Using the example of Ihsan Oktay Anar's postmodern novel "The Silent Ones" (2007), the article examines the deconstruction of the biblical-Quranic discourse, which the Turkish writer approaches from the standpoint of post-non-classical philosophy. In this work, I. O. Anar discredits the motives, plots, and images of the texts of the Holy Scriptures of three monotheistic religions, which connote the idea of the world as an ordered whole with a single plot and a Higher meaning, using specific means of artistic expression (narrativization, carnivalization, travesty playing, hyperpersonage mask, hybrid-quote names, etc.). the article examines in detail the parody, "opening" of the biblical-Quranic framework, replacing it with a hyper-personal mask - an innovative artistic device that fits seamlessly into the rhizomatic structure of the novel. The prophets of different periods and different scriptures are brought together by the writer at the same time and place, which makes time move not linearly, but in a circle. I. O. Anar's novel "The Silent Ones" reflects a postmodern view of history. Linking the emergence and development of the metaphysical and later rationalistic tradition to one of the oldest concepts in world history - religious (biblical-Quranic) - he subjects the mythologems of this concept to cultural and philosophical recoding. So, the Divine Word/The logos is transformed not just into the cause and instrument of murder, but into the word of the devil/jinn/ "serpent of the tempter".

Keywords: Turkish narrative postmodernism, textualization of the world, discourse, hyperpersonage mask, deconstruction.

Postmodernism as an original literary trend that has developed its own ways of artistic synthesis of the latest poetological practices with the ideas of post-non-classical philosophy, emerged and developed in Turkish literature in the late 1980s and 1990s and was further developed in the first decade of this year. "World as chaos", "world as text", "intertextuality", "parody mode of narration", or "pastiche", collages, citations, etc. are the main concepts of the postmodern artistic paradigm that Turkish postmodern writers implement in their works in order to convey to readers a certain (very peculiar) worldview complex. It is based on the denial of objective reality, which the subject's consciousness is able to recognize, and on the recognition instead of it of a single textual hyperreality, in which the subjective consciousness is included as something independent, driven by unconscious, pre-personal instincts (more broadly, the factor of the collective unconscious). Postmodernists criticize any form of logical thinking (ideas, theories, etc.) that claims to be justified

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and comprehending the laws of reality, considering them a manifestation of metaphysics, Western European bourgeois logocentrism. In contrast, they put forward the principle of corporeality of consciousness ("crossing the body with the spirit" /continuity of the sensual and intellectual principles), which inevitably leads to an increase in interest in various kinds of mental pathologies, and ultimately - to the idea of "death of the subject".

Many researchers of post-non-classical philosophy note that the roots of the postmodern worldview should be sought in the era of the crisis of positivist scientific knowledge and rationally grounded values of Western bourgeois culture at the turn of the XIX-XX centuries. "The rejection of rationalism and the traditional or religious belief in generally recognized authorities, doubts about the reliability of scientific knowledge lead postmodernists to "epistemological uncertainty", to the belief that the most adequate comprehension of reality is not available to natural and exact sciences or traditional philosophy, which relies on the systematically formalized conceptual apparatus of logic with its strict laws of the relationship of premises and consequences Rather, it is intuitive "poetic thinking" with its associativity, imagery, metaphoricity, and instant insights " [Ilyin, 1996, p. 204].

The French post-structuralist philosopher J.-F. Lyotard noted in this connection the disintegration of the unity of knowledge that existed up to the present time, which legitimized all social institutions of our time. In his opinion, the former form of knowledge, which functioned in the form of great metanarratives (metanarrative of Enlightenment and metanarrative of Spirit), in the postmodern era of the XX century. It has broken down into billions of small narratives, and unity has been replaced by heterogeneous multiplicity, which is more stable, since it does not claim to build a single socio-cultural space [Lyotard, 1979; Lyotard, 1998; Skoropanova, 2002, pp. 52-53].

The postmodern critique of logocentrism and metaphysics is particularly pronounced in the works of Ihsan Oktay Anar (born 1960), a representative of Turkish narrative postmodernism2. In the novel "The Silent Ones" (Suskunlar, 2007), I. O. Anar debunks the concept of sacred history, which is presented in three monotheistic religions as one of the manifestations of logocentric thinking. The postmodern writer demythologizes and deconstructs the original core of culture, which orients a person to perceive the world and its history as completely ordered, with a single plot and a Higher meaning /Logos/ "single Truth of being", by narrativizing the biblical-Quranic and musical discourses, by superimposing them on each other (the principle of double coding, pastichization) and simulations of inauthentic / simulated forms of existence mutating into each other. So the Divine word/revelation is transformed in the novel into a divine melody, and the Lord God himself and the prophets (the bearers of his word/revelations ) - in musicians who lead an irreconcilable struggle among themselves and with their opponents, the enemies of music. Chapters of the novel that are exclusive to the texts of Holy Scripture 3,

1 Graduate of the Faculty of Philosophy of the Aegean University, of which he is currently an Associate Professor. He will teach philosophy and history of Turkish literature.

2 According to the classification developed by M. M. Repenkova, the following modifications of postmodernism can be distinguished in Turkish literature: narrative, lyrical, schizoanalytic, nostalgic-melancholic. Representatives of narrative postmodernism use some techniques of naturalistic and realistic art in their work, while distancing themselves from realism as a creative method associated in their view with didacticism, illustrativeness, and propaganda orientation. Postmodern narrativists, blurring the structure, destroy meta-narratives and reevaluate values, addressing moral issues in the context of ethical relativism and aesthetic pluralism [Repenkova, 2010(1), p. 36-40; Repenkova, 2010(2), N 4, p.20].

3 Allusiveness is achieved through intertextual play with the biblical-Quranic discourse. The novel uses various types of intertextuality: literal quoting of the Bible(evangelical)- Quranic texts, reproduction of their genre codes (for example, the code of a biblical story-parable), hyper-duality (parody game with cultural signs of the texts of the Holy Scriptures (prophets, the tempter serpent, etc.).

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The names of ancient Oriental maqams (melodies/frets) are given, which allows the postmodern author, on the one hand, to emphasize the transformation of music into text/narrative (more broadly, discourse), and on the other hand, to reduce the value of the musical code in a travesty way due to its "merging" with the codes of "grassroots" literature (Turkish folklore - magic texts). fairy tales, popular literature genres - historical-adventurous, detective, "pink"/love). In Acting Anar, the Lord God (Mr. Neizen Batyn), creating the world and man, does not speak, but sings. Messiah Jesus Christ/Isa (son of Mr. Neizen Batyn-Zahir Bey)4 instead of Messianic sermons, he sings songs in front of crowds of citizens consisting of a meaningless set of words, which leads people to think that he is crazy. The path of understanding the Truth of divine revelation turns into a primitive detective story with a set of plot moves inherent in it: the pursuit of criminals for the best urban musicians who can reproduce the divine melody and make the person who heard it immortal; the murder of musicians; the exposure and punishment of murderers.

In the novel by I. O. Anar, the parody of the biblical-Quranic discourse is carried out through the use of the carnivalization code. All the characters play someone, hiding their true faces under masks. Tagut plays at being a human being, although in reality he is a djinn, a devil, a tempting serpent: he constantly keeps a high body temperature and does not subside, because the djinn are created from fire; he has a "green body", "snake tail", "snake pupils", "snake skin that has grown to the surface of the earth". his clothes." Tagut is treated for a high fever by doctor Raphael, who is not really a doctor. People sometimes call him " Raphael the mortician "because he is unable to make any correct diagnosis other than death, and therefore all his patients die, or"charlatan". The nicknames "alchemist" and "apothecary" are firmly attached to him, because black smoke is pouring out of the chimney of his house, and the townspeople are sure that he is either trying to find the formula for gold, or brews some magical elixirs of life.

In the character Raphael, I. O. Anar parodically plays the archangel-healer Raphael (literally, "helper, healing of God" or "God heals"), who is revered by the Christian Church as the patron saint of doctors. Archangel Raphael is one of the seven archangels who stand before the Throne of God. In the apocryphal First Book of Enoch (10: 7), it is said that the archangel Raphael is to heal the earth that has been defiled by fallen angels. In the apocryphal Book of Tobit, Raphael, under the name of Azariah, accompanies Tobia on a journey to Ragi in order to recover money given by Tobia's father (Tobit) for safekeeping to one of his relatives. Raphael not only helps Tobias get money from the debtor, but also heals Tobias ' bride (exorcises demons from her) and his father (smears fish bile in Tobit's eyes, after which he regains his sight). Tobit and his son Tobias set out to reward the healing companion handsomely when the secret of Azariah is revealed that he is an Angel of the Lord, sent by God to heal Tobit and his daughter-in-law for his mercies, charity, and prayers. At the end of the journey, Azariah tells Tobit, "I am Raphael, one of the seven holy angels who offer up the prayers of the saints and ascend before the glory of the holy one" (3: 16-17;

4 At the same time, Zahir and Neizen Batyn have other connotations in the novel. The name "Zahir" is consonant with the name of the biblical-Quranic prophet Zechariah/Zakariyah , the father of the Prophet Yahya (Bybl. St. John the Baptist). It is no coincidence, therefore, that the travesty connection in The Silent Ones of Zahir with the bath attendant Yahya washing Zahir in the bathhouse after the latter's arrival in Constantinople (a postmodern recoding of the biblical-Quranic tradition of the baptism of Jesus/Isa by John the Baptist/Jahya in the waters of the Jordan River and / or Lake Tiberias). The name "Neizen Batyn" allusively refers not only to the Holy Spirit, but also to the Lord God, since the novel repeatedly emphasizes that he is the father of Zahir, and since in a broader sense the word "batyn", which can be translated as "hidden", refers in general to the supreme hidden force that creates dolny the world. In the names of Batyn/Hidden and Zahir/Explicit there are also Sufi connotations (the ratio of secret and explicit in Sufism). In Neizen Batyn there is also an allusion to Iblis, who in a Sufi parable, playing the flute, laments the impermanence of the world.

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5:4-6; 6:8-9; 7:2-3; 11:6-7, 10-13; 12:6-7; 14; 15; 18). In the postmodern paradigm of the writer Raphael/Raphael turns from a healer into his opposite - a destroyer of people's souls, a false healer who cannot heal anyone, just as Saint Tobias turns into the opposite (the devil)./Tagut.

However, other connotative meanings can be seen in the false doctor Raphael. Anarovsky Raphael, "working" on the knowledge of the human body through "medical" experiments, gives rise to an allusion to the great Renaissance artist Raphael Santi, who devoted his entire life to studying the spiritual and physical harmony of the human body and glorifying the earthly existence of man, which was expressed in the paintings of the stanzas of the Vatican Palace. Travestically reducing the image of the genius Raphael, who was friends with the cardinals, Acting Anar makes him a dirty, unkempt type, "confused with the genies". Raphael from the novel" The Silent Ones " pays attention exclusively to his hairstyle. Everything below the head, namely Raphael's body, has not been washed for years since his baptism. He cuts the bodies of city musicians into pieces, wondering about the contents of the entrails, but does not know how to sew them up. He lives in a "cursed, leaning house" (the most disgusting place in the city), which "despite all the errors in architectural calculations, despite all the laws of nature, continues to stand" [Anar, 2007, p. 127].

Giuge Effendi, formerly the famous Venetian musician Alessandro Perevelli, is also masked in the carnival. After making a deal with Tagut, he successfully poses as a Muslim preacher, Haji Iskender, who explains to parishioners "the harmfulness of music." Musician Kalyn Musa (an allusion to the Biblical and Quranic prophet Moses/Musa) hides under the guise of a poor man, being in fact a rich man. Zahir bey (an allusion to Jesus Christ) only plays the Messiah, being unable to perform any messianic functions-healer, evangelist, sacrificial savior, etc. In the novel carnival of I. O. Anar, "bad" and "good", "high" and "low"are equated. I. O. Anar draws attention to the fact that often under the carnival masks of people, his characters hide an animal, non-human, pre-personal essence: the crowd has an animal, Tagut has a snake (green body, snake tail, pupils, forked tongue, "snake skin that has grown to his clothes").Zahir's is ape-like ("he looks like a monkey"), Raphael's is bird - like ("hawk - like legs"), and the dwarf's is spider-like ("six-fingered hands resemble spider legs"). That is why all the characters so carefully hide their true identity under numerous masks. I. O. Anar exaggerates the unconscious, animal instincts in humans, presenting them as the dominant properties of the Turkish nation. This can explain the manifestation of zoomorphic traits in most of the characters in the novel "The Silent Ones".

But no matter who the novel characters pretend to be-philosophers, doctors, soothsayers, ministers of worship, Messiahs, prophets, etc., absolutely all of them are related to music (the author describes in detail which of them plays what musical instrument). The author uses the method of carnivalization-swaps the "top" and "bottom": sacred places for believers (mosque, monastery of dervishes) they turn into the abodes of devilish forces, and the thieves ' den and prison - into a place of worship and a confessional. Special emphasis in the "inverted" world of the novel is placed on the transformation of music, which is the embodiment of harmony, beauty, Divine revelation, into its opposite-the cause and instrument of murder, and in the end-into silence, since the Divine melody sounds in the ears of only one person in the city of Costantiniye-the deaf and numb crazy Eflyatun.

The travesty of the biblical-Quranic discourse also manifests itself in the very form of narration, when the traditional framework structure, focused on the inviolability/rightness and stability/indisputability of the Divine Word, begins to move, opens up. Anar's postmodern "frame" is simultaneously multiplying/eroding under the onslaught of countless stories/narrations.-

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The story of a nameless resident of the medieval Turkish city of Kostantiniyeh, an allusion to modern Istanbul, is based on a number of different narrators and converges in a single narrative. Moreover, the main narrator, due to repeated colloquial phrases such as "well, well", "wow", "and here you can imagine", "and look what happened", "if what was told is true", etc.makes the reader perceive his story as something frivolous, doubt its truthfulness. In other words, in the novel" The Silent Ones", as in his other works, I. O. Anar resorts to a hyperpersonage mask, which Turkish postmodernists did not use before him. Through a huge number of various stories woven into the text of the work, passing into each other and "passing through" the main narrator, I. O. Anar achieves textualization of his image, turning this image into a simulacrum, into an "empty sign", devoid of "supporting signifiers" (J. Derrida), as well as signifiers that can firmly hold the signified. Such a sign refers not to the objective, but only to the textual reality in which it is dissolved. The only thing that supports the illusion of his individualization, his personal presence in the novel , is the colloquial expressions he uses, which give the narrative frame the character of an oral tale. The use of a hyperpersonage mask - an "unreliable narrator" who speaks in different voices-fits seamlessly into the rhizomatic structure of the novel "The Silent Ones", in which the author implements the postmodern idea of the multiplicity of fluid truth, irreducible to any one centering denominator.

The main thing in I. O. Anar's deconstruction of the biblical-Quranic discourse is to discredit the images of the prophets. This is explained by the fact that "a series of prophets forms the core of the concept of sacred history in each of the three religious traditions, and because of this, it is the prophets who are given much attention in historical works that draw a picture of world history according to the ideas of a particular faith" [Gainutdinova, 2009, p.3]. I. O. Anar brings together prophets of different periods (and different sacred writings) in one place (in the city of Costantiniyeh) and at the same time 6. This allows the writer to shift the linear direction of the time vector, to make time move not unidirectionally forward, but rotationally-in a circle, giving the reader a sense of infinite dèjà-vu.

The images of the prophets are played out, filled with completely unusual, negative content, which is especially evident in the father of a strange family of musicians, Kalyn Musa, the drummer of the Janissary orchestra of Khizir Pasha. Anar's Musa, which connotes the idea of one of the central figures of the prophetic series - Moses, whose significance in the biblical - Qur'anic history is comparable only to that of the Prophet.

Rhizome 5 (from French rhizome) - rhizome, mycelium. Guattari, in his work Rhizoma (1976), defines this concept as" a non-centered, non-hierarchical, and non-meaningful system without a General, without organizing memory, and without a central automaton." They define the postmodern type of book-text-rhizomes (mycelium, hidden stem, bulb, tuber) as a non-centered system of heterogeneous elements, which are characterized by the connection and transition of any of its points (conditional) to another; different encoding methods for semiotic links; the work of collective speech mechanisms in machine devices. According to V. Kuritsyn, the heterogeneity of a rhizome is "the connection of each of its points with any other, and the points themselves are not fixed both in the sense of attachment to a specific topos (the structure in the rhizome "floats", as the relations between elements "float"), and in the sense of non-obviousness of the point category itself. The rhizome is characterized by the principles of decalcomania and cartography. If the classical model of a book is associated by French researchers with a tracing paper, suggesting the existence of something to be copied, then the non-linear rhizomatic model of a book is likened to a map. The map, with its open-ended nature, its fundamental incompleteness, its lack of edges, its freedom to choose the scale, and its many entrances and exits, does not calculate the world; it constructs it. The non-centered type of book merges with the world-text, forming a rhizome. The rhizome - one of the basic concepts of postmodern philosophy-radically changes the ideas about the world (time, space, history, society, culture, the" I "of a person, consciousness and the unconscious)" [Repenkova, 2010 (1), p. 27].

6 The novel takes place in the Ottoman Empire of the late 17th and early 18th centuries, after the reign of Sultan Ahmed II (1691-1695).

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with Jesus and Muhammad, he is the embodiment of many human vices - greed, cruelty, profanity, deceit and impurity on the hand. So, his passion for money / "golden calf" turns into a pathology. He saves on everything by robbing his relatives: his own brother Muhayyer Huseyn-Efendi, who is the owner of a musical coffee shop; his consumptive son Kemanchist Veysel, whose image evokes allusions to the famous Turkish folk singer Ashik Veysel; two twin grandchildren-Davud (an allusion to King David, the prophet and psalmist) and Eflatun 7. For example, at one time, his grandchildren took turns going to school, because their grandfather bought them only one set of clothes at a flea market. When they grew up, again for the sake of economy, Kalyn Musa shifted the care of Davud, who was capable of music, to his brother's shoulders, and forgot about the second grandson altogether, closing Eflyatun, who was suffering from a mental illness, in one of the rooms of his own house.

Kalyn Musa's desire to make money on everything is brought to the point of absurdity in the novel. Exploiting the musical abilities of his terminally ill son Veysel, he brings a barely standing kemanchist to the mansion of Khizir Pasha with the hope that his son's playing of the kemanche will cheer up the pasha's depressed nephew and he will be taken as a music teacher to the house of the illustrious nobleman. However, Kalyn Musa's hopes are not fulfilled. The sad melodies of kemanchist Veysel drive the Pasha's nephew to death, and the pasha throws Veysel himself into prison-zindan, while demanding huge money from Kalyn Musa as a ransom "for blood".

The pathological greed of Kalyn Musa is played out by I. O. Anar in an anecdotal story about a chicken that the miser drummer can not eat, expecting that its legs will become fatter over the years, and which he himself already calls "Anka/Phoenix Bird"8 for its longevity. However, unlike the mythological bird that lives in

7 "Eflatun" in Turkish means a generalized concept of "philosopher". But at the same time it is a proper name, an Arabized form of the name "Plato". Almost all the names in the novel are "talking", extremely abstracting the narrative. Basically, they are either hybrid-quotative, connotating the idea of the biblical-Quranic discourse (Kalyn Musa means "Rich Musa" in Turkish; Muhayyer Huseyn/Free in his choice Huseyn) and the discourse of ancient mythology (Phoenix chicken/Anka, etc.), or simply quoting the names of the prophets (Davud, Yahya). Often Roman names represent some abstract concepts (Neva / Melody/ musical name of an ancient maqam, Zahir/Evidence/A given/Explicit) and the dominant features of these concepts, i.e. the features by which they function (H. E. Neizen Batyn/"His Excellency the Inner Spirit playing the reed flute-neillet/ His Excellency the Hidden One playing the flute). There are names that indicate the character's occupation (Watchman, Merchant, Soothsayer, etc.).

8 Allusions to the mythological Phoenix bird, which has the ability to burn itself and then be reborn from the ashes (according to other mythological versions, its chick appears from the ashes). In Christianity, the Phoenix signifies the triumph of eternal life, resurrection and victory over death, and is a symbol of Christ. In Russia, the Phoenix had analogues of the Firebird and Finist. In the mythological tradition of the Near and Middle East, the Simurgh (Iranian mythology), Anka, and Zumrud (Arabic mythology) birds were present. The latter were adapted to the Turkic tradition as Zumranka (Turkish) and Zamyr (Turkmen). According to the Russian turkologist I. V. Stebleva,"...Being one of the elements of a religious and mythological system and ritual, birds have a wide variety of functions: they can be deities, totemic ancestors, cultural heroes, demiurges. They are special mythopoetic classifiers and symbols of the divine essence, top, sky, spirit of the sky, sun, thunder, wind, cloud, connection between cosmic zones, freedom, growth, life, fertility, abundance, ascent, ascent, inspiration, prophecy, prediction, soul, spirit of life. On the World Tree, a symbol of the three-membered world space distributed vertically, birds are located at its top, being part of the upper, heavenly world, and as such they are opposed to the creatures of the lower, underground world, primarily the snake" [Stebleva, 2002, p.31]. The concept of the soul bird in the Islamic world is reflected in Sufi mystical literature-Attar "Conversations/Conversations/ Language of birds" (XII c.), Alisher Navoi "Language of birds" (XV c.). The Simurgh bird is the Highest Truth, the Divine Absolute, which thirty birds strive to comprehend, going in search of it. In the course of their journey / search, the birds realize that the Absolute is themselves (thirty si murg birds), and the idea of knowing God turns into the idea of self-knowledge. All the above-mentioned contexts are distorted in the postmodern paradigm of I. O. Anar. The World Tree Bird image is reduced to an Anka / Phoenix chicken, which is eaten.

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Forever reborn from the ashes, the Anka/Phoenix 9 chicken ends its life in the soup, leaving behind only the bones that the musician carefully preserves.

The novel is parodically ridiculed as an image of Zahir-effendi, referring to Jesus/Ise 10, and the associated biblical and evangelical motifs of the salvation of mankind "in Christ" 11. Any event in the novel corresponds to the arrival of Zahir Effendi in the city of Kostantiniye-a connotation of the Christian calendar, before or after the Birth of Christ.

Seven soothsayers from Cairo, Baghdad, Tripoli, Kazan, Urfa, Basra, and Hejaz are the harbingers of the appearance of Zahir Effendi in the city, 12 who brought the news of Zahir Effendi's arrival to the Soothsayer from Yedikule. They came to his house in Yedikul, holding on to the tail of his own donkey, which had disappeared days earlier. A soothsayer from Yedikule learned that the elders had gone blind after learning the "Absolute Truth" while watching the appearance of a new star in the night sky, symbolizing the appearance of Batyn's son Zahir Effendi in Kostantiniyya. The soothsayer from Yedikule himself, having decided to make a horoscope, went to the trick - he tied one eye with a rag to see the appearance of a mysterious star. Acting Anar sarcastically ridicules the desire of an old Soothsayer from Yedikule to learn the Absolute Truth by spying on it "with one eye", so as not to lose his earnings as a soothsayer in the future.

Zahir Effendi, the son of Neizen Batyn, who calls himself the Messiah, appears in Kostantiniyya in a shirt caked with mud and soaked with sweat from a long journey, looking more like an ape than a man. First of all, he goes to the city's Chamberlitash Hamam, where the bath attendant Yahya (the biblical John the Baptist, aka the Koranic prophet Yahya) cleanses his body from dirt to crystal purity. The author parodically recodes the rite of baptism as one of the most important Christian sacraments, symbolizing spiritual purification, into an ordinary procedure of washing the human body and translates it into the plane of physicality. After the bath, Zahir Effendi turns from an ugly monster into a beautiful man with kind eyes. Even the bath attendant, Yahya, admired the" work of his art " while spying on Zahir from the dressing room. Anar's Messiah/Zahir effendi, dressed in beautiful expensive clothes, drinks raki and teaches students of madrasa-soft that they should study not the Muslim code, but philosophy.

Just as Zahir Effendi's sermons themselves, clothed in the form of meaningless songs, and the miracles that he performs, have a travesty character in the novel. For example, one person from the crowd of citizens who gathered in the city square to listen to the newly revealed Messiah suggested that Zahir Effendi prove his extraordinary abilities by turning a stone into bread. On the contrary, an angry Zahir Effendi turns the bread into a stone and throws it at the head of the beggar, injuring the latter. Zahir Effendi's "miracles" do not end there. The divine power of Zahir-effendi turns into its opposite in the novel, an unsuccessful attempt to heal the sick Kalyn Musa and revive the Anka / Phoenix Bird eaten by the chicken.

9 Hybrid-quote name, like almost all names in the novel.

10 In the postmodern textual reality of the novel "The Silent Ones", all the characters "flicker", everything that happens refers to something and will not allow you to establish yourself in one thing.

11 In Christian theology, the entire sequence of events in world history is often interpreted not just as the realization of a divine plan. It is also the story of salvation (salvation in Christ). According to researchers of biblical texts, this historical concept is most clearly traced in the" Gospel of Luke "and in his" Acts of the Apostles "(see: [Tishchenko, 1993, p. 271]).

12 Allusions to the story from the Gospel of Matthew (2: 3) about the appearance in Jerusalem of the magi/astrologers who came from the East to pay homage to the newborn King of the Jews.

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"Zahir... I went up to Kalyn Musa. Pulling off the blanket, he ran his hand over the grumpy old man's body from the tips of his feet to his shoulders. And then he said, " Now you can walk. You are healed." The astonished old man rudely replied to Zahir: "Enough! He supposedly healed me! Love it! If I had the ability to heal, I wouldn't call money money! I would have had a lot of friends!.. Yes, you still need to eat a pound of salt to heal people! In the meantime, you're useless even to yourself! Okay, can you raise the dead? For example, this chicken!" When Kalyn Musa said this, he held the bones of the Phoenix bird in his hands. Zahir smiled at this, took a rather large red egg from his bosom, and handed it to the grumpy old man, saying, "Leave these bones, and look at the bird that hatches." Only Kalyn Musa, who could not imagine that it was really an egg of the Phoenix bird, was going to fry fried eggs out of it and eat it" [Anar, 2007, p. 223].

Thus, I. O. Anar violates the harmonious integrity of the archetype established by the canonical gospels, in which the descriptions of miracles performed by Jesus in his earthly life served as signs intended either to evoke faith in the divine Logos (the Gospel of John), or to indicate that faith is an indispensable condition for the possibility of these miracles (The Gospels of Mark, Matthew, and Luke). Zahir, in the eyes of the inhabitants of Costantiniye, looks not just crazy, but an atheist and pagan, causing the anger of the faithful.

I. O. Anar, resorting to parodying the mission of the righteous prophet of the biblical-Quranic tradition, turns Zahir, the son of God, into a simulacrum, an empty sign, and the story of salvation - into the story of betrayal and murder, which in fact causes his arrival in the city of Kostantiniye. On Tagut's orders, his loyal servant Juje Effendi, in pursuit of Zahir, conspires with a bandit gang and, with the help of robbers, finds and kills one by one the best city musicians. In addition, Juje effendi, or Iskender Effendi, in his sermons from the pulpit of the mosque, calls on the faithful to bring down righteous anger on those who sing and make their living with musical talent, and above all on Zahir. About 300 believers rush to find Zahir after his sermons. With the help of the traitor Yakuta (Arabic. Yahuza-Judah) - a musician playing the santur, they find Zahir. The rabid crowd pounces on the unfortunate Zahir and kills him.

"Many of the crowd were shouting' Allahu Akbar!' they whipped him tirelessly until his body was a bloody mess. Only, as luck would have it, blood splattered on the crowd. Many stopped hitting to avoid getting their hands dirty. Some even washed the blood off their hands at the fountains along the way. The blood that spurted from the whip had ruined their beautiful robes, caftans, and capes. There was even a quarrel in the crowd about it. Meanwhile, one of the originals had attached a sign to the pads Zahir was carrying that read: "THIS IS ZAHIR, THE PADISHAH OF THE MUSICIANS" [Anar, 2007, p. 234-235].

Thus, I. O. Anar's novel "The Silent Ones" is intended to reflect a postmodern view of history and the place of man in it. Linking the emergence and development of the metaphysical and later rationalistic tradition to one of the oldest and most powerful concepts in world history, religious (biblical-Quranic), he uses an intertextual parody game and subjects the mythologems of this concept to kulyurphilosophical recoding and discrediting. It demonstrates the simulationality, imaginary nature, and even aggressiveness of the Truth of the Divine Logos/A word that eventually turns out to be not just music for a postmodern writer - a tool and cause of murder, but also the word of the Devil. After all, the crowd of believers who arranged the massacre of Zahir is controlled by Tagut's faithful servant-an ugly dwarf Juje Effendi, disguised as a Muslim preacher who delivers the Devil's speech to the townspeople./Tagut. It is his sermons from the pulpit of the mosque that awaken the animal element in the "pious faithful", depersonalizing them and turning their consciousness into emptiness.

In the inverted postmodern world of I. O. Anar, only one hero manages to resist the Logos of God/Devil - the crazy deaf-mute Eflyatun. His melody sounds in himself, and no one else, except for him, hears it. Efl Music-

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tuna is the very "revelation of insight" in which the postmodern writer I. O. Anar seeks salvation, demonstrating in his novel work a revolt against the dictatorship of logocentrism.

This study does not claim to be a complete review of religious discourse in Turkish literature as a whole, including the layer of Sufi motifs and symbols, but only touches on the problem of deconstruction of the biblical - Quranic discourse using the examples of the central characters in the novel by I. O. Anar "The Silent Ones".

list of literature

Gainutdinova A. R. Istorii prorokov v Korane [Stories of the Prophets in the Koran]. Moscow: Islamicheskaya kniga, 2009.

Ilyin I. P. Poststructuralism. Deconstructivism. Postmodernism, Moscow: Intrada Publ., 1996.
Liotard J.-F. Sostoyanie postmoderna [The State of Postmodernism] / Translated from French by N. A. Shmatko. Moscow: Institute of Experimental Sociology; St. Petersburg: Aleteya, 1998.

Lotman M. Y. Intelligentsia i svoboda (k analizu intel'ligentskogo diskursa) [Intelligentsia and freedom (to the analysis of intellectual discourse)].
Kareva O. V. Travesty of archetypal integrity in the postmodern paradigm of Ihsan Oktay Anar. Vestnik Moskovskogo universiteta. Episode 13. Oriental studies. 2011. N 3.

Repenkova M. M. Rotating mirrors. Postmodernism in the Literature of Turkey, Moscow: Vostochnaya literatura, 2010(1).

Repenkova M. M. [Religious discourse in the postmodern novel of Ihsan Oktay Anar]. Vestnik Moskovskogo universiteta. Episode 13. Oriental studies. 2010(2). N 4.

Skoropanova I. S. Russkaya postmodernistskaya literatura [Russian Postmodern Literature]. Moscow: Flinta, Nauka Publ., 2002.

Stebleva I. V. Essays on Turkish Mythology, Moscow, 2002.
Tishchenko S. V. Osnovnye motivy interpretatsii In [The main motives of interpretation of In]. Kanonicheskie Evangeliia, Moscow: Nauka Publ., 1993.

Anar İ. Suskunlar. İstanbul: İletişim, 2007.

Lyotard J.-F. La Condition postmoderne: rapport sur le savoir. P.: Minuit, 1979.

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