Doğu Alman yazınında romantizm eğsinimi: Christa Wolf’un “Hiçbir Yerde” eserinde özyaşamsal öğelerin yansıma alanı olarak romantizm dönemi
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Dosyalar
Tarih
2019
Yazarlar
Dergi Başlığı
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Yayıncı
Trakya Üniversitesi, Sosyal Bilimler Enstitüsü
Erişim Hakkı
info:eu-repo/semantics/openAccess
Özet
?kinci Dünya Sava?ı?ndan sonra Almanya?nın ikiye bölünme süreci Berlin Duvarı?nın in?ası ve ülkenin Doğu ve Batı Almanya olarak iki farklı rejimle yönetilmesi birçok deği?ikliği beraberinde getirmi?tir. Yazın da bu deği?iklikten etkilenen alanlardan biri olmaktan kurtulamamı?tır. Sosyalist Gerçekçilik akımı ile birlikte Doğu Almanya yazarları hem özgün eser vermekten alıkonulmu? hem de kalemlerine ket vurulmu?tur. Yönetim, yazarlardan Bitterfelder Weg?de alınan kararlar gereği özellikle i? hayatında gözlemlemeler yapmalarını ve bu gözlemlere göre yalnızca gerçekleri yazmalarını talep ediyordu. Fakat görünenin aksine gerçek bamba?kaydı. Doğu Almanya?da ya?anan bu baskıcı tutum yazarları içinden çıkılamaz bir buhrana sürüklüyordu. Çalı?mamızın yazarı Christa Wolf da bu dönem içerisinde ya?amı? ve bu buhranı tecrübe etmi? en ünlü yazarlardan diyebiliriz. Dönemin getirdiği çalkantılı süreç Wolf?u da fazlasıyla etkilemi? ve bu durum eserlerine de yansımı?tır. Hatta sansürlenmekten çekinmi? olacak ki kimi eserlerini yayınlamaktan bile geri durmu?tur. Çekmece yazını olarak da adlandırılan bu tabir Christa Wolf?a da yansımı?tır. Bu bağlamda dönemin ve getirdiği olumsuz etkilerden yola çıkarak farklı bir haykırı? yöntemi deneyen Christa Wolf, ele aldığımız eserinde kendini Romantizm Döneminde ya?ayan Karaoline von Günderrode ve Heinrich von Kleist?a benzetmi?, onlar üzerinden Doğu Almanya ve yönetim ele?tirisi yapmı?tır. Biz de bu bağlamda, özellikle Romantizm Dönemi?nin ortaya çıkmasına yol açan Fransız Devrimi?nden ve tarihi arka planından hareketle, Romantizm Dönemi ve özellikleri, Doğu Almanya tarihi, Doğu Alman Yazını, eserimizin yazarı Christa Wolf ve eserde konusu geçen Karoline von Günderrode ve Heinrich von Kleist?in gerçek ya?amlarından ve eserde anlatılan hallerinden yola çıkarak Christa Wolf?un neden bu iki yazarı seçtiğini neden Romantik Döneme eğsinip kendini eserinde gizlediğini irdelemeye çalı?tık.
After the Second World War, the process of dividing Germany into two has brought many changes with the construction of the Berlin wall and the administration of the country to the east and West Germany with two different regs. Literature could not be prevented from being one of the areas affected by this change. In conjunction with the current socialist realism, the authors of East Germany were both stripped of the original works and were also hit by their pens. The administration demanded that the authors make observations on the Bitterfelder Weg, especially in the business life, and to write only the facts according to these observations. But unlike the look, it's totally different. This oppressive attitude in East Germany was dragging an inextrensible trouble from the authors. Christa Wolf, the author of our study, has lived in this period and is one of the primary authors who have experienced this depression. The turbulent process brought about by the period has influenced Wolf too, and this is reflected in her works. She's even afraid of censoring, which she even stopped to publish her works. This phrase, also called drawer literature, is reflected in Christa Wolf. In this context, Christa Wolf, who has experimited with a different way of shouting from the negative effects of the period and brought it to her work, resembles the Karaoline von Günderrode and Heinrich von Kleist who lived in the period of romance, and they made the east Germany and the management criticized. In this context, especially in the history of the French Revolution, which led to the emergence of the period of romanticism and its historical background, the period and features of romance, history of East Germany, East German literature, the author of our work Christa Wolf and the subject of the works based on the true lives of the last Karoline von Günderrode and Heinrich von Kleist, and the way they were described in the work, we tried to see why Christa Wolf chose these two authors and hid herself in the work of the romantic period.
After the Second World War, the process of dividing Germany into two has brought many changes with the construction of the Berlin wall and the administration of the country to the east and West Germany with two different regs. Literature could not be prevented from being one of the areas affected by this change. In conjunction with the current socialist realism, the authors of East Germany were both stripped of the original works and were also hit by their pens. The administration demanded that the authors make observations on the Bitterfelder Weg, especially in the business life, and to write only the facts according to these observations. But unlike the look, it's totally different. This oppressive attitude in East Germany was dragging an inextrensible trouble from the authors. Christa Wolf, the author of our study, has lived in this period and is one of the primary authors who have experienced this depression. The turbulent process brought about by the period has influenced Wolf too, and this is reflected in her works. She's even afraid of censoring, which she even stopped to publish her works. This phrase, also called drawer literature, is reflected in Christa Wolf. In this context, Christa Wolf, who has experimited with a different way of shouting from the negative effects of the period and brought it to her work, resembles the Karaoline von Günderrode and Heinrich von Kleist who lived in the period of romance, and they made the east Germany and the management criticized. In this context, especially in the history of the French Revolution, which led to the emergence of the period of romanticism and its historical background, the period and features of romance, history of East Germany, East German literature, the author of our work Christa Wolf and the subject of the works based on the true lives of the last Karoline von Günderrode and Heinrich von Kleist, and the way they were described in the work, we tried to see why Christa Wolf chose these two authors and hid herself in the work of the romantic period.
Açıklama
Anahtar Kelimeler
Doğu Almanya Yazını, Romantizm, Jakobenler, Sosyalist Gerçeklik, Christa Wolf, East German Literarure, Romanticism, Jakobens, Socialist Realism, Christa Wolf
