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Erschienen in:
Time, the City, and the Literary Imagination Kapitel lesen Erstes Kapitel lesen

2021 | OriginalPaper | Buchkapitel

14. No Center Other Than Ourselves: Istanbul, Hüzün, and the Heterotopic Portal Between Civilizations and Time in the Works of Orhan Pamuk

verfasst von : Michael P. Moreno

Erschienen in: Time, the City, and the Literary Imagination

Verlag: Springer International Publishing

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Abstract

As an East-West city, Istanbul functions as a heterotopia in design, culture, and ideology, which has been marked with ‘hüzün,’ a deep and collective spiritual anguish denizens of Istanbul experience from living in a post-imperial location. This chapter explores how Orhan Pamuk’s novels My Name Is Red (2001), A Strangeness in My Mind (2015), and memoir Istanbul: Memories and the City (2004) chart how varied spatio-temporal constructions reveal the city’s ability to reassemble the disparate ideologies and practices of the East and West into its own timeless, heterotopic marketplace of culture, memory, and identity. As a heterotopia, the city operates as a site of exigency or crisis, one that collapses conventional perceptions of time and space, while splintering its features into new epistemological and ontological layers with which to generate emerging identities.

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Vorheriges Kapitel Spatio-Temporal Reterritorializing of Queer Urban Spaces and Bodies in Bai Xianyong’s Taipei Novel Nei Zi 孽子 (Crystal Boys, 1983)
Nächstes Kapitel ‘Our Native Reminiscence’: Clinging to ‘Lost Time’ in Kevin Barry’s City of Bohane
Fußnoten
1
The imperial commissioning of a series of books, including this one, to celebrate the one-thousandth anniversary of the Hegira—Muhammed’s exodus from Mecca to Medina in 622 CE to establish the first Muslim community—are to be illustrated by the leading court miniaturists in Istanbul; however, the Sultan’s controversial and growing curiosity in Venetian (‘Frankish’) artistic styles of detailed and life-like portrait illustrations encourages his court miniaturists to secretly entertain thoughts of incorporating this forbidden art-form into their own work, thus blending Eastern Islamic traditions and practices with emergent, humanist Western ones.
 
2
In the tradition of Islamic art, especially in miniaturist artworks from the Ottoman Empire, it has always been maintained that ‘the artist should deal with his work, not with himself. To do that, he needs to erase his identity….[and] depict the unchanging beauties created by God as seen by God’ (Arslan 2003, 100–101).
 
3
It was not entirely unusual for the Ottoman court and other prominent locations throughout the empire to have Western artists and scholars in their service. In fact, such a practice was common at the start of Istanbul’s Ottoman rule. ‘It is known that Fatih [Sultan Mehmed the Conqueror (1444–46, 1451–81)] gave importance to Italian artists and had them brought to the palace.’ The visiting artists helped integrate ‘the styles of West and East [reaching] a new synthesis in the hands of Turkish artists….[I]t can be said that the miniature art in the period of Bayezid II [1481–1512, and son of Fatih Sultan Mehmed] was shaped with the common work of West and East originated artists’ (Karakaş and Rukanci 2016, 4, 5). Of course, the intermingling of these worlds was not always received well by the more religious Islamic leaders, who would often attempt to purify the city of these foreign iniquities.
 
Literatur
Abrams, M.H. 1986. Introduction to ‘The Prelude’. In The Norton Anthology of English Literature, ed. M.H. Abrams, vol. 2, 5th ed., 228. New York: W.W. Norton.
Arslan, Nihayet. 2003. The Dialogical Process in My Name is Red. International Journal of Central Asian Studies 17: 73–111.
Bahktin, Mikhail M. 1981. The Dialogic Imagination, ed. Michael Holquist. Trans. Caryl Emerson and Michael Holquist. Austin: University of Texas Press.
Foucault, Michel. 2008. Of Other Spaces. In Heterotopia and the City: Public Space in a Postcivil Society, ed. Michiel Dehaene and Lieven De Cauter. Trans. Michiel Dehaene and Lieven De Cauter, 13–29. London: Routledge.
Gurses, Hande. 2012. Mirroring Istanbul. In Existentialism and Politics: Global Perspectives on Orhan Pamuk, ed. Mehnaz M. Afridi and David M. Buyze, 47–61. New York: Palgrave Macmillan.CrossRef
Harvey, David. 1996. Justice, Nature and the Geography of Difference. Cambridge, MA: Blackwell Publishers.
Lefebvre, Henri. 1999. The Production of Space. Trans. Donald Nicholson-Smith. Oxford: Blackwell.
Morales, Alejandro. 1996. Dynamic Identities in Heterotopia. In Alejandro Morales: Fiction Past, Present, Future Perfect, ed. José Antonio Gurpegui, 14–27. Tempe, AZ: Bilingual Review/Press.
Pamuk, Orhan. 2001. My Name is Red. Trans. Erdağ M. Göknar. New York: Vintage Books.
———. 2004. Istanbul: Memories and the City. Trans. Maureen Freely. New York: Vintage Books.
———. 2009. Museum of Innocence. Trans. Freely. London: Faber & Faber.
———. 2015. A Strangeness in My Mind. Trans. Ekin Oklap. New York: Alfred A. Knof.
Punchner, Martin. 2014. Orhan Pamuk’s Own Private Istanbul. Raritan 33 (3): 97–107.
Soja, Edward W. 1995. Heterotopologies: A Remembrance of Other Spaces in the Citadel–LA. In Postmodern Cities and Spaces, ed. Sophie Watson and Katherine Gibson, 13–34. Oxford: Blackwell.
———. 1996. Thirdspace: Journeys to Los Angeles and Other Real-and -Imagined Places. Oxford: Blackwell Publishing.
Toprak, İlgi, and Alper Ünlü. 2015. A Diachronic Approach on Heterochronic Urban Space. ITU A/Z (November): 159–173.
Metadaten
Titel
No Center Other Than Ourselves: Istanbul, Hüzün, and the Heterotopic Portal Between Civilizations and Time in the Works of Orhan Pamuk
verfasst von
Michael P. Moreno
Copyright-Jahr
2021
Buch
Time, the City, and the Literary Imagination

Print ISBN: 978-3-030-55960-1

Electronic ISBN: 978-3-030-55961-8

Copyright-Jahr: 2021

DOI
https://doi.org/10.1007/978-3-030-55961-8_14