Hüseyin Rahmi Gürpınar is a writer who has bent her ears in the middle of the street. The fiction he heard, the gossip he established, and the sound he told were texts. Among the works written in the late seventies, the existence of elite, ideal texts may be discussed. However, Hüseyin Rahmi, who is the representative of multiple writing tradition after Ahmet Mithat, wrote a string of values with a feminine sensitivity. Whatever is spoken, it is a material that is waiting on the street, in the coffee house, on the road and at home. May be it is a multi-layered, uneasy language; however, the textual retrospective of the period in which he lived was a combination of visual and tangible values. It is a very colorful, intimate, partly delightful style of a long, prolonged time. Between the aesthetic pleasure and experience, the reader lived with her a great amount of curiosity and satisfaction, and the reader accustomed the reader to a pleasant process. This form of reading, which exposes its readers to a series of communicative effects, also carries the transparency of an open work. Hüseyin Rahmi's novels, which carry the wealth of women directly or indirectly; curiosity it nourishes identity intentions in different forms and forms. While witnessing the changes of a transition period, it actually raises new awareness. Although it does not seem to be an in-depth configuration at first glance, the basic weakness of the text is that it contains a thinking action that lags behind the writing speed. Most of the writings are like the phallocentric of the language, ie the sum of the culture values that see phallus as a language power. A womanly language supported artistic expression by performing a period as a witness to witness feminine changes. In Hüseyin Rahmi's novels, many texts can be analyzed based on this basic structure. The Mürebbiye, Şıpsevdi and Billur Kalp are one step ahead of this.
H. Rahmi Gürpınar, novel, female, change, autofeminine.
|Author :||Fatih ARSLAN|
|Number of pages:||162-169|