dc.description.abstract | Değeri aklı aşan varlığın akılla ifadesi şeklinde tanımlayan Ülken, bir anlamda aklı öne çıkararak duygularla sezilen değer algısını, anlama ve kavrama şartına bağlamıştır. Yani aklın ölçüsünden geçmeyen hiç bir şey değer olarak kabul edilemez. Dilthey'in, "anlama metodu"nu kullanarak manevi bilimleri ve tabiat bilimlerini farklı bir yöntemle tartıştığı "değer paradigması", bilhassa Scheler ve Hartman'ın açık bir şekilde değerin felsefesini oluşturmalarıyla kuramsal bir şekle dönüşmeye başlar. Böylece "değer"; derin/geniş bir işlevsellik kazanırken aynı zamanda hakikat, güzellik ve iyilik ekseninde düşünülen bir varlık meselesi hâline de gelir. Edebî metinler dikkate alındığında sanatçının kelimeleri söze dönüştürmesi detemel olarak aynı yolu takip eden var olma sürecinin bir sonucudur. İlhan Berk, şiirleriyle zaman zaman anlamsızlık modunda algılanan bir şair olmakla birlikte, irtibatlı görünmeyen sözcüklerin veya sadece istediği cümlenin anlaşılması emeline dayanan dizelerin arasına sıkıştırdığı anlam kümecikleriyle şiirini inşa eden bir şair olarak bilinir. Bu tavrıyla Berk, aslında varolan şiir paradigmasına protest bir tavır geliştirir; uzak çağrışımlı tamlamalar ve yapıbozucu cümle yapısıyla da 'şiir'de anlamın üzerini çize çize ilerler'. Çalışmada felsefi olarak "değer inşaası" kavramının İlhan Berk şiirinin neresinde durduğu ve yapıbozucu cümle yapısının okur algısına etkileri tartışılacaktır. Şairin seçtiğimiz şiirleri; "alışılmamış sözdizimi", "alışılmamış sözcük seçimi" (alışılmamış bağdaştırmalar), "sözcükle ilgili sapmalar" ve "yazımla ilgili sapmalar" başlıkları altında incelenecektir | en_US |
dc.description.abstract | Defining the value as the expression of the superrational with the
reason, Ülken somewhat highlights the reason and suggests
understanding and comprehension as being two prerequisites for the
perception of value perceived through emotions. That is to say that
nothing that has not been intellectualized can be considered as a value.
“Value paradigm” discussed by Dilthey while addressing the human
sciences and the natural sciences with a different method, .i.e. “method
of understanding”, has later begun to take the form of a theory when
especially Scheler and Hartmann explicitly established the philosophy
of value. Therefore, “value” has acquired a deep/comprehensive
functionality as well as becoming the question of existence considered
in terms of truth, beauty and good. Essentially, given the literary texts,
an author’s wording of his/her thoughts is also an outcome of the
process of existing going in the same direction. Though from time to
time being considered as an unintelligible poet, İlhan Berk is actually
renowned as a poet who builds his poems with the tiny clusters of
meaning he sandwiches between verses aiming to conduct the meaning
of the apparently unconnected words or only the sentences he wishes to
be understood. In doing so, Berk actually takes an opposing approach
to the existing poem paradigm, and with the help of remotely associated
phrases and deconstructive wording, he “proceeds through the poem by
striking out the meaning”. The present paper discusses, in
philosophical terms, the relative position of the “value construction”
concept to the remotely associated phrases, and the effects of
deconstructive wording on the reader’s perception. The selected poems
of the poet are studied throughout the article under such chapters as
“unusual syntax”, “unusual word choice” (unusual correlations), “lexical
deviances”, and “orthographical deviances”.
Significance Of The Study
In literary texts, and particularly in poems, “what” is said is as
important as, and even more important than, “how” it is said.
Considering its characteristic features, one encounters some features,
which are called “deviances”, of the poetic language which is a metalanguage
developed based on this “how”. The “deviances” which have
begun to be systematically discussed following the relevant studies of
some contemporary linguists such as Samuel R. Levin, Jean Cohen,
Roman Jakobson, Geoffrey N. Leech, Ursula Oomen, and Ivo Braak, are
now one of the indispensable topics of poetry analysis. As the number of
studies on this topic increases and the case studies vary more and
more, the specific aspects and different features of the poetic language
will be understood more clearly by the audience and the researchers,
thus allowing the detailed representation of the intellectual and
aesthetic backgrounds to this subjective linguistic performance, and
somewhat systematization and basing on a scientific foundation of
these backgrounds.
Poets of the Second New (İkinci Yeni) movement strived to make
use of the language as far as they could in order to evoke new designs in the minds of their audience. To do so, they based the poetic language
on both linguistic and semantic deviances by phonetically,
morphologically, syntactically and semantically transforming linguistic
elements, and they even embarked on a new value production process.
This study aims to establish, in terms of functionality, a rigid
framework for the poems and the concepts of perception and value of
the Second New movement.
Conclusion
Poetic language is a “meta-language” which has its own specific,
non-colloquial and eccentric usages. Simply thanks to this aspect, a
genre determining its own audience can transcend centuries with great
skill, and even carry along the zeitgeist with it. It is because the value is
closer to the understood and the transcending rather than being a
friend of the new. One should discuss exactly how far he is in being
immortal and producing value when he inculcates his own soul with the
attraction of the old by writing a poem that reads “Many and many a
year ago, let me say, this world of us was more beautiful/All these
clouds and heavens were close enough to touch, they say/But now,
these all survive in poems/And this is the case, my soul.” (The Second
Youth/Sea of Galileo [II. Gençlik/Galile Denizi]).
For the Second New poems, one would be misguided in
determining the quality of a poem if he took into consideration the
elements that seemed to be misspellings or incoherencies by using
modern methods of criticism. On the contrary, the said elements are
considered to be artistic in these poems. Furthermore, assessing a piece
of art in terms of comprehensibility may lead the critics to incorrect
conclusions. It should also be noted that a deformation or a deviance
seen in the whole of a linguistic structure does not harbor an aesthetic
value on its own. “Deviance” tendencies which are now nothing but a
word play employed with the aim of being original or different, and are
successful and distinct linguistic performances based on aesthetics and
idea should be distinguished from others. İlhan Berk is known for
neologisms using the existing roots and prefixes or suffixes, and for
producing original examples missing in a language. However, İlhan Berk
is proven not to be original in using lots of themes and subjects, which
is shown by many examples including but not limited to the following:
the love which is used as a theme or subject by İlhan Berk has almost
always existed in Turkish poetry; while the analogy with the face of a
woman is relatively new, the rose evokes Divan movement poetry; Cemal
Süreya used the horse in his poems as a metaphor for lust before İlhan
Berk used it in his poems; and the sky recalls the hope in İlhan Berk’s
poems as it does in Turkish and world poetry. On the other hand, İlhan
Berk’s poems are considered notable not because he claims to be the
first to use these elements, but he regards the poem as a challenge to
the meaning and consistently aims for change.
The said difference rendered İlhan Berk a poet known for this
feature rather than being a poet producing values. Survey results show
that Berk’s poem was forced to face the stamp or truth of
incomprehensibility while challenging the meaning.
It seems from the survey results that the idea of creating a poem
that may lead to different states of understanding as aimed by Berk has somewhat been realized. Basically, a poem owns a value only if it can
produce meanings parallel to the mission it undertakes. In this context,
İlhan Berk’s poems also have an important function with lots of deviant
elements which can be observed to be individual examples of the power
of poetic expression of the Turkish language and the opportunities of
original expressions provided by it. Yet again, it can be said that they
did not any values transcending themselves and their predecessors. If it
had not been the case, it would have been surprising to find out that a
considerable number of letters received right after the publication of
“The Book of Healing Herbs” (Şifalı Otlar Kitabı) were about “which herb
healed which ailment”. | en_US |