Browsing by Subject "Authors, Turkish 20th century."

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Fahri Celalettin Göktulga'nın öykülerinde anomi ve geçmişe kaçış
(2003) Aydın, Bilgen
Fahri Celâlettin Göktulga (1895-1975) is a short story writer of a transitional period that started in the II. Meşrutiyet period (Constitutional Monarchy, 1908) and lasted until the end of the one-party era (1950). Göktulga, whose major profession was psychiatry, projected the “anomie” experienced by the Ottoman society which hesitated between “traditional values” and “new values” coming from the West in the framework of male-female relations and focused especially on “human psychology”. It is nearly impossible to encounter another Turkish short story writer who is interested in human psychology as professionally and insistently as Göktulga among the first generation of short story writers of the Republican era. However, Göktulga, who can be seen as the “ring” that connects Ömer Seyfettin to Memduh Şevket Esendal in Turkish short story, is one of the writers who were not sufficiently appreciated in Turkish literature. Göktulga’s effort to reveal psychological struggles and moods sets his stories apart from Memduh Şevket Esendal’s, which were in many ways similar to Göktulga’s stories. Göktulga’s stories bear resemblances to the Russian Anton Chekhov’s work. Göktulga, who wrote about eighty short stories and hundreds of short columns during his life, did his best to discriminate between his identities as psychiatrist and short story writer. As a matter of fact, his short story universe was shaped by his artistic identity more than the psychiatrist one. In Göktulga’s short stories, which were written from a masculine point of view, there are “strange twists” and “unexpected ends”, experienced when male protagonists as representatives of “traditional values” are confronted in public by female protagonists as representatives of “new values”. In this way, the collective schizophrenia experienced by the society during the modernisation process is expressed on an individual plane. As for the males, whose dominant positions are shaken by the threatening existence of women—“the other”—in the public area, find solutions by escaping into the past.
Open Access
Oktay Arayıcı'nın oyunlarında ironi çeşitlemesi
(2003) Altıkulaç, Refika
Oktay Arayıcı, who is one of the important playwrights of the Turkish Theatre, makes use of the defamiliarism method of Epic theatre and Traditional theatre in his plays. If we study the use of this method of defamiliarism in his plays entitled Bir Ölümün Toplumsal Anatomisi, Seferi Ramazan Bey’in Nafile Dünyası, Rumuz Goncagül and Tanilli Dosyası (Geçit), we find out that he utilizes Epic Theatre’s characteristics to attract attention to his message and he employs Traditional theatre’s characteristics to enrich his narration. We can say that Oktay Arayıcı has his own ironic point of view. The playwright’s approach to the play, the actors’ approach to their roles and the audience’s approach to the play create a sort of irony. Oktay Arayıcı conveys serious and clear messages in his plays. In addition, his approach is tolerant and humane. In his plays, his criticism is relevant to social problems. The heroes of the plays can be tolerant and we may think that it is the humane weakness. Therefore, we can assert that the author has an understanding of irony that is humorous and tolerant. In Epic theatre the message is taken very seriously. The players convey a message that is serious and clear. On the other hand, Traditional theatre approaches life humorously and players create the irony. In Oktay Arayıcı’s plays, the audiences are usually in an ironic position in which they are neither fully aware nor fully unaware of what is happening. They might receive the message or not. They may hesitate or content theirselves with perceiving the play. This situation causes a different ironic situation in each of his plays. Oktay Arayıcı has a different understanding of irony in his plays. In addition he has some characteristics similar to his contemporaries in terms of his a different use of Epic and Traditional theatre .
Open Access
Yaşar Kemal'in İstanbul'una çevreci bir yolculuk
(2003) Ayaydın, Günil Özlem
Yaşar Kemal (b. 1923), probably the most eminent novelist of modern Turkish literature, is commonly recognized as the writer of Çukurova. However, in order to thoroughly comprehend his universal perspective revealing the connectedness of humans and nature, it is essential to look at his works on Istanbul, primarily the novel Deniz Küstü (1978 [The Sea-Crossed Fisherman 1985, trans. Thilda Kemal]), which are often overlooked by the critics. This thesis examines in depth how Yaşar Kemal constructs the embeddedness of his characters in their environment in his novel by taking into consideration the theoretical approaches developed by ecocriticism, ecopsychology, ecofeminism, and Deep Ecology. Other works of the writer that are discussed intertexually pertaining with Deniz Küstü are his novella Kuşlar da Gitti (1978 [The Birds Have Also Gone 1987, trans. Thilda Kemal]), his short stories “Ağır Akan Su” (1970 [“Still Waters” 1980, trans. Robert Finn and Thilda Kemal]), “Hırsız” (1987 [The Thief]), “Kalemler” (1987 [The Pens]) and “Lodosun Kokusu” (1981 [“The Scent of the South-west Wind”], the compilation of his interviews Allahın Askerleri (1978 [Soldiers of God]) and Bir Bulut Kaynıyor (1974 [A Cloud is Seething]) and his essays “Anadoludan Gelenler” (1959 [They Come from Anatolia] and “Menekşenin Balıkçıları” (1982 [The Fishermen of Menekşe]). In this thesis, I have tried to demonstrate how Yaşar Kemal deals mainly with the alienation process of his characters from themselves and their environment, and underlines the reciprocity of the relationship between humans and nature. Deniz Küstü propounds the idea that human beings make life possible through their power to imagine and their ability to empathize with others, including non-human forms of life. Thus, Yaşar Kemal utilizes some of the techniques of traditional oral literature, transforming them into defamiliarization devices affecting the readers’ position vis- à-vis the text, namely inviting their participation.