Browsing by Subject "Metonymy"
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Item Open Access The invention of wine and its meaning as a myth(2008) Akgül, A.Hasan Özdemir's article, entitled, "Şarabi{dotless}n İcadi{dotless} ve Dört Vasfi{dotless}" (The Invention of Wine and Its Four Characteristics) is one of the most interesting applications of Historic-Geographic Theory. In this article, Özdemir carries out a thorough piece of research on "the tales of the invention of wine" which spread different regions of the world. He also tries to find an "ur-form" of them. In these tales, Noah decided to plant a vineyard and Satan came to see him and then Satan took a peacock, a monkey, a lion and a pig, slit their throats and sprinkled the vine-stock with their blood. For this reason, people who drink wine begin to resemble to those animals in proportion to their amount of drinking. In other words, as long as a person drinks a wine, he/she will resemble to a peacock, a monkey, a lion, a pig, respectively. Özdemir claims that these tales are formed in The Near East and then they are transmitted to Europe. On the other hand, they can also be analyzed by using Structuralist Theory. The theory depends on some "binary oppositions" such as "syntagm/paradigm or metonymy/metaphor" and each dichotomy includes two fundamentals of language. Claude Lévi-Strauss, who is regarded as one of the foremost structuralist anthropologists, generally reduces "myths" to binary oppositions. Lévi-Strauss asserts that myths have a meaning which is supposed to be conveyed to the new generations, but, according to Strauss, the meaning is always embedded in dichotomies like "syntagm/paradigm or metonymy/metaphor" which can be inferred by using the elements of the myths. Tales of the invention of wine have also a universal binary opposition: good/bad. The dichotomy, in these tales, is reproduced as Noah/Satan. While Noah tries to make beneficial things like grape-juice or grape molasses, Satan wants to make harmful things like wine. If a scholar wants to extend these kinds of binary oppositions to the animal world which is mentioned in these tales, he/she would discover another interesting dichotomy: peacock/pig. Since the pig is close to human beings in terms of genus, people become anxious when they look like pigs, however, the peacock is not close to a human being in terms of genus; therefore people do not care about resembling to peacocks. The closeness between pig and human being makes the difference between humans and animals blurred and this creates anxiety that human beings resemble pigs when they drink too much.Item Open Access Oktay Rifat şiirinde güneş'in üç hali(2005) Akgül, AlphanThe poetic transformation, which Oktay Rifat (1914-1988) has experienced since his titled Perçemli Sokak (1956), corresponds to a process moving from “language” towards “perception”. After this work Rifat used the “sun” as an object of analogy reducing it to “similarities” and after Çobanıl Şiirler (1976), he used the “sun” as a natural object of “perception”. Rifat’s employment of “nature” by reducing it to similarities turns into a unique style, which corresponds to the styles of interpretation of not only archaic societies but also of despotic ones. After Perçemli Sokak the relationships of similarities may be observed through the concepts of equivalence principle and metaphor. In his poems in which the tenor and the vehicle appear together, Rifat produces a plurality that is reduced to similarities. Because in these poems the sun is treated equivalently with the things that are likened to it in terms of any one of their specific characteristics. In this sense, according to their occurrences in Rifat’s poems, equivalences such as “sun-shepherd”, “sun-father”, “breasts-sun”, “sunmillet”, “sun-sword”, and “sun-memory” are typical. The usage of “sun” reduced to such similarities can only be observed in the poems “Denklem” and “Kaval” in Elifli (1980), and “Gün Doğuyor” in Denize Doğru Konuşma (1982), all of which were published after Çobanıl Şiirler. In Rifat’s “sultan poems” in Yeni Şiirler (1973), what prevails is the employment of the metaphorical language. In these poems, the sun is in close relationship with the “palace metaphor”, which Ahmet Hamdi Tanpınar considered to be a concept that can be identified with the general structure of the Ottoman Poem. The fact that this concept of “palace metaphor” is based on the similarity relationships between the qualities of the “sun” and the “sultan”, made it possible to establish a similarity with “sultan imagery”, emphasized by the “sultan poems” in Yeni Şiirler. The parallelism which is compatible with the content of the “palace metaphor”, constructed between the burning effect of the sun and the mortality of the sultan, is reproduced in Rifat’s poem in order to create a “singular” discourse by constructing the metaphors of sultan, using the words “executioner”, “cruel”, “hyena” and “lion”. The expression “orange bird”, in “The Earthquake of 1509 ”, may be added to this singular discourse in terms of its correspondence with the image of “Sultan” in Ahmet Paşa’s (d.1496/7) “Güneş Kasidesi”. After Çobanıl Şiirler, however, Oktay Rifat may be said to have shifted from the employment of equivalence principle and metaphor into a kind of poem in which the use of metonymy is dominant. In the applications of metonymy, the sun is represented not by the things that resemble it, but by any of its natural qualities that correspond to its different appearances in nature. The sun’s metonymic usage, by being reduced to its different appearances in nature, made it possible to produce a “plural” discourse.Item Open Access The riddle as an act of creating metaphor(2002) Cankara, M.This essay is on the relationship between riddles and metaphors. The concepts employed to examine this relationship are borrowed from Roman Jakobson.