{"id":9515,"date":"2022-04-05T13:20:36","date_gmt":"2022-04-05T10:20:36","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9515"},"modified":"2022-04-05T13:20:36","modified_gmt":"2022-04-05T10:20:36","slug":"modernizm-yankilari-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/modernizm-yankilari-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"Modernizm Yank\u0131lar\u0131 \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

Modernizm Yank\u0131lar\u0131 <\/span><\/strong><\/h3>\n

Evelyn Waugh’un Bir Avu\u00e7 Toz (1934) hem en iyi eserlerinden hem de 1930’lar\u0131n en iyi romanlar\u0131ndan biridir. Geldi\u011finde, modernizmin yank\u0131lar\u0131 var. Ba\u015fl\u0131\u011f\u0131 ve epigraf\u0131 T.S.Eliot’un The Waste Land’inden geliyor, iki b\u00f6l\u00fcm ba\u015fl\u0131\u011f\u0131 Proust’u hat\u0131rlat\u0131yor ve G\u00fcney Amerika orman\u0131ndaki t\u00fcyler \u00fcrpertici finali Conrad’\u0131n Heart of Darkness’\u0131na sayg\u0131 duru\u015funda bulunuyor.<\/span><\/p>\n

Karamsarl\u0131\u011f\u0131n\u0131n g\u00fcc\u00fc ve vah\u015feti de modernist g\u00f6r\u00fcnebilir. Ama konusu trajik ve \u00fcslubu g\u00fcl\u00fcn\u00e7, onu modernlerin u\u011fursuz k\u0131yametlerinden kesin olarak ay\u0131ran bir uyumsuzluk. A\u00e7\u0131klad\u0131\u011f\u0131 ve canland\u0131rd\u0131\u011f\u0131 hafiflik, okuyucuda deh\u015fete d\u00fc\u015f\u00fcren bir zevk kayna\u011f\u0131d\u0131r. Sorumsuzlu\u011fa d\u00fc\u015fm\u00fc\u015f bir d\u00fcnyan\u0131n haritas\u0131n\u0131 \u00e7\u0131kar\u0131yor.<\/span><\/p>\n

\u0130lk kurgunun alayc\u0131 u\u00e7ar\u0131l\u0131\u011f\u0131 ile Brideshead Revisited’\u0131n (1945) romantik a\u015f\u0131r\u0131l\u0131\u011f\u0131 aras\u0131nda duran roman, Waugh’un ilk evlili\u011finin \u00e7\u00f6k\u00fc\u015f\u00fcndeki \u015fiddetli ac\u0131s\u0131ndan yaz\u0131lm\u0131\u015ft\u0131r ve ki\u015fisel \u015fikayeti k\u00fclt\u00fcrel te\u015fhise ve ac\u0131 hiciv haline getirir. Tony ve Brenda Last, bir dizi beyhude “men\u00fc” ile can s\u0131k\u0131nt\u0131s\u0131ndan uzak dururken, ait olduklar\u0131 Londra seti zina nedeniyle can s\u0131k\u0131nt\u0131s\u0131ndan ka\u00e7\u0131n\u0131r.<\/span><\/p>\n

Brenda, Londra’n\u0131n tek bo\u015f adam\u0131, “ikinci s\u0131n\u0131f, z\u00fcppe ve bal\u0131k kadar so\u011fuk” John Kunduz’a \u00e2\u015f\u0131k olur ve kocas\u0131na s\u0131rt\u0131n\u0131 d\u00f6ner. Para d\u00fc\u015fk\u00fcn\u00fc oport\u00fcnist ve giri\u015fimci Bayan Kunduz ve gelen Polly Cockpurse, bu sosyal d\u00fcnyan\u0131n \u00e7\u00f6k\u00fc\u015f\u00fcn\u00fc simgelemektedir; ittifak\u0131n say\u0131s\u0131z de\u011fi\u015fiminde, yeni fikirler satmak i\u00e7in sahte partilerde ve taban\u0131n\u0131 kullanan bir falc\u0131l\u0131k olay\u0131nda daha da belirginle\u015fen bir \u00e7\u00fcr\u00fcme s\u00f6z konusudur. Bayan Kunduz, her pastada parma\u011f\u0131 olan, Belgravia evlerinin ‘temel a\u015fk’ amac\u0131yla yataklara b\u00f6l\u00fcnmesini denetler.<\/span><\/p>\n

Bu setin yoksulla\u015fm\u0131\u015f ahlaki kodu, dilinin s\u0131radanl\u0131\u011f\u0131nda sergileniyor. Ve kitab\u0131n tonu \u00f6l\u00fc gibi, g\u00f6sterdi\u011fi hafifli\u011fe kar\u015f\u0131 kendini savunmaya zahmet etmiyor, ac\u0131n\u0131n kesildi\u011fi 3. b\u00f6l\u00fcm\u00fcn sonuna kadar: Brenda’y\u0131 sevme ve g\u00fcvenme al\u0131\u015fkanl\u0131\u011f\u0131 edinmi\u015fti.<\/span><\/p>\n

\u00c7\u00fcnk\u00fc Tony, Waugh’un, kitab\u0131n ikinci yar\u0131s\u0131na kadar d\u0131\u015far\u0131dan g\u00f6r\u00fclen ma\u011flup kahramanlar\u0131ndan bir di\u011feri, miras ald\u0131\u011f\u0131 Viktorya d\u00f6nemi y\u0131\u011f\u0131n\u0131 olan Hetton’un pastoral r\u00fcyas\u0131, yaramaz bir d\u00fcnyada tek ahlaki olumlu \u00f6neren ihanete u\u011fram\u0131\u015f bir romantik. Revd Tendril taraf\u0131ndan \u00f6rneklenen Anglikan Kilisesi, iflas etmi\u015f bir rit\u00fceli temsil ediyor. Waugh, eski bir evin bak\u0131m\u0131n\u0131 ba\u015fl\u0131 ba\u015f\u0131na zahmetli yar\u0131-manevi bir g\u00f6rev olarak d\u00fc\u015f\u00fcnmeyi sever.<\/span><\/p>\n

Brenda’n\u0131n korkun\u00e7 karde\u015fi genellikle evini satt\u0131. Yine de Hetton kasten ger\u00e7ek d\u0131\u015f\u0131, Tony’nin tela\u015fl\u0131 hezeyan\u0131nda “parlak bir s\u0131\u011f\u0131nak”, geri d\u00f6n\u00fc\u015f\u00fc olmayan bir masumiyete dair bir Pre-Raphaelite r\u00fcyas\u0131 haline getirildi. Tony’nin Hetton’da saklad\u0131\u011f\u0131 pastoral umut, t\u0131pk\u0131 John Boot’un Scoop’taki (1938) masum bir do\u011fa r\u00fcyas\u0131 gibi, G\u00fcney Amerika ormanlar\u0131nda vah\u015fi bir pastoral kar\u015f\u0131 azarlamayla kar\u015f\u0131la\u015f\u0131r: i\u011fren\u00e7 b\u00f6cek ya\u015fam\u0131, vampir yarasalar, doland\u0131r\u0131c\u0131 bir doktor-ka\u015fif, bat\u0131l inan\u00e7l\u0131 K\u0131z\u0131lderililer ve Tony’yi ya\u015fayan bir \u00f6l\u00fcme hapseden ve onu durmadan Dickens okumaya zorlayan Bay Todd (=\u00f6l\u00fcm) ad\u0131nda bir delidir.<\/span><\/p>\n

Komedi, k\u0131smen, sanat\u00e7\u0131 olarak Waugh ile ahlak\u00e7\u0131 olarak Waugh aras\u0131ndaki bo\u015fluktan kaynaklanmaktad\u0131r. Bir sanat\u00e7\u0131 olarak, i\u00e7indeki ahlak\u00e7\u0131n\u0131n kara enerjilerini mahk\u00fbm etti\u011fi anar\u015fi, kibir ve budalal\u0131\u011f\u0131n ta kendisine ne\u015feyle k\u0131van\u00e7 duyar. Ge\u00e7 Mayfair d\u00fcnyas\u0131n\u0131n vah\u015fi ve barbar kalpsizli\u011fi, yazar\u0131n kendi so\u011fuk g\u00f6z\u00fcyle e\u015fle\u015fiyor.<\/span><\/p>\n

\n

Modernist<\/a> hikaye Nedir<\/span>
\nModernist hikaye \u00d6zellikleri<\/span>
\nModernizmin \u00f6zellikleri<\/span>
\nModernist T\u00fcrk yazarlar<\/span>
\nModernist yazarlar<\/span>
\nModernist hikaye \u00d6rnekleri<\/span>
\nModernist roman<\/span>
\nModernist hikaye \u00f6zellikleri maddeler halinde<\/span><\/p>\n

\n

Kitab\u0131n kalbinde Tony’nin umutsuzluktan a\u011flad\u0131\u011f\u0131 bir resim var ve roman\u0131n Waugh’un kan\u0131yla yaz\u0131ld\u0131\u011f\u0131 ve onun h\u00fcmanizmin s\u0131n\u0131rlamalar\u0131 hakk\u0131ndaki son s\u00f6z\u00fc oldu\u011fu s\u00f6yleniyor. Ancak okuyucular olarak bizden \u00e7\u0131kard\u0131\u011f\u0131m\u0131z \u015fey, ayn\u0131 zamanda Waugh’un komik dehas\u0131n\u0131n ortaya \u00e7\u0131kard\u0131\u011f\u0131 zengin g\u00fcndelik \u00e7\u0131lg\u0131nl\u0131k damar\u0131ndaki kendi istemsiz zevkidir.<\/span><\/p>\n

Christopher Isherwood’un Berlin’e Ho\u015f\u00e7akal’\u0131 (1939), \u00f6l\u00fcme mahk\u00fbm bir uygarl\u0131\u011f\u0131 tasavvur etmek i\u00e7in komik bir ton kullanan ba\u015fka bir romand\u0131r. Ancak Waugh’un \u00f6zel ac\u0131s\u0131n\u0131 kutsad\u0131\u011f\u0131 ve bunu sanat\u0131n ki\u015filiksizli\u011finde anlamland\u0131rd\u0131\u011f\u0131 yerde, Isherwood’un “nesnel” anlat\u0131 duru\u015fu farkl\u0131 bir \u015fekilde belirsizdir. Waugh, konusuyla olan gizli ili\u015fkisinin (k\u0131smen) s\u0131cak oldu\u011fu ger\u00e7e\u011fini gizlerken, Isherwood so\u011fuklu\u011funu \u00f6n plana \u00e7\u0131kar\u0131yor.<\/span><\/p>\n

Isherwood da ba\u015flang\u0131\u00e7ta ‘Kay\u0131p’ adl\u0131 modernist bir destan yazmay\u0131 ama\u00e7lad\u0131, ancak bunun yerine ge\u00e7 Weimar Berlin’in farkl\u0131 d\u00fcnyalar\u0131nda komik, pikaresk bir yolculukla merhametle sona erdi: hay\u0131rsever Yahudi milyonerler (Landauer’lar) k\u00fc\u00e7\u00fck su\u00e7, hastal\u0131k ve umutsuzlukla tezat olu\u015fturuyor.\u00a0<\/span><\/p>\n

Zaman\u0131n orta s\u0131n\u0131f \u0130ngiliz e\u015fcinselleri i\u00e7in Berlin’in bir \u00e7ekicili\u011fi, yoksul Berlinlilerin sekse kar\u015f\u0131 \u00f6zg\u00fcr ve kolay tav\u0131rlar\u0131yd\u0131, ki bu roman (“On Ruegen Adas\u0131nda”) hakk\u0131nda samimiydi. B\u00fct\u00fcn, ‘Bir Berlin G\u00fcnl\u00fc\u011f\u00fc’ ile komik, hassas, lirik ve h\u00fcz\u00fcnl\u00fc olmak \u00fczere iki b\u00f6l\u00fcm halinde \u00e7er\u00e7evelenmi\u015ftir.<\/span><\/p>\n

Isherwood’un komedi kullan\u0131m\u0131, okudu\u011fumuz gibi, retorik bir stratejinin par\u00e7as\u0131 haline gelir. Bir Avu\u00e7 Toz gibi roman parlak ba\u015flar ve karanl\u0131\u011fa do\u011fru ilerler. Ba\u015flang\u0131\u00e7ta, kocas\u0131 i\u00e7in ilan veren ve d\u00fc\u015fman\u0131 Bavyera Jodlerin Frl taraf\u0131ndan komik bir \u015fekilde karalanan \u00e7irkin ya\u015fl\u0131 bir Yahudi’yi duyuyoruz. Mayr. Mayr, Glanterneck’in m\u00fcstakbel kocas\u0131na, Glanterneck’in (a) yata\u011f\u0131nda b\u00f6cekler oldu\u011funu, (b) doland\u0131r\u0131c\u0131l\u0131ktan tutukland\u0131\u011f\u0131n\u0131 ve deli oldu\u011fu gerek\u00e7esiyle serbest b\u0131rak\u0131ld\u0131\u011f\u0131n\u0131, (c) yatak odas\u0131n\u0131 ahlaks\u0131z ama\u00e7larla kiralad\u0131\u011f\u0131n\u0131 ve (d) yatak odas\u0131nda uyudu\u011funu s\u00f6yler.\u00a0<\/span><\/p>\n

Ortaya \u00e7\u0131kan kavgan\u0131n g\u00fcl\u00fcn\u00e7l\u00fc\u011f\u00fc, 1933 y\u0131l\u0131nda ge\u00e7en, sonunda belirgin bir \u015fekilde c\u0131v\u0131l c\u0131v\u0131l g\u00f6r\u00fcn\u00fcyor. Burada Yahudiler zaten d\u00f6v\u00fcl\u00fcyor ya da Bernard Landauer gibi \u00f6ld\u00fcr\u00fcl\u00fcyor. On yedi ya\u015f\u0131ndaki bir gen\u00e7, kalabal\u0131k, fazla duygu duymadan seyrederken, f\u0131rt\u0131na askerleri taraf\u0131ndan g\u00f6z\u00fcn\u00fc \u00e7\u0131kard\u0131.<\/span><\/p>\n

Bu nedenle, erken sahnenin komik anestezisi, gelecek vah\u015fetleri d\u00f6rt g\u00f6zle bekliyor. Ne de olsa g\u00fcld\u00fc\u011f\u00fcm\u00fcz \u015fey son derece ciddiydi: Fr\u00e4ulein Mayr’\u0131n kendisi bir Naziydi ve Glanterneck’ler art\u0131k nesli t\u00fckenmekte olan bir t\u00fcrd\u00fcr. Kitap, g\u00fclmenin belirsizli\u011fi hakk\u0131nda \u00e7ok g\u00fczel \u015feyler s\u00f6yl\u00fcyor: ‘\u0130\u015fte bu y\u00fczden [Naziler] bu kadar tehlikeli. \u0130nsanlar son ana kadar onlara g\u00fcl\u00fcyor.<\/span><\/p>\n

Ancak roman, d\u0131\u015f politikan\u0131n seyirci-sporundan daha fazlas\u0131yla ilgilidir. Prusya histerisini \u00e7ok iyi anlat\u0131yor, ama arkada\u015fl\u0131\u011f\u0131n \u00e7ileden \u00e7\u0131kmas\u0131 konusunda da iyi. Bay Issyvoo, emsalsiz Sally Bowles ile tart\u0131\u015f\u0131yor ve bu da yaln\u0131zl\u0131k hakk\u0131nda iyi bir kitap. Frl, ‘Asla ger\u00e7ekten \u0131s\u0131nm\u0131yor gibisin, yaln\u0131z uyurken’ \u015fikayet ediyor.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Modernizm Yank\u0131lar\u0131 Evelyn Waugh’un Bir Avu\u00e7 Toz (1934) hem en iyi eserlerinden hem de 1930’lar\u0131n en iyi romanlar\u0131ndan biridir. Geldi\u011finde, modernizmin yank\u0131lar\u0131 var. Ba\u015fl\u0131\u011f\u0131 ve epigraf\u0131 T.S.Eliot’un The Waste Land’inden geliyor, iki b\u00f6l\u00fcm ba\u015fl\u0131\u011f\u0131 Proust’u hat\u0131rlat\u0131yor ve G\u00fcney Amerika orman\u0131ndaki t\u00fcyler \u00fcrpertici finali Conrad’\u0131n Heart of Darkness’\u0131na sayg\u0131 duru\u015funda bulunuyor. Karamsarl\u0131\u011f\u0131n\u0131n g\u00fcc\u00fc ve vah\u015feti de…
Devam\u0131<\/a><\/p>\n","protected":false},"author":6,"featured_media":8367,"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":[21106,21108,21107],"tags":[21109,21112,21110,21075,21113,21111,21078,19537],"class_list":["post-9515","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-modernist-hikaye-nedir","category-modernist-hikaye-ornekler","category-modernist-turk-yazarlari","tag-modernist-hikaye-nedir","tag-modernist-hikaye-ornekleri","tag-modernist-hikaye-ozellikleri","tag-modernist-hikaye-ozellikleri-maddeler-halinde","tag-modernist-roman","tag-modernist-turk-yazarlar","tag-modernist-yazarlar","tag-modernizmin-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