Browsing by Subject "Magical Realism"

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Open Access
Efsaneden büyülü gerçekçiliğe
(Geleneksel Yayıncılık, 2011) Dilek, Esra Derya
Terim olarak ilk kez Alman romantiklerinden Novalis tarafından felsefe alanında kullanılan büyülü gerçekçilik daha sonra görsel sanatlarda ve edebî eserlerde de bir yaklaşım olarak görülmeye başlanmıştır. Günümüzde büyülü gerçekçiliğin ne olduğuna, edebî eserlere nasıl yansıdığına dair Türkçe olarak sınırlı sayıda kaynak bulunmaktadır. Bu kaynaklarda belirtildiği üzere büyülü gerçekçilik üzerine yapılan tanımlamalarda ve akımın bir ürünü olarak bahsedilen edebî eserlerde folklordan yararlanma ve olağanüstülük ön plana çıkmaktadır. Büyülü gerçekçiliğin ne olduğunu tam olarak anlayabilmek için onun gerçekçilik, fantastik ve gerçeküstücülükle olan sınırlarını belirlemek gerekmektedir. Bu doğrultuda büyülü gerçekçiliğin kaynaklarına ulaşmak amacıyla sözlü geleneğin ürünleri olan efsane, masal ve mitin incelenmesi önem kazanır. Ancak, çeşitli açıdan birbirine bağlı bu üç folklor ürününün bilimsel olarak kabul gören özelliklerinden yola çıkıldığında, efsane, gerçekliğini savunduğu olağanüstülük sayesinde masal ve mitin önüne geçer. Örneğin, efsanevî 15. yüzyıl Dede Korkut Oğuznamelerinin her yönüyle olmasa bile, barındırdığı büyülü-gerçekçi öğelerle bugün bu yaklaşımın ürünü sayılan edebî yapıtlara bir tür esin kaynağı olduğu düşünülebilir.
Open Access
Latife Tekin'in yapıtlarında büyülü gerçekçilik
(2003) Turgut, Canan Öktemgil
Latife Tekin (b. 1957) is an influential writer whose early works had a deep impact on Turkish literature during the 1980s. She focuses on the lives of the poor and of people who migrated from villages to huge urban agglomerations. Social strata that until now had mainly been narrated in realist and socialist realist works are in the centre of Tekin’s magical realist works. The aim of this thesis is to study Tekin’s use of magical realist narrative techniques by exploring magical realism in her works. Apart from a few studies, her works have not yet been submitted to detailed scrutiny. The publication of her first work Dear Shameless Death (1983) was followed by several debates. However critics mainly aimed at establishing whether the novel was “realist” or “socialist realist”. Others criticized her for supposedly imitating Gabriel García Márquez’s One Hundred Years of Solitude (1967). Similar discussions on realism followed the publication of Berji Kristin: Tales from the Garbage Hills (1984), her second novel where she explores life in the villages and the suburbs, and again draws on Turkish oral traditions and Latin American magical realism. Tekin makes use of the content and the forms of the oral literary genres in her two novels, even though in the second one the focus is on the hybridization of the genres. In Icy Swords (1989) she approaches magical realism critically and reinterprets this literary approach in a original way. A study of those magical realist works based solely on realist or socialist realist criteria does not put enough focus on the formal originality and the content of Tekin’s novels. Moreover, the accusation of imitation obscures Tekin’s originality in appropriating Latin American magical realism. The thesis is focused on the three above-mentioned works. The conclusion of the study is that those aspects of the novels that were criticized by the apologists of realism and social realism actually reveal the author’s complete mastery of magical realist techniques. Tekin’s magical realism is far from being a mere imitation of Latin American models: it is an original reinterpretation based on native literary traditions. The synthesis of native and Latin American techniques is at the heart of Tekin’s original works. Hence we may speak of a native form of magical realism.
Open Access
Non realist tendencies in new Turkish cinema
(2016-08) Can, İclal
The realist tendency which had been dominant in cinema became more apparent with Italian neorealism affecting other national cinemas to a large extent. With the changing and developing socio economic and cultural dynamics, realism gradually has stopped being a natural constituent of cinema and the rate of observing non realist films has started to increase in cinema. Along the same line, Turkish cinema was also impressed by the realist tendencies especially with the classic realist films in Yeşilçam period and with Yılmaz Güney’s social realism. However, as for 80s in Turkish cinema, the non realist films have been observed with some films of Atıf Yılmaz, and especially by 2000s some prominent directors of new Turkish cinema such as Onur Ünlü, Semih Kaplanoğlu and Reha Erdem have dealt with those kinds of films. In this thesis, the mentioned directors are investigated within the context of how they conceive and construct their cinematic world, and in this regard, this thesis provides a close reading on their non realist tendencies which are discussed over some of their films in terms of their approaches as magical realism with Onur Ünlü, spiritual realism with Semih Kaplanoğlu and anthropocene realism with Reha Erdem.