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Saygun’un Müziğinde Alaca Dor Töre Dizisinin Dikey Boyutu: [3, 5, 3] Akorunun Kökenine İlişkin Bir İrdeleme 萨伊贡音乐中阿拉卡多特勒音阶的垂直维度:关于[3, 5, 3]和弦起源的研究
Pub Date : 2024-06-11 DOI: 10.26650/cons2024-1453690
O. Özbayrak
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引用次数: 0
Melih Cevdet Anday’s “Dead Want to Talk” in Terms of the Playwriting Tendencies of “The Theatre of the Absurd 从 "荒诞戏剧 "的剧作倾向看梅利赫-切夫代特-安代的《死人想说话》
Pub Date : 2024-06-07 DOI: 10.26650/cons2024-1482628
Simay Yılmaz
Melih Cevdet Anday, one of the foremost playwrights in modern Turkish theatre, has authored plays that exemplify the influence of “The Theatre of the Absurd”. This article aims to explore the presence of absurdist tendencies within one of his works, "Dead Want to Talk". With this objective, the article has assessed the playwriting tendencies of “The Theatre of the Absurd” and evaluated Anday’s play within this framework. It has been observed that the plot centers on the theme -the absurdity of human-portraying passengers on a ferry who talk without taking action. Modern individualism and lack of communication are layers of thought, conveyed effectively through the use of self-centered monologues instead of meaningful dialogues. Symbolism plays a crucial role, with characters as anonymous figures lacking depth or development, representing various human portraits or traits. The vagueness in time and setting allows the plot to embrace ‘anytime’ / ‘anyplace’ where the modern individual exists. Additionally, the use of humor enables readers to engage with the critical perspective. In conclusion, Anday’s play exemplifies the influence of the playwriting tendencies of “The Theatre of the Absurd” to a significant extent, thus serves as a notable example of the absurdist influence in modern Turkish theatre.
Melih Cevdet Anday 是土耳其现代戏剧中最重要的剧作家之一,他创作的戏剧充分体现了 "荒诞戏剧 "的影响。本文旨在探讨他的一部作品《死人想说话》中存在的荒诞主义倾向。为此,文章评估了 "荒诞剧 "的剧作倾向,并在此框架内评价了安代的剧本。据观察,该剧的情节围绕着 "人类的荒谬 "这一主题展开,描写了渡轮上乘客们只说不做的情景。现代个人主义和缺乏交流是该剧的思想层次,通过以自我为中心的独白而不是有意义的对话得到了有效传达。象征主义起着至关重要的作用,人物是缺乏深度和发展的匿名形象,代表着各种人类肖像或特征。时间和背景的模糊性使情节可以包容 "任何时间"/"任何地点 "的现代个体。此外,幽默的运用也让读者能够参与到批判的视角中来。总之,安达伊的剧本在很大程度上体现了 "荒诞剧 "的剧作倾向,因此是土耳其现代戏剧中受荒诞派影响的一个显著例子。
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引用次数: 0
Davul İçin Tam Otomatik Bir Akort Sisteminin Tasarım ve Optimizasyon Süreçlerinin İncelenmesi 大鼓全自动调音系统的设计和优化过程研究
Pub Date : 2024-06-06 DOI: 10.26650/cons2024-1490026
Ö. Nural, Arda Eden
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引用次数: 0
Agustín Pio Barrios Mangoré’nin Ustalık Eseri La Catedral’in Müzikal Analizi 奥古斯丁-皮奥-巴里奥斯-曼戈雷杰作《大教堂》的音乐分析
Pub Date : 2024-06-04 DOI: 10.26650/cons2024-1476263
Mehmet Bilgütay, Burak Sağırkaya
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引用次数: 0
Anksiyete, Depresyon ve Anksiyete Duyarlılığının Ritim Eğitiminde Öğrenme Performansı Üzerine Etkisi 焦虑、抑郁和焦虑敏感性对节奏训练中学习成绩的影响
Pub Date : 2024-06-03 DOI: 10.26650/cons2024-1435616
S. Karaman, N. Köroğlu, G. Köroğlu, Harun Baki, M. Demet
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引用次数: 0
Fernando Sor’un Klasik Gitar İçin Yazdığı Etüt Kitaplarının İncelenmesi 分析费尔南多-索的古典吉他练习曲集
Pub Date : 2024-06-03 DOI: 10.26650/cons2024-1469862
İ. Güleç
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引用次数: 0
Tarihsel Bağlam Açısından Makam İsimlerinde Kadîm-Cedîd Ayrımının Anlamları ve İşlevleri 从历史背景看马卡姆名称中 "卡迪姆 "与 "赛迪德 "之分的意义和作用
Pub Date : 2024-05-10 DOI: 10.26650/cons2024-1446252
Hakan Aykurt
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引用次数: 0
Yorgo Bacanos’un Mahur Aranağme İcrasının Analizi 约戈-巴卡诺斯的《马胡尔-阿拉纳格梅》分析
Pub Date : 2024-05-07 DOI: 10.26650/cons2024-1453714
Mehmet Budak, Cenk Güray
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引用次数: 0
Tarımın Şafağında Dans 舞动农业的黎明
Pub Date : 2024-05-03 DOI: 10.26650/cons2024-1463371
Serdar Özbilen
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引用次数: 0
Onur Özmen’in “Op. 41 Keman-Piyano İçin Sonatin” Eserinin İncelenmesi ve Düzeyinin Belirlenmesi Onur Özmen的 "为小提琴-钢琴而作的奏鸣曲作品41 "分析及其级别确定
Pub Date : 2024-04-16 DOI: 10.26650/cons2024-1430323
Sonat Coşkuner
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引用次数: 0
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