Criticism of The Tatar Bourgeoisie in Kerim Tinchurin's Work Titled American
| dc.contributor.author | Güngör, Gözde | |
| dc.date.accessioned | 2025-03-23T18:54:32Z | |
| dc.date.available | 2025-03-23T18:54:32Z | |
| dc.date.issued | 2024 | |
| dc.department | Sinop Üniversitesi | |
| dc.description.abstract | Tatar theater, which has a rich repertoire and a deep-rooted tradition, started to give its first modern examples at the end of the 19th century. The first known work in history of the Tatar theater is The Poor Girl, written by A. Ilyasi. Tatar theater made significant progress until 1905 under the influence of the orientation called megrifetçelek (enlightenment) realism, through literary figures such as F. Halidi, M. El-Kazani, A. Ishaki. With the liberal environment brought by the 1905 constitutional monarchy, Tatar theater made a significant progress in terms of both repertoire and staging opportunities. In this period until the October revolution of 1917, Tatar theater was nourished by rich folk culture, Eastern, Russian and Western classics, the traditional contemplation culture of the Turkish world and the political developments of the period, under the influence of enlightenment realism and the critical realism movements shaped by it. The prominent names in playwriting of this period, also called the Tatar renaissance, are Galiasgar Kamal and Ayaz Ishaki. After the 1917 revolution, a repertoire began to form in line with the ideology of the new regime. Agitprop plays written during the civil war period were replaced by works highlighting social class struggle in the 1920s. The most prominent name in the dramaturgy of the 1920’s is Kerim Tinchurin. Although Tinchurin actually stepped into the theater world in the 1910s, he showed his real effectiveness in the 1920s. The dramaturg, who made a name for himself with the plays he wrote consecutively in these years and his theoretical studies on theater, is today considered the founder of Tatar theater together with G. Kamal. This study focuses on the author's comedy titled American, published in 1923. In the Introduction part of the study, the development of Tatar theater from the beginning to the 1917 revolution is summarized, then the impact of the October revolution on the theater repertoire and Tinchurin's effectiveness in the first years of the revolution are discussed. In the last chapter, the representation and criticism of the bourgeois in the play titled American, which was determined as the main subject of the study, was examined. | |
| dc.description.abstract | Zengin repertuara ve köklü bir gelenege sahip Tatar tiyatrosu modern anlamda ilk örneklerini XIX. yüzyilin sonlarinda vermeye baslamistir. Tatar tiyatro tarihinin bilinen ilk eseri A. Ilyasi’nin kaleme aldigi Biçare Kiz’dir. F. Halidi, M. El-Kazani, A. Ishaki gibi edipler vasitasiyla Tatar tiyatrosu megrifetçelek (aydinlanma) realizmi adi verilen yönelimin etkisinde 1905’e dek önemli bir ilerleme kaydeder. 1905 mesrutiyetinin getirdigi özgürlükçü ortamla beraber Tatar tiyatrosu da repertuar açisindan zenginlesmeye baslar. 1917 Ekim devrimine kadarki süreçte Tatar tiyatrosu, aydinlanma realizmi ve onun biçimlendirdigi tenkitçi realizmin etkisinde zengin halk kültüründen, Dogu, Rus ve Bati klasiklerinden, Türk dünyasinin geleneksel temasa kültüründen ve devrin siyasi gelismelerinden beslenir. Tatar rönesansi olarak da adlandirilan bu devrin oyun yazarliginda öne çikan isimleri Galiasgar Kamal ve Ayaz Ishaki’dir. 1917 devrimi sonrasinda ise yeni rejimin ideolojisi dogrultusunda bir repertuar olusmaya baslar. Iç savas devrinde kaleme alinan agitprop oyunlar 1920’li yillarda yerini sosyal sinif mücadelesini öne çikaran eserlere birakir. Sovyet Tatar dramaturjisinin bu ilk döneminin en kudretli kalemlerinden biri Kerim Tinçurin’dir. Tinçurin esasinda tiyatro dünyasina 1910’lu yillarda adim atmis olmakla birlikte asil etkinligini 1920’li yillarda göstermistir. Bu yillarda art arda kaleme aldigi piyesleri ve tiyatroya yönelik kuramsal çalismalariyla adindan söz ettiren dramaturg bugün G. Kamal ile birlikte Tatar tiyatrosunun kurucusu olarak addedilmektedir. Bu çalismada yazarin 1923’te yayimladigi Amerikan adli komedisine odaklanilmistir. Giris bölümünde baslangiçtan 1917 devrimine dek Tatar tiyatrosunun gelisimi özetlenmis ardindan Ekim devriminin tiyatro repertuari üzerinde etkisi ve Tinçurin’in devrimin ilk yillarindaki faaliyetleri ele alinmistir. Son bölümde ise çalismanin ana konusu olarak belirlenen Amerikan adli piyeste burjuva sinifinin temsili ve milli burjuvazisinin elestirisi degerlendirilmistir. | |
| dc.identifier.doi | 10.29000/rumelide.1504692 | |
| dc.identifier.doi | https://doi.org/10.29000/rumelide.1504692 | |
| dc.identifier.endpage | 1030 | |
| dc.identifier.issn | 2148-7782 | |
| dc.identifier.issn | 2148-9599 | |
| dc.identifier.issue | 40 | |
| dc.identifier.startpage | 1015 | |
| dc.identifier.uri | https://hdl.handle.net/11486/2260 | |
| dc.institutionauthor | Güngör, Gözde | |
| dc.language.iso | tr | |
| dc.publisher | Yakup YILMAZ | |
| dc.relation.ispartof | RumeliDE Dil ve Edebiyat Arastirmalari Dergisi | |
| dc.relation.publicationcategory | Makale - Ulusal Hakemli Dergi - Kurum Öğretim Elemanı | |
| dc.rights | info:eu-repo/semantics/openAccess | |
| dc.snmz | KA_DergiPark_20250323 | |
| dc.subject | Kerim Tinchurin | |
| dc.subject | American | |
| dc.subject | Soviet Tatar theatre | |
| dc.subject | bourgeois | |
| dc.subject | Kazan-Tatar literature | |
| dc.title | Criticism of The Tatar Bourgeoisie in Kerim Tinchurin's Work Titled American | |
| dc.title.alternative | Kerim Tinçurin’in Amerikan Adli Eserinde Tatar Burjuvazisinin Elestirisi | |
| dc.type | Article |
