{"id":2259,"date":"2010-11-10T20:28:06","date_gmt":"2010-11-10T18:28:06","guid":{"rendered":"http:\/\/www.sorubak.com\/blog\/?p=2259"},"modified":"2021-11-27T21:46:07","modified_gmt":"2021-11-27T18:46:07","slug":"servet-i-funun-edebiyat-i-cedide-doneminde-hikaye-ve-roman","status":"publish","type":"post","link":"https:\/\/www.sorubak.com\/blog\/servet-i-funun-edebiyat-i-cedide-doneminde-hikaye-ve-roman.html","title":{"rendered":"Servet-i F\u00fcn\u00fbn (Edebiyat-\u0131 Cedide) D\u00f6neminde Hik\u00e2ye ve Roman"},"content":{"rendered":"
Servet-i F\u00fcn\u00fbn Hik\u00e2yecili\u011fi<\/strong>
\nServet-i F\u00fcn\u00fbn d\u00f6neminde hik\u00e2yede b\u00fcy\u00fck geli\u015fme ya\u015fan\u0131r. Tanzimat’la edebiyat\u0131m\u0131za giren hik\u00e2yenin olgun \u00f6rnekleri bu d\u00f6nemde verilir. \u015eiirde oldu\u011fu gibi hik\u00e2yede de bireysel konular i\u015flenir. Servet-i F\u00fcn\u00fbn neslinin “i\u00e7e d\u00f6n\u00fck, karamsar” bak\u0131\u015f\u0131 bu hik\u00e2yelere de sinmi\u015ftir. Kimi hik\u00e2yelerde istanbul d\u0131\u015f\u0131nda ge\u00e7en olaylara de yer verilmekle birlikte hik\u00e2yelerde mek\u00e2n genellikle \u0130stanbul’dur. Yazarlar realizmin etkisiyle yazd\u0131klar\u0131 hik\u00e2yelerde ya\u015fad\u0131klar\u0131 d\u00f6nemi i\u015flemi\u015flerdir.
\n<\/span><\/span><\/div>\n
\n

Tanzimat ve Servet-i F\u00fcn\u00fbn Hik\u00e2yecili\u011finin Kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131
\n<\/strong>Tanzimat yazarlar\u0131 hik\u00e2yelerde sosyal yarar ama\u00e7lam\u0131\u015ft\u0131r. Bu a\u00e7\u0131dan hik\u00e2yelerde evlilik sorunlar\u0131, gelenek ve t\u00f6re, bat\u0131l inan\u00e7lar, esaret, yanl\u0131\u015f Bat\u0131l\u0131la\u015fma i\u015flenmi\u015f, mekan ihmal edilmi\u015ftir. Edebiyat-\u0131 Ced\u00eede d\u00f6neminde yazarlar, yap\u0131tlar\u0131nda bireysel duygular\u0131 i\u015flemi\u015fler; a\u015fk, kad\u0131n, evlilik, tabiat, yaln\u0131zl\u0131k, hayal-hakikat \u00e7at\u0131\u015fmas\u0131ndan kaynaklanan \u00fcmitsizlik, a\u015f\u0131r\u0131 melankoli, hastal\u0131k, karamsar bir bak\u0131\u015f a\u00e7\u0131s\u0131 gibi bireysel konulara yer vermi\u015flerdir. Bu d\u00f6nem hik\u00e2yelerinde sanat\u00e7\u0131 ruhlu, piyano \u00e7alan, yabanc\u0131 dil bilen kad\u0131nlar; sevdal\u0131, ince ruhlu \u00e2\u015f\u0131klar, Bat\u0131l\u0131 tipler g\u00f6r\u00fcl\u00fcr. Mekan \u0130stanbul’dur.<\/span><\/span><\/p>\n

Tanzimat hik\u00e2yelerinde dil, biraz daha sadedir. C\u00fcmleler k\u0131sa, a\u00e7\u0131k ve anla\u015f\u0131l\u0131r \u00f6zelliktedir. \u00c7\u00fcnk\u00fc bu d\u00f6nemde d\u00fc\u015f\u00fcnce \u00f6ne \u00e7\u0131km\u0131\u015f, \u00f6zentili anlat\u0131m arka plana itilmi\u015ftir. Servet-i F\u00fcn\u00fbn yazarlar\u0131, “Sanat, sanat i\u00e7indir.” g\u00f6r\u00fc\u015f\u00fcn\u00fc benimsemi\u015ftir. Bu nedenle onlar\u0131n hik\u00e2yelerinde dil, s\u00fcsl\u00fc ve sanatl\u0131d\u0131r. Eski s\u00f6zc\u00fckler s\u0131kl\u0131kla kullan\u0131l\u0131r. Dilde sanat kayg\u0131s\u0131 a\u011f\u0131r basar. Ancak bu dil, romanlara g\u00f6re daha sadedir.<\/p>\n

Tanzimat yazarlar\u0131 Frans\u0131z edebiyat\u0131ndan etkilenseler de Do\u011fu \u00f6yk\u00fcleme gelene\u011finden kurtulamam\u0131\u015ft\u0131r. Bu nedenle Tanzimat hik\u00e2yelerinde yap\u0131, Bat\u0131l\u0131 olsa da i\u00e7 kurgu ve anlat\u0131m Do\u011fulu \u00f6zellikler ta\u015f\u0131r. Olay \u00f6n plandad\u0131r. Ki\u015filer siliktir. Hik\u00e2yelerde romantizmin etkisi a\u00e7\u0131k\u00e7a hissedilir. Samipa\u015fazade Sezai ile birlikte hik\u00e2yelerde realizmin etkisi g\u00f6r\u00fclmeye ba\u015flar. Servet-i F\u00fcn\u00fbn d\u00f6neminde ise geleneksel hik\u00e2ye tamamen b\u0131rak\u0131l\u0131r, Bat\u0131l\u0131 tarzda hik\u00e2yeler yaz\u0131lmaya ba\u015flan\u0131r. Realizmin etkisiyle ger\u00e7ek\u00e7i hayat sahneleri, sosyal ya\u015famdan kesitler hik\u00e2yelerde yans\u0131t\u0131l\u0131r. Olay yerine ki\u015filere, onlar\u0131n ruhsal durumlar\u0131na a\u011f\u0131rl\u0131k verilir. Bu nedenle yazarlar, \u00f6yk\u00fclerindeki ki\u015fileri ya\u015fad\u0131\u011f\u0131 toplumdan, kendi \u00e7evrelerinden se\u00e7mi\u015flerdir.<\/p>\n

Servet-i F\u00fcn\u00fbn edebiyat\u0131n\u0131n en \u00f6nemli hikayecisi Halit Ziya U\u015fakl\u0131gil’dir. Sanat\u00e7\u0131n\u0131n hik\u00e2yeleri, anlat\u0131m ve teknik \u00f6zellikler bak\u0131m\u0131ndan romanlar\u0131yla ayn\u0131 \u00e7izgidedir. \u00c7ok kuvvetli i\u00e7 ve d\u0131\u015f g\u00f6zlem yetene\u011fi olan yazar, hik\u00e2yelerini rahat yazar. Bu bak\u0131m\u0131ndan, onun hik\u00e2yeleri romanlar\u0131na oranla daha do\u011fald\u0131r. Hik\u00e2yeleri \u00fcslup bak\u0131m\u0131ndan daha zengin, lirizmle i\u00e7 i\u00e7edir. Yazar\u0131n hik\u00e2yelerindeki dili, romanlar\u0131ndan daha sadedir. Hik\u00e2yelerinin konular\u0131 mill\u00ee ve yereldir. Hik\u00e2yelerinde halktan ki\u015filere yer verir. Kimi hik\u00e2yelerinde mekan olarak Anadolu da yerini alm\u0131\u015ft\u0131r. “Mahalleye Mevkuf, Dilho\u015f Dad\u0131, Raife Molla, Alt\u0131n Nine, Keklik \u0130smail, Kar Ya\u011farken, Ali’nin Arabas\u0131” gibi hik\u00e2yeleri mill\u00ee ve mahall\u00ee \u00f6zellikler ta\u015f\u0131r.<\/p>\n

Halit Ziya’n\u0131n belli ba\u015fl\u0131 hik\u00e2yeleri \u015funlard\u0131r: “Bir Muht\u0131ran\u0131n Son Yapraklar\u0131, Bir \u0130zdivac\u0131n Tarih-i Mua\u015fakas\u0131, Heyhat, Solgun Demet, Sepette Bulunmu\u015f, Bir Hik\u00e2ye-i Sevda, Hepsinden Ac\u0131, Onu Beklerken, A\u015fka Dair, \u0130htiyar Dost, Kad\u0131n Pen\u00e7esi, \u0130zmir Hik\u00e2yeleri, Bir \u015eir’i Hayal”<\/p>\n

Halit Ziya’dan sonra Servet-i F\u00fcn\u00fbn toplulu\u011funun bir di\u011fer hikayecisi Mehmet Rauf’tur. O, hik\u00e2yelerinde a\u015fk konusunu i\u015flemi\u015ftir.<\/p>\n<\/div>\n

\n

Servet-i F\u00fcn\u00fbn Roman\u0131n\u0131n Dil ve Anlat\u0131m \u00d6zellikleri <\/strong>
\nTanzimat’la ba\u015flayan T\u00fcrk roman\u0131, Servet-i F\u00fcn\u00fbn d\u00f6neminde Nam\u0131k Kemal’in a\u00e7t\u0131\u011f\u0131 sanatk\u00e2rane \u00fcslup ile geli\u015fimini devam ettirmi\u015ftir. Bu d\u00f6nemde roman, gerek \u00fcslup gerekse teknik bak\u0131mdan \u00f6nceki d\u00f6neme g\u00f6re b\u00fcy\u00fck geli\u015fim g\u00f6stermi\u015ftir. Romanda Tanzimat\u00e7\u0131larda g\u00f6r\u00fclen kurgu hatalar\u0131, \u00fcslup eksiklikleri, acemilikler Servet-i F\u00fcn\u00fbn d\u00f6neminde kaybolmu\u015ftur. Roman tekni\u011fi modern ve sa\u011flamd\u0131r. Olaylar\u0131n \u00f6rg\u00fcs\u00fc, i\u015fleni\u015fi ve konu\u015fmalar ba\u015far\u0131l\u0131 bi\u00e7imde verilmi\u015ftir. Yazarlar, eserde ki\u015fili\u011fini gizlemi\u015ftir. Bat\u0131l\u0131 anlamda T\u00fcrk roman\u0131 bu d\u00f6nemde yaz\u0131l\u0131r.<\/span><\/span><\/p>\n

Servet-i F\u00fcn\u00fbncular, Tanzimat’la ba\u015flayan dilde sadelik anlay\u0131\u015f\u0131ndan uzak durmu\u015f, ayd\u0131n kesim i\u00e7in s\u00fcsl\u00fc ve sanatl\u0131 bir dille eserler vermi\u015ftir. Onlar esteti\u011fe \u00f6nem vermi\u015f, bu da beraberinde dil zenginli\u011fini getirmi\u015ftir. Ancak sanatk\u00e2rane \u00fcslup anlay\u0131\u015f\u0131 eserlerde kullan\u0131lan dilin kimi zaman anla\u015f\u0131lmaz h\u00e2le gelmesine neden olmu\u015ftur. Sanat\u00e7\u0131lar duygu ve d\u00fc\u015f\u00fcncelerini anlatmak<\/p>\n

i\u00e7in Arap\u00e7adan, Fars\u00e7adan, Bat\u0131 edebiyat\u0131ndan s\u00f6zc\u00fck ve tamlamalar kullanm\u0131\u015flard\u0131r. Bat\u0131 edebiyat\u0131n\u0131n etkisiyle k\u0131sa c\u00fcmleler kurmaya \u00f6zen g\u00f6stermi\u015flerdir. Yaz\u0131larda Frans\u0131z c\u00fcmle yap\u0131s\u0131n\u0131n etkisi vard\u0131r. S\u00f6z diziminde yenilikler yapm\u0131\u015flar; kesik c\u00fcmleler kullanm\u0131\u015flar, s\u0131fatlar\u0131 ismin sonunda kullanm\u0131\u015flar, fiilsiz c\u00fcmleler olu\u015fturmu\u015flar, “ve” ba\u011flac\u0131na, “ah” ve “oh” gibi \u00fcnlemlere c\u00fcmlelerde bol bol yer vermi\u015flerdir.<\/p>\n<\/div>\n

\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span>\u00a0<\/span><\/span><\/p>\n

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Servet-i F\u00fcn\u00fbn Roman\u0131n\u0131n Tema\/Konu \u00d6zellikleri
\n<\/strong>Tanzimat sanat\u00e7\u0131lar\u0131 devrin ko\u015fullar\u0131 gere\u011fi d\u0131\u015fa d\u00f6n\u00fck sosyal yazarlard\u0131r. Yap\u0131tlar\u0131nda i\u015fledikleri konular da yanl\u0131\u015f Bat\u0131l\u0131la\u015fma, g\u00f6r\u00fcc\u00fc usul\u00fcyle evlenme, esaret (k\u00f6lelik) gibi sosyal konulard\u0131r. Servet-i F\u00fcn\u00fbn sanat\u00e7\u0131lar\u0131 ise ya\u015fad\u0131klar\u0131 d\u00f6nemdeki siyasal bask\u0131lar ve sans\u00fcr nedeniyle bireysel konulara y\u00f6nelmi\u015ftir. Bunun sonucu olarak sosyal i\u00e7erikli temalardan uzak durmu\u015flar; eserlerinde hay\u00e2l-hakikat \u00e7at\u0131\u015fmas\u0131, ba\u015far\u0131s\u0131z a\u015fklar, karamsarl\u0131k gibi bireysel temalara y\u00f6nelmi\u015flerdir.<\/p>\n

Yazar ya\u015fad\u0131\u011f\u0131 toplumdan ba\u011f\u0131ms\u0131z de\u011fildir. Onun, ya\u015fad\u0131\u011f\u0131 toplumun uzak bir \u015fekilde eser vermesi olanaks\u0131zd\u0131r. Bu a\u00e7\u0131dan her tema yaz\u0131ld\u0131\u011f\u0131 d\u00f6nemin zihniyetini, sosyal ve k\u00fclt\u00fcrel durumlar\u0131n\u0131 yans\u0131t\u0131r. K\u0131sacas\u0131 ya\u015fam\u0131n ger\u00e7e\u011fi ile roman\u0131n ger\u00e7e\u011fi birbiriyle \u00f6rt\u00fc\u015fmez; ancak roman ger\u00e7ek ya\u015famdan, i\u00e7inde ya\u015fad\u0131\u011f\u0131 toplumsal, ekonomik ve k\u00fclt\u00fcrel ortamdan etkilenir. \u00dcretildi\u011fi toplumun yans\u0131malar\u0131n\u0131 i\u00e7erir. Mai ve Siyah’ta roman\u0131n yaz\u0131ld\u0131\u011f\u0131 d\u00f6nemin bas\u0131n hayat\u0131, A\u015fk-\u0131 Memnu’da Beyo\u011flundaki ya\u015fam, e\u011flence merkezleri yer al\u0131r. Servet-i F\u00fcn\u00fbn roman\u0131nda, konular \u0130stanbul’daki se\u00e7kin ki\u015filerin ya\u015fam\u0131ndan, \u00f6zellikle Bat\u0131l\u0131 \u00e7evrelerden al\u0131n\u0131r. Hayal k\u0131r\u0131kl\u0131\u011f\u0131, \u00fcz\u00fcnt\u00fc ve ba\u015far\u0131s\u0131z a\u015fklar romanlara konu olur.<\/p>\n

Servet-i F\u00fcn\u00fbn ile Tanzimat Roman\u0131n\u0131n Kar\u015f\u0131la\u015ft\u0131r\u0131lmas\u0131
\n<\/strong>Tanzimat D\u00f6nemi’nde yazarlar roman t\u00fcr\u00fcn\u00fcn ilk \u00f6rneklerini vermi\u015ftir. Bu d\u00f6nemde yazarlar, romanda belli bir geli\u015fmeyi de\u011fil, Do\u011fu ve Bat\u0131 k\u00fclt\u00fcr\u00fcn\u00fc birbirine katarak sosyal yarar\u0131 g\u00f6zetmi\u015ftir. Halka seslenebilmek i\u00e7in yazm\u0131\u015f, bu yolda meddah a\u011fz\u0131n\u0131 kullanm\u0131\u015f, \u00f6\u011freticili\u011fi ama\u00e7lam\u0131\u015ft\u0131r. Bu a\u00e7\u0131dan Tanzimat romanlar\u0131 teknik olarak kusurlu; ama bu t\u00fcr\u00fc yayg\u0131n h\u00e2le getirmesi a\u00e7\u0131s\u0131ndan \u00f6nemlidir. Yazarlar, romanlar\u0131nda halk\u0131 g\u00f6z \u00f6n\u00fcnde bulundurmu\u015f, g\u00f6r\u00fc\u015fleriyle kahramanlar\u0131 \u00fczerinde etkili olmu\u015f, romanlar\u0131n\u0131n olay ak\u0131\u015f\u0131n\u0131 s\u0131k s\u0131k keserek okura bilgiler vermi\u015ftir. Edebiyat\u0131m\u0131zda Bat\u0131l\u0131 anlamda esas roman, Servet-i F\u00fcn\u00fbn’la ba\u015flar. Servet-i F\u00fcn\u00fbncular realist ve nat\u00fcralist yazarlar\u0131, psikolojik roman \u00e7\u0131\u011f\u0131r\u0131n\u0131 a\u00e7an yazarlar\u0131 ve onlar\u0131n roman anlay\u0131\u015flar\u0131n\u0131 \u00f6rnek alm\u0131\u015flard\u0131r. Toplumsal yarar i\u00e7eren sosyal konular (cariyelik, g\u00f6r\u00fcc\u00fc usul\u00fcyle evlilik, k\u00f6le ticareti, yanl\u0131\u015f Bat\u0131l\u0131la\u015fma vs.) gitmi\u015f, ki\u015fisel konular, \u00f6zellikle a\u015fk konusu romanlara hakim olmu\u015ftur.<\/p>\n

Tanzimat romanlar\u0131nda ki\u015filerin psikolojik \u00e7at\u0131\u015fmalar\u0131na \u00e7ok az yer verildi\u011fini, yazarlar\u0131n g\u00f6r\u00fc\u015flerinin roman kahramanlar\u0131 \u00fczerinde etkili oldu\u011funu, romanlarda g\u00f6sterme tekni\u011fi yerine \u00f6yk\u00fclemenin a\u011f\u0131r bast\u0131\u011f\u0131n\u0131 \u00f6nceki \u00fcnitemizde i\u015flemi\u015ftik. Bu d\u00f6nem roman yazarlar\u0131 daha \u00e7ok, Do\u011fu edebiyat\u0131n\u0131n etkisindedir. Tanzimat D\u00f6nemi romanlar\u0131nda ne canl\u0131 bir psikoloji ne karakter ne de ger\u00e7ek\u00e7i ya\u015fam sahneleri vard\u0131r. Bu nedenle yazarlar, tasvir ve tahlilde ba\u015far\u0131l\u0131 olamam\u0131\u015flard\u0131r.<\/p>\n

Romanlarda a\u011f\u0131rl\u0131kl\u0131 olarak ki\u015filerin ya\u015fam\u0131 ve salon hayat\u0131 i\u015flenir. Ki\u015filerin ruh \u00e7\u00f6z\u00fcmlemelerine, tabiat ve \u00e7evre betimlemelerine \u00f6zen g\u00f6sterilir. Roman ki\u015fileri, romantik y\u00f6nleri olmakla birlikte genellikle modern ya\u015fam\u0131n i\u00e7inden, e\u011fitimli, bazen h\u0131rsl\u0131, bazen isyankar, gelene\u011fin kal\u0131plar\u0131n\u0131 k\u0131ran, \u00fcmitle bunal\u0131m aras\u0131 gelgitler ya\u015fayan ger\u00e7ek\u00e7i ki\u015filerdir. Bu ki\u015filer karamsar tipler, \u00e7apk\u0131n ve macera pe\u015finde olanlar, zengin ve Avrupal\u0131 tipler olarak s\u0131n\u0131fland\u0131r\u0131labilir.<\/p>\n

Yazarlar kahramanlar\u0131n\u0131 psikolojik ger\u00e7ekliklere uygun olarak serbest b\u0131rak\u0131r, okuru, taraf tutmadan kahramanlar\u0131 anlama ve \u00e7\u00f6z\u00fcmlemeye y\u00f6nlendirir. Bunun yan\u0131nda yazarlar, romanlarda Bat\u0131 tarz\u0131 hayat\u0131 ve kahramanlar\u0131 i\u015flemi\u015fler, sosyal ya\u015famdan da kuvvetli tiplere ve sahnelere de yer vermi\u015flerdir. \u00d6rne\u011fin Halit Ziya’n\u0131n Mai ve Siyah roman\u0131ndaki Ahmet Cemil, A\u015fk-\u0131 Memnu’daki Firdevs Han\u0131m, Nihal ve Bihter, o devir \u0130stanbul’unda ya\u015fam\u0131\u015f toplumdan ki\u015filerdir.<\/p>\n

Tanzimatta sade dile y\u00f6nelim vard\u0131r. \u015einasi ile ba\u015flayan dilde sadele\u015fmeyi Ahmet Mithat, uygulamaya \u00e7al\u0131\u015f\u0131r. Fakat \u00f6zentisiz c\u00fcmleler kurdu\u011fu i\u00e7in bunda ba\u015far\u0131l\u0131 olamaz. Samipa\u015faz\u00e2de Sezai dilde sadele\u015fmeyi savunmakla birlikte sanatl\u0131 s\u00f6z s\u00f6yleme al\u0131\u015fkanl\u0131\u011f\u0131ndan b\u00fct\u00fcn\u00fcyle kurtulamaz. Bu konuda Nabizade Naz\u0131m daha ba\u015far\u0131l\u0131d\u0131r. Servet-i F\u00fcn\u00fbn roman ve \u00f6yk\u00fclerinde ise sade dil anlay\u0131\u015f\u0131 bir kenara b\u0131rak\u0131lm\u0131\u015f, son derece s\u00fcsl\u00fc ve sanatl\u0131, arap\u00e7a ve fars\u00e7a s\u00f6zc\u00fcklerle y\u00fckl\u00fc bir dil kullan\u0131lm\u0131\u015ft\u0131r.
\n\u00a0<\/strong><\/p>\n<\/div>\n

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Servet-i F\u00fcn\u00fbn Romanc\u0131lar\u0131n\u0131n Etkilendi\u011fi Ak\u0131mlar
\n<\/strong>Roman, temsil etti\u011fi ak\u0131ma g\u00f6re romantik roman, nat\u00fcralist roman, realist roman; konusuna g\u00f6re a\u015fk roman\u0131, toplumsal roman, polisiye roman, macera roman\u0131 gibi isimler al\u0131r. Servet-i F\u00fcn\u00fbn yazarlar\u0131, yak\u0131ndan takip ettikleri Frans\u0131z yazarlar\u0131n etkisiyle realist roman anlay\u0131\u015f\u0131n\u0131 benimsemi\u015flerdir. Realist romanlar olaylar\u0131 ki\u015fi ve \u00e7evreyi ger\u00e7ek\u00e7i bir \u015fekilde anlat\u0131r. Yazarlar kendi duygu ve d\u00fc\u015f\u00fcncelerini esere yans\u0131tmazlar. Olaylar ve ki\u015filer kar\u015f\u0131s\u0131nda tarafs\u0131z kal\u0131rlar. Realist romanlarda eserin \u00fcslubu yapmac\u0131ks\u0131zd\u0131r. Servet-i F\u00fcn\u00fbn yazarlar\u0131, romanda realist ve nat\u00fcralist yazarlar\u0131 \u00f6rnek alm\u0131\u015flard\u0131r. Realist romanda g\u00f6zlem ve ara\u015ft\u0131rma \u00f6n planda, his ve hayal unsurlar\u0131 ise ikinci plandad\u0131r. Realist romanlarda ger\u00e7ekler, g\u00f6r\u00fclenler ve incelemelerin ortaya koydu\u011fu sonu\u00e7lar \u00f6nemlidir. G\u00f6zlem \u00f6nemlidir. Yazarlar ger\u00e7e\u011fe uygun \u00e7evre betimlemeleri yapm\u0131\u015ft\u0131r. Bu d\u00f6nem romanc\u0131lar\u0131, esere kendi duygu, d\u00fc\u015f\u00fcnce ve hayallerini kar\u0131\u015ft\u0131rmaz, ki\u015fili\u011fini gizler. Bunun i\u00e7in de olaylar\u0131, ki\u015fileri i\u00e7 ve d\u0131\u015f \u00f6zellikleriyle, psikolojik y\u00f6nleriyle objektif bir \u015fekilde anlat\u0131r. Dil ve \u00fcslup olaya ve olay\u0131n kahraman\u0131n\u0131n ki\u015fili\u011fine uygun olarak kullan\u0131l\u0131r. Nat\u00fcralist romanlarda bilime ve ara\u015ft\u0131rmaya daha \u00e7ok \u00f6nem verilir. Nat\u00fcralistler ger\u00e7e\u011fe ba\u011fl\u0131l\u0131kta ve sosyal meseleleri ara\u015ft\u0131rmada realistlerden \u00e7ok daha fazla bilimsel metodlara ba\u011fl\u0131d\u0131r. Toplumu \u00e2deta bir laboratuvar olarak d\u00fc\u015f\u00fcn\u00fcrler ve eserlerini bu laboratuvar i\u00e7inde, bilimsel verilere ba\u011fl\u0131 kalarak yazarlar. Servet-i F\u00fcn\u00fbn yazarlar\u0131n\u0131n romanlar\u0131nda realizm belirgindir. Sanat sanat i\u00e7indir anlay\u0131\u015f\u0131ndan hareketle sanat\u00e7\u0131lar dil ve anlat\u0131ma \u00f6nem vermi\u015flerdir.<\/p>\n

Servet-i F\u00fcn\u00fbn Romanc\u0131lar\u0131
\n<\/strong>Bu d\u00f6nemin romanc\u0131lar\u0131 Halit Ziya U\u015fakl\u0131gil, Mehmet Rauf ve H\u00fcseyin Cahit Yal\u00e7\u0131n’d\u0131r.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Servet-i F\u00fcn\u00fbn Hik\u00e2yecili\u011fi Servet-i F\u00fcn\u00fbn d\u00f6neminde hik\u00e2yede b\u00fcy\u00fck geli\u015fme ya\u015fan\u0131r. Tanzimat’la edebiyat\u0131m\u0131za giren hik\u00e2yenin olgun \u00f6rnekleri bu d\u00f6nemde verilir. \u015eiirde oldu\u011fu gibi hik\u00e2yede de bireysel konular i\u015flenir. Servet-i F\u00fcn\u00fbn neslinin “i\u00e7e d\u00f6n\u00fck, karamsar” bak\u0131\u015f\u0131 bu hik\u00e2yelere de sinmi\u015ftir. Kimi hik\u00e2yelerde istanbul d\u0131\u015f\u0131nda ge\u00e7en olaylara de yer verilmekle birlikte hik\u00e2yelerde mek\u00e2n genellikle \u0130stanbul’dur. Yazarlar realizmin etkisiyle … Devam\u0131n\u0131 oku…<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,224],"tags":[692,278,269,271],"class_list":["post-2259","post","type-post","status-publish","format-standard","hentry","category-dn","category-edebiyat-dil-anlatim","tag-halit-ziya-usakligil","tag-istanbul","tag-izmir","tag-turkey"],"_links":{"self":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts\/2259","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/comments?post=2259"}],"version-history":[{"count":0,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/posts\/2259\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/media?parent=2259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/categories?post=2259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sorubak.com\/blog\/wp-json\/wp\/v2\/tags?post=2259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}