Browsing by Subject "Turkish poetry--20th century--History and criticism."
Now showing 1 - 9 of 9
Results Per Page
Sort Options
Item Open Access Behçet Necatigil poetikasında şair(Bilkent University, 2007) Buğra, Meliha GökşenItem Open Access Bir ideoloji olarak Murathan Mungan şiiri(Bilkent University, 2002) Caner, FıratPoetry of Murathan Mungan as an Ideology Murathan Mungan (b. 1955), interprets “the ideological context of daily details” as one of the main themes of his literary works. There is an attempt of finding and manipulating what is always valid in the relationship he built with the Tradition. He pursues not the “past” in today, but the “today” in the past, because, the “today” in the past is the most convenient material for him to settle with his past. Mungan deals with the themes relating to Human Evolution and tries to make his readers confront themselves. He makes his readers confront themselves through criticisms which are direct at times and subtle at others. Mungan successfully deals with the issues concerning the imposition of political, economic and social formations to individuals and the psychology concerning how individuals absorb these. That is why the main topic of Mungan’s works is the crisis of the transition period between “not being able to be oneself” and “encountering the tragedy of not being able to”. Not being able to be oneself means dependence on an “other” and this will cause the individual to accept the role that has been imposed on oneself. The poetics of Mungan stands between the modern and the traditional, but closer to the traditional. But, beyond its “definite” status, the most important status for Mungan’s works is the status between two states of being. The threshold is very important in Mungan’s works, as it is in Chekhov’s.Item Open Access Edip Cansever şiirinde tek seslilik : Tragedyalar ve Ben Ruhi Bey Nasılım(Bilkent University, 2010) Atabağsoy, NaimOne remarkable point about the poetry of Edip Cansever (1928–1986), who is among modern Turkish poetry’s most distinctive voices, can be seen in the relationship between his poems and the concepts of polyphony and novelization. First published in 1964, Cansever’s article “Tek Sesli Şiirden Çok Sesli Şiire” (“From Monophonic Poetry to Polyphonic Poetry”)—in which he makes a connection between the concept of polyphony and that of authority—pioneered later arguments concerning polyphony in Cansever’s poetry. Alongside this, the inclusion in Cansever’s poetry of more than one character and its usage of certain distinctive structural features led to a connection being made between his poetry and the genre of the novel. This study uses the ideas of Mikhail Bakhtin, who was the first to fit the concept of polyphony into a theoretical framework, in an attempt to reevaluate concepts such as novelization and polyphony—which is one of the novel’s distinctive features—and to reconsider earlier ideas on Cansever’s poetry in this regard. Focusing, in the light of Bakhtin’s theory, on the poems Tragedyalar (“Tragedies”) and Ben Ruhi Bey Nasılım (“I Am Ruhi How Am I”)—both of which were also the focus of previous studies in this regard—this study will attempt to show the monophonic nature of these poems. In accordance with this aim, firstly, previous claims concerning Cansever’s poetry will be opened up to argument, and secondly, the concepts of polyphony and novelization will be explained and examined. Subsequently, the study will look at the relationship between tragedy— defined by Bakhtin as monophonic—and Cansever’s poem Tragedyalar, and, using Cansever’s own ideas, examine the question of whether or not Tragedyalar reflects the class contradictions that the poet expressly claims it does. In this regard, it will be observed that, although the task attributed to tragedy by Karl Marx and Friedrich Engels does appear in Cansever’s ideas, this relationship is not fully reflected in the text. As regards the examination of the poem Ben Ruhi Bey Nasılım, this will attempt to analyze the relationship between polyphony and Cansever’s poetry in a broader sense. Specifically, it will attempt to show through textual example that, although this poem does have more than one character, it does not, in fact, exhibit polyphony.Item Open Access Hilmi Yavuz şiirine metin-merkezli bakış(Bilkent University, 2002) Aka, PınarThe poems of Hilmi Yavuz (1936) -who is one of the leading poets and writers of Turkish Literature- are suitable for a text-centered study. This work is based on all of the poems of the poet included in the books, Hüzün ki En Çok Yakışandır Bize (Toplu Şiirler) (1969), Söylen Şiirleri (1989), Ayna Şiirleri (1992), Çöl Şiirleri (1996), Akşam Şiirleri (1998), and Yolculuk Şiirleri (2001). A close examination reveals they comprise of a well-built structure. This structure that is based on binary oppositions can be encountered in the language, image and sound properties of the poems. In the first part of the work, these binary oppositions are analysed. The dualism in language can be seen in the poetry-prose language, language-utterance and the meaning and sound aspects of language differentiations. According to Hilmi Yavuz’s own modern poetry concept, his poetry can be seen as the continuation of the tradition formed by poets like Yahya Kemal, Ahmet Haşim, Behçet Necatigil and Asaf Hâlet Çelebi. Hilmi Yavuz indicates that, the reason why these poets are modern is that they base their poetry on either image or sound. For example in Yahya Kemal’s poetry, sound; in Ahmet Haşim’s poetry image is more important. From this point of view it can be said that Hilmi Yavuz’s poetry depends on both image and sound and is modern. Another property of modern poetry is its relation to tradition. In his poems, Hilmi Yavuz does not repeat tradition, he re-creates it. In Hilmi Yavuz’s poems it is possible to see the traces of a relation established with both East and West sources. İn this part of the work, the intertextual referances in Hilmi Yavuz’s poetry are taken into consideration from Gérard Genette’s teory’s point of view. In the second and last part of the work, Hilmi Yavuz’s poetry is analysed in the frame of the “pure poetry” concept that is encountered in Paul Brémond and Yahya Kemal, and the purification process of Yavuz’s poetry is observed. This process can be considered to be a purificaition of poetry from “great concepts” as Hilmi Yavuz says, or from the prose language as Brémond indicates.Item Open Access İlhan Berk şiirinde nesne sorunu(Bilkent University, 2002) Akgün, AliThe poetics of İlhan Berk (b. 1918), one of the most creative Turkish poets, depends on continuous change. Every poem is a new start for Berk who wishes to write the world itself. Since Berk, who includes many objects in his poetry, does not concern himself with reaching a stable definition of poetry, he is known to be an inscrutable poet. In this study, the poems of İlhan Berk are examined by the critical method of the Geneva School which used the phenomenological approach as a perspective. Husserl, who aims at reaching the essence of objects, makes phenomenological reductions by placing “natural attitude” in parentheses. The essence of the objects is reached by this reduction method requiring a process. The Geneva School also determines what kind of meaning or essence the poet gives the object in his consciousness by utilizing Husserl’s approach. The multilayered meaning structure in Berk’s poems is explained by this method where objects are reduced by taking them into parentheses. Some of the layers of meaning in Berk’s poems are perceived as love, woman, sexuality, which are the immutable themes. Beyond these themes, the existential position of Berk is determined by means of recurring structures. The integrity in meaning or determinations, which the Geneva School reached by taking repetitions into consideration, reveal the position of woman and existence. At the same time when the meanings of the objects and the themes composing the integrity are considered, despite the thought that he is an original poet, Berk is seen to have a close relationship with the tradition. The structure in Berk’s poetry is where Berk is original and applies his experimentation. The result reached by this study shows that Berk’s poem, the obliqueness of which is sometimes confused with meaninglessness, is essentially composed by a stable, coherent point of view. However, Berk achieves change not by the thought system in every book and poem, but he acquires originality by the form he applies.Item Open Access Öteki bilinç : gerçeküstücülük ve ikinci yeni(Bilkent University, 2013) Yeniay, MüesserIn this thesis, the similarities and differences between Surrealism which influences the world poetry movements and The Second New which is an Avantgarde in Turkish poetry are tried to be analysed. The characteristics, methods and objects of both poetry movements are compared and evaluated based on the texts, interviews and essays. In various articles, The Second New is discussed together with Surrealism and it is considered as meaningless, irrelevant to reality. But mainly it is considered as a movement also exclusive to our country under the influence of Surrealism. When the objects of The Second New to write poetry in a different style and objects of Surrealism such as examining reality and regarding human in a different perspective in his unity are compared, it is observed that the two have radical differences. While for Surrealism all the techniques like imagery, metaphors are means for its objects, for The Second New the characteristics that the surrealists regarded as means have been objects to reach for a different poetry. In the end of the research, It is observed that Surrealism and the Second New are the products of different periods and social conditions. While Surrealism is an unavaidable stop for the societies of the West to make sense of the world and human, The Second New has not pursued such a goal but it aimed to build a new poetics together with the fact that It also realized to regard human and reality in a different way by the change in the poetical discourse.Item Open Access Türk şiirinde modernizm(Bilkent University, 2007) Armağan, YalçınThe thesis attempts to understand how Turkish poetry has changed with modernization and under what circumstances modernist poems were written. In order to undertand how poetry changed with modernization, the thesis deal with what kind of a literary instituition was constructed in the period that started with Tanzimat. For conceiving under what circumstances a modernist poem became possible, Second New (Đkinci Yeni) was analyzed. The literary instituition was shaped through an opposition to autonomy of aesthetic, the denial of tradition and discovery of folk literature. During the construction process of this literary instituition, the poem was characterized with the social utility and attempts highlighting the individual usage of language were not allowed. Thus the poem was not seen as an autonomous structure and especially after 1911, it became a means of disseminating nationalist thought. In this period, it was believed that modern poem could appear only by denying the tradition and using the Hece (syllabic measure) which was regarded as the national measure. Poets such as Ahmet Haşim and Yahya Kemal objected to an utilitarian literary instituition but couldn’t manage to transform this instituition radically. The Garip poetry which adhered to the literary instituition in certain aspects, suspended the discussions about the poetical measure and language. Garip wrote an avante-garde poem in terms of the textual strategy and their poems became prevalent soon thanks to its objection to autonomous poetical language. The modernist poem which was not allowed by the literary instituiton because of its objection to aesthetic autonomy, could be written by Đkinci Yeni which drew upon an autonomous poetical language. Ikinci Yeni objected to the expectation of an understandable poetical language of literary instituition and characterized the poem as a structure independent from politics and morality. The autonomous poetical language used by Đkinci Yeni was met with a great resistance. In the resistance that was opposed to Đkinci Yeni, it is possible to see the reaction to modernist sensibility in Turkey.Item Open Access Türk şiirinde taşra : 1859-1959(Bilkent University, 2009) Ergül, Mehmet Selim“The Province in Turkish Poetry: 1859-1959” is a study which focuses on the transformation of the fact of province in the history of Turkish poetry. In this study, it is elaborated that how the province, which is described as the regions outside the literal center, is treated in the poetry. The features which arose from the narratives of province with its nature and inhabitants are the area of interest of this thesis. This study, in which the language used in the poems, the viewpoint of the persona and the preferred images are analyzed, the transformation of the features that emerge in the narration of the province are explained. In this study, it is identified that the objective realities of the province didn’t reflect well enough in the poetry. In the poems which narrate the province, the province is mainly a means to explain a certain thought. In these poems, a language that imitates the language and art of province is used, when the elitist and standard language of the center is neglected. The personas in these poems, could only identify the different forms that they met by transforming them to the formal information of the aesthetic ideology which was disseminated by the center. In these poems, therefore, the visual images and metaphors are dominant. The province, which was narrated in the period of Divan poetry, is not the whole Ottoman geography but the central states. In the period of the Republic, the province is called as the places that are far from the sea. Although there are many common features in the narrations of province, it is observed that three different regions are treated with three different ways: Near province (Edirne, Bursa, Ege Basin), far province (Eskişehir-Afyon line, Central Anatolia, Western and Central Black Sea and the inner regions of Western and Central Mediterranean) and the deep province (Sivas, Eastern Anatolia, Southeastern Anatolia, Eastern Mediterranean and the inner parts of Eastern Black Sea). In near province, otherworldliness, eroticism, prosperity, happiness, pleasure and daily troubles are manifested. In far province, poverty, identification with provincial, immigration, mechanization in agriculture and popular symbols are used. In deep province, rebellion, nationality, underdevelopment, the desire for enlightenment, bravery and epic discourse are remarkable.Item Unknown Ziya Osman Saba'nın şiirinde ev(Bilkent University, 2007) Demirel, SerhatZiya Osman Saba assigned a prominent place to house and home in his poetry. For this reason he is considered the first domestic poet in Turkish literature by several critics. In the present thesis, themes relating to the house and home in his poetry are approached from three aspects: the modernity and tradition dichotomy, home as a shelter and source of happiness, and sexuality. The references to the types of modern and traditional life styles and perceptions have been identified. In this section, it is concluded that the house in Saba’s poetry taken literally and metaphorically, is indicative of a longing for traditional rather than modern life style. In the poems, it is recognized that the interior and the exterior, with specific references to furniture, family, neigbours, the garden and outside of the house and different city spaces, an empasis is placed on the dissapearing tradition. In Part II. titled “Taking Shelter, and Happiness”, it is observed that the poet takes refuge in his house and feels intense happiness and comfort, and two main reasons for this are identified. First, the turmoil caused by modernity, and the second is the desire to take refuge from natural dangers. In the poems, the house and the family always bear positive meanings, and the ideal house seems as the source of all happiness. This is also an important difference between Ziya Osman Saba and the another Turkish domestic poet, Behçet Necatigil. Lastly, the relationship between sexuality and the house in terms of domestic space and family is studied. Subsequently, with reference to various views on this subject it is shown that sexuality always goes with familial intimacy. On the other hand, it is clear that the poet somewhat covers up the sexuality aspect in a number of poems which he did not publish in his books. It is observed that the sexual aspect of domestic privacy is not expressed in detail, but given to the reader in terms of a covert style.