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Geleneksel Türk tiyatrosunun önemli türlerinden olan Karagöz, toplumu ilgilendiren konuları kuklalar aracılığıyla beyaz perdeye yansıtan bir eğlence ve eğitim aracıdır. Bu araştırmada Türkçe ders kitaplarında yer alan Karagöz ile Hacivat metinlerinin iletişim boyutuyla ele alınması ve bu metinlerde yer alan mizah unsurlarının tespit edilmesi amaçlanmıştır. Çalışma doküman incelemesi modelindedir. Araştırmanın verileri, 2018-2019 Eğitim-Öğretim Yılı içinde Ortaokul ve İmam Hatip Ortaokulunda okutulması ön görülen bütün Türkçe ders kitaplarından elde edilmiştir. Araştırma sonucunda; ders kitaplarının %86’sında Karagöz metinlerine yer verildiği, bu metinlerin genel olarak tiyatro türünde okuyucuya sunulduğu, metinlerin daha çok “millî kültür” ve “erdemler” teması altında sıralandığı ve dört temel beceriden en az yazma becerisiyle ilişkilendirildiği tespit edilmiştir. İncelenen metinlerde Karagöz’ün söylediği sözlerin, sergilediği davranışların iletişimsizliğin önünde güçlü birer engel olmakla birlikte bu engelin, Hacivat’ın sahip olduğu yapıcı özellikler aracılığıyla aşıldığı, iletişimin zor şartlarda bile sürdürülebileceğini gösteren Karagöz-Hacivat metinlerinin okuyucuyu güldüren, eğlendiren birer mizah unsuruna dönüştüğü görülmektedir. Bu bakımdan Karagöz ile Hacivat'ın okuyucuyu yalnızca eğlendirmekle kalmadığı, iletişimsizlik yoluyla iletişim olgusuna dikkat çektiğini ve mizah duygusunun gelişmesine katkıda bulunduğunu söylemek mümkündür.
Karagöz, an important kind of traditional Turkish theatre, is a entertainment and educational tool that reflects the topics of society through dolls on the white curtain. This study aims to address the communication size of Karagöz and Hacivat texts in the Turkish curriculum books and identify the elements of humor in these texts. The work is in the document examination model. The research data are obtained from all Turkish curricula books predicted to be taught in the High School and Imam Hatip High School during the 2018-2019 Education-Teaching Year. The study found that 86% of the curriculum books were included in Karagöz texts, that these texts were presented to the reader in the general theatre style, that the texts were more classified under the theme of "national culture" and "receptions" and that they were associated with the ability to write at least of four basic skills. In the reviewed texts, the words that Karagöz says, the behavior he shows is a strong obstacle in the face of uncommunicability, but this obstacle is seen as the Karagöz-Hacivat texts that show that communication can be sustained even in difficult conditions, which are overwhelmed by the constructive characteristics that Hacivat possesses, are turned into a funny, entertaining humour element that smiles the reader. From this point of view, it is possible to say that Karagöz and Hacivat not only entertain the reader, they attract attention to the fact of communication through non-communication and have contributed to the development of the sense of humor.
Shadow play, which is one of the important types of traditional Turkish theater, is an entertainment and education tool that reflects the issues that concern the society to the big screen through puppets. In this study, it was aimed to address the texts of Karagöz and Hacivat in the Turkish textbooks with the communication dimension and to identify the humor elements in these texts. The study is in document review model. The data of the research was obtained from the Turkish textbooks, which were foreseen to be taught in the Middle School and Imam Hatip Secondary School in the 2018-2019 academic year. As a result of the research; It was determined that 86% of the textbooks included Karagöz texts, these texts were presented to the reader in general in the type of theater, the texts were mostly listed under the theme of "national culture" and "virtues" and were associated with the least writing skill of the four basic skills. In the texts examined, it is seen that the words Karagöz speaks and the behaviors exhibited are transformed into humor elements that make the reader laugh and entertain the reader, which means that this obstacle is overcome through the constructive features of Hacivat, and that communication can be maintained even under difficult conditions. In this regard, it is possible to say that Karagöz and Hacivat not only entertain the reader, but also draw attention to the phenomenon of communication through non-communication and contribute to the development of a sense of humor.
Alan : Sosyal, Beşeri ve İdari Bilimler
Dergi Türü : Uluslararası
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