{"id":102,"date":"2009-01-01T00:00:20","date_gmt":"2008-12-31T21:00:20","guid":{"rendered":"http:\/\/www.frankofoni.com.tr\/?p=102"},"modified":"2019-10-29T20:47:36","modified_gmt":"2019-10-29T17:47:36","slug":"ortak-kitap-no-21-2009","status":"publish","type":"post","link":"https:\/\/www.frankofoni.com.tr\/fr\/ortak-kitap-no-21-2009\/","title":{"rendered":"Ortak Kitap No : 21 &#8211; 2009"},"content":{"rendered":"<p><strong>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XV) \/ DOSSIER CHARLES BAUDELAIRE (XVI)<br \/>\n<\/strong>Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (VII) \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013 Ben Charles\u2019in Annesiyim \/ <strong>A. Hamit Sunel <\/strong>\u2013 <em>\u201cDeniz Feneri\u201d<\/em>nin Is\u0327\u0131g\u0306\u0131nda Sanat\u0131n Gu\u0308cu\u0308 \/ <strong>Nedim Kula <\/strong>\u2013 C\u0327eviri Ne Yapar\/ <strong>Fahrettin Arslan MARGUERITE DURAS O\u0308ZEL BO\u0308LU\u0308MU\u0308 (II) \/ DOSSIER MARGUERITE DURAS (II) <\/strong>L\u2019Autobiographie dans les \u0153uvres romanesques de Marguerite Duras \/ <strong>Roxaneh Naghshi <\/strong>\u2013 <em>Un Barrage contre le Pacificique: <\/em>L\u2019\u0153uvre matrice ou l\u2019imbrication originelle de re\u0301el et du fictif chez Duras \/ <strong>Hamid Drissi <\/strong>\u2013 Marguerite Duras: Reine masque\u0301e \/ <strong>Tug\u0306rul I\u0307nal<\/strong><\/p>\n<p><strong>NURULLAH ATAC\u0327 O\u0308ZEL BO\u0308LU\u0308MU\u0308 \/ DOSSIER NURULLAH ATAC\u0327<br \/>\n<\/strong>Nurullah Atac\u0327 U\u0308zerine \/ <strong>Mustafa Canpolat <\/strong>\u2013 Bir Atac\u0327 \u201cDeneme\u201dsi \/ <strong>O\u0308zkan Go\u0308ksu<\/strong><\/p>\n<p><strong>C\u0327ES\u0327I\u0307TLI\u0307 I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GE\u0301NE\u0301RALES<br \/>\n<\/strong>La re\u0301forme linguistique en Turquie \/ <strong>Tahsin Yu\u0308cel <\/strong>\u2013 <em>Galata <\/em>ve <em>Pera <\/em>Kendini Anlat\u0131r I\u0307lhan Berk\u2019e \/ <strong>Kemal O\u0308zmen <\/strong>\u2013 <em>Benim Ad\u0131m K\u0131rm\u0131z\u0131-Mon nom est Rouge: <\/em>Rencontre des orte\u0300vres- Ecrivain- traducteur-lecteur \/ <strong>Tanju I\u0307nal-Mu\u0308mtaz Kaya <\/strong>\u2013 Mu\u0308zik O\u0308rneg\u0306inde Dil, U\u0308stdil, Kurgusal Dil, Yarat\u0131c\u0131 U\u0308stdil \/ <strong>Burhan Gu\u0308nel <\/strong>\u2013 \u201cEfendi ile Ko\u0308le I\u0307lis\u0327kisi\u201d ya da Yaz\u0131nsal Malzemenin Felsefi Bir Kurama Do\u0308nu\u0308s\u0327u\u0308mu\u0308 \/ <strong>Onur Bilge Kula <\/strong>\u2013 Yaz\u0131nda \u201cDekonstru\u0308ksiyon\u201d Kavram\u0131 \/ <strong>Oktay Saydam <\/strong>\u2013 Benzerini Yapma \/ <strong>Kubilay Aktulum <\/strong>\u2013 Felsefe ile Deneme \/ <strong>Ahmet I\u0307nam <\/strong>\u2013 Yarat\u0131l\u0131s\u0327 So\u0308ylencelerinde Yumurta O\u0308gesine Kars\u0327\u0131las\u0327t\u0131rmal\u0131 Bir Yaklas\u0327\u0131m \/ <strong>Medine Sivri-Arzu Yetim <\/strong>\u2013 De l\u2019esclave bon sauvage a\u0300 l\u2019esclave Marron: Re\u0301flexions sur l\u2019image de l\u2019esclave dans les litte\u0301ratures franc\u0327aise et antillaise \/ <strong>Arzu Etensel I\u0307ldem <\/strong>\u2013 Diderot, pre\u0301curseur de Freud \/ <strong>Claude- alain Chevallier <\/strong>\u2013 Femmes de lettres franc\u0327aises et turques au XIXe\u0300me sie\u0300cle \/ <strong>Jale Erlat <\/strong>\u2013 Fascnitaions me\u0301die\u0301vales: Berent et Hugo \/ <strong>Ewa M. Wierbowska <\/strong>\u2013 <em>Le Chef d\u2019\u0153uvre inconu <\/em>et le re\u0301alisme de Balzac \/ <strong>H. Necmi O\u0308ztu\u0308rk <\/strong>\u2013 Analyse se\u0301miotique d\u2019un dialogue dans <em>He\u0301roidas <\/em>de Gustave Flaubert \/ <strong>Buket Alt\u0131nbu\u0308ken <\/strong>\u2013 Du\u0308zyaz\u0131 S\u0327iiri Mus\u0327tulayan Bir Bas\u0327yap\u0131t: <em>Gaspard de la Nuit <\/em>\/ <strong>Abidin Emre <\/strong>\u2013 Une esthe\u0301tique de l\u2019ouvert-ferme\u0301 et du circulaire dans <em>Electre <\/em>de J. Giraudoux et Tueur sans gages de E. Lonesco\/ <strong>Ange\u0301lique Confidou <\/strong>\u2013 Paul Claudel: Voyageur- diplomate et l\u2019Empire du milieu \/ <strong>Efstratia Oktopoda <\/strong>\u2013 <em>Le Grand Meaulnes <\/em>d\u2019Alain-Fournier: le roman a\u0300 maintes facettes\/ <strong>Ljiljana Matic <\/strong>\u2013 Camus: <em>Yabanc\u0131\u2019<\/em>n\u0131n Do\u0308rt C\u0327evirisi ve Mizahi O\u0308g\u0306elerin C\u0327evirilebilirlig\u0306i \/ <strong>Nazik Go\u0308ktas\u0327 <\/strong>\u2013 Ionesco Tiyatrosunda Uzam\u0131n Fantastik Yo\u0308nu\u0308 \/ <strong>Ayd\u0131n Ertekin <\/strong>\u2013 E\u0301crire au plus pre\u0300s de l\u2019humain \/ <strong>Be\u0301atrice Libert <\/strong>\u2013 La syntaxe comme un des lieux privile\u0301gie\u0301s de manifestation des transformations dans le discours politique \/ <strong>Joanna Jereczek-Lipinska <\/strong>\u2013 La Spiritualite\u0301 roumaine et le fonds des valeurs universelles \/ <strong>Lelia Trocan <\/strong>\u2013 Le chronotope science-fictionnesque; quelques remarques sur les rapports temps\/espace dans la science- fiction \/ <strong>Katarzyna Gadomska <\/strong>\u2013 Michel Houllebecq: Un moderniste antimoderne \/ <strong>Marek Mosakowski <\/strong>\u2013 E\u0301criture surre\u0301aliste et investigations sensibles de soi \/ <strong>Jean-Michel Deve\u0301sa <\/strong>\u2013 Le regard comme un e\u0301le\u0301ment identitaire dans <em>Truismes <\/em>de Marie Darrieussecq \/ <strong>Katarzyna Kotowska <\/strong>\u2013 Marc Twain\u2019in <em>Huckleberry Finn\u2019<\/em>in <em>Maceralar\u0131\u2019<\/em>nda Gerc\u0327ekc\u0327i O\u0308g\u0306eler ve Romantizm Eles\u0327tirisi \/ <strong>Abdulhalim Ayd\u0131n <\/strong>\/ La de\u0301sinte\u0301gration de l\u2019Empire ottoman selon les te\u0301moignages par Bertrand Bareilles dans les <em>Turcs <\/em>\/ <strong>Gu\u0308lser C\u0327etin. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XV) \/ DOSSIER CHARLES BAUDELAIRE (XVI) Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (VII) \/ Tug\u0306rul I\u0307nal \u2013 Ben Charles\u2019in Annesiyim \/ A. Hamit Sunel \u2013 \u201cDeniz Feneri\u201dnin Is\u0327\u0131g\u0306\u0131nda Sanat\u0131n Gu\u0308cu\u0308 \/ Nedim Kula \u2013 C\u0327eviri Ne Yapar\/ Fahrettin Arslan MARGUERITE DURAS O\u0308ZEL BO\u0308LU\u0308MU\u0308 (II) \/ DOSSIER MARGUERITE DURAS (II) L\u2019Autobiographie dans les&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-102","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sayilar"],"_links":{"self":[{"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/102","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/comments?post=102"}],"version-history":[{"count":1,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/102\/revisions"}],"predecessor-version":[{"id":103,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/102\/revisions\/103"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/media\/49"}],"wp:attachment":[{"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/media?parent=102"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/categories?post=102"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/tags?post=102"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}