{"id":9092,"date":"2022-02-26T11:13:41","date_gmt":"2022-02-26T08:13:41","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9092"},"modified":"2022-02-26T11:13:41","modified_gmt":"2022-02-26T08:13:41","slug":"roma-sairleri-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/roma-sairleri-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"Roma \u015eairleri \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

Roma \u015eairleri <\/span><\/strong><\/h3>\n

Horace’\u0131n \u00e7iftli\u011fi ve Virgil’in G\u00fcrc\u00fcce’sinin ikinci kitab\u0131nda “mutlu \u00e7ift\u00e7ilere” kesme i\u015fareti, k\u0131rsal de\u011ferlerin en etkili \u015fiirsel d\u00fczenlemeleri aras\u0131ndayd\u0131, ancak k\u0131rsal kesime ve ta\u015fra halk\u0131na \u00f6vg\u00fc daha eski bir Roma temas\u0131yd\u0131. Virgil ve Horace’\u0131n kendilerinde, Roma’n\u0131n k\u00fc\u00e7\u00fck, cesur, ba\u011f\u0131ms\u0131z, me\u015fgul, erdemli, vatansever \u00e7ift\u00e7ilerden olu\u015fan bir ulus oldu\u011funa inan\u0131ld\u0131\u011f\u0131na g\u00f6re, A\u011fustos \u00f6ncesi, cumhuriyet g\u00fcnlerine y\u00f6nelik \u00f6rt\u00fck bir nostalji vard\u0131r. Bu de\u011ferler ve bu nostalji pek \u00e7ok \u0130ngiliz georgi\u011finde gizlidir; en canl\u0131l\u0131\u011f\u0131n\u0131 Goldsmith’s Deserted Village’da (1770), bir topluluk ve ya\u015fam tarz\u0131 \u00fczerine politik ama ki\u015fisel bir a\u011f\u0131t i\u00e7inde koruyorlar.<\/span><\/p>\n

Ovidius (Augustus’un bir kurban\u0131), Elizabethanlar kadar olmasa da \u0130ngiliz “Augustal\u0131lar” taraf\u0131ndan be\u011fenildi ve taklit edildi. Jonathan Swift’in Baucis and Philemon (1709) ve Gay’s Trivia (1716) adl\u0131 eserlerinde, her ikisi de d\u00f6nemlerinin Roma klasiklerini esprili bir \u015fekilde evcille\u015ftirmesini ve hayat\u0131n ola\u011fan gidi\u015fat\u0131ndan ald\u0131\u011f\u0131 zevki karakteristik olarak sergileyen zengin komik Ovidian metamorfozlar\u0131 vard\u0131r; ama Ovidian t\u00fcr\u00fcn\u00fcn en \u00fcnl\u00fc \u015fiiri, Pope’un erdem ve tutku m\u00fccadelesinin heyecan verici, sansasyonel bir dramatizasyonu olan Eloisa’dan Abelard’a (1717) kahramanca mektubudur.<\/span><\/p>\n

Daha sonra, A\u011fustos sonras\u0131, Roma \u015fairleri Juvenal (imparatorluk tiranl\u0131\u011f\u0131n\u0131n bir ba\u015fka kurban\u0131), on yedinci ve on sekizinci y\u00fczy\u0131llarda en g\u00fc\u00e7l\u00fc \u015fekilde mevcut olan\u0131d\u0131r. Swift ve Pope, onun alayc\u0131 tonunu hicivlerinde yeniden yakalar ve Johnson, The Vanity of Human Wishes’da (1749) eserini son derece a\u011f\u0131t bir moda aktar\u0131r.<\/span><\/p>\n

Augustus’un genel \u0130ngiliz g\u00f6r\u00fc\u015f\u00fc ne kadar d\u00fc\u015fmanca olursa olsun, onun saltanat\u0131 alt\u0131ndaki \u015fairler, 1660-1800 d\u00f6neminin en iyi \u0130ngiliz yazarlar\u0131n\u0131n \u00e7o\u011funun yarat\u0131c\u0131 bir \u015fekilde oynad\u0131\u011f\u0131 \u00f6nemli modeller sa\u011flad\u0131lar; ama \u0130ngilizler di\u011fer \u00f6nemli klasik modellere de bakt\u0131lar.<\/span><\/p>\n

Yunanl\u0131lar\u0131n \u00e7o\u011fu entelekt\u00fcel \u00e7aba alan\u0131nda Romal\u0131lardan \u00fcst\u00fcn oldu\u011funu ve Roma cumhuriyet d\u00f6neminin kamu erdem modelleri a\u00e7\u0131s\u0131ndan zengin olmas\u0131na ra\u011fmen, \u00e7e\u015fitli Yunan devletlerinin daha uzun tarihinin daha da zengin oldu\u011funu kabul ettiler. Homeros ilk epik \u015fairdi ve Theocritus pastoral \u015fiirin yarat\u0131c\u0131s\u0131yd\u0131: onlar Virgil’in b\u00fcy\u00fck orijinalleriydi.<\/span><\/p>\n

On sekizinci y\u00fczy\u0131l\u0131n ba\u015f\u0131ndan itibaren Homer, daha basit, tutkulu \u015fair, daha do\u011fal bir dehan\u0131n adam\u0131 olarak genellikle Virgil’e tercih edildi; y\u00fczy\u0131l\u0131n ortalar\u0131ndan itibaren Theocritus, a\u015fa\u011f\u0131 yukar\u0131 ayn\u0131 nedenlerle, Virgil’e de tercih edildi. Pope, Homer’in g\u00fc\u00e7l\u00fc ve bol yarat\u0131c\u0131 hayal g\u00fcc\u00fcne m\u00fcsrif\u00e7e \u00f6vg\u00fcler ya\u011fd\u0131rd\u0131; Hem \u0130lyada hem de Odysseia’n\u0131n \u00e7evirisi, kendisinin en b\u00fcy\u00fck \u015fiirsel giri\u015fimiydi ve Johnson taraf\u0131ndan “o \u015fiirsel hi\u00e7bir \u00e7a\u011f ya da ulusun e\u015fit oldu\u011funu iddia edemeyece\u011fi bir performans” olarak selamland\u0131; Dryden’\u0131n Virgil’i gibi, on sekizinci y\u00fczy\u0131l\u0131n klasik versiyonuydu.<\/span><\/p>\n

\n

Antik<\/a> Roma<\/span>
\nRoma \u015fiiri<\/span>
\nRoma edebiyat\u0131<\/span>
\nAntik Roma \u015fiirleri<\/span>
\nEski Roma yaz\u0131lar\u0131<\/span>
\nEski Yunan S\u00f6zleri<\/span>
\nAntik Latince<\/span>
\nRoma Edebiyat\u0131 TAR\u0130H\u0130<\/span><\/p>\n

\n

Theocritus, baz\u0131 ele\u015ftirmenlerin Virgilian pastoralinin a\u015f\u0131r\u0131 inceli\u011fi oldu\u011funu d\u00fc\u015f\u00fcnd\u00fckleri \u015feye bir alternatif sa\u011flad\u0131: onun d\u00fcnyevili\u011fi en iyi \u015fekilde yakaland\u0131 ve zorlamas\u0131z sanat\u0131 en parlak \u015fekilde Gay’in The Shepherd’s Week’te (1714) yeniden yarat\u0131ld\u0131. Joseph Warton, 1753’te Virgil’i terc\u00fcme etti\u011finde, Theocritus’taki ‘k\u0131rsal, romantik d\u00fc\u015f\u00fcnce vah\u015fili\u011fini’ ve ‘basit, s\u00fcss\u00fcz do\u011fa resimlerini’ \u00f6vd\u00fc; Theocritus’un bu anlay\u0131\u015f\u0131, Wordsworth’\u00fcn en dikkate de\u011fer miras\u00e7\u0131s\u0131 oldu\u011fu, do\u011falla\u015ft\u0131r\u0131lm\u0131\u015f pastoral bir on sekizinci y\u00fczy\u0131l gelene\u011fine yol a\u00e7t\u0131.<\/span><\/p>\n

\u00dc\u00e7\u00fcnc\u00fc \u00e7ok \u00f6v\u00fclen ve \u00e7ok taklit edilen Yunan \u015fairi Pindar’d\u0131. \u0130ngiliz Pindarik kasidesinde, ayr\u0131nt\u0131l\u0131 ama s\u0131n\u0131rland\u0131r\u0131lmam\u0131\u015f bir \u015fiir bi\u00e7imi, c\u00fcretkar metafor ve y\u00fcksek, kendinden ge\u00e7mi\u015f bir tarz, tipik olarak y\u00fcksek tarihi ve mitolojik konulara uyguland\u0131. Bi\u00e7imin olanaklar\u0131, her zaman \u00e7ok y\u00f6nl\u00fc olan Dryden taraf\u0131ndan, Charles II, Anne Killigrew ve Henry Purcell’deki m\u00fczi\u011fe iki kaside ve cenaze kasidelerinde tam olarak kullan\u0131ld\u0131.<\/span><\/p>\n

Antik Yunanistan, \u015fiirin yan\u0131 s\u0131ra siyasi \u00f6zg\u00fcrl\u00fc\u011f\u00fcn de do\u011fum yeri olarak biliniyordu, bu nedenle, \u00f6zg\u00fcr Pindaric bi\u00e7imi, William Collins taraf\u0131ndan ‘\u00d6zg\u00fcrl\u00fc\u011fe \u00d6vg\u00fc’de (1747) ve Thomas Gray taraf\u0131ndan ‘\u015eiirin \u0130lerlemesi’nde uygun \u015fekilde kullan\u0131ld\u0131. (1757), \u00f6zg\u00fcrl\u00fck ve sanat\u0131n Yunanistan’dan \u0130ngiltere’ye g\u00f6\u00e7\u00fcn\u00fc kutlamak i\u00e7in. Daha sonraki Yunan \u015fairleri, \u00f6zellikle Callimachus, Akenside’\u0131n kasideleri, (laik) ilahileri ve k\u0131sa bo\u015f m\u0131sral\u0131 yaz\u0131tlar\u0131 ve Collins’in baz\u0131 kasideleri i\u00e7in basitlik modelleri sa\u011flad\u0131lar.<\/span><\/p>\n

Callimachus, Pindar, Anacreon, Horace ve Catullus bir yana, \u0130ngiliz liri\u011fine zengin bir katk\u0131da bulunmu\u015ftur, ancak Elizabeth d\u00f6neminden kalma yerel bir gelenek hala g\u00fc\u00e7l\u00fcyd\u00fc: \u015fark\u0131 kitaplar\u0131nda ve \u00e7e\u015fitli kitaplarda pop\u00fcler, bilgili ve aristokrat k\u00fclt\u00fcrler h\u00e2l\u00e2 bir araya geliyordu. Sedley ve Dorset gibi Restorasyon sarayl\u0131lar\u0131n\u0131n ve Congreve, Prior, Gay ve Chesterfield gibi daha sonraki fikirlerin a\u015fk \u015fark\u0131lar\u0131n\u0131n sokak baladlar\u0131, halk \u015fark\u0131lar\u0131, tiyatro oyunlar\u0131ndan, deniz gecekondular\u0131ndan, yurtsever \u015fark\u0131lar\u0131n yan\u0131nda bulunabilece\u011fi mar\u015flar ve av, hasat evi veya dire\u011fi dans\u0131 i\u00e7in \u015fark\u0131lar vard\u0131r.<\/span><\/p>\n

G\u00fcc\u00fcn\u00fcn \u00e7o\u011funu ortak ya\u015famdan alan farkl\u0131 ve sa\u011fl\u0131kl\u0131 bir \u0130sko\u00e7 lirik gelene\u011fi, 1720’lerde Allen Ramsay’in ve 1770’lerde Robert Fergusson’un \u00e7al\u0131\u015fmalar\u0131nda g\u00fc\u00e7l\u00fc ifadesini buldu; \u015eiirlerde, \u00f6zellikle Robert Burns’\u00fcn \u0130sko\u00e7 Leh\u00e7esinde (1786) doru\u011fa ula\u015ft\u0131. Ancak on sekizinci y\u00fczy\u0131lda lirik sanat\u0131n en b\u00fcy\u00fck, en \u00f6zg\u00fcn ve en pop\u00fcler ba\u015far\u0131s\u0131, Isaac Watts, Charles Wesley, John Newton, William Cowper ve bir dizi ba\u015fkan\u0131n ellerinde kilise ve \u015fapel ilahisinin icad\u0131 ve geli\u015ftirilmesiydi.\u00a0<\/span><\/p>\n

Bu kal\u0131c\u0131 ilahiler h\u00e2l\u00e2 s\u00f6zde Augustan d\u00f6neminin H\u0131ristiyan \u015fiiri a\u00e7\u0131s\u0131ndan zengin oldu\u011funu kan\u0131tl\u0131yor: Bu d\u00f6nemi herhangi bir Yunan veya Roma’dan daha fazla g\u00f6lgede b\u0131rakan Milton da \u00f6yledir.<\/span><\/p>\n

Paradise Lost (1667) ile William Blake’in Milton (1804-8) aras\u0131nda ba\u015far\u0131l\u0131 bir ciddi \u0130ngiliz destan\u0131 olmamas\u0131, Milton’\u0131n yasaklay\u0131c\u0131 bir varl\u0131k oldu\u011funu g\u00f6steriyor gibi g\u00f6r\u00fcnse de, \u015fairler resmi destan hakk\u0131nda ne kadar temkinli davransalar da, \u015fairler taraf\u0131ndan engellenmediler.<\/span><\/p>\n

Milton’\u0131n b\u00fcy\u00fck temas\u0131, Thomson’\u0131n Mevsimler’inde (1726\u201330) do\u011fa kitab\u0131n\u0131n bir okumas\u0131 olarak yeniden ifade edilir, Pope’un \u0130nsan \u00dczerine Deneme’sinde satirik imalarla rasyonalist bir arg\u00fcmana d\u00f6n\u00fc\u015ft\u00fcr\u00fcl\u00fcr (ve Edward’da i\u00e7selle\u015ftirilir ve heyecan verici morg g\u00f6r\u00fcnt\u00fcleri ile baharatlan\u0131r. Young’\u0131n A\u015f\u0131r\u0131 Uzun Ya\u015fam, \u00d6l\u00fcm ve \u00d6l\u00fcms\u00fczl\u00fck \u00dczerine Gece D\u00fc\u015f\u00fcnceleri (1742\u20135) Y\u00fczy\u0131l\u0131n en co\u015fkulu b\u00fcy\u00fck dini \u015fiirleri, Smart’\u0131n rapsodik Jubilate Agno (1759\u201363’te yaz\u0131lm\u0131\u015ft\u0131r) ve Song to David’e (1763), bununla birlikte, \u015funlardan ilham alm\u0131\u015ft\u0131r.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Roma \u015eairleri Horace’\u0131n \u00e7iftli\u011fi ve Virgil’in G\u00fcrc\u00fcce’sinin ikinci kitab\u0131nda “mutlu \u00e7ift\u00e7ilere” kesme i\u015fareti, k\u0131rsal de\u011ferlerin en etkili \u015fiirsel d\u00fczenlemeleri aras\u0131ndayd\u0131, ancak k\u0131rsal kesime ve ta\u015fra halk\u0131na \u00f6vg\u00fc daha eski bir Roma temas\u0131yd\u0131. Virgil ve Horace’\u0131n kendilerinde, Roma’n\u0131n k\u00fc\u00e7\u00fck, cesur, ba\u011f\u0131ms\u0131z, me\u015fgul, erdemli, vatansever \u00e7ift\u00e7ilerden olu\u015fan bir ulus oldu\u011funa inan\u0131ld\u0131\u011f\u0131na g\u00f6re, A\u011fustos \u00f6ncesi, cumhuriyet g\u00fcnlerine y\u00f6nelik…
Devam\u0131<\/a><\/p>\n","protected":false},"author":6,"featured_media":8382,"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":[19971,19970,19972],"tags":[19728,19973,19975,19725,19976,19727,19977,19974],"class_list":["post-9092","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-roma-edebiyati-nedir","category-roma-edebiyati-tarihi","category-roma-siiri","tag-antik-latince","tag-antik-roma","tag-antik-roma-siirleri","tag-eski-roma-yazilari","tag-eski-yunan-sozleri","tag-roma-edebiyati","tag-roma-edebiyati-tarihi","tag-roma-siiri"],"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