{"id":794,"date":"2025-01-31T23:57:26","date_gmt":"2025-01-31T23:57:26","guid":{"rendered":"https:\/\/edebiyatatlasi.com\/?page_id=794"},"modified":"2025-01-31T23:57:26","modified_gmt":"2025-01-31T23:57:26","slug":"istanbul","status":"publish","type":"page","link":"https:\/\/edebiyatatlasi.com\/?page_id=794","title":{"rendered":"\u0130stanbul+"},"content":{"rendered":"\n

Romanlar<\/strong><\/p>\n\n\n\n

HUZUR- AHMET HAMD\u0130 TAMPINAR <\/strong><\/p>\n\n\n\n

Huzur’un kahramanlar\u0131ndan M\u00fcmtaz, roman boyunca kendisini “huzur”a kavu\u015fturacak bir “i\u00e7 nizam”\u0131 aramaktad\u0131r. Eserde hastal\u0131k, \u00f6l\u00fcm, tabiat, kozmik unsurlar, medeniyet, sosyal meseleler, \u00e7e\u015fitli ruh halleri ve estetik fikirler i\u00e7 i\u00e7e verilir. Ancak b\u00fct\u00fcn bunlar\u0131n \u00fczerinde romana hakim olan M\u00fcmtaz’la Nuran’\u0131n a\u015fklar\u0131d\u0131r. \u0130stanbul, bu a\u015fk\u0131n ya\u015fand\u0131\u011f\u0131 \u00e7evre olmaktan \u00e7\u0131karak, adeta bir roman kahraman\u0131 gibi ele al\u0131n\u0131r. (K\u0130TAPYURDU, 2020)<\/p>\n\n\n\n

SINEKL\u0130BAKKAL-HALIDE EDIP ADIVAR <\/strong><\/p>\n\n\n\n

Ad\u0131var\u2019\u0131n bug\u00fcne kadar defalarca bas\u0131lm\u0131\u015f, milyonlarca okur taraf\u0131ndan okunmu\u015f ve g\u00fcncelli\u011fini hi\u00e7 yitirmemi\u015f roman\u0131 Sinekli Bakkal, T\u00fcrk roman\u0131 i\u00e7erisinde \u00f6zel bir yere sahip. “Roman,” dendi\u011finde akl\u0131m\u0131za gelen ilk kitaplardan biri olan bu yap\u0131t\u0131 Selim \u0130leri\u2019nin yazd\u0131\u011f\u0131 sons\u00f6z e\u015fli\u011finde sunuyoruz. Defalarca bas\u0131lm\u0131\u015f, ku\u015faklardan ku\u015faklara ula\u015fabilmi\u015f Sinekli Bakkal, II. Abd\u00fclhamid d\u00f6nemini bir ge\u00e7mi\u015f zaman dekoru \u00f6n\u00fcnde yans\u0131tarak, eskiden yeniye devral\u0131nmas\u0131 gereken k\u00fclt\u00fcr, sanat ve t\u00f6re de\u011ferleri \u00fczerinde durur. Bir anlamda, yazar ve eseri, tarihi s\u00fcreklilik aray\u0131\u015f\u0131 i\u00e7erisindedirler. (K\u0130TAPYURDU, 2022)<\/p>\n\n\n\n

FATIH HARBIYE-PEYAMI SAFA<\/strong><\/p>\n\n\n\n

Dar\u00fclelhan\u2019\u0131n (Konservatuvar\u0131n) alaturka k\u0131sm\u0131nda ud e\u011fitimi alan Neriman, mensup olmakla iftihar etti\u011fi Do\u011fu k\u00fclt\u00fcr\u00fcn\u00fc \u00e7ok seven babas\u0131 Faiz Bey\u2019le on be\u015f ya\u015f\u0131ndan beri Fatih semtinde oturmaktad\u0131r. Yine bu semtte ta\u00adn\u0131\u015ft\u0131\u011f\u0131, babas\u0131na \u00e7ok benzeyen ve Dar\u00fclelhan\u2019da kemen\u00e7e e\u011fitimi alan \u015einasi ile yedi y\u0131ld\u0131r ni\u015fanl\u0131\u00add\u0131r. B\u00fct\u00fcn mahalle, tahamm\u00fcl s\u0131n\u0131rlar\u0131n\u0131 zorlayan bu ni\u015fanl\u0131l\u0131k ili\u015fkisinin evlilikle bitmesini beklemektedir. Ancak Neriman\u2019\u0131n Dar\u00fclelhan\u2019da tan\u0131\u015ft\u0131\u011f\u0131 Macit, onun i\u00e7inde yer etmi\u015f Bat\u0131l\u0131 bir hayat ya\u015fama iste\u011fini uyand\u0131r\u0131r. Neriman, Beyo\u011flu\u2019nda, Harbiye\u2019de ya\u015fanan \u0131\u015f\u0131lt\u0131l\u0131 hayat tarz\u0131na imrenerek ya\u015fad\u0131\u011f\u0131 muhitten, evlerinden, babas\u0131n\u00addan, \u015einasi\u2019den ve hatta do\u011fuyu temsil etti\u011fini d\u00fc\u015f\u00fcnd\u00fc\u011f\u00fc kedisinden bile nefret etmeye ba\u015flar. Tramvay yoluyla birbirine ba\u011flanan ama birbiriyle ba\u011fda\u015fmas\u0131 m\u00fcmk\u00fcn olmayan iki semt, Fatih ve Harbiye, ayn\u0131 co\u011frafyada ya\u015fanan bir k\u00fclt\u00fcr ve zihin geriliminin cepheleridir. T\u00fcrk edebiyat\u0131n\u0131n en \u00fcretken kalemi Peyami Safa, televizyon dizilerine de konu olan Fatih-Harbiye roman\u0131nda toplumumuzun ya\u015fad\u0131\u011f\u0131 asr\u00eele\u015fme (\u00e7a\u011fda\u015fla\u015fma) sanc\u0131lar\u0131na e\u015fyalar, \u015fah\u0131slar, kurumlar ve mek\u00e2nlar \u00fczerinden ayna tutmaktad\u0131r. (K\u0130TAPYURDU, 2022)<\/p>\n\n\n\n

<\/p>\n\n\n\n

Halk Hikayesi, Hikaye, Destan<\/strong><\/p>\n\n\n\n

SARNI\u00c7- SA\u0130T FA\u0130K ABASIYANIK<\/p>\n\n\n\n

Sarn\u0131\u00e7, T\u00fcrk yazar Sait Faik Abas\u0131yan\u0131k’\u0131n 1939 y\u0131l\u0131nda, \u00c7\u0131\u011f\u0131r Kitabevi taraf\u0131ndan yay\u0131nlanan ikinci kitab\u0131. Bu kitapta, yazar\u0131n ilk kitab\u0131 Semaver’e almad\u0131\u011f\u0131 hik\u00e2yeleri yer al\u0131r. Kitab\u0131n kapa\u011f\u0131nda Sait Faik’in ad\u0131 “Said Faik” olarak yaz\u0131lm\u0131\u015ft\u0131r. T\u0131pk\u0131 Semaver’de oldu\u011fu gibi Sarn\u0131\u00e7 da \u00fc\u00e7 b\u00f6l\u00fcmde incelenebilir. \u0130lk b\u00f6l\u00fcmde, Sarn\u0131\u00e7, Beyaz Alt\u0131n, Lohusa, Ormanda Uyku, Gaz Sobas\u0131, Davudun Anas\u0131 ve Hanc\u0131n\u0131n Kar\u0131s\u0131 gibi Adapazar\u0131 ve Bursa’da ge\u00e7en \u00f6yk\u00fcler vard\u0131r. Yazar, o \u015fehirlerde ya\u015fad\u0131\u011f\u0131 d\u00f6nemlerde g\u00f6zlemledi\u011fi, toplumun gelenekleri ve g\u00f6reneklerindeki aksayan y\u00f6nleri anlatm\u0131\u015ft\u0131r. \u0130stanbul’da ya\u015fad\u0131klar\u0131n\u0131 ve g\u00f6rd\u00fcklerini bir \u00e7ocuk safl\u0131\u011f\u0131 ile anlatt\u0131\u011f\u0131 hik\u00e2yeler ikinci b\u00f6l\u00fcm\u00fc olu\u015fturur. Bir Karpuz Sergisi, Mavnalar, Gece \u0130\u015fi, Park, Kalorifer ve Bahar ve Plaj \u0130nsanlar\u0131 bu gruptad\u0131r. Faik’in, bu b\u00f6l\u00fcmdeki hik\u00e2yeleri anlat\u0131\u015f\u0131, yazar\u0131n yeni bir tarza y\u00f6neldi\u011finin habercisidir. Kitab\u0131n son b\u00f6l\u00fcm\u00fcnde ise, Sait Faik’in yurt d\u0131\u015f\u0131 tecr\u00fcbeleriyle olu\u015fturdu\u011fu iki hik\u00e2ye vard\u0131r. Bunlar, Grenoble’da \u0130talyan Mahallesi ve Marsilya Liman\u0131’d\u0131r. (W\u0130K\u0130PED\u0130A, 1939)<\/p>\n\n\n\n

\u0130STANBUL H\u0130KAYELER\u0130- PEYAM\u0130 SAFA<\/strong><\/p>\n\n\n\n

Peyami Safa\u2019n\u0131n \u0130stanbul Hik\u00e2yeleri 36 hik\u00e2yeden olu\u015fmaktad\u0131r. \u0130lk olarak 1924\u2019te yay\u0131mlan hik\u00e2yelerde anlat\u0131lan olaylar\u0131n neredeyse tamam\u0131nda mek\u00e2n \u0130stanbul\u2019dur. Fakat hik\u00e2ye edilenler sadece \u0130stanbul\u2019un de\u011fil, b\u00fct\u00fcn \u00fclkenin ortak sorunlar\u0131d\u0131r. 19. y\u00fczy\u0131ldan itibaren ya\u015fanan medeniyet de\u011fi\u015fiminin sanc\u0131lar\u0131, kad\u0131n erkek ili\u015fkileri, Bat\u0131l\u0131la\u015fmadaki problemler, tecr\u00fcbesiz gen\u00e7lerin ya\u015fad\u0131klar\u0131 s\u0131k\u0131nt\u0131lar gibi daha pek \u00e7ok olgu ve olay bu hik\u00e2yelere konu olmu\u015ftur. \u0130stanbul Hik\u00e2yeleri, Peyami Safa\u2019n\u0131n sanat ve d\u00fcnya g\u00f6r\u00fc\u015f\u00fcn\u00fcn izlerini ta\u015f\u0131d\u0131\u011f\u0131 gibi, daha sonra ortaya koyaca\u011f\u0131 eserler hakk\u0131nda okuyucusuna baz\u0131 k\u00fc\u00e7\u00fck ipu\u00e7lar\u0131 da vermektedir. (K\u0130TAPYURDU, 2020)<\/p>\n\n\n\n

Bir Efsane<\/strong><\/p>\n\n\n\n

Somuncu Baba <\/strong><\/p>\n\n\n\n

\u0130stanbul\u2019un Kurulu\u015fu: Melek ve Kartal \u0130stanbul\u2019un kurulu\u015fu ile ilgili yaz\u0131l\u0131 ve s\u00f6zl\u00fc kaynaklarda pek \u00e7ok efsaneye rastlamak m\u00fcmk\u00fcnd\u00fcr. Bu efsanelerden birka\u00e7\u0131 Hans Hermann Russack\u2019\u0131n \u201c\u0130stanbul ve Efsaneleri\u201d adl\u0131 makalesinde yer almaktad\u0131r. Bu makalede \u0130stanbul\u2019un kurulu\u015fuyla ilgili \u015fu efsane zikredilmektedir: Krizopolis\u2019te (\u00dcsk\u00fcdar) rakibi Licinus\u2019u yenen Konstantinos, bir gece r\u00fcyas\u0131nda Roma \u0130mparatorlu\u011fu\u2019nun batmak \u00fczere oldu\u011funu g\u00f6rd\u00fc. \u0130mparator, eski Roma\u2019n\u0131n temelini kuran Ene\u2019nin memleketi Ilion\u2019a (Truva) gidip ora\u00adda yeni ba\u015fkentini kurmaya karar verdi. Bu\u00adrada, Roma\u2019ya be\u015fik olan Truva, eskisinden de g\u00fczel yap\u0131lacak ve Roma \u015fehriyle imparatorlu\u011funun y\u0131k\u0131lmas\u0131ndan bu suretle ka\u00e7\u0131n\u0131lacakt\u0131. Kayser Konstantinos, Ajaks\u2019\u0131n mezar\u0131n\u0131 merkez tutarak bizzat yeni ba\u015fkentinin hudutlar\u0131n\u0131 \u00e7izmeye ba\u015flad\u0131. Duvarlar y\u00fckseli\u00adyor, \u015fehrin kap\u0131lar\u0131 meydana \u00e7\u0131kmaya ba\u015fl\u0131yordu. Tam o s\u0131rada Kayser bir r\u00fcya daha g\u00f6rd\u00fc. Pa\u00e7avralara b\u00fcr\u00fcnm\u00fc\u015f bir kad\u0131n kendisinden giyecek dileniyordu. Tabirciler kaysere, ba\u015fka bir y\u0131k\u0131k \u015fehri tekrar meydana getirmesini s\u00f6ylediler. Konstantinos son ve kesin zaferini kazand\u0131\u011f\u0131 Khalkedon\u2019u (Kad\u0131k\u00f6y) hat\u0131rlad\u0131 ve Truva\u2019n\u0131n yar\u0131 tamamlanm\u0131\u015f duvar ve kulelerini oldu\u011fu gibi b\u0131raka\u00adrak, Khalkedon\u2019da yeniden \u00f6l\u00e7\u00fcp bi\u00e7meye ba\u015f\u00adlad\u0131. Fakat g\u00f6kten inen g\u00f6rkemli bir kartal, kayserin elinden \u00f6l\u00e7\u00fc ipini kapt\u0131 ve denizi a\u015farak eski Bizans \u015fehrinin kap\u0131s\u0131 \u00f6n\u00fcne b\u0131rakt\u0131. Konstantinos Tanr\u0131\u2019n\u0131n i\u015faretini anlamakta gecikmedi ve kartal\u0131n \u00f6l\u00e7\u00fc ipini d\u00fc\u015f\u00fcrd\u00fc\u011f\u00fc Bizans duvarlar\u0131 \u00f6n\u00fcnde tekrar i\u015fe koyulup yeni Roma\u2019n\u0131n hudutlar\u0131n\u0131 \u00e7izmeye ba\u015flad\u0131. Elinde m\u0131zra\u011f\u0131, a\u011f\u0131r a\u011f\u0131r yeni ba\u015fkentinin hudutlar\u0131n\u0131 ad\u0131ml\u0131yordu. Maiyeti, imparatorun denizden denize, Hali\u00e7 ile Marmara ara\u00ads\u0131ndaki bombo\u015f tarlalar \u00fczerinde ne kadar geni\u015f bir hudut ad\u0131mlad\u0131\u011f\u0131na hayret etmeye ba\u015flad\u0131; \u201cEfendimiz, daha nereye kadar gidece\u011fiz?\u201d diye sorduklar\u0131nda, Konstantinos cevap verdi: \u201c\u00d6n\u00fcmden giden duruncaya kadar!\u201d \u00c7\u00fcnk\u00fc imparatorun \u00f6n\u00fcnde, maiyetinin g\u00f6remedi\u011fi bir melek, durmadan yol g\u00f6steriyordu. Nihayet me\u00adlek, Marmara k\u0131y\u0131lar\u0131na gelince durdu ve imparator oraya m\u0131zra\u011f\u0131n\u0131 saplayarak \u015fehrin hududunu \u00e7izmi\u015f oldu. \u0130\u015fte \u0130stanbul\u2019un ilk hududu b\u00f6yle \u00e7izildi ve surlar bu ilahi i\u015farete g\u00f6re in\u015fa edildi.2 \u0130stanbul\u2019un kurulu\u015funu konu alan yukar\u0131daki efsane; Bizans\u2019\u0131n Konstantinopolis\u2019inden, Osmanl\u0131\u2019n\u0131n \u0130stanbul\u2019una kadar y\u00fczlerce y\u0131l \u015fehrin koruyuculu\u011funu yapan surlar\u0131n nas\u0131l yap\u0131ld\u0131\u011f\u0131 sorusuna cevap vermektedir. Onlarca kanl\u0131 sava\u015fta kendini siper eden, \u0130stanbul\u2019un fethine tan\u0131k olan surlar, halk muhayyilesine g\u00f6re; ilahi bir i\u015faret sonucu in\u015fa edilmi\u015ftir. Ayr\u0131ca Bizans imparatorlar\u0131, efsanede ge\u00e7en kartal\u0131 imparatorluklar\u0131n\u0131n simgesi h\u00e2line getirmi\u015fler. B\u00f6ylece bu ilahi g\u00fcc\u00fcn daima kurduklar\u0131 \u015fehrin ve y\u00f6nettikleri imparatorlu\u011fun yard\u0131mc\u0131s\u0131 oldu\u011funu vurgulam\u0131\u015flard\u0131r.<\/p>\n\n\n\n

\n