![]() The article is trying to depict the relationship between classical forms and the new genre and how writers were motivated to merge and create a local novel genre. At the centre of the matter is the reaction of Ottoman –Turkish intelligentsia to the new genre. This need for a new language is emphasized by the prominent figures of “New Literature”, and to these writers and prominent figures in the Ottoman state novel as a genre seemed promising for the modernization of Ottoman society as a whole.This article is focusing on the novel’s function during the second half of the 19th century. A language that can convey an idea, a language that can produce information, and a writing style that can spread both. In this study, focusing on acayib ü garayib of Seyahatnâme, the concept of Acâib literature will also be analyzed through such concepts as “true and untrue”, “reality and fiction”, “context” and “knowledge”.ĭuring the second half of the 19th century, while the Ottoman press, publishing and literary platforms were flourishing, a need for a more “practical” language of writing arose to convey ideas, and there was a great need to have a new, a more practical language while writing. Rather, in the majority of the texts, these terms refer more than anything else to the realm of reality, rather than to that of fantasy. Besides this, Evliyâ rarely places a totally fictitious, supernatural, or fantastic story under the title of acayib or garayib. The common characteristic of these texts is that they all evoke a feeling of “astonishment”. Thus, it is difficult to say that the narratives of “marvels and wonders” in the Seyahatnâme focus on certain restricted topics. These include most of the basic concepts in Evliyâ’s travels, and indeed in his life. To fully understand what Evliyâ finds to be “strange and wondrous” and why he does so, the narratives in question can be classified under certain concepts, such as talismans and spells, magic and witchcraft, dreams and prophecies, adventures, physical appearances, animals, different beliefs or cultures, landforms, architectural structures, and so on. Considering the long-standing history of Acâib in the tradition of travel narratives, Evliyâ’s use of this category seems to be a conscious decision based on the Islamic tradition of travel writing. One such genre, which is important for appreciating Evliyâ Çelebi as a storyteller and understanding the fictional dimensions of his work, is that of “marvels and wonders” (acayib ü garayib). ![]() Evliyâ Çelebi, in his work Seyahatnâme (Book of Travels), draws the reader’s attention to certain narratives by repeated recourse to specific narrative genres.
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