Shaymaa Neamah Mohammed ALMKHELIF

Orhan Pamuk is considered one of the most important novelists and short story writers in Turkish Literature. The full name is Ferit Orhan Pamuk. He was born in Istanbul in 1952. He is now 69 year old and still alive. He is considered the first Turkish writer who wins Noble Prize for literature for the year 2006. He won several other prizes, one of which is Noble Prize because he has several short stories and novels. The White Castle is one of the most important novels for the author Orhan Pamuk who won the Noble Prize. It is considered a historical novel that belongs to the Ottoman Empire era in the 17th century. The novel revolves on one of the passengers who travels to Napoli through the sea. The Ottoman pirates captivate him and sell him to one of the Turkish people as slave. Both the master and the slave almost share the same features although they are from different geographic areas. The novel deals with the similarities and differences among the people of the and the people of the west in an accurate way. The concept of dream is to wish something favorable in the future. There were several types and ways of daydreams. This concept is different from one person to another. This term cannot be clearly defined because of its subjective nature. It appears in a very wide area, from the ability to maintain the thing dreamt to achieve to the world of dreams of the dreamer. Hence, the reality of daydreams is a wonderful art that is different from one person to another. We start the research by giving inclusive summary. In the Introduction, there is short summary for the life and literary personality of the Turkish author Orhan Pamuk as well as his works. The research introduces information about the novel which is the subject of the research paper. It introduces, through detailed study for the novel The White Castle, a detailed explanation about the art of dreams.

The Multiple Simultaneous Temporalities of Global Modernity: Pamuk, Tanpınar, Proust

This essay proposes the theory of multiple simultaneous temporalities as a constitutive feature of global modernism. It spotlights varieties of heterogeneous time—outside but alongside the homogeneous empty time of clocks and calendars—in modernist literature. These overlapping temporalities replace the linear succession of past, present, and future with a principle of nonteleology. The multiple simultaneous temporalities of these works analogize the multiple simultaneous temporalities of global modernity. Thus the temporalization of difference that separates developed nations from developing ones is refuted by the pluralization of temporality. The simultaneity of these temporalities denies, a priori, the ideology of progress. The essay makes this point through a series of interlaced epiphanies about time, across time, staging an East-West comparison that reflects the creole nature of global modernity. It does so via readings of interconnected novels by Orhan Pamuk, Ahmet Hamdi Tanpınar, and Marcel Proust.

Spectacle of musealization and literaturization of the world in post/postmodern society

This article discusses current issues in the evolution of museums worldwide, influenced by global phenomena. The globalization of culture, on the one hand, and the musealization of the world, on the other hand, become the plays of a spectacle of the contemporary world. The museum cultural model becomes dominant in today’s society, influencing all spheres and finding representation in the world’s literatures. Among the various approached theories, the concepts of musealization of the modelled world as a cultural spectacle, “the world as a museum”, imaginary museum, the literaturization of the museum and the musealization of literature. From this perspective, the theses of the Nobel laureates in literature Mario Vargas Llosa and Orhan Pamuk are analysed. In Pamuk’s novel The Museum of Innocence, the museum is the structuring narratological axis of the novel, its theme and compositional nucleus.

Unrequited Love in the Selected Novels of Orhan Pamuk

Certainly, Love is one of the most unmistakable natural sentiments of the individual, so the psychologists have attempted to characterize the word 'love' in various manners, for instance,Freud, in his book, (Civilization and Contents)illuminates the sentiment of love according to mental perspective. As he would like to think, a limit between the 'object' and'ego' is degraded, so he stated that "Against to all proof of his feelings, a person, who is in love utters that 'you' and 'I' are one and begins carrying on as if it was a reality" (Freud, 13). 'Self' of the individual, who falls in love is totally degraded into 'oneself' of the other, so Love assumes an important role in bliss or despondency in human life, in which, the fruitful love makes life upbeat and on the contrary, its disappointment changes life into a hopeless wreck, so unfortunately, Unrequited Love is a one imbalance in which you may love someone with all your heart, but you don’t receive these feelings in return. In other words, it is love that isn’t reciprocated. For example, you may love someone deeply, but this person simply doesn’t love you back. This paper will discuss the characters’ suffering as a result of the one-sided love and explain how they behaved during the events of the love stories, as well as delineate the tragic ending of their unrequited love, furthermore, it will give some examples from some of Pamuk’s novels.

Between Old and New: Flanerie at the Limits of Modernity in Orhan Pamuk’s A Strangeness in My Mind

The present chapter locates the flaneur in the tension of tradition and modernity in the seminal novel A Strangeness in Mind by the Nobel laureate Orhan Pamuk. The flaneur is a predominant archetype in the literary and cultural imaginary of Modernism. As such, rather unsurprisingly, the flaneur plays a significant role in the subsequent explorations of the salient traits, juxtapositions and the nuances that constitute the event of modernity. The evaluation of modernity often involves an inevitable exploration of the performance and essence (often inseparable) of flanerie. The present paper proposes to explore this interspersed relationship between flanerie and modernity through a strategic reading of the novel. The chapter will substantiate Mevlut, the boza seller protagonist in the novel, as a flaneur who is the embodiment of Turkish modernity. The chapter will argue that the perpetual status of Mevlut as a hyphenated self who is characterised by the interplay of apprehension-appreciation and is unconditionally hospitable to the contingence of the temporal-spatial substantiate him as the flaneur in the novel. In doing so, the chapter will also identify the essence of Turkish modernity and will locate it in departure from the unanimous notional conjecture of modernity as progress.