[vc_row][vc_column][vc_column_text]Osmanl\u0131\u2019dan Cumhuriyet\u2019e ge\u00e7i\u015fte olu\u015fan edebiyat birikimi ve T\u00fcrk\u00e7emizin zenginli\u011fi, birbirinden farkl\u0131 \u015fiir yap\u0131lar\u0131n\u0131n ve d\u00f6nemlerinin olu\u015fmas\u0131n\u0131n temeldeki nedenleri aras\u0131nda g\u00f6sterilebilir. Tabii buna \u015fairlerimizin, duygu ve d\u00fc\u015f\u00fcnce d\u00fcnyalar\u0131ndaki farkl\u0131l\u0131k ve renklilik de eklenebilir. Listemizde, \u015fiir d\u00f6nemlerinden \u00f6ne \u00e7\u0131kanlar\u0131 \u00f6rnekler e\u015fli\u011finde g\u00f6rebilirsiniz.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][vc_single_image image=”23091″ img_size=”full” el_class=”innerImageContainer”][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Servet-i F\u00fcn\u00fbn ” title_font_size=”13″][vc_column_text el_class=”innerText”]1891-1944 y\u0131llar\u0131 aras\u0131nda yay\u0131mlanm\u0131\u015f Servet-i F\u00fcn\u00fbn dergisi etraf\u0131nda toplanan edebiyat\u00e7\u0131lar\u0131n geli\u015ftirdi\u011fi ve derginin ad\u0131yla an\u0131lan edeb\u00ee hareket, getirdi\u011fi yeniliklerle en \u00e7ok \u015fiir \u00fczerinde etkili olmu\u015ftur. En \u00f6nemli \u00f6zelliklerinden biri \u015fiirde ses ile ahengin egemen olmas\u0131 ve kafiye kulak i\u00e7indir anlay\u0131\u015f\u0131n\u0131n benimsenmesidir. Servet-i F\u00fcn\u00fbn \u015fairleri aras\u0131nda Tevfik Fikret, Cenap \u015eahabettin, Faik Ali Ozansoy say\u0131labilir.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][vc_single_image image=”23092″ img_size=”full” el_class=”innerImageContainer”][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Fecri \u00c2t\u00ee” title_font_size=”13″][vc_column_text el_class=”innerText”]Mevsimler ve zaman\u0131n \u00f6nemli yer tuttu\u011fu, \u00f6zellikle a\u015fk ve tabiat konular\u0131n\u0131n i\u015flendi\u011fi, genellikle aruz \u00f6l\u00e7\u00fcs\u00fcn\u00fcn kullan\u0131ld\u0131\u011f\u0131 Fecri \u00c2t\u00ee \u015fiirinde se\u00e7ilen kelimelerde zarafet ve ahenk olmas\u0131 \u00f6nemli bir detayd\u0131r. Servet-i F\u00fcn\u00fbn gibi Fecri \u00c2t\u00ee \u015fairlerinde de sanat, sanat i\u00e7indir g\u00f6r\u00fc\u015f\u00fcn\u00fc benimsenmi\u015ftir. \u00d6ne \u00e7\u0131kan temsilcileri aras\u0131nda Ahmet H\u00e2\u015fim, Cel\u00e2l Sahir Erozan, Emin B\u00fclent Serdaro\u011flu, Mehmet Beh\u00e7et Yazar gibi isimler bulunmaktad\u0131r.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][vc_single_image image=”23093″ img_size=”full” el_class=”innerImageContainer”][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Be\u015f Hececiler” title_font_size=”13″][vc_column_text el_class=”innerText”]Birinci Me\u015frutiyet\u2019ten sonra hece vezniyle ve Mill\u00ee Edebiyat ak\u0131m\u0131n\u0131n g\u00f6r\u00fc\u015fleri do\u011frultusunda \u015fiir yazan isimlerin olu\u015fturdu\u011fu bir topluluktur. Ad\u0131n\u0131, Orhan Seyfi Orhon, Faruk Nafiz \u00c7aml\u0131bel, Enis Behi\u00e7 Kory\u00fcrek, Halit Fahri Ozansoy ve Yusuf Ziya Orta\u00e7\u2019\u0131n olu\u015fturdu\u011fu be\u015f \u015fairden alan Be\u015f Hececiler, konu\u015fma dilini edebiyata yerle\u015ftirmi\u015f ve T\u00fcrk\u00e7enin kullan\u0131lmas\u0131n\u0131 \u00f6nemsemi\u015flerdir.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][vc_single_image image=”23094″ img_size=”full” el_class=”innerImageContainer”][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”\u00d6z (Saf) \u015eiir ” title_font_size=”13″][vc_column_text el_class=”innerText”]Ahmet Ha\u015fim’in “\u015eiir Hakk\u0131nda Baz\u0131 M\u00fclahazalar” adl\u0131 makalesiyle ba\u015flayan ve Yahya Kemal Beyatl\u0131, Cahit S\u0131tk\u0131 Taranc\u0131, Ahmet Hamdi Tanp\u0131nar, Ahmet Muhip D\u0131ranas, \u00d6zdemir Asaf gibi \u015fairleri etkileyen \u00d6z \u015eiir ak\u0131m\u0131nda, dilde safla\u015fma, ses uyumu ve estetik son derece \u00f6nemlidir. Bu anlay\u0131\u015fa g\u00f6re en m\u00fchim detay iyi ve g\u00fczel \u015fiir yazmaktan ibarettir.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][vc_single_image image=”23095″ img_size=”full” el_class=”innerImageContainer”][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Garip Hareketi” title_font_size=”13″][vc_column_text el_class=”innerText”]Orhan Veli Kan\u0131k, Oktay R\u0131fat ve Melih Cevdet Anday’\u0131n \u00f6nc\u00fcl\u00fc\u011f\u00fcn\u00fc yapt\u0131\u011f\u0131 Garip Hareketi 20. y\u00fczy\u0131l\u0131n en etkili \u015fiir hareketlerindendir. Bu \u00fc\u00e7 \u015fair olmas\u0131n\u0131 istedikleri \u015fiirsellikle ilgili \u00f6nce \u00f6rnekler \u00fcretmi\u015fler, sonra Garip isimli kitab\u0131n \u00f6ns\u00f6z\u00fcnde manifesto niteli\u011finde bir yaz\u0131ya imza atm\u0131\u015flard\u0131r. Ak\u0131m, vezin ve kafiyeye, s\u00fcsleme ve mecazlara kar\u015f\u0131 \u00e7\u0131kan bir rol \u00fcstlenmi\u015ftir.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][vc_single_image image=”23096″ img_size=”full” el_class=”innerImageContainer”][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Mavi Ak\u0131m\u0131” title_font_size=”13″][vc_column_text el_class=”innerText”]Garip Hareketi\u2019ne kar\u015f\u0131 geli\u015ftirilen ve basit \u015fiir anlay\u0131\u015f\u0131 yerine \u015fairane bir sanat anlay\u0131\u015f\u0131n\u0131 savunan Mavi Ak\u0131m\u0131, 1 Kas\u0131m 1952’de yay\u0131mlanmaya ba\u015flanan Mavi isimli derginin etraf\u0131nda toplanan \u015fairlerden olu\u015fmaktad\u0131r. \u00d6nc\u00fcl\u00fc\u011f\u00fcn\u00fc Attila \u0130lhan\u2019\u0131n yapt\u0131\u011f\u0131 bu toplulukta Ferit Edg\u00fc, Orhan Duru, \u00d6zdemir Nutku, Ahmet Oktay, Demir \u00d6zl\u00fc ve Tahsin Y\u00fccel yer alm\u0131\u015ft\u0131r.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][vc_single_image image=”23097″ img_size=”full” el_class=”innerImageContainer”][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”\u0130kinci Yeni Ak\u0131m\u0131” title_font_size=”13″][vc_column_text el_class=”innerText”]Edip Cansever, Cemal S\u00fcreya, \u00dclk\u00fc Tamer, Turgut Uyar, \u0130lhan Berk, Ece Ayhan ve Sezai Karako\u00e7 gibi \u00fcnl\u00fc \u015fairlerin temsilcisi oldu\u011fu, daha sonra Garip\u00e7ilerden olan Oktay R\u0131fat ve Melih Cevdet Anday\u2019\u0131n da kat\u0131ld\u0131\u011f\u0131 \u0130kinci Yeni Ak\u0131m\u0131, anlama de\u011fil imgeye \u00f6nem vermi\u015f, anlam\u0131n \u00fcst\u00fcn\u00fc \u00f6rterek s\u00f6zc\u00fckler ve dizinde sezgiselli\u011fi \u00f6ncelemi\u015ftir.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"
[vc_row][vc_column][vc_column_text]Osmanl\u0131\u2019dan Cumhuriyet\u2019e ge\u00e7i\u015fte olu\u015fan edebiyat birikimi ve T\u00fcrk\u00e7emizin zenginli\u011fi, birbirinden farkl\u0131 \u015fiir yap\u0131lar\u0131n\u0131n ve d\u00f6nemlerinin olu\u015fmas\u0131n\u0131n temeldeki nedenleri aras\u0131nda g\u00f6sterilebilir. Tabii buna \u015fairlerimizin, duygu ve d\u00fc\u015f\u00fcnce d\u00fcnyalar\u0131ndaki farkl\u0131l\u0131k ve renklilik de eklenebilir. Listemizde, \u015fiir d\u00f6nemlerinden \u00f6ne \u00e7\u0131kanlar\u0131 \u00f6rnekler e\u015fli\u011finde g\u00f6rebilirsiniz.[\/vc_column_text][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][vc_single_image image=”23091″ img_size=”full” el_class=”innerImageContainer”][\/vc_column][\/vc_row][vc_row el_class=”innerItemContainer”][vc_column][eltd_section_title alignment=”left” title=”Servet-i F\u00fcn\u00fbn ” title_font_size=”13″][vc_column_text el_class=”innerText”]1891-1944 y\u0131llar\u0131 aras\u0131nda yay\u0131mlanm\u0131\u015f Servet-i […]<\/p>\n","protected":false},"author":1,"featured_media":23090,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[707,19,2031,2032],"class_list":["post-23089","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kultur-sanat","tag-edebiyat","tag-siir","tag-siir-donemleri","tag-turk-sairleri"],"_links":{"self":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/23089","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=23089"}],"version-history":[{"count":0,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=\/wp\/v2\/posts\/23089\/revisions"}],"wp:attachment":[{"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=23089"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=23089"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/soms.invekor.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=23089"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}