{"id":110,"date":"2013-01-01T00:00:07","date_gmt":"2012-12-31T21:00:07","guid":{"rendered":"http:\/\/www.frankofoni.com.tr\/?p=110"},"modified":"2019-10-29T20:54:12","modified_gmt":"2019-10-29T17:54:12","slug":"ortak-kitap-no-25-2013","status":"publish","type":"post","link":"https:\/\/www.frankofoni.com.tr\/fr\/ortak-kitap-no-25-2013\/","title":{"rendered":"Ortak Kitap No : 25 &#8211; 2013"},"content":{"rendered":"<p><strong>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XX) \/ DOSSIER CHARLES BAUDELAIRE (XX)<br \/>\n<\/strong>Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (XI) \/ <strong>Tug\u0306rul I\u0307nal \u2013 <\/strong>Baudelaire\u2019de <em>Kalabal\u0131klar: <\/em>Toplumbilimsel Yaklas\u0327\u0131m \/ <strong>M. Emin O\u0308zcan <\/strong>\u2013 Baudelaire\u2019de Dog\u0306an\u0131n I\u0307s\u0327levsizlig\u0306i \/ <strong>Nedim Kula<\/strong><\/p>\n<p><strong>C\u0327ES\u0327I\u0307TLI\u0307 I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GENE\u0301RALES<\/strong><\/p>\n<p>Sanat ve Yarat\u0131c\u0131l\u0131k \/ <strong>Burhan Gu\u0308nel \u2013 <\/strong>I\u0307lk I\u0307nsandan Gu\u0308nu\u0308mu\u0308ze O\u0308lu\u0308msu\u0308zlu\u0308k \/ <strong>Ekrem Aksoy <\/strong>\u2013 Kurgudan Sahneye <em>O\u0308lu\u0308 Canlar <\/em>\/ <strong>Hanife Nalan Genc\u0327 <\/strong>\u2013 \u201cInstrusion\u201d dans un sonnet de Mallarme\u0301 \/ <strong>Claude-Alain Chevallier <\/strong>\u2013 Segalen ou la passion de la diffe\u0301rence : le concept a\u0300 l\u2019\u0153uvre dans l\u2019<em>Essai sur l\u2019exotisme <\/em>\/ <strong>Jean-Pierre Zarader <\/strong>\u2013 Gerc\u0327eku\u0308stu\u0308cu\u0308lu\u0308g\u0306u\u0308n Felsefesine Bir Giris\u0327 \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013 La Nostalgie du paradis perdu dans <em>La Vieillesse <\/em>de Simone de Beauvoir \/ <strong>Graziella-Foteini Kastellanou <\/strong>\u2013 <em>La Malentendu <\/em>de l\u2019incommunicasibilte\u0301 a\u0300 une mort \u201cabsurde\u201d \/ <strong>Nizamettin Kasap <\/strong>\u2013 O\u0308lu\u0308mu\u0308n Go\u0308lgesindeki Kad\u0131n \/ <strong>Aylin Bayrakc\u0327eken Ak\u0131n <\/strong>\u2013 Du tragique et du comique dans <em>Fin de partie <\/em>de Beckett \/ <strong>S\u0327engu\u0308l Kocaman <\/strong>\u2013 Quand \u201cla morale est remplace\u0301e par l\u2019esthe\u0301tique de la sce\u0300ne\u201d: <em>Les Paravents, <\/em>guerre contre\/pour l\u2019abject \/ <strong>O\u0308zlem Kasap <\/strong>\u2013 Dany Laferrie\u0300rre : Noir et blanc a\u0300 Montre\u0300al \/ <strong>Arzu Etensel I\u0307ldem <\/strong>\u2013 Ecrire avec la voix du peuple: Le cas d \u2018Annie Ernaux \/ <strong>Eylem Aksoy Alp <\/strong>\u2013 Le monde grotesque dans <em>Instruments des te\u0301ne\u0300bres, Dolce agonia et Une Adoration <\/em>de Nancy Huston \/ <strong>I\u0307zabela Front <\/strong>\u2013 Le ne\u0301ofantastique belge: le cas d\u2019Anne Dugue\u0308l. Existe \u2013 il un fantastique au fe\u0301minin, un fantastique <em>\u201cgender\u201d, <\/em>un fantastique fe\u0301ministe? \/ <strong>Katarzyna Gadomska <\/strong>\u2013 Le \u201cmiroir\u201d des souvenirs ou le message altruiste de Ljubica Milic\u0301evic\u0301 aux enfants et aux adolescents \/ <strong>Ljilana Matic <\/strong>\u2013 La nostalgie ou le double sens du \u201cmal du pays\u201d de l\u2019ex-patrie\u0301 a\u0300 travers la litte\u0301rature grecque de la migration \/ <strong>Olympia G. Antoniadou <\/strong>\u2013 Simgesel Du\u0308s\u0327u\u0308nce Ac\u0327\u0131s\u0131ndan Has\u0327im\u2019in M<em>erdiven <\/em>S\u0327iirini Bir Yeniden Okuma Denemesi \/ <strong>Abdu\u0308lhalim Ayd\u0131n <\/strong>\u2013 Tahsin Yu\u0308cel\u2019in <em>Go\u0308kdelen <\/em>Adl\u0131 Roman\u0131nda Uzam\u0131n Du\u0308s\u0327u\u0308ngu\u0308sel Anlam\u0131 \/ <strong>Haluk Turgut <\/strong>\u2013 <em>\u201cEcce Homo Maria\u201d <\/em>ya da Ferit Edgu\u0308\u2019de Az\u0131n C\u0327oklug\u0306u \/ <strong>Kemal O\u0308zmen <\/strong>\u2013 Haydar Ergu\u0308len\u2019den As\u0327k\u0131n Avlusunda Yaz\u0131lan <em>As\u0327k S\u0327iirleri Antolojisi <\/em>\/ <strong>Ha\u0302le Seval <\/strong>\u2013 Nedim Gu\u0308rsel\u2019in <em>Allah\u2019\u0131n K\u0131zlar\u0131 <\/em>\/ <strong>Medine Sivri <\/strong>\u2013 Orhan Pamuk\u2019un <em>Benim Ad\u0131m K\u0131rm\u0131z\u0131 <\/em>Adl\u0131 Roman\u0131nda I\u0307nsan-Varl\u0131k Bilgisi C\u0327o\u0308zu\u0308mlemesi \/ <strong>Ha\u0302le Seval <\/strong>\u2013 Les discours de voyage : Alternances entre le ve\u0301cu et le connu \/ <strong>Buket Alt\u0131nbu\u0308ken <\/strong>\u2013 C\u0327eviri\u2019de Anlam : <em>Yorumlay\u0131c\u0131 Anlam Kuram\u0131 <\/em>Is\u0327\u0131g\u0306\u0131nda Bir Sorunsallas\u0327t\u0131rma ve Gerekc\u0327elendirme Denemesi \/ <strong>Nazik Go\u0308ktas\u0327 <\/strong>\u2013 Mu\u0308zik ve Metinleraras\u0131l\u0131k (II) : Kuram \/ <strong>Kubilay Aktulum <\/strong>\u2013 Varolan\u0131n Dog\u0306as\u0131na Yolculuk Olarak Sanat U\u0308zerine Bir Deneme \/ <strong>I\u0307smail Demirdo\u0308ven <\/strong>\u2013 Bir Baudelaire C\u0327evirisi : Hilmi Yavuz \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013 Les Annales \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013 La revue FRANKOFONI\u0307 dans l\u2019e\u0301dition internationale \/ <strong>Anissa Benzakour Chami. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XX) \/ DOSSIER CHARLES BAUDELAIRE (XX) Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (XI) \/ Tug\u0306rul I\u0307nal \u2013 Baudelaire\u2019de Kalabal\u0131klar: Toplumbilimsel Yaklas\u0327\u0131m \/ M. Emin O\u0308zcan \u2013 Baudelaire\u2019de Dog\u0306an\u0131n I\u0307s\u0327levsizlig\u0306i \/ Nedim Kula C\u0327ES\u0327I\u0307TLI\u0307 I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GENE\u0301RALES Sanat ve Yarat\u0131c\u0131l\u0131k \/ Burhan Gu\u0308nel \u2013 I\u0307lk I\u0307nsandan Gu\u0308nu\u0308mu\u0308ze O\u0308lu\u0308msu\u0308zlu\u0308k \/ Ekrem Aksoy \u2013&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-110","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\/110","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=110"}],"version-history":[{"count":1,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/110\/revisions"}],"predecessor-version":[{"id":111,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/110\/revisions\/111"}],"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=110"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/categories?post=110"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/tags?post=110"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}