Özet:

Recently, we see that ancient texts in the literary field are re-read and evaluated with different approaches and techniques. Literators often say that literary texts should be processed in an open form to their present perceptions and interpretations by Western reference methods. The reviews of the aesthetic dimensions of the fiction-related texts are valuable in terms of a new horizon. Especially the new literature of the narrative world is developing, preparing the ground for such works. From the literary texts related to the narrative, the mesnevi was created in accordance with the aesthetic rules and is now considered as a novel or novel and re-readed according to these types. The narrative plates, the lower and upper curriculum identity and the mesnevi can be interpreted in terms of the new perspectives we have mentioned. Mesnevi carries a rich material in image and image depending on the size of aesthetic narrative. The language phenomenon in the story is more focused on the character drawing than the plot of the event. According to this, creating a new narrative plan by moving from known texts and events of the past is a priority topic for the narrative. Those who were in the midst of Judah and the midst of Judah and the midst of Judah and the midst of Judah and the midst of Judah and the midst of Judah and the midst of Judah and the midst of Judah and the midst of Judah and the midst of Judah and the midst of Judah. The language and expression patterns used by the artist in this narrative composition, which is created by movement from the sacred text, make it necessary to be literally "edific". Our work in this context is to reveal the aesthetic attitude of the narrative in the mesnevis of Shayad Hamza in Yusuf and Zelîhâ; to compare what is traditional with what is modern in terms of language and narrative, to develop the mythical and mythical structure.

Özet:

Recently, we see that the ancient texts in the field of literature are re-read and evaluated with different approaches and techniques. Literary researchers often point out that literary texts should be explicitly processed in today's perceptions and interpretations using western-referenced methods. Investigations on the aesthetic dimensions of texts based on fiction are valuable in terms of a new horizon. Especially the new literature that develops in the narrative world prepares the ground for such studies. Since mesnevi, which is one of the literary texts connected to narration, is created by adhering to aesthetic rules, it is accepted as romans or novel and is re-read according to these genres. The narrative planes, mesnevi with their lower and upper fictional identity can be interpreted in terms of these new perspectives. Mesnevi carries a rich material in terms of image and symbol in terms of aesthetic narrative dimension. The language phenomenon in the narrative focuses on character drawing rather than plot. Accordingly, creating a new narrative plane based on the known texts and events of the past is a priority for the narrator. The interrelated fictional units of Yusuf and Zeliha mesnevi point to a structure of secondary events connected to the main event within the text integrity. In this narrative composition based on the sacred text, the language and expression patterns used by the artist necessitate being literally “literary". In this context, our study is to reveal the narrator's aesthetic attitude in Shayyad Hamza's mesnevi in Yusuf and Zeliha; to compare the traditional with the modern in terms of language and expression, to examine the mythical and mystical structure.

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