(Western)Word / (Eastern)Image in My Name is Red: An Imagological Reading of Orhan Pamuk’s Ekphrastic Reimagination

This article aims to read Orhan Pamuk’s My Name is Red as an ekphrastic reimagination and the “imagetext” in which visual representation object of novelist’s verbal account sixteenth century miniature art Renaissance perspectival painting shown a diabolic opposition. Ekphrasis leading mode also realized novel through incorporating certain figures images from Ottoman Persian miniatures character narrators who turn bring forth their individual comments on specific drawings particular art’s relation reality general. In this new paradigm copresence word image novel, we are told Frankish style perspective deemed closer outer than Islamic miniature, whereas illustrations intended represent meaning rather distinct objects themselves. The East-West dichotomy reshapes itself metaphorical level imagetext, suggesting imagological readings binarism between two forms arts opposing ways seeing depicting reality. dynamic “self-image” defining domestic, national identity “hetero-image” typifies “the so-called Europeans” reworked very basis same conflict dominant forms.