Publication: Garip ve İkinci Yeni üzerine karşılaştırmalı bir araştırma
Abstract
Türk şiirinin modernleşme çabası uzun yıllara yayılan arayışların sancılarıyla doludur. Buna rağmen tarihsel akış içinde yenilik iddiasıyla ortaya çıkan hareketlerin ya da bireysel kalkışmaların etki alanı sınırlıdır. Şiire yönelik takınılan tavır, şairane duyuş, ortak bir dünyanın algılama biçimini temsil eden kayıtların ya da ulaşılmak istenen güzel algısının yüzyıllar boyunca şiirsel duyumda etkinliğini koruması söz konusu sınırlı yeniliğin ileriye taşınmasını engeller. Garip temsilcilerinin yenilikle ilişkili olarak tarihsel akışta yerini alan hareketleri ya da bireysel kalkışmaları tümden reddetmesi şiirin sıfır noktasına yeniden dönme amacına dönüktür, böylece asırlardan intikal eden şiirin kayıtları yeniden belirlenebilecektir. Garip, geleneğin insan, nesne, doğa, dış dünya algısını ya da şiirsel kayıtlarını reddederken getirmek istediği yeni anlayışı simgeci estetiğe karşıt bir düzleme taşır; yeni bir güzel, gerçek ve anlam anlayışıyla ortaya çıkar. Şiire yönelik bir bakış açısı değişikliğine giden Garipçiler, bağlandıkları dünya görüşüne, insan ve nesne anlayışına uygun yeni anlatım tekniklerini (karşıtlık, mizah, satir, ironi) şiirsel duyumda etkin hâle getirirler. Garip’in şiire, insana, nesneye ve dış dünyaya yönelik tavrı kendisinden sonraki kuşağı (İkinci Yeni) bazı yönlerden etkiler. İkinci Yeni her ne kadar Garip estetiğine karşıt bir düzlemde gelişse de çıkışı Garip’ten büsbütün bağımsız değildir. Garip kuşağından yaklaşık on beş yıl sonra yeni bir güzel ve gerçeklik anlayışıyla ortaya çıkan İkinci Yeni şiiri, dile, imgeye, dizeye, sözcüğe, olaya, duruma, yaşamdan gelen unsurlara yönelik tavrıyla Garip’ten kesin biçimde ayrılır. Çalışmada her iki şiir hareketinin insan anlayışı, güzel ve gerçeklik algısı, anlam oluşturma süreçleri, şiirin iç ve dış kayıtlarına yönelik tavırları, konular, dil, anlatım, teknik, biçem, imge ve imgelem düzeyinde karşılaştırmalı olarak incelenmiştir.
The modernization effort of Turkish poetry is full of the pains of long-term pursuits. Despite this, the sphere of influence of movements or individual attempts arising with the claim of innovation in the historical flow is limited. The attitude towards poetry, poetic feeling, recordings representing the perception of a common world, or the perception of the beautiful that is desired to be achieved, remain effective in poetic sense for centuries, preventing the said limited innovation from being carried forward. The fact that Garip representatives totally refuse movements or individual attempts that take their place in the historical flow in relation to innovation is aimed at returning to the zero point of poetry, so that the records that make poetry can be determined again. Garip carries the new understanding he wants to bring to a plane opposite to symbolic aesthetics while rejecting the tradition's perception of human, object, nature, external world or poetic records; it appears with a new understanding of beauty, truth and meaning. Garipçiler, who changes his perspective towards poetry, makes new expression techniques (opposition, humor, satire, irony) suitable for his world view, human and object understanding, effective in poetic sensation. Garip's attitude towards poetry, person, object and the outside world affects the next generation (İkinci Yeni) in some ways. Although the İkinci Yeni develops on a plane against the Garip aesthetic, its output is not entirely independent from Garip. The İkinci Yeni poem, which emerged about fifteen years after the Garip generation with a new understanding of beauty and reality, is definitely different from Garip with its attitude towards language, image, verse, word, event, situation and elements of life. In the study, both poetry movements were analyzed comparatively at the level of human understanding, beauty and reality perception, meaning formation processes, attitudes towards internal and external records of poetry, subjects, language, expression, technique, style, image and imagination.
The modernization effort of Turkish poetry is full of the pains of long-term pursuits. Despite this, the sphere of influence of movements or individual attempts arising with the claim of innovation in the historical flow is limited. The attitude towards poetry, poetic feeling, recordings representing the perception of a common world, or the perception of the beautiful that is desired to be achieved, remain effective in poetic sense for centuries, preventing the said limited innovation from being carried forward. The fact that Garip representatives totally refuse movements or individual attempts that take their place in the historical flow in relation to innovation is aimed at returning to the zero point of poetry, so that the records that make poetry can be determined again. Garip carries the new understanding he wants to bring to a plane opposite to symbolic aesthetics while rejecting the tradition's perception of human, object, nature, external world or poetic records; it appears with a new understanding of beauty, truth and meaning. Garipçiler, who changes his perspective towards poetry, makes new expression techniques (opposition, humor, satire, irony) suitable for his world view, human and object understanding, effective in poetic sensation. Garip's attitude towards poetry, person, object and the outside world affects the next generation (İkinci Yeni) in some ways. Although the İkinci Yeni develops on a plane against the Garip aesthetic, its output is not entirely independent from Garip. The İkinci Yeni poem, which emerged about fifteen years after the Garip generation with a new understanding of beauty and reality, is definitely different from Garip with its attitude towards language, image, verse, word, event, situation and elements of life. In the study, both poetry movements were analyzed comparatively at the level of human understanding, beauty and reality perception, meaning formation processes, attitudes towards internal and external records of poetry, subjects, language, expression, technique, style, image and imagination.