Space in Ömer Seyfettin's stories

In this thesis, the biography of Ömer Seyfettin and the effect of the shrinking of the geography he lived in on his stories are explained through the spatial designs in the stories or the way the spaces are given. For this purpose, the relationship between Ömer Seyfettin's shaping of literary spaces and his own life, the professions he acquired, and his psychology is investigated. The effect of the author's understanding of history, especially the shrinking and divided Ottoman geography in the period he lived in, on his selection of interior and exterior spaces in his stories and the positioning of the characters is analyzed. While interpreting the stories, a psychobiographical approach was used, and these interpretations were associated with the historical background of the period. In this context, Ömer Seyfettin's story settings were examined with a Freudian causal and Jungian constructivist approach, considering the relationship between the author, the character, and the period. The geography of Ömer Seyfettin's life forms the basis of the story spaces. The situations he experienced and observed in the Balkan geography where he was an officer are reflected in his stories. The shrinking of the Ottoman geography due to wars and the traumas accompanying this are seen in the story spaces. The shrinkage and trauma are tried to be solved with imaginary space and geography designs. It is noticed that the house's interior is frequently chosen in the stories and the room stands out as the interior space of the house. It is seen that the room, as the interior space of the house, appears with the characteristics of conflict, integration, and transformation in the psychological context. The fragmentation of the neighborhood, the shortening of the distance between spaces with the change of means of transportation, and the position of women in public spaces are discussed in his stories. While the mansion and the mansion are highlighted with its shabby appearance and the apartment with its degenerate appearance, the depictions of Istanbul are negative. Finally, the story spaces are woven with a naturalistic perspective and a nationalist approach.