CENGİZ DAĞCI’NIN ÜŞÜYEN SOKAK ADLI ROMANINDA MEKÂN-İNSAN ÖZDEŞİKLİĞİ
IDENTICALNESS OF PLACE-HUMAN IN CENGİZ DAĞCI’S NOVEL ÜŞÜYEN SOKAK

Summary/Abstract: The Modernists consider the human being as a synthesis of soul-body. Thus, the techniques such as interior monologue, interior dialogue, stream of consciousness, montage techniques are often used to emphasize the inner worlds of the characters. In this way, selfunderstanding and the process of comprehending the world are intended to examine. In his novels, Cengiz Dağcı, generally, tells the story and sufferings of Turks who are under the oppression, violence, and exile of The Soviet regime. After 1947, Cengiz Dağcı spent all his life abroad and he generally uses the image of soil that is furnished with mythical elements, and triggered by the “lost” homesickness in his novels. Motherland is such a place in which heavenly beatuies and happy times have been existed. In his novels, such as “Onlar da İnsandı, O Topraklar Bizimdi, Korkunç Yıllar, Yurdunu Kaybeden Adam”, motherland/soil image is widely used. Üşüyen Sokak novel is different than others in terms of handling the element of place. The writer in Üşüyen Sokak tells the story of the main character Halûk who spent his three days in an apartment for sheltering during the World War II. The events are arranged upon the protagonist’s perspective from his apartment window. This article investigates the main character Halûk’s relationship with place in his process of self-understanding and identifying the world.

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