奧罕‧帕慕克的《黑色之書》充滿神秘離奇又相互矛盾的特點，常被歸類為後現代小說。然而不同於大部分後現代小說強調自我認識以及意義追尋終究是不可得的，本書主角的偵探之旅並非以全然失敗作結。書中主角蓋立普在整座伊斯坦堡四處尋找人間蒸發的妻子與堂兄時，重讀了堂兄席拉從前所寫的報紙專欄，並在故事最後不厭其煩地重述古老的故事。正是此重讀與重述故事的過程使他逐漸變成另一個人，也正是由於他的流變，他才能找到做他自己的可能性。本文援引德勒茲對於「重複」以及「學徒鍛鍊」等概念的論述提出以下論點：《黑色之書》中出現的這些「重複」（重讀、重述、重寫、雙生等）並非單純作為後現代小說中用以擾亂讀者理性思緒或創造幻覺效果的寫作策略，而是一條看不見的線，串聯起一段蓋立普的學習之旅。德勒茲所論的「重複」必須從「關係」的角度理解之，而《黑色之書》具體展示出重複的重要意涵，亦即任何一次重複都必然包含不同個體之間的關係。在蓋立普對於席拉亦步亦趨的重複過程中，他自身也發生變化，而他每一個變化都實現了某種關係，也就是認識的主體與被認識的個體之間的關係。

Written in the form of a quest novel with mysterious and paradoxical traits, The Black Book is widely categorized as “postmodern fiction.” However, unlike most postmodern novels which thwart every attempt to search for meaning and self-knowledge, The Black Book does not dismiss the protagonist’s detection as a total failure. In the search for his disappeared wife and cousin Celal, Galip, the protagonist, rereads the old columns and at the end of the story he retells the ancient tales. In his rereading and retelling of the story he becomes someone else, and in his becoming someone else he finds a way to be himself. Taking Gilles Deleuze’s notions of repetition and apprenticeship, in this paper I argue that repetition in this story is not simply a postmodern device to confuse readers or to create illusionary effects, but a thread weaving Galip’s apprenticeship, that is, a continuous process of learning. In Deleuze’s sense, repetition must be understood in terms of relation, and The Black Book illustrates exactly how repetition signifies relations between individuals. In repeating Celal’s every step, Galip transforms and changes himself, and each change actualizes a relation between the knowing subject and the known individual.