Postyapısalcı Julia Kristeva tarafından ilk defa 1966 yılında ortaya atılan "metinlerarasılık" (intertextuality) kavramı, bir metnin tek başına var olamayacağı ve oluşturulurken mutlaka kendinden önceki metinlerden etkilenmiş ya da beslenmiş olduğu savı üzerine gelişmiş postmodern bir anlatı tekniğidir. Buna göre, metnin anlamı başka metinler tarafından şekillendirilmektedir. Dilbilimcilerin geliştirdiği bir metin çözümleme yöntemi olan metinlerarasılık, "okur merkezli" bir eleştiri yöntemini de ortaya koymaktadır. Çünkü bir metnin anlamı -başka metinlerle olan bağı dolayısıyla- okurun bilgi birikimine göre de değişebilmektedir. Bu durum yine postmodernizme ait olan "çoğulculuk" ilkesini de ön plana çıkarmaktadır. Metin, kendinden önceki metinlerle bağ kurarak, çoksesli bir kurgu halini almaktadır. Bu çokseslilik, Faruk Duman'ın İncir Tarihi adlı romanında da göze çarpmaktadır. Yazar romanının iskeleti olan sürükleyici bir ana hikâye oluşturmuş ve zaman zaman bu hikâyenin anlatımını keserek, kurguladığı (dönüştürdüğü ya da yeniden yazdığı) başka hikâyeleri yine kahraman anlatıcı aracılığıyla okurla paylaşmıştır. Bu hikâyelerin bazıları tamamen yazarın hayal gücünün eseriyken, birçoğu da daha önceki metinlerden alıntı, masal/destan formundaki geleneksel anlatı söylemlerine öykünme (pastiş) ya da onlara gönderme şeklinde karşımıza çıkmaktadır. Bu metinlerarasılık örneklerinin çoğu tarihi söylentiler, efsaneler ve kutsal metinlerde geçen kıssalar arasından seçilmiştir. Bu çalışmanın amacı tespit edilen metinlerarası ilişki örneklerinden yola çıkarak, hem yazarın yeniden yazma sürecinde beslendiği kaynakları gözler önüne sermek hem de gönderge metinlerin kurgulanan yeni metne sağladığı imkânları açıklamaya çalışmaktır

The concept of (intertextuality), which was first brought forward by poststructuralist Julia Kristeva in 1966, is the narrating technique, which was developed on the argument that a text cannot exist on its own, and undoubtedly, it was influenced or fed by previous text when it was being formed. According to this, meaning of the text is being formed by other texts. Intertextuality, which is a text analyzing method developed by the linguists, is also bringing forward a “reader focused” criticism method. Because, meaning of a text – due to its connection with other texts – can also change according to the accumulation of knowledge of the reader. This condition also brings to the forefront the principle of “multiplism” that also belongs to post modernism. The text comes to a state of being polyphonic, by establishing a bond with the previous texts. This polyphony draws the attention in Faruk Duman’s novel, entitled İncir Tarihi. The author has established a fascinating main story, that is the frame of his novel, and from time to time he interrupted the narration of this story, and shared other stories that he has fictionalized (transformed or rewritten), again by means of the character narrator. While some of these stories are completely production of the imagination of the author, many of them confront us in the form of excerpts from previous texts, pastiche to the traditional narration discourses in the form of folk tale / epopee, or reference to them. Most of these intertextuality examples are selected out of historical rumors, legends and parables in holy texts. The aim of this study is both to display the sources that the author was fed in the process of rewriting, and try to explain the opportunities that the reference texts have provided to the fictionalized new text, with reference to the determined intertextual relation examples STRUCTURED ABSTRACT The concept of (intertextuality), which was first brought forward by poststructuralist Julia Kristeva in 1966, is the narrating technique, which was developed on the argument that a text cannot exist on its own, and undoubtedly, it was influenced or fed by previous text when it was being formed. According to this, meaning of the text is being formed by other texts. Intertextuality, which is a text analyzing method developed by the linguists, is also bringing forward a “reader focused” criticism method. Because, meaning of a text – due to its connection with other texts – can also change according to the accumulation of knowledge of the reader. This condition also brings to the forefront the principle of “multiplism” that also belongs to post modernism. The text comes to a state of being polyphonic, by establishing a bond with the previous texts. This polyphony draws the attention in Faruk Duman’s novel, entitled İncir Tarihi. The author has established a fascinating main story, that is the frame of his novel, and from time to time he interrupted the narration of this story, and shared other stories that he has fictionalized (transformed or rewritten), again by means of the character narrator. While some of these stories are completely production of the imagination of the author, many of them confront us in the form of excerpts from previous texts, pastiche to the traditional narration discourses in the form of folk tale / epopee, or reference to them. Most of these intertextuality examples are selected out of historical rumors, legends and parables in holy texts. The aim of this study is both to display the sources that the author was fed in the process of rewriting, and try to explain the opportunities that the reference texts have provided to the fictionalized new text, with reference to the determined intertextual relation example. In the last years of Turkish literature when the post-modern art concept reigned, Faruk Duman is also one of the authors who reflected this understanding to his works. His novel which received the 2011 Yunus Nadi Novel Prize “İncir Tarihi” is the work of the author in which he used many of the post-modern techniques, and in which he reinterpreted the traditional narrative forms such as fairy tales and legends, – even in somewhat magical way. The İncir Tarihi, which the author described as “a novel dedicated to nature”, is a work in which the adventures that the hero narrator called Zeyrek had are the central story, and during the narration of the story, that the hero in the position of a modern fairy tale teller referred to texts such as fairy tales, folk tales, epics and myths out of the traditional narrative forms, and one that draws attention with a segmented and a pluralist discourse. Almost in all of the conversations he made, Faruk Duman talks about sources that feed him. Whether they are works with a Western or an Eastern origin, it is possible to see their traces in the novel the İncir Tarihi. Throughout the novel, it seems that the intertextual relationships have found a place for themselves with almost every method of its. Between the old texts and the new text that he fictionalized, the author made direct quotations from time to time, and resorted to the method of establishing relationships by means of reference. Apart from this general view, cynical conversion has also been resorted to from place to place. However, in the novel İncir Tarihi, the intertextual relationships of top priority that draw attention throughout the development of the original story that is shaped around the events experienced by the narrator hero is pastische described as a style of form imitation. Because, throughout the novel, it is observed that the author imitates fairy tales and legends among the products of verbal culture both in the dimension of discourse, and also in terms of the heroes and patterns that support the content. These open indications can be listed as follows: 1- The presence of a fairy tale / legend narrator 2- The presence of fairy tale / legend heroes, their helpers and enemies 3- The presence of dreams, trips, adventures, extraordinary (miraculous) events objects and characters 4- The presence of patterned words unique to the fairy tale / legend type In this study, in which Faruk Duman’s novel called İncir Tarihi which incorporates most of the post-modern techniques is examined in the context of intertextuality, twenty eight samples of intertextuality in total, fifteen of which have been fictionalized by the author and thirteen of which however actually exist in written or oral form have been determined. Seven of these thirteen samples are directly related to the Koran suras and the lives of the prophets. Some of these intertextuality samples is in the form of a reference to the sword of Imam Ali called “Zulfiqar”, and some of them have been made in the form of a quotation as in the Kabusname (Nightmare Letter) of Keykavus. While writing the İncir Tarihi, Faruk Duman most benefited from the prophet anecdotes. He shared the anecdotes that were mentioned in the Koran of the prophets such as Prophet Solomon, Prophet Moses, Imam Ali, Khidr and the Prophet Jonah from the mouth of a narrator (Zeyrek) who also added his comments in between – in the form of a tale – with the reader again. This situation has transformed into a technique that supports the miraculous and magical plot that catches the eye in the whole of the novel. Apart from this, he strengthened the mystical atmosphere of the story told by the hero by means of quotations from the works of mystic sufis such as Keykâvus, Feridüddin-i Attar and İbn-i Heysem. Finally, he enriched his text with open quotations as in Seven Sleepers and One Thousand and One Nights, and closed quotations such as Hallacı Mansur’s word of “Ene’l-Hak”, and put forward the feature of polyphony of the post-modern narrations. In addition to all these, in the whole of the text, there is generally an imitation to the method of fairy tale / legend, that is, pastische which is a way of intertextual relationships. The traditional structure has entered the novel by discourse borrowing here. In the whole of the novel, the author has used an epic, and from place to place, a heroical method. Both the heroes of the novel, the auxiliary characters and their descriptions, and also the miraculous and extraordinary events experienced have strengthened this effect in the novel İncir Tarihi even more, and have made it a modern tale. It can be said that İncir Tarihi has taken its place among the recent successful novels of the contemporary Turkish literature due to the fact that it is a multi dimensional narration on which many different readings can be made, and with respect to the fact that it contains rich materials that will enable the language and literature researchers to make both comparative and interdisciplinary studies.