本文深入探討了奧爾罕・帕慕克的小說《純真博物館》中小說和博物館在迷人愛情故事中扮演的角色。這項探索深入探討了小說、博物館和土耳其這個國家之間錯綜複雜的關係。
第一章揭示了小說的精心敘事。在這個框架內，讀者將沉浸在對「情人凱末爾」的生動描繪中，並透過物品所揭示的依戀看見其深刻的情感糾葛。此外，私人的敘事隨後更廣泛地演變成土耳其的文化記憶。
第二章的重點從小說轉向純真博物館的實體，展示了從小說中描繪的「情人凱末爾」到博物館敘事中「收藏家凱末爾」的敘事演變。這種轉變提供了對凱末爾收集行為的動機、痴迷和微妙之處的細緻入微的理解，揭示了這種實踐所固有的心理和文化維度。在本章的最後，我亦比較了純真博物館與羅浮宮、或大都會博物館等著名機構的具體差異。在探索日常物品和神聖化的展品之間錯綜複雜的關聯時，帶出了博物館作為敘事形式的深刻意義。
第三章剖析了小說、博物館和更廣泛的土耳其社會文化景觀之間錯綜複雜的相互作用。本章揭示了土耳其作為一個國家如何佔據帕慕克作品的中心位置。此一關心也使帕慕克及其作品成為土耳其集體意識中精心保存的文化記憶。最後，我揭示了帕慕克作為一位全球知名的作家，對土耳其風景的描繪以及全球背景下國家的實際狀況。

This thesis has unearthed the apparatus of the novel and the museum in The Museum of Innocence, revealing their role behind the captivating love story that unfolds in this city. This exploration delves into the intricate relationship between the novel, the museum, and Türkiye as a nation.
In Chapter One, “Unvelling the Relics: Telling a Love Story through Objects,” I delve into the crafted narrative of The Museum of Innocence. Within this framework, readers are beckoned to immerse themselves in a vivid portrayal of “the lover Kemal” and the profound emotional entanglement he shares with Füsun through his sentimental attachment to these objects. Moreover, the potency of personal narrative transcends its mere capacity to comprehend and interpret reality, evolving into a cultural memory of Türkiye that is subsequently shared among the wider audience.
In Chapter Two, titled “From Novel to Museum: Scrutinizing Kemal's Collection and its Textual Space,” the focus pivots from the literary realm to the physical entity of The Museum of Innocence. This journey unfolds the narrative evolution from “the lover Kemal” depicted in the novel to the role of “the curator Kemal” within the museum's narrative. Within the museum's confines, the objects on exhibition undergo a metamorphosis, assuming a new identity as representations of “the curator Kemal's” personal collection. This shift provides a nuanced understanding of the motivations, obsessions, and subtleties that underscore Kemal's act of collecting, shedding light on the psychological and cultural dimensions inherent in this practice. As this chapter culminates, attention will be directed toward the exploration of how a museum that preserves ordinary objects distinguishes itself from illustrious institutions like the Louvre or the Metropolitan. In navigating the intricate dynamics between everyday items and revered exhibits, the aim is to unravel the profound significance of the museum as a narrative form. This exploration invites contemplation on the nature of collecting and the narratives it generates.
In Chapter Three, entitled “Where the Novel and the Museum Meet: Revisiting Modern Turkish Identity,” I examine the intricate interplay between the novel, the museum, and the broader Turkish socio-cultural landscape. This chapter unveils the profound focal point of Pamuk's writing—the essence of Türkiye itself. It is from this core that all narratives emanate and converge. Within these pages, I delve into Pamuk's ambitious endeavor to firmly anchor himself within Türkiye's cultural heritage, seeking to revive a past erased by the disruptive forces of modernization and Mustafa Kemal Atatürk's reforms. Pamuk's artistic creations, spanning various mediums, emerge as cultural memories meticulously preserved within the collective consciousness of Türkiye. Simultaneously, the cultural memory of Türkiye serves as the rich tapestry against which the love story and the act of collecting unfold. Furthermore, I embark on an exploration of Orhan Pamuk's role as a globally acclaimed writer, dissecting his portrayal of the Turkish landscape regarding the actual state of the nation within the global context.

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