Cumhuriyet döneminde edebi eleştiri (1939-1950)
Özet
Between 1939-1950, there are too many critics in our literature, but there is not enough criticism. The number of authors who write on criticism, produce ideas, do not exceed three or five. We can enumerate Nurullah Ataç, Mehmet Kaplan, Suat Derviş, İsmet Ay, Sabahattin Eyüboğlu, as the major critics of the era. Most of our critics have no knowledge on objective scientific criticism. A majority of them are not experts in their fields. In this era, our authors and poets, put forward various views on national literature, the problem of old-new in literature, the aim and subject of literature, the content and style in literature. Most of the authors are in concurrence with the view that we can reach national literature by returning to ourselves, however we have to take the advantage of the west. In the evaluations made on poetry, emphasis is given on the task of poet, form in poetry, renovation in poetry, old-new struggle, right-left conflict, syllable - the meter prosody of the classical Arabic - Persian tradition discussion. Some of them defend that poetry/art should be written/made for beautiful, and some of them defend that it should be written/made for the benefit of community. Those who make art for community, join on the point that subject is important in poetry; those who make poetry for art, join that style is important. The conflict between old and new generations is concluded with the victory of the new. There is almost none theoretical writings related with novel and story. We meet these types of touches in book criticism. These are not original and perfect. In this period emphasis is given on function of novel and story together with national novel. The novelists and story writers who grew up from villages, begin to give their essays. The discussions on the composition of essays, whether the contemporary Turkish theatre will rise traditionally or from Europe, whether the main element of theatre is essay or the actor, have an important place in this period. Being critic in theatre, has becom specialized. Muhsin Ertuğrul, Selami İzzet Sedes, Selim Nüzhet Gerçek, İsmet Ay, Refı Cevat Ulunay almost write on theatre. Inspite of this, in some criticisms, critics made criticisms mixed with cursing. The dispute between the supporters of genuinism who defend the language should become fully Turkish and those who defend the Ottoman Turkish language, continues with all its speed. Discussions are made on the spelling guide.