Turkish Studies - Language and Literature, Year 2022 Issue Volume 17 Issue 2

The Effect of the Shadow Play on the Characters of the Tanzimat Period Novel

Safiye AKDENİZ — 2024-08-29

In the study, the effect of the characters in the shadow play on the Tanzimat novel is investigated. For this purpose, first of all, the shadow play is compared with the Ahmet Mithat Efendi's novels Felâtun Bey and Râkım Efendi and Bahtiyarlık which are similar to him in various aspects, and then references are made to other novels of the period. It is tried to determine what kind of change or transformation the characters have undergone in the first examples of the novel genre. At all these stages, classification made by Metin And for the characters is followed. Karagöz, the prominent figure of the shadow play, represents the people and expresses their problems. Hacivat, on the other hand, symbolizes the upper class due to his education, high language and style. In the novels where two male protagonists are compared, the starting point is largely similar to shadow play. However, this similarity is transformed by adapting to the new conditions created by Westernization. Karagöz becomes invisible while Hacivat and Çelebi evolve into the European dandy type. The most distinctive features of Karagöz are that he struggles with the system, makes use of sarcasm and satire, and does not seek to advance in class and hold on. Other characters in the shadow play cannot find a place in the novels, some of them continue their existence by changing. Extraordinary beings and events such as witch, magic, and types preceded by bodily or behavioral defects such as stuttering and addicts do not appear. Negatively drawn women are replaced by lewd Western women, governesses, slaves, innocent young girls. Although some of the non-Muslims who are criticized or ridiculed are still negated, some are drawn as people to be taken into account. Juggler, acrobat, etc. Fun types belonging to the art world are more likely to be the protagonists of tragic stories. Children are secondary elements in both types. People from Anatolia or outside Anatolia are few in number. The use of dialect in novels is rarely used for credibility.

The Features of the "Type" Created for the Transfer of Ideology in the Novel and the "Bilge" of the Sümer Kızı Novel as an Example of Ideological Type

Ahmet AKGÜL — 2024-08-29

In this study, we want to emphasize the term "type", which we usually see in the texts of authors who attribute ideological functions to the novel, and show why the characters in novels, which can be seen as texts with thesis, was formed by using "types". In addition, the other problematic and aim of our study is to reveal the characteristics of the novel character, which we refer to as the 'ideological type'. When the put in order effect of the novel on the social structure was understood, often called "texts with thesis" novels that transfered the ideology to the text shallowly and overtly in Turkish literature studies emerged. one of the most important features of the novel is that it includes various perspectives in itself. Therefore, it is closer to real life. Contrary to this feature of the novel, it is seen that the protagonist is usually the 'type' in "with thesis or ideological" fictional texts. When we look at the definitions of 'type' defined by Turkish literature researchers, we observe that there are concepts such as 'social, psychological, character' that are seen under the category of "type". Although the boundaries of the mentioned concepts are not definite, the existence of an 'ideological' representation in fictional texts is also obvious. In addition to these concepts, we tried to determine the characteristics of the 'ideological type' by examining the type definitions of literary critics and making the definition of 'ideological type'. Based on the findings we have determined, we have tried to show the main character Bilge, who is the ideological type of the novel Sümer Kızı, as an example for our claim. As a result, the primary purpose of creating an ideological type is not to take the person from the lived life and put them in the novel, but to create the person who is wanted to be transferred from the novels to daily life. Ideological types are created by writers with the aim of ensuring their participation among the crowds (readers) as the carrier of the ideology.

Traces of Existentialism in the Novel “Suçumuz İnsan Olmak”

Müberra BAĞCI — 2024-08-29

Existentialism, a philosophy movement, has affected literature as well as many branches of art. Its reflections in Turkish literature are mostly seen in the works after 1950. Particularly, the 1950s generation storywriters were directed by existentialism to new searches both in terms of theme and form. In this period, with the influence of modernist literature as well as existentialism, interest in the individual in stories and novels increased; subjects such as loneliness, fear, anxiety, distress and hopelessness formed the center of these works. Even though Oktay Akbal is not a member of the 1950s generation, he is an author influenced by the existentialism movement. He made translations from existentialist writers such as Sartre and Camus, and also included existential themes in his own works. The novel Suçumuz İnsan Olmak (Our Crime Being Human), published in 1957, is one of them. In this study, after briefly mentioning the existentialism movement and its effects in Turkish literature, the reflections of existentialism in Oktay Akbal's novel Suçumuz İnsan Olmak is evaluated. Existential elements in the novel are examined under the subheadings of anxiety, thrownness, freedom, responsibility, choice, search for meaning/meaninglessness, absurd, me and the other, loneliness, alienation, attachment, rebellion and hopelessness. In our study, it has been concluded that Akbal was influenced by existentialism, which had an important place in the literary agenda of the 1950s, and that he shaped his novel around some existential concepts, but that he dealt with these philosophical concepts without going into depth in the novel of Suçumuz İnsan Olmak. The author has used these concepts to a large extent to describe the inner world of the individual. Akbal's novel Suçumuz İnsan Olmak is an interesting work in terms of showing the effect of existentialism in Turkish literature.

The Tradition of Tazmins and The Tazmin Writed by Kavsî-i Tebrîzî on Fuzûlî’s Gazelles

Mumine ÇAKIR — 2024-08-29

The Nazire tradition unites poets from different eras and places, it serves as a school for the upbringing of young poets and enables them to compete with each other in order to reach the better and more beautiful. In the 'tazmin' (the use of a poet, a verse or a couplet by another poet), which has the characteristics of nazire and accepted as a kind of nazire, is cited taken a model a verse of the ghazal distinctly from the nazire and mostly the pen name of the poet from whose poem taken is mentioned. If the verse is a 'mısra-ı berceste' (a term that is easily memorized and has the beauty of pronunciation in Divan literature), the pseudonym is usually not mentioned. Kavsî-i Tebrîzî is one of the poets who wrote tazmin within the framework of this tradition. Kavsî-i Tebrîzî, who was born in Tabriz in the 17 th century, is one of the important poets of Azerbaijan and the Ottoman literature. He wrote nazire and tazmin for the gazelles of many poets. Mostly, he wrote nazire and tazmin for the gazelles of Fuzûlî, one of the important poets of Turkish literature. He wrote tazmin for eighteen gazelles of Fuzuli. In addition, he wrote tazmin for two gazelles of Ali Şir Nevâyî, two of Vahîd-i Kazvînî and one of Aka Râzî by stating their pen names. Apart from these, there are also tazmin that he wrote without saying from whom he got the verse he cited. The number of these is also nine. In the tazmin of Kavsî, the same meter, rhyme and redif are used as the sample / model poems, but the number of couplets is high. Although the contents of the poems are generally the same thanks to the common redifs used, Kavsî did not adhere to the dreams and mazmuns in Fuzûlî's gazelles. Kavsî wrote unique and original tazmin gazelles away from imitation by using different metaphors and dreams from Fuzûlî. His tazmin are more active, more extroverted and more cheerful as far as Fuzuli.

An Evaluation of Local Words in Some Works Annotated by Karslı Divan Poet Hâcibî

Nilüfer ÇELİK — 2024-08-29

Divan literature, which was developed through master poets and writers in parallel with the political, cultural and economic development of the Ottoman state, existed until the middle of the19th century. Since 13th century, many poets and writers have created works related to this literary tradition.One of them is the divan poetHâcibî, who grew up in Kars.Hâcibîhas written many works in verse and prose. Some of them are works created through commentary and translation. In this study, the local words mentioned in the works of Şerh-i Yûsuf u Zelîhâ, Şerh-i Lüccetü’l-Esrâr, Şerh-i Mütûn-ı Selâse written by Hâcibî were examined.It was tried to determine whether the detected words still exist in and around Kars province based on the Compilation Dictionary (CD) and the source person (SP). The relevant words were examined with sample sentences. A total of 63 local words were identified.It has been confirmed bySP that 41 of them are available on the CD, although 22 of them are not included in the CD, they are still in use in the region.It was found that a large majority of these words, which are the subject of the study, still exist in Kars in the same meaning and manner.As a result, the fact that poets and writers have used local words in the tradition of Divan literature shows that city culture, as in many areas, is fed by local cultures at a certain level in the literary field.This shows that there is always an ongoing connection between the layers of Turkish culture.

A Collection of Musammat Journal Compiled in the XVIII. Century: Mecmuʻatü’l-Leta’if (National Library “06 Mil Yz Cönk 163”)

Zahide EFE — 2024-08-29

The number of studies conducted on journals, which have an important place in revealing the wealth that classical literature has a rich accumulation and a long history in terms of the poet’s staff and the given works, has increased significantly in recent years. As a result of these studies, journals, samples of different types of which have been unearthed, have been subjected to various classifications in terms of language, shape and content. One of the types of journals that are included among these classifications and on the basis of which a certain partnership is formed is the musammat journals, which contains poems written in the form of a musammat decipherment. In classical Turkish literature, there are rare examples of journals containing poems written entirely in the style of musammat. One of the journals with these characteristics is the musammat journals which is rare examples in our literature and is registered in the National Library with the archive number “06 Mil Yz Cönk 163”. Although the work is recorded in the library catalog with the name Cönk, it is a musammat magazine bound in the form of Cönk in terms of its content. The editor/copyist of the journal that was compiled/copied in 1136/1723-24 is not known. There are 133 poems written by 46 different poets in the magazine, which is thought to be named Mecmûʻatü’l-Letâ’if and consists of a total of 119 leaves. These poems were written in different verse forms such as tesdis, müseddes, muhammes, terkib-i bend, rubai, tesmin, müsemmen and muaşşer. In this study, after introducing some of the journals that are examples of the classification of journals and musammat journals in the first place; a number of evaluations were made on the shape and content characteristics of the musammat journals named Mecmuʻatü’l-Leta’if. At the end of the study, the first and last paragraphs of the poems included in the journal were included.

Tevfik Fikret's Sorrow

Seher ERDOĞAN ÇELTİK — 2024-08-29

Literature is the expression of the events and situations that human beings encounter in life, and the emotions they feel, through the filter of the artist's style and temperament. In the works in which the artist reveals his own feelings and thoughts through words, the words in everyday language come together and take on a different structure. Thus, an aestheticized literary work comes into being. The reader is not only the author's feelings and thoughts in the literary work; finds the opposite of his own feelings and thoughts; so that the work becomes the common denominator of humanity. Sorrow for Tevfik Fikret; It is one of the most basic feelings in Rübab-ı Şikeste. This feeling is very common with similar words and phrases within the framework of his temperament and artistic understanding. This feeling in Tevfik Fikret's poems; It finds its expression in words and phrases such as "sadness, sorrow, gloom, sorrow, grievous, grief, woeful, the saddest, deep worry, regret, distressed, sorrow, melancholy, lament, hopeless, affliction, suffering, dejected, frustrated, and despair". The fact that grief comes across with such a different set of words reveals how intensely Tevfik Fikret experiences this emotion. The transformation in the inner journey of the poet, who turns his sadness into a work of art, can be followed through his poems. In this study, it is aimed to determine how the emotion expressed by Tevfik Fikret with words such as grief is reflected in his poetry world. Due to the abundance of material, the article limited it to the words grief, the saddest, woeful, anguish, suffer. Around these, the poet's world of meaning, image and connotation in poetry has been tried to be revealed.

Analysis of Rhetorical Structures in Turkish and German Picture Books for Preschoolers

Furkan KOCAHikmet ASUTAY — 2024-08-29

The acquisition of reading habits is a life-long process that begins in the first years of life. Children who acquire the reading habits from an early age rise to a more advantageous position in many respects compared to their peers. Picture books play a very important role in the process of acquisition of reading habits. For this reason, many scientific studies are conducted on children’s picture books. These studies generally focus on issues such as values education through picture books. However, experts in the field draw attention to the fact that children’s books should be examined linguistically. This study analyzes rhetorical structures in Turkish and German picture books for preschoolers comparatively and presents a text linguistic view of children’s picture books. The Rhetorical Structure Theory developed by Mann and Thompson was used in the analysis of rhetorical structures in picture books. This theory reveals how text coherence is organized by detecting the semantic relationships between consecutive sentences in a text. In this context, it was seen that sequence and additional information relations mostly provide coherence in Turkish picture books. In German picture books, additional information and cause-effect relations are the most used rhetorical relations for text coherence. The results of this study show that it is necessary to understand many text segments well in order to understand Turkish picture books. The question of how these different rhetorical structures seen in the organization of the texts in Turkish and German picture books affect the areas related to reading is unanswered due to lack of the experimental studies.

Metaphoric Analysis of High School Students' Perceptions Towards the Concept of

Onur KÖKSALHarun YILMAZ — 2024-08-29

Communication is a very important factor for societies and people to live in harmony and understand each other. Societies and people who do not understand each other inevitably get into conflicts. Today the importance of communication is better understood and more is invested in it. English language is currently spoken in nearly every country. To keep up with today's world and closely monitor advancements, English is more vital than it was in the past. In order to stay up with the times, students must be good at English. Therefore the goal of this research is to find out how high school students define the term "English" in a figurative sense. A total of 200 high school students including 100 female and 100 male, were selected for the study. The data used for the study was collected through Google Forms in the first semester of the 2019-2020 academic year in October, 2019. A personal information form and a questionnaire stating "English is like … … …" were sent to the students who selected the option "I want to volunteer for the research". The survey was designed to provide answers to four basic questions: (1) How did high school students come up with metaphors for the idea of English? (2) What were the top five metaphors used by high school students when discussing the idea of English? (3) What conceptual categories might high school students' metaphors be classified under, based on their common characteristics? (4) Did the gender of the learners, their grade level, the education level of their parents, and the style of school have an influence on the development of these conceptual categories? The study was conducted using the phenomenological model, which is a qualitative research approach. The data was analyzed using the 'content analysis approach' and the 'SPSS' (Statistical Package for the Social Science) program. In alphabetical order, the metaphors were entered into the SPSS software. It was found that 200 students came up with a total of 70 different metaphors. Torture (16), agony (14), bridge (10), mathematics (8), and key (8) were determined to be the most often utilized metaphors by the students. The students' metaphors were categorized into four basic conceptual groups (negative, need, object, and source of entertainment). Based on the study's findings, many recommendations were made.

Narrative Preferences in Nazan Bekiroğlu’s Palempsest Novel Kehribar Geçidi

Gülsün NAKIBOĞLU — 2024-08-29

Nazan Bekiroğlu transferring the Qur’anic story of Ashab-ı Kehf and legend of the Seven Sleepers into fiction in a unique way in her novel Kehribar Geçidi. Palempsest narratives are narratives built on old narratives and are multi-layered in their structure. In the analysis of the novel, which has a palempsest narrative feature, it is aimed to determine the narrative (root narrative) placed on the basis of the palempsest narrative by removing the narrative layers in the novel texture one by one, to reveal the continuity relations and interactions between the narrative layers, to determine how and in what way the author's narrative preferences direct the palempsest narrative. As a result of the examination of the novel in line with this goal, it is determined that the author chose the story of Ashab-ı Kehf as the palempsest root narrative for his novel. Choosing the tale as a narrative skeleton, the author prefers to fill in the blank spaces left by the tale while constructing her novel, and takes care not to contradict the tale. She uses the esoteric interpretation of the Qur’anic story to construct the meaning circle of the narrative. It is seen that the author, who benefited from many Seven Sleepers legends, minimized the narrative binding of the legends. The time and place in the legends change the names of the people and prefer to construct them by transforming them into characters. The expression "Ashab-ı Rakîm" in the story in Surat al-Kehf is given special importance in the novel and various signs are constructed to meet the expression of rakîm, thus making an original contribution to the Seven Sleepers narratives. It is determined that both religious and critical fictional gains are observed in time and space shifts. The points that the Palempsest root narrative choice connects and directs the other narrative layers and the novel, and how the author's narrative preferences are shaped according to these effects are presented with evidence in the article.

An Analysis of Gender Roles in Cemil Süleyman's Novel “Siyah Gözler”

Alev ÖNDER — 2024-08-29

One of the crucial authors of Fecr-i Âti community, Cemil Süleyman Alyanakoğlu's novel Siyah Gözler, in which the relationship of a lonely and widowed woman with a male character is narrated, provides an opportunity to read regarding gender roles. In the center of the novel, there is an unnamed woman's inner world full of contradictions and conflict, while the male character is in the background. In this study, representations of femininity and masculinity in the text produced by the male author are evaluated. In the novel, which sheds light on the psychosocial structure of the female character, it is questioned how the male voice is heard. In this study, it is aimed to examine how the positions of both man and woman who is described with her jealousy, doubts, delusions, and fears, are reflected. While revealing the perspective of patriarchal society on male-female relations in the novel Siyah Gözler, crucial factors about the sociocultural structure of the period is also conveyed. In this study, gender roles and women’s and men’s images are discussed through work-centered criticism. In the novel, which is mirrored to the male-dominated society, attention is drawn to the function of gaps and unspoken matters. While determining the hierarchical structure elements in the text, the self-construction process of male and female characters is also analyzed. It is aimed to reveal the reflections of sexist power relations on the identities of both women and men in the novel. In the light of feminist criticism, while the semantic world of the concepts of femininity and masculinity is examined, the effect of cultural codes on the relations of the characters both with themselves and the surroundings is revealed. The way of reflecting the change created by internal and external pressure elements, particularly in the female character, is evaluated.

Studies on the Languages of the Turk Tribes in Afghanistan

Gökhan ÖZTÜRK — 2024-08-29

Turkology studies have been done systematically by universities, institutes, and other research foundations in Turkey and other countries for many years. As in other branches of science, it is extremely important for Turkology research to know the previously conducted scientific studies and to use them in the research to be done hereafter. Afghanistan, where many Turkish groups exist, is a crucial country for Turkology research and very rich in Turkological material. The number of languages spoken in Afghanistan is very great. This is in some degree due to the geographical position of the country. It has since the oldest times been a transit country for people finding their way to India by the most convenient road. These people always in some way left their traces in language or in the people which now inhabit Afghanistan. The result is a very variegated language and population map of the country today. The most important part of the population is Iranian or Indo-Iranian in origin. Linguistic and ethnological studies about the non-Iranian population of Afghanistan, consisting of Turk and Mongol peoples, are not known in detail. Thus, the intention of this study was to prepare an annotated bibliography of studies which were done on the languages of the Turk tribes in Afghanistan. The study is composed of three main chapters. In the first chapter, detailed information was given about the Turk tribes in Afghanistan. In the second chapter, publications related to Uzbek, Turkmen, Kyrgyz, Kazakh and South Oghuz (Afshar) languages spoken in Afghanistan, which I have read and briefly introduced, were listed and their bibliographic details were written in alphabetical order. The third chapter consists of an index.

Ferağî’s Çagatai Turkish Dictionary in Terms of Lexicology and Lexicography

Farhad RAHİMİ — 2024-08-29

One of the Chagatai Turkish dictionaries prepared to understand the works of ‘Alí Şír Nevāyí in the Iran field is Ferāġí’s dictionary. The aim of this study is to research the Turkish-Persian dictionary called Miftāģu’l-Luġat, which was written by Muģammed bin Żiyā’u’d-dín el-Ģüseyní Ferāġí in Iran in 1642 on behalf of the Safavid king Ŝafí bin Ŝafí, to reveal the lexical and lexicographic material obtained from the work, and to determine the contribution of this work to the development process of the Turkish language by comparing it with other works. The study consists of two parts. In the first section, “Introduction”, brief information about the work is given; In the second part, under the title of “Evaluation of the Work in Terms of Lexicology and Lexicography”, a lexical and lexicographic analysis of the dictionary was made. In the section titled “Evaluation of the Work in Terms of Lexicography and Lexicography”, The work has been examined by emphasizing such subjects with the subtitles of “Organization of the Work”, “Spelling and Pronunciation”, “Phonetics”, “Vocabulary”, “Witnesses”, “Comparison of Items and Examples with Other Dictionaries”, “Incorrect Items and Examples”, “Phonetic Errors”, “Spelling and Pronunciation Errors” and “Etymology”. In the “Comparison of Articles and Examples with Other Dictionaries” part of this section, comparisons were made with Senglaĥ and Abuşķa, which are the most important dictionaries in the field, as well as with Bedāyi‘ü’l-Luġat and Naŝírí’s dictionary. The study is based on the Iran-Tehran National Library, nr. 5-19055 manuscript copy. This work was published by TDK in 2021 under the name of Ferağî’nin Çağatay Türkçesi Sözlüğü.

On Keşanlı Zihnî and a Newly İdentified Author Copy of His Dîvân

Muhammet NALBAT — 2024-08-29

Classical Turkish (Ottoman) poets used to collect their work in manuscripts referred to as divans. Such texts harbour important information about the lives, literary personalities, and poems of these early poets. They moreover shed light on different periods of Turkish literature. As such, they are frequently the subject of research by Turkologists. However, the fate of some and copies thereof get lost in the sands of time for any number of reasons. This in turn makes it difficult for us to learn more about author in question and their work in a complete and accurate manner. In this article, we shall introduce a Dîvân by the poet Mehmed Sa’îd Keşânî (pen name: Zihnî) and an author’s copy of it that had been tucked away at the National Library of Spain’s Handwritten Manuscripts Archive MSS/12203. Furthermore on the first page of the Spanish copy there is a record of A.H. 1200 (A.D. 1785-1786). This particular copy -a full corpus- has never been studied by anyone until now. Nevertheless, it carries great significance both because it contains new versus and it shed new light about its author. After the introduction chapter of this article, we will delve into the life, literary personality, and works of Kashanli Zihnî in that order. We then will examine the Spanish copy of his Dîvân in terms of its content and form. In the final section, we both will conduct a short survey about other studies that have been done on the studies on Kashanli Zihnî or on his Dîvân in general, and in doing so, attempt to correct false information. The end result we hope will be new insight about this 18^th century poet for the benefit of future researchers.

Cahit Zarifoğlu’s Poetics and Poetic Language

Gökçen SEVİM — 2024-08-29

Cahit Zarifoğlu is a poet/author who takes part in modern Turkish poetry who is not indifferent to the events of the period he lived in, stands out with his Muslim identity and Islamic sensitivity, and reflects his experiences at various stages of his life in his works. Cahit Zarifoğlu, who identifies his literary identity with his poetry, produces works in different literary genres such as fairy tales, diaries, plays, novels and stories. He says that he renews himself in this way by creating works in different narrative genres and he thinks it is productive. Zarifoğlu, who started to write his poems after 1960, neither writes theoretical articles nor likes to talk and write about his poetry theory. In particular, he prefers to remain silent about what his poem tells. After 1970, Zarifoğlu changed both language and content in his poems. Although Cahit Zarifoğlu's poetry poetics varies, he does not lose his unique style, distinctive utterance and spontaneity/originality; charts a separate path for itself. The views of the poet, who stays away from all kinds of theories and teachings, about the art of poetry and its problems in general; can be found scattered in various sources such as interviews, letters, discussions, and articles. In order to explain the poetics of Zarifoğlu, who does not like to talk about poetry theory, based on M. Orhan Okay's book titled “Poetika Dersleri”: it will be examined in accordance with the classifications/methodology, which are separated into Descriptions/General Descriptions About Poem, External Structure, Language, Artistic Distribution, Interpenetration of Arts, Internal Structure, Content and Poet Singer. In this respect, Cahit Zarifoğlu's poetics will be tried to be made clearer in line with the separated classifications.

Ottoman Turkish Physiognomy Terms

Ali Kemal ŞAŞŞenol AYDIN — 2024-08-29

Turks have ruled over a wide geography throughout history and played a leading role in the construction of many civilizations that have left deep traces in history. As a natural consequence of this situation, the Turkish language gained the identity as a cultural language in different periods and numerous Turkish works were written in many civilization centers. One of the most important of these civilization centers is Anatolia. After the Turks settled in Anatolia, they created many works related to different fields. While works based on translations were presented in the beginning, copyrighted works started to come to the forefront with the enrichment of the Turkish language and the provision of cultural depth over time. In the founding years of the Ottoman Empire, scientific works were mostly translated from Arabic and Persian into our language. Among the translations belonging to this period, the physiognomy works, which are mostly called kıyafetname or firasetnamE, have an important place. Although physiognomy dates back to ancient times and gained a scientific identity in Ancient Greece, it spread to the world through Arabic translations based on Greek works, especially during the Middle Ages. The first physiognomy works were mostly based on translations of Arabic works. Over time, mixed copyright-translation and copyrighted works have emerged in this field. In this study, which determines the physiognomy terms in Ottoman Turkish, first, information about the birth of physiognomy and its situation in ancient civilizations is given, and then the basic physiognomy texts are introduced. After the physiognomy works written in Europe and Islamic geography were introduced, information was given about Turkish physiognomy works belonging to the Ottoman Period. In the study, twenty-two copyrighted and translated works written in Ottoman Turkish were scanned and around two hundred terms, some of which have become archaic today, have been identified. The identified terms are listed alphabetically according to their usage at that time.

The Attitude of First Female Writers in The Depictions of Women and Deviations From The Male Language

Burcu UŞAKLI SANDAL — 2024-08-29

Art and literary works, whether shaped by the Eastern tradition or a Western understanding, have developed within the framework of the male-dominated system in both cases. Turkish literature also maintains its patriarchal identity it possessed from the beginning after Tanzimat era. Women writers, struggling to exist in the world of male writers, try to be included in the system by accepting the identity that tradition offers them. The traces of the same effort can be seen in our female writers who wrote in the first years of Tanzimat and the Intermediate Generation. However, when we look at the works of women writers of this period, especially in the context of the depiction of women, it is possible to come across examples that are the opposite of this situation. As far as we can determine, these examples are more prominent in depicting women’s bodies. In a sense, this may also be an indicator of reaching the first traces of women's language. It is possible to talk about a stylistic difference, which can be interpreted as deviations from the male language, especially in some works of Fatma Aliye, one of the important writers of the period.However, in Fatma Aliye's depictions of women, it has been observed that there is a dilemma in general. For this reason, in our study, some aspects that are different from male writers in the women's descriptions of the women writers -especially Fatma Aliye- who have made a name for themselves in our literature from the Tanzimat to Servet-i Fünun will be examined.

Meyxanas an Example of Oral Tradation of Azerbijan and the Spech Act Theory

Hayrettin YİĞİT — 2024-08-29

Communication takes place between the sender and the receiver in a certain context. Each message wich is created with in the context takes form depending on the functions of language and the receiver gets into action according to this. While the words, the sentences and the texts wich the sender expresses are serving their functions in a suitable way for their aims, they cause acts and effects on the receiver. These acts come out as the of locutionary act, illocutionary act and perlocutionary act. Azerbaijani literature is a literature of Western Turkish, developed in the geography of Azerbaijan and has an important place in world history with its history and richness. Azerbaijan oral folk literature also has an important place in the formation of the productivity and richness of this literature. Meyxana art, which is one of the folkloric elements of Azerbaijan, also appears as a genre that shows the richness and functionality of Turkish and has been followed with interest in oral folk literature recently.Meyxanas, wich are the oral works of Azeri-Turkish, are the poems that one or two people utter about a particular theme without making any preparation within ryhmed quatrains wich includes elements of humour. Thourgh these poems, meyxana masters express the problems in everday life, the wish and the desire, the joy and the misery, and the worries of the community in a place open to the audiences as well. The meyxana master directs both the interlocutor and the audiences to different thoughts and emotions by impelling them. Within the created situations and circumstances, certain people generates locutionary act, illocutionary act ( verdictives, exercitives, commissives, behabitives, expositives) and shows similar acts to the speech acts. In this research article, it has been tried to reveal how the type of meyxana, which is one of the folkloric elements of Azerbaijan, reflects the characteristics of speech act theory. All the elements of the speech act theory were examined through the examples taken from the work named “Meyxanas” published by Balasdıq in 1993 and it was stated that the meyxanas, which have their own rules, also perform the performance types in accordance with the realization conditions of the speech act theory.

Translation Policy of Celal Üster Throughout His Paratextual and Extratextual Visibility

Halise GÜLMÜŞ SIRKINTI — 2024-08-29

This study aims to examine Celal Üster’s translator profile and translation policy, who has contributed greatly to the Turkish literary system, through his paratextual and extratextual visibility. The conceptual framework of this study consists of the concepts of paratextual visibility and extratextual visibility, which were put forward by Kaisa Koskinen and are based on the views of Lawrence Venuti. In the study, firstly, his autobiography is analyzed in line with his translation experience and his translations are described. Then, Üster’s translation policy is analyzed within the concepts of Koskinen's paratextual and extratextual visibility and his translation competencies were questioned in line with PACTE’s translation sub-competencies. While Üster’s paratextual visibility is analyzed throughout his translator's prefaces, postfaces, translator's notes, interviews he has given on his translations and his book on translation experiences titled Bir Çevirgenin Notları; his extratextual visibility is scrutinized by means of other people’s thoughts on Üster’s translations in the book titled Celal Üster İçin: Çeviri Uğraşında 50 Yıl. From the results, it is clear that he approaches translation from a broad perspective, and he is competent in both source and target languages and is aware of the importance of source text analysis, and he doesn’t see translation as a secondary product. It is obvious that he has all five sub-competencies put forward by PACTE. All these competencies are expected to be acquired by the translator trainees in the department of Translation Studies; so, it is obvious that even though Üster didn’t graduate from Translation Studies department, he has these competencies thanks to the experience he gained in 50 years.

Cultural Hybridity in Zu Hause in Almanya by Ayşegül Acevit

Talat Fatih ULUÇ — 2024-08-29

Nowadays many people live together in different countries for different reasons. A relevant reason was the immigration of the Turks to Germany in the 1960s. Above all, the second and third generation of guest workers later settled in Germany and were successful in various areas, such as in German literature. They use German as their literary language. They went through all the socialization in Germany, so they are more proficient in the German language. In fact, people in this situation are more characterized by embracing a third space in which they recognize important differences between German and Turkish cultures and develop a hybrid identity that accepts or rejects certain characteristics. The interaction of two cultures can lead to new behaviors. In this regard, the aim of this work is to represent the analysis taking into account the aspect of interculturality with examples in short stories in the work Zu Hause in Almanya by Ayşegül Acevit. It should be analyzed in short stories and shown how the different cultures are under mutual influence. Different cultures work together when they live together. Literary works are relevant to show coexistence with different cultures. Acevit lives together with the Turkish and German culture and can thus see how these cultures mix and are under a certain influence. In this sense, it was stated in the paper that the different cultures are under mutual influence. Growing up with two cultures, it is easy to see the cultures interacting and mixing.