ABSTRACT Studies of Ahmet Hamdi Tanpınar, a leading Turkish modernist author, have largely focused on his ideas regarding the fate of Turkish culture, the lost Empire and the East-West divide, circumscribing the writer as a conservative man of ideas. This essay rather focuses on Tanpınar’s imagery, most fundamentally on the persistent image of water, which serves as an eye, a mirror and a reflecting gaze. The essay also focuses on Tanpınar’s preoccupation with the figure of Ophelia and the “Ophelia complex” (a concept he borrowed from Gaston Bachelard’s Water and Dreams) and the figure of the “dead mother” (the French psychoanalyst André Green’s concept), her eyes frozen, her mirror dulled yet still laying claim to the present. The essay tries to cover two Tanpınar’s at once: The Tanpınar of reflecting “silver waters,” and one of dark waters and rusty mirrors that have lost their capacity to serve as an eye. The pre-modernist Tanpınar, obsessed with plenitude, continuity and a “return to the true self,” and the modernist Tanpınar, who comes to terms with the fact that what we call the “self” is a place built of loss: The Tanpınar of the dried spring, the blind mirror, and the lost East – a writer of the esthetics of loss.

中文翻译：

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干泉、盲镜、迷失的东方：奥菲莉亚、水和梦

摘要 土耳其现代主义著名作家艾哈迈德·哈姆迪·坦皮纳尔 (Ahmet Hamdi Tanpınar) 的研究主要集中在他关于土耳其文化命运、失落的帝国和东西方分歧的思想上，将这位作家界定为思想保守的人。这篇文章更侧重于 Tanpınar 的意象，最根本的是水的持久意象，它充当眼睛、镜子和反射的凝视。这篇文章还关注了坦皮纳尔对奥菲莉亚形象和“奥菲利亚情结”（他从加斯顿·巴切拉德的《水与梦》中借用的概念）以及“死去的母亲”形象（法国精神分析师安德烈·格林的概念）的关注，她的眼睛冻结，她的镜子变暗了，但仍然要求现在。这篇文章试图同时涵盖两个 Tanpınar：反映“银色水域”的 Tanpınar，”和其中一个已经失去作为眼睛的能力的黑暗水域和锈迹斑斑的镜子。前现代主义者 Tanpınar 痴迷于丰富性、连续性和“回归真实的自我”，而现代主义者 Tanpınar 则接受这样一个事实，即我们所说的“自我”是一个由失落构成的地方：Tanpınar干涸的春天、失明的镜子和失落的东方——失落美学的作家。