İki 'Yeni': ikinci yeni şiirinde ve yeni dalga filmlerinde sivillik, güzellik ve yenilik imgesi
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Date
2021
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Publisher
İstanbul Bilgi Üniversitesi
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info:eu-repo/semantics/openAccess
Abstract
Bu çalışmada; 1950'lilerin sonunda, biri Türkiye'de, diğeri Fransa'da "Yeni" adıyla ortaya çıkmış veya eleştirmenlerce öyle adlandırılmış, biri edebiyattan, diğeri de sinemadan olan iki "akım"ı; İkinci Yeni şiir akımıyla Fransız Yeni Dalga'sının bazı ortak paydalarını göstermeye çalışacağım. İki "Yeni"nin de şairleri ve sinemacılarının belirli bir ideolojiye angaje olmamaları, bir gençlik patlaması olarak ortaya çıkmaları, "özerk" bir dili ve yaşamı seçmeleri, dillerinin anti-akademik olması ve -tuhaf biçimde- neredeyse aynı yılda (1958) ilk olgun örneklerini vermeleri; sinefiller ve bibliyofiller için onları belirli başlıklar altında bir araya getirme hevesi vermektedir. Dahası; modern sinemanın (Orson Welles ve sonrası) poetik karakteriyle modern şiirin (Stéphane Mallarmé ve sonrası) imajinatif doğası bu hevesi tetiklemektedir. Modern dünya şiirinin "görsel" oluşuna da paralel olarak, İkinci Yeni şiirinin görsel karakteriyle Yeni Dalga filmlerinin şiirsel karakterine; yenilik, güzellik ve sivillik gibi bazı ana başlıklar altında bakmayı deneyeceğim.
In this study, I will illustrate some common denominators of the Second New poetry movement and the French New Wave. These movements emerged in the late 1950s, one in Turkey and the other in France, under the name "new" or so-called by critics. One of these two movements is in literature, and the other is in cinema. The poets and filmmakers of both "New"s were not engaged in a certain ideology, emerged as a youth explosion, chose an "autonomous" language and life, their language was anti-academic, and - strangely- almost in the same year (1958) they gave their first mature examples; all this gives cinephiles and bibliophiles an enthusiasm to bring them together under certain headings. Moreover; The poetic character of modern cinema (Orson Welles and after) and the imaginative nature of modern poetry (Stéphane Mallarmé and after) trigger this enthusiasm. Parallel to the "visual" nature of modern world poetry; I will look at the visual character of the Second New poetry and the poetic character of the New Wave films under some main headings such as novelty, beauty, and civility.
In this study, I will illustrate some common denominators of the Second New poetry movement and the French New Wave. These movements emerged in the late 1950s, one in Turkey and the other in France, under the name "new" or so-called by critics. One of these two movements is in literature, and the other is in cinema. The poets and filmmakers of both "New"s were not engaged in a certain ideology, emerged as a youth explosion, chose an "autonomous" language and life, their language was anti-academic, and - strangely- almost in the same year (1958) they gave their first mature examples; all this gives cinephiles and bibliophiles an enthusiasm to bring them together under certain headings. Moreover; The poetic character of modern cinema (Orson Welles and after) and the imaginative nature of modern poetry (Stéphane Mallarmé and after) trigger this enthusiasm. Parallel to the "visual" nature of modern world poetry; I will look at the visual character of the Second New poetry and the poetic character of the New Wave films under some main headings such as novelty, beauty, and civility.
Description
Lisansüstü Programlar Enstitüsü, Felsefe ve Toplumsal Düşünce Ana Bilim Dalı, Felsefe Bilim Dalı
Keywords
Felsefe, Philosophy, Karşılaştırmalı Edebiyat
