ROMANTİK PARÇAYI ŞEKİLLENDİREN ŞİİRSEL İMGELEM: KUBLA KHAN VAKASI

On dokuzuncu yüzyılın başlarından bu yana çeşitli edebi eserler, edebiyat kuramları, eleştiriler, felsefeler ve bunların yanı sıra diğer sanat dalları ikilem ve belirsizliği doğuran ani bir değişimle karşı karşıyadır. Parçalı yazı, bu karmaşanın temsilcisidir. Parçalı yazıyı benimseyen sanatçıların listesi uzundur; öyle ki, Schlegel, Keats, Coleridge vb. gibi Romantik düşünür ve yazarlardan başlayıp Adorno, Becket, Blanchot vb. gibi Modern ve Postmodernlere kadar uzayıp gider. Bu çalışma, şiirin özü ve türü, şiirsel eserin “organikliği” kavramı, şiirin kaynağı, işlevi ve amacı hususunda Coleridge’in Alman felsefesinden etkilenen estetik doktrini ve özellikle de Coleridge’in aslında şiirinin parçalı karakterini şekillendiren şiirsel imgelemin kırılganlığı hususundaki ifadesi olarak Kubla Khan, Or, a Vision in a Dream: A Fragment eserine odaklanmaktadır.

POETIC IMAGINATION SHAPING THE ROMANTIC FRAGMENT: THE CASE OF KUBLA KHAN

Since the early nineteenth century, various works of literature, literary theory, criticism, philosophy, and other forms of art have faced a sudden change which has raised contradictions and suspense. This upheaval is represented also by fragmentary writing. The list of fragmentary artists is long, starting from Romantic thinkers and writers, such as Schlegel, Keats, and Coleridge, to the Modern and Postmodern ones, such as Adorno, Beckett, Blanchot, and others. The present study focuses on Coleridge’s aesthetic doctrine as influenced by German philosophy and as containing ideas on the essence and kind of poetry, the concept of “organicity” of the poetic work, as well as on the source, function and purpose of poetry, and specifically on Coleridge’s Kubla Khan, Or, a Vision in a Dream. A Fragment as the expression of his concern with the fragility of poetic imagination which in fact shapes the fragmentary character of his poem.

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