatial triad, Orhan Pamuk, The Museum of Innocence

Destekleyen Kurum

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Proje Numarası

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Teşekkür

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Masumiyet Müzesi’nde Yazınsal Mekânı Henri Lefebvre’in ‘Mekân Üçlemesi’ Üzerinden İncelemek

Öz

Bu çalışmanın amacı, bir edebiyat eserinde, hikâyenin geçtiği temsili mekân olan yazınsal mekân kavramına, Henri Lefebvre’in mekân üçlemesi üzerinden farklı bir yaklaşım sunmaktır. Orhan Pamuk’un geniş ölçüde takdir gören romanı Masumiyet Müzesi ve buna bağlı olarak mevcut müzesi; anlatının mimari bir forma dönüştüğü özgün bir temsil olması nedeniyle, örnek alan çalışması olarak ele alınacaktır. Lefebvre’in mekâna sosyal bir ürün olarak bakan üçlemesi –algılanan, tasarlanan ve yaşanan mekân– yazınsal mekân kavramını anlamlandırmak adına inceleme niteliğinde bir araç olarak kullanılacaktır. Mekânın anlatı içerisinde kendiliğinden, bağımsız bir anlatı oluşturabileceği gerçeğine dayanarak, Orhan Pamuk’un tasarımı gündelik yaşam nesneleri için –ki olmadıkları takdirde tüm roman boyunca ve mevcut müzede eksiklik hissi ortaya çıkacaktır– zengin bir tasarım mekânı haline gelir. Yazınsal mekân ve tasarlanan mekânı bir araya getirmek, mekân kavramını çok yönlü tartışabilmek adına özgün bir örnek oluşturmaktadır. Sonuç olarak, mekân üzerine kurgulanmış olan pek çok mevcut teori arasından Lefebvre’in üçlemesinin seçimi, Lefebvre’in de yazınsal mekânların mimari olarak temsil edilebilmesinin daha iyi olacağını kabul etmesiyle, yazınsal bir mekânın, mimari bir mekâna dönüşümünü açıklamada gerekli olan zemini ve esnekliği sağlamıştır

Anahtar Kelimeler

Yazınsal mekân, Henri Lefebvre, mekân üçlemesi, Orhan Pamuk, Masumiyet Müzesi

Proje Numarası

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Kaynakça

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