Browsing by Subject "poetry"
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Item Open Access Cemal Süreya şiirinde bedenin yazınsallaşması(Bilkent University, 2003) Ergül, Mehmet SelimCemal Süreya (1931-1990), one of Turkey’s major poets, explores the female body in his works. The bodies in Süreya’s poetry can be studied under three headings: Poems about the “other body” where the narrator is constructed as a libertine, about the idealized “perfect body” which is in love with the narrator and about the “imperfect body” which is not sexualized and thus can be depicted as imperfect. Different bodies are mentioned in almost all of Cemal Süreya’s early poems. Sometimes more than one body is encountered in the same poem. This issue has led us to explore the system of libertinism. The female body is represented as a perfect form in most of Cemal Süreya’s love poems, even if their focus is not on eroticism. This approach has similarities with the aesthetic ideal of ancient Greek art. The imperfect body represents the poor and oppressed woman in Cemal Süreya’s poetry. Physical imperfection also symbolizes the political views of the narrator. Eroticism has always been considered the distinctive feature of Cemal Süreya’s poetry. It can be argued that the literary body in Cemal Süreya’s poetry has four different dimensions: Allegorical, metaphorical, hidden and priapic. Nonetheless poems with the above characteristics have always existed side by side with naive, social and sentimental poems as well as with verses where a submissive poet expresses his dedication to one particular woman. Hence one cannot speak of a linear evolution in Cemal Süreya’s poetic discourse on eroticism. Even so, his discourse on libertinism has gradually changed and become marginal in his later work. Cemal Süreya’s poetry includes various discourses that include opposite and contrary elements.Item Restricted Item Open Access Latîfî'nin eleştirel perspektifinden Osmanlı divan şiirinin poetikası(Bilkent University, 2009) Gür, NagihanAs one of the well-known figures of the Ottoman literature of tezkire genre – the collection of biographies – Latifi (1491-1582) is a distinctive scholar with his eccentric discourse in his masterpiece Tezkiretü’ş-Şu’arâ (1546). The tezkire writer projected a critical view of the Ottoman poetry through the discourse he created in his tezkire, as well as the canon he set down, to a great extent, demonstrated the general progress of the art of poetry. Questioning the literary critique on the basis of Latifi’s tezkire, this thesis aims to show the attributed mean to his critical manner in the traditoin. Being aware of that the Ottoman literary critique has no equalent in the modern critical theories the thesis attempts to explicate the critical discourse in the tezkire in the limits of the tradition and rhetoric. In this context, in the first chapter titled “Tezkiretü’ş-Şu’arâ and Critique in the Ottoman Literature”, the essence of the critique in the tezkire and its place on the line of the tradition are discussed; and Latifi’s genuineness within the tezkire tradition is appraised. Furthermore, the writer’s famous classification of poets is explicated in the context of rhetoric, and the precision of attributing genuineness to the writer of the tezkire merely within the bounds of this classification is questioned. In the subchapters entitled “The Poet” and “The Poetry” of the second chapter “The Ideal Type of Poet Reflected from Latifi’s Critical Perspective and a Look to the Art of Poetry” the platforms of criticism are scrutinized. Within the frame of these platforms, the ideal type of poet and poetry reflected in the critical expression of Latifi is discussed, and the poetic discourse presented in the tezkire is stated.Item Open Access Tanzimat'tan Cumhuriyet'e aydınlık bir yüz : Abdülhak Hâmit Tarhan(Bilkent University, 2003) Demircan, AynurAbdülhak Hamit Tarhan (1852-1937) is the author of a large and comprehensive volume of works is one of the most prolific authors in Turkish Literature whose works range from poetry to drama. It can be easily deducted through a rough analysis concerning his works that the poet/author had endorsed the works published within the framework of "project of civilization" and pro-reformist movements which occurred along the period beginning from Tanzimat Era (Administrative Reforms in 1839) including İstibdat Era (Oppression) and Meşrutiyet Era (Constitutional Monarchy) till the Proclamation of Republic in 1923. There is also a general agreement among the pundits of literature and scholars who carried out researches regarding Abdülhak Hâmit Tarhan that he scrutinized the "female problematic" in his drams and poems. Although Gündüz Akıncı strongly argued that "Abdülhak Hâmit Tarhan is the first feminist author in Turkish Literature", it is remarkable that no research has been carried out regarding this aspect of the author so far. Within the framework of this study, Abdülhak Hâmit Tarhan's perspective of female problematic, his propositions concerning the solutions and his contributions to the Ottoman-Turkish Feminist Movement has been argued by means of analyzing his drama works, memories and letters