Kadir Can Dilber
I am an Associate Professor of Comparative Literature, Ahi Evran University, Department of Turkish Language and Literature, Modern Turkish Literature. Education: Ph. D. Turkish Language and Literature, Atatürk University, 2013. Concentrations: Turkish Language and Literature, Modern Turkish Literature.Thesis: Türk Romanında Roman Sanatının Ele Alınışı - Examining The Art Of Novel In Turkish NovelsM.A.Turkish Language and Literature, On Dokuz Mayıs University, 2009.Concentrations: Turkish Language and Literature, Modern Turkish Literature, Classical Turkish LiteratureThesis: Edebiyatımızda Pozitivist Düşüncenin Gelişmesi ve Güneş Mecmuası - Development of Positivist Thought at our Literature and Gunes Magazine.B.A. Turkish Language Education, Gazi University, 2006.B.A Russian Language and Literature Erciyes University – (2017-…)Experiences:Asst. Prof., 2013-Ahi Evran University, Turkish Language and Literature, Modern Turkish Literature Studies.Research Assistant, 2009-2013Ahi Evran University, Turkish Language Education, Turkish Literature Studies.Guest Research 2006-2009On Dokuz Mayıs University, Turkish Language and Literature, Modern Turkish Literature Studies.Other Professional Activities: Departmental Erasmus Coordinator, 2015-2017 Ahi Evran Üniversitesi University, Department of Turkish Language and Literature.Corporate Communications Coordinator 2015-2016 Ahi Evran University RectorateResearch Skills: Modern Turkish Literature, Comparative Literature, Creative Writing, Russian Language and Literature, German Language and LiteratureCourses Taught:Modern Turkish Literature (1860-1909) (undergraduate)Modern Turkish Literature (1909-1923) (undergraduate)Modern Turkish Literature (1923- ….) (undergraduate)Literature Teories (undergraduate)Communication and Literature (undergraduate)Literary Trends (undergraduate)Creative Writing (undergraduate)World Literature (undergraduate)Story and Novel Analysis (undergraduate)Literature Teories (Master’s)Turkish Theater History (Master’s)The Beginning of New Turkish Poetry (Master’s)Literary Discussions in Turkish Literature (Master’s)Comparative Literature (Doctoral)Novel Theory (Doctoral)Literature Science (Doctoral)Novel Theory (Doctoral)Language Skills:Modern Languages:Turkish (Native language)English (Professional Working Proficiency)Ottoman Turkish (Reading knowledge)German (Professional Working Proficiency)Russian (Limited Working Proficiency)
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Papers by Kadir Can Dilber
The concept of mimesis (imitation) developed by Aristotle, producing the foundations of Plato, forms the essence of today’s recognition of art and literature. According to Aristotle, as long as the subject can relate to the object, pure production continues; otherwise there is no production with the world of Ideas. The phase of entering into the imitated object integrating with it and feeling it comes into action. Aristotle describes this phase as “that everything is perceived through opposites”. At the beginning of the 1900s, German philosophers emphasized the importance of humannature relations and developed the concept of einfühlung/empathy based on Aristotle’s principle. With the evolution of this theory, objects are reconsidered not only as simple objects but also as objects in which subjects identify with them, give feeling and interact with them. Translated into English as empathy, this concept is also called “feeling into” because it does not fully correspond. Einfühlung is not only a concept but also a theory. Although the thoughts on this theory are extensive, it is seen that a general comprehensive framework has not yet been established and comparative examinations have not been done. This study covers the examination and comparison of story examples from German, American and Turkish literature in the context of the relationship between the object created as an imitation element and the subject, rather than providing extensive information about the emergence, development and problems of the Einfühlung concept. In this context, the stories of Franz Kafka’s Die Sorge des Hausvaters (1919), Odradek an ambiguous entity with Ernest Hemingway’s Cat in the Rain (1925) and Samovar (1935) by Sait Faik Abasıyanık stories will be analyzed according to the einfühlung/empathy theory.
In addition to the semantic depth of the Word of time, the spaces created in the thought system re- veal the size of the immenseness of the concept, and in all areas, from cinema to visual arts and from visual arts to literature, their effects are felt deeply. The fact that the boundaries of the concept cannot be drawn precisely influences the relativity of the existed “moment”, drives memory to a dark point between consciousness and unconscious by a descent into emotion, thought and intuition with his existential dimension. While Einstein’s relativity strengthens the uncertainty of the concept of time, the existence of dimensional differences produces paradoxes within itself. The nature of the works of art that appear in the war of art with time or manifest against it imprisons the paradoxes to the limits of memory. The concept that Wells is trying to overcome with the time machine is reduced to “zero time” in Calvino. Time which Salvador Dali was flattening with the “perseverance of memory” paint- ing is suspended in Borges’ “Memory funes” story. Time which turned into a maze in Marcel’s past in the universe of the characters involved in the battle of memory with time appear as a scream of the character in Pirandello. Time which is integrated into the “Aura” of Carlos Fuentes, is stuck in “the memory of the author” of Murat Gülsoy. A glimpse into the memory of time jumps from the table to literary text as a journey and ends untimely in space.
Edebi metindeki karakterin işlevi ve söylemi dikkate alındığında karşımıza iki farklı dinamik çıkmaktadır. Birincisi bu karakterin gerçekliği hususundaki tartışma ve söylemlerinin idame ettirilip ettirilmemesi; ikincisi ise
karakterin taşıdığı vasıflar ile mitsel bir figür olarak geleceğe taşınması ya da taşınmaması hususudur. Bu dinamikler değerlendirildiğinde edebi metindeki karakterin aslında çok yönlü birer figür olduğu görülür. Dünya edebiyatındaki edebi karakterler ele alındığında karakterlerin önemli işlevlere sahip olduğu kimi zaman bir
toplumu yönlendiren kahramanların ortaya çıktığı bilinmektedir. Örneğin Goethe’nin şiirsel oyunu Faust’un
karakteri aslında gücünü mitsel bir prototipten alır ve asıl adı da Faust’tur. Bu bağlamda Mehmet Akif Ersoy’un
Safahat’ında geçen Asım karakterinin mitsel bir figür olarak prototipi çıkarılmaya çalışılacaktır.
ABSTRACT
When the function and discourse of the character in the literary text are taken into consideration, we encounter
two different dynamics. The first of these is whether the discussions and descriptions about the reality of the
character are maintained, and the second is whether the character as a mythical figure with certain qualifications
is carried to future. It is seen when these dynamics are taken into consideration that the character in the literary
text is actually a multifaceted figure. It is known within the scope of literary characters in the world literature that
characters have important functions and that sometimes protagonists emerge who guide a society. The character
of the Faust, the poetic drama of Goethe, draws its power from a mythical prototype actually named Faust. In
this context, the current study attempts to prototype the character Asım as a mythical figure who is described in
Mehmet Akif Ersoy’s Safahat.
Nesnenin özneyi ele geçirme adına yaptığı girişimler; onun arzu ettiği yanıtları vererek, ona inanmış gibi yapmak ve onu kendi safına sürükleyerek onun yerine geçme çabasından ibarettir. Özne kendisinden kaçamadığı nesnenin bir süre sonra kurbanı olur. Bu durum, bugünün sosyal ağlanna bakıldığında daha net bir şekilde gözlenir. Simülasyonun en belirgin özelliği en önemsiz olguları bile kapsayan gerçeğin yerini alan modellerden oluşmasıdır. Yarattığı karakterler ile simülatif dünyada özneye çıkış yolu sağlayan Dostoyevski, üretim-tüketim çelişkisinde “Hepimiz Gogol’ün Palto’sundan çıktık” diyerek “Palto’yu bir nesne olmaktan çıkarıp Kozmosun yerine koymaya çalışır. Gogol’ün
“Palto”sunda nesne, özneyi ele geçirmeyi deneyerek istencini ve devingenliğini kesmeden sürdürür ve en nihayetinde Kozmosun yerine de geçer. Gogol’ün "Palto"su sadece kendi başına bir evren olarak kalmaz aynı zamanda simülatif dünyaya bıraktığı monadlar “Beyaz Mantolu Adam”ı doğurur. Gogol’ün “Palto”sundan Oğuz Atay’ın “Beyaz Mantolu Adam” mı çıkarma girişimi olarak nesnenin (Palto’nun) özne (Beyaz Mantolu Adam) simülakrasını gerçekleştirme, Özne-Nesne ortaklığında (Peter Schlemihl) kozmosu keşfetme girişimidir.
Anahtar sözcükler: “Palto ”, “Beyaz Mantolu Adam ”, “Peter Schlemihl ”,
simülakra, simülasyon, kozmos
Abstract
Attempts of the object to take över the subject consist of giving the answers it desires, pretending to believe it, and dragging it to its own side. The subject becomes a victim of the object that it cannot escape. Tlıis situation is more clearly observed when viewed in today’s social networks. The most obvious feature of simulation is that it consists of models that replace reality, including even the most insignificant phenomena. Dostoevsky, who provides a way out to the subject in the simulation world with lıis characters, tries to stop “coat” being an object and replace it by Cosmos, by saying “we ali came out of Gogol’s coat” in the production-consmnption Paradox. In Gogol’s coat, the object attempts to capture the subject and continues without cutting off its will
and dynamism, and eventually replaces Cosmos. Gogol’s “Coat”, is not only a self-contained universe but also a monad that he left to the simulators world generate “The Man in a White Coat”. Tlıis work is an attempt to realize the subject (The Man in a White Coat) simulacra of the object (Coat) as an attempt of Gogol’s Coat to take out from Oğuz Atay’s The Man in a White Coat and to discover the cosmos in the Subject-Object partnership (Peter Schlemihl).
Keywords: “Coat”, “The Man in a IVhite Coat”, “Peter Schlemihl”,
simulacra, simulation, cosmos
adorned the common universes of two authors, the woman who is a myth in Poe's "Ligeia" will be evaluated comparatively with her appearance in the art-mother cloak in Tanpınar's imaginary creation called"keti."
Keyvvords: Ahmet Hamdi Tanpınar, Edgar Allan Poe, Past Time Dresses, MS. Found in a Bottle, Ligeia
-"Aesthetic Time" to Heidegger's Dasein's from Bergson's Dureé’s-
Abstract
The concept of time, which establishes a cyclical relationship with life, is diversified so that it can be seen how meaning is achieved in the process of self-existence. This diversity has an important place when it can become a special balance to its existence. There is not a single time, there is as much time as the variety of selfdom-manifestation, which is the inner time. The inner time that confronts me as the time when the self reaches itself tries to make itself known through with Bergson's "dureé" and Heidegger's "dasein". This is the struggle for self existence and existence there. When the structure of literary texts is taken into consideration, aesthetic texts show a special attention to the concept of time. On the basis of this loss is the concern that the artist can reveal how he lived his inner time by taking himself out with his work. Edgar Allan Poe "Reaven", Ahmet Hamdi Tanpınar wants to blow out the inner cycle of existence with the "Time Sequence", to get rid of the flow of mechanical time and to make a statement of life in his private network. This work intends to render the artist timeless in the meaningfulness of the means of expressing his own, by giving the impulses of reaching out of the classical sense of time and reaching the upper time-within the soul, in the soul.
Key Words: Ahmet Hamdi Tanpınar, Edgar Allan Poe, Dureé, Dasein, Seldom-Inwardness, Reaven, Time Sequence.
KUZGUN”UN KENDİLİĞİNDE “ZAMAN KIRINTILARI”NI ARAMAK
-Bergson’un Dureé’sinden Heideger’in Dasein’inine “Estetik Zaman”-
Özet
Yaşam ile döngüsel ilişki kuran zaman kavramı, varlığın kendini var ediş sürecinde nasıl anlam kazandığının görülebilmesi için çeşitlilik kazanır. Bu çeşitlilik, onun varlığa özel bir denge haline gelebilmesinde önemli bir yer tutar. Tek bir zaman yoktur, varlığın kendiliğini gösterme çeşitliliği kadar zamanı vardır ki bu da içsel zamandır. Varlığın kendine ulaştığı zaman olarak karşımıza çıkan içsel zaman, Bergson’un “dureé”sinde ve Heidegger’in “dasein”i ile kendini duyurmaya çalışır. Bu, varlığın kendini ortaya koyma ve orada varlık olabilme mücadelesidir. Edebi metinlerin yapısı dikkate alındığında estetik metinlerin zaman kavramına ayrı bir özen gösterdiği görülür. Bu kaygının temelinde sanatçının kendini eseri ile açığa çıkararak içsel zamanını nasıl yaşadığını gösterebilme endişesi yatmaktadır. Edgar Allan Poe “Kuzgun”, Ahmet Hamdi Tanpınar “Zaman Kırıntıları” ile varlığın içsel döngüsünü dışarı vurup mekanik zamanın akışından kurtularak, kendi özel ağında yaşamın ifadesini savurmak isterler. Bu çalışma klasik zaman algısından çıkıp üst zamana -varlığın içinde, ruhunda gezinene- ulaşabilme dürtülerini vererek, sanatçının kendi olanı ifade etme arzularının anlam çokluğunda zamansızlığa kavuşturma niyetindedir.
Anahtar Kelimeler: Ahmet Hamdi Tanpınar, Edgar Allan Poe, Dureé, Dasein, Kendilik-İçsellik, Kuzgun, Zaman Kırıntıları.
The concept of mimesis (imitation) developed by Aristotle, producing the foundations of Plato, forms the essence of today’s recognition of art and literature. According to Aristotle, as long as the subject can relate to the object, pure production continues; otherwise there is no production with the world of Ideas. The phase of entering into the imitated object integrating with it and feeling it comes into action. Aristotle describes this phase as “that everything is perceived through opposites”. At the beginning of the 1900s, German philosophers emphasized the importance of humannature relations and developed the concept of einfühlung/empathy based on Aristotle’s principle. With the evolution of this theory, objects are reconsidered not only as simple objects but also as objects in which subjects identify with them, give feeling and interact with them. Translated into English as empathy, this concept is also called “feeling into” because it does not fully correspond. Einfühlung is not only a concept but also a theory. Although the thoughts on this theory are extensive, it is seen that a general comprehensive framework has not yet been established and comparative examinations have not been done. This study covers the examination and comparison of story examples from German, American and Turkish literature in the context of the relationship between the object created as an imitation element and the subject, rather than providing extensive information about the emergence, development and problems of the Einfühlung concept. In this context, the stories of Franz Kafka’s Die Sorge des Hausvaters (1919), Odradek an ambiguous entity with Ernest Hemingway’s Cat in the Rain (1925) and Samovar (1935) by Sait Faik Abasıyanık stories will be analyzed according to the einfühlung/empathy theory.
In addition to the semantic depth of the Word of time, the spaces created in the thought system re- veal the size of the immenseness of the concept, and in all areas, from cinema to visual arts and from visual arts to literature, their effects are felt deeply. The fact that the boundaries of the concept cannot be drawn precisely influences the relativity of the existed “moment”, drives memory to a dark point between consciousness and unconscious by a descent into emotion, thought and intuition with his existential dimension. While Einstein’s relativity strengthens the uncertainty of the concept of time, the existence of dimensional differences produces paradoxes within itself. The nature of the works of art that appear in the war of art with time or manifest against it imprisons the paradoxes to the limits of memory. The concept that Wells is trying to overcome with the time machine is reduced to “zero time” in Calvino. Time which Salvador Dali was flattening with the “perseverance of memory” paint- ing is suspended in Borges’ “Memory funes” story. Time which turned into a maze in Marcel’s past in the universe of the characters involved in the battle of memory with time appear as a scream of the character in Pirandello. Time which is integrated into the “Aura” of Carlos Fuentes, is stuck in “the memory of the author” of Murat Gülsoy. A glimpse into the memory of time jumps from the table to literary text as a journey and ends untimely in space.
Edebi metindeki karakterin işlevi ve söylemi dikkate alındığında karşımıza iki farklı dinamik çıkmaktadır. Birincisi bu karakterin gerçekliği hususundaki tartışma ve söylemlerinin idame ettirilip ettirilmemesi; ikincisi ise
karakterin taşıdığı vasıflar ile mitsel bir figür olarak geleceğe taşınması ya da taşınmaması hususudur. Bu dinamikler değerlendirildiğinde edebi metindeki karakterin aslında çok yönlü birer figür olduğu görülür. Dünya edebiyatındaki edebi karakterler ele alındığında karakterlerin önemli işlevlere sahip olduğu kimi zaman bir
toplumu yönlendiren kahramanların ortaya çıktığı bilinmektedir. Örneğin Goethe’nin şiirsel oyunu Faust’un
karakteri aslında gücünü mitsel bir prototipten alır ve asıl adı da Faust’tur. Bu bağlamda Mehmet Akif Ersoy’un
Safahat’ında geçen Asım karakterinin mitsel bir figür olarak prototipi çıkarılmaya çalışılacaktır.
ABSTRACT
When the function and discourse of the character in the literary text are taken into consideration, we encounter
two different dynamics. The first of these is whether the discussions and descriptions about the reality of the
character are maintained, and the second is whether the character as a mythical figure with certain qualifications
is carried to future. It is seen when these dynamics are taken into consideration that the character in the literary
text is actually a multifaceted figure. It is known within the scope of literary characters in the world literature that
characters have important functions and that sometimes protagonists emerge who guide a society. The character
of the Faust, the poetic drama of Goethe, draws its power from a mythical prototype actually named Faust. In
this context, the current study attempts to prototype the character Asım as a mythical figure who is described in
Mehmet Akif Ersoy’s Safahat.
Nesnenin özneyi ele geçirme adına yaptığı girişimler; onun arzu ettiği yanıtları vererek, ona inanmış gibi yapmak ve onu kendi safına sürükleyerek onun yerine geçme çabasından ibarettir. Özne kendisinden kaçamadığı nesnenin bir süre sonra kurbanı olur. Bu durum, bugünün sosyal ağlanna bakıldığında daha net bir şekilde gözlenir. Simülasyonun en belirgin özelliği en önemsiz olguları bile kapsayan gerçeğin yerini alan modellerden oluşmasıdır. Yarattığı karakterler ile simülatif dünyada özneye çıkış yolu sağlayan Dostoyevski, üretim-tüketim çelişkisinde “Hepimiz Gogol’ün Palto’sundan çıktık” diyerek “Palto’yu bir nesne olmaktan çıkarıp Kozmosun yerine koymaya çalışır. Gogol’ün
“Palto”sunda nesne, özneyi ele geçirmeyi deneyerek istencini ve devingenliğini kesmeden sürdürür ve en nihayetinde Kozmosun yerine de geçer. Gogol’ün "Palto"su sadece kendi başına bir evren olarak kalmaz aynı zamanda simülatif dünyaya bıraktığı monadlar “Beyaz Mantolu Adam”ı doğurur. Gogol’ün “Palto”sundan Oğuz Atay’ın “Beyaz Mantolu Adam” mı çıkarma girişimi olarak nesnenin (Palto’nun) özne (Beyaz Mantolu Adam) simülakrasını gerçekleştirme, Özne-Nesne ortaklığında (Peter Schlemihl) kozmosu keşfetme girişimidir.
Anahtar sözcükler: “Palto ”, “Beyaz Mantolu Adam ”, “Peter Schlemihl ”,
simülakra, simülasyon, kozmos
Abstract
Attempts of the object to take över the subject consist of giving the answers it desires, pretending to believe it, and dragging it to its own side. The subject becomes a victim of the object that it cannot escape. Tlıis situation is more clearly observed when viewed in today’s social networks. The most obvious feature of simulation is that it consists of models that replace reality, including even the most insignificant phenomena. Dostoevsky, who provides a way out to the subject in the simulation world with lıis characters, tries to stop “coat” being an object and replace it by Cosmos, by saying “we ali came out of Gogol’s coat” in the production-consmnption Paradox. In Gogol’s coat, the object attempts to capture the subject and continues without cutting off its will
and dynamism, and eventually replaces Cosmos. Gogol’s “Coat”, is not only a self-contained universe but also a monad that he left to the simulators world generate “The Man in a White Coat”. Tlıis work is an attempt to realize the subject (The Man in a White Coat) simulacra of the object (Coat) as an attempt of Gogol’s Coat to take out from Oğuz Atay’s The Man in a White Coat and to discover the cosmos in the Subject-Object partnership (Peter Schlemihl).
Keywords: “Coat”, “The Man in a IVhite Coat”, “Peter Schlemihl”,
simulacra, simulation, cosmos
adorned the common universes of two authors, the woman who is a myth in Poe's "Ligeia" will be evaluated comparatively with her appearance in the art-mother cloak in Tanpınar's imaginary creation called"keti."
Keyvvords: Ahmet Hamdi Tanpınar, Edgar Allan Poe, Past Time Dresses, MS. Found in a Bottle, Ligeia
-"Aesthetic Time" to Heidegger's Dasein's from Bergson's Dureé’s-
Abstract
The concept of time, which establishes a cyclical relationship with life, is diversified so that it can be seen how meaning is achieved in the process of self-existence. This diversity has an important place when it can become a special balance to its existence. There is not a single time, there is as much time as the variety of selfdom-manifestation, which is the inner time. The inner time that confronts me as the time when the self reaches itself tries to make itself known through with Bergson's "dureé" and Heidegger's "dasein". This is the struggle for self existence and existence there. When the structure of literary texts is taken into consideration, aesthetic texts show a special attention to the concept of time. On the basis of this loss is the concern that the artist can reveal how he lived his inner time by taking himself out with his work. Edgar Allan Poe "Reaven", Ahmet Hamdi Tanpınar wants to blow out the inner cycle of existence with the "Time Sequence", to get rid of the flow of mechanical time and to make a statement of life in his private network. This work intends to render the artist timeless in the meaningfulness of the means of expressing his own, by giving the impulses of reaching out of the classical sense of time and reaching the upper time-within the soul, in the soul.
Key Words: Ahmet Hamdi Tanpınar, Edgar Allan Poe, Dureé, Dasein, Seldom-Inwardness, Reaven, Time Sequence.
KUZGUN”UN KENDİLİĞİNDE “ZAMAN KIRINTILARI”NI ARAMAK
-Bergson’un Dureé’sinden Heideger’in Dasein’inine “Estetik Zaman”-
Özet
Yaşam ile döngüsel ilişki kuran zaman kavramı, varlığın kendini var ediş sürecinde nasıl anlam kazandığının görülebilmesi için çeşitlilik kazanır. Bu çeşitlilik, onun varlığa özel bir denge haline gelebilmesinde önemli bir yer tutar. Tek bir zaman yoktur, varlığın kendiliğini gösterme çeşitliliği kadar zamanı vardır ki bu da içsel zamandır. Varlığın kendine ulaştığı zaman olarak karşımıza çıkan içsel zaman, Bergson’un “dureé”sinde ve Heidegger’in “dasein”i ile kendini duyurmaya çalışır. Bu, varlığın kendini ortaya koyma ve orada varlık olabilme mücadelesidir. Edebi metinlerin yapısı dikkate alındığında estetik metinlerin zaman kavramına ayrı bir özen gösterdiği görülür. Bu kaygının temelinde sanatçının kendini eseri ile açığa çıkararak içsel zamanını nasıl yaşadığını gösterebilme endişesi yatmaktadır. Edgar Allan Poe “Kuzgun”, Ahmet Hamdi Tanpınar “Zaman Kırıntıları” ile varlığın içsel döngüsünü dışarı vurup mekanik zamanın akışından kurtularak, kendi özel ağında yaşamın ifadesini savurmak isterler. Bu çalışma klasik zaman algısından çıkıp üst zamana -varlığın içinde, ruhunda gezinene- ulaşabilme dürtülerini vererek, sanatçının kendi olanı ifade etme arzularının anlam çokluğunda zamansızlığa kavuşturma niyetindedir.
Anahtar Kelimeler: Ahmet Hamdi Tanpınar, Edgar Allan Poe, Dureé, Dasein, Kendilik-İçsellik, Kuzgun, Zaman Kırıntıları.
GİRİŞ ...............................................................................................11
A. Romanın Doğuşuna ve Gelişmesine
Panoramik Bir Bakış................................................................. 15
BİRİNCİ BÖLÜM
ROMAN SANATI..........................................................................29
1.1. ROMAN KURAMI ...........................................................29
1.1.1. Gerçeklik ve Roman ..............................................30
1.1.2. Kurmaca ve Roman................................................42
1.1. ROMAN SANATI .............................................................52
1.2.1 Anlatı ve Anlatıcı Sorunsalı...................................53
1.2.2. Öykü ve Söylem ..................................................... 61
1.2.2.1. Öykü ve Olay Örgüsü ..................................62
1.2.2.2. Söylem ...........................................................70
1.2.3. Karakter Oluşturma ..............................................76
1.2.4. Anlatım Teknikleri.................................................82
İKİNCİ BÖLÜM
ROMAN İÇİNDE ROMAN..........................................................97
1.ANLATICI SORUNSALI EKSENİNE
KURULU ROMANLAR ............................................................97
1.1. Merhaba Ey Okur! / Karı Koca M asalı.........................97
1.2. Ey Muharrir, Anlatmadan Önce
Bir Daha Düşün! / Hüseyin Fellâh ............................ 105
1.3. Okur, Her Şey Senin İçin! / Gece ............................... 113
Türk Romanında Roman Sanatının Ele Alınış
1.4. Ölüyüm Ben Ölü! / Benim Adım Kırmızı.................. 121
1.5. Beni Kim Yazdı!? / Beşpeşe.......................................... 129
2. KARAKTER ROMANLARI....................................................136
2.1. Neredesin Öteki Ben(im)! / Yarım.............................136
2.2. Duma Duma Dum Ben Bir Yalan Uydurdum!/ Sahte .............................. 142
3. OTOBİYOGRAFİK ROMANLARDA KURGUSAL KİMLİKLER............................................................150
3.1. Hiç Tereddüt Etme O Benim! / Bir Tereddüdün Romanı...............................................150
3.2. Romancının Anneliği! / Siyah S ü t .............................. 165
4. ROMAN İÇİNDE YENİDEN ÜRETİLEN ROMANLAR ....173
4.1. Kutu Kutu Pense Romanımı Yerse / Ahmet Metin ve Şirzad ................................................173
4.2. Sağım Solum Sobe! / Oyuncu......................................189
4.3. Hangi Kale(?)m / Beyaz Kale ......................................199
4.4. Seçme Özgürlüğü: Hipermetin /
Kılları Yolunmuş Maymun........................................... 215
4.5. Bir Pelerin İki Farklı Roman /
Kırmızı Pelerinli Kent...................................................244
4.6. Yapı-Sökü-Diki-(m) / Çöplüğün Generali................. 254
5. ROMAN İÇİNDE OLUŞTURULAN
ROMANSAL YAPILAR............................................................269
5.1. Metin Döndükçe Ütopya / Yalnızız............................ 269
5.2. Düş(ün) Romanı / Kılavuz........................................... 277
5.3. Acaba Kimin Not(a)ları? /
Bay Muannit Sahtegi’nin Notları ............................... 283
5.4. Anılardaki Roman / Mavi Kanatlarınla Yalnız Benim Olsaydın ................ 288
6. ROMAN SANATINI İŞLEYEN ROMANLAR......................296
6.1. Kurgudan Daha Garip / Süleyman Muslî .................296
6.2. Kurgu İçinde Kurgu / M üşahedat.............................. 306
6.3. Roman Nasıl Yazılır? / Roman ....................................324
6.4. Kurgunun Kırıldığı Roman / Tutunamayanlar 332
6.5. Ağaca Tüneyen Roman / Kurtlar ............................... 344
6.6. Roman -Anlatı(yor)-Roman(ı) /
Fehmi K.’nm Acayip Serüvenleri................................ 353
6.7. Lütfen Bana Hikâyeni Anlat /
Küçük <g> Adında Biri .................................................367
6.8. Estetik Roman / Yaşarken ve Ölürken ......................383
KAYNAKÇA ................................................................................407