Tilki ile yılan metninin göstergebilimsel çözümlemesi

Abstract

Bu çalışmada, masal türlerinden hayvan masallarına örnek oluşturan “Tilki ile Yılan” adlı metnin dilsel içeriği, göstergebilimsel okuma yöntemiyle söylemsel, anlatısal ve mantıksal-anlamsal düzeylerde çözümlenmiştir.

Dans ce travail, le contenu linguistique du texte intitulé “Le Renard et le Serpent”, qui représente un bon exemplaire pour les Fables, a été analysé par une approche sémiotique au niveau discursif, narratif, et logiquesémantique.

The story ‘A Fox and a Snake’ from Pertev Naili Boratav’s book entitled ‘Az Gittik Uz Gittik’ is an example of the genre of fabl in Turkish literature. This study aims to analyse the story from the persective of semiotics. The study adapts a structural point of view of the text where the content is analysed at the levels of its discourse, narative, logico-semantics. Nevetheless, the study is limited to the content of the text in question, and outside information has been refered to only when elements within the text make a strong refence to external information. In this respect, the study attempts to interpret the narative within its limited context. As a type of genre fables are defined as a product of imagination and short narratives but at the same time they do not have any concern about making this unreal world believable. However, they may contain some elements which are quite ordinary and real at times. What makes the story in question worthwhile to study is that it contains not only products of imagination, but also makes references to real life. The heroes the Fox and the Snake has been personified and acted like human beings. They speak like human beings and have clashing dual human characteristics, such as friend/ foe and good/ bad. The study analyses the content of the text from its surface to its depth following a point of view of semiotics at the levels of discoursal, narrative and logico-semantics. In this process, first of all characteristics of heroes, their behaviour, the time and space, where events take place have been determined. Based on this, the text has been divided into four phases: space, time, plot and evolving of characters. These are later used as foundations in the interpretation of narrative structure and logico-semantic structure. The Fox character is the main subject who is responsible from the change of line in the story. The friendship between the Fox and the Snake at the beginning of the story turns into feud when the Snake attempts to strangle his friend. In addition, the story line develops on a dual-dimension of time and space. The heroes are friends at the beginning and they are on the road. But when the scene changes from road into a spring, the Snake attempts to kill his friend by strangling him while crossing the water. This is when friendship evolves into feud, happiness evolves into unhappiness. Interestingly, the Fox retaliates and bites the Snake’s neck. This turns life to death for the Snake and death to life for the Fox. In the final phase of the narrative, characters move from water, which signifies the end of uncertainty of slippery ground (water) onto the dry land, which signifies certainity of firm ground (land). This is the turn of fate for the Fox. In the final phase, by punishing the Snake who has attempted to kill him, the doer character Fox has given a lesson to Snake . That is, the end of the story, in a way, rewards him. With his ‘I + Good Character’ identity, is presented as the representative of good values, and he has been succesful. That is, he represents what is called in narrative analysis as an ‘Honourable Experience’. It is possible to summarize this experience: Land/Water ~ Distant/Close ~ When arriving to the spring /In the middle of the spring ~ Delusion/Reality. As can be seen, at this point what the Fox sees as reality, as a matter of fact, takes him closer the reality. He gains this through hands on experiencing. The Fox, as the doer, has not been stuck in ‘here’ and ‘now’; on the contrary, he could establish links with planes of other time and space beyond present