{"id":8384,"date":"2022-01-10T21:53:45","date_gmt":"2022-01-10T18:53:45","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=8384"},"modified":"2022-01-10T21:53:45","modified_gmt":"2022-01-10T18:53:45","slug":"osmanli-kulturu-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/osmanli-kulturu-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"Osmanl\u0131 K\u00fclt\u00fcr\u00fc \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

Osmanl\u0131 K\u00fclt\u00fcr\u00fc <\/span><\/strong><\/h3>\n

Osmanl\u0131 k\u00fclt\u00fcr\u00fcnde trajedi geli\u015fmemi\u015f, komedi sadece Karag\u00f6z ve commedia dell’arte (Orta oyunu) ile s\u0131n\u0131rl\u0131 kalm\u0131\u015ft\u0131r. Trajedi, insan\u0131n \u00e7\u0131kmaz\u0131n\u0131 tan\u0131mlanabilir bir ortama yerle\u015ftirir ve genellikle kahramanlar\u0131n ini\u015f \u00e7\u0131k\u0131\u015flar\u0131n\u0131n etkisiyle ki\u015fisel ya da toplumsal \u00e7atlaklar\u0131 betimler ve komedi, a\u00e7\u0131k ifadelerle toplumla dalga ge\u00e7er. Osmanl\u0131 toplumu, \u00f6zellikle m\u00fcesses nizam, canl\u0131 akt\u00f6rler taraf\u0131ndan yap\u0131lan bu t\u00fcr temsillere muhtemelen pek az sempati duyuyordu.<\/span><\/p>\n

Ya da belki de \u015fiir o kadar yayg\u0131n ve tatmin ediciydi ki yazarlar di\u011fer t\u00fcrlerle denemeler yapmay\u0131 gerekli veya yararl\u0131 g\u00f6rmediler. Vakumda hiciv geli\u015fti. Delili\u011fi if\u015fa etme, hakim de\u011ferlere meydan okuma, ikiy\u00fczl\u00fcl\u00fc\u011f\u00fcn maskesini d\u00fc\u015f\u00fcrme ve adaletsizli\u011fi k\u0131nama i\u015flevini yerine getirdi. Daha yak\u0131n zamanlarda, hicvin odak hedefleri ahlak ve g\u00f6rg\u00fc kurallar\u0131, edep, siyasi normlar ve politikac\u0131lar\u0131n kendileri olmu\u015ftur.<\/span><\/p>\n

Osmanl\u0131 se\u00e7kinleri tutkuyla \u015fiire ba\u011fl\u0131yd\u0131. Osmanl\u0131 k\u00fclt\u00fcr\u00fcn\u00fcn belki de en b\u00fcy\u00fck ba\u015far\u0131s\u0131, di\u011fer t\u00fcm edebi sanatlar\u0131n propaganda arac\u0131 olarak ve hat, mimari ve minyat\u00fcr gibi g\u00f6rsel ve plastik sanatlar\u0131n yan\u0131 s\u0131ra dekoratif sanatlar\u0131n bir \u00f6\u011fesi olarak da hizmet eden \u015fiirdi.<\/span><\/p>\n

Arap ve Fars edebiyat\u0131ndan etkilenen T\u00fcrk elit \u015fiiri olarak adland\u0131r\u0131lan Divan \u015fiiri, saray ve kahvehanelerde be\u011feni toplam\u0131\u015f, hem elit kesimin hem de sokaktaki erke\u011fin estetik ihtiya\u00e7lar\u0131n\u0131 kar\u015f\u0131lam\u0131\u015ft\u0131r. \u00d6nemli bir \u015fekilde, padi\u015fahlar\u0131n \u00fc\u00e7te ikisi \u015fairdi – baz\u0131lar\u0131, \u00f6zellikle \u201cFatih\u201d Mehmed ve Kanuni Sultan S\u00fcleyman birinci s\u0131n\u0131ft\u0131. E. J. W. Gibb’in g\u00f6zlemledi\u011fi gibi “d\u00fczyaz\u0131”, “kural olarak pratik ve faydac\u0131 ama\u00e7lara ayr\u0131lm\u0131\u015ft\u0131.”1 \u015eairler ve entelekt\u00fceller d\u00fczyaz\u0131y\u0131 \u00e7ok kolay bularak reddettiler. XVII. y\u00fczy\u0131l\u0131n b\u00fcy\u00fck klasik s\u00f6z yazar\u0131 ve hicivcilerinden Nef’\u00ee, b\u00f6b\u00fcrlenirdi.<\/span><\/p>\n

Ayet genellikle nesrin i\u015flevlerini \u00f6nledi. Sonu\u00e7 olarak, lirik ve tasavvufi \u015fiirin muazzam \u00e7\u0131kt\u0131s\u0131na ek olarak, \u00e7ok say\u0131da didaktik, teolojik, anlat\u0131, tarih ve ilmi eser de manzum olarak yaz\u0131lm\u0131\u015ft\u0131r.<\/span><\/p>\n

Bu eserler, sava\u015f ve fetih kroniklerini, bayram ve d\u00fc\u011f\u00fcn alb\u00fcmlerini, \u00f6\u011f\u00fct kitaplar\u0131n\u0131 ve di\u011fer yaz\u0131 t\u00fcrlerini i\u00e7eriyordu. Hatta on dokuzuncu y\u00fczy\u0131lda naz\u0131mc\u0131lar \u015fiirsel bi\u00e7imde bir kimya ders kitab\u0131 ve vezin ve kafiye bak\u0131m\u0131ndan T\u00fcrk\u00e7e-Frans\u0131zca, T\u00fcrk\u00e7e-Ermenice ve T\u00fcrk\u00e7e-Yunanca s\u00f6zl\u00fckler bile buldular.<\/span><\/p>\n

\n

Osmanl\u0131 k\u00fclt\u00fcr\u00fc<\/a> \u00f6rnekleri<\/span>
\nOsmanl\u0131 k\u00fclt\u00fcr\u00fc maddeler halinde<\/span>
\nOsmanl\u0131 k\u00fclt\u00fcrel yap\u0131s\u0131<\/span>
\nOsmanl\u0131 k\u00fclt\u00fcr\u00fc hakk\u0131nda bilgi<\/span>
\nosmanl\u0131 devleti’nin k\u00fclt\u00fcrel \u00f6zellikleri mimari eserler<\/span>
\nOsmanl\u0131 Devleti<\/span>
\nOsmanl\u0131 k\u00fclt\u00fcr\u00fc Kitap<\/span>
\nOsmanl\u0131 Devleti nerede kuruldu<\/span><\/p>\n

\n

Klasik \u015fairlerin nesir hakk\u0131ndaki a\u015fa\u011f\u0131lay\u0131c\u0131 bak\u0131\u015f a\u00e7\u0131s\u0131na ra\u011fmen, bug\u00fcn adil bir geriye d\u00f6n\u00fck de\u011ferlendirme, insan\u0131 Osmanl\u0131lar taraf\u0131ndan \u00fcretilen \u00e7ok say\u0131da \u00f6vg\u00fcye de\u011fer nesir eserine g\u00f6t\u00fcr\u00fcr: dini tefsirler; anlat\u0131lar; on d\u00f6rd\u00fcnc\u00fc ve on be\u015finci y\u00fczy\u0131llar\u0131n destanlar\u0131; \u00c2\u015f\u0131kpa\u015fazade Ne\u015fr\u00ee (\u00f6. 16. y\u00fczy\u0131l\u0131n ikinci on y\u0131l\u0131), L\u00fctfi Pa\u015fa \u00c2li Pe\u00e7ev\u00ee, Naima ve Sil\u00e2htar Mehmed tarihleri; Sinan Pa\u015fa’n\u0131n ilahiyat risaleleri; K\u0131nal\u0131zade Ali’nin etik risalesi; Veys\u00ee’nin felsefi anlat\u0131lar\u0131; matbaay\u0131 Osmanl\u0131’yla da tan\u0131\u015ft\u0131ran \u0130brahim M\u00fcteferrika ve Koca Sekbanba\u015f\u0131’n\u0131n reform yorumlar\u0131 vard\u0131.<\/span><\/p>\n

Osmanl\u0131 nesirinin ba\u015fl\u0131ca eserleri aras\u0131nda Evliya \u00c7elebi’nin co\u011frafya, sosyal ve ekonomik d\u00fczenlemeler, k\u00fclt\u00fcr ve g\u00fcnl\u00fck hayat\u0131n b\u00fcy\u00fcleyici anlat\u0131mlar\u0131 olan an\u0131tsal seyahatnameleri; Katip \u00c7elebi’nin siyasi ve k\u00fclt\u00fcrel yorumlar\u0131; Ko\u00e7i Bey’in sosyopolitik reformlarla ilgili \u00fcnl\u00fc makalesi (onyedinci y\u00fczy\u0131l); Yirmisekiz Mehmed \u00c7elebi’nin el\u00e7ilik dergileri; ve Aziz Efendi’nin yar\u0131 ger\u00e7ek\u00fcst\u00fc hayal \u00fcr\u00fcn\u00fc hikayeleridir.<\/span><\/p>\n

Osmanl\u0131 edebiyat\u0131, biyografiler, bibliyografyalar ve y\u00fczeysel \u015ferhler d\u0131\u015f\u0131nda hi\u00e7bir edebi ele\u015ftiri \u00fcretmemi\u015ftir. Tezkire’t\u00fc\u015f-\u015fuara olarak an\u0131lan bu eserler, bir \u201cOsmanl\u0131 \u015eiirinde Kim Kimdir\u201dden biraz \u00f6tedir. En iyi \u00f6rnekler aras\u0131nda Seh\u00ee, L\u00e2tif\u00ee, \u00c2\u015f\u0131k \u00c7elebi ve K\u0131nal\u0131zade Hasan taraf\u0131ndan 16. y\u00fczy\u0131lda \u00fcretilmi\u015f olanlar vard\u0131r. G\u00f6ze \u00e7arpan ger\u00e7ek \u015fu ki, Osmanl\u0131 edebiyat\u0131n\u0131n ba\u015flang\u0131c\u0131ndan on dokuzuncu y\u00fczy\u0131l\u0131n ikinci yar\u0131s\u0131na kadar, baz\u0131 \u015fairlerin eserlerinde bulunan -ve hemen de\u011fersiz olarak reddedilen- abart\u0131l\u0131 dalkavuk \u00f6vg\u00fcler veya k\u0131r\u0131c\u0131 hicivler d\u0131\u015f\u0131nda ele\u015ftirel bir bo\u015flukta i\u015flev g\u00f6rd\u00fc.<\/span><\/p>\n

Divan \u015fiiri, \u00e7o\u011funlukla saraya ba\u011fl\u0131 entelekt\u00fcel bir se\u00e7kinler taraf\u0131ndan ve onlar i\u00e7in bestelenmi\u015ftir. \u00d6nde gelen \u015fairlerin \u00e7o\u011fu, edebiyat\u00e7\u0131 i\u00e7in olmazsa olmaz say\u0131lan Arap\u00e7a ve Fars\u00e7a e\u011fitim verilen bir medresede (M\u00fcsl\u00fcman akademisi) ilahiyat e\u011fitimi ald\u0131.<\/span><\/p>\n

Osmanl\u0131 \u015fairleri, bir kural olarak, bu iki dilden birinde veya tercihen her ikisinde bir \u015fiir koleksiyonu yay\u0131nlamay\u0131 edebi ba\u015far\u0131n\u0131n \u00f6z\u00fc olarak g\u00f6rd\u00fcler. En b\u00fcy\u00fck iki veya \u00fc\u00e7 klasik \u015fair aras\u0131nda yer alan Fuzuli, T\u00fcrk\u00e7e, Arap\u00e7a ve Fars\u00e7a olarak \u00fc\u00e7 divan (\u015fiir toplulu\u011fu) yazm\u0131\u015ft\u0131r.<\/span><\/p>\n

Klasik \u015fiir, ba\u015f\u0131ndan sonuna kadar, Fars ve Arap \u015fiirinin yayg\u0131n etkisi alt\u0131nda kald\u0131: Fars ve Arap ustalar\u0131n\u0131n \u015fiir bi\u00e7imlerini, kafiye ve ritim kal\u0131plar\u0131n\u0131, \u00f6l\u00e7\u00fclerini, mitolojisini ve hatta Weltanschauung’u taklit etti ve taklit etmeye \u00e7al\u0131\u015ft\u0131. Ayn\u0131 zamanda onlar\u0131n kelime da\u011farc\u0131klar\u0131n\u0131n \u00f6nemli bir b\u00f6l\u00fcm\u00fcn\u00fc benimsemi\u015ftir.<\/span><\/p>\n

Araplar taraf\u0131ndan tasarlanan ve Persler taraf\u0131ndan m\u00fckemmelle\u015ftirilen nicel bir prozodi olan Aruz (Arap\u00e7a: arud), Divan \u015fiirine egemen oldu. Bu \u00f6l\u00e7\u00fc bi\u00e7imi, hecelerin sesli harf uzunlu\u011funa ve \u00fcns\u00fcz bitimine g\u00f6re d\u00fczenlenmesine dayanmaktad\u0131r. Bir hecenin sonundaki her k\u0131sa sesli harf, k\u0131sa bir ses (\u00b7) anlam\u0131na gelir. Bir \u00fcns\u00fcz veya uzun sesli harfle biten bir hece, uzun bir ses (-) olarak al\u0131n\u0131r.<\/span><\/p>\n

Fuzuli’nin \u201cA\u015f\u0131k, sevdi\u011fine can\u0131n\u0131 verendir\u201d \u015feklindeki bu \u015fikayetinde oldu\u011fu gibi metre en s\u0131k kullan\u0131lanlardan biridir. F\u00e2il\u00e2t\u00fcn \/ f\u00e2il\u00e2t\u00fcn \/ f\u00e2il\u00e2t\u00fcn \/ f\u00e2il\u00fcn olan veznenin ad\u0131, ses d\u00fczenini yeniden olu\u015fturur. \u00c2\u015f\u0131k’\u0131n son k’si olr kelimesiyle ba\u011flant\u0131l\u0131d\u0131r ve dizenin son hecesi, t\u00fcm \u00f6l\u00e7\u00fclerde oldu\u011fu gibi, k\u0131sa \u00fcnl\u00fcyle bitse bile otomatik olarak uzun kabul edilir. \u015eair, yakla\u015f\u0131k y\u00fcz farkl\u0131 \u00f6l\u00e7\u00fc aras\u0131ndan se\u00e7im yapabilir.<\/span><\/p>\n

Bu aruz yap\u0131s\u0131 esasen T\u00fcrk sesbilimine uygun de\u011fildi. Aruz veznilerinde uzun heceler a\u011f\u0131rl\u0131ktayken, T\u00fcrk\u00e7ede k\u0131sa \u00fcnl\u00fcler s\u0131kl\u0131kla kullan\u0131l\u0131r. \u00d6rne\u011fin, art arda \u00fc\u00e7 k\u0131sa hece sadece birka\u00e7 metrenin sonunda kullan\u0131labilir ve hi\u00e7bir \u00f6l\u00e7\u00fc d\u00f6rt ard\u0131\u015f\u0131k k\u0131sa heceyi bar\u0131nd\u0131ramaz. (Apa\u00e7\u0131k bir \u00f6rnek vermek gerekirse Anadolu anlam\u0131na gelen \u201cA-na-do-lu\u201d ismi hi\u00e7bir aruz \u00f6l\u00e7\u00fcs\u00fcne uyamaz.)<\/span><\/p>\n

Bu uyumsuzluk iki anormal duruma neden oldu: \u015eairleri y\u00fczlerce T\u00fcrk\u00e7e s\u00f6zc\u00fc\u011f\u00fc vezin kal\u0131plar\u0131na s\u0131\u011fd\u0131rmak i\u00e7in telaffuzunu bozmaya ve \u00e7ok say\u0131da Fars\u00e7a ve Arap\u00e7a uzun \u00fcnl\u00fcl\u00fc s\u00f6zc\u00fck \u00f6d\u00fcn\u00e7 almaya zorlad\u0131. Prozodi, kesin ritimler ve \u00f6nceden belirlenmi\u015f eufonik yap\u0131lar sa\u011flad\u0131; bunlar kula\u011fa kesinlikle ho\u015f gelse de, maddenin fiilen metreye tabi oldu\u011fu noktaya kadar tekrarlay\u0131c\u0131 ve s\u0131k\u0131c\u0131 hale gelebilir.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Osmanl\u0131 K\u00fclt\u00fcr\u00fc Osmanl\u0131 k\u00fclt\u00fcr\u00fcnde trajedi geli\u015fmemi\u015f, komedi sadece Karag\u00f6z ve commedia dell’arte (Orta oyunu) ile s\u0131n\u0131rl\u0131 kalm\u0131\u015ft\u0131r. Trajedi, insan\u0131n \u00e7\u0131kmaz\u0131n\u0131 tan\u0131mlanabilir bir ortama yerle\u015ftirir ve genellikle kahramanlar\u0131n ini\u015f \u00e7\u0131k\u0131\u015flar\u0131n\u0131n etkisiyle ki\u015fisel ya da toplumsal \u00e7atlaklar\u0131 betimler ve komedi, a\u00e7\u0131k ifadelerle toplumla dalga ge\u00e7er. Osmanl\u0131 toplumu, \u00f6zellikle m\u00fcesses nizam, canl\u0131 akt\u00f6rler taraf\u0131ndan yap\u0131lan bu t\u00fcr temsillere…
Devam\u0131<\/a><\/p>\n","protected":false},"author":6,"featured_media":8387,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[18249,18248,18247],"tags":[10897,18256,18254,18252,18253,18255,18251,18250],"class_list":["post-8384","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-osmanli-kulturu-hakkinda-bilgi","category-osmanli-kulturu-maddeler-halinde","category-osmanli-kulturu-ornekleri","tag-osmanli-devleti","tag-osmanli-devleti-nerede-kuruldu","tag-osmanli-devletinin-kulturel-ozellikleri-mimari-eserler","tag-osmanli-kulturel-yapisi","tag-osmanli-kulturu-hakkinda-bilgi","tag-osmanli-kulturu-kitap","tag-osmanli-kulturu-maddeler-halinde","tag-osmanli-kulturu-ornekleri"],"aioseo_notices":[],"aioseo_head":"\n\t\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t\n\t\t