Browsing by Subject "Modern"
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Item Open Access The architect of city legends : the Great Sinan(2003) Korkmaz, G. EzgiIn this study, the traditional definition of legend and its characteristics are compared with that of city legends, moving from three legends about the Great Architect Sinan that are told in the city. It is also examined that under which circumstances and why these legends have emerged in the city as well as their functions in the city life.Item Restricted Behçet Aysan(1987) Başaran, MehmetItem Restricted Coffeehouses in Late Ottoman Istanbul from the perspectıve of European travellers(Bilkent University, 2021) Agha, Nafisa; Ahmed, Dima Hazem Ahmed; Faiz, Hassan İmran; Gökmen, Denizhan; Pitafi, MarviThis research paper aims to discuss the development of the Ottoman coffeehouse in the late Ottoman Empire in conjunction with the socio-political role it played during that time period. The birth of the Ottoman coffeehouse can be traced all the way back to the early 16th century whereby coffee was brought to Istanbul by a handful of traders. Since then, coffeehouses developed into something larger than a mere source of recreation. Instead, they aimed to provide avenues for political debate and the expression of art. People from all walks of life congregated at these coffeehouses, which further developed their presence as a modern-day public sphere. As such, this paper explicates the development of the Ottoman coffeehouse with regards to their socio-cultural and political function with an added focus on the perspective of European travellers who frequented these establishments.Item Restricted Ebubekir Eroğlu'nun dünyası(1994) Şener, MuhsinItem Restricted İntihar ve sanat : Robinsonlar çağı(1988) Göçer, AliItem Restricted Maral(1979) Dinamo, Hasan İzzettinItem Restricted Modernizm'e kuşbakışı(1992) Eroğlu, EbubekirItem Restricted Modernizm-Ezra Pound-Ülkü Tamer(1992) Güner, OganItem Restricted Modernizmin "eşik"indeki şair: Ahmet Hamdi Tanpınar(1992) Erem, EvrenItem Restricted Sanat ve edebiyatta çağdaşlık(1987) Bezirci, AsımItem Open Access Turgut uyar`ın huzursuzluğu(Bilkent University, 2006) Caner, FıratTurgut Uyar’s earlier understanding of poetry goes through a sudden change with Dünyanın En Güzel Arabistanı [The Most Beautiful Arabia of the World]. In his earlier style, the influence of “Garip Poetry” can be detected, but in Dünyanın En Güzel Arabistanı, Uyar approaches poetry with a new concep, similar to those of the other İkinci Yeni [The Second New] poets’, in which meaning is pushed to the background and figures of speech are brough to the fore. Dünyanın En Güzel Arabistanı is a modern work of art. The basic motivation that leads Uyar to write this book is the emotional pressures of modernity on the individual. Here, the poet focuses on two problems: First comes the pressure on the individual caused by religious morality, traditional ethics, and the social institutions which enforce these concepts. Second is the shock experience and discontents caused by modern civilization, urbanization, and the life style in urban the setting. Adverse affects of these experiences on the individual is not only the main theme of book, but it also determines the construction its whole design, the formal characteristics of the poems, and the dynamics of the imagery. In Dünyanın En Güzel Arabistanı, verses are not logically continuous, the narrative lacks the commonly expected form of linearity, and the construction that makes the book a whole is rather fragmented. Although these poems are meant to be read as independent pieces, they are connected to one another and constitute a coherent whole, because they are constructed within the framework of a common universe of symbols or fictional characters. The narrative events taking place in the poems do not display a chronological linearity. The poet/author hides himself behind the narrator of the individual poems and leaves the reader alone with the narrator. He employs various techniques of dramatic writing and story telling, which are not all that common in Turkish poetry. He backgrounds the meaning and expects the reader to bring together the pieces of the fragmented narrative by using various ambiguous relations between the imagery of the individual poems. The aesthetic choice of Turgut Uyar in this book is not Apollonian, but Dionysian, to refer to Nietzsche’s well-know dichotomy, one that the poet himself conceptualizes as “clumsiness”, something that makes the reader feel a sense of incompleteness before the whole work.Item Restricted Türk çağdaş Resim Sanatı ve Cezmi Orhan(Bilkent University, 2018) Öztrak, Orkan; Baraz, Ahmet Mustafa; Erol, Mehmet Ali; Yaşurgan, Zübeyde SeraBu araştırmada Türk Sanat Tarihi’nin başlangıcı, çağdaşlaşma süreci ve çağdaş Türk Sanatı’nın temsilcilerinden Cezmi Orhan’ın Türk Sanatı’ndaki yeri ve sanata olan bakış açısı ele alınmıştır. Araştırma sürecinde Türk Sanatı’nın tarih boyunca geçtiği evreler, sanatçıların bu evreler boyunca sanata olan yaklaşımları ve modern çağda içinde Cezmi Orhan’ın da bulunduğu sanatçıların sanata yaklaşımları üzerinde durulmuştur. Yazılı ve sözlü kaynaklardan yararlanılarak araştırma tamamlanmıştır.Item Restricted Türk şiiri ve modernizm(1992) Oktay, AhmetItem Restricted Yarayı Dağlamak(1994) Akın, KorkutItem Restricted Yeni Türkçe şiirde modernizm bir zorunluluk mudur?(1992) Taftalı, OktayItem Restricted Yitik Bahar(1989) Koparan, Ergin