METİNLERARASI İLİŞKİLER BAĞLAMINDA FARUK DUMAN’IN “İNCİR TARİHİ” ADLI ROMANI ÜZERİNE BİR İNCELEME

A REVIEW ON FARUK DUMAN’ S NOVEL ENTITLED “INCIR TARIHI” WITHIN THE CONTEXT OF INTERTEXTUAL RELATIONS

Özet

Postyapısalcı Julia Kristeva tarafından ilk defa 1966 yılında ortaya atılan "metinlerarasılık" (intertextuality) kavramı, bir metnin tek başına var olamayacağı ve oluşturulurken mutlaka kendinden önceki metinlerden etkilenmiş ya da beslenmiş olduğu savı üzerine gelişmiş postmodern bir anlatı tekniğidir. Buna göre, metnin anlamı başka metinler tarafından şekillendirilmektedir. Dilbilimcilerin geliştirdiği bir metin çözümleme yöntemi olan metinlerarasılık, "okur merkezli" bir eleştiri yöntemini de ortaya koymaktadır. Çünkü bir metnin anlamı -başka metinlerle olan bağı dolayısıyla- okurun bilgi birikimine göre de değişebilmektedir. Bu durum yine postmodernizme ait olan "çoğulculuk" ilkesini de ön plana çıkarmaktadır. Metin, kendinden önceki metinlerle bağ kurarak, çoksesli bir kurgu halini almaktadır. Bu çokseslilik, Faruk Duman'ın İncir Tarihi adlı romanında da göze çarpmaktadır. Yazar romanının iskeleti olan sürükleyici bir ana hikâye oluşturmuş ve zaman zaman bu hikâyenin anlatımını keserek, kurguladığı (dönüştürdüğü ya da yeniden yazdığı) başka hikâyeleri yine kahraman anlatıcı aracılığıyla okurla paylaşmıştır. Bu hikâyelerin bazıları tamamen yazarın hayal gücünün eseriyken, birçoğu da daha önceki metinlerden alıntı, masal/destan formundaki geleneksel anlatı söylemlerine öykünme (pastiş) ya da onlara gönderme şeklinde karşımıza çıkmaktadır. Bu metinlerarasılık örneklerinin çoğu tarihi söylentiler, efsaneler ve kutsal metinlerde geçen kıssalar arasından seçilmiştir. Bu çalışmanın amacı tespit edilen metinlerarası ilişki örneklerinden yola çıkarak, hem yazarın yeniden yazma sürecinde beslendiği kaynakları gözler önüne sermek hem de gönderge metinlerin kurgulanan yeni metne sağladığı imkânları açıklamaya çalışmaktır

Abstract

The concept of (intertextuality), which was first brought forward by poststructuralist Julia Kristeva in 1966, is the narrating technique, which was developed on the argument that a text cannot exist on its own, and undoubtedly, it was influenced or fed by previous text when it was being formed. According to this, meaning of the text is being formed by other texts. Intertextuality, which is a text analyzing method developed by the linguists, is also bringing forward a “reader focused” criticism method. Because, meaning of a text – due to its connection with other texts – can also change according to the accumulation of knowledge of the reader. This condition also brings to the forefront the principle of “multiplism” that also belongs to post modernism. The text comes to a state of being polyphonic, by establishing a bond with the previous texts. This polyphony draws the attention in Faruk Duman’s novel, entitled İncir Tarihi. The author has established a fascinating main story, that is the frame of his novel, and from time to time he interrupted the narration of this story, and shared other stories that he has fictionalized (transformed or rewritten), again by means of the character narrator. While some of these stories are completely production of the imagination of the author, many of them confront us in the form of excerpts from previous texts, pastiche to the traditional narration discourses in the form of folk tale / epopee, or reference to them. Most of these intertextuality examples are selected out of historical rumors, legends and parables in holy texts. The aim of this study is both to display the sources that the author was fed in the process of rewriting, and try to explain the opportunities that the reference texts have provided to the fictionalized new text, with reference to the determined intertextual relation examples STRUCTURED ABSTRACT The concept of (intertextuality), which was first brought forward by poststructuralist Julia Kristeva in 1966, is the narrating technique, which was developed on the argument that a text cannot exist on its own, and undoubtedly, it was influenced or fed by previous text when it was being formed. According to this, meaning of the text is being formed by other texts. Intertextuality, which is a text analyzing method developed by the linguists, is also bringing forward a “reader focused” criticism method. Because, meaning of a text – due to its connection with other texts – can also change according to the accumulation of knowledge of the reader. This condition also brings to the forefront the principle of “multiplism” that also belongs to post modernism. The text comes to a state of being polyphonic, by establishing a bond with the previous texts. This polyphony draws the attention in Faruk Duman’s novel, entitled İncir Tarihi. The author has established a fascinating main story, that is the frame of his novel, and from time to time he interrupted the narration of this story, and shared other stories that he has fictionalized (transformed or rewritten), again by means of the character narrator. While some of these stories are completely production of the imagination of the author, many of them confront us in the form of excerpts from previous texts, pastiche to the traditional narration discourses in the form of folk tale / epopee, or reference to them. Most of these intertextuality examples are selected out of historical rumors, legends and parables in holy texts. The aim of this study is both to display the sources that the author was fed in the process of rewriting, and try to explain the opportunities that the reference texts have provided to the fictionalized new text, with reference to the determined intertextual relation example. In the last years of Turkish literature when the post-modern art concept reigned, Faruk Duman is also one of the authors who reflected this understanding to his works. His novel which received the 2011 Yunus Nadi Novel Prize “İncir Tarihi” is the work of the author in which he used many of the post-modern techniques, and in which he reinterpreted the traditional narrative forms such as fairy tales and legends, – even in somewhat magical way. The İncir Tarihi, which the author described as “a novel dedicated to nature”, is a work in which the adventures that the hero narrator called Zeyrek had are the central story, and during the narration of the story, that the hero in the position of a modern fairy tale teller referred to texts such as fairy tales, folk tales, epics and myths out of the traditional narrative forms, and one that draws attention with a segmented and a pluralist discourse. Almost in all of the conversations he made, Faruk Duman talks about sources that feed him. Whether they are works with a Western or an Eastern origin, it is possible to see their traces in the novel the İncir Tarihi. Throughout the novel, it seems that the intertextual relationships have found a place for themselves with almost every method of its. Between the old texts and the new text that he fictionalized, the author made direct quotations from time to time, and resorted to the method of establishing relationships by means of reference. Apart from this general view, cynical conversion has also been resorted to from place to place. However, in the novel İncir Tarihi, the intertextual relationships of top priority that draw attention throughout the development of the original story that is shaped around the events experienced by the narrator hero is pastische described as a style of form imitation. Because, throughout the novel, it is observed that the author imitates fairy tales and legends among the products of verbal culture both in the dimension of discourse, and also in terms of the heroes and patterns that support the content. These open indications can be listed as follows: 1- The presence of a fairy tale / legend narrator 2- The presence of fairy tale / legend heroes, their helpers and enemies 3- The presence of d