Browsing by Subject "Love in literature."
Now showing 1 - 2 of 2
Results Per Page
Sort Options
Item Open Access Heves-name'de aşk oyunu : Taci-Zade Cafer Çelebi'nin özgünlük ideali(Bilkent University, 2003) Atay, HakanTâcî-zâde Cafer Çelebi, the later “nişancı” of Bayezid II, fourty years after the conquest of Istanbul by Ottomans, wrote a mesnevi called Heves-nâme (The Book of Zeal). In his mesnevi, he posed a direct criticism of Ottoman literature’s canonical poets, like Şeyhî and Ahmed Paşa to stress a specific type of “originality”. His peculiar notion of “originality” leads to an ideal, or a project of composing a mesnevi which consists of different narrative pieces that are put together by a sense of coherence. These pieces are three in number. One of them is an iconic depiction of Istanbul’s main places and buildings in the 15th century, and has an interesting connection to the further flourishing genre, that is “şehrengiz”. The second narrative part is distinguished by the scientifically motivated discourse which can be seen in “Acâibü’l-Mahlukat” genre, that is in the popular books of a very general kind of cosmological knowledge. And the last is a certain kind of dictionary which depicts the parts of the beloved’s beauty. Cafer Çelebi’s mesnevi is a product of this ideal of originality, which we can name as “the eclectic wholeness”. Çelebi, in order to place his ideal in a firm basis uses the concepts of “hakikî” (real) and “mecazî” (metaphorical) love, both of which are nothing but parts of a more general discourse of universal and mundane love. The game of love is literal and legal byproduct of this discourse.Item Open Access Nâzım Hikmet ve Cegerxwin'de aşk şiirinin ideolojisi(Bilkent University, 2008) Yekdeş, Ömer FarukThis thesis investigates the conceptions of love and the descriptions of the beloved in the poetries of Nazim Hikmet and Cegerxwin, two socialist poets of Turkish and Kurdish languages respectively, with a particular focus on the poets’ relationships to their traditional literatures and the ideological meanings that they attributed to love and the beloved. I first provide information about the political and literary climate against which Nazim Hikmet and Cegerxwin produced their works in order for locating each poet within their respective literary traditions. Then, I focus on the poets’ relationships to tradition and on the main features of their poetries as a background to investigate the ideological dimensions of their understandings of love. Nazim Hikmet’s letters to Piraye involves reappropriations of the imageries of love from the Islamic mystical poetry. I read this as the poet’s attempt to transform divine love into material love. Moreover, rather than emphasizing the physical beauty of the beloved, Nazim Hikmet portrayed his beloved with reference to the social reality of which she was a part. This was a move that challenged the understandings of love reflected in both the Divan poetry and Turkish poetry in the process of modernization. Furthermore, Nazim Hikmet offered segments from the lives other people as constitutive elements of his treatment of the relationships between the lover and the beloved. From a socialist perspective, thus, Nazim Hikmet articulated a conception of the personal relationship as a medium through which to attain the social and the universal. This study reveals that Cegerxwin also challenged and transformed the way love is treated in the classical Kurdish poetry in a similar vein. On the one hand, Cegerxwin added modern images to the classical metaphors of love. On the other hand, he adopted a materialist understanding of love by exposing the sexuality of the beloved. Cegerxwin also transformed the type of lover: In contrast to the passive image of the lover that permeates the classical Kurdish poetry, Cigerxwin’s lovers are active agents within the Kurdish nation-making process. Besides these, Cigerxwin made the national homeland the subject of love: Cast as the female body at which male love and desire is directed, homeland appears as the object of love in Cigerxwin’s poems. The thesis concludes that beneath Nazim Hikmet’s and Cegerxwin’s negations of the Islamic mystical love, there lied a rejection of traditional forms of authority. While Nazim Hikmet substituted traditional authority with social consciousness, Cegerxwin put forward the principle of national sovereginty in its stead.