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dc.contributor.advisorTezcan, Nuran
dc.contributor.authorKaya, Nilay
dc.date.accessioned2016-07-12T11:06:03Z
dc.date.available2016-07-12T11:06:03Z
dc.date.copyright2016-06
dc.date.issued2016-06
dc.date.submitted2016-06-30
dc.identifier.urihttp://hdl.handle.net/11693/30126
dc.descriptionCataloged from PDF version of article.en_US
dc.descriptionThesis (Ph.D.): Bilkent University, Department of Turkish Literature, İhsan Doğramacı Bilkent University, 2016.en_US
dc.descriptionIncludes bibliographical references (leaves 246-257).en_US
dc.description.abstractAs a part of the ancient Greek and Roman rhetorical practices, ekphrasis basically means the verbalisation of a visual object, and it has become a literary tool in time. Since the description of Achilles‘ shield in Homer‘s İlliad, ekphrasis has been a frequently used literary practice which writers, historians, art critics apply. Ekphrasis can be applied as the description of visual art objects through the fictional forms such as poetry and novel as well as it occurs in the prose concerning history, art criticism and travelogues; it is studied in order to analyse writer's handling with the description of the object. Ekphrasis studies enable to capture the writer's relationship between objectivity and subjectivity, the elements of his/her expressed subjectivity, through literary tools. This study will examine Evliyâ Çelebi's "ekphrastic" approach in describing mosques, churches and monasteries, paintings and sculptures in Seyahatnâme (The Book of Travels), especially focusing on how the subjective factors determining the writer‘s aesthetic appreciation occur in his literary practice. What kind of a fictive language does ekphrasis, which is essentially the act of making the silent image talk, show in Evliyâ Çelebi's representation? What are the characters of the new images created by this language, which is independent from the original objects, in other sense the images which Evliyâ created on his own way? How does the reflection of personal taste and cultural positioning affect aesthetic view of Evliyâ Çelebi‘s "ekphrastic" narrative? This questioning aims to observe how the aesthetic view of Seyahatnâme's author takes shape and to be a model of an approach to put forth the new literary qualities of Seyahatnâme's in the light of ekphrasis study. The problem of "ekphrasis" enables Seyahatnâme which has been already a study topic for various social sciences, to be evaluated in the discipline of fiction more widely. As the issue concerns basically the relationship between visuality and writing, it would bring a new interdisciplinary approach to Seyahatnâme studies.en_US
dc.description.statementofresponsibilityby Nilay Kaya.en_US
dc.format.extentvii, 258 leaves.en_US
dc.language.isoEnglishen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.subjectEvliyâ Çelebien_US
dc.subjectSeyahatnâme (The Book of Travels)en_US
dc.subjectEkphrasisen_US
dc.subjectAesthetic viewen_US
dc.subjectVisuality and literatureen_US
dc.titleDescription of the visual art objects in Evliyâ Çelebi‘s book of travels: an ekphrastic approachen_US
dc.title.alternativeEvliyâ Çelebi‟nin seyahatnâme'sinde görsel sanat eserlerinin tasviri: ekfrastik bir yaklaşımen_US
dc.typeThesisen_US
dc.departmentDepartment of Turkish Literatureen_US
dc.publisherBilkent Universityen_US
dc.description.degreePh.D.en_US
dc.identifier.itemidB153633
dc.embargo.release2019-06-29


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