The Construction of Identity in Elif Shafak’s
The Bastard of Istanbul
Krupa
D. Pandya
Ph.D. Research Scholar
Department of English
Sardar Patel University,
Vallabh Vidyanagar, Anand, Gujarat, India
Abstract: The social identity of a human being is molded
by the lived experiences that person has had through the agency of the society
he lives in. The society plays a dominant role in shaping the consciousness of
a human being. So, it’s evident that our identity isn’t entirely constructed
out of the material of self only but rather it is dependent upon the society we
are part of, the culture surrounding that society, nation-state, religion, etc.
Literature has been seen as the mirror of society, it is a creative art that
has transcended mere boundaries of objective analysis and penetrated human
consciousness, using the experiences of the human being as the source of
material to give voice to the voiceless section of the society. As Elif Shafak
has done in The Bastard of Istanbul. The novel delves into the collective and
individual experiences of a Turkish-Armenian family especially those of women.
In the present research paper, I seek to analyze the issue of identity
construction of the characters of the novel The Bastard of Istanbul observed
from a sociological perspective in doing so, the study will use the theory of
identity construction proposed by sociologist Manuel Castells. The characters
of the novel are mainly from Istanbul and USA. Manuel Castells in his text The
Power of Identity: The Information Age: Economy, Society, and Culture: Volume
II, has proposed a distinction between three forms of identity and its origins.
Those three identities are, 1] legitimising identity, 2] resistance identity,
and 3] project identity. This paper is an attempt to showcase how different
factors affect the formation or creation of an identity.
Keywords: Experience, Identity construction, Society
The Construction of Identity in Elif Shafak’s The Bastard of Istanbul
Identity in literature is a multifaceted construct shaped by personal,
cultural, and historical influences. Identity in simpler terms means a
distinguishing characteristic of a person or a group that sets them apart from
others. In literature, identity politics has already played its part, in a more
rigorous way in modern society. A rapidly changing society with globalization,
urbanization, and migration has almost made a stable identity a myth. From a
sociological perspective, identity is not an inherent quality but a social
construct influenced by external forces such as class, gender, nationality, and
historical memory. It is a socially
constructed concept that reflects the interplay between individual
self-perception and societal influence. Identity in literature is a
multifaceted and evolving construct shaped by both personal experiences and
larger social structures. The history of identity politics in novels reflects
broader social movements and shifts in cultural understanding, particularly
from the late 20th century onward. This concept encompasses the ways in which
authors explore and represent various social identities—such as race, gender,
sexuality, and ethnicity—within their narratives. Identity politics gained
attention during the late 1960s and 1970s, coinciding with significant
political movements like second-wave feminism, the Civil Rights Movement, and
LGBTQ+ activism. These movements emphasized the shared experiences of
oppression among marginalized groups, advocating for recognition and rights
based on collective identities. The philosophical underpinnings of identity
politics argue that one's identity can render individuals particularly
vulnerable to societal injustices, such as stereotyping and marginalization. In
literature, identity politics has influenced how characters are developed and
how narratives are structured. Literature serves as a platform for expressing
diverse perspectives on identity. Some authors strictly adhere to identity
politics, presenting clear distinctions between oppressors and the oppressed.
In contrast, others adopt a more fluid approach to identity, questioning fixed
categories. Authors began to focus on the complexities of identity, often
portraying characters who navigate multiple social categories. This shift has
led to a rich exploration of personal and collective histories, as seen in
works by writers like Salman Rushdie and Orhan Pamuk, who challenge rigid
categorizations of identity and explore themes of hybridity. They have argued
for the fluidity and multiplicity of identity.
From a sociological perspective, identity is not merely an internal
self-conception but a product of social interactions, historical narratives,
and cultural affiliations. Henri Tajfel’s Social Identity Theory (1979)
provides a crucial framework for analyzing identity in literature, arguing that
individuals define themselves through social categorization, group
identification, and intergroup comparison. Literature often reflects this
process, portraying characters who navigate societal expectations, resist
imposed identities, or struggle with a fragmented sense of self due to
exclusion or marginalization. As Karl Marx has said, “It is not the
consciousness of men that determines their being but, on the contrary, their
social being that determines their consciousness.” So, our social self
or identity is defined by our relation with other groups, institutions, and
people. As so, multiple groups, and institutions exist so do various
identities. Identity is a central theme in both literature and sociology,
shaping how individuals and groups define themselves and the world around them.
Literature, as a reflection of human experiences, often explores identity
through personal struggles, cultural affiliations, historical memory, and
social expectations. In contrast, sociology examines identity as a socially
constructed phenomenon, influenced by group dynamics, power structures, and
collective belonging. The intersection of these two fields raises critical
questions: How is identity formed and negotiated within literary texts? How
do social structures influence personal and collective identity? Can literature
challenge or reinforce societal understandings of identity?
Henri Tajfel’s Social Identity Theory (1979) provides a valuable
sociological framework for analyzing identity in literature. Tajfel argues that
individuals develop their sense of self through social categorization, group identification, and intergroup comparison.
In many literary works, characters navigate their identities within predefined
social groups, facing conflicts between in-group belonging and out-group
exclusion. This process is particularly evident in postcolonial, feminist, and
diasporic literature, where identity is often shaped by historical trauma and
marginalization.
Similarly, Manuel Castells’ Theory of Identity Construction (1997) categorizes identity into
three types: legitimizing identity
(formed through dominant institutions), resistance
identity (shaped by marginalized groups in opposition to dominant
norms), and project identity
(constructed by individuals seeking transformation). Literature often portrays
characters who embody these identity struggles, resisting imposed societal
roles or redefining themselves beyond traditional boundaries.
Legitimizing Identity
Legitimizing identity, as defined by Manuel Castells, is an identity
constructed and reinforced by dominant institutions such as the state,
religion, or media to support their authority and maintain societal order. It
serves to legitimize existing power structures and suppress alternative
narratives. Its primary purpose is to rationalize, justify, and sustain the
existing power structures and social order. Essentially, it provides a
framework of meaning that supports the authority and legitimacy of those in
power. The goal is to ensure social cohesion and stability by embedding
society's existing power dynamics fabric. This often involves creating
narratives or symbols that align an individual's sense of belonging with the
interests of those in power. In the literary sense, Manuel Castel's concept of
legitimizing identity can be understood as the narrative mechanism through
which dominant institutions craft and sustain their authority by embedding
their values and ideologies into collective stories, these narratives work to
justify existing power structures and provide continuity to societal norms,
often serving as tools for cultural cohesion and political stability.
Legitimizing identity relies on the creation of cultural narratives that
integrate historical, social, and ideological elements to rationalize the
status quo. These narratives are akin to myths or epics that reinforce the
legitimacy of ruling entities such as governments or religious institutions, by
situating them as central characters in the collective story of society, i.e.,
biblical accounts of kings anointed by God.
Legitimizing identity in The Bastard of Istanbul
In The Bastard of Istanbul, Elif Shafak employs a rich
tapestry of literary techniques to convey the complex emotions of her characters,
immersing readers in their inner worlds. In addition to that she masterfully
utilizes dialogue and internal monologue to reveal her characters' thoughts and
feelings, allowing their emotions to surface organically through conversations
and introspection. This multi-layered narrative structure, combined with the
use of metaphors and similes, enriches the emotional depth of the story by
making complex feelings relatable. In the novel, In The Bastard of
Istanbul, the characters who align with legitimizing identities—those who
uphold or conform to dominant societal narratives—are primarily found within
the Kazancı family and the broader Turkish societal framework. These characters
embody the norms, traditions, and ideologies that reinforce the status quo,
often without questioning the historical or cultural implications of their
beliefs. Here are examples of characters who struggle with legitimizing
identities or actively embody them:
1. Mustafa Kazancı
Mustafa, Asya’s uncle, is a clear example of a character who conforms to
legitimizing identity. He embodies patriarchal and traditional values in
Turkish society, avoiding conflict and responsibility while adhering to
societal expectations of masculinity. His silence about family secrets and his
avoidance of confronting the past reflect his alignment with the dominant
narrative that prioritizes forgetting over remembering, [essentially a Turkish
trait – which has long forgotten the Armenian genocide] Mustafa’s actions—or
lack thereof—serve to maintain the existing power dynamics within the family
and society at large, reinforcing the legitimizing identity that seeks to
suppress uncomfortable truths.
2. Banu Kazancı
Banu, one of Asya’s aunts, represents a legitimizing identity through
her embrace of religious tradition and mysticism. While she uses her
clairvoyant abilities to explore hidden truths, she also conforms to societal
expectations by framing her actions within the context of religion and
spirituality, which are deeply rooted in Turkish culture. Her acceptance of
these traditions reflects her alignment with institutional narratives that
reinforce cultural cohesion through faith.
3. Gülsüm Kazancı
Gülsüm, Mustafa’s mother and Asya’s grandmother is another character who
embodies legitimizing identity through her adherence to traditional gender
roles and familial loyalty. She represents the older generation’s commitment to
maintaining societal norms and avoiding confrontation with historical or
familial trauma. Gülsüm’s silence about past events—such as family
secrets—illustrates how legitimizing identities can perpetuate cycles of denial
and repression.
4. The Turkish Society
Beyond individual characters, Shafak portrays Turkish society as a
collective force that constructs and perpetuates legitimizing identities. The
societal reluctance to confront the Armenian genocide and the emphasis on
national pride reflects how institutional narratives ---shape collective
identity. Characters like Armanoush encounter this resistance when attempting
to discuss historical injustices, highlighting how these legitimizing
identities marginalize alternative perspectives. Baron Baghdassarian rightly
expresses Turkish society’s legitimizing stance;
“It's very nice of
you to get along with that family so well. And I believe you when you say they
are good-hearted people, interesting in their own way. But don’t you see? You
are their friend only insofar as you deny your own identity. That’s how it has
been with the Turks all through history……
since they won’t join us in our recognition of the past, we are expected
to join them in their ignorance of the past.” (Shafak, Elif – 2007)
Project Identity
Manuel Castells' concept of project
identity refers to a dynamic form of identity that individuals and
groups actively construct in response to their social, cultural, and political
contexts. Unlike legitimizing identities, which are often imposed by dominant
institutions and narratives, project identities are characterized by agency and
intentionality. They emerge as individuals who seek to define themselves and
their communities in ways that reflect their aspirations, values, and
experiences. This active construction allows for a more nuanced understanding
of identity that embraces change and adaptation in an ever-evolving world. As
Castells states, “Identity is a process of construction that takes place through the
interaction of individuals with their social environment” (Castells, The
Power of Identity)
Project identities are often formed in response to specific social conditions
or challenges, making them contextually relevant. These identities can arise
from movements advocating for social justice, cultural recognition, or
political empowerment. For instance, marginalized groups may develop project
identities to assert their rights and challenge oppressive systems. This is
evident in contemporary social movements where collective goals drive identity
formation. Castells notes, “In the face of exclusion and marginalization,
people create new identities based on their struggles for recognition”
(Castells, The Power of Identity). This highlights how project
identities serve as a means for individuals to navigate societal pressures
while pursuing meaningful change.
Furthermore, project identities emphasize collective action and
solidarity among individuals who share common experiences or aspirations. By
working together toward shared goals, members of a group can amplify their
voices and strengthen their identity. This collective dimension fosters a sense
of belonging and purpose within the group while allowing for fluidity and
adaptability as circumstances change. As Castells observes, “The construction
of collective identities is rooted in the shared experience of struggle and the
vision of a better future” (Castells, The Power of Identity).
Ultimately, project identity reflects the interplay between individual agency
and collective action in shaping identities that challenge dominant narratives
and promote social transformation.
Project Identity in The Bastard of
Istanbul
In The Bastard of Istanbul, Elif Shafak explores the concept
of project identity through
the experiences and struggles of her characters as they navigate their complex
cultural and historical landscapes. Project identity manifests in several ways
within the novel, particularly through the characters' efforts to assert their
identities in response to personal and collective histories, social
expectations, and the legacies of trauma.
1. Asya Kazancı: Rejection of Traditional Norms
Asya, the protagonist, exemplifies project identity through her
rebellious nature and rejection of traditional gender roles imposed by her
Turkish heritage. Growing up in a household that grapples with its past, Asya
actively constructs her identity by challenging societal norms and seeking
autonomy. Her defiance against her mother’s expectations and her exploration of
her mixed heritage reflects a conscious effort to define herself outside the
constraints of legitimizing identities that prioritize conformity. As she
states, “I am not a daughter, I am not a sister; I am just me,” (Shafak,
Elif- 2007) highlighting her desire to forge an identity that is
uniquely her own.
2. Armanoush: Bridging Cultures
Armanoush, an Armenian-American character, represents another facet of
project identity as she navigates her dual heritage and seeks to understand her
family's traumatic history. Her journey to Istanbul is not just a physical
return but also an emotional quest to reclaim her roots and confront the legacy
of the Armenian genocide. Through her interactions with Asya and other
characters, Armanoush embodies the struggle to reconcile conflicting
identities—American and Armenian—while advocating for recognition and dialogue
about historical injustices. This quest for understanding and acceptance illustrates
how project identity can emerge from a desire to bridge cultural divides and
assert one's place in a complex world.
3. The Kazancı Family: Collective Identity Formation
The Kazancı family as a whole reflects the dynamics of project identity
as they grapple with their shared history and individual aspirations.
Characters like Gülsüm embody traditional roles that often conflict with Asya's
more modern outlook. However, through their interactions and conflicts, they
also engage in a process of collective identity formation that seeks to
redefine what it means to be Turkish in a multicultural context. The family’s
discussions about their past, including the silenced history of the Armenian
genocide, highlight how project identity can serve as a means of resistance
against dominant narratives that seek to erase or simplify complex histories.
These characters actively construct their identities in response to
personal histories and broader societal contexts. Their journeys reflect the
fluidity and adaptability inherent in project identities as they seek to
reconcile their pasts with their aspirations for the future. Through these
characters, Shafak emphasizes the importance of agency, collective action, and
cultural dialogue in shaping identities that challenge existing power
structures and promote understanding across divides.
Resistance Identity
Manuel Castells' concept of resistance identity refers to
identities formed by marginalized or oppressed groups in opposition to dominant
power structures, ideologies, or cultural narratives. These identities arise as
a reaction against exclusion, injustice, or systemic oppression, allowing
individuals and communities to reclaim agency and assert their values.
Resistance identity is rooted in the idea that oppressed groups actively
construct their identities to challenge the forces that seek to silence or
erase them. For example, movements advocating for racial equality, indigenous
rights, or LGBTQ+ acceptance often embody resistance identity by confronting
societal norms and advocating for recognition and justice.
A key feature of resistance identity is collective solidarity. It often
emerges within groups that share common experiences of oppression, fostering a
sense of belonging and shared purpose. These communities create
counter-narratives that challenge dominant ideologies and highlight their
unique histories, struggles, and perspectives. For instance, Indigenous
movements may revive cultural practices and languages that have been suppressed
by colonial powers, while LGBTQ+ activists celebrate diverse sexual
orientations and gender identities in defiance of heteronormative sexual
practices. This collective action strengthens the emotional resilience of
individuals within the group and empowers them to advocate for their rights.
Resistance identity is dynamic and adaptable, evolving as social
conditions change or new challenges arise. It intersects with other forms of
identity—such as race, gender, or class—acknowledging the complexity of
individuals' experiences. This adaptability ensures that resistance movements
remain relevant and effective over time. Ultimately, resistance identity serves
as a powerful tool for empowerment and transformation, enabling marginalized
groups to challenge oppressive systems, assert their voices, and work toward a
more inclusive and equitable society.
Resistance Identity in The Bastard of Istanbul,
Resistance identity is incorporated through characters who challenge
dominant societal norms and confront silenced histories, particularly the
Turkish state's denial of the Armenian genocide. Resistance identity, as
defined by Manuel Castells, emerges when marginalized groups or individuals
actively oppose oppressive systems to reclaim agency and assert their
narratives.
1. Zeliha Kazancı
Zeliha, Asya’s mother, represents a more complex form of resistance
identity as she grapples with her own beliefs and the expectations placed upon
her as a Turkish woman. While she initially embodies traditional values, her
character evolves throughout the novel. Zeliha’s internal conflict reflects her
struggle against the constraints of her cultural identity and the pressures of
motherhood. As she begins to confront the painful truths about her family’s
past, particularly regarding the Armenian genocide, she starts to question the
legitimacy of the narratives she has accepted. Her journey toward understanding
and acceptance illustrates how individuals can resist oppressive identities by
engaging with their histories and seeking to break free from silence. A quote
that captures this transformation is: “Sometimes it is better to listen than to
speak.” (Shafak, Elif -2007) This acknowledgment of the need
for dialogue signifies her resistance to the silence that has historically
surrounded their family's past.
2. Shushan Kazanci Tchakhmakchian
Armanoush's grandmother – Shushan represents a poignant example of
resistance identity through her memories and the stories she passes down about
the Armenian genocide. Despite the pain and trauma associated with her past,
she embodies resilience and strength, refusing to let her family's history be
forgotten or erased. Her character serves as a living testament to the
importance of remembering and honoring the past, which is crucial for the
younger generation's understanding of their identity. She instills in Armanoush
a sense of pride in her heritage and the necessity of confronting historical
injustices. A quote that reflects this resistance is when she says, “To forget is to
die; to remember is to live.” (Elif, Shafak- 2007) This statement
emphasizes the significance of memory as a form of resistance against
oppression and cultural erasure, highlighting how her identity is intricately
tied to the collective memory of her people. Through her character, Shafak
illustrates how resistance identity can be rooted in the preservation of
history and the transmission of cultural narratives across generations.
In The Bastard of Istanbul, Elif Shafak intricately weaves
the concepts of legitimizing, project, and resisting identities to explore the
complexities of cultural and personal identity within the context of Turkish
and Armenian histories. Legitimizing identities, represented by characters like
Mustafa, reflect the societal norms and narratives that often suppress alternative
perspectives and historical truths. These characters initially conform to
traditional roles, embodying the expectations placed upon them by their
culture. However, as the narrative unfolds, Shafak reveals the limitations of
these identities, prompting characters to confront their pasts and question the
dominant narratives that have shaped their lives. This journey toward
self-awareness highlights the tension between societal expectations and
individual agency.
In contrast, project identities emerge through characters like Asya and
Armanoush, who actively seek to define themselves beyond traditional
constraints and reclaim their narratives amid cultural turmoil. Their quests
for identity illustrate a dynamic process of construction that resists imposed
definitions and embraces personal aspirations. Resistance identities are
further exemplified by characters such as Armanoush’s grandmother, who
emphasizes the importance of memory in confronting historical injustices.
Through her character, Shafak underscores how collective memory is a form of
resistance against cultural erasure. Overall, The Bastard of Istanbul illustrates
how these intertwined identities shape individual experiences and collective
histories, advocating for a more inclusive understanding of identity that
honors both personal journeys and shared legacies.
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