Browsing by Subject "tradition"

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Open Access
Bir ideoloji olarak Murathan Mungan şiiri
(2002) Caner, Fırat
Poetry 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.
Open Access
Hilmi Yavuz şiirine metin-merkezli bakış
(2002) Aka, Pınar
The 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.
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
Murathan Mungan'ın çağdaş masallarında cinsiyetçi geleneğin eleştirisi
(2001) Dündar, Leyla Burcu
The Critique of Gender in Murathan Mungan’s Modern Tales Murathan Mungan (b. 1955), a prominent Turkish author of the late twentieth century, analyzes and interprets legends, myths, folk tales, and cultural archetypes of the East in his literary works. The links that Mungan establishes with traditional narratives intend to assess the cultural wealth of the land in which he lives. This specific orientation, which is one of the keystones of his understanding of art, helps us re-evaluate those patterns which have existed for ages in traditional works of culture. By examining cultural patterns evolving in time, Mungan succeeds in shedding light upon current social dynamics. In Mungan’s works, a gender-sensitive role-analysis come to prominence with respect to both the reader and the text. One of Mungan’s most noticeable themes is the question of “masculinity”. This recurrent theme offers Mungan various opportunities to question the role of society in imposing stereotypical gender roles on individuals. Patriarchal gender roles constrain the flourishing of individuals, inhibiting their creativity and freedom. Mungan’s works inhere powerful critiques of the patriarchal ideology of gender and its overt or covert influence over all aspects of life, ranging from politics to literature. Another significant theme in Mungan’s works is “loss of speech” or “diglossia”. It indicates a social handicap as well as an individual one, and provides us with multi-layered reading opportunities concerning individuals’ specific relationship with the language they use. Therefore, Mungan’s literary activity could be interpreted as giving a voice not only to one’s personal history but also to that of the east of Anatolia.
Open Access
Osmanlı-Türk anlatılarında bilime yönelişin mantığı ve gelecek tasarıları (19 yüzyıl sonu ve erken 20 yüzyıl)
(2011) Uyanık, Seda
One of the leading dynamics of innovative movements gained popularity in Ottoman Empire is the argument relating to “adoption of science and technology of the West” during 19th century. Such argument leads to the growth of a literary genre based on science at the end of 19th century when advantages and disadvantages of scientifical and technological developments are attempted to figure out. It could be asserted that political and social atmosphere of Ottoman Empire shapened this literary genre can be called as “scientific” as well. In this case, Fennî Bir Roman Yahut Amerika Doktorları (1888) by Ahmet Mithat, Tarih-i İstikbâl (1913) by Celal Nuri İleri, Rüyada Terakki ve Medeniyet-i İslamiyye-i Rü’yet (1913) by Molla Davudzâde Mustafa Nâzım, “Çamlar Altında Musahabe” (1913) by Yahya Kemal Beyatlı, “Rûşenî’nin Rüyası–Müslümanların ‘Megali İdeası’ Gaye-i Hayâliyesi” (1914) by Hasan Rûşenî Barkın, “Hülya Bu Ya...” (1921) by Refik Halid Karay, “Arzîler” (1925) by Abdülhak Hâmid Tarhan and “Makineli Kafa” (1928) by Behlül Dânâ focus on science and technology in late 19th century or early 20th century have much significance. Since it could be observed that the reason for the rise in and tendency towards the science lies in economical and political depression of the age in the light of such works. In these texts, such themes like westernization, civilizing and development fictionalized are described to be in parallel with technological power. This common character of narrations is one of the reflections of Ottoman modernization movements in the literature. The effect of science regarded as means of production and/or source of political power by the intelligentsia of that period is tried to be narrated over European or American images in the works based on science. The science is considered to be a technological power and there established a connection between industrial and political power of the West hence such relations transferred in the Ottoman Empire in the texts we have analysed. However, "the Western" model shown as an example in terms of science and technology is seen to be criticized taking Ottoman traditions, religion, culture and identity into consideration. The variety of values attributed to machinery as a common image in the narrations specifically is the signifier of pluralism of intelligentsia towards science. These works not studied in detailed and not included in literary canon in current literature researches have an important place in terms of giving the meaning of modernity in Ottoman-Turk literature in 19th and 20th centuries.
Restricted
Tarih kokan lezzet: Aşçı Bacaksız
(Bilkent University, 2023) Dede, Asya; Tanrıverdi, Yaren; Yakıcı, Doğan Deniz; Çok, Duru; Topal, Sarp Tuna
Afyonkarahisar ili, Osmanlı kültüründe ve mutfağında oldukça önemli bir yere sahiptir. Uzun yıllardır çeşitli kültürlere ve lezzetlere ev sahipliği yapmış bir şehir durumundadır. Aşçı Bacaksız ise, 1860 yılına kadar uzanan bir geçmişe sahip olmakla beraber günümüzde kimliğini koruyabilen sayılı restoranlardan biridir. Değişmeyen menüsü ve gelenekleriyle nam salmış bu lokanta, diğer yerlerden farklı olarak kuşaktan kuşağa aktarılan bir aile bağını, maneviyatı ve sevgiyi simgeliyor. Döneminin ve günümüzün önemli restoranları arasında yer alan Aşçı Bacaksız, Osmanlı dönemlerinden günümüze gelmiş bir hikayeyi ve izleri barındırıyor. Birçok gezginin uğrak noktası olması sebebiyle, lokantanın popülerliği beşinci kuşağında dahi korunuyor.
Open Access
Türkiye masallarında toplumsal cinsiyet ve mekan ilişkisi
(2003) Ölçer, Evrim
Between folk tales and society there exists a complex relationship, the nature of which is understood in different ways from one dicipline to another. Furthermore, the apparent relationship of folk tales to society shifts acoording to whether one regards the folk tale as a record and reflection of society, as a normative influence on its reader or listener, or as a combination of both. Within the context of analysing tales as social records, the reflection of the cultural codes of the very society in which they live in, reveals the relation between literature and society. It has been long known that the customs of the society is continued and re-produced through the functions of oral phase (tradition). The gender roles are also based on the same traditional texture. Hence, in this thesis, 32 folk tales have been chosen and analyzed on the basis of gender and space. The spaces in folk tales are classified as private, intermediate and public and the way both men and women use those spaces, are analyzed on the basis of these categories. The ‘home’, the ‘window’ and ‘outside of home’ are used as exemplars of private, intermediate and public spaces respectively. The home, which forms almost the entire living space of women, supports the integrity of the family and therefore it must be defended. The relation between the window and the characters is read through the function of ‘virgin’s get out of home’ in order to institutionalize the family. On the other hand, the most important feature of the public space is that it belongs to men. Therefore, any woman, who gets out of home feels the need of purification and self-defense. Besides, in order to survive at outside without a man, a woman should be like a man, in other words, she should dress like a man. In folk tales, to the biological sex roles correspond to the gender roles of men and women and the hierarchical structure of the home is constructed accordingly. Thus, it can be said that the customs of the society are perpetuated and re-produced through the functions of tales as traditional oral literature.