{"id":9247,"date":"2022-03-08T10:53:21","date_gmt":"2022-03-08T07:53:21","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9247"},"modified":"2022-03-08T10:53:21","modified_gmt":"2022-03-08T07:53:21","slug":"komedi-cikarimlari-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/komedi-cikarimlari-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"Komedi \u00c7\u0131kar\u0131mlar\u0131 \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

Komedi \u00c7\u0131kar\u0131mlar\u0131 <\/span><\/strong><\/h3>\n

Komedi i\u00e7in \u00e7\u0131kar\u0131mlar, Bergson taraf\u0131ndan tart\u0131\u015f\u0131lanlardan \u00e7ok farkl\u0131d\u0131r. Bergsoncu kahkaha eksantrikli\u011fi cezaland\u0131r\u0131r (komedi muhafazakard\u0131r), oysa bir \u015fakay\u0131 kar\u015f\u0131layan Freudcu kahkaha ve onun anlat\u0131m\u0131n\u0131 motive eden \u00f6fke\/arzu\/hayal k\u0131r\u0131kl\u0131\u011f\u0131 arac\u0131l\u0131\u011f\u0131yla, eksantriklik k\u0131saca otoriteye galip gelir (komedi y\u0131k\u0131c\u0131d\u0131r).<\/span><\/p>\n

\u00c7eli\u015fki, C.L.Barber’\u0131n etkili Shakespeare’in \u015eenlikli Komedisi’nde kulland\u0131\u011f\u0131 “a\u00e7\u0131kl\u0131\u011fa kavu\u015fturmak i\u00e7in sal\u0131verme” form\u00fcl\u00fcnde d\u00fczg\u00fcn bir \u015fekilde uzla\u015ft\u0131r\u0131l\u0131r. Barber’\u0131n alt ba\u015fl\u0131\u011f\u0131 \u00f6nemli ‘Dramatik Bi\u00e7im \u00dczerine Bir \u00c7al\u0131\u015fma ve Sosyal Gelenekle \u0130li\u015fkisi’. Barber taraf\u0131ndan ikna edici bir \u015fekilde ayd\u0131nlat\u0131lan \u015fenlikli komedi modeli, hiyerar\u015fik bask\u0131dan tatil e\u011flencesine ka\u00e7\u0131\u015f\u0131 i\u00e7erir, bu da zamanla yeni bir anlay\u0131\u015fa ve nihayetinde daha ak\u0131ll\u0131 ama yine de hiyerar\u015fik bir toplumla yeniden b\u00fct\u00fcnle\u015fmeye yol a\u00e7ar. Bu, Michael Bristol’un belirtti\u011fi gibi, “kolektif uyumun kayna\u011f\u0131 olarak yard\u0131msever bir bask\u0131y\u0131 zorunlu olarak destekleyen” bir \u015fenlik ve h\u00fck\u00fcmet okumas\u0131d\u0131r.<\/span><\/p>\n

O halde, Barber’\u0131n \u015fenlikli komedinin bir i\u015flevi olarak \u00f6nerdi\u011fi \u015fey, “yukar\u0131ya do\u011fru” bir d\u00f6n\u00fc\u015f\u00fcmd\u00fcr. Bristol, Bakhtin’in karnaval\u0131, R\u00f6nesans’\u0131n “ba\u011f\u0131ml\u0131l\u0131\u011f\u0131n, m\u00fclks\u00fczle\u015ftirmenin ve sosyal disiplinin a\u015fa\u011f\u0131ya do\u011fru gidi\u015finin bir kan\u0131t\u0131d\u0131r.<\/span><\/p>\n

Barber’\u0131n Ian Donaldson’\u0131n The World Upside Down (1970), Robert Weimann’\u0131n Shakespeare and the Popular Tradition in the Theatre’\u0131 (1978) ve Mikhail Bakhtin’in The Dialogic Imagination (1981) adl\u0131 yap\u0131t\u0131ndan Bristol’\u00fcn Karnaval\u0131 ve Tiyatrosu’na uzanan yolculu\u011fu, pleblerin etkile\u015fimi \u00fczerine yeni bak\u0131\u015f a\u00e7\u0131lar\u0131 sunuyor. k\u00fclt\u00fcr ve komedi. John McGrath’\u0131n A Good Night Out’taki arg\u00fcmanlar\u0131n\u0131 besleyen, tiyatronun \u00e7al\u0131\u015fma d\u00fcnyas\u0131ndaki ayn\u0131 etkile\u015fimdir.<\/span><\/p>\n

Yirminci y\u00fczy\u0131l\u0131n komedi stratejileriyle en zorlu ele\u015ftirel kar\u015f\u0131la\u015fmalar\u0131n\u0131n \u00e7o\u011fu, \u015fa\u015f\u0131rt\u0131c\u0131 olmayan bir \u015fekilde, Shakespeare ve Jonson aras\u0131ndaki farkl\u0131l\u0131klara odakland\u0131. Robert Ornstein’\u0131n (1969) iki yazar\u0131 Elizabeth komedisinin ikiz s\u00fctunlar\u0131 ya da z\u0131t kutuplar\u0131 olarak sunarak ba\u015flayan k\u0131sa ve zarif\u00e7e \u00e7evrilmi\u015f bir denemesini \u00f6rnek olarak alabiliriz: ‘romantik, olumlu ve \u00e7ekici; di\u011feri hicivli, olumsuz ve (arada bir) itici.<\/span><\/p>\n

Ornstein’dan Jonson, “burjuva a\u00e7g\u00f6zl\u00fcl\u00fc\u011f\u00fcn\u00fcn yeralt\u0131 d\u00fcnyas\u0131n\u0131n kurnazl\u0131\u011f\u0131yla bulu\u015ftu\u011fu noktaya dar bir \u015fekilde odaklanan… ger\u00e7ek\u00e7i hicivli komedinin yeni bir yolunu” ba\u015flatmak i\u00e7in “eski romantik komedi tarz\u0131n\u0131” bilin\u00e7li olarak reddeder. Bu, “Bir Dogberry’nin beceriksizli\u011finin bir Borachio’nun entrikalar\u0131n\u0131 kar\u0131\u015ft\u0131rabilece\u011fini” tasavvur edemeyen bir adam, ilk emri “Aptaldan ba\u015fka bir \u015fey ol” olan bir adam, komedileri “bize Shakespeare’in komedilerinin ne kadar az\u0131n\u0131 hat\u0131rlatan bir adam” bize kapitalist giri\u015fimin y\u00fckseli\u015fini ve \u00e7a\u011f\u0131n\u0131n paral\u0131 mizah\u0131n\u0131 anlat\u0131r.<\/span><\/p>\n

\n

Dram Nedir<\/span>
\nKomedi Nedir<\/a> Edebiyat<\/span>
\nKomedi \u00d6zellikleri<\/span>
\nEntrika komedisi<\/span>
\nKomedi t\u00fcr\u00fcnde \u00fc\u00e7 birlik kural\u0131na uyulur mu<\/span>
\nTiyatro Terimleri<\/span>
\nKomedya Nedir<\/span>
\nTrajedi t\u00fcr\u00fcn\u00fcn \u00d6zellikleri<\/span><\/p>\n

\n

Nihai kar\u015f\u0131tl\u0131k, Shakespeare’in “insanl\u0131ktaki ortak ba\u011f\u0131m\u0131z” vahiyleri ile Jonsoncu “insanl\u0131\u011f\u0131m\u0131z\u0131n ortakl\u0131\u011f\u0131n\u0131, al\u00e7akl\u0131\u011f\u0131n\u0131 ve muazzaml\u0131\u011f\u0131n\u0131” ortaya \u00e7\u0131karmas\u0131 aras\u0131ndad\u0131r. Ornstein’\u0131n sonu\u00e7 paragraf\u0131 bu kar\u015f\u0131tl\u0131\u011f\u0131 dile getiriyor.<\/span><\/p>\n

Shakespeare’in komedileri \u00fczerine yaz\u0131lanlar\u0131n \u00e7o\u011fu benzer \u015fekilde yumu\u015fak ve a\u015fk\u0131nd\u0131r. Sir Walter Raleigh’in 1907 monografisinde mu\u011flak bir \u015fekilde g\u00f6zlemledi\u011fi gibi, “cinsellik gelene\u011fi onun ad\u0131na solmu\u015f bir parf\u00fcm gibi yap\u0131\u015f\u0131r”. Ornstein’\u0131n Jonson’a kar\u015f\u0131 duru\u015fu neredeyse m\u00fcd\u00fcre, Shakespeare’e kar\u015f\u0131 m\u00fctevazi. Bergson’un arg\u00fcman\u0131n\u0131 \u00f6rneklemek i\u00e7in Jonson’\u0131 kullanm\u0131\u015f olabilece\u011fi ku\u015fkusuzdur, ancak Shakespeare’i de\u011fil, ancak yazmaya devam edenler taraf\u0131ndan genel olarak ele\u015ftirel s\u00f6yleme ve \u00f6zellikle Shakespeare’e yap\u0131lan hizmeti sorgulaman\u0131n zaman\u0131d\u0131r.<\/span><\/p>\n

Ornstein’\u0131 okuduktan sonra, kendilerini Jonson’a g\u00f6re modellemenin sonraki yazarlar\u0131n sadece sapk\u0131nl\u0131\u011f\u0131 oldu\u011funu d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fcn\u00fcz i\u00e7in affedilebilir, b\u00f6ylece Bergson’un kahkahan\u0131n “a\u00e7\u0131k olmayan a\u015fa\u011f\u0131lama ve en az\u0131ndan d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015f\u00fcn\u00fc d\u00fczeltme niyeti” hakk\u0131ndaki sonu\u00e7lar\u0131n\u0131 besleyebilirsiniz.<\/span><\/p>\n

Bergson’un “\u0130\u015fte bu y\u00fczden komedi, ger\u00e7ek ya\u015fama komik olmayan teatral t\u00fcrlerden \u00e7ok daha yak\u0131nd\u0131r” \u00e7\u0131kar\u0131m\u0131n\u0131 a\u00e7\u0131klayan Shakespeare’den \u00e7ok Jonsoncu uygulamad\u0131r. Jonson’\u0131nki, \u00e7izgi roman sahnesinin normu olarak Cicero ger\u00e7ek\u00e7ili\u011finin kurulmas\u0131na b\u00fcy\u00fck katk\u0131 sa\u011flad\u0131. G\u00fcc\u00fc ve uzun \u00f6m\u00fcrl\u00fcl\u00fc\u011f\u00fc, Howard Barker’\u0131n 22 A\u011fustos 1988’de Guardian’a sundu\u011fu bir makalenin \u00f6fkeli a\u00e7\u0131l\u0131\u015f paragraf\u0131nda g\u00f6r\u00fclebilir.<\/span><\/p>\n

Ve lanetli Yazar, kahkahalar\u0131n k\u00f6k\u00fcn\u00fc kaz\u0131maya te\u015fvik ederek, k\u0131sa \u00f6ns\u00f6z\u00fcn\u00fc pantolonunu ayak bileklerine dolayarak, pullarla s\u00fcsl\u00fc i\u00e7 \u00e7ama\u015f\u0131rlar\u0131n\u0131 ortaya \u00e7\u0131kararak bitirir. Tiyatronun hileleri, protestosunu ba\u015fka y\u00f6ne \u00e7evirmek i\u00e7in komplo kurar. Barnes, e\u011fitimli bir oyun yazar\u0131, Jonson’\u0131n bir hayran\u0131 ve tiyatroyu, onu evcille\u015ftirenlerin yard\u0131msever kontrol\u00fcnden kurtarmak isteyen bir adam.<\/span><\/p>\n

Giri\u015fimcilerin ve izleyicilerin gev\u015fek\u00e7e “Cicero ger\u00e7ek\u00e7ili\u011fi” dedi\u011fim \u015feyin ac\u0131s\u0131n\u0131 \u00e7ekece\u011fini biliyor. Ger\u00e7ekten de, “komedi” gibi “ger\u00e7ek\u00e7ilik” de d\u00fc\u015f\u00fc\u015fte olan bir kelimedir. Televizyon arac\u0131l\u0131\u011f\u0131yla arac\u0131l\u0131k edilen “ger\u00e7ek\u00e7i”, “kolayca tan\u0131nan”dan pek ay\u0131rt edilemez. (Howard Barker bu anlamda kullan\u0131yor gibi g\u00f6r\u00fcn\u00fcyor.) Bir ideoloji taraf\u0131ndan desteklense de ger\u00e7ek\u00e7ilik, i\u015fe yarayabilecek bir kelimedir. Y\u00fczy\u0131l\u0131n tart\u0131\u015fmas\u0131z en b\u00fcy\u00fck komik drama yazar\u0131 olan Brecht, “Pop\u00fcler ve Ger\u00e7ek\u00e7i” \u00fczerine bir denemesinde bunu s\u00f6yl\u00fcyor.<\/span><\/p>\n

Barnes’\u0131n da kendine koydu\u011fu bu t\u00fcr bir programd\u0131r, tek bir oyun de\u011fil, toplu katliamla ilgili ortak bir kayg\u0131yla birbirine ba\u011flanan iki grotesk komedi. S\u0131k\u0131nt\u0131 birikir – \u015fakalar da \u00f6yle. \u0130lk oyunda Korkun\u00e7 \u0130van’\u0131n ki\u015fisel zulm\u00fcne tan\u0131k oluyoruz; ikincisinde, Nazi Almanya’s\u0131ndaki gaz odalar\u0131ndaki \u00f6l\u00fcmleri detayland\u0131ran komedi-b\u00fcrokratlar\u0131n ki\u015fisel olmayan gaddarl\u0131\u011f\u0131; ve bir Sons\u00f6z i\u00e7in, Bimko ve Bieberstein, Zyklon B \u00fczerlerine d\u00f6k\u00fcl\u00fcrken bir Yahudi \u00e7ift eylemi ger\u00e7ekle\u015ftirir.<\/span><\/p>\n

Her \u015feyi yeniden i\u015fleyebilen, art\u0131k Jonson, Jarry, Brecht taraf\u0131ndan \u015fok edilmeyen, g\u00fc\u00e7l\u00fcler taraf\u0131ndan g\u00fc\u00e7s\u00fcz k\u0131l\u0131nan bir tiyatroya yap\u0131lan bir sald\u0131r\u0131d\u0131r. Ba\u015flang\u0131\u00e7ta bir Yazar, Bergson’a ve komediyi ele\u015ftiren ele\u015ftirmenlere ate\u015f p\u00fcsk\u00fcr\u00fcyor -ve aptal durumuna d\u00fc\u015f\u00fcr\u00fcl\u00fcyor ve sonunda, Jewel ve Warriss (ya da Vladimir ve Estragon?) \u00f6l\u00fcrken bizi g\u00fclmeye davet ediyor. Bence ba\u015far\u0131l\u0131 bir oyun de\u011fil, ama Barnes bug\u00fcn komedi konusunda hakl\u0131ysa, \u00f6yle olsayd\u0131 ne fark ederdi?<\/span><\/p>\n

Barnes’\u0131n insanc\u0131ll\u0131\u011f\u0131, nihayetinde, alternatif bir komik ger\u00e7ek\u00e7ili\u011fi s\u00fcrd\u00fcrmek i\u00e7in fazla g\u00fcvensiz bir ideolojidir. Sa\u011flam ayakl\u0131 Northrop Frye, d\u00fcnya edebiyat\u0131n\u0131 Hristiyanl\u0131ktaki bir ana merkezden basar: “H\u0131ristiyanl\u0131k trajedisi a\u00e7\u0131s\u0131ndan, Dante’nin commedia ad\u0131n\u0131 verdi\u011fi daha b\u00fcy\u00fck kurtulu\u015f ve dirili\u015f \u015femas\u0131nda bir b\u00f6l\u00fcmd\u00fcr”. Anatomy of Criticism’de (1957), A Natural Perspective’de (1965) Shakespeare odakl\u0131 bir komedi \u00fczerine kapsaml\u0131 yaz\u0131lar yazm\u0131\u015ft\u0131r.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Komedi \u00c7\u0131kar\u0131mlar\u0131 Komedi i\u00e7in \u00e7\u0131kar\u0131mlar, Bergson taraf\u0131ndan tart\u0131\u015f\u0131lanlardan \u00e7ok farkl\u0131d\u0131r. Bergsoncu kahkaha eksantrikli\u011fi cezaland\u0131r\u0131r (komedi muhafazakard\u0131r), oysa bir \u015fakay\u0131 kar\u015f\u0131layan Freudcu kahkaha ve onun anlat\u0131m\u0131n\u0131 motive eden \u00f6fke\/arzu\/hayal k\u0131r\u0131kl\u0131\u011f\u0131 arac\u0131l\u0131\u011f\u0131yla, eksantriklik k\u0131saca otoriteye galip gelir (komedi y\u0131k\u0131c\u0131d\u0131r). \u00c7eli\u015fki, C.L.Barber’\u0131n etkili Shakespeare’in \u015eenlikli Komedisi’nde kulland\u0131\u011f\u0131 “a\u00e7\u0131kl\u0131\u011fa kavu\u015fturmak i\u00e7in sal\u0131verme” form\u00fcl\u00fcnde d\u00fczg\u00fcn bir \u015fekilde uzla\u015ft\u0131r\u0131l\u0131r. Barber’\u0131n alt…
Devam\u0131<\/a><\/p>\n","protected":false},"author":6,"featured_media":3362,"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":[20329,20328,20327],"tags":[20285,20314,20323,20315,20330,20331,20269,20332],"class_list":["post-9247","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-komedi-nedir-edebiyat","category-komedya-nedir","category-trajedi-turunun-ozellikleri","tag-dram-nedir","tag-entrika-komedisi","tag-komedi-nedir-edebiyat","tag-komedi-ozellikleri","tag-komedi-turunde-uc-birlik-kuralina-uyulur-mu","tag-komedya-nedir","tag-tiyatro-terimleri","tag-trajedi-turunun-ozellikleri"],"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