Hearing The Retreat of Shahnur
In 2007, Shahan Shahnur’s oeuvre de force Retreat without Song (Նահանջը առանց երգի) was published in Turkish. This article argues that the decision to entitle the Turkish translation of the novel as Silent Retreat [Sessiz Ricat] was problematic due to its disregard of the role of the songs, melodies...
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| Xuất bản năm: | URI:https://journals.openedition.org/eac, |
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| Tác giả chính: | |
| Định dạng: | Article ou chapitre numérique |
| Ngôn ngữ: | Anglais |
| Được phát hành: |
Études arméniennes contemporaines
2021
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| Những chủ đề: | |
| Truy cập trực tuyến: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Tóm tắt: | In 2007, Shahan Shahnur’s oeuvre de force Retreat without Song (Նահանջը առանց երգի) was published in Turkish. This article argues that the decision to entitle the Turkish translation of the novel as Silent Retreat [Sessiz Ricat] was problematic due to its disregard of the role of the songs, melodies, prayers, and so forth haunting the novel. Drawing on the importance of various mnemonic elements continuously appearing in the novel, the article examines the re-construction of the notion of home and Armenian identity for the protagonist of the novel, Bedros/Pierre, who had to leave Turkey, his homeland, in the wake of the post-genocidal Republican period. It calls for the necessity for recognition of this story of displacement not in silence but in the acknowledgement of the absence of song as a means to interpret the mnemonic “signposts” squeezed in Bedros/Pierre’s narration which enable him to mark his identity, subjectivity, and the idea of home-land. |
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