Ferhat Uzunkaya
2020 Ph.D. in Turkish Language and Literature, Modern Turkish Literature, Ardahan University
Dissertation: Alienation in the Turkish Novel after 1980
2017 M.A. in Turkish Language and Literature, Modern Turkish Literature, Ardahan University
Master's thesis: Structure and Theme in İsmail Gaspıralı's Narratives
2019-Continuing Undergraduate Studies in Sociology, Istanbul University
2011-2012 Turkology, Kyrgyz-Turkish Manas University (Mevlana Exchange Programme)
2013 B. A. in Turkology, Ardahan University
Ferhat Uzunkaya, who graduated from Ardahan University's Department of Contemporary Turkish Dialects and Literatures in 2013, began working as a research assistant in the same department in 2015.
He finished his master's degree with the study "Structure and themes in narratives Ismail Gasprinsky's" in 2017 and obtained his Ph.D. with the thesis "Alienation in Turkish novel after 1980" in 2020 at the Institute of Social Sciences, Ardahan University. Between 2011 and 2012, he studied at the Turkology Department of the Kyrgyz-Turkish Manas University within the framework of the "Mevlana Exchange Programme" and became the first representative of the programme in Turkey. Between 2016 and 2017, he worked at Maltepe University to carry out academic studies under the supervision of Prof. Ramazan Korkmaz.
Ferhat Uzunkaya, who works as an Assistant Professor in the Department of Turkish Language and Literature at the Faculty of Humanities and Letters of Ardahan University, also works as an Assistant Editor of BELGU Journal.
See CV for publications and other information.
Supervisors: Ramazan Korkmaz
Address: Ferhat Uzunkaya, Ph.D.
Ardahan University
Faculty of Humanities and Letters
Turkish Language and Literature
Yenisey Campus
75000 Ardahan, Turkey
Dissertation: Alienation in the Turkish Novel after 1980
2017 M.A. in Turkish Language and Literature, Modern Turkish Literature, Ardahan University
Master's thesis: Structure and Theme in İsmail Gaspıralı's Narratives
2019-Continuing Undergraduate Studies in Sociology, Istanbul University
2011-2012 Turkology, Kyrgyz-Turkish Manas University (Mevlana Exchange Programme)
2013 B. A. in Turkology, Ardahan University
Ferhat Uzunkaya, who graduated from Ardahan University's Department of Contemporary Turkish Dialects and Literatures in 2013, began working as a research assistant in the same department in 2015.
He finished his master's degree with the study "Structure and themes in narratives Ismail Gasprinsky's" in 2017 and obtained his Ph.D. with the thesis "Alienation in Turkish novel after 1980" in 2020 at the Institute of Social Sciences, Ardahan University. Between 2011 and 2012, he studied at the Turkology Department of the Kyrgyz-Turkish Manas University within the framework of the "Mevlana Exchange Programme" and became the first representative of the programme in Turkey. Between 2016 and 2017, he worked at Maltepe University to carry out academic studies under the supervision of Prof. Ramazan Korkmaz.
Ferhat Uzunkaya, who works as an Assistant Professor in the Department of Turkish Language and Literature at the Faculty of Humanities and Letters of Ardahan University, also works as an Assistant Editor of BELGU Journal.
See CV for publications and other information.
Supervisors: Ramazan Korkmaz
Address: Ferhat Uzunkaya, Ph.D.
Ardahan University
Faculty of Humanities and Letters
Turkish Language and Literature
Yenisey Campus
75000 Ardahan, Turkey
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Books by Ferhat Uzunkaya
Ahmed Reşad, bu eserinde, eşini kaybedip dul kalan Melâhat’ın trajik hikâyesini realist bir üslupla kaleme alır. Romanda Beyoğlu’ndaki sefahat dünyasının, aile yapısı üzerinde yarattığı zararlı etkileri, iffetli bir Osmanlı kadını olan Melâhat’ın sefaya düşkün ve ahlaksız bir erkek tarafından nasıl kandırıldığını ve aldatılma sonucu nasıl felakete sürüklendiği anlatılır.
Dönemin İstanbul yaşamından moda eğilimlerine, düşünce dünyasından dünya görüşüne kadar pek çok konuda ilginç bilgiler sunan bu roman, İkinci Meşrutiyet dönemi Türk romanı araştırmacıları için çarpıcı bilgiler sunmaktadır.
Ferhat Uzunkaya, Türk Romanında Yabancılaşma (1980-2020) isimli bu çalışmasında Tanzimat’tan günümüze kadar yabancılaşma biçimlerinin özellikle dönem romanına yansıyan yüzünü bütüncül bir bakış açısı ile farklı disiplinler içinde değerlendirip bireysel ve toplumsal boyutta okumaya çalışır.
Çalışma boyunca, kendilik ilişkilerini özgürce kuramayan modern insanın içine düştüğü körleşme alanlarının izleksel kurgudaki tahlilinin yanı sıra ülkemizin siyasi, iktisadi ve yazınsal oluş serüvenine tanıklık ederiz.
Edited Books by Ferhat Uzunkaya
Articles and Chapters in Edited Books by Ferhat Uzunkaya
Book Reviews by Ferhat Uzunkaya
Articles by Ferhat Uzunkaya
Roman, başkişi Leman’ın başından geçen hadiselerin anlatıldığı kısa bir polisiye anlatıdır. Leman, tehdit içerikli bir mektup alır, bu sürede korkuları artmaya başlar. İlerleyen bölümlerde ise Leman’ın teyzesi evlerinde öldürülür. Polis hafiyesi Hikmet Bey, romanın sonunda katili bulur; ancak katil intihar etmiştir. Bu bakımdan, Korkuyorum isimli romanda dramatik aksiyonda gerilim unsurunun son derece titiz bir biçimde işlendiğini görülür. Romanda karakter oluşturma hususunda ise gerek kahramanı role hazırlamada gerekse rol benimsetmede yer yer aksaklıklara rastlanır.
Çalışmada Türk edebiyatında özellikle şair kimliği ile tanınan Cahit Sıtkı Tarancı’nın kaleme aldığı Korkuyorum isimli tek roman denemesi, “Romanın Tanıtımı, Olay Örgüsü, Bakış Açısı ve Anlatıcı Düzlemi, Zaman, Mekân, Kişiler” başlıkları altında ve “Kişiler, Kavramlar ve Simgeler” düzleminde “Ülkü ve Karşı(t) Değerler” arasındaki çatışma bağlamında roman tekniği bakımından incelenecektir.
This study examines the play titled “Hülleci”, penned by Reşat Nuri Güntekin, based on the work titled “Laughter” (Le rire) by Henri Bergson, in which he evaluates the laughter caused by the comic within the framework of a social relationship. “Hülleci” was published by the State Printing House in Istanbul in 1935 as a 97-page, 4-act folk comedy. In the play, the deteriorating family structure and the way people who exploit religious values play with it are criticized in the context of the tradition of halala (hülle in Turkish), and this criticism is explained by including tragicomic events and zany characters.The French philosopher Bergson argues that laughter has a social meaning and scope. Mentions that the comic, first of all, expresses the inability of the individual to adapt to society in a sense and states that it is only found in human beings. Bergson, who treats laughter as a social gesture, emphasizes that types and tendencies incompatible with social life are rectified through laughter. Based on the view that nothing is laughable except the human, he determines the natural environment of laughter as “the society”. For him, anyone who separates themselves from society is laughable. In order to prove his own view, he suggests that it should be evaluated according to customs, ideas, and prejudices of society. In this respect, the purpose of comedy is not to analyze personal causes, but to correct the incompatibility and to teach how to blend in with society.Güntekin criticizes people who exploit religious values in the context of the halala tradition in his play “Hülleci”, in which a series of events revealing around the tradition of halala is conveyed as a situational comedy and reveals in a bittersweet and humorous way how these types of people destroy the family structure for their own pleasures. In this context, it is a period-criticism made through the halala tradition. With its capacity to put society on the correct path, Güntekin criticizes the period with laughter. He gathers everyone, who as the way Bergson stated, separates themselves from the society around humor and observes the general. Güntekin thus aims to correct the misdeeds of society and to be an instructor.
In this study, Orhan Kemal’s novel Avare Yıllar, which is the second novel of the Little Man’s Novel series, will be examined in the context of the concept of the ‘other’, which is seen as a positive value with its characteristics defining the limits of the self. In the novel Avare Yıllar, which is a continuation of the novel Baba Evi, the other stands out with its aspect that gives meaning to the existence of the protagonist and steers him toward a purpose. In the universe where the protagonist lives as a wanderer and makes himself move around as a wanderer, he is constantly in an emptiness, existentially absence, because he could not lead the self into an ontological purpose. However, after the acquaintance of Izzet Usta, who is the other face of him, the protagonist has had a certain purpose and tried to give meaning to his existence. In this context, we see that the protagonist of the novel Avare Yıllar grasps the existential sense of self after his meeting/encounter with the face of the other. In this regard, this study will focus on the role of Izzet Usta/the other, a new face that the Little Man encountered in the stage of self-discovery and formation, and it will also dwell on the importance of this role in reading the world adventure of the self and creating ethical value for the other in the novel.
İsmail Gaspırali belongs to an intellectual circle shaped by dynamic ideas in line with the soul of the period. By reflecting his ideas through the influence of the period he lived in, the author also presents the ignorance and lack of knowledge among the people as a narrator. Therefore, he employs a dynamic presentation of the characters in his narratives. As his narratives are based upon idea and character development (the protagonist in particular), the main line of narration is presented stylistically through developmental caharacteristics of both the persons and themes. In this regard, the main focus of his narratives is the character development, which underlines his stylistic approach. Instead of the randomly employed characters, other characters evolving around the protagonist form the main starting point of motivation. A comprehension made through the protagonist, naely Molla Abbas, is of great importance for the deep understanding of the texts. In this study, which aims to analyse the formation of characters and the author, the characters in Frengistan Mektupları, Darürrahat Müslümanları, Sudan Mektupları, Kadınlar Ülkesi and Molla Abbas Fransevî’ye Tesadüf: Gül Baba Ziyareti by İsmail Gaspıralı will be examined together with the values presented in the fictive style.
Ahmed Reşad, bu eserinde, eşini kaybedip dul kalan Melâhat’ın trajik hikâyesini realist bir üslupla kaleme alır. Romanda Beyoğlu’ndaki sefahat dünyasının, aile yapısı üzerinde yarattığı zararlı etkileri, iffetli bir Osmanlı kadını olan Melâhat’ın sefaya düşkün ve ahlaksız bir erkek tarafından nasıl kandırıldığını ve aldatılma sonucu nasıl felakete sürüklendiği anlatılır.
Dönemin İstanbul yaşamından moda eğilimlerine, düşünce dünyasından dünya görüşüne kadar pek çok konuda ilginç bilgiler sunan bu roman, İkinci Meşrutiyet dönemi Türk romanı araştırmacıları için çarpıcı bilgiler sunmaktadır.
Ferhat Uzunkaya, Türk Romanında Yabancılaşma (1980-2020) isimli bu çalışmasında Tanzimat’tan günümüze kadar yabancılaşma biçimlerinin özellikle dönem romanına yansıyan yüzünü bütüncül bir bakış açısı ile farklı disiplinler içinde değerlendirip bireysel ve toplumsal boyutta okumaya çalışır.
Çalışma boyunca, kendilik ilişkilerini özgürce kuramayan modern insanın içine düştüğü körleşme alanlarının izleksel kurgudaki tahlilinin yanı sıra ülkemizin siyasi, iktisadi ve yazınsal oluş serüvenine tanıklık ederiz.
Roman, başkişi Leman’ın başından geçen hadiselerin anlatıldığı kısa bir polisiye anlatıdır. Leman, tehdit içerikli bir mektup alır, bu sürede korkuları artmaya başlar. İlerleyen bölümlerde ise Leman’ın teyzesi evlerinde öldürülür. Polis hafiyesi Hikmet Bey, romanın sonunda katili bulur; ancak katil intihar etmiştir. Bu bakımdan, Korkuyorum isimli romanda dramatik aksiyonda gerilim unsurunun son derece titiz bir biçimde işlendiğini görülür. Romanda karakter oluşturma hususunda ise gerek kahramanı role hazırlamada gerekse rol benimsetmede yer yer aksaklıklara rastlanır.
Çalışmada Türk edebiyatında özellikle şair kimliği ile tanınan Cahit Sıtkı Tarancı’nın kaleme aldığı Korkuyorum isimli tek roman denemesi, “Romanın Tanıtımı, Olay Örgüsü, Bakış Açısı ve Anlatıcı Düzlemi, Zaman, Mekân, Kişiler” başlıkları altında ve “Kişiler, Kavramlar ve Simgeler” düzleminde “Ülkü ve Karşı(t) Değerler” arasındaki çatışma bağlamında roman tekniği bakımından incelenecektir.
This study examines the play titled “Hülleci”, penned by Reşat Nuri Güntekin, based on the work titled “Laughter” (Le rire) by Henri Bergson, in which he evaluates the laughter caused by the comic within the framework of a social relationship. “Hülleci” was published by the State Printing House in Istanbul in 1935 as a 97-page, 4-act folk comedy. In the play, the deteriorating family structure and the way people who exploit religious values play with it are criticized in the context of the tradition of halala (hülle in Turkish), and this criticism is explained by including tragicomic events and zany characters.The French philosopher Bergson argues that laughter has a social meaning and scope. Mentions that the comic, first of all, expresses the inability of the individual to adapt to society in a sense and states that it is only found in human beings. Bergson, who treats laughter as a social gesture, emphasizes that types and tendencies incompatible with social life are rectified through laughter. Based on the view that nothing is laughable except the human, he determines the natural environment of laughter as “the society”. For him, anyone who separates themselves from society is laughable. In order to prove his own view, he suggests that it should be evaluated according to customs, ideas, and prejudices of society. In this respect, the purpose of comedy is not to analyze personal causes, but to correct the incompatibility and to teach how to blend in with society.Güntekin criticizes people who exploit religious values in the context of the halala tradition in his play “Hülleci”, in which a series of events revealing around the tradition of halala is conveyed as a situational comedy and reveals in a bittersweet and humorous way how these types of people destroy the family structure for their own pleasures. In this context, it is a period-criticism made through the halala tradition. With its capacity to put society on the correct path, Güntekin criticizes the period with laughter. He gathers everyone, who as the way Bergson stated, separates themselves from the society around humor and observes the general. Güntekin thus aims to correct the misdeeds of society and to be an instructor.
In this study, Orhan Kemal’s novel Avare Yıllar, which is the second novel of the Little Man’s Novel series, will be examined in the context of the concept of the ‘other’, which is seen as a positive value with its characteristics defining the limits of the self. In the novel Avare Yıllar, which is a continuation of the novel Baba Evi, the other stands out with its aspect that gives meaning to the existence of the protagonist and steers him toward a purpose. In the universe where the protagonist lives as a wanderer and makes himself move around as a wanderer, he is constantly in an emptiness, existentially absence, because he could not lead the self into an ontological purpose. However, after the acquaintance of Izzet Usta, who is the other face of him, the protagonist has had a certain purpose and tried to give meaning to his existence. In this context, we see that the protagonist of the novel Avare Yıllar grasps the existential sense of self after his meeting/encounter with the face of the other. In this regard, this study will focus on the role of Izzet Usta/the other, a new face that the Little Man encountered in the stage of self-discovery and formation, and it will also dwell on the importance of this role in reading the world adventure of the self and creating ethical value for the other in the novel.
İsmail Gaspırali belongs to an intellectual circle shaped by dynamic ideas in line with the soul of the period. By reflecting his ideas through the influence of the period he lived in, the author also presents the ignorance and lack of knowledge among the people as a narrator. Therefore, he employs a dynamic presentation of the characters in his narratives. As his narratives are based upon idea and character development (the protagonist in particular), the main line of narration is presented stylistically through developmental caharacteristics of both the persons and themes. In this regard, the main focus of his narratives is the character development, which underlines his stylistic approach. Instead of the randomly employed characters, other characters evolving around the protagonist form the main starting point of motivation. A comprehension made through the protagonist, naely Molla Abbas, is of great importance for the deep understanding of the texts. In this study, which aims to analyse the formation of characters and the author, the characters in Frengistan Mektupları, Darürrahat Müslümanları, Sudan Mektupları, Kadınlar Ülkesi and Molla Abbas Fransevî’ye Tesadüf: Gül Baba Ziyareti by İsmail Gaspıralı will be examined together with the values presented in the fictive style.
Fransız düşünür Michel Foucault, tarihsel anlamda insanın özneleştirme ilişkilerini özne ve iktidar bağlamında değerlendirerek, insanların özneye dönüştürülme kiplerinin tarihini oluşturur. Bu değerlendirmelerini psikoloji, felsefe, epistemoloji, sosyoloji ve tarih gibi çeşitli disiplinlerden yararlanarak oluşturur. Ona göre bireyin özneleştirilmesi trajiği insanın öteki olması önündeki en önemli sosyolojik çözümlemelerden birisidir. Çalışmada Cengiz Aytmatov’un Gün Olur Asra Bedel adlı eserini Michel Foucault’nun özne ve iktidar ilişkileri etrafında çözümlemeye çalışılmıştır.
The narrative titled The Day Lasts More Than a Hundred Years is based on the theme of one’s transformation from a subject into an object. Aytmatov marks, in the narrative, the departure point of human’s tragic destiny from the “home” to the collective rehabilitation centers, the Soviet Dormitories. He underlines that the people growing up in such places are each an object motivated solely by ideological and religious beliefs and that they act and speak in mottos. These objects, which are regarded as “fuel humans” for the maintenance and development of the system, constitute the main threat against humanity / the world.
The French thinker Michel Foucault, depicts the conditions / processes of transforming humans into objects by evaluating humans’ subjectification relations in the context of strength and power. He makes this evaluation with the help of such disciplines as psychology, philosophy, epistemology, sociology and history. For him, the tragedy of humans transformation into objects is the most significant sociologic phenomenon in the face of becoming an “other”. In this study, The Day Lasts More Than a Hundred Years, by Aitmatov is analyzed in the context of subject and power, the terms proposed by Michel Foucault.
Ferit Edgü, one of the most significant names of our contemporary literature, expresses himself with his writings. Edgü, writing in almost every genre in literature such as novel, short-story, poetry, translation and critiques, gives humanity, who is the main focus of the era, together with themes like loneliness, miscommunication, and homelessness. This intellectual conscious trying to find remedies for the wounded soul of the era is in quest of revising the existentialist concerns of the individual in his minimal stories. Thus we may conclude Edgü’s narrative venture is the ultimate salvation of the captive spirit of the era from the blinding light of reality.
Şiir, türünün sağladığı imkân dâhilinde yaşama tutunmuş/ sarılmış insanın varoluşsal kaygısını sözcüklere yüklediği derin anlamlarla bizlere açar ve damıtılmışlığın içerisinde hep “devrini ve değişmez insan gerçeğini” barındırır. Şiir türünün sağladığı bu sıkıştırma, minimal düzeyde olduğundan; geniş anlam çıkarımları sadece simgesel düzeyde olacaktır.
Ahmet Haşim’in şiirleri, yaratıcı bir duyarlılıkla işlenen, geniş anlam katmanlarına olanak tanıyan, daha çok simgesel okumaların yoğunlukta olduğu eserlerdir. Yaratıcı dokunuşlarıyla ördüğü sanat yaşamını, “Yollar” adlı şiirinde Türk edebiyatında sıkça işlenen konulardan olan “öte düzen” izleği ile kurmuştur. Tevfik Fikret’in “Süha ve Pervin” ve “Ömr-i Muhayyel”, yine Ahmet Haşim’in “O Belde” şiiri hep aynı izlek çerçevesinde kurgulanmıştır.
Ahmet Haşim’in “Yollar” adlı şiirinde derinlemesine bir yol metaforu işlenir. Şiirdeki yol metaforu yatay boyutuyla düş dünyasına, dikey boyutuyla ise insanın kendi içine yaptığı yolculuğu simgeler.
Bu çalışmada, dünyanın tekdüzeliğinden sıkılan bireylerin an’a izdüşümü olarak karşımıza çıkan Ahmet Haşim’in bilinç ve/ya bilinçaltı sirkülâsyonlarıyla bezediği “Yollar” adlı şiiri, göstergebilim ve psikanalitik yöntemlerle çözümlenecektir.
Human try to escape from the siege of the outside world, want to break down wall of the limitation with the art, perception of the artist have a higher perception of normal human, constantly invite humanity to irresistible lure of a lottery with posits layout transcendence in human.
Poetry opens the opportunity provided by the type of people clinging to life within the deep sense of existential anxiety loaded words and in distilled, hosts always transfer or unchanged the fact of people, type of the poetry provide that compression is minimal, broad implications for the meaning would be only symbolic level.
Ahmet Hasim’s poems are handled creative sensitively, which allows a wide layers of meaning, it is very symbolic artifacts density readings he build his art-life with creative touches, In ''Yollar '' is called which his poetry, sets up one of the frequently commuted based on further layout thems in Turkish literature.
In this study, individuals who are bored moment using the monotony of the world as we face the Ahmet Hasim’s conscious or subconscious projection furnishes with circulation, tries to examine the his poetry is called “Yollar” with psychoanalytic approach.
bölümü bir okuma birimi olarak ele alınmıştır. Bu okuma birimleri üzerinden şiirde kullanılan
semboller, dilsel yapılar ve sözcüklerin yorumlanmasında dilbilimsel olarak bağıntı kuramı
üzerinden anlamsal canlandırma türleri okunmaya çalışılacaktır.
Poetik imgelerle ilgili en kapsamlı çalışmayı yapan Henry W. Wells, 1918’de yayınladığı Poetic Imagery adlı eserinde, Elizabeth dönemi şiirini inceler ve imgesel açıdan teorik bir çerçeve oluşturma denemesi de yapar. Wells, poetik imgeleri 7 ana gruba ayırır; The Decorative Image, The Sunken Image, The Violent Image or Fustian, The Radical Image, The Intensive, Image, The Expansive Image, The Exuberant Image. Wells, sınıflamasında en makbul sayılan yaratıcı imgelerin The Expansive Image olduğunu söyler.
Çalışmada, Wells’in yaptığı sınıflamadan hareketle Turgut Uyar’ın şiirlerinde, düşünsel gerçekliği şiire taşıması itibariyle şairini daha çok düşünsel ve pratik söylemin kurduğu radikal imge tanımlanmış ve örneklerle açıklanarak, şair ile yaratıcı muhayyile arasındaki bağlantı ortaya konulmuştur.
Image constitutes one of the most important problems of literary science. The image, which literally is the reproduction of an external reality in the mind; It turns into a poetic image when it reaches new combinations of meanings that arise from the associative relationship of words. At this point, image and symbol, image and metaphor are mixed. It is seen that the symbol, which is generally an indicator of a defined / frozen meaning, and the image, which constantly creates new meaning combinations with words and / or phrases, are often used interchangeably. In this respect, poetic images; It is a subject that must be known and defined and researched in terms of analyzing, understanding, classifying poetry and measuring the creative capacities of poets.
Henry W. Wells, who made the most comprehensive study on poetic images, in his work Poetic Imagery published in 1918, examines Elizabethan poetry and also attempts to form a theoretical framework in terms of imagination. Wells divides poetic images into 7 main groups; The Decorative Image, The Sunken Image, The Violent Image or Fustian, The Radical Image, The Intensive, Image, The Expansive Image, The Exuberant Image. Wells states that the most accepted creative images in her classification are The Expansive Image.
In the study, in Turgut Uyar's poems, based on the classification made by Wells, the radical image established by the very intellectual and practical discourse of the poet as it carries the intellectual reality to poetry has been defined and explained with examples, and the connection between the poet and the creative imagination has been revealed.
Çalışmada, 1980 sonrası Türk romanında görülen yabancılaşma teması ele alınmıştır. Tasnif edilen romanlar içerisinden anlamsal ve/ya örtük manada yabancılaşma bilgisine ilişkin verilerin temel parçası olarak ilk veri odaklı kodlardan hareketle yirmi beş farklı roman yabancılaşma izleği etrafında içerik analizi yönteminden hareketle incelenmiştir. Çalışmada disiplinlerarası bir yaklaşımla felsefe, psikoloji, sosyoloji ve iktisat gibi çeşitli disiplinlerde yabancılaşma ile ilgili ortaya konulan verilerden yararlanılmıştır. Çalışmada, 1980 sonrası edebiyatta yabancılaşmanın romana ne şekilde etki ettiği ayrıntılı olarak ele alınmıştır ve disiplinlerarası bir bakış açısı ile alana katkı sağlanması amaçlanmıştır.
Çalışma, üç bölümden oluşmaktadır. “Teorik ve Sosyolojik Arka-Plan” adını taşıyan birinci bölümde yabancılaşma kavramı ile ilgili çalışmalar ve düşüncelerin tasnifinden oluşmuştur. Disiplinlerarası bir yaklaşım ile kuramsal bir çerçeve oluşturularak çalışmada kullanılacak temel kavramlar ortaya konulmuştur. Buna ek olarak 1980 sonrası Türk edebiyatını kuran arka-plan kültürü ayrıca ele alınmıştır. Bu yolla çalışmada ele alınan konunun tarihsel olarak bir bütünlük sağlaması amaçlanmıştır.
“Bireysel Boyut İtibariyle Yabancılaşma” adını taşıyan ikinci bölümde belirlenen yirmi beş farklı yazarın yirmi beş farklı romanı yabancılaşma biçimleri olarak sunulan, insanın kendisine, türüne ve emeğine yabancılaşması gibi kavramları, 1980 sonrası Türk romanında görülen biçimleriyle, yeni alt başlıklar ekleyerek inceledik. Ek olarak, bu kavramları kapitalizm, modernizm ve teknolojik ilerlemelerin sonucu olarak ortaya çıkan durumlardan kaynaklanan yabancılaşma göstergeleri olarak ele aldık. İncelemede daha çok felsefe ve psikoloji gibi çeşitli disiplinlerden yararlanılarak karakter merkezli bir inceleme gerçekleştirilmiştir.
“Toplumsal Boyut İtibariyle Yabancılaşma” isimli üçüncü bölümde, yabancılaşma sosyolojik boyutu oluşturan toplumsal bir olgu içerisinde değerlendirilmiştir. Yirmi beş farklı yazarın yirmi beş farklı romanında yabancılaşmanın boyutları düşünsel/politik ve sosyolojik yabancılaşma olarak iki alt başlık halinde ele alınmıştır. Bu başlıklar, yine çalışmanın çerçevesine uygun olarak çeşitli alt başlıklarla gerekçelendirilmiştir. Bunu yaparken psiko-sosyolojik çözümleme yöntemi ve bu yöntemin verilerinden sıklıkla yararlanılarak yabancılaşmanın toplum ile bağı ortaya konulmaya çalışılmıştır.
Çalışmaya, yaptığımız çözümlemeyi materyallerle tamamlama amacıyla yabancılaşma ile ilgili kapsamlı bir kaynakça eklenmiş, bu yolla çalışmada ele alınan konunun detaylı bir bütünlük sağlaması amaçlanmıştır.
This study examines the alienation theme seen in the Turkish novel after 1980. Among the novels classified, twenty-five different novels were investigated under the alienation theme based on the content analysis method departing from the first data-oriented codes as the basic part of data on alienation information in the semantic and/or implicit sense. In the study, with an interdisciplinary approach, the data on alienation discussed in various disciplines such as philosophy, psychology, sociology, and economics were used. In the study, it was elaborated how alienation in literature after 1980 affected the novel, and it was aimed to contribute to the literature with an interdisciplinary perspective.
The study consists of three parts. The first part named “Theoretical and Sociological Background” includes the classification of studies and thoughts on the concept of alienation. It draws a theoretical framework through an interdisciplinary approach and introduces the basic concepts to be used in the study. Additionally, the background culture that formed the Turkish literature after 1980 was discussed separately. In this way, it was aimed to provide the historical integrity of the subject discussed in the study.
In the second part named “Alienation by Individual Dimension”, we examined the twenty-five different novels of twenty-five different authors identified and the concepts introduced as types of alienation such as self-alienation, alienation from their species-essence, and alienation from labor, with the forms seen in the Turkish novel after 1980, by adding sub-headings. Besides, we also discussed these concepts as indicators of alienation resulting from situations arising as a result of capitalism, modernism, and technological advances. In the analysis, various disciplines such as philosophy and psychology were used mainly and a character-based examination was carried out.
The third part named “Alienation by Social Dimension” discussed alienation in a social phenomenon that constitutes the sociological dimension. In twenty-five different novels of twenty-five different authors, the dimensions of alienation were investigated as two sub-headings: intellectual/political and sociological alienation. These headings were reasoned with various sub-headings in accordance with the framework of the study. While doing this, the psycho-sociological analysis method and data of this method were frequently used and the bond of alienation with society was tried to be revealed.
An annotated bibliography about alienation was added to the study to complete our analysis with materials, and thus, it was aimed to provide detailed integrity of the subject discussed in the study.
İsmail Gaspıralı Anlatılarında Yapı ve İzlek adlı çalışmamızı iki ayrı bölüme ayırarak inceledik. “Monografi” niteliği taşıyan birinci bölümde yazarın hayatı ve eserlerini değerlendirmeye aldık.
Çalışmanın temelini oluşturan ikinci bölümünde ise yazarın “nehir roman” türünü çağrıştıran beş anlatısını (Frengistan Mektupları, Darürrahat Müslümanları, Sudan Mektupları, Kadınlar Ülkesi ve Molla Abbas Fransevî’ye Tesadüf: Gülbaba Ziyareti) yapısal ve izleksel açıdan inceledik. Anlatıların yapısal ve izleksel yapısını incelerken roman teorisinin yanı sıra tarih, sosyoloji, felsefe ve psikoloji gibi bilim dallarından da yararlandık. Böylece anlatıların yazıldığı tarihten günümüze geliş sürecindeki okunma ve algılanma biçimleri de gözler önüne serildi. İsmail Gaspıralı anlatılarında kadın-erkek ilişkileri, aşk/sevgi, arayış, kendini gerçekleştirme, uyanış ve başkaldırı gibi bireysel, doğu-batı, Müslüman-Hristiyan, eğitim, cehalet/bilgisizlik ve vatan gibi toplumsal temaları da izleksek açıdan değerlendirmeye çalıştık.
Çalışmaya, yaptığımız çözümlemeyi materyallerle tamamlama amacıyla İsmail Gaspıralı ile ilgili kapsamlı bir kaynakça ekledik. Çalışmada ayrıca İsmail Gaspıralı hakkında fotoğraf arşivine de yer verildi.
İsmail Gaspıralı (1851-1914) is one of the items frequently mentioned in the name of Turkish literature. In this study, the literary adventure of İsmail Gaspıralı, known for his works of opinion, journalism and educator, was subjected to a review.
We made two separate chapters on called this study Ismail Gaspiralı Structure and Theme. In the first episode of “Monograph” we took the writer's life and works into consideration.
In the second part, which is the basis of the study, we have examined struture and theme the five narratives, which are related to the novel “river-novel” (Frengistan Mektupları, Darürrahat Müslümanları, Sudan Mektupları, Kadınlar Ülkesi ve Molla Abbas Fransevî’ye Tesadüf: Gülbaba Ziyareti). In studying the structural and the anatomical structure of the narratives, we have benefited from the branches of science such as history, sociology, philosophy and psychology as well as novel theory. Thus, the forms of reading and perception during the day-to-day arrival of the narratives were also revealed. We have tried to evaluate social issues such as individual, east-west, Muslim-Christian, education, ignorance and homeland such as love and love, search, self-realization, awakening and revolt.
We added a whole bibliography to Ismail Gaspıralı to work, to complete the analysis that we have done with the materials. The work also included a photo archive about Ismail Gaspıralı.