@article{2017,title={MURATHAN MUNGAN'S TALE THEMES OF DOKUZ ANAHTARLI KIRK ODA},abstractNode={Murathan Mungan is one of the most productive, original and colorful writers of contemporary Turkish literature. Forty-Room With Nine Keys, the fourth book of the forty-room series, which Mungan seeks to complete throughout his life, meets with his readers in February 2017. Regarding the “forty-room” series as his own one-thousand-one night tale, the author makes important observations about tales, which are essential themes of folklore, in the previously published Forty-room, Three-Mirrored Forty-room and Forty-room With Seven Doors. The writer of Lal Masallar, which presents the most effective and unique examples of the fictional fairy tale concept in our literature, redesigns the important fairy-tale heroes which are archetypels in readers' imagination with brand-new identity and value judgments in his fictional universe of his narratives like Cotton Princess Without Seven-dwarf or A Cindrella Of Our Era. In his Forty-room With Nine Keys , Mungan, who carries important tales, heroes and fairy tale motifs to present with a new perspective, explains why he follows such a path in literature: “We can not just talk about an archetype in typological sense; the relationship forms, the value registers, and the wrongs have also archetypes. And these are genarally ideological determinations which keep to exist by changing form in different societies and different centuries” (Mungan, 1996: 114) In this study, themes and motifs of tales in Murathan Mungan's Forty-room With Nine Keys will be evaluated.},author={M. Abdulbasit SEZER-& Fırat TAŞ},year={2017},journal={International Journal of Language Academy}}