Browsing by Author "Kaya, Nilay"

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Open Access
Description of the visual art objects in Evliyâ Çelebi‘s book of travels: an ekphrastic approach
(2016-06) Kaya, Nilay
As 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.
Open Access
Evliyâ Çelebi Seyahatnâme’sinde Ayasofya Camii ve ekfrastik yaklaşım
(Geleneksel Yayıncılık Eğitim San. Tic. Ltd. Şti., 2016) Kaya, Nilay
Antik Yunan ve Roma kültüründe retorik uygulamalarının bir parçası olan “ekfrasis” en temel anlamıyla, görsel bir nesnenin sözle ifade edilmesidir ve zaman içinde yazınsal bir araç hâline gelmiştir. Homeros’un İlyada’sında Akhilleus’un kalkanının tasvir edilişinden bu yana ekfrasis, yazarların, tarihçilerin, sanat eleştirmenlerinin sıklıkla başvurduğu bir yazınsal uygulamadır. Görsel sanat eserlerinin şiir, roman gibi kurmaca metinler aracılığıyla tasviri olarak uygulandığı gibi; tarih, sanat eleştirisi ve seyahat alanında yazılan düzyazı metinlerinde de karşımıza çıkar; yazarın tasvir ettiği nesneyi ele alış biçimini çözümlemek için incelenir. Ekfrasis incelemeleri, yazarın nesnellik ve öznellikle kurduğu ilişkinin, dışavurduğu öznelliğinin yapıtaşlarının yazınsal unsurlar aracılığıyla saptanmasına imkân verir. Bu çalışmada seyyah-yazar Evliyâ Çelebi’nin Seyahatnâme’de ayrıntılı olarak tasvir ettiği Ayasofya Camii’ni nasıl bir ekfrastik yaklaşımla ele aldığı incelenecek, bilhassa estetik değerlendirmesine etki eden öznel faktörlerin yazı pratiğinde nasıl ortaya çıktığı irdelenmeye çalışılacaktır. Özünde dilsiz nesneyi konuşturma eylemi olan ekfrasis, Evliyâ Çelebi’nin temsilinde nasıl bir kurmaca diline işaret eder? Bu dilin yarattığı orijinal nesneden bağımsız yeni görüntü, başka bir deyişle Evliyâ’nın oluşturduğu Ayasofya imgesi nasıl bir imgedir? Evliyâ Çelebi’nin ekfrastik anlatısında gözlemlenen kişisel beğeninin ve kültürel konumlanmanın yansıması estetik bakışa nasıl bir etkide bulunur? Yazarın ekfrastik uygulamasında kendisini olduğu kadar hedeflediği okuyucu kitlesini de nasıl konumlandırdığı incelenmelidir. Bu sorgulama Seyahatnâme yazarının estetik bakışının nasıl şekillendiğini gözlemlemeye ve metnin bu konu üzerinden saptanacak yeni yazınsal özelliklerini ortaya koymaya yönelik bir yaklaşımın modeli olmayı hedeflemektedir. Sosyal bilimlerin çeşitli alanlarına inceleme konusu olmuş Seyahatnâme’nin kurmaca disiplini içinde daha kapsamlı değerlendirilebilmesine imkân sağlayan “ekfrasis” meselesi, görsellik ve yazı ilişkisine dayandığı için Seyahatnâme çalışmalarına yeni bir disiplinlerarası bakış kazandıracaktır.
Open Access
Hagia sophia mosque and ekphrastic approach in evliyâ çelebi’s seyahatnâme (the book of travels)
(Milli Folklor Dergisi, 2016) Kaya, Nilay
As 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 and 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 Hagia Sofia Mosque 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 image created by this language, which is independent from the original object, in other sense the Hagia Sophia image of Evliyâ‘s? How does the reflection of personal taste and cultural positioning affect aesthetic view of Evliyâ Çelebi’s ekphrastic narrative? As well as how the writer positions himself it should also be examined how the writer positions his aimed reader. 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.