{"id":9139,"date":"2022-02-28T12:44:06","date_gmt":"2022-02-28T09:44:06","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9139"},"modified":"2022-02-28T12:44:06","modified_gmt":"2022-02-28T09:44:06","slug":"ortacagcilik-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/ortacagcilik-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"Orta\u00e7a\u011fc\u0131l\u0131k \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

Orta\u00e7a\u011fc\u0131l\u0131k<\/span><\/strong><\/h3>\n

Orta\u00e7a\u011fc\u0131l\u0131k, ezilen bilincin \u00f6l\u00fcme, \u015fiddete ve simgenin yetersizli\u011fine olan hayranl\u0131\u011f\u0131n\u0131 tatmin etmek i\u00e7in sahip oldu\u011fu bi\u00e7im, yanl\u0131\u015f bilinen bir bi\u00e7im olacakt\u0131r: Orta\u00e7a\u011f\u0131n imgeleri arzunun yans\u0131malar\u0131 olacakt\u0131r, yabanc\u0131la\u015fm\u0131\u015f olan\u0131n hi\u00e7 tatmin edilmeyen o arzusudur. Ruskin’in Pre-Raphaelite resminin psikolojik ke\u015fiflerinden biri olarak g\u00f6rd\u00fc\u011f\u00fc bir fenomen olan ayr\u0131k ve ilgisiz ayr\u0131nt\u0131lar\u0131n korkun\u00e7 yo\u011funlu\u011fu, Morris’in bu ciltteki kompozisyon y\u00f6ntemidir. Ancak groteskin tezah\u00fcrleri de daha b\u00fcy\u00fck bi\u00e7imler al\u0131r.<\/span><\/p>\n

“Guenevere’in Savunmas\u0131” adl\u0131 cildin ba\u015fl\u0131k \u015fiiri, i\u00e7inde bir \u00e7arp\u0131tma i\u00e7erir: Bu, Guenevere taraf\u0131ndan yap\u0131lan savunma ve yazar taraf\u0131ndan onun savunmas\u0131d\u0131r – ve bir savunma hem yap\u0131labilecek bir dava hem de bir ara\u00e7t\u0131r. ger\u00e7e\u011fi gizlemek, yanl\u0131\u015f bir temsil, bir \u00f6rtbas etmek. \u00c7\u00fcnk\u00fc Guenevere’in savunmas\u0131, cinsel ihanet ve zina savunmas\u0131n\u0131 motive eden gizli eylemleri hi\u00e7bir zaman tam olarak temsil etmeyen, hem bir a\u00e7\u0131klama hem de koruyucu bir s\u00f6zc\u00fck kalkan\u0131d\u0131r.<\/span><\/p>\n

Ne kadar \u00e7ok a\u00e7\u0131klarsa, o kadar \u00e7ok gizler ve \u00e7arp\u0131t\u0131r. \u00c7\u00fcnk\u00fc \u00e7arp\u0131tma onun durumuna i\u00e7kindir: Ruskin’in karakteristik grotesk deneyim olarak adland\u0131rd\u0131\u011f\u0131 t\u00fcketen arzuyu olu\u015fturan cinselli\u011fin kendisi bu ciltteki \u00e7arp\u0131t\u0131c\u0131 unsurdur. Sadece cinsellik ve libido bask\u0131ya dayanmaz: tabular, y\u00fck\u00fcml\u00fcl\u00fckler ve s\u00f6zle\u015fmeler \u015f\u00f6valye evlili\u011fini y\u00f6netir ve saray a\u015fk\u0131n\u0131n esirgenmesi evlili\u011fe dayan\u0131r ve hem erkeklerin hem de kad\u0131nlar\u0131n i\u00e7inde ya\u015fad\u0131\u011f\u0131 bask\u0131 ko\u015fullar\u0131n\u0131 olu\u015fturur.<\/span><\/p>\n

Arzuyu cinsel terimlerle yorumlamak Morris i\u00e7in cesurdu, Ruskin’in yapmad\u0131\u011f\u0131 bir \u015feydir. Guenevere, Morris’in d\u00fcnyas\u0131ndaki karakterlerin var oldu\u011fu kar\u0131\u015f\u0131kl\u0131klar\u0131n bir amblemi olan \u0131\u015f\u0131\u011fa elini kald\u0131r\u0131yor ve onu g\u00f6remiyor ve g\u00f6remiyor. Elin, v\u00fccudun baz\u0131 b\u00f6l\u00fcmlerinin, \u00f6zellikle de elin feti\u015fle\u015ftirilmesi, bu cildin yinelenen bir \u00f6zelli\u011fidir. Morris, gizli bir \u015fekilde, ezilen eme\u011fin zeminini kendi k\u00fclt\u00fcr\u00fcne sokar, \u00e7\u00fcnk\u00fc ‘el’ sanayi i\u015f\u00e7isinin mecazidir ve bu nedenle evlilikte bask\u0131, dolayl\u0131 olarak di\u011fer s\u00f6zle\u015fme g\u00fcc\u00fc bi\u00e7imleriyle ba\u011flant\u0131l\u0131d\u0131r.<\/span><\/p>\n

Arzu, \u015fiddet, \u00f6l\u00fcm ve sembol\u00fcn yanl\u0131\u015f anla\u015f\u0131lmas\u0131, ‘Ay Boyunca \u0130ki K\u0131rm\u0131z\u0131 G\u00fcl’ adl\u0131 k\u0131sa bir \u015fiirde bir araya geliyor. Ba\u015fl\u0131k, \u015fiire esrarengiz bir nakarat olu\u015fturur ve her iki taraf\u0131n hanedan renklerinin, ‘k\u0131z\u0131l ve mavi’nin ‘k\u0131z\u0131l ve mavi’ olarak silindi\u011fi, sava\u015f\u0131n \u015fiddetli katliam\u0131na yolculu\u011funda anlat\u0131lan \u015f\u00f6valyenin hanedan amblemini temsil eder. Kahverengi’ sava\u015fta anlams\u0131z bir anlam ta\u015f\u0131r.<\/span><\/p>\n

\u015e\u00f6valye, \u015f\u00f6valye a\u015fk\u0131n\u0131n saf ‘alt\u0131n\u0131’n\u0131 kutlayarak leydisine d\u00f6ner. Ama onun d\u00fcnyas\u0131nda bu kadar net yap\u0131lan ayr\u0131mlar asl\u0131nda o kadar net de\u011fil. Nakarat do\u011fas\u0131 gere\u011fi \u00e7eli\u015fkilidir, \u00e7\u00fcnk\u00fc onda iffetin sar\u0131 ay\u0131 ve g\u00fcl\u00fcn, ayn\u0131 zamanda kan ve \u015fiddeti \u00e7a\u011fr\u0131\u015ft\u0131ran erotik yo\u011funlu\u011fu, uyumsuz bir ili\u015fki i\u00e7indedir. Ve sava\u015f\u0131n renkleri \u00e7amurun rengine kar\u0131\u015ft\u0131\u011f\u0131 gibi, saray hayat\u0131n\u0131n k\u0131rm\u0131z\u0131 ve sar\u0131 alt\u0131nlar\u0131 da kar\u0131\u015ft\u0131r\u0131ld\u0131klar\u0131nda kahverengiye d\u00f6n\u00fc\u015f\u00fcrler.<\/span><\/p>\n

Sava\u015f ve cinsellik d\u00fcnyalar\u0131n\u0131 birbirinden saf tutmak m\u00fcmk\u00fcn de\u011fildir. Bir d\u00fczeyde hemen ula\u015f\u0131labilecek kadar basit olan bu ak\u0131lda kal\u0131c\u0131 \u015fiir, ayn\u0131 zamanda grotesk g\u00f6r\u00fc\u015f\u00fcn t\u00fcm \u00e7eli\u015fkilerini i\u00e7erir. Demokratik bir \u015fiirdir \u00e7\u00fcnk\u00fc geni\u015f bir dinleyici kitlesi taraf\u0131ndan t\u00fcrk\u00fc olarak okunabilir ve anla\u015f\u0131lmaz \u00e7eli\u015fkileri a\u00e7\u0131klanamasa bile fark edilebilir.<\/span><\/p>\n

\n

Orta\u00e7a\u011f edebiyat\u0131<\/a> eserleri<\/span>
\nOrta\u00e7a\u011f Bat\u0131 edebiyat\u0131<\/span>
\nOrta\u00e7a\u011f edebiyat\u0131 hakk\u0131nda bilgi<\/span>
\nOrta\u00e7a\u011f edebiyat\u0131 Nas\u0131l Yaz\u0131l\u0131r<\/span>
\nOrta\u00e7a\u011f eserleri<\/span>
\nOrta\u00e7a\u011f kitap \u00f6nerileri<\/span>
\nOrta \u00c7a\u011f ba\u015flang\u0131c\u0131 ve biti\u015fi<\/span>
\nOrta\u00e7a\u011f \u0130ngiliz Edebiyat\u0131 \u00d6zellikleri<\/span><\/p>\n

\n

Guenevere’nin Savunmas\u0131’ndaki hemen hemen her \u015fiir, hi\u00e7bir \u015fekilde estetize edilmemi\u015f bir sava\u015f katliam\u0131n\u0131 ve katliam\u0131n\u0131 hat\u0131rlat\u0131r. Kitap, K\u0131r\u0131m Sava\u015f\u0131’n\u0131n son y\u0131l\u0131ndan bir y\u0131l sonra yay\u0131nland\u0131 ve bir sava\u015f \u015fiiri kitab\u0131, al\u0131\u015fkanl\u0131kla sava\u015fa giden bir toplumun ele\u015ftirisi olarak olduk\u00e7a do\u011fru bir \u015fekilde g\u00f6r\u00fclebilirdi.<\/span><\/p>\n

Victoria’n\u0131n saltanat\u0131n\u0131n ilk b\u00fcy\u00fck Avrupa sava\u015f\u0131 olan ve Avrupal\u0131 \u200b\u200bg\u00fc\u00e7lerin Do\u011fu sorunu \u00fczerinde yeniden yap\u0131land\u0131rd\u0131\u011f\u0131 K\u0131r\u0131m sava\u015f\u0131 \u00fczerindeki tart\u0131\u015fma, Morris’in \u015fiirlerinden s\u00fcz\u00fcl\u00fcr. ‘R\u00fczgar’da \u015f\u00f6valyelerin g\u00f6lgeli hayaletleri (ya da ya\u015fayan insanlar m\u0131?), kendi \u00f6ld\u00fcrme g\u00fcc\u00fcyle a\u015f\u0131r\u0131 y\u00fcklenmi\u015f olan konu\u015fmac\u0131n\u0131n odas\u0131na musallat olmak i\u00e7in geri d\u00f6nerler. sevgilisi Margaret, ama birliktelik yoluyla su\u00e7luluklar\u0131n\u0131 payla\u015ft\u0131\u011f\u0131 g\u00f6lgeli \u015f\u00f6valyeler \u015feklinde onu hat\u0131rlat\u0131r .(‘Onu eskiden boyad\u0131\u011f\u0131m kollar\u0131ndan tan\u0131yordum\/Uzun ince kalkanlar\u0131 \u00fczerinde: ama t\u00fcm renkler b\u00fcy\u00fcm\u00fc\u015ft\u00fc.)<\/span><\/p>\n

Morris, sava\u015f\u0131n \u015fokunu, onu yabanc\u0131la\u015ft\u0131rarak, \u00e7eli\u015fkili bir bi\u00e7imde, sava\u015f\u0131n sars\u0131nt\u0131lar\u0131n\u0131, onu sorgusuz sualsiz kabul eden bir toplum arac\u0131l\u0131\u011f\u0131yla kaydederek kaydederse, sava\u015f\u0131n \u015fiddeti ve sava\u015fa gitmenin gereklili\u011fi konusunda Morris’ten \u00e7ok daha fazla ikircikli olan Tennyson, bunu dile getirmeyi se\u00e7ti. Maud: A Monodrama’da (1855) bir delinin konu\u015fmas\u0131 arac\u0131l\u0131\u011f\u0131yla sava\u015f ‘eti\u011finin’ \u00e7eli\u015fkileri. Onun ikirciklili\u011fi, \u015fiirin iki okuma verme bi\u00e7iminde ortaya \u00e7\u0131kar. Konu\u015fmac\u0131n\u0131n ‘bar\u0131\u015f\u0131n nimetlerine’ kar\u015f\u0131 t\u00f6vbesiyle muhafazakar bir okuma ortaya \u00e7\u0131k\u0131yor.<\/span><\/p>\n

Sava\u015fa gitme, ‘benim t\u00fcr\u00fcmle bir olma’ karar\u0131, ulusun sava\u015ftaki birli\u011fini yeni bulunan bir psikolojik b\u00fct\u00fcnle\u015fmenin e\u015fde\u011feri olarak g\u00f6rmesi, muhafazakar bir toplumdan miras kalan yeni bir \u015f\u00f6valyelik kodunu yeniden kurman\u0131n bir yoludur. aristokrasi. Ticareti tehlikeye att\u0131\u011f\u0131 i\u00e7in sava\u015fa direnen ticari \u00e7\u0131karlar kar\u015f\u0131s\u0131nda feodal bir dayan\u0131\u015fmay\u0131 yeniden kazanan kahraman ve s\u0131n\u0131f\u0131, en k\u00f6t\u00fc ihtimalle Hallam’\u0131n mit yoluyla ulusal birlik idealinin yol a\u00e7abilece\u011fi romantik gerici ideolojiyi somutla\u015ft\u0131r\u0131r.<\/span><\/p>\n

B\u00f6yle bir romantik milliyet\u00e7ilik, Walter Benjamin’in \u00e7ok sonralar\u0131 Fa\u015fizmin y\u00fckseli\u015fini tan\u0131mlamak i\u00e7in kulland\u0131\u011f\u0131 bir terim olan “estetikle\u015ftirilmi\u015f siyaset”i b\u00fcnyesinde bar\u0131nd\u0131r\u0131r. Ancak \u015fiirin tersi bir okuma var. Konu\u015fmac\u0131 delirir ya da \u015fiddetten ayr\u0131lmaz erotik fantezilerinin ve tutkular\u0131n\u0131n etraf\u0131nda toplan\u0131p iltihapland\u0131\u011f\u0131 gen\u00e7 k\u0131z olan Maud’un erkek karde\u015fini bir d\u00fcelloda \u00f6ld\u00fcrd\u00fc\u011f\u00fcnde kesinlikle delirir. Bu sadece onun tan\u0131kl\u0131\u011f\u0131n\u0131n g\u00fcvenilmez olmas\u0131 de\u011fil, ayn\u0131 zamanda onun arac\u0131l\u0131\u011f\u0131yla, kimli\u011fini sava\u015f\u0131n daha y\u00fcksek birli\u011fine, bireycili\u011fi kollektifle\u015ftirmenin bir yoluna bat\u0131ran yayg\u0131n bireycili\u011fin bir ele\u015ftirisi var.<\/span><\/p>\n

Bu d\u00f6nemde, \u00e7a\u011fda\u015f bask\u0131lara huzursuzca yan\u0131t veren t\u00fcrden \u015fiir g\u00f6r\u00fclebilir. \u00d6rne\u011fin Matthew Arnold’un Sohrab ve Rustum’u \u00e7ok huzursuz bir \u015fiir. B\u00fcy\u00fck insan eyleminin \u015fiirini \u00f6rneklemek i\u00e7in yaz\u0131lm\u0131\u015ft\u0131r. K\u0131r\u0131m Sava\u015f\u0131’n\u0131n ba\u015flad\u0131\u011f\u0131 y\u0131l olan 1853’te yay\u0131mlanan eser, \u015fiirin konusu olarak k\u00fc\u00e7\u00fcmsedi\u011fi \u00e7a\u011fda\u015f olaylardan diledi\u011fi gibi soyutlanm\u0131\u015f de\u011fildir.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Orta\u00e7a\u011fc\u0131l\u0131k Orta\u00e7a\u011fc\u0131l\u0131k, ezilen bilincin \u00f6l\u00fcme, \u015fiddete ve simgenin yetersizli\u011fine olan hayranl\u0131\u011f\u0131n\u0131 tatmin etmek i\u00e7in sahip oldu\u011fu bi\u00e7im, yanl\u0131\u015f bilinen bir bi\u00e7im olacakt\u0131r: Orta\u00e7a\u011f\u0131n imgeleri arzunun yans\u0131malar\u0131 olacakt\u0131r, yabanc\u0131la\u015fm\u0131\u015f olan\u0131n hi\u00e7 tatmin edilmeyen o arzusudur. Ruskin’in Pre-Raphaelite resminin psikolojik ke\u015fiflerinden biri olarak g\u00f6rd\u00fc\u011f\u00fc bir fenomen olan ayr\u0131k ve ilgisiz ayr\u0131nt\u0131lar\u0131n korkun\u00e7 yo\u011funlu\u011fu, Morris’in bu ciltteki kompozisyon…
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":[20067,20065,20066],"tags":[19387,19388,19385,19389,20068,19854,19853,20069],"class_list":["post-9139","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-orta-cag-baslangici-ve-bitis","category-ortacag-edebiyati-eserler","category-ortacag-edebiyati-hakkinda-bilgisi","tag-orta-cag-baslangici-ve-bitisi","tag-ortacag-bati-edebiyati","tag-ortacag-edebiyati-eserleri","tag-ortacag-edebiyati-hakkinda-bilgi","tag-ortacag-edebiyati-nasil-yazilir","tag-ortacag-eserleri","tag-ortacag-ingiliz-edebiyati-ozellikleri","tag-ortacag-kitap-onerileri"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts\/9139","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/comments?post=9139"}],"version-history":[{"count":0,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts\/9139\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/media\/8382"}],"wp:attachment":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/media?parent=9139"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/categories?post=9139"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/tags?post=9139"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}