奥尔罕·帕慕克研究
摘要
奥尔罕·帕慕克是一位土耳其作家、2006年诺贝尔文学奖获得者。本文在总结前人研究成果的基础上,试正本清源、填补疏漏,以学术争辩的方式展开自己的批评与诠释,对帕慕克做一个综合性的专题研究。
首先,针对以帕慕克与土耳其之关系为中心的社会历史学批评的缺席,本文试从凯末尔与世俗主义改革、伊斯兰主义、土耳其妇女、少数族裔四方面展开研究,研究帕慕克对土耳其近百年历史的矛盾态度,对伊斯兰极端主义的同情性认知,对本土妇女生存境遇的关注,对土耳其少数族裔政策的批判。这四方面基本涵盖了现代土耳其发展史上的主要问题。之后,本文将帕慕克批评中文化杂合派与文化冲突派的论争引入这一研究领域,指明学界对“多余”的主人公与“媚俗”的爱情叙事的误读——其实,它们才是帕慕克文化观的核心部分。最后,结合对帕慕克的“故乡”城市伊斯坦布尔的论述,揭示帕慕克小说中“冲突与交织的新象征”——忘怀政治,皈依爱情。
其次是对帕慕克的写作文化渊源的探求。帕慕克的写作主要有两个文化源头,一是苏非神秘主义,一是后现代主义。这导致学界对这一问题的研究也分两派,在这两派的论述中,存在诸多论战与困惑。本文试图在这两种观点间寻找契合点,因为在帕慕克的身上二者是融合为一的,并剔除其中的过度诠释,彰显帕氏文本中最鲜明的苏非主义特征和后现代主义特征,即“苏非化的主人公”与“不确定性”。所谓苏非化的主人公,指的是从《白色城堡》到《雪》,帕慕克的主人公皆源自一个人物原型——苏非,这表现在他们的弃世、缄默、痴情、认知自我、追寻真主、爱安拉等言行特征中,而不确定性指的是,帕氏文本的情节、主题、人物皆具有不确定性,这最终根源于土耳其文化与身份的不确定性。缝合苏非派与后现代派的研究是本文的难点之一,本文试从分析《黑书》中的卡利普与帕慕克、博尔赫斯的比较研究入手,希望能呈现出一个在艺术形式上跨越东西方文化的帕慕克形象。
再者,实际上目前帕慕克的批评研究已走入一个瓶颈阶段。国内外学界围绕文化杂合、苏非主义、呼愁等问题反复论述,难以论述出什么新意。但是,30多年来,帕慕克的写作在不断地变化,每一部作品都有其相对独立的思想艺术价值。那么,它们是什么?这是现有批评框架无法回答的一个问题。本文选取了《白色城堡》、《黑书》、《新人生》、《我的名字叫红》等七部作品为例,运用弗洛伊德、福柯、德里达、鲍德里亚、唐·库比特、列斐伏尔等人的思想理论,从情节、人物、结构等不同角度展开阐释分析。在这些新理论、新视角的观照下,对一些学术疏漏加以弥补,如对《新人生》与神秘道三段论关系的阐释；对一些被广泛接受的观点提出质疑与论辩,如对《我的名字叫红》中“橄榄”形象的重读；对一些争论不休的问题做出另一种新的解答,如对《黑书》文体定位的讨论；对一些未被发现的亮点与价值加以揭示,如对《伊斯坦布尔——记忆与城市》的空间权力批评和对《纯真博物馆》中“物”的关注。这是帕慕克作品的一只万花筒。它将澄清目前帕慕克研究中的许多具体问题,并为今后的帕慕克评论开拓出一片新天地。
最后,本文将解析帕慕克创作中更为核心的几个问题,它们不仅贯穿于帕慕克的一生创作与所有作品中,而且是与本文每一章节的研究关联、互补的。它们是帕慕克写作的自传性、帕慕克的文艺理论、帕慕克与陀思妥耶夫斯基的比较研究、艺术风格或“呼愁”。在这些问题中,有的是新问题,有的是老问题,但皆未能得到清晰有效的诠释。弗洛伊德说,作品是作家装饰过的白日梦。每一部小说在某种意义上都是自传性写作,帕慕克也不例外,他将自己的阅历、思考与性格气质赋予笔下的主人公,将他的父母、祖父母与生活现实搬入小说中。但目前关注这一问题的人非常少。与此相似的是对帕慕克与陀思妥耶夫斯基的比较,本文试以《白色城堡》与《双重人格》的比较为这一领域的进一步展开开疆拓土。2009年,帕慕克在哈佛大学做诺顿演讲后,他的文艺理论成为一个新问题。介于学界尚未展开对它的研究,本文试初探之。最后不得不论述的是帕慕克的写作风格,虽然关于它的论述已经层层叠叠,但要问呼愁转化为帕慕克诗学形态的独特性在哪里,今天我们仍然无法给出一个明晰的答案。本文试从帕慕克的个人气质、诗学表征、文化渊源、历史与时代内涵等方面分析呼愁,回答“呼愁何以成为一种呼愁”这一批评难题。
总之,本论文的目标是建立一个更为全面、客观、真实的帕慕克研究体系。它既是对以往帕慕克研究的一个批评性总结,同时,也将为今后的评论与研究提供一个系统、详实的基础。
Orhan Pamuk is a Turkish writer and the winner of Nobel Prize for literature in2006. On the basis of summing up the previous studies, this dissertation is trying to reform Pamuk criticism radically, fill up its omissions, and then make a comprehensive study of Pamuk, which interpretation will be carried out in a academic debate way.
Firstly, since the social-historical criticism of "Pamuk and Turkey" is absence from current studies. This dissertation will discuss it from four aspects, namely Mustafa Kemal and secularism reforms, Islamism, Turkish woman and minorities. These four aspects basically cover the main problems in the development history of modern Turkey. Its main contents include Pamuk's contradictory attitude towards the history of Turkey in the last hundred years, his sympathetic recognition of Islam extremism, his close attention to the living conditions of Turkish woman, and his criticism on the policies of minorities in Turkey. Then, I will talk about the debate between cultural hybrid school and cultural clash school in today's Pamuk studies and the misunderstanding of Pamuk's "unnecessary" protagonists and "Kitsch" love narratives. For me, they are the core part of Pamuk's cultural view. Last, by discussing Istanbul, the "native" city of Pamuk, the "new symbols of clash and interlacing" will be revealed in this dissertation, i.e., put aside politics and pursue love.
Secondly, this dissertation is on a quest for the cultural origins of Pamuk's writing. Pamuk's works has two cultural origins, namely the Sufi mysticism and the postmodernism. The problem is that there are also two schools in the studies of such origins. And what's more, there are too many debates and puzzles between them. This dissertation is trying to stitch these two schools, eliminate the excessive interpretations, and unfold the most outstanding Sufism feature and postmodernism feature—"the protagonists of sufi" and "uncertainty", because they are one thing for Pamuk. The former means that all of Pamuk's protagonists are derived from one character prototype. His name is Sufi. From The White Castle to Snow, the protagonists' manner and speech clearly embodies the external features of the Sufi believers, i.e., unworldliness, silence, spoony, self-recognition, pursuit and love of Allah, etc. The latter means that a kind of uncertainty always existed in Pamuk's plots, characters and themes. Its root is the uncertain culture and identity of Turkey. It's an uneasy task that stitching the sufism school and postmodernism school. This dissertation will begin such work with an analysis of the Galip in The Black Book and a comparison of Pamuk and Borges. I hope this section can show a new Pamuk who across the Eastern and Western culture on the level of artistic forms.
Moreover, as a matter of fact, the study of Pamuk has already walked into a bottlenecking stage. Many problems were been talked about again and again without any new ideas both at home and abroad, such as cultural hybrid, Sufism, and huzun. But the writing of Pamuk was constantly changing during the past30years, which shows that each of his books has its own relative independent thought and artistic values. What are they? This is a problem that present criticism couldn't answer. This dissertation is going to read and interpret Pamuk's seven novels, e.g., The White Castle, The Black Book, The New Life, My Name Is Red, from different aspects as plots, characters, and structures, by using the theories of Freud, Foucault, Derrida, Baudrillard, Don Cupitt, Lefebvre, etc. In the view of these new theories and perspectives, some omission can be filled up as the interpretation of The New Life and the syllogism of mysterious way, some widely accepted opinions can be challenged as the rereading of "Olive" in My Name Is Red, some controversial issues may acquire a new answer as the discussion of the style of The Black Book, some unknown bright spots and values can be rediscovered as the space power criticism of Istanbul:Memories and the City and the analysis of the "object" in The Museum of Innocence. This is a kaleidoscope of Pamuk's works, which may opens up new worlds for modern Pamuk criticism.
Last, I'm going to discuss several more important issues about the writing of Pamuk, which mainly include the autobiographical writing, the literary and artistic theories, the comparative study of Pamuk and Dostoevsky, and the artistic style or "huzun". These problems are not only repeated throughout the lifetime of Pamuk and all his books, but connected to every part of this dissertation. Some of them are new, some are old. However, no one has been analyzed clearly and intensely up to now. Freud had said that writings are the decorated daydreams of the writers. In a sense, every novel is a kind of autobiographical writing. Pamuk is no exception. He has planted his own experiences, ideas, characters in the protagonists, and take his parents, grandparents and other real life into the novels. But very few scholars pay attention to it. The situation of the comparative studies of Pamuk and Dostoevsky is the same. In order to open up this new academic horizon, I'm trying to compare The White Castle and Double in this section. Furthermore, Pamuk has delivered his Norton Lecture at Harvard University in2009. Then, his literary and artistic theories became a new issue. Since no one has studied it till now, I'm going to explore it firstly. The last issue have to talk about is the writing style of Pamuk. Althrough this issue has been discussed many times by many critics, if we asked ourselves what's the uniqueness of huzun in Pamuk's texts, we couldn't give it a clear answer. This dissertation will analyzed it from plenty of levels as Pamuk's own temperament, the poetics features, the cultural origins, the connotation of history, etc., and then to answer the difficult question:how does huzun become a kind of huzun?
In a word, the goal of my writing this dissertation is to construct a more comprehensive, objective, and real study system of Pamuk. It is not only a critical summary of the previous studies, but also a systematic and detailed basis for the future criticism.
首先,针对以帕慕克与土耳其之关系为中心的社会历史学批评的缺席,本文试从凯末尔与世俗主义改革、伊斯兰主义、土耳其妇女、少数族裔四方面展开研究,研究帕慕克对土耳其近百年历史的矛盾态度,对伊斯兰极端主义的同情性认知,对本土妇女生存境遇的关注,对土耳其少数族裔政策的批判。这四方面基本涵盖了现代土耳其发展史上的主要问题。之后,本文将帕慕克批评中文化杂合派与文化冲突派的论争引入这一研究领域,指明学界对“多余”的主人公与“媚俗”的爱情叙事的误读——其实,它们才是帕慕克文化观的核心部分。最后,结合对帕慕克的“故乡”城市伊斯坦布尔的论述,揭示帕慕克小说中“冲突与交织的新象征”——忘怀政治,皈依爱情。
其次是对帕慕克的写作文化渊源的探求。帕慕克的写作主要有两个文化源头,一是苏非神秘主义,一是后现代主义。这导致学界对这一问题的研究也分两派,在这两派的论述中,存在诸多论战与困惑。本文试图在这两种观点间寻找契合点,因为在帕慕克的身上二者是融合为一的,并剔除其中的过度诠释,彰显帕氏文本中最鲜明的苏非主义特征和后现代主义特征,即“苏非化的主人公”与“不确定性”。所谓苏非化的主人公,指的是从《白色城堡》到《雪》,帕慕克的主人公皆源自一个人物原型——苏非,这表现在他们的弃世、缄默、痴情、认知自我、追寻真主、爱安拉等言行特征中,而不确定性指的是,帕氏文本的情节、主题、人物皆具有不确定性,这最终根源于土耳其文化与身份的不确定性。缝合苏非派与后现代派的研究是本文的难点之一,本文试从分析《黑书》中的卡利普与帕慕克、博尔赫斯的比较研究入手,希望能呈现出一个在艺术形式上跨越东西方文化的帕慕克形象。
再者,实际上目前帕慕克的批评研究已走入一个瓶颈阶段。国内外学界围绕文化杂合、苏非主义、呼愁等问题反复论述,难以论述出什么新意。但是,30多年来,帕慕克的写作在不断地变化,每一部作品都有其相对独立的思想艺术价值。那么,它们是什么?这是现有批评框架无法回答的一个问题。本文选取了《白色城堡》、《黑书》、《新人生》、《我的名字叫红》等七部作品为例,运用弗洛伊德、福柯、德里达、鲍德里亚、唐·库比特、列斐伏尔等人的思想理论,从情节、人物、结构等不同角度展开阐释分析。在这些新理论、新视角的观照下,对一些学术疏漏加以弥补,如对《新人生》与神秘道三段论关系的阐释；对一些被广泛接受的观点提出质疑与论辩,如对《我的名字叫红》中“橄榄”形象的重读；对一些争论不休的问题做出另一种新的解答,如对《黑书》文体定位的讨论；对一些未被发现的亮点与价值加以揭示,如对《伊斯坦布尔——记忆与城市》的空间权力批评和对《纯真博物馆》中“物”的关注。这是帕慕克作品的一只万花筒。它将澄清目前帕慕克研究中的许多具体问题,并为今后的帕慕克评论开拓出一片新天地。
最后,本文将解析帕慕克创作中更为核心的几个问题,它们不仅贯穿于帕慕克的一生创作与所有作品中,而且是与本文每一章节的研究关联、互补的。它们是帕慕克写作的自传性、帕慕克的文艺理论、帕慕克与陀思妥耶夫斯基的比较研究、艺术风格或“呼愁”。在这些问题中,有的是新问题,有的是老问题,但皆未能得到清晰有效的诠释。弗洛伊德说,作品是作家装饰过的白日梦。每一部小说在某种意义上都是自传性写作,帕慕克也不例外,他将自己的阅历、思考与性格气质赋予笔下的主人公,将他的父母、祖父母与生活现实搬入小说中。但目前关注这一问题的人非常少。与此相似的是对帕慕克与陀思妥耶夫斯基的比较,本文试以《白色城堡》与《双重人格》的比较为这一领域的进一步展开开疆拓土。2009年,帕慕克在哈佛大学做诺顿演讲后,他的文艺理论成为一个新问题。介于学界尚未展开对它的研究,本文试初探之。最后不得不论述的是帕慕克的写作风格,虽然关于它的论述已经层层叠叠,但要问呼愁转化为帕慕克诗学形态的独特性在哪里,今天我们仍然无法给出一个明晰的答案。本文试从帕慕克的个人气质、诗学表征、文化渊源、历史与时代内涵等方面分析呼愁,回答“呼愁何以成为一种呼愁”这一批评难题。
总之,本论文的目标是建立一个更为全面、客观、真实的帕慕克研究体系。它既是对以往帕慕克研究的一个批评性总结,同时,也将为今后的评论与研究提供一个系统、详实的基础。
Orhan Pamuk is a Turkish writer and the winner of Nobel Prize for literature in2006. On the basis of summing up the previous studies, this dissertation is trying to reform Pamuk criticism radically, fill up its omissions, and then make a comprehensive study of Pamuk, which interpretation will be carried out in a academic debate way.
Firstly, since the social-historical criticism of "Pamuk and Turkey" is absence from current studies. This dissertation will discuss it from four aspects, namely Mustafa Kemal and secularism reforms, Islamism, Turkish woman and minorities. These four aspects basically cover the main problems in the development history of modern Turkey. Its main contents include Pamuk's contradictory attitude towards the history of Turkey in the last hundred years, his sympathetic recognition of Islam extremism, his close attention to the living conditions of Turkish woman, and his criticism on the policies of minorities in Turkey. Then, I will talk about the debate between cultural hybrid school and cultural clash school in today's Pamuk studies and the misunderstanding of Pamuk's "unnecessary" protagonists and "Kitsch" love narratives. For me, they are the core part of Pamuk's cultural view. Last, by discussing Istanbul, the "native" city of Pamuk, the "new symbols of clash and interlacing" will be revealed in this dissertation, i.e., put aside politics and pursue love.
Secondly, this dissertation is on a quest for the cultural origins of Pamuk's writing. Pamuk's works has two cultural origins, namely the Sufi mysticism and the postmodernism. The problem is that there are also two schools in the studies of such origins. And what's more, there are too many debates and puzzles between them. This dissertation is trying to stitch these two schools, eliminate the excessive interpretations, and unfold the most outstanding Sufism feature and postmodernism feature—"the protagonists of sufi" and "uncertainty", because they are one thing for Pamuk. The former means that all of Pamuk's protagonists are derived from one character prototype. His name is Sufi. From The White Castle to Snow, the protagonists' manner and speech clearly embodies the external features of the Sufi believers, i.e., unworldliness, silence, spoony, self-recognition, pursuit and love of Allah, etc. The latter means that a kind of uncertainty always existed in Pamuk's plots, characters and themes. Its root is the uncertain culture and identity of Turkey. It's an uneasy task that stitching the sufism school and postmodernism school. This dissertation will begin such work with an analysis of the Galip in The Black Book and a comparison of Pamuk and Borges. I hope this section can show a new Pamuk who across the Eastern and Western culture on the level of artistic forms.
Moreover, as a matter of fact, the study of Pamuk has already walked into a bottlenecking stage. Many problems were been talked about again and again without any new ideas both at home and abroad, such as cultural hybrid, Sufism, and huzun. But the writing of Pamuk was constantly changing during the past30years, which shows that each of his books has its own relative independent thought and artistic values. What are they? This is a problem that present criticism couldn't answer. This dissertation is going to read and interpret Pamuk's seven novels, e.g., The White Castle, The Black Book, The New Life, My Name Is Red, from different aspects as plots, characters, and structures, by using the theories of Freud, Foucault, Derrida, Baudrillard, Don Cupitt, Lefebvre, etc. In the view of these new theories and perspectives, some omission can be filled up as the interpretation of The New Life and the syllogism of mysterious way, some widely accepted opinions can be challenged as the rereading of "Olive" in My Name Is Red, some controversial issues may acquire a new answer as the discussion of the style of The Black Book, some unknown bright spots and values can be rediscovered as the space power criticism of Istanbul:Memories and the City and the analysis of the "object" in The Museum of Innocence. This is a kaleidoscope of Pamuk's works, which may opens up new worlds for modern Pamuk criticism.
Last, I'm going to discuss several more important issues about the writing of Pamuk, which mainly include the autobiographical writing, the literary and artistic theories, the comparative study of Pamuk and Dostoevsky, and the artistic style or "huzun". These problems are not only repeated throughout the lifetime of Pamuk and all his books, but connected to every part of this dissertation. Some of them are new, some are old. However, no one has been analyzed clearly and intensely up to now. Freud had said that writings are the decorated daydreams of the writers. In a sense, every novel is a kind of autobiographical writing. Pamuk is no exception. He has planted his own experiences, ideas, characters in the protagonists, and take his parents, grandparents and other real life into the novels. But very few scholars pay attention to it. The situation of the comparative studies of Pamuk and Dostoevsky is the same. In order to open up this new academic horizon, I'm trying to compare The White Castle and Double in this section. Furthermore, Pamuk has delivered his Norton Lecture at Harvard University in2009. Then, his literary and artistic theories became a new issue. Since no one has studied it till now, I'm going to explore it firstly. The last issue have to talk about is the writing style of Pamuk. Althrough this issue has been discussed many times by many critics, if we asked ourselves what's the uniqueness of huzun in Pamuk's texts, we couldn't give it a clear answer. This dissertation will analyzed it from plenty of levels as Pamuk's own temperament, the poetics features, the cultural origins, the connotation of history, etc., and then to answer the difficult question:how does huzun become a kind of huzun?
In a word, the goal of my writing this dissertation is to construct a more comprehensive, objective, and real study system of Pamuk. It is not only a critical summary of the previous studies, but also a systematic and detailed basis for the future criticism.
引文
1 Jay Parini, "Pirates, Pashas, and the Imperial Astrologer." in New York Times Book Review, May 19(1991), p. 3.
2 John Updike, "Anatolian Arabesques." in New Yorker, August 20(2004), pp.99,99.
3 Orhan Pamuk, Istanbul:Memories and the City, Trans. Maureen Freely, New York:Vintage Books,2006, p.6.后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
4 这一名称出自伯曼的论文,指在土耳其西化改革期间,一些凯末尔主义者激进地认为,西方理性文化即是土耳其的救国与复兴之路,因此,伯曼趣称他们为“理性主义弥赛亚”。Paul Berman, "Young Turk." in New Republic, September 9(1991), p.36.
5 Orhan Pamuk, The White Castle, Trans. Victoria Holbrook, New York:Vintage Books,1998, p.65.
Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meets the Turkish Nov elist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relations." http://www.orhanpamuk.net/ popup.aSpx?id=58&lng=eng.
7 Orhan Pamuk, Other Colors:Essays and a Story, Trans. Maureen Freely, New York:Alfred A. Knopf,2007, p. 367.
8 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, Salt Lake City:The University of Utah Press,2008, p.156.
9 Peer Peuwsen, "Der meistgehasste Turk." in Das Magazin, Februrary 5(2005). http://sc.tagesanzeiger.ch/dyn/ news/kultur/560264.html.
10 Emre Gokalp, "Pride and Anger:Orhan Pamuk's Nobel Prize and Discourses of Nationalism." in Anadolu On iv ersitesi Sosyal Bilimler Dergisi 3(2010), p.178.
11 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
12 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." in New Perspective Quarterly 1 (2005), p.40
13 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
14 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." in New Perspective Quarterly 2(2000), p. 21.
15 Aylin Bayrakceken and Don Randall, "Meetings of East and West:Orhan Pamuk's Istanbulite Perspective." in Critique 3(2005), pp.191-204.
16 Paul Berman, "Young Turk." pp.39.39.
17 Orhan Pamuk, Oteki Renkler, Istanbul:lletism,1999, p.135. Quoted in Aylin Bayrakceken and Don Randall, "Meetings of East and West:Orhan Pamuk's Istanbulite Perspective." p.203.
18 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.39,39.
19 杨中举：奥尔罕·帕慕克：追求文学创作、文化发展的混杂性,载《当代外国文学》2007年第1期,第88页。
20 李卫华：文化冲突与文化杂合：《我的名字叫红》的情节结构隐喻,载《外国文学研究》2008年第1期,第143、143、144页。
21 叶隽：“失根忧伤”与“魂归何方”——《雪》所体现的“一体二魂”元命题与夹缝之国的两难与超越,载《东方文学研究通讯》2008年第2期,第29页。
22 Samuel P. Huntington, "The Clash of Civilization?" in Foreign Affairs 3(1993), p.22.
23 David N. Coury, "'Torn Country':Turkey and the West in Orhan Pamuk's Snow" in Critique 4(2009), p.34 1.
24 Ibid., pp.340-349.
25 Samuel P. Huntington, The Clash of Civilization and the Remaking of World Order, New York:Simon,1996, pp.149,149.
26 Quoted in Brain Lavery, "In the Thick of Change Where Continents Meet." in New York Times, August 27(20 03), p.3.
27 Orhan Pamuk and Alexander Star. "Orhan Pamuk:'I Was Not A Political Person'." in New York Times, Augu st 15(2004),p.9.
28 Ayse Ozgun, "Orhan Pamuk vs. Michael Moore." in Turkish Daily News, February 25(2005). http://www.tur kishdailynews.com.tr/article.php?enewsid=6698.
29 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.3,3.
30 Mel Kenne, "A Blizzard in the East:Pamuk the Post-modern Mystic." in The Daily Star, July 10(2004). http: //www.dailystar.com.ib/printable.asp?art_ID=6103&cat_ID=21.
31 Richard Eder, "Heresies of the Paintbrush." in New York Times Book Review, September 2(2001), p.7.
32 Jonathan Levi, "The Plague." in Los Angeles Times, October 7(2001). http://www.orhanpamuk.net/article/jon athanlevi.htm.
33 Eric J. Ianelli, "My Name Is Red." in Rain Taxi Review of Books,2001. http://www.raintaxi.com/online/2001 winter/pamuk/shtml.
34 Orhan Pamuk and Jeffrey Brown, "Interview with Jeffery Brown." on News Hour with Jim Lehrer, PBS, Octo ber 12(2006). http://www.pbs.org/newshour/bb/entertainment/july-dec06/pamuk_10-12.html.
35 Alain Robbe-Grillet, For A New Novel, Trans. Richard Howard, Evanston:Northwestern University Press,19 89, p.83.
36 Ian Almond, "Islam, Melancholy, and Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's Th e Black Book." in New Literary History I (2003), pp.75-90.
37 穆宏燕：在卡夫山上追寻自我——奥尔罕·帕慕克的《黑书》解读,载《国外文学》2008年第2期，第44页。
38 Bernt Brendemoen, "Orhan Pamuk and His Black Book." November 23,2005. http://www.orhanpamuk.net/p opuppage.aspx?id=75&lng=eng.
39 Jale Parla, "Kara Kitap Neden Kara?" in Kara Kitap uzerine yazilar, ed. Niiket Esen, Istanbu:Can Yayinlar, 1992, p.118; Gursel Aytac, "Orhan Pamuk'tan bir Yeni Roman:Kara Kitap." http://haber.gazetevatan.com/Hay atimin_en_mutlu_aniymis_bilmiyordum_195638_1/195638/1/Haber; Ramazan Cecen, "Kara Kitap Uzerine Kar a-Ak De nemeler." in Kara Kitap uzerine yazilar, ed. Niiket Esen, Istanbu:Can Yayinlar,1992, p.208.
40 Orhan Pamuk, Other Colors:Essays and a Story, p.357.
41 Yasemin Congar, "Gercek Tum Dunyaya Soylenir." in Milliyet, April 27(1998), p.14. Quoted in Semra Sara coglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowles and Orhan Pa muk." Ph. D. diss., The Middle East Technical University,2003, p.2.
42 Fethi DemIr, "Orhan Pamuk' un Postmodern BTr Labirentte Yaziyi arayan Kahramanlari." in Turkish Studies 3 (2011), pp.1811-1822; Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowles and Orhan Pamuk"; Nilay Isiksalan, "Postmodern Ogreti ve bir Postmodern Roman Cozu mle mesi:Kara Kitap/Orhan Pamuk." in Anadolu Universitesi Sosyal Bilimler Dergisi 2(2007), pp.419-466.
43 Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowles and Orhan Pamuk." p.2.
44 Bilge Mutluay Cetintas, "Defying Expections:Paul Auster's New York Trilogy and Orhan Pamuk's The Black Book and My Name Is Red." in Journal of Art and Science 6(2006), pp.51-61.
45 Walter G.. Andrew, "The Black Book and Black Boxes:Orhan Pamuk's Kara Kitap." in Edebiydt 11 (2000), pp.105,106.
46 Esra Akan, "The Melancholies of Istanbul." in World Literature Today 6(2006), p.39.
47 Orhan Pamuk, Istanbul:Memories and the City, flyleaf.
48 Esra Akan, "The Melancholies of Istanbul." p.43.
49 Richard Tillinghast, "Orhan Pamuk's Istanbul." in The New Criterion 7(2012), pp.24-28; Esra M. Santesso, "Vision and Representation:Photography in Orhan Pamuk's Istanbul:Memories and the City." in The Comparat ist, Vol.35(2011), pp.152-160; T. Jeevan Kumar, "Orhan Pamuk:An Icon of Istanbul." in The Icfai University Jour nal of English Studies 3(2008), pp.74-82; Tobias Henschen, "Furcht, Angst und Huziin." in Studia Phenom enologica 8(2008), pp.307-330.
50 杨中举：“呼愁”：帕慕克小说创作的文化诗学风格,载《东方丛刊》2009年第2期,第1、1、1页。
51 李伟荣：“呼愁”——理解帕慕克作品的一片钥匙,载《湖南大学学报》2008年第4期,第106页。
52同上,第110页。
53 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.117,117.
54 Andrew Mango, "Orhan Pamuk at the Heart of Turkish Sadness." in Cahiers deludes sur la Mediterranee orie ntale et le monde turcoiranien 20(1995), pp.351-360; Esim Erdim, "The'Survival' of a Literary Text:The Tran sformation of Images from the Sublime to the Picturesque in Giineli Gun's Translation of Orhan Pamuk's Kara K itap. " Ph. D. diss., Kent State University,1999.
55 Guneli Gun, "Something Wrong with the Language." in Time Literary Supplement, March 12(1999), p.14.
56 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.123,141.
57 Klaus Gommlich and Esim Erdim, "Evolving Imagery in the Translation of Orhan Pamuk's Kara Kitap." in A cross Languages and Cultures 2(2001), pp.237-249; Servinc Turkkhan, "Orhan Pamuk's Kara Kitap:(British) Reception vs. (Amercian)Translation." in Making Connections 2(2010), pp.39-58.
58 Melike Yilmaz, "A Translational Journey:Orhan Pamuk in English." Ph. D. diss.. Bogazici University,2004.
59 Feride Cicekoglu, "Difference, Visual Narration, and Point of View in My Name is Red" in Journal ofAesthe tic Education 4(2003), pp.124-137;---, "A Pedagogy of Two Ways of Seeing:A Confrontation of 'Word and Image' in My Name is Red." in Journal of Aesthetic Education 3(2003), pp.1-20.
60 Acalya Allmer, "Orhan Pamuk's'Museum of Innocence':On Architecture, Narrative and the Art of Collectin g." in ARQ 2(2009), pp.163-171.
61 何山石：“失明”与“黑白之间”——帕慕克的视觉策略对当代视觉美学的启示,载《武汉理工大学学报》2011年第5期,第706-711页。
62 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, p.378.
63 Orhan Pamuk and Nirmiala Lakshman, "Writing and Writing is My Happiness." http://beta.thehindu.com/opin ion/interview/article98808.ece.
64 Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meets the Turkish Nov elist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relations." http://www.orhanpamuk.net/ popup.aSpx?id=58&lng=eng.
65 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey ", in New Perspective Quarterly 4(20 03), p.21.
66 伯纳德·刘易斯： 《现代土耳其的兴起》,范中廉译,北京：商务印书馆,1982年,第282页。
67 伯纳德·刘易斯：《现代土耳其的兴起》,第260页。
68 同上,第252页。
69 Stephane Yerasimos, "The Monoparty Period", in Irvin C. Schick and Ertugrul Ahmet Tonak ed., Turkey In Tr ansition, Trans. Rezan Benatar etc, New York:Oxford University Press,1987, p.77.
70 伯纳德·刘易斯：《现代土耳其的兴起》,第308、279-280页。
71 同上,第288页。
72 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
73 Orhan Pamuk and Michael Skafidas, " Turkey's Divided Character ", in New Perspective Quarterly 1 (2000), p.21.
74 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls ", in New Perspective Quarterly 4 (2005), p.40.
75 Orhan Pamuk, Other Colors:Essays and a Story, pp.269-270.
76 伯纳德·刘易斯：《现代土耳其的兴起》,第292-293页。
77 1934年6月28日,土耳其颁布了一项姓氏法,规定自1935年1月起,每个土耳其公民都必须有自己的姓。共和国议会授予凯末尔“阿塔图尔克”(Ataturk)这一姓氏,在土语中意为“土耳其之父”。所以，后来许多人都尊称他为“凯末尔·阿塔图尔克”。
78 Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meets the Turkish Nov elist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relations." http://www.orhan pamuk.net/ popup.aSpx?id=58&lng=eng.
79 Orhan Pamuk, The White Castle, Trans. Victoria Holbrook, New York:Vintage books,1998, p.32后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
80 伯纳德·刘易斯：《现代土耳其的兴起》,第284页。
81 Orhan Pamuk and Michael Skafidas," Turkey's Divided Character", p.21.
82 奥尔罕·帕慕克：《寂静的房子》,沈志兴、彭俊译,上海：上海人民出版社,2008年,第85页.后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
83 伯纳德·刘易斯：《现代土耳其的兴起》,第440页。
84 Paul Berman, "Young Turk ", in New Republic, September 9(1991), p.36.
85 Stephane Yerasimos, "The Monoparty Period", p.92.
86 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
87 Orhan Pamuk, Snow, Trans. Maureen Freely, New Work:Alfred A. Knopf,2005, p.402后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
88 伯纳德·刘易斯：《现代土耳其的兴起》,第299、299页。
89 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls ", p.40.
90 这部戏剧改编自纳米克·凯末尔(Namik Kemal)的戏剧《祖国还是斯里斯特》(Vatan Yahut Silisitre),这是一部典型的爱国主义戏剧：一个名为喆克伊(Zekiyi)的女性,为了报效祖国,女扮男装参加了保卫斯里斯特城堡的战斗,最终与恋人伊斯莱姆·贝(Islam Bey)结合。此剧首演于1873年,表达的是唯有献身祖国、才能获得个人幸福的观点,对“祖国”(Vatan)这一概念在土耳其的宣传、普及起到了一定的作用。See Sibel Erol," Reading Orhan Pamuk's Snow as Parody:Difference as Sameness ", in Comparative Criti cal Studies 3(2007),pp.415-416.
91 Sibel Erol, " Reading Orhan Pamuk's Snow as Parody:Difference as Sameness", pp.403-432.
92 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls ", p.40.
93 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
94 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey ", in New Perspective Quarterly 4(20 03),p.27.
95 Orhan Pamuk and Michael Skafidas, " Turkey's Divided Character ", p.21.
96 Ibid.
97 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
98 Keith Hitchins, "Review of The White Castle", in World Literature Today 4 (1991), p.764.
99 Paul Berman,"Young Turk'',in New Republic,September 9(1991),p.37.
100 Murat IRI and H. Esra Arcan, "The Orhan Pamuk Case:How Mainstream Turkish Media Framed His Freedom of Speech ", in Sosyal Bilimler Dergisi 18 (2007), p.22.
101 罗贯中、毛宗岗：《毛宗岗批评本三国演义》,长沙：岳麓书社,2006年,第355页。
102 Orhan Pamuk and Paul Holdengraber, "The Art of the Novel Is Anti-Political." in New Perspective Quarterly 2 (2008), p.92.
103 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.38.
104 “妙医师”原文为Dr. Narin, Narin在土语中意为苗条的、精致的、弱不禁风的。中译者蔡鹃如译为“妙”。英译者古恩译作Fine。
105 “神蓝”原文为Mavi,中译者为沈志兴,Mavi在土语中意为蓝色,蓝色在伊斯兰文化中意味着悲伤与死亡。英译者弗瑞丽将其译为blue。
106 Orhan Pamuk, Other Colors:Essays and a Story, p.261,
107 Ibid., pp.174-175.
108 Orhan Pamuk, Other Colors:Essays and a Story, p.218.
109 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." pp.37-38.
110 Orhan Pamuk, Istanbul:Memories and the City, pp.176-177,
111 Ibid., p.179.
112 康慨：杀人共嫌高叫：“奥尔罕·帕慕克,放聪明点!”载《中华读书报》2007年1月31日http://ww w.gmw.cn/01ds/2007-01/31/content_544116.htm.
113 See Admin, "Orhan Pamuk:'Living with Bodyguards is not a Life Worth Living'." http://www.turks.us/articl e.php?story=20070204093723453.
114 Orhan Pamuk, Other Colors:Essays and a Story, p.229.
115 Ibid., pp.228,228,228.
116 Orhan Pamuk and Paul Holdengraber, "The Art of the Novel Is Anti-Political." p.92.
117 Orhan Pamuk, Other Colors:Essays and a Story, pp.236,229.
118 Ibid., pp.228-229.
119 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey." p.31.
120 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." pp.41,41,41,38.
121 Orhan Pamuk, Other Colors:Essays and a Story, p.230.
122 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.38.
123 Katy Emck, "Turkish Delight." in New Statesman, October 31 (1997), pp.45,45.
127 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, p.128.
128 Orhan Pamuk, Other Colors:Essays and a Story, p.263.
129 Orhan Pamuk, My Name Is Red, Trans. Erdag M. Goknar, New York:Vintage Books,2002, p.11后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
130 Orhan Pamuk, Other Colors:Essays and a Story, p.263.
131 Orhan Pamuk, Snow, pp.320,322.
132 Marshall Berman,"Orhan Pamuk and Modernist L.beralism."in Dissent 1(2009),p.116.
133 Ibid.,p.115.
134 Ibid.,p.116.
135 Orhan Pamuk, Other Colors:Essays and a Story, p.231,
136 Ibid, p.231.
137 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey." p.31.
138 伯纳德·刘易斯：《现代土耳其的兴起》,第284、284、282贰
139 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey." p.29.
140 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.39.
141 Orhan Pamuk, The Museum of Innocence, New York:Vintage Books,2010, p.61.
142 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.39.
143 Fatima Mernissi, Beyond the Veil:Male-female Dynamics in Muslim Society, London:Al Saqi Books,1975, p. 19.
144 Orhan Pamuk, Other Colors:Essays and a Story, p.267.
145 伯纳德·刘易斯：《现代土耳其的兴起》,第284页。
147 帕慕克：《杰夫代特先生》,陈竹冰译,上海：上海人民出版社,2009年,第399页。
148 Orhan Pamuk, The Museum of Innocence, p.108后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
149 Orhan Pamuk, Istanbul:Memories and the City, p.325.
150 Simone de Beauvoir, The Second Sex, New York:Alfred A. Knopf,1953, p.10.
151 帕慕克本人出生、成长于一个中产阶级家庭,他所熟悉的妇女也大部分是西化、富有的中上层土耳其妇女,所以,他笔下的女性大多属于这一类。这是帕慕克频繁书写土耳其中上层妇女的个人原因之一。
152 Meltem Miiftuler-Bac, "Turkish Women's Predicament." in Women s Studies International Forum 3(1999), p.304.
153 Dilek Cindoglu, "Virginity Tests and Artificial Virginity in Modern Turkish Medicine." in Women's Studies In ternationat Forurn 2(1997), p.253.
154 See Meltem Muftuler-Bac, "Turkish Women's Predicament." pp.305-310.
155 Ibid., p.310.
156 Meltem Muftiiler-Bac, "Turkish Women's Predicament." p.310.
157 Dan Belifsky," How to Avoid Honor Killing in Turkey? " http://www.nytimes.com/2006/07/16/world/europ e/16turkey.htmI?Pagewanted=2.
158 Meltem Muftiiler-Bac, "Turkish Women's Predicament." p.311.
159 Ibid., p.312.
160 Ibid., p.313.
162 See Giil Aldikacti Marshall, " Ideology, Progress, Dialogue:A Comparison of Feminist and Islamist Women's Approaches to the Issues of Head Covering and Work in Turkey. " in Gender and Scoiety 1 (2005), p.117.
163 Emelie A. Olson, " Muslim Identity and Secularism in Contemporary Turkey:"The Headscarf Dispute'. " in An thropological Quarterly 4(1985), pp.161-164.
164 "World:Europe Headscarf Row in Turkey Parliament. " BBC News, May 3,1999. http://news.bbc.co.uk/2/hi/ middle east/333641.stm.
165 Carol Delaney, " Untangling the Meaning of Hair in Turkey Society. " in Anthropological Quarterly 4(1994), pp.159-172.
166 See Hasan Aydin, "Headscarf(Hijab) Ban in Turkey:Importance of Veiling." in The Journal of Multicultura lism in Education 1(2010), p.11.
167 Meltern Muftuler-Bac, "Turkish Women's Predicament." p.308.
168 K. Gajendra Singh, " Ban on headscarves and Turkey. " http://en.wikipedia.org/wiki/Headscarf_controversy_i n Turkey.
169 See Hilal Elver, " Lawfare and Wearfare in Turkey." http://www.merip.org/mero/interventions/lawfare-wearfa re-turkey.
170 Hasan Aydin, "Headscarf(Hijab) Ban in Turkey:Importance of Veiling." p.17.
171 Ibid.
172 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
173 Orhan Pamuk, Other Colors:Essays and a Story, p.229.
174 伯纳德·刘易斯：《现代土耳其的兴起》,第375页。
177 伯纳德·刘易斯：《现代土耳其的兴起》,第344页。
178 Orhan Pamuk, Istanbul:Memories and the City, p.310.
179 伯纳德·刘易斯：《现代土耳其的兴起》,第375页。
180 伯纳德·刘易斯：《现代土耳其的兴起》，第375-376页。
181 同上,第376页。
182 戴维·哈维：《后现代的状况——对文化变迁之缘起的探究》,阎嘉译,北京：商务印书馆,2003年,第214页。
183 同上,第214页。
4 包丽丽：问责“亚美尼亚大屠杀”,载《世界知识》2010年第9期,第43页。
185 Orhan Pamuk, "We are All Responsible for Dink's Death." http://www.hurriyet.com.tr/english/5817673.asp.
186 拉多伊·克勒斯特夫：土耳其的库尔德问题(1925—1988),马细谱摘译,载《世界民族》1991年第2期,第4页。
188 拉多伊·克勒斯特夫：土耳其的库尔德问题(1925一1988),第3页。
189 拉多伊·克勒斯特夫：土耳其的库尔德问题(1925—1988),第2页。
190 同上,第2页。
191 埃里加-伊伦·A·达亚斯：土耳其的希腊正教少数民族,程同译,载《世界民族》1986年第5期,第70页。
192 塞浦路斯是土耳其与希腊争夺多年的一个国家,正式名称为塞浦路斯共和国。该国2/3是说希腊语的塞浦路斯人,1/3是说土耳其语的塞浦路斯人。4至11世纪时,这里是拜占庭帝国的一部分,16世纪,这里被奥斯曼帝国吞并,1924年又成为英国的殖民地。1960年塞浦路斯独立,但它处于希腊与土耳其之间,国内频繁爆发冲突,希腊与土耳其皆想将其划入自己的地域。
193 Avlin Bavrakceken and Don Randall. "Meetines of East and West:Orhan Pamuk's Istanbulite Perspective."p. 205.
194 Paul Berman, "Young Turk." p.39.
195 杨中举：奥尔罕·帕慕克：追求文学创作、文化发展的混杂性,第88页。
196 张虎：论帕慕克小说《白色城堡》的身份建构,载《当代外国文学》2009年第2期,第54-59页。
197 Orhan Pamuk, Oteki Renkler. Istanbul:Iletism,1999, p.135. Qutoed in Aylin Bayrakceken and Don Randall, "Meetings of East and West:Orhan Pamuk's Istanbulite Perspective." p.202.
198 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
199 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
200 David N. Coury, "'Torn Country':Turkey and the West in Orhan Pamuk's Snow." p.340.
201 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
202 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
203 Orhan Pamuk and Alexander Star, "Orhan Pamuk:'I Was Not a Political Person'." http://www.nytimes.com/ 2004/08/15/books/interview-orhan-pamuk-i-was-not-a-politi cal-person.html.
204 Dick Davis, "Murder and Joy." in Time Literary Supplement, September 7(2001), p.6.
205 詹春花：论《我的名字叫红》叙事中的文化主题,载《当代外国文学》2007年第3期,第115、116页。
206 Lynne Sharon Schwartz, "In the Beginning Was the Book." in New Leader 5(2001), p.23.
207 杨卫东：置身于他人的处境——从《雪》来看帕慕克所执着的身份问题,载《中国图书评论》2009年第9期,第9、9、9页。
208 高永：诺奖得主：“媚俗”作家帕慕克,载《世界文化》2006年第12期,第11、11页。
209 详见张虎：“恋之奴仆”与“纯粹之爱”——帕慕克爱情叙事的苏非神秘主义原型结构,载《外国文学研究》2011年第1期,第128-136页。
210 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
211 Orhan Pamuk and Jeffrey Brown, "Interview with Jeffery Brown." on News Hour with Jim Lehrer, PBS, Oct ober 12(2006). http://www.pbs.org/newshour/bb/entertainment/july-dec06/pamuk_10-12.html.
212 Dick Davis, "Murder and Joy." p.6.
213 Orhan Pamuk and Judy Stone, "Turkish Writer Captures the Intensity of Desire." http://www.orhanpamuk.ne t/popuppage.Aspx?id=60&Ing=eng.
214 Orhan Pamuk, The Black Book, pp.420,116,287.
215 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." p.21.
216 Orhan Pamuk, Other Colors:Essays and a Story, p.262.
217 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
218 Orhan Pamuk, Snow, p.371.
219 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls ", p.41.
220 Orhan Pamuk and Aida Edemariam, "Interview with Aida Edemariam." http://www.observerunlimited.co/uk/ print/0,,329448830-111247,00.html.
221 See Mark Feeney, "Orhan Pamuk Sees the World." http://www.boston.com/news/globe/living/articles/2004/1 0/11/orhan_pamuk_sees_the_world?mode=PF.
222 Orhan Pamuk and Jorg Lau, "Interview with Jorg Lau." http://www.signandsight.com/Features/115.html.
223 Orhan Pamuk, Istanbul:Memories and the City, p.5.
224 莫言：好大一场雪——《雪》赏析,载《东方文学研究通讯》2008年第2期,第38页。
225 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." in Publishers Weekly 51(1991), p. 36.
226 Orhan Pamuk, Istanbul:Memories and the City, p.198.
227 Orhan Pamuk and Aida Edemariam, "Interview with Aida Edemariam." http://www.observerunlimited.co/uk/ print/0,329448830-111247,00.html.
228 Orhan Pamuk, Istanbul:Memories and the City, p.104.
229 Orhan Pamuk,Other Colors：Essays and a Story,p.370.
230 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
231 See Mark Feeney, "Orhan Pamuk Sees the World." http://www.boston.com/news/globe/living/articles/2004/1 0/11/orhan_pamuk_sees_the_world?mode=PF.
232 Katy Emck. "Turkish Delight." pp.44-45; Allen Hibbard. "Review of My Name Is Red." Review of Contempo rary Fiction 4(2001), pp.203-204;高永：诺奖得主：“媚俗”作家帕慕克,第10-12页；张虎：“恋之奴仆”与“纯粹之爱”——帕慕克爱情叙事的苏菲神秘主义原型结构,第128-136页。
233 Orhan Pamuk and Jorg Lau, "Interview with Jorg Lau." http://www.signandsight.com/Features/115.html.
234 Giineli Gun, "The Turks are Coming:Deciphering Orhan Pamuk's Black Book." in World Literature Today I (1992), p.59.
235 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's
236 帕慕克、陈众议等：《帕慕克在十字路口》,上海三联书店,2009年,第257页。
237 同上,第240页。
238 See Irvin C. Schick and Ertugrul Ahmet Tonak ed., Turkey In Transition, Trans. Rezan Benatar etc, New Yor k:Oxford University Press,1987, p.221.
239 Orhan Pamuk, Istanbul:Memories and the City, pp.176-177.
240 Orhan Pamuk and Michael Skafidas, "Turkey's Divide Character." p.21.
241 详见第四章第三节《<白色城堡>与<双重人格>的比较研究》。
242 Nicholas Wroe, "Occidental Hero." http://books.Guardian.co.uk/department/generalfiction/story/0,6000,1211 858,00.html.
243 详见第三章第三节《<新人生>与“神秘道”三段论》。
244 张虎：“恋之奴仆”与“纯粹之爱”——帕慕克爱情叙事的苏非神秘主义原型结构,载《外国文学研究》2011年第1期,第128-136页。
245 Orhan Pamuk and Wachtel Eleanor, "An Interview with Orhan Pamuk." in Descant 2(2003), p.265.
246 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." p.21.
247 Ian Almond, "Islam, Melancholy, and Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.83.
248 Lynne Sharon Schwartz, "In the Beginning was the Book." pp.23-25.
249 David N. Coury,"'Torn Country':Turkey and the West in Orhan Pamuk's Snow" p.347.
"" Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowle s and Orhan Pamuk." p.60.
251 帕慕克、陈众议等：《帕慕克在十字路口》,第240页。
252 Orhan Pamuk and Jeffrey Brown, "Interview with Jeffery Brown." on News Hour with Jim Lehrer, PBS, Oct ober 12(2006). http://www.pbs.org/newshour/bb/entertainment/july-dec06/pamuk_10-12.html.
253 E. J.W. Gibb, Ottoman Literature:The Poets and Poetry of Turkey, Washington & London:M. Walter Dunne Publisher,1901, p.113.
254 Orhan Pamuk, The New Life, Trans. Guneli Gun, New York:Vintage Books,1998, p.56后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
255 Dick Davis, "Murder and Joy." p.6.
256 Katy Emck, "Turkish Delight." p.44.
257 Sibel Erol, " Reading Orhan Pamuk's Snow as Parody:Difference as Sameness." pp.421,421.
258 Orhan Pamuk. Other Colors:Essays and a Story, pp.253-254.
259 Ibid., p.253.
260 Robert Irwin, "Tales of the City." in Times Literary Supplement, July 7(1995), p.2
261 Robert Houston, "The Lady Vanishes." in New York Times Book Review, January 15(1995), pp.20-22.
262 Ayse Ozgun, "Orhan Pamuk vs. Michael Moore." in Turkish Daily News, February 25(2005). http://www.tu kishdailynews.com.tr/article.php?enewsid=6698.
263 Martin Stokes, "Beloved Istanbul:Realism and the Transnational Imaginary in Turkish Popular Culture." in Walter Armbrust ed., Mass Mediations:New Approaches to Popular Culture in the Middle East and Beyond, Be rkeley and Los Angeles:University of California Press,2000, pp.235-236.
264 Walter G. Andrew, "The Black Book and Black Boxes:Orban Pamuk's Kara Kitap."p.107.
265 Orhan Pamuk, Other Colors:Essays and a Story, p.253.
266 Ian Almond, "Islam, Melancholy, and Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book" p.75.
267 Robert Irwin, "Tales of the City." p.21.
268 Patricia Merivale and Susan Elizabeth Sweeney, "The Game Afoot:On the Trail of Metaphysical Detective Story." in Merivale, Patricia and Susan Elizabeth Sweeney ed., Detecting Texts:The Metaphysical Detective Sto ry From Poe to Postmodernism, Philadelphia:University of Pennsylvania Press,1999, p.8.
269 E. J. W. Gibb, A History of Ottoman Poetry(iv), London:Luzac,1905, p.180.
270 Orhan Pamuk, The Black Book p.367.
271 穆宏燕：在卡夫山上追寻自我——奥尔罕·帕慕克的《黑书》解读,第44页。
272 See Jale Parla, "Why The Black Book is Black." in World and I6 (1991), p.449.
273 Sooyong Kim, "Master and Disciple:Sufi Mysticism as an Interpretive Framework for Orhan Pamuk's Kara Kitap" in Tukish Studies Association Bulletin 2 (1993),p.30.
274 诗人在伊斯兰世界具有崇高神圣的地位,被视为一种先知。详见第三章第六节《反讽叙事、德里达与<雪>之论争》第三部分。
275 Victoria Rowe Holbrook, "Originality and Ottoman Poetics:in the Wilderness of the New." in Journal of the American Oriental Society 3 (1992), pp.445,445.
276 20世纪60、70年代时,专栏作家在土耳其地位较高,被称作“万事之师”,扮演着现代社会中的一个‘先知角色。See Orhan Pamuk, Other Colors:Essays and a Story, p.293.
277 在《美与爱》与《黑书》这两部作品中,“城市之心”(Heart of City)与“心之大地”(Land of Heart)对应,均在故事中扮演重要的角色。“城市之心”公寓在卡利普的探寻之旅中扮演着一个枢纽角色。在未踏入“城市之心”前,他对妻子、耶拉的住处、想法一无所知；住入“城市之心”后,他逐渐了解了耶拉的秘密、苏非神秘主义等,最终,他完成了自己的探寻之旅。吉博在《奥斯曼诗歌史》中将“心之大地”译作“心之城市”(City of Heart),这一译法或许更有力说明了这两部作品之间的密切关系。
278 Orhan Pamuk, The Black Book,p.455.
279 Orhan Pamuk, Other Colors:Essays and a Story, p.367.
280 Charlotte Innes, "The Black Book." in The Nation, March 27(1995), pp.425-429; Richard Eder, "The Ques t." in Los Angeles Times Book Review, November 25(1994), p.3.
281 Bilge Mutluay Cetinta?, "Defying Expections:Paul Auster's New York Trilogy and Orhan Pamuk's The Black Book and My Name Is Red." pp.51-61.
282 Patricia Merivale and Susan Elizabeth Sweeney, "The Game Afoot:On the Trail of Metaphysical Detective Story." in Merivale, Patricia and Susan Elizabeth Sweeney ed., Detecting Texts:The Metaphysical Detective Sto ry From Poe to Postmodernism, p.8.
283 Charlotte Innes, "The Black Book." p.427.
287 Orhan Pamuk, The Black Book, p.390.
288 Orhan Pamuk, The Black Book, p.390.
289 Orhan Pamuk, Istanbul:Memories and the City, p.271.
290 帕特里夏·奥坦伯德·约翰逊：《海德格尔》,张祥龙等译,北京：中华书局,2002年,第26页。
291 Orhan Pamuk and Michael Skafidas, "Turkey's Divide Character." p.21
292 Orhan Pamuk, Other Colors:Essays and a Story, pp.362-363.
293 urnan ramuk, The Naive and The Sentimental Novelist, p.8.
294 Orhan Pamuk, Other Colors:Essays and a Story, pp.208,114,134,123,153.
295 帕慕克、陈众议等：《帕慕克在十字路口》,第6页。
296 Orhan Pamuk, Other Colors:Essays and a Story, p.367.
297 帕慕克、陈众议等：《帕慕克在十字路口》,第240页。
298 Richard Eder. "Heresies of the Paintbrush." in The New York Times Book Review. Sentember 2(2001).p.7.
299 Orhan Pamuk, The Naive and The Sentimental Novelist, pp.81-84.
300 Ibid., pp.165,170.
301 Orhan Pamuk, Other Colors:Essays and a Story, p.377.
302 Yasemin Conear, "Gercek Turn Dunvava Sovlenir." in Millivet. April 27(1998)p.14. Ouoted in Semra Sara co glu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowles and Orhan Pa muk." p.2.
303 Orhan Pamuk and Jeffrey Brown, "Interview with Jeffery Brown." on News Hour with Jim Lehrer, PBS, Oct ober 12(2006). http://www.pbs.org/newshour/bb/entertainment/july-dec06/pamuk_10-12.html.
304 Orhan Pamuk and Wachtel Eleanor, "An Interview with Orhan Pamuk." p.265. 305 Orhan Pamuk and Michael Skafidas, "Turkey's Divide Character." p.21
306 帕慕克、陈众议等：《帕慕克在十字路口》,第240、242页。
307 同上,第14-16页。
308 Orhan Pamuk, Other Colors:Essays and a Story, p.367.
309 帕慕克、陈众议等：《帕慕克在十字路口》,第13页。
310 Orhan Pamuk, Other Colors:Essays and a Story, p.371.
311 Ibid., p.362.
312 Orhan Pamuk, Other Colors:Essavs and a Story, pp.362,362.
313 详见第四章第三节《<白色城堡>与<双重人格>的比较研究》。
314 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.71.
315 John Updike, "Vagueness on Wheels, Dust on a Skirt." in New Yorker, September 23(1991), pp.102-105.
316 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.100.
317 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk' The Black Book" p.77.
318 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma Is Sovereign'." p.37.
319 Phoebe-Lou Adams, "Review of The Black Book by Orhan Pamuk." in Atlantic Monthly 2 (1995), p.113.
320 Walter G. Andrew,"The Black Book and Black Boxes:Orhan Pamuk's Kara Kitap."in Edebiyat 11(2000), p.105.
321 Orhan Pamuk,Other Colors:Essays and a Story,p.360.
322 Talat S.Halman,The Turkish Muse:Views and Reviews,1960s-1990s.Syracuse:Syracuse University Press, 2006,pp.229,229.
323 Michael Mcgaha,Autobiographies of Orhan Pamuk:The Writers in His Novels,p.153.
324 John Updike, "Anatolian Arabesques." p.99.
325 Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowle s and Orhan Pamuk." p.2.
326 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.81.
327 Dick Davis, "Murder and Joy." p.6.
328 Susan Miron, "A Turkish Novelist Makes a Breakthrough." http://www.orhanpamuk.net/articles/susanmiron. htm.
329 Tom Le Clair, "Nabokov in Anatolia" in The Nation, April 7(1997), p.38.
330 Char Simons, "The Deadly Art of Portraits." in Christian Science Monitor, October 11(2001), p.20.
331 Orhan Pamuk, Other Colors:Essays and a Story, p.357.
332 Guneli Gun, "The Turks are Coming:Deciphering Orhan Pamuk's Black Book." p.59.
333 引自钱普行主编：《后现代主义》,北京：社会科学文献出版社,1993年,第169页。
334 Orhan Pamuk, Other Colors:Essays and a Story, p.129.
335 Mary Warner Marien, "Catch a Turkish Star." in Christian Science Monitor, April 12(1991),p.13.
336 Azade Seyhan, "See Through the Snow." http://weekly.ahram.org.eg/2006/817/cu5.htm.
337 Orhan Pamuk, Other Colors:Essays and a Story, p.264.
338 Ibid., p.365.
339 Bernt Brendemoen, "Orhan Pamuk and His Black Book." http://www.orhanpamuk.com/article/bemtbrendem oen.htm.
340 Orhan Pamuk, Other Colors:Essays and a Story, p.269.
341 Esra Akan, "The Melancholies of Istanbul." p.41.
342 Orhan Pamuk, Other Colors:Essays and a Story, Ⅺ,Ⅸ.
343 Ibid,Ⅹ.
344 Frederic Tuten, "Ruined by Reading." in Los Angeles Time Book Review,1997-6-8, p.12.
345 详见第三章第三节《<新人生>与“神秘道”三段论》。
346 Orhan Pamuk, Other Colors:Essays and a Story, p.267.
347 Dick Davis, "Murder and Joy." p.6.
348 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
349 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
350 王钦峰：谁是后现代主义小说之父?——论博尔赫斯对后现代主义小说的首创之功,载《国外文学》2011年第1期,第44-49页。
351 Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fow les and Orhan Pamuk." p.2.
352 帕慕克、陈众议等：《帕慕克在十字路口》,第13页。
353 See Paul Berman, "Young Turk," p.38.
354 巴恩斯通编：《博尔赫斯八十忆旧》,西川译,北京：作家出版社,2004年,第28页。
355 博尔赫斯：《博尔赫斯全集·小说卷》,林一安主编,杭州：浙江文艺出版社,1999年,第501页。后文出自同一著作的引文,均随文在括号内标出页码，不再另注。
356 Orhan Pamuk, "Spiegel Interview with Orhan Pamuk." http://www.spiegel.de/international/europe/0,1518,5 84586.00.html.
357 Ackbar Abbas, "Walter Benjamin's Collector:The Fate of Modern Experience." in New Literary History 1 (1998), p.229.
358 柏拉图：《柏拉图对话集》,王太庆译,北京：商务印书馆,2004年,第172页。
359 详见申洁玲：论博尔赫斯与神秘主义宗教,载《广东社会科学》2006年第6期,第162页。
360 博尔赫斯：《博尔赫斯文集·小说卷》,陈众议主编,海口：海南国际新闻出版中心,1996年,第539、539、539、540、540、540、540、540、540、541、542页。
361 Orhan Pamuk, The Naive and The Sentimental Novelist, Cambridge, Massachusetts and London:Harvard Uni versity Press,2010, p.170.
362 Orhan Pamuk, The Naive and The Sentimental Novelist, pp.38-40.
364 Mary Warner Marien, "Catch a Turkish Story Star." in Christian Science Monitor 96(1991), p.13.
365 Erdag Goknar, "Orhan Pamuk and the 'Ottoman' Theme." in World Literature Today 6(2006), pp.34,34, 34.
366 Lynne Sharon Schwartz, "In the Beginning was the Book." p.23.
367 Keith Hitchins, "Review of The White Castle by Orhan Pamuk." in World Literature Today 4(1991), p.764.
368 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." p.36.
369 Aylin Bayrakceken and Don Randall, "Meetings of East and West:Orhan Pamuk's Istanbulite Perspective." p. 191.
370 Erdag Goknar, "Orhan Pamuk and the'Ottoman'Theme." p.34.
371 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.40.
372 Diana Fuss, Identification Papers, New York and London:Routledge,1995, p.145.
373 萨莉·J.肖尔茨：《波伏娃》,龚晓京译,北京：中华书局,2002年,第27页。
374 Paul Berman, "Young Turk." p.38.
375 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
376 转引自萨莉·J.肖尔茨：《波伏娃》,第27页。
377 Paul Berman, "Young Turk." pp.37-38.
378 Orhan Pamuk, My Name Is Red, p.354.
379 See Mary Warner Marien, "Catch a Turkish Story Star." p.13.
381 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
382 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.109.
383 《伊斯兰百科全书》出版于1942年,是欧美世界“东方学”研究的阶段性成果之一。它的编撰者分别来自英、法、匈牙利等国,都是一些反伊斯兰、仇恨穆斯林的东方学家,如阿伯瑞尔、拉德威克斯、金兹赫、麦斯森纳、迈格尔斯等。此书的内容也与一般的科普知识不同,具有鲜明的传教(基督教)特征,甚至不乏对伊斯兰的过激谩骂与污蔑。
384 奥尔罕·帕慕克：《黑书》,李佳姗译,上海：上海人民出版社，2007年,扉页。
385 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
386 Ibid., p.367.
387 《黑书》的出版在土耳其引起了较大反响,不同政治、宗教派别的人共同攻击帕慕克的这部小说,“民族主义者认为此书侮辱了土耳其共和国,世俗主义者认为此书反动地运用了苏非主题,而虔诚的穆斯林则被这本书吓得战战兢兢——对鲁米的戏谑调侃,鲁米与夏姆士之间的同性恋关系,鲁米亲自杀死了夏姆士。”这一事件对帕慕克在土耳其的生存境遇有很大影响。Orhan Pamuk, Other Colors:Essays and a Story, p.114.
388 Bernt Brendemoen, "Orhan Pamuk and His Black Book." http://www.orhanpamuk.com/article/bemtbrendem oen.htm.
389 详见唐·库比特：《后现代神秘主义》,王志成、郑斌译,北京：中国人民大学出版,2005年。
390 同上,第60页。
391 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.110.
394 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.77.
395 Phoebe-Lou Adams, "Review of The Black Book by Orhan Pamuk." in Atlantic Monthly 2 (1995).p.113.
396 Orhan Pamuk and Judy Stone. "Orhan Pamuk:'Eniema Is Sovereign'." p.37.
397 Robert Irwin, "Tales of the City." p.21.
398 唐·库比特：《后现代神秘主义》,第66页。
399 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.1.
340 奥尔罕·帕慕克：《黑书》,序言。
401 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.75.
402 Orhan Pamuk, Istanbul:Memories and the City, p.271.
403 详见Paul Berman, "Young Turk." p.38.
404 丹纳赫等：《理解福柯》,第142页。
405 详见帕特里夏·奥坦伯德·约翰逊： 《海德格尔》,第25-27页。
406 Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meet the Turkish Novelist Orhan Pamuk and Discusses Astrology, War, Identity and East-West Relation." http://www.orhanpamuk.net/article/robertcarve r.htm.
407 Orhan Pamuk, Other Colors:Essays and a Story, pp.369-370.
408 如梦是《黑书》中符号化的一个人物,在文中基本上没有露面,唯一的一次露面是在文中的开头——如梦沉睡在自己的梦里,她的读者不了解她,她的丈夫也不了解,甚至连帕慕克也不了解她。一些学者甚至指出,如梦根本就不存在：Riiya在土耳其语中意为“梦”,所以,第一章的题目《卡利普第一次见到如梦》也可以解释成“卡利普第一次做了这样一个梦”,如梦根本不存在于现实中,只是卡利普的幻觉与想象。笔者以为,如梦的幻化是帕慕克有意为之,她是卡利普原我的一个象征符号,是作者为了表征卡利普“双重身份”而使用的一种艺术手法。详见Robert Irwin, "Tales of the City." p.21:Jale Parla, "Why The Black Boo* Is Black." in World and I6 (1991),p.449; Oteki Renkler, Segme Yazilar ve Bir Hikdye, Istanbul: Iletisim,1999, p.141.
409 Orhan Pamuk, Snow, p.287.
410 Orhan Pamuk, Istanbul:Memories and the City, pp.3,3.
411 Orhan Pamuk and Alexander star, "Orhan Pamuk:'I Was Not A Political Person'." http://www.nytimes.com /2004/08/15/books/interview-orhan-pamuk-i-was-not-a-political-person.html.
412 David Ian Paddy, "Review of The New Life by Orhan Pamuk." in Review of Contemporary Fiction 3(1998), pp.250,250.
413 Katy Emck, "Turkish Delight." pp.44,44.
414 D·M. Thomas, "The New Life." http://www.nytimes.com/1997/04/06/books/pamuk-life.html?ex=12207600 00&en=340ce0b6fb60cabd&ei=5070&pagewanted=1.
415 John Spurling, "Turkey Sandwiched." http://www.orhanpamuk.net/popuppage.aspx?id=61&Ing=eng.
416 Bradford Morrow, "Falling Between the Pages." http://www.orhanpamuk.net/popuppage.aspx?id=61&Ing=e
ng.
417 Dan Cryer, "A Quest Across Turkey for Love, Life and Death." http://www.orhanpamuk.net/popuppage.asp x?id=61&Ing=eng.
418 Ronald Wright, "From a Breeze-Block Istanbul." in Time Literary Supplement, October 10(1997), p.23.
419 Orhan Pamuk and Judy Stone, "Turkish Writer Captures the Intensity of Desire." http://www.orhanpamuk.n et/popuppage. Aspx?id=60&Ing=eng.
420 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
421 弗朗西斯·鲁宾逊：《剑桥插图伊斯兰世界史》,安维华等译,北京：世界知识出版社,2005年,第243页。
422 中国社会科学院世界宗教研究所伊斯兰研究室：《伊斯兰教文化面面观》,山东：齐鲁书社,1991年,第175页。
423 参见Richard Eder, "The Quest." in Los Angeles Time Book Review, November 25(1994), p.3; Jay Parini, "Pirates, Pashas, and the Imperial Astrologer." in New York Times Book Review, May 19(1991), p.3;杨中举:奥尔罕·帕慕克——追求文学创作、文化发展的混杂性,载《当代外国文学》2007年第1期,第88-94页。
424 Erdag Goknar, "Orhan Pamuk and the 'Ottoman' Theme." p.34.
425 井筒俊彦：《伊斯兰思想历程——凯拉姆·神秘主义·哲学》,秦惠彬译,北京：今日中国出版社,1992年,第96页。
426 王家瑛：《伊斯兰文化哲学史》,北京：宗教文化出版社,2007年,第526页。
427 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." pp.19-21.
428 伊斯兰神秘主义哲学中的“爱’'(Mahabbah)与世俗意义上的“爱”(love)是不同的Mahabbah专指人类爱安拉,并且“爱”本身指安拉赐予的爱。之后被用于文学创作中时,Mahabbah具有了双重含义,表义为世俗之爱,隐义为神人之爱。
429 井筒俊彦：《伊斯兰思想历程——凯拉姆·神秘主义·哲学》,第126页。
430 Ronald Wright, "From a Breeze-Block Istanbul." p.23.
431 Frederic Tuten, "Ruined by Reading." p.12.
432 陆建德：意识形态的颜色——评《我的名字叫红》,载《书城》2007年第6期,第66页。
433 陈晓明：向死而生的写作——《我的名字叫红》与当代小说的绝境拓路,载《东方文学研究通讯》2008年第2期,第50页。
434 詹春花：论《我的名字叫红》叙事中的文化主题,第118页。
435 详见穆宏燕.在东西方的夹缝中追寻身份暨《我的名字叫红》解读,载《东方文学研究通讯》2008年第2期,第28页。
436 See Lynne Sharon Schwartz, "In the Beginning Was the Book." p.23; Emma Dick, "The Mystery of Istanbu l." in Book Review, January 15(2002), p.3.
437 Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meet the Turkish Novelist Orhan Pamuk and Discusses Astrology, War, Identity and East-West Relation." http://www.orhanpamuk.net/article/robertcarve r.htm.
438 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
439 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." p.21.
440 Orhan Pamuk, Other Colors:Essays and a Story, pp.264,264. 441 Orhan Pamuk, Istanbul:Memories and the City, pp.265-325.
442 Orhan Pamuk, Other Colors:Essays and a Story, p.269.
443 Ibid., p.267.
444 Orhan Pamuk, Other Colors:Essays and a Story, p.369
445 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nov ember 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
446 Dick Davis, "Murder and Joy." p.6.
447 Orhan Pamuk, Snow, p.287.
448 Orhan Pamuk and Elean Wachtel, "An Interview with Orhan Pamuk." in Descant 2(2003), p.267
449 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
450 Azade Seyhan, "See Through the Snow." http://weekly.ahram.org.eg/2006/817/cu5.htm.
451 Orhan Pamuk, Other Colors:Essays and a Story, p.263.
452 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." p.36.
453 伯纳德·刘易斯：《现代土耳其的兴起》,第439-440页。
454 伯纳德·刘易斯：《现代土耳其的兴起》,第278页。
455 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
456 Orhan Pamuk and Alexander star, "Orhan Pamuk:'I Was Not A Political Person'." http://www.nytimes.com /2004/08/15/books/interview-orhan-pamuk-i-was-not-a-political-person.html.
457 参见陆建德：意识形态的颜色——评《我的名字叫红》,载《书城》2007年第6期,第5-69页。
458 Orhan Pamuk, Other Colors:Essays and a Story, pp.269-270.
459 瓦尔特·本雅明(Walter Benjamin,1892-1940),德国哲学家、思想家与马克思主义批评家。帕慕克一直倾心仰慕本雅明及其作品,在《别样的色彩》中,帕慕克称要像本雅明一样,创作一部“由漫无边际的碎片拼贴而成的作品"。 Orhan Pamuk, Other Colors:Essays and a Story, XI.
460 Esra Akan, "The Melancholies of Istanbul." p.41.
461 Orhan Pamuk, Other Colors:Essays and a Story, p.377.
462 Ibid., p.377.
463 Orhan Pamuk, Other Colors:Essays and a Story, p.377.
464 Fredric Jameson, Postmodernism, Or the Cultural Logic of Late Capitalism, Durham:Duke University Press, 1991, p.15.
465 大卫·哈维,《希望的空间》,胡大平译,南京：南京大学出版社,2006年,第171页。
466 戴维·哈维：《后现代的状况——对文化变迁之缘起的探究》,第102页。
467 吴宁：《日常生活批判——列斐伏尔哲学思想研究》,北京：人民出版社，2007年，第182页。
468 Henri Lefebvre, Everyday Life in Modern World, London:The Penguin Press,1971, pp.59-60.
469 吴宁：《日常生活批判——列斐伏尔哲学思想研究》,第351-352页。
470 高宣扬：《福柯的生存美学》,北京：中国人民大学出版社,2005年,第317页。
471 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." p.36.
472 Esra Akan, "The Melancholies of Istanbul." p.43.
473 Muharrem Sev, "Review of Istanbul:Memories and the City." http://www.amazon.com/gp/cdp/member-revie ws/A2TF3JT4VVAMO7/ref=cm_pdp_rev_all?ie=UTF8&sort_by=MostRecentReview.
4 详见曹义恒、曹荣湘主编：《后帝国主义》,北京：中央编译出版社,2007年。
475 David N. Coury, "'Torn Country":Turkey and the West in Orhan Pamuk's Snow" pp.340-349.
476 Mary Jo Kietzman, "Speaking 'to All Hunmanity':Renaissance Drama in Orhan Pamuk's Snow." in Texas St udies in Literature and Language 3(2010), pp.324-353; Marshall Berman, "Orhan Pamuk and Modernist Liber alism." pp.113-118.
477 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.156,156.
478 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
479 Orhan Pamuk, Snow, p.104.
480 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
481 David J. Gramling, "Pamuk's Dis-orient:Reassembling Kafka's Castle in Snow." in Transit 1(2007), p.1.
482 Mary Jo Kietzman, "Speaking 'to All Hunmanity':Renaissance Drama in Orhan Pamuk's Snow." p.325.
483 Jacques Derrida, Speech and Phenomena and Other Essays on Husserl's Theory of Signs, Trans. David B, Allison, Evanston:Northwestern University Press,1973, pp.142-143.
484 Orhan Pamuk, Other Colors:Essays and a Story, p.236.
485 Walter G. Andrew ed., Ottoman Lyric Poetry:An Anthology, Austin:University of Texas Press,1997, p.4.
486 See Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.161
487 鲍德里亚：《物体系》,林志明译,上海：上海人民出版社,2001年,第222-223页。
488 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." p.36.
489 Karl Marx, Capital:A Critique of Political Economy(1), New York:Vintage Books,1977, p.167.
490 Walter Benjamin, "Unpacking My Library:A Talk about Book Collecting." in Hannah Arendt ed., Illuminat ion, Trans. Harry Zohn, London:Fontana,1973, p.60.
491 Ibid, pp.60-61.
492 Ackbar Abbas, "Walter Benjamin's Collector:The Fate of Modem Experience." p.229.
493 Orhan Pamuk, "Spiegel Interview with Orhan Pamuk." http://www.spiegel.de/intemational/europe/0,1518,5 84586,00.html.
494 Orhan Pamuk, Other Colors:Essays and a Story, p.268.
495 J. M. Coetzee, Doubling the Point:Essays and Interviews, Cambridge, Massachusetts, London:Harvard Uni versity Press,1992, p.391.
496 小说《一个地主的早晨》、《复活》、《哥萨克》与《安娜·卡列尼娜》的男主角。
497 《查泰莱夫人的情人》与《误入歧途的女人》的男女主人公。
498 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, xi. 499 Orhan Pamuk, Other Colors:Essays and a Story, p.268.
500 在《<白色城堡>后记》(The White Castle Afterword)一文中,帕慕克写道,他对《寂静的房子》中的历史学家法鲁克有一种精神上的“亲近”感。Orhan Pamuk, Other Colors:Essays and a Story, p.250.
501 帕慕克：“我坐在角落里,无法结束《黑书》……一种奇怪扰人的恐惧席卷了我的孤独和写作时的快乐,这种慢慢袭来的恐惧与小说主人公卡利普所承受的一模一样。他穿越整个伊斯坦布尔,寻找妻子,但却毫无所得……这种失落带给他巨大的痛苦……像卡利普一样,我也感到一种痛苦的孤独。”Orhan Pamuk, O ther Colors:Essays and a Story, p.253.
502 帕慕克：“黑的身上有一部分的我,与其他人物角色相比,黑更倾向于从远处观察事物的变化。’'Orhan Pamuk, Other Colors:Essays and a Story, p.268.
503 在《纯真与敏感的小说家》中,帕慕克说,《纯真博物馆》中的凯末尔是他的一个幽灵：“对我来说,要证明自己不是凯末尔,永远是一件不可能的事情。”Orhan Pamuk, The Naive and The Sentimental Novelist, p.34.
504 弗洛伊德：《作家与白日梦》,收入车文博主编《弗洛伊德文集》(第七卷),长春：长春出版社,2004年,第58-66页。
505 弗朗西斯·戈雅(Francisco Jose de Goya y Lucients,1746-1828),19世纪西班牙浪漫派画家之一。
506 Orhan Pamuk, Other Colors:Essavs and a Story, p.264.
507 Ibid., pp.269,266.
508 Orhan Pamuk, Other Colors:Essays and a Story, pp.292,292,292,293,293,293.
509 莫拉塔·贝利戈在《一个作家的自画像：奥尔罕·帕慕克》中写道：“帕慕克为土耳其小说带来了一种我称之为建筑学的法则。他的小说仿佛一座精心构造的宫殿,里面的一切皆相互依赖、支撑与反射,彼此
评论与修正,构成了一种完美无瑕的结构,没有凸或凹,没有任何一块石头的放置是杂乱或毫无目的的……" Murat Belge, "Portrait of a Writer:Orhan Pamuk." in Privateview 4(1996), p.65.
510 See Walter G Andrew ed., Ottoman Lyric Poetry:An Anthology, p.4.
511 See Michael Mcgaha,Autobiographies of Orhan Pamuk:The Writers in His Novels,p.161
512 Ibid,pp.161,161.
513 Orhan Pamuk,Istanbul:Memories and the City,p.325.
514 Ibid.,pp.337,338.
515 “黑玫瑰”的外貌与形象见《伊斯坦布尔——记忆与城市》第35章<初恋>。
516 帕慕克：《杰夫代特先生和他的儿子们》,第607页。
517 See Michael Mcgaha, Autobiographies of Orhan Pamuk: The Writers in His Novels, p.26
520 See Alin Ozinian, "Who Is Orhan Pamuk?" New Neighbors. http://www.newneighbors.am/news.php?cont=3 &rg=2&date=30.12.2005&month=13&year=2005.
521 See Fernanda Eberstadt, "The Best Seller of Bvzantium." in New York Times Magazine. Mav 4(1997).pp. 34-35.
522 Orhan Pamuk, Istanbul:Memories and the City, pp.15,15.
523 See Orhan Pamuk, "My Father's Suitcase." http://nobelprize.org/nobel_prize/literature/laureates/2006/pamuk-lecture en.html.
524 这是帕慕克写作的一种后现代文学技法,将外祖父的名字挪用到了祖父这一形象上。目前,学界认为《杰夫代特先生和他的儿子们》是一部托马斯·曼式的现实主义家族小说,可见,情况要比想象的复杂一些。
525 Michael Mcgaha, Autobiographies of Orhan Pamuk; The Writers in His Novels, p.27
526 Ibid., p.27.
527 Orhan Pamuk, "Famous People." Trans. Erdag Goknar, Granta 4(1999), pp.69-92.
528 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, xi.
529 Orhan Pamuk, Other Colors:Essays and a Story, p.268.
530 John Updike, "Anatolian Arabesques." pp.98-99.
531 Orhan Pamuk, Snow, p.206
532 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
533 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nov ember 20(2002). http://www.pbs.org/newshour/conversation/iulv-dec02/pamuk11-20.html.
534 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
535 Emre Gokalp, "Pride and Anger:Orhan Pamuk's Nobel Prize and Discourses of Nationalism." p.178.
536 Orhan Pamuk, Other Colors:Essavs and a Story, p.263.
537 Orhan Pamuk, The Naive and The Sentimental Novelist, p.38.
538 Dick Davis, "Murder and Joy." p.6.
539 See Mark Feeney, "Orhan Pamuk Sees the World." http://www.boston.com/news/globe/living/articles/2004/1 0/11/orhan_pamuk_sees_the_world?mode=PF.
540 Orhan Pamuk and Jorg Lau, "Interview with Jorg Lau." http://www.signandsight.com/Features/115.html.
541 Orhan Pamuk, Istanbul:Memories and the City, p.271.
542 在谈到《白色城堡》时,帕慕克说：“我将小说安排在17世免中叶,不仅因为那是一个绚丽多姿的年代,可以增强历史感,还因为这一时期我的人物可以使用奈玛和艾弗里亚·塞勒比的手稿。另外,小说中还有一些小片段,均摘自于前后几个世纪中的一些游记……在我的小说中,还有很多细节内容并不是发生在它所描述的年代,而是取材于其他时代某些人的真实经历……”(Orhan Pamuk, Other Colors:Essays and a Story, pp.250-251.)而在《我的名字叫红》中,意大利透视画影响奥斯曼细密画的时间是15世纪,而非帕慕克所写的16世纪末,影响的方式也不是奥斯曼帝国大使出使威尼斯,被西方透视画所吸引,之后将它带回了帝国,而是当时苏丹从佛罗伦萨与威尼斯邀请、雇佣了一批肖像画画家,如金迪·贝利尼(Gentile Bellini,1429-1507)、卡斯坦·德·弗拉拉(Constanzo de Ferrara,1450-1524)等。See Feride Cicekoglu, "A Pedagogy of Two Ways of Seeing:A Confrontation of 'Word and Image' in My Name is Red." pp.1-20.
543 See Orhan Pamuk, The Naive and The Sentimental Novelist, p.186本节后文中出自同一著作的引文,均随文在括号内标出页码,不再另注。
544 Orhan Pamuk, The Naive and The Sentimental Novelist, pp.19-20.
545 Ibid., p.21.
546 Orhan Pamuk, The Naive and The Sentimental Novelist, p.27.
547 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.14.
548 Orhan Pamuk, The Naive and The Sentimental Novelist, p.14.
549 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.46.
550 Ibid., p.39.
551 在帕慕克的《天真与敏感的小说家》中,“景象”一词指的是主人公或其他角色视野中的一切人、物、情节与景色,即图像化了的小说与故事,而非单指自然或环境描写。
552 Orhan Pamuk, Other Colors:Essays and a Story, p.236.
553 艾略特的这一概念实际上源自19世纪美国浪漫派画家华盛顿·阿尔斯通(Washington Allston,1779-1843). See Orhan Pamuk, The Naive and The Sentimental Novelist, pp.103-104.
554 “诗”在中西文化传统中有不同根源与含义,这里的“诗”主要指史诗,也泛指文学艺术,即亚里士多德《诗学》中“诗”的含义。
555 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, pp.95,95.
556 Ibid., p.113.
557 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, pp.159,159.
558 Ibid., p.158.
559 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.165.
560 曼佐尼是(Alessandro Manzoni)是19世纪意大利浪漫主义诗人、作家,《未婚夫妇》(The Betrothed)是他的代表作,创作于1821至1823年。
561 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.171.
562 帕慕克说,并非所有通俗小说作家都如此,科幻小说家勒姆(Stanislaw Lem)与迪克(Philip K. Dick)、侦探小说家海格斯密斯(Patricia Highsmith)\|司谍类小说家卡勒(John Le Carre)等就是特例。See Orhan Pamuk, The Naive and The Sentimental Novelist, p.160.
563 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.177.
564 伯纳德·刘易斯：《现代土耳其的兴起》,第8页。
565 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.91.
566 Samuel P. Huntington, The Clash of Civilization and the Remaking of World Order, p.139.
567 引自王志耕：《宗教文化语境下的陀思妥耶夫斯基诗学》,北京：北京师范大学出版社,2003年,第13页。
568 Samuel P. Huntington, The Clash of Civilization and the Remaking of World Order, pp.143-144.
569 引自王志耕：《宗教文化语境下的陀思妥耶夫斯基诗学》,第82页。
570 Orhan Pamuk, The White Castle, p.142.
571 陀思妥耶夫斯基：《双重人格、地下室手记》,臧仲伦译,南京：译林出版社,2004年,第35页。后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
572 引自陀思妥耶夫斯基：《双重人格、地下室手记》,第1、1页。
573 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
574 Orhan Pamuk and Wachtel Eleanor, "An Interview with Orhan Pamuk." p.265.
575 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
576 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nov ember 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
577 Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meets the Turkish Nov elist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relations." http://www.orhanpamuk.net/ popup.aSpx?id=58&Ing=eng.
578 引自王志耕：《宗教文化语境下的陀思妥耶夫斯基诗学》,第51页。
579 引自王志耕：《宗教文化语境下的陀思妥耶夫斯基诗学》,第55页。
580 Orhan Pamuk, Istanbul:Memories and the City, p.91.
581 Ibid.,p.91.
582 Ibid.,p.105.
583 Esra Akan, "The Melancholies of Istanbul." p.42.
584 王国维：《人间词话》,北京：中国书局,2009年,第2页。
585 Orhan Pamuk, Istanbul:Memories and the City, p.12.
586 帕慕克：“7到12岁时,我一直都渴望成一名艺术家。大部分时间,我都待在家画画……24之前,我一直过着细密画画家的生活。”Orhan Pamuk, Other Colors:Essays and a Story, p.269.
587 Orhan Pamuk,Other Colors:Essays and a S tory,p.367.
588 John Updike,"Anatolian Arabesques."p.98.
589 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.75.
590 一些研究者发现了这一问题,进行了相关评述。See John Updike, "Murder in Miniature:A Sixteenth-Cent ury Detective Story Explores the Soul of Turkey." in New Yorker, September 3(2001), p.92; Tom Le Clair, "Na bokov in Anatolia." p.38; David J. Gramling, "Pamuk's Dis-orient:Reassembling Kafka's Castle in Snow." pp. 1-20; Sarah Coleman, "A Detailed Tapestry of 16th Century Turkey." in San Francisco Chronicle, November 9 (2001). http://www.sfgate.com/cgi-bin/article.cgi?f=/chronicle/archive/2001/12/09/RV151443.
591 See Katy Emck, "Turkish Delight." pp.44-45; Allen Hibbard, "Review of My Name Is Red." pp.203-204; Ly nne Sharon Schwartz, "In the Beginning Was the Book." pp.23-25; Dick Davis, "Murder and Joy." p.6.
592 See Murat IRI and H. Esra Arcan, "The Orhan Pamuk Case:How Mainstream Turkish Media Framed His Fre edom of Speech." pp.17-24; Hasan Cemal, "Orhan Pamuk uc." in Milliyet, March 31(2005). http://www.milliy et.com/2005/03/31/yazar/cemal; Ayse Ozgun, "Orhan Pamuk vs. Michael Moore." in Turkish Daily News, Febru ary 25(2005). http://www.turkishdailynews.com.tr/article.php?enewsid=6698;高永：诺奖得主——“媚俗”作家帕慕克,第10-12页。
593 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
594 Orhan Pamuk, Snow, pp.3,3,3.
595 Orhan Pamuk, The White Castle, p.146.
596 Gazel,源自波斯,奥斯曼帝国的抒情诗体之一。在主题思想方面,大多为女人之美、爱情之痛,‘蕴含着深刻的宗教或神秘主义意义。当然,也有些例外,有的写生命之空虚与季节变换,有的则是宫廷娱乐之作,充满肉感、淫秽的字词。在形式上,它短小、精致,一般为5到8个偶句(beyt),有几种常用的韵律格。此外,它是一种颂唱文体,常常是即兴创作、配乐吟诵,这种传统一直延续到今天的土耳其、伊朗等地的流行乐中。See E. J. W. Gibb, A History of Ottoman Poetry(ⅰ、ⅱ、ⅲ、ⅳ、ⅴ、ⅵ), London:Luzac, 1900、1902、1904、1905、1907、1909; E.J.W. Gibb, Ottoman Literature:The Poets and Poetry of Turkey, Washington & London:M. Walter Dunne publisher,1901; Epiphanius Wilson, Turkish Literature, London:The Colonial Press,1901.
597 详见井筒俊彦：《伊斯兰思想历程——凯拉姆·神秘主义·哲学》。
598 井筒俊彦：《伊斯兰思想历程——凯拉姆·神秘主义·哲学》,第108-120页。
599 E. J.W. Gibb, Ottoman Literature:The Poets and Poetry of Turkey, p.78.
600 Ibid, p.131.
601 Ibid., x ii.
602 Irvin C. Schick and Ertugrul Ahmet Tonak eds., Turkey In Transition, p.218.
603 Orhan Pamuk, Istanbul:Memories and the City, pp.207-223.
604 Orhan Pamuk, Istanbul:Memories and the City, p.240.
605 Samuel P. Huntingtong, The Clash of Civilizations and The Remaking of World Order, p.139.
606 Sigm. Freud, Group Psychology and the Analsis of the Ego, Trans. James Strachey, London:The International Psycho-Anlytical Press,1922, pp.60-71.
607 Samuel P Huntingtong, The Clash of Civilizations and The Remaking of World Order, p.149.
608 See Homi K. Bhabha, The Location of Culture, London and New York:Routledge,1994.
609 在接受罗伯特·卡文采访时,帕慕克谈到了这一问题：“土耳其人一直梦想着成为中心,而非边缘。这是我们的一部分失败。土耳其曾是一个伟大的帝国,拥有伟大的文化,如今,一切不复返了。这让我感到忧伤,以及一点个人化的耻辱。”Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robe rt Carver Meets the Turkish Novelist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relation s."http://www.orhanpamuk.net/popup.aSpx?id=58&lng=eng.
610 Alain De Botton, Status Anxiety, New York:Knopf Doubleday Publishing Group,2008.
611 一次采访中,帕慕克说：“在土耳其,95%的人都是双重灵魂者。在别人看来,土耳其有好人,如世俗主义者、民主主义者、自由主义者,也有坏蛋,如民族主义者、政治伊斯兰者、保守主义者、独裁者。其实,对于土耳其人自己来说,这两种倾向随时随地都搅在一起。也即每一个土耳其人都与自己进行斗争,或者说,每一个土耳其人的思想都是自相矛盾的。”See Michael Mcgaha, Autobiographies of Orhan Pamuk: The Writers in His Novels, p.91.
612 近年,土耳其的文化冲突再度升温,引发了全世界的关注。如总统埃尔多安(Erdogan)2008年2月废除头巾禁令,6月又颁布头巾禁令,与土耳其最高法院形成了对峙；阿布杜拉·居尔(Abdullah Gul)的选举竟然招致100多万人的反对、游行；2010年,土耳其政府又阻止了一次名为“大锤”的军事政变,逮捕48名军官、司令,至今余波未了。
613 Orhan Pamuk, Istanbul:Memories and the City, p.103.
614 Michel De Montaigne, The Essays of Montaigue, Trans. E. J. Trechmann, New Yorker:The Modern Liberary, 1946, pp.6-8.
615 Esra Akan, "The Melancholies of Istanbul." p.43.
616 帕慕克：“在土耳其西化后,这个国家的下层——即那些保守的、贫穷的,未受教化的,低下的阶层(这些人在土耳其到处都能见到)——对现代化的日常生活中缺少宗教信仰的要求提出异议……他们想保留传统式的生活。现代化过程中有些人做这样的事情是很正常的。然而土耳其政府和许多部门的回应却是攻击,将他们的文化看作低劣落后的文化,而不是认真讨论这一问题,理解他们失去过去的痛苦。”Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, November 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html帕慕克：“我试图在土耳其的政客们中宣传我的理论,他们只知国家要有一个统一的灵魂——东方、西方或民族主义。我在批评一元论的世界观。”Orhan Pamuk, Other Colors:Essays and a Story, p.369.
617 Muharrem Sev, "Review of Istanbul:Memories and the City." http://www.amazon.com/gp/cdp/member-revie ws/A2TF3JT4VVAM07/ref=cm__pdp_rev_all?ie=UTF8&sort_by=MostRecentReview.
618 Walter Benjamin, Illumination, Hannah Arendt ed., Trans. Harry Zohn, New York:Schoken Books,1968, p. 256.
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2 John Updike, "Anatolian Arabesques." in New Yorker, August 20(2004), pp.99,99.
3 Orhan Pamuk, Istanbul:Memories and the City, Trans. Maureen Freely, New York:Vintage Books,2006, p.6.后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
4 这一名称出自伯曼的论文,指在土耳其西化改革期间,一些凯末尔主义者激进地认为,西方理性文化即是土耳其的救国与复兴之路,因此,伯曼趣称他们为“理性主义弥赛亚”。Paul Berman, "Young Turk." in New Republic, September 9(1991), p.36.
5 Orhan Pamuk, The White Castle, Trans. Victoria Holbrook, New York:Vintage Books,1998, p.65.
Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meets the Turkish Nov elist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relations." http://www.orhanpamuk.net/ popup.aSpx?id=58&lng=eng.
7 Orhan Pamuk, Other Colors:Essays and a Story, Trans. Maureen Freely, New York:Alfred A. Knopf,2007, p. 367.
8 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, Salt Lake City:The University of Utah Press,2008, p.156.
9 Peer Peuwsen, "Der meistgehasste Turk." in Das Magazin, Februrary 5(2005). http://sc.tagesanzeiger.ch/dyn/ news/kultur/560264.html.
10 Emre Gokalp, "Pride and Anger:Orhan Pamuk's Nobel Prize and Discourses of Nationalism." in Anadolu On iv ersitesi Sosyal Bilimler Dergisi 3(2010), p.178.
11 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
12 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." in New Perspective Quarterly 1 (2005), p.40
13 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
14 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." in New Perspective Quarterly 2(2000), p. 21.
15 Aylin Bayrakceken and Don Randall, "Meetings of East and West:Orhan Pamuk's Istanbulite Perspective." in Critique 3(2005), pp.191-204.
16 Paul Berman, "Young Turk." pp.39.39.
17 Orhan Pamuk, Oteki Renkler, Istanbul:lletism,1999, p.135. Quoted in Aylin Bayrakceken and Don Randall, "Meetings of East and West:Orhan Pamuk's Istanbulite Perspective." p.203.
18 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.39,39.
19 杨中举：奥尔罕·帕慕克：追求文学创作、文化发展的混杂性,载《当代外国文学》2007年第1期,第88页。
20 李卫华：文化冲突与文化杂合：《我的名字叫红》的情节结构隐喻,载《外国文学研究》2008年第1期,第143、143、144页。
21 叶隽：“失根忧伤”与“魂归何方”——《雪》所体现的“一体二魂”元命题与夹缝之国的两难与超越,载《东方文学研究通讯》2008年第2期,第29页。
22 Samuel P. Huntington, "The Clash of Civilization?" in Foreign Affairs 3(1993), p.22.
23 David N. Coury, "'Torn Country':Turkey and the West in Orhan Pamuk's Snow" in Critique 4(2009), p.34 1.
24 Ibid., pp.340-349.
25 Samuel P. Huntington, The Clash of Civilization and the Remaking of World Order, New York:Simon,1996, pp.149,149.
26 Quoted in Brain Lavery, "In the Thick of Change Where Continents Meet." in New York Times, August 27(20 03), p.3.
27 Orhan Pamuk and Alexander Star. "Orhan Pamuk:'I Was Not A Political Person'." in New York Times, Augu st 15(2004),p.9.
28 Ayse Ozgun, "Orhan Pamuk vs. Michael Moore." in Turkish Daily News, February 25(2005). http://www.tur kishdailynews.com.tr/article.php?enewsid=6698.
29 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.3,3.
30 Mel Kenne, "A Blizzard in the East:Pamuk the Post-modern Mystic." in The Daily Star, July 10(2004). http: //www.dailystar.com.ib/printable.asp?art_ID=6103&cat_ID=21.
31 Richard Eder, "Heresies of the Paintbrush." in New York Times Book Review, September 2(2001), p.7.
32 Jonathan Levi, "The Plague." in Los Angeles Times, October 7(2001). http://www.orhanpamuk.net/article/jon athanlevi.htm.
33 Eric J. Ianelli, "My Name Is Red." in Rain Taxi Review of Books,2001. http://www.raintaxi.com/online/2001 winter/pamuk/shtml.
34 Orhan Pamuk and Jeffrey Brown, "Interview with Jeffery Brown." on News Hour with Jim Lehrer, PBS, Octo ber 12(2006). http://www.pbs.org/newshour/bb/entertainment/july-dec06/pamuk_10-12.html.
35 Alain Robbe-Grillet, For A New Novel, Trans. Richard Howard, Evanston:Northwestern University Press,19 89, p.83.
36 Ian Almond, "Islam, Melancholy, and Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's Th e Black Book." in New Literary History I (2003), pp.75-90.
37 穆宏燕：在卡夫山上追寻自我——奥尔罕·帕慕克的《黑书》解读,载《国外文学》2008年第2期，第44页。
38 Bernt Brendemoen, "Orhan Pamuk and His Black Book." November 23,2005. http://www.orhanpamuk.net/p opuppage.aspx?id=75&lng=eng.
39 Jale Parla, "Kara Kitap Neden Kara?" in Kara Kitap uzerine yazilar, ed. Niiket Esen, Istanbu:Can Yayinlar, 1992, p.118; Gursel Aytac, "Orhan Pamuk'tan bir Yeni Roman:Kara Kitap." http://haber.gazetevatan.com/Hay atimin_en_mutlu_aniymis_bilmiyordum_195638_1/195638/1/Haber; Ramazan Cecen, "Kara Kitap Uzerine Kar a-Ak De nemeler." in Kara Kitap uzerine yazilar, ed. Niiket Esen, Istanbu:Can Yayinlar,1992, p.208.
40 Orhan Pamuk, Other Colors:Essays and a Story, p.357.
41 Yasemin Congar, "Gercek Tum Dunyaya Soylenir." in Milliyet, April 27(1998), p.14. Quoted in Semra Sara coglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowles and Orhan Pa muk." Ph. D. diss., The Middle East Technical University,2003, p.2.
42 Fethi DemIr, "Orhan Pamuk' un Postmodern BTr Labirentte Yaziyi arayan Kahramanlari." in Turkish Studies 3 (2011), pp.1811-1822; Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowles and Orhan Pamuk"; Nilay Isiksalan, "Postmodern Ogreti ve bir Postmodern Roman Cozu mle mesi:Kara Kitap/Orhan Pamuk." in Anadolu Universitesi Sosyal Bilimler Dergisi 2(2007), pp.419-466.
43 Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowles and Orhan Pamuk." p.2.
44 Bilge Mutluay Cetintas, "Defying Expections:Paul Auster's New York Trilogy and Orhan Pamuk's The Black Book and My Name Is Red." in Journal of Art and Science 6(2006), pp.51-61.
45 Walter G.. Andrew, "The Black Book and Black Boxes:Orhan Pamuk's Kara Kitap." in Edebiydt 11 (2000), pp.105,106.
46 Esra Akan, "The Melancholies of Istanbul." in World Literature Today 6(2006), p.39.
47 Orhan Pamuk, Istanbul:Memories and the City, flyleaf.
48 Esra Akan, "The Melancholies of Istanbul." p.43.
49 Richard Tillinghast, "Orhan Pamuk's Istanbul." in The New Criterion 7(2012), pp.24-28; Esra M. Santesso, "Vision and Representation:Photography in Orhan Pamuk's Istanbul:Memories and the City." in The Comparat ist, Vol.35(2011), pp.152-160; T. Jeevan Kumar, "Orhan Pamuk:An Icon of Istanbul." in The Icfai University Jour nal of English Studies 3(2008), pp.74-82; Tobias Henschen, "Furcht, Angst und Huziin." in Studia Phenom enologica 8(2008), pp.307-330.
50 杨中举：“呼愁”：帕慕克小说创作的文化诗学风格,载《东方丛刊》2009年第2期,第1、1、1页。
51 李伟荣：“呼愁”——理解帕慕克作品的一片钥匙,载《湖南大学学报》2008年第4期,第106页。
52同上,第110页。
53 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.117,117.
54 Andrew Mango, "Orhan Pamuk at the Heart of Turkish Sadness." in Cahiers deludes sur la Mediterranee orie ntale et le monde turcoiranien 20(1995), pp.351-360; Esim Erdim, "The'Survival' of a Literary Text:The Tran sformation of Images from the Sublime to the Picturesque in Giineli Gun's Translation of Orhan Pamuk's Kara K itap. " Ph. D. diss., Kent State University,1999.
55 Guneli Gun, "Something Wrong with the Language." in Time Literary Supplement, March 12(1999), p.14.
56 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.123,141.
57 Klaus Gommlich and Esim Erdim, "Evolving Imagery in the Translation of Orhan Pamuk's Kara Kitap." in A cross Languages and Cultures 2(2001), pp.237-249; Servinc Turkkhan, "Orhan Pamuk's Kara Kitap:(British) Reception vs. (Amercian)Translation." in Making Connections 2(2010), pp.39-58.
58 Melike Yilmaz, "A Translational Journey:Orhan Pamuk in English." Ph. D. diss.. Bogazici University,2004.
59 Feride Cicekoglu, "Difference, Visual Narration, and Point of View in My Name is Red" in Journal ofAesthe tic Education 4(2003), pp.124-137;---, "A Pedagogy of Two Ways of Seeing:A Confrontation of 'Word and Image' in My Name is Red." in Journal of Aesthetic Education 3(2003), pp.1-20.
60 Acalya Allmer, "Orhan Pamuk's'Museum of Innocence':On Architecture, Narrative and the Art of Collectin g." in ARQ 2(2009), pp.163-171.
61 何山石：“失明”与“黑白之间”——帕慕克的视觉策略对当代视觉美学的启示,载《武汉理工大学学报》2011年第5期,第706-711页。
62 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, p.378.
63 Orhan Pamuk and Nirmiala Lakshman, "Writing and Writing is My Happiness." http://beta.thehindu.com/opin ion/interview/article98808.ece.
64 Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meets the Turkish Nov elist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relations." http://www.orhanpamuk.net/ popup.aSpx?id=58&lng=eng.
65 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey ", in New Perspective Quarterly 4(20 03), p.21.
66 伯纳德·刘易斯： 《现代土耳其的兴起》,范中廉译,北京：商务印书馆,1982年,第282页。
67 伯纳德·刘易斯：《现代土耳其的兴起》,第260页。
68 同上,第252页。
69 Stephane Yerasimos, "The Monoparty Period", in Irvin C. Schick and Ertugrul Ahmet Tonak ed., Turkey In Tr ansition, Trans. Rezan Benatar etc, New York:Oxford University Press,1987, p.77.
70 伯纳德·刘易斯：《现代土耳其的兴起》,第308、279-280页。
71 同上,第288页。
72 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
73 Orhan Pamuk and Michael Skafidas, " Turkey's Divided Character ", in New Perspective Quarterly 1 (2000), p.21.
74 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls ", in New Perspective Quarterly 4 (2005), p.40.
75 Orhan Pamuk, Other Colors:Essays and a Story, pp.269-270.
76 伯纳德·刘易斯：《现代土耳其的兴起》,第292-293页。
77 1934年6月28日,土耳其颁布了一项姓氏法,规定自1935年1月起,每个土耳其公民都必须有自己的姓。共和国议会授予凯末尔“阿塔图尔克”(Ataturk)这一姓氏,在土语中意为“土耳其之父”。所以，后来许多人都尊称他为“凯末尔·阿塔图尔克”。
78 Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meets the Turkish Nov elist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relations." http://www.orhan pamuk.net/ popup.aSpx?id=58&lng=eng.
79 Orhan Pamuk, The White Castle, Trans. Victoria Holbrook, New York:Vintage books,1998, p.32后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
80 伯纳德·刘易斯：《现代土耳其的兴起》,第284页。
81 Orhan Pamuk and Michael Skafidas," Turkey's Divided Character", p.21.
82 奥尔罕·帕慕克：《寂静的房子》,沈志兴、彭俊译,上海：上海人民出版社,2008年,第85页.后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
83 伯纳德·刘易斯：《现代土耳其的兴起》,第440页。
84 Paul Berman, "Young Turk ", in New Republic, September 9(1991), p.36.
85 Stephane Yerasimos, "The Monoparty Period", p.92.
86 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
87 Orhan Pamuk, Snow, Trans. Maureen Freely, New Work:Alfred A. Knopf,2005, p.402后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
88 伯纳德·刘易斯：《现代土耳其的兴起》,第299、299页。
89 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls ", p.40.
90 这部戏剧改编自纳米克·凯末尔(Namik Kemal)的戏剧《祖国还是斯里斯特》(Vatan Yahut Silisitre),这是一部典型的爱国主义戏剧：一个名为喆克伊(Zekiyi)的女性,为了报效祖国,女扮男装参加了保卫斯里斯特城堡的战斗,最终与恋人伊斯莱姆·贝(Islam Bey)结合。此剧首演于1873年,表达的是唯有献身祖国、才能获得个人幸福的观点,对“祖国”(Vatan)这一概念在土耳其的宣传、普及起到了一定的作用。See Sibel Erol," Reading Orhan Pamuk's Snow as Parody:Difference as Sameness ", in Comparative Criti cal Studies 3(2007),pp.415-416.
91 Sibel Erol, " Reading Orhan Pamuk's Snow as Parody:Difference as Sameness", pp.403-432.
92 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls ", p.40.
93 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
94 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey ", in New Perspective Quarterly 4(20 03),p.27.
95 Orhan Pamuk and Michael Skafidas, " Turkey's Divided Character ", p.21.
96 Ibid.
97 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
98 Keith Hitchins, "Review of The White Castle", in World Literature Today 4 (1991), p.764.
99 Paul Berman,"Young Turk'',in New Republic,September 9(1991),p.37.
100 Murat IRI and H. Esra Arcan, "The Orhan Pamuk Case:How Mainstream Turkish Media Framed His Freedom of Speech ", in Sosyal Bilimler Dergisi 18 (2007), p.22.
101 罗贯中、毛宗岗：《毛宗岗批评本三国演义》,长沙：岳麓书社,2006年,第355页。
102 Orhan Pamuk and Paul Holdengraber, "The Art of the Novel Is Anti-Political." in New Perspective Quarterly 2 (2008), p.92.
103 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.38.
104 “妙医师”原文为Dr. Narin, Narin在土语中意为苗条的、精致的、弱不禁风的。中译者蔡鹃如译为“妙”。英译者古恩译作Fine。
105 “神蓝”原文为Mavi,中译者为沈志兴,Mavi在土语中意为蓝色,蓝色在伊斯兰文化中意味着悲伤与死亡。英译者弗瑞丽将其译为blue。
106 Orhan Pamuk, Other Colors:Essays and a Story, p.261,
107 Ibid., pp.174-175.
108 Orhan Pamuk, Other Colors:Essays and a Story, p.218.
109 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." pp.37-38.
110 Orhan Pamuk, Istanbul:Memories and the City, pp.176-177,
111 Ibid., p.179.
112 康慨：杀人共嫌高叫：“奥尔罕·帕慕克,放聪明点!”载《中华读书报》2007年1月31日http://ww w.gmw.cn/01ds/2007-01/31/content_544116.htm.
113 See Admin, "Orhan Pamuk:'Living with Bodyguards is not a Life Worth Living'." http://www.turks.us/articl e.php?story=20070204093723453.
114 Orhan Pamuk, Other Colors:Essays and a Story, p.229.
115 Ibid., pp.228,228,228.
116 Orhan Pamuk and Paul Holdengraber, "The Art of the Novel Is Anti-Political." p.92.
117 Orhan Pamuk, Other Colors:Essays and a Story, pp.236,229.
118 Ibid., pp.228-229.
119 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey." p.31.
120 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." pp.41,41,41,38.
121 Orhan Pamuk, Other Colors:Essays and a Story, p.230.
122 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.38.
123 Katy Emck, "Turkish Delight." in New Statesman, October 31 (1997), pp.45,45.
127 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, p.128.
128 Orhan Pamuk, Other Colors:Essays and a Story, p.263.
129 Orhan Pamuk, My Name Is Red, Trans. Erdag M. Goknar, New York:Vintage Books,2002, p.11后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
130 Orhan Pamuk, Other Colors:Essays and a Story, p.263.
131 Orhan Pamuk, Snow, pp.320,322.
132 Marshall Berman,"Orhan Pamuk and Modernist L.beralism."in Dissent 1(2009),p.116.
133 Ibid.,p.115.
134 Ibid.,p.116.
135 Orhan Pamuk, Other Colors:Essays and a Story, p.231,
136 Ibid, p.231.
137 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey." p.31.
138 伯纳德·刘易斯：《现代土耳其的兴起》,第284、284、282贰
139 Orhan Pamuk and Michael Skafidas, "Soft Islam Takes Over in Turkey." p.29.
140 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.39.
141 Orhan Pamuk, The Museum of Innocence, New York:Vintage Books,2010, p.61.
142 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.39.
143 Fatima Mernissi, Beyond the Veil:Male-female Dynamics in Muslim Society, London:Al Saqi Books,1975, p. 19.
144 Orhan Pamuk, Other Colors:Essays and a Story, p.267.
145 伯纳德·刘易斯：《现代土耳其的兴起》,第284页。
147 帕慕克：《杰夫代特先生》,陈竹冰译,上海：上海人民出版社,2009年,第399页。
148 Orhan Pamuk, The Museum of Innocence, p.108后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
149 Orhan Pamuk, Istanbul:Memories and the City, p.325.
150 Simone de Beauvoir, The Second Sex, New York:Alfred A. Knopf,1953, p.10.
151 帕慕克本人出生、成长于一个中产阶级家庭,他所熟悉的妇女也大部分是西化、富有的中上层土耳其妇女,所以,他笔下的女性大多属于这一类。这是帕慕克频繁书写土耳其中上层妇女的个人原因之一。
152 Meltem Miiftuler-Bac, "Turkish Women's Predicament." in Women s Studies International Forum 3(1999), p.304.
153 Dilek Cindoglu, "Virginity Tests and Artificial Virginity in Modern Turkish Medicine." in Women's Studies In ternationat Forurn 2(1997), p.253.
154 See Meltem Muftuler-Bac, "Turkish Women's Predicament." pp.305-310.
155 Ibid., p.310.
156 Meltem Muftiiler-Bac, "Turkish Women's Predicament." p.310.
157 Dan Belifsky," How to Avoid Honor Killing in Turkey? " http://www.nytimes.com/2006/07/16/world/europ e/16turkey.htmI?Pagewanted=2.
158 Meltem Muftiiler-Bac, "Turkish Women's Predicament." p.311.
159 Ibid., p.312.
160 Ibid., p.313.
162 See Giil Aldikacti Marshall, " Ideology, Progress, Dialogue:A Comparison of Feminist and Islamist Women's Approaches to the Issues of Head Covering and Work in Turkey. " in Gender and Scoiety 1 (2005), p.117.
163 Emelie A. Olson, " Muslim Identity and Secularism in Contemporary Turkey:"The Headscarf Dispute'. " in An thropological Quarterly 4(1985), pp.161-164.
164 "World:Europe Headscarf Row in Turkey Parliament. " BBC News, May 3,1999. http://news.bbc.co.uk/2/hi/ middle east/333641.stm.
165 Carol Delaney, " Untangling the Meaning of Hair in Turkey Society. " in Anthropological Quarterly 4(1994), pp.159-172.
166 See Hasan Aydin, "Headscarf(Hijab) Ban in Turkey:Importance of Veiling." in The Journal of Multicultura lism in Education 1(2010), p.11.
167 Meltern Muftuler-Bac, "Turkish Women's Predicament." p.308.
168 K. Gajendra Singh, " Ban on headscarves and Turkey. " http://en.wikipedia.org/wiki/Headscarf_controversy_i n Turkey.
169 See Hilal Elver, " Lawfare and Wearfare in Turkey." http://www.merip.org/mero/interventions/lawfare-wearfa re-turkey.
170 Hasan Aydin, "Headscarf(Hijab) Ban in Turkey:Importance of Veiling." p.17.
171 Ibid.
172 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
173 Orhan Pamuk, Other Colors:Essays and a Story, p.229.
174 伯纳德·刘易斯：《现代土耳其的兴起》,第375页。
177 伯纳德·刘易斯：《现代土耳其的兴起》,第344页。
178 Orhan Pamuk, Istanbul:Memories and the City, p.310.
179 伯纳德·刘易斯：《现代土耳其的兴起》,第375页。
180 伯纳德·刘易斯：《现代土耳其的兴起》，第375-376页。
181 同上,第376页。
182 戴维·哈维：《后现代的状况——对文化变迁之缘起的探究》,阎嘉译,北京：商务印书馆,2003年,第214页。
183 同上,第214页。
4 包丽丽：问责“亚美尼亚大屠杀”,载《世界知识》2010年第9期,第43页。
185 Orhan Pamuk, "We are All Responsible for Dink's Death." http://www.hurriyet.com.tr/english/5817673.asp.
186 拉多伊·克勒斯特夫：土耳其的库尔德问题(1925—1988),马细谱摘译,载《世界民族》1991年第2期,第4页。
188 拉多伊·克勒斯特夫：土耳其的库尔德问题(1925一1988),第3页。
189 拉多伊·克勒斯特夫：土耳其的库尔德问题(1925—1988),第2页。
190 同上,第2页。
191 埃里加-伊伦·A·达亚斯：土耳其的希腊正教少数民族,程同译,载《世界民族》1986年第5期,第70页。
192 塞浦路斯是土耳其与希腊争夺多年的一个国家,正式名称为塞浦路斯共和国。该国2/3是说希腊语的塞浦路斯人,1/3是说土耳其语的塞浦路斯人。4至11世纪时,这里是拜占庭帝国的一部分,16世纪,这里被奥斯曼帝国吞并,1924年又成为英国的殖民地。1960年塞浦路斯独立,但它处于希腊与土耳其之间,国内频繁爆发冲突,希腊与土耳其皆想将其划入自己的地域。
193 Avlin Bavrakceken and Don Randall. "Meetines of East and West:Orhan Pamuk's Istanbulite Perspective."p. 205.
194 Paul Berman, "Young Turk." p.39.
195 杨中举：奥尔罕·帕慕克：追求文学创作、文化发展的混杂性,第88页。
196 张虎：论帕慕克小说《白色城堡》的身份建构,载《当代外国文学》2009年第2期,第54-59页。
197 Orhan Pamuk, Oteki Renkler. Istanbul:Iletism,1999, p.135. Qutoed in Aylin Bayrakceken and Don Randall, "Meetings of East and West:Orhan Pamuk's Istanbulite Perspective." p.202.
198 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
199 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
200 David N. Coury, "'Torn Country':Turkey and the West in Orhan Pamuk's Snow." p.340.
201 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
202 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
203 Orhan Pamuk and Alexander Star, "Orhan Pamuk:'I Was Not a Political Person'." http://www.nytimes.com/ 2004/08/15/books/interview-orhan-pamuk-i-was-not-a-politi cal-person.html.
204 Dick Davis, "Murder and Joy." in Time Literary Supplement, September 7(2001), p.6.
205 詹春花：论《我的名字叫红》叙事中的文化主题,载《当代外国文学》2007年第3期,第115、116页。
206 Lynne Sharon Schwartz, "In the Beginning Was the Book." in New Leader 5(2001), p.23.
207 杨卫东：置身于他人的处境——从《雪》来看帕慕克所执着的身份问题,载《中国图书评论》2009年第9期,第9、9、9页。
208 高永：诺奖得主：“媚俗”作家帕慕克,载《世界文化》2006年第12期,第11、11页。
209 详见张虎：“恋之奴仆”与“纯粹之爱”——帕慕克爱情叙事的苏非神秘主义原型结构,载《外国文学研究》2011年第1期,第128-136页。
210 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
211 Orhan Pamuk and Jeffrey Brown, "Interview with Jeffery Brown." on News Hour with Jim Lehrer, PBS, Oct ober 12(2006). http://www.pbs.org/newshour/bb/entertainment/july-dec06/pamuk_10-12.html.
212 Dick Davis, "Murder and Joy." p.6.
213 Orhan Pamuk and Judy Stone, "Turkish Writer Captures the Intensity of Desire." http://www.orhanpamuk.ne t/popuppage.Aspx?id=60&Ing=eng.
214 Orhan Pamuk, The Black Book, pp.420,116,287.
215 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." p.21.
216 Orhan Pamuk, Other Colors:Essays and a Story, p.262.
217 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
218 Orhan Pamuk, Snow, p.371.
219 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls ", p.41.
220 Orhan Pamuk and Aida Edemariam, "Interview with Aida Edemariam." http://www.observerunlimited.co/uk/ print/0,,329448830-111247,00.html.
221 See Mark Feeney, "Orhan Pamuk Sees the World." http://www.boston.com/news/globe/living/articles/2004/1 0/11/orhan_pamuk_sees_the_world?mode=PF.
222 Orhan Pamuk and Jorg Lau, "Interview with Jorg Lau." http://www.signandsight.com/Features/115.html.
223 Orhan Pamuk, Istanbul:Memories and the City, p.5.
224 莫言：好大一场雪——《雪》赏析,载《东方文学研究通讯》2008年第2期,第38页。
225 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." in Publishers Weekly 51(1991), p. 36.
226 Orhan Pamuk, Istanbul:Memories and the City, p.198.
227 Orhan Pamuk and Aida Edemariam, "Interview with Aida Edemariam." http://www.observerunlimited.co/uk/ print/0,329448830-111247,00.html.
228 Orhan Pamuk, Istanbul:Memories and the City, p.104.
229 Orhan Pamuk,Other Colors：Essays and a Story,p.370.
230 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
231 See Mark Feeney, "Orhan Pamuk Sees the World." http://www.boston.com/news/globe/living/articles/2004/1 0/11/orhan_pamuk_sees_the_world?mode=PF.
232 Katy Emck. "Turkish Delight." pp.44-45; Allen Hibbard. "Review of My Name Is Red." Review of Contempo rary Fiction 4(2001), pp.203-204;高永：诺奖得主：“媚俗”作家帕慕克,第10-12页；张虎：“恋之奴仆”与“纯粹之爱”——帕慕克爱情叙事的苏菲神秘主义原型结构,第128-136页。
233 Orhan Pamuk and Jorg Lau, "Interview with Jorg Lau." http://www.signandsight.com/Features/115.html.
234 Giineli Gun, "The Turks are Coming:Deciphering Orhan Pamuk's Black Book." in World Literature Today I (1992), p.59.
235 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's
236 帕慕克、陈众议等：《帕慕克在十字路口》,上海三联书店,2009年,第257页。
237 同上,第240页。
238 See Irvin C. Schick and Ertugrul Ahmet Tonak ed., Turkey In Transition, Trans. Rezan Benatar etc, New Yor k:Oxford University Press,1987, p.221.
239 Orhan Pamuk, Istanbul:Memories and the City, pp.176-177.
240 Orhan Pamuk and Michael Skafidas, "Turkey's Divide Character." p.21.
241 详见第四章第三节《<白色城堡>与<双重人格>的比较研究》。
242 Nicholas Wroe, "Occidental Hero." http://books.Guardian.co.uk/department/generalfiction/story/0,6000,1211 858,00.html.
243 详见第三章第三节《<新人生>与“神秘道”三段论》。
244 张虎：“恋之奴仆”与“纯粹之爱”——帕慕克爱情叙事的苏非神秘主义原型结构,载《外国文学研究》2011年第1期,第128-136页。
245 Orhan Pamuk and Wachtel Eleanor, "An Interview with Orhan Pamuk." in Descant 2(2003), p.265.
246 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." p.21.
247 Ian Almond, "Islam, Melancholy, and Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.83.
248 Lynne Sharon Schwartz, "In the Beginning was the Book." pp.23-25.
249 David N. Coury,"'Torn Country':Turkey and the West in Orhan Pamuk's Snow" p.347.
"" Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowle s and Orhan Pamuk." p.60.
251 帕慕克、陈众议等：《帕慕克在十字路口》,第240页。
252 Orhan Pamuk and Jeffrey Brown, "Interview with Jeffery Brown." on News Hour with Jim Lehrer, PBS, Oct ober 12(2006). http://www.pbs.org/newshour/bb/entertainment/july-dec06/pamuk_10-12.html.
253 E. J.W. Gibb, Ottoman Literature:The Poets and Poetry of Turkey, Washington & London:M. Walter Dunne Publisher,1901, p.113.
254 Orhan Pamuk, The New Life, Trans. Guneli Gun, New York:Vintage Books,1998, p.56后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
255 Dick Davis, "Murder and Joy." p.6.
256 Katy Emck, "Turkish Delight." p.44.
257 Sibel Erol, " Reading Orhan Pamuk's Snow as Parody:Difference as Sameness." pp.421,421.
258 Orhan Pamuk. Other Colors:Essays and a Story, pp.253-254.
259 Ibid., p.253.
260 Robert Irwin, "Tales of the City." in Times Literary Supplement, July 7(1995), p.2
261 Robert Houston, "The Lady Vanishes." in New York Times Book Review, January 15(1995), pp.20-22.
262 Ayse Ozgun, "Orhan Pamuk vs. Michael Moore." in Turkish Daily News, February 25(2005). http://www.tu kishdailynews.com.tr/article.php?enewsid=6698.
263 Martin Stokes, "Beloved Istanbul:Realism and the Transnational Imaginary in Turkish Popular Culture." in Walter Armbrust ed., Mass Mediations:New Approaches to Popular Culture in the Middle East and Beyond, Be rkeley and Los Angeles:University of California Press,2000, pp.235-236.
264 Walter G. Andrew, "The Black Book and Black Boxes:Orban Pamuk's Kara Kitap."p.107.
265 Orhan Pamuk, Other Colors:Essays and a Story, p.253.
266 Ian Almond, "Islam, Melancholy, and Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book" p.75.
267 Robert Irwin, "Tales of the City." p.21.
268 Patricia Merivale and Susan Elizabeth Sweeney, "The Game Afoot:On the Trail of Metaphysical Detective Story." in Merivale, Patricia and Susan Elizabeth Sweeney ed., Detecting Texts:The Metaphysical Detective Sto ry From Poe to Postmodernism, Philadelphia:University of Pennsylvania Press,1999, p.8.
269 E. J. W. Gibb, A History of Ottoman Poetry(iv), London:Luzac,1905, p.180.
270 Orhan Pamuk, The Black Book p.367.
271 穆宏燕：在卡夫山上追寻自我——奥尔罕·帕慕克的《黑书》解读,第44页。
272 See Jale Parla, "Why The Black Book is Black." in World and I6 (1991), p.449.
273 Sooyong Kim, "Master and Disciple:Sufi Mysticism as an Interpretive Framework for Orhan Pamuk's Kara Kitap" in Tukish Studies Association Bulletin 2 (1993),p.30.
274 诗人在伊斯兰世界具有崇高神圣的地位,被视为一种先知。详见第三章第六节《反讽叙事、德里达与<雪>之论争》第三部分。
275 Victoria Rowe Holbrook, "Originality and Ottoman Poetics:in the Wilderness of the New." in Journal of the American Oriental Society 3 (1992), pp.445,445.
276 20世纪60、70年代时,专栏作家在土耳其地位较高,被称作“万事之师”,扮演着现代社会中的一个‘先知角色。See Orhan Pamuk, Other Colors:Essays and a Story, p.293.
277 在《美与爱》与《黑书》这两部作品中,“城市之心”(Heart of City)与“心之大地”(Land of Heart)对应,均在故事中扮演重要的角色。“城市之心”公寓在卡利普的探寻之旅中扮演着一个枢纽角色。在未踏入“城市之心”前,他对妻子、耶拉的住处、想法一无所知；住入“城市之心”后,他逐渐了解了耶拉的秘密、苏非神秘主义等,最终,他完成了自己的探寻之旅。吉博在《奥斯曼诗歌史》中将“心之大地”译作“心之城市”(City of Heart),这一译法或许更有力说明了这两部作品之间的密切关系。
278 Orhan Pamuk, The Black Book,p.455.
279 Orhan Pamuk, Other Colors:Essays and a Story, p.367.
280 Charlotte Innes, "The Black Book." in The Nation, March 27(1995), pp.425-429; Richard Eder, "The Ques t." in Los Angeles Times Book Review, November 25(1994), p.3.
281 Bilge Mutluay Cetinta?, "Defying Expections:Paul Auster's New York Trilogy and Orhan Pamuk's The Black Book and My Name Is Red." pp.51-61.
282 Patricia Merivale and Susan Elizabeth Sweeney, "The Game Afoot:On the Trail of Metaphysical Detective Story." in Merivale, Patricia and Susan Elizabeth Sweeney ed., Detecting Texts:The Metaphysical Detective Sto ry From Poe to Postmodernism, p.8.
283 Charlotte Innes, "The Black Book." p.427.
287 Orhan Pamuk, The Black Book, p.390.
288 Orhan Pamuk, The Black Book, p.390.
289 Orhan Pamuk, Istanbul:Memories and the City, p.271.
290 帕特里夏·奥坦伯德·约翰逊：《海德格尔》,张祥龙等译,北京：中华书局,2002年,第26页。
291 Orhan Pamuk and Michael Skafidas, "Turkey's Divide Character." p.21
292 Orhan Pamuk, Other Colors:Essays and a Story, pp.362-363.
293 urnan ramuk, The Naive and The Sentimental Novelist, p.8.
294 Orhan Pamuk, Other Colors:Essays and a Story, pp.208,114,134,123,153.
295 帕慕克、陈众议等：《帕慕克在十字路口》,第6页。
296 Orhan Pamuk, Other Colors:Essays and a Story, p.367.
297 帕慕克、陈众议等：《帕慕克在十字路口》,第240页。
298 Richard Eder. "Heresies of the Paintbrush." in The New York Times Book Review. Sentember 2(2001).p.7.
299 Orhan Pamuk, The Naive and The Sentimental Novelist, pp.81-84.
300 Ibid., pp.165,170.
301 Orhan Pamuk, Other Colors:Essays and a Story, p.377.
302 Yasemin Conear, "Gercek Turn Dunvava Sovlenir." in Millivet. April 27(1998)p.14. Ouoted in Semra Sara co glu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowles and Orhan Pa muk." p.2.
303 Orhan Pamuk and Jeffrey Brown, "Interview with Jeffery Brown." on News Hour with Jim Lehrer, PBS, Oct ober 12(2006). http://www.pbs.org/newshour/bb/entertainment/july-dec06/pamuk_10-12.html.
304 Orhan Pamuk and Wachtel Eleanor, "An Interview with Orhan Pamuk." p.265. 305 Orhan Pamuk and Michael Skafidas, "Turkey's Divide Character." p.21
306 帕慕克、陈众议等：《帕慕克在十字路口》,第240、242页。
307 同上,第14-16页。
308 Orhan Pamuk, Other Colors:Essays and a Story, p.367.
309 帕慕克、陈众议等：《帕慕克在十字路口》,第13页。
310 Orhan Pamuk, Other Colors:Essays and a Story, p.371.
311 Ibid., p.362.
312 Orhan Pamuk, Other Colors:Essavs and a Story, pp.362,362.
313 详见第四章第三节《<白色城堡>与<双重人格>的比较研究》。
314 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.71.
315 John Updike, "Vagueness on Wheels, Dust on a Skirt." in New Yorker, September 23(1991), pp.102-105.
316 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.100.
317 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk' The Black Book" p.77.
318 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma Is Sovereign'." p.37.
319 Phoebe-Lou Adams, "Review of The Black Book by Orhan Pamuk." in Atlantic Monthly 2 (1995), p.113.
320 Walter G. Andrew,"The Black Book and Black Boxes:Orhan Pamuk's Kara Kitap."in Edebiyat 11(2000), p.105.
321 Orhan Pamuk,Other Colors:Essays and a Story,p.360.
322 Talat S.Halman,The Turkish Muse:Views and Reviews,1960s-1990s.Syracuse:Syracuse University Press, 2006,pp.229,229.
323 Michael Mcgaha,Autobiographies of Orhan Pamuk:The Writers in His Novels,p.153.
324 John Updike, "Anatolian Arabesques." p.99.
325 Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fowle s and Orhan Pamuk." p.2.
326 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.81.
327 Dick Davis, "Murder and Joy." p.6.
328 Susan Miron, "A Turkish Novelist Makes a Breakthrough." http://www.orhanpamuk.net/articles/susanmiron. htm.
329 Tom Le Clair, "Nabokov in Anatolia" in The Nation, April 7(1997), p.38.
330 Char Simons, "The Deadly Art of Portraits." in Christian Science Monitor, October 11(2001), p.20.
331 Orhan Pamuk, Other Colors:Essays and a Story, p.357.
332 Guneli Gun, "The Turks are Coming:Deciphering Orhan Pamuk's Black Book." p.59.
333 引自钱普行主编：《后现代主义》,北京：社会科学文献出版社,1993年,第169页。
334 Orhan Pamuk, Other Colors:Essays and a Story, p.129.
335 Mary Warner Marien, "Catch a Turkish Star." in Christian Science Monitor, April 12(1991),p.13.
336 Azade Seyhan, "See Through the Snow." http://weekly.ahram.org.eg/2006/817/cu5.htm.
337 Orhan Pamuk, Other Colors:Essays and a Story, p.264.
338 Ibid., p.365.
339 Bernt Brendemoen, "Orhan Pamuk and His Black Book." http://www.orhanpamuk.com/article/bemtbrendem oen.htm.
340 Orhan Pamuk, Other Colors:Essays and a Story, p.269.
341 Esra Akan, "The Melancholies of Istanbul." p.41.
342 Orhan Pamuk, Other Colors:Essays and a Story, Ⅺ,Ⅸ.
343 Ibid,Ⅹ.
344 Frederic Tuten, "Ruined by Reading." in Los Angeles Time Book Review,1997-6-8, p.12.
345 详见第三章第三节《<新人生>与“神秘道”三段论》。
346 Orhan Pamuk, Other Colors:Essays and a Story, p.267.
347 Dick Davis, "Murder and Joy." p.6.
348 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
349 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
350 王钦峰：谁是后现代主义小说之父?——论博尔赫斯对后现代主义小说的首创之功,载《国外文学》2011年第1期,第44-49页。
351 Semra Saracoglu, "Self-reflexivity in Postmodernist Texts:A Comparative Study of the Works of John Fow les and Orhan Pamuk." p.2.
352 帕慕克、陈众议等：《帕慕克在十字路口》,第13页。
353 See Paul Berman, "Young Turk," p.38.
354 巴恩斯通编：《博尔赫斯八十忆旧》,西川译,北京：作家出版社,2004年,第28页。
355 博尔赫斯：《博尔赫斯全集·小说卷》,林一安主编,杭州：浙江文艺出版社,1999年,第501页。后文出自同一著作的引文,均随文在括号内标出页码，不再另注。
356 Orhan Pamuk, "Spiegel Interview with Orhan Pamuk." http://www.spiegel.de/international/europe/0,1518,5 84586.00.html.
357 Ackbar Abbas, "Walter Benjamin's Collector:The Fate of Modern Experience." in New Literary History 1 (1998), p.229.
358 柏拉图：《柏拉图对话集》,王太庆译,北京：商务印书馆,2004年,第172页。
359 详见申洁玲：论博尔赫斯与神秘主义宗教,载《广东社会科学》2006年第6期,第162页。
360 博尔赫斯：《博尔赫斯文集·小说卷》,陈众议主编,海口：海南国际新闻出版中心,1996年,第539、539、539、540、540、540、540、540、540、541、542页。
361 Orhan Pamuk, The Naive and The Sentimental Novelist, Cambridge, Massachusetts and London:Harvard Uni versity Press,2010, p.170.
362 Orhan Pamuk, The Naive and The Sentimental Novelist, pp.38-40.
364 Mary Warner Marien, "Catch a Turkish Story Star." in Christian Science Monitor 96(1991), p.13.
365 Erdag Goknar, "Orhan Pamuk and the 'Ottoman' Theme." in World Literature Today 6(2006), pp.34,34, 34.
366 Lynne Sharon Schwartz, "In the Beginning was the Book." p.23.
367 Keith Hitchins, "Review of The White Castle by Orhan Pamuk." in World Literature Today 4(1991), p.764.
368 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." p.36.
369 Aylin Bayrakceken and Don Randall, "Meetings of East and West:Orhan Pamuk's Istanbulite Perspective." p. 191.
370 Erdag Goknar, "Orhan Pamuk and the'Ottoman'Theme." p.34.
371 Orhan Pamuk and Nathan Gardels, "A Europe of Two Souls." p.40.
372 Diana Fuss, Identification Papers, New York and London:Routledge,1995, p.145.
373 萨莉·J.肖尔茨：《波伏娃》,龚晓京译,北京：中华书局,2002年,第27页。
374 Paul Berman, "Young Turk." p.38.
375 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
376 转引自萨莉·J.肖尔茨：《波伏娃》,第27页。
377 Paul Berman, "Young Turk." pp.37-38.
378 Orhan Pamuk, My Name Is Red, p.354.
379 See Mary Warner Marien, "Catch a Turkish Story Star." p.13.
381 Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nove mber 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
382 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.109.
383 《伊斯兰百科全书》出版于1942年,是欧美世界“东方学”研究的阶段性成果之一。它的编撰者分别来自英、法、匈牙利等国,都是一些反伊斯兰、仇恨穆斯林的东方学家,如阿伯瑞尔、拉德威克斯、金兹赫、麦斯森纳、迈格尔斯等。此书的内容也与一般的科普知识不同,具有鲜明的传教(基督教)特征,甚至不乏对伊斯兰的过激谩骂与污蔑。
384 奥尔罕·帕慕克：《黑书》,李佳姗译,上海：上海人民出版社，2007年,扉页。
385 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
386 Ibid., p.367.
387 《黑书》的出版在土耳其引起了较大反响,不同政治、宗教派别的人共同攻击帕慕克的这部小说,“民族主义者认为此书侮辱了土耳其共和国,世俗主义者认为此书反动地运用了苏非主题,而虔诚的穆斯林则被这本书吓得战战兢兢——对鲁米的戏谑调侃,鲁米与夏姆士之间的同性恋关系,鲁米亲自杀死了夏姆士。”这一事件对帕慕克在土耳其的生存境遇有很大影响。Orhan Pamuk, Other Colors:Essays and a Story, p.114.
388 Bernt Brendemoen, "Orhan Pamuk and His Black Book." http://www.orhanpamuk.com/article/bemtbrendem oen.htm.
389 详见唐·库比特：《后现代神秘主义》,王志成、郑斌译,北京：中国人民大学出版,2005年。
390 同上,第60页。
391 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.110.
394 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.77.
395 Phoebe-Lou Adams, "Review of The Black Book by Orhan Pamuk." in Atlantic Monthly 2 (1995).p.113.
396 Orhan Pamuk and Judy Stone. "Orhan Pamuk:'Eniema Is Sovereign'." p.37.
397 Robert Irwin, "Tales of the City." p.21.
398 唐·库比特：《后现代神秘主义》,第66页。
399 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.1.
340 奥尔罕·帕慕克：《黑书》,序言。
401 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.75.
402 Orhan Pamuk, Istanbul:Memories and the City, p.271.
403 详见Paul Berman, "Young Turk." p.38.
404 丹纳赫等：《理解福柯》,第142页。
405 详见帕特里夏·奥坦伯德·约翰逊： 《海德格尔》,第25-27页。
406 Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meet the Turkish Novelist Orhan Pamuk and Discusses Astrology, War, Identity and East-West Relation." http://www.orhanpamuk.net/article/robertcarve r.htm.
407 Orhan Pamuk, Other Colors:Essays and a Story, pp.369-370.
408 如梦是《黑书》中符号化的一个人物,在文中基本上没有露面,唯一的一次露面是在文中的开头——如梦沉睡在自己的梦里,她的读者不了解她,她的丈夫也不了解,甚至连帕慕克也不了解她。一些学者甚至指出,如梦根本就不存在：Riiya在土耳其语中意为“梦”,所以,第一章的题目《卡利普第一次见到如梦》也可以解释成“卡利普第一次做了这样一个梦”,如梦根本不存在于现实中,只是卡利普的幻觉与想象。笔者以为,如梦的幻化是帕慕克有意为之,她是卡利普原我的一个象征符号,是作者为了表征卡利普“双重身份”而使用的一种艺术手法。详见Robert Irwin, "Tales of the City." p.21:Jale Parla, "Why The Black Boo* Is Black." in World and I6 (1991),p.449; Oteki Renkler, Segme Yazilar ve Bir Hikdye, Istanbul: Iletisim,1999, p.141.
409 Orhan Pamuk, Snow, p.287.
410 Orhan Pamuk, Istanbul:Memories and the City, pp.3,3.
411 Orhan Pamuk and Alexander star, "Orhan Pamuk:'I Was Not A Political Person'." http://www.nytimes.com /2004/08/15/books/interview-orhan-pamuk-i-was-not-a-political-person.html.
412 David Ian Paddy, "Review of The New Life by Orhan Pamuk." in Review of Contemporary Fiction 3(1998), pp.250,250.
413 Katy Emck, "Turkish Delight." pp.44,44.
414 D·M. Thomas, "The New Life." http://www.nytimes.com/1997/04/06/books/pamuk-life.html?ex=12207600 00&en=340ce0b6fb60cabd&ei=5070&pagewanted=1.
415 John Spurling, "Turkey Sandwiched." http://www.orhanpamuk.net/popuppage.aspx?id=61&Ing=eng.
416 Bradford Morrow, "Falling Between the Pages." http://www.orhanpamuk.net/popuppage.aspx?id=61&Ing=e
ng.
417 Dan Cryer, "A Quest Across Turkey for Love, Life and Death." http://www.orhanpamuk.net/popuppage.asp x?id=61&Ing=eng.
418 Ronald Wright, "From a Breeze-Block Istanbul." in Time Literary Supplement, October 10(1997), p.23.
419 Orhan Pamuk and Judy Stone, "Turkish Writer Captures the Intensity of Desire." http://www.orhanpamuk.n et/popuppage. Aspx?id=60&Ing=eng.
420 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
421 弗朗西斯·鲁宾逊：《剑桥插图伊斯兰世界史》,安维华等译,北京：世界知识出版社,2005年,第243页。
422 中国社会科学院世界宗教研究所伊斯兰研究室：《伊斯兰教文化面面观》,山东：齐鲁书社,1991年,第175页。
423 参见Richard Eder, "The Quest." in Los Angeles Time Book Review, November 25(1994), p.3; Jay Parini, "Pirates, Pashas, and the Imperial Astrologer." in New York Times Book Review, May 19(1991), p.3;杨中举:奥尔罕·帕慕克——追求文学创作、文化发展的混杂性,载《当代外国文学》2007年第1期,第88-94页。
424 Erdag Goknar, "Orhan Pamuk and the 'Ottoman' Theme." p.34.
425 井筒俊彦：《伊斯兰思想历程——凯拉姆·神秘主义·哲学》,秦惠彬译,北京：今日中国出版社,1992年,第96页。
426 王家瑛：《伊斯兰文化哲学史》,北京：宗教文化出版社,2007年,第526页。
427 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." pp.19-21.
428 伊斯兰神秘主义哲学中的“爱’'(Mahabbah)与世俗意义上的“爱”(love)是不同的Mahabbah专指人类爱安拉,并且“爱”本身指安拉赐予的爱。之后被用于文学创作中时,Mahabbah具有了双重含义,表义为世俗之爱,隐义为神人之爱。
429 井筒俊彦：《伊斯兰思想历程——凯拉姆·神秘主义·哲学》,第126页。
430 Ronald Wright, "From a Breeze-Block Istanbul." p.23.
431 Frederic Tuten, "Ruined by Reading." p.12.
432 陆建德：意识形态的颜色——评《我的名字叫红》,载《书城》2007年第6期,第66页。
433 陈晓明：向死而生的写作——《我的名字叫红》与当代小说的绝境拓路,载《东方文学研究通讯》2008年第2期,第50页。
434 詹春花：论《我的名字叫红》叙事中的文化主题,第118页。
435 详见穆宏燕.在东西方的夹缝中追寻身份暨《我的名字叫红》解读,载《东方文学研究通讯》2008年第2期,第28页。
436 See Lynne Sharon Schwartz, "In the Beginning Was the Book." p.23; Emma Dick, "The Mystery of Istanbu l." in Book Review, January 15(2002), p.3.
437 Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meet the Turkish Novelist Orhan Pamuk and Discusses Astrology, War, Identity and East-West Relation." http://www.orhanpamuk.net/article/robertcarve r.htm.
438 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
439 Orhan Pamuk and Michael Skafidas, "Turkey's Divided Character." p.21.
440 Orhan Pamuk, Other Colors:Essays and a Story, pp.264,264. 441 Orhan Pamuk, Istanbul:Memories and the City, pp.265-325.
442 Orhan Pamuk, Other Colors:Essays and a Story, p.269.
443 Ibid., p.267.
444 Orhan Pamuk, Other Colors:Essays and a Story, p.369
445 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nov ember 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
446 Dick Davis, "Murder and Joy." p.6.
447 Orhan Pamuk, Snow, p.287.
448 Orhan Pamuk and Elean Wachtel, "An Interview with Orhan Pamuk." in Descant 2(2003), p.267
449 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
450 Azade Seyhan, "See Through the Snow." http://weekly.ahram.org.eg/2006/817/cu5.htm.
451 Orhan Pamuk, Other Colors:Essays and a Story, p.263.
452 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." p.36.
453 伯纳德·刘易斯：《现代土耳其的兴起》,第439-440页。
454 伯纳德·刘易斯：《现代土耳其的兴起》,第278页。
455 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
456 Orhan Pamuk and Alexander star, "Orhan Pamuk:'I Was Not A Political Person'." http://www.nytimes.com /2004/08/15/books/interview-orhan-pamuk-i-was-not-a-political-person.html.
457 参见陆建德：意识形态的颜色——评《我的名字叫红》,载《书城》2007年第6期,第5-69页。
458 Orhan Pamuk, Other Colors:Essays and a Story, pp.269-270.
459 瓦尔特·本雅明(Walter Benjamin,1892-1940),德国哲学家、思想家与马克思主义批评家。帕慕克一直倾心仰慕本雅明及其作品,在《别样的色彩》中,帕慕克称要像本雅明一样,创作一部“由漫无边际的碎片拼贴而成的作品"。 Orhan Pamuk, Other Colors:Essays and a Story, XI.
460 Esra Akan, "The Melancholies of Istanbul." p.41.
461 Orhan Pamuk, Other Colors:Essays and a Story, p.377.
462 Ibid., p.377.
463 Orhan Pamuk, Other Colors:Essays and a Story, p.377.
464 Fredric Jameson, Postmodernism, Or the Cultural Logic of Late Capitalism, Durham:Duke University Press, 1991, p.15.
465 大卫·哈维,《希望的空间》,胡大平译,南京：南京大学出版社,2006年,第171页。
466 戴维·哈维：《后现代的状况——对文化变迁之缘起的探究》,第102页。
467 吴宁：《日常生活批判——列斐伏尔哲学思想研究》,北京：人民出版社，2007年，第182页。
468 Henri Lefebvre, Everyday Life in Modern World, London:The Penguin Press,1971, pp.59-60.
469 吴宁：《日常生活批判——列斐伏尔哲学思想研究》,第351-352页。
470 高宣扬：《福柯的生存美学》,北京：中国人民大学出版社,2005年,第317页。
471 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." p.36.
472 Esra Akan, "The Melancholies of Istanbul." p.43.
473 Muharrem Sev, "Review of Istanbul:Memories and the City." http://www.amazon.com/gp/cdp/member-revie ws/A2TF3JT4VVAMO7/ref=cm_pdp_rev_all?ie=UTF8&sort_by=MostRecentReview.
4 详见曹义恒、曹荣湘主编：《后帝国主义》,北京：中央编译出版社,2007年。
475 David N. Coury, "'Torn Country":Turkey and the West in Orhan Pamuk's Snow" pp.340-349.
476 Mary Jo Kietzman, "Speaking 'to All Hunmanity':Renaissance Drama in Orhan Pamuk's Snow." in Texas St udies in Literature and Language 3(2010), pp.324-353; Marshall Berman, "Orhan Pamuk and Modernist Liber alism." pp.113-118.
477 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writer in His Novels, pp.156,156.
478 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
479 Orhan Pamuk, Snow, p.104.
480 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
481 David J. Gramling, "Pamuk's Dis-orient:Reassembling Kafka's Castle in Snow." in Transit 1(2007), p.1.
482 Mary Jo Kietzman, "Speaking 'to All Hunmanity':Renaissance Drama in Orhan Pamuk's Snow." p.325.
483 Jacques Derrida, Speech and Phenomena and Other Essays on Husserl's Theory of Signs, Trans. David B, Allison, Evanston:Northwestern University Press,1973, pp.142-143.
484 Orhan Pamuk, Other Colors:Essays and a Story, p.236.
485 Walter G. Andrew ed., Ottoman Lyric Poetry:An Anthology, Austin:University of Texas Press,1997, p.4.
486 See Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.161
487 鲍德里亚：《物体系》,林志明译,上海：上海人民出版社,2001年,第222-223页。
488 Orhan Pamuk and Judy Stone, "Orhan Pamuk:'Enigma is Sovereign'." p.36.
489 Karl Marx, Capital:A Critique of Political Economy(1), New York:Vintage Books,1977, p.167.
490 Walter Benjamin, "Unpacking My Library:A Talk about Book Collecting." in Hannah Arendt ed., Illuminat ion, Trans. Harry Zohn, London:Fontana,1973, p.60.
491 Ibid, pp.60-61.
492 Ackbar Abbas, "Walter Benjamin's Collector:The Fate of Modem Experience." p.229.
493 Orhan Pamuk, "Spiegel Interview with Orhan Pamuk." http://www.spiegel.de/intemational/europe/0,1518,5 84586,00.html.
494 Orhan Pamuk, Other Colors:Essays and a Story, p.268.
495 J. M. Coetzee, Doubling the Point:Essays and Interviews, Cambridge, Massachusetts, London:Harvard Uni versity Press,1992, p.391.
496 小说《一个地主的早晨》、《复活》、《哥萨克》与《安娜·卡列尼娜》的男主角。
497 《查泰莱夫人的情人》与《误入歧途的女人》的男女主人公。
498 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, xi. 499 Orhan Pamuk, Other Colors:Essays and a Story, p.268.
500 在《<白色城堡>后记》(The White Castle Afterword)一文中,帕慕克写道,他对《寂静的房子》中的历史学家法鲁克有一种精神上的“亲近”感。Orhan Pamuk, Other Colors:Essays and a Story, p.250.
501 帕慕克：“我坐在角落里,无法结束《黑书》……一种奇怪扰人的恐惧席卷了我的孤独和写作时的快乐,这种慢慢袭来的恐惧与小说主人公卡利普所承受的一模一样。他穿越整个伊斯坦布尔,寻找妻子,但却毫无所得……这种失落带给他巨大的痛苦……像卡利普一样,我也感到一种痛苦的孤独。”Orhan Pamuk, O ther Colors:Essays and a Story, p.253.
502 帕慕克：“黑的身上有一部分的我,与其他人物角色相比,黑更倾向于从远处观察事物的变化。’'Orhan Pamuk, Other Colors:Essays and a Story, p.268.
503 在《纯真与敏感的小说家》中,帕慕克说,《纯真博物馆》中的凯末尔是他的一个幽灵：“对我来说,要证明自己不是凯末尔,永远是一件不可能的事情。”Orhan Pamuk, The Naive and The Sentimental Novelist, p.34.
504 弗洛伊德：《作家与白日梦》,收入车文博主编《弗洛伊德文集》(第七卷),长春：长春出版社,2004年,第58-66页。
505 弗朗西斯·戈雅(Francisco Jose de Goya y Lucients,1746-1828),19世纪西班牙浪漫派画家之一。
506 Orhan Pamuk, Other Colors:Essavs and a Story, p.264.
507 Ibid., pp.269,266.
508 Orhan Pamuk, Other Colors:Essays and a Story, pp.292,292,292,293,293,293.
509 莫拉塔·贝利戈在《一个作家的自画像：奥尔罕·帕慕克》中写道：“帕慕克为土耳其小说带来了一种我称之为建筑学的法则。他的小说仿佛一座精心构造的宫殿,里面的一切皆相互依赖、支撑与反射,彼此
评论与修正,构成了一种完美无瑕的结构,没有凸或凹,没有任何一块石头的放置是杂乱或毫无目的的……" Murat Belge, "Portrait of a Writer:Orhan Pamuk." in Privateview 4(1996), p.65.
510 See Walter G Andrew ed., Ottoman Lyric Poetry:An Anthology, p.4.
511 See Michael Mcgaha,Autobiographies of Orhan Pamuk:The Writers in His Novels,p.161
512 Ibid,pp.161,161.
513 Orhan Pamuk,Istanbul:Memories and the City,p.325.
514 Ibid.,pp.337,338.
515 “黑玫瑰”的外貌与形象见《伊斯坦布尔——记忆与城市》第35章<初恋>。
516 帕慕克：《杰夫代特先生和他的儿子们》,第607页。
517 See Michael Mcgaha, Autobiographies of Orhan Pamuk: The Writers in His Novels, p.26
520 See Alin Ozinian, "Who Is Orhan Pamuk?" New Neighbors. http://www.newneighbors.am/news.php?cont=3 &rg=2&date=30.12.2005&month=13&year=2005.
521 See Fernanda Eberstadt, "The Best Seller of Bvzantium." in New York Times Magazine. Mav 4(1997).pp. 34-35.
522 Orhan Pamuk, Istanbul:Memories and the City, pp.15,15.
523 See Orhan Pamuk, "My Father's Suitcase." http://nobelprize.org/nobel_prize/literature/laureates/2006/pamuk-lecture en.html.
524 这是帕慕克写作的一种后现代文学技法,将外祖父的名字挪用到了祖父这一形象上。目前,学界认为《杰夫代特先生和他的儿子们》是一部托马斯·曼式的现实主义家族小说,可见,情况要比想象的复杂一些。
525 Michael Mcgaha, Autobiographies of Orhan Pamuk; The Writers in His Novels, p.27
526 Ibid., p.27.
527 Orhan Pamuk, "Famous People." Trans. Erdag Goknar, Granta 4(1999), pp.69-92.
528 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, xi.
529 Orhan Pamuk, Other Colors:Essays and a Story, p.268.
530 John Updike, "Anatolian Arabesques." pp.98-99.
531 Orhan Pamuk, Snow, p.206
532 Orhan Pamuk, Other Colors:Essays and a Story, p.369.
533 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nov ember 20(2002). http://www.pbs.org/newshour/conversation/iulv-dec02/pamuk11-20.html.
534 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
535 Emre Gokalp, "Pride and Anger:Orhan Pamuk's Nobel Prize and Discourses of Nationalism." p.178.
536 Orhan Pamuk, Other Colors:Essavs and a Story, p.263.
537 Orhan Pamuk, The Naive and The Sentimental Novelist, p.38.
538 Dick Davis, "Murder and Joy." p.6.
539 See Mark Feeney, "Orhan Pamuk Sees the World." http://www.boston.com/news/globe/living/articles/2004/1 0/11/orhan_pamuk_sees_the_world?mode=PF.
540 Orhan Pamuk and Jorg Lau, "Interview with Jorg Lau." http://www.signandsight.com/Features/115.html.
541 Orhan Pamuk, Istanbul:Memories and the City, p.271.
542 在谈到《白色城堡》时,帕慕克说：“我将小说安排在17世免中叶,不仅因为那是一个绚丽多姿的年代,可以增强历史感,还因为这一时期我的人物可以使用奈玛和艾弗里亚·塞勒比的手稿。另外,小说中还有一些小片段,均摘自于前后几个世纪中的一些游记……在我的小说中,还有很多细节内容并不是发生在它所描述的年代,而是取材于其他时代某些人的真实经历……”(Orhan Pamuk, Other Colors:Essays and a Story, pp.250-251.)而在《我的名字叫红》中,意大利透视画影响奥斯曼细密画的时间是15世纪,而非帕慕克所写的16世纪末,影响的方式也不是奥斯曼帝国大使出使威尼斯,被西方透视画所吸引,之后将它带回了帝国,而是当时苏丹从佛罗伦萨与威尼斯邀请、雇佣了一批肖像画画家,如金迪·贝利尼(Gentile Bellini,1429-1507)、卡斯坦·德·弗拉拉(Constanzo de Ferrara,1450-1524)等。See Feride Cicekoglu, "A Pedagogy of Two Ways of Seeing:A Confrontation of 'Word and Image' in My Name is Red." pp.1-20.
543 See Orhan Pamuk, The Naive and The Sentimental Novelist, p.186本节后文中出自同一著作的引文,均随文在括号内标出页码,不再另注。
544 Orhan Pamuk, The Naive and The Sentimental Novelist, pp.19-20.
545 Ibid., p.21.
546 Orhan Pamuk, The Naive and The Sentimental Novelist, p.27.
547 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.14.
548 Orhan Pamuk, The Naive and The Sentimental Novelist, p.14.
549 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.46.
550 Ibid., p.39.
551 在帕慕克的《天真与敏感的小说家》中,“景象”一词指的是主人公或其他角色视野中的一切人、物、情节与景色,即图像化了的小说与故事,而非单指自然或环境描写。
552 Orhan Pamuk, Other Colors:Essays and a Story, p.236.
553 艾略特的这一概念实际上源自19世纪美国浪漫派画家华盛顿·阿尔斯通(Washington Allston,1779-1843). See Orhan Pamuk, The Naive and The Sentimental Novelist, pp.103-104.
554 “诗”在中西文化传统中有不同根源与含义,这里的“诗”主要指史诗,也泛指文学艺术,即亚里士多德《诗学》中“诗”的含义。
555 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, pp.95,95.
556 Ibid., p.113.
557 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, pp.159,159.
558 Ibid., p.158.
559 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.165.
560 曼佐尼是(Alessandro Manzoni)是19世纪意大利浪漫主义诗人、作家,《未婚夫妇》(The Betrothed)是他的代表作,创作于1821至1823年。
561 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.171.
562 帕慕克说,并非所有通俗小说作家都如此,科幻小说家勒姆(Stanislaw Lem)与迪克(Philip K. Dick)、侦探小说家海格斯密斯(Patricia Highsmith)\|司谍类小说家卡勒(John Le Carre)等就是特例。See Orhan Pamuk, The Naive and The Sentimental Novelist, p.160.
563 Quoted in Orhan Pamuk, The Naive and The Sentimental Novelist, p.177.
564 伯纳德·刘易斯：《现代土耳其的兴起》,第8页。
565 Michael Mcgaha, Autobiographies of Orhan Pamuk:The Writers in His Novels, p.91.
566 Samuel P. Huntington, The Clash of Civilization and the Remaking of World Order, p.139.
567 引自王志耕：《宗教文化语境下的陀思妥耶夫斯基诗学》,北京：北京师范大学出版社,2003年,第13页。
568 Samuel P. Huntington, The Clash of Civilization and the Remaking of World Order, pp.143-144.
569 引自王志耕：《宗教文化语境下的陀思妥耶夫斯基诗学》,第82页。
570 Orhan Pamuk, The White Castle, p.142.
571 陀思妥耶夫斯基：《双重人格、地下室手记》,臧仲伦译,南京：译林出版社,2004年,第35页。后文出自同一著作的引文,均随文在括号内标出页码,不再另注。
572 引自陀思妥耶夫斯基：《双重人格、地下室手记》,第1、1页。
573 Orhan Pamuk, Other Colors:Essays and a Story, p.261.
574 Orhan Pamuk and Wachtel Eleanor, "An Interview with Orhan Pamuk." p.265.
575 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
576 Orhan Pamuk and Elizabeth Farnsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, Nov ember 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html.
577 Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robert Carver Meets the Turkish Nov elist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relations." http://www.orhanpamuk.net/ popup.aSpx?id=58&Ing=eng.
578 引自王志耕：《宗教文化语境下的陀思妥耶夫斯基诗学》,第51页。
579 引自王志耕：《宗教文化语境下的陀思妥耶夫斯基诗学》,第55页。
580 Orhan Pamuk, Istanbul:Memories and the City, p.91.
581 Ibid.,p.91.
582 Ibid.,p.105.
583 Esra Akan, "The Melancholies of Istanbul." p.42.
584 王国维：《人间词话》,北京：中国书局,2009年,第2页。
585 Orhan Pamuk, Istanbul:Memories and the City, p.12.
586 帕慕克：“7到12岁时,我一直都渴望成一名艺术家。大部分时间,我都待在家画画……24之前,我一直过着细密画画家的生活。”Orhan Pamuk, Other Colors:Essays and a Story, p.269.
587 Orhan Pamuk,Other Colors:Essays and a S tory,p.367.
588 John Updike,"Anatolian Arabesques."p.98.
589 Ian Almond, "Islam, Melancholy, And Sad, Concrete Minarets:The Futility of Narratives in Orhan Pamuk's The Black Book." p.75.
590 一些研究者发现了这一问题,进行了相关评述。See John Updike, "Murder in Miniature:A Sixteenth-Cent ury Detective Story Explores the Soul of Turkey." in New Yorker, September 3(2001), p.92; Tom Le Clair, "Na bokov in Anatolia." p.38; David J. Gramling, "Pamuk's Dis-orient:Reassembling Kafka's Castle in Snow." pp. 1-20; Sarah Coleman, "A Detailed Tapestry of 16th Century Turkey." in San Francisco Chronicle, November 9 (2001). http://www.sfgate.com/cgi-bin/article.cgi?f=/chronicle/archive/2001/12/09/RV151443.
591 See Katy Emck, "Turkish Delight." pp.44-45; Allen Hibbard, "Review of My Name Is Red." pp.203-204; Ly nne Sharon Schwartz, "In the Beginning Was the Book." pp.23-25; Dick Davis, "Murder and Joy." p.6.
592 See Murat IRI and H. Esra Arcan, "The Orhan Pamuk Case:How Mainstream Turkish Media Framed His Fre edom of Speech." pp.17-24; Hasan Cemal, "Orhan Pamuk uc." in Milliyet, March 31(2005). http://www.milliy et.com/2005/03/31/yazar/cemal; Ayse Ozgun, "Orhan Pamuk vs. Michael Moore." in Turkish Daily News, Febru ary 25(2005). http://www.turkishdailynews.com.tr/article.php?enewsid=6698;高永：诺奖得主——“媚俗”作家帕慕克,第10-12页。
593 Orhan Pamuk, Other Colors:Essays and a Story, p.370.
594 Orhan Pamuk, Snow, pp.3,3,3.
595 Orhan Pamuk, The White Castle, p.146.
596 Gazel,源自波斯,奥斯曼帝国的抒情诗体之一。在主题思想方面,大多为女人之美、爱情之痛,‘蕴含着深刻的宗教或神秘主义意义。当然,也有些例外,有的写生命之空虚与季节变换,有的则是宫廷娱乐之作,充满肉感、淫秽的字词。在形式上,它短小、精致,一般为5到8个偶句(beyt),有几种常用的韵律格。此外,它是一种颂唱文体,常常是即兴创作、配乐吟诵,这种传统一直延续到今天的土耳其、伊朗等地的流行乐中。See E. J. W. Gibb, A History of Ottoman Poetry(ⅰ、ⅱ、ⅲ、ⅳ、ⅴ、ⅵ), London:Luzac, 1900、1902、1904、1905、1907、1909; E.J.W. Gibb, Ottoman Literature:The Poets and Poetry of Turkey, Washington & London:M. Walter Dunne publisher,1901; Epiphanius Wilson, Turkish Literature, London:The Colonial Press,1901.
597 详见井筒俊彦：《伊斯兰思想历程——凯拉姆·神秘主义·哲学》。
598 井筒俊彦：《伊斯兰思想历程——凯拉姆·神秘主义·哲学》,第108-120页。
599 E. J.W. Gibb, Ottoman Literature:The Poets and Poetry of Turkey, p.78.
600 Ibid, p.131.
601 Ibid., x ii.
602 Irvin C. Schick and Ertugrul Ahmet Tonak eds., Turkey In Transition, p.218.
603 Orhan Pamuk, Istanbul:Memories and the City, pp.207-223.
604 Orhan Pamuk, Istanbul:Memories and the City, p.240.
605 Samuel P. Huntingtong, The Clash of Civilizations and The Remaking of World Order, p.139.
606 Sigm. Freud, Group Psychology and the Analsis of the Ego, Trans. James Strachey, London:The International Psycho-Anlytical Press,1922, pp.60-71.
607 Samuel P Huntingtong, The Clash of Civilizations and The Remaking of World Order, p.149.
608 See Homi K. Bhabha, The Location of Culture, London and New York:Routledge,1994.
609 在接受罗伯特·卡文采访时,帕慕克谈到了这一问题：“土耳其人一直梦想着成为中心,而非边缘。这是我们的一部分失败。土耳其曾是一个伟大的帝国,拥有伟大的文化,如今,一切不复返了。这让我感到忧伤,以及一点个人化的耻辱。”Orhan Pamuk and Robert Carver, "Let Constantinople in Tiber Melt—Robe rt Carver Meets the Turkish Novelist Orhan Pamuk and Discuss Astrology, War, Identity and East-West Relation s."http://www.orhanpamuk.net/popup.aSpx?id=58&lng=eng.
610 Alain De Botton, Status Anxiety, New York:Knopf Doubleday Publishing Group,2008.
611 一次采访中,帕慕克说：“在土耳其,95%的人都是双重灵魂者。在别人看来,土耳其有好人,如世俗主义者、民主主义者、自由主义者,也有坏蛋,如民族主义者、政治伊斯兰者、保守主义者、独裁者。其实,对于土耳其人自己来说,这两种倾向随时随地都搅在一起。也即每一个土耳其人都与自己进行斗争,或者说,每一个土耳其人的思想都是自相矛盾的。”See Michael Mcgaha, Autobiographies of Orhan Pamuk: The Writers in His Novels, p.91.
612 近年,土耳其的文化冲突再度升温,引发了全世界的关注。如总统埃尔多安(Erdogan)2008年2月废除头巾禁令,6月又颁布头巾禁令,与土耳其最高法院形成了对峙；阿布杜拉·居尔(Abdullah Gul)的选举竟然招致100多万人的反对、游行；2010年,土耳其政府又阻止了一次名为“大锤”的军事政变,逮捕48名军官、司令,至今余波未了。
613 Orhan Pamuk, Istanbul:Memories and the City, p.103.
614 Michel De Montaigne, The Essays of Montaigue, Trans. E. J. Trechmann, New Yorker:The Modern Liberary, 1946, pp.6-8.
615 Esra Akan, "The Melancholies of Istanbul." p.43.
616 帕慕克：“在土耳其西化后,这个国家的下层——即那些保守的、贫穷的,未受教化的,低下的阶层(这些人在土耳其到处都能见到)——对现代化的日常生活中缺少宗教信仰的要求提出异议……他们想保留传统式的生活。现代化过程中有些人做这样的事情是很正常的。然而土耳其政府和许多部门的回应却是攻击,将他们的文化看作低劣落后的文化,而不是认真讨论这一问题,理解他们失去过去的痛苦。”Orhan Pamuk and Elizabeth Famsworth, "Bridging Two Worlds." on News Hour with Jim Lehrer, PBS, November 20(2002). http://www.pbs.org/newshour/conversation/july-dec02/pamuk11-20.html帕慕克：“我试图在土耳其的政客们中宣传我的理论,他们只知国家要有一个统一的灵魂——东方、西方或民族主义。我在批评一元论的世界观。”Orhan Pamuk, Other Colors:Essays and a Story, p.369.
617 Muharrem Sev, "Review of Istanbul:Memories and the City." http://www.amazon.com/gp/cdp/member-revie ws/A2TF3JT4VVAM07/ref=cm__pdp_rev_all?ie=UTF8&sort_by=MostRecentReview.
618 Walter Benjamin, Illumination, Hannah Arendt ed., Trans. Harry Zohn, New York:Schoken Books,1968, p. 256.
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