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From the guardianship of the “Literary Father” to “Defending the Honor of Women”: A Comparative Study of Hayal ve Hakikat and Enin by Fatma AliyeAkdemir, Fatma ŞenEdebiyatFatma Aliye, one of the most significant Ottoman-Muslim female writers of the 19th century, perpetually scrutinizes the “woman question” and sets forth the problems women have to go through in a patriarchal society and a traditional family structure as well as occasionally suggesting possible solutions to these problems in all of the six novels she penned over the course of her life, Hayal ve Hakikat, Muhadarat, Refet, Udi, Levayih-i Hayat and Enin. However, upon closer inspection, her first novel Hayal ve Hakikat, which she co-wrote with Ahmet Midhat, appears to stand out from the rest of her work. Ahmet Midhat, who supported Fatma Aliye during the early years of her career as an emerging writer, deemed her as his “honorary daughter” and even stood up for her against those who opposed her and her writership for no other reason than her being a woman. Furthermore, Ahmet Midhat read and edited her work in addition to playing a fundamental role in the publication of her work both in his own newspaper and other media. There is no doubt that the unwavering support of Ahmet Midhat, not only the most popular and most widely-read writer of the period, but also a writer who is in good terms with the prevailing order, was hugely influential in the public acknowledgement of Fatma Aliye’s authorship. In a way, Ahmet Midhat became a father figure to Fatma Aliye, who was born as the daughter of Ahmet Cevdet Pasha, resulting in the formation of a fatherdaughter relationship between the two writers. Neverthless, the same hierarchical relationship that was prevalent in the patriarchal structure applied to the relationship that developed between Ahmet Midhat and Fatma Aliye: While the male author was the one who possessed authority, the female writer was the one who was subjugated to that authority. This hierarchical relationship is mirrored in the novel the two co-wrote, Hayal ve Hakikat, hence the emergence of distinct author attitude, narrator voice, and a female character noticeably different than the ones found in her other novels. The main starting point of this study is that, in her last novel Enin, which bears many similarities to Hayal ve Hakikat in terms of its subject matter, plot and characters’ life stories, Fatma Aliye completely reverses the male-female roles, gender codes and the negative qualities traditionally projected on women that characterize her first novel Hayal ve Hakikat, in which she had to adopt the ideology of a male author as she was writing under the authority of a male author and had no control over the text whatsoever. Fatma Aliye was in need of the support she could get from Ahmet Midhat in order to be included in the public sphere as a woman writer, but she was ultimately set free from this need as she gradually gained power and secured her place as a writer in the literary circle of the period. In this vein, as opposed to the female author and the female character pushed into the background and overshadowed by the male authority in her first novel, we see Fatma Aliye’s powerful exertion of both literary and female authority in Enin, which she wrote many years after Hayal ve Hakikat. Comparing her first novel Hayal ve Hakikat and her last novel Enin, this article will attempt to reveal the differences in Fatma Aliye’s approach to the woman issue in these novels. Structured Abstract: Fatma Aliye, one of the most significant Ottoman-Muslim female writers of the 19th century, perpetually scrutinizes the “woman question” and sets forth the problems women have to go through in a patriarchal society and a traditional family structure as well as occasionally suggesting possible solutions to these problems in all of the six novels she penned over the course of her life, Dream and Truth, Useful Information, Refet, The Lute Player, Scenes from Life and Groaning. However, upon closer inspection, her first novel Dream and Truth (Hayal ve Hakikat), which she co-wrote with Ahmet Midhat, appears to stand out from the rest of her work. Ahmet Midhat, who supported Fatma Aliye during the early years of her career as an emerging writer, deemed her as his “honorary daughter” and even stood up for her against those who opposed her and her writership for no other reason than her being a woman. Furthermore, Ahmet Midhat read and edited her work in addition to playing a fundamental role in the publication of her work both in his own newspaper and other media. There is no doubt that the unwavering support of Ahmet Midhat, not only the most popular and most widely-read writer of the period, but also a writer who is in good terms with the prevailing order, was hugely influential in the public acknowledgement of Fatma Aliye’s authorship. In a way, Ahmet Midhat became a father figure to Fatma Aliye, who was born as the daughter of Ahmet Cevdet Pasha, resulting in the formation of a father-daughter relationship between the two writers. Neverthless, the same hierarchical rel2021Articlehttps://rdlopen.rawdatalibrary.net/r/munzur/6618trTurkish Studies - Language and Literatureinfo:eu-repo/semantics/closedAccessinfo:eu-repo/semantics/articlehttps://munzur-rdlopen.rawdatalibrary.net/tr/items/munzur/6618