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1950-1980 arası dönemde öykü kaleme alan isimlerden bir kısmı ortak bir dini duyarlık göstermişlerdir. Bu anlayışla kaleme alınmış eserlerde yazarlar, İslami değerleri insani değerlerle özdeş görüp ön plana çıkarmıştır. Necip Fazıl Kısakürek, Sezai Karakoç, Şevket Bulut, Rasim Özdenören, Cahit Zarifoğlu, Mustafa Kutlu, İsmail Kıllıoğlu, Durali Yılmaz, Ali Haydar Haksal, Hüseyin Su ve Ramazan Dikmen gibi isimler tarafından temsil edilen bu öykü anlayıĢında anlatıda edebi değerin sağlanması göz ardı edilmemiştir. Bu öykücüler aynı zamanda geleneksel anlatı birikiminden de faydalanmışlardır. Yazarlar, İslami duyarlıklı öykücülükte modern anlatı tekniklerinden faydalanmıştır. Kişi merkezli kurgularında vakadan ziyade duyuşlara odaklanmışlardır. Yazarlar öykülerinde ölüm, aile, taşra hayatı, arayış ve acziyet gibi konuları izleğe dönüştürmüĢlerdir. Batı edebiyatını yakından takip edip onlar gibi yazmaya çalışan bu öykücüler, kişi kadrolarını genellikle aile bireyleri, yakın akrabalar ve dost çevreleri; kendini yalnız hisseden anlaşılmadığını düşünen gençler ve kente uyum sağlamaya çalışan insanlardan seçmişlerdir. Bu yazarların göndermelerinin önemli bir kısmı Kur’an ayetlerine, hadislere, İslam tarihine, kıssalara ve menkıbelere dönüktür. İslami duyarlıklı öykücüler mekân itibariyle çoğunlukla kasaba edebiyatı olarak da nitelenebilecek ürünler ortaya koymuşlardır, Some of the storytellers that have written their stories between the years 1950-1980 have showed a common religious sentiment and have penned similar stories. The writers have seen Islamic values as human values and have put forward Islamic values in their works that have been penned in this mentality. In this narrative approach that have been represented by Necip Fazıl Kısakürek, Sezai Karakoç, ġevket Bulut, Rasim Özdenören, Cahit Zarifoğlu, Mustafa Kutlu, Ġsmail Kıllıoğlu, Durali Yılmaz, Ali Haydar Haksal, Hüseyin Su ve Ramazan Dikmen the literal values haven’t been ignored; at the same time these storytellers have also benefited from traditional narrative accumulation. The authors have used modern literal techniques in the stories penned in Islamic sensitivity. They have focused on person rather than event in their human-centered fictions. The storytellers have transmuted issues like death, family, rural life, seeking and inability in their texts to themes. These storyteller that have followed closely Western literature and tried to write like them have usually chosen their characters from family members, close relatives and friends, the young people who think that no one have understood them and feel lonely and the people trying to adapt to the city. An important part of references of these authors’ usually faces Quran verses, hadiths, Islamic history, parables and religious tales. Islamist narrators have revealed literal products that also could be named as “town literature” in the context of fictional place.

Bu çalışmada Refik Halit Karay'ın iki hikâye kitabı yani Memleket Hikâyeleri ve Gurbet Hikâyeleri'nde ?dil-anlatım, mekân, kişiler, zaman, mizah ve yergi? bakımından ne gibi farklar ortaya çıktığı incelenmeye ve çözümlenmeye; ayrıca yazarın yaşamı ve kendi dönemine kadar Türk hikâyeciliğinin evrimi gözden geçirilmeye çalışılmıştır. Refik Halit'in yaşamı ve edebi kişiliğinin, hikâyeciliğimizin Refik Halit'e kadar olan macerasının ve Refik Halit'in çağdaşları içindeki yerinin belirlenmesi konusunun çalışmaya eklenmesinin nedeni, Memleket Hikâyeleri ile Gurbet Hikâyeleri arasında gözlemlenen değişimin daha iyi anlaşılabilmesidir.Bu çalışma hazırlanırken yazar hakkında ve hikâyelerde değişim gözlenen alanlarda elbette edebiyat araştırmaları alanında en önemli isimlerin görüşlerinden yararlanılmış, sonra mümkün olduğunca onlardan bağımsız olarak kendi tespitlerimiz ortaya konmuştur.Anahtar Sözcükler: Refik Halit Karay, Hikâye, Türk Hikâyeciliği, Değişim In this study, two books of Refik Halit Karay, namely Memleket Hikayeleri (Stories of the Country) and Gurbet Hikayeleri (Stories of the Foreign Land ) have been investigated and analyzed for differences from the point of view of ?language usage, place, person, time, humor and satire?; also, the life of the author and the evolution of Turkish storytelling have been reviewed.The reason why the life of Refik Halit and his literary personality up to the adventure of our story writer Refik Halit and determining the location among his contemporaries have been added to this study in order to understand better the difference in the change between Memleket Hikayeleri and Gurbet Hikayeleri.During the preparation of this study, the advantages have been taken from the insight views of various literature researches of the most important names in this field and later, our own determination has been introduces as independent from the others as possible.Key words: Refik Halit Karay, Story, Turkish Storytelling, Change 95

1989’dan itibaren yayımladığı kitaplarla öykücülüğümüzün önemli isimlerinden biri olan Ayfer Tunç, Saklı (1989), Mağara Arkadaşları (1996), Aziz Bey Hadisesi (2000), Taş-Kağıt-Makas (2003), Evvelotel (2006) adlı öykü kitapları yayımlamıştır. Klasik öykü anlatımını benimseyen yazar, sağlam bir kurgu ile ördüğü öykülerinde Osmanlı Türkçesi kökenli kelimelerin zengin çağrışımlarından yararlanmıştır. Ayfer Tunç, 1980 sonrasında ülkemizde yazılan öykülerdeki yoğun biçim kaygıları ve avangart tutumdan uzakta durmasıyla dikkati çekmiştir. Ayfer Tunç’un öykülerini, öykü türünün iç şartlarını zedelemeden oluşturduğu, insanın değişen yaşam koşulları içindeki tükenişini bütünsellik içinde yansıttığı ifade edilmiştir. Kurgu ve içerik yönünden çağdaş arayışların dışında kalmamakla birlikte, özgün görünme adına insan öğesini ihmal etmediği, tam tersine bütün çabasını insanı sanatsal bir varlık olarak yaratma yolunda gösterdiği belirtilmiştir. Daha ilk kitabından itibaren öykülerindeki ustalıktan ve sahicilikten söz edilmiştir. Ayfer Tunç’un böylesine başarılı bir yazar, bir öykücü olmasının altında, şüphesiz onun edebiyatımızın birikiminden yeterince faydalanmış olması, edebiyatımızın geçmişinde yer alan ustaların eserlerini özümsemiş olması yatmaktadır. Bu makalede, Ayfer Tunç öykülerindeki sevgi arayışı, gerçek sevgiden mahrum oluş teması, tek tek öykülerin olay örgüleri özetlenerek örneklenmeye çalışılmıştır. Yazar hangi konuyu anlatırsa anlatsın, öykünün derinine inildiğinde, öykü kişilerinin temel probleminin sevgiden mahrum kalış olduğu gözlemlenmektedir. Zengin çağrışımlı diliyle, sağlam kurgusuyla, edebiyatımızın birikiminden yararlanarak kendine ait bir üslup çıkarabilmesiyle, sevgiden mahrum kalış, sevgi arayışı temasını derinlemesine ve sahici bir biçimde işleyişiyle ön plana çıkan Ayfer Tunç edebiyatımızın kalıcı isimlerinden olmaya adaydır., Ayfer Tunç, who is an outstanding figure of our storytelling with her books published after 1989, was born in 1964 in Adapazarı. Her story books include: Saklı (1989), Mağara Arkadaşları (1996), Aziz Bey Hadisesi (2000), Taş-Kağıt-Makas (2003), Evvelotel (2006). Ayfer Tunç has published five story books, from her first book Saklı to Evvelotel (2006). Having won several awards with these books, Ayfer Tunç has made achieved an important place in Turkish storytelling. Adopting classical storytelling, the writer has benefited from rich connotations of Ottoman words in her stories that have strong fiction and has collected the vocabulary of her stories from a wide area, making use of old words of Turkish. The writer has stated that, there were periods when Turkish language was perceived as an ideological tool, a means of expression, and the subject and object of literature, she has pointed out that language should be approached with awareness, not authority, and that there will be no language where awareness does not exist. One of the factors underlying the fact that the writer has such a reasonable understanding of language and that she is a successful story writer is that, she was inspired by the works of the masters of our literature. Without imitating them, Tunç has managed to make use of the important names of our modern literature. One aspect of Ayfer Tunç’s storytelling that is appreciated a lot by literary critics is the strong fiction in her stories. This fiction is a result of the fact that the writer has benefited well from the masters of our literature. The mastery and authenticity in her stories were mentioned beginning from her first book. It has been stated that Ayfer Tunç creates her stories without damaging the internal conditions of storytelling and that she reflects the burnout of the human being in the changing life conditions in integrality. Although she is not excluded from the contemporary search in terms of fiction and content, she is stated not to ignore the human factor for the sake of appearing original, in contrast, she is making an effort to make the human being an artistic being. The theme that is hidden in almost all of Ayfer Tunç’s stories is the person’s being deprived of love, the thirst for love, and not being able to reach love. Though it has been seen that other themes come forward in other stories, when read carefully, the main problems of the protagonists are being deprived of love and not being able to reach love. In this article, the search for love and the theme of being deprived of real love in Ayfer Tunç’s stories have been demonstrated by summarizing the plots of the stories one by one. In the story that gave its name to the writer’s first book “Saklı”, “the second wife of the immigrant, the elegant lady” experiences bilateral lovelessness. She is deprived of love as she is left alone by the person she loves a lot, and she does not love her husband. Moreover, she is not liked by the society. In the story “Ses Tutsağı” in Mağara Arkadaşları, our narrator is a lonely man and in order to get rid of his loneliness, he listens to the voices coming from the flat upstairs where a widower woman with children lives. He surrenders gradually to this game, and has an attachment for the woman, but doesn’t get a response for his love (at first). There are two lonely and “loveless” people, one man and one woman, and the story ends in an interesting way. In the story that gives its name to the book in Aziz Bey Hadisesi, the life of Tamburi Aziz Bey is told through flashbacks. Aziz Bey, who is a handsome, confident and brilliant boy, will feel a “blind love” that will ruin his life, he will fall in love with Maryam, who doesn’t even love him, follow her to Beirut, but will be disappointed and come back to İstanbul. He will not love Vuslat, who loves him in his adulthood. Like it is the case in all Ayfer Tunç stories, love is never revealed. In Aziz Bey’s youth, the women that fall in love with him, are not loved back by Aziz Bey. We meet a lonely narrator in “Kaybetme Korkusu” in Taş-Kağıt-Makas. He is lonely and she is a writer. The apartment building where she lives and the lives of people living there are told. The residents of these flats cheat their husbands by our narrator. One of the characters in the story, Safir, causes her wife to commit suicide, although not on purpose. The reason for that is the fact that he lets her wife alone although for short times. Bearing the strange childhood of Süsen in mind, the situation is rather logical. The characters in the story are deprived of love. They either don’t love or are not loved by others. We hope that, our analysis will be useful in understanding Ayfer Tunç’s works which are outstanding in terms of having a rich and associative language, a strong fiction, having her own style, and working on themes such as being deprived of love and the search for love and in a genuine way.