Sagu-a\u011f\u0131t-mersiye konu y\u00f6n\u00fcyle ortakt\u0131r. Mersiye \u00f6l\u00e7\u00fc y\u00f6n\u00fcnden farkl\u0131d\u0131r.
\n\u2022 Ko\u015fuk, sagu ve destan \u0130slamiyet \u00f6ncesi d\u00f6nemde, d\u00f6rtl\u00fckler bi\u00e7iminde, hece \u00f6l\u00e7\u00fcs\u00fcyle ve genellikle yar\u0131m uyak kullan\u0131larak s\u00f6ylenmi\u015ftir.
\n\u2022 Yapay destanlar, do\u011fal destan s\u00fcrecinden ge\u00e7meyen yazar\u0131 bilinen destanlard\u0131r.
\n\u2022 Orhun (G\u00f6kt\u00fcrk) Yaz\u0131tlar\u0131 8.yy. da Orhun Irma\u011f\u0131 k\u0131y\u0131s\u0131nda dikilen, yaz\u0131l\u0131 edebiyat\u0131m\u0131z\u0131n ilk \u00fcr\u00fcnleridir.
\n\u2022 T\u00fcrkler\u2019in bilinen en eski yaz\u0131l\u0131 metinleri olan \u201cOrhun Yaz\u0131tlar\u0131\u201d, T\u00fcrk adlar\u0131, T\u00fcrk gelene\u011fi, atas\u00f6zleri, en eski T\u00fcrk inanc\u0131, \u00f6l\u00fcm ve yas gelenekleri, T\u00fcrk devlet yap\u0131s\u0131, T\u00fcrk sosyal yap\u0131s\u0131\u2026 gibi konularda bize \u00f6nemli derecede kaynakl\u0131k etmektedir. Tarihin ta\u015flarla edebile\u015fti\u011fi ve devlet adamlar\u0131n\u0131n ya\u015f ya\u015f, tek tek halk\u0131na hesap verdi\u011fi \u2013 seslendi\u011fi bir eser olan \u201cOrhun Abideleri\u201d, folklor a\u00e7\u0131s\u0131ndan da bize en iyi kaynaklardan birisidir.
\n\u2022 Kutadgu Bilig, siyasetname olup, Yusuf Has Hacib taraf\u0131ndan yaz\u0131lan, didaktik \u00f6zellikler ta\u015f\u0131yan alegorik bir eserdir.
\n\u2022 Atabet\u00fc\u2019l-Hakay\u0131k (Edip Ahmet), Divan-\u0131 Hikmet (Ahmet Yesevi) tasavvuf\u00ee eserlerdir.
\n\u2022 Ka\u015fgarl\u0131 Mahmud taraf\u0131ndan 1072 \u2013 1074 y\u0131llar\u0131 aras\u0131nda olu\u015fturulan Divan-u L\u00fcgati\u2019t T\u00fcrk, temel olarak b\u00fcy\u00fck olas\u0131l\u0131kla T\u00fcrkler\u2019in hakimiyeti alt\u0131na girecek olan Araplar\u2019a, T\u00fcrk\u00e7e \u00f6\u011fretme ama\u00e7l\u0131 olarak yaz\u0131lm\u0131\u015ft\u0131r. Temel olarak T\u00fcrk\u00e7e \u2013 Arap\u00e7a s\u00f6zl\u00fck niteli\u011finde bir eserdir. Fakat folklore kaynakl\u0131k edece\u011fi yerler de vard\u0131r. S\u00f6zc\u00fcklerin anlamlar\u0131n\u0131n a\u00e7\u0131kland\u0131\u011f\u0131 b\u00f6l\u00fcmlerde, s\u00f6zc\u00fc\u011f\u00fcn c\u00fcmle i\u00e7erisinde kullan\u0131m\u0131n\u0131 g\u00f6stermek i\u00e7in \u015fiirlerin, atas\u00f6zlerinin\u2026 kullan\u0131lmas\u0131, folklore kaynakl\u0131k etmektedir.
\n\u2022 Dede Korkut Hikayeleri nedir , O\u011fuzlar\u0131n sava\u015flar\u0131n\u0131 anlatan, destan devrinden halk hikayecili\u011fine ge\u00e7i\u015fin \u00fcr\u00fcn\u00fc olan, on iki hikayeden olu\u015fan anonim \u00fcr\u00fcnlerdir.
\n\u2022 Mevlana, Yunus Emre, Hac\u0131 Bekta\u015f-\u0131 Veli 13.yy. da ya\u015fay\u0131p insanl\u0131k sevgisini anlatan tasavvuf\u00e7ulard\u0131r.
\n\u2022 Risalet\u00fc\u2019n-Nushiye (Yunus Emre), Divan-\u0131 Kebir (Mevlana), Makalat (Hac\u0131 Bekta\u015f-\u0131 Veli) tasavvufu anlatan eserlerdir.
\n\u2022 \u0130lahi (nefes-deme), \u015fathiye, nutuk, devriye tasavvuf \u015fiirinin d\u00f6rtl\u00fckle olu\u015fan t\u00fcrleridir.
\n\u2022 Ko\u015fma, semai, varsa\u011f\u0131, destan a\u015f\u0131k edebiyat\u0131 \u00fcr\u00fcnleridir. D\u00f6rtl\u00fcklerle ve hece \u00f6l\u00e7\u00fcs\u00fcyle yaz\u0131l\u0131rlar. Ko\u015fma, i\u015fledi\u011fi konulara g\u00f6re ko\u00e7aklama, g\u00fczelleme, ta\u015flama, a\u011f\u0131t d\u00f6rde ayr\u0131l\u0131r.
\n\u2022 Kaygusuz Abdal ve Pir Sultan Abdal tasavvufu farkl\u0131 yorumlayan ki\u015filerdir.
\n\u2022 Karacao\u011flan, Emrah, A\u015f\u0131k Veysel g\u00fczelleme; Dadalo\u011flu, K\u00f6ro\u011flu ko\u00e7aklama t\u00fcr\u00fcnde eserler vermi\u015flerdir.
\n\u2022 Seyran\u00ee (ki\u015fsel), Dertli (toplumsal) ta\u015flama \u00f6rnekleri vermi\u015flerdir.
\n\u2022 Mani, \u201caaxa\u201d uyak d\u00fczeninde, 7\u2019li hece \u00f6l\u00e7\u00fcs\u00fc ve tek d\u00f6rtl\u00fck olu\u015fu nedeniyle anonim edebiyat\u0131n en yayg\u0131n naz\u0131m bi\u00e7imidir. Divan \u015fiirindeki rubai ve tuyu\u011fla ortak \u00f6zelliklere sahiptir.
\n\u2022 Ola\u011fan\u00fcst\u00fcl\u00fck, kahramanlar\u0131n\u0131n soylu ki\u015filerinden olu\u015fmas\u0131, abart\u0131l\u0131 anlat\u0131m destanla masal\u0131n ortak \u00f6zellikleridir. Destan milli, masal \u00e7o\u011funlukla evrenseldir. Destan konusunu tarihi bir ger\u00e7ekten al\u0131r, masal tamam\u0131yla hayal \u00fcr\u00fcn\u00fcd\u00fcr.
\n\u2022 Eski T\u00fcrk Edebiyat\u0131\u2019n\u0131n kaynaklar\u0131 \u015funlard\u0131r: Tarih (Kitaplar ve metinler), Edebiyat Tarihi (Kitaplar\u2026), Nazire Mecmualar\u0131 (\u00d6zellikle 18.yy), Biyografik Eserler, Dergiler, S\u00f6zl\u00fckler, (\u015euara) Tezkireler, Mesleh (Hattat Mevlevi), \u015eiir Mecmualar\u0131, Bibliyografik Eserler, Ansiklopediler, Kataloglar
\n\u2022 Gazel 5-15, kaside 33-99 beyit ve \u201caa xa xa xa\u2026\u201d uyak d\u00fczeniyle, mesnevi ise beyit say\u0131s\u0131nda s\u0131n\u0131rlama olmaks\u0131z\u0131n \u201caa bb cc dd \u2026\u201d uyak d\u00fczeniyle yaz\u0131l\u0131r.
\n\u2022 \u015eark\u0131 ve tuyu\u011f T\u00fcrk edebiyat\u0131na \u00f6zg\u00fc naz\u0131m \u015fekilleridir.
\n\u2022 Rubai, tuyu\u011f, murabba d\u00f6rtl\u00fcklerle olu\u015fturulan divan \u015fiiri naz\u0131m t\u00fcrleridir.
\n\u2022 Felsef\u00ee ve din\u00ee konular\u0131n i\u015flendi\u011fi \u201cterkib-i bend\u201d de vas\u0131ta beyiti devaml\u0131 de\u011fi\u015fir. \u201cTerci-i bend\u201dde vas\u0131ta beyiti ayn\u0131 kal\u0131r.
\n\u2022 Gazel ve kasidede ilk beyite matla, son beyite makta, \u015fairin ad\u0131n\u0131n ge\u00e7ti\u011fi beyite mahlas beyiti veya ta\u00e7 beyit denir.
\n\u2022 Dize sonlar\u0131ndaki uyaktan ba\u015fka \u015fiirin ortas\u0131nda da uyak bulunursa buna musammat gazel veya musammat kaside denir.
\n\u2022 M\u00fcnacat, naat, h,c,v divan \u015fiirinde \u015fiirin konular\u0131na g\u00f6re ald\u0131\u011f\u0131 isimlerdir.
\n\u2022 Divan edebiyat\u0131nda \u015fairler hakk\u0131nda bilgi veren eserlere tezkire, halk edebiyat\u0131nda c\u00f6nk ad\u0131 verilir.
\n\u2022 Mecalisi\u2019n-Nafais (Ali \u015eir Nevai) ilk \u015fairler tezkiresidir.
\n\u2022 Harname (\u015eeyhi), 15.yy.da yaz\u0131lm\u0131\u015f hiciv t\u00fcr\u00fcnde bir mesnevidir.
\n\u2022 \u015eikayetname, Fuzuli\u2019nin maa\u015f\u0131n\u0131 alamad\u0131\u011f\u0131 i\u00e7in yazd\u0131\u011f\u0131 mektup t\u00fcr\u00fcndeki eseridir.
\n\u2022 Nefi, 17.yy.da hiciv \u00f6rne\u011fi \u201cSiham-\u0131 Kaza\u201d; nabi, ayn\u0131 y\u00fczy\u0131lda yazd\u0131\u011f\u0131, didaktik eser olan \u201cHayriyye\u201d ile tan\u0131n\u0131r.
\n\u2022 Nedim ve \u015eeyh Galib hece ile de yazan divan \u015fairleridir.
\n\u2022 Katip \u00c7elebi \u201cCihann\u00fcma\u201d (co\u011frafya), Ke\u015ff\u00fc\u2019z-Z\u00fcnun; Evliya \u00c7elebi, Seyahatnme; Naima, \u201cNaima Tarihi\u201d adl\u0131 eserleri yazan Divan edebiyat\u0131n\u0131n nesir ustalar\u0131d\u0131r.
\n\u2022 Takvim-i Vakayi (ilk resm\u00ee gazete), Ceride-i Havadis (ilk yar\u0131 resm\u00ee gazete), Terc\u00fcman-\u0131 Ahval (ilk \u00f6zel gazete), \u015eair Evlenmesi-\u015finasi (\u0130lk tiyatro), Telemak-Yusuf kamil Pa\u015fa (ilk \u00e7eviri roman ), Taa\u015f\u015fuk-\u0131 Talat ve Fitnat-\u015eemsettin Sami (ilk yerli roman), \u0130ntibah-Nam\u0131k Kemal (ilk edebi roman), Cezmi-Nam\u0131k Kemal (ilk tarihi roman), Araba Sevdas\u0131-Recaizade Mahmud Ekrem (ilk realist roman), Karabibik-Nabizade Naz\u0131m (k\u00f6y konulu ilk eser), letaif-i Rivayet-Ahmet Mithat (ilk \u00f6yk\u00fc), Eyl\u00fcl-Mehmet Rauf (ilk psikolojik roman), Mai ve Siyah-Halit Ziya U\u015fakl\u0131gil ( Bat\u0131l\u0131 anlamda ilk realist roman).
\n\u2022 Tanzimat roman\u0131nda yanl\u0131\u015f bat\u0131l\u0131la\u015fma ve cariyelik en yayg\u0131n konulard\u0131r.
\n\u2022 Tanzimat \u015fiirinde divan \u015fiiri bi\u00e7imleri kullan\u0131lm\u0131\u015f, i\u00e7erik de\u011fi\u015fmi\u015ftir.
\n\u2022 Nam\u0131k Kemal hem tiyatro hem roman yazm\u0131\u015f; ancak onu as\u0131l tan\u0131tan vatan temal\u0131 \u015fiirleridir.
\n\u2022 Tahrib-i Harabat ve Takib, Nam\u0131k Kemal\u2019in Ziya Pa\u015fa i\u00e7in yazd\u0131\u011f\u0131 ele\u015ftirilerdir.
\n\u2022 Ahmet Vefik Pa\u015fa, Moliere\u2019den Cimri, Hastal\u0131k Hastas\u0131, Kibarl\u0131k Budalas\u0131 gibi tiyatrolar\u0131 \u00e7evirmi\u015ftir.
\n\u2022 Ahmet Mithat Efendi\u2019nin halka okuma zevkini a\u015f\u0131lama d\u00fc\u015f\u00fcncesini H\u00fcseyin Rahmi ve Halide Edep de s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr.
\n\u2022 Edebiyat\u0131m\u0131z\u0131n \u00fcnl\u00fc s\u00f6zl\u00fckleri; Divan-\u00fc Lugati\u2019t-T\u00fcrk, Muhakemet\u00fc\u2019l-Lugateyn, Leh\u00e7e-i Osman ve Kamus-\u0131 T\u00fcrk\u00ee\u2019dir.
\n\u2022 Tanzimat edebiyat\u0131 ikinci d\u00f6neminde \u201csanat sanat i\u00e7in\u201d anlay\u0131\u015f\u0131na d\u00f6n\u00fclerek, Servet-i F\u00fcnun edebiyat\u0131na haz\u0131rl\u0131k yap\u0131l\u0131r.
\n\u2022 R. Mahmut Ekrem \u201cG\u00fczel olan her \u015fey \u015fiire girebilir.\u201d diyerek Muallim Naci ile kafiye tart\u0131\u015fmas\u0131n\u0131 ba\u015flat\u0131r.
\n\u2022 A. Hamit Tarhan, Nam\u0131k Kemal\u2019in tiyatro anlay\u0131\u015f\u0131n\u0131n tersini savunur. Tiyatro tekni\u011fi iyi olmad\u0131\u011f\u0131 i\u00e7in yazd\u0131\u011f\u0131 tiyatrolar sahnelenemez.
\n\u2022 Edebiyat\u0131m\u0131zda \u00f6l\u00fcm temas\u0131yla me\u015fhur \u015fairler; Abd\u00fclhak Hamit, Cahit S\u0131tk\u0131, Yahya Kemal\u2019dir.
\n\u2022 Servet-i F\u00fcnuncular beyit anlay\u0131\u015f\u0131n\u0131 k\u0131rarak naz\u0131m\u0131 nesre yakla\u015ft\u0131r\u0131rlar.
\n\u2022 Servet-i F\u00fcnun\u2019da romanlar realizm ve nat\u00fcralizmden; \u015fiirler ise sembolizm ve parnasizmden etkilenir.
\n\u2022 Servet-i F\u00fcnun roman\u0131, \u00e7evre olarak \u0130stanbul\u2019u, karakter olarak ayd\u0131nlar\u0131 se\u00e7er.
\n\u2022 Tevfik Fikret, sanat\u0131n\u0131n ikinci d\u00f6neminde sanat\u0131 toplumun hizmetine sunar, hece \u00f6l\u00e7\u00fcs\u00fcyle yazd\u0131\u011f\u0131 \u015fiir kitab\u0131n\u0131n ismi \u015eermin\u2019dir.
\n\u2022 \u201cSis\u201d, Tevfik Fikret\u2019in \u0130stanbul\u2019a hakaretlerle dolu \u015fiiridir.
\n\u2022 Cenab \u015eahabettin, parnasizm ve sembolizmden etkilenmi\u015f, bir \u015fiirde birden \u00e7ok aruz kal\u0131b\u0131 kullanm\u0131\u015ft\u0131r.
\n\u2022 H. Ziya U\u015fakl\u0131gil, Balzac, Stendhal, flaubert gibi realist yazarlardan etkilenmi\u015f; Bat\u0131l\u0131 anlamda ilk realist roman Mai ve Siyah\u2019\u0131 yazm\u0131\u015ft\u0131r.
\n\u2022 H. Ziya\u2019n\u0131n an\u0131 t\u00fcr\u00fcndeki eserleri K\u0131rk Y\u0131l, Saray ve \u00d6tesi\u2019dir.
\n\u2022 H\u00fcseyin Cahit Yal\u00e7\u0131n, \u201cEdebiyat ve Hukuk\u201d adl\u0131 makalesiyle Servet-i F\u00fcnun dergisinin kapanmas\u0131na neden olmu\u015ftur.
\n\u2022 S\u00fcrg\u00fcne g\u00f6nderilen ba\u015fl\u0131ca sanat\u00e7\u0131lar; Nam\u0131k Kemal, H. Cahit Yal\u00e7\u0131n, S\u00fcleyman Nazif, Ziya G\u00f6kalp, \u015fair E\u015fref, Refik Halit Karay\u2019d\u0131r.
\n\u2022 S\u00fcleyman Nazif ve Ahmet Hikmet M\u00fcft\u00fco\u011flu dil y\u00f6n\u00fcyle -s\u0131ras\u0131yla- Tanzimat ve Milli Edebiyata ba\u011fl\u0131d\u0131rlar.
\n\u2022 \u015e\u0131k, \u015e\u0131psevdi, M\u00fcrebbiye, Metres, Kaynanam Nas\u0131l Kudurdu H\u00fcseyin Rahmi G\u00fcrp\u0131nar\u2019\u0131n romanlar\u0131d\u0131r.
\n\u2022 Ahmet Rasim, \u0130stanbul\u2019un g\u00fcnl\u00fck ya\u015fant\u0131s\u0131n\u0131 sade bir dille anlatan ba\u011f\u0131ms\u0131z yazarlardand\u0131r.
\n\u2022 Fecr-i Ati, Servet-i F\u00fcnun\u2019u ele\u015ftirmesine ra\u011fmen onun \u201cSanat ki\u015fiseldir.\u201d anlay\u0131\u015f\u0131n\u0131 devam ettirmi\u015ftir.<\/p>\n
\u2022 Milli Edebiyat, \u201cGen\u00e7 Kalemler\u201d dergisinde yay\u0131mlanan \u201cYeni Lisan\u201d adl\u0131 makaleyle 1911 y\u0131l\u0131nda ba\u015flar.
\n\u2022 Milli Edebiyat bir y\u00f6n\u00fcyle halk edebiyat\u0131na d\u00f6n\u00fc\u015f\u00fcr.
\n\u2022 \u00d6mer Seyfettin, mili ve tarih\u00ee konulu \u00f6yk\u00fcleriyle tan\u0131nan yazard\u0131r.
\n\u2022 Edebiyat\u0131m\u0131zdaki \u00fcnl\u00fc \u00f6yk\u00fcc\u00fcler; H. Cahit Yal\u00e7\u0131n, \u00d6mer Seyfettin, Memduh \u015eevket Esendal, Sait Faik Abas\u0131yan\u0131k, Haldun Taner\u2019dir.
\n\u2022 Ziya G\u00f6kalp, T\u00fcrk\u00e7\u00fcl\u00fc\u011f\u00fcn felsefesini yapm\u0131\u015f, Milli Edebiyata d\u00fc\u015f\u00fcnce y\u00f6n\u00fcyle katk\u0131da bulunmu\u015ftur.
\n\u2022 K\u0131z\u0131l Elma, Yeni Hayat, Alt\u0131n I\u015f\u0131k Ziya G\u00f6kalp\u2019in \u015fiir kitaplar\u0131d\u0131r.
\n\u2022 \u00d6zel isimle an\u0131lan \u015fairler; Sultan\u00fc\u2019\u015f-\u015euara (\u015eairler Sultan\u0131)-Baki, Vatan \u015eairi- Nam\u0131k Kemal, \u015eairi-i Azam-Abd\u00fclhak Hamit Tarhan, Bayrak \u015eairi-Arif Nihat Asya, T\u00fcrk \u015eairi-Mehmet Emin Yurdakul\u2026
\n\u2022 T\u00fcrk edebiyat\u0131n\u0131n tarihini bilimsel a\u00e7\u0131dan i\u015fleyen Mehmet Fuat K\u00f6pr\u00fcl\u00fcd\u00fcr.
\n\u2022 Edebiyat tarihi yazarlar\u0131; M. Fuat K\u00f6pr\u00fcl\u00fc, Ahmet Hamdi Tanp\u0131nar, Ali Canip Y\u00f6ntem\u2019dir.
\n\u2022 Halide Edip Ad\u0131var, \u0130ngiliz edebiyat\u0131ndan etkilenir. Ate\u015ften G\u00f6mlek, Vurun *****\u2019ye ( Kurulu\u015f \u015eava\u015f\u0131\u2019n\u0131 i\u015fler); Sinekli Bakkal, Tatarc\u0131k (toplumsal konular\u0131 i\u015fler), Mor Salk\u0131ml\u0131 Sokak (hat\u0131ra) baz\u0131 eserleridir.
\n Tezli roman t\u00fcr\u00fcn\u00fcn ustas\u0131d\u0131r. Kiral\u0131 Konak ( ku\u015fak \u00e7at\u0131smas\u0131), Sodom ve Gomore (i\u015fgal alt\u0131ndaki \u0130stanbul\u2019un olumsuz yanlar\u0131), Yaban (Kurtulu\u015f Sava\u015f\u0131 ve k\u00f6yl\u00fc ayd\u0131n u\u00e7urumunu i\u015fler), Ankara ( Cumhuriyet\u2019ten sonraki Ankara\u2019n\u0131n \u00fc\u00e7 d\u00f6nemi) Nur Baba ( Bekta\u015fi tekkeleri) belli ba\u015fl\u0131 eserleridir.
\n\u2022 Re\u015fat Nuri G\u00fcntekin\u2019in romanlar\u0131nda yo\u011fun bir Anadolu atmosferi vard\u0131r. Dili sade, karakterleri halktand\u0131r.
\n\u2022 Refik Halit Karay, s\u00fcrg\u00fcnde yazd\u0131\u011f\u0131 Anadolu konulu eserleriyle tan\u0131n\u0131r. S\u00fcrg\u00fcn, Yezidin K\u0131z\u0131, Bug\u00fcn\u00fcn Sarayl\u0131s\u0131 (roman), Kirpinin Dedikleri, Memleket Hikayeleri, Gurbet Hikayeleri baz\u0131 eserleridir.
\n\u2022 Be\u015f Hececiler Milli Edebiyat\u0131n devam\u0131 say\u0131l\u0131r. Faruk Nafiz \u00c7aml\u0131bel, Enis Behi\u00e7 Kory\u00fcrek, Halit Fahri Ozansoy, Orhan Seyfi Orhon, Yusuf Ziya Orta\u00e7 bu ak\u0131m\u0131n \u015fairleridir.
\n\u2022 Faruk nafiz \u00c7aml\u0131bel, aruzla da yazm\u0131\u015ft\u0131r. \u00c7oban \u00c7e\u015fmesi, Han Duvarlar\u0131 adl\u0131 \u015fiirleri \u00fcnl\u00fcd\u00fcr.
\n\u2022 Mehmet Akif Ersoy lirik-didaktik \u00f6zellikteki \u015fiirleriyle tan\u0131n\u0131r. Manzum hikayecilikte ustad\u0131r. Safahat (yedi b\u00f6l\u00fcm) \u00fcnl\u00fc eseridir.
\n\u2022 Ahmet Ha\u015fim sembolist \u015fairdir. \u015eeiirlerinde anlam kapal\u0131, d\u00fczyaz\u0131lar\u0131nda dili yal\u0131nd\u0131r. B\u00fct\u00fcn \u015fiirlerini aruzla yazm\u0131\u015f, Fecr-i Ati\u2019den sonra ba\u011f\u0131ms\u0131z olarak sanat anlay\u0131\u015f\u0131n\u0131 devam ettirmi\u015ftir. Baz\u0131 eserleri; Piraye, G\u00f6l Saatleri, Gurabhane-i Laklakan\u2026
\n\u2022 Yahya Kemal Beyatl\u0131 divan \u015fiirine yeni yorum getirmi\u015f, eski naz\u0131m bi\u00e7imleriyle Bat\u0131l\u0131 \u015fiirler yazm\u0131\u015ft\u0131r. \u015eiirlerinde sonsuzlu\u011fa eri\u015fme d\u00fc\u015f\u00fcncesi vard\u0131r. \u201cOk\u201d \u015fiirinin d\u0131\u015f\u0131ndaki b\u00fct\u00fcn \u015fiirlerini aruzla yazm\u0131\u015ft\u0131r. Eserleri; Kendi G\u00f6k Kubbemiz, Eski \u015eiirin R\u00fczgar\u0131yla, Aziz \u0130stanbul\u2026
\n\u2022 Yedi Me\u015faleciler, Be\u015f Hececileri duygusall\u0131kla su\u00e7lam\u0131\u015flar; ancak kendileri de sembolizmden etkilenmi\u015flerdir. Z. Osman Saba, Ya\u015far Nabi, Muammer L\u00fctfi Bah\u015fi, Vasfi Mahir Kocat\u00fcrk, Sabri Esat Siyavu\u015fgil, Cevdet Kudret Solok, Kenan Hulisi Koray sanat\u00e7\u0131lar\u0131d\u0131r.
\n\u2022 Garip Ak\u0131m\u0131 (I. Yeniciler) sanatsal anlat\u0131mdan, \u00f6l\u00e7\u00fc ve uyaktan ka\u00e7\u0131nm\u0131\u015f s\u0131radan insanlar\u0131n hayatlar\u0131n\u0131 i\u015flemi\u015ftir.
\n\u2022 II. Yeniciler, I. Yeni Hareketine tepki olarak ortaya \u00e7\u0131km\u0131\u015flard\u0131r. \u015eiirde anlam kapal\u0131l\u0131\u011f\u0131 savunmu\u015flar ve s\u00fcrrealizmden etkilenmi\u015flerdir. \u0130lhan Berk, Cemal S\u00fcreyya, Edip Cansever, Ece Ayhan baz\u0131 temsilcileridir.
\n\u2022 Ahmet Hamdi Tanp\u0131nar, Yahya Kemal\u2019in \u00f6\u011frencisidir. \u015eiirlerinde bilin\u00e7alt\u0131, r\u00fcya ve zaman kavram\u0131 bask\u0131nd\u0131r. Ge\u00e7mi\u015fe \u00f6zlem eserlerinin ba\u015fl\u0131ca temas\u0131d\u0131r. Huzur, Saatleri Ayarlama Enstit\u00fcs\u00fc, Be\u015f \u015eehir baz\u0131 eserleridir.
\n\u2022 Ahmet Kutsi Tecer, Anadolu motiflerini i\u015fler. Dergah ve Milli Mecmua\u2019da eserleri yay\u0131nlan\u0131r. Ko\u00e7yi\u011fit K\u00f6ro\u011flu, K\u00f6\u015feba\u015f\u0131 baz\u0131 eserleridir.
\n\u2022 Ahmet Muhip D\u0131ranas, Fahriye Abla adl\u0131 \u015fiiriyle me\u015fhurdur.
\n\u2022 Cahit S\u0131tk\u0131 Taranc\u0131, \u00f6l\u00fcm, yaln\u0131zl\u0131k konular\u0131n\u0131 i\u015fler. En \u00e7ok bilinen \u015fiirlerinden biri Otuz Be\u015f Ya\u015f\u2019t\u0131r.
\n\u2022 Faz\u0131l H\u00fcsn\u00fc Da\u011flarca\u2019n\u0131n en \u00fcnl\u00fc eserlerinden biri \u201c\u00dc\u00e7 \u015eehitler Destan\u0131\u201dd\u0131r. Eser yapay bir destand\u0131r.
\n\u2022 Cahit K\u00fclebi: Bir\u00e7ok \u015fiirinde noktalama i\u015fareti yoktur. \u00c7ocuk \u015fiirleriyle tan\u0131n\u0131r. \u201cT\u00fcrk Mavisi\u201d eserlerinden bir tanesidir.
\n\u2022 Nurullah Ata\u00e7: Deneme ve ele\u015ftirileriyle an\u0131l\u0131r.Devrik c\u00fcmle anlay\u0131\u015f\u0131n\u0131 ba\u015far\u0131yla uygulam\u0131\u015ft\u0131r. \u201cG\u00fcnlerin getirdi\u011fi, Karalama Defteri\u201d baz\u0131 eserleridir.
\n\u2022 Gezi Yaz\u0131s\u0131 Yazanlar: Evliya \u00c7elebi (Seyahatname), Ahmet Ha\u015fim (Frankfurt Seyahatnamesi), Falih R\u0131fk\u0131 Atay (Yolcu Defteri), Cenap \u015eahabettin ( Hac Yolunda)\u2026
\n\u2022 Psikolojik roman: Zehra (Nabizade Naz\u0131m), Eyl\u00fcl (Mehmet Rauf), Dokuzuncu Hariciye Ko\u011fu\u015fu (Peyami Safa)
\n\u2022 Sait Faik Abas\u0131yan\u0131k: \u00d6yk\u00fclerinde Adalar\u2019\u0131, \u0130stanbul\u2019u ve s\u0131radan insan\u0131 i\u015fler. Durum hikayecisidir. Semaver, Sarn\u0131\u00e7, Son Ku\u015flar baz\u0131 eserleridir.
\n\u2022 Necip Faz\u0131l K\u0131sak\u00fcrek: metafizik problemleri hecenin g\u00fcc\u00fcyle \u00e7ok g\u00fczel anlat\u0131r. \u015eiir d\u0131\u015f\u0131nda tiyatro, \u00f6yk\u00fc, ara\u015ft\u0131rma gibi alanlarda da eserler vermi\u015ftir. \u00c7ile, Bir Adam Yaratmak baz\u0131 eserleridir.
\n\u2022 Halikarnas Bal\u0131k\u00e7\u0131s\u0131 (Cevat \u015eakir Kabaa\u011fa\u00e7l\u0131): Bal\u0131k\u00e7\u0131lar\u0131 ve denizi i\u015fler. Bodrum\u2019un antik \u00e7a\u011flar\u0131ndaki ismini mahlas olarak kullan\u0131r.
\n\u2022 Kemal Tahir: Roman ve hikayelerinin konusunu sistemin aksayan y\u00f6nlerinden al\u0131r. Bozk\u0131rdaki \u00c7i\u00e7ek, Devlet Ana, Kar\u0131lar Ko\u011fu\u015fu, Esir \u015eehrin \u0130nsanlar\u0131 baz\u0131 eserleridir.
\n\u2022 Bedri Rahmi Ey\u00fcbo\u011flu; \u015fair ve yazarl\u0131k d\u0131\u015f\u0131nda ressamd\u0131r. Karadut, Can\u0131m Anadolu baz\u0131 eserleridir.
\n\u2022 Tar\u0131k Bu\u011fra: istiklal Sava\u015f\u0131\u2019n\u0131n bilinmeyen y\u00f6nlerine yeni yorumlar getirdi. K\u00fc\u00e7\u00fck A\u011fa, Osmanc\u0131k, Siyah Kehribar, yar\u0131n Diye Bir \u015eey Yok baz\u0131 eserleridir.
\n\u2022 Ya\u015far Kemal: \u00c7ukurova ve Toroslardaki efsanelere dayal\u0131, toprak kavgalar\u0131n\u0131 i\u015fleyen roman ve hikayeler yazm\u0131\u015ft\u0131r. \u0130nce Memed, Orta Direk, Sar\u0131 S\u0131cak, Teneke baz\u0131 eserleridir.
\n\u2022 Orhan Kemal: K\u00f6yden kente g\u00f6\u00e7 ve bu g\u00f6\u00e7\u00fcn son u\u00e7lar\u0131n\u0131 i\u015fler. 72. Ko\u011fu\u015f, Han\u0131m\u0131n \u00c7itli\u011fi baz\u0131 eserleridir.
\n\u2022 Necati Cumal\u0131: Ege B\u00f6lgesi\u2019ndeki k\u00f6yl\u00fcy\u00fc i\u015fler. T\u00fct\u00fcn Zaman\u0131, Bo\u015f Be\u015fik, Susuz Yaz baz\u0131 eserleridir.
\n\u2022 Cemil Meri\u00e7: Makale, deneme, ele\u015ftiri ustas\u0131d\u0131r. Bu \u00dclke,Umrandan Uygarl\u0131\u011fa, K\u0131rk Ambar baz\u0131 eserleridir.
\n\u2022 Cengiz Aytmatov: K\u0131rg\u0131z yazard\u0131r. Cemile, G\u00fcn Olur Asra Bedel, Selvi Boylum Al Yazmal\u0131m baz\u0131 eserleridir.
\n\u2022 Klasisizm, ak\u0131l ve sa\u011fduyuya \u00f6nem verir. Latin ve Yunan kaynaklar\u0131na y\u00f6nelen kuralc\u0131, y\u00fcksek z\u00fcmre edebiyat\u0131d\u0131r. Moliere, Racine, La Fontaine klasik yazarlardand\u0131r.
\n\u2022 Romantizm, Klasisizm\u2019e tepkidir. Kuralc\u0131l\u0131\u011f\u0131 reddederek ulusal konulara y\u00f6nelir. Z\u0131tl\u0131klar, ak-kara \u00e7at\u0131\u015fmas\u0131 ve \u00f6zellikle duygusall\u0131k \u00f6n plandad\u0131r. Victor Hugo, Goethe baz\u0131 yazarlar\u0131d\u0131r.
\n\u2022 Realizm, Romantizm\u2019e tepkidir. Ger\u00e7ekler g\u00f6zleme dayal\u0131 olarak anlat\u0131l\u0131r. Balzac, Stendhal, Flaubert, Tolstoy, Dostoyevski \u00fcnl\u00fc temsilcileridir.
\n\u2022 Parnasizm, realizm\u2019in \u015fiire yans\u0131mas\u0131d\u0131r. S\u00f6zc\u00fcklerle manzara \u00e7izilir.
\n\u2022 Sembolizm, kapal\u0131 \u015fiir anlay\u0131\u015f\u0131n\u0131 savunan edebi ak\u0131md\u0131r.
\n\u2022 Nat\u00fcralizm: A\u015f\u0131r\u0131 ger\u00e7ek\u00e7iliktir. Olaylar\u0131n ortaya \u00e7\u0131k\u0131\u015f\u0131 neden sonu\u00e7 ili\u015fkisi deneylenerek anlat\u0131l\u0131r.
\n\u2022 Edebi ak\u0131mlar\u0131n s\u0131ralan\u0131\u015f\u0131: Klasisizm, Romantizm, Realizm, Nat\u00fcralizm(roman ak\u0131mlar\u0131); Parnasizm, Sembolizm, S\u00fcrrealizm (\u015fiir ak\u0131mlar\u0131)
\n\u2022 D\u00fcnya edebiyat\u0131n\u0131n tan\u0131nm\u0131\u015f yazar ve eserlerinden baz\u0131lar\u0131: Shakespeare (Hamlet ve Otello), Cervantes (Don Ki\u015fot), Maksim Gorki (Ana), Montaigne (Denemeler), Schiller ( Wiliam Tell), Dostoyevski (Su\u00e7 ve Ceza), Tolstoy (Sava\u015f ve Bar\u0131\u015f), Mark Twain ( Tom Sawyer\u2019in Maceralar\u0131)
\n\u2022 Klasik trajedide karakterler y\u00fcksek tabakadand\u0131r, konu mitolojiktir. \u00d6l\u00fcm ve yaralanmalar sahnede g\u00f6sterilmez. \u00dc\u00e7 birlik kural\u0131 (zaman, mekan olay birli\u011fi) vard\u0131r.
\n\u2022 Klasik komedide ki\u015filer halk\u0131n i\u00e7inden, konular g\u00fcnl\u00fck ya\u015famdand\u0131r. \u00d6l\u00fcm ve yaralanmalar sahnede g\u00f6sterilir. \u00dc\u00e7 birlik kural\u0131 vard\u0131r.
\n\u2022 Deneme, ki\u015fisel d\u00fc\u015f\u00fcncelerin kan\u0131tlama amac\u0131 g\u00fcd\u00fclmeden aktar\u0131ld\u0131\u011f\u0131; f\u0131kra, g\u00fcnl\u00fck olaylar\u0131n sade bir dille yaz\u0131ld\u0131\u011f\u0131; makale, tezlerin kan\u0131tlanmaya \u00e7al\u0131\u015f\u0131ld\u0131\u011f\u0131; ele\u015ftiri; bir eserin bilimsel temellere dayan\u0131larak yorumland\u0131\u011f\u0131 yaz\u0131n t\u00fcrleridir.
\n\u2022 Lirik \u015fiir, co\u015fkular\u0131n i\u015flendi\u011fi; epik \u015fiir, kahramanl\u0131k konular\u0131n\u0131n i\u015flendi\u011fi; pastoral \u015fiir, k\u0131r ve \u00e7oban ya\u015fam\u0131n\u0131n i\u015flendi\u011fi; dramatik \u015fiir, ac\u0131kl\u0131 durumlar\u0131n i\u015flendi\u011fi; satirik \u015fiir ele\u015ftirilerin i\u015flendi\u011fi; didaktik \u015fiir; \u00f6\u011freticili\u011fin i\u015flendi\u011fi \u015fiir t\u00fcrleridir.
\n\u2022 Redif, ayn\u0131 g\u00f6revli ekler ve ayn\u0131 anlaml\u0131 s\u00f6zc\u00fcklerdir. Uyaktan sonra gelir.
\n\u2022 Nurullah Ata\u00e7, Suut Kemal Yetkin, Sebahattin Ey\u00fcbo\u011flu, Bacon, Montaige \u00fcnl\u00fc deneme yazarlar\u0131d\u0131r.
\n\u2022 Bir s\u00f6zc\u00fc\u011f\u00fcn hem ger\u00e7ek hem mecaz anlamda kullan\u0131lmas\u0131 kinaye sanat\u0131n\u0131 do\u011furur.
\n\u2022 H\u00fcsn-\u00fc Talil sanat\u0131nda olay\u0131n sebebi daha g\u00fczel bir nedene ba\u011flan\u0131r.
\n\u2022 Bilinen bir konunun bilinmiyormu\u015f gibi davran\u0131lmas\u0131 Tecah\u00fcl-i arif sanat\u0131n\u0131 do\u011furur.
\n\u2022 Seste\u015f s\u00f6zc\u00fckler cinas sanat\u0131 yapar.
\n\u2022 \u0130ntak (konu\u015fturma) sanat\u0131n\u0131n oldu\u011fu her yerde te\u015fhis vard\u0131r.
\n\u2022 Masal, evrensel; destan ulusal nitelikler ta\u015f\u0131r.
\n\u2022 Seci, d\u00fczyaz\u0131daki ses benzerli\u011fidir.
\n\u2022 Bir \u015fairin bir \u015fiirine ayn\u0131 \u00f6l\u00e7\u00fc ve ayn\u0131 uyakla yaz\u0131lan \u015fiirine nazire denir.
\n\u2022 \u0130lyada (Yunan), Kalevala(Fin), Nibelungen (Alman), Ramayana (Hint), \u015eehname (Fars) d\u00fcnyaca tan\u0131nm\u0131\u015f destanlard\u0131r.
\n\u2022 \u015eark\u0131, tuyu\u011f, rubai d\u00f6rtl\u00fcklerle yaz\u0131lan divan \u015fiiri naz\u0131m \u015fekilleridir.
\n\u2022 Dilinin a\u011f\u0131r olu\u015fu ve y\u00fcksek z\u00fcmreye y\u00f6neli\u015fi Divan edebiyat\u0131 ile Servet- F\u00fcnun\u2019un ortak \u00f6zellikleridir.
\n\u2022 A\u011f\u0131r ve sanatl\u0131 anlat\u0131m, sembollerle duygular\u0131 anlatma bi\u00e7imine Sebk-i Hindi denir. Sebk-i Hindi divan edebiyat\u0131nda kabul edilen bir anlay\u0131\u015ft\u0131r.
\n\u2022 Dacemeron hikayeleri (Bocecaeio) d\u00fcnyan\u0131n ilk hikayeleridir.
\n\u2022 Aiskhlos, Sophokles, Euripides, Aristopanes eski Yunan edebiyat\u0131n\u0131n tiyatro ustalar\u0131d\u0131r.<\/p>\n","protected":false},"excerpt":{"rendered":"
Sagu-a\u011f\u0131t-mersiye konu y\u00f6n\u00fcyle ortakt\u0131r. Mersiye \u00f6l\u00e7\u00fc y\u00f6n\u00fcnden farkl\u0131d\u0131r. \u2022 Ko\u015fuk, sagu ve destan \u0130slamiyet \u00f6ncesi d\u00f6nemde, d\u00f6rtl\u00fckler bi\u00e7iminde, hece \u00f6l\u00e7\u00fcs\u00fcyle ve genellikle yar\u0131m uyak kullan\u0131larak s\u00f6ylenmi\u015ftir. \u2022 Yapay destanlar, do\u011fal destan s\u00fcrecinden ge\u00e7meyen yazar\u0131 bilinen destanlard\u0131r. \u2022 Orhun (G\u00f6kt\u00fcrk) Yaz\u0131tlar\u0131 8.yy. da Orhun Irma\u011f\u0131 k\u0131y\u0131s\u0131nda dikilen, yaz\u0131l\u0131 edebiyat\u0131m\u0131z\u0131n ilk \u00fcr\u00fcnleridir. \u2022 T\u00fcrkler\u2019in bilinen en eski …<\/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":[2033,9687,9688,1990,9684,9680,9685,9682,2020,9689,9691,2001,9677,9679,9678,9683,9676,9681,9619,9686,9690,9580],"class_list":["post-4382","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-agit","tag-ahmet-vefik-pasa","tag-bes-hececiler","tag-destan","tag-gazel","tag-haci-bektas-i-veli","tag-harname","tag-kaygusuz-abdal","tag-lirik-siir","tag-lirik-didaktik","tag-masal","tag-mehmet-akif-ersoy","tag-mersiye","tag-mevlana","tag-orhun-abideleri","tag-pir-sultan-abdal","tag-pratik-edebiyat-bilgileri","tag-risaletun-nushiye","tag-sagu","tag-takvim-i-vakayi","tag-yahya-kemal-beyatli","tag-yunus-emre"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/4382","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=4382"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/4382\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=4382"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=4382"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=4382"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}