Browsing by Subject "Turkish poetry--Criticism and interpretation."

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Open Access
Gaston Bachelard'ın psikanalitik yaklaşımıyla Ahmed Hâşim'in şiirlerinde ateş
(2011) Korkmaz, Nurseli Gamze
Gaston Bachelard, in his works “The Psychoanalysis of Fire” and “The Flame of a Candle” had established a correlation between fire, purity, plants and the complexes labeled as the Prometheus, Empedocles, Novalis and Hoffmann. It is convenient to explain the images and metaphors that are often seen and related with fire in Ahmed Hâşim‟s poems with Bachelard‟s so-called correlation. The complexes defined by Bachelard and other explanations about fire are fundamentally based on psychoanalytic interpretations. The signs of Prometheus complex in the images of Ahmed Hâşim‟s poems are observed in the form of deifying fire and/or other objects which signify fire. On the other hand, the Prometheus complex which is defined as” the Oedipus complex of the life of the intellect” by Bachelard, is seen in a different form in Ahmed Hâşim‟s poems as the violation of the policy of “Stay away from the fire!” which is Law of the Father, as well. The poetic images in Haşim‟s poems that are based on “rubbing”, “love” and “privacy” are basically explained according to the Novalis complex which asserts that fire comes out of a sexual rubbing. These concepts evoke “happiness” and “heat”, as well. The poetic images in which the beams of the sun reflected into the water- the sun is one of the objects that signify the firein Hâşim‟s poems are read as the sexual association of two essences; one of them is feminine and the other is masculine according to the Hoffmann complex. Whereas, it is especially focused on the transcendental and purifying features of the light in the images and metaphors of the poems in which the fire is idealized. The images that bring together fire and plants in Hâşim‟s poems could also be read by the thesis of Bachelard. For Bachelard, fire is vertical and anything vertical evokes fire. According to this argument, in Haşim‟s poems while trees signify fire, fruits of trees are described as the light which is the fruit of the fire. In a similar way, it is possible to explain all the images regarding fire in Haşim‟s poems with Bachelard‟s thesis. The aim of this thesis is to be a trial of analyzing the images and metaphors in Ahmed Hâşim‟s poems with Bachelard‟s concepts.
Open Access
Nâbî'nin 'orta insan tipi'nin Hersekli Ârif Hikmet'teki değişimi
(2011) Aka, Belde
The Treaty of Karlofça, signed in 1699, is the first documentation of the territory loss in Ottoman Empire. With the signing of this treaty, the Ottoman Empire came to acknowledge Europe's prevalence, and hence to turn her attention toward the West. In this period, certain reforms were put into practice that had reflections not only on the empire's overall policy, but also in the world of literature. Nâbî (1642- 1712)’s mathnavi, Hayriyye (1701), which he wrote for his son, stands as a document that reveals the then-present state of the empire, specifically, the conditions of the governing in the periphery. In Hayriyye, Nâbî aims to portrait the ideal image for an individual by giving advice to his son on how to live his life. In this thesis, the subject-matter ideal image, “orta insan tipi” [“prototype of common man”], is examined and Nâbî's proposals for solving the problems caused by the corruption he observes in his time. In this context, the poet proposes and idealizes the image of a passivist for his son, who is advised to stay rather disconnected from the outer world, to keep discreet regarding the socio-political issues, to act as a conservative rather than a reformist, merely to aim to live his life in “peace”. In the course of this project, how Nâbî's conception of the ideal individual relate to the medieval thinking and the social structure, which boils down to the idea of “community”, in the Ottoman Empire is taken into consideration. In the line of thought where these aspects of Nâbî's poetry lead, the image drawn in the poems in Ârif Hikmet of Herzegovina (1839-1903)'s Dîvân of an ideal individual, “yeni aydın insan tipi” vi [“prototype of modern intellectual”], is emphasized to take a reformist stance, to stand for freedom of thought rather than discretion, to be concerned for the society beyond the merely egoistic worries, and to question the government policy. In this thesis, with respect to this specific context, the images of the ideal individual in Nâbî's and Ârif Hikmet of Herzegovina's poems are compared in order to see how the Ottoman intellectual stance has been transformed from the former poet to the latter. Through this line of transformation, it is observed that “status quo” is replaced by “reform”, “the known-world” by “the changing-world”, “sharia” by “sharia and political democracy”, “community” by “individuality”.