《我脑袋里的怪东西》中“窗”的隐喻与城市书写

Window Metaphors and Urban Writing in A Strangeness in My Mind by Orhan Pamuk

对于自称为“视觉性作家”的帕慕克而言,从工作室的窗户望向城市是其一生保持写作意愿的神奇按钮,也是其所有故事的原点。在第九部小说《我脑袋里的怪东西》中,帕慕克首次突破了自身西化富裕阶层的身份,以一个伊斯坦布尔游街小贩的视角,建构了一部半个多世纪的城市编年史。伊城的各类窗户作为贯穿整部小说的建筑元素,在主人公长达一生的审视之下呈现出多重隐喻,是理解其城市经验与人生体悟的关键。本文以“窗”作为考察视角,重点解读“窗”在城市空间所呈现的多重隐喻这一叙事暗线,集中分析“窗”作为城市历史与当下、城市孤独解药以及都市家宅这三大隐喻,以期揭示城市所特有的可视性对帕穆克城市书写的造就。

For Orhan Pamuk,a self-proclaimed“visual writer,”looking over the city from his studio’s windows is always both a magic button of his lifelong urge for writing and the starting point for all his stories.In his ninth novel,A Strangeness in My Mind,Pamuk bypasses his Westernized and affluent class identity,for the very first time,and adopts the perspective of an Istanbul street peddler in constructing an urban chronicle over half a century.Various windows in the city are portrayed as building elements throughout the novel,but under the constant gaze of the protagonist all his life,windows seem to have taken on multiple metaphorical connotations and become so essential to understanding urban experiences and perceptions of life.With a focus on the windows as three metaphors,such as a reflection on the past and present of Istanbul,a remedy for urban solitude,and an image of urban home,this article aims to reveal how the unique visibility of the city has turned Pamuk’s urban writing into a huge success.