Artistic expression of national identity with aesthetic symbols (based on the creativity of Rasul Rza and Anar)

Abstract

In the realm of utilizing aesthetic symbols creatively, Rasul Rza and Anar hold distinct positions. What sets them apart is their primary aspect and success in shaping oppositional stances to ideology during the Soviet rule years. They employed various artistic codes in their individual styles to form a multifaceted semantic structure of the text, deepen poetic meaning, establish a hidden communication with the reader, and instill national identity and a spirit of resistance. Rasul Rza’s works like “If only there were not a Rose...”, “Maiden’s Tower”, “Hilal”, “Fuzuli” poems, the series of poems “Colors”, etc., exemplify their artistic prowess in establishing reader-author relationships through the opening of these codes. The essay uses a poem, “Hilal” as an example to shed light on the expression of the Turkish national identity through aesthetic symbols in the poet's creativity. Anar, in the 60s generation, complexifies the issue of national identity with aesthetic symbols to ensure his uniqueness. This approach continues into the independence era as he, while recognizing the importance of preserving and developing national identity in the state policy of independence years, uses his style without encoding in his works during these years to deliver his ideas with greater sensitivity and literary-aesthetic qualities. To showcase diversity in different stages, the article explores the works “White Harbor” and “White ram, black ram”.