Microsoft Word 1 Arif thesis cover final doc

CHAPTER 3 – SOME TOPOI IN THE KURTULUŞ EDEBİYATI 
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novel since he compares it to a photographer’s backdrop. By contrast, what happens 
in front of the backdrop, the world of Anatolia, is living; and he goes on to say that at 
the time of publication this had an extra-textual significance which arose from the 
reading public’s interest in Anatolia at the start of the resistance. In particular, 
translating, as Erol does, the relevant sentence using the words “it is a day-to-day 
response to the changes in the situation in Istanbul” can give the impression that 
successive instalments of the novel in some way tracked political developments. As 
should be already apparent from the translation and comment above, Tanpınar is not 
saying anything more than that a strong interest in Anatolia among Istanbul readers 
was reflected in the novel. In this context it is more plausible to take the adverbial 
phrase “Anadolu mücadelesinin başladığı günlerde” in the previous sentence as 
qualifying the main verb “aşıyordu” rather than the noun “kaçış”. As we have seen 
there is no indication in the novel that Feride left for Anatolia at the start of the War 
of Independence. The adverbial phrase, accordingly, by referring to the time of 
publication points out that the Anatolian material transcended the novel’s own limits.
It is suggested accordingly that Erol’s contentions that the War of Independence is 
implicitly present and is operative in the novel” and that “Güntekin presents the path 
to a unified nation” are difficult to sustain.
The assertion that 
Çalıkuşu
does not refer to the War of Independence does not 
require denial of the obvious fact that it shares with Halide Edip’s 
Vurun Kahpeye
and Reşat Nuri’s subsequent 
Yeşil Gece 
which plainly do, a basic theme which 
springs from social conditions in their time: the interaction between an educated and, 
by the standards of the time, emancipated and enlightened young person 

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