{"id":9798,"date":"2022-05-13T12:49:05","date_gmt":"2022-05-13T09:49:05","guid":{"rendered":"https:\/\/bestessayhomework.com\/tr\/?p=9798"},"modified":"2022-05-13T12:49:05","modified_gmt":"2022-05-13T09:49:05","slug":"estetik-olgusu-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri","status":"publish","type":"post","link":"https:\/\/bestessayhomework.com\/tr\/estetik-olgusu-edebiyat-alaninda-tez-yaptirma-edebiyat-tez-yaptirma-ucretleri-edebiyat-odevleri-edebiyat-odev-ucretleri\/","title":{"rendered":"Estetik Olgusu \u2013 Edebiyat Alan\u0131nda Tez Yapt\u0131rma \u2013 Edebiyat Tez Yapt\u0131rma \u00dccretleri \u2013 Edebiyat \u00d6devleri \u2013 Edebiyat \u00d6dev \u00dccretleri"},"content":{"rendered":"

Estetik Olgusu <\/span><\/strong><\/h3>\n

M\u00fczik zevkinin dolays\u0131zl\u0131\u011f\u0131n\u0131n yaratt\u0131\u011f\u0131 huzursuzluk burada a\u00e7\u0131k\u00e7a g\u00f6sterilmi\u015ftir. Estetik teorinin tarihi, k\u0131smen, m\u00fczi\u011fin tehlikeli g\u00fcc\u00fcn\u00fc do\u011frulaman\u0131n, y\u00f6nlendirmenin ve kontrol etmenin bir yolunu bulma giri\u015fimlerinin birbirini takip etmesiyle olu\u015fmu\u015ftur.<\/span><\/p>\n

Bu amac\u0131 sa\u011flaman\u0131n bir yolu, m\u00fczi\u011fin g\u00fcc\u00fcn\u00fcn kayna\u011f\u0131n\u0131 kabul edilebilir bir \u015fekilde a\u00e7\u0131klamaya \u00e7al\u0131\u015fmakt\u0131r. R\u00f6nesans’a kadar en yayg\u0131n prosed\u00fcr, m\u00fczi\u011fin cezbetme g\u00fcc\u00fcn\u00fc g\u00f6ksel uyumun yans\u0131mas\u0131ndan elde etmekti. D\u00fcnyevi m\u00fczik, ilahi m\u00fczisyenin kal\u0131plar\u0131n\u0131 taklit ederek \u00fczerimizde etkili oldu.<\/span><\/p>\n

T\u00fcm evreni ba\u011flayan ahenge kat\u0131larak, hareket eden gezegenlerin yapt\u0131\u011f\u0131 duyulmam\u0131\u015f m\u00fczi\u011fi bast\u0131rd\u0131 ve b\u00f6ylece b\u00fcy\u00fcleyip iyile\u015ftirebildi. Bu teori peri\u015fan Lear’\u0131 iyile\u015ftiren, Perikles’te Thaisa’y\u0131 \u00f6l\u00fcmden dirilten veya K\u0131\u015f Masal\u0131’nda Hermione heykelini canland\u0131ran m\u00fczi\u011fi m\u00fcmk\u00fcn k\u0131lar.<\/span><\/p>\n

Ger\u00e7ekten de Shakespeare, Venedik Taciri’nin 5. Perdesinde Lorenzo ve Jessica aras\u0131ndaki al\u0131\u015fveri\u015fte m\u00fczi\u011fin g\u00fcc\u00fcne dair bu g\u00f6r\u00fc\u015f\u00fcn en ak\u0131lda kalan ifadelerinden birini sa\u011flar. Kopernik sonras\u0131 d\u00f6nemde bu model s\u00fcrd\u00fcr\u00fclemez hale geldi\u011finden, m\u00fczikte hazz\u0131n dolays\u0131zl\u0131\u011f\u0131n\u0131n yaratt\u0131\u011f\u0131 huzursuzluk burada a\u00e7\u0131k\u00e7a g\u00f6sterilmi\u015ftir. Estetik teorinin tarihi, k\u0131smen, m\u00fczi\u011fin tehlikeli g\u00fcc\u00fcn\u00fc do\u011frulaman\u0131n, y\u00f6nlendirmenin ve kontrol etmenin bir yolunu bulma giri\u015fimlerinin birbirini takip etmesiyle olu\u015fmu\u015ftur.<\/span><\/p>\n

Bu amac\u0131 sa\u011flaman\u0131n bir yolu, m\u00fczi\u011fin g\u00fcc\u00fcn\u00fcn kayna\u011f\u0131n\u0131 kabul edilebilir bir \u015fekilde a\u00e7\u0131klamaya \u00e7al\u0131\u015fmakt\u0131r. R\u00f6nesans’a kadar en yayg\u0131n prosed\u00fcr, m\u00fczi\u011fin cezbetme g\u00fcc\u00fcn\u00fc g\u00f6ksel uyumun yans\u0131mas\u0131ndan elde etmekti. D\u00fcnyevi m\u00fczik, ilahi m\u00fczisyenin kal\u0131plar\u0131n\u0131 taklit ederek \u00fczerimizde etkili oldu.<\/span><\/p>\n

T\u00fcm evreni ba\u011flayan ahenge kat\u0131larak, hareket eden gezegenlerin yapt\u0131\u011f\u0131 duyulmam\u0131\u015f m\u00fczi\u011fi bast\u0131rd\u0131 ve b\u00f6ylece b\u00fcy\u00fcleyip iyile\u015ftirebildi. Bu teori peri\u015fan Lear’\u0131 iyile\u015ftiren, Perikles’te Thaisa’y\u0131 \u00f6l\u00fcmden dirilten veya K\u0131\u015f Masal\u0131’nda Hermione heykelini canland\u0131ran m\u00fczi\u011fi m\u00fcmk\u00fcn k\u0131lar.<\/span><\/p>\n

Ger\u00e7ekten de Shakespeare, Venedik Taciri’nin 5. Perdesinde Lorenzo ve Jessica aras\u0131ndaki al\u0131\u015fveri\u015fte m\u00fczi\u011fin g\u00fcc\u00fcne dair bu g\u00f6r\u00fc\u015f\u00fcn en ak\u0131lda kalan ifadelerinden birini sa\u011flar. Bu model Kopernik sonras\u0131 bir d\u00fcnyada s\u00fcrd\u00fcr\u00fclemez hale geldi\u011finden, m\u00fczi\u011fin g\u00fcc\u00fcn\u00fcn kayna\u011f\u0131 retorik etkinli\u011finde (m\u00fczik ve dil aras\u0131ndaki benzerlikleri \u00e7\u00f6zmeye y\u00f6nelik erken bir giri\u015fim) ve daha sonra duygular\u0131 uyand\u0131rma ve taklit etme kapasitesindeydi.<\/span><\/p>\n

M\u00fczi\u011fin kozmik analojisinin bo\u015falt\u0131lmas\u0131, John Hollander taraf\u0131ndan The Untuning of the Sky (1961) adl\u0131 kitab\u0131nda a\u00e7\u0131klanm\u0131\u015ft\u0131r. Son iki y\u00fcz y\u0131lda, radikal bir alg\u0131 de\u011fi\u015fimi, m\u00fczi\u011fi tam olarak a\u015fk\u0131nl\u0131\u011f\u0131yla, anlamdan ka\u00e7\u0131\u015f\u0131yla do\u011frulad\u0131. Bu de\u011fi\u015fimin, estetik teoride m\u00fczi\u011fin \u015fiirle ili\u015fkisinin tarihi \u00fczerinde \u00f6nemli bir etkisi oldu.<\/span><\/p>\n

Ge\u00e7 R\u00f6nesans ve erken Barok’ta genellikle kelimelerle yap\u0131lan m\u00fczi\u011fin sadece enstr\u00fcmantal m\u00fczikten \u00fcst\u00fcn oldu\u011fu varsay\u0131l\u0131rd\u0131. Monteverdi, niyetinin “kelimeleri armoninin efendisi, hizmet\u00e7isi de\u011fil” yapmak oldu\u011funu ve s\u00f6zs\u00fcz m\u00fczik eserlerinin, m\u00fczi\u011fin bu en \u00f6nemli ve ana k\u0131sm\u0131 olmadan b\u0131rak\u0131l\u0131rlarsa, “ruhsuz bedenler b\u0131rak\u0131laca\u011f\u0131n\u0131” kesin olarak ileri s\u00fcrd\u00fc.\u00a0<\/span><\/p>\n

\n

Edebiyatta Estetik<\/a> Nedir<\/span>
\nEstetik ne Demek<\/span>
\nAhlak esteti\u011fi Nietzsche<\/span>
\nEstetik ahlak felsefesi<\/span>
\nAhlak\u0131n estetik standartlar\u0131 vard\u0131r<\/span>
\nEdebiyat kesin bilgiler i\u00e7erir mi<\/span>
\nEdebiyat Nedir<\/span>
\nEstetik kayg\u0131 nedir<\/span><\/p>\n

\n

S\u00f6zc\u00fckler, e\u015flik eden armoniyi kontrol eder ve y\u00f6nlendirir ve bunu yaparken de m\u00fczi\u011fin ahlaki y\u00f6n\u00fcn\u00fc ve de\u011ferini garanti eder. S\u00f6zc\u00fcklerin ve m\u00fczi\u011fin g\u00f6reli \u00f6nemine ili\u015fkin bu g\u00f6r\u00fc\u015f, on sekizinci y\u00fczy\u0131l ve sonras\u0131na kadar varl\u0131\u011f\u0131n\u0131 s\u00fcrd\u00fcrd\u00fc. 1744’te yazan James Harris \u015fu sonuca vard\u0131:<\/span><\/p>\n

Bu iki sanat\u0131n tek ba\u015flar\u0131na hi\u00e7bir zaman tam anlam\u0131yla birle\u015ftikleri zaman oldu\u011fu kadar g\u00fc\u00e7l\u00fc olamayaca\u011f\u0131 a\u00e7\u0131kt\u0131r. Zira \u015fiir, yaln\u0131z kald\u0131\u011f\u0131nda, en zengin fikirlerinin \u00e7o\u011funu yaln\u0131zca sevgi uyand\u0131rmak i\u00e7in zorunlu olarak bo\u015fa harcamak zorunda kalmal\u0131d\u0131r.<\/span><\/em><\/p>\n

Ve m\u00fczik, tek ba\u015f\u0131nayken yaln\u0131zca, \u015fiirin besleyici imgeleri taraf\u0131ndan korunmad\u0131\u011f\u0131 ve beslenmedi\u011fi takdirde k\u0131sa s\u00fcrede \u00e7\u00fcr\u00fcyen ve \u00e7\u00fcr\u00fcyen sevgileri y\u00fckseltebilir. Yine de bu birliktelikte, \u015fiirin her zaman \u00f6nceli\u011fe sahip oldu\u011fu, faydas\u0131n\u0131n yan\u0131 s\u0131ra haysiyetinin \u00e7ok daha \u00f6nemli oldu\u011fu hat\u0131rlanmal\u0131d\u0131r.<\/span><\/p>\n

M\u00fczi\u011fin g\u00fcc\u00fcn\u00fc, belirledi\u011fi kelimelerle y\u00f6nlendirme ve kontrol etme arzusu, 18. y\u00fczy\u0131lda alt\u00fcst olmaya ba\u015flad\u0131. Enstr\u00fcmantal m\u00fczik prestij kazand\u0131 ve b\u00f6ylece m\u00fczi\u011fin belirsizli\u011fini korkulacak bir \u015fey olarak de\u011fil, somut olmayan duygu ve duygu s\u00fcre\u00e7lerini ifade etmeye \u00e7al\u0131\u015fan bir \u015fiir i\u00e7in tam olarak yararl\u0131l\u0131\u011f\u0131n\u0131n kayna\u011f\u0131 olarak da g\u00f6rmek m\u00fcmk\u00fcn oldu.<\/span><\/p>\n

Kevin Barry, Language, Music and the Sign (1987) adl\u0131 kitab\u0131nda, resme dayal\u0131 bir \u015fiir modelinden y\u00fczy\u0131l\u0131n sonraki b\u00f6l\u00fcm\u00fcnde m\u00fczi\u011fe dayal\u0131 bir modele a\u015famal\u0131 ge\u00e7i\u015fin izini s\u00fcrer. On dokuzuncu y\u00fczy\u0131lda, daha \u00f6nceki d\u00f6nemlerde kelimelere verilen \u00f6nceli\u011fin tersine \u00e7evrilmesi de tamamland\u0131.<\/span><\/p>\n

Ancak m\u00fczi\u011fin romantik y\u00fckseli\u015fi ile m\u00fczisyenin sanat\u0131na hasedin ifadesi aras\u0131nda, son d\u00f6nem \u015fairlerinden baz\u0131lar\u0131n\u0131n eserlerinde g\u00f6r\u00fclen bir s\u00fcreklilik olsa da, \u00f6nemli farkl\u0131l\u0131klar\u0131n oldu\u011funu vurgulamak gerekir.<\/span><\/p>\n

Romantikler i\u00e7in genellikle do\u011fan\u0131n ‘vah\u015fi’ m\u00fczi\u011fi, belki de Aeolian arp\u0131ndaki r\u00fczgar, duygunun \u00e7alkant\u0131l\u0131 hareketi i\u00e7in bir g\u00f6r\u00fcnt\u00fc g\u00f6revi g\u00f6rd\u00fc. Ancak modernler i\u00e7in daha \u00e7ok m\u00fczi\u011fin bi\u00e7imsel nitelikleri \u00f6v\u00fclm\u00fc\u015ft\u00fcr. Vurgu fark\u0131n\u0131n bir k\u0131sm\u0131, Wordsworth’\u00fcn “Solitary Reaper”\u0131 ile Wallace Stevens’\u0131n “Idea of \u200b\u200bOrder at Key West”inin kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131nda ortaya da \u00e7\u0131kar.<\/span><\/p>\n

Uzaktaki fig\u00fcr Wordsworth’e kalbinde yank\u0131lanan bir \u015fark\u0131 s\u00f6yler; Stevens’\u0131n \u015fark\u0131c\u0131s\u0131 ise ‘d\u00fczen i\u00e7in \u00f6fke’yi canland\u0131r\u0131yor. Bununla birlikte, m\u00fczi\u011fin hem romantik hem de modernist de\u011fer bi\u00e7meleri, k\u0131smen, m\u00fczi\u011fin ikili\u011fi sorunlar\u0131n\u0131n \u00fcstesinden gelinerek sat\u0131n al\u0131n\u0131r. \u0130kisi de m\u00fczi\u011fin daha az arzu edilen duyguyla ya da e\u011flence bozuklu\u011fuyla do\u011frudan ili\u015fkisiyle de \u00e7eli\u015fmez.<\/span><\/p>\n

\u00c7\u00fcnk\u00fc m\u00fczik ve \u015fiir tarihine farkl\u0131 bir y\u00f6nden, sanatlar\u0131n k\u00fclt\u00fcr siyasetinde yer ald\u0131\u011f\u0131 yollarla yakla\u015f\u0131l\u0131yorsa, o zaman bu kesinlikle m\u00fczi\u011fin a\u015fk\u0131n g\u00fcc\u00fc ile pop\u00fcler \u015fenlik ile ili\u015fkisi aras\u0131ndaki de kar\u015f\u0131tl\u0131kt\u0131r.\u00a0<\/span><\/p>\n

M\u00fczik, rasyonel olmayan yetilerimize hitap eder ve bu nedenle ya ilahi co\u015fkuyla ya da duyusal i\u015ftah\u0131n ho\u015fg\u00f6r\u00fcs\u00fcyle ili\u015fkilendirilebilir. Politik olarak m\u00fczik, devletin g\u00fcc\u00fcn\u00fc kutlayabilir veya isyan\u0131n ho\u015fnutsuzlu\u011funu odaklayabilir (a\u00e7\u0131k\u00e7a g\u00f6r\u00fcl\u00fcyor ki, ba\u015far\u0131l\u0131 devrimcilerin \u015fark\u0131lar\u0131 milli mar\u015flara d\u00f6n\u00fc\u015fme e\u011filimindedir). O halde m\u00fczik ya devletin hizmetine \u00e7a\u011fr\u0131labilir ya da m\u00fclks\u00fczle\u015ftirilmi\u015flerin duygular\u0131n\u0131 da ifade edebilir.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Estetik Olgusu M\u00fczik zevkinin dolays\u0131zl\u0131\u011f\u0131n\u0131n yaratt\u0131\u011f\u0131 huzursuzluk burada a\u00e7\u0131k\u00e7a g\u00f6sterilmi\u015ftir. Estetik teorinin tarihi, k\u0131smen, m\u00fczi\u011fin tehlikeli g\u00fcc\u00fcn\u00fc do\u011frulaman\u0131n, y\u00f6nlendirmenin ve kontrol etmenin bir yolunu bulma giri\u015fimlerinin birbirini takip etmesiyle olu\u015fmu\u015ftur. Bu amac\u0131 sa\u011flaman\u0131n bir yolu, m\u00fczi\u011fin g\u00fcc\u00fcn\u00fcn kayna\u011f\u0131n\u0131 kabul edilebilir bir \u015fekilde a\u00e7\u0131klamaya \u00e7al\u0131\u015fmakt\u0131r. R\u00f6nesans’a kadar en yayg\u0131n prosed\u00fcr, m\u00fczi\u011fin cezbetme g\u00fcc\u00fcn\u00fc g\u00f6ksel uyumun yans\u0131mas\u0131ndan…
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":[22204,22203,22205],"tags":[22207,22209,22210,18197,22206,22208,22211,18423],"class_list":["post-9798","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ahlak-estetigi-nietzsche","category-edebiyatta-estetik-nedir","category-estetik-ahlak-felsefesi","tag-ahlak-estetigi-nietzsche","tag-ahlakin-estetik-standartlari-vardir","tag-edebiyat-kesin-bilgiler-icerir-mi","tag-edebiyat-nedir","tag-edebiyatta-estetik-nedir","tag-estetik-ahlak-felsefesi","tag-estetik-kaygi-nedir","tag-estetik-ne-demek"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts\/9798","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=9798"}],"version-history":[{"count":0,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/posts\/9798\/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=9798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/categories?post=9798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bestessayhomework.com\/tr\/wp-json\/wp\/v2\/tags?post=9798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}