Browsing by Subject "Turkish poetry--History and criticism."

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Open Access
15 yüzyıldan 18 yüzyıla kasidelerde ideal hükümdar portresi ve hükümdarın metaforik sunumu
(2013) Onay, Ebru
Originated from the question how the sovereignty of sultan affected and shaped the mind of “Homo-Ottomanicus”, this project focuses on the portrayal of the Ottoman sultans in qasidas in general and the metaphorical presentation of them in particular. With a specific emphasis on the importance of the perspectives qasidas can provide for the research, a number of qasidas written for the reigning sultan by Ahmad Pasha, Bâkî, Nef’î, and Nedîm in their Turkish divans have been examined in the thesis. It is observed that in qasidas the sultan is generally depicted as fair, generous, benign, and good warrior and this feature was a result of the circle of equity inherited from Persian- Arabic- Indian ruling tradition -or rather an idiosyncratic amalgamation of them. With a specific eye to the functions of the comparisons and analogies between the Ottoman sultans and heroes from Persian and Islamic mythologies, the importance of comparisons and analogies in strengthen of the power of the sultans is discussed. This being done, I attempt to examine the metaphorical presentation and representation of the Ottoman sultans in selected qasida examples from aforementioned poets. In this main part, George Lakoff and Mark Johnson’s influential work on metaphor, Metaphors We Live By, is applied as theoretical frame. Lakoff and Johnson assert that metaphors are not merely simple linguistic devices to add some aesthetic value to our statements and literary expressions but rather an intrinsic component of our cognitive process, hereby, could provide us an elusive resource to get a better understanding of mind, and the ways it functions. On the bases of this argument, the metaphorical employment of the language in selected qasidas are examined to get the climate of mind in terms of the relationship between sultans and their subjects in the Ottoman Empire. It has been observed that in concerning qasidas from four divans, the sultan is generally portrayed as “aloft” and “ahead” while the subject is portrayed as “beneath” and “behind”. Furthermore, the sultan is depicted in these poems as a “shadow” offers protecting, “a sanctuary” to take refuge in, and an “aesthetic creature” or an “ornament” with the power to embellish its surroundings. The frequency of using these metaphors is changing over the concerning periods whereas in Nedîm’s Divân the number of the “ornament metaphors” for the sultan increases significantly compared to the other three divans. After discussing the possible reasons and meaning of this turn in metaphorical employment, the project compares its findings with the conventional arguments regarding the Ottoman sultans in European centred readings. It is claimed that as the representative of authority and power, the Ottoman sultan is depicted contradistinctively as “protector-shelter” in qasidas rather than as “the despotic father” that the European centred readings have claimed him to be so far.
Open Access
Behçet Necatigil şiirlerinde halk anlatısı motiflerinin metinlerarasılık bağlamında dönüştürülmesi
(2014) Baykal, Nurulhude
This thesis is about the re-formation of folk narrative motifs in Behcet Necatigil’s poetry, famous for continuing the written and oral tradition, and is also about what happens in this process of intertextuality. Firstly, the folk narrative motifs in Necatigil’s poetry are identified and specified by using the codes from Stith Thompson’s The Motif Index of Folk Literature. Thus, the “main *source+ texts” relevant to these references are provided. Contextual, structural and functional conversions happening in the process of intertextuality are analyzed and the conversions of the motifs employed in the poetry are classified according to the dominance of one of these three topics. This thesis highlights that the conversions made correspond to Necatigil’s poetics. Combining the techniques of contemporary literature studies and folklore studies, this work is unique in this sense among studies of Turkish literature. For its prospective use as a sample and/or a source, the use of The Motif Index is thoroughly explained, and the list of motifs used throughout the thesis can be found at the end.
Open Access
Divan şiirinde fahriye
(2002) İsen, Tuba Işınsu
Fahriye literally means self-praise,haughtiness, fame and honour. But as a literary term, fahriye indicates a part of a poem such as gazel, mesnevi or kasida, in which the poet praises himself, complains about his fate and explains his situation to his intended audience. Self-praise in the fahriye, may be better understood if we consider some aspects of Ottoman social structure. Most importantly writing fahriye in a poem was a tradition in Ottoman society. The general view of fahriye is that the poet creates exaggerated expressions and uses unreal descriptions, possibly to present himself in a position superior to other poets. However, starting from the fourteenth century, fahriye examples show another important role. This is to answer the question “who is the ideal poet?” In other words, the poet did not write a kaside only to please his/her patron, but it also served a completely different function. The expressions in fahriye show similarities to the discussion of poets and poetry in tezkires and the prefaces to divan.
Open Access
Latîfî'nin eleştirel perspektifinden Osmanlı divan şiirinin poetikası
(2009) Gür, Nagihan
As one of the well-known figures of the Ottoman literature of tezkire genre – the collection of biographies – Latifi (1491-1582) is a distinctive scholar with his eccentric discourse in his masterpiece Tezkiretü’ş-Şu’arâ (1546). The tezkire writer projected a critical view of the Ottoman poetry through the discourse he created in his tezkire, as well as the canon he set down, to a great extent, demonstrated the general progress of the art of poetry. Questioning the literary critique on the basis of Latifi’s tezkire, this thesis aims to show the attributed mean to his critical manner in the traditoin. Being aware of that the Ottoman literary critique has no equalent in the modern critical theories the thesis attempts to explicate the critical discourse in the tezkire in the limits of the tradition and rhetoric. In this context, in the first chapter titled “Tezkiretü’ş-Şu’arâ and Critique in the Ottoman Literature”, the essence of the critique in the tezkire and its place on the line of the tradition are discussed; and Latifi’s genuineness within the tezkire tradition is appraised. Furthermore, the writer’s famous classification of poets is explicated in the context of rhetoric, and the precision of attributing genuineness to the writer of the tezkire merely within the bounds of this classification is questioned. In the subchapters entitled “The Poet” and “The Poetry” of the second chapter “The Ideal Type of Poet Reflected from Latifi’s Critical Perspective and a Look to the Art of Poetry” the platforms of criticism are scrutinized. Within the frame of these platforms, the ideal type of poet and poetry reflected in the critical expression of Latifi is discussed, and the poetic discourse presented in the tezkire is stated.
Open Access
Necati Bey, Bâkî, Nef'î be Nedim'de doğa'dan mekân'a dönüşüm
(2008) Toçoğlu, Nurdan Tuhfe
There is a general consensus among Ottoman literary scholars that Divan poetry does not give us the “description” of real “nature” and daily life. This point of view relies on the assumption that Divan poets could only produce stereotypes. In other words, nature or daily life could not be depicted but could only be “stylized” by Divan poets, each one of whom might be regarded as a stylist. On the other hand, this argument includes some implications that Divan poets have a “static” not a “dynamic” style: in this respect, Divan poetry is viewed as having remained the same for centuries. Another point of view claims that, among Divan poets, only Nedim was able to depict the real world and certain “spaces” which belonged to his daily life. A sample from different periods of Divan poetry demonstrates that the description of real nature and daily life has been the result of a transformation during different periods of Divan poetry. The sample features some poets representative of their periods, such as Necati Bey, Bâkî, Nef’î and Nedim. This thesis aims to display the transformation from stylization of nature to description of certain spaces in Divan poetry by focusing on “nesibs”— the introductory parts of the “kasides”—where one can see nature and space realistically.
Open Access
Osmanlı şiirinde kadin şairin poetikası : Leylâ Hanım
(2009) Çulhaoğlu, F. Gülşen
This study investigates the gendered poetics of Ottoman Divan poetry, which has for long been acknowledged as a tradition of poetry written in a masculine language, and questions the validity of this prolonged belief. Focusing on Leylâ Hanım, a 19th century female poet, this study examines whether it is true, in agreement with the popular belief, that female poets reproduced the so-called masculine language of Divan poetry and did not produce a poetics of their own, or it is possible to argue the opposite. Based on observations of the female voice/discourse/language in Divan poetry, the study explores Leylâ Hanım’s Divan and asks if there are peculiarities that distinguish Leylâ Hanım from her male contemporaries. The female discourse, in this study, is not an equivalent of the common feminist idea of a female language that aims to conquer the male language to develop a language peculiar to women, but it is identical to passivity. Dualistic pairs with gendered meanings in Divan poetry are examined in this study, in terms of the female hegemony over the male. Using these pairs as a starting point, the traditional masculinity of Divan poetry is then questioned and it is concluded that, contrary to the established belief, we can talk about a female discourse in Divan poetry. Taking into account the hierarchical pair lover-beloved, and considering the hegemony of the beloved over the lover, the passivity in the discourse of the lover is examined. Following these observations, this study delves into the depths of Leylâ Hanım’s Divan and questions if she utilized the traditional mazmuns of Divan poetry so as to produce a female discourse. Leylâ Hanım’s poetry has a female discourse in core, because she uses the established female discourse of male poets which is made ready to her. In some poems, Leylâ Hanım identifies herself with Leila, of the famous couple Leila and Mejnun, trespassing on the domain of the beloved and therefore violating the passive female discourse of the male poets of the Divan poetry, who identified themselves with the position of the lover, but this identification can also be interpreted as an attempt to put an emphasis on the female subject, and to make femininity more salient. Identifying oneself with Mejnun in a framework where female hegemony over the male persists, implies accepting the discourse of passivity (which in this study corresponds to the female language) and identifying with Leila in the same framework, implies an attempt to form “a new female discourse.”
Open Access
Öteki bilinç : gerçeküstücülük ve ikinci yeni
(2013) Yeniay, Müesser
In 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.
Open Access
"Taze can buldu cihan" : Osmanlı şiirinde bahar
(2002) Kalender, Arzu
In Ottoman poetry, bahariyyeler are important since they show how phenomena in nature affect the poet’s imagination and indicate the extent to which nature and humanity interact with each other. In Ottoman society, the spring season affects poets ant artists both in their daily life and cultural life and plays an important role in forming the artist’s aesthetic sensibility and cultural activities. Spring, setting up a socio-cultural environment, is the favoured season with the Ottomans, since it produces sociological and psychological effects. The relationship that Ottoman poets establish with nature creates an independent aesthetic understanding rich in symbols. In addition to hinting at the personal world, these images include references to social life. In bahariyyeler, it is possible to see how poets transform what they perceive in the world of phenomena into poetic images and how they express these phenomena in an ideal understanding of beauty using the metaphorical connotations contained within their depictions of spring. Working with these conceptions based on their perceptions of nature, the poets form figurative representations and, as a result, create a metaphorical world in their poetry. The poet, carefully noticing every object in nature, turns poetry into a miniature microcosm virtually containing the larger macrocosm. In this microcosm, one can find the Ottoman State in its many guises from daily life to military life. Studing the depictions of spring in the Ottoman kasides can explicitly show how nature influences social and individual activities. Starting from nature, the Ottoman poet creates a different world and gives a different meaning to every object within the world. The depictions of springtime reveal the extent of interaction between the intellectual and creative powers of the poet, besides showing that nature exerts a dynamic and creative function on the poet’s images and works.