ORHAN KEMAL’İN HİKÂYELERİNDE ANLATICI VE BAKIŞ AÇISI

OZ Modern anlatilarin estetik/sanat degerinin belirlenmesinde anlatici ve bakis acisinin belirleyici bir rolu vardir. Roman ve hikâye gibi turlerin yapisini olusturan olay, kisi, zaman ve mekân gibi unsurlar, secilen anlatici ve bakis acisinin imkânlari dâhilinde kurguya donusur. Bu unsurlar arasindaki iliskinin anlamsal boyutunun kavranabilmesi ve anlatidaki degerler sisteminin butun yonleriyle anlasilabilmesi yine secilen anlatici ve bakis acisinin cozumlenmesiyle mumkundur. Dolayisiyla, anlatici ve bakis acisina yonelik yapilan calismalar, metinlerin olusum surecinin anlasilmasina yardimci oldugu gibi eserlerin sanatsal degerinin tespiti noktasinda da cesitli sonuclara ulasilmasini saglar. Bu calismada, Orhan Kemal’in hikâyelerindeki anlatici ve bakis acisi odaga alinmis, bu unsurlar uzerinden kurgunun olusumu/metnin uretim sureci aciklanmaya calisilmistir. Bu nedenle de anlatici ve bakis acisi merkeze alinirken yazarin diline, uslubuna ve hikâyelerindeki anlatim tekniklerine de deginilmistir. Orhan Kemal’in hikâyelerinde ekmek pesinde kosan yoksul insanlarin hayatlari cogunlukla tanribilici anlatici tarafindan nakledilir; buna ragmen bu anlatici, tanrisal bakis acisinin genis imtiyazlarini kismen kullanir; cogu defa musahit bir konumda kalir; karakterlerin soylem ve eylemlerine mudahalede bulunmaz; onlara ozgur bir alan acar. Hikâyelerde anlaticinin varligi genellikle siliktir; olaylari surukleyen, karakterler arasinda gecen konusmalar (diyalog) olur. Orhan Kemal, toplumcu gercekci edebiyatin en onemli temsilcilerinden biri olmakla birlikte hikâyelerinde anlaticilari ve karakterleri araciligiyla kendi ideolojisini okura aciktan empoze etmez. Iyilerin ve kotulerin mucadelesinde yazar ve anlatici aciktan taraf tutmaz. Hikâyelerde gosterme teknigi kullanilarak olaylar, bir tiyatro sahnesi kadar canli, inandirici ve etkileyici bir gorsellikte sunulur. Anahtar Kelimeler: Hikâye, anlatici, bakis acisi, Orhan Kemal. NARRATOR AND POINT OF VIEW IN THE SHORT STORIES OF ORHAN KEMAL ABSTRACT In determination of the aesthetical/artistic value of the modern narratives, the narrator and point of view have a determinant role. The factors such as event, individual, time and space -constituting the structure of the types such as novel and story- turn to fiction within the bounds of possibility of the selected narrator and point of view. Being able to apprehend the semantic dimension of the relation among these factors and being able to understand the system of values in the narration with all its aspects is again possible by analyzing the selected narrator and point of view. Thus, the studies directed to the narrator and point of view enable reaching to various results at the point of determination of the artistic value of the works as well as assisting in understanding the formation process of texts. In this study, it was focused on the narrator and point of view in the stories of Orhan Kemal, and the formation of fiction/production process of text was tried to be explained over these factors. Thus, while taking the narrator and point of view to the center, the language and wording of the author and the expression techniques in his stories were also mentioned. In the stories of Orhan Kemal, the lives of poor people who are running after bread are generally communicated supernal narrator; despite that, this narrator partially uses the wide privileges of the supernal point of view; mostly he remains at an observer position; he doesn’t interfere the discourses and acts of the characters; he opens them a free area. In the stories, the existence of the narrator is generally obscure; the things that drag the events become the dialogue among the characters. Orhan Kemal, along with being one of the most important representatives of the socialist realistic literature, he doesn’t clearly impose on the reader his own ideology through he narrator and characters in his stories. The author and the narrator don’t clearly take sides in the battle of good and bad ones. In the stories, the events are presented as vivid, convincing and effective as a theatre scene by using the technique of showing. Key Words: Story, narrator, point of view, Orhan Kemal.