Basit öğe kaydını göster

dc.contributor.authorYalçın, Fatih
dc.date.accessioned2020-01-26T19:48:44Z
dc.date.available2020-01-26T19:48:44Z
dc.date.issued2015
dc.identifier.issn1308-2140
dc.identifier.issn1308-2140
dc.identifier.urihttp://www.trdizin.gov.tr/publication/paper/detail/TWpjNU1EZ3lNZz09
dc.identifier.urihttps://hdl.handle.net/20.500.12403/1416
dc.description.abstractBu çalışma Cumhuriyet Devri Türk Edebiyatının en önemli şairlerinden biri olan ve hiçbir edebi gruba dâhil olmayan Necip Fazıl Kısakürek'in şiirinin önemli kaynaklarından biri olan ontolojik huzursuzluk ve mekânın tekinsizliği üzerine odaklanmıştır. Tecrübe edilmiş bu ruh halinin onun şiirindeki yansımasının işaret taşları olan imgeler de onun şiirinin estetik örgüsünü oluşturur. Hayatı boyunca varoluşu sorgulayan Necip Fazıl'ın ontolojik huzursuzluğunun zeminini de bu sorgulama oluşturur. Hayatı uçlarda yaşayan bir kişi olarak vasatın ilkelerinin/değerlerinin hâkim olduğu reel dünyada ona düşen "aramak"tır. O görünenle yetinmeyen bir şairdir ve sürekli olarak görünenin ardındaki gerçeğin/mutlak hakikatin arayışı, onun estetik yolculuğunun da muharrik unsurudur. Görüngüler dünyası, şiirinin da ana imgelerinden biri olan "perde"lerden ibarettir. Önemli olan bu perdelerin ardında saklı olan eşyanın hakikatine ulaşmaktır. Bu keşif yolculuğu çileli bir yolculuktur ve kaldırılan her perde şairi başka bir perdenin önüne getirmekten başka bir işe yaramaz. Tasavvuf anlayışındaki nefs basamaklarını andıran bu yapı bir sonraki nefs basamağına yükselişin gecikmesinde krizlere sebep olur. Tasavvuf yolculuğuna çıkmadan önce yaşadığı krizlerin kaynağı olarak meçhulü kurcalama şehvetini gösteren şair, bu yolculuk esnasında yaşadığı krizleri ise tasavvuf terminolojisindeki "hatarât" kelimesi ile karşılar. Tasavvuf yoluna giren herkesin yaşadığı bir hal olarak gördüğü bu ruh halinden ancak bir rehber eşliğinde -ki onun için bu rehber mürşidi Abdülhâkim Arvasi'dir- kurtulabilir. Bütün bu krizler çıkmış olduğu yolda tabi tutulduğu sınavlardır ve bu yolda ilerlemek için bu sınavları bir bir geçmek zorundadır. İster tasavvuf öncesi ister sonrası olsun, farklı şekillerde de olsa, bu krizler ömrü boyunca devam etmiş ve şiirini beslemiştir. Bu çalışmada şairin ontolojik huzursuzluğunun izleri, şiiri üzerinden takip edilmeye çalışılmış, eşya ve mekânla ilişkisi kullandığı imgeler aracılığıyla ortaya koyulmaya çalışılmıştıren_US
dc.description.abstractThis study intends to focus on the uncanniness of the place and the ontological uneasiness that are amongst the most important sources of the poems of Necip Fazıl Kısakürek who is considered as one of the leading poets of Turkish literature and known as including none of the literary groups. The images being the traces of the reflection of his experienced mood form his aesthetic plot as well. Kısakürek’s questioning the existence throughout his life paves the way to the ground of the ontological uneasiness. As a poet who lives on the edge, he does not prefer to respect to the mediocre boundaries. Instead, he would rather “seek” in the real world dominated by mediocre values/principles. He is a poet who is not contented with the visible; however, the permanent seeking for the truth/absolute reality behind the visible is his motivating factor of his aesthetical voyage. The realm of the visible, for Kısakürek, is made up of the “curtain” that is one of the main images of the poetry. It is important to be able to reach the object of the truth that lies behind these curtains. The exploration process is an enduring voyage and each curtain, as it is removed, carries the poem to another curtain. This process reminding the steps of “nafs”(self, ego) in Sufi literature causes the crises for delaying the elevation to the next step of “nafs”. Revealing the passion for probing the obscure that is the source of the crises he faces before he undertakes a journey of Sufism, the poet identifies the crises he faces during this imaginary journey with the word “hatarat” (dangers ideasj) in sufi terminology. He can cope with these crises which he sees it an acceptable mood for everyone on the way to Sufism in company with a mentor: Abdulhakim Arvasi. These entire crises are the spiritual tests on his way and he must pass the tests one by one in order to go on the way. Even though they differ before or after the Sufism, these crises continue throughout his life and feed his poems. This study aims to analyze the traces of Kısakürek’s ontological uneasiness and its engagement with the object and the place by the way of images he uses in his poems Though it varies by stages and sensitivity, the ontological /existential struggle of human is a life-long process for each person. The ontological uneasiness related to the identity problems particularly in the societies changing civilization transforms into an explicit character trait. Compared to an average man, the struggle is felt more strongly in the artists who deepen in himself and have higher level of sensitivity. In this sense, the fundamental feature distinguishing the artist from other people is the consciousness. Most of the time, an average man is not aware of this struggle and he copes with the problems in his life by identifying them with the visible reasons existing in the life. The artist goes through this process of struggle in a way that affects his life deeply in terms of his consciousness and he is exposed to existential crises. The cause of the ontological uneasiness is these crises that can turn into a unique source of inspiration. It is likely that these crises of the artist are called as intellectual/creativity crises. In this process, the position of the place which is a significant part of human identity constitutes a significant field in which the effect of ontological uneasiness on the life the artist can be observed perceptibly. The places which turn into a shelter during the struggle for existence for some artists are the source of uneasiness for some at the same time. In an interview, emphasizing the struggle for being is a crucial source of inspiration for the art/artist, İsmet Özel claims that “a person approaches to the poem when he feels anxiety about his place in the existence. Then, he gets into a conflict with the poem”. Many works of art can be interpreted as an outcome/indication of ontological uneasiness of a writer/poet as well. Necip Fazıl Kısakürek bears the traces of an artist whose works can be evaluated as an indicator of ontological uneasiness. Although his life of art reflects the characteristics that can be examined in two distinct periods and that can be divided into two by sharp lines, the only common points of the two distinct periods- whose contents are different- are the uneasiness feeding his art and the sense of place that can be interpreted as a direct reflection of this uneasiness. This study intends to focus on the uncanniness of the place and the ontological uneasiness that are amongst the most important sources of the poems of Necip Fazıl Kısakürek who is considered as one of the leading poets of Turkish literature and known as including none of the literary groups. The images being the traces of the reflection of his experienced mood form his aesthetic plot as well. Kısakürek’s questioning the existence throughout his life paves the way to the ground of the ontological uneasiness. As a poet who lives on the edge, he does not prefer to respect to the mediocre boundaries. Instead, he would rather “seek” in the real world dominated by mediocre values/principles. He is a poet who is not contented with the visible; however, the permanent seeking for the truth/absolute reality behind the visible is his motivating factor of his aesthetical voyage. The realm of the visible, for Kısakürek, is made up of the “curtain” that is one of the main images of the poetry. It is important to be able to reach the object of the truth that lies behind these curtains. The exploration process is an enduring voyage and each curtain, as it is removed, carries the poem to another curtain. This process reminding the steps of “nafs”(self, ego) in Sufi literature causes the crises for delaying the elevation to the next step of “nafs”. Revealing the passion for probing the obscure that is the source of the crises he faces before he undertakes a journey of Sufism, the poet identifies the crises he faces during this imaginary journey with the word “hatarat” (dangers ideas) in sufi terminology. He can cope with these crises which he sees it an acceptable mood for everyone on the way to Sufism in company with a mentor: Abdulhakim Arvasi. These entire crises are the spiritual tests on his way and he must pass the tests one by one in order to go on the way. Even though they differ before or after the Sufism, these crises continue throughout his life and feed his poems. This study aims to analyze the traces of Kısakürek’s ontological uneasiness and its engagement with the object and the place by the way of images he uses in his poems. The metaphysical depression that can be evaluated as a reflection of the uneasiness likening to a personality trait he must live together and the place. The places in which he lives are uncanny and filled with evils, jinn and ghosts. The enclosed/inner places sheltering the dangers, the threats and the unfamiliarity of the outer space for an average man are the source of the fear and the horror for him. The misery of people using this place before permeates through the walls. It seems as if the walls and the ceiling come down on him and as if he is claustrophobia. Such poems named as “Gece Yarısı” (Midnight), “Boş Odalar” (Empty Rooms), “Ayak Sesleri” (Footsteps) and “Cinler” (The Jinn) are filled with these kinds of images. His enclosed places are the areas where he returns to his inner space and he is captured by his fears. This mood expressed by the line “No harmony left between the objects and I” (Halim, 308) turns into a swamp of mind in which he loses the sense of security in each crisis. From time to time, as he struggles to save from the swamp, it drags him into the deeper. It is possible to witness the clear effects of these crises on his poems. One of the most important themes in Necip Fazıl Kısakürek’s poems is the contrast between nature and city. Regarding the change of place as a remedy for escaping from the depression, the poet is deeply occupied with the urban in his poems. For the poet who performs the first change of place by going to Paris as a young, this city, at the same time, builds the prototype of the sense of a modern city. The poet who comments on the cities as artificial and counterfeit places usually identifies modern cities/life with skyscrapers and traditional urban/life with separate houses/mansions. Through them, he compares horizontal and vertical architecture. Despite its spatial closeness, the poet criticizes the vertical architecture owing to its alienating effect on people and he claims that human being becomes dwarf in terms of his spiritual features as he rises up into the sky. For him, modern cities keep human away from the absolute truth/the creator and block the way of divine light. Hence, only slaves can live here. He offers other people to touch the nature and to keep far away from the cities. These poems dominated by city-nature contradiction have a rich content paving way to an ecocritical reading. Consequently, the ontological uneasiness dominating Kısakürek’s poem continues to be the main theme from the first time he begins to write to the time he writes his last poem. The uneasiness does not leave him alone on his way to Sufism but undergoes a change in terms of the content. Taking place in some periods of his life, with his own words, the crises of intellectualness or creativeness directly influenced his art life. In this sense, excluding his ideological poems, his poems can be thought as products of these crises. The main factor determining his engagement with the objects and place is this ontological uneasiness. As a reflection of this, the harmony between the poet and the objects are distorted and the place where he lives arouses the sense of uncanniness. The finest expression of this uneasiness he pens to describe his mood is “sıcak yarada kezzap” (nitricacid on warm wound) which is also preferred as a subtitle in Orhan Okay’s book (Okay, 2014) on Kısakürek. While the statements he uses to describe how he suffers from his state of mind present his grief, it is significant to note that they are also significant owing to the representation of how he pays the price for each line affecting the reader deeply.en_US
dc.language.isoturen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.titleNECİP FAZIL ŞİİRİNDE ONTOLOJİK HUZURSUZLUK VE MEKÂNIN TEKİNSİZLİĞİen_US
dc.title.alternativeTHE ONTOLOGICAL UNEASINESS AND THE UNCANNINESS OF THE PLACE IN NECİP FAZIL KISAKÜREK’S POEMSen_US
dc.typearticleen_US
dc.relation.journalTurkish Studies (Elektronik)en_US
dc.contributor.departmentBayburt Üniversitesien_US
dc.identifier.volume10en_US
dc.identifier.issue16en_US
dc.identifier.startpage1153en_US
dc.identifier.endpage1168en_US
dc.relation.publicationcategoryMakale - Ulusal Hakemli Dergi - Kurum Öğretim Elemanıen_US


Bu öğenin dosyaları:

DosyalarBoyutBiçimGöster

Bu öğe ile ilişkili dosya yok.

Bu öğe aşağıdaki koleksiyon(lar)da görünmektedir.

Basit öğe kaydını göster