土耳其作家奥尔罕·帕慕克是2006年诺贝尔文学奖获得者。土耳其特殊的地理位置与历史沿革，加上作家本人的教育背景与人生经历，使得“在东西方文化的冲突与融合中寻找土耳其式的生存道路”成为了帕慕克作品的永恒主题。帕慕克全方位地展现了土耳其社会的矛盾与变革，涉及到生产消费、政治制度、宗教信仰、道德伦理以及情感观念等多个层面。面对从物质到精神的多重挑战，土耳其人民不仅要构建身份认同，更要解决根本的生存问题。帕慕克效仿“东方细密画”的手法，在作品中描绘了一系列令人目眩神迷的“物”。他将文本作为博物馆，收藏着有关土耳其日常生活的记忆，展现着时代洪流中人们的生存境况。本文以物恋（fetishism）理论为切入视角，从社会与个体两个维度出发，力求有针对性地阐释帕慕克在文本中呈现的文化杂合现象与个体生存困境，探寻“呼愁（Hüzün）”美学形成的深层原因。

在正式分析帕慕克的文本之前，本文将在第一章比较物恋的几种不同的翻译，对物恋进行初步的界定。随后，本文将介绍物恋研究的两条历史路径：一条将物恋作为有待批判的社会现实，一条将物恋作为个体的特殊行为或心理现象。在此基础上，本文再进一步讨论物恋如何以上述两条路径展现在帕慕克文本中。

第二章主要对帕慕克作品中社会层面的物恋叙述进行分析。帕慕克通过“井”这一隐喻，揭示了物恋与土耳其社会的历史文化之间的关联。在他的作品中，小说角色往往代表着特定的社会群体，而人物围绕物恋展开的矛盾冲突则对应了土耳其社会中不同文化势力的对抗与博弈。本文将帕慕克笔下的社会物恋分为奥斯曼帝国时期与土耳其共和国时期进行讨论。一方面，探讨受伊斯兰文化主导的物恋体系在世俗主义改革中如何失去了支配地位，逐渐走向私人化，最终蜕变为隶属小部分个体的物恋；另一方面，探讨新的物恋体系（拜物教）如何在西方资本主义文化的影响下，一度成为了土耳其社会的主流。

第三章主要对帕慕克作品中个体层面的物恋叙述进行分析。在帕慕克的作品中，个体的物恋主要以苏非主义神爱论为基础，将“爱人”作为最重要的物神（fetish），在“苦恋——修行——寂灭”这一结构中与物神结合，试图达到“天人合一”的完满境界。但是这一依托神爱论的物恋却遭到了物神的反叛。“爱人”以其不可动摇的他者性拒斥了主体精神的投射，进而导致了物恋的失效。

东方与西方、宗教与世俗、此岸与彼岸、物质与精神之间不可弥合的裂隙，使得物恋在社会与个体层面遭遇了双重断裂。骤然失去物恋的土耳其人民不得不直面现实生活的虚无与残酷，一种忧伤、失落的情绪深入到了个体的日常生活之中，而个体的忧愁感又汇聚成了数百万土耳其人所共有的“呼愁”氛围。本文将在最后一章中探寻“呼愁”的基本内涵，讨论帕慕克所提出的“呼愁”概念，分析帕慕克如何通过城市景观再现了土耳其人的生存困境，重新理解帕慕克“呼愁”美学的内核与表现方式。

Turkish writer Orhan Pamuk, winner of the 2006 Nobel Prize in Literature, was shaped by Türkiye's unique geography and history, as well as his own education and life experiences. This has made "searching for the Turkish way of life in the conflict and fusion of East and West cultures" a permanent theme in Pamuk's works. The cultural collision and exchange in Pamuk's works are comprehensive, ranging from production and consumption patterns to political systems, religious beliefs, moral ethics and emotional concepts. For the Turkish people, the urgent need is not only to solve the problem of identity, but also the problem of existence. Pamuk imitated the techniques of Eastern miniature, weaving a series of dazzling "objects" into his works. He takes the text as museums, collecting memories of Turkish daily life and showing people's way of life. This thesis takes the perspective of fetishism theory, starting from the social and individual dimensions, trying to explain the cultural hybridity and individual survival presented by Pamuk, exploring the deep reasons for the formation of "Hüzün" aesthetics.

Before entering Pamuk’s works, this thesis firstly compares several translations of fetishism so as to provide a preliminary definition in Chapter 1. Then, this thesis introduces two historical paths of fetishism study: one viewing it as a socially problematic reality and the other viewing it as an individual's specific behavior or psychological phenomenon. Based on this two paths, this thesis focuses on how does fetishism perform in Pamuk’s narrative texts.

Chapter 2 mainly analyzes the social aspect of fetishism in Pamuk's works. Through the metaphor of "well", Pamuk reveals the relationship between fetishism and the historical-cultural situation in Turkish society. In his works, the characters in the novel often represent a specific social group, and the conflicts of the characters surrounding fetishism correspond to the confrontation between different cultural forces in Türkiye. The social fetishism in Pamuk's writing is divided into the Ottoman Empire period and the Republic of Türkiye period for discussion. This thesis explores how the fetishism under Islamic culture lost its dominant position in the application of secularism and gradually became personal. At the same time, it explores how the new fetishism (Fetischismus in Marx’s Criticism of political economy) is becoming mainstream in Türkiye’s society under the influence of Western capitalist culture.

Chapter 3 mainly analyzes the individual aspect of fetishism. In Pamuk's works, individual fetishism usually bases on Sufistic theory of "mahabbah" and regards the "beloved" as the most important fetish. It sees the structure of "longing-ascetic practices-annihilation" as the path to integrate with the God. However, this fetishism relying on the theory of "mahabbah" is betrayed by the fetish. The objective otherness of the "beloved" rejected and negated the projection of the subject's spirit, ultimately leading to the failure of individual fetishism.

The irreconcilable rift between the East and the West, religion and secularism, The present life and the afterlife, material and spirit, came to the break of fetishism on both social and individual levels. The Turkish people, who suddenly lost their fetishism, have to face the trauma of existence. Hence, a feeling of sadness and loss has penetrated into the daily life of individuals, which has converged into the "Hüzün" atmosphere shared by millions of Turks. In the last chapter, this paper will explore the basic connotation of "Hüzün", discuss the concept proposed by Pamuk, analyze how Pamuk represents the existential dilemma of the Turkish people through the city landscape, and reunderstand the core and expression of Pamuk's "Hüzün" aesthetics.