Özet:

Intertextity is based on the modern, new texts-built trade of re-called texts as with the previous ones; therefore the links that a text establishes with the tradition are also among the research subjects. The assumptions, problems and methods of intertextism are used in the analysis of traditional speeches. In this framework, on the basis of the texts that arise within the modern currents and with the claim of innovation, the intertext approach is quoted, complaint, palempsest, purification, parody, etc. It is remarkable that the elements of the oral culture tradition are hosted or not abandoned by their methods. The modern lifestyle and the relationship of the verbal cultural elements, the popular poetry and the people’s verbal treasure with modern literature has never lost its value. Even in the flows that say they deny the tradition and claim they have developed a new speech, it is revealed that collective consciousness and memory, the speech treasure, contains traditional verbal cultural beings. A strange movement is a stream that claims to break its connection with the tradition in this framework. But it is remarkable that the subjects of this movement in the poems they publish in time enter the verbal culture tradition or cannot be separated from the basic elements of collective consciousness, and that they are constantly applied to it as a treasure with a speech in place. When strange poems are dealt with in the intertext context, it appears that the kinds of verbal culture traditions, the style, the narrative, the paper, the knowledge and the narrative, both as the narrative technique and the richness of meaning and call, lead to. That is, we can say, the folklore material has extended the poetry’s narrative universe, and it has also provided the principle of the Strange Movement’s “word that is in the presence of all specificity” that is sought in the poetry. From this point of view, it can be said that the kinds of popular literature continue to exist by transforming their meaning and form in the texts emerged by modern speech. The modern poetry is not able to give up the folkloric elements as a source, and it is not possible to break it from the verbal culture tradition with a speech in place. In the strange poem, it is remarkable that, although it is a few, the verbal cultural elements reveal this indispensability. When the poems of the representatives of the Strange Movement are studied in the context of intertext shopping, it appears that they have created a speaking style that is unique to their verbal culture tradition, the narrative style, the narrative, the rolling, the paper axis, sometimes the form and sometimes the transformation of meaning. The representatives of the Strange Movement also heard the need to appeal to the public language and narrative from time to time while working on these topics. Orhan Veli Kanık, in addition to the word and word groups of the popular language he uses, frequently applied to the Turkish form, thus converting his poetry into a more harmonious structure. The poet Orhan Veli, the most attached to the strange poetry, can also be interpreted as a search for a new voice in the poetry, in the modern context. Oktay Rifat, in addition to the word and word groups that the people use, has gone to the way to reflect the tragedy of modern man with the form of rotating and papering. The form of tradition has changed in terms of meaning. Meanwhile, in the Karacaoğlan style, the use of poetry with a hece veini, and even a mahlas, is also a proof of the level of the folkloric objects are adopted and their indispensability. The verbal culture continues its existence in the context of intertext in the modern poetry in the surrounding of narrative and reflection. Melih Cevdet Anday has made a number of meaning and form changes that have brought the folklore element into a new link in Bilmece. Their meaning transformations do not tell an event or mood about the past. Moreover, it is used in expressing current likes, instant emotions and social-political comments. The most important of the results revealed by the Ma-Caline is that the verbal culture, in any context, is time-resistant. Even if differences are made in terms of form and meaning, the indispensability of verbal cultural elements in literature is revealed. It is known that external factors are also effective in the direction of the Strange Movement, therefore the tradition of Orhan Veli. In the 1940s, the village institutions existed. This study is based on how folklore objects are addressed in the Strange Poetry in the intertext framework, which meanings and form changes are undergoing, and the discussion of them.

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