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Copyright of Monograf is the property of Monograf and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this study, based on Anna Seghers's novel 'Revolt of the Fishermen of Santa Barbara', is to ascertain the signs of literary realism by giving examples. The influences of literary realism and New Objectivity Movement (Neue Sachlickeit) on Seghers's novel are studied in relation to the features of realism. The importance of realism in literary work and the frequently used expressions of the writer are analysed. While the importance of realism in reflecting the social problems is emphasized, its significance in solving mental problems is also noted [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the introduction of Jalal-ad-Din Khwarizm Shah (Celâleddin Harzemşah) -one of the most substantial and representative examples of Tanzimat's thinking on fictional writing- Namık Kemal's comments on the nature of realistic narration reveals that the perception of the real among Tanzimat intelligentsia was in a stark conflict with the so-called (un)realistic features of traditional Turkish folk narratives. Namık Kemal's approach to the traditional folk narratives indicates that for Tanzimat intellectuals folk narratives were not realistic because of supernatural features which were quite common in these narratives. It is clear that Namık Kemal's view of realism was determined and limited by the ultimate Westernization of narration and narratives. Hence, the realistic account of the real was by no means possible via traditional narration. In this paper, however, it is argued that contrary to the Tanzimat intellectuals' and Namık Kemal's views on realism -as Western-rooted and the only form of realism- there are many forms and dimensions of realism and most of them have consistently been employed in folk narratives. In order to show this, through a discussion that embraces narration tradition from folk tales to the Tanzimat novels, some dimensions, in which the realistic features of a narration can be observed and will be examined. The main aim of this paper is to reveal that traditional folk narratives were as much real and realistic as Tanzimat novels. [ABSTRACT FROM AUTHOR]

Magic(al) realism is generally associated with the sense of post-modern art, and it is mostly assumed that this turn of phrase was shaped in 20th century, as a result of the new approaches in Latin literature. However, the analysis and assessments about magic realism show that magic realism should not be studied as a very new aesthetic style; on the contrary, it must be examined as the regeneration of some folkloric patterns. Correspondingly, in magic realism, there are many examples, which can be considered as legacy of Turkish Folklore. One of the most colorful, powerful and permanent components of Turkish Folklore, Dede Korkut Kitabı includes many mythic or surrealistic elements in its frame, as well as its main theme, which is mostly based on historical truths. In other words, many properties of magic realism stand out obviously in the tales of Dede Korkut Kitabı. In this paper, the magic realist components in Dede Korkut Kitabı are analyzed, and by this way, it is aimed to show that this way of expression and narration is quite characteristic in Turkish folklore. [ABSTRACT FROM AUTHOR]

The literary reflection of magical realism is usually examined by appeal to certain aspects of the texts that are considered to be magical realist, and to how these aspects are revealed in those texts. The attempts to define the characteristics of the "magical" as the most fundamental feature of the subject-matter genre do not seem to go beyond an observation that relates this "magical" to its counterpart in fairy tales rather than to the mythical/legendary/fantastic. This observation does not seem to have been subjected to the question of why the "magical" of magical realism belongs to the world of fairy tales. In this paper, I will try to answer the above-mentioned question by presenting an analysis of the characters' similar levels of perception of the textual reality in fairy tales and in magical realist texts. I will argue that this particular resemblance between the characters that are employed in these two genres seems to point to a specific structure that enables texts to have functionality of some sort. In order to support this claim, I will discuss Zipes' explanatory framework for textual functionality in case of fairy tales, and the socio-political conditions under which the genre magical realism rose. These explanations will lead us to consider the works of magical realism as enabling a textual function for social adaptation. As a result of this brief analysis, I aim to demonstrate that the textual functionality, which sprang from the Latin America of the 20th century, stands as an explanans for why the "magical" of magical realism is that of the "ordinary-magical" of fairy tales. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Türkoloji Kültürü is the property of International Journal of Turcologia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)