{"id":94,"date":"2005-01-01T00:00:16","date_gmt":"2004-12-31T21:00:16","guid":{"rendered":"http:\/\/www.frankofoni.com.tr\/?p=94"},"modified":"2019-10-29T20:41:36","modified_gmt":"2019-10-29T17:41:36","slug":"ortak-kitap-no-17-2005","status":"publish","type":"post","link":"https:\/\/www.frankofoni.com.tr\/fr\/ortak-kitap-no-17-2005\/","title":{"rendered":"Ortak Kitap No : 17 &#8211; 2005"},"content":{"rendered":"<p><strong>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XII) DOSSIER CHARLES BAUDELAIRE (XII) <\/strong><\/p>\n<p>Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (III) \/ <strong>Tug\u0306rul I\u0307nal <\/strong>\u2013 <em>Okuyucuya: <\/em>Baudelaire\u2019in S\u0327iirinin O\u0308zu\u0308 \/ <strong>A. Hamit Sunel <\/strong>\u2013 <em>Le Le\u0301the\u0301: <\/em>Unutus\u0327un Tad\u0131 \/ <strong>Abidin Emre <\/strong>\u2013 <em>Ko\u0308tu\u0308lu\u0308k C\u0327ic\u0327ekleri\u2019<\/em>nin \u201cBas\u0327kald\u0131r\u0131\u201d Bo\u0308lu\u0308mu\u0308nde Duygular\u0131n Yans\u0131mas\u0131 \/ <strong>Nedim Kula<\/strong><\/p>\n<p><strong>C\u0327ES\u0327I\u0307TLI\u0307 I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GE\u0301NE\u0301RALES<br \/>\n<\/strong>Ahmet Mithad Efendi\u2019nin Roman Gerc\u0327eg\u0306i \/ <strong>Nihayet Arslan <\/strong>\u2013 Tanp\u0131nar\u2019\u0131n S\u0327iirindeki Bergson ya da <em>Bugu\u0308nu\u0308n Is\u0327\u0131g\u0306\u0131nda Maziyi Go\u0308rmek Keyfiyeti \/ <\/em><strong>Kemal O\u0308zmen <\/strong>\u2013 B\u0131c\u0327ak S\u0131rt\u0131nda Bir Sanat : C\u0327eviri ve Nurullah Atac\u0327 \/ <strong>Fahrettin Arslan <\/strong>\u2013 17. Yu\u0308zy\u0131l Alman Ku\u0308ltu\u0308ru\u0308nde Avrupal\u0131las\u0327ma Eg\u0306ilimleri ve \u201cOlus\u0327turucu O\u0308teki\u201dnin So\u0308ylencesel Kis\u0327ilikler U\u0308zerinden Belirginles\u0327tirilmesi \/ <strong>Onur Bilge Kula <\/strong>\u2013 Avrupa\u2019da Tu\u0308rkiye Kars\u0327\u0131t\u0131 Go\u0308ru\u0308s\u0327lerin Ku\u0308ltu\u0308rel Arka Alanlar\u0131na Eles\u0327tirel Bir Yaklas\u0327\u0131m \/ <strong>Onur Bilge Kula <\/strong>\u2013 Fransa\u2019y\u0131 Saran Tu\u0308rk Kars\u0327\u0131t\u0131 Viru\u0308sler \/ <strong>Mu\u0308mtaz Kaya <\/strong>\u2013 L\u2019Orient des <em>Bijoux indiscrets de Diderot \/ <\/em><strong>Nurmelek Demir <\/strong>\u2013 Marivaux\u2019nun Tiyatrosu ve Kurgu\u2019nun O\u0308nemli Du\u0308g\u0306u\u0308mleri Yalanlar : <em>Les Fausses confidences \/ <\/em><strong>Jale Erlat <\/strong>\u2013 Kant Etig\u0306i ile I\u0307lgisi Bak\u0131m\u0131ndan Kuc\u0327uradi\u2019nin Etik Go\u0308ru\u0308s\u0327u\u0308 \/ <strong>Hu\u0308lya Yetis\u0327ken <\/strong>\u2013 Les frontie\u0300res imaginaires dans <em>Fla\u0302neries ottomanes <\/em>de Philip Glazebrook \/ <strong>Gu\u0308lser C\u0327etin <\/strong>\u2013 Wilfred Thesiger : Okurundan Kac\u0327amayan Gezgin \/ <strong>Bu\u0308lent Bozkurt <\/strong>\u2013 Sons et lumie\u0300res d e l\u2019Orient: les voyageurs franc\u0327ais et la musique ottomane dans la premie\u0300re moitie\u0301 du XIXe sie\u0300cle \/ <strong>Arzu Etensel I\u0307ldem <\/strong>\u2013 Lamartine et son projet d\u2019exploitation agricole en Turquie \/ <strong>Nevin Haddad <\/strong>\u2013 L\u2019Orient Express, raffinement et e\u0301le\u0301gance: voyage fabuleux \/ <strong>Tanju I\u0307nal <\/strong>\u2013 A propos de la cre\u0301ation de <em>Partage de Midi <\/em>de Paul Claudel \/ <strong>The\u0301re\u0300se Mourlevat <\/strong>\u2013 Querelles et indiscre\u0301tions autour d\u2019Alain-Fournier et du <em>Grand Meaulnes \/ <\/em><strong>Claude-Alain Chevallier <\/strong>\u2013 Gide\u2019in Orphe\u0301e\u2019si \/ <strong>Ertug\u0306rul I\u0307s\u0327ler <\/strong>\u2013 Les pe\u0301re\u0301grinations indo-chinoises d\u2019Andre\u0301 Malraux \/ <strong>Abdelaziz Bennis <\/strong>\u2013 Les structures langagie\u0300res chez Boris Vian \/ <strong>Mehmet Alkan <\/strong>\u2013 Incipit des romans beauvoiriens ou mise en place des unite\u0301s romanesques \/ <strong>Nizamettin Kasap <\/strong>\u2013 Varolus\u0327c\u0327u Bir O\u0308zyas\u0327amo\u0308yku\u0308su\u0308: Sartre\u2019in So\u0308zcu\u0308kleri \/ <strong>Zeynep Mennan <\/strong>\u2013 Louis Aragon\u2019un <em>Le Paysan de Paris (Paris Ko\u0308ylu\u0308su\u0308) <\/em>Adl\u0131 Yap\u0131t\u0131nda Felsefenin I\u0307zleri \/ <strong>Kubilay Aktulum <\/strong>\u2013 I\u0307mgesellik Kavram\u0131 : Kars\u0327\u0131las\u0327t\u0131rmal\u0131 Edebiyat Kavram\u0131n\u0131n O\u0308g\u0306eleri \/ <strong>Daniel-Henri Pageaux <\/strong>\u2013 Daniel Henri Pageaux ile So\u0308yles\u0327i : \u201cKars\u0327\u0131las\u0327t\u0131rmal\u0131 Edebiyat\u0131n Du\u0308nu\u0308, Bugu\u0308nu\u0308\u201d \/ <strong>M. Emin O\u0308zcan <\/strong>\u2013 Gu\u0308le Gu\u0308le Gadot \/ <strong>Arzu Kunt <\/strong>\u2013 J.M.G. Le Cle\u0301zio\u2019nun <em>C\u0327o\u0308l <\/em>Adl\u0131 Roman\u0131nda Do\u0308nu\u0308s\u0327u\u0308mlu\u0308 Anlat\u0131 Teknig\u0306i \/ <strong>Arzu Kunt <\/strong>\u2013 J.M.G. Le Cle\u0301zio\u2019nun <em>C\u0327o\u0308l <\/em>Adl\u0131 Roman\u0131nda Do\u0308nu\u0308s\u0327u\u0308mlu\u0308 Anlat\u0131 Teknig\u0306i \/ <strong>Ayten Er <\/strong>\u2013 Yaln\u0131zl\u0131ktan Yazarl\u0131g\u0306a : Ame\u0301lie Nothomb \/ <strong>Mu\u0308mtaz Kaya <\/strong>\u2013 Langue et identite\u0301 \/ <strong>Seza Y\u0131lanc\u0131og\u0306lu, <\/strong><em>Siyasal ve Sosyal Deg\u0306is\u0327meler Ac\u0327\u0131s\u0131ndan Cumhuriyet Do\u0308nemi c\u0327ag\u0306das\u0327 Tu\u0308rk Roman\u0131 1946\/2000\/<\/em><strong>Sevim Akten, <\/strong>Frankofoni 2004 \/ C\u0327eviri Yar\u0131s\u0327mas\u0131 : Dereceye Giren Metinler<\/p>\n","protected":false},"excerpt":{"rendered":"<p>CHARLES BAUDELAIRE O\u0308ZEL BO\u0308LU\u0308MU\u0308 (XII) DOSSIER CHARLES BAUDELAIRE (XII) Baudelaire I\u0307c\u0327in Dramatik Bir Okuma (III) \/ Tug\u0306rul I\u0307nal \u2013 Okuyucuya: Baudelaire\u2019in S\u0327iirinin O\u0308zu\u0308 \/ A. Hamit Sunel \u2013 Le Le\u0301the\u0301: Unutus\u0327un Tad\u0131 \/ Abidin Emre \u2013 Ko\u0308tu\u0308lu\u0308k C\u0327ic\u0327ekleri\u2019nin \u201cBas\u0327kald\u0131r\u0131\u201d Bo\u0308lu\u0308mu\u0308nde Duygular\u0131n Yans\u0131mas\u0131 \/ Nedim Kula C\u0327ES\u0327I\u0307TLI\u0307 I\u0307NCELEMELER \/ CONSIDE\u0301RATIONS GE\u0301NE\u0301RALES Ahmet Mithad Efendi\u2019nin Roman Gerc\u0327eg\u0306i&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-94","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\/94","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=94"}],"version-history":[{"count":1,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/94\/revisions"}],"predecessor-version":[{"id":95,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/posts\/94\/revisions\/95"}],"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=94"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/categories?post=94"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.frankofoni.com.tr\/fr\/wp-json\/wp\/v2\/tags?post=94"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}