Kültür doğadan ayrılma sonucunda ortaya çıkar. Aslında doğaya yabancılaşmadır. Bu nedenle doğanın tam karşısında yer alır. Doğada, kültürel alanda olduğu gibi değer ve anlam üzerinde bir ayrım ve kategori yoktur. Bu yüzden doğa bütünlük alanıdır. Doğa, mutlak haz, arzu, tatmin ve doyum alanı olarak kabul edilir. Kültür ise mutlak hazzı ve tatmini engelleyen yasa ve yasağın alanıdır. Psikanalizimde doğa alanının özelliklerini taşıyan dönem ilk üç yaşa denk gelir. Kültürel alan ise dilin öğrenilmesi sonucunda ortaya çıkar. Sigmund Freud bu bölünmeyi birincil ve ikincil süreç, Jacques Lacan ise İmgesel ve Simgesel dönemler olarak adlandırır. İmgesel dönem bir bütünlük algısıyla arzuların karşılandığı, narsistik doyumların yoğun yaşandığı ve ilk kez bir kendilik imgesinin kurulduğu bir dönemdir. Simgesel dönem ise İmgesel döneme ait bütün bu narsistik duyumların büyük bölümünün ketlendiği, kurulan ilk kendilik imgesinin parçalandığı alandır. Özne, İmgesel alandan Simgesel alana geçerek kendini kurarken ilk döneme ait narsistik duyumlarının birçoğunu terk etmek durumunda kalır. Bu nedenle özne, yaşadığı müddetçe Simgesel alandan, kaybettiği İmgesel alanın bütünlüğüne, narsistik duyumlarına ve ilk kurguladığı imgesine dönmeyi arzular. Bu noktada şair de kültürel/Simgesel alandan, kentten, doğa alanına/İmgesel alana dönüş arzularını şiirlerinde dile getirir. Bu nedenle şair, kültürel alanlara/kente, bu alanın anlam ve değerlerine karşı mücadele ederken doğayı yüceltir. Şiirde doğa; haz, arzu, bilinçdışı, dolayımsız algı, dişil imgelerle ilişkilidir. Kültür ise kent, yasa, yasak, engel, bilinç, dolayımlı algı, eril imgeleriyle bağlantılıdır. Aslında diyalektik olarak hazzı üreten engellerdir. Engelin olmadığı mutlak hazzın olduğu yerde zevk ve keyif de yoktur. Bu nedenle haz doğada bulunmaz. Haz doğanın yabancılaştığı kültürel alanın engellemelerinin sonucunda ortaya çıkar. Bu noktada kültürel alan içinde ortaya çıkan haz, Eros'un cinsellik dürtü ve içgüdülerinin gerçeklik ilkesine uygun olarak yaşama dönüştürülmüş şeklidir. Şair kültürel alanın, kentin bu eksik hazzını kabullenmez. Doğaya yönelerek Thanatos'un ölüm içgüdü ve dürtüleri alanında yer alan mutlak haz ve doyumunu arzular. Aslında diyalektik olarak mutlak haz ve doyumun olduğu alanda engel, ketleme olmadığından haz da yoktur. İşte Cumhuriyet dönemi Türk şiirinde doğa-kültür karşıtlığı tüm bu duyum ve algı zenginlikleriyle işlenir

In this article, it has been aimed to put forth the attitude of the poet who opposited theurban in the Turkish Poetry of the Republican Period. While doing this, it has been tried to showpsychic aspect in the sensation and perception of poet against the urban with psychoanalytic theory. At this point, owing to the fact that the urbanis a cultural/symbolic area, the poet want to leave from this place. The most important reason is that the laws of the cultural area block pleasures. Culture emerges as a consequence of separating from nature. Actually, it means alienation to the nature. Therefore it is situated just opposite the nature. In nature, there is no distinction or categories on the meanings and values contrary to cultural area. Hence the nature is an area of integrity. Nature is accepted as an area of absolute pleasure, desire, satisfaction and fulfillment. Culture is, on the contrary, the area of law and prohibition which blocks the absolute pleasure and satisfaction. In psychoanalysis, the period having the characteristics of the area of the nature corresponds to first three years. However, cultural area emerges as the consequence of learning the language. Sigmund Freud terms this seperation as primary and secondary processes, while Jacques Lacan terms them as the imaginary and the symbolic stages. Imaginary stage is the period in which the desires are met with a holistic perception, narcissistic satisfaction is felt intensely and a self-image is established for the first time. However, symbolic stage is the period in which most of those narcissistic sensations belong to imaginary period are inhibited and the first self-image established is degraded. The subject had to leave most of his narcissistic sensations which belong to first period while establishing himself by leaving the imaginary area and entering the symbolic area. Therefore the subject desires to return back from symbolic area to the integrity, narcissistic sensation and the first self-image of his imaginary area he lost as long as he lives. At this point, the poet expresses his desire to return from cultural/symbolic area, from the urban to the nature area / imaginary area in his poetry. Hence, the poet raises the value of nature while fighting against the cultural areas/urban and aganist the meaning and value of them. In poetry, the nature is associated with pleasure, desire, unconsciousness, unmediated perception and feminine images. On the other hand, the culture is associated with urban, law, prohibition, obstacle, consciousness, mediated perception and masculine images. In fact, dialectically, obstacles produce pleasure. There is no joy or delight in where without obstacles and with the absolute pleasure. Therefore, pleasure does not exist in nature. Pleasure arises as a result of blockings of cultural area from which the nature is alienated. At this point, the pleasure which emerges in the cultural area is the form of sexual impulses and instincts of Eros being transformed into life according to the reality principle. The poet do not accept the incomplete pleasure of cultural area or the urban. He desires the absolute pleasure and satisfaction which exist in the instinct and impulse of death of Thanatos by gravitating towards the nature. Dialectically, there cannot be found pleasure in where absolute pleasure and satisfaction exist since there are no obstacles or inhibition. The nature-culture contrast in the Turkish poetry of the Republican period is treated with the richness of all these sensations and perceptions. Conceptional/Theoretical Frame In this article, theurbanhas been taken as cultural/symbolic area. Symbolichas been taken from Jacques Lacan's psychoanalytic theory as a concept. Ithas been used linguistic area in which the subject live. The cause of the poet’s leaving from the cultural area is to return back to the imaginary area. Imaginary which is taken Lacan’s theory as a concepthas been used by name of areawhere is livedpleasure and satisfaction. At this point, the poet has turned tosymbolic from the imaginary contrast to the subject. The imaginary is the concept of nature in here. Poet who lives in the cultural area, in fact, does not adopt to pleasure and satisfaction which Eros experienced in this area. He tends to imaginary/nature by desiring absolute satisfaction. Howeverthe pleasure itself dialecticallydisappears in which theabsolute pleasure is. Such a dialecticas a concept has been taken Hegel. The pleasure only emerges as a result of alienation from nature. n this article, the concept of alienation belongs to Adorno.Poets have tended to a single object thatunconsumed desired by consuming all pleasure objects. This is death. The death which is the area of impulse and instinct belongs to Thanatos. In here, Eros that equivalent to pleasure in the cultural area and Thanatos that equivalent to impulse and instinct of deathhave been taken from Sigmund Freud. Study Method In this article, characteristic poems that there are nature-culture contrast have been noted in Turkish Poetry of the Republican Period. Also, another factor in the choice of the poems is that nature / culture contrast is thrust into the very deep in form of these poems. At this point, the form comes forward and the poet tries to achieve pleasure by put forthing obstacle-formin front of the pleasure. However, there are a lot of poems about nature-culture contrastas the theme. But these poemsdo not change the result. Only these reveal the rich of natureculture contrast. Meticulously selected poems have been tried to analyze the theory of psychoanalysis then. Thus, it have been aimed to achieve the primary and original sensation and perception of the poet who stay under formal structures like indicative, image and metaphor. Findings and Discussion It is seen that the poets want to leave from the cultural / symbolic area in this article that seek nature-culture contrastin Turkish Poetry of the Republican Period. Because cultural/ symbolic areasuppresses exotic and authentic sense with itslaw and prohibition. Therefore poet tend to imaginary areawhere poets believes to lived once upon a time. This area is covered by nature and its elements in poetry. At this point, the situation of poet is similar to the situation of other subjects. But the poets’ different from other subjects is that they are more aware the loss of sense and sensation resulting from identifications in the symbolic/social area. Therefore nature-culture contrast in the poet’s poemis a theme whichit is inexhaustible. Conclusion and Suggestions The result in this study abouta nature-culture contrast in Turkish Poetry of the Republican Period is that the poet has to live in symbolic/cultural area. Therefore, the poet wants to get away the urban as cultural / symbolic area. The most important reason is that theurban block pleasuresthrough the laws of the cultural area. Therefore, the direction of poet has turned to the imaginary area. This area is sensations and perceptions of nature. However, the poetdoes not neglect that the pleasurewill be disappeared while reaching to the absolute pleasure and satisfaction. Because there is no pleasure in which there is no obstacle. Therefore, cultural area and its obstacle reveal poet’s pleasure. Poet imagines unobstructed area by turning to nature. But the absence of pleasure in this area is not reflected in poetry. Because as he livein the cultural and linguistic area, he can not reach absolute pleasure and satisfactionarea. Nevertheless, poet does not accept lack of pleasure and satisfaction in cultural, symbolic area.Poet tends to absolute pleasure and satisfaction.At this point,when the poetseizesevery object within the cultural area, he knows that goes object of desire on this pleasure. Thus, seized every object of desire is consumed in terms of pleasure. Here are the single object of desire to be exhausted for the poet. This is death that is unknown to be exhausted when isseized its desire. At this point, the poet is directed tothe pleasure of the death bydenyingpleasure in the cultural area. He feels thatdeath will bring absolute pleasure and satisfaction. However, there are not dialectically satisfaction and pleasure inwhere there are absolute and death. At this point, a study about a nature-culture contrastin Turkish Poetry of the Republican Period will reach richer comments. This article is a pioneering work in terms of attention to this subject