{"id":5335,"date":"2025-05-12T10:21:24","date_gmt":"2025-05-12T07:21:24","guid":{"rendered":"https:\/\/klasikdusunceokulu.com\/?page_id=5335"},"modified":"2025-05-12T10:21:24","modified_gmt":"2025-05-12T07:21:24","slug":"erman-goren-homeros-okumalariilias-10-seminer-ozeti","status":"publish","type":"page","link":"https:\/\/klasikdusunceokulu.com\/index.php\/erman-goren-homeros-okumalariilias-10-seminer-ozeti\/","title":{"rendered":"ERMAN G\u00d6REN, HOMEROS OKUMALARI:IL\u0130AS 10. SEM\u0130NER \u00d6ZET\u0130"},"content":{"rendered":"

ERMAN G\u00d6REN, HOMEROS OKUMALARI:IL\u0130AS 10. SEM\u0130NER \u00d6ZET\u0130<\/strong><\/p>\n

Dersin Amac\u0131 ve \u0130\u00e7eri\u011fi<\/strong><\/p>\n

Bu seminer, Ilias\u2019\u0131n ikinci kitab\u0131n\u0131n ortas\u0131nda yer alan benzetmeler ve kurban rit\u00fceli sahnesi \u00fczerinden Homeros\u2019un poetikas\u0131n\u0131, s\u00f6zl\u00fc \u015fiir gelene\u011fini ve dini temsillerini tart\u0131\u015f\u0131r. Erman G\u00f6ren, Homeros\u2019taki te\u015fbihlerin bili\u015fsel ve estetik i\u015flevlerini a\u00e7\u0131klar; Agamemnon\u2019un ger\u00e7ekle\u015ftirdi\u011fi kurban sahnesinden yola \u00e7\u0131karak antik Yunan dininin sava\u015fla ili\u015fkisini inceler. Ayr\u0131ca Homeros\u00e7u \u015fairin Musa\u2019lara sesleni\u015fi \u00fczerinden s\u00f6zl\u00fc k\u00fclt\u00fcrde \u015fiirin nas\u0131l in\u015fa edildi\u011fini ve katalogvari anlat\u0131m\u0131n epistemolojik boyutlar\u0131n\u0131 ele al\u0131r.<\/p>\n

Ana Temalar<\/strong><\/p>\n

    \n
  1. Homeros\u2019ta Te\u015fbih ve \u015eiirsel Haf\u0131za<\/strong><\/li>\n<\/ol>\n

    Homeros\u2019un te\u015fbihleri, dinleyicide g\u00f6rsel bir \u00e7a\u011fr\u0131\u015f\u0131m yaratma amac\u0131 ta\u015f\u0131r. Paivio\u2019nun \u201cpictureable\u201d kavram\u0131 ve Minchin\u2019in kavramsal i\u015flev analizleri e\u015fli\u011finde, bu benzetmelerin hem a\u00e7\u0131klama hem de haf\u0131za tazeleme i\u015flevi vurgulan\u0131r.<\/p>\n

      \n
    1. Kurban Rit\u00fceli ve \u015eiddetin Temsili<\/strong><\/li>\n<\/ol>\n

      Agamemnon\u2019un ger\u00e7ekle\u015ftirdi\u011fi kurban sahnesi \u00fczerinden Homeros\u2019un sava\u015f ve \u015fiddetle kurdu\u011fu ili\u015fkiler tart\u0131\u015f\u0131l\u0131r. Girard, Burkert ve Paris Okulu\u2019nun kurban teorileri ba\u011flam\u0131nda, bu rit\u00fcelin sava\u015f \u00f6ncesi kefaret ve modelleme i\u015flevi analiz edilir.<\/p>\n

        \n
      1. Musa\u2019lara Sesleni\u015f ve \u015eairin Pozisyonu<\/strong><\/li>\n<\/ol>\n

        Homeros\u2019un Musalara hitab\u0131, \u015fairin yaln\u0131zca i\u015fiten biri oldu\u011funu ve hakikatin Musa\u2019lar vas\u0131tas\u0131yla geldi\u011fini vurgular. Bu anlay\u0131\u015f, \u015fairin yarat\u0131c\u0131 rol\u00fcn\u00fc d\u0131\u015flamadan ilahi bir haf\u0131za kayna\u011f\u0131na yaslan\u0131r.<\/p>\n

          \n
        1. Katalogvari Anlat\u0131m ve Epistemoloji<\/strong><\/li>\n<\/ol>\n

          Gemiler Katalo\u011fu\u2019ndan \u00f6nce gelen Musalara sesleni\u015f, s\u00f6zl\u00fc k\u00fclt\u00fcrde hakikatin nas\u0131l kay\u0131t alt\u0131na al\u0131nd\u0131\u011f\u0131n\u0131 g\u00f6sterir. Listeleme, sadece ar\u015fivsel de\u011fil, poetik ve teolojik bir hakikatin in\u015fas\u0131d\u0131r. Katalog, sadece isimler de\u011fil, toplumsal ve kozmik d\u00fczeni de s\u0131ralar.<\/p>\n

            \n
          1. Co\u011frafi Haf\u0131za ve Yunan Kimli\u011fi<\/strong><\/li>\n<\/ol>\n

            Katalogda ge\u00e7en \u015fehir ve kahraman isimleri, Pan-Helenik haf\u0131zan\u0131n co\u011frafi ve k\u00fclt\u00fcrel temelini olu\u015fturur. Say\u0131lan her unsur, kolektif belle\u011fi destekleyen bir hakikat anlat\u0131m\u0131d\u0131r.<\/p>\n

              \n
            1. Sava\u015f \u00d6ncesi Poetik Haz\u0131rl\u0131k<\/strong><\/li>\n<\/ol>\n

              Gemiler Katalo\u011fu ve ard\u0131ndan gelen hayvanlar listesiyle birlikte t\u00fcm ordu unsurlar\u0131n\u0131n say\u0131lmas\u0131, epik \u015fiirin sava\u015fa giri\u015f i\u00e7in metafizik bir d\u00fczen olu\u015fturdu\u011funu g\u00f6sterir. Bu durum Tersites\u2019in ele\u015ftirisine Musa\u2019lar \u00fczerinden estetik bir cevap niteli\u011fi ta\u015f\u0131r.<\/p>\n

              Sonu\u00e7<\/strong><\/p>\n

              Bu seminer, Homeros\u2019un \u015fiir anlay\u0131\u015f\u0131n\u0131 estetik, dini ve epistomolojik katmanlar\u0131yla inceler. Te\u015fbih, kurban rit\u00fceli ve katalogvari anlat\u0131m, Homeros\u2019un yaln\u0131zca bir hik\u00e2ye anlat\u0131c\u0131s\u0131 de\u011fil, bir hakikat in\u015fac\u0131s\u0131 oldu\u011funu ortaya koyar. Ilias, s\u00f6zl\u00fc k\u00fclt\u00fcr\u00fcn haf\u0131za bi\u00e7imlerini, dini temsillerini ve sava\u015f esteti\u011fini bir arada ta\u015f\u0131yan poetik bir evrendir.<\/p>\n

               <\/p>\n

              Purpose and Content of the Seminar<\/strong><\/p>\n

              This seminar focuses on the similes and sacrificial ritual in the middle of Book 2 of the Ilias, analyzing Homer\u2019s poetics, the oral tradition, and representations of religious experience. Erman G\u00f6ren discusses the cognitive and aesthetic functions of Homeric similes and examines the Agamemnon-led sacrifice scene as a model of ancient Greek religiosity and its ties to war. The seminar also explores Homer\u2019s invocation of the Muses as a reflection of oral composition and the epistemological role of catalog-style narrative.<\/p>\n

              Main Themes<\/strong><\/p>\n

                \n
              1. Similes and Poetic Memory in Homer<\/strong><\/li>\n<\/ol>\n

                Homer\u2019s similes aim to evoke vivid mental imagery. Drawing on Paivio\u2019s concept of \u201cpictureability\u201d and Minchin\u2019s cognitive analysis, G\u00f6ren emphasizes that these similes serve not only explanatory but mnemonic functions for the audience.<\/p>\n

                  \n
                1. Sacrifice and the Representation of Violence<\/strong><\/li>\n<\/ol>\n

                  The sacrificial scene led by Agamemnon is discussed through the lens of theories by Girard, Burkert, and the Paris School. The act is interpreted as a pre-war ritual of purification and mimetic modeling, linking sacrifice to the management of collective violence.<\/p>\n

                    \n
                  1. Invocation of the Muses and the Poet\u2019s Role<\/strong><\/li>\n<\/ol>\n

                    Homer\u2019s call to the Muses portrays the poet not as a creator in the modern sense, but as a listener who transmits divine memory. This dynamic does not deny poetic agency but grounds it in a transcendent source of truth.<\/p>\n

                      \n
                    1. Cataloguing and Epistemology<\/strong><\/li>\n<\/ol>\n

                      The invocation before the \u201cCatalogue of Ships\u201d reflects how truth is stored and communicated in oral culture. The list is not merely archival but poetic and theological, constructing a vision of cosmic and social order through naming and enumeration.<\/p>\n

                        \n
                      1. Geographical Memory and Greek Identity<\/strong><\/li>\n<\/ol>\n

                        The catalog\u2019s cities and heroes form the geographic and cultural foundation of pan-Hellenic identity. Each name sustains collective memory, functioning as a poetic affirmation of a shared historical consciousness.<\/p>\n

                          \n
                        1. Poetic Preparation for War<\/strong><\/li>\n<\/ol>\n

                          The catalogue and subsequent enumeration of animals and warriors establish a metaphysical readiness for battle. This structured listing presents an aesthetic order that stands in contrast to Thersites\u2019 chaotic critique, offering a divine reply through the Muses.<\/p>\n

                          Conclusion<\/strong><\/p>\n

                          This seminar reveals the Ilias not simply as a narrative, but as a multilayered poetic structure encompassing aesthetics, religion, and epistemology. Through similes, sacrificial scenes, and catalogues, Homer emerges as a constructor of truth in oral tradition. The Ilias is presented as a poetic universe that integrates memory, divine representation, and the ethics of war.<\/p>\n","protected":false},"excerpt":{"rendered":"

                          ERMAN G\u00d6REN, HOMEROS OKUMALARI:IL\u0130AS 10. SEM\u0130NER \u00d6ZET\u0130 Dersin Amac\u0131 ve […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5335","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/5335","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/comments?post=5335"}],"version-history":[{"count":1,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/5335\/revisions"}],"predecessor-version":[{"id":5336,"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/pages\/5335\/revisions\/5336"}],"wp:attachment":[{"href":"https:\/\/klasikdusunceokulu.com\/index.php\/wp-json\/wp\/v2\/media?parent=5335"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}