정체성 고뇌와 분신 모티프 : 오르한 파묵의『하얀 성』과『검은 책』을 중심으로

이난아 ( Nan A Lee ) 한국외국어대학교 중동연구소 2010 중동연구 Vol.29 No.1

Avatar motives in world literature has been handled in the meaning of broken self, suppressed self, or of human`s innate duality. This may be that the other self that can be described as a double personality is a symbol representing the contrary attribute that is intrinsic to us human beings. Not only this, it is because problems of self consciousness or a self separated from oneself hold an undividable relationship. Orhan Pamuk has written high grade literatures that are interesting but heavy, talk about other time and space but reflect the spirit of the current era, with the common interest of the world as their main themes while maintaining uniqueness. This seems to be because only those literatures can sense the changes of the era, step forward towards the exit of the maze, and produce a new kind of literature for the new era. Pamuk`s favorite theme of his search in his literature is the avatar motive. The main characters of the literature, considered an avatar of the author, seek to find the answer for the search for their identities by producing an avatar, or becoming somebody else. This search ends with either identity change or the main character becoming another person. This can be interpreted that when the character faces a serious confusion of self-identity, he/she tries to establish an alternative ego by somebody else. White Castle, the piecework that put Pamuk at the world level, begins with Osman Empire`s Hoca, person very interested in Western scholarship, and a slave-sold Venetian who see their own reflections from each other. The novel holds its main structure by putting these two characters in a same house and, at the end, their identities changing. The Black Book, the novel that is evaluated as Pamuk`s most experimental novel, expresses the journey throughout Istanbul of a lawyer Galip looking for his wife and his cousin Celal, a columnist and a mentor of Galip as well as the process of his change in this progress. As it can be observed in the two novels above, writers of Turkey, a place located at the meeting point of East and West, have long used the other self motive depicted by the confusion in identity caused by fate as well as imitating other races for not being able to truly be oneself and at the end becoming someone else as the main theme. On the other hand, these two novels are similar in the sense of expressing one`s identity or discovery of other self through writing. In The White Castle is a transcription of a Venetian slave`s memoir written over the 40 years he had spent in the Osman Empire. Hoca and the slave begin to know about each other through writing. Later, Hoca leaves for Italy and becomes famous by writing a book on Turkey. Thus, Hoca and the slave reveal their identity through writing. In The Black Book, Galip lives the life of Celal by writes columns in the place of Celal and thinks that he can find his own identity through writing by thinking “There is nothing more wonderful as life. Except writing, right, the only consolation.” This can be said to be a confirmation of Pamuk`s saying, “in fact, all writers try to be someone else” in the form of a novel.

터키문학에 나타난 이슬람-기독교 문화 갈등 및 충돌 연구 -오르는 파묵의 소설 『내 이름은 빨강』의 등장인물 “올리브”를 중심으로-

이난아 ( Nan A Lee ) 한국외국어대학교 중동연구소 2007 중동연구 Vol.25 No.2

Orhan Pamuk is an unchallenged writer and a winner of the 2006 Nobel Literature Prize who closely examines the identity of Turkey culture through comparison of East(Islam) and West(Christian) cultures. He is all the more famous as a global writer with his literature on conflicts and collisions between the two cultures. His mother country, Turkey, is located on the boarder of Europe and Asia where Eastern and Western culture has intersected from ancient times up to the present age. In history, this unique location has lead to endless conversations on the topic of finding Turkey`s identity within the inflow of various cultures from the East and West. Orhan Pamuk included this important issue in his literature and presented the Eastern and Western conflict types, development of the situation, and moreover, the conclusion, in order to enhance readers` understanding of the problem and to encourage them to discover resolutions. When one culture is accepted into another, the inevitable process of conflict and collision is developed by the segregation of society members into a supporting party and an opposing party. In other words, members of society, who stand in the position of accepting new culture, form two opposing groups which leads to conflict and collision. This process generates social chaos and social affairs(however, sometimes these problems are resolved by mutual concession). In the process of these events one party holds a dominant position, and consequently the new culture is faced with either settlement or retrogression depending on the party in the higher position. In Orhan Pamuk`s novel 『My Name is Red』, the consecutive process of culture inflow, conflict and collision, and the settlement of these problems is well described. In『My Name is Red』, conflicts between Eastern and Western paintings is the main subject of discussion. The main characters in this novel are Osman, the owner of a flower garden who supports Eastern miniature art, Eniste, who pursues new Western painting styles, and Olive, who experiences emotional conflicts on the decision between Eastern and Western paintings and eventually becomes a murderer. Osman strives to defend traditional miniature art throughout the novel, but he has already sensed the retrogression of miniatures in the changing trends of art. He is a character who is conservative and inclined to Islam culture, which is shown through his efforts to stop changes in miniature art by stabbing his own eyes and becoming a blind man. Eniste is a liberal character who accepts realistic Western art styles and dreams of change. According to Eniste, even if miniature art possess excellence in itself, it is more important to adjust to the changes of the times, because she believes that failure in adjustment to new trends would result in abandonment by others. She is a character that challenges herself to the changing trends of the times, and someone who is inclined to Western culture with the will to break away from traditional art styles. However, it is important to remember that she had asserted the necessity of harmony between the Islam world and the Christian world, and was not someone who was blindly devoted to Western art. Olive stands in the center of the opposing views and conflicts on Eastern and Western paintings, ceaselessly agonizing over the selection between god and human, divinity and art, and between imitation and creation throughout the novel. This character experiences the most serious conflict between Islam and Christian art styles by murdering Elegance, who is a colleague that supports the continuance of traditional miniature art, and Eniste, who is a leading character in introducing Western art styles. He makes a fatal decision of committing murder, but later on he also ends up being murdered by someone else. Of course, the three characters described above do have something in common. Eniste, Olive and Osman all had a foresight right before their death, and before becomi

터키 제작 한국전쟁 영화의 특징적 양상 연구 -전쟁 트라우마 문제를 중심으로- *

이난아(Lee, Nan-A) 한국중동학회 2017 韓國 中東 學會 論叢 Vol.37 No.3

The Korean War is part of the past, but it is also a continuance of the past and its effects still linger in today’s society. We must accept and recognize the importance of continuance, and put our heart and soul into many different fields so that this tragedy does not happen again. In this case, in the study of Korean War movies made in Turkey, a nation that participated in the Korean War, it is very important to recognize and ruminate, considering the Korean War situation. This paper attempted to awaken the social·personal pain and tragic family drama present in the 「Evening Sun」 and 「Bride Ezo」 melodrama films about Korean War that were made in Turkey. These films were about disabled veterans who had wounds and were still suffering the effects of the Korean War, along the sufferings of their families and loved ones after the war. The scenes in 「Evening Sun」 and 「Bride Ezo」associated with Korean War are brutal. The destructive scene does not come out in addition to the scene where the main character looks back on the battle. In the movies about the Korean War, they go on out of stage but the war is used as a fact that changes the future of the characters. 「Evening Sun」 is about war veteran Nazmi whose life was affected by the Korean War. He became disabled and he was afflicted with heart disease due to the trauma. This movie is based on the novel with the same title written by a famous Turkish novelist. It is almost the same as the novel but the only difference is the main character appears as a war veteran of the Korean War and the disabled veteran’s experiences after the war are the basic setting of the beginning and development of the movie. 「Bride Ezo」 has artistic value and popular appeal, so it has been remade three times with the same title. This movie is about one woman whose husband got sent to the Korean War and died. In other words, this material is about a woman who is a war veteran’s wife who got separated from her love because of the Korean War, and after she killed herself from experiencing trauma indirectly. If we take a broader view, it can be said that the film focuses on the tragedy of a family that has been shattered by the Korean War. The Korean War movies made by Turkish melodrama all have something in common: they are based on the love between men and women, war trauma and the aftereffects. We can see that war is not just a conflict between nations but also a tragedy involving individuals and families.

터키에서의 한류의 현황과 전망

이난아(Lee, Nan-A) 명지대학교 중동문제연구소 2012 중동문제연구 Vol.11 No.1

As mutual exchanges between nations and regions increase, the understanding and exchange through diverse forms of cultural content also becomes a prominent issue. We encounter cultures of other countries through the diverse cultural content of each country to expand exchanges among contemporaries and experience cultural diversity. Basically, mutual understanding and exchange of cultural content is extremely important in understanding the mentality of humans and, furthermore, it has significant meaning in enabling true understanding among countries. This means that many cultures in the world are creating new value through mutual exchange and interaction. The main factors of the Korean Wave are that it has commercial value and a competitive edge against other cultural commodities in the market. In addition, all these aspects will turn into commercial value along with the craftsmanship and artistry of the Korean Wave being recognized, and the popularity being emphasized. So far, we have addressed the current status of cultural aspects of the Korean Wave in Turkey and, especially, the activities of ‘Koreafans’, the main Korean Wave fan club in Turkey. The activities of ‘Koreafans’ have great significance for its members are volunteers and active in introducing Korean culture to Turkey. It is highly likely that the Korean Wave in Turkey will spread more in the future considering the vigorous economic activity between two countries and the historical background. We usually create a specific image of a country through indirect experiences such as education, mass media, products and the influence of the environment. The experiences we get from movies, soap operas, music and celebrities are mainly through the intangible means of mass media. The food and fashion we acknowledge are through the intangible means of mass media along with tangible means of direct contacts. Korean culture was first introduced to Turkey through forms of mass media such as Korean movies, soap operas and music, which led to a preference for Korean products. Although the Korean Wave in Turkey is not as strong as it is in Japan, China and Southeast Asia, the Korea-Turkey relationship, which was already firmly established through the Korean War, is expected to be even stronger by tying the two countries culturally using a wide range of strategies to introduce Korean culture more aggressively to Turkish people who think of Korea as their second homeland. Nowadays, the activities of first generation war veterans as mediators between Turkey and Korea are not as common as before. However, the warm brotherly love and friendship between two countries as shown during the 2002 World Cup, is expected to drive a new Korean Wave through Turkish youth, the third generation. Meanwhile, the Embassy of Korea in Turkey contracted MOU with TOMER, the language institution of the National University of Ankara, to establish Sejong Hakdang at TOMER in 12 main cities in Turkey. Presently, it is running 11 classes with 100 students in Ankara and Istanbul. The Korean Cultural Center opened in Ankara, Turkey’s capital, in October of 2011. A variety of cultural events, such as Korean traditional musical performances, plays, and pop music concerts were held at its opening. The Korean Wave in Turkey is expected to be accelerated through these various cultural events. Furthermore, through cultural facilities Korea can introduce the diversity of Korean culture and imprint with Turkey an image of a traditionally, friendly Korean nation.

터키 문화 코드에 관한 소고

이난아(Nan-A Lee) 글로벌문화콘텐츠학회 2013 글로벌문화콘텐츠 Vol.0 No.10

터키 문화를 한 마디로 혼종성, 다양성으로 특징지을 수 있지만, 한편으로는 그 안에 내포되어 있는 여타 요소들이 간과할 수 없을 정도로 중요하며, 이러한 요소들은 터키를 이해하는 이정표 역할을 하고 있다. 또한 다양성이나 혼종성으로 명명할 수 있는 카테고리 안에는 많은 문화연구자들이 공통으로 도출할 수 있는 문화코드들이 존재한다. 이 글은 터키를 이해하기 위한 핵심적인 요소를 몇 가지 문화코드로 정리 분석해 보고자 한 시도이다. 문화코드는 쉽게 이해하자면 문화적 특색이라고 할 수 있으며, 이 문화적 특색이 오늘날의 터키를 대변하고 표상하는 요소들이라고 할 수 있다. 이 연구에서 터키를 이해하기 위한 문화코드로 이슬람, 다문화 사회(혼종성), 집단주의, 가부장적 사회, 명예, 관용, 환대, 음식 등을 선별해 정리 및 분석하는 시도를 하지만, 문화의 가변성을 감안하면, 물론 다른 코드들이 첨가될 수 있을 것이다. 우리는 터키가 다양한 문명을 품고 있으며, 동양과 서양, 이슬람과 세속주의, 전통과 현대 등 이중적이며, 복합적이며, 다양한 층위가 있는 국가라는 점을 감안하여, 이에 다가가는 자세가 필요하다. 터키인의 문화적 특징과 가치관을 이해하고 반영하는 대표적인 코드들은 터키인들의 의식 형성 패턴과 사회문화 이해에 지침이 되는 요소들이라고 할 수 있다. To understand the social values of a society, one can take various paths out of which culture is one of the most important key concepts. This is because culture is the means that enables one to effectively understand foundation and ethics, which allows a nation or a society to form. To understand the Turkish culture and Turkish people’s ethnicity as a cultural code, an attempt to understand the values which are oriented or embedded in Turkish society has been made by analyzing Islam, multicultural society (cultural hybridity), collectivism, patriarchal society, honor, hospitality, tolerance, food culture and so on. If cultural code can be briefly defined as the DNA and social instincts of accumulated social behavior, these codes, derived in an attempt to understand the Turkish culture, can serve as guidelines to estimate the disposition or characteristics, thoughts, and behaviors of Turks. French scholar Clotaire Rapaille said,“Culture code of a society is equivalent to a lock with a password.”This means the key to understand a culture depends on whether the password to the lock is found or not. Culture code can be said to be an academic field that displays race and identity of a society, and also, researching its footsteps, history, language, religion and diverse distribution can be directly said as the password to the DNA of social behavior. Turkey is consisted of various civilizations, and there is a need to approach the Turkish culture, considering the fact that Turkey has various social levels and dualities such as Eastern and Western cultures, Islam and secularism, customs and modern time. Although representative codes that reflect the Turkish cultural aspects and values are important to understand the pattern of the formation of Turkish consciousness and their social culture, from now on, a more in-depth and comprehensive research needs to be set forth.

소설 『알리와 니노』에 나타난 아제르바이잔의 정체성 문제

이난아 ( Lee Nan-a ) 한국이슬람학회 2018 한국이슬람학회논총 Vol.28 No.2

Situated right in between the Islamic world and the European world, the identity of Republic of Azerbaijan as a nation was very much shaped and influenced by the two distinct worlds. Such geopolitical factor of the Republic of Azerbaijan inevitably led to the coexistence of diverse cultural, ethnic and religious values as well as conflicts and clashes of contradictory beliefs and practices. The novel 『Ali and Nino』 is set in the Caucasus region, which was a melting pot of various cultures during the turbulent era of the early 20thcentury. The novel, which revolves around the love story of Ali and Nino, vividly demonstrates the conflicts and clashes of different cultures, religions, lifestyles, customs and values prevalently witnessed during the early 20th century in the Republic of Azerbaijan. Although marrying a woman of different religion was condemned with in the Islamic society, Ali, the male protagonist, marries Nino, a Christian woman from the Western culture. Through the power of love, he overcomes their reconcilable differences he encounters in a world he is unable to understand or relate to. Throughout the novel, Ali also displays the tenacity of successfully preserving his identity as a Muslim even during the trials and tribulations of the turbulent era, marked by the Westernization of the Republic of Azerbaijan. The fact that Ali loves the ‘desert’ while Nino loves the ‘wood’ symbolizes the different values and upbringings that set the two individuals apart. Ali and Nino both accept the fact they hold different values, yet they do not force their values upon each other. For instance, Ali does not particularly stand against the Islamic law, Sharia, yet this does not mean that he conforms to it either nor does he compel Nino to adhere to it. In other words, he is ready to embrace cultures different from his and wiling to find a suitable halfway point that satisfies both of them. In short, 『Ali and Nino』 is a story about a pair of lovers that undergoes an identity crisis as they become involved with each other and walk on the borderline of two different worlds, yet, ultimately overcomes the crisis through the power of love. The naming of their soon to be born baby ‘Tamar’, a name that is used in both Christianity and Islam, shows their willingness to retain both identities as a Muslim and a Christian. Through the struggles of Ali and Nino to define and preserve their identities, the novel implies that an identity, in its true sense, is founded on a particular ethnicity, culture or religion, instead, is formed while one autonomously and independently strives to create a world of harmony.

『내 이름은 빨강』에 나타난 동,서양 갈등: 동,서양 회화(繪畵)를 중심으로

이난아 ( Nan A Lee ) 한국이슬람학회 2005 한국이슬람학회논총 Vol.15 No.1

Due to the geographical feature as a region of convergence between the East and West, Turkey has had frequent contact with other mass cultures accordingly, resulting in having diverse conflicts until the present time. Among these conflicts, one of the most outstanding factors is the conflict caused by the clash of the Eastern and Western civilizations. 『My Name Is Red』 which portrays the intense anguish of artists in Istanbul, the capital of Ottoman Empire in the 16th century, begins with a monologue of Elegance who is a murdered miniaturist. The background before and after the murder is attributed to the fact that Eniste publishes a book which is secretly commissioned by the Sultan. Eniste starts adoring Venetian paintings after seeing a certain portrait during his visit to Venice as a member of delegation. He convinces Sultan and starts working on a secret book which would include Western style paintings. Because of Eniste`s Western style paintings, many miniaturists suffer and agonize over the selection between traditional and Western brushwork. Thus, the main structure of this novel is the conflict and clash of Eastern and Western paintings and it is manifested through an acute conflict among the characters. Olive, who is a miniaturist that becomes a murderer afterwards, is the one who experiences the most conflicts. He experiences mental unstableness that goes to the point where he even kills his own colleague. Therefore, at the end of the novel, he says he wants to give his best as a miniaturist and wishes to go to India. Adopting Western brushwork, fear of changing what one already has, and curiosity for new things tensely conflict inside himself. Especially, the deadly way of `murder` elevates the conflict and brings out how immense the seriousness of the matter and its consequences are. In the end, Pamuk wants to deal with the clash of culture, civilizations and values in 『My Name Is Red』. At the opening of the book, there is a phrase quoted from the Koran which says `To God belongs the East and the West.` It means both the East and the West belong to God. However, Black, who is on a mission to discover the murderer in the novel, tells Olive that `The East is the East, and the West is the West`. This means there is a difference between the East and the West in terms of thought pattern and idea. However from God`s perspective, the two worlds are not individually separate, they are rather two-civilizations which influence each other. Therefore, the clash of the two civilizations can not act as a positive element. In this novel, it does not draw any conclusion on the clash of the Eastern and Western civilizations which even incurs the murder. Nevertheless, it proposes another meaningful contemplation on the ancient clash of the Eastern and Western civilizations through the comment of Butterfly who says `An artist should never succumb to hubris of any kind, he should simply paint the way he sees fit rather than troubling over East or West.

터키 문단과 언론에 나타난 한국문학 -현황과 전망 그리고 제안

이난아 ( Nan A Lee ) 韓國世界文學比較學會 2009 世界文學比較硏究 Vol.26 No.-

It has already been 50 years since Korea and Turkey made interactions but there has not been much exchange in culture and art. That is because only a few introductions about the history of Korean literature have been written in the Turkish literary magazines in the 1990s. Also, the translated Korean literature started to be published after the year 2000. Thus, the history of Korean literature in Turkey is not very long. In this current situation, translation and exchange is almost impossible as there is no systematical long-term planning. In 2007, there were many interviews of Korean book authors and critiques about Korean literature in leading Turkish newspapers. This can be attributed to the Korea-Turkey 50th anniversary of Ties which shed light on the cultural exchange of the two countries and thereby attracting much attention. We should accelerate on the little achievements that we have already achieved through this positive commencement. Also, we should continue to make strategies and long-term plans&insights to upgrade the views on Korean literature in Turkey. Many long-term methods are required to enable Korean literature as one of the most popular literature spheres for Turkish readers. First of all, in order to introduce Korean literature to the Turks, there must be thorough understanding of the characteristics of the Turkish literary world. That is, introducing Korean literature through Turkish literature magazines or book reviews can strategically be very effective in a country like Turkey where magazines and newspapers are developed fairly well. In Turkey there are a variety of newspapers developed in different aspects. Also there are many literature magazines which have vast readers who possess different ideas. Thus, literature trend and the popular style of literature is much varied in comparison to Korea. We should take the characteristics of the Turkish literature magazines and newspapers into consideration and introduce the Korean literature trend by considering the ideological background of the Turks. By introducing the Korean literature through the book review part or the cultural part of a newspaper, and if it is spread well through out the Turkish readers, it will be able to attract many general readers. Moreover, it is also necessary to search for a different alternative of communication methods like the Internet which can spread the Korean literature and also in which people can be interested in. Then, there needs to be a plan to train Korean literature translators and researchers by co-developing it with the departments that is related to literature in Turkey. Korean literature in Turkey will be able to stand on itself and develop itself by drawing voluntary research and translation. Considering the economic interactions between the `Korea-Turkey` bilateral relationship, the recognition of Korean literature in Turkey is currently not at a satisfying level compared with the Turkish literature in Korea. Yet, it is predicted to continue its momentum on development. This is due to the fact that much Turkish literature are being introduced to Korea and it is showing positive reaction, grasping many readers` eyes. Then, if you think of it conversely, there also exists a potential that Korean literature can receive positive evaluation from Turkey. Especially, when considering the two countries` active economic interactions and its historical background, the introduction of Korean literature can be effectively pushed forward. If countries are connected by literature and if the country`s identity and ethnicity are shared among individuals so that they may deeply understand each other, there will be less chaos in the world today. It is hoped that the high level literature in Turkey will be loved by many Korean readers, and in turn, it is also desired that Korean literature be well known among the Turkish readers, and consequently that the two countries can better understand each other and be more close to each other through literature.

터키 여성주의 작가 할리데 에딥의 생애와 작품연구 - 『세비예 탈립』과 『창녀를 쳐라』를 중심으로

이난아(Lee Nan-A) 한국중동학회 2005 韓國 中東 學會 論叢 Vol.26 No.1

  The Women"s problems in Turkey, which started to be discussed in the Tanzimat era, had a significant change in the Republican era. There were insufficient studies, activities and inconsistencies on women"s problems in the Tanzimat and Constitutional era. Authors in these eras usually depicted women who stayed indoors. However, some authors such as Namik Kemal, Ahmet Mithat put their heart and soul to raise the position of women in the society. Women depicted in the works made in these eras usually did not have their own occupations, but they tried to raise their position only to be good wives and mothers. However, it is quite significant to see that since the Tanzimat era, writings on women"s problems were started to be written and the position of women in the society started to be partly discussed due to the influence of the West. Especially in this era, it is obvious that women"s problems were dealt through literary works and periodicals, and they started to be reflected in various classes in the society.<BR>  The fundamental change on the position of women in the Turkish society was brought to relief to the society at large with the proclamation of The Republic of Turkey, and it was no exception on the field of literature. For the first time in this era, women were depicted actively and were equally treated as male characters in literary works.<BR>  The first author in Turkish Literature who dealt actively with women"s problems and setting women as the main characters in her works, was Halide Edip, a female writer. All of her works issue about women"s problems in Turkey with great interest with conscience. Most women characters in Halide Edip"s works try to demonstrate their identities in their families and the society. As a natural result, these women characters have difficulties and conflicts with their inner nature, families and the society. This fact can be seen as the reflection of Turkish women going through tough realities in Turkish society. In other words, Halide Edip depicted the conflicts of women characters in her works, trying to give courage to Turkish women indirectly. As mentioned above, this is an obvious example that how literary works reflect social thoughts and goals of that era.<BR>  Halide Edip asserted the women"s rights on education, opposition toward polygamy, accessing outdoors, attending social gatherings, working, divorce, not covering their head and body, selecting their own husbands, making organizations and political rights in most of her works. This fact proves that she reflected her own identity as a feminist through her literary works.<BR>  Halide Edip examined closely the conflicts of Turkish women during the contemporary changes of the Turkish history, and through the examination of those conflicts, she tried to make social reforms for a better society, which makes her an important author in Turkish literature. Not only did her efforts have great affection on contemporary Turkish authors, but also on the Turkish society. However, there still exist dual standards, discriminating men and women, due to the influence of traditional Islamic culture.<BR>  There are negative opinions on Halide Edip, claiming her political opinions inconsistent, but she made a great issue about the Turkish women"s problems through her literary works, and we have no contradictions on the fact that she is trying to show the lives of Turkish women through her own. She aggressively broke common ideas of the present era with her actions, and dealt with great confidence the will and identity of women in her literary works. Due to these reasons, Halide Edip will be immortal in the history of Turkish literature.

히잡 착용 문제를 둘러싼 이슬람주의와 세속주의 갈등 및 충돌연구 - 오르한 파묵의 소설『눈』을 중심으로

이난아(Lee Nan-A) 한국중동학회 2006 韓國 中東 學會 論叢 Vol.27 No.1

  It is almost natural for collisions and conflicts to arise concerning differences on culture and religion in Turkey, located at the border of the East and the West. Orhan Pamuk deals with collisions and conflicts between the East and the West in almost all of his novels released until now and especially in his recent work 『Snow』. These aspects collisions and conflicts lead to a bloodshed coup d"etat.<BR>  In 『Snow』, diverse features of modern Turkey"s reality are presented in a small city named Kars as the background. According to Orhan Pamuk, the temporal background of 『Snow』is from 1992 to 1996. This novel portrays the continuing political polarization in Turkey, in other words, the collisions and conflicts between Islamism and secularism.<BR>  The characters in『Snow』are mostly placed within structure of conflict. They neither try to understand or nor accept people with contradicting opinions from theirs. It is because all people, of Islamism or secularism, with faith towards God or atheist, live with ignorance towards each other. Theologians endlessly question the meanings of God and secularists even perform bloody coups for their ideologies. Islamists also criticize people pursuing the Western ways for casting aside their Islamic identities and becoming atheists. However, those who receive such criticisms are not perfect supporters of the West but people who are going through conflicts between two cultures. It can be seen in Orhan Pamuk"s other novels such composition of confrontations of characters.<BR>  The collision of Islamism and secularism in 『Snow』is expressed by a suicide of girls wearing Hijaps, a symbol of resistance and identity in Islamic society. Problems on wearing Hijap lead school authorities who block female students who insist on wearing Hijap to cause a suicide incident of the girls. Not long after, such conflict reached its height, even leading to a homicide incident of the principal who carried on the secular government"s order of banning the wearing of Hijap. This is the story of girls committing suicide because of the secular government"s policy of banning the wearing of Hijap. This can be summarized as conflict of conservative Islamism, which puts up Hijap as a symbol, and secularism, which pursues modernization. However, when carefully reading the novel, readers can understand that the reason they committed suicide is not largely related with the banning on wearing Hijap. Instead personal misfortunes such as resisting their parents forcing girls marriage with men who they do not wish to marry. In this way, women who appear on 『Snow』 put on Hijap, take off Hijap, or even commit suicide depending on their interests and their environment, aside from religious ideas. It can be seen that Islamists and secularists by only maintaining arguments, failing to reach to conclusion.<BR>  Pamuk might have wanted to say that Islam is one of many religions in the world and that analysis, acceptance, and understanding as well as application of general Islamic order can change depending on personal beliefs, ideals, and environment. It is also important to restate that the suicide reasons of girls wearing Hijap were not because of religious reasons, but personal reasons such as their environments and circumstances.<BR>  Pamuk emphasizes problems on muslim women who suffer from mental and physical mistreatment concerning problems on Hijap by portraying the conflict between radical Islamism and secularism, a still important issue in modern Turkey. Pamuk used a small border city named Kars as a stage for such portrayal. It can be said that the conflicts and collisions of religious and political incidents in the novel concerning Hijap are not mere fictions but actual reflections of present Turkey. It is still unknown perspectives and solutions to these problems, but what is sure is that solutions using physical po