Browsing by Author "Kaplan, Ramazan"
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Item Ahmet Hamdi Tanpınar'ın roman tekniği(Sosyal Bilimler Enstitüsü, 2008) Bayrak Akyıldız, Hülya; Kaplan, Ramazan; Türk EdebiyatıThis work is about Tanpınar?s novel techniques. The techniques used in the four novels subject to analyze have been evaluated. To this extent, the elements, such as language, style, plot and character have beeen analyzed. Style is evaluated in terms of its sources and devices. The sources that are inspiring to the writer have been documented.Plot is analyzed through the forms of the four main elements in fiction, in terms of its formation ve functions. The characters, which are the main element in these novels are evaluated both in terms of its function in the fiction and the methods of its formation.In the light of this information, Tanpınar is evaluated as a novelist.Item Beş Hececiler` in şiir anlayışları ve şiirleri üzerine bir araştırma(Sosyal Bilimler Enstitüsü, 2009) Ürkmez, Hülya; Kaplan, RamazanMilli Edebiyat Dönemi'nde ?Memleketçilik? akımının edebiyattaki aksi, konuda Anadolu'yu, Anadolu insanını, tarihini ve güzelliklerini işleme; şekilde Halk Edebiyatı nazım şekillerini kullanma şeklinde görülür. Beş Hececiler olarak adlandırılan Halit Fahri Ozansoy, Orhan Seyfi Orhon, Enis Behiç Koryürek, Yusuf Ziya Ortaç ve Faruk Nafiz Çamlıbel, Türk Edebiyatında altı yüzyıl gibi uzun bir süre kullanılan ?aruz? vezni yerine Türk'ün öz vezni olan ?hece? yi kullanmayı amaç edinmişlerdir. Bu beş şair, şiire ilk aruzla başlamışlar ve bu vezinde başarılı şiirler yazmışlardır. Hece veznini savunmalarına rağmen Halit Fahri Ozansoy ve Faruk Nafiz Çamlıbel edebî yaşamlarının daha sonraki dönemlerinde zaman zaman aruza dönüş yaparlar. Halit Fahri, iki vezin arasında gelgitler yaşar. Hece veznini savunmada en keskin hatlı olan ve çizgisini değiştirmeyen Yusuf Ziya'dır. Bu konuda Halit Fahri ile aralarında şiddetli tartışmalar olmuştur. Bu beş şairin topluluklarına ad olarak verdikleri ?hece? vezni üzerindeki tutumları ve ısrarları tam bir tutarlılık içinde değildir. Aynı dönemde ?Hecenin On Şairi? adı altında heceyle yazan bu beş şaire beş şair daha eklenir. Hatta zaman zaman sayıları daha da artar.AbstractDuring the era of National Literature, as opposed to the ?nationalistic? movement, it has been observed that Anatolia, the people of Anatolia, its history and natural beauties have been subject to Folk Literature with its own forms. Orhan Seyfi Orhon, Halit Fahri Ozansoy, Yusuf Ziya Ortaç, Enis Behiç Koryürek and Faruk Nafız Çamlıbel who are called as the Five Syllabic Poets (Beş Hececiler) aimed at writing their poems using syllabic rhythm belonging to the Turkish Literature rather than Aruz which had been widely applied for almost six hundred years in Turkish Literature. These five poets had started poetry using Aruz and produced very strong poems with this rhythm. Even though they supported the use of syllabic rhythm, H.F and F.N. made use of Aruz in their literature career from time to time. They lived flux and reflux between Aruz and syllabic rhythm. Y.S is the poet who kept in line with the syllabic rhythm rigidly and he continually advocated his views. With respect to this issue, there had been vehement arguments between H.F and Y.S. These five poets? attitudes and persistence on syllabic rhythm, which they used to name their group, is not wholly consistent. Within the same era, five more poets were added to this group under the name of the ten poets of syllabic rhythm and on some certain times their number even increased more.Item Cafer Cabbarlı'nın hayatı ve eserleri üzerine bir araştırma(Sosyal Bilimler Enstitüsü, 2002) Uygur, Erdoğan; Kaplan, RamazanÇalışmamız Azerbaycanlı şair, hikayeci ve meşhur dram yazan Cafer Cabbarlı'nın hayatı ve eserleri üzerine kuruludur. Cabbarlı, Azerbaycan edebiyatının en önemli dram yazarlarından biridir. Azerbaycan toplumunun gelişiminde büyük etkisi olmuştur. Cabbarlı'nın edebî hayatım, ilk dönemi diğer ikisinden tamamen farklı olan üç döneme ayırdık. İlk evrede, toplumu feodalizme ve onun kötülüklerine boyun eğmek zorunda bırakan zararlı gelenekleri ifşa etmek amacıyla ülkesinin örf ve âdetlerim eleştirir. Ancak, o sadece bir gözlemcidir ve sosyal sorunlara karşı bir çözüm yolu göstermez. Piyesleri olumsuzlukları sergilemekle sınırlıdır. Aynı zamanda Türk milliyetçiliği üzerine piyesler yazmaya da yönelir. Yazar, bu dönemde romantiktir. Coşku ve abartı, şiir ve hikâyelerinde olduğu gibi, piyeslerinde de hâkim durumdadır. Azerbaycan'ın 1920'de Kızıl Ordu tarafından işgaliyle Cabbarlı'nın ikinci dönemi başlar. Birçok yazar gibi, yeni rejimi tereddüt etmeden kabullenen Cabbarlı, derhal, sosyalizmin kuruluşu üzerine piyesler kaleme alır. Kısa sürede ideolojik bir yazar olur. Başlangıçta samimi bir mümin iken kısa sürede Tanrının varlığı hakkında şüpheye düşer. Üçüncü döneminde, şüpheci yaklaşımı, yazan yaratıcıyı inkâr etmeye götürür ve ideolojik düşüncelerini eserlerine yansıtmaktan kaçınmaz. Tanrıyı reddeder ve insanı evrenin tek yaratıcısı olarak görür. Bu dönemde yazar kendisini, toplumu eğitmeye ve kolboz gibi sosyalist üretim merkezlerini yaygınlaştırmaya adar. Cabbarlı, her zaman "sanat toplum içindir" ilkesini savunur. "Sanat sanat içindir" anlayışım benimseyen edebiyat adamlarım suçlar. Yazara göre, her şey toplumun iyiliği içindir. Ferdiyetçiliği reddeder, ancak ferdiyetçi olmaktan kurtulamaz. Bütün piyeslerinde, sorunu çözmekle yükümlü kahramanın çok önemli bir yer tuttuğu ve toplumun sürekli geri plânda kaldığı açıkça görülür. Sosyalist ideoloji altında şekillenmekte olan yeni toplumu cesaretlendirmek için, piyeslerinde cehalet ve dine karşı mücadele verir. Yazar, çağdaş eğitimin çok önemli olduğunu görür ve eğitimi, özgürlüğün ve insanlığın mutluluğunun neredeyse yegâne aracı olarak değerlendirir. Olgunluk çağında, Cabbarlı realist bir yazardır, fakat realitesini sürekli romantik motiflerle süsler. Bir başka deyişle, o, realiteye duygusallık karıştırmayı hiçbir zaman ihmal etmez. Bunu yapmak için, sık sık aşktan ve bazen de vatan sevgisinden faydalanır. Eserlerinde üslûp değişikliği pek görülmez. Bununla birlikte, kahramanlar ve müspet şahıslar, menfî şahıslar gibi tecrübe kazanmışlardır. Bilgili, gururlu ve âdeta tanrısallaştırılan kahramanlar sorunlar karşısında asla geri çekilmezler. Sonuç olarak, "çatışmacı dram yazarı Cafer Cabbarlı, Azerbaycan tiyatrosuna ve edebiyatına, toplumu aydınlatmayı hedefleyen yeni fikirler getirerek bir rehber vazifesi görür. Araştırmamızın amacı, böylesine meşhur bir dram yazarım Türk toplumuna ve Türkiye'deki edebiyat adamlarına tanıtmaktır. Abstract Resume Notre recherche est basee sur la vie et les oeuvres de Cafer Cabbarh, poete, ecrivain d'bistoriettes et celebre dramaturge de 1' Azerbaîdjan. Cafer Cabbarh est l'un des dramaturges plus importants de la litterature azerbaîdjanienne. II a une immense influence sur le developpement de la societe en Azerbaîdjan. Dans notre recherche, nous avons divise la vie litteraire de Cabbarh en trois peiiodes dont la premiere est tout â fait differente de deux autres. Dans le premier stade, il critique des moeurs de son pays pour but de reveler les traditions nocives qui condamnent la soci&6 â se soumettre au feodahsme et â ses mechancetes. Mais, il n'est qu'un observateur et il ne montre aucune solution contre les problemes sociaux. Ses pieces sont limitees d'exposer les negations. II s'oriente aussi â ecrire des pieces concernant le nationalisme turc. Dans cette periode, il est romantique. L'enthousiasme et l'exageration dominent dans ses pieces ainsi que ses poemes et ses historiettes. Avec renvahissement de 1' Azerbaîdjan par TAraıee rouge en 1920, commence sa deuxieme phase litteraire. Cabbarh, n'hesitant jamais â admettre le nouveau regime comme plusieurs d'autres ecrivains, s'oriente tout de suite â Ğcrire des pieces sur la construction du socialisme dans son pays. II ne tarde pas â devenir un ecrivain ideologique. Au d6but, alors qu'il etait un croyant naîf, il commence en peu de temps â douter de Pexistence de Dieu. Au troisieme stade, son septicisme le mene â nier le Createur et il n'evite pas refleter dans ses oeuvres ses pensees ideologiques. II refuse Dieu et considere l'homme comme unique createur de l'univers. Dans cette periode, on voit aussi qu'il se consacre â 6duquer la societe et a vulgariser les materiaux socialistes comme le kolkhoze. II defend toujours "l'art pour la soci&Ğ" mais non Tart pour Fart". II accuse souvent les hommes litteraires qui defendent la seconde. D'apres lui, tout est pour le bien de la soci&e. II refuse l'individualisme, mais il ne peut reussir d' en echapper. Dans toutes ses pieces, on voit clairement que le biros, charge de resoudre le probleme, tient une place tres importante et que la soci&£ reste toujours en arriere Dans ces pieces, il combat contre Pignorance et la religion en visant d'encourager la nouvelle soci^ qui est en train de se former sous Pideologie socialiste. Chez lui, l'education moderne a une place beaucoup plus importante. II la considere presque l'unique moyenne de la liberty et du bonheur de l'humanite. Dans son âge de maturity, il est un ecrivain realiste, mais il orne sa realite toujours des motifs romantiques. D'une autre façon de dire, il ne neglige jamais de melanger le sentimentalisme a la realite^ Pour ce faire, il profile souvent de l'amour humaine et celui de la patrie parfois. Son style d'ecrire est peu change. Pourtant, ses heros et ses personnages positife sont bien exp6riment6s ainsi que ses personnages negatifs. Les premiers, savants, orgueilleux et presque divinises ne reculent jamais contre la problematique. 482 En conclusion, Cafer Cabbarh, dramaturge des "conflits", portant au theatre et â k literature azerbaldjanienne de nouvelles idees qui visent d'illuminer le peuple, a un röle de guide. Notre objectif est devenu done de faire connaître cet illustre dramaturge â la society turque et aux hommes litteraİres de Turquie.Item Haldun Taner hayatı, sanatı ve eserleri(Sosyal Bilimler Enstitüsü, 2012) Adıyaman, Halil; Kaplan, Ramazan; Türk Dili ve EdebiyatıHaldun Taner, as one of the eminent figures of Turkish theatre(drama) and narration, is also an intellect who finds solutions to the problems of the society.Haldun Taner, the writer of the stories over fifty, presents works on the themes such as the corruption of the society, joy of life, death, sexuality, social criticism, fetichism, freedom, love and exploitation.Taking the fictional structure in his narratives into consideration, no progress can be seen. As one or more characters can be found in the centre of his work, he uses an object, a space, a symbol, a situation or a letter. The writer throws a light on the real life from the story life in the works which the biographic narration is employed.Haldun Taner, who tried the techique of irony and defamiliarization in modern Turkish story, became the pioneer of this style in our literature. When his works are examined in terms of the language properties, word shows a development in the ongoing line with the sequence of noun, verb and adjective. The intensity of the French and Italian words is remarkable in his use of foreign language. As for Taner?s theatrical plays, the themes of corruption, urbanization, criticism, deception(cheat), and conflict(clash) come into prominence. Taner, who had started with dramatic works in theatre and continued with epic theatre, marked a new epoch with the cabaret theatre in our literature.Prioritising the sense of humour and irony in his plays, the playwright criticises the sorrows of our society in a satirical way.Acting from the history at times, the whole endeavour of the writer is to contribute somethings to the democracy of his country. Haldun Taner tries to feel the pulse of the society as well as in the works he wrote as memoirs and narratives about daily subjects.This thesis makes Haldun Taner?s place apparent in the history of literature by examining his narratives and plays in detail as well as treating his life and art.Item Hocam Prof. Kenan Akyüz (26.2.1911-3.1.1996)(1993) Kaplan, RamazanItem İhsan Oktay Anar'ın romanlarına yeni tarihselci bir yaklaşım(Sosyal Bilimler Enstitüsü, 2012) Özgün, Ebru; Kaplan, Ramazan; Türk Dili ve EdebiyatıIn this study, it is aimed to examine the novels of İhsan Oktay Anar, a contemporary Turkish author, who was separated from classic sight with an alternative approach to history from the point of the basic dynamics of the new historicism movement and opportunities provided by this new perspective. In this context, how Anar discussed the concepts of ?truth?, ?accuracy?, ?precision? etc., how linguistic organization in texts converted historical reality, at which point the texts differ from official history in terms of aesthetic and creative qualities, what kind of relationship exists between the base historical period and the historical context in which the novel was written, how structures of power, ideological attitudes, forms of behavior and hierarchies were made visible in texts etc. are brought into question in the scope of this study. Anar?s novels are full of materials too rich to be addressed in isolation from history, a particular cultural environment, traditions of the era, social, political, ideological value judgments.In the first part of the study, under the title the ?New Historicism Theory?, the boundaries of theoretical framework guiding the study are drawn. In this content, in the period up to the emergence of the new historicism theory, the limits between ?literature? and ?historiography? since antiquity are pointed out, the main factors and the people inspiring the formation of the new historicism are mentioned. Later the critical approaches of the new historicist theorists and the basic dynamics guiding this theory are presented. Finally within the theoretical framework postmodern novel interested in history, criticism of the new historicism, appearance of the theory in Turkish literature and the studies on this subject are mentioned. In the second part of the study, moving from İhsan Oktay Anar?s five novels, how the new historicist reading practice has become functional with different interpretations of these novels is discussed.In this study, the topics discussed and new historicist reading practice are expected to constitute an example of alternative application to the studies on İhsan Oktay Anar?s novels and contribute to additional studies on the Turkish novel.Item Necati Cumalı'nin hikaye ve romancılığı(Sosyal Bilimler Enstitüsü, 2003) akcaoğlu, Serap; Kaplan, Ramazan; Türk Dili ve EdebiyatıItem ÖZDEMİR İNCE’NİN HAYATI-SANATI VE ŞİİRLERİ ÜZERİNE BİR ARAŞTIRMA(ANKARA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ, 2006) Akpınar, Soner; Kaplan, RamazanBu çalısmada Özdemir İnce'nin hayatı, sanat anlayısı ve siirleri bütün yönleriyle kapsamlı bir sekilde incelenmistir.Çalısmanın amacı Özdemir İnce'nin siirlerini yapılandırma biçiminin ortaya konularak, siirlerin epistemolojik, tematik ve estetik alt yapısının belirlenmesidir. Siirlerinorganize edilis biçimi, sairin siir tekniklerinden yararlanma sekli ve öne çıkan temalar üzerinde durularak, sairin siirlerine estetik degerini ne sekilde kazandırdıgı tespit edilmistir.Siir metninin çok anlamlılıgı ve anlamın sonsuzlugu ilkesinden hareketle çalısmada tek bir disiplininin ölçütleriyle sınırlı kalınmamıs, anlamlama noktasında metinlerin yönlendirdigi farklı disiplinlere basvurulmustur. Bununla birlikte edebiyat metninin kendiiçinde organik bir bütün oldugu gerçegi unutulmayarak, çalısmada temel eksene metin oturtulmus, metnin destekledigi veriler esas alınmıstır.Giris bölümünde Özdemir İnce'nin estetik alt yapısını belirlemek için 1940 sonrası Türk siirindeki egilimler ve bu egilimler karsısında sairin tutumu üzerinde durulmustur.'Hayatı' bölümde sairin kronolojik yasamöyküsü çıkarılmıs, günlük yasantısının sanat hayatına etkileri belirlenmistir.Sairin aynı zamanda bir edebiyat bilimcisi kadar edebiyat kuramı üzerinde yazıları oldugu gerçegi ile 2. bölümde sairin sanat, edebiyat ve siir üzerindeki görüsleri ayrı baslıklar halinde Dünyanın ve Türk Edebiyatının önde gelen kuramcılarının ve yazarların görüsleriyle karsılastırmalı olarak ele alınmıstır.Siirlerin incelendigi ana bölüm olan 3. bölümde öncelikle siirlerde agırlıklı olarak islenen temalar belirlenmis, temaların ele alınıs biçimleri üzerinde durulmustur. Aynıbölümde siirlerin ahenk ve sekil özellikleri belirlenmis ve sairin dil ve anlatım özellikleri tespit edilmistir.'Sonuç' bölümünde elde edilen veriler birbirleriyle iliskilendirilerek, Özdemir İnce'nin siirlerinin ve sairliginin Türk siiri içindeki konumu belirlenmistir.Item Sait Faik Abasıyanık'ın öykülerinde kurgu ve anlatım teknikleri(Sosyal Bilimler Enstitüsü, 2007) Aslan, Celal; Kaplan, Ramazan; Türk Dili ve EdebiyatıOne of the important writer of Turkish short story, Sait Faik Abasıyanık, told public people, in common saying little people, in his stories. In his stories which was a mirror for their life human reality always took part in forefront. Sait Faik shifted intellectual or ideological approach and located a specific sensibility that belong himself to the centre of his art during his artistic production and activities. The writer who approach people and their life in a fancy and allowance way expressed both his own and excluded people?s longing and expectations from their life in his stories. Formal feature of his stories, in other words his expression and edit techniques was directly inspired by his sense of humanity and viewpoint. Story writing was life pattern for him, and this sense was in base of his life. From this point of view his individualism, reality of life and humanity features was added to his stories in an unresolvable way. Although in all parts of this study the auotobiography of the writer wasn?t rejected, before all else it is aimed to determine fictional construction, the pattern of fictionalization and narrative techniques. The techniques which Sait Faik used for the fictionalization shows us how his story telling appeared in quality and quantity and how his artistic production was based at this point. At this direction in our analysis, we aim to introduce Sait Faik?s short stories? formal formation. Sait Faik Abasıyanık was a leader of modernistic short story in Turkish story telling with his pattern of story telling and his own fictional world.Item Selim İleri'nin romanlarında kültür unsurları(Sosyal Bilimler Enstitüsü, 2008) Güçlü, Ayşe; Kaplan, Ramazan; Türk EdebiyatıIn this researches, elements of culture in the novels of Selim İleri, who is one of the noveliss belonging to the Turkish Literature of the Republic Period have been studied. The thesis consists of three sections. In the first section, Selim İleri?s life, his artistic characteristics and his political views have been put forward. In the second section, general information about culture and elements of culture has been given, presenting the relationship between elements of culture and literature. In the third section, cultural elements which Selim İleri reflects in his novels have been studied and it has been aimed to determine new formations that have occured in the cultural world.In conclusion, through this research, it has been determined that Selim İleri?s narratives are characterized so as to prove cultural transformation in the twentieth century.Item Servet-i Fünun romanlarında aile(Sosyal Bilimler Enstitüsü, 2011) Bulduker, Gülten; Kaplan, RamazanItem Türk edebiyatında şiir eleştirisi: Osmanlı'dan Cumhuriyet'e(Sosyal Bilimler Enstitüsü, 2012) Mendilcioğlu, Emine Tuğcu; Kaplan, Ramazan; Türk Dili ve EdebiyatıThe principal problem in this dissertation has been determined as the effect of the approach of poetry criticism in Turkish literature up to the period of the Republic on the production of poetry. Locating the poet at its center, this critical approach was not only effective in helping court poetry to attain the characteristic of becoming a tradition by providing the newly-emerging poets with a model, but also provided the patron with the opportunity to make good choices concerning which poet to patronize. The critical tradition, based on rhetoric in court poetry, was re-shaped in line with ?good literature? (edebiyat-ı sahiha?) in the period of Reorganization (Tanzimat), and Servet-i Fünûn poets remained mostly loyal to this system of rhetoric which was rendered functional once again. Following the declaration of second Constitutionalism (Meşrutiyet), the changing political atmosphere brought about the re-definition of literature. In the critical approach of this period, as in that of the post-Reorganization, the program of literature which was aimed to be reconstituted was put forth, and then the ?good? poet was identified on the basis of being in accordance with the paradigms of this program. As such, the fact that poetry production leaned on certain rules and that poets who complied by those rules were considered successful suggests that the critical approach that lasted from the Ottoman period to the Republican period was structurally ongoing but that the concepts central to the approach had gained new meanings over time.Item Türk kadın öykü yazarlarında toplumsal sorunlar (1960-1980)(Sosyal Bilimler Enstitüsü, 2008) Demirel, Meral; Kaplan, Ramazan; Türk EdebiyatıStory, as a literary genre, has quite a long past. The Traditional story type which has remained crucial for centuries in Turkish literature has undergone many changes with the influence of the examples from Western narratives following the Tanzimat Period, which gave way to the development of the first examples of modern Turkish story. Story type in Turkish literature continued to develop mainly with the contribution of male writers during the early years of the Republican Period. Beginning from the 1950s, however, Turkish women writers began to appear in the field as well and the number of Turkish women story writers increased considerably in the years of 1960-1980.Turkey has undergone a number of noticeable social transformations beginning from the Tanzimat Period. Apart from the problems that were of social origin, events that originated at an individual base at first, and that got social characteristics in relation to their results in time became the topic of Turkish fictional works as well. The aim of this story which is named ?Social Problems at Turkish Women Writers? Works (1960-1980)? is to determine how and to what extent all these social problems have been included within the works of women writers which were published in the years of 1960-1980.Subject matter is not the most basic element of a literary work. However, it is a crucial tool of describing man who constitutes the most important material of a work of fiction. In that respect, what is principally expected from the writers who deal with social problems in their stories is that they should reflect these social problems in accordance with the characteristics of story art as much as possible. Accordingly, nearly fifteen women writers dealt with in this study can be said to have stories that are of such characteristics. Except for the writers who regard story as as a medium of expressing social problems, however, there are writers who do not deal with neither the related social problems nor the individual who experiences these problems and it is quite obvious that these writers have not contributed to the development of Turkish story.Item Yakup Kadri Karaosmanoğlu'nun romanlarının yapı ve muhteva bakımından incelenmesi(Sosyal Bilimler Enstitüsü, 2002) Akpınar, Soner; Kaplan, Ramazan; Türk Dili ve EdebiyatıIn this study the novels of Yakup Kadri Karaosmanoğlu are tried to analysed according to concepts of "structure" and "content". The aim of this study is to find out how the elements of novels of Yakup Kadri, like "time", "place" and "characters", are organized to form the text and related to this, designate the esthetical value of his novels. The aproaches which puts the text into the center of critism like Russian Formalizm and New Critisism draw the outline of our method. In the "introduction" part the theorical frame of the concept of "structure" is drawn out. In the "first" part under the light of the concept of "structure", the novels are analysed one by one. In the "second" part, the common elements of "structure" of the novels which are anaJised in the first part are figure out. In the "third" part the dominant themes are ascertained. In the last part, relating the datas which are reached in the first and second part to each other, the elements which raise the novels of Yakup Kadri to the esthetical level is find out. As a result, ifs ascertained that the formal values which built up the Yakup Kadri's novel understanding is formed by the effects of both the Turkish novel tradition and his original style and thoughts.Item Yakup Kadri Karaosmanoğlu`nun romanlarında gerçekçilik(Sosyal Bilimler Enstitüsü, 2008) Sağlam, Nazlı; Kaplan, Ramazan; Yeni Türk EdebiyatıYakup Kadri stood at the center of life experienced with his intellectualidentity. The events he experienced and faced lead him to write his works withinsocial contents and prepared him to adhere the national state ideals.Preparatory act of writing novels for Yakup Kadri are the stories. For thesestories selected sample story writer by Yakup Kadri is Maupassant. He dealed withthe individual problems in his stories at early years and later sufferings experiencedby Turkish people.Yakup Kadri takes Gustave Flaubert as example in his novels. We encounterwith Selma in Ankara as Emma in Madame Bovary , Seniha in Kiralık Konak, Nigârin Nur Baba. Author adopting the composition and narration form of realist novelperpetuates this novel technique till to Panorama. Again written under the effect ofFrench literature Panorama carries the concerns of approach to the society as awhole.Displays generally a realistic identity in his works. Parts narrating thefantasies keep in background against the reality.Yakup Kadri alienates from reality in analysis of the events. He reaches to theconclusions by analysing the events from point of personal view.Yakup Kadri, without giving way for phenomenons, miracles, coincidences,imaginations and intangible generalisations reflects his survey power to his art.Yakup Kadri picked up the reflection of social life to the art objectively asaim of the realists to form the subject of his writings. Defining individuals? spiritualaccretion in process of change as well as with the change of society with socialvalues of the Realists can be observed in Yakup Kadri?s writings.He did not give any place to individual coincidences in his writings in ordernot to discompose the reality. He performed the social coincidences in his works.An important feature of Yakup Kadri presenting his realistic identity is theoutcome of his novels. His novels closes with pathetic, depressed ends. Astoundingends in his social narrations are the characteristics of his novels.Yakup Kadri tries to miror the society as a realist. He improves the events onsubstantial causal connection basis, does not compliment to phenomenons,coincidences, astoundings. He expands the events from daily life in socialframework.A feature drawing attention in his writings? construction, improvement of theevents is initially calm and emotionless mood. He recognise the individuals of thenovel at first pages in a comfortable ambience and we do not face with astoundingevents. Author trying to submit these individuals in a balanced form alters the initialcalm and unsensational mood.Contradiction is an important issue in Yakup Kadri?s works. Conflicts amongindividuals and social aspects constitutes the plot. This conflict also may be observedinside world of the individuals. Thus the author tries to provide the balance in hisnovels.Realistic writers give place to love affairs in order to add harmony to realisticmoods in their novels. Yakup Kadri also allocate love affairs in his novels widely.Love, in his works, emphasizes the dignity of the love carrying emotional andspiritual quality.Yakup Kadri demonstrate success in spiritual analysis. Emotions sometimesloving persons, sometimes entailing to disturbances, spiritual conditions affordassistance for us to know the most certain senses, most important features of thecharacters.Persons in his novels are in aspiration of the past. A part of them is inbackdate; they evaluate their childhood and juvenility as the golden era of their life.Therefore the divergence between the present life and the past of the individualsconstitute an important issue in the work. The past is a direction where the face ofrealists is turned to.Yakup Kadri narrates in details not only the external reality but also theinternal reality of the humans. The effects of his survey power can be observed in hisanalysis. He depicts the created changes on this physchology by not only theappearances of the individuals, the place they exist and exercised solid events butalso the physchology of the individuals living the events in this place.Author, as a speciality of the realism, attaching importance to the function ofthe location also reflected successfully the entirety of location- human issue. Heprovided the means in his narrations by attributing importance to observations like arealist. The belief of the effect of location on individual?s spirit addressed him todescribe the location in details.Although he knew the principal of description in realism should be objective,not subjective, he embodied the descriptions according to his own emotions andideas. Author, in certain intervals defected the principal of being objective by notwithdrawing himself from the world of his work. He dramatized his observations inorder to provide better comprehension for the events.Yakup Kadri, uses staging/displaying techniques to provide more factuality tohis narrations. Events are transferred by conceptualizing before the reader?s eyes notby the commentator?s narratings. And the dramatized events become inspired on thevision of the reader.Author, underlines that the art in realism exists for reality and fineness.Yakup Kadri as a realistic writer, he is not contented with only narrating or showingthe human reality as it is but emphasizes the conditions as it should be by usingsocial types, utopic facts. We face with that fact especially in his novel Ankara. Hedraws the ideal Turkey?s design in third part of his work.Author tries to submit the reality in language and fashion in an objective andaesthetic form. Especially attributes importance to conformity in core, designation ,language and fashion of the work.Yakup Kadri used the art to express the ideology he believed.