{"id":8452,"date":"2022-01-11T22:46:10","date_gmt":"2022-01-11T19:46:10","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=8452"},"modified":"2022-01-11T22:46:10","modified_gmt":"2022-01-11T19:46:10","slug":"turgut-uyar-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/turgut-uyar-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"Turgut Uyar \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

Turgut Uyar<\/span><\/strong><\/h3>\n

Turgut Uyar’\u0131n \u00e7\u0131kt\u0131lar\u0131n\u0131n \u00e7o\u011fu, insanl\u0131ktan i\u011frenme de\u011filse bile bir ho\u015fnutsuzluk duygusu ve Uyar’\u0131n insanl\u0131k tarihinin ge\u00e7mi\u015fteki ini\u015f \u00e7\u0131k\u0131\u015flar\u0131 i\u00e7in ahlaki olmaktan \u00e7ok \u015fiirsel olarak su\u00e7lad\u0131\u011f\u0131 g\u00f6r\u00fcnen, insan\u0131n do\u011fas\u0131nda var olan k\u00f6t\u00fcl\u00fc\u011fe dair kesin bir inan\u00e7 ta\u015f\u0131yor.\u00a0<\/span><\/p>\n

\u0130nsan toplumu, eserinin temel felsefi \u00f6nermesine g\u00f6re, kendini yok etmeye kararl\u0131d\u0131r: kendi \u00fczerine yang\u0131nlar \u00e7\u0131kar\u0131r ve k\u00fcller i\u00e7inde sevinir. Yine de mucizevi bir \u015fekilde, kaosa yak\u0131n ve \u00f6l\u00fcms\u00fczl\u00fckten s\u00fcrg\u00fcn edilmi\u015f olsa da, varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrmek i\u00e7in o k\u00fcllerden anka ku\u015fu gibi do\u011far. Estetik olarak Uyar, yarat\u0131c\u0131 \u00e7abalardaki k\u00f6t\u00fc al\u0131\u015fkanl\u0131klar\u0131, \u00f6zellikle de kendisininkileri tan\u0131mak konusunda keskin bir yetene\u011fe sahiptir.<\/span><\/p>\n

Sessiz yans\u0131ma, \u00f6fke ve mide bulant\u0131s\u0131 patlamalar\u0131yla de\u011fi\u015fir, kabus gibi soyut tasvirlere ge\u00e7er, sonra kendisini Uyar’\u0131n ger\u00e7ekli\u011fin somut ve soyut unsurlar\u0131n\u0131 ustaca kayna\u015ft\u0131rd\u0131\u011f\u0131 ontolojik bir ara\u015ft\u0131rmaya d\u00f6n\u00fc\u015f\u00fcr.<\/span><\/p>\n

En iyi haliyle, Uyar’\u0131n \u015fiiri, ustaca metaforlarla duyular\u0131n ve eylemin iyi i\u015flenmi\u015f bir kar\u0131\u015f\u0131m\u0131d\u0131r. T\u00fcm kariyerinin tart\u0131\u015fmas\u0131z en iyi \u015fiirlerinden biri olan Terziler Geldiler’de, yarat\u0131l\u0131\u015f\u0131n ve ona e\u015flik eden anar\u015finin bir \u00f6zetini elde eder: hayat\u0131n e\u011frili\u011fi ve hav\u0131 s\u00fcrekli kendini yeniler ve \u00f6l\u00fcme d\u00f6n\u00fc\u015f\u00fcr.<\/span><\/p>\n

Bu Herk\u00fcl boyutlar\u0131n\u0131n bir temas\u0131d\u0131r ve Uyar, g\u00f6r\u00fcnt\u00fclerin, imalar\u0131n ve ger\u00e7ekli\u011fin \u00e7e\u015fitli y\u00f6nlerine felsefi hamlelerin yarat\u0131c\u0131 bir \u015fekilde yan yana getirilmesinden anlaml\u0131 soyut form\u00fclasyonlar ortaya \u00e7\u0131kararak bunun hakk\u0131n\u0131 verir. Uyar\u2019\u0131n karamsarl\u0131\u011f\u0131na e\u015flik eden \u015fiirinde \u00f6l\u00fcm h\u00e2kim olmu\u015ftur. Ka\u00e7\u0131n\u0131lmaz bir son ve dolay\u0131s\u0131yla ba\u015fl\u0131 ba\u015f\u0131na bir son olarak \u00f6l\u00fcmle me\u015fguld\u00fc: \u201c\u00d6vg\u00fc, \u00d6l\u00fcye\u201dde (\u00d6l\u00fclere \u00d6vg\u00fc) t\u00fcm eserlerinde belki de en \u00e7arp\u0131c\u0131 bir ceset tasviriyle \u00f6l\u00fcm\u00fcn \u00e7e\u015fitli y\u00f6nlerini \u00e7a\u011fr\u0131\u015ft\u0131r\u0131yor.\u00a0<\/span><\/p>\n

Uyar’\u0131n “t\u00fcm olas\u0131l\u0131klar\u0131n k\u0131y\u0131s\u0131nda” dizesi, baz\u0131 ele\u015ftirmenlerin onu “kelime salatas\u0131” olarak k\u0131nad\u0131\u011f\u0131, hayal g\u00fcc\u00fcn\u00fcn o kadar vah\u015fi hamleleriyle ve dilin \u00e7arp\u0131t\u0131lmas\u0131yla damgalanan bu yeni ezoterik \u015fiirin i\u015flevsiz y\u00f6nlerini \u00f6zetliyor. Edip Cansever’in (1928\u201386) \u201cVanish\u201di en iyi \u00f6rneklerden biridir.<\/span><\/p>\n

T\u00fcrkiye’nin en ba\u015far\u0131l\u0131 neoromantik \u015fairi ve ayn\u0131 zamanda \u00f6nemli bir romanc\u0131 ve denemeci olan Attil\u00e2 \u0130lhan, Osmanl\u0131 \u0130mparatorlu\u011fu’nun yava\u015f yava\u015f \u00f6l\u00fcm\u00fc s\u0131ras\u0131nda h\u00fck\u00fcm s\u00fcren ortam\u0131 ve ruh halini yeniden yakalamaya \u00e7al\u0131\u015ft\u0131. Ayn\u0131 zamanda yarat\u0131c\u0131 ve dokunakl\u0131 a\u015fk \u015fiirlerinin yarat\u0131c\u0131s\u0131 olarak da bilinen o, burada k\u0131smen al\u0131nt\u0131lanan \u201cAntik Deniz Halk\u0131\u201dnda kan\u0131tland\u0131\u011f\u0131 gibi, g\u00fc\u00e7l\u00fc ve yeni bir \u00fcslup tan\u0131tt\u0131.<\/span><\/p>\n

Bu t\u00fcr kendi kendine hizmet eden estetik\u00e7ilik, en iyi ihtimalle bir \u201cy\u00fcce kurgu\u201dyu ve en k\u00f6t\u00fc ihtimalle steril kafa kar\u0131\u015f\u0131kl\u0131\u011f\u0131n\u0131 temsil eder. \u00d6nde gelen ele\u015ftirmenlerden Rauf Mutluay, onun benmerkezcili\u011fini ve narsisizmini \u201cbireysel kriz ve \u015fiirimizin bu sa\u011f\u0131r yaln\u0131zl\u0131\u011f\u0131\u201d olarak k\u0131n\u0131yor.<\/span><\/p>\n

\n

turgut uyar’\u0131n<\/a> \u015fiirleri<\/span>
\nTurgut Uyar S\u00f6zleri<\/span>
\nHayri Turgut Uyar<\/span>
\nTurgut Uyar En g\u00fczel \u015fiirleri<\/span>
\nTurgut Uyar Eserleri<\/span>
\nTurgut Uyar G\u00f6\u011fe Bakma Dura\u011f\u0131<\/span>
\nTurgut Uyar – Senfoni<\/span>
\nTurgut Uyar hayat\u0131<\/span><\/p>\n

\n

Dil genellikle c\u00f6merttir; \u015fiirsel vizyon, manzaralar ve vurgularla doludur; belirsizlik kendini virt\u00fc\u00f6zl\u00fck olarak sunmaya \u00e7al\u0131\u015f\u0131r; metaforlar genellikle \u00e7arp\u0131c\u0131 bir \u015fekilde orijinaldir, ancak bazen komiktir. Efuistik ve eksiltili yaz\u0131, soyut \u015fiir uygulay\u0131c\u0131lar\u0131 taraf\u0131ndan s\u0131k s\u0131k yap\u0131lan bir hatad\u0131r. Bununla birlikte, en iyi \u00f6rneklerin mimari bir ihti\u015fam\u0131, zengin bir hayal g\u00fcc\u00fc ve insan onay\u0131 vard\u0131r.<\/span><\/p>\n

Ele\u015ftirmen Memet Fuat, m\u00fcstehcenlikte \u00e7a\u011f\u0131n k\u0131rg\u0131nl\u0131\u011f\u0131n\u0131 bulur ve onu “ya\u015fad\u0131\u011f\u0131m\u0131z zaman\u0131n ele\u015ftirisi – ezilen, bunal\u0131ml\u0131 ve hi\u00e7li\u011fe itilen bireylerin \u015fiirleri” olarak adland\u0131r\u0131r. \u015eair Edip Cansever, yeni esteti\u011fin bir ilkesi olarak, b\u00fct\u00fcnl\u00fc\u011f\u00fc T\u00fcrk \u015fairlerinin nesiller boyu temel bir sanat de\u011feri olarak kabul edilen \u201c\u015fiir hatt\u0131n\u0131n \u00f6l\u00fcm\u00fc\u201d \u00e7a\u011fr\u0131s\u0131nda bulunur: \u201c\u015eiir hatt\u0131n\u0131n i\u015flevi sona ermi\u015ftir. \u201d<\/span><\/p>\n

Bu ifadeyi m\u00fcstehcenlerin kendi kendine dayatt\u0131\u011f\u0131 izolasyona kadar geni\u015fleten Mutluay, \u201cbelki de \u015fiirin i\u015flevi bitmi\u015f\u201d diye tahminde bulunuyor. Cansever’in \u015fiirsel vizyonu, insan\u0131n eskimi\u015fli\u011fini sezen ve onun kahramanl\u0131ktan uzak varolu\u015fu kar\u015f\u0131s\u0131nda enerjisini ac\u0131 ve kedere odaklayan o modern k\u0131rg\u0131nl\u0131ktan nasibini al\u0131yor.<\/span><\/p>\n

Cansever bazen bu k\u00f6t\u00fc durumu basit lirik dizelerle ifade eder – \u00f6rne\u011fin: \u201ckalplerimiz harap bir manast\u0131r\u201d veya \u201cyaln\u0131zl\u0131ktan kanayan bir \u015fairin y\u00fcz\u00fc \/ kad\u0131ns\u0131z g\u00fcnler kadar uzam\u0131\u015f bir y\u00fcz.\u201d Ancak, s\u0131k s\u0131k, T\u00fcrkiye’nin s\u00f6zde \u201c\u0130kinci Yeni\u201d hareketinin daha iyi \u00e7al\u0131\u015fmas\u0131n\u0131 karakterize eden al\u0131\u015f\u0131lmad\u0131k ama titiz metaforu tercih ediyor – Cansever’in kariyerinin ba\u015f\u0131ndan beri ba\u011fl\u0131 oldu\u011fu bir okul.<\/span><\/p>\n

\u201c\u0130kinci Yeni\u201dnin \u00f6nemli isimlerinden biri olan Cemal S\u00fcreya (1931\u201390), yirminci y\u00fczy\u0131l\u0131n ortalar\u0131nda cesur yenilikler, hayal g\u00fcc\u00fcn\u00fcn vah\u015fi hamleleri ve dil \u00e7arp\u0131tmalar\u0131yla yola \u00e7\u0131kt\u0131. Zamanla, ezoterik olandan berrak olana ge\u00e7ecekti.<\/span><\/p>\n

Cemal S\u00fcreya’n\u0131n 1966’da kaleme ald\u0131\u011f\u0131 belagatli m\u0131sralar\u0131, devrimci deneyimi, y\u00f6nelim bozuklu\u011funu, iyimserli\u011fi ve \u201cYeni T\u00fcrkiye\u201d aray\u0131\u015f\u0131n\u0131 somutla\u015ft\u0131r\u0131yor.<\/span><\/p>\n

Ece Ayhan (1931\u20132002) 1950’lerde ortaya \u00e7\u0131k\u0131\u015f\u0131ndan beri ba\u015f\u0131na buyruk biri olarak \u201c\u0130kinci Yeni\u201dnin bir \u00fcyesiydi. \u015eiir, anlams\u0131z ya da abs\u00fcrt \u015fiiri savundu. Bu cesur yeni \u015fiirin en iyileri, canl\u0131 hayal g\u00fcc\u00fc, b\u00fcy\u00fcleyici bir m\u00fczik yap\u0131s\u0131 ve c\u00fcretkar metaforlar\u0131yla g\u00f6z kama\u015ft\u0131ran entelekt\u00fcel bir karma\u015f\u0131kl\u0131\u011fa sahiptir.<\/span><\/p>\n

\u201c\u0130kinci Yeni\u201d \u015fairlerinin \u00e7o\u011fu netli\u011fe do\u011fru y\u00fcr\u00fcd\u00fc. Ama Ece Ayhan arcanum’u se\u00e7ti. \u015eiirlerinin her \u00f6\u011fesi ezoterik, dolamba\u00e7l\u0131, anla\u015f\u0131lmaz hale geldi. S\u00f6zdizimsel zorluklarda ve ula\u015f\u0131lmaz imalarda, Ayhan’\u0131n ortaya koydu\u011fu zorluklara \u00e7ok az \u015fair yakla\u015fm\u0131\u015ft\u0131r. Okuyucular ve ele\u015ftirmenler, anla\u015f\u0131lmaz s\u0131rlar\u0131n yan\u0131 s\u0131ra y\u00fczey problemlerini de anlamak i\u00e7in beyinlerini harcam\u0131\u015flard\u0131r.<\/span><\/p>\n

Ayhan’\u0131n ilgi \u00e7ekici kitaplar\u0131ndan biri Ortodoksluklar, mu\u011flakl\u0131klar\u0131n alt\u0131nda, \u00e7o\u011fu az\u0131nl\u0131k k\u00fclt\u00fcrleriyle ilgilenen incelikli ve genellikle kurnaz semboller var.\u00a0<\/span>Ayr\u0131l\u0131\u011f\u0131n pek \u00e7ok derecesi Ayhan’\u0131n \u015fiirine b\u00fcy\u00fcs\u00fcn\u00fc ve alayc\u0131 \u00f6fkesini verir. Burada \u00e7ok fazla k\u00fclt\u00fcr ve mezhep \u00e7at\u0131\u015fmas\u0131 var, ancak trajik \u00e7ekirde\u011fi, ikiy\u00fczl\u00fc kamusal t\u00f6reler taraf\u0131ndan lanetlenen e\u015fcinsel k\u00fclt\u00fcr olu\u015fturuyor.<\/span><\/p>\n

Kentli se\u00e7kin edebiyat\u00e7\u0131lar\u0131n tam tersine, k\u00f6y \u015fairleri, s\u00fcrekli \u00f6zge\u00e7mi\u015fleri, canl\u0131 e\u011flencenin yan\u0131 s\u0131ra ayd\u0131nlanma sa\u011flayarak k\u0131rsal topluluklar\u0131na hizmet ederler. \u00c2\u015f\u0131kl\u0131k gelene\u011fi, d\u00f6rtl\u00fck formlar\u0131 ve basit aruzlar\u0131yla canl\u0131 ve iyi durumdad\u0131r. \u00d6zellikle 1950’li y\u0131llardan itibaren bir\u00e7ok \u00f6nde gelen halk ozan\u0131 kentlere ta\u015f\u0131nm\u0131\u015f ya da zaman zaman kentlerde boy g\u00f6stermi\u015flerdir. K\u00f6r bir \u00e2\u015f\u0131k olan \u00c2\u015f\u0131k Veysel (1894\u20131973), s\u00f6zl\u00fc gelene\u011fin en dokunakl\u0131 \u00f6rneklerinden baz\u0131lar\u0131n\u0131 \u00fcretmi\u015ftir.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Turgut Uyar Turgut Uyar’\u0131n \u00e7\u0131kt\u0131lar\u0131n\u0131n \u00e7o\u011fu, insanl\u0131ktan i\u011frenme de\u011filse bile bir ho\u015fnutsuzluk duygusu ve Uyar’\u0131n insanl\u0131k tarihinin ge\u00e7mi\u015fteki ini\u015f \u00e7\u0131k\u0131\u015flar\u0131 i\u00e7in ahlaki olmaktan \u00e7ok \u015fiirsel olarak su\u00e7lad\u0131\u011f\u0131 g\u00f6r\u00fcnen, insan\u0131n do\u011fas\u0131nda var olan k\u00f6t\u00fcl\u00fc\u011fe dair kesin bir inan\u00e7 ta\u015f\u0131yor.\u00a0 \u0130nsan toplumu, eserinin temel felsefi \u00f6nermesine g\u00f6re, kendini yok etmeye kararl\u0131d\u0131r: kendi \u00fczerine yang\u0131nlar \u00e7\u0131kar\u0131r ve k\u00fcller…
Devam\u0131<\/a><\/p>\n","protected":false},"author":6,"featured_media":8456,"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":[18406,18405,18404],"tags":[18409,18413,18410,18411,18412,18414,18408,18407],"class_list":["post-8452","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-turgut-uyar-en-guzel-siirleri","category-turgut-uyar-sozleri","category-turgut-uyarin-siirleri","tag-hayri-turgut-uyar","tag-turgut-uyar-senfoni","tag-turgut-uyar-en-guzel-siirleri","tag-turgut-uyar-eserleri","tag-turgut-uyar-goge-bakma-duragi","tag-turgut-uyar-hayati","tag-turgut-uyar-sozleri","tag-turgut-uyarin-siirleri"],"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