METİNDİLBİLİMSEL YAKLAŞIMLA MUSTAFA KUTLU’NUN RED CEPHESİ ADLI HİKÂYESİ ÜZERİNE BİR İNCELEME

Abstract

Her edebî metnin bir bildirisi vardır. Yazar/şair/metin üretici, dil denilen kelime servetinden bazı seçmeler yapar ve bu seçmeleri niyeti doğrultusunda Okur/dinleyen/metin üretici de metindeki yüzey yapıdan derin yapıya ulaşarak metnin bildirisini çözer. birleştirerek edebi eserini meydana getirir Bir metnin, metin özelliği taşıyabilmesi için bazı kriterlere uygun olması gerekmektedir. Cümleler arasındaki dilbilgisel, anlamsal ve mantıksal bağların sağlam olduğu metinler, metinsellik özelliği taşıyabilirler. Aksi durumda, metinde bir bütünlükten söz edilemez ve okur/metin çözücü de, anlamsız ve bozuk kelime ve cümleler yığınıyla muhatap olur. Metni, metin yapan ölçütlerinin neler olduğu üzerinde duran metin dilbilim, bir metindeki cümlelerin birbirleriyle olan ilişkilerini inceler. Çünkü metnin bütünlük sağlayabilmesi bu ilişkilere bağlıdır. Bunu yaparken tek tek cümleler üzerinde durmaz, metni bir bütün olarak ele alır. Böylece o metnin ne tür bir metin olduğu ve nasıl bir işlev taşıdığı da ortaya çıkmış olur. Metni bir bütün olarak ele alan ve metnin oluşumunu inceleyen metin dilbilim, ne bir tahlil ne bir yorum ne bir eleştiri ne de bir açıklamadır. Metin dilbilimin amacı, metne metinlik olma özelliği veren unsurların neler olduğunu tespit etmektir. Bağdaşıklık ve Tutarlılık da, bu özelliklerin tespit edilip belirlenmesine yardımcı olan disiplinlerdir. Bağdaşıklık, cümlelerdeki anlam bağıntısı ve dilbilgisel ilişkiler üzerinde durur. Tutarlılık ise, cümleler arasındaki mantıksal düzeni ortaya koymaya çalışır. Bu disiplinler, Mustafa Kutlu'nun Red Cephesi adlı hikâyesine uygulanmıştır

Every literary text has a declaration. The author / poet / text producer makes some choices from the wealth of word called language and combines these selections in the direction of his intention to bring his literary work. The reader / listener / text producer also solves the declaration of the text by reaching from the surface structure to the deep structure via the text. A text must meet certain criteria to be able to carry its textual characteristics. Texts that have strong grammatical, semantic and logical ties between its sentences can carry textual features. Otherwise, there cannot be a mention of a unity or integrity in the text, and the reader/text decoder deals with a bunch of meaningless and distorted words and phrases. Text linguistics, dwelling on the criteria that make a text really a text, examines the relations of the sentences in a text with each other. Because providing integrity of the text depends upon these associations. While doing this, it does not stand on individual sentences, instead, it treats the text as a whole. Thus, what kind of text is that text and how it functions are revealed. Textlinguistics which examine the formation of the text and evaluate the text as a whole is not an analysis, a comment a critic and an explanation. The aim of the textlinguistics is to determine what the elements which give the text the speciality of being textuality are. Cohesion and coherence are diciplinces which help to determine these speciality of being textuality in the sentences. Coherence tries to point out the logical harmony into the sentences. On this study these diciplinces are practiced on the story of Mustafa Kutlu named Red Cephesi The most important function of the language is communication between people. According to the famous linguist Ferdinand de Saussure, describing the language as a system of signs, a sign is composed of a signifier and a signified. A signifier is the direction of the language formed by the interaction of sound and form, and a signified is the direction of the language based on meaning and concept interaction. Literary texts, whose material is language, are also products that are formed by signifier and signified, in other words embodied by the fusion of form and meaning. However, the language used in literary texts is different from the language used in everyday life. The language of the literary texts, which is made up of everyday syllables, is a special language formed by the individual use of the author/poet/text producer. The part of this language composed of sound and form is the surface structure; the meaning part also is deep structure. Thus, the text decoder moves from the surface structure to the deep structure of the text and decodes the message the text wishes to give. A text must meet certain criteria to be able to carry its textual characteristics. Texts that have strong grammatical, semantic and logical ties between its sentences can carry textual features. Otherwise, there cannot be a mention of a unity or integrity in the text, and the reader/text decoder deals with a bunch of meaningless and distorted words and phrases. Text linguistics, dwelling on the criteria that make a text really a text, examines the relations of the sentences in a text with each other. Because providing integrity of the text depends upon these associations. While doing this, it does not stand on individual sentences; instead, it treats the text as a whole. Thus, what kind of text is that text and how it functions are revealed. Cohesion and coherence are two criteria that textual linguistics applies in text examinations. Cohesion, standing on the question of whether sentences, which are units of the literary text, are both semantically and grammatically intertwined with the preceding or following sentences, forms the surface structure of the text. The coherence being related to the deep structure of the text determines the logical relation between the sentences in the text. Determination of cohesion is easy; on the other hand, since it gives also references related to out-of-text reality besides to inner references, determination of coherence is hard. For this reason, the text decoder must be wellequipped to be able to decipher the hidden message between the lines of the text. Otherwise, the declaration of the text cannot be understood. Leyla Subaşı Uzun, in the study of Orhun Yazıtlarının Metindilbilimsel Yapısı, studies the cohesion under two main headings and classifies as in the followings: 1. Referential Cohesion 1.1.Use of Pronouns 1.2. Demonstration (Sign) Adjectives 1.3. Possessive Suffixes 1.4. Specification Suffix 1.5. Person Suffixes 2. Formal-Lexical Cohesion 2.1. Concatenated Cohesion 2.2. Change Items 2.3. Use of Opposite Significant Words 2.4. Use of Words from the Same Concept Field 2.5. Use of Same Origin Words 2.6. Structural Repeats 2.7. Scaled Structures 2.8. Time Suffixes Leyla Subaşı Uzun examines the measure of coherence that provides textuality in the following subheadings: 1.Customization Link 2.Cause-Result Link 3.Cause Link 4.Time Link 5.Benchmark Link 6.Contrast Link From the point of view of text linguistics, this study is based on the classifications of Leyla Subaşı Uzun in Orhon Yazıtlarının Metindilbilimsel Yapısı, and is about cohesion and coherence in Mustafa Kutlu's story of Red Cephesi. The relations between the sentences have been tried to be evaluated by considering the whole text. From the point of view, regarding cohesion, it can be said that: We have seen that using pronoun, possessive, and person suffixes, the sentences of the text are semantically and grammatically connected to each other via giving references. Sentences are connected to each other with conjoint cohesion; some references are given to establish a semantic relation between the sentences via replacement items. The reader was tried to be detected the conflict that forms the basis of the text with the use of words that are contradictory and of the same concept. A semantic relationship has been established between the repetitive building repeats and the text as a whole. The partial sentences have been completed in the mind of the reader with the grammatical and semantic relation between the sentences, and the time suffixes have served to form the integrity of the text. Regarding the coherence criterion, it can be said that: Coherence is the penetration of the reader into the text. The details of the person or events in relation to the privatization are presented in time and the story of the situation is also presented in the readership. The events are explained in a logical relation by cause-result connection, and the reader can interpret the whole of the text. With the comparison and the relation of opposition, the conflict of the text is revealed. Thus, relations between person-event-time-space are conveyed to the reader with the logical consistency between the cues, and the cryptography of the text is made visible. In the Red Cephesi, where the criteria of coherence and consistency are applied, the semantic, grammatical, and logical ties established among the cues allow us to interpret the text as a whole as seen below: Mustafa Kutlu, who carries the reality of the outer world to the world of fiction with metaphors of roads, electric wires and amusement parks have put forward the traditional survival of the traditional life of the vitality of the eyes in the Red Cephesi with the symbol of Yorgancı Hafız Yaşar. It is seen that Red Cephesi is a literary text that fulfills the function of art with elements that allow it to be a text. The sentences of the text are structured by the text producer firmly with grammatical, semantic and logical ties to each other. This robust structure has helped the text decoder to resolve the declaration of the text by descending from the surface structure to the deep structure. Thus, the communication between the text producer and the text decoder is achieved by decoding the text. Finally, we can say that text linguistics is not an explanation, an analysis, a comment or a critique of the content; it is a determination of the elements that make up the whole text. Cohesion and coherence provide convenience in identifying these elements, and help the text decoder to solve literary text.