CENGİZ DAĞCI’NIN ÜŞÜYEN SOKAK ADLI ROMANINDA MEKÂNİNSAN ÖZDEŞİKLİĞİ

Sema Özher KOÇ

Article Details

CENGİZ DAĞCI’NIN ÜŞÜYEN SOKAK ADLI ROMANINDA MEKÂNİNSAN ÖZDEŞİKLİĞİ

Authors:

Sema Özher KOÇ

Publisher:

Tekirdag Namik Kemal University

Journal:

HUMANITAS - International Journal of Social Sciences 2015 Vol.3 Issue 5, pp.153-162

Document Type:

Article

Publication Date:

4/2015

Document Language:

Turkish

Document ID (Org No.):

2000458455

Frequency:

Bi-Annual

eISSN:

2645-8837

pISSN:

2147-088X

Abstract:

 

Feminism was founded in the 19th century by those who defend that women should be equal to men. However, by time, feminism has experienced significant transformations and became a movement including different ideals. By the 1960s feminist movement was strengthened and moved far beyond the demand of equality with men. Feminist artists created works denouncing the historical continuity of the male mentality. And, Judy Chicago's The Dinner Party has a special place. This work presents to the viewers not only a feminist writing of the history but also summarizes the feminist ideal with its process of production. This work, which was started in 1974 under the leadership of Chicago and created by the voluntary cooperation of over four hundredartists, tries to embody all forms of art that are identified with femininity, such as painted porcelain, sewing, embroidery and weaving, and the field of art accepted as "precious", "high" or "liberal" which is under the hegemony of male mentality including painting, sculpture and architecture. Thus, a comprehensive and subtle response given by women to the West side that gives the priority of being a hero to men, and a revolutionary monument constructed with cooperation emerge. This article is a descriptive study, which aims to understand and interpret the Diner Party.

 


Modernistler insanı ruh-beden sentezi olarak görürler. Bu nedenle modern tarzda kurgulanan romanlarda iç monolog, iç diyalog, bilinç akımı, montaj gibi teknikler sıkça kullanılarak kahramanların ruh dünyalarına dikkat çekilir. Böylece insanın kendini tanıma ve dünyayı anlama sürecini irdeleme amaçlanır. Sözü edilen romanlarda mekân unsuru da insanın psikolojisini yansıtma zemini olarak kullanılır. Cengiz Dağcı, romanlarında -genel olarak- Sovyet yönetimi altında baskı, şiddet ve sürgünlerle acı çeken Kırım-Tatar Türklerinin hikâyesini anlatmıştır. 1947’den sonraki bütün hayatını gurbette geçiren sanatçının eserlerinde “yitik” vatan özleminin tetiklediği, mitik özelliklerle donatılmış toprak imgesi dikkati çeker. Cennete özgü güzelliklerin yaşandığı, mutlu zamanların mekânıdır vatan. Onlar da İnsandı, O Topraklar Bizimdi, Korkunç Yıllar, Yurdunu Kaybeden Adam gibi romanlarda yukarıda sözü edilen vatan / toprak imgesi geniş yer bulur. Ancak, sanatçının Badem Dalına Asılı Bebekler adlı romanının devamı kabul edilebilecek olan Üşüyen Sokak, mekân unsurunu ele alma bakımından diğerlerinden farklıdır. Yazar, Üşüyen Sokak’ta II. Dünya Savaşı yıllarında başkişi Halûk’un sığınma amacıyla bir apartman dairesinde geçirdiği üç günlük süreyi anlatır. Bütün olaylar başkişinin sokağa bakan pencere önünde sokaktaki olayları izlemesi üzerine kurgulanmıştır. Bu makalede başkişi Halûk’un perspektifinden insanın kendini anlama ve dünyayı anlamlandırma sürecinde mekân ile kurduğu ilişki irdelenecektir.

Anahtar Sözcükler: Cengiz Dağcı, Üşüyen Sokak, Mekân-İnsan Özdeşikliği.

IDENTICALNESS OF PLACE-HUMAN IN CENGİZ DAĞCI’S NOVEL ÜŞÜYEN SOKAK

Abstract: The Modernists consider the human being as a synthesis of soul-body. Thus, the techniques such as interior monologue, interior dialogue, stream of consciousness, montage techniques are often used to emphasize the inner worlds of the characters. In this way, selfunderstanding and the process of comprehending the world are intended to examine. In his novels, Cengiz Dağcı, generally, tells the story and sufferings of Turks who are under the oppression, violence, and exile of The Soviet regime. After 1947, Cengiz Dağcı spent all his life abroad and he generally uses the image of soil that is furnished with mythical elements, and triggered by the “lost” homesickness in his novels. Motherland is such a place in which heavenly beatuies and happy times have been existed. In his novels, such as “Onlar da İnsandı, O Topraklar Bizimdi, Korkunç Yıllar, Yurdunu Kaybeden Adam”, motherland/soil image is widely used. Üşüyen Sokak novel is different than others in terms of handling the element of place. The writer in Üşüyen Sokak tells the story of the main character Halûk who spent his three days in an apartment for sheltering during the World War II. The events are arranged upon the protagonist’s perspective from his apartment window. This article investigates the main character Halûk’s relationship with place in his process of self-understanding and identifying the world.

Keywords: Cengiz Dağcı, Üşüyen Sokak, Identicalness of Place-Human.

.

Article Details

CENGİZ DAĞCI’NIN ÜŞÜYEN SOKAK ADLI ROMANINDA MEKÂNİNSAN ÖZDEŞİKLİĞİ

Authors: Sema Özher KOÇ

Publisher: Tekirdag Namik Kemal University

Journal: HUMANITAS - International Journal of Social Sciences 2015 Vol.3 Issue 5, pp.153-162

Document Type: Article

Publication Date: 4/2015

Document Language: Turkish

Document ID (Org No.): 2000458455

Frequency: Bi-Annual

eISSN: 2645-8837

pISSN: 2147-088X

Issues

Authors:

Sema Özher KOÇ

Publisher:

Tekirdag Namik Kemal University

Journal:

HUMANITAS - International Journal of Social Sciences 2015 Vol.3 Issue 5, pp.153-162

Document Type:

Article

Publication Date:

4/2015

Document Language:

Turkish

Document ID (Org No.):

2000458455

Frequency:

Bi-Annual

eISSN:

2645-8837

pISSN:

2147-088X