土耳其哪個作家最出名

『壹』 2006年度諾貝爾文學獎授予土耳其作家奧罕-帕慕克訪談

10月12日,瑞典皇家科學院諾貝爾獎委員會宣布將2006年度諾貝爾文學獎授予土耳其作家奧罕-帕慕克。擾昌慶瑞典文學院在頒獎公告中說，授予貝爾文學獎的理由是「在追求他故鄉憂郁的靈魂時發現了文明之間的沖突和交錯的新象徵（who in the quest for the melancholic soul of his native city has discovered new symbols for the clash and interlacing of cultures）。」

帕慕克被認為是當代歐洲最核心的三位文學家之一，是享譽國際的土耳其文壇巨擘。他的作品迅賀已被譯成40多種語言出版。文學評論家把他和普魯斯特、托馬斯-曼、卡爾維諾、博爾赫斯、安伯托-艾柯等大師相提並論。 其作品包括:《塞夫得特州長和他的兒子們》（1979）、《寂靜的房子》（1983）、《白色城堡》（1985）、《黑書》（1990）、《新人生》（1997）、《我的名字叫紅》（1998）、《雪》（2002）、《伊斯坦布爾》（2005）。帕慕克生平請點這里: http://nobelprize.org/nobel_prizes/literature/laureates/2006/pamuk-bibl.html

[Orhan Pamuk] –緩握 Hello.

[Adam Smith] – Hello, may I speak to Orhan Pamuk please? Hello?

[OP] – Hello.

[AS] – Hello, may I speak to Orhan Pamuk please?

[OP] – Speaking.

[AS] – Oh, my name is Adam Smith and I'm calling from the official website of the Nobel Foundation in Stockholm.

[OP] – Yes.

[AS] – We have a tradition of recording very short conversations with new Laureates immediately after the announcements.

[OP] – OK.

[AS] – So, first of all, many, many congratulations on being awarded ……

[OP] – Oh, thank you very much. It's such a great honour.

[AS] – I gather you're in New York. What were you doing when you received the news?

[OP] – Oh, I was sleeping, and thinking that, in a hour, probably they will announce the Nobel Prize, and then someone would maybe tell me who won it. And then I'm thinking, so what am I going to do, what's today's work? And I'm a little bit sleepy. And then the phone call, and then I'm "Oh, it's already half past seven". You know, this is New York and I don't know the light, so I don't feel pretty …… And I answered, and they said I won the Nobel Prize.

[AS] – That's an extraordinary phone call to receive. There was an enormous cheer went up at the press conference when they announced the prize.

[OP] – Really, of that's great, I'm very happy to hear this. This is great.

[AS] – We've recorded it on the website so you can, when finally you get off the phone you can go and relive the moment.

[OP] – And also I saw so many journalists you know, wanted me to have it, so I'm pleased about that. I'm very pleased about all these details. Thank you very much, sir.

[AS] – You're the first ever Turkish writer to be awarded a Nobel Prize for Literature. Does that give the award a special significance for you?

[OP] – Well, unfortunately, that makes the thing very precious in Turkey, which is good for Turkey of course, getting this prize, but makes it more extra sensitive and political and it somehow tends to make it as a sort of a burden.

[AS] – Yes, because it's been quite a public year for you.

[OP] – Yes.

[AS] – So I imagine this will add to that. The citation for the award refers particularly to your "quest for the melancholic soul of （your） native city", and there's an extremely long tradition of writing about Istanbul, and in praise of Istanbul. Could you describe briefly what it is about the city that has acted as such a strong draw for people's imagination over the years?

[OP] – Well, it was at the edge of Europe, but different. So it was the closest 'other'. And it was really both close and, in a way, other. Mysterious, strange, uncompromising and totally un-European in ways, although in its spirit there was such a great place for Europe [words unclear].

[AS] – And referring to the phrase "melancholic soul", how would you describe Istanbul to those who've never seen it?

[OP] – I would say that it's one of the early modern cities where modernity decayed earlier than expected. I would say that the ruins of the past gave the city its melancholy, along with its poverty. But then I would also say that it's now recovering from this melancholy, hopefully.

[AS] – And another facet of your writing that was particularly emphasized in the citation, from the Committee, is the way that you deal with the interactions between different cultures. And of course it's a cliché to say that Turkey lies at the crossroads between East and West, but it does presumably offer the perfect vantage point from which to view the cross-cultural interface?

[OP] – This meet of East and West and clash of civilizations, this is unfortunately one of the most dangerous and horrific ideas that have been proced in the last twenty years, and is now serving for…… This fanciful idea is now unfortunately getting to be real, and this theory is serving the clash of civilizations and the deaths of so many people.

[AS] – Because historically there has really been much more mixing of cultures than is popularly supposed.

[OP] – Culture is mix. Culture means a mix of things from other sources. And my town, Istanbul, was this kind of mix. Istanbul, in fact, and my work, is a testimony to the fact that East and West combine cultural gracefully, or sometimes in an anarchic way, came together, and that is what we should search for. This is getting to be a good interview by the way.

[AS] – Thank you, that's very kind of you. Many of your characters might be said to embody multiple cultural influences. I mean your writing indicates that they're far from uniformly either Eastern or Western, it's a mix.

[OP] – Yes.

[AS] – Do you write solely in Turkish?

[OP] – Yes. I think I wrote some six or seven articles in English, in international magazines, in Times Literary Supplement, in Village Voice.

[AS] – So there are presumably ……

[OP] – But of course I'm a Turkish writer, essentially, and live in the language. Language is me, in a way. Really, I feel it.

[AS] – Right, and there are ideas that you can express in Turkish, I assume, that would be very hard to capture in other languages?

[OP] – Exactly. Because thinking is composed of two things; language and images, and then yeah, half of thinking is the language. I agree, yes sir, please ask the question.

[AS] – Well, could you give an example of a concept that ……

[OP] – Wow! I can of course, but not on the day that I have received the Nobel Prize.

[AS] – That's fair enough, you don't really have to answer any questions on the day you receive the Nobel Prize.

[OP] – Yeah, OK.

[AS] – You can say anything you like.

[OP] – OK, thank you very much sir.

[AS] – So then an easy question. I mean the award will encourage a lot of new readers to dip into your work for the first time. Where would you recommend they start? What would you suggest to people, and also ……

[OP] – Oh, depending on the reader of course; the reader who buys books because the writer has received the Nobel Prize should start with My name is red. The reader who has already read that book should continue with The black book. The reader who is interested in more contemporary issues and politics should go ahead with Snow, so forth and so on.

[AS] – Wonderful, wonderful. And if your readers are lucky enough to be able to read in multiple languages, but can't manage Turkish, do you have a recommendation for which language most excellently captures the spirit?

[OP] – Of course English is the world's language now, and that's the language I've been checking my books with, and I'm proud with my translator and I'm also confident. So, basically English translations.

[AS] – OK, thank you very much.

[OP] – Thanks, as you see I'm a tiful good boy, I did my homework very well now.

[AS] – Very well indeed! No, I'm thrilled with your cooperation. Thank you very much.

[OP] – Bye, bye. I'm have to hang now because my agent is calling and others, so many responsibilities that I have to address.

[AS] – Of course, quite so, thank you for sparing the time. See you soon, bye, bye.

[OP] – OK, bye, bye.

『貳』 凱末爾為什麼被稱為「土耳其之父」

因為凱末爾擊敗協約國軍隊，取得了土耳其獨立戰爭的勝利。
穆斯塔法·凱末爾·阿塔土克（土耳其語：Mustafa Kemal Atatürk，1881年5月19日－1938年11月10日），土耳其的國父，被賜予Atatürk（阿塔土克）就是「土耳其人之父親」一姓。土耳其軍事家、政治家、改革家、作家，土耳其共和國第一任總統、總理及國民議會議長。
1881年5月19日出生於奧斯曼帝國的薩洛尼卡。1895年升入瑪納斯提軍事預備學校，1899年進入伊斯坦布爾軍官學校，1902年進入哈拜參謀學院。1905年畢業，授上尉軍銜。1911年參加意土戰爭。1915年晉升為上校，指揮了著名的加里波利之戰。1916年晉升為將軍。1920年在安卡拉召開大國民議會，宣布組成代表國家的臨時政府。1921年8月任國民軍全權總司令，擊敗協約國軍隊，取得了土耳其獨立戰爭的勝利。1923年10月29日，土耳其共和國正式成立，凱末爾當選為首任總統。
執政期間，凱末爾施行了一系列改革，史稱凱末爾改革，涉及國家體制、法制、經濟、文化教育、社會生活習俗等諸多方面，使土耳其成為世俗國家，為土耳其的現代化奠定了良好的基礎。1938年11月10日在伊斯坦布爾去世，享年57歲。

『叄』 土耳其「革新時期」有哪些著名的作家和作品

這時著名的作家有錫納西(1826－1871)、納默克·凱馬爾(1840－1888)和齊亞·帕夏(1825－1880)等。錫納西於1859至1860年間首次翻譯了法國的詩歌，創作了第一個劇本《詩人的婚姻》；阿卜杜爾·哈克·哈米德(1851－1937)最早接受歐洲詩歌的格律，對土耳其詩歌進行了重大的改革。

『肆』 奧罕·帕慕克生平簡介是怎樣的

奧罕·帕慕克簡介：姓名：奧罕·帕慕克(OrhanPamuk)；

出生年代：1952年；

職稱：作家；

國家：伊斯坦堡；

個人情況：奧爾罕·帕慕克於1952年出生於伊斯坦堡，在伊斯坦布爾科技大學他主修建築。他是當今土耳其最重要也最暢銷的作家。文學評論家把他和普魯斯特、托馬斯·曼、卡爾維諾、波赫士、安伯托·艾柯等大師相提並論。

1979年他的第一部作品《塞夫得特州長和他的兒子們》得到《土耳其日報》小說首獎，在1982年出版後，1983年再度贏得奧爾罕·凱馬爾小說獎。1983年出版第二本小說《寂靜的房子》，並於1991年獲得得到歐洲發現獎。

1985年出版第一本歷史小說《白色城堡》，這本小說讓他享譽全球，從而他被稱為「一位新星正在東方誕生——土耳其作家奧罕·帕慕克。」

1990年出版《黑書》是一個里程碑，這本小說讓他在土耳其文學圈備受爭議的同時也廣受一般讀者喜愛。法文版獲得了法蘭西文化獎。1992年他以這本小說為藍本，完成《隱蔽的臉》的電影劇本。1997年《新人生》一書的出版在土耳其造成轟動，成為土耳其歷史上銷售速度最快的書籍。1998年《我的名字叫紅》出版，這本書確定了他在國際文壇上的文學地位；獲得2003年都柏林文學獎，這個獎獎金高達10萬歐元，是全世界獎金最高的文學獎，同時還贏得了法國文藝獎和義大利格林扎納卡佛文學獎。2002年作者發表小說《雪》。

2005年作者的新作《伊斯坦布爾》被諾貝爾文學獎提名。同年獲得德國書業和平獎。2006年10月12日當地時間下午13時，瑞典皇家科學院諾貝爾獎委員會宣布將這一年度諾貝爾文學獎授予土耳其作家奧罕·帕慕克。

『伍』 06諾貝爾文學獎得主是誰國籍、代表作

06年諾貝爾文學獎得主
12日19時，瑞典皇家科學院諾貝爾獎委員會宣布將2006年度諾貝爾文學獎授予土耳其作家奧罕·帕慕克。今年諾貝爾文學獎的得主，將獲得1000萬瑞典克朗(約合137萬美元)的獎金。
奧罕·帕慕克於1952年出生於伊斯坦布爾，學習建築的他是當今土耳其最重要也最暢銷的作家。自1979年出版第一部小說《塞夫得特州長和他的兒子們》以來，帕慕克的寫作生涯可謂榮譽等身，曾獲得歐洲發現獎、美國獨立小說獎、法國文藝獎、德國書業和平獎等多種榮耀。

1985年出版的第一本歷史小說《白色城堡》讓他享譽全球，紐約時報書評稱他：「一位新星正在東方誕生———土耳其作家奧罕·帕慕克。」

1998年奧罕·帕慕克《我的名字叫紅》出版，這本書確立了他在國際文壇上的地位，並於2003年獲得都柏林文學獎，這是達10萬歐元的全世界獎金最高的文學獎，同時還贏得了法國文藝獎和義大利格林扎納納卡佛文學獎，成為包攬歐洲三大文學獎項的當代文學大師。地理上伊斯坦布爾是歐洲的最邊緣，帕慕克的小說卻站上了歐洲文學的主流位置。

瑞典文學院在頒獎公告中說，授予他諾貝爾文學獎的理由是「在追求他故鄉憂郁的靈魂時發現了文明之間的沖突和交錯的新象徵。」

(很慶幸這次諾貝爾文學獎沒有發給中國作家，現在的中國作家似乎都不願意去對這個獎項發表觀點與意見，然而逃避終究帶不來耀眼的光環與榮耀。王朔說中國作家的心思都去爭茅盾文學獎了，這是種具有麻痹性的自我安慰。它不僅象徵著對區域文化的認可，而且象徵著通往文學聖殿的門票。他不只是留給本區域的寶貴文化遺產，同樣給世界的文明增添一筆異樣色彩，惟有獲此殊榮的人，才有資格與那些文學大師與巨擘們談論相關人類世界的文明。)

『陸』 歐洲當代文壇三巨頭是誰我知道其中一個是寫《我的名字叫紅》的土耳其人帕慕克，求另外兩個，謝謝

（土耳其）奧爾罕·帕慕克、（義大利）伊塔洛·卡爾維諾、（義大利）安伯托·艾柯。注意是「歐洲當代文壇三巨頭」，這里的當代應該是以上三人無疑，而普魯斯特（法國）、托馬斯曼（德國），不能被定義為當代，而應該說這二位是歐洲現代或近代的世界級的大作家，當然要論現有的作家影響普魯斯特和托馬斯曼顯然要大於另外三位，因為他們都已作古其作品已經被世界公認並產生了極其深遠的影響，可以去讀一讀普魯斯特的意識流名著《追憶似水年華》和托馬斯曼的諾獎大作《魔山》和《布登勃洛克一家》。

『柒』 依據20世紀40年代歷史背景土耳其有哪些著名的長篇小說

土耳其在長篇小說方面，著名作家亞庫普·卡德里的《外人》（1932)，哈莉黛·埃迪普的《有蒼蠅的雜貨鋪》（1936)及雷沙特·努里·君泰金的《戴菊鳥》(1922)，都用通俗易懂的語言真實地反映了當時的社會問題和人民生活，因而深受歡迎。20世紀30—50年代之間出現的薩巴哈丁·阿里、薩德利·埃爾泰姆（1900—1943)和雷沙特·埃尼斯（1909—)等作家，大多以城市貧民、士兵、農民、工人、囚犯和流亡者的生活為題材。埃爾泰姆的《當紡車停轉的時候》(1931)是土耳其文學史上第一部反映農村階級斗爭的小說。雷沙特·埃尼斯的長篇小說《泥土氣息》(1944)，描寫了一個貧苦家庭的悲慘命運，反映了農民遭受剝削的處境，成為40年代的名著之一。