{"id":9768,"date":"2022-05-10T11:14:06","date_gmt":"2022-05-10T08:14:06","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9768"},"modified":"2022-05-10T11:14:06","modified_gmt":"2022-05-10T08:14:06","slug":"edebiyatta-kulturel-cokus-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/edebiyatta-kulturel-cokus-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"Edebiyatta K\u00fclt\u00fcrel \u00c7\u00f6k\u00fc\u015f \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

Edebiyatta K\u00fclt\u00fcrel \u00c7\u00f6k\u00fc\u015f<\/span><\/strong><\/h3>\n

K\u00fclt\u00fcrel \u00e7\u00f6k\u00fc\u015f duygusu a\u015f\u0131r\u0131 bir g\u00f6r\u00fc\u015ft\u00fcr. Stanford tart\u0131\u015fmas\u0131, klasiklerin ortadan kald\u0131r\u0131lmas\u0131n\u0131 de\u011fil, yirminci y\u00fczy\u0131l\u0131n sonlar\u0131nda rol\u00fcn\u00fcn yeniden ayarlanmas\u0131n\u0131 daha do\u011fru bir \u015fekilde ortaya \u00e7\u0131kard\u0131. Platon, Aristoteles, Homer ve Virgil gibi yazarlar hi\u00e7bir zaman g\u00f6revden al\u0131nmad\u0131.<\/span><\/p>\n

Yine de Stanford tart\u0131\u015fmas\u0131, klasiklerin medeniyet i\u00e7in bir kriter sa\u011flamaktan ziyade, y\u00fczy\u0131l\u0131n \u00f6nemli k\u00fclt\u00fcrel miras\u0131n\u0131 neyin olu\u015fturdu\u011funa dair \u00e7ok daha geni\u015f ve \u00e7o\u011ful bir anlay\u0131\u015fta yaln\u0131zca bir unsur haline geldi\u011fini g\u00f6sterdi. Ayn\u0131 zamanda, klasiklerin modern uygarl\u0131\u011f\u0131n in\u015fas\u0131yla ilgili daha geni\u015f sosyal, politik ve k\u00fclt\u00fcrel tart\u0131\u015fmalara nas\u0131l kap\u0131ld\u0131\u011f\u0131n\u0131 da ortaya koyuyor.<\/span><\/p>\n

DWEMS meselesine y\u00f6nelik muhafazakar tepkinin ihtiyatl\u0131l\u0131\u011f\u0131 yeni bir geli\u015fme de\u011fil ve Eliot gibi klasiklerin medeni de\u011ferlerin belirli bir olgunlu\u011funu temsil etti\u011fini d\u00fc\u015f\u00fcnen bir\u00e7ok ki\u015finin g\u00f6r\u00fc\u015f\u00fcn\u00fc yans\u0131t\u0131yor. Yine de bu, ka\u00e7 ki\u015finin modern uygarl\u0131\u011f\u0131n klasik standarda ba\u011fl\u0131l\u0131\u011f\u0131n\u0131 koruyamad\u0131\u011f\u0131n\u0131 hissetti\u011finin bir \u00f6rne\u011fidir. Klasiklerin miras\u0131, yirminci y\u00fczy\u0131lda s\u0131kl\u0131kla yeniden organize edilmi\u015f, \u00e7ok\u00e7a reddedilmi\u015f bir “medeniyetten ayr\u0131lm\u0131\u015f” olarak tasvir edilmi\u015ftir.<\/span><\/p>\n

Ford Madox Ford’un Birinci D\u00fcnya Sava\u015f\u0131’n\u0131n sonu\u00e7lar\u0131 \u00fczerine roman\u0131 Parade’s End, 1914 ile 1918 aras\u0131nda d\u00fcnyas\u0131 da\u011f\u0131lan, y\u00f6n\u00fcn\u00fc \u015fa\u015f\u0131rm\u0131\u015f, klasik olarak e\u011fitimli, se\u00e7kinlerin say\u0131s\u0131z \u00f6rne\u011fini sunar.<\/span><\/p>\n

Bir sahnede, ana karakter Christopher Tietjens ve ba\u015fka bir gen\u00e7 subay, McKechnie (“Rekt\u00f6r Yard\u0131mc\u0131s\u0131n\u0131n Latin \u00d6d\u00fcl\u00fc adam\u0131”) bir sava\u015f s\u0131ras\u0131nda edebi bir yar\u0131\u015fma d\u00fczenler. Tietjens bir sonenin kafiyelerini soruyor ve dizeleri iki dakikadan k\u0131sa bir s\u00fcrede yaz\u0131yor. McKechnie daha sonra soneyi \u00fc\u00e7 dakikadan k\u0131sa bir s\u00fcrede Latin alt\u0131genlerine \u00e7evirece\u011fini iddia ediyor.<\/span><\/p>\n

Bu karakterlerin her ikisi de 1914 \u00f6ncesi nesillerin g\u00f6r\u00fcn\u00fc\u015fte zahmetsiz patrici parlakl\u0131\u011f\u0131n\u0131 temsil ediyor. Her ikisi de y\u00fcksek sorumluluk ve kamu g\u00f6revi kavramlar\u0131na sahiptir. A\u015fa\u011f\u0131daki de\u011fi\u015fim karakteristiktir. Birliklere kendini inkar eden bir ba\u011fl\u0131l\u0131\u011f\u0131n, belirli bir k\u00fclt\u00fcrel ve e\u011fitimsel mirasla an\u0131nda e\u015fitlendi\u011fine dikkat edin. Tietjens, McKechnie’nin neden \u00f6n cephedeki taburundan ayr\u0131l\u0131p \u0130stihbarat’a girmedi\u011fini sorar.<\/span><\/p>\n

Ancak roman\u0131n g\u00f6sterdi\u011fi gibi, bu karakterlerin ba\u015far\u0131lar\u0131 modern d\u00fcnyayla uyumlu de\u011fildir ve geli\u015fmelerini imkans\u0131z bulurlar. S\u00fcrekli olarak zihinsel \u00e7\u00f6k\u00fc\u015f\u00fcn e\u015fi\u011finde olan McKechnie, soneyi terc\u00fcme edemez ve onu bir zarf i\u00e7inde m\u00fch\u00fcrl\u00fc tutar.<\/span><\/p>\n

Tietjens, sava\u015f sonras\u0131 sahnede anla\u015f\u0131lmaz ve tahamm\u00fcl edilemez bir davran\u0131\u015f kural\u0131na g\u00f6re hareket etmeye \u00e7al\u0131\u015ft\u0131\u011f\u0131 i\u00e7in giderek daha fazla ma\u011fdur oluyor. Do\u011fu\u015f, \u00fcreme ve soylu sayg\u0131nl\u0131\u011f\u0131na ra\u011fmen (sava\u015f \u00f6ncesi uygarl\u0131kta arzu edilen t\u00fcm \u00f6zellikler), Tietjens ve McKechnie gibi karakterlerin yirminci y\u00fczy\u0131lda yeri yoktur.<\/span><\/p>\n

Ford’un klasik esinli bir y\u00fcksek k\u00fclt\u00fcre misafirperver olmayan bir y\u00fczy\u0131l g\u00f6r\u00fc\u015f\u00fc, bu y\u00fczy\u0131l\u0131n edebi ifadesinde yayg\u0131n olarak bulunur. Ezra Pound’un Hugh Selwyn Mauberley’i (1920) de bir “Tavan aras\u0131 zarafet” yerine “bir g\u00f6r\u00fcnt\u00fc talep eden\/ H\u0131zland\u0131r\u0131lm\u0131\u015f y\u00fcz\u00fcn\u00fc buru\u015fturan” bir d\u00fcnyay\u0131 tasvir eder.<\/span><\/p>\n

\n

K\u00fclt\u00fcrel<\/a> kimlik nedir<\/span>
\nK\u00fclt\u00fcrel sorunlar nelerdir<\/span>
\nK\u00fclt\u00fcrel kimlik \u00f6rnek<\/span>
\nK\u00fclt\u00fcrel \u015fok Nedir<\/span>
\nK\u00fclt\u00fcr Nedir<\/span>
\nK\u00fcreselle\u015fme nedir<\/span>
\nSosyal kimlik Nedir<\/span>
\nDergiPark<\/span><\/p>\n

\n

Y\u00fczy\u0131l\u0131n ortalar\u0131nda Roy Fuller’\u0131n “\u00c7eviri” adl\u0131 \u015fiiri, \u015fimdiki d\u00fcnyaya yas tutmak i\u00e7in Latince bir pozu benimsiyordu: “Yaln\u0131zca barbarlara uygun”. Uygarl\u0131\u011f\u0131n d\u00fc\u015f\u00fc\u015f\u00fcne katk\u0131da bulunan g\u00fc\u00e7lerin listesi, on iki tonlu m\u00fczik, alt s\u0131n\u0131flar, “ilerici \u00f6rg\u00fctler” ve “kasvetli \u015fiir”e ayr\u0131lm\u0131\u015f \u00fc\u00e7 ayl\u0131k dergileri i\u00e7erir. Rol\u00fcn\u00fcn yaln\u0131zca bir geri \u00e7ekilme olabilece\u011fini \u00f6ne s\u00fcr\u00fcyor. Daha yak\u0131n zamanlarda, Amerikal\u0131 romanc\u0131 Gore Vidal (1987), \u00e7a\u011fda\u015f Amerika Birle\u015fik Devletleri’ni ge\u00e7 Roma \u0130mparatorlu\u011fu’nun karanl\u0131k \u00e7a\u011flara kaymas\u0131yla kar\u015f\u0131la\u015ft\u0131rd\u0131.<\/span><\/p>\n

Bu nedenle, bu y\u00fczy\u0131lda klasiklerin bir kullan\u0131m\u0131, eskilerin ve modernlerin sava\u015f\u0131n\u0131 s\u00fcrd\u00fcrmek olmu\u015ftur. Yunanistan ve Roma, insan \u00e7abalar\u0131yla ilgili en iyi olan her \u015feyi \u00f6rneklemek i\u00e7in kullan\u0131l\u0131r.<\/span><\/p>\n

Klasikler, yeni bir barbar d\u00fczenine giderek daha uzak olan de\u011ferleri korumaya \u00e7al\u0131\u015fan y\u00fcksek bir k\u00fclt\u00fcrle hizalanm\u0131\u015ft\u0131r. Bu bak\u0131\u015f a\u00e7\u0131s\u0131n\u0131n baz\u0131 m\u00fckemmel yaz\u0131lar \u00fcretti\u011fine \u015f\u00fcphe yok, ancak klasik metinleri k\u00fclt\u00fcrel deneyimimizin merkezinde tutmak i\u00e7in ger\u00e7ekten s\u00fcrd\u00fcr\u00fclebilir bir savunma de\u011fildir.<\/span><\/p>\n

G\u00f6rd\u00fc\u011f\u00fcm\u00fcz gibi, \u00e7ok geni\u015f bir k\u00fclt\u00fcrel imtiyaz\u0131 olan bu y\u00fczy\u0131l, klasiklerin \u00fcst\u00fcnl\u00fc\u011f\u00fcne ve g\u00f6r\u00fcn\u00fc\u015fte do\u011furduklar\u0131 uygarl\u0131\u011fa y\u00f6nelik iddialar\u0131 sorgulam\u0131\u015ft\u0131r. Ku\u015fkusuz, bu yeni geni\u015fleyen oy hakk\u0131n\u0131n pek \u00e7o\u011fu (eski s\u00f6m\u00fcrge halklar\u0131, kad\u0131nlar, i\u015f\u00e7i s\u0131n\u0131flar\u0131), ayd\u0131nlanmam\u0131\u015f ve bask\u0131c\u0131 olarak alg\u0131lanan de\u011ferleri savunmak i\u00e7in klasikleri \u00e7a\u011fr\u0131\u015ft\u0131ran muhafazakar bir se\u00e7kinin “y\u00fcksek k\u00fclt\u00fcr” iddialar\u0131n\u0131 reddetmi\u015ftir.<\/span><\/p>\n

Neyse ki, bu y\u00fczy\u0131l\u0131n klasikleri, edebi de\u011ferlerin yaln\u0131zca korunmas\u0131nda de\u011fil, d\u00f6n\u00fc\u015ft\u00fcr\u00fclmesinde de yer ald\u0131. De\u011fi\u015fen edebi tarzlar ve edebiyat\u0131n d\u00fcnyadaki daha b\u00fcy\u00fck rol\u00fcn\u00fcn yeniden d\u00fc\u015f\u00fcn\u00fclmesi, klasiklerin modern yaz\u0131 \u00fczerindeki etkisini \u00f6nemli \u00f6l\u00e7\u00fcde azaltmad\u0131.<\/span><\/p>\n

Bunun en g\u00fczel \u00f6rne\u011fi, y\u00fczy\u0131l\u0131n en etkili ve yenilik\u00e7i iki eseri olan James Joyce’un Ulysses’i (1922) ve Ezra Pound’un Cantos’u taraf\u0131ndan Homeros’un Odyssey’ine verilen \u00f6nemde kolayl\u0131kla g\u00f6zlemlenebilir.<\/span><\/p>\n

Odysseus, ger\u00e7ekten de, bu y\u00fczy\u0131l\u0131n en a\u00e7\u0131k \u015fekilde tan\u0131mlad\u0131\u011f\u0131 klasik karakter olarak ortaya \u00e7\u0131kt\u0131: En \u00e7ok h\u0131rpalanm\u0131\u015f hayatta kalan, evine d\u00f6nmeye kararl\u0131. Ak\u0131l enerjisi, teknik beceri ve kendine g\u00fcven yoluyla ama\u00e7lar\u0131na ula\u015fan bir kahraman, kurnaz, entrikac\u0131, hatta yalanc\u0131. Joyce, Odyssey’nin en g\u00fczel ve her \u015feyi kapsayan insan temalar\u0131na sahip oldu\u011funa inan\u0131yordu.<\/span><\/p>\n

Joyce’un Homer okumas\u0131 son derece se\u00e7icidir. Odysseus’u kendi hayat\u0131n\u0131n bir prototipi olarak alg\u0131lad\u0131: gezgin, baba, m\u00fczisyen, hikaye anlat\u0131c\u0131s\u0131, hatta pasifist \u00e7\u00fcnk\u00fc Odysseus sava\u015fa gitmek konusunda isteksizdi.<\/span><\/p>\n

On sekizinci ve on dokuzuncu y\u00fczy\u0131llar, d\u00f6v\u00fc\u015f kahramanl\u0131\u011f\u0131n\u0131 ve sava\u015f alan\u0131nda \u00f6l\u00fcm kal\u0131m \u00e7at\u0131\u015fmas\u0131n\u0131 benimseyen \u0130lyada’y\u0131 tercih ederken, yirminci y\u00fczy\u0131l, kahraman\u0131 i\u00e7 bar\u0131\u015f arayan gezgin kurban olarak tercih etti. Joyce, Odyssey’de Birinci D\u00fcnya Sava\u015f\u0131 s\u0131ras\u0131nda in\u015fa etti\u011fi “pasifist” destan i\u00e7in bir kaynak ke\u015ffetti\u011fine inan\u0131yordu.<\/span><\/p>\n

Ezra Pound’un 1920’lerden 1960’lara kadar yazd\u0131\u011f\u0131 Cantos’u da benzer \u015fekilde Odysseus’u bir persona, \u015fairin kendi sesinin maskesi olarak kutlar. Pound’un \u015fiirsel sekans\u0131, Odyssey Book XI’in k\u0131smi bir versiyonuyla, yeralt\u0131 d\u00fcnyas\u0131na yap\u0131lan ziyaretle ba\u015flar, Pound da Odysseus’u s\u00fcrg\u00fcn ve hayaletler aras\u0131nda konu\u015fmaya giden adam hikaye anlat\u0131c\u0131s\u0131 olarak tasavvur eder.<\/span><\/p>\n

Joyce gibi, Pound da Homeros’ta kendi sanatsal ya\u015fam\u0131 i\u00e7in bir paradigma ke\u015ffetti. Yine de bu iki yazarla da klasiklerle olan ili\u015fki, bask\u0131n bir y\u00fcksek k\u00fclt\u00fcr taraf\u0131ndan kucaklanan d\u00fczenli bir uygar de\u011ferler sistemine at\u0131fta bulunma yoluyla de\u011fildir.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Edebiyatta K\u00fclt\u00fcrel \u00c7\u00f6k\u00fc\u015f K\u00fclt\u00fcrel \u00e7\u00f6k\u00fc\u015f duygusu a\u015f\u0131r\u0131 bir g\u00f6r\u00fc\u015ft\u00fcr. Stanford tart\u0131\u015fmas\u0131, klasiklerin ortadan kald\u0131r\u0131lmas\u0131n\u0131 de\u011fil, yirminci y\u00fczy\u0131l\u0131n sonlar\u0131nda rol\u00fcn\u00fcn yeniden ayarlanmas\u0131n\u0131 daha do\u011fru bir \u015fekilde ortaya \u00e7\u0131kard\u0131. Platon, Aristoteles, Homer ve Virgil gibi yazarlar hi\u00e7bir zaman g\u00f6revden al\u0131nmad\u0131. Yine de Stanford tart\u0131\u015fmas\u0131, klasiklerin medeniyet i\u00e7in bir kriter sa\u011flamaktan ziyade, y\u00fczy\u0131l\u0131n \u00f6nemli k\u00fclt\u00fcrel miras\u0131n\u0131 neyin olu\u015fturdu\u011funa…
Devam\u0131<\/a><\/p>\n","protected":false},"author":6,"featured_media":8362,"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":[22075,22077,22076],"tags":[3795,3741,4495,22079,22080,22078,11255,22081],"class_list":["post-9768","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulturel-kimlik-nedir-2","category-kulturel-kimlik-ornek","category-kulturel-sorunlar-nelerdir","tag-dergipark","tag-kultur-nedir","tag-kulturel-kimlik-nedir","tag-kulturel-kimlik-ornek","tag-kulturel-sok-nedir","tag-kulturel-sorunlar-nelerdir","tag-kuresellesme-nedir","tag-sosyal-kimlik-nedir"],"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