Dünya üzerinde ruha dokunan, canlılığı ve içtenliği ile sizi saran pek az şey vardır. Şiir insan merakını canlı tutan, gizemli, gönülleri ısıtan, dertleri hafifleten, aynı özde birleştiren yanıyla milli ve manevi değerlerin taşıyıcılarından biridir. Bu eser her unsuruyla derin bir konu olan şiiri “algılama” üzerine kaleme alınmıştır.

Şiir algısı nedir?

Şiir nasıl algılanmaktadır?

Şiir öğrenilen bir tür müdür?

Konularına göre, okuyanın yaşına göre etkisi aynı mı kalır?

Türk Dili ve Edebiyatı derslerinde şiir öğretimi ve öğrenci algısının durumu nasıldır? Sorularına cevap bulmak için yola çıkılmıştır. Bu yolda öğretmenlere, öğrencilere, edebiyatçılara ve şiir sevenlere yeni bir soluk kazandırabilir. Günümüz okuruna, duygularını bulmakta ve anlamlandırabilmekte zorlanan modern insana şiiri hatırlatma çabasının sonucudur, bu kitap!

This book analyzes Peter Barnes’ plays, The Ruling Class (1968), Leonardo’s Last Supper (1969), Noonday Demons (1969), and Dreaming (1969), as examples of modern Menippean satire. In contrast to formal verse satire, that is defined as a rhetorical attack upon a particular vice and includes praise for its opposite virtue in the midst of an argument, Menippean satire is difficult to define because of its protean structure. Therefore, whilst defining Menippean satire it is helpful to ask what Menippean satire ‘does’ instead of what Menippean satire ‘is’. Menippean satire is a mingling of prose and poetry in its simplest sense. In addition, it always desires to reject any sort of absolutes regarding norms, cultural, religious or philosophical dogmas by creating a carnivalesque atmosphere. Because Barnes has written about similar themes in Menippean satire form throughout his career his plays may be considered as examples of modern Menippean satire.

Sylvia Plath and Nilgün Marmara… Two female poets of distinct geographies, cultures, societies and periods followed a life with distinct sufferings and scars, but they produced similar poetries with the same wish and outcry for death. And in the end, both poets said their last words in the face of life through suicide. Indeed, there is this passionate bridge between these two poets since Marmara was a keen admirer of Plath’s poetry and art.

And today, standing on this very bridge, this book renders a detailed comparative reading and analysis on their poetry within the context of the psychoanalytical perspectives to death and self-destruction. Through the psychoanalysis of their poetical lines that are intermingled with pains and traumas centered around the obsession of death and self-destruction, this book traces and unearths the mutual poetical mechanisms of the unconscious and the human psyche that turn the poetry of both poets into ‘art of dying’ as in the wording of Plath and ‘swan songs’ as in the wording of Marmara. Psychoanalyzing their poetic personas in their ‘art of dying’, this book highlights how Plath and Marmara became both the victims and the victors of their ‘swans songs’ via various psychological scars and existential dilemmas.