The Use of Description Technique and Painting in Sami Paşazade Sezai’s Küçük Şeyler

Mehmet Emin Gönen

Makale detayları

The Use of Description Technique and Painting in Sami Paşazade Sezai’s Küçük Şeyler

Yazarlar:

Mehmet Emin Gönen

Yayıncı:

Ataturk University

Ana Başlıklar:

Türkiye Sahası Yeni Türk Edebiyatı

Dergi:

Turcology Research Issue 84, pp.444-460

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001358594

pISSN:

2822-2725

Anahtar kelimeler:

Özet:

 Among the second generation of Tanzimat period authors, Sami Paşazade Sezai is an important literary figure who developed his interest in literature during his childhood years. The main source of this interest was the refined conversations held by his father, Sami Pasha, with prominent literary and scholarly figures of the time in the mansion where he was born and raised. Growing up in this intellectual environment, Sezai wrote his first work at the age of fourteen, thus beginning his literary career at an early age. Over time, he enhanced his literary competence and made a strong impact, particularly with his novel Sergüzeşt. This work is remarkable for its critical perspective on the social issues of the era, especially the institution of slavery. Moreover, with his short story collection Küçük Şeyler Little Things, in which he highlighted the seemingly ordinary yet meaning-laden details of daily life, he secured a distinctive place in Turkish literature. In the early stages of his writing career, Sezai adopted a romantic and passionate style under the influence of Namık Kemal. However, as he became more familiar with Western literature and read the works of positivist thinkers, he gradually turned toward realism. In Sergüzeşt, a narrative style oscillating between romanticism and realism can be observed, whereas in Küçük Şeyler, realism is embraced as the dominant mode of expression. Especially in his depictions of settings, the author skillfully employed all the resources of realism. Influenced by his interest in the art of painting, he portrayed people, environments, and nature through vivid and detailed descriptions. Although Sami Paşazade Sezai came from an elite family background, he chose to feature characters from the lower strata of society in his stories. The figures in his narratives consist of servants, concubines, minor officials, and ordinary individuals one might encounter among the people. Rather than focusing solely on a single event or individual, the author spread a sense of curiosity throughout the narrative structure. In this regard, through his attention to detail and profound descriptions, he rendered the ordinary visible and demonstrated his mastery in the art of storytelling. This study will analyze the formal characteristics of the descriptions in Küçük Şeyler, identify which literary movement they reflect, and examine their relationship with the characters.

 Among the second generation of Tanzimat period authors, Sami Paşazade Sezai is an important literary figure who developed his interest in literature during his childhood years. The main source of this interest was the refined conversations held by his father, Sami Pasha, with prominent literary and scholarly figures of the time in the mansion where he was born and raised. Growing up in this intellectual environment, Sezai wrote his first work at the age of fourteen, thus beginning his literary career at an early age. Over time, he enhanced his literary competence and made a strong impact, particularly with his novel Sergüzeşt. This work is remarkable for its critical perspective on the social issues of the era, especially the institution of slavery. Moreover, with his short story collection Küçük Şeyler Little Things, in which he highlighted the seemingly ordinary yet meaning-laden details of daily life, he secured a distinctive place in Turkish literature. In the early stages of his writing career, Sezai adopted a romantic and passionate style under the influence of Namık Kemal. However, as he became more familiar with Western literature and read the works of positivist thinkers, he gradually turned toward realism. In Sergüzeşt, a narrative style oscillating between romanticism and realism can be observed, whereas in Küçük Şeyler, realism is embraced as the dominant mode of expression. Especially in his depictions of settings, the author skillfully employed all the resources of realism. Influenced by his interest in the art of painting, he portrayed people, environments, and nature through vivid and detailed descriptions. Although Sami Paşazade Sezai came from an elite family background, he chose to feature characters from the lower strata of society in his stories. The figures in his narratives consist of servants, concubines, minor officials, and ordinary individuals one might encounter among the people. Rather than focusing solely on a single event or individual, the author spread a sense of curiosity throughout the narrative structure. In this regard, through his attention to detail and profound descriptions, he rendered the ordinary visible and demonstrated his mastery in the art of storytelling. This study will analyze the formal characteristics of the descriptions in Küçük Şeyler, identify which literary movement they reflect, and examine their relationship with the characters.

 Among the second generation of Tanzimat period authors, Sami Paşazade Sezai is an important literary figure who developed his interest in literature during his childhood years. The main source of this interest was the refined conversations held by his father, Sami Pasha, with prominent literary and scholarly figures of the time in the mansion where he was born and raised. Growing up in this intellectual environment, Sezai wrote his first work at the age of fourteen, thus beginning his literary career at an early age. Over time, he enhanced his literary competence and made a strong impact, particularly with his novel Sergüzeşt. This work is remarkable for its critical perspective on the social issues of the era, especially the institution of slavery. Moreover, with his short story collection Küçük Şeyler Little Things, in which he highlighted the seemingly ordinary yet meaning-laden details of daily life, he secured a distinctive place in Turkish literature. In the early stages of his writing career, Sezai adopted a romantic and passionate style under the influence of Namık Kemal. However, as he became more familiar with Western literature and read the works of positivist thinkers, he gradually turned toward realism. In Sergüzeşt, a narrative style oscillating between romanticism and realism can be observed, whereas in Küçük Şeyler, realism is embraced as the dominant mode of expression. Especially in his depictions of settings, the author skillfully employed all the resources of realism. Influenced by his interest in the art of painting, he portrayed people, environments, and nature through vivid and detailed descriptions. Although Sami Paşazade Sezai came from an elite family background, he chose to feature characters from the lower strata of society in his stories. The figures in his narratives consist of servants, concubines, minor officials, and ordinary individuals one might encounter among the people. Rather than focusing solely on a single event or individual, the author spread a sense of curiosity throughout the narrative structure. In this regard, through his attention to detail and profound descriptions, he rendered the ordinary visible and demonstrated his mastery in the art of storytelling. This study will analyze the formal characteristics of the descriptions in Küçük Şeyler, identify which literary movement they reflect, and examine their relationship with the characters.

 Tanzimat dönemi yazarlarının ikinci kuşağı arasında yer alan Sami Paşazade Sezai, edebiyata olan ilgisini çocukluk yıllarında kazanmış önemli bir edebi şahsiyettir. Bu ilginin temel kaynağı, doğup büyüdüğü konakta babası Sami Paşanın, dönemin edebi ve ilmî simalarıyla gerçekleştirdiği nitelikli sohbetlerdir. Bu entelektüel ortamlarda yetişen Sezai, henüz on dört yaşında ilk eserini kaleme alarak edebi hayatına erken yaşta adım atmıştır. Zaman içerisinde edebi yetkinliğini artırmış ve özellikle Sergüzeşt adlı romanıyla büyük yankı uyandırmıştır. Söz konusu eser, dönemin toplumsal meselelerine, özellikle de kölelik kurumuna eleştirel bir bakış sunması bakımından dikkat çekicidir. Ayrıca, gündelik hayatın sıradan fakat anlam yüklü ayrıntılarını öne çıkardığı Küçük Şeyler adlı hikâye kitabıyla da Türk edebiyatında kendine özgü bir yer edinmiştir. Yazarlık hayatının ilk dönemlerinde Namık Kemalin etkisiyle romantik ve coşkulu bir söylem benimseyen Sezai, zamanla Batı edebiyatını tanıması ve pozitivist düşünürlerin metinlerini okumasıyla birlikte realizme yönelmiştir. Sergüzeşt romanında romantizm ile realizm arasında geçişken bir anlatım tarzı gözlemlenirken, Küçük Şeyler hikâyelerinde realizmin hâkim üslup olarak benimsendiği görülmektedir. Özellikle mekân tasvirlerinde realizmin tüm imkânlarını ustalıkla kullanan yazar, resim sanatına duyduğu ilginin de etkisiyle insanı, çevreyi ve doğayı ayrıntılı ve canlı betimlemelerle ele alır. Sami Paşazade Sezai, yüksek tabakadan bir aileye mensup olmasına karşın, hikâyelerinde toplumun alt sınıflarına mensup karakterlere yer vermeyi tercih etmiştir. Hikâyelerinde yer alan tipler; hizmetçiler, cariyeler, küçük memurlar ve halk arasında karşılaşılabilecek sade bireylerden oluşmaktadır. Yazar, çoğu hikâyesinde tek bir olayı veya bireyi öne çıkarmaktan ziyade, merak unsuru taşıyan yapıyı hikâyenin geneline yayar. Bu bağlamda, ayrıntıya verdiği önem ve derinlikli tasvirleriyle, sıradan olanı görünür kılar ve hikâye sanatındaki ustalığını ortaya koyar. Bu çalışmada, Küçük Şeyler adlı eserde yer alan tasvirlerin biçimsel özellikleri, hangi edebi akımın niteliklerini taşıdığı ve söz konusu tasvirlerin karakterlerle olan ilişkisi analiz edilecektir.

Makale detayları

The Use of Description Technique and Painting in Sami Paşazade Sezai’s Küçük Şeyler

Yazarlar:

Mehmet Emin Gönen

Yayıncı:

Ataturk University

Ana Başlıklar:

Türkiye Sahası Yeni Türk Edebiyatı

Dergi:

Turcology Research Issue 84, pp.444-460

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001358594

pISSN:

2822-2725

Küçük Şeyler

Story

Depiction

Picture

Realism

RomanticismKüçük Şeyler

Hikâye

Tasvir

Resim

Realizm

Romantizm

Sayı

Makale detayları

Yazarlar: Mehmet Emin Gönen

Yayıncı: Ataturk University

Ana Başlıklar: Türkiye Sahası Yeni Türk Edebiyatı

Dergi: Turcology Research Issue 84, pp.444-460

Belge Tipi: Makale

Yayın Tarihi: 9/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001358594

pISSN: 2822-2725

Sayı

Yazarlar:

Mehmet Emin Gönen

Yayıncı:

Ataturk University

Ana Başlıklar:

Türkiye Sahası Yeni Türk Edebiyatı

Dergi:

Turcology Research Issue 84, pp.444-460

Belge Tipi:

Makale

Yayın Tarihi:

9/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001358594

pISSN:

2822-2725