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Turgut uyar`ın huzursuzluğu
No full textCataloged from PDF version of article.Turgut Uyar’s earlier understanding of poetry goes through a sudden change with
Dünyanın En Güzel Arabistanı [The Most Beautiful Arabia of the World]. In his earlier
style, the influence of “Garip Poetry” can be detected, but in Dünyanın En Güzel
Arabistanı, Uyar approaches poetry with a new concep, similar to those of the other
İkinci Yeni [The Second New] poets’, in which meaning is pushed to the background and
figures of speech are brough to the fore.
Dünyanın En Güzel Arabistanı is a modern work of art. The basic motivation that
leads Uyar to write this book is the emotional pressures of modernity on the individual.
Here, the poet focuses on two problems: First comes the pressure on the individual
caused by religious morality, traditional ethics, and the social institutions which enforce
these concepts. Second is the shock experience and discontents caused by modern
civilization, urbanization, and the life style in urban the setting. Adverse affects of these
experiences on the individual is not only the main theme of book, but it also determines
the construction its whole design, the formal characteristics of the poems, and the
dynamics of the imagery. In Dünyanın En Güzel Arabistanı, verses are not logically
continuous, the narrative lacks the commonly expected form of linearity, and the
construction that makes the book a whole is rather fragmented.
Although these poems are meant to be read as independent pieces, they are
connected to one another and constitute a coherent whole, because they are constructed
within the framework of a common universe of symbols or fictional characters. The
narrative events taking place in the poems do not display a chronological linearity. The
poet/author hides himself behind the narrator of the individual poems and leaves the
reader alone with the narrator. He employs various techniques of dramatic writing and
story telling, which are not all that common in Turkish poetry. He backgrounds the
meaning and expects the reader to bring together the pieces of the fragmented narrative
by using various ambiguous relations between the imagery of the individual poems. The
aesthetic choice of Turgut Uyar in this book is not Apollonian, but Dionysian, to refer to
Nietzsche’s well-know dichotomy, one that the poet himself conceptualizes as
“clumsiness”, something that makes the reader feel a sense of incompleteness before the
whole work.Caner, Fıra
Asya Pasifik’te Büyük Güçlerin Mücadelesi: Koreler Arası Çatışmada Dış Aktörler
Get PDFDr. Can Uyar's Asya Pasifik'te Büyük Güçlerin Mücadelesi: Koreler Arası Çatışmada Dış Aktörler provides an in-depth analysis of the Asia-Pacific, a central hub of 21st-century geopolitics, through the prism of the inter-Korean conflict —a legacy of the Cold War that technically remains ongoing. This work focuses on one of the world's longest-running territorial conflicts, starkly revealing that the complex equation is not merely an issue between South and North Korea, but a strategic arena for a great-power struggle. The author, in this book resulting from five years of doctoral research, meticulously analyses how the "external actors" of the US, China, Russia, and Japan have engaged in the process, detailing their use of military, economic, and political-diplomatic interventions. The book highlights the regional repercussions of the rivalry between a rising China and the US, emphasising how the relationships among these external actors themselves—not just their relations with the Koreas—shape the conflict's trajectory. Dr Uyar comprehensively evaluates the deep connection between the division of the Korean Peninsula and the global balance of power, as well as the dynamics of peace initiatives such as the "Six-Party Talks".Dr. Can Uyar'ın kaleme aldığı Asya Pasifik'te Büyük Güçlerin Mücadelesi: Koreler Arası Çatışmada Dış Aktörler, 21. yüzyıl jeopolitiğinin merkez üslerinden biri olan Asya Pasifik bölgesini , Soğuk Savaş'tan miras kalan ve teknik olarak hâlâ devam eden Koreler arası çatışma ekseninde mercek altına alıyor. Bu eser, dünyanın en uzun süren teritoryal çatışmalarından birine odaklanarak, bu karmaşık denklemin sadece Güney ve Kuzey Kore arasındaki bir meseleden ibaret olmadığını, aksine küresel güçlerin stratejik bir mücadele alanı olduğunu çarpıcı bir şekilde ortaya koyuyor. Yazar, yaklaşık beş yıllık bir doktora çalışmasının ürünü olan bu kitapta , ABD, Çin, Rusya ve Japonya'nın "dış aktörler" olarak sürece nasıl dahil olduklarını; askeri, ekonomik ve siyasi-diplomatik müdahale yöntemlerini nasıl kullandıklarını detaylı bir şekilde analiz ediyor. Kitap, özellikle yükselen Çin ve ABD arasındaki rekabetin bölgeye yansımalarını ve bu aktörlerin sadece Korelerle değil, kendi aralarındaki ilişkilerin de çatışmanın seyrini nasıl etkilediğini vurguluyor. Dr. Uyar, Kore Yarımadası'ndaki bölünmüşlüğün küresel güç dengeleriyle olan derin bağını ve "Altılı Görüşmeler" gibi barışa yönelik girişimlerin dinamiklerini kapsamlı bir şekilde değerlendiriyor
Turgut Uyar şiirinde anlatımcı teknik
No full textBu tezde, İkinci Yeni’nin öncü şairlerinden olan Turgut Uyar’ın (1927-1985) şiirlerinde anlatımcı (narrative) özellikler incelenmiştir. Öncelikle konunun tür sorunu ile olan ilişkisinden dolayı edebî türler ve bunlar arasındaki ilişkiler incelenmiş, ardından da tahkiye geleneği ve bu gelenekten ayrılarak bir edebî tür kimliği kazanan öykünün geçirdiği değişimlerin şiirdeki tahkiyeye etkileri gözden geçirilmiştir. Sonra da şiirin nesirle ilişkisi esas alınarak modernleşme sürecinde geçirdiği dönüşümler tespite çalışılmıştır. Bu şekilde uzun bir sürece panoramik bir bakıştan sonra anlatıbilim çalışmalarının getirdiği perspektifle çeşitli açılardan anlatımcı şiirin ne olduğu tanımlanmaya çalışılmıştır. Başta Turgut Uyar olmak üzere Türk şiirinin ilk modernist hareketi kabul edilen İkinci Yeni’nin pek çok temsilcisinin tahkiyeye karşı çıkarken neden şiirlerinde tahkiyeye başvurdukları anlaşılmaya çalışılmıştır. Bu doğrultuda şiirleri incelendiğinde Turgut Uyar’ın şiirlerindeki tahkiye ile geleneksel tahkiye arasında bir fark gözettiği görülmüştür. Aslında, yazı ve söyleşilerinde de görüldüğü gibi, kendisi de bu farkı vurgulamasına rağmen tam olarak kavramsal bir ayrım yapamamaktadır. Bu amaçla tezde Uyar’ın şiirindeki tahkiye ögeleri taşıyan şiirlere geleneksel tahkiye şiirinden farklı olarak “anlatımcı şiir” denmiştir. Anlatımcı şiirin farklılığının temelde şiir dili-gerçeklik ilişkisinden kaynaklandığı saptanmış ve böylece bu tanımlamanın diğer İkinci Yeni şairlerinin de tahkiyeli şiirlerine genellenebileceği öngörülmüştür. Çünkü diğer İkinci Yeni şairlerinin de Uyar’la birlikte dil-gerçeklik konusunda mimetik değil imgeci bir yaklaşım içinde olduğu daha önceden yapılmış farklı çalışmalarla ortaya konmuştur. Bu yaklaşımın bir sonucu ve aynı zamanda Uyar’a özgü tarafı kabul edilebilecek diğer bir boyutunun ise bireysel ve toplumsal yaşamı, imge yoluyla şiire taşımak olduğu görülmüş, şiiriyle bunu yapmaya çalışan Turgut Uyar’ın bu farklı gerçekçilik anlayışı “imgesel gerçekçilik” olarak kavramsallaştırılmıştır. Yapılan inceleme sonunda, modernist şiirin tahkiyeye mesafeli olması gerektiği görüşünün, anlatımcı şiir için geçerli olmadığı tespit edilmiş ve bu durum, Türk şiirinin ilk modernist hareketi kabul edilen İkinci Yeni’nin öncülerinden Turgut Uyar’ın şiiriyle ispat edilmiştir.In this thesis, the narrative features in the poetry by Turgut Uyar (1927-1985), who is the pioneer poet of the Ikinci Yeni (The Second New), are analyzed. Primarily, due to the relationship of the subject with the genre problem, the literary genres and the relationship between them have been examined and then the narrative tradition and the effects of narrative changes, which have gained a literary identity separating from this tradition, on the narration in the poems are reviewed. Latter, the transformation of poetry in the process of modernization has been trying to determine considering its relation with prose on the basis. Thus, after a panoramic view to a long process, what the narrative poem is has been tried to identify from various aspects with the perspective of narratology studies. As the most representatives of Ikinci Yeni which is accepted as the modernist movement of Turkish poetry, especially Turgut Uyar, have opposed to narration, it has been tried to understand why they have referred to narration in their poems. When Turgut Uyar’s poetry is examined in this viewpoint, it has been observed that he has paid regard to a distinction between traditional narrations and the narration in his poetry. In fact, as seen in his interviews, although he also emphasized this distinction, he isn’t able to make a conceptual distinction exactly. For this purpose, in this thesis, the poems which have the narrative elements of Uyar’s poetry unlike traditional narrative have been called anlatımcı (modernist narrative) poetry. It has been determined that basically the distinction of narrative poetry has been stemmed from the relevance between poetry language and reality and thus it has been envisaged that this definition can be generalized to the narrative poems of other Ikinci Yeni poets. Because it been revealed previously by other studies that the other Ikinci Yeni poets too with Uyar have approached to the language-reality topic imaginatively not in a mimetic way. One result of this approach and also another dimension that can be considered as a part specific to Uyar has been seen to transfer individual and social life to the poetry through the image, this different realistic understanding of Turgut Uyar who has tried to fulfill that has been conceptualized as imaginary realism”. At the end of research, the thought that modernist poetry should be inapproachable to narration has been determined and this situation has been proved with poetry of Turgut Uyar, who is one of the pioneers of the Ikinci Yeni adopted as the first modernist movement of Turkish poetry
Validity and Reliability of the Turkish Translation of the Yale Pharyngeal Residue Severity Rating Scale
No full textThis study aimed to assess the validity and reliability of the Turkish translation of the Yale pharyngeal residue severity rating scale. The scale measures the severity of residue in the vallecula and pyriform sinus. The original scale was translated into Turkish by two bilingual English-Turkish translators, and the Turkish version was translated back into English by two qualified professional translators to assess accuracy. The evaluators were divided into two groups (training and no-training) and two subgroups according to their experience. Intra-rater, inter-rater, and intra-class correlation coefficient measurements were analyzed by calculating agreement rates, kappa, and p values. In the analysis of the reliability, intra-class correlation coefficient values in the overall ratings for both the vallecula and the pyriform sinus were 0.9996 (95% CI 0.9992-0.9998) and 0.9997 (95% CI 0.9995-0.9999), respectively (p < 0.01). High agreement (> 95%) and perfect Fleiss kappa values were obtained for the vallecula and pyriform sinus ratings in the inter-rater initial assessments (kappa = 0.959 and kappa = 0.967, respectively). Perfect kappa values were found in the intra-rater results for both the vallecula and pyriform sinus (alpha = 0.9959 and kappa = 0.9959, respectively). In the inter-rater secondary analysis, the vallecula and pyriform sinus kappa values were perfect (kappa = 0.959 and kappa = 0.967, respectively). In the intra-rater analysis, perfect kappa values were obtained for the vallecula and pyriform sinus in the no-training group and less-experience subgroup (kappa = 0.9918 and kappa = 1.0 for the vallecula, and kappa = 1.0 and kappa = 0.9902 for the pyriform sinus, respectively) In the inter-rater analysis, perfect kappa values were obtained for the vallecula and pyriform sinus in the no-training group and less-experience subgroup (kappa = 0.9507 and kappa = 0.9606 for the vallecula, and kappa = 0.9836 and kappa = 1.0 for the pyriform sinus, respectively). The Turkish translation of the Yale pharyngeal residue severity rating scale demonstrated high validity and reliability scores in determining pharyngeal residue location and value in the fiberoptic endoscopic evaluation of swallowing
Integration of hydrogen energy systems into renewable energy systems for better design of 100% renewable energy communities
No full textThis paper will introduce the concept of 100% renewable energy and the role hydrogen and fuel cells can play for storage and transportation sectors. The importance, necessity and possibility of an overall global transition from fossil and nuclear-based fuels to renewable energy fuels using electricity and hydrogen as clean energy carriers will be summarized. Polluted, inefficient and unhealthy societies of today are missing energy self-sufficient, better managed, in harmony with nature ecological communities. The possible role of hydrogen fuel cells in fulfilling this target will be demonstrated and the success stories of the leading countries will be given. Renewable energy investments which have started in 2013 increased steadily and reached to 290 billion dollars towards the end of 2015. Today's increasing investments and cheaper supply of renewable energy will in turn effect the hydrogen production costs and increase the diversion from fossil fuels to cheap renewable energy. This reality confirms that hydrogen energy technologies will play an important role in reaching the 100% renewable energy target. (C) 2016 Hydrogen Energy Publications LLC. Published by Elsevier Ltd. All rights reserved
Faruk Nafiz Çamlıbel ile Turgut Uyar'ın şiirlerindeki hikâye unsurlarının karşılaştırmalı olarak incelenmesi
No full textŞiir ile hikâye arasında oldukça köklü ve sıkı bir ilişki söz konusudur. Bu ilişki, modern zamanlarda daha da gelişmiş, anlatıbilimin imkânlarından da yararlanmak suretiyle “hikâye anlatan şiir”, “şiir içeren hikâye” gibi ana ayrımların altında girift türler oluşmuştur. Bu ilişkinin şiir tarafında Yeni Türk edebiyatındaki ilk durağı, manzum hikâyelerdir. Bu hikâyeler, bir hikâye/ anlatının şiir formunda anlatılması ile oluşur. Daha sonradan, Behçet Necatigil’in ortaya attığı “şiir-hikâye” kavramı ile bu ilişki, modernize olarak açıklanmış, şiirin kendi şiirselliği dışına çıkmayarak da hikâye anlatabileceği tespit edilmiştir. Bu ilişkinin günümüzdeki son durağı ise anlatımcı şiirdir. Bu çalışmada, Beş Hececi şairlerden Faruk Nafiz Çamlıbel, şiirde geleneğin bir temsilcisi olarak; İkinci Yeni şairlerinden Turgut Uyar ise modernist bir şiirin temsilcisi olarak seçilmiş ve iki şairin de şiirde hikâyeleştirmeyi kullandıkları tespit edilmiştir. Faruk Nafiz Çamlıbel ile Turgut Uyar’ın eserlerinde divan edebiyatının etkisi, Halk şiiri geleneğinin etkisi, hikâye anlatma ve dilin imgesel kullanılışı yer yer ortaklıklar gösterir. Faruk Nafiz, ilk dönem yoğun imgesellik ve mazmun içeren şiirleri haricinde hikâye içeren şiir yazımının daha çok manzum hikâye durağında yer alırken Turgut Uyar, İkinci Yeni anlayışını benimsemesi gereği daha imgesel ve modern bir noktada durmaktadır. Bu çalışmanın amacı; Türk şiirinde iki farklı ekolün temsilcisi olan Faruk Nafiz Çamlıbel ile Turgut Uyar aracılığıyla hem şiir ve hikâye türlerine hem çok köklü bir geçmişe sahip olan şiir-hikâye ilişkisine ışık tutmak, iki şairin sanat anlayışlarını ve şiir-hikâyeye bakışlarını tespit etmek ve türler arası ilişkiler alanında hâlihazırda yapılan ve gelecekte yapılacak olan araştırmalara ufuk açıcı olmaktır.There is a rooted and close relation between poetry and story. This relation has improved more in modern times, and has created intricate types under main distinctions such as story telling poetry or poetry included story by utilising resources of narratology. First haunt of this relation in Modern Turkish Literature in poetry, is narratives in verse. These stories occur from a story/ narration told in poetry form. Afterwards, this relation was explained in a modernised way with the conception of poetry-story which Behçet Necatigil propounded, and it was confirmed that a poem can also narrate a story without digressing its own lyricism. Last haunt of this relation nowadays is narrative poetry. In this study, Faruk Nafiz Çamlıbel, one of the Five Syllabist poets, was chosen as a representative of tradition in poetry, and Turgut Uyar, one of the Second New poets, was chosen as a representative of a modernist poetry, and it was detected that both poets used storification in poetry. The influence of divan literature, the influence of tradition of Folk poetry, narration and imaginative use of language are partly in common in Faruk Nafiz Çamlıbel's and Turgut Uyar's works. Faruk Nafiz focused more on narratives in verse in writing poems, except his early period poems which include intense fictitiousness and poetic themes, while Turgut Uyar stands at a more imaginary and modern point because of his embracement of mentality of Second New. The aim of this study is to set light to types of poetry and story, and the relation of poetry-story, which has a very long-standing background, via Faruk Nafiz Çamlıbel and Turgut Uyar, to determine the two poets' senses of art and points of view to poetry-story, and to inspire the researches which will be, or have already been done in the field of interspesific relations
Hermite-Hadamard type inequalities for harmonically (?, m)-convex functions
No full textThe author introduces the concept of harmonically (?, m)-convex functions and establishes some Hermite-Hadamard type inequalities of theseclasses of functions
An Analysis on the Poem ‘Çok Üşümek’ by Turgut Uyar
No full textIkinci Yeni Hareketi, Türk siirinde önemli degisimler meydana getirmistir. Imge agirlik bir dilin tercihi, sözdiziminde yapilan degisiklikler, farkli akim, teknik, bakis açilarina yönelimler gibi birçok yeniligi bünyesinde tasimis olan bu edebi hareketle Türk siiri yepyeni bir çehre kazanmistir. Bu hareketin hemen hemen bütün özelliklerini siirlerinde tasiyan Sezai Karakoç, Cemal Süreya, Ülkü Tamer, Ece Ayhan, Ilhan Berk gibi sairlerin yaninda Turgut Uyar da vardir. O siir evrenini farkli edebi akimlarla olusturmus olsa da en yetkin siirlerini Ikinci Yeni döneminde verdigi ve bunu daha estetik bir düzleme oturttugu söylenebilir. Bunu da en bariz örnegiyle kentlesme, bilinçalti, yalnizlik gibi konulara yönelik örtük deginisi olarak görebilmek mümkündür. Onun siirlerindeki dil inceligini sadece Ikinci yeni dönemi için degil, ayni zamanda modern Türk siirinin de önemli bir sairi olarak görülmesini saglamistir. Bunu Uyar’in Ikinci Yeni hareketini niteliklerini kendisinde tasiyan ve modern hayatin içinde fakat kenarda kalmisligin hüzünlü bir ifadesi olarak görülen Çok Üsümek adli siiriyle de örneklendirmek mümkündür. Nitekim yapilan bu çalismada da onun bahse konu olan siiri Aktas’in siir inceleme teknigine göre incelenmis ve siirin derinligine ulasilarak ikinci yeni etkisindeki siirlerinin arka planinin neler oldugu zihniyet, dil, yapi, ahenk ve tema basliklari altinda örneklendirilmistir.The Second New Movement brought about important changes in Turkish poetry. Thanks to this literary movement having many innovations such as preference of an image based language, changes in syntax, tendencies to different movement, technique and point of views, Turkish poetry has gained brand-new features. Turgut Uyar also takes places beside the poets like Sezai Karakoç, Cemal Süreya, Ülkü Tamer, Ece Ayhan, Ilhan Berk who have almost all the features of this movement in their poems. Although Uyar built his poetry world with different literary movements, it can be said that he presented his most competent poems in the Second New period and placed this on a more aesthetic platform. It is possible to see this, with its most apparent example, as his implicit references to the subjects such as urbanization, subconscious, and loneliness. The decency in the language of his poetry has enabled him to be regarded as an important poet not only for the Second New period but also for the modern Turkish poetry. It is also possible to exemplify this with Uyar’s poem called ‘Çok Üsümek’ having the features of the Second New movement and seen as a sad expression of being forgotten albeit being in modern life. Indeed, in this study, his poem mentioned is examined according to the poem analysis technique of Aktas, depth of the poem is analyzed and the background of his poems under the effect of the second new is exemplified under the titles of mentality, language, structure, harmony and theme
Electrospinning: A versatile processing technology for producing nanofibrous materials for biomedical and tissue-engineering applications
No full textElectrospinning technique has been extensively acknowledged as an efficient and convenient approach for producing functional nanofibrous biomaterials. The performance of the electrospun nanofibers and their nanofibrous membrane can be improved by modifying/combining with active molecules in different ways. The topography and orientation of the fibrous assembly are effectively controlled by modifying the electrospinning setup. Despite the promising characteristics of nanofibers, insufficient mechanical properties, hydrophobic nature, ineffective pore-structure controllability, shrinkage, and distortion are identified as some limitations. Yet, recent studies have been devoted/combined with other approaches to overcome these disadvantages. This chapter summarizes the recent strategies employed to develop advanced electrospun nanofibrous membranes for biomedical and tissue-engineering applications
Disease in Peyami Safa’s novels
No full textYüksek Lisans TeziSanatçı bir ailenin çocuğu olan Peyami Safa, Türk edebiyatının önemli kalemlerindendir. Yazar, romanları dışında fikir eserleri, gazeteciliği, köşe yazarlığı ve polemikleriyle de ünlüdür. Peyami Safa, Batılıların otodidakt dediği, kendi kendini yetiştirmiş nadir şahsiyetlerdendir. Kırk üç yıl gibi uzun denecek bir süre boyunca yazmıştır. Edebî değeri olmayan eserlerini Server Bedi takma adı ile yayımlamıştır. Yazarın eserlerinde tahliller önemli yer tutar. Zıt kavramları eserlerinde ustalıkla işlemiştir. Peyami Safa?nın hayatı, eserleri ve sanatı daha önce çok sayıda araştırmacı tarafından incelenmiş, fakat yazarın hayatında büyük yeri olan ve eserlerinde de kendisini yoğun olarak hissettiren hastalık konusu işlenmemiştir. Bu sebeple tarafımızdan araştırma konusu olarak seçilmiştir. Küçük yaşlardan itibaren hastalıklarla boğuşan Peyami Safa, başta Dokuzuncu Hariciye Koğuşu olmak üzere bütün eserlerinde bu durumu yansıtmaya çalışmıştır. Amacımız Peyami Safa?nın romanlarını hastalıklar bakımından inceleyerek hayatının ve bu arada hastalık ve hastalıklara dair fikirlerinin eserlerine nasıl yansıdığını göstermek ve okura bu yolla anlatmak istediklerini gün ışığına çıkarmaktır.AbstractPeyami Safa, is the one of the most important writers in Turkish Literature, has an artist family. He also has worked as a journalist and columnist. Also known as intellectual works and some polemics. Peyami Safa one of the rare people himself trained. He has written articles for 43 years. The author has written works of non-literary values Server Bedi name. Analysis holds an important place in the author's works. The author skillfully opposite concepts have been committed. The author's life, works and art and has been previously studied by many researchers but author of life a great location issues that disease has not been studied. Therefore, it is selected as the subject of research by our research group. The author's life is filled with diseases since his childhood. The author particularly in the Dokuzuncu Hariciye Koğuşu, including all the works have tried to reflect this situation. Our goal; the author of the novel is the study of diseases also, the author is reflected in the works show how the ideas of the diseases and expose what they want to tell the reader in this way
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