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Sezai Karakoç, 1950 sonrası Türk şiirinin öncü şairlerinden birisidir. Karakoç, çocukluğunu ve ilk gençliğini Anadolu’nun muhtelif yerlerinde geçirmiş ve üniversite yıllarına kadar duru bir Anadolu kültürü içinde yetişmiştir. Çocukluk ve gençlik yıllarını Ergani, Maden , Dicle, Kahraman Maraş, Gaziantep gibi çeşitli şehir ve kasabalarda yaşarken buralarda halkın yaşayışını, gelenek ve göreneklerini yakından gözlemlemek imkanı bulur. Bu nedenle Karakoç’un şiirini halktan ve halk kültüründen ayrı düşünmek mümkün değildir. O, yaşadığı bu yerlerde şahitlik ettiği halka ait gelenek, görenek ve adetlere şiirinde yer verir. Ancak onun şiirinde yer alan dışa ait bu gerçeklikler realitede olduğu gibi yer almazlar, şairin dimağında başkalaşırlar yepyeni imajlar halinde şiire girerler. Dışa ait bir gerçekliği hiçbir değişikliğe giymeden aynen almak Karakoç’a göre sanatın ‘sıfır noktası’dır. O dışa ait gerçekliği adeta suda haşlar, ölü hale getirir ve sonra onu ‘dikkat edilmesi istenen noktaları belirtme, bazı noktaları gölgeleme, fona ebedilik levhası yerleştirme, modelin yüzünde tutkularımızın, kaderlerimizin soluğunu gezdirme’ gibi maksatlarla soyutlar. Soyutlama Karakoç’un şiirinin temel ilkelerinden biridir. Ancak şiire giren bu imajlar yalnızca Karakoç’un şiirinin halk kültürüyle iç içe oluşunu göstermez. Şüphesiz onun şiirinin matrisi ‘diriliştir’ ve o geleneksel hayatın modern hayatla mücadelesini diriliş meselesi etrafında ele almıştır. Sezai Karakoç’un şiirlerini bu çerçevede okumak onun şiirinin anlaşılmasını kolaylaştıracaktır. Bu çalışmada Sezai Karakoç’un şiirlerinde tespit edilen halk bilimi unsurları sınıflandırılmış ve bu unsurlar şiirde yer alış biçimleri, şiirin iç realitesi etrafında oluşan anlam dünyası açısından incelenmiştir.
Sezai Karakoç is one of the leading poets of Turkish poetry after 1950. Karakoç spent his childhood and first youth in the various places of Anadolu and has grown up in a constant Anadolu culture until his university years. While children and youth years live in various cities and cities such as Ergani, Maden, Dicle, Kahraman Maraş, Gaziantep, there is the possibility to watch closely the lives, traditions and traditions of the people. Therefore, it is impossible to think Karakoch's poetry apart from the people and the people's culture. In his poetry, he puts the traditions, traditions and traditions of the people he witnesses in these places. But these external realities in his poem do not appear as in reality, the poet’s discourse enters the poem in a whole new image. Accepting an external reality without any change is the 'zero point' of art according to Karakoç. The reality of the outside is shrinking in the water, making it dead, and then abstract it with the purposes such as ‘specificing the points to be observed, shadowing some points, placing a sheet of eternity on the foundation, swallowing the breath of our passions, our fate’ on the face of the model. It is one of the basic principles of the poetry of Karakoç. But these images in the poetry do not only show that the poetry of Karakoch is interconnected with the people's culture. Without a doubt, the matrix of his poem was 'reformed' and he addressed the problem of resurrection around the struggle of that traditional life with modern life. Reading the poems of Sezai Karakoç in this framework will make it easier to understand his poem. In this study, the popular science elements identified in the poems of Sezai Karakoç were classified and these elements were studied in the way of place in the poem, the world of meaning formed around the inner reality of the poem.
Sezai Karakoç has been one of the pioneer poets in Turkish poetry since 1950’s. During his childhood and firt youth, he has been in different places of Anatolia and has grown up within a pure Anatolian culture until his university years.while living in Ergani, Maden, Dicle, Kahramanamaraş, Gaziantep and some other various cities and towns during theyears of his childhood and adolescence, he could have opportunity to observe closely cutosm and traditions of society. Therefore, it is impossible to think Karakoç’s poem as different from people and their culture. His poems consist of traditions and customs of society in his poems that he witnessed ın those cities. Hovewer, realıties of outer world in his poetry do not take place as they are in reality, they rather change in the mind of poet and enter into poetry as new images. Acording to Karakoc, picking and not changing a reality belonging to outer world is the (0) zero point of art. He boils the reality in water and deadens it and then, so as to state the points asking attention, foreshadow some spots, place eternity signboard to the background, show around our passion and breaths of our fate on the face of the model. Abstracting is one of the basics of Karakoç’s poetry. But, those images entering into Karakoç’s poems do not only show them as a whole within culture of society. Certainly, the matrix of his poetry is resurrection and he has dealt competition of traditional life against modern life with resurrection issue. Reciting Sezai Karakoç’s poems in this context will make his poetry to understand easily. In this study, folklore elements which were found in Sezai Karakoç’s poems were classified and these elements were examined in terms of usage types in poem and contextual world formed around internal reality of poetry.
Field : Eğitim Bilimleri; Filoloji; Güzel Sanatlar; Hukuk; İlahiyat; Sosyal, Beşeri ve İdari Bilimler; Spor Bilimleri
Journal Type : Uluslararası
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