İlhan Berk şiirinde nesne sorunu

Date
2002
Advisor
Halman, Talât
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Bilkent University
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English
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Abstract

The 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.

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Keywords
love, sexuality, phenomenological reduction, object
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Published Version (Please cite this version)