Ahmet Hamdi Tanpınar`ın şiir eleştirisinde Avrupa merkezlilik

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buir.advisorOğuzertem, Süha
dc.contributor.authorPelvanoğlu, Emrah
dc.date.accessioned2016-07-01T11:07:13Z
dc.date.available2016-07-01T11:07:13Z
dc.date.issued2006
dc.departmentDepartment of Turkish Literatureen_US
dc.descriptionCataloged from PDF version of article.en_US
dc.description.abstractAhmet Hamdi Tanpınar (1901-62), who was one of the most original writers of modern Turkish literature, especially with his novels and poems, had also contributed to Turkish literary studies by various articles, essays, and his well-known history of the nineteenth-century Turkish literature. In his articles and essays, Tanpınar placed special emphasis on the genre of poetry and interpreted the development of Turkish literature by putting poetry in the center. This thesis aims to analyze Tanpınar’s writings about poetry in general, and Ottoman poetry and Yahya Kemal Beyatlı (1884-1958) in particular, and to explore his conception of fine arts and his Eurocentric approach. In the first part, entitled “An Overview of Tanpınar’s Criticism of Poetry”, a brief chronological outline of the body of his writings about “Criticism”, “Poetry”, “Ottoman poetry”, and “Yahya Kemal” is provided. The second part of the thesis, entitled “Elements of Tanpınar’s Criticism of Poetry”, consists of two subsections: “Critical Interpretation According to Fine Arts” and “Constructing Continuity in Poetic Language: Selectivity”. The first subsection explores Tanpınar’s understanding of poetry as a fine art and his definition of it in terms of the characteristics of the fine arts. The second subsection discusses Tanpınar’s re-construction of a “classical” tradition by an intentional selection of poets from Yunus Emre to Yahya Kemal in the context of poetic language and his Eurocentric perspective. Tanpınar re-constructs this line of continuity by selecting verses, couplets, and poems according to European literatures, especially French literary norms, while valuing them with the conceptions of European arts, and finally making the mentioned line “Europeanized”. At the same time, he “orientalizes” the Ottoman poetic tradition and makes modern Turkish poetry subordinate to it, with the exception of Yahya Kemal.en_US
dc.description.degreeM.A.en_US
dc.description.statementofresponsibilityPelvanoğlu, Emrahen_US
dc.format.extentviii, 111 leaves, 31 cmen_US
dc.identifier.itemidBILKUTUPB100032
dc.identifier.urihttp://hdl.handle.net/11693/29852
dc.language.isoEnglishen_US
dc.publisherBilkent Universityen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.subjectPoetryen_US
dc.subjectFine artsen_US
dc.subjectTraditionen_US
dc.subjectEurocentrismen_US
dc.subject.lccPL234.T234 P44 2006en_US
dc.subject.lcshTurkish poetry 20th century.en_US
dc.titleAhmet Hamdi Tanpınar`ın şiir eleştirisinde Avrupa merkezliliken_US
dc.typeThesisen_US
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Dept. of Turkish Literature - Master's degree