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    HALIT ZIYA AND MUSIC
    (Akademisyenler Birligi Dernegi, 2019) Sermet, Sevim Karabela
    The period of Servet-i Fünun was a period in which the works of artwith an artistic style were brought to the fore. In these works, it is seenthat Western aesthetics are tried to be created. The artists of this periodwere also interested in other branches of fine arts and also focused theirattention on the work of art. Music and painting take the first place among thevarious fields of fine arts that offer important building materials toliterature. In this context, painting and music constitute one of the mostimportant elements of Servet-i Fünun period works. Servet-i Fünun, which has anaesthetized language, has not only entered the repertoire of generation as aconcept or theme, but has also been an element that determines their style.Tevfik Fikret / Cenap Sahabettin and Halit Ziya / Mehmet Rauf, whocame to the forefront in poetry with the widespread conviction of literaryhistories of Servet-i Fünun period, were also interested in fine arts,especially painting and music branches. However, this curiosity of painting andmusic, which is not only in the dimension of interest, forms the background oftheir works. Halit Ziya, whose name has been integrated with the novel genre inTurkish literature and has maintained this domination alone until today, writesabout art besides fiction texts. However, Halit Ziya's art writings are not aspopular as his novels. The power of his novels overshadows his criticism. Thesubject of this research is the place of music in Halit Ziya's works other thanfiction texts and his approach to fine arts based on his views on music.
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    Hans Dernschwam’in Istanbul ve Anadolu’ya Seyahat Günlügü’nde Amasya'da Osmanli Kültürel Dokusu ve Insan Algisi
    (Bartin Üniversitesi, 2017) Sermet, Sevim Karabela
    Günümüzde bir ilim dali olarak kabul edilenimgebilim imge ve önyargi arastirmalarini konu alir. Imgebilimin insanibilimler içindeki yeri önemlidir. Bu çalismada Alman seyyah Hans Dernschwam’in16. yüzyilda olusturmus oldugu “Istanbulve Anadolu Seyahat Günlügü”ndeki Amasya atmosferinde ve cografyasindaOsmanli/Türk varligina dair imgeler ve önyargilar degerlendirilecektir.XVI. yüzyil ortalarinda Türkiye'ye gelen HansDernschwam (1494-1568) 'in günlük biçiminde yazdigi seyahatnamesi büyük birdeger tasimaktadir ve Anadolu cografyasinda Osmanli izlerini takip edenler içinmuazzam ölçüde malzeme içermektedir. Seyahatnameler insan ruhunu içindehapseden, içinde insanin hikâyesini de barindiran eserlerdir. Hikâyesi olan bueserler ayni zamanda devrin psikoloji haritasini da çizer.  Iste eserin asil kiymeti de bu noktadabelirginlesmektedir. Yabancinin objektifi ile Osmanlinin en ihtisamli dönemindeAmasya’nin sunumu enteresandir.  Eser,Avrupa‘daki Osmanli algisi ile ilgili önemli ipuçlari içermektedir. Buipuçlarindan hareketle genel yargilara varmak mümkün görünmektedir.