{"id":96,"date":"2006-01-01T00:00:47","date_gmt":"2005-12-31T21:00:47","guid":{"rendered":"http:\/\/www.frankofoni.com.tr\/?p=96"},"modified":"2024-07-01T15:34:10","modified_gmt":"2024-07-01T12:34:10","slug":"ortak-kitap-no-18-2006","status":"publish","type":"post","link":"https:\/\/www.frankofoni.com.tr\/en\/ortak-kitap-no-18-2006\/","title":{"rendered":"Ortak Kitap No : 18 &#8211; 2006"},"content":{"rendered":"<p><strong>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XIII) \/ DOSSIER CHARLES BAUDELAIRE (XIII)<\/strong><\/p>\n<p>Bir Okuma O\u0308nerisi Olarak Empati Yo\u0308ntemi \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013 Une proposition de me\u0301thode de lecture: l\u2019approche empathique \/ Tug\u0306rul I\u0307nal \u2013 Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (IV) \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\/ <em>Ko\u0308tu\u0308lu\u0308k C\u0327ic\u0327ekleri\u2019<\/em>nde Mitolojik Go\u0308ru\u0308nu\u0308mler \u2013 <strong>Nedim Kula <\/strong>\u2013 LE CHAT (XXXIV). Kedi \/ <strong>Abidin Emre<\/strong><\/p>\n<p><strong>JEAN-PAUL SARTRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 \/ DOSSIER JEAN-PAUL SARTRE<\/strong><\/p>\n<p><em>Bulant\u0131: <\/em>I\u0307leri Sanayi Toplumu I\u0307nsan\u0131n\u0131n Roman\u0131 \/ <strong>Ekrem Aksoy <\/strong>\u2013 Filozof Olarak Jean-Paul Sartre \/ <strong>I\u0307smail H. Demirdo\u0308ven <\/strong>\u2013 Mitoslar ve Sartre\u2019in Paradoksu \/ <strong>Kemal O\u0308zmen <\/strong>\u2013 O\u0308rnek Bir Entelektu\u0308el: Sartre Yu\u0308z Yas\u0327\u0131nda \/ <strong>Mehmet Ali K\u0131l\u0131c\u0327bay<\/strong><\/p>\n<p><strong>C\u0327ES\u0327I\u0307TLI\u0307 I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GE\u0301NE\u0301RALES<\/strong><\/p>\n<p>Yaz\u0131nkuramsal bir Sorunsal: Dilsel Kurgu ve Yaz\u0131nsall\u0131k-Kurgusall\u0131k I\u0307lis\u0327kisi \/ <strong>Onur Bilge Kula <\/strong>\u2013 Yeniden Yazmak \/ <strong>Kubilay Aktulum <\/strong>\u2013 Dilsel Varolus\u0327 (Dilsel Go\u0308stergenin Dil D\u0131s\u0327\u0131na Yans\u0131t\u0131lmas\u0131 Konusunda Bir Yorum \/ <strong>Armag\u0306an Ethemog\u0306lu <\/strong>\u2013 Marie de France\u2019\u0131n <em>Guigemar, Lanval ve Yonec\u2019<\/em>inde Gerc\u0327ek Du\u0308nya ile O\u0308teki Du\u0308nyalar Aras\u0131ndaki Yolculuk\/ <strong>Hande Sadun <\/strong>\u2013 Amerika\u2019da Modern Sanat\u0131n\u0131n Dog\u0306us\u0327una Bir Bak\u0131s\u0327 \/ <strong>Ufuk O\u0308zdag\u0306 <\/strong>\u2013 Aspects ne\u0301gatifs de l\u2019ambition de Julien Sorel dans Le Rouge et Le Noir de Stendhal\/ <strong>Emel O\u0308zkaya <\/strong>\u2013 La nouvelle fantastique au XIXe sie\u0300cle: le je de l\u2019ambiguite\u0301 et du non-dit\/ <strong>Katarzyna Gadomska <\/strong>\u2013 Le corps-obstacle. Le paradigme de l\u2019exclusion dans Le <em>Ventre de Paris <\/em>d\u2019Emile Zola \/ <strong>Jolanta Rachwalska von Rejchwald <\/strong>\u2013 La me\u0301taphore pre\u0301cieuse dans le discours dramatique de Giraudoux \/ <strong>Arzu Etensel I\u0307ldem <\/strong>\u2013 Andre\u0301 Malraux explorateur a\u0300 la recherche de la capitale de la Reine de Saba. De l\u2019arche\u0301ologie ae\u0301rienne au reportage litte\u0301raire \/ <strong>Abdelaziz Bennis <\/strong>\u2013 <em>Ku\u0308c\u0327u\u0308k Prens <\/em>ve I\u0307nsan I\u0307c\u0327in U\u0308c\u0327 Farkl\u0131 Yas\u0327ama Tarz\u0131 \/ <strong>Hu\u0308lya Yetis\u0327ken <\/strong>\u2013 Nichita et la <em>Poe\u0301tique du Vol <\/em>\/ <strong>Lelia Trocan <\/strong>\u2013 Les villes dans l\u2019\u0153uvre de Nai\u0308m Kattan ou le monde est un village global \/ <strong>Ljiljana Matic <\/strong>\u2013 La repre\u0301sentation plurielle de la ville chez Michel Butor \/ <strong>Duran I\u0307c\u0327el <\/strong>\u2013 Nathalie Sarraute\u2019un C\u0327ocukluk\u2019u: Eles\u0327tirel ya da Kars\u0327\u0131 Bir O\u0308zyas\u0327amo\u0308yku\u0308su\u0308 \/ <strong>Zeynep Mennan <\/strong>\u2013 <em>Hugoliade <\/em>d\u2019lonesco ou le prototype d\u2019un Nouveau The\u0301a\u0302tre \/ <strong>Arzu Kunt <\/strong>\u2013 <em>Murphy\u2019<\/em>nin Pes\u0327inde: Varl\u0131k ve Hic\u0327lig\u0306in Bir Aray\u0131s\u0327\u0131 \/ <strong>Aytu\u0308l O\u0308zu\u0308m <\/strong>\u2013 Du\u0308zen \/ Du\u0308zensizlik Oyunu : Bernard-Marie Koltes\u2019in <em>C\u0327o\u0308le Do\u0308nu\u0308s\u0327\u2019<\/em>u\u0308 \/ <strong>Ayten Er <\/strong>\u2013 Jean-Christophe Rufin\u2019in Rouge <em>Bre\u0301sil <\/em>adl\u0131 Roman\u0131nda Tarih ve Kurgu \/ <strong>Mu\u0308kremin Yaman <\/strong>\u2013 Ezra Pound, Arthur Rimbaud ve <em>O\u0308teki Gelenek <\/em>\/ <strong>Ayc\u0327a Germen <\/strong>\u2013 Le ro\u0302le des drogmans dans la formation de l\u2019image du Turc en Occident \/ <strong>Serhat Ulag\u0306l\u0131 <\/strong>\u2013 Tevfik Fikret\u2019in Coppe\u0301e Etkisiyle Yazd\u0131g\u0306\u0131 S\u0327iirler \/ <strong>Abdu\u0308lhalim Ayd\u0131n <\/strong>\u2013 Melih Cevdet Anday\u2019\u0131n <em>Mu\u0308fettis\u0327ler <\/em>ve lonesco\u2019nun <em>Sandalyeler (Les Chaises) <\/em>Adl\u0131 Oyunlar\u0131nda I\u0307nsan I\u0307lis\u0327kileri \/ <strong>Na\u0302la\u0302n Genc\u0327 <\/strong>\u2013 <em>Bir Kad\u0131n Du\u0308s\u0327man\u0131\u2019<\/em>n\u0131 Balzac\u2019\u0131n Beden Diliyle Okumak \/ <strong>Bahattin S\u0327eker <\/strong>\u2013 Le the\u0301me de l\u2019amour chez Yachar Kemal \/ <strong>Seza Y\u0131lanc\u0131og\u0306lu <\/strong>\u2013 Amin Maalouf: <em>Yollar\u0131n Bas\u0327lang\u0131c\u0131 <\/em>\u2013 <strong>Ays\u0327e Alper. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XIII) \/ DOSSIER CHARLES BAUDELAIRE (XIII) Bir Okuma O\u0308nerisi Olarak Empati Yo\u0308ntemi \/ Tug\u0306rul I\u0307nal \u2013 Une proposition de me\u0301thode de lecture: l\u2019approche empathique \/ Tug\u0306rul I\u0307nal \u2013 Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (IV) \/ Tug\u0306rul I\u0307nal \/ Ko\u0308tu\u0308lu\u0308k C\u0327ic\u0327ekleri\u2019nde Mitolojik Go\u0308ru\u0308nu\u0308mler \u2013 Nedim Kula \u2013 LE CHAT (XXXIV). Kedi \/&hellip;<\/p>\n","protected":false},"author":1,"featured_media":49,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-96","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\/96","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=96"}],"version-history":[{"count":1,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/posts\/96\/revisions"}],"predecessor-version":[{"id":97,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/posts\/96\/revisions\/97"}],"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=96"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/categories?post=96"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/en\/wp-json\/wp\/v2\/tags?post=96"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}