ABSTRACT
This chapter links three distinct theories—Foucault’s heterotopia, Mingers’ autopoiesis, and Baudrillard’s simulacrum—in the context of Bakhtin’s chronotope to explore the notion of Pamuk moving beyond postmodernism. The theories are separately and in conjunction shown at play in Pamuk’s novels, in particular The White Castle, The Black Book, My Name is Red, and The Museum of Innocence. The concept of the double provides a rich discussion of the production and refashioning of the self, and the positing of the heterotopic self. Doubling and mirroring as conceptual categories are examined, and the self is shown as producing and refashioning the individual, leading to a postulation of the self as heterotopic. The idea of the writer is seen as doubling with that of the hero. Pamuk’s fiction is portrayed as a container for the fantastic, continuing the narrative in an imaginative dimension beyond the printed text.
