The Place of Narrator In Ahmet Mithat Efendi’s Çengi, Arnavutlar- Solyotlar and Müşahedat Novels
ABSTRACT Ahmet Mithat Efendi, who left a corpus behind with the works he wrote from the Tanzimat to the first years of the Constitutional Era, also explored the limits of the novel with the techniques he used at a time when the novel was just beginning to be recognized. Unlike his contemporaries, he did not use only heterodiegetic narrators who are outside the story world, that is, at the extradiegetic level and not involved in the events; but he also used homodiegetic narrators who take place in the world where the events take place, that is, at the intradiegetic level and are included in the events. In this sense, it is extremely important that Ahmet Mithat Efendi put the heterodiegetic narrator, who was at the extradiegetic level, into the intradiegetic level and included him in the events, albeit for a very short time, in Çengi, which he wrote in 1877, which is a very early date for a Turkish novel. In Arnavutlar-Solyotlar, which he wrote in 1888, he was able to keep the narrator in the events for a much longer time due to both his previous use of this technique and the increase in his experience in the field of novels. Ahmet Mithat Efendi wrote Müşahedat, one of the most outstanding examples of Turkish literature, in 1891 as an example of naturalist novel as a result of the romance-naturalism debate he entered with Nabizade Nazım. The development in the author's narrative technique is clearly seen in the work. He used the homodiegetic narrator he experienced in the other two novels perfectly from the beginning to the end of the work in Müşahedat. In this article, Çengi, Arnavutlar-Solyotlar and Müşahedat novels, which show the transition from heterodiegetic narrator to homodiegetic narrator in Ahmet Mithat Efendi's novels, are discussed in the context of Gérard Genette's views on the position of the narrator.

Çengi, Arnavutlar-Solyotlar, Müşahedat, Gérard Genette, Narrator.