[Xmca-l] Re: Best possible theoretical approach on learning from life experiences

[Ulvi İçil]

I agree Andy. That novel of Nazim was  autobiographical one.

Also I have read Mahn's and Steiner's article in which journals of youth
are mentioned.

I think that poems which reflect life experiences of the poet can be
studied through perezhivanie.
Nazim's almost all poems belong to this category, development of identity
etc.

7 Kas 2017 04:11 tarihinde "Andy Blunden" <ablunden@mira.net> yazdı:

> I think autobiography is a genre which is very rich for the
> study of perezhivanie; even the writing of the autobiography
> itself is a part of the perezhivanie, as the writer looks
> back over their life, and the experiences which have shaped
> them, reassessing how they responded to events intervening
> in their life and surviving. I think I mentioned Gorki's
> multi-volume autobiography to you,
>
> Andy
>
> ------------------------------------------------------------
> Andy Blunden
> http://www.ethicalpolitics.org/ablunden/index.htm
> On 7/11/2017 6:28 AM, Ulvi İçil wrote:
> > Also the following "survival of culture" theme is said to be a principal
> > worry for Marina Tsvetaeva
> > by this same Turkish professor on Russian language and literature...
> >
> > Anyway, another method to study "perezhivanie", I believe, is to look
> into
> > theses on the life of such Russian poets, even if they do not use the
> > concept,
> > we can be sure that there is a lot of  "perezhivanie" in those theses...
> >
> > probably because poets are the best human beings to study "perezhivanie"
> > for reasons easy to conceive.
> >
> > Especially when we think to Mayakovsky, Yesenin, Tsvetaeva...who all
> > suicided, unfortunately.
> >
> >
> >
> >
> >
> > On 6 November 2017 at 21:14, Ulvi İçil <ulvi.icil@gmail.com> wrote:
> >
> >> It seems to me that the concept perezhivanie is a sine qua non concept
> for
> >> studying the lives and works of poets especially: Pushkin, and many
> others.
> >>
> >> I would say that a poet's life and work can not and should not be
> studied
> >> without this concept.
> >>
> >> Completely impossible.
> >>
> >> For instance, for Pushkin, a poem is a magical union of sounds, thoughts
> >> and feelings, which fits completely with intellect and affect, cognition
> >> and emotion.
> >>
> >> In case of some other poets, I would add "colours" because for instance,
> >> Nazim Hikmet (who is said to see the world in colours) says that the
> >> closest poet to him is Eluard and there is a thesis on colour in the
> poems
> >> of Eluard and Hikmet. (May this mean Pushkin was more sensitive to
> sounds
> >> than colours? An outstanding Turkish professor on Russian language and
> >> literature told me that there is not slightest deviation of rythm in
> >> Pushkin whereas there is in all others)
> >>
> >> Do we know any example of any such study in Russian databases? A poet
> >> studied with "perezhivanie".
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >>
> >> On 4 November 2017 at 14:02, Andy Blunden <ablunden@mira.net> wrote:
> >>
> >>> I would recommend Vasilyuk, but AN Leontyev should be read
> >>> as well:
> >>>
> >>> http://www.ethicalpolitics.org/ablunden/pdfs/Fedor%20Vasilyuk.pdf
> >>>
> >>> http://www.ethicalpolitics.org/ablunden/pdfs/Fedor%20Vasilyuk.pdf
> >>>
> >>> Andy
> >>>
> >>> ------------------------------------------------------------
> >>> Andy Blunden
> >>> http://www.ethicalpolitics.org/ablunden/index.htm
> >>> On 4/11/2017 10:41 PM, Ulvi İçil wrote:
> >>>> Dear all,
> >>>>
> >>>> For a study on Turkish poet, also a painter and playwright, Nazim
> >>> Hikmet,
> >>>> whom learning seems to be heavily determined from life experiences at
> >>> each
> >>>> stage of his life,
> >>>> I am looking for a best theoretical approach in general on learning
> from
> >>>> life experiences, then more specifically for such great poets,
> painters
> >>> and
> >>>> play writers.
> >>>> Just to give a closer idea, please look at the section below from his
> >>>> novel, Life's good, brother.
> >>>>
> >>>> I appreciate highly any idea, proposal on such a theoretical approach.
> >>>>
> >>>> Thank you.
> >>>>
> >>>> Ulvi
> >>>>
> >>>> I sat down at the table in the Hôtel de France in Batum. A table with
> >>>> carved legs—not just the legs but the whole gilded oval table was
> >>> covered
> >>>> with intricate carvings. Rococo . . . In the seaside house in
> Üsküdar, a
> >>>> rococo
> >>>> table sits in the guestroom. Ro-co-co . . . The journey I made from
> the
> >>>> Black
> >>>> Sea coast to Ankara, then from there to Bolu, the thirty-five-day,
> >>>> thirty-fiveyear
> >>>> journey on foot to the town where I taught school—in short, to make a
> >>>> long story short, the encounter of a pasha’s descendant—more
> precisely,
> >>> a
> >>>> grandson—with Anatolia now rests on the rococo table in the Hôtel de
> >>>> France in Batum, spread out over the table like a tattered, dirty,
> >>>> blood-stained
> >>>> block-print cloth. I look, and I want to cry. I look, and my blood
> >>> rushes
> >>>> to my
> >>>> head in rage. I look, and I’m ashamed again. Of the house by the sea
> in
> >>>> Üsküdar. Decide, son, I say to myself, decide. The decision was made:
> >>> death
> >>>> before turning back. Wait, don’t rush, son. Let’s put the questions on
> >>> this
> >>>> table, right next to Anatolia here. What can you sacrifice for this
> >>> cause?
> >>>> What
> >>>> can you give? Everything. Everything I have. Your freedom? Yes! How
> >>>> many years can you rot in prison for this cause? All my life, if
> >>> necessary!
> >>>> Yes, but you like women, fine dining, nice clothes. You can’t wait to
> >>>> travel,
> >>>> to see Europe, Asia, America, Africa. If you just leave Anatolia here
> on
> >>>> this
> >>>> rococo table in Batum and go from Tbilisi to Kars and back to Ankara
> >>> from
> >>>> there, in five or six years you’ll be a senator, a minister—women,
> >>> wining
> >>>> and
> >>>> dining, art, the whole world. No! If necessary, I can spend my whole
> >>> life in
> >>>> prison. Okay, but what about getting hanged, killed, or drowned like
> >>> Mustafa
> >>>> Suphi and his friends if I become a Communist—didn’t you ask yourself
> >>> these
> >>>> questions in Batum? I did. I asked myself, Are you afraid of being
> >>>> killed? I’m not afraid, I said. Just like that, without thinking? No.
> I
> >>>> first knew
> >>>> I was afraid, then I knew I wasn’t. Okay, are you ready to be
> disabled,
> >>>> crippled, or made deaf for this cause? I asked. And TB, heart disease,
> >>>> blindness? Blindness? Blindness . . . Wait a minute—I hadn’t thought
> >>> about
> >>>> going blind for this cause. I got up. I shut my eyes tight and walked
> >>> around
> >>>> the room. Feeling the furniture with my hands, I walked around the
> room
> >>> in
> >>>> the darkness of my closed eyes. Twice I stumbled, but I didn’t open my
> >>> eyes.
> >>>> Then I stopped at the table. I opened my eyes. Yes, I can accept
> >>> blindness.
> >>>> Maybe I was a bit childish, a little comical. But this is the truth.
> Not
> >>>> books or
> >>>> word-of-mouth propaganda or my social condition brought me where I am.
> >>>> Anatolia brought me where I am. The Anatolia I had seen only on the
> >>>> surface, from the outside. My heart brought me where I am. That’s how
> >>> it is
> >>>> .
> >>>>
> >>>>
> >>>
>
>