{"id":843,"date":"2014-04-20T00:52:33","date_gmt":"2014-04-19T21:52:33","guid":{"rendered":"http:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/?p=843"},"modified":"2025-12-30T22:22:36","modified_gmt":"2025-12-30T19:22:36","slug":"1940_sonrasi_turk_edebiyati","status":"publish","type":"post","link":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/1940_sonrasi_turk_edebiyati.htm","title":{"rendered":"1940 Sonras\u0131 T\u00fcrk Edebiyat\u0131"},"content":{"rendered":"<p><span style=\"color: #ff0000; font-size: large;\"><b>1940 SONRASI T\u00dcRK EDEB\u0130YATI<\/b><\/span><\/p>\n<p style=\"color: #000000;\" align=\"justify\">Bu d\u00f6nemde farkl\u0131 <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/siirler.htm\"><span style=\"color: #ff0000;\">\u015fiir<\/span><\/a> anlay\u0131\u015flar\u0131n\u0131n \u00e7\u0131kmas\u0131n\u0131n nedeni d\u00f6nemin k\u00fclt\u00fcrel ve sosyal yap\u0131s\u0131ndaki hareketliliktendir. 1940 sonras\u0131 T\u00fcrk edebiyat\u0131nda <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/behcet_necatigil.htm\"><span style=\"color: #ff0000;\">Beh\u00e7et Necatigil<\/span><\/a>, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/sabahattin_kudret_aksakal.htm\"><span style=\"color: #ff0000;\">Sabahattin Kudret Aksal<\/span><\/a>, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/salah_birsel.htm\"><span style=\"color: #ff0000;\">Salah Birsel<\/span><\/a><a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/ilhan_berk.htm\"><span style=\"color: #ff0000;\">\u0130lhan Berk<\/span><\/a> gibi \u015fairler, \u00f6nce Birinci yeniye e\u011filim g\u00f6sterdikleri halde sonra kendilerine \u00f6zg\u00fc s\u00f6yleyi\u015fleriyle yenilikleri s\u00fcrd\u00fcrd\u00fcler. <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/ahmet_muhip_diranas.htm\"><span style=\"color: #ff0000;\">Ahmet Muhip D\u0131ranas<\/span><\/a> ve <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/fazil_husnu_daglarca.htm\"><span style=\"color: #ff0000;\">Faz\u0131l H\u00fcsn\u00fc Da\u011flarca<\/span><\/a> ise daha \u00f6zg\u00fcn s\u00f6yleyi\u015flerle yeniliklere katk\u0131da bulundular. \u00d6zellikler Da\u011flarca hi\u00e7bir ak\u0131ma ba\u011fl\u0131 kalmadan Anadolu insan\u0131n\u0131n <span style=\"color: #ff0000;\">tarih<\/span>sel ya da g\u00fcncel ger\u00e7eklerine ili\u015fkin duyarl\u0131l\u0131\u011f\u0131 dile getirmi\u015ftir.<\/p>\n<p style=\"color: #000000;\" align=\"justify\"><b>1)GAR\u0130P AKIMI (1941)<\/b><\/p>\n<p style=\"color: #000000;\" align=\"justify\"><b>2)H\u0130SARCILAR: <\/b>Ad\u0131n\u0131 1950\u2019de Mehmet \u00c7\u0131narl\u0131\u2019n\u0131n \u00e7\u0131kard\u0131\u011f\u0131 H\u0130SAR dergisinden alm\u0131\u015ft\u0131r. \u015eahsiyetler bu dergi etraf\u0131nda topland\u0131lar. Birinci Yeni\u2019nin \u015fiirde geleneksel \u00f6\u011feleri yok sayan d\u00fc\u015f\u00fcnce ve uygulamalar\u0131 d\u0131\u015f\u0131nda olu\u015fturuldu. Geleneksel ve bireyci \u00e7izgidedirler. Bir anlamda memleket edebiyat\u0131n\u0131n devam\u0131d\u0131r. Hisarc\u0131lara g\u00f6re: bat\u0131n\u0131n taklidi ile yetinilmemeli her alanda yozla\u015fma ile m\u00fccadele edilmelidir. Sanat\u0131n ger\u00e7ek \u015fart\u0131 olan de\u011fi\u015fimin geleneklerin reddi olarak alg\u0131lanmas\u0131na kar\u015f\u0131 \u00e7\u0131k\u0131lmal\u0131d\u0131r. <a style=\"color: #411f55;\" href=\"http:\/\/www.5n1k.org\/\">Sanat<\/a> herhangi bir siyasi g\u00f6r\u00fc\u015f ve ideolojinin propaganda aleti haline sokulmamal\u0131d\u0131r. Dilde ifade g\u00fcc\u00fcn\u00fc azaltan ve anlat\u0131m\u0131 s\u0131n\u0131rlayan \u00f6zt\u00fcrk\u00e7e ak\u0131m\u0131na kar\u015f\u0131 durularak, dilde a\u015f\u0131r\u0131l\u0131klara gidilmemeli, konu\u015fulan T\u00fcrk\u00e7e tercih edilmelidir.\u0130LHAN GE\u00c7ER, MEHMET \u00c7INARLI, MUN\u0130S FA\u0130K OZANSOY,, MUSTAFA NECAT\u0130 KARAER, G\u00dcLTEK\u0130N SAMANO\u011eLU, CO\u015eKUN ERTEPINAR, ORHAN SEYF\u0130 ORHON, HAL\u0130DE NUSRET ZORLUTUNA, AHMET MUH\u0130P DIRANAS, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/arif_nihat_asya.htm\"><span style=\"color: #ff0000;\">AR\u0130F N\u0130HAT ASYA<\/span><\/a>, CAH\u0130T K\u00dcLEB\u0130,<a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/ziya_osman_saba.htm\"><span style=\"color: #ff0000;\">Z\u0130YA OSMAN SABA<\/span><\/a>, FAZIL H\u00dcSN\u00dc DA\u011eLARCA,BEK\u0130R SITKI ERDO\u011eAN, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/umit_yasar_oguzcan.htm\"><span style=\"color: #ff0000;\">\u00dcM\u0130T YA\u015eAR O\u011eUZCAN<\/span><\/a>, YAVUZ B\u00dcLENT BAK\u0130LER,BAHATT\u0130N KARAKO\u00c7,ABD\u00dcRRAH\u0130M KARAKO\u00c7, N\u00dcZHET ERMAN\u2026<\/p>\n<p style=\"color: #000000;\" align=\"justify\"><b>3)MAV\u0130C\u0130LER:<\/b> * <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/attila_ilhan.htm\"><span style=\"color: #ff0000;\">Atilla \u0130lhan<\/span><\/a>\u2019\u0131n 1952\u20131956 y\u0131llar\u0131nda \u00e7\u0131kard\u0131\u011f\u0131 derginin ad\u0131 olan \u201cMAV\u0130\u201d nin etraf\u0131nda toplanan ORHAN DURU, FER\u0130T EDG\u00dc gibi sanat\u00e7\u0131lar\u0131 olu\u015fturdu\u011fu guruptur. Bu sanat\u00e7\u0131lar, Garip Ak\u0131m\u0131&#8217;na ve <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/orhan_veli_kanik.htm\"><span style=\"color: #ff0000;\">Orhan Veli<\/span><\/a>\u2019ye kar\u015f\u0131 \u00e7\u0131km\u0131\u015f, \u015fairane bir sanat anlay\u0131\u015f\u0131n\u0131n temsilcisi olmu\u015flar.<\/p>\n<ul>\n<li>*Daha sonra Mavi dergisi \u00d6zdemir Nutku\u2019nun y\u00f6netimine ge\u00e7ti ve Atilla \u0130lhan\u2019\u0131n savundu\u011fu toplumsal ge\u00e7ek\u00e7ili\u011fin (sosyal realizm) s\u00f6zc\u00fcs\u00fc oldu. Dergi Nisan 1956\u2019da \u00e7\u0131kan 36. say\u0131dan sonra (son mavi) kapat\u0131ld\u0131.<\/li>\n<li>* Garip ak\u0131m\u0131na tepki olarak \u00e7\u0131km\u0131\u015ft\u0131r.<\/li>\n<li>* \u015eiirin basit olamayaca\u011f\u0131n\u0131 zengin benzetmeli, i\u00e7li, derin olmas\u0131 gerekti\u011fini savunmu\u015flard\u0131r.<\/li>\n<li>*Bireyin duygusal d\u00fcnyas\u0131n\u0131 yans\u0131t\u0131rlar.<\/li>\n<li>*<a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/divan_edebiyati.htm\"><span style=\"color: #ff0000;\">Divan \u015fiiri<\/span><\/a>nin bi\u00e7im \u00f6zelliklerinden ve imgelerinden yararlan\u0131rlar.<\/li>\n<li>* \u015eiire yeni bir ses d\u00fczeni, ta\u015fk\u0131n, co\u015fkulu bir anlat\u0131m ve kendine \u00f6zg\u00fc duyarl\u0131l\u0131k getirmi\u015flerdir.<\/li>\n<\/ul>\n<p style=\"color: #000000;\" align=\"justify\">Garip hareketine kar\u015f\u0131 \u00e7\u0131kanlardan biri de Attila \u0130lhan&#8217;d\u0131r. Mavi dergisinde &#8220;Sosyal Realizmin M\u00fcnasebetleri yahut Ba\u015flang\u0131\u00e7&#8221; adl\u0131 yaz\u0131s\u0131nda Orhan Veli, Oktay R\u0131fat ve <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/melih_cevdet_anday.htm\"><span style=\"color: #ff0000;\">Melih Cevdet<\/span><\/a>&#8216;i &#8220;bom stiller&#8221; diye nitelemi\u015ftir. Ayn\u0131 derginin <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/yazarlar.htm\"><span style=\"color: #ff0000;\">yazarlar<\/span><\/a>\u0131ndan Ahmet Oktay &#8220;Orhan Veli&#8217;nin Yeri&#8221; adl\u0131 yaz\u0131s\u0131nda &#8220;Orhan Veli eksik bir \u00f6nc\u00fc ve eksik bir \u015fairdi&#8221; h\u00fckm\u00fcyle, Garip ak\u0131m\u0131n\u0131n s\u0131\u011fl\u0131\u011f\u0131n\u0131 anlatm\u0131\u015ft\u0131. Daha sonralar\u0131 Mavi dergisindeki bu yaz\u0131lardan hareketle bir yeni ak\u0131m say\u0131lmak istenmi\u015fse de, bu g\u00f6r\u00fc\u015f ra\u011fbet bulmam\u0131\u015ft\u0131r. Onlar Birinci Yeni hareketine kar\u015f\u0131 \u00e7\u0131kt\u0131klar\u0131 i\u00e7in bir bak\u0131ma \u0130kinci Yeni &#8216;nin \u00f6nc\u00fcleri olarak de\u011ferlendirilmi\u015flere de Attila \u0130lhan, buna da kar\u015f\u0131 \u00e7\u0131km\u0131\u015f ve \u0130kinci Yeni &#8220;yi &#8220;yozlukla&#8221; itham etmi\u015ftir. <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/yazim_kurallari.htm\"><span style=\"color: #ff0000;\">\u0130ml\u00e2 kurallar\u0131<\/span><\/a>n\u0131 b\u00fct\u00fcn\u00fcyle reddetmi\u015f veya kendisine has bir iml\u00e2 tarz\u0131 geli\u015ftirmi\u015f olan Attila \u0130lhan (B\u00fcy\u00fck harf kullanmaz ama <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/adlar.htm\"><span style=\"color: #ff0000;\">\u00f6zel isimler<\/span><\/a>i <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/yapi_bilgisi.htm\"><span style=\"color: #ff0000;\">ek<\/span><\/a> almalar\u0131 halinde (&#8216;) ile ay\u0131r\u0131r), dil konusunda \u00e7ok keyfidir. <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/gunluk.htm\"><span style=\"color: #ff0000;\">G\u00fcnl\u00fck<\/span><\/a> dilde art\u0131k kullan\u0131lmayan \u00e7ok eski kelimeleri, Frans\u0131zca veya Almanca kelimelerle beraber kullan\u0131r. Bunlar, hem yazar\u0131n dikkati \u00e7ekme \u00e7abas\u0131n\u0131, orijinal olma merak\u0131n\u0131, hem de karmakar\u0131\u015f\u0131k bir d\u00fcnyada ya\u015fad\u0131\u011f\u0131m\u0131z\u0131 okuyucuya hissettirme gayretini g\u00f6sterir. Sinema tekni\u011fini kullanan Attila \u0130lhan adeta kameras\u0131n\u0131 kalabal\u0131klar \u00fczerinde gezdirir, zaman zaman belirli noktalarda uzunca durur. Renkli, \u0131slak, \u00fcrperi\u015f ve korku dolu bu <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/siirler.htm\"><span style=\"color: #ff0000;\">\u015fiirler<\/span><\/a>de bazen b\u00fcy\u00fck bir ferahl\u0131k bazen da melankoli gizlidir. 1940\u20131950 aras\u0131 T\u00fcrk edebiyat\u0131nda yepyeni bir k\u0131p\u0131rdanma ve \u015fahsiyetlerin belirmesi d\u00f6nemidir. Atill\u00e2 \u0130lhan da 1946 y\u0131l\u0131nda &#8220;CHP \u015eiir Yar\u0131\u015fmas\u0131nda ikincili\u011fi kazanm\u0131\u015f ve birbirlerinden farkl\u0131 \u00fc\u00e7 \u015fair, bu yar\u0131\u015fmada ilk \u00fc\u00e7 dereceyi payla\u015fm\u0131\u015ft\u0131r (<a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/cahit_sitki_taranci.htm\"><span style=\"color: #ff0000;\">Cahit S\u0131tk\u0131 Taranc\u0131<\/span><\/a>, Atilla \u0130lhan ve Faz\u0131l H\u00fcsn\u00fc Da\u011flarca).<\/p>\n<p><b>4)\u0130K\u0130NC\u0130 YEN\u0130C\u0130LER:<\/b> (1955\u20131965) ortak nitelikleriyle beliren bir ak\u0131m de\u011fildir. Yeniyi deneyen, d\u00fcnya g\u00f6r\u00fc\u015f\u00fc, yeti\u015fme \u015fekilleri ve beslenme kaynaklar\u0131 bak\u0131m\u0131ndan birbirinden \u00e7ok farkl\u0131 olan \u015fairlerin eserlerinde sonradan tespit edilen benzerliklere dayan\u0131larak bu ad verilmi\u015ftir. Bu ad\u0131 onlara MUZAFFER \u0130LHAN ERDOST vermi\u015ftir.<\/p>\n<ul>\n<li>* 1950\u2019lerde \u201cGarip\u201d ak\u0131m\u0131na tepki olarak \u00e7\u0131km\u0131\u015ft\u0131r.<\/li>\n<li>* \u015eiirin d\u00fc\u015f\u00fcr\u00fcld\u00fc\u011f\u00fc basitli\u011fe son vermek amac\u0131yla ortaya \u00e7\u0131km\u0131\u015ft\u0131r. (imgeci \u015fiiri savunurlar bu y\u00fczden ilk okundu\u011funda \u015fiir pek anla\u015f\u0131lmaz.)<\/li>\n<li>*<a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/cemal_sureya.htm\"><span style=\"color: #ff0000;\">CEMAL S\u00dcREYYA<\/span><\/a>, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/ilhan_berk.htm\"><span style=\"color: #ff0000;\">\u0130LHAN BERK<\/span><\/a>, ED\u0130P CANSEVER, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/turgut_uyar.htm\"><span style=\"color: #ff0000;\">TURGUT UYAR<\/span><\/a>, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/ece_ayhan.htm\"><span style=\"color: #ff0000;\">ECE AYHAN<\/span><\/a>, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/ulku_tamer.htm\"><span style=\"color: #ff0000;\">\u00dcLK\u00dc TAMER<\/span><\/a>, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/sezai_karakoc.htm\"><span style=\"color: #ff0000;\">SEZA\u0130 KARAKO\u00c7<\/span><\/a>bu ak\u0131m\u0131n \u00f6nc\u00fcleridir.<\/li>\n<li>* S\u00f6zc\u00fcklerin anlam\u0131 de\u011fil s\u00f6yleni\u015fi \u00f6nemlidir.<\/li>\n<li>* Her \u015fey insanla ba\u015flar insanla biter.<\/li>\n<li>* \u015eiirin kendine g\u00f6re bir dili olmal\u0131. ( dili, \u015fiirin ba\u015f tac\u0131 edinen bir harekettir.)<\/li>\n<li>* \u015eiir di\u011fer <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/duzyazi_turleri.htm\"><span style=\"color: #ff0000;\">edebi t\u00fcrler<\/span><\/a>den kesin \u00e7izgilerle ayr\u0131lmal\u0131.<\/li>\n<li>* \u00d6nemli olan kelimelerin anlamlar\u0131 de\u011fil, \u015fairin ona y\u00fckledi\u011fi anlamlard\u0131r.( yorum ve izlenim \u015fiirleri yazarlar.)<\/li>\n<li>* Dadaizm ve s\u00fcrrealizm bu <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/bati_edebiyati_ve_edebi_akimlar.htm\"><span style=\"color: #ff0000;\">ak\u0131m<\/span><\/a>a da etki etmi\u015ftir.( insan\u0131n bilin\u00e7alt\u0131 d\u00fcnyas\u0131n\u0131 aktarmaya \u00e7al\u0131\u015fm\u0131\u015flard\u0131r.)<\/li>\n<li>* \u0130\u00e7sel bireyci \u015fiir anlay\u0131\u015f\u0131 vard\u0131r.( anlams\u0131zl\u0131\u011f\u0131n anlam\u0131 ve anlams\u0131zl\u0131\u011fa kadar \u00f6zg\u00fcr olmak \u015fiir anlay\u0131\u015flar\u0131n\u0131n ama\u00e7lar\u0131ndan biridir. Anlat\u0131m kapal\u0131 ve soyut olmal\u0131)<\/li>\n<li>*Nesnenin genel g\u00f6r\u00fcnt\u00fc d\u00fcnyas\u0131n\u0131 de\u011fi\u015ftirme dile\u011fiyle soyutlamaya gider ve ger\u00e7ek \u00fcst\u00fc bir tablo gibi e\u015fyalar aras\u0131 s\u0131n\u0131rlar\u0131 kald\u0131rarak bi\u00e7imsel farkl\u0131l\u0131klar\u0131 a\u015fmay\u0131 denerler.<\/li>\n<li>* \u015eiir, i\u00e7in \u015fiir anlay\u0131\u015f\u0131 h\u00e2kimdir.<\/li>\n<li>*\u015eairler anlam\u0131 karartan ve gizleyen bir tav\u0131r tak\u0131n\u0131rlar. S\u00f6zc\u00fcklerin g\u00fcndelik kullan\u0131mlar\u0131yla yiten anlam\u0131 yerine, \u00e7a\u011fr\u0131\u015f\u0131mlarla derinle\u015fen ve \u00e7o\u011falan de\u011ferine \u00f6nem verirler.<\/li>\n<li>* G\u00fcnl\u00fck konu\u015fma dilini d\u0131\u015flarlar.<\/li>\n<li>* Halk\u0131n ya\u015fam alanlar\u0131ndan ve k\u00fclt\u00fcrel yarat\u0131mlar\u0131ndan uzakla\u015fmak isteyen ikinci yeniciler halk \u015fiirine ve foklor\u00fcne kap\u0131lar\u0131n\u0131 kapat\u0131rlar. ( S\u00fcleyman Efendi tiplemesine son verirler.)<\/li>\n<li>*Konu, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/hikayeler.htm\"><span style=\"color: #ff0000;\">\u00f6yk\u00fc<\/span><\/a> ve olay, \u015fiirin b\u00fcnyesinden silinmek istenir bu y\u00fczden bu ak\u0131m\u0131n \u015fiiri daha \u00e7ok betimleyici metinlerden olu\u015fur.<\/li>\n<li>*N\u00fckte, \u015fa\u015f\u0131rtmaca ve tekerlemelerden ka\u00e7\u0131n\u0131rlar.<\/li>\n<li>*Daha \u00e7ok ayd\u0131n kesimin ve elit tabakan\u0131n zevkine hitap ederler.<\/li>\n<li>*\u015eiiri musiki ve resimle ili\u015fkiye sokarlar.<\/li>\n<li>* Bu ak\u0131m\u0131n temsilcileri, siyaset d\u0131\u015f\u0131 kalmaya \u00f6zen g\u00f6sterirler.<\/li>\n<li>* Bi\u00e7im ustal\u0131\u011f\u0131 ak\u0131m\u0131n en \u00f6nemli \u00f6zelli\u011fidir.<\/li>\n<li>* <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/yazim_kurallari.htm\"><span style=\"color: #ff0000;\">B\u00fcy\u00fck ve k\u00fc\u00e7\u00fck harfleri kullanma<\/span><\/a>da titizlik g\u00f6stermemi\u015fler; <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/noktalama_isaretleri.htm\"><span style=\"color: #ff0000;\">noktalama i\u015faretleri<\/span><\/a>ni kullanmam\u0131\u015flard\u0131r.<\/li>\n<\/ul>\n<p style=\"color: #000000;\" align=\"justify\">5) TOPLUMSAL GER\u00c7EK\u00c7\u0130LER: Anadolu ger\u00e7eklerini yans\u0131tt\u0131lar. \u015e\u0130\u0130RDE: <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/cahit_kulebi.htm\"><span style=\"color: #ff0000;\">CAH\u0130T K\u00dcLEB\u0130<\/span><\/a>, <a style=\"color: #411f55;\" href=\"http:\/\/edebiyatogretmeni.net\/ceyhun_atif_kansu.htm\"><span style=\"color: #ff0000;\">CEYHUN ATUF KANSU<\/span><\/a>;<a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/duzyazi_turleri.htm\"><span style=\"color: #ff0000;\">D\u00dcZ YAZI<\/span><\/a>DA: <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/aziz_nesin.htm\"><span style=\"color: #ff0000;\">AZ\u0130Z NES\u0130N<\/span><\/a>, <a style=\"color: #411f55;\" href=\"http:\/\/www.edebiyat\u00f6gretmeni.net\/rifat_ilgaz.htm\"><span style=\"color: #ff0000;\">RIFAT ILGAZ<\/span><\/a>, \u0130LHAN TARUS, \u00d6MER FARUK TOPRAK, MUZAFFER BUYRUK\u00c7U<\/p>\n<p><span style=\"color: #ff0000;\">YUNUS EMRE L\u0130SES\u0130 T\u00dcRK D\u0130L\u0130 VE EDEB\u0130YATI \u00d6\u011eRETMEN\u0130<\/span> AYSEL SAVA\u015e<\/p>\n","protected":false},"excerpt":{"rendered":"<p>1940 SONRASI T\u00dcRK EDEB\u0130YATI Bu d\u00f6nemde farkl\u0131 \u015fiir anlay\u0131\u015flar\u0131n\u0131n \u00e7\u0131kmas\u0131n\u0131n nedeni d\u00f6nemin k\u00fclt\u00fcrel ve sosyal yap\u0131s\u0131ndaki hareketliliktendir. 1940 sonras\u0131 T\u00fcrk edebiyat\u0131nda Beh\u00e7et Necatigil, Sabahattin Kudret [&#8230;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-843","post","type-post","status-publish","format-standard","hentry","category-genel"],"_links":{"self":[{"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/posts\/843","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/comments?post=843"}],"version-history":[{"count":1,"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/posts\/843\/revisions"}],"predecessor-version":[{"id":996,"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/posts\/843\/revisions\/996"}],"wp:attachment":[{"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/media?parent=843"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/categories?post=843"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.xn--edebiyatgretmeni-twb.net\/edebiyat\/wp-json\/wp\/v2\/tags?post=843"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}