Bu çalışmada Sabahattin Ali’nin Kürk Mantolu Madonna isimli romanının anlatı yerlemleri toplumsal cinsiyet ve feminist edebiyat kuramları açısından ele alınmış ve bu yönde bir okuma yapılmıştır. Rasim karakterinin öncelendiği ve Raif Efendi ile tanışmasının anlatıldığı ilk bölüme eklemlenerek onunla ilişkili biçimde devam eden anlatıda romanın kendi halinde ve sessiz kahramanı Raif Efendi’nin merak uyandıran gizemli aşk öyküsü ön plana çıkar. Okurda uyandırılan merakla Raif Efendi’nin yalnızlığının ve yabancılaşmasının sebeplerini açımlanır. Raif Efendi’nin tüm geçmişini ve sessizliğinin nedenini kendisinin kaleme aldığı siyah kaplı bir defterle öğrenen okur onun buruk aşk öyküsüyle karşılaşır. Romanda ivme kazanan olaylar da bu noktada başlar. Toplumsal cinsiyet bakış açısıyla çözümlemeye çalıştığımız romanda kahramanların kimi yerde toplumsal norm ve kabullenmelerle uyumlu söylem ve davranışlar sergiledikleri, kimi yerdeyse bir çatışma durumunda oldukları görülmüştür. Romanda kadın ve erkeğin toplumsal cinsiyet bakış açısına göre farklı şekillerde temsil edildiği sonucuna ulaşıldığı bu çalışmada tarama (survey) türü araştırma çeşitlerinden betimsel (descriptive) betimleyici araştırma deseni kullanılmıştır.
In this study, "Kürk Mantolu Madonna", which is one of the three important novels of Sabahattin Ali and where psychological analysis is taken in depth, is discussed. Although the main theme of the novel, which consists of two different stories, seems to be a sad love story, it is seen that the themes of loneliness and alienation that are categorized in this concept are discussed in depth. In addition to the narrative structure of the novel, a reading was made within the framework of gender perspective and feminist literary theories. Since both the narrator and the protagonist are evaluated and perceived according to gender roles and come to the fore with these aspects, a reading on this method was considered. In the novel, the love story of Raif Efendi, who is the silent hero of the novel, comes under the second episode, which combines with the first episode where the character Rasim stands out and where he meets Raif Efendi and continues in relation to this episode. At this point, with the curiosity aroused in the reader, Raif explains the loneliness of the master and the reasons for his alienation. The reader, who learns all of Raif's master's past and the reason for his silence with a black cover notebook he has written, encounters his mysterious and surprising love story. Accelerating events in the novel also begin at this point. In the novel, which we analyze from a gender perspective, we can understand that the heroes are compatible with their social norms and acceptances, and their discourses and behaviors, and sometimes there is a conflict situation. In the novel, it is seen that men and women are represented in different ways according to gender perspective. There are women who are oppressed and passive in women's representations as well as strong, free and symbolizing authority. As an example of male heroes, Raif Efendi is introduced as a character who remains secondary in both men and women with his roles and attitudes to complement the masculine ideology in contrast to his perception of gender. In the novel, it can be handled according to gender perspective from opposite characters. In the novel, especially the others are depicted in a different pattern than the usual roles of masculinity and femininity. Raif de Maria, which was formed out of the framework formed by the masculine power that the patriarchy took its power, was perceived in a different dimension on the social plane and was isolated by being pushed out of the society. In the novel, the only element that connects these two contradictory people is love.