This article examines the postmodern vision of the national history of Turkey in the works of the popular contemporary Turkish postmodern novelist Ihsan Oktay Anar. The object of attention of the postmodern writer, who presents the country's history as the power of totalitarian discourses over the consciousness of Turks, is the enlightenment discourse and the discourse of the biblical-Quranic tradition. He deconstructs them, reduces them in travesty, recodes them, which is expressed in special artistic means, including pastiche, carnivalization, oxymoronic phrases, etc.

Key words: Turkish narrative postmodernism, posthistoric issues, hyperpersonage mask, Ihsan Oktay Anar.

The post-non-classical postmodern approach to understanding history is defined by the perception of historical reality as a text (as chaos and as rhizomorphic space) and is mainly aimed at debunking the religious-metaphysical concept of history and the scientific-positivist cult of history that prevailed in the Modern (or Modern) era. The greatest contribution to the development of the postmodern historical concept was made by the works of such famous post-structuralists as M. Foucault, J. Derrida, J.-F. Lyotard, P. de Man, F. Jamieson, R. Rorty, H. White, and others. Summarizing their very diverse and contradictory views, we can say that the main emphasis was placed on the approach to history as a literary text, narrative/innovation/story, highlighting "plots" in it. Jamieson, H. White). In addition, they emphasized the dominance of human instincts (the collective unconscious) in history, which prevent the implementation of global historical projects. In the framework of the latter position, they developed the Nietzschean idea of the "will to power", which mystifies scientific and technological progress, replacing it with an anonymous and polymorphic "will to know" (m. Foucault). The latter was interpreted by them as the desire of people to disguise the " will to power "with a claim to scientific"truth". Post-non-classical philosophers-postmodernists proposed to look at history as a pluralistic, heterogeneous set of accidents. Derrida, J.-F. Lyotard, I. Prigozhin, R. Rorty, J. Deleuze) in contrast to the traditional metaphysical ideas of history as a single and unconditional law. In the multiple chaosomorphic postmodern history, non-linear, non-spatial time appeared( the future has passed), and the historical process itself was not necessarily programmed to move upward to a better future, which, in the opinion of post-non-classical philosophers, inevitably led to the "end of history" (F. Fukuyama), i.e., to the" end " of the former linear deterministic time. a look at history.

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Post-historical issues occupy an exceptionally large place in the works of Turkish postmodernists (O. Pamuk, T. Yucel, I. O. Anar, etc.). This is especially true for I. O. Anar (born in 1960), who is not only a writer, but also a professional philosopher, which gives him absolute advantages over his colleagues in the writing department. Making the history of Turkey the main character of his novelistics, he considers it from different angles, tries to avoid unambiguity in understanding such a complex phenomenon, prefers multi-angle and variability. In other words, it provides a postmodern adequate history of the country.

I. O. Anar's trilogy" Atlas of Misty Continents "("Puslu Kitalar Atlasi", 1995)," Book of Tricks "("Kitab-ul Hiyel", 1996)," Stories of Afrasiab "("Efrăsiyăbin Hikăyeleri", 1998) depicts the history of Turkey in a travesty key. More precisely, I. O. Anar is talking about the historical narrative as a form of our knowledge about history - more "literary" than scientific. He "plots" the facts of the past, the history of Turkey of the XVII-XX centuries, presenting them in different stories-stories that are "held together" by the hyperpersonal mask of the simulacrum narrator. The narrator's mask is multiplied in an infinite number of other named and unnamed narrators, whose opinions are constantly referred to by hyperpersonage, forcing the reader to periodically get confused about who is leading the story.

All these stories are stylized by I. O. Anar as a folk tale, and we can say that the historical narrative is represented by the writer's genres of folk-heroic epic and fairy tale, which are characterized by such a fantastic form of narration. The tale of a certain nameless hyperpersonage-simulacrum, on behalf of which the entire narrative in the novels of the trilogy is conducted, is replete with colloquial phrases, colloquial forms, outdated and out-of-use Arabic-Persian vocabulary, formulas and cliches of the folklore-epic Turkic tradition. Such a story seems simple, artless, naive. In it, as is customary in folklore, the leading role belongs to narrative, events, dialogues, and everything concrete and objective. Such presentation of the material (with magic, monsters, and even primitive popular print pictures-illustrations to what is happening) sets the reader up to the fact that it is unrealistic to expect truth from such a story. For I. O. Anar, the tale serves as a confirmation of the unreliability of traditional historical (and at the same time scientific) knowledge, being its own version of hyperpersonage.

The unnamed hyperpersonage of I. O. Anar is a comical figure. The consciousness, thinking, and language of the simulacrum narrator in a concentrated form contain the dogmas of Turkish history, which gave rise to more than one national catastrophe in their time. The author sneers at the character's belief in miracles (in atlases of misty continents; in miracle mechanisms with which the Turks must defeat all their enemies; in caves with untold treasures; in vampires and outlandish monsters). The writer maliciously ridicules both the high-flown rhetoric of the character in his stories about the Turkish cunning scientists Yafes, Jalud and Yuzeyir, who seek to subdue the course of history and command time, defeating the laws of nature ("The Book of Tricks"), and the confidential, compassionate (almost lyrical) story about the difficult relationship of the medieval eccentric Uzun Ihsan Effendi and his son Bunyamin, who "lost" his face in the war (Atlas of Misty Continents). The postmodern writer laughs at the narrator's panic fear of death, which is clearly visible in his stories about people trying to" escape"from death ("Afrasiab's Stories"). Everything that is natural, true and true for the hyperpersonage of the trilogy is unnatural, stupid and harmful for I. O. Anar, being a manifestation of the metaphysical view of life. Therefore, he makes his narrator uneducated, naively believing rumors, funny, speaking in an unimaginable Graphomaniac language - his narrator mixes Old Ottoman with slang-everyday

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with little words and new-fangled modern expressions, launching into lengthy, annoying explanations, descriptions of the smallest details of what is happening, which lead to details of these details, etc., and ultimately completely confuse the reader and make him forget what was originally discussed at all. Showing his hyperpersonage as a funny graphomaniac, "entering" into the stories of others and "living" in these stories, I. O. Anar rips off his numerous masks, shows an "empty space" under them, a simulacrum that produces / utters absurdity.

I. O. Anar refutes the principle of historicism and the idea of historical progress in the trilogy. They cause him great skepticism. The writer replaces historicism with relativism, de-hierarchizes relations in a linear time paradigm, depriving the category of the present of a privileged position, a centering role in relation to the past and future. This leads to the emergence in his novels of a new hybrid type of time "past-present-future", the vector of which loses its unidirectional linear-deterministic character, becomes multidirectional.

I. O. Anar emphasizes the repeatability of Turkish history, reproducibility in new forms of the former relations between man and man, man and the state. This repetition is most clearly reflected in the fate of Uzun Ihsan-Efendi, who is a common character in all three novels, being present both in the medieval Ottoman Empire and in the modern Republic of Turkey. At all times, he is opposed to a rational/metaphysical approach to life, whether as a drug addict with no particular occupation or place of residence, or as a sultan's minister, protagonist, or episodic character. His life in a dream ("Atlas of misty Continents"), rejection of scientific projects of cunning scientists ("Book of Tricks"), running away from death ("Stories of Afrasiab") they make it live forever. In other words, he is alive not because of the rational-humanistic doctrine of the New Age, which puts man, his mind at the center of everything, but in spite of and in opposition to it. It is in Uzun Ihsan that the Acting Head of the Department of Anar makes it most obvious that the "historical project" of humanizing/modernizing the life of Turkey; a project that goes back to the era of the Western European Enlightenment and is designed not for a real person, but for a speculative one; a project that is forcibly implemented on Turkish soil. I. O. Anar proves on the example of Turkey that the emancipation of the human mind radically changes the spiritual life of the country. In the personality, simultaneously with the higher principle, the lower, prepersonal, animal principle is also liberated. Therefore, his characters, who come to the realization that there is no God, and put themselves in the place of God, often do not even understand that they are driven not by God, but by the Devil.

This aspect of the problem of personal emancipation, according to I. O. Anar, most clearly reflected the image of Faust, which in the novels of the trilogy is subjected to cultural and philosophical interpretation. The image of Dr. Faust "flickers" in the head of the secret intelligence organization Ebrekh-efendi ("Atlas of misty Continents"), in the cunning scientists Yafes, Jalud and Yuzeyir ("Book of Tricks"), in the learned Feiyuz ("Stories of Afrasiab"). They all make a deal with the devil for the sake of fulfilling their desires, but at the same time they "destroy" themselves. So, Ebrekhe-efendi is killed by the same well-liked head of the city's beggars; cunning scientists are killed by each other, zombified by the technology they created; the scientist Feyuz dies in mental anguish from the realization that he left behind seven sons on earth, in which all human vices are embodied and who are not able to have children of their own.

The novels of the trilogy are designed to show different stages of the emancipation of human individuality, which in I. O. Anar realizes itself as individualism -

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the cornerstone of the Modern era. The era of individualism, which was manifested in virtually medieval Turkey up to the 19th century in individuals, flourished in the republican Turkey of the 20th century, which led to the domination of dark, animal forces over the masses of people. If a few centuries ago the dark forces erased the face of Bunyamin, making him "different" ("Atlas of misty Continents"), implanted monster machines in the heads of cunning scientists Yafes, Jalud and Yuzeyir and turned them into monsters themselves ("Book of Tricks"), then in the second half of the XX century. the evil of the unconscious, going on hand in hand with individualism, it has taken over the souls of millions of people, taking on the character of the devil of the collective unconscious. Manifestations of the collective devil in the form of mass psychoses are demonstrated by "funny and entertaining" stories from the novel "Stories of Afrasiab". These include a massive obsession with cleanliness (the story of the Monster of Ezine), religion (the story of The Journey to the Holy Places), parenting (the stories of Sunny Days, The Child Who Came Down from Heaven), wealth (the story of The Curse of King Bidaz), and so on. etc.

The power of the collective unconscious as an integral component of the life of republican Turkey has been the object of research in the works of other Turkish postmodernists (O. Pamuk, M. Mungan) [Repenkova, 2010(1), pp. 79-137]. But I. O. Anar's emphasis in the collective unconscious is not on the "pathologically"aggressive, life-threatening mass (O. Pamuk's novel "Snow" or M. Mungan's novel "Alice in Wonderland"), but on the "chthonically"passive, "dormant" waiting for its time. Anarovskaya huge rat sleeps and bears cubs in the house of first a respectable butcher, and then a clean sweet widow (the story "The story of the monster of the town of Ezine" from the novel "Stories of Afrasiab"). It can be said that in O. Pamuk and M. Mungan the destructive potential of the collective psyche is given in an activated form, and in I. O. Anar - in an inactive form. But nevertheless, the fixation of the preponderance of the inert-collective unconscious over consciousness as a characteristic feature of the historical process as a whole is obvious.

I. O. Anar in the novels of the trilogy shows the irremediability of the factor of the unconscious in history, which proves the writer's disbelief in universal and unconditional historical and moral progress. His works demonstrate the" end " of idealized ideas about man as a purely rationalistic construct, the origins of which I. O. Anar, like many other postmodernists, sees in the biblical-Quranic tradition. "Monotheistic religions are considered by them (postmodernists) as a discourse / text that needs to be read and interpreted in a non-classical, post-philosophical way. Defending the multiplicity of fluid Truth, they do not accept the monocentricity of any system (including religious and atheistic ones), considering such a system as repressive in relation to modern man" [Repenkova, 2010(2), No. 4, p.25]. According to the writer, it was from the biblical-Quranic tradition that the metaphysical and then rationalistic concept of man himself and human/world history grew, which for many centuries determined Western and Eastern philosophical thought.

But the crisis of Modern times has clearly proved the utopianism of metaphysical and positivist monoist truths. According to I. Ilyin, "the rejection of rationalism and faith in generally recognized authorities overshadowed by tradition or religion, doubts about the reliability of scientific knowledge lead postmodernists to "epistemological uncertainty", to the belief that the most adequate comprehension of reality is not available to natural and exact sciences or traditional philosophy, which relies on a systematically formalized conceptual apparatus of logic with its strict rules." the laws of the relationship of premises and consequences, and the intuitive " poetic

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thinking" with its associativity, imagery, metaphorical nature and instant insights " [Ilyin, 1996, p. 204].

The humanist doctrine, which was based on a shaky anthropological foundation, collapsed overnight, as well as the good historical initiatives of people sank into oblivion. Therefore, the heroes of I. O. Anar are degenerate and incomplete. They are all thieves, murderers, drunkards, sexual perverts, etc. They specifically highlight first of all animal instincts: gluttony, bowel movements, sexual drives, etc. But at the same time, the biblical and Quranic prophets "flicker" in his characters, like archetypes-archetypes, forcing the reader to plunge into the power of "deja vu"/"already happened".

Perhaps I. O. Anar is the only Turkish postmodernist writer who is so actively working on the travesty of the biblical-Quranic discourse, its plot-situational, figurative-character and genre-style moves. The main thing in I. O. Anar's deconstruction of the biblical-Quranic discourse is to discredit the images of the prophets. This is explained by the fact that "the succession of prophets forms the core of the concept of sacred history in each of the three religious traditions, and therefore it is the prophets who are given much attention in historical works that draw a picture of world history according to the ideas of a particular faith" [Gainutdinova, 2009, p. 3]. Anar plays Christian-Muslim cultural signs prophets-sages and their followers, realizing the phenomenon of hypertextuality in the trilogy. Using parody pastiche genre codes of the Holy Scriptures (architectuality), he correlates the titles of novels with epigraphs that are verses from the Bible and the Koran (paratextuality).

The very titles of the novels ("Atlas of Misty Continents"," Book of Tricks"," Stories of Afrasiab") aim the reader to perceive the history of Turkey as a book, narrative, text, and together with the biblical and Quranic epigraphs-as a Sacred Book. But the content of his "sacred" book completely contradicts the Writings of monotheistic religions. It is presented by I. O. Anar in a posthistoric, postmodern way. Using cultural and philosophical post-structuralist symbolism: the world (consciousness, unconscious) - rhizome-text-book - map-labyrinth-library, etc., the writer decalques / maps the country's history, historical fatality, sets a "mobile map" with many exits, which fills the text of novels with an infinite number of meanings. And since the trilogy implements the postmodern concept of "the world as a text", an artistic model of history appears as a self-organizing chaos, as if woven from randomness, containing many potential development trends at once.

Only an accident destroys all the plans of a powerful Turkish secret intelligence organization / "huge brain"to seize power in the country ("Atlas of Foggy Continents"): Istanbul beggars led by a Baghdad thief attack the organization's premises for profit and kill its head. The blind force of chance (for example, a sudden dream, a stone accidentally hit the head) does not allow any of the three cunning scientists to finish their experiments on weapons that can elevate them above their compatriots ("The Book of Tricks"). Only the fleeting nature of random encounters helps the hero Uzun Ihsan-efendi, who is common to all the novels of the trilogy, avoid the calculated traps of Human death and stay alive ("Stories of Afrasiab").

Thus, the postmodern concept of history in I. O. Anar's trilogy demonstrates a fundamentally new approach to understanding history and the place of man in it. Postmodern textualization of historical space shifts the focus of artistic research to the field of functioning of certain narrative constructions ("stories"), through which I. O. Anar seeks to comprehend such categories as historical space and time, randomness and regularity, progress and regression. A special place in the historical concept of the writer is occupied by

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de-hierarchization of the "consciousness-unconscious" opposition is an integral feature of postmodern thinking. This connects the problem of history in the novelistics of I. O. Anar with the problem of a person who ceases to be the measure of all things, since he, driven by the impulses of the unconscious, becomes dangerous both for himself and for his country. The writer connects new parameters of historical development with universal humanism.

list of literature

Gainutdinova A. R. Istoriya prorokov v Korane [History of the Prophets in the Koran]. Moscow: Islamicheskaya kniga, 2009.

Ilyin I. P. Poststructuralism. Deconstructivism. Postmodernism, Moscow: Intrada Publ., 1996.
Kareva O. V. Travsstiya arkhstipichskoi integrity v postmodernistskoi paradigme Ihsan Oktay Anar [Travsstiya of archstipich integrity in the postmodern paradigm of Ihsan Oktay Anar]. Vestnik Moskovskogo universiteta. Ser. 13.Vostokovedenie [Bulletin of the Moscow University]. 2011. № 3.

Rspenkova M. M. Rotating mirrors. Postmodernism in the Literature of Turkey, Moscow: Vostochnaya literatura, 2010(1).

Rspsnkova M. M. Religious discourse in the postmodern romance of Ihsan Oktay Anar "Afrasiab's Stories" / / Vestnik Moskovskogo universiteta. Ser. 13. Vostokovedenie. 2010(2). № 4.

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