H\u00dcMAN\u0130ZM:<\/p>\n
* \u0130nsana de\u011fer vermek esast\u0131r.
\n * Tabiat\u0131 Tanr\u0131 yaratm\u0131\u015ft\u0131r d\u00fc\u015f\u00fcncesi kabul edilmi\u015ftir.
\n * \u0130nsan\u0131 sevip onu y\u00fcceltme.
\n * Dante bu d\u00fc\u015f\u00fcncenin temsilcisidir. <\/p>\n
R\u00d6NESANS\u00c7ILAR:<\/p>\n
*Hem h\u00fcmanizmin getirdiklerin hem de 16.yy. bilim ve ak\u0131lc\u0131l\u0131\u011f\u0131n\u0131 benimsemi\u015flerdir.
\n *\u00d6zg\u00fcrl\u00fck d\u00fc\u015f\u00fcncesini geli\u015ftirirler.
\n *Petrarca, Montaigne, Bocon, Cervantes, Shakspeare bu d\u00f6nemde eser verirler.
\nKLAS\u0130S\u0130ZM<\/p>\n
*17.yy ortalar\u0131nda Fransa’da ortaya \u00e7\u0131kan edebiyat ak\u0131m\u0131d\u0131r.
\n *Akla ve sa\u011fduyuya de\u011fer verirler.
\n *\u0130nsandaki tabiata, insanlar\u0131n i\u00e7 d\u00fcnyas\u0131na sayg\u0131 g\u00f6stermek esast\u0131r,
\n *Konular\u0131n\u0131 eski Yunan ve Latin edebiyat\u0131ndan al\u0131rlar.
\n *Kahramanlar\u0131 se\u00e7kin ki\u015filerdir. S\u0131radan insanlara eserlerinde yer vermezler.
\n *\u00d6nemli olan konu de\u011fil konunun i\u015fleni\u015f bi\u00e7imidir
\n *Dil, \u00fcslup kusursuz bir \u015fekilde i\u015flenmi\u015ftir. Dil a\u00e7\u0131k, yal\u0131n ve soyludur.
\n *Sanat i\u00e7in sanat g\u00f6r\u00fc\u015f\u00fcn\u00fc savunurlar.
\n *Sanat\u00e7\u0131 eserde kendini gizler.
\n *Tiyatroda \u00fc\u00e7 birlik kural\u0131na uyulur.(olay, zaman, mek\u00e2n)
\n *Bu ak\u0131m\u0131n en \u00f6nemli temsilcileri: Moliere, Corneille, Racine, La Fontaine, La Bruyere, Daniel Defoe, Boileau, Malharbe, Madam De La Fayette, Fenelon, Bousset
\n *T\u00fcrk edebiyat\u0131nda ise \u015einasi ve Ahmet Vefik Pa\u015fa ‘d\u0131r. \u015einasi’nin La Fontaine’den; Ahmet Vefik Pa\u015fa’n\u0131n da Moliere den yapt\u0131\u011f\u0131 \u00e7eviri ve adapteler klasisizmi edebiyat\u0131m\u0131zda tan\u0131tm\u0131\u015ft\u0131r.
\nROMANT\u0130ZM<\/p>\n
*Fransa’da 1830 y\u0131llar\u0131nda klasizme tepki olarak do\u011fmu\u015ftur.
\n *Klasik edebiyat\u0131n kural ve \u015fekilleri b\u0131rak\u0131l\u0131r.
\n *Konular eski Yunan ve Latin edebiyat\u0131 yerine H\u0131ristiyanl\u0131ktan tarihten ve g\u00fcnl\u00fck ya\u015fam\u0131ndan al\u0131n\u0131r.
\n *Ak\u0131l yerine duygulara ve hayallere \u00f6nem verirler.
\n *Sanat\u00e7\u0131lar kendi eserlerinin ki\u015filiklerini gizlemezler.
\n *Sanat toplum i\u00e7indir g\u00f6r\u00fc\u015f\u00fcn\u00fc benimsemi\u015flerdir.
\n *Tabiat \u00f6nemlidir. G\u00f6zlem ve tasvire \u00f6nem verilir.
\n *Konular i\u015flenirken iyi, k\u00f6t\u00fc, do\u011fru, yanl\u0131\u015f gibi kar\u015f\u0131tl\u0131klardan yararlan\u0131rlar.
\n *\u00dc\u00e7 birlik kural\u0131 terk edilir.
\n *Temsilcileri: Voltaire, Shakespeare, Lord Byron, Goethe, Schiller, Jean Jacques Rousseau, Chateaubriand, Madame de Stael, Lamartine, Victor Hugo, Aleksandre Dumas Pere, Alfred de Musset, Alfred de Vigny, Aleksandre Pu\u015fkin.
\n *T\u00fcrk edebiyat\u0131nda ise Nam\u0131k Kemal, Ahmet Mithat Efendi, Abd\u00fclhak Hamit Tarhan, Recaizade Mahmut Ekrem (\u015fiirde)<\/p>\n
REAL\u0130ZM<\/p>\n
*19.yy’\u0131n ikinci yar\u0131s\u0131nda Fransa’da romantizme tepki olarak do\u011fmu\u015ftur.
\n *Konu ger\u00e7ekten al\u0131n\u0131r. Olay ve ki\u015filer ya\u015fanan ve ya\u015fayan ki\u015filerin benzerleridir
\n *Ki\u015filerin ruhi davran\u0131\u015flar\u0131n\u0131 etkileyen onlar\u0131n ki\u015filiklerini \u00e7izen \u00e7evre ve ortam\u0131n tan\u0131t\u0131lmas\u0131na \u00f6nem verilir.
\n *Betimlemeler yazar\u0131n g\u00f6z\u00fcyle yap\u0131lmaz kahraman\u0131n g\u00f6z\u00fcyle yap\u0131l\u0131r.
\n *His ve hayale kap\u0131lmadan toplum ger\u00e7eklerini oldu\u011fu gibi yans\u0131t\u0131r.
\n *Sanat i\u00e7in sanat g\u00f6r\u00fc\u015f\u00fcn\u00fc savunurlar.
\n *Hik\u00e2ye ve Romanda uygulan\u0131r.
\n *Temsilcileri: Gustave Flaubert, Stendhal, Honore de Balzac, Daniel Defoe, Charles Dickens, Hemingway, Turgenyev, \u00c7ehov, Gorki, Gogol, Tolstoy, Dostoyevski.
\n *T\u00fcrk edebiyat\u0131nda ise; Recaizade Mahmut Ekrem (roman ve \u00f6yk\u00fcde), Samipa\u015fazade Sezai,Mehmet Akif Ersoy, Halit Ziya U\u015fakl\u0131gil, Mehmet Rauf, \u00d6mer Seyfettin, Yakup Kadri Karaosmano\u011flu, Refik Halit Karay, Re\u015fat Nuri G\u00fcntekin, Halide Edip Ad\u0131var.
\nNAT\u00dcRAL\u0130ZM<\/p>\n
*Determinizm anlay\u0131\u015f\u0131n\u0131 romana getiren bu ak\u0131m 19. asr\u0131n ikinci yar\u0131s\u0131nda Fransa’da ortaya \u00e7\u0131km\u0131\u015ft\u0131r.
\n *Determinizme g\u00f6re tabiat olaylar\u0131nda ayn\u0131 sebepler ayn\u0131 sonucu do\u011furur. Nat\u00fcralistler, Determinizmi topluma ve insan uygulad\u0131lar.
\n * Toplum b\u00fcy\u00fck bir laboratuar, insan deney konusu, sanat\u00e7\u0131 da bilgin say\u0131ld\u0131.
\n *\u0130nsan ki\u015fili\u011fini anlatabilmek i\u00e7in soya \u00e7ekim yasalar\u0131ndan ve toplum biliminden yararland\u0131lar.
\n *Romanlarda kahramanlar\u0131n portreleri ince ayr\u0131nt\u0131lar\u0131na kadar verilir.
\n *Yazar eserde ki\u015fili\u011fini gizler.
\n *G\u00f6zlem ve tasvir \u00f6nemlidir.
\n *Eserlerinde hayat\u0131 b\u00fct\u00fcn y\u00f6n\u00fcyle anlat\u0131rlar.
\n *Bedenden ayr\u0131 bir ruh yoktur.
\n *Dil her seviyedeki insan\u0131n anlayabilece\u011fi bir d\u00fczeyde tutulmu\u015ftur
\n *Sanat toplum i\u00e7indir anlay\u0131\u015f\u0131 do\u011frultusunda eserler verilmi\u015ftir.
\n *Temsilcileri: Emile Zola, Guy De Maupassant, Alphonse Daudet, John Steinbeck, Goncourt Karde\u015fler,
\n *T\u00fcrk edebiyat\u0131nda ise; H\u00fcseyin Rahmi G\u00fcrp\u0131nar, Nabizade Naz\u0131m, Be\u015fir Fuat
\nPARNAS\u0130ZM<\/p>\n
*Romantik \u015fiir anlay\u0131\u015f\u0131 ile Fransa’da ortaya \u00e7\u0131km\u0131\u015ft\u0131r.
\n *Do\u011fal g\u00fczelli\u011fe ve d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015fe b\u00fcy\u00fck \u00f6nem verir.
\n *Sanat sanat i\u00e7indir ilkesini savunmu\u015ftur.
\n *Nesneleri d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015f\u00fcn\u00fc aktarm\u0131\u015flard\u0131r.
\n *Kelimeler se\u00e7ilerek kullan\u0131l\u0131r. Kelimelerin s\u0131ralay\u0131\u015f\u0131 ve ahenk \u00f6nemlidir.
\n *Kafiye ve Redife \u00f6nem verilir.
\n *Romantizm’de b\u0131rak\u0131lan eski Yunan ve Latin k\u00fclt\u00fcr\u00fcne d\u00f6n\u00fc\u015fm\u00fc\u015ft\u00fcr.
\n *Temsilcileri: Gauthier, Theodore Debanvaille, Francois Coppee, Jose Maria De Daudet, Sully Prudhomme
\n *T\u00fcrk edebiyat\u0131nda ise; Tevfik Fikret, Cenap Sahabettin, Yahya Kemal
\nSEMBOL\u0130ZM<\/p>\n
*19.yy’\u0131n son \u00e7eyre\u011finde ortaya \u00e7\u0131km\u0131\u015ft\u0131r.
\n *Nesneleri oldu\u011fu gibi anlatmak m\u00fcmk\u00fcn de\u011fildir. Nesneler de\u011fi\u015ferek anlat\u0131labilir.
\n *Anlat\u0131mda s\u00f6zlerin s\u00f6zl\u00fck anlam\u0131ndan b\u0131kan sembolistler ya\u015fatmaya \u00e7al\u0131\u015f\u0131rlar.
\n *\u015eiirde anlam a\u00e7\u0131kl\u0131\u011f\u0131ndan ka\u00e7\u0131nd\u0131lar.
\n *\u015eiir anla\u015f\u0131lmak i\u00e7in de\u011fil hissedilmek i\u00e7indir.
\n *\u015eiirde alaca karanl\u0131k \u00fcz\u00fcnt\u00fc ve ay \u0131\u015f\u0131\u011f\u0131, g\u00fcn do\u011fumu, g\u00fcn bat\u0131m\u0131 gibi belli belirsiz varl\u0131klar g\u00f6r\u00fcnt\u00fcleri yans\u0131t\u0131rlar.
\n *\u015eiirde musiki her \u015feyden \u00f6nce musiki ilkesini savundular.
\n *Sanat i\u00e7in sanat anlay\u0131\u015f\u0131na ba\u011fl\u0131lard\u0131r.
\n *Dil herkesin anlayaca\u011f\u0131 seviyede de\u011fil olduk\u00e7a a\u011f\u0131rd\u0131r.
\n *Temsilcileri: Baudelaire, Mallarme, Arthur Rimbaud, Paul Verlaine, Paul Valery, Edgar Ailen Poe
\n *T\u00fcrk edebiyat\u0131nda ise; Ahmet Ha\u015fim, Ahmet Hamdi Tanp\u0131nar, Cahit S\u0131tk\u0131 Taranc\u0131, Ahmet Muhip D\u0131ranas, Cenap Sahabettin
\nS\u00dcRREAL\u0130ZM (GER\u00c7EK \u00dcST\u00dcC\u00dcL\u00dcK)<\/p>\n
Realizm, nat\u00fcralizm ve parnasizm ak\u0131mlar\u0131na tepki olarak do\u011fmu\u015ftur. Freud’un “psikanaliz kuram\u0131’n\u0131n edebiyata uyarlanm\u0131\u015f bi\u00e7imidir. Ak\u0131m\u0131n bilgi ve esin kayna\u011f\u0131 olan Freud’a g\u00f6re, insano\u011flunun d\u0131\u015f d\u00fcnyadan edindi\u011fi al\u0131\u015fkanl\u0131klar, istekler bilin\u00e7alt\u0131nda toplan\u0131r. Bu istekler d\u00fc\u015f, r\u00fcya, yar\u0131 r\u00fcya durumunda \u00e7\u00f6z\u00fclerek ortaya \u00e7\u0131kar. Ak\u0131m\u0131n kurucusu olan Andre Breton bu ak\u0131m\u0131 \u015f\u00f6yle tan\u0131mlam\u0131\u015ft\u0131r: “Ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck, ister s\u00f6z, ister yaz\u0131 ile ya da ba\u015fka bir yolla, d\u00fc\u015f\u00fcncenin ger\u00e7ek i\u015fleyi\u015fini ortaya \u00e7\u0131karmak i\u00e7in ba\u015fvurulan, i\u00e7inden geldi\u011fi gibi yazma y\u00f6ntemidir. Bu, akl\u0131n denetimi olmaks\u0131z\u0131n (r\u00fcyada oldu\u011fu gibi) her t\u00fcrl\u00fc estetik ve ahlak kayg\u0131s\u0131 d\u0131\u015f\u0131nda d\u00fc\u015f\u00fcncenin yaz\u0131l\u0131\u015f\u0131d\u0131r.”
\n *Kelime anlam\u0131 “ger\u00e7ek \u00fcst\u00fcnc\u00fcl\u00fck” demek olan bu ak\u0131m 1924’te Fransa’da \u00e7\u0131km\u0131\u015ft\u0131r.
\n *S\u00fcrrealistler Sigmund Freud’un etkisinde kalm\u0131\u015flard\u0131r.
\n *Bilin\u00e7alt\u0131 r\u00fcyada ortaya \u00e7\u0131kar.
\n *Hipnotize edilmi\u015f insanlara \u015fiir s\u00f6ylettiler.
\n *Ak\u0131l ve mant\u0131k de\u011fersizdir. \u0130nsan\u0131 y\u00f6nlendiren \u0130\u00e7g\u00fcd\u00fc, bilin\u00e7alt\u0131d\u0131r demi\u015flerdir.
\n * Temsilcileri: Andre Breton, Louis Aragon, Paul Eluard, Philippe Soupault, Rene Char
\n * T\u00fcrk edebiyat\u0131nda ise; Orhan Veli ve arkada\u015flar\u0131, Cemal S\u00fcreyya, \u0130lhan Berk (\u0130kinci Yeniciler), Oktay Rifat
\nEMPRESYON\u0130ZM (\u0130ZLEN\u0130MC\u0130L\u0130K)<\/p>\n
19. y\u00fczy\u0131l\u0131n sonlar\u0131nda ortaya \u00e7\u0131km\u0131\u015f, Fransa’da geli\u015fmi\u015f; daha \u00e7ok; edebiyatta, resimde, m\u00fczikte etkisini g\u00f6stermi\u015ftir. Empresyonistler, varl\u0131\u011f\u0131n ger\u00e7ek ve nesnel yan\u0131n\u0131 de\u011fil, sanat\u00e7\u0131da uyand\u0131rd\u0131\u011f\u0131 izlenimleri anlatma amac\u0131n\u0131 g\u00fctm\u00fc\u015flerdir. Bu izlenim, sanat\u00e7\u0131dan sanat\u00e7\u0131ya de\u011fi\u015fti\u011fi i\u00e7in, ortaya konan sanat yap\u0131t\u0131, onu ortaya koyan\u0131n ki\u015fili\u011fini yans\u0131t\u0131r. Yap\u0131tlar\u0131nda kendi i\u00e7 d\u00fcnyalar\u0131n\u0131 dile getirdikleri i\u00e7in, \u00e7evreyi saran evrene ve d\u0131\u015f d\u00fcnyaya kar\u015f\u0131 ilgisizdirler.
\n * Duyular\u0131m\u0131z\u0131n d\u0131\u015f evreni bize oldu\u011fu gibi de\u011fil, onun ger\u00e7ek g\u00f6r\u00fcn\u00fc\u015f\u00fcn\u00fc de\u011fi\u015ftirerek ula\u015ft\u0131rd\u0131\u011f\u0131 kabul edilmi\u015ftir.
\n * Sanat\u00e7\u0131lar, yap\u0131tlar\u0131nda, d\u0131\u015f d\u00fcnyada g\u00f6rd\u00fcklerinin ger\u00e7ek y\u00f6n\u00fcn\u00fc de\u011fil; “kendilerinde uyand\u0131rd\u0131\u011f\u0131 izlenimleri” anlatm\u0131\u015flard\u0131r.
\n * D\u00fcnya edebiyat\u0131nda temsilcileri: Rainer Maria Rilke, Paul Verlaine, Arthur Rimbaud
\nEKSPRESYON\u0130ZM (DI\u015eAVURUMCULUK)<\/p>\n
Birinci d\u00fcnya sava\u015f\u0131ndan sonra, empresyonizme tepki olarak do\u011fmu\u015f, Alman sinemas\u0131nda uygulanm\u0131\u015ft\u0131r. \u00c7evremizi saran evrene ve d\u00fcnyaya kar\u015f\u0131 ilgisiz g\u00f6r\u00fcnen bu ak\u0131m, insan\u0131n i\u00e7 d\u00fcnyas\u0131n\u0131 ve b\u00fct\u00fcn duygular\u0131n\u0131 en gizli ve \u00e7\u0131plak y\u00f6nleriyle, oldu\u011fu gibi anlat\u0131r. Ger\u00e7ekler her insana g\u00f6re de\u011fi\u015fik oldu\u011fu i\u00e7in \u00f6nemli olan\u0131 sanat\u00e7\u0131n\u0131n ki\u015fili\u011fini ve ger\u00e7ekleri kendine g\u00f6re dile getirmesidir.
\n * Sanat\u00e7\u0131lar, kendi i\u00e7lerine kapan\u0131p kendilerini g\u00f6zlemlemi\u015f, i\u00e7 g\u00f6zleme \u00f6nem vermi\u015flerdir.
\n * Bireyin en gizli y\u00f6nlerini a\u00e7\u0131\u011fa vuran bir anlat\u0131m yolu kullan\u0131lm\u0131\u015ft\u0131r.
\n * Yap\u0131tlarda, fantastik ve korkun\u00e7 olaylar anlat\u0131lm\u0131\u015ft\u0131r.
\n * Ama\u00e7, insanlar\u0131n ruhsal durumlann\u0131n ortaya konmas\u0131d\u0131r.
\n * D\u00fcnya edebiyat\u0131nda ba\u015fl\u0131ca temsilcileri: Franz Kafka, Thomas Stearns Eliot, James Joyce
\nK\u00dcB\u0130ZM<\/p>\n
20. y\u00fczy\u0131l\u0131n ba\u015f\u0131nda empresyonizme tepki olarak ortaya \u00e7\u0131km\u0131\u015f ve daha \u00e7ok, resimde kendini g\u00f6stermi\u015ftir. Yaz\u0131n alan\u0131n da, \u00f6zellikle \u015fairler, ressam Picasso’nun da etkisiyle bir anlay\u0131\u015f geli\u015ftirmi\u015flerdir. Buna g\u00f6re \u015fairler, d\u0131\u015f d\u00fcnyay\u0131 izleyip olup bitenleri iyi saptamak zorundad\u0131r. Onlara g\u00f6re d\u00fcnyadaki k\u00fc\u00e7\u00fck olaylan ve anlamlar\u0131 yakalamak gerekir “S\u00f6ylenmemi\u015f olan\u0131”, “g\u00f6r\u00fclmemi\u015f olan\u0131” g\u00fcn \u0131\u015f\u0131\u011f\u0131na \u00e7\u0131karmak, akl\u0131n de\u011fil d\u00fc\u015f g\u00fcc\u00fcn\u00fcn yapaca\u011f\u0131 i\u015ftir.
\n * Varl\u0131\u011f\u0131n, d\u0131\u015f g\u00f6r\u00fcn\u00fc\u015f\u00fcyle birlikte i\u00e7 d\u00fcnyas\u0131n\u0131n betimlenmesi ama\u00e7lanm\u0131\u015ft\u0131r.
\n * Sanat\u00e7\u0131lar, anlat\u0131m\u0131 canl\u0131 k\u0131lmak i\u00e7in, yap\u0131tlar\u0131nda duygularla olaylar\u0131 kar\u0131\u015ft\u0131rarak yans\u0131tm\u0131\u015flard\u0131r.
\n * D\u00fcnya edebiyat\u0131nda temsilcileri: Apollinaire, Max Jacob, Jean Cocteau, Blaise Cendrars
\nF\u00dcT\u00dcR\u0130ZM (GELECEK\u00c7\u0130L\u0130K)<\/p>\n
20. y\u00fczy\u0131lda ortaya \u00e7\u0131km\u0131\u015f, makineyi ve h\u0131z\u0131 edebiyata ta\u015f\u0131yan edebiyat ak\u0131m\u0131d\u0131r. I. D\u00fcnya Sava\u015f\u0131 ba\u015flamadan ortaya \u00e7\u0131kan bu ak\u0131m, “ge\u00e7mi\u015ften kopu\u015fu, yenilik ve de\u011fi\u015fikli\u011fe y\u00f6neli\u015fi” ilke edinmi\u015ftir.
\n *Gelece\u011fi makinele\u015ftiren sanatt\u0131r.
\n *20.yy. ba\u015f\u0131nda Marinetti taraf\u0131ndan kurulmu\u015ftur.
\n *Ge\u00e7mi\u015fin sanat de\u011ferlerini b\u0131rakmal\u0131 ve yeni anlat\u0131m bi\u00e7imleri bulmal\u0131.
\n *Makinala\u015fma \u00e7al\u0131\u015fmalar\u0131 kutsall\u0131\u011f\u0131 savunulmal\u0131d\u0131r.
\n *Temsilcileri: Marinetti ve Mayakovski
\n *T\u00fcrk edebiyat\u0131nda ise: Naz\u0131m Hikmet
\nEGZ\u0130STANS\u0130YAL\u0130ZM ( VAR OLU\u015e\u00c7ULUK)<\/p>\n
Egzistansiyalizm, k\u00f6k\u00fc \u0130lk\u00e7a\u011f Yunan felsefesine kadar uzanan bir felsefe sistemidir. \u0130kinci D\u00fcnya Sava\u015f\u0131’n\u0131n son y\u0131llar\u0131nda ba\u011f\u0131ms\u0131z bir felsefe olarak ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Felsefe ve edebiyat alan\u0131nda en \u00f6nemli temsilcisi ve kurucusu Jean Paul Sartre’d\u0131r. Bu ak\u0131ma g\u00f6re, insan kendi \u00f6z\u00fcn\u00fc kendisi se\u00e7er. Bu g\u00f6r\u00fc\u015f \u015f\u00f6yle \u00f6zetlenebilir: “Var” olma “\u00f6z”den \u00f6nce gelir; yani, insan \u00f6nce d\u00fcnyaya gelir, var olur, ondan sonra olmak istedi\u011fi gibi olur. Egzistansiyalizmin bu anlay\u0131\u015f\u0131, Nietzsche nin, “Her insan, tarihte e\u015fi bir daha tekrarlanmayacak biricik harikad\u0131r.” s\u00f6z\u00fcnde, \u00f6zl\u00fc ifadesini bulur.
\n *Var olmay\u0131 her \u015feyden \u00f6nce g\u00f6renlerdir. Bu ak\u0131ma var olu\u015f\u00e7uluk da denir.
\n *\u0130nsan kendi de\u011ferlerini kendi olu\u015fturabilece\u011fini bilmelidir.
\n *\u0130nsan b\u00fct\u00fcn\u00fcyle \u00f6zg\u00fcr olmal\u0131d\u0131r.
\n * Temsilcileri: Jean Paul Sartre, Albert Camus, Andre Gide, Samuel Beckett, Franz Kafka
\nDADA\u0130ZM<\/p>\n
20. y\u00fczy\u0131l\u0131n ilk \u00e7eyre\u011finde Tristan Tzara adl\u0131 gencin etraf\u0131nda toplanan bir grup \u015fair; “dada” s\u00f6zc\u00fc\u011f\u00fcn\u00fc, kurmak istedikleri ak\u0131ma ad olarak se\u00e7mi\u015f ve dadaizmi kurmu\u015flard\u0131r. Frans\u0131zca bir s\u00f6zc\u00fck olan dada, \u00e7ocuklar\u0131n binerek oynad\u0131klar\u0131 “a\u011fa\u00e7 par\u00e7as\u0131, tahta at” anlam\u0131na gelir. D\u00fczensiz s\u00f6zc\u00fck ve imgelerin kullan\u0131ld\u0131\u011f\u0131 bu ak\u0131m, Birinci D\u00fcnya Sava\u015f\u0131’n\u0131n getirdi\u011fi y\u0131k\u0131c\u0131 ortamda d\u00fc\u015f k\u0131r\u0131kl\u0131\u011f\u0131na u\u011frayan ayd\u0131n ve sanat\u00e7\u0131lar\u0131n bir ba\u015fkald\u0131r\u0131s\u0131 olarak do\u011fmu\u015ftur. Bir ba\u015fka deyi\u015fle iki d\u00fcnya sava\u015f\u0131 aras\u0131nda varl\u0131k g\u00f6steren ve toplumu uyu\u015fukluktan kurtarma \u00e7abas\u0131 g\u00fcden bir harekettir.<\/p>\n
* Akl\u0131n hi\u00e7bir de\u011ferinin olmad\u0131\u011f\u0131 s\u00f6ylenmi\u015f, hi\u00e7bir \u015feyin do\u011frulu\u011funa ve varl\u0131\u011f\u0131na inan\u0131lmam\u0131\u015f, her \u015feye ku\u015fkuyla bak\u0131lm\u0131\u015ft\u0131r.
\n * Dil ve estetik kurallar\u0131 bir yana b\u0131rak\u0131larak kurals\u0131zl\u0131k ilkesi benimsenmi\u015ftir.
\n *Kelimeleri rasgele kullanmak suretiyle olu\u015fan \u015fiirlere denir.
\n *Temsilcileri: Tristan Tzara, Breton, Aragon<\/p>\n","protected":false},"excerpt":{"rendered":"
H\u00dcMAN\u0130ZM: * \u0130nsana de\u011fer vermek esast\u0131r. * Tabiat\u0131 Tanr\u0131 yaratm\u0131\u015ft\u0131r d\u00fc\u015f\u00fcncesi kabul edilmi\u015ftir. * \u0130nsan\u0131 sevip onu y\u00fcceltme. * Dante bu d\u00fc\u015f\u00fcncenin temsilcisidir. R\u00d6NESANS\u00c7ILAR: *Hem h\u00fcmanizmin getirdiklerin hem de 16.yy. bilim ve ak\u0131lc\u0131l\u0131\u011f\u0131n\u0131 benimsemi\u015flerdir. *\u00d6zg\u00fcrl\u00fck d\u00fc\u015f\u00fcncesini geli\u015ftirirler. *Petrarca, Montaigne, Bocon, Cervantes, Shakspeare bu d\u00f6nemde eser verirler. KLAS\u0130S\u0130ZM *17.yy ortalar\u0131nda Fransa’da ortaya \u00e7\u0131kan edebiyat ak\u0131m\u0131d\u0131r. *Akla …<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1403,1405],"tags":[9459,9462,9460,9461,9446,9463,9447,9455,9469,9467,9443,9452,9465,9464,415,9454,9457,9451,9445,9468,9444,9453,9450,9448,9456,9466,9458,9449],"class_list":["post-4289","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-aleksandre-dumas-pere","tag-aleksandre-puskin","tag-alfred-de-musset","tag-alfred-de-vigny","tag-bocon","tag-cehov","tag-cervantes","tag-chateaubriand","tag-determinizm","tag-dostoyevski","tag-edebi-akimlar","tag-goethe","tag-gogol","tag-gorki","tag-humanizm","tag-jean-jacques-rousseau","tag-lamartine","tag-lord-byron","tag-montaigne","tag-naturalistler","tag-petrarca","tag-schiller","tag-shakespeare","tag-shakspeare","tag-stael","tag-tolstoy","tag-victor-hugo","tag-voltaire"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/4289","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/comments?post=4289"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/4289\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=4289"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=4289"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=4289"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}