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Ebook Bendeniz ve Marco Polo by Paul  Griffiths read! Book Title: Bendeniz ve Marco Polo
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Reader ratings: 4.4
The author of the book: Paul Griffiths
Edition: Ayrıntı Yayınları
Date of issue: 1998
ISBN: No data
ISBN 13: No data
Language: English
Format files: PDF
The size of the: 22.13 MB

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Her büyük edebi eser gibi bu kitap da ele avuca sığmıyor. Onun için “Hakikatin çoğulluğunu ve değişkenliğini anlatıyor” ya da “Doğu ile batıyı karşı karşıya getiriyor” ya da “Batının temel değerlerini sorguluyor” ya da “Okuyucuyu zamanda ve mekanda yolculuğa çıkarıyor” diyenler olacaktır. Ama tarihin koca bir dilimi ve dünyanın yarısı bir kaleidoskobun içine sokulmuş, insanlık durumu bütün karmaşıklığı ve renkliliğiyle seyrimize sunulmuşken, böyle klişelere söz düşer mi?

En iyisi sözü yazara bırakalım: “Kıskandığım, onun şahsı değil, sureti, hatırası. Belleğimin yarattığı mahluk ruhumu bürüdü. Bana ait olanı tanınmaz, keyif vermez, sevilmez kıldı. Şu ana kadar yaptıklarını ilelebet yapabilir: Kinsai’nin ada-mabetleri ile durgun sulara bakan sarayları arasında mekik dokuyabilir, refakatçisinin kerametlere ışık tutan incelikli açıklamalarını dinleyebilir, ülkesinden sonra aklına da hakim olamadığını hissetmeye başlamış bir hükümdarın maiyetinde yer alabilir, Beihai parkında dolaşabilir, bir cariyenin kollarında kendinden geçebilir. Benim derdim, hatırladıklarımın özgürlüğüne ortak olmak, onun gibi bir bellek kahramanı haline gelmek. Belki elinizdeki kitabı yazmamın nedeni de bu, başka zihinlere girme, oralarda gezip tozma arzusu. Boşuna mı uğraşıyorum? Göreceğiz. Siz ve ben.”


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Read information about the author

Ebook Bendeniz ve Marco Polo read Online! Paul Griffiths was born in the Welsh town of Bridgend to Fred and Jeanne Griffiths.[1] He received his BA and MSc in biochemistry from Lincoln College, Oxford, and from 1971 worked as a freelance music critic. He joined the editorial staff of The New Grove Dictionary of Music and Musicians in 1973 and in 1982 became the chief music critic for The Times, a post which he held for ten years. From 1992 to 1996, he was a music critic for The New Yorker, and from 1997–2005, for The New York Times. A collection of his musical criticism for these and other periodicals was published in 2005 as The substance of things heard: writings about music, Volume 31 of Eastman Studies in Music.

In 1978, he also began writing reference books and monographs on classical music and composers starting with Modern music: A Concise History from Debussy to Boulez and Boulez (Volume 16 of Oxford Studies of Composers). Although the majority of these publications have dealt with 20th-century composers and their music, he has also written more general works on classical music, including The String Quartet: A History (1985), The Penguin Companion to Classical Music (2005), and A Concise History of Western Music (2006). The last of these has been translated into seven languages.

Griffiths has been a guest lecturer at institutions including the University of Southern California, IRCAM, Oxford University, Harvard University, Cornell University (Messenger Lectures, 2008) and the City University of New York Graduate Center (Old Lecture, 2013), and has served on juries for international competitions, among them the Premio Paolo Borciani and the ARD Musikwettbewerb. He was named a Chevalier dans l'Ordre des Arts et des Lettres in 2002 and a Member of the American Academy of Arts and Sciences in 2011, when he also won a Deems Taylor Award for his notes for Miller Theatre.

In 1989, Griffiths published his first novel, Myself and Marco Polo: A Novel of Changes, which went on to win the 1990 Commonwealth Writers' Prize for the best first novel in the Europe and South Asia region.[2] The novel is a fictional version of Marco Polo's memoirs which he dictated to Rustichello da Pisa, his fellow inmate in the Genoese prison where he had been incarcerated upon his return from China. (Rustichello is the "myself" of the title.) Two years later, he published his second novel, The Lay of Sir Tristram, a retelling of the Tristan and Iseult legend interjected with the narrator's own love story and his meditations on the legend's fluctuating influence and interpretation over time.[3] Griffiths's most recent novel, let me tell you (2008), uses a constrained writing technique similar to those employed by the avant-garde Oulipo group. In let me tell you, Ophelia tells her story in a first-person narrative devised by Griffiths using only the 481 word vocabulary given to her in Shakespeare's Hamlet.[4]


Reviews of the Bendeniz ve Marco Polo


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