{"id":114,"date":"2015-01-01T00:00:07","date_gmt":"2014-12-31T21:00:07","guid":{"rendered":"http:\/\/www.frankofoni.com.tr\/?p=114"},"modified":"2019-10-29T20:57:26","modified_gmt":"2019-10-29T17:57:26","slug":"ortak-kitap-no-27-2015","status":"publish","type":"post","link":"https:\/\/www.frankofoni.com.tr\/en\/ortak-kitap-no-27-2015\/","title":{"rendered":"Ortak Kitap No : 27 – 2015"},"content":{"rendered":"

CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XXII) \/ DOSSIER CHARLES BAUDELAIRE (XXII)<\/strong><\/p>\n

Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (XIII) \/ Tug\u0306rul I\u0307nal <\/strong>– Baudelaire\u2019in S\u0327iirinde S\u0327airin Varl\u0131g\u0306\u0131 \/ Nedim Kula <\/strong>\u2013 Pac\u0327avrac\u0131lar\u2019\u0131n S\u0327arab\u0131\u2019<\/em>nda Duygu C\u0327o\u0308zu\u0308mlemesi \/ Yavuz K\u0131z\u0131lc\u0327im \u2013 <\/strong>Baudelaire ve Oryantalizm \/ P\u0131nar Aka \u2013 <\/strong>Wordsworth\u2019u\u0308n Romantik S\u0327airi ve Baudelaire\u2019in Modern Sanatc\u0327\u0131s\u0131 Aras\u0131ndaki Benzerlikler \/ Bircan S\u0131k\u0131k <\/strong><\/p>\n

CAHI\u0307T SITKI TARANCI DOSYASI \/ DOSSIER CAHI\u0307T SITKI TARANCI<\/strong><\/p>\n

Cahit S\u0131tk\u0131 Taranc\u0131 I\u0307c\u0327in Dramatik Bir Okuma \/ Tug\u0306rul I\u0307nal <\/strong>\u2013 Cahit S\u0131tk\u0131\u2019n\u0131n S\u0327iirinde Mitolojik Yas\u0327am C\u0327ark\u0131 \/ Aynur Koc\u0327ak <\/strong>\u2013 Ku\u0308ltu\u0308rel Etkiles\u0327im Bag\u0306lam\u0131nda Otuz Bes\u0327 Yas\u0327 <\/em>S\u0327iiri \/ Tu\u0308lin Arseven <\/strong>\u2013 Cahit S\u0131tk\u0131\u2019da Anima I\u0307mgesine Dair Bir Okuma Denemesi \/ Ece Onural<\/strong><\/p>\n

C\u0327ES\u0327I\u0307TLI\u0307 I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GE\u0301NE\u0301RALES<\/strong><\/p>\n

Voltaire ve I\u0307nsan Haklar\u0131 \/ Sibel Bozbeyog\u0306lu <\/strong>\u2013 Nerval\u2019in Aurelia\u2019<\/em>s\u0131n\u0131n Arketipik Sembolizm Ac\u0327\u0131s\u0131ndan C\u0327o\u0308zu\u0308mlenmesi \/ Abdulhalim Ayd\u0131n <\/strong>\u2013 Maurice Dekobra et La Turquie \/ Claude-Alain Chevallier <\/strong>\u2013 Poe\u0301sie et geste (in)augural chez Lorand Gaspar \/ Glen W. Fetzer <\/strong>\u2013 \u201cOulipo\u201dcu Bir Okuma Denemesi: As\u0327ktan Bu Kadar \/ <\/em>Hanife Na\u0302la\u0302n Genc\u0327 <\/strong>\u2013 De \/ e\u0301criture blanche d\u2019Albert Camus a\u0300 \/ l\u2019e\u0301criture plate <\/em>d\u2019Annie Ernaux \/ Eylem Aksoy Alp <\/strong>\u2013 Annie E\u0301rnaux\u2019nun La Place\u2019<\/em>\u0131 Aidiyetle Kimlik Aras\u0131nda Bir Hayat Dersi \/ Fatma Kaba <\/strong>\u2013 Les De\u0301soriente\u0301s <\/em>d\u2019Amin Maalouf: L\u2019impossible retour de l\u2019exil \/ Arzu Etensel I\u0307ldem <\/strong>\u2013 Les jeux du miroir dans le re\u0301cit fantastique d\u2019Anne Dugue\u0308l \/ Agnieszka Loska <\/strong>\u2013 Gae\u0308tan Brulotte, mai\u0302tre des mots ou le pouvoir des mots dans L\u2019emprise \/ <\/em>Ljiljana Matic <\/strong>\u2013 Symbole et myste\u0300re \/ Lelia Trocan <\/strong>\u2013 Mu\u0308zik ve Metinleraras\u0131l\u0131k IV S\u0327ark\u0131 So\u0308zlerinde Yaz\u0131nsal\u0131n I\u0307zleri: Hube\u0301rt-Fe\u0301lix Thie\u0301phaine ve Serge Gainsbourg \/ Kubilay Aktulum <\/strong>\u2013 Nazan Bekirog\u0306lu\u2019nun I\u0307simle Ates\u0327 Aras\u0131nda <\/em>Adl\u0131 Roman\u0131nda Metinleraras\u0131 I\u0307lis\u0327kiler (II) \/ Medine Sivri-Fulya C\u0327elik <\/strong>\u2013 Bir Parrhesiastes Olarak Diogenes \/ <\/em>Nazile Kalayc\u0131 <\/strong>\u2013 Refik Halit Karay\u2019\u0131n Nilgu\u0308n <\/em>Roman\u0131nda I\u0307dealles\u0327tirilen Kad\u0131n ve Delilik \/ Hila\u0302l Ayd\u0131n <\/strong>\u2013 Hilmi Yavuz\u2019un S\u0327iirlerinde I\u0307lkyaz, Yaz, Sonyaz ve Karyaz\u0131 (II) \/ Tu\u0308rka\u0302n Yes\u0327ilyurt <\/strong>\u2013 Du\u0308n ve Ferda\u2019<\/em>da Kad\u0131n I\u0307mgesi ve Zaman \/ Sevim Akten <\/strong>\u2013 Maeterlinck ve Modern Dram Krizi \/ Damla S\u0327ikel <\/strong>\u2013 Les Mains sales : <\/em>Une Liberte\u0301 en situation, autour d\u2019un crime controverse\u0301 \/ O\u0308zlem Kasap – Nizamettin Kasap <\/strong>\u2013 Une pie\u0300ce historique d\u2019Adamov: Paolo Paoli \/ <\/em>S\u0327engu\u0308l Kocaman <\/strong>\u2013 Warda <\/em>ou la construction\/de\u0301construction du personnage vide\u0301 de son \u201cmoi\u201d \/ O\u0308zlem Kasap <\/strong>\u2013 La conception du personnage absent <\/em>chez Kolte\u0300s et Lagarce \/ Damla S\u0327ikel <\/strong>\u2013 Orhan Veli\u2019nin Frans\u0131zca\u2019dan Yapt\u0131g\u0306\u0131 S\u0327iir C\u0327evirileri U\u0308zerine \/ Kemal O\u0308zmen <\/strong>\u2013 Ziyan <\/em>de Hakan Gu\u0308nday: Une expe\u0301rience intutive de traduction \/ Pierre Bastin <\/strong>\u2013 Les me\u0301canismes discursifs du sens et de signification; de compre\u0301hension et d\u2019interpre\u0301tation dans la perspective d\u2019e\u0301tudes sur la traduction automatique \/ Joanna Jereczek-Lipinska <\/strong>\u2013 Essai d\u2019analysse traductologique par le biais des outils ethnome\u0301thodologiques \/ Beki Haleva <\/strong>\u2013Yas\u0327am, Yaz\u0131n ve Yaz\u0131n C\u0327evirisi I\u0307c\u0327in Go\u0308sterge Okuma \/ Su\u0308ndu\u0308z O\u0308ztu\u0308rk Kasar – Didem Tuna <\/strong>\u2013 Klasik Do\u0308nemden Ortac\u0327ag\u0306a Eg\u0306itim Kurumlar\u0131 \/ Damla S\u0327ikel – Jale Erlat <\/strong>\u2013 Rapor \/ Muhsine Helimog\u0306lu Yavuz. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XXII) \/ DOSSIER CHARLES BAUDELAIRE (XXII) Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (XIII) \/ Tug\u0306rul I\u0307nal – Baudelaire\u2019in S\u0327iirinde S\u0327airin Varl\u0131g\u0306\u0131 \/ Nedim Kula \u2013 Pac\u0327avrac\u0131lar\u2019\u0131n S\u0327arab\u0131\u2019nda Duygu C\u0327o\u0308zu\u0308mlemesi \/ Yavuz K\u0131z\u0131lc\u0327im \u2013 Baudelaire ve Oryantalizm \/ P\u0131nar Aka \u2013 Wordsworth\u2019u\u0308n Romantik S\u0327airi ve Baudelaire\u2019in Modern Sanatc\u0327\u0131s\u0131 Aras\u0131ndaki Benzerlikler \/ Bircan S\u0131k\u0131k…<\/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-114","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\/114","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=114"}],"version-history":[{"count":1,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/posts\/114\/revisions"}],"predecessor-version":[{"id":115,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/posts\/114\/revisions\/115"}],"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=114"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/categories?post=114"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/tags?post=114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}