{"id":2199,"date":"2010-11-04T20:53:51","date_gmt":"2010-11-04T18:53:51","guid":{"rendered":"http:\/\/www.sorubak.com\/blog\/?p=2199"},"modified":"2010-11-04T20:54:02","modified_gmt":"2010-11-04T18:54:02","slug":"ikinci-donem-tanzimat-edebiyati-ve-sanatcilari","status":"publish","type":"post","link":"https:\/\/www.sorubak.com\/blog\/ikinci-donem-tanzimat-edebiyati-ve-sanatcilari.html","title":{"rendered":"\u0130kinci d\u00f6nem tanzimat edebiyat\u0131 ve sanat\u00e7\u0131lar\u0131"},"content":{"rendered":"

\u0130K\u0130NC\u0130 D\u00d6NEM TANZ\u0130MAT EDEB\u0130YATININ \u00d6ZELL\u0130KLER\u0130 (1876-1895)
\n* Bireysel konulara d\u00f6n\u00fclm\u00fc\u015ft\u00fcr.
\n* Sanat, sanat i\u00e7indir, g\u00f6r\u00fc\u015f\u00fc benimsenmi\u015ftir.
\n* Dil olduk\u00e7a a\u011f\u0131rla\u015ft\u0131r\u0131lm\u0131\u015ft\u0131r.
\n* Tiyatro eserleri oynanmak i\u00e7in de\u011fil okunmak i\u00e7in yaz\u0131lm\u0131\u015ft\u0131r.
\n* Realizm ve nat\u00fcralizm bask\u0131n ak\u0131mlar olarak g\u00f6ze \u00e7arpar.
\n* Gazetecilik, ilk d\u00f6nemdeki toplumsal etki ve i\u015flevini yitirir. Gazetelerdeki siyasal ve toplumsal i\u00e7erikli yaz\u0131lar yerini g\u00fcnl\u00fck s\u0131radan olaylara b\u0131rak\u0131r. Toplumsal makalenin yerini de edebi makale al\u0131r.
\n* Birinci d\u00f6nemdeki gibi hece denenmekle birlikte aruz yine egemenli\u011fini s\u00fcrd\u00fcrm\u00fc\u015ft\u00fcr. Birinci d\u00f6nemde de kullan\u0131lan Divan edebiyat\u0131 naz\u0131m bi\u00e7imleri b\u0131rak\u0131lmaya ba\u015flanm\u0131\u015ft\u0131r.
\n* \u015eiirin konusu geni\u015fletilmi\u015f; \u00f6l\u00fcm, karamsarl\u0131k, a\u015fk, felsefi d\u00fc\u015f\u00fcnceler tema olarak se\u00e7ilmi\u015ftir. Sanat\u00e7\u0131lar, “G\u00fczel olan her \u015fey \u015fiirin konusu olabilir.” anlay\u0131\u015f\u0131n\u0131 savunmu\u015flard\u0131r. Bu d\u00f6nem \u015fiiri Servet-i F\u00fcnun<\/a> \u015fiirine de esin kayna\u011f\u0131 olmu\u015ftur.
\n* Roman ve \u00f6yk\u00fc tekni\u011fi daha da geli\u015fir. Birinci d\u00f6nem g\u00f6re daha nitelikli \u00fcr\u00fcnler vermeye ba\u015flam\u0131\u015ft\u0131r. Betimlemeler ilk d\u00f6neme g\u00f6re daha da \u00f6l\u00e7\u00fcl\u00fcd\u00fcr. Realizm ak\u0131m\u0131n\u0131n etkisiyle g\u00f6zleme<\/a> \u00f6nem verilmi\u015f, olay ve ki\u015filer daha ger\u00e7ek\u00e7i anlay\u0131\u015fla anlat\u0131lm\u0131\u015ft\u0131r.
\n* Nabizade Naz\u0131m naturalizmden, Recaizade Mahmut Ekrem ve Samipa\u015fazade Sezai realizmden, Abd\u00fclhak Hamit Tarhan ise romantizmden etkilenmi\u015ftir.
\n* Tanzimat\u0131n ikinci d\u00f6neminde \u00fcr\u00fcnler veren Muallim Naci Divan edebiyat\u0131n\u0131n tek savunucusudur.
\n*<\/strong> Tanzimat<\/a>\u2019\u0131n ikinci ku\u015fak sanat\u00e7\u0131lar\u0131: Recaizade Mahmut Ekrem, Abd\u00fclhak Hamit Tarhan, Samipa\u015fazade Sezai, Nabizade Naz\u0131m, Muallim Naci, Direkt\u00f6r Ali Bey<\/a> ve Ahmet Cevdet Pa\u015fa<\/a>\u2019d\u0131r.
\n\u0130K\u0130NC\u0130 D\u00d6NEM TANZ\u0130MAT EDEB\u0130YATININ SANAT\u00c7ILARI
\nRECA\u0130ZADE MAHMUT EKREM (1847- 1914)
\n<\/strong>* \u0130lk realist roman\u0131m\u0131z olan: Araba Sevdas\u0131’n\u0131 yazm\u0131\u015ft\u0131r.
\n* Tevfik Fikret<\/a>‘in ak\u0131l hocas\u0131d\u0131r.
\n* Muallim Naci ile uzun y\u0131llar s\u00fcren “eski-yeni”kavgas\u0131nda yeniyi savunmu\u015ftur.
\n* “Sanat sanat i\u00e7indir ve kafiye kulak i\u00e7indir.” g\u00f6r\u00fc\u015f\u00fcn\u00fc benimsemi\u015ftir.
\n* O\u011flu Nijat Ekrem’in ve di\u011fer iki \u00e7ocu\u011fununun \u00f6l\u00fcm\u00fc onu bireysel ve h\u00fcz\u00fcnl\u00fc eserler vermeye zorlam\u0131\u015ft\u0131r.
\n* “Her g\u00fczel \u015fey \u015fiirin konusudur.” diyerek \u015fiirin konu zenginli\u011fine katk\u0131 yapm\u0131\u015ft\u0131r.
\n* Muallim Naci’nin Demdeme’sine kar\u015f\u0131l\u0131k Zemzeme adl\u0131 kitab\u0131 yazm\u0131\u015ft\u0131r.
\n* Tiyatrolar\u0131: Afife Anjelik, \u00c7ok Bilen \u00c7ok Yan\u0131l\u0131r, Vuslat (S\u00fcreksiz Sevin\u00e7)
\n* \u015eiirleri: Zemzeme, Na\u011fme-i Seher, Tefekk\u00fcr, Yadig\u00e2r-\u0131 \u015eebap
\n* Romanlar\u0131: Araba Sevdas\u0131, Muhsin Bey
\n* \u0130nceleme: Talim-i Edebiyat adl\u0131 eseri onun edebiyata dair g\u00f6r\u00fc\u015fleri i\u00e7eren en \u00f6nemli eseridir. Takdir-i Elhan <\/p>\n

ABD\u00dcLHAK HAM\u0130T TARHAN ( 1852-1937)
\n<\/strong>* Edebiyat\u0131m\u0131z\u0131n en bireysel \u015fairlerindendir.
\n* Bat\u0131l\u0131la\u015fma hareketinin as\u0131l \u00f6nc\u00fcs\u00fc olarak kabul g\u00f6rd\u00fc\u011f\u00fc i\u00e7in kendisine “\u015fairi azam”(b\u00fcy\u00fck \u015fair) lakab\u0131 verilmi\u015ftir.
\n* G\u00f6zlem ve izlenimleriyle \u015fiir yazm\u0131\u015ft\u0131r.
\n* D\u00fc\u015f\u00fcnen adamdan \u00e7ok yapan adam \u00f6zelli\u011fi ta\u015f\u0131maktad\u0131r.
\n* Tiyatrolar\u0131 oynanmaya uygun de\u011fildir.(Macera-y\u0131 A\u015fk, Sabru Sebat, i\u00e7li K\u0131zlar, Finten, Nesteren, Liberte )
\n* Romantizmin etkisinde, metafizik konular\u0131, \u00f6l\u00fcm, a\u015fk gibi temalar i\u00e7eren eserler vermi\u015ftir.
\n* Makber, \u00d6l\u00fc, Bunlar O’dur, Hacle, Garam<\/a>, \u0130lham-\u0131 Vatan \u015fiir kitaplar\u0131d\u0131r.<\/p>\n

MUALL\u0130M NAC\u0130 (1850-1893)
\n<\/strong>* Recaizade Mahmut Ekrem’le eski- yeni kavgas\u0131nda eski’yi savunmu\u015ftur.
\n* Bat\u0131l\u0131 tarzda \u015fiirler de yazm\u0131\u015ft\u0131r.
\n* Dili a\u011f\u0131rd\u0131r ;ancak ba\u015far\u0131l\u0131d\u0131r.
\n* Eserleri: Ate\u015fpare, F\u00fcruzan, \u015eerare (\u015fiir) Demdeme, Muallim (ele\u015ftiri)
\nIslahat-\u0131 Edebiye (s\u00f6zl\u00fck)<\/p>\n

NAB\u0130ZADE NAZIM (1862-1893)
\n<\/strong>* \u0130lk k\u00f6y roman\u0131m\u0131z kabul edilen: Karabibik’i yazm\u0131\u015ft\u0131r.
\n* Realizm, nat\u00fcralizm’in \u00f6nc\u00fclerinden say\u0131l\u0131r.
\n* \u0130lk psikolojik roman denemesi say\u0131lan: Zehra’y\u0131 yazm\u0131\u015ft\u0131r.
\n<\/span><\/p>\n

\"Enhanced<\/a>
\n