157:(Emine Oktan). According to Cahit, Marmara is one of the first Turkish Cypriot poets that wrote satire whilst being concerned with both a personal and a communal outlook. Cahit further writes that her poems always carry "a deep sensitivity" as well as love, fear and pain at times, and that over time, as she got overwhelmed by social expectations and traditional values, her focus shifted from a communal to a personal one. Her poems closely reflect the progression of her life. Some poems of hers are on her love affair with Oğuzcan.
98:, one of these pen pals, she developed a romantic affair that each expressed through their poems. They then got engaged through a ring that Oğuzcan sent hidden in a book that he sent her. Marmara's father was outraged at the prospect but had to yield when his daughter stopped eating, sending her brother to Istanbul to see Oğuzcan. However, her brother came with a stark refusal of the prospects, saying that Oğuzcan was "stout and a stutterer". This psychologically devastated Marmara and influenced her poetry.
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the time and the ban of the
British colonial government on civil servants publishing written work, which would cost her her job. According to her sister, their father, having read at the newspaper one of Marmara's poems that she wrote under an alias, broke into their home exasperated, saying that he had read a poem written by a woman and "the sky would fall onto their heads" as "there was no shame left in women".
140:. Öncül writes that Marmara "seems to have solved the question of identity" in that her poetry is "not a tool for chauvinism" or for "nationalistic sermons" and the subjects of her poems are her own Turkish Cypriot people. However, according to Öncül, later in her literary career, after a break from writing, her style resembles more of the "hececiler" that she stayed away from.
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She initially wrote under aliases such as Nevin Nale, Gülen Gaye, Lafazan Meçhul ("the unknown talkative"), Funda and Fırtına, and even as such experienced a great fear of persecution. This was because of her father and the patriarchal society seeing women's poetry as scandalous and promiscuous at
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because of a forbidden love affair. Marmara, heartbroken, moved back to
Istanbul with her son. She later was diagnosed with cancer and returned to Cyprus. She lived at a house on Abdi Çavuş Street in the walled city of Nicosia, with which she became associated, and died there on 31 January 1984.
130:. Marmara widely used free verse in her poetry. According to Tamer Öncül, who calls Marmara "one of the most qualified poets of the period", Marmara stayed away from the other "romantic hececiler" and the prominent Turkish Cypriot poets of her time, who wrote in the nationalist publication
185:. On poetry, Marmara herself said "Poetry is only poetry when it washes our soul in a rain of meaning and emotion, I do not distinguish between poems with rhyme or free verse poems but I am a bit conservative. I look for emotion, meaning and sense, music in poetry".
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points to a conflict between the "periphery", her
Cypriot homeland and a distinct line of thought associated with it, and the "metropolis", a line of thought that would be more palatable for literary magazines in Istanbul in Marmara's writing.
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movement in Turkey and she wrote works of satire in free verse. Her poetry is also distinct from the nationalism characterising
Turkish Cypriot poetry of her time, instead focusing more on the experience of being a Turkish Cypriot.
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in terms of her outlook on her life and death, evidenced by the line "There will be a journey to beyond this world" in her 1951 poem "Yolculuk" ("Journey"). A critical article by Hikmet
Dizdaroğlu published in Turkish magazine
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in Turkey. However, the vast majority of her poems were published in
Turkish Cypriot newspapers between 1944 and 1958. She was one of the few prominent women in the Turkish Cypriot society in the 1940s, the others being poet
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in 1952 on
Turkish Cypriot poetry stated that Marmara uses language "flawlessly", and words that show some "alienation" in Engin Gönül's poetry "fit in perfectly" in Marmara's poetry. The article likened Marmara's style to
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calls
Marmara the poet with the "largest amount of Cypriotness" in her writing among the prominent quartet of the female writers of her generation, consisting of Pembe Marmara, Urkiye Mine Balman,
122:. Whilst being traditionally grouped together with her other Turkish Cypriot poets as a "romantik hececi" ("romantic syllabist"), she had a distinct style more influenced by the
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poet. She was one of the most important
Turkish Cypriot poets of the 1940s and one of the earliest female Turkish Cypriot poets. Her poetry was influenced heavily by the
181:, a collection of her poems from 1945 onwards posthumously published in 1986 by her sister. Marmara's work has been praised by Turkish literary historian
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Marmara was born into a wealthy family called the "Saraç" family, who traced their lineage back to
Anatolia at the time of the 1571
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She later married Sedat Baker, a psychiatrist, with whom they moved to Istanbul for some time. In 1960, her son,
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43:. Her father, Yusuf Saraç Hüseyin, was known as "Grocer Hasan". Marmara started her educational life at the
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Her poetry gradually became well-known in Cyprus and Turkey with her poems published in the journals
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174:'s "dreamy lyricism", stating that her poem "Bahar" resembles Zorlutuna's poem "Git Bahar!".
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and became a primary school teacher working at the Ayasofya Primary School.
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Pembe Marmara belonged to the "40s generation of poems" of
160:İlknur Önol Yaşar claims that Marmara was influenced by
470:. Turkish Ministry of Culture and Tourism. p. 661.
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She soon became pen pals with poets in Turkey. With
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416:"Çağdaş Kıbrıs Türk Şiirinde Eğilimler/ Yönelimler"
393:"Sanatçı ve Yazarlar Birliği'nden üç şaire vefa..."
483:"Kıbrıs Türk edebiyatında İtalyan şairi Dante"
423:Çukurova University Journal of Turkish Studies
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268:"Yaşamın taaa İçindeki Kadın: Pembe Marmara"
47:Pre-School, after which she enrolled in the
22:(25 December 1925 – 31 January 1984) was a
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302:"Pembe Marmara'nın şiiri Merdivenler"
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126:movement of poets in Turkey led by
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369:Azgın, Fatma (18 February 2016).
300:Özay, Fahriye (17 October 2010).
68:I. ve II. Demet Şiir Seçkinleri
348:"Ulus Baker'e saygı duruşu..."
346:Tolgay, Ahmet (23 July 2014).
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468:Türk Edebiyatı Tarihi, Cilt 4
323:Azgın, Fatma (8 March 2013).
208:. Turkish Ministry of Culture
481:Önol Yaşar, İlknur (2009).
466:Halman, Talât Sait (2006).
272:Journal for Women's Studies
177:Marmara only has one book,
53:Victoria Girls' High School
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585:Turkish Cypriot literature
120:Turkish Cypriot literature
55:. She then studied at the
51:Girls' Primary School and
41:Ottoman conquest of Cyprus
525:. 16 May 1952. p. 3.
615:Kaytazzade Mehmet Nazım
266:Cahit, Neriman (2010).
203:"Pembe (Yusuf) Marmara"
179:Pembe Marmara – Şiirler
172:Halide Nusret Zorlutuna
757:Cypriot schoolteachers
631:Nazif Süleyman Ebeoğlu
624:British and modern era
747:Turkish Cypriot poets
230:. Kıbrıs. 23 May 2007
16:Turkish Cypriot poet
762:Turkish women poets
752:People from Nicosia
445:"KIBRIS TÜRK SIIRI"
278:(1). Archived from
87:and businessperson
636:Urkiye Mine Balman
605:Hasan Hilmi Efendi
516:"Kıbrıslı Şairler"
183:Nihat Sami Banarlı
96:Ümit Yaşar Oğuzcan
77:Urkiye Mine Balman
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447:. Cyprus Homepage
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661:Özker Yaşın
641:Engin Gönül
155:Engin Gönül
89:Vedia Barut
85:Türkan Aziz
81:Kamran Aziz
731:Categories
706:Neşe Yaşın
600:Aşık Kenzi
286:2016-06-04
189:References
103:Ulus Baker
539:. Cypnet
49:Ayasofya
45:Yenicami
592:Ottoman
523:Bozkurt
107:Kyrenia
72:Yedigün
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399:4 June
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350:Kıbrıs
331:4 June
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114:Poetry
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