O \/ \u00d6<\/p>\n
OTOB\u0130YOGRAF\u0130
\nBir kimsenin kendi hayat\u0131n\u0131 yazd\u0131\u011f\u0131 eser. Bi\u00e7im ve i\u00e7eri\u011fiyle bir edebi de\u011fer ta\u015f\u0131mal\u0131d\u0131r.<\/p>\n
OTOGRAF
\nYazar\u0131n kendi el yaz\u0131s\u0131. Eskiden hatt-\u0131 dest (el yaz\u0131s\u0131) deyimi kullan\u0131l\u0131rd\u0131.<\/p>\n
OTTOVA R\u0130MA
\nSekiz m\u0131sral\u0131 bir naz\u0131m \u015fekli. \u00d6nce \u0130talyan edebiyat\u0131nda kullan\u0131lm\u0131\u015f, sonra Frans\u0131z edebiyat\u0131nda, buradan da T\u00fcrk edebiyat\u0131na ge\u00e7mi\u015ftir. Bat\u0131 edebiyat\u0131nda kafiye \u015femas\u0131, abababcc\u2019dir. Bu \u015fema bizde de\u011fi\u015fikli\u011fe u\u011frayarak ababcccb \u015feklini alm\u0131\u015ft\u0131r. Aabbccdc \u015fekli de g\u00f6r\u00fcl\u00fcr. Bu naz\u0131m \u015fekli lirik t\u00fcr i\u00e7in elveri\u015flidir. Ottova Rima\u2019y\u0131 edebiyat\u0131m\u0131zda daha \u00e7ok Abd\u00fclhak Hamid kullanm\u0131\u015ft\u0131r. \u00d6rnek:
\n(MAKBER\u2019den)
\nBu makberdir o b\u00e2ba makdem,
\nBilmem ne duyar girince, adem?
\nS\u00fbzi\u015flerimin budur es\u00e2s\u0131
\nHep \u015f\u00fcphelerin bu en fen\u00e2s\u0131
\nBenlik aceb\u00e2 kal\u0131r m\u0131 ol dem?
\nS\u00f6nm\u00fc\u015f erimekte o n\u00fbr-i d\u00eedem.
\nBen g\u00f6zler idim bu h\u00e2li ey y\u00e2r
\nSenden daha \u00e7ok zaman akdem\u2026
\nAbd\u00fclhak H\u00e2mid<\/p>\n
OZAN
\nKopuzla t\u00fcrk\u00fc s\u00f6yleyen en eski T\u00fcrk \u015fairleri. Osmanl\u0131 d\u00f6neminde halk\u0131 \u015fairleri i\u00e7in kullan\u0131l\u0131rd\u0131. \u00c2\u015f\u0131k s\u00f6z\u00fcn\u00fcn kar\u015f\u0131l\u0131\u011f\u0131 oldu\u011fu gibi meddah anlam\u0131n\u0131 da ta\u015f\u0131yordu. Ozanlar\u0131n toplumda \u00f6nemli yerleri vard\u0131. Beylerin huzurunda, dini t\u00f6renlerde, elindeki kopuzunu \u00e7alarak kahramanl\u0131k destanlar\u0131 okurlar, halk aras\u0131nda k\u0131ssa s\u00f6ylerlerdi. Memluk ordusunun m\u0131z\u0131ka tak\u0131m\u0131nda ozan denilen \u00e7alg\u0131c\u0131lar oldu\u011fu tarihi kaynaklarda yazar. Sel\u00e7uklular\u2019da da benzer durum g\u00f6r\u00fcl\u00fcr.<\/p>\n
\u00d6NS\u00d6Z
\nEserin ni\u00e7in ve ne ama\u00e7la yaz\u0131ld\u0131\u011f\u0131n\u0131 belirtmek i\u00e7in kitab\u0131n ba\u015f\u0131na eklenen yaz\u0131. Bu b\u00f6l\u00fcmde yazar ya kitab\u0131n \u00f6zetini verir veya hangi nedenle yazd\u0131\u011f\u0131n\u0131 a\u00e7\u0131klar. Eskiden, \u201csebeb-i telif-i kitab\u201d (Kitab\u0131n yaz\u0131l\u0131\u015f\u0131n\u0131n sebebi) s\u00f6z\u00fc kullan\u0131l\u0131rd\u0131. Tanzimat\u2019tan sonra edebiyat\u00e7\u0131lar, mukaddeme ba\u015fl\u0131\u011f\u0131 alt\u0131nda yazd\u0131klar\u0131 \u00f6ns\u00f6zlerde edebiyat anlay\u0131\u015flar\u0131n\u0131 belirleyici a\u00e7\u0131klamalar yapt\u0131. Nam\u0131k Kemal\u2019in Celaleddin Harzem\u015fah, Recaizade Mahmud Ekrem\u2019in Zemzeme, Abd\u00fclhak Hamid Tarhan\u2019\u0131n Makber mukaddemeleri bunlardand\u0131r.<\/p>\n
P<\/p>\n
PARAGRAF
\nBir fikrin i\u015flendi\u011fi yaz\u0131 b\u00f6l\u00fcm\u00fc. Bir veya birka\u00e7 c\u00fcmleden meydana gelebilir. Sat\u0131rba\u015f\u0131 yap\u0131lm\u0131\u015f her b\u00f6l\u00fcm bir paragraft\u0131r.
\nPASTORAL
\n\u00c7oban ve k\u0131r hayat\u0131n\u0131, k\u00f6ylerdeki ya\u015fay\u0131\u015f \u015feklini anlatan \u015fiir. Grekler\u2019in bukolik dedikleri bu t\u00fcr\u00fc Edebiyat-\u0131 Cedide\u2019ciler e\u015f\u2019ar-\u0131r\u00e2iy\u00e2ne (\u00c7oban \u015fiirleri) diye adland\u0131rm\u0131\u015flard\u0131r. Pastoral \u015fiir, s\u00fcsten, kelime oyunlar\u0131ndan, yapmac\u0131l\u0131ktan uzak sade bir dille yaz\u0131l\u0131r. Eski Yunan edebiyat\u0131nda Theokrites ile Latin edebiyat\u0131nda Vergillius, pastoral \u015fiirin ilk ve en g\u00fczel \u00f6rneklerini verdi.<\/p>\n
PELTEKN\u00c2ME
\nKekeleme \u015fiiri. Lisan-i pepe\u011fi ad\u0131 da verilir. Halk edebiyat\u0131 naz\u0131m \u015feklidir. \u00c2\u015f\u0131k, kelimelerin ilk hecelerini, bazen de kelimelerin \u00e7o\u011funlu\u011funu kekeleyerek s\u00f6yler. Bu tekrarlar \u00f6l\u00e7\u00fcye dahildir. \u00d6rnek:
\nBu bu bug\u00fcn g\u00f6 g\u00f6 g\u00f6rd\u00fcm y\u00fc y\u00fc y\u00fcz\u00fcn dilber\u00e2
\nBa ba bakt\u0131m g\u00f6 g\u00f6 g\u00f6nl\u00fcm oluptur ziya\u00e2
\nDi di dilim pe pe peltek s\u00f6 s\u00f6 s\u00f6yler zeban\u0131m\u0131
\nNe ne ne derse de de desin dimesin tek sana
\nAbdi \u0130mam<\/p>\n
PLOT
\nRoman, hikaye, tiyatro gibi eserlerde, ba\u015ftan sona devam eden hareketlerin yap\u0131s\u0131. Bir bak\u0131ma eserin plan\u0131d\u0131r. Kahramanlar\u0131n ve olaylar\u0131n meydana getirdi\u011fi devaml\u0131l\u0131\u011f\u0131 ifade eder. \u0130kinci, \u00fc\u00e7\u00fcnc\u00fc derecedeki ki\u015fi ve olaylar, g\u00f6r\u00fcn\u00fcp kaybolan bir ba\u015fka zaman, mekan ve olayla ortaya \u00e7\u0131kan ki\u015filer, duygusal davran\u0131\u015flar plotu tamamlar ve zenginle\u015ftirir. Plot, yap\u0131s\u0131na g\u00f6re \u00e7e\u015fitlere ayr\u0131l\u0131r. Baz\u0131 plotlar trajik olaylar\u0131, baz\u0131lar\u0131 komedi, masal ve hiciv gibi konular\u0131 g\u00f6stermek i\u00e7in kurulur. Eser, bu plota g\u00f6re kimlik kazan\u0131r.<\/p>\n
POET\u0130KA
\n\u015eiir \u00fczerine d\u00fc\u015f\u00fcncelerin ve teorilerin b\u00fct\u00fcn\u00fc. Bu kelime eskiden Frans\u0131zca\u2019da yaln\u0131z \u015fiirin de\u011fil, g\u00fczel sanatlar\u0131n teorisini g\u00fczelli\u011fin feslefesini, bir bak\u0131ma esteti\u011fi ifade ederken, bug\u00fcn \u015fiir sanat\u0131 anlam\u0131na gelen bir terim olmu\u015ftur. Bat\u0131 dillerinde poetika konusuna giren bir\u00e7ok eser var. T\u00fcrk\u00e7e\u2019de ise, baz\u0131 \u015fiirlerin ve gruplar\u0131n bildiri niteli\u011findeki, genellikle savunmaya dayal\u0131 birka\u00e7 \u00f6ns\u00f6z\u00fc g\u00f6r\u00fcl\u00fcr. Necip Faz\u0131l K\u0131sak\u00fcrek\u2019in de bir Poetika\u2019s\u0131 var.<\/p>\n
PROZOD\u0130
\nKelimelerin ta\u015f\u0131d\u0131klar\u0131 seslerin de\u011ferlerine ve hecelerin ta\u015f\u0131mas\u0131 gereken seslere g\u00f6re s\u00f6ylenmesi. Tonlamaya, hecelerin vuru\u015funa kelimelerin uzunluk ve k\u0131sal\u0131klar\u0131na dikkat edilerek s\u00f6ylenir.<\/p>\n
R<\/p>\n
RAKTA
\nArap harflerine g\u00f6re bir harfi noktal\u0131, bir harfi noktas\u0131z kelimeleri kullanarak \u015fiir yazma. <\/p>\n
REK\u00c2KET
\nKelime veya c\u00fcmlelerin d\u00fczensiz s\u0131ralanmas\u0131ndan ileri gelen okumay\u0131 zorla\u015ft\u0131r\u0131c\u0131 durum. Divan edebiyat\u0131nda yaz\u0131da kusur say\u0131l\u0131rd\u0131. <\/p>\n
R\u0130KKAT
\nAnlat\u0131mda s\u00f6yleni\u015fleri kulakta ince, hafif, ho\u015f etki b\u0131rakan s\u00f6zc\u00fcklerin kullan\u0131lmas\u0131. Sanat\u00e7\u0131 sevgi, \u015fefkat, muhabbet, g\u00fczellik gibi konular\u0131 anlat\u0131rkenn s\u00f6zc\u00fckleri de uygun d\u00fc\u015fecek \u015fekilde ince sesle kurulanlardan se\u00e7er. Bu s\u00f6zc\u00fckler kelim\u00e2-\u0131 rahika, ta\u015f\u0131d\u0131klar\u0131 \u00f6zellik de rikkatdiye adland\u0131r\u0131l\u0131r. <\/p>\n
R\u0130SALE
\nK\u00fc\u00e7\u00fck kitap, bro\u015f\u00fcr. \u0130lim veya sanata dair yaz\u0131lar. \u00d6nceleri \u00e7okluk dini konular\u0131 ele alan k\u00fc\u00e7\u00fck hacimli kitaplar bu adla an\u0131l\u0131rlard\u0131. <\/p>\n
R\u0130TM
\n\u015eiirde, hecelerdeki vurgu, uzunluk, k\u0131sal\u0131k, kal\u0131nl\u0131k, incelik, y\u00fckseklik gibi ses \u00f6zelliklerinin ve duraklar\u0131n\u0131n d\u00fczenli bir \u015fekilde tekrarlanmas\u0131ndan do\u011fan uyum. <\/p>\n
RONDELET
\nYedi m\u0131sral\u0131 ek bendden meydana gelen Frans\u0131z naz\u0131m \u015fekli. <\/p>\n
R\u00dcC\u00db
\nDivan edebiyat\u0131 sanatlar\u0131ndan. Bir d\u00fc\u015f\u00fcnceyi daha g\u00fc\u00e7l\u00fc hale getirmek i\u00e7in, s\u00f6ylenen s\u00f6zden vazge\u00e7er gibi davran\u0131l\u0131r. Espri, \u00fcz\u00fcnt\u00fc, sevin\u00e7, deh\u015fet, hayret durumlar\u0131nda ifadeyi daha g\u00fc\u00e7l\u00fc ve canl\u0131 k\u0131lmak i\u00e7in kullan\u0131l\u0131r. Vazge\u00e7me d\u00f6ng\u00fc halinde de yap\u0131labilir. \u00d6rnek: <\/p>\n
Eder isyan\u0131ma g\u00f6nl\u00fcmde ned\u00e2megalebe
\nNeyleyeyim y\u00fcz bulamam ye’s ile afvime talebe
\nNe dedim? T\u00f6vbeler olsun, bu dafi’i \u015ferdir
\nBenim \u00f6zr\u00fcm g\u00fcnehimden iki kat beterdir
\nN\u00fbr-i rahmet niye g\u00fcld\u00fcrmeye r\u00fby-i siyehim
\nTanr\u0131’n\u0131n ma\u011ffiretinden de b\u00fcy\u00fck m\u00fc g\u00fcnehim?
\n\u015einasi <\/p>\n
Ramazaniye: Giri\u015f b\u00f6l\u00fcm\u00fcnde ramazan\u0131 konu alan kaside. <\/p>\n
Redif: \u015eiirde dizelerin sonundaki uyakta sonra yenilenen e\u015fsesli ve e\u015fg\u00f6revli ekler ya da s\u00f6zc\u00fckler. <\/p>\n
Ritim: \u015eiirde hecelerin vurgu, uzunluk, y\u00fckseklik gibi ses \u00f6zelliklerinin, duraklar\u0131n d\u00fczenli bi\u00e7imde yinelenmesinden do\u011fan ses uyarl\u0131\u011f\u0131. <\/p>\n
Roman: D\u00fczyaz\u0131ya dayanan, genellikle insan\u0131n ser\u00fcvenlerini, i\u00e7 d\u00fcnyalar\u0131n\u0131, toplumsal bir olay ya da olguyu, insan ili\u015fkilerini ve de\u011fi\u015fik insanl\u0131k durumlar\u0131n\u0131 anlatmay\u0131 ama\u00e7layan anlat\u0131 t\u00fcr\u00fc. <\/p>\n
Romantizm: Fransa’da 18. y\u00fczy\u0131l\u0131n sonlar\u0131nda klasik edebiyat ak\u0131m\u0131na tepki olarak ba\u015flayan; duygu, imge ve fantaziye a\u011f\u0131rl\u0131k veren sanat ak\u0131m\u0131. <\/p>\n
R\u00f6nesans Edebiyat\u0131: H\u00fcmanizmaya ko\u015fut olarak sanat ve edebiyatta ba\u015flayan uyan\u0131\u015f ve yenile\u015fme giri\u015fimleri sonucunda ortaya konan t\u00fcm \u00fcr\u00fcnlere verilen ad. <\/p>\n
Rubai: Aruz \u00f6l\u00e7\u00fcs\u00fcn\u00fcn belirli kal\u0131plar\u0131na g\u00f6re yaz\u0131lan, d\u00f6rt dizeli manzume.<\/p>\n","protected":false},"excerpt":{"rendered":"
O \/ \u00d6 OTOB\u0130YOGRAF\u0130 Bir kimsenin kendi hayat\u0131n\u0131 yazd\u0131\u011f\u0131 eser. Bi\u00e7im ve i\u00e7eri\u011fiyle bir edebi de\u011fer ta\u015f\u0131mal\u0131d\u0131r. OTOGRAF Yazar\u0131n kendi el yaz\u0131s\u0131. Eskiden hatt-\u0131 dest (el yaz\u0131s\u0131) deyimi kullan\u0131l\u0131rd\u0131. OTTOVA R\u0130MA Sekiz m\u0131sral\u0131 bir naz\u0131m \u015fekli. \u00d6nce \u0130talyan edebiyat\u0131nda kullan\u0131lm\u0131\u015f, sonra Frans\u0131z edebiyat\u0131nda, buradan da T\u00fcrk edebiyat\u0131na ge\u00e7mi\u015ftir. Bat\u0131 edebiyat\u0131nda kafiye \u015femas\u0131, abababcc\u2019dir. Bu \u015fema …<\/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":[9620,11192,2022,9476,1999,1983,9622,9488],"class_list":["post-5516","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-edebiyat-terimleri-sozlugu","tag-hiciv","tag-pastoral-siir","tag-redif","tag-roman","tag-romantizm","tag-rubai","tag-siir"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/5516","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=5516"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/5516\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=5516"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=5516"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=5516"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}