KLAS\u0130ZM
\nEdebiyatta eski Yunan ve Roma sanat\u0131n\u0131 temel alan tarihselci yakla\u015f\u0131m ve estetik tutumdur. Yeniden do\u011fu\u015f diye adland\u0131r\u0131lan R\u00f6nesans d\u00f6neminde geli\u015fmi\u015ftir. Bu akam\u0131n izleri bir \u00f6nceki d\u00f6nemde Rebelais ve Montaigne de hatta Aristoteles’tedir. Klasizmin temel \u00f6\u011feleri kendi i\u00e7inde soyluluk, ak\u0131lc\u0131l\u0131k, uyum, a\u00e7\u0131kl\u0131k, s\u0131n\u0131rl\u0131l\u0131k, evrensellik, idealizm, denge, \u00f6l\u00e7\u00fcl\u00fcl\u00fck, g\u00fczellik, g\u00f6rkemliliktir. Yani bir eserin klasik say\u0131labilmesi i\u00e7in bu \u00f6zellikleri bar\u0131nd\u0131rmas\u0131 gerekmektedir. K\u0131saca klasik bir eser, bir \u00fcslubun en yetkin ve en uyumlu ifadesini buldu\u011fu eserdir. Klasizm temellerini R\u00f6nesans aristokrasisinden al\u0131r. Klasizm bir bak\u0131ma aristokrasinin ak\u0131m\u0131d\u0131r. 16. y\u00fczy\u0131lda Fransa’da do\u011fmu\u015ftur. Ger\u00e7e\u011fin yaln\u0131zca ak\u0131l yoluyla bulunaca\u011f\u0131 savunulur. Sanat ideal insan\u0131 ele almal\u0131d\u0131r, sanat eseri ahlaka uygun olmal\u0131d\u0131r. Monteigne, Descartes, Racine, La Fontaine, Moliere, Comeille bu ak\u0131m\u0131n \u00f6nemli temsilcilerindendir.
\nT\u00fcrk edebiyat\u0131nda \u015einasi klasizme yak\u0131nl\u0131\u011f\u0131yla bilinir. Ahmet Vefik Pa\u015fa da Moliere’den \u00e7eviriler yapm\u0131\u015ft\u0131r.<\/p>\n
ROMANT\u0130ZM
\n18. y\u00fczy\u0131l\u0131n sonunda ortaya \u00e7\u0131kan ve 19. y\u00fczy\u0131l\u0131n ortalar\u0131na kadar uzanan ak\u0131md\u0131r. Kendisinden \u00f6nceki klasizme bir tepki olarak ortaya \u00e7\u0131km\u0131\u015ft\u0131r. \u00d6nce bir \u00f6n-romantizm d\u00f6nemi denilen geli\u015fmeler ya\u015fanm\u0131\u015ft\u0131r. Bugeli\u015fmelerin en \u00f6nemlisi, halk\u0131n be\u011fenisinin klasizmin g\u00f6rkemli, kat\u0131, soylu, idealize edilmi\u015f ve y\u00fcce anlat\u0131m bi\u00e7iminden, daha yal\u0131n ve i\u00e7ten ve do\u011fal anlat\u0131m bi\u00e7imlerine kaym\u0131\u015f olmas\u0131yd\u0131. Romantizm, klasizmin d\u00fczenlilik, uyumluluk, dengelilik, ak\u0131lc\u0131l\u0131k ve idealle\u015ftirme gibi \u00f6zelliklerine bir ba\u015fkald\u0131r\u0131 niteli\u011findedir. Romantizm, do\u011fdu\u011fu \u00e7a\u011f\u0131n ak\u0131lc\u0131l\u0131\u011f\u0131 ve maddecili\u011fine tepki olarak bireye, \u00f6znelli\u011fe, ak\u0131l d\u0131\u015f\u0131l\u0131\u011fa, d\u00fc\u015f g\u00fcc\u00fcne, ki\u015fiselli\u011fe, kendili\u011findencili\u011fe ve a\u015fk\u0131nl\u0131\u011fa, yani s\u0131n\u0131rlar\u0131 zorlay\u0131p ge\u00e7meye \u00f6nem verir. Tarisel olarak bu d\u00f6nemde geli\u015fen orta soylu s\u0131n\u0131f\u0131n, yani burjuvazinin duygu, d\u00fc\u015f\u00fcnce ve ya\u015fam tarz\u0131n\u0131 \u00f6n plana \u00e7\u0131kar\u0131r. Soylular\u0131n zarif sanat bi\u00e7imlerini yapay ve a\u015f\u0131r\u0131 incelikli bulan bu yeni s\u0131n\u0131f, duygusal a\u00e7\u0131dan kendisine yak\u0131n hissetti\u011fi daha ger\u00e7ek\u00e7i sanat bi\u00e7imlerinden yanayd\u0131. B\u00f6ylece romantizm geli\u015fme ve yayg\u0131la\u015fma \u015fans\u0131 buldu.Romantizmin en \u00f6nemli habercisi Frans\u0131z filozof ve yazar Jean Jacques Rousseau’dur. Ama \u0130ngiliz yazarlar William Wordsworth ve Samuel Taylor Coleridge’nin 1790 y\u0131l\u0131nda birlikte yay\u0131nlad\u0131\u011f\u0131 Lirik Balatlar adl\u0131 eserromantizmin bildirgesi say\u0131l\u0131r. Yine \u0130ngiltere’de William Blake, Almanya’da Friedrich H\u00f6lderlin, Johann Wolfgang von Goethe, Jea Paul, Novalis, Fransa’da Chateaubriand ve Madame de Stael ilk romantizm temsilcileridir. Victor Hugo, Alphonse de Lamartine, Alfred de Vigny, Nodier, Soumet, Deschamp, Alfred de Musset, b\u00fcy\u00fck romantik yazarlard\u0131r.T\u00fcrk edebiyat\u0131nda romantizmin etkisi Nam\u0131k Kemal’ineserlerinde g\u00f6r\u00fcl\u00fcr. Abd\u00fclhak Hamit ve Recaizade Mahmut Ekrem’in \u015fiirlerinde, Tevfik Fikret’in ilkd\u00f6nem \u015fiirlerinde romantizmin etkisi a\u00e7\u0131k\u00e7a g\u00f6r\u00fcl\u00fcr.<\/p>\n
REAL\u0130ZM
\nBir estetik kavram olarak 19. y\u00fczy\u0131l ortalar\u0131nda Fransa’da ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Nas\u0131l ki romantizm klasizme bir ba\u015fkald\u0131r\u0131 niteli\u011finde ise ger\u00e7ek\u00e7ilik yani realizm ise, hem klasizme hem de romantizme bir ba\u015fkald\u0131r\u0131d\u0131r. Ama\u00e7, sanat\u0131 klasik ve romantik ak\u0131mlar\u0131n yapayl\u0131\u011f\u0131ndan kurtarmak, \u00e7a\u011fda\u015f eserler \u00fcretmek ve konular\u0131n\u0131 \u00f6ncelikle y\u00fcksek s\u0131n\u0131flar ve temalarla ilgili de\u011fil, toplumsal s\u0131n\u0131flar ve temalar aras\u0131ndan se\u00e7mekti. Realizmin amac\u0131, g\u00fcnl\u00fck ya\u015fam\u0131n \u00f6nyarg\u0131s\u0131z, bilimsel bir tutumla incelenmesi ve bir bilim adam\u0131n\u0131n klinik bulgular\u0131na benzer nesnel bir bak\u0131\u015f a\u00e7\u0131s\u0131yla ortaya konmas\u0131d\u0131r. \u00d6rne\u011fi bu akam\u0131n iki g\u00fc\u00e7l\u00fc temsilcisi Gustave Flaubert’in Madame Bovary adl\u0131 roman\u0131 ile Emile Zola’n\u0131n Nana adl\u0131 roman\u0131nda cinsellik ve \u015fiddet edebi bir mikroskop alt\u0131nda incelenerek olanca \u00e7\u0131plakl\u0131\u011f\u0131yla ortaya konulmu\u015ftur. Realizm felsefesinin alt\u0131nda g\u00fc\u00e7l\u00fc bir felsefi belirlenimcilik yatar. Frans\u0131z edebiyat\u0131nda Flaubert, Zola’n\u0131n yan\u0131s\u0131ra Honore de Balzac, Stendhal, Rusya’da Lev Tolstoy, \u0130van Turgenyev, Fyodor Dostoyevski, \u0130ngiltere’de Charles Dickens ve Anthony Trollope, Amerika’da Theodore Dreiser, \u0130rlanda’da James Joyce realizmin \u00f6nemli temsilcileridir. Realizm, 20. y\u00fczy\u0131l roman\u0131n\u0131n geli\u015fimini de \u00f6nemli \u00f6l\u00e7\u00fcde etkilemi\u015ftir. Realizmin etkisini, T\u00fcrk edebiyat\u0131nda Samipa\u015fazade Sezai’nin “Serg\u00fcze\u015ft”, Recaizade Mahmut Ekrem’in “Araba Sevdas\u0131” adl\u0131 romanlar\u0131nda g\u00f6r\u00fcr\u00fcz. Nabizade Naz\u0131m’\u0131n “Karabibik” adl\u0131 roman\u0131 k\u00f6y ger\u00e7e\u011fini anlat\u0131r. T\u00fcrk edebiyat\u0131nda realizm, Servet-i F\u00fcnun d\u00f6nemindeg\u00f6r\u00fclmektedir. Halit Ziya U\u015fakl\u0131gil’in “Mai ve Siyah”adl\u0131 eserinde realizm romantizme \u00fcst\u00fcnl\u00fck sa\u011flar.<\/p>\n
PARNAS\u0130ZM
\nKlasizm, romantizm ve realizmin b\u00fct\u00fcn\u00fcne tepkili bir ak\u0131md\u0131r. Temel kural\u0131 “sanat sanat i\u00e7indir” diye \u00f6zetlenebilir. Asl\u0131nda realizmin kat\u0131 toplumculu\u011fu ve ger\u00e7ek\u00e7ili\u011fine bir kar\u015f\u0131 \u00e7\u0131k\u0131\u015ft\u0131r. Daha \u00e7ok \u015fiirde kendini g\u00f6sterir. Sanatsal bi\u00e7im ve sanatsal i\u00e7erik kayg\u0131s\u0131 \u00f6n plandad\u0131r. \u00d6l\u00e7\u00fcl\u00fc ve nesnel bir anlat\u0131m, teknik kusursuzluk ve kesin betimlemeler kullan\u0131l\u0131r. Parnas \u015fiir i\u00e7in “bi\u00e7imcili\u011fi ama\u00e7layan” \u015fiir tan\u0131m\u0131 da kullan\u0131labilir. Parnasizm, bir y\u00f6n\u00fcyle kendisinden sonraki do\u011falc\u0131l\u0131\u011fa da kaynakl\u0131k yapm\u0131\u015ft\u0131r. Zengin bir dil, zengin bir bi\u00e7im, zengin ve yo\u011fun bir duygusall\u0131k i\u015flenir. 1830’lu y\u0131llarda ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Theophile Gautier’in \u015fiirlerini, Theodore de Banville, Leconte de Lisle izlemi\u015ftir. Parnasizm, edebiyat tarihinde Leconte de Lisle ile \u00f6zde\u015fle\u015ftirilir. Adar\u0131n\u0131 Louis Xavier de Richard ile Catulle Mendes’in haz\u0131rlay\u0131p Alphonse Lemerre’in bast\u0131\u011f\u0131 Le Parnasse Contemporain (\u00c7a\u011fda\u015f Parnas\u00e7\u0131l\u0131k) adl\u0131 eserden alm\u0131\u015ft\u0131r. T\u00fcrk edebiyat\u0131nda parnasizmin etkileri Tevfik Fikret’te g\u00f6r\u00fclmektedir.<\/p>\n
NAT\u00dcREL\u0130ZM
\n19. y\u00fczy\u0131l sonu ve 20. y\u00fczy\u0131l ba\u015f\u0131nda etkili olmu\u015ftur.Do\u011fa bilimlerinin, \u00f6zellikle de Darwinci do\u011fa anlay\u0131\u015f\u0131n\u0131n ilke ve y\u00f6ntemlerinin edebiyata uyarlanmas\u0131yla geli\u015fmi\u015ftir. Edebiyatta ger\u00e7ek\u00e7ilik gelene\u011fini daha da ileri g\u00f6t\u00fcren do\u011falc\u0131lar, ger\u00e7ekleri ahlaksal yarg\u0131lardan, se\u00e7ici bir bak\u0131\u015ftan uzak bir anlat\u0131mla ve tam bir ba\u011fl\u0131l\u0131kla anlatmay\u0131 ama\u00e7lar. Do\u011falc\u0131l\u0131k, bilimsel belirlenimcili\u011fi benimsemesiyle ger\u00e7ek\u00e7ilikten ayr\u0131l\u0131r. Do\u011falc\u0131 yazarlar, insan\u0131 ahlaksal ve ak\u0131lsal nitelikleriyle de\u011fil, rastlant\u0131sal ve fizyolojik \u00f6zellileriyle ele al\u0131r. Do\u011falc\u0131 yakla\u015f\u0131ma g\u00f6re, \u00e7evrenin ve kal\u0131t\u0131m\u0131n \u00fcr\u00fcn\u00fc olan bireyler, d\u0131\u015ftan gelen toplumsal ve ekonomik bask\u0131lar alt\u0131nda ezilir, i\u00e7ten gelen g\u00fc\u00e7l\u00fc i\u00e7g\u00fcd\u00fcsel d\u00fcrt\u00fclerle davran\u0131rlar. Yazg\u0131lar\u0131n\u0131
\nbelirleyebilme g\u00fcc\u00fcnden yoksun olduklar\u0131 i\u00e7in yapt\u0131klar\u0131ndan sorumlu de\u011fillerdir.
\nDo\u011falc\u0131l\u0131\u011f\u0131n kuramsal temelini Hippolyte Taine’in Historei de la Litterature Anglaise (\u0130ngiliz edebiyat\u0131 tarihi) adl\u0131 eseri olu\u015fturur. \u0130lk do\u011falc\u0131 roman Goncourt karde\u015flerin bi hizme\u00e7i k\u0131z\u0131n ya\u015fam\u0131n\u0131 inceleyen Germinie Lacarteux adl\u0131 yap\u0131t\u0131d\u0131r. Ama Emile Zola’n\u0131n Le Roman Experimental (Deneysel Roman) adl\u0131 eseri ak\u0131m\u0131n edebi bildirgesi say\u0131l\u0131r. Zola’n\u0131n yan\u0131s\u0131ra Guy de Maupassant, J. K. Huysmans , Leon Hennique, Henry Ceard, Paul Alexis, Alphonse Daudet do\u011falc\u0131 yap\u0131da eserler veren yazarlard\u0131r. Nabizade Naz\u0131m’\u0131n ve H\u00fcseyin Rahmi G\u00fcrp\u0131nar’\u0131n romanlar\u0131nda nat\u00fcralist \u00f6\u011felere rastlan\u0131r<\/p>\n
SEMBOL\u0130ZM
\nSembolizma ve sembolizm, bir d\u00fc\u015f\u00fcncenin veya olay\u0131n say\u0131lar ve \u015fekillerle anlat\u0131lmas\u0131d\u0131r. Bir a\u00e7\u0131dan kulland\u0131\u011f\u0131m\u0131z harfler ve rakamlardan tutun, etraf\u0131m\u0131zda g\u00f6rd\u00fc\u011f\u00fcm\u00fcz geometrik \u015fekillerde, do\u011fan\u0131n yaratt\u0131klar\u0131nda ve olu\u015flarda dahi sembolizmi g\u00f6rebiliriz. Fakat bizler genellikle bunlar\u0131 ta\u015f\u0131d\u0131klar\u0131 anlamlardan \u00e7ok, kar\u015f\u0131m\u0131zdakilere bildiklerimizi aktarmak i\u00e7in
\nkullan\u0131r\u0131z. Oysa her harfin, rakam\u0131n, geometrik \u015feklin ta\u015f\u0131d\u0131klar\u0131 anlamlar ve enerjiler vard\u0131r. Sembolizmin en \u00f6nemli yan\u0131, bir sembole y\u00fcklenen anlam\u0131n y\u0131llarca de\u011ferini kaybetmeden korunabilmesidir. Fakat bunun bir k\u00f6t\u00fc yan\u0131 da ayn\u0131 sembole ger\u00e7ek anlam\u0131ndan veya daha do\u011frusu esas kullan\u0131m amac\u0131ndan farkl\u0131 anlamlar y\u00fcklenerek kullan\u0131lmas\u0131d\u0131r. Bu nedenle semboller ile u\u011fra\u015f\u0131rken dikkatli olmak ve ger\u00e7e\u011fi ara\u015ft\u0131rmak gerekebilir. Fakat sembollerin ger\u00e7ek anlamlar\u0131 ne kadar sapt\u0131r\u0131lmaya \u00e7al\u0131\u015f\u0131l\u0131rsa \u00e7al\u0131\u015f\u0131ls\u0131n mutlaka birileri taraf\u0131ndan hep do\u011fru olarak bilinir ve korunur. Sembolizma, fleksibilitesi ve r\u00f6lativitesi nedeniyle \u00e7a\u011flara uygun dinamizmi sayesinde temel bilgi aktar\u0131m y\u00f6ntemi olarak geli\u015fmelere hemen adapte olarak hem
\ndemodeli\u011fe meydan okur, hem de varl\u0131\u011f\u0131n\u0131 ba\u015far\u0131yla korur. S\u0131rlar\u0131n evrensel dili olan sembolizm; gizleyerek a\u00e7\u0131klar, a\u00e7\u0131klayarak gizler. \u0130nsanlar binlerce y\u0131ld\u0131r, bir d\u00fc\u015f\u00fcnceyi izah etmek i\u00e7in bir\u00e7ok yollar denemi\u015flerdir. Bir d\u00fc\u015f\u00fcncenin anlam\u0131n\u0131, kademeli \u015fekilde insanlar\u0131n anlay\u0131\u015flar\u0131na ve olgunluklar\u0131na g\u00f6re birtak\u0131m kal\u0131plar i\u00e7ine koyup sunmu\u015flard\u0131r. \u00d6zellikle ezoterik, gizli tutulmas\u0131 gereken bir\u00e7ok bilgi sembollerle anlat\u0131lm\u0131\u015ft\u0131r. Yani do\u011frudan do\u011fruya bir d\u00fc\u015f\u00fcnce, bir bilgi izah edilmemi\u015f, \u00fcst\u00fc adeta \u00f6rt\u00fclerek boh\u00e7aland\u0131ktan sonra aktar\u0131lm\u0131\u015ft\u0131r.<\/p>\n
EMPRESYON\u0130ZM
\nEmpresyonizm, 19. Y\u00fczy\u0131l\u0131n sonlar\u0131nda Fransa’da resimde g\u00f6r\u00fclm\u00fc\u015f, daha sonra edebiyat ve m\u00fczikte de etkili olmu\u015f bir ak\u0131md\u0131r.
\nBu ak\u0131mda anlam a\u00e7\u0131kl\u0131\u011f\u0131ndan \u00e7ok kapal\u0131l\u0131k ye\u011flenir. D\u0131\u015f d\u00fcnyadan alg\u0131lanan g\u00f6r\u00fcnt\u00fcler ruh s\u00fczgecinden ge\u00e7irildikten sonra d\u0131\u015fa yans\u0131t\u0131l\u0131r.
\nBu ak\u0131m\u0131n edebiyattaki temsilcileri Baudlaire ve Verlaine’dir. \u0130zlenimcilik T\u00fcrk edebiyat\u0131nda da Ahmet Ha\u015fim, Cenap \u015eehabettin gibi \u015fairlerin \u00fczerinde etkili olmu\u015ftur.<\/p>\n
NEOKLAS\u0130ZM
\nSembolizme tepki olarak do\u011fan bir \u015fiir ak\u0131m\u0131d\u0131r. T\u00fcrk edebiyat\u0131nda neoklasizmin en g\u00fc\u00e7l\u00fc temsilcisi Yahya Kemal Beyatl\u0131’d\u0131r. Yahya Kemal’in \u015fiirleri, bi\u00e7im y\u00f6n\u00fcnden eski, \u00f6z y\u00f6n\u00fcnden yenidir<\/p>\n
GELECEK\u00c7\u0130L\u0130K
\n20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda \u0130talya’da ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Edebiyatta devrim ve dinamizmi vurgulayan ak\u0131m olarak e\u011ferlendirilir. \u0130talyan \u015fair, romanc\u0131, oyun yazar\u0131 ve yay\u0131n y\u00f6netmeni Filippo Tommaso Marinetti’nin 1909’de Paris’te Le Figaro gazetesinde yay\u0131nlad\u0131\u011f\u0131 bildiri ile ortaya \u00e7\u0131kt\u0131. Bildiride, “Bizler m\u00fczeleri, k\u00fct\u00fcphaneleri yerle bir edip ahlak\u00e7\u0131l\u0131k, feminizm ve b\u00fct\u00fcn yararc\u0131 korkakl\u0131klarla sava\u015faca\u011f\u0131z” deniyordu. Bu ge\u00e7mi\u015fin b\u00fct\u00fcn\u00fcyle reddi demekti. Ayn\u0131 bildiride, “Biz d\u00fcnyadaki ger\u00e7ekten sa\u011fl\u0131kl\u0131 tek \u015feyi, yani sava\u015fc\u0131 ve \u00f6l\u00fcme g\u00f6t\u00fcren g\u00fczel d\u00fc\u015f\u00fcnceleriy\u00fcceltiyoruz” s\u00f6zleri, siyasal alanda o d\u00f6nemde geli\u015fen fa\u015fizm’den yana bir tavr\u0131n da a\u00e7\u0131k g\u00f6stergesiydi.Gelecek\u00e7ili\u011fin kurucusu Marinette Avrupa’dan bir\u00e7ok yazar\u0131 etkilerdi. Rusya’da Velemir Hlebinikov ve Mayakovski gelecek\u00e7ili\u011fe y\u00f6neldi. Rus gelecek\u00e7iler kendi bildirgelerini yay\u0131nlad\u0131. Pu\u015fkin, Tolstoy, Dostoyevski reddedildi. \u015eiirde sokak dilinin kullan\u0131lmas\u0131 istendi. 1917 Ekim devriminden sonra da gelecek\u00e7i ak\u0131m g\u00fc\u00e7lendi. Mayakovski’nin \u00f6l\u00fcm\u00fcne kadar etkisini s\u00fcrd\u00fcrd\u00fc. \u0130talya’daki gelecek\u00e7iler ilk \u015fiir antolojisini 1912’de yay\u0131nlad\u0131. \u0130talya’n\u0131n 1. D\u00fcnya Sava\u015f\u0131’na girmesini ve Mussolini’yi savunuyorlard\u0131. Onunla birlikte hapsedildiler. Gelecek\u00e7ilik fa\u015fizm ile \u00f6zde\u015fle\u015fti. Ve 1920’lerin ortalar\u0131na do\u011fru etkisini yitirdi. Eserlerinde mant\u0131kl\u0131 c\u00fcmleler kurmay\u0131 reddeden gelecek\u00e7ilerin parolas\u0131, “sozc\u00fcklere \u00f6zg\u00fcrl\u00fck”t\u00fc. Ezra Pound, D. H. Lawrence ve Giovanni Papini bu ak\u0131mdan etkilenin yazar olarak say\u0131labilir. F\u00fct\u00fcrizmin T\u00fcrkiye’deki temsilcisi Naz\u0131m Hikmet’tir<\/p>\n
DADA\u0130ZM
\nJean Arp, Richard H\u00fclsenbeck, Tristan Tzara, Marcel Janco ve Emmy Hennings’in aralar\u0131nda bulundu\u011fu bir grup gen\u00e7 sanat\u00e7\u0131 ve sava\u015f kar\u015f\u0131t\u0131 1916 y\u0131l\u0131nda Z\u00fcrih’te Hugo Ball’in a\u00e7t\u0131\u011f\u0131 cafe’de topland\u0131. Frans\u0131zca’da oyuncak tahta at anlam\u0131na gelen “Dada” ak\u0131m\u0131n ismi olarak se\u00e7ildi. Bildirisi de burada a\u00e7\u0131kland\u0131. Bu ak\u0131m, d\u00fcnyan\u0131n, insanlar\u0131n y\u0131k\u0131l\u0131\u015f\u0131ndan umutsuzlu\u011fa d\u00fc\u015fm\u00fc\u015f, hi\u00e7bir \u015feyin sa\u011flam ve s\u00fcrekli oldu\u011funa inanmayan bir felsefi yap\u0131dan etkilenir. 1.D\u00fcnya Sava\u015f\u0131’n\u0131n ard\u0131ndan gelen bo\u011funtu ve dengesizli\u011fin ak\u0131m\u0131d\u0131r. Kamuoyunu \u015fa\u015fk\u0131nl\u0131\u011fa d\u00fc\u015f\u00fcrmek ve sarsmak istiyorlard\u0131. Yap\u0131tlar\u0131nda al\u0131\u015f\u0131lm\u0131\u015f estetik\u00e7ili\u011fe kar\u015f\u0131 \u00e7\u0131k\u0131yor, burjuva de\u011ferlerinin tiksin\u00e7li\u011fini vurguluyorlard\u0131. Toplumda yerle\u015fmi\u015f anlam ve d\u00fczen kavramlar\u0131na kar\u015f\u0131 \u00e7\u0131karak dil ve bi\u00e7imde yeni deneylere giri\u015ftiler. \u00c7\u0131kard\u0131klar\u0131 \u00e7ok say\u0131da derginin i\u00e7inde en \u00f6nemlisi 1919-1924 aras\u0131nda yay\u0131nlanan ve Andre Breton, Louis Aragon, Philippe Soupauld, Paul Eluard ve Georges Ribemont-Dessaignes’in yaz\u0131lar\u0131n\u0131n yer ald\u0131\u011f\u0131 Litterature’d\u00fc. Dadac\u0131l\u0131k 1922 sonras\u0131nda etkinli\u011fini yitirmeye ba\u015flad\u0131. Dadac\u0131lar ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fc\u011fe y\u00f6neldi.<\/p>\n
GER\u00c7EK\u00dcST\u00dcC\u00dcL\u00dcK (S\u00dcRREAL\u0130ZM)
\nAvrupa’da 1’inci ve 2’nci d\u00fcnya sava\u015flar\u0131 aras\u0131nda geli\u015fti. Temelde 1910’lar\u0131n ortalar\u0131nda ak\u0131lc\u0131l\u0131\u011f\u0131 yads\u0131yan ve kar\u015f\u0131-sanat i\u00e7in \u00e7al\u0131\u015fan ilk dadac\u0131lar\u0131n yap\u0131tlar\u0131ndan kaynaklan\u0131r. 1924’te “Manifeste du Surrealisme”i (Ger\u00e7ek\u00fcst\u00fcl\u00fck bildirgesi) haz\u0131rlayan \u015fair Andre Breton’a g\u00f6re ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck, bilin\u00e7 ile bilin\u00e7 d\u0131\u015f\u0131n\u0131 birle\u015ftiren bir yoldur. Ve bu b\u00fct\u00fcnle\u015fme i\u00e7inde d\u00fc\u015fsel d\u00fcnya ile ger\u00e7ek ya\u015fam “mutlak ger\u00e7ek” ya da “ger\u00e7ek\u00fcst\u00fc” anlamda i\u00e7 i\u00e7e ge\u00e7iyordu. Sigmund Freud’un kuramlar\u0131ndan etkilenin Breton i\u00e7in, bilin\u00e7d\u0131\u015f\u0131, d\u00fc\u015f g\u00fcc\u00fcn\u00fcn temel kayna\u011f\u0131, deha ise bu bilin\u00e7d\u0131\u015f\u0131 d\u00fcnyas\u0131na girebilme yetene\u011fi idi.
\nBreton’un yan\u0131s\u0131ra Louis Aragon, Benjamen Peret, otomatik yaz\u0131 y\u00f6ntemleri \u00fczerinde deneyler yapt\u0131lar. Kendi deyimleriyle, “ger\u00e7ek\u00fcst\u00fc d\u00fcnyan\u0131n d\u00fc\u015fsel imgelerini geli\u015ftirmeye” ba\u015flad\u0131lar. Bu \u015fairlerin dizelerindeki s\u00f6zc\u00fckler, mant\u0131ksal bir s\u0131ra izlemek yerine bilin\u00e7d\u0131\u015f\u0131 psikolojik s\u00fcre\u00e7lerle bir araya geldi\u011fi i\u00e7in insan\u0131 irkiltiyordu. Ger\u00e7ek\u00fcst\u00fcc\u00fcl\u00fck, y\u00f6ntemli bir ara\u015ft\u0131rma ile deneyi \u00f6n planda tutuyor, insan\u0131n kendi kendisini irdeleyip \u00e7\u00f6z\u00fcmlemesinde sanat\u0131n yol g\u00f6sterici bir ara\u00e7 oldu\u011funu vurguluyordu. 1925’ten sonra ger\u00e7ek\u00fcst\u00fcc\u00fcler da\u011f\u0131lmaya, ba\u015fka ak\u0131mlara y\u00f6nelmeye ba\u015flad\u0131. Ama resimden, sinemaya, tiyatroya kadar bir \u00e7ok sanat dal\u0131n\u0131 derinden etkiledi. Andre Breton’un yan\u0131s\u0131ra P. J. Jouve, Pierre Reverdy, Robert Desnos, Louis Aragon, Paul Eluard, Antonin Artaud, Raymond Queneau, Philippe Soupault, Arthur Cravan, Rene Char ger\u00e7ek\u00fcst\u00fc ak\u0131m\u0131n \u00f6nemli isimleridir. T\u00fcrk edebiyat\u0131nda s\u00fcrrealizmin baz\u0131 \u00f6zelliklerini “\u0130kinci Yeniler”de g\u00f6rmekteyiz.<\/p>\n
HARF\u00c7\u0130L\u0130K
\n\u00d6nc\u00fcl\u00fc\u011f\u00fcn\u00fc Romen as\u0131ll\u0131 \u015fair Isidore Isou’nun yapt\u0131\u011f\u0131, 2’nci D\u00fcnya Sava\u015f\u0131 sonras\u0131nda ortaya \u00e7\u0131kan bir ak\u0131md\u0131r. \u015eiirde en k\u00fc\u00e7\u00fck birim olarak s\u00f6zc\u00fckleri de\u011fil harfleri temel al\u0131r. Bu yolla da yeni bir \u015fiir ve yeni bir m\u00fczik yazmay\u0131 ama\u00e7layan bir kar\u015f\u0131-ak\u0131m niteli\u011findedir. \u0130sou’ya g\u00f6re, “harf olmayan ya da harf olmayacak hi\u00e7 bir \u015fey tinsel olarak da var olamaz.” Harf\u00e7ilik, edebiyat\u0131n yan\u0131s\u0131ra sinemay\u0131, dans\u0131, m\u00fczi\u011fi ve resmi de etkilemi\u015ftir. \u00c7\u0131k\u0131\u015f noktalar\u0131, “sesleri,s\u00f6zc\u00fckleri, imgeleri ayn\u0131 anda topluca bir araya getirecek yeni anlat\u0131m yollar\u0131n\u0131n ara\u015ft\u0131r\u0131lmas\u0131”d\u0131r. Francois Dufrene, Maurice Lemaitre gibi \u015fairler bu ak\u0131m\u0131n \u00f6nemli isimleridir.<\/p>\n
VAROLU\u015e\u00c7ULUK
\n\u0130lk \u00f6nce varolu\u015f\u00e7ulu\u011fu tan\u0131mlayarak ba\u015flayal\u0131m. Varolu\u015f\u00e7ulu\u011fu tan\u0131mlamak i\u00e7in , s\u00f6zc\u00fc\u011f\u00fcn kendisinden i\u015fe ba\u015flamak gerekir. Bu yeni t\u00fcretilmi\u015f s\u00f6zc\u00fck \u201cvarolu\u015f\u201d (existence) ismin den, ilkin \u201cvarolu\u015fsal\u201d (existentiel) ve varolu\u015fla ilgili \u201cexistential\u201d s\u0131fatlar\u0131 t\u00fcretilerek ve daha sonra \u201cculuk\u201d son eki eklenerek ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Varolu\u015fculuk, varolu\u015fun \u00f6nceli\u011fini ya da ilkinli\u011fini benimseyen bir kuramd\u0131r.<\/p>\n
\u0130DEAL\u0130ZM
\nD\u00fcnyay\u0131 ve varolu\u015fu bilin\u00e7 ve d\u00fc\u015f\u00fcnceye \u00f6ncelik vererek a\u00e7\u0131klama \u00f6\u011fretisinin temel oldu\u011fu felsefi ak\u0131m\u0131n edebiyattaki uzant\u0131s\u0131d\u0131r. \u0130dealist felsefenin t\u00fcm \u00f6zellikleri edebi eserlerde yer al\u0131r. 20. y\u00fczy\u0131l\u0131n ba\u015flar\u0131nda ortaya \u00e7\u0131km\u0131\u015ft\u0131r. Bireyci d\u00fcnya g\u00f6r\u00fc\u015f\u00fc ve simgecilik ak\u0131m\u0131na bir tepki olarak do\u011fmu\u015ftur. \u00c7a\u011fc\u0131l ya\u015fam\u0131n art\u0131k makinele\u015fen toplumlar\u0131 ve alabildi\u011fine serpilip geli\u015fen kentleriyle bireyi topluluk i\u00e7inde ya\u015famaya zorlad\u0131\u011f\u0131n\u0131 vurgulayan idealizm, bir arada ya\u015faman\u0131n yaratt\u0131\u011f\u0131 ortak kan\u0131 ve duygular\u0131 dile getirmeyi ama\u00e7lamaktad\u0131r. Topluluk bilincini ve bu bilince g\u00f6re bireyin varolu\u015funu, ya\u015fam\u0131 belli belirsiz y\u00f6nlendiren kimi tinsel ger\u00e7ekleri betimlemeyi \u00f6n planda tutar. En b\u00fcy\u00fck temsilcisi Frans\u0131z yazar Jules Romains’tir. Bu ak\u0131m\u0131n temelleri Romains’le Chenneviere’nin yazd\u0131\u011f\u0131 Petit Traite de Versification (\u015eiir \u00fczerine k\u00fc\u00e7\u00fck inceleme) ve Georges Duhamel’le Charles Vildrac’\u0131n kaleme ald\u0131\u011f\u0131 Notes su la technique poetique (\u015eiir tekni\u011fi \u00fczerine notlar) adl\u0131 eserlerde ortaya konulmu\u015ftur.<\/p>\n
K\u0130\u015e\u0130L\u0130K\u00c7\u0130L\u0130K
\nKi\u015filik\u00e7ilik, soyut d\u00fc\u015f\u00fcnc\u00fcl\u00fckle \u00f6zdek\u00e7ili\u011fin kar\u015f\u0131s\u0131na tinsel ger\u00e7ekli\u011fi, s\u00f6z\u00fc ge\u00e7en iki bak\u0131\u015fa\u00e7\u0131s\u0131n\u0131n da par\u00e7alara b\u00f6ld\u00fc\u011f\u00fc birli\u011fi yeniden yaratacak s\u00fcrekli \u00e7abay\u0131 koyar. Ki\u015filik\u00e7ili\u011fin ana yap\u0131s\u0131 \u015f\u00f6yle \u00f6zetlenebilir: Ki\u015filik, bilin\u00e7, kendi yarg\u0131s\u0131n\u0131 \u00f6zg\u00fcrce belirleme, ama\u00e7lara y\u00f6nelme, zaman\u0131n ak\u0131\u015f\u0131na kar\u015f\u0131 \u00f6z kimli\u011fini s\u00fcrd\u00fcrme ve de\u011ferlere ba\u011flanma gibi temel \u00f6zellikleri nedeniyle, b\u00fct\u00fcnger\u00e7ekli\u011fin dokusunu olu\u015fturur.
\nFelsefi y\u00f6nden Gottfried Wilhelm Leibniz bu ak\u0131m\u0131n kurucusu, George Berkeley de ba\u015fl\u0131ca kaynaklar\u0131ndan biri olarak kabul edilir. Edebiyatta en \u00f6nemli savunucusu Emmanuel Mounier’dir.<\/p>\n","protected":false},"excerpt":{"rendered":"
KLAS\u0130ZM Edebiyatta eski Yunan ve Roma sanat\u0131n\u0131 temel alan tarihselci yakla\u015f\u0131m ve estetik tutumdur. Yeniden do\u011fu\u015f diye adland\u0131r\u0131lan R\u00f6nesans d\u00f6neminde geli\u015fmi\u015ftir. Bu akam\u0131n izleri bir \u00f6nceki d\u00f6nemde Rebelais ve Montaigne de hatta Aristoteles’tedir. Klasizmin temel \u00f6\u011feleri kendi i\u00e7inde soyluluk, ak\u0131lc\u0131l\u0131k, uyum, a\u00e7\u0131kl\u0131k, s\u0131n\u0131rl\u0131l\u0131k, evrensellik, idealizm, denge, \u00f6l\u00e7\u00fcl\u00fcl\u00fck, g\u00fczellik, g\u00f6rkemliliktir. Yani bir eserin klasik say\u0131labilmesi i\u00e7in …<\/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":[1981,1982,1986,1985,1984,1983,1987],"class_list":["post-671","post","type-post","status-publish","format-standard","hentry","category-odevler","category-turkce-odevleri","tag-edebiyat","tag-klasizm","tag-naturalizm","tag-parnasizm","tag-realizm","tag-romantizm","tag-sembolizm"],"_links":{"self":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/671","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=671"}],"version-history":[{"count":0,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/posts\/671\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/media?parent=671"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/categories?post=671"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.islamidavet.com\/kutuphane\/wp-json\/wp\/v2\/tags?post=671"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}