scholarly journals Metafysiske tegn. Skønlitteratur som religionsvidenskabeligt objekt

2003 ◽  
Author(s):  
Inge Liengaard
Keyword(s):  
Cultural Identity ◽  
The Novel ◽  
Black Book ◽  
Islamic Tradition ◽  
Narrative Structures ◽  
Turkish Culture ◽  
The Common ◽  
East And West ◽  
Orhan Pamuk ◽  
The Many

Analysing The Black Book, a novel by the contemporary Turkish writer Orhan Pamuk, this paper suggests that fiction can serve as an illuminating source in understanding one of the many roles that religion can play for modern man. Pamuk´s literary perspective is aesthetic and he disagrees with an essentialistic way of understanding and defining personal or cultural identity and cultural phenomena. In the novel he tries to create and describe alternative ways of conceiving reality. First and foremost by writing a novel without a fixed centre, but with many layers of undetermined meaning and persons with unclear, changing identities. Considering reality as chaotic and heterogenous he wants to avoid the common, monolitic descriptions of ‘tradition’, ‘modernity’, ‘East’ and ‘West’ and at the same time reintroduce elements long forgotten in the Turkish culture. It is at this point that Islam – or rather parts of the Islamic tradition - becomes interesting to Pamuk, who uses themes, metaphors and narrative structures especially from the Sufi-literature. Not only do these components present parts of a forgotten, but very rich, part of the Turkish culture, but the Sufi vocabulary and pictures are also useful vehicles to express the fluid and immaterial way of perceiving cultural as well as personal identities.

Islam and the Limits of Translation: Orhan Pamuk and the Ottoman Revival

2020 ◽  
pp. 215-259
Author(s):  
Karim Mattar
Keyword(s):  
Religious Identity ◽  
The United States ◽  
Translation Theory ◽  
The Novel ◽  
Black Book ◽  
Aesthetics And Politics ◽  
Culturally Specific ◽  
The Face ◽  
Orhan Pamuk ◽  
Anglo American

This chapter addresses the carefully (self-)cultivated image of Orhan Pamuk as a worldly, cosmopolitan, and secular-liberal writer. This image, I argue, has come to define the aesthetics and politics, the ethos, of his novels in their worldly reception, and has functioned to undermine the nature and extent of his engagement with the local (especially his native city, Istanbul, and its Ottoman, Islamic heritage). I trace this argument through a sustained focus on The Black Book as this novel has been translated and read in Britain and the United States. Drawing on translation theory, I show that both English versions of the novel are unable to capture the logic and significance of Pamuk’s culturally-specific use of language, and have influenced its Anglo-American (mis)reading as a postmodernist work. In my counter-reading, I argue that anything but a postmodernist deconstruction of myths of national and religious identity, The Black Book in fact comprises an evocation of Istanbul’s Ottoman, Islamic heritage in the face of a Turkish secular modernity by which this heritage was historically repressed. I detail this argument through close attention to Pamuk’s treatment of Sufism and Hurufism. The Black Book, I conclude, inscribes what I call “cultural neo-Ottomanism” as form.

scholarly journals THE MOTIVE OF SEARCH IN THE NOVEL “THE BLACK BOOK” BY ORHAN PAMUK

2018 ◽  
pp. 235-238
Author(s):  
Elena Aleksandrovna Gruzdeva ◽  
◽  
Alsu Hadievna Vafina ◽  
Keyword(s):  
The Novel ◽  
Black Book ◽  
Orhan Pamuk

scholarly journals DISCRIMINATION, ASSIMILATION, and CULTURAL IDENTITY in TAHAR BEN JELLOUN'S LEAVING TANGIER

2014 ◽  
Vol 2 (1) ◽  
pp. 25
Author(s):  
Derya Emir
Keyword(s):  
Cultural Identity ◽  
Cultural Diversity ◽  
The Novel ◽  
Colonial History ◽  
Tahar Ben Jelloun ◽  
Life Conditions ◽  
History Of ◽  
Key Issues ◽  
East And West ◽  
The Cost

In today's multicultural countries, cultural diversity, hybridity, assimilation, and cultural identity are key issues. By focusing on the problem of immigration and its inevitable traumatic results on the migrants, Tahar Ben Jelloun's Leaving Tangier fully presents Azel (the protagonist) and his acquaintances' search for identity in terms of history, religion, nationality and cultural identity. Tahar Ben Jelloun's Leaving Tangier is the story of a Moroccan brother and sister who are burning with the desire to migrate to Spain in order to attain better life. The accomplishment of their dreams actualizes at the cost of some compromises and sacrifices that end with the protagonists' physical, emotional failure, and annihilation. The winner of Prix Goncourt for La Nuit Sacrée (The Sacred Night) in 1987, a Moroccan novelist Tahar Ben Jelloun is one of the most prolific and important writers of the recent years. As a novelist and critic, Ben Jelloun artfully combines the fact and fiction, past and present, East and West in his works. in this respect, he creates multidimensional writings that can be read and interpreted from several perspectives. Tahar Ben Jelloun's Leaving Tangier (2006) presents the issues of "wounded childhood," "solitude," "displacement," and "alienation" both individually and collectively in the colonial history of Tangier. This study focuses on the issues of discrimination, assimilation, and cultural identity, experienced by the characters in the novel, resulting from the immigration of individuals from their homelands to Europe in order to find better life conditions.

scholarly journals Narsisme sebagai Wujud Eksistensi Diri dalam Novel “My Name is Red” Karya Orhan Pamuk

2016 ◽  
Vol 4 (2) ◽  
pp. 149
Author(s):  
Raden Dibi Irnawan
Keyword(s):  
The Novel ◽  
Psychological Dimension ◽  
The Media ◽  
East And West ◽  
Orhan Pamuk

<p>This paper discusses about socio-psychological dimension in paintings pictured in Orhan Pamuk’s novel My Name is Red. The novel shows us fi ne examples about how paintings can be a media of painters who lived in a repressive era of Sultan Murat III which established rigid rules adopted from Islamic principles of how a painting should be done. This idea manifested in the characters’ behaviour, especially Velijan Eff endi, who hold the Islamic or East principles, but dilemmatically fond of Western principles as an aesthetic way of painting. This kind of dilemma born from the presence of East and West principles intertwined in Turkey at the era pictured in the novel. Results determined that Velijan<br />Eff endi is narcistic as a result of his needs to be acknowledged, to exist in his repressed life. He uses his paintings as the media of expressing his needs.</p>

Music and Neo-Victorian Gothic Tropes: The Glass Armonica in A Slight Trick of the Mind by Mitch Cullin

2019 ◽  
Vol 21 (2) ◽  
pp. 129-144
Author(s):  
Francesca Battaglia
Keyword(s):  
The Novel ◽  
Female Characters ◽  
Mise En Abyme ◽  
The Common ◽  
The Many ◽  
The Mind ◽  
The Way

This contribution analyses the role of music in A Slight Trick of the Mind (2005) by Mitch Cullin, highlighting the way in which the novel contradicts itself in its effort to reject Holmesian stereotypes. Indeed, although the common beliefs inspired by John Watson's authorship are disavowed in order to provide a more realistic portrait of the man behind the legend, the Victorian past keeps haunting Holmes through an old case concerning a glass armonica. Since a parallel can be drawn between the instrument and Holmes's iconic violin, it is argued that the sub-narrative ends up functioning as a neo-Victorian mise en abyme, where those gothic elements potentially related to Holmes's musicianship in the original texts appear to be projected onto the glass armonica and female characters, drawing attention to the gendered codes of music's discourse in neo-Victorian narratives. Indeed, while the violin may serve in the canon as a male signifier, albeit a controversial one, the glass armonica carries feminine connotations that shed new light on the many possible re-presentations of Sherlock Holmes's favourite instrument.

Contextualisation Of Conflicts Between Tradition And Modernity In Orhan Pamuk’s My Name Is Red

2019 ◽  
Vol 5 (5) ◽  
pp. 51-55
Author(s):  
A. Ezhugnayiru
Keyword(s):  
Popular Culture ◽  
Social History ◽  
Driving Forces ◽  
The Novel ◽  
The West ◽  
Fictional World ◽  
Turkish Culture ◽  
East And West ◽  
Two Universes

Orhan Pamuk’s fictional world is stacked up with ambiguities and peculiarities of need. His books are stacked up with the challenges of adherence to the custom of the East and the progression of the West. His books portray the propelled Turkey got between the arrangement to transform into a typical and westernized state and the draw of Islamic fundamentalist who try to keep up the Turkish culture. In My Name Is Red, Pamuk reintroduces Ottoman social history and Islamic style into popular culture through various storytellers. In My Name is Red Pamuk endeavors to set the discourse between the conventionalist driving forces of Turkey and the Modernists rolling. The conventionalist driving forces request that a craftsman should not fall prey for the money. All through the novel Pamuk endeavors to research the differentiations among East and West with the help of the miniatures. His works are the mix of Eastern and Western systems, events and styles through which he endeavors to go between these two universes.

scholarly journals Murakami on the Shore: beyond the dialogue between Japan and the West

2020 ◽  
Vol 42 (1) ◽  
pp. e51791
Author(s):  
Michele Eduarda Brasil de Sá
Keyword(s):  
Cultural Identity ◽  
The Novel ◽  
The West ◽  
Final Draft ◽  
Key Concepts ◽  
Postdoctoral Research ◽  
East And West ◽  
East West ◽  
The Way

 The novel Kafka on the Shore is one of the most enigmatic works of contemporary writer Haruki Murakami. Since its very release, critics and scholars have been sharing their impressions and interpretations on various aspects of the book, one of them being the abundant references to Western elements (myths, songs, writers, icons and so forth). The present paper is the final draft of the postdoctoral research ‘Murakami on the shore: the dialogue with the West in the construction of the novel’, developed from July 2015 to June 2016. It aims at rethinking (as well as questioning) the way the study of the relation between Japan and the West can be addressed in the novel. The research, conducted as a bibliographical investigation, used key concepts like cultural identity (Hall, 2006) and border-blurring (Auestad, 2008). It defies the tendency of studying cosmopolitan authors like Haruki Murakami from the perspective of East-West duality, and defends that such analysis ought to consider East and West as complementary, almost inextricable, not regarding them as opposite or impermeable, and never as a limitation to the author himself.

scholarly journals A Lacanian Reading of Orhan Pamuk᾽s The Black Book

2020 ◽  
pp. 649-658
Author(s):  
Mojgan Abshavi ◽  
Shahla Moayedi
Keyword(s):  
Jacques Lacan ◽  
The Self ◽  
Individual Identity ◽  
The Novel ◽  
Human Beings ◽  
Black Book ◽  
The Unconscious ◽  
Long Time ◽  
Orhan Pamuk ◽  
A Chain

From long time ago up to now, and in the trend of the human’s thought development, question about identity and the essence of self has been always an attractive matter for thinking. Searching for a lost soul mate, that can be supposed as a reflection of ourselves has been a great challenge for human beings, as well. The present research focuses on a type of psychoanalytic criticism which is based on ideas developed by Jacques Lacan in regard to Orhan Pamuk’s The Black Book. Lacan as a psychologist with a post-structuralist viewpoint believes that the unconscious is structured like a language. He states that language, the signifying chain with a perpetual sliding of the signified under the signifier, never provides "ultimate meaning" or a "transcendental signified". Accordingly, this study represents a Lacanian reading of Orhan Pamuk᾽s The Black Book with emphasis on the main roles of the "other", and language in forming of the unconscious and individual identity. Galip, the protagonist of the novel, apparently is in search of his lost wife "Rüya". But in fact, following this lack, he starts his search for knowing himself through a chain of signifiers. However, this search does not lead him to reach to a complete ultimate meaning of his "self". His bewildered subject cannot anchor at a fix point of integrated and wholeness of the "self".

Understanding Who is Having a Taste(off) Nigeria

2020 ◽  
Vol 25 (4) ◽  
pp. 425-440
Author(s):  
Martinette Kruger ◽  
Adam Viljoen ◽  
Oghenetejiri Digun-Aweto
Keyword(s):  
Cultural Identity ◽  
South African ◽  
Developing Country ◽  
Effective Medium ◽  
Cultural Immersion ◽  
The South ◽  
Market Segments ◽  
Culinary Tourism ◽  
The Many ◽  
Multiethnic Societies

Events and festivals, especially those focused on food, showcase the many nuances within a culture and can be seen to be an effective medium to transfer cultural identity or tradition. Cultural phenomena such as food festivals are integral to cultural immersion, especially in multicultural/multiethnic societies such as Nigeria. Emphasizing the importance of investigating the culinary festival market in Nigeria, TasteOff is an example in a developing country that identifies the market segments based on a multisegmentation approach that includes (i) travel motives, (ii) the important "festivalscape" factors, and (iii) future culinary event preferences. This research contributes dually to (i) a better understanding of culinary tourism in Africa, especially since much attention is placed on the South African scenario, and (ii) the needs and preferences of Africa's largest economy, Nigeria.

Black Books and Brownies

2018 ◽  
Author(s):  
Alison Milbank
Keyword(s):  
Historical Change ◽  
Religious Change ◽  
The Novel ◽  
Black Book ◽  
James Hogg ◽  
The Bible ◽  
The Reformation ◽  
The Future

Scottish fiction about the Reformation is concerned with the mechanics of historical change, which are rendered through a series of enchanted books and people discussed in Chapter 8. In the novel, The Monastery, describing the Dissolution and Reformation, Scott gothicizes the Bible as a magic book and the White Lady as its guardian to dramatize the mysterious nature of religious change, the dependence of the future on a Gothic past, and the need for interpretation. In Old Mortality, Scott’s protagonist escapes the frozen dualities of Covenanter and Claverhouse, revealing historical change itself as problematic in Humean terms and requiring a leap of faith. James Hogg contests this presentation of the Covenanters by re-enchanting them as supposed brownies, as mediators of history and nature, and in his Three Perils of Man reprises Scott’s wizard Michael Scott pitted against Roger Bacon and his ‘black book’ the Bible to present the Reformation as an eternal reality.

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