{"id":100,"date":"2008-01-01T00:00:02","date_gmt":"2007-12-31T21:00:02","guid":{"rendered":"http:\/\/www.frankofoni.com.tr\/?p=100"},"modified":"2019-10-29T20:46:12","modified_gmt":"2019-10-29T17:46:12","slug":"ortak-kitap-no-20-2008","status":"publish","type":"post","link":"https:\/\/www.frankofoni.com.tr\/en\/ortak-kitap-no-20-2008\/","title":{"rendered":"Ortak Kitap No : 20 &#8211; 2008"},"content":{"rendered":"<p><strong>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XV) \/ DOSSIER CHARLES BAUDELAIRE (XV)<br \/>\n<\/strong>Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (VI) \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013 Une Lecture Dramatique Pour Baudelaire (VI) \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013 La Ne\u0301vrose Subjective: Phe\u0301nome\u0301nologie De La Perception Chez Baudelaire Et Sartre \/ <strong>Judith Spencer <\/strong>\u2013 Baudelaire\u2019in Kaynaklar\u0131: Hoffmann ile Diderot, Palyac\u0327o ile Rahibe-II \/ <strong>M. Emin O\u0308zcan <\/strong>\u2013 Baudelaire\u2019in Lirik Sanat\u0131nda Paris\u2019in Esin Gu\u0308cu\u0308 \/ <strong>Nedim Kula<\/strong><\/p>\n<p><strong>C\u0327ES\u0327I\u0307TLI\u0307 I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GE\u0301NE\u0301RALES<br \/>\n<\/strong>Tu\u0308rkc\u0327e I\u0307c\u0327in \u201cMilli Misak\u201d: Dilimiz Konusunda C\u0327ag\u0306r\u0131lar \/ <strong>Tala\u0302t Halit Salman <\/strong>\u2013 \u201cSo\u0308zcu\u0308klerden Asla Yeterince Sak\u0131nmay\u0131z\u201d &#8230;C\u0327evirilerden de! \/ Yig\u0306it Bener \u2013 Kla\u0302sikler, Montaigne, Eyu\u0308bog\u0306lu \/ <strong>Fahrettin Arslan <\/strong>\u2013 Le Journal D\u2019Antoine Galland A\u0300 Istanbul: Du Secre\u0301taire D\u2019Ambassade A\u0300 L\u2019e\u0301rudit Traducteur \/ <strong>Arzu Etensel I\u0307ldem <\/strong>\u2013 Les signes pre\u0301curseurs de l\u2019esprit re\u0301formiste ottoman a\u0300 la lumie\u0300re des relations d\u2019ambassade et de la correspondance diplomatique \/ <strong>Gu\u0308lser C\u0327etin <\/strong>\u2013 Femmes de lettres franc\u0327aises et turques a\u0300 l\u2019a\u0302ge des Lumie\u0300res (une pre\u0301sentation socio-litte\u0301raire) \/ <strong>Jale Erlat <\/strong>\u2013 Nouveaux dialogues franc\u0327ais-turcs: un guide de conversation dans la Turquie de XIXe\u0300me sie\u0300cle\/ <strong>Nurmelek Demir <\/strong>\u2013 Le bagage culturel dans le roman de Victor Hugo : <em>Notre-Dame de Paris <\/em>\u2013 <strong>Ewa M. Wierzbowska <\/strong>\u2013 Les e\u0302tres en vertige : le paradigme aquatique et le personnel romanesque de <strong>Zola\/Jolanta Rachwalska von Rejchwald<\/strong>\u2013Images surre\u0301alistes \/ <strong>Aleksander Ablamowicz <\/strong>\u2013 Diego \u2019nun Eyleminde Yas\u0327am\u0131n ve O\u0308lu\u0308mu\u0308n De\ufffderi Albert Camus \/ <em>S\u0131k\u0131 Yo\u0308netim <\/em>\/ <strong>Hu\u0308lya Yetis\u0327ken <\/strong>\u2013 Malraux\u2019nun Altenburg\u2019un Ceviz <em>Ag\u0306ac\u0327lar\u0131 <\/em>Roman\u0131ndaki Enver Pas\u0327a \u201cGizemi\u201d ve Du\u0308s\u0327u\u0308ndu\u0308rdu\u0308kleri \/ <strong>Engin Bezci <\/strong>\u2013 Georges Brassens\u2019de <em>Yabani Ot<\/em>, As\u0327k ve Erotizm Tayflar\u0131 \/ <strong>Abidin Emre <\/strong>\u2013 Jacques Brel\u2019in Go\u0308zu\u0308nde ve So\u0308zu\u0308nde Kad\u0131nlar \/ <strong>Nizamettin Kasap <\/strong>\u2013 I\u0307ki Yazar, I\u0307ki Hu\u0308rrem Sultan Hika\u0302yesi \/ <strong>O\u0308zlem Kasap <\/strong>\u2013 O\u0308mer Seyfettin\u2019in <em>Bahar ve Kelebekler\u2019<\/em>i ile Maupassant\u2019\u0131n <em>Jadis <\/em>O\u0308yku\u0308leri Aras\u0131nda Bir Kars\u0327\u0131las\u0327t\u0131rma \/ <strong>Nihayet Arslan <\/strong>\u2013 Aleksandr Pus\u0327kin ve Na\u0302z\u0131m Hikmet \/ Ataol Behramo\ufffdlu \u2013 La lutte du \u00abBien\u00bb et du \u00abMal\u00bb dans <em>Sodome et Gomorrhe <\/em>de Proust, Yakup Kadri et Giraudoux \/ <strong>Kadir Bayrakc\u0327\u0131 <\/strong>\u2013 Ba\u0302z\u0131 Tu\u0308rk ve Frans\u0131z S\u0327airlerinde O\u0308lu\u0308m: Birkac\u0327 O\u0308rnek\/ <strong>A. Hamit Sunel <\/strong>\u2013 Bir S\u0327iir, Bir Roman: Kralic\u0327e Viktorya\u2019n\u0131n Du\u0308s\u0327u\u0308 &#8211; Fatih\u2019in Roman\u0131\/ <strong>Hale Seval <\/strong>\u2013 Orhan Pamuk\u2019un <em>I\u0307stanbul: Hat\u0131ralar ve S\u0327ehir\u2019i <\/em>: Alt Metinler Ac\u0327\u0131s\u0131ndan Bir I\u0307nceleme\/ <strong>Oya Batum Mentes\u0327e <\/strong>\u2013 Moires fileuses, moires gracieuses ou moires furieuses ? Me\u0301tamorphose du mythe dans la tradition litte\u0301raire et artistique \/ <strong>Efstratia Oktapoda <\/strong>\u2013 Al\u0131nt\u0131 ve Resim \/ <strong>Kubilay Aktulum <\/strong>\u2013 De la platitude \/ <strong>Olga Wronska <\/strong>\u2013 Diffe\u0301rence symbolique et difference ontologique (Marin Sorescu) \/ <strong>Lelia Trocan <\/strong>\u2013 La ligne gothique de Fulvio Caccia ou l\u2019Europe vue par un canadien d\u2019origine italienne \/ <strong>Ljiljana Matic <\/strong>\u2013 Faits et \/ ou effets de discours dans le langage des journalistes politiques blogueurs \/ Joanna <strong>Jereczek Lipinska <\/strong>\u2013 I\u0307ki Sinema Filmini Felsefeyle Anlamland\u0131rmak U\u0308zerine Bir Deneme \/ <strong>I\u0307smail Demirdo\u0308ven <\/strong>\u2013 Yahya Kemal <em>Fe\u0302tes Galantes\u2019<\/em>\u0131 Dog\u0306ru Anlad\u0131 m\u0131? \/ <strong>Kemal O\u0308zmen <\/strong>\u2013 \u201cSu\u0308rgu\u0308n Yaz\u0131n\u0131\u201d ve Oya Baydar Roman\u0131nda Bir Motif Olarak \u201cSu\u0308rgu\u0308n\u2019\u2019 \/ <strong>Onur Bilge Kula <\/strong>\u2013 Paris ve Osmanl\u0131 Ayd\u0131n\u0131: Tarihsel Dekordan Estetik Dekora Yans\u0131malar \/ Ahmet Altan\u2019\u0131n <em>K\u0131l\u0131c\u0327 Yaras\u0131 <\/em>ve <em>I\u0307syan Gu\u0308nlerinde As\u0327k <\/em>Romanlar\u0131 U\u0308zerine Bir I\u0307nceleme \/ <strong>Nazik Go\u0308ktas\u0327 <\/strong>\u2013 Bir Dergi : <em>Pre\u0301sence d\u2019Andre\u0301 Malraux <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XV) \/ DOSSIER CHARLES BAUDELAIRE (XV) Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (VI) \/ Tug\u0306rul I\u0307nal \u2013 Une Lecture Dramatique Pour Baudelaire (VI) \/ Tug\u0306rul I\u0307nal \u2013 La Ne\u0301vrose Subjective: Phe\u0301nome\u0301nologie De La Perception Chez Baudelaire Et Sartre \/ Judith Spencer \u2013 Baudelaire\u2019in Kaynaklar\u0131: Hoffmann ile Diderot, Palyac\u0327o ile Rahibe-II \/ M.&hellip;<\/p>\n","protected":false},"author":1,"featured_media":49,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-100","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sayilar"],"_links":{"self":[{"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/posts\/100","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/comments?post=100"}],"version-history":[{"count":1,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/posts\/100\/revisions"}],"predecessor-version":[{"id":101,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/posts\/100\/revisions\/101"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/media\/49"}],"wp:attachment":[{"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/media?parent=100"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/categories?post=100"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/tags?post=100"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}