{"id":112,"date":"2014-01-01T00:00:19","date_gmt":"2013-12-31T21:00:19","guid":{"rendered":"http:\/\/www.frankofoni.com.tr\/?p=112"},"modified":"2019-10-29T20:55:58","modified_gmt":"2019-10-29T17:55:58","slug":"ortak-kitap-no-26-2014","status":"publish","type":"post","link":"https:\/\/www.frankofoni.com.tr\/fr\/ortak-kitap-no-26-2014\/","title":{"rendered":"Ortak Kitap No : 26 &#8211; 2014"},"content":{"rendered":"<p>Bir Okuma O\u0308nerisi Olarak Empati Yo\u0308ntemi (II) \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013L\u2019approche empathique comme me\u0301thode de lecture (II) \/ <strong>Tug\u0306rul I\u0307nal <\/strong><\/p>\n<p><strong>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XXI) \/ DOSSIER CHARLES BAUDELAIRE (XXI)<\/strong><\/p>\n<p>Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (XII) \/ <strong>Tug\u0306rul I\u0307nal \u2013 <\/strong>Baudelaire\u2019in Kaynaklar\u0131 \/ <strong>M. Emin O\u0308zcan <\/strong>\u2013 De george Sand a\u0300 Baudelaire : Une source fort probable de <em>Be\u0301ne\u0301diction <\/em>et de <em>Recueillement <\/em>\/ <strong>Claude-Alain Chevallier <\/strong>\u2013 Baudelaire ve Yahya Kemal\u2019in S\u0327air Duyarl\u0131l\u0131g\u0306\u0131nda Sonbahar Mevsiminin Bask\u0131n Varl\u0131g\u0306\u0131 \/ <strong>Nedim Kula <\/strong>\u2013 Yahya Kemal, Baudelaire ve S\u0327iirin Yolculug\u0306u \/ <strong>P\u0131nar Aka <\/strong>\u2013 Baudelaire\u2019de Dag\u0306 I\u0307mgesi : Simgeles\u0327tirme ve Tasar\u0131m Etkinlig\u0306i \/ <strong>Yavuz K\u0131z\u0131lc\u0327im<\/strong><\/p>\n<p><strong>ANDRE\u0301 MALRAUX DOSYASI (II) \/ DOSSIER ANDRE\u0301 MALRAUX (II)<\/strong><\/p>\n<p>Andre\u0301 Malraux\u2019nun Tu\u0308rkiye\u2019de Al\u0131mlanmas\u0131 U\u0308zerine Du\u0308s\u0327u\u0308nceler (1950-2005) \/ <strong>Kemal O\u0308zmen <\/strong>\u2013 Quelques re\u0301flexions sur le proble\u0300me de l\u2019homme pose\u0301 par Malraux \/ <strong>Xu Feng <\/strong>\u2013 Malraux\u2019un <em>Altenburg\u2019un Ceviz Ag\u0306ac\u0327lar\u0131 <\/em>Adl\u0131 Roman\u0131n\u0131n El Yazmalar\u0131, I\u0307lk Versiyonlara Ait Fragmanlar ve Haz\u0131rl\u0131k Notlar\u0131ndaki Enver Pas\u0327a ve Tu\u0308rkiye \/ <strong>Engin Bezci<\/strong><\/p>\n<p><strong>METI\u0307NLERARASILIK DOSYASI \/ DOSSIER INTERTEXTUALITE\u0301<\/strong><\/p>\n<p>Adaptation et intertextualite\u0301 : Une typologie des transpositions et diapositions \/ <strong>Louis He\u0301bert <\/strong>\u2013 De la notion d\u2019intertextualite\u0301 a\u0300 la critique post-textuelle \/ <strong>Jean-Louis Cornille <\/strong>\u2013 Mu\u0308zik ve Metinleraras\u0131l\u0131k III S\u0327ark\u0131 So\u0308zlerinde Yaz\u0131nsal\u0131n I\u0307zleri \/ <strong>Kubilay Aktulum <\/strong>\u2013 Nazan Bekirog\u0306lu\u2019nun <em>I\u0307simle Ates\u0327 Aras\u0131nda <\/em>Adl\u0131 Roman\u0131nda Metinleraras\u0131 I\u0307lis\u0327kiler I \/ <strong>Medine Sivri \u2013 <\/strong><strong>Fulya C\u0327elik<\/strong><\/p>\n<p><strong>C\u0327ES\u0327I\u0307TLERARASI I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GE\u0301NE\u0301RALES<\/strong><\/p>\n<p>Peur du naufrage et humour : Bektachi turc et minnesa\u0308nger (troubadour) allemand \/ <strong>Michel Balivet &#8211; Rene\u0301 Mounier <\/strong>\u2013 Ro\u0308nesans As\u0327k S\u0327iirinde <em>O\u0308pu\u0308cu\u0308k <\/em>Motifi \/ <strong>Hande Seber <\/strong>\u2013 Burjuva Tiyatrosu Ekseninde Diderot\u2019nun Go\u0308lgede Kalm\u0131s\u0327 Tiyatro Oyunlar\u0131 \/ <strong>Damla S\u0327\u0131kel &#8211; Jale Erlat <\/strong>\u2013 Tarihin I\u0307c\u0327inden Gec\u0327en I\u0307ki Kad\u0131n : Belk\u0131s Halim (Vassaf) ve Mary Wollstonecraft \/ <strong>Ha\u0302le Seval <\/strong>\u2013 De\u2019lalie\u0301nation orientale et occidentale: une approche comparative par J. Moreau De Tours \/ <strong>Nurmelek Demir <\/strong>\u2013 Indiffe\u0301re(a)nces proustiennes: itine\u0301raires d\u2019un malaise franc\u0327ais \/ <strong>Fanny Daubigny <\/strong>\u2013 Les voyageuses d\u2019Anatolie: Journalistes et reporters franc\u0327aises dans la Turquie de Mustafa Kemal (1921-2936) \/ <strong>Timour Muhidine <\/strong>\u2013 Lecture herme\u0301netique de l\u2019image d\u2019Alexandrie dans <em>Thai\u0308s <\/em>d\u2019Anatole France \/ <strong>Mona Saraya <\/strong>\u2013 <em>Les Pardaillan <\/em>ve Tu\u0308rkc\u0327e C\u0327evirilerinin Frans\u0131z ile Tu\u0308rk Yaz\u0131n C\u0327og\u0306uldizgelerindeki Yeri \/ <strong>Beki Haleva <\/strong>\u2013 Les heurts et bonheurs de la re\u0301silience \/ <strong>Le\u0301lia Trocan <\/strong>\u2013 L\u2019art du de\u0301tail ou hyperre\u0301alisme \/ <strong>Le\u0301lia Trocan <\/strong>\u2013 L\u2019art du de\u0301tail ou hyperre\u0301alisme \/ <strong>Le\u0301lia Trocan <\/strong>\u2013 Shan Sa, me\u0301diatrice entre l\u2019Orient et l\u2019Occident \/ <strong>Georges Fre\u0301ris <\/strong>\u2013 La manie\u0300re de penser l\u2019autre de Gae\u0308tan Brulotte dans son roman <em>L\u2019Emprise \/ <\/em><strong>Ljiliana Matic <\/strong>\u2013 Hypoculture-Hyperculture: La babe\u0301lisation du moi \/ <strong>Francis Claudon <\/strong>\u2013 Ca\u0302hit S\u0131tk\u0131\u2019y\u0131 Sonbahar\u0131n Renkleriyle Okumak \/ <strong>Aynur Koc\u0327ak <\/strong>\u2013 Bir U\u0308stmetin Olarak <em>Taormina <\/em>Anlat\u0131s\u0131 \/ <strong>Abdulhalim Ayd\u0131n <\/strong>\u2013 Hilmi Yavuz\u2019un S\u0327iirlerinde I\u0307lkyaz, Yaz, Sonyaz ve Karyaz\u0131 (I) \/ <strong>Tu\u0308rka\u0302n Yes\u0327ilyurt <\/strong>\u2013 <em>Paras\u0131z Yat\u0131l\u0131 <\/em>O\u0308yku\u0308su\u0308nde O\u0308zne\u2019nin Mu\u0308zakereci I\u0307syan\u0131: <em>Bahara O\u0308yku\u0308nen Ku\u0308c\u0327u\u0308k Kad\u0131nlar, Bu\u0308yu\u0308k Umutlar \/ <\/em><strong>Nuran Kekec\u0327 <\/strong>\u2013 L\u2019espace dans <em>Harraga <\/em>de Boualem Sansal \/ <strong>Arzu Etensel I\u0307ldem <\/strong>\u2013 Le myste\u0300re du voyage a\u0300 travers Byzance et phe\u0301nome\u0301nologie de la perception des e\u0301trangers \/ <strong>Gu\u0308lser C\u0327etin <\/strong>\u2013 Kurmaca Eserlerde Pic\u0327ler \/ <strong>Ekrem Aksoy <\/strong>\u2013 Zaven Biberyan Roman\u0131 ve Ulusal Edebiyat Kavram\u0131 \/ <strong>Onur Bilge Kula <\/strong>\u2013 <em>Tenten <\/em>Albu\u0308mleri: Yans\u0131malar \/ <strong>Tanju I\u0307nal &#8211; Mu\u0308mtaz Kaya <\/strong>\u2013 Buket Uzuner\u2019in <em>Uyumsuz Defne Kaan\u2019\u0131n Maceralar\u0131 Su <\/em>Roman\u0131na Ekoeles\u0327tiri ve Ekofeminzm Penceresinden Bak\u0131s\u0327 \/ <strong>C\u0327ig\u0306dem Arl\u0131 Cengiz <\/strong>\u2013 <em>Une guerre peut en cacher une autre: <\/em>La me\u0301moire litte\u0301raire de guerre d\u2019Alge\u0301rie dans la fiction alge\u0301rienne francophone \/ <strong>Marie- Christine Kok Escalle <\/strong>\u2013 Jean ve Gino\u2019ya Mektuplar \/ <strong>Abidin Emre. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Bir Okuma O\u0308nerisi Olarak Empati Yo\u0308ntemi (II) \/ Tug\u0306rul I\u0307nal \u2013L\u2019approche empathique comme me\u0301thode de lecture (II) \/ Tug\u0306rul I\u0307nal CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XXI) \/ DOSSIER CHARLES BAUDELAIRE (XXI) Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (XII) \/ Tug\u0306rul I\u0307nal \u2013 Baudelaire\u2019in Kaynaklar\u0131 \/ M. Emin O\u0308zcan \u2013 De george Sand a\u0300 Baudelaire : Une source&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-112","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\/112","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=112"}],"version-history":[{"count":1,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/112\/revisions"}],"predecessor-version":[{"id":113,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/112\/revisions\/113"}],"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=112"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/categories?post=112"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/tags?post=112"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}