Melih Cevdet Anday’ın “İkaros’un Ölümü” Adlı Şiirinde Göstergelerarası Etkileşim ve Ekfrasis
Intersemiotic Interaction and Ekphrasis in the Poem of Melih Cevdet Anday’s “İkaros’un Ölümü”

Summary/Abstract: Intersemiotic is a literary criticism model that defines the interactions and relations between aesthetic genres. It indicates the mutual aesthetic qualities and connotations among the genres that emerge in a particular artwork. In this sense intersemiotic is based on the common accumulation and tradition of art. Painting is a significant aesthetic genre that potentially allows intersemiotic reproduction. It has been in intense relationship with poetry, as a form of such relationship, ekphrasis is the basis of intersemiotic interaction between painting and literature. It is defined as a verbal design and literary reproduction of visual arts, especially painting. With the modernization movements emerging in Turkish poetry, poetry enters into a more intense relationship with other genres of art. In this sense, the process of creating ekphrastic works expands its aesthetic scope with modern poetry. Pieter Bruegel the Elder is a renaissance painter known for his landscape designs and depictions of peasant life. Melih Cevdet Anday’s poem “İkaros’un Ölümü” is inspired by Bruegel’s painting “Landscape with the Fall of Icarus”. In this study, Melih Cevdet Anday’s poem “İkaros’un Ölümü” is examined in terms of intersemiotic interaction and ekphrasis, considering Bruegel’s painting.

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