Poe’nun Ligeia ve Şişede Bulunan Not Öykülerinde Tanpınar’ın Geçmiş Zaman Elbiselerini Aramak -Alice’in Düş(üş)ünde Düşsel Kronotop’u ve Anima’yı Yakalamak
Kadir Can DilberDünya edebiyatının kapsamı ve sınırlarının genişliği düşünüldüğünde edebi eserlerin birbirlerinin etkisinde ilerlediği ve bu bağlamda her eser kendisinden önceki eserden bir tarz, üslup ya da biçim öğrenerek metne yenilik kazandırdığı böylece her yazılan metnin aslında başka bir metnin ön hazırlık aşaması olduğu görülür. Bu ön hazırlık aşaması zihinsel olarak ilerler ve bilinç-bilinçdışı düzleminde zaman kavramına gelip dayanır. Öncelikle zaman ve mekân kavramlarını kronotop kelimesinde birleştiren Bakhtin’in önderliğinde Edgar Allan Poe’nun “Şişede Bulunan Not” öyküsünden hareketle Tanpınar’ın “Geçmiş Zaman Elbiseleri”nde düşsel yolculuğun şifreleri çözümlenmeye çalışılacaktır. Ayrıca iki yazarın ortak evrenlerini süsleyen Carl Gustav Jung’un “anima” kavramının eşliğinde Poe’nun “Ligeia”sında mit olan kadının, Tanpınar’ın “Keti” isimli düşsel yaratımında sanat-anne pelerinindeki görüngüsü karşılaştırmalı olarak değerlendirilecektir.
Looking For Tanpinar’s Previous Time Dresses in Poe’s Ligeia and Note in Bottle Stories - Capturing the Imaginary Chronotope and the Anima in Alice’s Dream -
Kadir Can DilberConsidering the scope and extended boundaries of world literature, we can see that literary works advance through each other’s influence, and each work of art adds innovation to the text by introducing a style, a form drawn from the author’s previous work, thus each written text becomes the preliminary stage of another text. This preliminary preparation stage progresses psychologically and is based on the concept of time in the consciousness–unconsciousness plane. First, under the leadership of Bakhtin, who combined the concepts of time and space with the word “chronotope” and based on Edgar Allan Poe’s “MS. Found in a Bottle” story, we will attempt to decode the codes of the imaginary journey within Tanpınar’s “Past Time Dresses.” Also accompanied by the concept of “anima” of Carl Gustav Jung, who adorned the common universes of two authors, the woman who is a myth in Poe’s “Ligeia” will be evaluated comparatively with her appearance in the art-mother cloak in Tanpınar’s imaginary creation called “keti.”
The battle between memory and time, which is trapped between a dream and the truth, manifests itself in different forms in the darkness of literary texts. In the mental journey that begins with Alice’s dream, the concepts of time and space are first erased, and then, by experiencing a unique journey, the reader gets out of the story. The narrator, experiencing different dimensions of time that are lost due to an accident in Edgar Allan Poe’s “MS. Found in a Bottle,” again throws a short-term glimpse into the past as a result of an accident in Tanpınar’s “Past Time Dresses.” When one enters this universe, by combining the “chronotope” with the imaginary World, everything changes and loses clarity. Jung’s “anima,” which is given to the feminine image within the man, extends back to the maternity concept, and it is seen that this concept dominates the work of both authors. Considering the scope and extended boundaries of world literature, we can see that literary works advance through each other’s influence, and each work of art adds innovation to the text by introducing a style, a form drawn from the author’s previous work, thus each written text becomes a preliminary stage of another text. This preliminary preparation stage progresses psychologically and is based on the concept of time in the consciousness–unconsciousness plane. First, under the leadership of Bakhtin, who combined the concepts of time and space with the word “chronotope” and based on Edgar Allan Poe’s “MS. Found in a Bottle” story, we will attempt to decode the codes of the imaginary journey within Tanpınar’s “Past Time Dresses.” Also accompanied by the concept of “anima” of Carl Gustav Jung, who adorned the common universes of two authors, the woman who is a myth in Poe’s “Ligeia” will be evaluated comparatively with her appearance in the art-mother cloak in Tanpınar’s imaginary creation called “keti.”
