Microsoft Word 1 Arif thesis cover final doc

CHAPTER 4 – HALIDE EDIP AND YAKUP KADRI 
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Oralarda, başkaların memleketinde teneffüs ettiğim havây-ı hürriyet 
benim ciğerlerimde bârit cereyanlar yapmıştı. 
At the end of the two years’ frustrating nostalgic life far from the 
beloved Turkey, a deep homeland’s sickness which was covering my 
soul brought me to Istanbul last year at the beginning of June.
The free air I was breathing there, in the homeland of others, had created 
sharp currents in my lungs. 
 
 
In the same year he appeared as the youngest among the signatories of the manifesto 
of the 
Fecr-i Âti
literary school in the company of Faik Âli, Refik Halit, Celâl Sâhir, 
Ahmet Samim and Ali Cânip. 
The literary movement’s purposes can be summarised in the following two phrases: 
sanat sahşî ve muhteremdir
(art is personal and respected) or 
sanat için
(art for art’s 
sake)
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. These phrases read on their own suggest an art which is disengaged from 
any social or political purpose. At the same time though they can be interpreted as a 
reference to the right to artistic expression uninhibited by political, religious, social 
or literary conventions and to the principle that an artist should be left free to create 
his work. There were many discussions, views and disputes among the members of 
the group. For example, one of the disputes recalled by Hamdullah Suphi was 
whether art should always be in the service of a purpose. To paraphrase him, 
Hamdullah Suphi insisted that, what was considered to be art should serve a purpose. 
When great art serves a national or a human purpose then that art’s value increases 
according to the value of the purpose it serves. Hamdullah Suphi gave a specific 
example, saying that the work he would look at, admire and like, would not be 
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Kudret, 99 and Yücel, 44 

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