BİR FİLM (NACER KHEMİR - GÜVERCİNİN KAYBOLAN GERDANLIĞI), BİR PİYES (ABDÜLHAK HÂMİD - TÂRIK): ENDÜLÜS İMGESİNİN YANSITILMASINDA AŞKIN İŞLEVSELLİĞİ

Naim ATABAĞSOY

Makale detayları

BİR FİLM (NACER KHEMİR - GÜVERCİNİN KAYBOLAN GERDANLIĞI), BİR PİYES (ABDÜLHAK HÂMİD - TÂRIK): ENDÜLÜS İMGESİNİN YANSITILMASINDA AŞKIN İŞLEVSELLİĞİ

Yazarlar:

Naim ATABAĞSOY

Yayıncı:

Oku Anonim Şirketi

Ana Başlıklar:

Edebiyat

Dergi:

Nüsha Şarkiyat Araştırmaları Dergisi 2020 Vol.20 Issue 51, pp.15-30

Belge Tipi:

Makale

Yayın Tarihi:

12/2020

Belge Dili:

Türkçe

Document ID (Org No.):

2000528901

Sıklık:

İki Yıllık

eISSN:

2791-7177

pISSN:

1303-0752

Özet:

 


Al-Andalus, as a climax for Islamic civilization, arouses the interest of both literature and cinema. For that remarkable reason, the interest towards Andalus, fictionalized as an “ideal” more than an environment, appears in the second half of the 19th century in Turkish literature. This is a period through which Ottoman Empire kept declining and people tried to find means to sustain the Empire. Abdülhak Hâmid’s theatre play Târık yahut Endülüs’ün Fethi (1879) (Târık or The Conquer of Al-Andalus), in such a period for the Empire still holding the caliphate which is the key of an earthly authority of Islam, reaches a significance as an historical narrative in accordance with putting forward the terms like “conquest” and “heroism” on the basis of Andalus image. However, Hâmid combined the idealized Andalus image, and accordingly the themes “conquest” and “heroism” with earthly love, and the concept of love became a helpful pattern to idealize Andalus. Tunisian director Nacer Khemir’s movie The Dove’s Lost Necklace (1991) presents a similar Andalus idealization with a viewpoint from Arab world. Furthermore, similarly to Hâmid’s play, love becomes once again a helpful pattern in fictionalizing an ideal-Andalus. By revealing two different viewpoints from İslamic civilization, one of Abdülhak Hâmid, who is an Ottoman intellectual and Reform period author, and the other of Tunisian director Nacer Khemir, this article discusses how those two artists idealized the concept of al-Andalus and interpreted that idealization in the age they lived. Positioning the woman within the context of love as a helpful pattern in those artworks is the collateral subject to the article.

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Makale detayları

BİR FİLM (NACER KHEMİR - GÜVERCİNİN KAYBOLAN GERDANLIĞI), BİR PİYES (ABDÜLHAK HÂMİD - TÂRIK): ENDÜLÜS İMGESİNİN YANSITILMASINDA AŞKIN İŞLEVSELLİĞİ

Yazarlar: Naim ATABAĞSOY

Yayıncı: Oku Anonim Şirketi

Ana Başlıklar: Edebiyat

Dergi: Nüsha Şarkiyat Araştırmaları Dergisi 2020 Vol.20 Issue 51, pp.15-30

Belge Tipi: Makale

Yayın Tarihi: 12/2020

Belge Dili: Türkçe

Document ID (Org No.): 2000528901

Sıklık: İki Yıllık

eISSN: 2791-7177

pISSN: 1303-0752

Sayı

Yazarlar:

Naim ATABAĞSOY

Yayıncı:

Oku Anonim Şirketi

Ana Başlıklar:

Edebiyat

Dergi:

Nüsha Şarkiyat Araştırmaları Dergisi 2020 Vol.20 Issue 51, pp.15-30

Belge Tipi:

Makale

Yayın Tarihi:

12/2020

Belge Dili:

Türkçe

Document ID (Org No.):

2000528901

Sıklık:

İki Yıllık

eISSN:

2791-7177

pISSN:

1303-0752