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Kamila Shamsie’nin Kül Olmuş Gölgeler romanında bellek ve uzamın sembolleştirilmesi

Yıl 2021, Sayı: 25, 1151 - 1160, 21.12.2021
https://doi.org/10.29000/rumelide.1038663

Öz

Bellek ve edebiyat arasındaki ilişki edebiyat çevrelerinin gündemini yüzyıllar boyunca meşgul etmiştir. Bu ilişki o kadar güçlüdür ki belleği edebiyatta başat ve baskın bir konuma yükselten yeni edebi alttürlerin ortaya çıkmasına yol açmıştır. Öte yandan uzam ve kimlik de yazma sürecinde, başka bir ifadeyle (yeniden) icat etme ya da (yeniden) üretim sürecinde bu ilişkinin önemli bileşenleri olarak kabul edilir. Kamila Shamsie yapıtlarında bellek, uzam, kimlik ve edebiyat arasındaki ilişkiyi irdeleyen yazarlar arasındadır. Shamsie, Kül Olmuş Gölgeler adlı romanında II. Dünya savaşı esnasında Nagazaki’ye atılan atom bombasında yaralanan Japon bir kadının, Hiroko Tanaka’nın öyküsünü kurgular. Bombalama onda hem zihinsel hem de bedensel hasar bırakır. Yazar bu hasarları imgeler ve semboller üzerinden somutlaştırır. Bu makale yazarın somutlaştırdığı bu imgeler ve semboller aracılığıyla bellek, uzam, kimlik ve edebiyat arasındaki ilişkiyi tartışmayı amaçlar. Bu çalışmada, yazarın belleği sembolize eden imge olarak neden turna kuşunu tercih ettiği ve belleğin mekânı olarak neden Hiroko’nun sırtını seçtiği, edebiyatta bellek – uzam ilişkisi çerçevesinde irdelenmeye çalışılmıştır. Ayrıca bireyin kimlik arayışında bellek ve uzamın rolü ve katkısı, yaşam deneyimlerinin bireyin kimlik inşası açısından önemi yine bu çalışmanın ortaya koymaya çalıştığı amaçlardan biridir.

Kaynakça

  • Benjamin, W. (2009). On Some Motifs in Baudelarie. M. Damon and I. Livingston (Eds.), Poetry and Cultural Studies (pp. 37-56). USA: University of Illinois.
  • Bethea, D. and Cavanagh, C. (1994). Remembrance and Invention: Poetry and Memory in Modern Russia. The Russian Review, 53(1), 1-8. https://doi.org/10.2307/131290
  • Cook, B. (2021). The Ruin: An Old English Mnemonic?. Neophilologus: An International Journal of Modern and Medieval Language and Literature. 105(1):123-136. https://doi.org/10.1007/s11061-020-09656-4
  • Davies, P. R. (2008). Memories of Ancient Israel. Louisville & London: Westminster John Knox Press.
  • Genette, G. (1980). Narrative Discourse: An Essay in Method (J. E. Lewin, Trans.). Ithaca, New York: Cornell University Press.
  • Janes, D. P. (2010). Hiroshima and 9/11: Linking memorials for peace. Behavioral Sciences of Terrorism and Political Aggression, 2(2), 150–161. https://doi.org/10.1080/19434471003597449
  • Kiczkowski, A. (2016). ‘Glocalization' in post-9/11 literature. "Burnt Shadows" by Kamila Shamsie. Journal of English Studies, 14(2016), 125-136. https://doi.org/10.18172/jes.2813
  • Magee, D. (1997). Reviewed Work: The Art of Memory by Frances A. Yates. Rhetoric Review, 16(1), 152-157. Retrieved from: www.jstor.org/stable/465972 on February 27, 2020.
  • Nelson, V. (1988). The Art of Memory. The Threepenny Review, 34(Summer), 3-5. Retrieved from: https://www.jstor.org/stable/4383663 on February 20, 2020.
  • Neumann, B. (2008). The Literary Representation of Memory. In A. Erll and A. Nünning (Eds.), Cultural Memory Studies: An International and Interdisciplinary Handbook (pp. 333-345). Berlin: Walter de Gruyter.
  • Rider, J. (2009). The Writer’s Book of Memory: An Interdisciplinary Study for Writing Teachers. New York and London: Routledge.
  • Shamsie, K. (2009). Burnt Shadows. Great Britain: Bloomsbury.
  • Singh, H. (2012). A Legacy of Violence: Interview with Kamila Shamsie about Burnt Shadows. A Review of International English Literature, 42(2), 157–162. Retrieved from: https://journalhosting.ucalgary.ca/index.php/ariel/article/view/35201 on February 20, 2020.
  • Veldhuizen, M. V. (2012). A Theology of Memory: The Concept of Memory in the Greek Experience of the Divine (Master’s Thesis). Retrieved from: https://bir.brandeis.edu/bitstream/handle/10192/58/MA%20Thesis%20-%20MC%20van%20Veldhuizen.pdf?sequence=1 on February 25, 2020.
  • Vitolo, D. (2016). The Performance of Identity in Kamila Shamsie’s Burnt Shadows. Transnational Literature, 8(2), 1-7. Retrieved from: https://dspace.flinders.edu.au/xmlui/bitstream/handle/2328/36084/The_Performance_of_Identity.pdf?sequence= on February 25, 2020.
  • Walsh, T. M. and Zlatic, T. D. (1981). Mark Twain and the Art of Memory. American Literature, 53(2), 214-231. Retrieved from: http://www.jstor.org/stable/2926100 on February 26, 2020. Yates, F. A. (1966). The Art of Memory. London: Pimlico.

Symbolisation of memory and space in Kamile Shamsie’s Burnt Shadows

Yıl 2021, Sayı: 25, 1151 - 1160, 21.12.2021
https://doi.org/10.29000/rumelide.1038663

Öz

The relationship between memory and literature has occupied the agenda of literary environment for centuries. This bond seems to be so strong that new literary subgenres uplifting memory to a major and dominant position in literature have emerged. On the other hand, space and identity have also been regarded as the components of this relationship in the process of writing; or in other words, in the process of (re)invention or (re)production. Kamila Shamsie is among the authors examining the relation among memory, space, identity and literature in their works. In her novel, Burnt Shadows, she fictionalises the story of a Japanese lady, Hiroko Tanaka, injured in the atomic bombing of Nagasaki during the Second World War. The bombing has left both mental and physical damages on her. The author has externalised those damages through images and symbols. This article aims to discuss the relationship between memory and space through those externalised images and symbols. In this study, the reason why the author prefers the crane as the image symbolising the memory and why she chooses the back of Hiroko as the space of memory is tried to be examined within the frame of the relationship between memory and space in literature. In addition, the role and contribution of space and memory in the search of identity and the importance of life experience with regards to the construction of identity is also one of the goals of the study that is tried to be revealed.

Kaynakça

  • Benjamin, W. (2009). On Some Motifs in Baudelarie. M. Damon and I. Livingston (Eds.), Poetry and Cultural Studies (pp. 37-56). USA: University of Illinois.
  • Bethea, D. and Cavanagh, C. (1994). Remembrance and Invention: Poetry and Memory in Modern Russia. The Russian Review, 53(1), 1-8. https://doi.org/10.2307/131290
  • Cook, B. (2021). The Ruin: An Old English Mnemonic?. Neophilologus: An International Journal of Modern and Medieval Language and Literature. 105(1):123-136. https://doi.org/10.1007/s11061-020-09656-4
  • Davies, P. R. (2008). Memories of Ancient Israel. Louisville & London: Westminster John Knox Press.
  • Genette, G. (1980). Narrative Discourse: An Essay in Method (J. E. Lewin, Trans.). Ithaca, New York: Cornell University Press.
  • Janes, D. P. (2010). Hiroshima and 9/11: Linking memorials for peace. Behavioral Sciences of Terrorism and Political Aggression, 2(2), 150–161. https://doi.org/10.1080/19434471003597449
  • Kiczkowski, A. (2016). ‘Glocalization' in post-9/11 literature. "Burnt Shadows" by Kamila Shamsie. Journal of English Studies, 14(2016), 125-136. https://doi.org/10.18172/jes.2813
  • Magee, D. (1997). Reviewed Work: The Art of Memory by Frances A. Yates. Rhetoric Review, 16(1), 152-157. Retrieved from: www.jstor.org/stable/465972 on February 27, 2020.
  • Nelson, V. (1988). The Art of Memory. The Threepenny Review, 34(Summer), 3-5. Retrieved from: https://www.jstor.org/stable/4383663 on February 20, 2020.
  • Neumann, B. (2008). The Literary Representation of Memory. In A. Erll and A. Nünning (Eds.), Cultural Memory Studies: An International and Interdisciplinary Handbook (pp. 333-345). Berlin: Walter de Gruyter.
  • Rider, J. (2009). The Writer’s Book of Memory: An Interdisciplinary Study for Writing Teachers. New York and London: Routledge.
  • Shamsie, K. (2009). Burnt Shadows. Great Britain: Bloomsbury.
  • Singh, H. (2012). A Legacy of Violence: Interview with Kamila Shamsie about Burnt Shadows. A Review of International English Literature, 42(2), 157–162. Retrieved from: https://journalhosting.ucalgary.ca/index.php/ariel/article/view/35201 on February 20, 2020.
  • Veldhuizen, M. V. (2012). A Theology of Memory: The Concept of Memory in the Greek Experience of the Divine (Master’s Thesis). Retrieved from: https://bir.brandeis.edu/bitstream/handle/10192/58/MA%20Thesis%20-%20MC%20van%20Veldhuizen.pdf?sequence=1 on February 25, 2020.
  • Vitolo, D. (2016). The Performance of Identity in Kamila Shamsie’s Burnt Shadows. Transnational Literature, 8(2), 1-7. Retrieved from: https://dspace.flinders.edu.au/xmlui/bitstream/handle/2328/36084/The_Performance_of_Identity.pdf?sequence= on February 25, 2020.
  • Walsh, T. M. and Zlatic, T. D. (1981). Mark Twain and the Art of Memory. American Literature, 53(2), 214-231. Retrieved from: http://www.jstor.org/stable/2926100 on February 26, 2020. Yates, F. A. (1966). The Art of Memory. London: Pimlico.
Toplam 16 adet kaynakça vardır.

Ayrıntılar

Birincil Dil İngilizce
Konular Dilbilim
Bölüm Dünya dilleri, kültürleri ve edebiyatları
Yazarlar

Şahin Kızıltaş Bu kişi benim 0000-0002-7836-1231

Yayımlanma Tarihi 21 Aralık 2021
Yayımlandığı Sayı Yıl 2021 Sayı: 25

Kaynak Göster

APA Kızıltaş, Ş. (2021). Symbolisation of memory and space in Kamile Shamsie’s Burnt Shadows. RumeliDE Dil Ve Edebiyat Araştırmaları Dergisi(25), 1151-1160. https://doi.org/10.29000/rumelide.1038663