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Napięcia kierunkowe w Śniegu

100%
Baş O. F.
Forum Poetyki
|
2019
|
issue 15-16
66-79
EN
The article describes the hidden political content of the novel Snow (in Turkish: Kar) written by the Nobel winner Orhan Pamuk. Snow is analyzed in terms of tensions between artistic abstraction and realism.
PL
Próba odwrócenia politycznej „życiowej treści” powieści Śnieg (tur. Kar) tureckiego noblisty Orhana Pamuka z artystycznej abstrakcji do rzeczywistości.
2

Przestrzenią staje się czas. Gesty nostalgiczne i melancholijne Pamuka i Pessoi

92%
Roszak J.
Rocznik Komparatystyczny
|
2012
|
vol. 3
p. 159-173
EN
A special interest in geopoetics, a flourishing idea since the 1980s of the 20th century, may be observed to have developed in the areas of Central and Eastern Europe and in Germany. As an inhabitant of these regions, I am interested in how authors deriving from other corners of the European continent fit in the frame of geopoetics. This article concerns the Portuguese writer Fernando Pessoa and the Turkish writer Orhan Pamuk, both of whom had come from imperial empires (Portugal and Turkey, respectively) that no longer possess their numerous colonies and could now be thought to be yearning for their lost power. In Pamuk’s Istambul and Pessoa’s The Book of Disquiet, I discuss how these writers tackle the epistemology of nostalgia (saudade, hüzün, dor) and space.
3
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Realpoetik

82%
Hamilton P.
Forum Poetyki
|
2019
|
issue 15-16
52-65
EN
Próba odwrócenia politycznej „życiowej treści” powieści Śnieg (tur. Kar) tureckiego noblisty Orhana Pamuka z artystycznej abstrakcji do rzeczywistości.
PL
Autor wskazuje na niewykorzystaną możliwość odczytania ukrytego projektu polityczności romantyzmu europejskiego. W perspektywie porównawczej można zauważyć zbieżność różnych odmian literackiego romantyzmu dążącego do wymyślenia polityki będącej alternatywą zarówno dla czasów napoleońskich, jak i dla decyzji Kongresu Wiedeńskiego.
4
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Nowe życie Orhana Pamuka i Jeśli zimową nocą podróżny Italo Calvino, czyli o książce w książce

70%
Młynarczyk A.
Studia Azjatystyczne
|
2015
|
issue 1
101-114
PL
This article presents two aspects of showing the power of literature. Orhan Pamuk, a Turkish Nobel prize winner, in his book New life is more focused on the content of the novel. Main characters of the story are entirely devoted to one book that totally changes their lives. Italo Calvino is more focused on the structure. His characters take part in a great adventure just to find the end of the story that they are interested in. The main goal of this article is to show differences and similarities in showing the same literary issue. Italo Calvino's novel is more optimistic and positive. Literature has good influence on his characters. On the other side, Orhan Pamuk's novel shows a destructive side of literature. Characters in his book seem to be defeated from the very beginning. Those two books show in a very good way the difference between European optimism and Oriental, especially Turkish, sentimentality, which in Turkish language has its own name – hüzün. It can be translated as 'blues, sadness, spleen'.Both novels present the power of literature and its influence on readers.
5
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THE CHRONOTOPE OF LOVE EXPLORED THROUGH ORHAN PAMUK’S THE MUSEUM OF INNOCENCE

36%
Vaso K.
Świat Tekstów. Rocznik Słupski
|
2018
|
vol. 16
139-148
EN
Through Orhan Pamuk’s novel, The Museum of Innocence, and Mikhail Bakhtin theory on the chronotope, specifically the idyllic chronotope, the article explores the specific chronotope of love which possesses a dual nature, both specific and timeless. Like all lovers, the novel’s protagonists, Füsün and Kemal belong simultaneously to the particu-lar place and time of their circumstances and the intimate world they create which tem-porarily transcends the boundaries of space and time. This private world echoes that of Adam and Eve, one suspended between the innocence and isolation of a private world and the looming threat of the real world’s interference. This dynamic between the place-less and time-less world of two and its existence within a specific place and time is espe-cially palpable in Orhan Pamuk’s novel, the very premise of which rests on the preserva-tion of a specific temporal period through artefacts, here belonging to Füsün, Kemal’s love. The eponymous museum refers to Kemal’s obsessive gathering and conservation of any item that belongs to her. The meetings of the lovers are dated with a historian’s precision and placed in the exact spot of Istanbul, the author’s beloved city. Kemal and Füsün could be Adam and Eve or any other literary couple following in their footsteps, yet their isolated world is interrupted by the noises, light and smells belonging to Istanbul alone. This specific chronotope belonging to love echoes Peter Pan’s island or Alice’s wonderland but the adult version of this private universe cannot be quite as separate from the real world. The latter can only partially escape and remains halfway trapped in its exact coordinates and time zone. My article ventures the thesis that the children’s and adult’s versions represent a similar effort to create a world of innocence and freedom though to a lesser degree in the second case.
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