“Anlatısal Karşıtlık” Açısından Haldun Taner’in “Fasarya” Adlı Öyküsünde İçerik ve Yöntem
Mustafa TemizsuTürk öykücülüğünün önemli isimlerinden Haldun Taner’in Şişhane’ye Yağmur Yağıyordu adlı kitabı 1953 yılında yayımlanmıştır. Bu yazıda, kitapta yer alan “Fasarya” adlı öykü, içerik ve yöntem açısından incelenecektir. Genel bir ifadeyle, öykünün anlamsal düzlemini oluşturan konu, tema ve içerik gibi unsurların metnin anlatısal stratejisinde “karşıtlıklar” üzerine inşa edildiği gözlemlenmektedir. Aynı durum yöntem başlığı altında inceleyeceğimiz anlatıcı ve zaman gibi problemlerde de kendini göstermektedir. Anlatısal karşıtlık ifadesiyle kast edilen, salt edebiyatın temel enstrümanlarından olan tezat sanatının öyküde oynadığı rol değildir. Burada aynı zamanda, anlatıcının öykünün içindeki konumu ve bakış açısı sonucu oluşan anlatısal bir strateji söz konusudur. Bu strateji ise yapmış olduğumuz inceleme sonucunda iki şekilde ortaya çıkmaktadır. Bunlardan ilki Fasarya’yla anlatıcı arasındaki ilişkiye, ikincisi ise yine onun toplum ve toplumsal olaylar karşısındaki konumuna dayalıdır. Dolaysıyla bu yazıda, “Fasarya”nın içerik ve yöntemini belirleyen temel unsur olduğunu düşündüğümüz “anlatısal karşıtlık” durumunun öykünün kurgusallığında ne ölçüde rol oynadığı sorunsalı üzerinde durulacaktır. Şüphesiz bu durum aynı zamanda, Haldun Taner’in öykücülüğünde benzer öykü tekniklerinin kullanılıp kullanılmadığı hususunda yeni çalışmaların yapılmasını sağlayacaktır.
Content and Method in Haldun Taner's Story of “Fasarya” in Terms of “Narrative Opposition”
Mustafa TemizsuHaldun Taner, one of the important names of Turkish short story, was published in 1953 his book Şişhaneye Yağmur Yağıyordu. The story of Fasarya in the book firstly will be examined in terms of content and method. In general terms, it is observed that elements such as subjects, themes and content that form the semantic plane of the story are built on oppositions. The same situation is seen in the problems such as narrator and point of view and time which we will examine under the title of method. The expression of narrative opposition is not only the art of contrast, which is one of the basic elements of literature. There is also a narrative strategy that is the result of the narrator's position and perspective within the story. This strategy emerges in two ways as a result of our investigation. The first is based on the relationship between Fasarya and the narrator, and the second is based on his position against society and social events. Therefore, this article will focus on the extent to which “narrative opposition” plays a role in the fictionality of the story. Thus, new studies on Haldun Taner’s other stories will be provided.
Haldun Taner (1916-1986), first known as a theater writer in the world of literature, is also an important name in the history of Turkish storytelling. In his works, he deals with the comical conflicts, distortions, moral and social deprivations of caring for western life, which has been the subject of our stories and novels since the Tanzimat.
The main disorders of Satire types in the author's stories; laziness, ignorance, crowd, hypocrisy, selfishness and rudeness. The stories of Haldun Taner reflect the characteristics of the society in which they live. The themes in his stories are often irregularities resulting from lack of education and training, people trying to fit into the life of the big city, ignorant, rude people and snobs. The author, who determines his characters according to their economic situation, compares rich people with the poor and treats the poor as pure and the rich as weak.
The themes discussed in "Fasarya" are based on topics such as social injustice, poor manners, wealthy classes. Although the general structure of the story touches these issues, it is also suitable for different readings. One of the main factors for this is the fact that Fasarya is a story based on a protagonist.In the story, Fasarya's shortcomings and failures in business life, personal problems in friendship and male-female relations are handled in a tragicomic structure. As a result, the main factor constituting the dramatic structure in the story is the ordinary story person Fasarya and his conflict with other people.On the other hand, this conflict causes the story to be built largely on “opposites”.As a result of this, it is possible to say that conflict and opposition are effective both in content and structure in the narrative strategy of the story. Therefore, this article will focus on the issue of how these effects are reflected on “Fasarya”. The story of Haldun Taner is based on the events of Fasarya, whose real name is Kâzim. He lives as a outcast person in one of the suburbs of Istanbul in the 1950’s, in “Fasarya”. It can be said that the theme and content in the story are based on oppositions. These oppositions constitute the basic strategy of the story both in terms of content and method.
Also, these oppositions appear in two ways. One of these is the effect of the narrator's point of view on the story. The other is the perspective of Fasarya, a story person. Therefore, it is possible to say that the story shows a dual structure. This dual structure is sometimes presented to the reader as contradictions and sometimes as partnerships in terms of the contextual content of the text. The expression of narrative opposition is not only the art of contrast. In here, there is also a narrative strategy that is the result of the narrator's position and perspective in the story. Therefore, the fact that the relationship between Fasarya and the narrator affects the holistic structure of the story. It is possible to observe this situation first in “Fasarya”s people. This “dual structure” is important for thematic concern, but it is one of the usual features of literature. Explaining these features will undoubtedly enable us “to read” Fasarya better.
