Özet:

In the Salon Countries, which was published in 1898 in the Revet-i Fünun magazine, it was published as a book in 1912 with the addition of the chapters extracted due to the pressure of the institution. Safveti Ziya and Salon Countries is the work of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name of the name. The assessments on the fact that the main hero of the work, Shekip, is carrying traces from Safveti Ziya's real life are unfortunate that the vacations in the field of criticism of Turkish literature are unfortunate. The characteristics of the novel type have been missed by the comments and their copying and attachment by new generations have caused the work and the author to be misvalued for many years. The real-thinking issue in the novel is the autobiographical theme that is not addressed when assessed in the Rooms of the Salon. It must be accepted that it is not a literary perfect work in the corners of the Salon; it is a novel that cannot be neglected by the creation of a smart scene to the history of the period in which it was written. The advanced dimension of the Eastern-West duality of the Ottoman people, which began with Tanzimat in the time of the work, was skillfully revealed in the Period of Fünun. The psychology of evil and compulsory negligence arising from the conflict of Western culture and nationalism emotions has been presented in some ways. At that time the dominance, comfort and view of the Ottoman people of the foreign elements living in Istanbul were impressively reflected. In this study, it will be approached from the perspective of historical criticism in the structure while the fictional curvation of Safveti Ziya about the disturbance of the eril minds during the period of resignation will be examined and the autobiographical characteristics of the work will try to find out that Safveti Ziya is correctly perceived or not perceived.

Anahtar Kelimeler:

Özet:

The Salon Köşelerinde was serialized in Servet-i Fünun Magazine in 1898. It was published as a book in 1912 with the addition of chapters that could not be published due to the pressure of the period of autocracy. Safveti Ziya and Salon Köşelerinde are not the first names that come to mind in Servet-i Fünun Literature. At the same time, in a small number of criticisms written about the author and his work, Safveti Ziya and Salon Köşelerinde have been made the target of unfair accusations. Evaluations based on the use of autobiographical elements in the work reveal the incomplete of Turkish literature in the area of criticism. The comments made without considering the characteristics of the novel genre and their copying and pasting by new generations caused misinterpretation of the work and author for many years. The real-fiction problem in the novel, the autobiographical fiction issue are the subjects that have not been adequately dealt with in the Salon Köşelerinde. It is necessary to accept the fact that it is not a literally perfect work in Salon Köşelerinde; however, it is a novel that cannot be ignored with its clever scene in the socio-political structure of the period it was written. In the work, the advanced dimension of the Ottoman people's East-West dilemma, which started with Tanzimat, in the period of Servet-i Fünun, was skillfully revealed. Depression and compulsory indifference psychology arising from the conflict of Western culture and feelings of nationalism are presented in every respect. Of the foreign elements living in Istanbul at that time; their dominant attitude, comfort and attitude towards Ottoman society are strikingly reflected. In this study, the building is approached from the perspective of historical criticism. The fictional metaphor that Safveti Ziya made about the blurring of the masculine minds during the period of autocracy was examined and it was attempted to reveal whether Safveti Ziya was perceived correctly in the context of the autobiographical features of the work.