Analyzing Literary Space through ‘The Spatial Triad’ by Henri Lefebvre in Orhan Pamuk’s ‘The Museum of Innocence’

Belgin Yuncu,Zeynep Tuna Ultav,Aslı Ceylan Öner

doi:10.32600/huefd.958012

Abstract

This paper aims to present a different approach to the notion of literary space in a work of literature with regards to Henri Lefebvre’s spatial triad. Orhan Pamuk’s representation of space in his acclaimed novel; The Museum of Innocence and the actual museum along with the narrative will be referred as the case study since it is a unique example of a narrative transforming into an architectural form. Lefebvre’s spatial triad –perceived, conceived, lived space– that looks at space as a social product, will be applied as an investigatory tool to understand the notion of literary space. Relying on the fact that space can be a narrative acting independently within the narrative itself, Pamuk’s design becomes an affluent space for everyday life objects, without which, a sense of inadequacy would occur all throughout the novel and the actual museum. Conclusively, the main principle behind the selection of Lefebvre over many other existing theories on space is that Lefebvre’s spatial categories has provided the necessary grounds and flexibility in explaining the transition from a literary work into an architectural one on account of his acknowledgement that it would be better if the space in literary texts could be represented architecturally.

Highlights

The aim of this study is to present a different approach to the notion of literary space; the represented space where the story takes place in a work of literature with regard to Henri Lefebvre’s spatial triad that looks at space as a social product consisting of three constituents; perceived space, conceived space, lived space, which will be applied as an theoretical framework to understand the notion of literary space
In order to analyze a literary work of art from a design perspective, Lefebvre, has been appointed as the key thinker and his spatial triad has formed the basis of the main argument for the case study through this study
The existing theory on space proposed principally by Lefebvre contributed to a coherent rationale for the apprehension of Orhan Pamuk’s incentive on creating a literary space as he has always done, and an architectural space with his unique work The Museum of Innocence

Summary

Introduction

Space has always been applied to literary studies from a multi-perspective within ranging fields. The aim of this study is to present a different approach to the notion of literary space; the represented space where the story takes place in a work of literature with regard to Henri Lefebvre’s spatial triad that looks at space as a social product consisting of three constituents; perceived space, conceived space, lived space, which will be applied as an theoretical framework to understand the notion of literary space. Looking at how Pamuk represents his narrative story in his acclaimed novel The Museum of Innocence in terms of space by referring to Lefebvre’s spatial triad and how other social theorists respond to his theory, will lead to an apprehension of the designed space in both the literary and architectural works in question. Before beginning the novel, which consists of 83 chapters that correspond with the 83 boxes in the actual museum, Pamuk has placed a map of the original museum, hinting that the idea of the real life museum always existed even before he started writing the book (Figure 2): Instead of writing about the objects; the teacup, the pair of yellow shoes, the quince grater, that my novels’ characters used, and going to look for their physical counterparts, I performed the opposite, more logical process: I went shopping first, or I took, from friends who still conserved them, old furniture, miscellaneous paperwork, insurance papers, various documents, bank statements, and, photographs– ‘or my museum and my novel’ was the excuse– and wrote my book based on all these things bought and acquired, taking great pleasure in describing them (Pamuk, 2012c)

Reading The Museum of Innocence Through Lefebvre

Conclusion