Author(s): Nuh BEKTAÅ
Literature is a social phenomenon that changes and diversifies according to the course of social life. Literature, which has a dynamic structure, creates new trends, communities and approaches with the effect of periodic conditions (such as economic, political, cultural, sociological etc.) on the understanding of art. Modern poetry is one of them. Although the aim of creating a modern poetry that started with the influence of the West in the Tanzimat period was realized by using folklore in the republic period and since the 1950s, folklore has been considered an obstacle to modern poetry. In this period, outlook of the Second New movement poets on folklore is both remarkable and essential because of its effect on the understanding of poetry formed after them. Cemal Süreya's article titled Folklore Enemy to Poetry was also written accordingly. When Süreya's criticisms in the context of language are examined, it will be seen that other dimensions of folklore that can be connected with poetry, which is called modern, are not the subject. It is possible to consider the dream motif of minstrelsy literature as one of these dimensions. Psychologically, the dream, which is a reflection of the experiences that take place in the subconscious of the human being, has become an essential motif in minstrels literature by taking a certain form in terms of occurrence, subject and event flow. The minstrels learn to play the instrument in their dreams, they get their pseudonym and see the person they will love. In this study, after listing the thoughts of Cemal Süreya, one of the Second New movement poets, on folklore, then the dream motif of Minstrel Deryani from Banaz will be evaluated based on the poetics of Murathan Mungan; thus it will be tried to show that the nature of folklore is not very contrary to poetry accepted as modern.
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