Microsoft Word Esas metin 1-82. doc

                                                                                                                                                          

 

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ABSTRACT  

 

THE SOCIAL ACTUALITY AND FORMAL QUEST IN TOMRIS UYAR’S 

STORIES 

 

 

The Republic of Turkey has begun to go through a process of modernization 

especially rapidly since the 1960s.  The symptoms of this process have shown 

themselves most evidently in the everyday life of urban areas.  Since the second half 

of the twentieth century Western literature has been looking for new horizons to 

express such a modern transformation and the “short story” as a genre has proved to 

be a highly effective form to catch the spirit of the age.  In Turkish literature, too, 

many writers have preferred the short story genre to tell the modern stories of their 

own country since the Tanzimat period, but consistent development is seen after the 

1950s as a result of rapid modernization. 

 

Tomris Uyar has been writing short stories since 1965.  Her tenth book was 

published in 1998.  In her works, she has always been in pursuit of the changes in 

social life and literature.  The mechanisms of social constraints in the background 

threatening the lives and dreams of ordinary characters are generally the subject 

matter of her stories.  Tomris Uyar’s persistent interest in social actuality relates 

directly with the problems of modern life.  The details of everday life captured by 

Uyar’s stories make the reader recall the experience of the days passing by; they lead 

to a sort of critical awareness. 

 

Tomris Uyar’s stories have changed throughout the years.  Before the 1980s 

most of her stories had a plain and quite poetic style; the stories of that period seem 

to have been influenced by literary impressionism.  During this period, the author 

mainly told the stories of ordinary people trying to cope with the changing values in 

society.  Then, Tomris Uyar began to search for new forms for her short fiction: she 

began to include dreams and fantasies, postmodern fairy tales, intertextuality, and 

ambiguity in her stories. 

 

Between 1965 and 1998 it is evident that Tomris Uyar’s storytelling 

improved both in style and technique.  But she has always insisted on keeping in 

touch with the social actuality of her country as a background for her short stories. 

 

keywords: short story, form, everday life, social actuality. 

 

 

 

 

 

 

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İÇİNDEKİLER  

sayfa 

 

1.  Giriş . . . . . . . . .  

 

 

 

1                         

      A. Kısa 

Öykü 

Üzerine 

. . . . . . .  

 

 

 

2 

                        

      B. Türk Edebiyatında Kısa Öykü Üzerine 

. 

. 

. 

. 

    4                         

      C. Modernlik Üzerine 

. 

. 

. 

. 

. 

. 

. 

    8                         

      Ç. Tomris Uyar Hakkında 

. 

. 

. 

. 

. 

. 

  10                         

2.  Bölüm 1: Şiirsel İzlenimcilik ve İlk Dönem Öyküleri   . .  

 

14                         

A. İpek ve Bakır 

. . . . . . . .  

 

18                         

B. Ödeşmeler 

 

. . . . . . . .  

 

23 

C. Dizboyu Papatyalar 

. . . . . . .  

 

25                         

Ç. Yürekte Bukağı  

. 

. 

. 

. 

. 

. 

. 

  29                         

D. Yaz Düşleri Düş Kışları . . . . . .  

 

33                         

3.  Bölüm 2: Kurmaca Olanakları Peşinde Yeni Öyküler . .  

 

38                         

      A. Gece Gezen Kızlar 

. . . . . . .  

 

41                         

      B. Yaza Yolculuk 

  . . . . . . .  

 

44                         

      C. Sekizinci Günah . . . . . . .  

 

50                         

      Ç. Otuzların Kadını . . . . . . .  

 

55                         

      D. Aramızdaki Şey  . . . . . . .  

 

60                         

4.  Sonuç 

. . . . . . . . .  

 

66                         

5.  Seçilmiş Bibliyografya 

. . . . . . .  

 

74                         

6.  Özgeçmiş 

. . . . . . . . .  

 

82                         

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