SPACES AND PLACES OF MODERNITY AND THE MODERN ARTIST IN OĞUZ ATAY’S “RAILROAD STORYTELLERS - A DREAM”

dc.authorscopusid 36772736500
dc.contributor.author Aksoy,N.B.
dc.contributor.other English Translation and Interpretation
dc.date.accessioned 2024-09-10T21:35:53Z
dc.date.available 2024-09-10T21:35:53Z
dc.date.issued 2024
dc.department Atılım University en_US
dc.department-temp Aksoy N.B., Department of English Translation and Interpretation, Atılım University, Ankara, Turkey en_US
dc.description.abstract This paper examines Atay’s “Railroad Storytellers - A Dream” in terms of Atay’s modernist experimentation in his depiction of space and spatiality, emphasising his contribution to Turkish literature as a pioneer modernist author. Oğuz Atay’s distinctive and innovative style, which forms his affinities with the early Western modernists such as James Joyce and Virginia Woolf, establishes his significant place as a pioneer modernist author in Turkish literature in the 1970s. The concept of ‘house/ home’ by Gaston Bachelard in The Poetics of Space (1957, 2014) is instrumental for me as it pertains to the predicament of three storytellers as artists in the nameless and remote railroad station. The narrator of the story and his fellow storytellers gradually sink into disconnection, confusion, misery and poverty in an environment that represents the cold and unwelcoming face of technological modernisation symbolised by the space of the train station. The narrator’s quest for finding a ‘home’ to connect him to his readers and where he could exist as an artist comes to life in his attempt to write a letter to his readers, telling them he is still ‘here’ and asking them where they are. No matter how blighted that effort is since the narrator has no address to send the letters to, the endings for Atay’s story imply a need for connection with his readers expressed in the impossible meeting of the ‘here’ with the ‘where’ in spite or because of the estrangement and alienation of the artist/author in the modern world. Hence, the possibility of space as a ‘home’ for the author/narrator dwindles in the not forthcoming answer to the letter that will never reach its destination. Copyright © 2024 N. Berrin Aksoy. en_US
dc.identifier.citationcount 0
dc.identifier.doi 10.46687/OQTR6968
dc.identifier.endpage 184 en_US
dc.identifier.issn 2534-952X
dc.identifier.issue 2 en_US
dc.identifier.scopus 2-s2.0-85202161705
dc.identifier.scopusquality Q4
dc.identifier.startpage 167 en_US
dc.identifier.uri https://doi.org/10.46687/OQTR6968
dc.identifier.uri https://hdl.handle.net/20.500.14411/7384
dc.identifier.volume 12 en_US
dc.institutionauthor Aksoy, Nüzhet Berrin
dc.language.iso en en_US
dc.publisher Konstantin Preslavsky University of Shumen en_US
dc.relation.ispartof Studies in Linguistics, Culture and FLT en_US
dc.relation.publicationcategory Makale - Uluslararası Hakemli Dergi - Kurum Öğretim Elemanı en_US
dc.rights info:eu-repo/semantics/openAccess en_US
dc.scopus.citedbyCount 0
dc.subject home en_US
dc.subject modernism en_US
dc.subject Oğuz Atay en_US
dc.subject place en_US
dc.subject space en_US
dc.title SPACES AND PLACES OF MODERNITY AND THE MODERN ARTIST IN OĞUZ ATAY’S “RAILROAD STORYTELLERS - A DREAM” en_US
dc.type Article en_US
dspace.entity.type Publication
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relation.isOrgUnitOfPublication.latestForDiscovery fa50d81a-2c09-412c-b5ab-e31ddcc01486

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