Thèse de doctorat--Berlin--Freie Universität, 2007. / Bibliogr. p. [167]-176.

Dans le foisonnement et la diversité de la production romanesque, l'écriture baroque semble être une manifestation de la culture moderne, dans le sens où la sensibilité de l'homme s'écarte de la vraisemblance pour se retrouver, face à l'écroulement des certitudes, dans un monde en mouvement. De nos jours, l'esthétique néo-baroque en littérature se caractérise par l'éclatement des formes, l'instabilité, la multiplicité des voix et des points de vue, ainsi que la surenchère stylistique. Pour couvrir les aspects du néo-baroque, cette thèse propose de dresser une typologie du baroque qui appelle un retour sur le contexte historique de la Contre-Réforme, ainsi des définitions de la polyphonie et du dialogisme à partir des travaux de Mikhaïl Bakhtine, sans oublier l'intertextualité dont Julia Kristeva pose les fondements. J'aborderai trois perspectives d'analyse, dont le foisonnement et la métamorphose des personnages, l'éclatement de la structure narrative et la polyphonie, dans les univers fascinants des deux romans contemporains : Les Filles du Calvaire de Pierre Combescot (1991) et Mon nom est Rouge d'Orhan Pamuk (2001 [1998]). Je voudrai ainsi examiner deux romans qui s'insèrent dans deux contextes socio-politiques. J'y dégagerai deux manifestations du nouveau baroque, dues au dérèglement des codes narratifs et à l'abondance discursive. Si le roman de Combescot prône la diversité et la richesse du goût baroque, s'il cultive le bizarre, le réalisme proche d'un irréalisme exacerbé par l'impossibilité de pénétrer un monde proliférant, celui de Pamuk privilégie les voix croisées de monologues et la polyphonie discursive qui reflète un pan de l'histoire politique de la Turquie. L'étude de ces romans mène à la création d'un récit de fiction Meramérique , qui se veut une tentative de saisie baroque, selon des affinités électives avec l'imaginaire foisonnant. Les textes, chargés de terre, reflètent l'engagement des personnages dans la vie. Le rêve d'émigrer vers le Nouveau Monde y est un fil conducteur. Le texte omet pourtant tout détail sur l'arrivée des personnages en Amérique; il se met au service d'un monde fragmenté où la reprise des mêmes gestes organise son fonctionnement. Le texte mène aussi un discours sur l'imaginaire d'un village libanais Aïn Adam, dont les destinées des personnages interfèrent, remontent à la surface du texte afin de sauvegarder une mémoire que les uns veulent préserver alors que les autres la considèrent dérisoire. La présentation du processus de création oscille, quant à elle, entre le récit d'une vie et la réflexion sur la structure de Meramérique comme recueil de nouvelles. Réfléchir sur le processus permettrait de comprendre comment la terre d'où on vient est exigeante, et de rassembler les parcelles d'une mémoire à même la ruine de sa chair. La structure de Meramérique suggère de nombreux rapprochements avec le néobaroque. Les fictions se regroupent selon un système de polytextualité, lequel génère une certaine continuité sans nuire à l'unité de la fiction. Les effets de sens qui résultent de la structure du texte produisent de l'ambiguïté quant à l'inscription de Meramérique à un système déterminé.

Zugl.: Berlin, Freie Univ., Diss., 2007 / Fälschlich als Bd. 13 der Schriftenreihe bezeichnet

A partir du repérage d’un point aveugle de la littérature générale et comparée, ce travail vise à faire de la littérature turque le site d’interrogation de la discipline et de l’intelligibilité régionale de la littérature européenne. La mondialisation du discours critique permet de situer la réception de la littérature européenne chez un romancier turc contemporain dans le cadre des échanges littéraires inégaux entre un espace littéraire ancien et très doté et la périphérie turque. Les particularités de ce champ socio-Historique dont Orhan Pamuk est tributaire permettent de comprendre sa trajectoire exceptionnelle, mais aussi son ethos de lecteur de la bibliothèque européenne, marqué par l’excentricité et l’héritage de la dépendance. Dès lors, l’étude du recours d’Orhan Pamuk au roman européen met en valeur trois usages de celui-Ci : un usage mimétique, un usage générique et un usage architextuel dont témoigne la réécriture des Buddenbrook de Thomas Mann. Le recours au roman dostoïevskien met en lumière, quant à lui, l’homologie structurale de deux anciens empires dans le rapport à l’Europe, et révèle à Orhan Pamuk l’intelligibilité des « démons » de la Turquie. Le roman pamukien se présente alors comme une négociation poétique de la dépendance et de l’excentricité de la littérature et du roman turcs. La poétique intertextuelle très appuyée, dans un geste de réécriture du canon (Proust, Dante, Dostoïevski) permet la captation de l’héritage littéraire européen ; la poétique de la taklit, centrée sur les jeux fictionnels et les feintises ludiques, permet enfin de transmuer le complexe de dépendance mimétique dans une nouvelle catharsis romanesque de laquelle émerge la « fiction » de l’auteur pamukien. / Having identified a blind spot in general and comparative literature, this work proposes to introduce Turkish literature as a questioning site within the field which also interrogates the regional comprehensibility of European literature. The globalization of literary criticism allows us to locate the reception of European literature within the work of a contemporary Turkish novelist in the wider context of an unbalanced literary exchange between on the one hand an ancient and rich literary space and the Turkish periphery on the other. The particularities of this social and historical field to which Orhan Pamuk is affiliated account for his trajectory in world literature, while also shedding light on his ethos as a reader of the European library, itself characterized by eccentricity and an inherited dependency. It follows that studying Orhan Pamuk’s use to the European novel brings to light a mimetic, a generic and an architextual use, as shown by his rewriting of Mann’s Buddenbrooks. As for his use of the Dostoevskian novel, it highlights the structural homology of the two former Empires in relation to Europe, and lays bare to Orhan Pamuk Turkey’s “demons” in all their legibility. The Pamukian novel presents itself as a poetical negotiation with the dependency and eccentricity of Turkish literature and the Turkish novel. Rewriting the canon (Proust, Dante, Dostoevsky) with glowing intertextual poetics, Pamuk captures the European literary inheritance ; these taklit poetics, replete with fictional games and playful sham facilitate the conversion of this net of mimetic dependency into a new novelistic catharsis from which the “fiction” of the Pamukien author emerges.

Zugl.: Magisterarb.

Made available in DSpace on 2015-03-11T02:01:27Z (GMT). No. of bitstreams: 1 000466163-Texto+Completo-0.pdf: 4405555 bytes, checksum: f9f26d750766a50363983c0c95bb665d (MD5) Previous issue date: 2014 / The goal with this Master’s Thesis is the analysis of the hybridism between two distinctive arts, Photography and Literature, especially in Pamuk’s Istambul. In this sense, a previous incursion in the world of Photography and its intersections among several literary works will trigger the starting point. Photographers as Marey, Muybridge, Nakaji Yusui, Alfred Stieglitz illustrate the permeable way that the art of writing through light relates to other kinds of art. Duane Michals shows his avant-garde photographic narrative, and Leonardo da Vinci reveals how the art of the numbers works in “eye-catching” images. As a contribution Roland Barthes sews up the theory of these worlds amongst Susan Sontag, Derrida, Hegel and Benjamin, turning possible a safe landing in Istambul where, in the end, the study about Pamuk’s text, which is illustrated with Ara Güler’s photographic work, culminates. The search here takes another bias and Sebald helps doing a counterpoint: writing the text with the pictures that were previously chosen versus subsequent choice, that is the way Pamuk does seeking in Güler’s Istambul the hüzün eye as genuine as his own. / A dissertação apresentada tem por objetivo a análise do hibridismo de duas artes, Fotografia e Literatura, especialmente na obra Istambul de Orhan Pamuk. Para tanto, uma incursão prévia no mundo da Fotografia e intersecções com outras obras literárias dará o ponto de partida. Fotógrafos como Marey, Muybridge, Nakaji Yusui, Alfred Stieglitz ilustram o modo permeável como a arte da escrita com a luz se relaciona com outras artes. Duane Michals dá o testemunho de uma narratividade fotográfica à frente de seu tempo e Leonardo da Vinci mostra como a arte dos números faz com que nosso olhar se fixe em determinado ponto da imagem. Para contribuir Roland Barthes faz a sutura teórica destes dois mundos juntamente com Susan Sontag, Derrida, Hegel e Benjamin, possibilitando uma aterrissagem segura em Istambul onde, por fim, o estudo sobre o texto de Pamuk ilustrado com a obra fotográfica de Ara Güler culmina. A busca aqui toma um viés particular e Sebald auxilia em um contraponto: a produção do texto com as fotografias previamente escolhidas versus escolha posterior, como Pamuk faz buscando na Istambul de Güler o hüzün de um olhar tão genuíno como o seu.

Reasons like increases in the price and demand of energy in the last years, growing interest and support in the renewable energy resources, development of social environmental consciousness, interest in using domestic resources, having legal regulations has promoted the interest in the electricity production from geothermal energy. For the effective and productive use of existing resources, important data of geothermal regions are obtained with well tests. Well tests are the studies which starts while the well is drilling, continues after the well completion during the process of operation planning with optimum performance suitable to geothermal source and presents continuation also in the operation stage as required for the dynamic structure of geothermal systems. In Aydin Kuyucak Pamuk&ouml / ren region three wells are drilled, achieved results are positive. At AP1 well only CO2 emission is present, no test is done for this well. With the tests for AP2 and AP3 wells temperature, pressure and production values are determined. By the results of these tests, it is determined that this region will be one of the important fields in the West Anatolian Region with current temperature and production rate. In this study, the geothermal energy recoverable from this region is calculated with volume method of geothermal resource assessment. Monte Carlo simulation technique is used with an add-in software program @RISK to Microsoft EXCEL. Electrical power capacity of Aydin-Pamuk&ouml / ren geothermal field is determined as 45.2 MW with 90 % probability. The most likely electrical power value was found to be 78.75 MW with a probability of 69 %. The number of wells required are 10 for a production capacity of 200 t/hr and 7 for a production capacity of 300 t/hr at each well head.

Kars is an ethnically diverse city located at the North East Turkey, neighboring Armenia. In the year 2002, Nobel laureate author Orhan Pamuk published a political-historical novel named Snow, the story of which is set in Kars. The book created a public debate on national and global scale about cutting edge questions of Turkey. This thesis aims to address these questions from the perspective of inhabitants of Kars, who had reacted fiercely to the representations in the book Snow. By focusing on identification and boundary negotiation processes of people in Kars, this thesis and presents an ethnography of Kars, which was achieved by application of grounded theory method and by discussing local perceptions of ethnicity, nationalism and secularism at the periphery of Turkey.

Made available in DSpace on 2015-04-14T13:39:28Z (GMT). No. of bitstreams: 1 466163.pdf: 4405555 bytes, checksum: f9f26d750766a50363983c0c95bb665d (MD5) Previous issue date: 2015-01-22 / The goal with this Master s Thesis is the analysis of the hybridism between two distinctive arts, Photography and Literature, especially in Pamuk s Istambul. In this sense, a previous incursion in the world of Photography and its intersections among several literary works will trigger the starting point. Photographers as Marey, Muybridge, Nakaji Yusui, Alfred Stieglitz illustrate the permeable way that the art of writing through light relates to other kinds of art. Duane Michals shows his avant-garde photographic narrative, and Leonardo da Vinci reveals how the art of the numbers works in eye-catching images. As a contribution Roland Barthes sews up the theory of these worlds amongst Susan Sontag, Derrida, Hegel and Benjamin, turning possible a safe landing in Istambul where, in the end, the study about Pamuk s text, which is illustrated with Ara G?ler s photographic work, culminates. The search here takes another bias and Sebald helps doing a counterpoint: writing the text with the pictures that were previously chosen versus subsequent choice, that is the way Pamuk does seeking in G?ler s Istambul the h?z?n eye as genuine as his own. / A disserta??o apresentada tem por objetivo a an?lise do hibridismo de duas artes, Fotografia e Literatura, especialmente na obra Istambul de Orhan Pamuk. Para tanto, uma incurs?o pr?via no mundo da Fotografia e intersec??es com outras obras liter?rias dar? o ponto de partida. Fot?grafos como Marey, Muybridge, Nakaji Yusui, Alfred Stieglitz ilustram o modo perme?vel como a arte da escrita com a luz se relaciona com outras artes. Duane Michals d? o testemunho de uma narratividade fotogr?fica ? frente de seu tempo e Leonardo da Vinci mostra como a arte dos n?meros faz com que nosso olhar se fixe em determinado ponto da imagem. Para contribuir Roland Barthes faz a sutura te?rica destes dois mundos juntamente com Susan Sontag, Derrida, Hegel e Benjamin, possibilitando uma aterrissagem segura em Istambul onde, por fim, o estudo sobre o texto de Pamuk ilustrado com a obra fotogr?fica de Ara G?ler culmina. A busca aqui toma um vi?s particular e Sebald auxilia em um contraponto: a produ??o do texto com as fotografias previamente escolhidas versus escolha posterior, como Pamuk faz buscando na Istambul de G?ler o h?z?n de um olhar t?o genu?no como o seu.

This master thesis deals with the phenomenon of non-human narrator in the literary fiction. The theoretical part of the thesis provides a conceptual framework. The framework is based on the so-called unnatural narratology. Firstly, the thesis discusses non-human narrators that are conventionally accepted. Secondly, the thesis provides a case study of non-human narrators that are perceived as unnatural. The case study includes examples from both canonical works and contemporary works. The research focuses on two main levels related to the usage of the phenomenon of non-human narration as used in the narratives: the level of "meaning" and the level of "form and effect".