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Öğe Bir geleneğinin Kırılmalma Noktası: Ekfrasis ve Ingiltere’de müzecilik(Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 2010) Ulu, Berkan; Şahiner, MustafaÖz: Bin yılı aşkın bir geçmişi olan ekfrasis geleneği, günümüz şiirinde önemli bir yere sahiptir. Homeros'un îlyada'smda yer alan Aşil'in kalkanının betimlendiği ve ekfrasisin edebiyattaki ilk önemli kullanımı olduğu düşünülen bölümden günümüze, farklı edebî anlayışlar ve eğilimler içinde, ekfrasis geleneği birçok değişim geçirmiştir. Bir edebî kavram olarak ekfrasisin geçirdiği değişim, kullanıldığı edebî dönemlere göre çeşitlilik göstermekle beraber, kavramın yapısal ve teorik açılardan gelişmesine, ekfrasisin daha fazla şair tarafından kullanılmasına ve sonuç olarak ekfrastik ürünlerin sayısının artmasına neden olmuştur. Bugün İngilizce yazılan şiirlerde, özellikle de İngiliz şiirinde, neredeyse kendi başına bir edebî tür haline gelen ekfrasis, son iki yüzyıl içinde yaşadığı köklü değişimi 18. ve 19. yüzyıllarda yaşanan sosyo-kültürel gelişmelere borçludur. Bu gelişmelerden belki de en önemlisi İngiltere'de bu dönemde açılan müzelerdir. İtalya, Fransa ve Almanya gibi Avrupa ülkelerini takiben, İngiltere'de de müzecilik kavramı hızla gelişmiş ve popüler bir sosyal olgu haline gelmiştir. Müzeler, 18. yüzyılda hem toplumun üst kesimlerinden hem de sanatçılar ve koleksiyonculardan büyük ilgi görmeye başlamıştır. Buna paralel olarak kraliyet ailesinin ve hükümetin de destekleriyle müzecilik yaygınlaşmış ve kısa süre içinde İngiltere'de, özellikle de Londra ve çevresinde, birçok önemli müze hizmete açılmıştır. 1759'da açılan ingiltere Müzesi (The British Museum)'ni sırasıyla 1824 ve 1897'de halka açılan Milli Galeri (The National Gşdlery) ve Tate Galerisi (Tate Gallery) takip etmiştir. Müzelerin açılmasıyla halkın, dolayısıyla da şairlerin plastik sanat eserlerine olan ilgileri artmıştır. Bu yakın ilgi şairleri ekfrasisi daha farklı şekillerde kullanmaya teşvik etmiş, sonuç olarak da, eskiye oranla çok daha fazla sayıda ekfrastik şiir üretilmiştir. Müzeler sayesinde öncelikle görsel sanat eserleri farklı biçimlerde algılanmaya başlanmıştır. Bunun nedeni müzelerin, bu sanat eserlerini Başlık (İngilizce): The breaking point of a tradition: Ekphrasis and museums in England Öz (İngilizce): Ekphrasis, a thousand-year old literary tradition, has a noteworthy place in today’s literature. From the depiction of the Shield of Achilles in Homer’s the Iliad, which is regarded as the first significant literary application of ekphrasis, to the present, ekphrasis has undergone numerous alterations through different literary conventions and tendencies. Despite varieties in different literary periods, the change ekphrasis went through as a literary concept has led the term to develop on structural and theoretical grounds while allowing more poets to get acquainted with ekphrasis and, eventually, increasing the number of ekphrastic compositions. Today, as an almost independent literary expression in poetry in English, particularly in British poetry, ekphrasis owes much to the socio-cultural developments that took place between the 18th and 19th centuries. Probably the most crucial development during this period is the opening of public museums. Following European countries like Italy, France and Germany, museums in England had rapidly developed and become a popular social phenomenon. Attracting upper classes, artists, and art collectors in the 18th century, museums had been at the centre of public attention. Parallel to this, museums had expanded with the contributions of the members of the royal family and the government and, in a short period of time, a number of important museums opened in England, especially in and around London. The British Museum, which opened its doors to visitors in 1759, was followed by the National Gallery and Tate Gallery that opened in 1824 and 1897, respectively. With the opening of museums, society, along with poets, showed more interest in works of plastic arts Ekphrasis, a thousand-year old literary tradition, has a noteworthy place in today’s literature. From the depiction of the Shield of Achilles in Homer’s the Iliad, which is regarded as the first significant literary application of ekphrasis, to the present, ekphrasis has undergone numerous alterations through different literary conventions and tendencies. Despite varieties in different literary periods, the change ekphrasis went through as a literary concept has led the term to develop on structural and theoretical grounds while allowing more poets to get acquainted with ekphrasis and, eventually, increasing the number of ekphrastic compositions. Today, as an almost independent literary expression in poetry in English, particularly in British poetry, ekphrasis owes much to the socio-cultural developments that took place between the 18th and 19th centuries. Probably the most crucial development during this period is the opening of public museums. Following European countries like Italy, France and Germany, museums in England had rapidly developed and become a popular social phenomenon. Attracting upper classes, artists, and art collectors in the 18th century, museums had been at the centre of public attention. Parallel to this, museums had expanded with the contributions of the members of the royal family and the government and, in a short period of time, a number of important museums opened in England, especially in and around London. The British Museum, which opened its doors to visitors in 1759, was followed by the National Gallery and Tate Gallery that opened in 1824 and 1897, respectively. With the opening of museums, society, along with poets, showed more interest in works of plastic artsEkphrasis, a thousand-year old literary tradition, has a noteworthy place in today’s literature. From the depiction of the Shield of Achilles in Homer’s the Iliad, which is regarded as the first significant literary application of ekphrasis, to the present, ekphrasis has undergone numerous alterations through different literary conventions and tendencies. Despite varieties in different literary periods, the change ekphrasis went through as a literary concept has led the term to develop on structural and theoretical grounds while allowing more poets to get acquainted with ekphrasis and, eventually, increasing the number of ekphrastic compositions. Today, as an almost independent literary expression in poetry in English, particularly in British poetry, ekphrasis owes much to the socio-cultural developments that took place between the 18th and 19th centuries. Probably the most crucial development during this period is the opening of public museums. Following European countries like Italy, France and Germany, museums in England had rapidly developed and become a popular social phenomenon. Attracting upper classes, artists, and art collectors in the 18th century, museums had been at the centre of public attention. Parallel to this, museums had expanded with the contributions of the members of the royal family and the government and, in a short period of time, a number of important museums opened in England, especially in and around London. The British Museum, which opened its doors to visitors in 1759, was followed by the National Gallery and Tate Gallery that opened in 1824 and 1897, respectively. With the opening of museums, society, along with poets, showed more interest in works of plastic arts The growing interest encouraged poets to adopt ekphrasis in distinctive ways in such a way as to outnumber previous ekphrastic works. Through professional maintenance services the museums provided protection for works of art against time’s corrosive effects which in turn altered the perception of visual arts to a great extent. This development brought an end to the idea that visual works of art are bound to decay. Moreover, opening of museums revitalized “immortality of art” notion, which is as old as ekphrasis itself, in a different way. Besides, the same reason added a new kind of artistic value to the artworks which had begun to be displayed under the bright, attractive atmosphere of the museums. Now, the works of visual arts that had been kept in private collections and behind locked doors were not regarded as mementoes or merchandise but as ‘art works’ that are valued, studied and interpreted. These changes attracted the poets of the time and, like the rest of the community, they began to take part in the classy weekend activity of museum visits. To observe works of arts at much closer distance, poets came up with a fresh ekphrastic breath by dealing with ekphrasis within the changing artistic norms. Within this wave of change, ekphrasis has been reconsidered with 20th century literary codes and has strengthened its place in today’s literature as an established term that has a variety of uses and a long history. This study, which begins with an introduction of the term “ekphrasis” and a brief history of the ekphrastic tradition, intends to explicate how the opening of public museums in England in the 18th and 19th centuries had influenced ekphrastic poetry. Related to this, while explaining the contribution of the opening of museums to ekphrastic tradition, the study will also discuss how paintings inspire poets in various ways. Finally, the reverberations of the ekphrastic developments felt in modern English poetry will be dealt with and a number of analyses will be conducted with reference to sample ekphrastic poems from English literature.Öğe Sonnet in the 21st century: George Szirtes’s sonnet sequences(Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi, 2014) Ulu, BerkanÖz: Hayli köklü bir şiir yazım türü olan sone, İngiliz edebiyatındaki popülaritesinden fazla bir şey kaybetmemiştir. İmge merkezli anlatım tarzı, görsel olarak güçlü ifadeler, yerel renklerin kul- lanımı ve bireysellik gibi modern şiirin eğilimleriyle harmanlanan sone özellikle yirmibirinci yüzyılın ikinci yarısından itibaren kendini ifade etmenin ve bireyselliğin önemli bir yolu haline gelmiş görünmektedir. Binyılın sonunda doğru İngiliz dilinde yazılmış bir çok sone içinde Ge- orge Szirtes’in “versiyonları” günümüz İngiliz şiiri içinde sone türünün tecrübe ettiği yeni eği- limler açısından önemlidir. Kafiye ve uyak gibi geleneksel öğeleri açık sözlü bir üslup ve şiir- sel duyarlılıkla birleştiren Szirtes, soneye yeni bir bakış getirebilen nadir şairlerdendir. Yaratıcı tekniklere olan ilgisini İngiltere’de mülteci olarak geçirdiği çocukluğundan Macar köklerine kadar farklı konular ile bağdaştırarak, Szirtes zamanının önde gelen sone yazarlarından birisi olarak göze çarpmaktadır. Bu çalışma, günümüz sone yazınındaki gelişmelere göndermeler yaparak, George Szirtes’in Reel ve the Budapest File başlıklı şiir derlemelerindeki soneleri incelemeyi amaçlamaktadır. Çalışma daha çok çeşitli sonelerin biçembilimsel ve tematik ince- lemesine yoğunlaşarak, Szirtes’in şiirsel, yapısal ve içerik bakımından tercihleriyle, yine şairin günümüz İngiliz şiirinde sonenin yerine dair fikirlerine değinecektir.
