{"id":9169,"date":"2022-03-02T13:33:44","date_gmt":"2022-03-02T10:33:44","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9169"},"modified":"2022-03-02T13:33:44","modified_gmt":"2022-03-02T10:33:44","slug":"siirin-baslangici-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/siirin-baslangici-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"\u015eiirin Ba\u015flang\u0131c\u0131 \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

\u015eiirin Ba\u015flang\u0131c\u0131 <\/span><\/strong><\/h3>\n

Pound’un ba\u015fyaz\u0131s\u0131n\u0131n \u015fiiri geli\u015ftirmekle kalmay\u0131p, ona daha \u00f6nce eksik olan bir odak noktas\u0131 verdi\u011fine \u015f\u00fcphe yok. Pound’un \u00f6nerisiyle Eliot pasajlar\u0131 kesti, di\u011ferlerini de\u011fi\u015ftirdi ve bir anlamda t\u00fcm \u015fiiri yeniden d\u00fczenledi. Ritmik homurdanma par\u00e7as\u0131 i\u00e7in \u00f6nerdi\u011fi ba\u015fl\u0131k, ya\u015fl\u0131 bir kad\u0131n\u0131n sevgiyle bakt\u0131\u011f\u0131 beyin hasarl\u0131 gen\u00e7 hakk\u0131nda konu\u015ftu\u011fu Dickens’\u0131n Kar\u015f\u0131l\u0131kl\u0131 Dostumuz’undan al\u0131nan bir s\u00f6z olan ‘Polisi Farkl\u0131 Seslerle Yap\u0131yor’ idi.\u00a0<\/span><\/p>\n

Eliot i\u00e7in bu s\u00f6z\u00fc kullanmak istemesi, dikkati \u015fiirinin ventriloklu\u011funa, seslerin s\u00fcrekli de\u011fi\u015fen d\u00fczenine \u00e7eker. Ama ayn\u0131 zamanda, daha da rahats\u0131z edici bir \u015fekilde, sesleri “yapan” ki\u015fide zihinsel sorunlara i\u015faret ediyor. Eliot sinir krizi ge\u00e7irdi ve Margate’de iyile\u015fmek i\u00e7in biraz zaman harcad\u0131.<\/span><\/p>\n

\u015eiir ba\u015flang\u0131\u00e7ta, bir adam\u0131n gece ge\u00e7 saatlerde, kul\u00fcplerde, evlerde art arda yap\u0131lan bir dizi kap\u0131 \u00e7arpma partisinden bahsetti\u011fi uzun, yar\u0131 sarho\u015f bir monologla ba\u015flam\u0131\u015ft\u0131. Ate\u015fli, ne\u015fesiz hedonizm \u00f6nerisinde bu, Evelyn Waugh’un 1920’lerin g\u00fcnl\u00fcklerini olduk\u00e7a dikkat \u00e7ekici bir \u015fekilde \u00f6ng\u00f6r\u00fcyor.<\/span><\/p>\n

Ayn\u0131 zamanda \u015fiiri histerik veya \u015fiddetle kendi kendine zarar verme davran\u0131\u015f\u0131 a\u00e7\u0131s\u0131ndan konumland\u0131rmaya da hizmet eder, bu da daha sonra \u015fiiri \u00f6zd\u00fc\u015f\u00fcn\u00fcmselli\u011fe \u00e7evirebilir, b\u00f6ylece \u015fiirin ger\u00e7ek \u00f6znesinin, ba\u015flad\u0131\u011f\u0131 anlat\u0131c\u0131 oldu\u011funu mant\u0131kl\u0131 bir \u015fekilde tahmin edebiliriz. Bu pasaj\u0131 iptal ederek, \u015fimdi elimizdeki \u015fiir \u00fcnl\u00fc “Nisan en ac\u0131mas\u0131z ayd\u0131r” ile ba\u015flas\u0131n diye Pound, The Waste Land’in sava\u015f sonras\u0131 toplum hakk\u0131nda daha nesnel oldu\u011funu d\u00fc\u015f\u00fcn\u00fcyor.<\/span><\/p>\n

Pound’un karar\u0131n\u0131n bir a\u00e7\u0131klamas\u0131, arg\u00fcman yerine imaj tercihinde yat\u0131yor olabilir. On y\u0131l \u00f6nceki imgeci hareketin ilham kayna\u011f\u0131 diyebilecek baz\u0131lar\u0131n\u0131n merkezindeydi. \u0130mgeciler, \u015fiirin Viktorya d\u00f6nemi \u015fairlerinin y\u00fckledi\u011fi t\u00fcm gereksiz tuzaklardan kurtulmas\u0131 gerekti\u011fini ve bunun sonucunda \u00e7a\u011fda\u015f \u015fiirin bu k\u00f6t\u00fc etkiyi emerek umutsuzca kusurlu oldu\u011funu ileri s\u00fcrm\u00fc\u015flerdi.<\/span><\/p>\n

\u0130mgeci hareketin \u00f6nde gelen teorisyenlerinden T.E.Hulme, \u00fcnl\u00fc \u201cRomantizm ve Klasisizm\u201d makalesinde, \u201cg\u00fczelli\u011fin k\u00fc\u00e7\u00fck, kuru \u015feylerde olabilece\u011fini\u201d kan\u0131tlaman\u0131n gerekli oldu\u011funu; ve gelece\u011fin \u015fairleri i\u00e7in b\u00fcy\u00fck amac\u0131n “do\u011fru, kesin ve kesin tasvir”in ba\u015far\u0131s\u0131 oldu\u011funu s\u00f6yledi. Bu, onu “kuru, sert, klasik bir ayet d\u00f6neminin geldi\u011fini” kehanet etmeye y\u00f6neltti. The Waste Land hayalci bir \u015fiir de\u011fildir, ancak Pound’un edit\u00f6rl\u00fck \u00e7abalar\u0131 g\u00f6z \u00f6n\u00fcne al\u0131nd\u0131\u011f\u0131nda, hayalci fikirlere ve taktiklere \u00e7ok \u015fey bor\u00e7lu oldu\u011fu s\u00f6ylenebilir.<\/span><\/p>\n

\u0130mgecili\u011fin neden Pound’a \u00e7ekici geldi\u011fini ya da etkisinin Eliot’a neden bula\u015ft\u0131\u011f\u0131n\u0131 anlamak zor de\u011fil. \u0130mgecilik, kendisini \u015fehir taraf\u0131ndan \u00f6zetlenen buldu\u011fu \u015fa\u015f\u0131rt\u0131c\u0131 derecede karma\u015f\u0131k ve kar\u0131\u015f\u0131k d\u00fcnya hakk\u0131nda yorum yapmak isteyen ve yine de \u015fa\u015fk\u0131nl\u0131\u011f\u0131 kendi yabanc\u0131la\u015fmas\u0131na bor\u00e7lu olabilece\u011fi modern \u015fairin kar\u015f\u0131la\u015ft\u0131\u011f\u0131 bir ikilemden bir \u00e7\u0131k\u0131\u015f yolu sunuyor gibi g\u00f6r\u00fcn\u00fcyor.\u00a0<\/span><\/p>\n

\n

\u015fiir d\u00f6nemleri <\/a><\/span>
\nT\u00fcrk edebiyat\u0131nda \u015fiirin tarihi Geli\u015fimi k\u0131sa<\/span>
\nT\u00fcrk \u015fiiri D\u00f6nemleri<\/span>
\nEski T\u00fcrk \u015fiiri D\u00f6nemi<\/span>
\nT\u00fcrk \u015fiirinin Tarihsel Geli\u015fimi<\/span>
\nT\u00fcrk edebiyat\u0131 \u015fiirleri k\u0131sa<\/span>
\n\u015eiirin Tarihsel Geli\u015fimi<\/span>
\nT\u00fcrk Edebiyat\u0131 \u015fiir<\/span><\/p>\n

\n

Ne g\u00f6rd\u00fc\u011f\u00fcn\u00fc, ne de onu nas\u0131l yarg\u0131layaca\u011f\u0131n\u0131 bilemez ve e\u011fer \u00f6yleyse, \u00f6znesi reddedilir. Ancak imgecilik bu sorunu \u00e7\u00f6z\u00fcyor gibi g\u00f6r\u00fcn\u00fcyor. \u015eairin alg\u0131layan g\u00f6z\u00fc bir kameran\u0131n amans\u0131z nesnelli\u011fine sahipmi\u015f gibi, yorumsuz bir dizi ayr\u0131k g\u00f6r\u00fcnt\u00fc sunarak, \u015fiir, imgesel bir k\u00fcme olarak okuyucular\u0131n\u0131 sunduklar\u0131na bakmaya ve kendileri i\u00e7in yarg\u0131lamaya davet eder.<\/span><\/p>\n

\u0130mgesel \u015fiirin amac\u0131, o halde, “d\u0131\u015far\u0131daki” d\u00fcnyan\u0131n m\u00fcmk\u00fcn oldu\u011funca tarafs\u0131z bir a\u00e7\u0131klamas\u0131n\u0131 sunmakt\u0131r. The Waste Land’de bu tarafs\u0131z kay\u0131t Tiresias’\u0131n sorumlulu\u011fundad\u0131r. Daktilo ile katipin birle\u015fmesine tan\u0131k olan, nevrastenik kar\u0131s\u0131n\u0131n ya da metresinin yaln\u0131zl\u0131\u011f\u0131ndan \u015fikayet etti\u011fini dinleyen, meyhanedeki kad\u0131nlar\u0131 duyan odur.<\/span><\/p>\n

Bundan, Tiresias’\u0131 yirminci y\u00fczy\u0131l ya\u015fam\u0131n\u0131n deh\u015fetlerinin bilge ger\u00e7e\u011fi anlat\u0131c\u0131s\u0131 yapmak i\u00e7in k\u0131sa bir ad\u0131md\u0131r, \u00f6yle ki, onun dile getirdi\u011fi \u015fiire, Cleanth Brooks’un s\u00f6zleriyle, “insanlar\u0131n yitirdi\u011fi ger\u00e7e\u011fi” nedeniyle stat\u00fcs\u00fc verilir. \u0130yi ve k\u00f6t\u00fcn\u00fcn bilgisi, onlar\u0131 hayatta olmaktan al\u0131koyar ve modern \u00e7orak araziyi, i\u00e7inde ya\u015fayanlar\u0131n bile var olmad\u0131\u011f\u0131 bir alan olarak g\u00f6rmenin gerek\u00e7esidir.<\/span><\/p>\n

Di\u011fer ele\u015ftirmenler, Brooks’un m\u00fclayim g\u00fcveniyle iddiada bulunmayabilir, ancak baz\u0131 dikkate de\u011fer istisnalar d\u0131\u015f\u0131nda, The Waste Land, sava\u015f sonras\u0131 d\u00fcnya hakk\u0131nda harika, tan\u0131sal bir \u015fiir olarak kabul edildi. Eliot’\u0131n yank\u0131, al\u0131nt\u0131 ve an\u0131\u015ft\u0131rma kullanmas\u0131n\u0131n bu kadar s\u0131kl\u0131kla tart\u0131\u015f\u0131lmaz bir otoriteye sahip olmas\u0131n\u0131n nedeni budur. \u00d6rne\u011fin Delmore Schwartz, \u015fiirin bu \u00f6zelliklerinin ‘ka\u00e7\u0131n\u0131lmaz bir zihin al\u0131\u015fkanl\u0131\u011f\u0131, ge\u00e7mi\u015f ve \u015fimdiki farkl\u0131 deneyim d\u00fczeylerinin temsili ve yarg\u0131da ortaya \u00e7\u0131kan bir al\u0131\u015fkanl\u0131k’ oldu\u011funu s\u00f6yleyebilirdi.<\/span><\/p>\n

Yine de, taraftarlar\u0131 taraf\u0131ndan \u0130mgecilik i\u00e7in iddia edilen nesnellik yanl\u0131\u015ft\u0131r. (Kamera aldatabilir ve onu kimin ve nas\u0131l g\u00f6stermeyi se\u00e7ece\u011fi bir fark yarat\u0131r.) Eliot’un Poems 1920’sine bir bak\u0131\u015f, The Waste Land’in varsay\u0131lan nesnelli\u011fi, Avrupa toplumu ile tan\u0131sal y\u00fczle\u015fmenin hayali g\u00fcc\u00fc hakk\u0131nda bir dizi garip soruyu g\u00fcndeme getiriyor. ve dolay\u0131s\u0131yla Eliot’\u0131n yarg\u0131lama kapasitesi hakk\u0131ndad\u0131r.<\/span><\/p>\n

\u0130lk olarak, Eliot’\u0131n heteroseks\u00fcel ili\u015fkileri i\u011fren\u00e7 buldu\u011fu bu \u015fiirlerden bellidir. \u0130kincisinde, kudurmu\u015f bir \u015fekilde anti-Semitik oldu\u011fu a\u00e7\u0131kt\u0131r. Burada bu ifadeleri geni\u015fletmek i\u00e7in yer yok, ancak kan\u0131tlar \u00f6zellikle ‘\u00d6l\u00fcms\u00fczl\u00fc\u011f\u00fcn F\u0131s\u0131lt\u0131lar\u0131’, ‘B\u00fclb\u00fcllerin Aras\u0131nda Sweeney’ ve ‘Baedeker ile Burbank: Purolu Bleistein’ gibi \u015fiirlerde bol miktarda bulunur. Bununla birlikte, Eliot’\u0131n Yahudi kar\u015f\u0131tl\u0131\u011f\u0131n\u0131n belirli bir y\u00f6n\u00fc yorum gerektiriyor.\u00a0<\/span><\/p>\n

Buradaki Yahudilik, modern ya\u015fam\u0131n k\u00f6ks\u00fczl\u00fc\u011f\u00fcyle a\u00e7\u0131k\u00e7a ba\u011flant\u0131l\u0131d\u0131r. G\u00f6r\u00fcnt\u00fc, bizi modern \u015fehrin, s\u00fcreklili\u011fin bir sembol\u00fc olarak evin sanal \u00e7\u00f6k\u00fc\u015f\u00fcyle \u200b\u200bkarakterize edildi\u011fini kabul etmeye davet ediyor. Bu \u00e7\u00f6k\u00fc\u015f\u00fcn faili Yahudidir. Ba\u015fka bir deyi\u015fle, Eliot, en az\u0131ndan ima yoluyla \u00e7a\u011fda\u015f k\u00f6ks\u00fczl\u00fc\u011f\u00fc, bask\u0131n sembol\u00fc B\u00fcy\u00fck ya da \u00fclke, Ev olan ge\u00e7mi\u015f bir k\u00fclt\u00fcr\u00fcn k\u00f6kl\u00fcl\u00fc\u011f\u00fcyle kar\u015f\u0131la\u015ft\u0131r\u0131r.<\/span><\/p>\n

Eliot, B\u00fcy\u00fck Ev ile ba\u011flant\u0131l\u0131 de\u011ferlerin kayb\u0131 a\u00e7\u0131s\u0131ndan k\u00fclt\u00fcrel canl\u0131l\u0131\u011f\u0131n \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fc belirlemede hi\u00e7bir \u015fekilde yaln\u0131z de\u011fildi. Pound’un Blunt’un kap\u0131s\u0131n\u0131 “nezaketle” \u00e7ald\u0131\u011f\u0131n\u0131 g\u00f6rd\u00fck. Yeats defalarca, hamisi ve arkada\u015f\u0131 Lady Augusta Gregory’nin ya\u015fad\u0131\u011f\u0131 ve \u00e7al\u0131\u015ft\u0131\u011f\u0131 \u0130rlanda’n\u0131n bat\u0131s\u0131ndaki Coole Park’\u0131n kaderine a\u011f\u0131t yakt\u0131.<\/span><\/p>\n

B\u00fcy\u00fck Ev’in bu sembol\u00fc ve onun “k\u00f6kl\u00fcl\u00fc\u011f\u00fc”, tarihin i\u00e7inde i\u015fleyen g\u00fc\u00e7ler taraf\u0131ndan k\u00fclt\u00fcrel bir s\u00fcreklili\u011fin bozuldu\u011fu, dolay\u0131s\u0131yla onun yas\u0131n\u0131 tutanlar\u0131n \u0131srar etti\u011fi toplumsal tarihin bu trajik a\u00e7\u0131klamas\u0131n\u0131n kalbinde yer al\u0131r. Bu g\u00fc\u00e7ler B\u00fcy\u00fck Ev’e girer ve onu “\u015fekilsiz bir t\u00fcmse\u011fe” d\u00f6n\u00fc\u015ft\u00fcr\u00fcr. Ancak Yeats, bu g\u00fc\u00e7leri Yahudilikle e\u015fitlemeye \u00e7al\u0131\u015fmaz.<\/span><\/p>\n

Bunun yerine, kendi zaman\u0131n\u0131n tarihine, i\u015faretleri ve g\u00f6sterileri her yerde g\u00f6r\u00fclen bir \u00e7\u00f6k\u00fc\u015f\u00fcn ka\u00e7\u0131n\u0131lmazl\u0131\u011f\u0131n\u0131 okur: B\u00fcy\u00fck Sava\u015f, Rus Devrimi, \u0130rlanda \u0130\u00e7 Sava\u015f\u0131 ger\u00e7e\u011finde. Yeats, t\u00fcm bu tezah\u00fcrleri ve daha fazlas\u0131n\u0131 Bat\u0131 medeniyetinin yeni bir \u00e7a\u011fa girmek \u00fczere oldu\u011funun kesin kan\u0131t\u0131 olarak g\u00f6rmektedir.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

\u015eiirin Ba\u015flang\u0131c\u0131 Pound’un ba\u015fyaz\u0131s\u0131n\u0131n \u015fiiri geli\u015ftirmekle kalmay\u0131p, ona daha \u00f6nce eksik olan bir odak noktas\u0131 verdi\u011fine \u015f\u00fcphe yok. Pound’un \u00f6nerisiyle Eliot pasajlar\u0131 kesti, di\u011ferlerini de\u011fi\u015ftirdi ve bir anlamda t\u00fcm \u015fiiri yeniden d\u00fczenledi. Ritmik homurdanma par\u00e7as\u0131 i\u00e7in \u00f6nerdi\u011fi ba\u015fl\u0131k, ya\u015fl\u0131 bir kad\u0131n\u0131n sevgiyle bakt\u0131\u011f\u0131 beyin hasarl\u0131 gen\u00e7 hakk\u0131nda konu\u015ftu\u011fu Dickens’\u0131n Kar\u015f\u0131l\u0131kl\u0131 Dostumuz’undan al\u0131nan bir s\u00f6z olan…
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":[20137,20139,20138],"tags":[20142,20140,20145,20146,20144,18740,20141,20143],"class_list":["post-9169","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-siir-donemleri","category-siirin-tarihsel-gelisimi","category-turk-siirinin-tarihsel-gelisimi","tag-eski-turk-siiri-donemi","tag-siir-donemleri","tag-siirin-tarihsel-gelisimi","tag-turk-edebiyati-siir","tag-turk-edebiyati-siirleri-kisa","tag-turk-edebiyatinda-siirin-tarihi-gelisimi-kisa","tag-turk-siiri-donemleri","tag-turk-siirinin-tarihsel-gelisimi"],"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