The sublime and the creation of identity in minor literature a comparison of ''the old man and the sea'' and ''the prey''
Küçük Resim Yok
Tarih
2017
Yazarlar
Dergi Başlığı
Dergi ISSN
Cilt Başlığı
Yayıncı
Uluslararası Kıbrıs Üniversitesi
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
The Old Man and the Sea, written ten years before Ernest Hemingway’s suicide and published in 1952, is one of his most important works and exemplary of his ‘Iceberg Theory’***. The novel tells the tale of Santiago, a Cuban fisherman who spends eightyfour days fruitlessly trying to catch a fish. On the eighty-fifth day, after a long struggle, he manages to land a swordfish which he ties to his boat, only to have it devoured by sharks before he reaches shore. The Prey is one of twelve short stories by Turkish writer, Bilge Karasu, included in his 1980 collection, The Garden of Departed Cats, and is also based around the relationships of the fish, the fisherman and the sea. The story weaves together three different narratives that complete each other. The story begins with a fish a fisherman has caught, snatching his arm, and although we may not be able to categorize this fish-fisherman relationship explicitly, it involves a state that is above and beyond the limits of our senses, a truly transcendental state. This transcendental state can be considered as part of the feeling of the ‘Dynamic Sublime’. The fish and the fisherman, who transcend the subject-object binary to become a single subject, referred to as the ‘creature’, and their affinity with the violent nature of their love, will be discussed in more detail in the following sections. This paper, which suggests a twofold approach, will first examine the fish-fishermansea relationship with reference to Kant’s ‘Dynamic Sublime’, in two works with similar subjects, written by two eminent twentieth century authors: Ernest Hemingway’s The Old Man and the Sea and Bilge Karasu’s The Prey. Hemingway and Karasu’s works* , published approximately thirty years apart, both recount the stories of fishermen who catch fish, and the fish-fisherman relationship that develops between them. However, when analyzed through the medium of the sea which forms the setting for the subject-object hierarchy of the fish-fisherman relationship, the application of Kant’s ‘Mathematical Sublime’** and ‘Dynamic Sublime’*** theories reveal the differences between the two works. Although the analysis requires the discussion of ‘beauty’ within a theoretical framework, the ‘Mathematical’ and ‘Dynamic Sublime’ form the core of this study. After the discussion of the ‘Mathematical Sublime’ and the ‘Dynamic Sublime’, the paper will argue that, through analysis of the two works, their constructions of identity, and the workings of the Sublime in major and minor literature, The Prey rightly belongs to minor literature****. It will also discuss form, and how the titles, The Old Man and the Sea, and The Prey, mark Karasu out as a representative of minor literature. Most importantly, this discussion will illustrate that unlike Hemingway’s repetitive and realistic writing style which aims to uphold a tradition in major literature, the story of Karasu is distinguished by its language affected with a high coefficient of deterritorialization. This will prove us that the differences in the appearance or manifestations of the ‘Dynamic Sublime’ and the ‘Mathematical Sublime’ in The Old Man and the Sea and The Prey are also due to literary differences.
Açıklama
Anahtar Kelimeler
Kaynak
Folklor/Edebiyat
WoS Q Değeri
Scopus Q Değeri
Q2
Cilt
23
Sayı
90
Künye
Eren, O. (2017). The sublime and the creation of identity in minor literature a comparison of ''the old man and the sea'' and ''the prey'' / Yüce hissi ve minör edebiyatta kimlik oluşumu üzerinden ''İhtiyar Adam ve Deniz'' ve ''Avından El Alan'' yapıtlarının karşılaştırılması. 23(90), s. 215-229.
