“Uzak çağların yakın şehri” olarak nitelendirilen Çankırı, tarih boyunca birçok medeniyet ve kültürü barındırmıştır. Paflagonya’nın en eski şehirlerinden kabul edilen Çankırı; Hitit, Roma, Bizans imparatorluklarından sonra Danişmendliler döneminde Emir Karatekin tarafından 1074-1082 yılları arasında fethedilmiş, sonra da Selçuklu, Osmanlı ve Cumhuriyete de ev sahipliği yapmıştır. Adı, tiftik keçisi bol anlamında Gangra diye geçerken tarihi süreç de Danişmend-nâme’de Mankuriyye, eski Arap-İslam kaynaklarında Hısnu’l-hadîd (Demir kale) Selçuklu ve Osmanlı kaynaklarında Kangırı, Kangarı, Kengırı olarak geçmiş ve Cumhuriyet döneminde Çankırı’ya dönüşmüştür. Bu süreçte birçok kültürü ve medeniyeti de üzerinde barındıran Çankırı’da özellikle edebiyat ayrı bir yere sahip olmuştur.

Ahmet Talât Onay’ın, şair, yazar, edebiyat araştırmacısı, eğitimci, gazeteci,  milletvekili gibi birçok özellikleri olup Klasik Türk edebiyatı ve Halk edebiyatı sahasında yapmış olduğu çalışmalarla tanınmıştır. Eski Türk Edebiyatında Mazmunlar ve İzahı, Halk Şiirlerinin Şekil ve Nev’i, Türk Şiirlerinin Vezni, Dâstân-ı Ahmet Harâmî, Sarı Çiğdemler, Kızılbaş Şiirinde Sual-Cevap, Millî Mücadele Yazıları gibi basılı eserlerinin yanında yayımlanmamış eserleri ve makaleleri de bulunmaktadır.

Çankırı Şairleri,  Çankırı’da yaşamış şairlerin hayatı, eserleri, edebî anlayışları hakkında bilgi vermenin yanında Çankırı tarihi, kültürü, halkiyatı, folkloru, dinî-tasavvufî gibi alanlarda zengin bir kaynak durumundadır. Eserde, toplam 50 şair yer almaktadır.

Neo-colonialism is a crucial topic often discussed in international politics, economy, and literary studies. World War II and the end of official/physical colonialism have led to new strategies practiced by the imperial powers in international relations to continue their former colonial legacy and expand further the area of their interest. They never left their legacies in the former colonies but strived to pursue their exploitive desires under various guises.

Neo-colonialism and literature may be closely associated because they reflect social, economic, and political characteristics simultaneously. This book defines and exemplifies neo-colonialism in literature through Graham Greene, who illustrates the workings of neo-colonialism in formerly colonized countries through his novels that blend reality with fiction.

“Originally published in 1896.”

In the following pages my aim has been to sketch the development of criticism, and particularly of critical method, in England; and to illustrate each phase of its growth by one or two samples taken from the most typical writers. I have in no way attempted to make a full collection of what might be thought the most striking pieces of criticism to be found in our literature.

Owing to the great wealth of such writing produced during the last sixty years, it is clearly impossible to give so complete a picture of what has been done in this period as in others. I am obliged to content myself with one specimen of one writer. But that is the writer who, in the opinion of many, is the most remarkable of all English critics. For the permission, so kindly granted, to include the Essay on Sandro Botticelli I desire to offer my sincerest thanks to Messrs. Macmillan and to the other representatives of the late Mr. Pater.

It may seem strange to close a volume of literary criticism with a study on the work and temperament of a painter. I have been led to do so for more than one reason. A noticeable tendency of modern criticism, from the time of Burke and Lessing, has been to break down the barrier between poetry and the kindred arts; and it is perhaps well that this tendency should find expression in the following selection. But a further reason is that Mr. Pater was never so much himself, was never so entirely master of his craft, as when interpreting the secrets of form and colour. Most of all was this the case when he had chosen for his theme one who, like Botticelli, “is before all things a poetical painter”.

1. E. VAUGHAN

February, 1896.