Çetin, Mehmet Akif

The aim of this study is to reveal the scope of the term natural poetry as a concept, which is frequently encountered in poetic texts published in the nineteenth century and the first quarter of the twentieth century. Naturalness has been transformed into a useful tool for the poetics of new poetry due to its positive connotations such as natural, non-artificial, spontaneous, normal. After Tanzimat, when a new poetic tradition was intended to replace classical poetry, naturalness was conceptualized to emphasize that the new poetry was the normal and natural style of poetry. According to the innovators, the poetic devices of classical poetry distort the naturalness of text and discourse. The desired new poetry is to be purified from the artificialities and excesses of the old poetry. For this purpose, it is necessary to return to the syllabic meter, which is an indigenous verse, to get rid of the artificial discourse of classical poetry and to revive our own poetic tradition. At this point, the concept of natural poetry was started to be used by the innovators to express the new poetry that had attained natural expression, got rid of the aruz meter, and was produced easily and without artifice. However, each poet seems to point to a different dimension of the new poetics to be constructed with the concept of natural poetry. In this article, what the poets wanted to express with the concept of natural poetry will be explained and the differences in the use of the concept will be emphasized. Thus, the poetic renewal after Tanzimat will be evaluated in the light of the concept of natural poetry in terms of poetic goals.

Baltaci, Halil

Baltacı, Halil

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Üngör, İbrahim

İnsanoğlu, diğer canlılardan farklı olarak kendisini kalıcı şekilde tanıtmak ve ifade etmek isteyen bir varlıktır. Bu istek onu değişik yöntemler aramaya sevk etmiştir. Türkler bu kural içinde zamanla ortaya çıkardığı kültür gereği, heyecanlarını, ekonomik yapısını, inançlarını, toylarını ve cenazelerini, yani kültürlerine dair ne varsa taşlar üzerine yazıp çizmeyi bir yöntem olarak belirlemişlerdir. İşte bu kültürün izlerini görebildiğimiz kaya resimleri bütün Asya'ya ve Avrupa ortalarına kadar yayıldığı gibi, kadim Türk toprağı olan Anadolu coğrafyasında da açıkça görülebilmektedir. Anadolu'da kaya resimlerinin yoğun bulunduğu yerlerden birisi de Orta Asya'nın giriş kapısı ve Kafkasların önemli bir yeri olan Kars ilimizdir. Dereiçi Kaya Resimleri'nin, bunlar arasındaki en önemli örneklerden olduğunu düşünmekteyiz.

Üngör, Ibrahim

Man is a creature that wants to introduce and express himself as permanent unlike other livings. This will has always led him to search for different methods. The Turks as a culture which they brought about in a rule have carved their feelings, excitements, economic structures, cults, wedding and funeral ceremonies and other culture related depictions on rocks and stones as a method. Depictions on rocks which still carry the marks of such culture have been observed from Asia up until central Europe are clearly seen in Anatolia, which has been a Turkish land. One of the places where depictions are commonly observed in Anatolia is Kars, which is entrance to Central Asia and an important place for Caucasus. Depictions of Dereici (Invalley) are among the top marks of Turkish culture in this town.