Hilmi Yavuz şiirine metin-merkezli bakış
Author(s)
Advisor
Halman, TalâtDate
2002Publisher
Bilkent University
Language
English
Type
ThesisItem Usage Stats
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Abstract
The poems of Hilmi Yavuz (1936) -who is one of the leading poets and writers of
Turkish Literature- are suitable for a text-centered study. This work is based on all
of the poems of the poet included in the books, Hüzün ki En Çok Yakışandır Bize
(Toplu Şiirler) (1969), Söylen Şiirleri (1989), Ayna Şiirleri (1992), Çöl Şiirleri
(1996), Akşam Şiirleri (1998), and Yolculuk Şiirleri (2001). A close examination
reveals they comprise of a well-built structure. This structure that is based on binary
oppositions can be encountered in the language, image and sound properties of the
poems. In the first part of the work, these binary oppositions are analysed. The
dualism in language can be seen in the poetry-prose language, language-utterance
and the meaning and sound aspects of language differentiations. According to Hilmi
Yavuz’s own modern poetry concept, his poetry can be seen as the continuation of
the tradition formed by poets like Yahya Kemal, Ahmet Haşim, Behçet Necatigil and
Asaf Hâlet Çelebi. Hilmi Yavuz indicates that, the reason why these poets are
modern is that they base their poetry on either image or sound. For example in
Yahya Kemal’s poetry, sound; in Ahmet Haşim’s poetry image is more important.
From this point of view it can be said that Hilmi Yavuz’s poetry depends on both
image and sound and is modern. Another property of modern poetry is its relation to
tradition. In his poems, Hilmi Yavuz does not repeat tradition, he re-creates it. In
Hilmi Yavuz’s poems it is possible to see the traces of a relation established with
both East and West sources. İn this part of the work, the intertextual referances in
Hilmi Yavuz’s poetry are taken into consideration from Gérard Genette’s teory’s
point of view. In the second and last part of the work, Hilmi Yavuz’s poetry is
analysed in the frame of the “pure poetry” concept that is encountered in Paul
Brémond and Yahya Kemal, and the purification process of Yavuz’s poetry is
observed. This process can be considered to be a purificaition of poetry from “great
concepts” as Hilmi Yavuz says, or from the prose language as Brémond indicates.