Search

Yakup Kadri's novel Ankara is a work that has attracted the attention of the literary public with its subject, thesis, fiction and characters. In this novel, Yakup Kadri deals with the three periods of Ankara, the capital of the newly established state. The first of these is the ordeal times of the National Struggle; the second is the founding days of the Republic; The third is the years 1923-1943, which is also called the early Republican period. Although Ankara is a city utopia, events, facts, places and people are viewed through the eyes of Selma, the protagonist of the novel. It can be said that the author, while describing three different periods of the capital, also tells the three phases of Selma’s life. The life of Selma and the history of the newly established state coincide to a large extent. Indeed, the three men who entered the life of Selma are introduced and told through three different time periods. Selma is married to Ahmet Nazif, Hakkı and Neşet Sabit respectively in three parts of the novel. Each male character is fictionalized to include the dominant features of the period. This article, whose field of study is Yakup Kadri's Ankara, focuses on Selma's private life; it centers on her inner world, her relationships with her spouses, her pleasures and worries. As will be seen more clearly in the future, it is possible to observe the effects, traces and of course the results of everything experienced in Turkey, especially in Ankara, and the change seen in almost every aspect of life between 1919-1943 in the private life of Selma. The 'living' witness of the years of the National Struggle, the proclamation of the Republic and the first twenty years of the new state, the personality of the forty-five-year-old woman, her emotional relationships, human relations, desires and doubts allow us to get to know Selma better as an individual and at the same time. It also reveals the nature of social change. [ABSTRACT FROM AUTHOR]

Based on Şahap Sıtkı’s novels Gün Görmeyen Sokak and Cevdet Kudret’s Havada Bulut Yok, this article aims to examine the authors’ attitudes towards reality and their views on social reality comparatively. In these novels, both of which were published in 1958, in accordance with the understanding of art and literature of the period, the village, the peasant and the civil servant are looked at through the eyes of two ‘teachers’ named Nurseren and Süleyman respectively. The prevailing mentality in both of the novels is the importance of education and development, and the fact that the situation of middle and lower strata people is quite difficult and painful. However, although Şahap Sıtkı sees social reality with artistic sensitivity, he does not deal with the fictional world of the work or the people of this world on a social and economic basis; it does not offer a ‘solution’ or a ‘prescription’ to the social problems it touches on in his work. On the other hand, Cevdet Kudret adopts an interventionist attitude although it ends in failure in the face of social realism; The novel person struggles with the reality he finds wrong through Süleyman. In this context, it can be said that Gün Görmeyen Sokak is a realist novel while Havada Bulut Yok is a social realist one. [ABSTRACT FROM AUTHOR]

The meaning of a word cannot be limited to what the person saying it means. expression; It can have different meanings depending on the intention of the person saying it, the way of saying it, gestures and facial expressions. In addition, this meaning may vary according to the interest and attention of the addressee. In this respect, idioms, proverbs and stereotyped expressions clearly reveal that Turkish is quite rich. Many rhetoric and means of expression allow poets/authors to cover up what they want to tell; the irony is one of them. It is possible to prove, based on examples, that irony, which is used extensively in English and German literature, is also referred to by different names and used in different forms in Turkish literature. The humorous style and cynical attitude that Ibnülemin Mahmut Kemal İnal sometimes adopts in his evaluations of poetry and poets prove the existence of irony in the texts written by him. For example, the poems that Ibnülemin wrote for Orhan Veli and Süheyl Ünver are ironic texts. In addition to drawing attention to Ibnülemin's relationship with wit, humor, and irony, this article, which deals with the poem written for Süheyl Ünver based on irony, aims to show how the components of irony are used in poetry, taking into account the reason for writing the text. [ABSTRACT FROM AUTHOR]

The stories and novels of Orhan Kemal, one of the socialist realist writers, are also worth considering in terms of 'shame' and 'revenge'. In this article, in which descriptive analysis method is used and René Girard’s ‘triangular’ desire model is applied, the literary texts of the author based on narration are read with a focus on the concepts of shame and revenge. In addition to the causes and qualities of these emotional forms, the identity of the embarrassing subject is emphasized. In the fictional worlds Orhan Kemal built, people are often ashamed of their poverty and helplessness. However, there are also people who are ashamed of their physical appearance and the behaviors of family members that do not comply with social moral norms. In Orhan Kemal's words, these "little" people seek various "salvation" ways to reverse the current situation. These people see leaving as a way out of their painful and humiliating situation. Especially when they go to Istanbul, everything will turn upside down; they will overcome the poverty that makes them helpless, they will gain money and therefore reputation. When they come back, their friends, neighbors and every member of the society will be surprised, who once saw themselves as shameful and worthless; they will also taste the pleasure of taking 'revenge'. However, the desire of these 'little people' to leave, their escape/salvation plans and their magnificent return remain unrealized visions and dreams. In addition, Orhan Kemal does not idealize people who struggle with poverty and have to do many things in this struggle; it does not present a pure 'victim' to the reader. As a realist writer, Orhan Kemal comprehends all aspects of his characters as an individual; does not hide their weaknesses and contradictions from the reader. [ABSTRACT FROM AUTHOR]

Although Ibnulemin Mahmut Kemal Inal is known for his works in the genre of biography and monograph, he is a literary figure who has joined the literary world with poetry, wrote stories and novels, and worked in periodicals. However, his rightful reputation as a biographer and the attention he had earned have overshadowed many of his other works. The story titled Yetîm-i Alîl published in Resimli Gazete is one of these works. Drawing attention with the emphasis on the concepts of morality, compassion and hypocrisy, the subject of this story is the tragic situation of a child who lost his father and the search for help. There are similarities in terms of fiction, content, language and style between this literary text, which was established with the point of view of the first singular narrator, and the first examples of the story genre seen in the Tanzimat period. This study, in which text analysis method is used, aims to examine the story titled Yetîm-i Alîl in terms of structure, content, language and style features. In addition, this work includes the transcription of the story. [ABSTRACT FROM AUTHOR]

As the 'last representative' of the tezkire tradition, which existed from the 15th century to the 20th century, Ibnulemin Mahmut Kemal Inal drafted a collection of biographies and examples of poets, grand viziers, calligraphers and musicians. Undoubtedly, it is these works that make him visible in the history of literature. However, his writings, which were published in periodicals of the period and not yet transferred to new letters, are also remarkable texts, such as tezkires and monographs. Although these writings have not been written with a theoretical method, they are important in that they reflect the views of a person who is busy with biography intensely in his long writing life. In his articles titled “Meşâhir-i Osmaniyye”, “Eser-Müessir”, “Âsâr-ı Muhallede” and “Meşâhir-i Meçhûle” published in magazines named, Resimli Gazete ve Türk Tarih Encümeni Mecmuası Ibnulemin expresses his views on the concepts of ‘biography’ and ‘literary work.’ Ibnulemin, who draws attention to the importance and necessity of biography works, which he sees as a document of reverence against predecessors, expresses the difficulties of writing biographies. He also states that, regardless of the fame of the literary figure, the most important thing to consider is work. In this article, based on Ibnulemin's articles published in periodicals, his views on the concepts of biography and work will be examined. [ABSTRACT FROM AUTHOR]

Ibnulemin Mahmut Kemal Inal, who preferred to continue the tradition of tezkire (collections of biographies) in the period when the foundations of literary historiography were laid in the modern sense and the examples were given, wrote the biographies of calligraphers, musicians and scholars, as well as poets and grand viziers. He titled many of his works with a phrase he formed with the word 'Kemâl'. His egocentric aspect, which manifests itself through the method of naming his works, is also a dominant element in the contents of his works. Indeed, he sometimes brought the word to himself in the biographical texts he wrote; shared the relationship between the biographical subject and the nature of this relationship with the reader, emphasizing the concepts of respect, affection and compliance especially reverence. On the other hand, the sense of competition arising from some names similar to him in various aspects has made the evaluation of Ibnulemin far away from the principle of impartiality. This article, in which text analysis method with biographical method were used, aims to examine the egocentric aspect of Ibnülemin in his private and literary life by considering his autobiography titled Kendime Dair (About Myself), his biographies and the memories of his friends. [ABSTRACT FROM AUTHOR]