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Mavi Sürgün by Halikarnas Balıkçısı as a Testament to the Reporter’s Discovery of the Mediterranean Sea for Turkish Literature

100%
Filipowska S.
Perspektywy Kultury
|
2020
|
vol. 30
|
issue 3
229-242
PL
Mavi Sürgün [Błękitne wygnanie] Halikarnasa Balıkçısı to książka wspo­mnieniowa wydana w 1961 roku, a opisująca wydarzenia z lat 1920–1947. Jej hybrydyczna forma zawiera elementy autobiograficzne i reportażowe, moty­wem przewodnim są próby wprowadzenia Morza Śródziemnego do literatury tureckiej, a samej literatury tureckiej w krąg cywilizacji śródziemnomorskiej. Artykuł wyjaśnia fenomen tak późnego „odkrywania” Morza Śródziemnego dla literatury tureckiej i przedstawia Halikarnasa Balıkçısı, Rybaka z Hali­karnasu (prawdziwe nazwisko to Cevat Şakir Kabaağaçlı), jako człowieka zaangażowanego w literacką, turystyczną i kulturową promocję Morza Śród­ziemnego wśród swoich rodaków.
EN
Mavi Sürgün [Blue Exile] by Halikarnas Balıkçısı is a memoir published in 1961, describing the events of 1920–1947. Its hybrid form contains elements of autobiography and reportage, and the leitmotif is an attempt to introduce the Mediterranean Sea into Turkish literature, and introduce Turkish litera­ture itself into the circle of Mediterranean civilization. The article explains the phenomenon of such a late “discovery” of the Mediterranean Sea for Turkish literature and presents Halikarnas Balıkçısı, the Fisherman of Halicarnassus (his real name is Cevat Şakir Kabaağaçlı), as a person engaged in the literary, touristic, and cultural promotion of the Mediterranean Sea among Turks.
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Stambuł w świetle księżyca – Boğaziçi Mehtapları Abdülhaka Şinasiego Hisara1

100%
Filipowska S.
Studia Azjatystyczne
|
2015
|
issue 1
7-17
PL
Istanbul is one of the most popular motives in the writings of Abdülhak Şinasi Hisar (1887-1963). The famous Turkish novelist used to complain that even the inhabitants of Istanbul have forgotten the history and traditions of their city. One of his memories, called Boğaziçi Mehtapları, refers to the custom called mehtap, which was still cultivated at the end of 19th century, but has been completely forgotten forty years later. Mehtap was a kind of a trip made in special boats called kayık on waters of the Bosphorus, performed in the moonlight with accompaniment of music. A.Ş. Hisar presents all details regarding to the organizational part of mehtaps, which is really important from the historical and ethnographical point of view, but the article focuses on literary value of these memories, which created a poetic picture of Istanbul in the moonlight.
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