Turkish Studies - International, Year 2015 Issue Volume 10 Issue 8

Prof. Dr. Muhammet Yelten - His Life & Works

Mehmet Turgut BERBERCAN — 2026-07-16

Muhammet Yelten was born in Antalya on June 8th, 1954. He graduated from the Department Turkish Language and Literature of Istanbul University - Faculty of Letters. During the four years of his undergraduate education he enjoyed the pleasure of taking classes from the famous professors of Turkish Language and Literature. Since due to his deep passion of working on languages he started his doctorate studies under the guidance of Prof. Dr. Faruk K. Timurtas. He became assistant professor in 1989, associate professor in 1993, and finally full professor in 1999, all in New Turkish Language branch of the Department Turkish Language and Literature of the Istanbul University - Faculty of Letters. While he continued advancing his scientific work where he published journal papers and attended symposiums and conferences of his field of interest, he was also affiliated with the Turkology Institute (Turkiyat Enstitusu) in Istanbul University as the Vice Director. In 2008, he retired and started working in Istanbul Arel University to establish and lead the Department of Turkish Language and Literature. Currently, he is the Dean of Faculty of Science and Letters in Istanbul Arel University.

Necip Fazıl Kısakürek and Turkish Language

Şerif Ali BOZKAPLAN — 2026-07-16

In this study, an important poet of the Turkish Republic era poetry Necip Fazil trough poetry often given place "duplication" s emphasize again that these functions. It is known that Necip Fazıl generally used the themes such as God, man, death, woman, city, nature and homeland in his works with different narrative styles and duplication. The duplication occurs most frequently in his works. They also include hendiadyion. The duplication is one of the best means in Turkish to convey the author’s ideas and thoughts and it became a dominant means in Fazıl’s poems. Even we could claim that the poems were created by it. Verse and expression duplication are frequently used in his works. The duplication occurs in two ways in Fazıl’s poem: one is verse repeated or some parts of the verse are repeated. It seems that it is used purposely to take attention of the reader to the rhythm of the poem. The poem titled “Otel Odalarında” is a poem of repetition or duplication. The sooty lamps of the hotel rooms are representing mercy. The moldy mirros are displaying faces. A man who was killed is sitting on one of the broken tables. On dingy sofas the voices of secrets are reverberating. We can hear the pulses of suffering from the holes of nails. Time is biting the woods in ceiling gaps. İsli lambalar, küflü aynalar, kırık masalar, izbe sofalar, çivi delikleri ve tavan araları are witnesses. These are the core of the poem. By duplication the message is given strongly. “geçti geçti mevsimler” and “hani” are repeated twice in poem “Geçti, geçti. And “eski iklimler” are also repeated twice. All these are strengthening the expression of the poem. And they are the expressions of recalling good past memories. Another striking point of the poem is that there is a plural ending. The poem is made up of twelve couplets and ten of them end with plural ending as +1Ar. It reinforces the verse. “Çoğu gitti, azı kaldı” are repeated ten times in poem titled “Nakarat”. It suits the verse properly and it conveys true message of the poem. As we live we appreciate the value of life, as we dig we appreciate the value of mountain, as we are born we appreciate the importance of the day, as we plant we appreciate the importance of bringing up something. Finally, the true value and importance of the poem will be appreciated in time and it will turn into being something sacred. The idiom is the most important part of the poem’s harmony which has half repetitions. We should bear in my mind the repetitions as “kişne kır at, kırk gün kırk gece, ektik ektik”. The word groups and verbs in “Sayıklama” are descriptive and expressive. The cat spins “hırıl hırıl”. Iis turned around one fırıl fırıl. A place and a thing are watched and seen pırıl pırıl. The desire can flow şırıl şırıl. It is talked by one mırıl mırıl. The repetitions are used to specify the couplets. The verses thanks to these repetitions are like talking verses. The reflections of the poem are highly acoustic. The similar situation is seen in Fazıl’s another poem called “Bizim Yunus”. The repeated word “bizim” was not used for creating harmony only. The poet repates “Bizim Yunus” at the end of each couplet to show the feeling of possession and make himself identify with Yunus. The poem is made up of 24 lines and six of them are different from the rest. Six lines are the same and the other twelve lines are the same. We could say that the poem is just made up of repetitions. These repetitions make the poem unique. O Var is about the existence and unity of God. O Var with its repetitions aims to give the message of existence. Some couplets of the poem were constructed by binary opposition as being and absence. O Var gives the poem its main significance. O Var is demonstrating God’s uniqueness and unity. Dua is about the main traits of God. Allahım affet at the end of each line is a repetition. Allahım affet which is rhymed is like a conversation with music. The poem titled Ses consists of coupl

Two Letters Of Abdülhak Hâmid Published In The Newspaper Peyâm In The Armistice Period

Ali Şükrü ÇORUK — 2026-07-16

Namık Kemal and Abdülhak Hamid (Tarhan) are the leading figures of mostly using letter type in Turkish literature. Hamid’s letters spread in Tazminat, II. Constitutional Monarchy and the Republic period turned into a book. The difficulty of gathering the letters written by Hamid who lived longer than his peers and had a large mass is very obvious. In addition to this, since 1916 some of Hamid’s letters spread to long period and written to many people have been published as a book or as a retail and the most important work on this issue was published in a style that can include the previous publications in two volumes by Prof. Dr. İnci Enginün in 1995. In the preface of the first volume, Enginün who points out the difficulty of studying on letters of Hamid who had a large mass and was versatile says “I hope that those who had Hamid’s letters publish them or send them to us to publish. It is certain that such publications are only a result of accumulation.” and rightfully mentions that it depends on common effort to gather Hamid’s all the letters. Thus, in accordance with Enginün’s wish after a few years to this important publication, two articles about Hamid’s letters are going to be published in scientific journals. In this article, it is going to be dwelled on Hamid’s two letters written which were not specified to whom they were written and we believe that they were not given much importance in armistice period. The letters were published by newspaper administration as the record “to one of the person he loved”. At the same time strong circumstantial evidence is in a question that these letters were written to Ali Kemal. Ali Kemal who published the letters in the first page of newspaper used the phrase as a spot sentence: “What happens if I go to an unvisited way without fear?” probably missing in the first letter and then he evaluated Hamid’s letter as a “magisterial political treatise” requiring reputation by saying that “We proudly publish this magisterial political treatise which a unique master who changed his position from literature to politics wrote to one of the person he loved” and after that he published the letter. Abdülhak Hamit referred to his first letter as “political treatise” in his second letter which was understood that he wrote as a continuation of the first letter and published almost 15 days later and by saying that “Buddy, politics is also literature”, he said that there is no difference between politics and literature and thus he gave an answer to Ali Kemal. Again by making a reference to the sentence that we think that he cited from his first letter, he means that “Although I wrote a political essay the other day, I did not go to the unvisited way.” Thus, he leaves no room for doubt that these two letters were written for Ali Kemal. Most probably there was an exchange correspondence between Hamid and Ali Kemal who wondered Şair-i Azam’s opinions about the current situation and Peyâm owner and lead author published his letters by receiving approval of Hamid whose thoughts they found close to theirs. Besides publicizing the letters, the reason of leaving blank the addressing part may be because of the fact that Hamid who revealed a view such politics subjects did not want to be thought with a political party. All in all, he was a Senate council member appointed by monarch. Ali Kemal the respondent of the letters was the leading figures of Independence and Entente party which was one of the highly controversial party of that time. In another words, the perception of correspondence with Ali Kemal about the thoughts complementing each other as “Hamid is remaining close to Independence and Entente party” is not a remote chance. Probably Hamid may have asked his friend to remove the addressing parts while publicizing the letters by entertaining this possibility and preferring at the top in politics as well as interested in politics. As for the top margin of “Abdülhak and in Tow” and the subject matter o

Tayyar Mahmud Pasha-yi Samsuni And His Sakiname

Muhittin ELİAÇIK — 2026-07-16

Ottoman Empire especially in the second half of the 18th century embarked on several reforms to remedy the disorders repeatedly appeared. Many poets and artists have grown up in the second half of the eighteenth century in the Ottoman Empire. One of them is the Tayyar Mahmoud Pasha who have quite a life of challenges. Mahmoud Tayyar Pasha his life past in the struggle with Capanoglu and other local forces and were in his life of poetry an important place. The Court of the pasha, who wrote poetry to create a challenging and life challenges and left deep traces in his thoughts and poems in the gross yields. The rind has a personality pasha, in his Sakiname which was written in the form of müsemmen sake, wine, rind, guilty of concepts such as taverns, reflected the feelings of these concepts. The pasha in this Sakiname has a rint personality just like Kadi Burhanuddin, the spiritual struggle to find widths and calligraphies full of poetry, the pleasures of life is understood fixes. This poem that he wrote with an uncommon verse type in Turkish literature reflects his poem pleasure, his perspective on life and the difficulty and sorrows that he faced too. Written some words like mourning, sorrow, worry, trouble in Sâkiname indicates how difficult the period that the pasha lived is. In that Sâkiname which carries the traces of poem pleasure on its lived century, it is seen that the words and idioms are local and indicates the lived events. Sâkînâme (poetry depicting alcohol consumption and alcohol culture) of Tayyar Mahmud Pasha is similar to other sâkînâmes in Turkish culture in terms of form, content and the way it handles the subject in question. In this poem, sâkî (person who serves alcoholic beverages) is a reflection of lover and all the love and lust is directed towards the sâkî. But in the last paragraph, the lover is revealed and all words written for the sâkî are turned back to the lover. In this work, the poet makes a reference to one of the main subjects of Classical Literature when describing the meyhane (inn) and sâkî. Written with a flowing style, this sâkînâme is an original work among other sâkînâmes in Turkish literature with its müsemmen versification form and with its different and rarely used rhyme pattern within müsemmen versification form as “aaaaaabb, ccccccdd, eeeeeeff,.........”. In this study, we aimed to introduce a poem that accurately reflects the life and duty of a famous pasha and used a comparative method, because it is possible to see deep traces of the challenging and difficult life. Tayyar Mahmud Pasha lived in a period in which the Ottoman Empire, struggling with decline, corruption and disturbance, was trying to weather the storm. In this period, local authorities attempted many unfair practices on the public and this ultimately led to Reforms. In this period, many works were written containing locality and obscenity. Sâkînâme is one of the commonly used versification types in Divan poetry and the word sâkî means the person who hydrates, gives water or waterbearer. Therefore, sâkînâme, means article, letter belonging to sâkî. In islamic sufism, sâkî represents meanings such as “Feyyâz-ı mutlak (absolute generosity), mürşid-i kâmil (perfect guide)”. The first paragraph of Tayyar Mahmud Pasha’s sâkînâme goes: “Ey sâkî, ben sarhoş için yıkılmak bir gösteriş oldu, eğri ayak ve titrek el ile morardım (O sâkî, collapsing has become a vanity for a drunkard like me, I’m embarrassed with curved feet and trembling hands). Meyhaneyi rintler karış karış bölüştü; sen de hiç durma, hemen gidip onlara karış (Carefree people shared every inch of the tavern; do not stop, go and join them). Rintler arasında sana bağlanmamış hiç kimse yok; öyle ki gönlü gitmiş beni bile güzelliğine meftun etmişsin (There is not a single one among those carefrees who has not fall for you, even I, who lost his heart, am captivated by your beauty). Başının hakkı için bana sağlam bir cevap ver: o seher vakti uyanan mahmur göze b

As on Teaching Electives of Ottoman Turkish in National Education

Mehmet Mehdi ERGÜZEL — 2026-07-16

Ottoman Turkish is an esoteric and rich Turkish that reverberated to millenary Turk-Islam civilization’s culture in Anatolian and Balkans, science, art and works of intellectuals. This Turkish has a specific nationalizing aspect that supported by Arabic and Persian languages. New generations need to know Ottoman Turkish’s basic features and particulars in order to confront and comment. In this paper, opinions about benefits and needs of teaching Ottoman Turkish in some classes of our highschools are mentioned and they are justified. As a result of being in touch with other nations with civil, commercial, political relations, Turkish language has inevitably used the words of other nations and has given the words to the other nations in its historical past. Throughout that process, beside our national language sometimes lost its own words and moved away some of its linguistic rules, has lost its rules against foreign rules. In the era of historical Turkey Turkish, the language is sometimes ignored.With the use of “simplified Turkish” as Gokalp said, the language has reached its mature consistency blending its thousands of years passion and evolution with national values and finally reached it s current literally graceful form. Since the interference to the Turkish language headed to harm to the language, the politicians and intellectuals of 20th century projected their various and multiple so called “saving the language” methods to the language without benefiting from any scientific perspective. The language is not an area for the ones to dominate their satisfaction and apply their own politics. The linguists are the experts of this area and any other player should be excluded in order to contribute to the progress of the language in its natural mediums. Science, culture and art could only be evaluated with its peer products from various geographies, eras by its real experts discarding the politically oriented intervention. The progress of the language is a natural process occuring in a long period of time, being processed in conferences, cources in universities with negotiations. It is not possible and reasonable to invent a language in a room by some non-experts and waste the accumulation of a language constructed in hundreds of years. Since language is a delicate trust to hand on to the following generations it is not acceptible to betray that stock or else the forfeit will have to be compansate by unideaded and inarticulate generations. The historical progress of the language is to be considered and various academic thesis, studies, dictionaries should be presented. The main measure should be the studies performed in other languages. More studies should be planned for short, midium and long term projections and the outcomes should be spreaded. As our teachers told us, one should work for the national language in a praying manner. Ottoman turkish, spoken for more than six hundred years, was an enriched combination of Ottoman intellectuals, officers and the public. It is not the name of a language different from Turkish and moreover Ottoman turkish is a valuable heritage contructed in hundreds of years contributing to the current power and prosperity of Turkish language. After the letter revolution in 1928, it was not possible and easy to read and understand the heritage of the empire language causing the disconnection of the generations with their history’s written materials, works and studies. Lınguists believe and say for 40-50 years that it is possible to educate the young people to understand the historical text and overcome the alphabet barrier. For a very long period of time, Ottoman Turkish course is being given as a course in the social science departments of our universities such as literature, history, theology, philosophy and sociology of our universities which could not still not efficient as it is to be. The course is believed to be given in high school level in order to enable the youth understand their f

A Revolt To Modernism In Suleyman Cobanoglu’s Poetry

Alim GÜR, Abdulhalik AKER — 2026-07-16

Suleyman Cobanoglu is one of the uncommon poets who have attracted attention by his poems published in Dergah. Certainly the most significant factor in this reality is the fact that the poet was writing modern poetry in syllabic meter. Because writing poetry in syllabic meter in the 90s was a brave act as the poet could have been accused of being unaware of modern poetry. However, it would not be correct to claim that Cobanoglu’s poetry is composed of skeleton texts based on syllabic meter. The poet was writing poems qualified in content and different from those of his contemporaries. Maintaining this approach, the poet became a centre of attention after Ismet Ozel’s commentary on the publication of his book Siirler Cagla. Cobanoglu’s composing his poetry in syllabic meter and referring to the lost values is the result of his being a strict antimodernist. The poet does not consider the positive or negative features of modernism. According to him, no aspect of a life combined with modernism is positive. Things called good in modern life are actually bad as they have destroyed the past. This attitude, of course, must not be considered as backwardness of the poet. His attachment to the past is mostly an authentic yearning to things, birds, lost values. Due to this, Cobanoglu was – as rarely witnessed in his time – mostly talking about natural assets. His stance of drawing generally the poets’ psychological distress for the sake of being modern, corrupt and egoist man’s delirium in the capitalist system and irregular urbanisation of the 90s attracted attention. In our study, Cobanoglu’s revolt to modernism in his poetry is analysed within the poet’s longing for the values and the past. Besides the advantages such as its contribution to technological development, better conditions and social progress, modernism that appeared during the enlightenment with its stress on reason has its disadvantages like its involvement in egoism and consumption far away from value judgements. Is is possible to observe the reflection of both concepts in native and foreign works. Another native artist who has dealt with modernism is of course Suleyman Cobanoglu. However, it is obvious that Cobanoglu posits totally an antimodernist attitude in his poetry. The poet does not consider the positive or negative features of modernism. According to him, no aspect of a life combined with modernism is positive. Things called good in modern life are actually bad as they have destroyed the past. This attitude, of course, must not be considered as backwardness of the poet. His attachment to the past is mostly an authentic yearning to things, birds, lost values. In a conversation the poet says, “I spray poetry on everything that burns my hart. I have not seen a crane since I left the village.” (Kilic, 1995) and is disturbed by the extinction of the great bustard fighting back against the DDT and the fact that we can only see the bird in an encyclopaedia: You saw me a lot on this meadow Flown you made green and dead you rot Auto and ddt had not knocked you down; Like a graceful king you walked to the fallow… Now you are an Amon Ra: the infamous encyclopaedia Does not give away your shadow in sunlight It is said you perched on this print, And said to see you finished on the meadow… (Cobanoglu, 1995:21) To carry the great bustard into poetry when the modern man suffers from the problems of the modern life and thinks nothing but his job shows us the strong relations the poet has established with his past, his childhood and nature. The poet who builds his art with the sources of the past, the tradition and nature claims that poetry just corresponds to this. “There is born a calf onto the lap of the madman of the village late at night; while it is licking its mother, the mad man cries… Poetry is like this.” (Cobanoglu, 1999a: 52). It is possible to come across with parts from the past, nature, the deep rooted Turkish-Islamic cultural repertoire.

Said Pasha and His Poet “Tenezzuh

İdris KADIOĞLU — 2026-07-16

This study focused on Said Pasha of Diyarbakir and his poem titled “Tenezzüh: Pleasure”. Summary information has been given about Said Pasha’s life and his works in the introduction to this article and “strolls the dream” poem introduced briefly. In the second part of the study, the ability and wisdom of the poet's poetry style was investigated and examples were presented of Said Pasha's wise couplets. "Pleasure" poetry is evaluated in terms of form and content and the poetry is analyzed in the third section. In the final section, have been interpreted the results obtained from the study and included in the poem's message. After the bibliography section is written the "Pleasure" poetry which investigation and analysis conducted the above, forty-two verses text was added to the study, and the article has been terminated. Said Pasha lived in Diyarbakir that one of the important cities of the empire's southeast by the late Ottoman period. He has held senior executive positions in different cities of the country and he died in Mardin. He has been busy except for official duties with art, literature, poetry and history as well. He wrote poetry and these poems collected on a Divan. Pasha has expanded with instructive style that this style are owned by Nabi who lived in the late seventeenth century. In this respect he was entitled it gives meaning to the promise considerable to be one of the poet and playwright. His books in the field of rhetoric "Mîzânü'l-edeb" and in the history field "Mir'âtü'l-Iber" is very important application source for scientists working will make in this field. Furthermore, Said Pasha has been a very important contribution in Ali Emiri’s upbringing who a good researcher, writer, transcriber, poet, historian, publisher and a book-friendly most of all. Said Pasha describes two faces the world beautiful and ugly depicting the opening and closing of curtains the effect on the human spirit in this poem. He wants to look the true lover's and paradise the reflected beauty dreamland and the world's seeming ugliness with eye admonished at this poem. Said Pasha's message, so he tried to give the pleasure of poetry, one of the most important thinkers of the 20th century Said Nursi explains Qur'anic and a faith perspective "Sözler" in his book. “The world is also a temporary exhibition. So look at it and take lessons. Pay attention, not to its apparent, ugly face, but to its hidden, beautiful face which looks to the Eternal All-Beauteous One. Go for a pleasant and beneficial promenade, then return, and do not weep like a silly child at the disappearance of scenes displaying fine views and showing beautiful things, and do not be anxious!...” This poet which entitled “Pleasure” is written in eulogy verse form. Total is forty-two couplets. In poetry is preferred aruz meter and in poem rhyme, the only sound. All of the poetry is a story in verse and the story is the poet's dream. In the introduction to the poem, depictions of the gardens are included. This part of the poem the poet describes wonderful images which seen in a dream, like the beauty of the gardens of paradise. Images in the garden, trees, flowers, pools, water and birds singing... These beauties are resting people. Founded council, entertainment and chat sessions are granted eternal joy and happiness to the participants. The development of the story it was mentioned what happened in the encounter lover and beloved. In the same section is described which beloved in the face of extraordinary beauty fell in love with the state. Also in this section, physical and mental states of the perfect lover that decorating the dream of the poet wishing well-being becomes the lover and lovers of mood these reflected in the string together. The lover’s happy scenes that he wanted to continue forever, ıt has left the place of sadness by the end of the dream. The last part of the poem which the nine couplets, It's about the dream that Said Pasha's reviews include. Troubles

Heart In The Divan Of Alvarli Efe Muhammed Lutfî

Mahmut KAPLAN — 2026-07-16

Heart is one of the commonly used word and concepts in classical Turkish poems, sufi literature, Turkish literature of minstrel and anonymous. This notion is especially used common in sufi literature. Instead of the word heart, the words bosom, tongue and soul are used as the synonyms in sufi literature. The heart, bosom, tongue which is regarded as the source of faith, love and hate, all good and bad feelings and also the moral part; is the source of emotions such as love, thinking, remembering, wishes and respect which are accepted to be in the heart. Heart is the moral part of breast, demand; wishes; the power of human to reach super rational information or the place such information was born. The heart is the place where, the mystic of wealth and temporary wishes are ignored, God appears and information about God reveals. Heart is the center of culture of human; internal power of human love and beauty; desire, pleasure and pains. The heart belongs to God. God is pleased that the heart he granted to human has his love. The heart has an important role as the place of communication between God and human. Human shall be full of God love that created human from nothing and there shall be no other love instead of love for God. Lutfi Efendi declares this reality as the following with the words coming from deep of his heart. The concept of heart is often used in Divan of Alvarlı Efe Muhammed Lutfi. He describes heart by comparing it with various creatures and concepts; he tries to imagine it. In this article, it is pointed out that how and the way that Muhammed Lutfi Efendi who, is known as the sufi poet Alvarlı Efe and has lived in the beginning of twentieth century, uses the concept of heart and how he compares the concept of heart. It will be tried to analyze in this article that how the mystery thing called as the heart is understood, realized and evaluated by a sufi poet who is the follower of sufi poetry tradition. Sources agree the heart as a holy gift which includes the secret of creation of universe in. Love is the reason for creation of universe; heart is the place where love is grown up. It will not be exaggerated if we claim that sufi literature is focused on the heart and purifying it. Divans of sufi poets are full of poems about heart. In order to understand the subject of heart in the poems of Alvarlı Efe Muhammet Lutfi, you shall be aware of the thoughts of sufi poets who lived before him. That is why, feelings and thoughts of poets such as Mevlanâ Celaleddin-i Rûmî, Yunus Emre, Âşık Paşa, Hacı Bayram Veli, Eşrefoğlu Rumî, Kemal Ümmî, Dede Ömer Rûşenî, Aziz Mahmud Hüdâyî, Erzurumlu İbrahim Hakkı have been transferred. The article consists six sections after the input: both

Turkmen Titled Persons in Baburname

Mehmet KARA — 2026-07-16

In this world, a very adventurous life falls to some people’s share. Although some of them die living it in themselves, some people record the events they experience and want them to be known by others. The remembrance is a literary genre emerged in this way over the centuries. Although seen in previous eras, it has gained wide acceptance in modern times. These works, contain important written records of the person’s life, who wrote them and the period in which they were written. We, therefore, we have learned a lot about the past. Thus, the personalities, who revealed the remembrance, mirror not only themselves, but also the period in which they lived. One of the works mentioned, is Zahiruddin Muhammed Babur’s Vekayi bearing his name. It became famous as Baburname. It is considered as the first detailed memoir of the Turks. Babur, who was descendant of Tamerlane, came to the throne, when he was a child upon death of his father in an accident. In the struggles for sovereignty, which coincided with the disintegration period of of Timurids, he had selected the way to struggle with his relatives in order to be accepted. From time to time she experienced great loneliness, gave way to despair; made sometimes unexpected conquests with his crowded army. As he was defeated in the struggle against his close relatives and that he could not hold on in Central Asia, resulted in expansion of the sovereignty of Muslim Turks to Afghanistan and India. His life of reign was

Linguistics and Philosophy

Kamil Veli NERİMANOĞLU — 2026-07-16

In this article, the relationship between philosophy and language has been examined from the points of view of existence, thought, language, writings of philosophy, culture and civilization. The debates on linguistics that began in the early the twentieth century firstly only nature of language but afterwards they included attributes philosophie language by extending the coverage the area. Philosophy and essence of the theme of language constitutes the formation of the logic framework of language. Therefore, this study explores how said operation of linguists compelling voices through which a multifaceted debate on the notions of language, theory and truth is rendered possible. The problem of language and consciousness, language and gaze out over the idea that the problem is more widespread tradition in linguistics. Whereas the language and thought, language and consciousness is a field of research. The reason is that the logical flow of grammar linguistics, also rectangular, is not under the influence of rational philosophical. Language and intelligence, language and mind, to investigate the scope of the language and thoughts of problems, such as logic and language can be considered relative. Words and concepts, sentences (discourse) and propositions (rules), such as problems in learning in this context both traditional and modern schools, important methods conclusions reached. Our philosophy-language contrivance do not separate language laws, rules, principles, approach, language elements, in terms of the philosophical categories to investigate. Structure, function, each event phenomenon multilingual, action, process, system, is in need of research and philosophical angle. Eloquence, theology, logic, history, ancient Greek philosophy the idea in the Islamic world after the angle and depth in terms of serious research and cognitive dimensions. We "Linguistics and religion" article on this subject, we're going to try a broader way. The inevitable i

A Kalender Dervish's Profil In The Light of Poetic Texts

Ahmet Atillâ ŞENTÜRK — 2026-07-16

Each poetical text from Ottoman literature are considered as important exemplary documents which enlighten the social life of the era they belong because of their tight connection to the reality. This essay reveals the quality of the literary texts as historical exemplary documents by classifying and evaluating the hints obtained through poetical texts used as a source upon the appearances and behaviors of wanderer heterodox ascetics. Classical Ottoman Literature is extremely limited in terms of its vocabulary and in possibilities on poetic subject-matters, and an overly traditionalist one. Perhaps, this condition can be described by distinction between preparing various deserts from very rich ingredients and preparing deserts each more delicious than the other using merely flour, butter and sugar. According to the rules of the game: Poets must produce extraordinary dreams with very limited objects. While composing a work in this literature, all objects such as trees, flowers etc. that are likely to create a theme for the poem are extremely limited. No plant species other than a few flowers such as tulips, violets, hyacinths, sesame or trees such as cypress, sycamore, willow can be included into this literature by choice. No poet is allowed to say “I love chrysanthemum, so I want to treat it as a subject in my poetry”, or “Romeo and Juliet is a very famous love story, so I want to refer to this story in my poem.” Therefore Ottoman literature is a game of creating images and dreams with all this limited vocabulary under extremely narrow and conservative rules and forms. This, at the same time, have utilized as an opportunity for the poets in that era to prove their quick wit which is the reasoning behind offering gifts or some high ranking positions to the poets in exchange for poems written. These poems are the kind that makes one say that poets with ability to compose such humorous dreams could perfecly be fit to do the governor’s job in the city of so-and-so or clerk's work in a post of so-and-so. As a result of this, an expression which at first glance could be seen as a scenery is apt to reflect a battle scene or a snapshot from the livelyhood of a market place in the back ground. This is a situation somewhat commeasurable with detection capability of readers and is directly proportionate to the calibre and cultural level of the poetry reader. Under the circumstances, each poem takes on the value of a documentation with the power and capability of reflecting everyday life of that era to the extend of details that hidden in odd corners for today’s world. A literature, plotted with billions of verses on love, has the ability of indirectly raveling even the smallest details of the everyday social life. This substantiality originates from the meticulous¬ness of the poets on not repeating any verse or statement. The poet, who thrives for finding the newest and the excellence within a pre-determined, uncompromising literature tradition boundaries, had to look carefully to his whereabouts and catch the details which no one mentioned before in order to create materials for his work of art. By this means, every verse creating the literature is worthy as a painting, a scene or a record reflected from hundreds of years ago. So much that sometimes through combining these records, it is possible to pace around the finest details of history. “Abdal” or “wandering dervish” is the most basic character of old poetry. It mostly presents a structure which identifies with the personality of the poet. All poets, regardless of which disposi¬tion they belong to, idealize themselves as “abdal” (wandering dervish). This cliché is mostly formed because of the hatred against the religionist “sufi/zahid” who uses religion to form some kind of a power and position above the society. Abdals are one of the idealized characters in the poetry due to their extraordinary behaviors, untraditional appearances, their lack of hypocrisy despite being denu

About Phonological Criteria In The Classification Of Dialects

Halil İbrahim USTA — 2026-07-16

In all scientific studies, take it to prepare documents and sort of issues should be the first and primary task. This principle also applies to grammar studies. In general language, specifically the classification of the dialect researches, of course, is not a job to be done very easily. But instead of considering this job to avoid difficulties, measures should be identified and action should be taken in this direction. Dialectology studies have become a tool of sociolinguistics. Rather serious and extensive studies on the use for this purpose. The papers presented in previous years, and we examine the articles published are only found in the opinion on the classification of the dialects in several studies. Dialect studies, have reached levels that could pose a major corpus of theoretical studies but remained few. The reasons for this situation are several factors that complicate their dialect research. In these studies, we do not see a common understanding and shared vision dialectologists. Statistics, which is made in 1991, supports our view that the criteria of dialectologists not fully match the criteria of other dialectologists’ quantity and content. This shows it is too early to talk about traditions in dialectological works. It is already clear that they were not so thoughtful about how to choose the criteria. When we look at the criteria for the classification of Turkic languages, then we see that they have such characteristics as small numbers, generality and selectivity. Unfortunately, unusual approaches hold in the Turkish dialectology: chosen some features of the dialect and they are sorted as criteria. On the other hand, it must be observed difference between the groups and subgroups of dialects. The reliability of the classification of dialects depends on the criteria that agree to the above difference. In the works of dialectology is another important issue is the fact that some features to oppose modern Turkic languages to the peculiarities of the Turkish dialects, it does not give results. So it cannot be the main pillar of such phonological equivalence as shown by the uniformity of the Turkic languages; because these languages were influenced by migration, high level of education, means of communication, cultural bundles, regional languages, etc. In other words, we should not disregard the fact that some features of Turkish dialects may occur under the influence of the local environment and others may arise sociological or psychological background and in the last they can be factors such as human flaws. I adhere to the view that dialectology will use synchronous methods, so there is no need to compare with the findings of studies on the old Turkish language, because it leads us to a dead end. On the other hand there is evidence of the fact that scientists have found large differences between the features of the dialects of the Turkish language from the old Turkish language. So if we cannot find an equivalence between the features of the dialects of the Turkish language with phonological characteristics of the old Turkish language which can be found in the manuscripts, it is not possible to use in the classification of dialects as criteria. In Turkish dialectology for a long time was the traditional approach, which is characteristic only of comparative historical research: to find similarities between the phonological features of dialects of the Turkish language with the characteristics of those tribes who moved into Anatolia in the 11th century. But while there are still unresolved problems, we cannot offer such equivalents as criteria. Phonological features identified in relation to the dialect, "general" heading are converted into the criteria. But every "feature" distinctive "criteria" is not, cannot. In the case does not meet the general line "of unknown cause" is called. Classification of the features cannot be seen in the dialect movement. Their conversion to a certain extent should be restated

About The Classification of Phonetic Facts, Its Terms, Definitions and Samples which Are Seen In Compound Words

Osman YILDIZ — 2026-07-16

Some of the words which are used together continually in Turkish combine as aresult of various phonetic facts (such as change of the place of stress, agglutination, shortening, disappearance, anaptyxis,voicing) in time, and become a word: ne asl >> nasıl, sütlü aş >> sütlaç, cuma ertesi > cumartesi, bu ara > bura; ne teg kim >> nitekim, ko?ur al >> kumral, sekiz on >> seksen etc. Such samples in the structure of compound word (compound noun) are entitled and analyzed with different terms ( such as syneresis,elision,contraction,superposition of syllable, conjugation with contraction, vocal conjugation, haplology, apophony, conjugation, convergence) in the resources of Turkish grammar. In the article, compound words which occur as a result of phonetic facts are going to be analyzed and tried to be evaluated in the light of the information in the resources of Turkish grammar.

A People Emerged as a Result of Historical Turkic - Armenian Contact: The Armeno- Kipchaks or Gregorian Kipchaks

Gökçe Yükselen PELER — 2026-07-16

Introduction and Aim of Study It does not seem possible to determine the outset of Turkic – Armenian contacts in history. Perhaps the most important reason among others for this situation is the impossibility of specifying the homeland of both peoples. Nevertheless historical sources record that Turkic peoples and Armenians have been in contact since the Hunnic period and this contact reoccurred throughout history up until modern times. This recurrent Turkic – Armenian confrontations include Kipchak – Armenian encounters, which took place at least twice in history; first in Transcaucasia and Eastern Anatolia, and later in Crimea. As a consequence Armeno – Kipchaks, a Turkic-speaking people who lived in Crimea, Ukraine and Poland between 13th and 17th (perhaps 18th) centuries, emerged and took their place in history. However, the ethnic origin of the Armeno – Kipchaks is a matter of debate. One of the claims is that Armenians contributed ethnically and religiously whilst Kipchaks contributed linguistically to the formation of the Armeno – Kipchaks, in other words they are linguistically Turkicized Armenians. Another assertion is that Armenians contributed only religiously whilst Kipchaks contributed ethnically and linguistically and therefore they are Kipchaks, who converted to Armenian Christianity. The aim of this study is to find an answer to this debate by examining sociolinguistic, onomastic and celestial data. Methodology Historical data pertaining to Turkic – Armenian contacts have been examined with sociolinguistic, ethno-linguistic and religio-linguistic perspectives. Special attention is given to Turkic conversions to Christianity in Armenian cultural sphere. Particular consideration is given to Kipchak contacts with Armenians and their conversion to Armenian Christianity. The Armeno- Kipchak linguistic data is examined in the context of contact linguistics and with comparison to Turkic (namely Uzbek) – Tajik contact. Additionally Armeno – Kipchak month and day names on top of antroponyms have been viewed with intend to find clues to the ethnic origins of Armeno – Kipchaks. Lexical content of Armenian – Armeno-Kipchak dictionaries is also tackled with sociolinguistic point of view. Findings and Discussion Kipchak interest in almost every monotheist religion they have encountered, namely Greek Orthodoxy, Russian Orthodoxy, Georgian Orthodoxy, Catholicism, Islam and Judaism (Gökbel 2000: 265-342; Ahincanov 2009: 268-276), could be regarded as evidence to the possibility of their conversion to Armenian Christianity in Crimea. Records of Kipchak conversion to Armenian Christianity in Transcaucasia and Eastern Anatolia corroborate this possibility even further. Presence of an Armenian village named Kipchak in Gumry and a monastery in the same village named Hpçahavank / Kıpçak-a Vank “Kipchak Monastery” (Grousset 1947: 26-30; Gökbel 2000: 310; Gökbel 2002: 514-15; Aynakulova 2005: 829) are evidences that Kipchaks converted to Armenian Christianity in Transcaucasia. The fact that builders of this monastery are Kipchaks are confirmed by the epitaph of the building (Alasania 2013: 131). Likewise another Armenian village, which was vacated in 1918, in Ighdir in Eastern Anatolia named Kuchakh (Gökbel 2000: 311; Gökbel 2002: 515; Aynakulova 2005: 829) is another evidence pointing into the same direction. The language of Armeno – Kipchaks resembles the language of Codex Cumanicus, which was compiled in the 13th century, and particularly that of Karaims. It is seen that the differences between Armeno – Kipchak and Karaim are based on religious reasons. The speakers of the Karaim language are followers of a Jewish sect and therefore their language is written with the Jewish alphabet and their religious terminology is copied from Hebrew. On the other hand Armeno – Kipchaks believe in Armenian Christianity and therefore their language is written with the Armenian alphabet and the religious terminology in their language is c

The Phonetic Changes of The Arabic Loanwords Within Turkish and Kyrgyz Turkish Dialect

Ömer ACAR — 2026-07-16

This paper focuses on phonetic changes in the common Arabic words in Kyrgyz Turkish and Turkey Turkish. It is known that some of the common words had been taken through Persian, in other words it is known that Persian language had played a connective role in carrying Arabic words into other dialects and languages. Phonetic changes subject of this paper are

At a glance to Bâhnâme and Gallipolli Mustafa Alî's Bâhnâme

AHMET ADIGÜZEL — 2026-07-16

Starting in Mezopotamia and Egypt and formed in ancient Greek sexual healt has been accepted as a discipline in medical science, Literature and result of progress in science, Sexual health; An indispensable and social Life of human health has became in B.C. as an area of interest. In the West far East and center of many civilazation research done with the subject and books were written. Besides of pleasure and fantasy Works Like as Kama-Sutra as a branch of medical science field of sexual health centers compared with Bahname that examines the scientific and that two types differences were demontstrated. Muslim nations affected by the Ancient Greek medicine starting with Works translated from Ancient Greek as in all İslamie soeieties Turkish nation also Works after starting to copyright in their own Language penned the copy righhted work of the Ottoman state was informed about the first bahname renovation. The aim of Bahname was transferted as sexual health and ways to treat. During 16th and 17th century most of Bahname was transferred from a pornographic ground and changed by stopping. Mustafa Ali from Gallipolli’s life and personality, were informed about art and art Works. It was given the hopes and frostrantions experienced that he Lived the Life of trials and hardships. In some sense , we found that the trick to make real winner rather than the so-called structure, the very fact that cares trick Ali, expectations and needs should also mention some meaning. He was a personality, a culture wise magni ficent century in the Ottoman Empire About the Craftsman who was persistend and stamper of the era, it was explained that he wrote about so Works, wiritten in many Works up to now; but most of his work was not mentioned from Râhatü’n-Nüfus or Ruhü’n Nüfus named Works in the biographical Works. In our resarch Likely the work belongs to Mustafa Ali from Gallipolli. It was made copies af the Works by comparing from Berlin and Kayseri Rashid Pasha Works where given copies and copies af the catalog, Râhatü’n-Nüfus consisting of two parts and only part consisting of four pages-first part was written for women and the second part was written for men. RESULT Phases which was mentioned with old medicine and a part of this sexual health, the perception formed in Far East, Maghreb and Islamic civilization was described by examples from respective Works , the simiarities and differences between the Bahname, Kama-Sutra and fragrant garden. The findings were emphasized about pornographic themes especially after the 17th century, timing away from the sexual health of its kind of Bahname. Considering that age lived in this era was a time when the Ottoman Empire reigned five continents. That is, it was living its magnificient century. He studied in Gallipolli which the period can be cinsidered a cultural center of the Ottoman Empire (before the conquest of Istanbul) and he completed his education in madrasas of Istanbul. He worked tasks that can be called senior such as cultural centers in Baghdad, Erzurum, Sham, Halep, Manisa, Amasya and Trabzon. Ali, who hit circuit stamp and left traces in many fields, had been in the science councils with artists. Author, who holds art light-colored and rich, penned in the masterpieces of the genre named Künhü’l-Akhbar that took place in 300 years Ottoman History. We included life, personality art and Works to Mustafa Ali from Gallipolli whose work history not discussed with the historiography and was given qualified works in that many other types. We tryed to promote making the-excerpts from his book Rahat’ün-Nüfus, a copy of in Turkey and a copy of in Berlin and the other three copies in Cairo. These statesments in the copy of Berlin as “Bahname-yi Kebir ve Bahname-yi telif-i Ali merhum”, Rahat-ün-Nüfus was staffed belonging to Mustafa Ali from Gallipolli. This work was penned in addition Arabic work of Tifaşi agai

The Condition of Manuscripts During Ottoman period in Bosnia and Herzegovina

Lemi AKIN — 2026-07-16

Nearly 600 centuries in dominated the process, Ottoman who built both in terms of Anatolia and the Balkans with its own paint zoning, cultural and spiritual values has spread to wide geography in question by means of the language. Bosnia-Herzegovina has existed for nearly 400 years as part of the Ottoman Empire. Bosniaks are a society that combines the Ottoman culture with their own cultural values. Ottomans while building the Balkans with its own reconstruction paints, it transfered the cultural and spiritual values to the Balkan folk throughout the language. Many works, which were brought from various Islamic centers, mainly in Istanbul, They have been replicated in the the copied centers of madrassas in the Balkans. İn the later periods Balkan intellectuals who grew up from madrasas in Turkish language, they have many copyrighted works in Turkish and Bosnian Currently, most of the copyright and copied works are exist in the library museums lodge, and homes. In this study, it is given information about manuscripts of the Ottoman and the location of these manuscripts which have not yet been done its catalog work in several places of Bosnia-Herzegovina. Primarily the location of writing have been classified according to the cantons and the present situation of writing in the canton have been transferred. Especially it is given detailed information about the oldest and largest library the “Gazi Husrev Bey Library” in Bosnia and Herzegovina. Later, the Ottoman manuscripts which are exist in Bosnia-Herzegovina are

About A Poetical Mecmua Numbered “3469” In Konya Regional Manuscript Library

Şerife AKPINAR — 2026-07-16

Deriving from the Arabic word “cemʻ”, “mecmûʻa” is the feminine-gender word for mecmûʻ which means collected, compiled. Mecmuas started their duties as note books reflecting the inclinations of people, and when they finished, they were named as mecmua. In these note books, verses from the Quran, hadiths, prayers, fatwas, hymns, pleasantries, lugazes, muammas, and poems… were compiled. In the content of the mecmuas, in addition to the different type and format of works, there are some works which are compiled in a single type and format. The parts of mecmuas regarding Turkish literature consist of poetical (mecmûʻa-i eşʻâr) and nazeerah mecmuas (mecmûʻatü’n-nezâ’ir). In the Ottoman period, starting to draw attention in the 15th century and to have more variety in terms of number and types after the 16th century, some of the poetical mecmuas have the characteristics of rough books, and some of them seem as regular works of art. The number of them is quite high in the manuscript libraries. Poetical mecmuas are important works which serve as a source to the history of literature. In compilation of these mecmuas which can also be accepted as poem anthology, the most important factor has been the compositor’s taste. Therefore, it would be right to regard them as personal records. As well as this, reflecting the tastes of art and literature of the period they have been written in, poetical mecmuas also present the popularity of poets. In the recent studies, text publications of the poetical mecmuas have been published with the purpose of constituting a data bank, and have been provided for the benefit of science world. In order to contribute to these studies, in this article, the poetical mecmua brought from Gaziantep Province Public Library to Konya Regional Manuscript Library and registered as “Mecmua-i Eş’ar” in number BY 3469 is presented and its transcription is manifested. This mecmua, which was compiled by Antep born and having treatise, Hasırcı-zâde Mehmed Aga (b.1218/1803 - d.1304/1887), consists of 26 leafs and involves 330 couplets. According to the compiler’s statements, they were collected from Lâ-edrî müfredât. However, it was seen that the poets of some of the couplets were known today. Among them are Baki who is one of the famous poets of Turkish Literature, Shaykh al-islam Yahyâ, Nâbî, Nedim. In addition, the detection of these poets reveals that not all the couplets are müfred because a few of the couplets were chosen from the poetry forms such as gazal, kaside, müseddes. The fact that most of the verses are Lâ-edrî prevents the appraisal of them in terms of their poets; however, owing to the fact that it is based on poems, it draws attention unlike several sources which highlight the poets. Being a poet himself, Hasırcı-zâde compiled the couplets which he liked and were famous at that period, and he organized the mecmua in an alphabetical order by considering the rhymes. When considered in terms of its content, it can be seen that there is no single topic. The couplets which can make an impression on people’s minds have the feature of appealing to today’s inclinations while it is reflecting the tastes of the period that has been written. In the mecmua, the couplets which were written in rika writing style were rhymed with eighteen letters. Among them “ى ه ن ر” sounds are seen to be preferred mostly. Compiled from the verses written in twelve different prosody structures, in this mecmua “Feʻilâtün Feʻilâtün Feʻilâtün Feʻilün” structure is the most used one. The mecmua starts with this statement: “Şu‘arā-yı sālifeden olup da kâ’ili bulunamayan Lâ-edrî müfredâtlardan intihâb olunanları buraya cem‘idilmişdür” (The ones chosen from lâ-edrî müfredâts whose poets are old and cannot be found were compiled here.). At the end of the mecmua “el-ma‘rûf bi-Ḥaṣırcı-ẕâde” (known as Hasırcı-zâde) was written. While the first couplet of the work is like this; Perçem-i müşgīn-i yâre uġramış bād-ı ṣabā Geldi cānāndan dim

Traditions Of The Pre-Islamic Age Of Ignorance In Translations Of Kaside-i Bürde

Vesile ALBAYRAK SAK — 2026-07-16

Introduction and the Aim of the Study The poetry which is one of the Arabic disciplines, rather than being a rhyming and metrical saying, is a great result of the spiritual output of Arabic people. Although it is not known how the Arabic poerty came out and how it got in order for sure, the researchers are on the same page about the fact that it turned into a common language that is known by all the tribes at the dawn of the sixth century. During the historical period starting from the first years of the pre-islamic age of ignorance till the first years of the Hejira, the ode of which first examples are found in the seven poems called the Mu‘allaqāt is the first and the longest established verse of the Arabic poetry. The ode deals with four main topics as praise, satire, pride and depiction and the themes contradicting with the Islamic belief and Islamic moral principles have given their place to Islamic values inspired from the Koran. Kaside-i Bürdes which are different from other odes in terms of the topic they deal with are independent works written in order to praise the Prophet Muhammad and the fact that the works regard love for the Prophet Muhammad as worship has led to a lot of translations, explanations, tahmises, teshtirs and tezyils to be written in our literature. As in many works, it is possible to come across with traces of pre-islamic age of ignorance in translations of Kaside-i Bürde, too. However the term, the age of pre-islamic age of ignorance, stands for a culture rather than a historical process that has already come to an end. Therefore, in this study, remarkable features of the pre-islamic age of ignorance and Arabic customs shaping the Arabic political and social life have been examined from translations of Kaside-i Bürde. As a last word, it is a fact that the translations, which are proofs of cultural exchange between civilizations, serve as bridges between the Arabic and the Turkish cultures as it is the case in many. Study Method In this study emphasis is given on JAHILIYYAH poem ‘Burden ode’, which is the first and most fundamental verse form of Arabic literature and ode (Eulogy), which has an independent identity in terms of the subjects it dealt with, was briefly expressed. As it is in many works, remarkable features of common culture of Jahiliyyah age (pre-islamic age of ignorance) have been studied in Burden ode translations as well. Besides, the customs and traditions, giving direction to the political and social life of Arabs, were examined. Findings and Discussion Since the aim of this study is to determine the remarkable features of Jahiliyyah age and is to identify Jahiliyyah age culture in the Burden ode translations, translations of Ahmed Leâlî, Abdurrahman Karahisârî, Şemseddin Sivâsî were discussed and the mentality of the pre-Islamic period in these works has been tried to be explained. The status of pre-Islamic Arab customs and traditions such as Oath, testimony, sacrifice, generosity, justiceships, priesthood, pacta sunt servanda were identified. In addition to the traces of Arabic social, political and religious life,usage of Jahiliyyah age concepts such as " Ketem, selem " in poetry are clear evidence of this period’s culture. Moreover, usage of Arabic idioms such as “kına, konuk odu, yağrıkta et dövmek” by our poets indicates the traces of the interaction between cultures. All of them experienced a historical process is not finished period, representing a culture of ignorance, which is translated in a concrete indication of the viability of continued evidence of cultural trade between civilizations. All of them do not represent an experienced and finished historical, they represent that Jahiliyyah age continues in the translations which are the concrete evidence indicators of the cultural trade among civilizations. This study investigates in what form Jahiliyyah age reflected in the translations examined by exploring the remarkable features of the Jahiliyyah age cult

Lingvopoetic Features Of Onomastic Units In Literary Text

Dilrabo ANDANİYOZOVA — 2026-07-16

Using onomastic units as poetic intends in literary text, in particular the place of occasional names in literary works and linguistic features have widely been studied in Russian as well as in Turkic linguistics. In the spite of the fact which extend of onomastic unites are related to they have been generated under the term of “onims”. Among them those which have specific poetic value are called “poetonim. There is the special occurrence in the linguistic text generated with the “presedent names”. Presedent names are considered proper names which are familiar to lingusitic owners and keep in their lingusitic minds as well as commonly used in their speech activity. They can depend on literary as well as religious text, famous and interesting events, legends, tales, jokes and film screens. All those above mentioned are completely analyzed in the article. According to writers intend onomastic units sometimes simply participated in the text with its own meaning at the same time complexly with different associatives. In the linguistic studies onomastic units in literary text are being researched based on the relations among the sciences tendencies. It is mentioned that in the latest of (number) year’s attitudes to the onomastic units as specific units which provide text with multiple meaning and developing its linguistic form are increasing. In Uzbek linguistic studding of lingvopoetic mechanism of onomastic units such as antroponims, toponim and zoonyms are giving valuable opportunities to demonstrate the essence of Uzbek language and it’s main functional appearing lawfulness. In the article the mythological names of the place, proper nouns of different people and animals are studied under the “mythopoetonim” term. It is known, that the literary text is a multi-layered phenomenon and it reflects all the priceless richness of the language. Knowing language isn’t enough to understand completely meaning and multi-layer’s structure of a literary text. Because “understanding the main idea, thought and meaning reflected in the literary text is not easy work but rather difficult and complex artistic process. Understanding correctly the meaning, expressed in literary works, a kind of way that is open or hidden by various comparisons subtext can only be achieved as a result of spiritual-cultural, mental and lingo-aesthetic activity". In the literary text onomastic units is not only the nomination of a specific object, but also a means serving to underscore the artistic intend of a writer. So, it determines actual study of linguopoetical onomastic units of a literary text. It should be noted these problems, such as using of onomastic units in the literary text for poetic purposes, as well as a place nonce words in literary texts and language properties is widely studied in Russian and Turkic Studies. We could emphasize here linguistic works done by famous scholars such as A.V.Superanskaya, M.V.Karpenko, V.M.Kalinkin, N.V.Vinogradova, N.V.Podolskaya, E.Gungurdi, U.Kibar, R.H.Garrapova, L.M.Khamitova, K.Z.Zhappar and others. In linguistics has a such thing as "precedent names," "known carriers of a definite language, how often to apply to speech activity proper names. Precedent names can be different according to their motives. They can be related to the artistic texts, religious documents, legends, parables and stories, anecdotes and movies. In our mind there is a relevant case with proper names, which have linked certain impressions: Otabek, Kumush (Abdullah Kadiri) Farmonbibi, Sotto (Saeed Ahmad) Alpomish, Barchinoy, Zumrad, Qimmat, NasriddinAfandi, Hotami Toy. Perecedent names perform a number of functions in the literary text: External involvement. It provides an external involvement. It points to another text with a specific cause. Through various methods are available in the language memory of the human "familiar names", it provides a multi-layered literary works. This property of the text is researched with the term

A Critical Contribution to The Biographical Work of Niyazi Akı About Yakup Kadri:The Puzzle of “Erenlerin Bağından” 7/11 and 13/14

Efe ARIK — 2026-07-16

The aim of this study is to indicate some critical points in the biography of Yakup Kadri Karaosmanoğlu written by Niyazi Akı, titled as Yakup Kadri Karaosmanoğlu İnsan-Eser-Fikir-Üslûp. This biography is one of the main sources commonly used by the researchers studying his prose poems, especially those published under the title of “Erenlerin Bağından”. According to Akı, Yakup Kadri wrote his prose poems between 1910-1922. Because he did not produce any prose poems for a four years period, between 1914-1918, Akı analyzes those poems in two periods. The first one is between 1910-1914 and the second one, including “Erenlerin Bağından” is between 1918-1922. This periodization contains serious problems regarding to the publication dates and places. Akı did not interrogate the inconsistency of the numerization of poems, 13/14 and 7/11, between the books and the journals. Considering these inconsistencies will lead us to reexamine Akı’s periodization and historical contextualization. In conclusion, this study aims to prevent the reproduction of the same mistakes in the literature and make a contribution to the studies examining “Erenlerin Bağından” in its relationship with the historical context.

On Phonological Structure Of Kilis Dialect

Hülya ARSLANEROL — 2026-07-16

Language, which is the main function enabling the communication between people, is a system weaved by sounds. Nevertheless its role and importance is not limited with this; moreover it is a social foundation which supports the formation of the nations and disseminate the main factors of the nation’s very foundations from generation to generation. Meanwhile Main task of fulfilling this social function is taken by spoken language, written language supports it. When the spoken language, the main bearer of the culture, fails to become a written language, it fades over time, this situation will cause some of the accumulated cultural wealth to be lost and lost of these elements of the society’s cement will cause other sociological problems. Thus, the language’s phasing into written language with its all elements is quite important. In brief, all the things said about the language is also related to social sciences like sociology, history, folklore, ethnology. So, we believe that our essay, which is an study of dialect, will make contribution to social science, particularly in language. Among Turkey’s Turkish local dialects, dialects of Kilis province was not studied enough. Our study based on fieldwork studies which we made in Kilis province, it's countries and it's villages. On the basis of examples which we choosed from compiled texts, phonetic properties of the region are tried to be presented. Due to fact that, until 1995, Kilis was a district of Gaziantep province so it was estimated as part of Gaziantep subdialect and approached within Gaziantep dialect. But, Ahmet Caferoğlu (1946: 565) mentioned three sub groups of Gaziantep dialect as “centre, Kilis and surroundings, Turkmen phratry” in his work “Anadolu Dialektolojisine Dair Deneme” and separated Kilis dialect from Gazitantep's dialect. Kilis dialect is separated from Gaziantep dialect in terms of some dialect features as mentioned by A. Caferoğlu. The most significant distinction is at use of present tense suffix. As part of western dialects, Gaziantep dialect uses present tense suffixes as -i/ -iy, -yı /-yi, -yu /-yü, -yer /-yér / -yir /-yr, -yo/ -yo- yö (Karahan 1996: 142, 144-145), on the other hand Kilis dialect -or form central subdialect, besides especially at Polateli and Musabeyli districts we encounter -yo /-yu /-yo /-yor /-yor forms. The Forms -y/-ıy /-iy /-yi which are similarized with Gaziantep dialect, encountered extensively at Elbeyli subdialect. Another distinction is in the use of instrumental case. In Gaziantep dialect uses -lan /-len /-nan /-nen forms of ilen > -lan/ -len suffix which is occurred contraction of -n instrumental case suffix with ile particle (Aksoy 1945: 146). In Kilis dialect -dan /-den /-nan /-nen forms are common. This usage which is not existed in central Gaziantep dialect, is common in Iraq Turkmen Turkish and Syria Colan Turkmen dialect (Bayatlı 1996: 470, Arslan-Erol 2009: 49). Ömer Asım Aksoy (1945: 85,146) mentioned that in Nizip dialect it is also used in this form. Intervocalic euphonic consonant ‘y’ usually is not used in Kilis dialect (gınalıdı < kınalıydı). Same feature also exists at Syria Colan Turkmen dialect (Arslan-Erol 2009: 50). In terms of this feature Kilis dialect differs from Gaziantep dialect. Likewise, in Gaziantep dialect intervocalic euphonic consonant ‘y’ usually used in agglutination of i- auxiliary verb and ilen particle (Aksoy 1945: 83-85). Although Kilis dialects share many similarities with dialects of Antep and Hatay, they differ based on some features, even it shares many similarities with dialects of Turkmens who live outside our borders, from Syria and Iraq. As mentioned in the bibliography section, studies on Kilis dialect are bounded by bachelors and master degree thesis. Together with its countries, there has been not a detailed study based on Kilis dialetc, yet (Güler 2012: 1840-1845, Bulut 2013: 1134). In the conclusion of our study phonetic features of Kilis dialect were established as

In The Divan Poetry Hârût And Mârût

Murat ASLAN — 2026-07-16

Holy Quran is the most important source of Ottoman poetry. In the Ottoman poetry, there are a lot of subject about the Holy Quran. One of them is the story of Harut and Marut. Harut and Marut are two angels according to Holy Quran; but they are taught to people details of magic. These angels are reflected about witchraft in the Divan poetry; because the story is described as a large source of the Jewish religion. Couplets which interest about witchcraft are based on the story of Harut and Marut. Divan poets created colorful dreams around the story. In context of the story, poets are interested in source of beauty elements of the beloved and pride of poet (fahriye-i şâirane). Sometimes they think themselves as Harut or Marut; so, they were proud of their poems, because they wrote poems by imitation of the magic arts. All of the verses of poets that we can detect only have benefited from the story in Judaism sources. Poets didn't have benefited from the story of Holy Quran; because it isn't suitable for colorful dreams in poems. This article will focus on the story of Harut and Marut shortly, then will examine how it is used in the verses of the Divan poetry. Our goal is basically understand how was used story of Harut and Marut by Divan poets. How they can created colorful and interesting dreams from the simple story of Harut and Marut in Divan poetry? We want to answer this question. And, we want to enter to imagination of Divan poetry from the gate of Harut and Marut's story. The method is that: Firstly we collected information about the story of Harut and Marut from Holy Quran, Torah, articles, commentary books and the various encylopedias. Secondly, we scanned a hundred and sixty nine Divans and collected about two hundreds verses about the story. After that, we categorized and explained these verses. Finally, according to discoveries, we interpreted these verses in conclusion. Harut and Marut names are always mantioned together with magic in the Divan poetry. Because, according to Surat al-Baqara 102 Harut and Marut are two angles and they taught magic to the people in Babylon. Generally, the story of Harut and Marut's elements are used in the context of the beloved in the Divan poetry. Eye, chin, hair, beauty spot, fluff, eyelashes elements sometimes like magic or magician, sometimes they are charming. Chin generally like Babylon. İn the Babylon, there is a big hole and Harut and Marut are in this hole upside down. Like this, on the beloved's chin, there is a small hole. There is a beauty spot on the beloved's chin's hole. It is like Harut; because both of them are in the hole. Hair is sometimes like Harut; because it is upside down on the head. Sometimes it is like Harut's rope. Eye is a magic master and it teaches magic to Harut and Marut in the hole of Babylon. So, it is more succesful than Harut and Marut about magic. In fact, people learned magic from Harut and Marut according to Holy Quran; but Harut and Marut learned magic from beloved's eyes according to Divan poets. Eyelashes are magic pens. When people see the beloved's chin, their hearts fall in chin like Harut; so, they fall in love. Sometimes, poets are think themselves like Harut or Marut. So, they can teach magic to Harut and Marut. They are magician of words. Their poetries affects not only the people but also witches. They can magic to people by poem. Slightly, some verses about Harut and Marut story are without using any art or dreams. It seems that the poets took the story of Harut and Marut as a template. Dreams have established according to this pattern. Examples: ''I am a magician. So, I can hang to Harut on my hair by trick.'' (Hayrî; G, 187/2) ''Harut! Don't claim about magic against beloved's eye. Beware! Because she can cancel your magic by glance.'' (Lebîb; Trh, 41/27) ''How can people endure to your glance? If Harut's magic see your eyes it will be a bewitched.'' (Lebîb; G, 31/3) ''Your glance ise a witch of Babylon; but your black ey

Concepts Of Cleanliness In Our Idioms

Ayşe AYDIN — 2026-07-16

Idioms, consisting of two or more words, the expression of which makes it more effective and rich in content and expression is usually figurative words. Turkish people who give important on cleaning since central asia, showed it on language, also used adjective and goods, verbal names that are about cleaning in idioms. For example: “Ağzı pis” (dirty mouth), “ak pak”(white pure), “aydan arı, günden(sudan) duru”( clean than moon, limpid than water)…, “saçını süpürge etmek”( doing hair like a broom), “el yıkamak” (washing hand)… the word that is used in idioms, usually has a new mean that is different than basic mean of it. For example: the adjectives like ak(white), açık(open), kara(black), pis(dirty)… explain psychological cleaning in these idioms: “Alnı açık”(open frontal), “alnı açık, yüzü ak”(open frontal, white face), “alnının akıyla”(with white frontal), “ağzı kara”(black mouth), “ağzı pis”(dirty mouth)… Expressions are formed in different ways, we have dealt with. A number of statements; phrase ( profit oil, trace (dirt ) were covered “kar yağdı, iz (pislik) örtüldü”) , some phrases ( clean car “temiz araba”) , part of the dilemma ( cluster fringe, higgledy-piggledy “salkım saçak, karman çorman”) position. One part is a two- judgmental and rhymed phrases ( month bee, wait a day “aydan arı, günden duru”). Many of the statements an auxiliary verb and the infinitive has inflect the additional (hand to shut the hot water, cold water, to go out like soap bubbles, to cleaner hair, pour water, to touch, to touch the soap into the water, to cloud the water “elini sıcak sudan soğuk suya sokmamak, sabun köpüğü gibi sönmek, saçını süpürge etmek, su dökmek, su dökünmek, suya sabuna dokunmamak, suyu bulandırmak”...). In this study, the statements were be examined and classified according to drawn attention to details regarding cleanliness and than we have achieved these results: 1. Most of the concepts of statement they said the figurative cleansing way. Cleansing attributes officials about the words, actions, or the necessary equipment for cleaning names transferred to explain the different cases. Our statement also cleaning of various sizes (spiritual, dressing and space, body) is reflected. Concepts that likened transferred between objects and shapes, colors, execution of the movement, establishing relations of aspects such as smell or taste is provided değişmecel expression. 2. Whatever the direction of the word used in the statement as explained analogy for cleaning, as the man who welcomed the overall vision, hot, color, odor, etc. cleaning of direction, purity, chastity... symbolize expressions (flowers, white, wash, stops, bee, girl... ), while pollution of symbols used in described the statement in shape, color, act as evil, symbolizing the sadness, unpleasant, unacceptable, condemned (black dust, smell, street cleaner, dirty, widow ...) are expressed. Even according to the degree of pollution, the statement also contains coarse words (shit, shit ...) 3. Cleaning statement that explains the majority of the old Turkish many words as you live the way we see have had to change the sound: arı< arıg, sili

Views of Cohesion and Coherence in the Story Titled 'Eşek' by M. Şevket Esendal

İlker AYDIN, Gülşen TORUSDAĞ — 2026-07-16

In this study, M. Şevket Esendal, who is dealt with his short story titled Eşek, is the first representative of the genre called ‘case story’ in Turkish literature. Case stories going back to the Russian author A. Chekhov are stories which are set on not a single case following exposition, climax and resolution order but any section of daily life featuring feelings and imaginations rather than curiosity and enthusiasm. Esendal’s works are the reflections of daily life and struggles of simple people. Their characters are people who are plain, ordinary and those who are worried about simple problems within life. Observing the life in which he lives in a realistic way is the fundamental point of view and starting point for the author to make up case stories. In other words, the author reflects the outer world on his stories, sticking to the opportunities and limitations offered by the generation style of ‘mimesis’. It is a fact that several analysis methods can be used to achieve a text in general, or a literary text in particular, and meaning frame revealed by these texts. Text analysis is an applied activity based on a theoretical framework. Text linguistics which is one of the fundamental theoretical approaches determines how texts are generated linguistically and contextually, identifies their communicational functions and presents them in applied illustrations. In this study, the short story titled Eşek narrating a boy, named Mustafa, who loses his donkey and finds it again was analyzed in terms of cohesion and ‘coherence appearances and some conclusions were made by emphasizing the formation, language uses motif and theme of the text. While cohesion was regarded as a concept related with surface structure of a text, coherence was taken as a concept in which deep structure of a text is analyzed.

Fuzuli's sense of self in poems

Songül AYDIN YAĞCIOĞLU — 2026-07-16

Fuzuli is an Ottoman poet who especially mentions his own ‘self’ in his poems, therefore he frequently uses the pronoun ‘I’. Since this characteristic of Fuzuli is not studied in detail, how the sense of ‘self’ is mentioned in the poems of Fuzuli is analyzed in this study. In the analysis, couplets which include the pronoun ‘I’ and forms of this pronoun with affixes such as “to me, me, my, at me, from me” are considered. Certainly the possessive suffix and personal pronoun suffixes agglutinated to nouns in the poems correspond to ‘self’ and in this study emphasis of ‘self’ is taken into regard. When how ‘self’ is presented in the poems of the poet is analyzed, it is observed that there are three different types of ‘self’ which refers to ‘self’ in incompetence (acziyet) including attributions of disgrace, servitude, frailty etc; ‘self’ which refers to the dignified subject and ‘self’ as the poet. These are of course different perspectives of the same ‘self’. 1. ‘Self’ in Incompetence: Poor, slave, beggar, servant: He is a poor, impotent (aciz) slave and a humble beggar; he is a chartered slave who would give his soul right away in case of lover’s demand. He is the beggar of love street, he does not give value to property. Despised, Injured: The poet is a Fuzuli with a broken body and his head split with the stone of cruelty (zulüm), those who seek for him can find him with these characteristics. Destitute: The poet defines ‘I’ – ‘self’ as subject and destitute. He is a destitute man who has fallen abroad in the path of reunion that is full of tricks, he is a person on whose plate of soul there is no writing in this world full of magical decorations. Sorrowful and Distressed: Instead of expressing that ‘self’ is distressed and sorrowful, he acts with the anxiety of informing about the degree of this distress and sorrow. He expresses ‘self’ which has the entity of answering the question of “How much in love?”. In the couplet below the poet mentions himself directly through the subject ‘I’ by saying “I am the head of sorrow caravan (gam kervanı), I am the passenger of torture and trouble desert (elem ve mihnet çölü). Disgraceful, Miserable, Puzzled: Since there is no other wanderer like him in the valley of love, destiny has foisted all sorrow on him. It is inevitable for the destiny not to do this since there is no one else similar to him in wandering, therefore all sorrows of destiny are for him; The proof that this dizzy, miserable and puzzled lover who has fallen apart from his lover is on the road are bloody tears in the color of tulip which fall from his eyes drop by drop. Eye has disgraced him to public by shedding bloody tears. Hopeless: Another characteristics of ‘self’ told by Fuzuli is hopelessness. Since the morning breeze brings no news from ruddy-cheeked lover, he loses his hope saying that my fortune does not bud, my hope tiler gives no fruit. Weak: Another quality which expresses incompetence of ‘self’ for Fuzuli is weakness. The poet defines state of being weak by using overstatement to the degree of exaggeration. Nobody is aware of his situation, because his weak body has always concealed ‘self’ from glances. ‘Self’ is so weak that if he looks at mirror, the image of his face would not be reflected in the mirror due to weakness. Insane: While defining love-crazed (mecnun) state of ‘self’, Fuzuli expresses the degree of this state and remarks “how love-crazed” this ‘self’ is. ‘Self’ is the master of science of insanity. This means he is the scholar of this science and he is the one who teaches this science to everyone, even Mecnun can make use of him. Enchanted: ‘Self’ has had a grasp of all phases of being in love through love. Conscious has completely been destroyed and the state of enchantment has emerged. The poet states that subject ‘I’ has become mest-i bi-hod (enchanted in trance). 2. Victory of ‘Self’: ‘Self’ which was in disgrace in the first section reaches the last rank in incompetence gr

The Problems on Finding Turkish Words For Loanwords and Solutions

Adem BALABAN — 2026-07-16

Introduction and Purpose of Study The aim of this study is to identify the difficulties in the process of production new Turkish words that were borrowed as word forms from the western languages and also herein to provide solutions to these problems. The study consists of three parts. The first part involves earlier studies and discussions on the movements of simplification that was briefly summarized. The second part includes the problems that are examined in the process of finding new Turkish words in liue of foreing words and also herein to settle these new words issues in Turkish language. In the third part, the suggestions regarding above-mentioned problems were offered accordingly. Within the history, the Turkish language that came into contact with a lot of languages has both influenced the languages, and was influenced by them. This interaction sometimes had been in words, and in the form of suffixes.Turkish borrowed those words from the languages in contact in exactly the same way if they suit the articulatory phonetics and dialect of Turkish or by changing them in accordance with the articulatory phonetics and dialect of Turkish. Thus, within many centuries, Turkish language made many wordsTurkish words. Some of the loan words are not perceived as they are loan words. Particularly, by the side effects Islam from Arabic, by the side effect of the Divan literature from Persian and by the side effects of westernization from French; so that, thousands of many words were borrowed from those languages. With the aid of the technological development, the relationship between people has increased. One of the things that affected this relationship is undoubtedly the language. A particular language migh affect other languages and be affected by the other languages by dint of its natural features. In the history of Turkish, it was influenced by many languages mainly Arabic, Persian, French and English and borrowed words, phrases, proverbs and grammatical elements from those languages as well. Findings and Discussion In each period and time, some intellectuals have criticized these loan words in Turkish in and have pointed out to the necessity of using a simple language and a simple way of speaking that language. This loan words issue in the language and simplification in Turkish did not seem to be a big problem up to the Tanzimat period, but in later periods, this issue has been a much discussed topic and is still has being discussed. The following periods; Tanzimat period, the last years of the Ottoman Empire, the process of transition to the Latin alphabet, the establishment of the Turkish Language Association (TLA) period have been concentrated on this simplification issue and discussions about this topic. Nowadays, these discussions decreased but has been a hot issue to some extend as well. Today, the problem is not sorting out these loan words which settled in Turkish earlier, but the most important issue that is standing in front of us is to find out suitable Turkish vocabulary in the place of foreing words which might be newly entering or trying to enter Turkish language. Particularly, the words that come from Western popular culture and technology seem to be is a serious problem that confronts us, since we cannot find out new words in return in the place of any new words coming from various languages. As a matter of that, the real issue is to find new Turkish words in the place of these foreing words that are about enter into Turkish language and in return those new appropriate words are needed to be usable and practicle in daily life and in literary Turkish language. Turkish Language Association, other institutions on language and some people propose new Turkish words instead of foreing ones, but unfortunately there are some obstacles to overcome and make it a success regarding this issue. As it is known that there are some problems while finding new Turkish words instead of foreing words and making them us

Sehmî And His Translation Of Forty Hadith In Poetry

Cemal BAYAK — 2026-07-16

Our knowledge of past authors mostly stem from the availability of their works. Many books that are recorded to have been written are missing today. It is possible that some of them are lost due to natural reasons like fire or floods. Many books are also lost because of intentional destruction of mankind, i.e. in wars and etc. However, there are great many books that are not at hand today due to mis-cataloging, i.e. either mis-naming the works or attributing them to wrong persons. There is another case that challenges us to know a certain person properly, and this stems from conflicting information on an author provided in the past sources. Like many, these problems exist for Sehmî (d. 1645), an Ottoman poet, as well. This study aims to shed light on Sehmî and his works by both re-examining the sources on him and his own studies. The first point that is going to be debated is his real name. He is recorded by two names, one Ahmed, and the other is Mehmed. There is only one manuscript of his Dîvân (collection of poems) we know today. It is in Suleymaniye library, (Hüsrev Pasha section with registry number 538) in Istanbul. Apart from his poems, this manuscript has also some texts in prose and poetry that have not been studied before. These texts will be examined as well. This manuscript has some non-textual records on its interior cover, which will help us understand its relationship to the poet. Through studying these records, our knowledge about the poet himself will also be deepened. Another contribution to his works is the publication of his Tercüme-i Hadîs-i Erba‘în, (Translation of Forty Hadith in Poetry) in Ottoman Turkish alphabet in Istanbul in 1901. This title will be examined in depth to decipher its characteristics. Translation of this book into today's Turkish alphabet is going to be presented here as well. The last point will be on the works that he is reported to have been written. Up to this study, one book, namely, Câm-ı Gîtî-nümâ, that is attributed to him was not located and examined. This title will also be studied here. Results Ottoman period sources about Sehmî are

Wedding Journey of Köse Kenan who is One of Köroğlu Keleşes

Salahaddin BEKKİ — 2026-07-16

In human history marriage was admmitted as pre-condition for family and kindred. From primitive communities to modern day, marriage transformed into that occurs according to certain implementations. These implementations and patterns applied from choice of couple to the last step of marriage vary in societies. Either an ordinary man or a gallant, all man have to struggle for his woman. But the marriage adventures of the gallant are more though and ardous. Having find the appropriate match, fulfilling all the necessities and marriying her is defined as “common marriage of warriors (alp)” or “marriage progress of a hero”. The marriage issue, an important stage in completing the biography of a heroic person has been dealt as a main idea. In legends, which’s main idea isn’t about marriage, the marriage issue acts as a bridge to other adventures of a hero that he will embark on. The Legend of Köroğlu, consist of al large region from Middle Asia moorlands to Balkans, expanded in two main branches: “West Asia Legend” and “Middle Asia Legend”. The West Asia version of Köroğlu Legend is formed by the narratives appears in Azerbeijan, Anatolia, Balkans settlements and neighbour Turkish settlements. On the other hand, Middle Asia version contains the narratives, belong to Turkomen, Uzbekh, Kazakh, Kırghız, Tatar and Uyghur and Arabic and Tadjiki narratives belong to Bukhara Arabs and Tadjik Turks. Behçet Mahir in his Köroğlu versions narrates the marriage adventures of “Köse Kenan and Miss Dana”, “Köroğlu and Han Nigar”, “Mr. Hasan and Telli Nigar”, “Han Avaz and Mine Sultan”, “Mr. Kiziroğlu Mustafa and Suna Şah”, and “Esebali and Miss Dönek”. In this marriages the most similar type to the form “common marriage of worriors” is Köse Kenan and Miss Dana. In this case, Anatolian area’s Köroğlu versions were studied via centeralizing Köse Kenen and Miss Dana story as part of the marriage type for warriors. In the survey ironies has been made from the warriors (alp) of Dedem Korkut to marriage adventures of Kan turalı. In conclusion, it has been confirmed that the marriage adventures in Köroğlu Legend occured according to schema below. 1- Specification about the marriage request and obtaining information about the girl 2- Going on a trip 3- Entering the hometown of the future wife by hiding the identity 4- Expressing the being of relative 5- Selection the girl 6- Achievement the difficult tasks 7- Return to hometown and the wedding The marriage adventure which is one of the circles of the process of performing and proven self of the warrior(alp) who is the hero of an epic comes true via the hero’s coming back to hometown after the achievements the different tasks in the different places that he doesn’t know. The marriage adventure of the hero creates the main theme in some epics. In the case, as you can see the main theme in the subsection of Köse Kenan and Miss Dana is the marriage. With the marriage’s coming alive, the subsection’s case chain is complated. In the case which contains an exclusive context of the the warriors(alplar)’s marriages of Köroğlu epic’s west version’s subsections, the 17 subsections that compiled from Behçet Mahir were examined and the six of that 17 subsections (Köse Kenan and Miss Dana, Köroğlu and Han Nigar, Hasan Bey and Telli Nigar, Han Ayvaz and Mine Sultan, Mr. Kiziroğlu Mustafa and Suna Şah and Esebali and Dönek Hanım) were determined as ‘’ common marriage of warriors’’. The characteristics that were determined became stereotypes in some subsections. The marriage adventure that in the Köroğlu subsections is close to the marriage event of Kanlı Koca Oğlu Kan Turalı Story from Dede Korkut Stories. Kan Turalı talked about the characteristics that he wants in the girl who will marry in the future. The most important characteristic was the being a warrior (alp) like him. In the case of Köse Kenan and Miss Dana, the reason the Köse Kenan’s going on a marriage trip was not the beauty of the Miss Da

Philological Analysis And Comparisons: First Translations Of The Gulistan In Turkish

Mehmet Turgut BERBERCAN — 2026-07-16

Beginning from the ancient times, Turks who etablished intensive connections with Iranian cultural geography, afterwards of the spread of Islam, in the progressive years, started to become closely acquainted with prominent literal works of Persian language and literature since therefore Turkish writers and poets held up some works in Persian as an exemplary model and also made literal works in an analogue pattern from the point of the literal forms and contents or the adaptations by way of arranging the same book names. From the beginning of the Karakhanid period which is the first period of Turkish language under the effects of Islam, in other words, from the 11th century to 15th century, by the time of the rise of Ottoman Turkish as a classical literary language in the period of the conversion of Ottoman state into an empire and as for in Turkestan by the time of the rise of Chagatai Turkish as a classical literary language at the hands of Mir Ali Şir Nevâyî, in another saying, in the duration of literal maturation and preparation up to the period Turkish langauge becoming a classical literature and art language, the works selected from Persian literature and translated into Turkish or i

Migration and War in the Nar Ağacı

Ümmühan BİLGİN TOPÇU — 2026-07-16

In World War 1, Russian progres has reached into Trabzon by collapsing of eastern frontier so grest majority of turkish population in the territory had been evacuated, exciled under the facts that what had happened in invaded areas. In migration literature, different terminologies might be used but people of Black Sea named as “muhacirlik” which exactly refers to more to Hicret period of early muslim then migration im modern socıological meaning. Suffers, pains miseries ,powerties and tragedies are not commonly mentioned in many literatural Works but it still exist in deep feeling society conveyed by verbal culture. Major tragedies, suffers and losses has not been mentioned in literatüre. In the book of Nazan Bekiroglu named Nar Agacı “Pome Tree”, there is journey into understanding of deep roots of the narrator. The dominant essence of the book is the corelation that helps Zehra and Setterhan to meet eachother. Face of love with romance is the main essence ornamenting the story. Actually, Nazan Bekiroglu’s background covers more than that. In one hand, a family tradition is told around Azeri culture of 1910’s, Taht-ı Süleyman, Tebriz, Tiflis, Zerdüşt believes, on the other hand Trabzon in the days of Russian invasion under shadow of The War of 93, Balkan Wars and modern era of Trabzon. In the novel, the reality of refugees is exposed with full dimensions as a part story of Trabzon city. Main question of this work, how that tragedies is transferred into the novel among ornamental love stories. In this research, under the concept of history and literatüre, how this tragedy is commented is analysed. Method: In this work,as a part qualitative research method descriptive data analysis technique is used. Results: Kundera tells novels are designed around few key words. (2009: 99) Offcourse the readers are freee to chose their own key words, it looks that the novel of “Nar Ağacı” is designed around the words of Love and Destiny, Trabzon, wars and people, refugees and culture. Kundera tells novels are designed around few key words. (2009: 99) Offcourse the readers are freee to chose their own key words, it looks that the novel of “Nar Ağacı” is designed around the words of Love and Destiny, Trabzon, wars and people, refugees and culture. It can’t be said that history is prioritised in the novel, the book can not be classified as derivative of historical novels. Eventhough historical background is spreaded around the novel, history is not dominating the story. Heroes do not detail the narrators family background other than very limited family relatives such as grand father and mother and very few close relatives, so the book is not classified as geneologic. Researching the roots is one of the main streams of the book. In the beginning of the book, a yound Armenian couple is seen while they are searching their roots. It is actually used as a sign that searching for the roots is not just for certain identities. In the surface, the writer is seen such as she tries to solve impossible mysteries, she is actually chasing her own history. In the beginning the story beguns very personal, but when it is entered into Ottoman territory the story is melted into the story of whole society. Meanwhile Bekiroglu refers into cavity of constructing new identity after a long period of being refugee.With this perspective, the book extent from narrator to society by means of sociological, cultural and economical metaphores. The roots that links the writer to Trabzon and last period of Ottoman Empire is knitted in the novel with a great talent. With a small master touch, a love story, a history of a city, people and culture and a novel of academican is borught to light. In this, it plays a majör role that the writer focuses on people, and tried to concentrate only the characters. In the book, the war of 93 and Balkans, are the events that exposed of the weakness of Ottomans from administrative, economical stand points. Those are seen as pr

Valence In Uzbek And Turkey Turkish

Tuğba BİLVEREN — 2026-07-16

The valence is verbal predicate that provides the meaning. Case suffixes enable the relation between the verbs and the complements. In this very study, the verbs analyzed indicates that these verbs require to have more than one usage of complements, alteration of case suffix indication and different case suffixes of the verbs. However, It is revealed that the same verb takes different valence at the verbs which have more than one meaning and therefore these valences change according to the meanings. For this reason, the alteration of complements may result in some problems while translating between the dialects. It is required that in this study, the relation between Uzbek and Turkey Turkish valences is analyzed. Three verbs, one of which has 26 different meanings, the other 9 meanings, and the other one has 4 different meanings randomly chosen are analyzed according to Uzbek Tilinig İzohli Lugati. It has been concluded that these valences change according to the inferences meant both in Uzbek and Turkey Turkish. In this study, in the samples researched from twelve sources case suffix structure that need valences in terms of meaning and function and also how the valences are used have been demonstrated. The meanings of the verbs that are paranthized beside the sentences are enumerated without changing the orders in the dictionary. For this reason it can be seen that the verb tush- that means düşmek and inmek, the verb ajral- that means ayrılmak and boşanmak and also the verb quv- that means peşine düşmek and kovmak are frequently used in the texts we have scanned. According to these meanings valences that complement the verbs vary from a text to another text. That is to say, even if it has been considered that the valences are broadened from central meaning into connotations, the meaning alters the valences. The studies that have been done so far the functions of the case suffixes have been analyzed. However it will provide us to get an extensive results to reveal how the verbs in the vocabulary are used with which case suffixes. This study is based on the desire to reveal the case suffixes are eligible to change the meaning of the verbs in the sentences. It referred us to mention the relations between the valences and the verbs in all of the studies regarding both modern Turkish dialects and ancients Turkish dialects. The valence that complements any verb in Turkish dialect is likely to mean some different meaning if it is used different from Turkey Turkish. While the valences which are changing according to meaning cause a translation problem between the dialects, the valences we studied in this article have not posed any problem. In this regard, it is crucial to know this quotation “To facilitate translation among Turkish dialects, beside the dictionaries that provide meanings of the words, valence dictionaries should also be prepared.” Mustafa Uğurlu says (Ugurlu: 1999, 205). Moreover, the notion of case that is connected directly between noun and the verb pose B problem fort he language learners who try to determine the case suffixes. The learners decide which case suffix is used with which verb. For example, it can be difficult to define the dative case suffix when it is used with the verb. It can be sometimes dative case suffix “to” and sometimes it can ben an aim “to” (Melanlıoğlu: 2012, 2403). The aim of this study is to reveal the verbs were used in various meanings in the sentences according to the case suffixes. In this context, it made us possible to see that the verbs having more than one meaning include different meanings depending the case suffixes. While no difference has been observed in the verbs having sole meanings inthe verbs having nine meanings the valences usually resulted in changing the meaning. It has been determined that the situation defined in Uzbek is similar both in Turkey Turkish. While the main element which is the meaning of the verb is defined in the relation between the verb an

Trial Of Tanzimat Reform Era Poet With Reason Within The Context Of The Effects Of The Perception Of Positivist Reasoning On Ottoman Modernization

Ebru BURCU YILMAZ — 2026-07-16

Introduction: Ottoman modernization, which founds its theoretical and intellectual framework upon the encounter of two different civilizations, achieves a special dimension in the Tanzimat Reform Era with literary modernization. In this era, while the understanding of traditional literature was changing, the attitude of littérateurs towards social problems exhibited differences. Artist intellectuals, while creating literary works, interpreted the social reflections of modernization with designation, criticism and solution recommendations. Particularly, this situation, observed in examples of the Turkish poetry of Tanzimat Reform Era, points out the intellectual dynamics as well as the thematic change in poetry. Objective of the Study: Ottoman modernization, which gathered momentum with the Tanzimat Reform Era, is a project adopted as the emancipation formula for a disintegrating and dissolving state. Therefore, the effects of the modernization on the Ottoman cultural life, which is built on a traditional structure, manifest itself through conflicts. This study aims to establish the relationship of the era’s poet with modernization and the traces of Western thought that is influential on the emergence of the modern Turkish literature, within the scope of Tanzimat Reform Era poetry. Based on poetry, this study evaluates at which level Turkish literature was influenced by reason, as the keyword of modernism, and positivism that adopts reasoning as the fundamental strength; and at which points the traditional perception of reason, which resides on the sufist understanding, could not agree with positivist reasoning. It is as well in the scope of the study to discuss that the change in the perception of reason is not only limited to the themes reflected within poetry, but also how spiritual and metaphysical powers, assumed to accompany reason by tradition, were questioned in the modernization process. The approach of the Ottoman intellectual on reason, which adopts the view to keep up with the world and to follow the developments in the West, would additionally present the idea behind the dualist and eclectic structure that emerged in the Tanzimat Reform Era. This study, which sheds light on an important stage of the history of Turkish modernization, aims to evaluate the intellectual and philosophical background of the Tanzimat Reform Era focusing on the poetic texts. Methodology: This study, originating from a certain period of Turkish literature, adopts the methodological approach of criticism towards the artist, while providing a different perspective on modernization, which is regarded as a shared topic in literature and sociology. This article, which aims to theorize on samples that are derived from literary texts residing on different disciplines such as history and sociology, practices upon the terminology of

Ali Kemal’s Look On The French Revolution

Nursel ÇAKMAK, Ali YILDIZ — 2026-07-16

The French Revolution is a historical event important for its effects on the World. The developments this event has caused on states and people have also drawn the interests of the Ottoman intellectuals. Ali Kemal is an Ottoman intellectual who has taken this revolution in detail. Especially his interest towards history and the history training he has received for years have caused him to write several works in this field. One of these works is Ricâl-i İhtilâl (The Leaders of the Revolution) which was published in 1329. This work consists of the life stories of the leading figures of the French Revolution: Marquis de Condorcet, Saint-Just, Georges Jacques Danton and Maximilien Robespierre. While the writer was narrating the biographical information on these i

Period Of Different Working On An Assessment Frequency Of Words In Turkey

Ahmet ÇAL — 2026-07-16

Word frequency studies are important for a language study. These studies, training as well as help to reveal the vocabulary in the language, psychology, linguistics, etc. also it provides data that can be used in many fields. For example, learning a foreign language is initially provide information to employees about what should be taught in a dictionary meaning of the word or preparation which reveals the meaning of the word used more. One word frequency in Turkey before our work on this issue covering the period of 1945-1950 there were two other important works belonging to the 1995-2000 year. As comprehensive an important issue as the frequency of the words of the only two studies was a major shortcoming. The most important activities related to the word frequency in Turkey and made İlyas Göz and Gökhan Ölker. Word frequency of 1995-2000, dictionary in revealing the eye of the word pool selected from a different category 975.141 words, word frequency of the 1945-1950 year dictionary in revealing Ölker the word pool is selected again from different categories took place 929.015 words. 1975-1980 years are an important period for the Turkish political history. During this period there have been conflicts between the two groups, depending on the ideology with different ideas. Therefore, it was important to identify the words used in the period. Word frequency of the movement period of political newspapers that represent different ideologies dictionary has been trying to establish. Because the language of the case within a certain time of the vocabulary that best reflects the language of newspaper reports at the time. Newspapers serve a certain ideology if they reveal the language's vocabulary even if they show little distinction. After the 1975-1980 period established names in the pool for the frequency dictionary of words it took place issued a total of 549.366 words. Although the chosen materials in terms of some differences though this article is the most comprehensive two words often work done before our study (1945-1950 and 1995-2000), our study compared various aspects of the similarities and differences in the study were explained, depending on the data obtained. 3 Looking at the work of the 13 most widely used 20 words are used in common. The number of partners in the first 50 words in 3 studies is 31 words. Language is a natural presence and functionality will vary depending on the living is continuous and develops. The main reason for the differences in these studies is the fact. However, the formation of differences, of course there are other reasons. Time, discussed materials, the materials issues, thoughts and feelings of the people using the words, worldview, etc. These differences may be caused by many reasons. For example, in our study, the first of 50 "ülke, hükûmet, devlet, konu, karşı, dünya and yol" in the words take the place of the first 50 in other studies is probably related to the materials selected. Our core of our work, depending on the issues discussed in the political newspaper created for political newspapers "ülke, hükûmet, devlet" the frequent use of the word is quite natural. Different ideas, situations, events and issue discussed in the newspapers that the "konu" it is normal to use a lot of words. Continuous opposite discussed the views and political newspapers in which the various comparisons "karşı" frequently take place in the word, not only about Turkey, earth, depending on the make of the news about other countries, "dünya" soon the word and help for the solution of various problems, the introduction of methods and suggestion Because of "yol" to use the word much is natural. Just those words, depending on the different topics covered in each newspaper has been used dozens of times. This situation can be said for the Göz and Ölker studies. Although the material is selected topics in materials of different categories in these two studies revealed the material world opinion, the words

An Example Of A Prose Ferhâd-Nâme: Ferhâd-Nâme By Ömer Bâkî

Halime ÇAVUŞOĞLU — 2026-07-16

The story of Hüsrev ü Şîrîn or Ferhâd ü Şîrîn which dates back to very old times and has become a subject for masnavi in Iranian and Turkish literature for centuries, was written as a love masnavi in Iranian literature, first time in the history, by Nizâmî-i Gencevî. The story of Hüsrev ü Şîrîn which appeared earlier as a small love story in the political battles of Hüsrev in Şehnâme gained its literary value by Nizâmî. Nizâmî influenced may poets, who came out in Eastern İslamic literature after him, by his work and had an effect on the writings of Hüsrev ü Şîrîn veya Ferhâd ü Şîrîn in Iranian and Turkish literature. The story, which was translated from Nizâmî by Kutb for the first time in Turkish literature, was gained an original identity in 15th century by Ferhâd u Şîrîn of Ali Şir Nevâî, in which verbal and wtitten sources of earlier times are taken into account. Ali Şir Nevâî changed not only the leading character but also the composition of the story in his work. Hence, the story faded away from Hüsrev ü Şîrîn frame and took a different form. In Turkish literature, Ferhâd ü Şîrîn or Hüsrev ü Şîrîn was written by many poets like Ali Şir Nevâî and the story had been told through generations by minstrels in several variations. In this study, the Ferhâd-nâme by Ömer Bâkî whose name is listed in the writers of Ferhâd ü Şîrîn or Hüsrev ü Şîrîn in Turkish literature, which is written by Eastern Turkish and can be described as a public book or prose story carrying the effects of Ali Şir Nevâî's Ferhâd ü Şîrîn is introduced and its transcribed text is given. This study is composed of three chapters: 1st Chapter: General overview of the story of Ferhad ü Şîrîn and Ferhad ü Şirin masnavi of Ali Şir Nevâî; The story of Hüsrev ü Şirin which is one of the best known and focused on stories of Islamic Eastern literature, was taken as a a subject of study by many poet until Nevâî, and the story was in a way nationalized by him and became an original artwork. Ali Şir Nevâî who wrote the first Ferhâd ü Şîrîn masnavi affected the poets who came out after him, and gave an adventure novel appearance alongside a love story by the folcloric elements and adventure motives he used. 2nd Chapter: Ferhad-nâme of Ömer Bâkî; Masnavi of Ferhâd ü Şîrîn written between 14th and 19th centuries was converted to prose text using Eastern Turkish, keeping Ali Şir Nevâî's same named masnavi in consideration, by Ömer Bâkî. As the masnavis written 14th century onwards started to spread out, poems started to be written as prose texts so that the public can easily read and understand these stories, and this situation also shows itself in this text. In Turkish world, especially in Turkestan, readings of Nevâî's works in social meetings caused public variants of his works to appear. As we see the subject from this perspective, Ferhad-nâme of Ömer Bâkî, an indicator of the effetcs and traces of great Turkish poet Nevâî on Turkish world, was composed as prose text, even a public book, contrary to the earlier studies that declared the work as masnavi. Three copies of this work were identified. First one is in "Oxford-England/Bodleian Library Turkish Manuscripts (İ) "collection, second one is in "France/France National Library Turkish Manuscripts (F1)" collection, and third one is again in "France/France National Library Turkish Manuscripts (F2)" collection. Since (I) and (F2) copies have missing parts in the beginnings of the text and differences between the copies shows up not only in grammer or words but also it does so in sentences and chapter organizations, (F1) copy is accepted as the main text and this study is not handled as critic of the copies. Ferhad-nâme is a prose text and as it becomes appropriate poems are also placed within the text. Poems are exactly copied from Ali Şir Nevâî's Ferhâd ü Şirin. Poet is also mentioned his name in the introduction part which starts with a pray poem. This work, which is written by Chagatai Turkish (Eastern Turki

An Analysis On Translation Studies Of Lev Nikolayevich Tolstoy

Hanife ÇAYLAK — 2026-07-16

Literary translation has been a field of most famous Russian artists since the first translation of ancient literary works by Antiokh Dmitrievich Kantemir and it has contributed to their creativity. Vladimir Nabokov, Boris Pasternak, Korney Chukovsky, Ivan Bunin, Anna Akhmatova, Nikolay Gumilyov, Marina Tsvetaeva, Konstantin Paustovsky, Nikolay Chernyshevsky, Lev Tolstoy are a few of these names. Though literary translation was a safe harbour and bread and butter for banned writers and poets in Soviet period, it is not possible to tell the same things about Russian writers and poets in 19th century. Literary translation helped to build bridges between cultures in this century. In this paper, the relation that Tolstoy established with translation, his studies in this field are going to be tackled. It is possible to find extensive information by analysing Tolstoy’s oeuvre, diaries, letters and books written about him: Tolstoy presented important names of world literature to Russian readers, and corrected translations of his contemporaries. In times when he couldn’t complete due to intense work, he requested his friends who are translator to translate some books. He encouraged his son who makes translations, sent letters to publishers to publish the work which he made his sister-in-law translate. Translations made by Tolstoy himself rather than his indirect contributions to translation in that period were included in the Scope of the paper. Aim of the study is to draw attention to translator identity of Tolstoy who wrote in wide range of fields, became prominent as writer and philosopher, and reveal the details in establishment process of this identity. In the paper in which his translator ship was examined under two main topics, it was determined turning point of studies in literature and translation has parallelism chronologically, he endeavoured to translate texts with which he just aimed to contribute to humanity.

The first couplet of the first ghazal of Divan of Fuzûli the effect of divan literature

Nebi ÇELİK — 2026-07-16

Classic literature, six centuries had reigned an empire the world has emerged and it has become perfectly to shape of civilization. So that was the language of an empire dominating the world for six centuries. In this context, many trained and poet of poets in the style of its own, separated from each other either directly or indirectly influenced by the works of art they created. Classic literature, similarity as the nature of the object that embodies, is built on parallel and traditions. This situation naturally paved the way for many poets to be influenced by each other; however, not every poet was influenced by each other, as those poets who were the touchstones of their age were more dominant and influential on other poets both literarily and in terms of art and aesthetics as well as style of language. Fuzûli, one of the greatest poets of the 16th century, only affect the poets of the century, and has influenced many poets. In this study, the first couplet of the first ghazal of Divan of Fuzûli “Kad enâr el-aşk-ı li'l-'uşşâkı minhâci'l-hüdâ Sâlik-i râh-i hakikat aşka eyler iktida” We will examine the impact on the other poets of his poetry. we have examined in

Compound Verb Patterns In Risâletü’n-Nushiyye

Derya DATLI — 2026-07-16

Yunus Emre who had lived between at the end of 13th century and at the beginning of the 14th century, is one of the most significant person of Turkish culture and history, and the information about his life is legendary not certain. Yunus Emre, who was the most powerful representative of mysticism in Anatolia and efficient Pioneer, also, was a great poet who had contributed to Turkish language to improve its existence, become a culture and literature language. Anatolian Turkish gained a powerful soul and became literary language in Yunus Emre’s poems in which he, especially, prefered public language. There is no doubt that Yunus Emre was one of who made a great contribution to Western Turkish, which is a section of Oghuz language, to improve as a written language, protect its existence, become a culture and a literary language. With his great works which direct Anatolian Turkish to become as an independent written language, Yunus’ aforementioned works not only enlighten the language of the era when they were written, but also are resources to Turkish history with their phonetic, morphological, syntactic and semactic features. Yunus Emre’s work which has named Risaletu’n-Nushiyye is subject to our research. When it is seen that its syntactic pattern was made with compound verbs, movements in the sentences were expressed with compound verbs and, mostly, they were chosen as verbs. Compound verbs take an important place in Turkish’s prosperous vocabulary. Passing the historical stages, spreading different geographies, growing with the people whom spoke, became the consequences of in need of new words because of the fact that the avaiable ones have not been enough. Languages have lots of different methods to recompense the need of new words. Turkish which has been spoken in a wide geography and has a lot of people to speak with it, its vocabulary has different resources. The major ways of making new words in Turkish language are to make new words with the present base, reviving archaic words, taking words from foreign languages and making compound word. When we consider Turkish’s general process, it is seen that the method of making compound words is the most frequent way to refer. In language, while making compound words to fulfil objects and concepts, however, making compound verbs are chosen to describe the movements. Compound verbs, which become with uniting two or more words, take place of one movement and take part as an item in syntax. In Turkish, besides the methods like derivation, revival and quotation, making a verb with compounding is significant with regard to

In Terms Of Grammaticalisation Processes Nevādirü’ş-Şebāb Descriptive Verbs

Ezgi DEMİREL — 2026-07-16

In Turkish compound verbs is one of the unresolved issues. This issue is evaluated under different titles in different ways by many authors. The descriptive verbs analyzed as the subtitle of the compound verbs are the main subjects of this study. The descriptive verbs are resulting from the merger of two verbs using a gerund suffix. Descriptive verbs in Turkish main verb + gerund (-A, -I, [Y]-Ip) can be used as additional + auxiliary verb. This auxiliary verb used with verbs in the second act represents another task goes beyond the sense of its meaning. The basis of the study, although if based on descriptive verb in the main examination is focused on their grammaticalisation process. Grammaticalisation based on the vocabulary of a language unknown to the past is extremely important in terms of showing the evolution. Descriptive verbs as well as the most striking examples in this regard we call grammaticalisation the concept emerges. Therefore, in the case of our study grammaticalisation manic descriptive verbs Ali Şir Nevayi examining his book Nevadirü’ş-Şebab has tried to be concretized. Grammaticalisation on proving that a living entity where the language is also the language of the natural existence is to make the process as an assessable savings. This term is of great linguistic structure explained as small linguistic structure transformation. This linguistic phenomenon can be considered in two ways. Because sometimes changing structurally independent lexemes are losing the morphological features; sometimes they lose their semantic function to preserve the shape properties. Development that had until today the existence of the language and case studies, the most important evidence that our exchange of descriptive verbs in his book Ali Şir Nevayi’s Nevadirü’ş-Şebab axis grammaticalisation processes were examined. Thus the work on the descriptive verbs are intended to reveal the linguistic assessment. Grammaticalisation stage of descriptive verbs in the present study were evaluated in Chagatai Turkish. Thus, an example is presented for historical course of descriptive verbs specified. The main method used in this study is based on name identification of the descriptive verbs in the works. Grammaticalisation stages of these acts have been revealed through the interpretation of the poem. This descriptive verbs are meticulously examined i

Reflecting The Grief Which Turning into Words: Threnodies Are Written by Poet Ms. Leila for Her Father, Brother and Uncle

Hiclal DEMİR — 2026-07-16

Human beings facing the reality of death from the very moment of birth tend to verbalize their senses so as to overcome this torment. Even though called by different names, the poetry seen in the forms of “sagu”, “dirge” and “elegy” in Turkish Literature essentially refers to the longing for the loss and remembering him with his good traits. Mourning poems in which human beings seek a remedy for the great despair of being helpless against death mean, in a way, that pain verbalizes and takes an aesthetic dimension. When written for family members, these poems known as “elegy” in classical Turkish poetry concretize more and senses emotionalize. The reason of the loss has been seen as the wheel of fortune and all rising has headed towards it. However, the poets who have been aware of the inevitability of death, wish for mercy for those who died with faith and patience for the rest. For the style of verse, terkib-i bend and terci-i bend are usually used and in these elegies, the sections of reproach to fate, praise, mourning and pray all blend together -because of intense emotion of poet- rather than written in series. Leylâ Hanım (d. H.1264/AD 1848), who enriched the last moments of Classical Turkish literature with her colorful character as well as her poems, tried to -somewhat- relieve the grief caused by the loss of three men from her family by writing elegies. According to sources, Leylâ Hanım is the daughter of Moralızâde Hâmid Efendi from Sudur. Educated by her uncle Keçecizâde İzzet Molla, Leylâ Hanım was among the renowed poets of the day. One information given about her is that the poet, who experienced a short marriage, left the wedding house on the night of marriage by detesting her husband’s rudeness. Then she devoted herself to poetry. In the sources, Leylâ Hanım, who had a rearranged Dîvân, was introduced as a quick-witted and clever person with the ability of saying improvised poetry. Moreover, it was emphasized that especially her invocations, and elegies were very beautiful and impressive in Kâmûsu’l-A’lam and Osmanlı Müellifleri. Mevlevi Leylâ Hanım passed away in H. 1264 and was buried in Galata Mevlevihâne. Leylâ Hanım wrote two elegies for her father and one for her brother and her uncle, Keçecizâde İzzet Molla. Furthermore, one elegy that she wrote for her father in the form of gazel (lyric poem) and the date of death of her uncle take place in Dîvân. The first elegy in which a more unpreferable verse form, murabba (quadrate) verse form, is used is composed of 9 strophes (bend). The verse, “El-firâk âh el firâk âh el-firâk” (farewell!), which is repeated at the end of each strophe not only creates coherence in the poem but also has the readers feel the sorrow and the greatness of suffering. The above-mentioned verse in the elegy is like a highly emotional lamentation as well as being a harmony device. In her elegy, Leylâ Hanım expresses the unbearableness of the grief from death and reproaches to fate as usual. Afterwards, the poet attempts to find realistic reasons for his father’s death and expresses her sorrow over the death of Mollacıkzâde Râif Efendi. Praising them for their knowledge and honesty, Leylâ Hanım describes his father at the point of death and says that her father whose final glance wounded her ruined feelings passed away easily like the water flows through the soil. The poet who also continues to describe her grief in the final strophe ends the elegy by saying that she was weighed down by grievance and sorrow at such an early age and only Allah could help her wounded heart. The second elegy that Leylâ Hanım has written for her father is in the form of terkib-i bend and composed of 5 strophes within 5 couplets each. In this elegy, the poet who verbalises her sadness and reproaches to fate, as well wants the sky to share her lament while telling her suffering. Seeing that her father has left her in trouble and pain, she wishes the moon not to appear and to hide behind the dark cloud

Miraciye of Mecîdî

H. İbrahim DEMİRKAZIK — 2026-07-16

After accepting Islam, Turkish people not only experienced it by practicing their religious duties but also designed their social lives according to Islam. Moreover, they decorated almost every cultural element, from handicrafts to music and from architecture to calligraphy, with Islam. This approach reached the peak especially during the period of the Ottoman Empire. This situation is also extremely true for the literature. Poets such as Sulaiman Chalabi and Fuzulî, who combined their firm beliefs in their hearts with their literary powers, revealed priceless works. The scholars of Classical Turkish Literature started almost every work with basmala, continued with the praises of the existence and oneness of Allah, and praising the Prophet Muhammad, and after these they passed to the actual issue. Also, they wrote in literary genre works such as

A Content Analyıs On Oğuz Atay's Story "Tahta At"

Mustafa DERE — 2026-07-16

Oğuz Atay who brought a breath of fresh air to Turkish literature with a new turn of phrase and his topics, draws attention with also his stories as well as his novels. The writer who brought together all his stories in Korkuyu Beklerken (1975) represents important examples in terms of content-topic and form-turn of phrase in these eight stories. "Tahta At" (Wooden Horse) is worth to analyze with its rich subject background and its turn of phrase which is based mainly on irony. "Tahta At" is based on the fictional narrative of modernized and cultural Trojan War enriched with symbolic expressions. In the whole story, social deformation which is a substantial problem of the country and the amorphous architectural-aesthetic perception of the Republican period and its application to the cities that was wanted to be modernized by imposing sactions is tried to be put forth in the frame of the struggle of protagonist Tuğrul and the Trojan horse that is wanted to be built on the ruins to make it a reminder of the historical significance. . In the story, sense of aesthetics of Republican period, architectural disharmony, senseless city planning are critisized cynically. In addition to that, manipulative, ignorant, know-it-all and intellectually deformed people of that period are put forward. The writer tries to represent the panorama of the period by showing the details of a country town and examining the problems. In this analysis, the story in question is tried to be evaluated and interpreted based on protagonist Tuğrul Bey in terms of content and subject background. While analyzing, the operation of the plot is followed and when it's seen necessary, reader oriented interpretation and explanations are made. Also, quotations/examples from the story are often used in order to reflect the ideas and opinions that are asserted more substantially. The plot of the story takes place in a linear timeline of a few weeks. Mostly, third person narrative is used and the protagonist Tuğrul is always the centre of the story. The narrator mentions the events and characters by following him and from his point of view. The reader witnesses that Tuğrul stands against the the statue both mentally and bodily and he acts on his beliefs that this is a lofty aim. Tuğrul achieves to disturb the authorities and dictative government agencies with his actions and contradictory movements. But it is also possible to say that the writer shapes the narration on Tuğrul's quick temper and the gradual changes on his attitude. Tuğrul's new attitudes also generates the invisible parts of the story. At the beginning of the story, Tuğrul considers this statue by making fun of the approach of the Turkish people and the formalities and the architectural disharmony of Republican period in his mind. In time, this ridicule transforms into rage. And rage urges the protagonist to take action. In consequence, the effects of this actions increase progressively and causes the authorities to take serious precautions. It would be fair to state that the protagonist of "Tahta At" is different from the protagonists of the other stories in an important aspect. While other protagonists are in a passive, obscure and strifeless relationship with themselves and the life style they are used to, the protagonist of "Tahta At", Tuğrul is a fighter who opposes to the deatg the ideas and the people that he doesn't believe. Him pointing his gun to the people who are in charge of the sculpture is an obvious proof of that. It's unknown whether he fired his gun and killed somebody or not and whether he succeeded or failed to withstand the authority he is in a struggle with. But, it's certain that Tuğrul never gave up on his fight and he never dreaded and he acted brave enough to risk his life and use a gun. The most important feature when whole story is considered is the usage of irony. This element which is encountered a lot in the fictional works of Oğuz Atay is at the forefront in the story

Turkish Equivalents To Foreign Medical Terms In Kitâb-ı Tıbb-ı Hikmet

Ahmet Turan DOĞAN — 2026-07-16

Kitâb-ı Tıbb-ı Hikmet was written at the end of the period of Old Anatolian Turkish in 906 (1500/1501) year of the hegira. There are 21 lines on each page of the book which consists of 141 folio. This book of which the author was unknown was composed by means of inference from the meanings of prominent medical texts of that period. Additionally, the author made use of the views of respected doctors of that period, compositions made by the society and his own experience. In this book in compliance with medicine texts written in that period, diseases occurring in that period is put into the order from head to foot. Then, the treatment ways of these diseases are mentioned. A variety of plants, minerals and some animal products are utilised in the process of treatment of these diseases. Thus, Kitâb-ı Tıbb-ı Hikmet, has a rich language including plant names, organ names, animal names, ore names and measure names in addition to recommended treatment ways of diseases. The language used in the book is in the need of being examined from different perspectives. The book is important in the aspect of having medical terms as a whole in the books written in that period. Thus, the terms in the book has gained more importance. Therefore, this study focuses on finding Turkish equivalents to foreign medical terms in Kitâb-ı Tıbb-ı Hikmet. Firstly, finding Turkish equivalents to some medical terms belonging to foreign languages is mentioned. Then, what the finding of Turkish equivalents to foreign medical terms means is expressed and how important this process is for a language is discussed. Thus, important information is obtained about the usage of Turkish as medicine language in that period. It can be seen that many books, theses and articles about Old Anatolian Turkish medicine texts have been prepared. In these studies, more emphasis is put on phonology, morphology and lexicon. Considering the texts in terms of lexicon, plant names, animal names, disease names, organ names and measuring names are among popular subjects. However, there has been no such a study putting an emphasis on Turkish equivalents to foreign medical terms. This issue has been only mentioned as a part of studies related to phonology, morphology and lexicon. Nonetheless, finding Turkish equivalents to foreign terms is one of the important issues for a language since the data are the evidence of the development of a language and its usage as a scientific language. This study brings into the light the usage of Turkish as a scientific language in medicine from past to present. The book analysed in this study carries general characteristics of medical texts in the aspects of the period it was written and its subject. In addition to the preference of simpler sentences, the efforts to make Turkish more effective are striking It is seen that Turkish and foreign words used by the community for a long time are more preferred in this book. Additionally, the Turkish versions of some terms belonging to languages such as Arabic, Persian and Greek are written near them in order to make the community understand easier. This is the result of writing Old Anatolian Turkish medicine texts by means of translation method. It is seen that the author is in the effort to provide Turkish equivalents to foreign medicine texts. Some of these equivalents are foreign words borrowing from other languages while the others are Turkish origin words. In this book, Turkish equivalents are written to most of the words below while short definitions are given to some words. These equivalents are generally in the structure of “… ki / kim … dirler, … ki / kim …dır” but in some examples they are in the structure of “… ya?ni …”. The author made a dictionary of Turkish equivalents to words that were considered not to be understood by readers. During this study, this kind of equivalents is identified in Kitâb-ı Tıbb-ı Hikmet, the meaning of the words in the text is expressed and some examples rela

Is Turkish A Double Object Language

Nuh DOĞAN — 2026-07-16

In the literature it has been asserted that Turkish is double objects language. However, it is impossible that double objects takes place in Turkish sentence in terms of valency grammar. Constructions appearing double objects similar to true double object constructions in terms of neither syntactic or semantic. These constructions transfrom from other constructions. Constructions appearing double objects is based on small clause in which the subject of inner clause is raised to object of sentence. Predicate of small clause is exposed to noun incorporation with verb of sentence and turns into a new syntactic formation. In this syntactic formation predicate of small clause gives way to syntactic element called verb modifier. It has been understood that the verb modifier constructions are function of causativisation and take place commonly synatactic environment of cognitive verbs.

Similar Women Characters In Turkish Folk Tales and Novels

Hüseyin DOĞRAMACIOĞLU — 2026-07-16

As it is known literary genres are a mirror of the society that containing the realities of life. It is necessary to look at these mirrors for to analyze the societies today. For this reason we need to know different cultures, and we must continue our dialogue process for to recognize the societies to prevent conflicts of inter-communal cultures and to ensure global peace. To achieve this recognition process we must take advantage of the literary species like folk tales, novels and stories of societies. In this article we able to recognize Turkish society examining different literary types as folk tale and modern novel and stories. Turkish female characters emerged at different times with different specifications. Women emerge as an innocent or cheated character in the form of folk tales. Besides, women can be seen as idealistic women, prostitutes, of step-mothers or Anatolian women in the fairy tales generally. There are prototypes of modern female characters in fairy tales. However, more realistic female characters can be found in modern novels and stories. Women constitute the core of the Turkish society. We need to know Turkish women for to understand the Turkish culture. Turkish women appear in both fairy tales and modern literary genres as frantic and unselfish characteristics. The historical development of Turkish women and their different roles in different centuries, it is possible to follow along with the development of literary genres. Literary genres are like a mirror to recognize women heroes. Women were handled in this mirror with their social and cultural environment. Women characters in literary genres are important factor to recognize the Turkish society considering that women are the core of in Turkish society.

The Interpretation Of Fatih- Harbiye Novel And The Bin Hüzünlü Haz Narration On Traditional- Modern- Postmodern Narration Platform

Gülşah DURMUŞ — 2026-07-16

The main aim of this study is to interpret the Fatih- Harbiye novel and the Bin Hüzünlü Haz narration by focusing on traditional- modern- postmodern narration platform by using these sub- titles: “theme”, “plot”, “people”, “time”, “place”, “point of view and the narrator”, “language and expression”. Ihab Hassan’s comparatistic table of modernism and postmodernism is used for summarizing data which is collected from all these sub-titles.

A Bibliographical Study of Karamanlides’ Language and Literature

Pelin EKŞİ — 2026-07-16

The purpose of this paper is to provide a brief overview of previously published studies on Karamanlides’ language and literature in both Turkey and abroad, highlight potential researchers with a comprehensive background for understanding current knowledge and stress the significance of new research. The material related with this topic was broken down to five sections: Bibliographies and catalogues, books, as well as proceedings books, articles published in journals, dissertations and theses. The current research on Karamanlides’ language and literature is sparse and they mostly focus on Karamanlides’ history, their settlings and their social life before and after the exchange. Karamanlides were Orthodox Christian Turkish-speaking people, who inhabited west of the Trabzon- Fırat-Toros- Silifke line, mostly in the areas of Kayseri, Nevşehir, Niğde, Konya which are in the central Asia Minor, as well as İstanbul and İzmir until the Exchange of Populations in 1924. They wrote Turkish using Greek alphabet. Karamanlides were first recorded as living Yedikule quarter of İstanbul by German speaking traveler Hans Dernschwam who visited İstabul and Anadolu betwen the years 1553-1555 He was called them as Caramanos. According to the aforementioned protocol signed between Turkey and Greece in 1923, Karamanlides were sent to Greece as the other Orthodox Christians who had lived outside Istanbul. Although the first generation of the exchange experienced many difficulties, the next generations got used to this new environment and they adopted Greek as their primary language. There are two major theories about their origins. First argument is that they were of Byzantine descent who later blended into the Turkisk culture because of the social, economical and political circumstances and their mother tongue shifted from Greek to Turkish in time. Second one is that they were descendants of Turkish soldiers who paid millitary service to Byzantine armies and in time they converted to Christianity. They had been speaking Turkish from the very beginning. In general, European scholars go by the first opinion and Turkish scholars regard them as Turkish. The scholars refer to them variously; such as Karamanlilar, Karamanli Turkleri, Karamanli Turkish, Turcophones, Turcophone Orthodox Christians. Karamanlides refer to themselves as “Anatolian Christians”, “Anatolian Orthodox Christian”. Besides, they refer to their spoken and written language as Turkish. Various scholars have attempted to define the Karamanlides’ literature. In a nutshell, it is the literature written and printed in Turkish using Greek alphabet for Karamanlidikas. The body of their literature mainly consisted in the translations and compilations from other languages. The first text written in Turkish using Greek alphabet is a summary exposition of Christian faith composed by Patriarch Gennadios Scholarios at the behest of Sultan Mehmet II The Conqueror, in late 1455 or early 1456. It was called as “Gennadios İtikadnamesi” in Turkish. However it wasn’t written by Karamanlides and it wasn’t addressed to them. Therefore it is not considered as the item of Karamanlidika literature. The first published text in Karamanlidika literature was emerged in 1718: Gülizar-ı İman-ı Mesihi “Rosegarden of Messianic Beliefs”. It was a translation from Greek. It set forth all the basic tenets of the Christian faith. Later it was reprinted. According to some scholars, the last book of Karamanlidika was the reprint of Papa İonnikos’s Guide Book to Jerusalem. It was published in 1933. The linguistic features of their literature has not been investigated thoroughly. The lack of analytical studies are the main problems of research in Karamanlidika. We can say that the printed available material linguistically shows almost no variation from standard Ottoman Turkish which was written in the Arabic alphabet during the Ottoman Empire until the Turkish Republic’s alphabet reform of 1928. Howeve

General Determinations, Evaluations and Offers on the Humour Researchs of Turkish Folklore

Abdulkadir EMEKSİZ — 2026-07-16

In this study, determination of quantity and quality of the humour researchs of Turkish folklore and especially the ones related with the jokes. In our study, what “laughing” is and humour with its functions except “laughing/making laugh” are shortly stressed. Especially the scientific studies and publications about jokes embracing the Turkish World are also included. A Turkey-focused systematical evaluation of humour is made. In this context, the related researches are tried to be evaluated under some headings like bibliographical publications, thesis studies, scientific meetings, books, periodicals, problems, determinations, offers. It has been seen that some researchers major on the studies related with particular types of jokes and interdisciplinary studies are bearly poor. It is determined that the researches related with humour are fairly limited in comparison with the humour publications. In this study, it is offered that Bibliography Centre of Turkish Folklore should be established for providing accessibility to resources and materials.

Passive clauses in Turkish academic discourse

Zeynep ERK EMEKSİZ — 2026-07-16

This study aims at describing the structure of passives in research articles in terms of the properties of agents and patients to see whether they present genre specific features. The corpus used in this study contains 9 research articles in Turkish from Dilbilim Araştırmaları, published in 2005 and 2009. The corpus used in this study consists of 10 research articles (RA) published in Dilbilim Araştırmaları Dergisi (DA) 2005 and 2009. Since all the articles are in linguistics, the results of the study are limited to this discipline. The findings show that a typical agent in active clauses is [-human] and [-animate]. There are two forms of agents in active clauses: Full nouns referring to the other researchers and the first person plural. Hence, all the agents are human subjects. The percentage of pseudo agents in active clauses is very significant (74%) when compared to the human agents (%21). This shows us a metaphorical feature of agency in RAs. The authors map the human features to abstract entities, which leads to a sort of personification. This can also be a sign of our perception of language as linguists: A living human like entity. Considering this great amount of their existence in RAs, pseudo agents appear to be representative feature related to passivization in scientific discourse of linguistic studies. Another finding is that patients, too, mostly refer to abstract entities unlike the patients of narratives.This can be either a property of a specific genre or specific fields, since most works in linguistics involve/deal with/investigate abstractions related to natural languages. The most remarkable result here is the high percentage of abstract entities. In Tomlin’s terminology, what is attentionally detected by the authors is the abstract terms related to the field of linguistics. We can claim that this finding can be a genre specific feature when compared to the typical agents and patients in narratives, or it can field specific. It is necessary to describe the patients in RAs of other disciplines such as economics, philosophy, education, etc. to show to conclude that this is a field specific indicator Passivization results in a change in the positions of the agent and the patient. Patients are said to be “promoted” since they are moved to sentence initial position and agents are demoted from subject to oblique. They may even be removed from the surface structure and left implicit when the agent is unspecified as in someone had stolen my wallet “cüzdanım çalınmış” or has [-human] being simply the causer as in the door was closed “kapı kapandı” (by the wind or someone). Since the most accessible entities in discourse are presented at subject position, grammatical subjects are considered to be the topic, and object to be the focus (Givon, 2002). Hence, toicalization is considered to be one of the functions of passive voice. Are patients in RAs promoted and topicalized? The distribution of the patients promoted and left at the pre-verbal position show that objects are not highly promoted. The number of the objects promoted to clause initial position is low when compared to those left in the pre-verbal or middle positions. Clause initial positions are mostly occupied by locatives in Turkish “Türkçede”, in this research “bu çalışmada”, in the example below “aşağıdaki örnekte”; instruments with the program X “X programı ile”; post positional phrases showing a purpose or a cause relation in order to obtain a critical analysis “metnin eleştirel çözümlemesi için”, for this reason “bunun için”; and long relative clauses modifying the subject. This indicates that the prominent function of passive clauses is not topicalization in RAs. Considering that the abstract objects express procedures or findings, the authors represent the parameters, variables, and the circumstances to ensure that the reader would not misinterpret the results or what is presented. The high amount of “authors as implicit agents” in general

Name + Metonymy Relationships in Some Compound Verbs in the Form of Auxiliary Verbs in Divan of Necati Beg

Asu ERSOY — 2026-07-16

In this study, some examples of compound verbs in the form of name + auxiliary verbs that are in the Divan of Necati Beg, who is one of the important poets of the 15th Century Classical Turkish poetry, were tried to be evaluated in terms of the metonymy they have concerning the relationships of the meaning. In the light of the information we obtained from biographies and other sources, it is possible to state that the real name of Necati Beg was either Nuh or Isa, he was born and raised in either Edirne or Kastamonu, he was one of the two famous poets of the periods of Fatih Sultan Mehmed and Bayezid the 2nd, he was the

An Examination and Evaluation Study On Müyessiretü’l-Ulûm

Halil İbrahim ERTÜRK — 2026-07-16

In this essay written by us, we examined the grammar book named by Müyessiretü’l-Ulûm, according to the currently grammar works, which is written by Bergamalı Kadri for to be presented to İbrahim Paşa who is the vizier of Sultan Süleyman I. In our study Bergamalı Kadri's approach to grammar handled in an objective way and after the evaluation it has been made on these approaches. In this work, we used the book in which is written by Esra Karabacak in 2002 and issued by Turkish Language Institution. Near that book we profitted from the work of Besim Atalay which is issued in 1946 by the name of “Müyessiretü’l-Ulûm (Tıpkıbasım-Çaviriyazılı Metin ve Dizin), and we profitted from the opinions of Besim Atalay about this book and the author of it. We can see that the Müyessiretü'l-Ulûm was created according to the rules of Arabic grammar. In this case, we reach the conclusion that Bergamalı Kadri is dominating both Turkish and Arabic grammar rules. In addition, sometimes the author's comparison on the Persian language with our language shows that he also have information about Persian language. Müyessiretü'l-Ulûm's most important feature is being the oldest Tuskish grammar book known which is written in the Anatolian area. In the last part of the book, presenting the grammar rules practically by using examples from a designated gazal is also an important feature of this book which makes it different. Müyessiretü’l-Ulûm is the first grammar book in Turkish which is written in Anatolian area. This book is very important by giving the grammar rules of Turkish language in Turkish. At the period of this book was written, the science language was Arabic. According to this situation, most of the scientific books in grammar area and also in the other areas were written in Arabic. From this point of view, the author of this book, Bergamalı Kadri was a person who has a deep main language love and a foresightful person. The sentences like ““Görilsün ki Türkî dilde ne kadar fesâhat, belâgat vardur…” which were told by author for Turkish are also proves his main language love. Separately creating a book in Turkish in this period when people use Arabic and Persian at madrasas shows the author’s sensitivity about his main language. As a result of our examination on Müyessiretü’l-Ulûm, we think that this book was written by adopting toArabic grammar books. In the same way we see that the arrangement of book and the subjects in it were also planned according to Arabic grammar rules. We think that writing the grammar of a language by trying to use the rules of another language causes some differences between the grammar book and the language which the book written in it. While the grammar of our language is being constructed, our point of departure must be idea and emotion; it must not be shape as in Arabic. But if we consider the circumstances of the period this book was written, criticising this book by this way will be an incorrect approach. We can say that phonetics subjects were examined superficially in this book. All of the subjects about phonetics were given under other headlines. The main cause of this situation is taking Arabic grammar rules as a model by writing this book. Because Arabic and Turkish languages don’t resemble each other as phonetics construction and word creating methods. In the same way the author’s classifying a word as ‘idgâm’ which is the truly example of phonetics consonant becoming double, shows this situation clearly. Author's both issues should morphologic elements of a sentence in his classification on the departure of the Arabic suggests that this work still has bases in Arabic grammar book created by taking samples. However, in assessing their own work and the work of each period should not be ignored when assessing the conditions of the period. Müyessiretü'l-Ulum is an exceptional work between works written in its own time. Author's ideas put forward for the language learning is noteworthy. Bergamali Ka

An Entertaintment Tool From Irony To Comedy: Efrâsiyâb'ın Hikâyeleri

Ümmühan GÖKMEN — 2026-07-16

The word ironie/ irony which is accepted as the source of the word eironia which means "asking for something as pretending ignorant" in Greek. Irony which is a literary instrument that shows the inconsistency between real and appearance is mostly used as a criticism method. When author is transferring his criticisms by irony, he may increase the dose of criticism; but he would also soften his tone. In the ironic expression, due to the fact that expressions become more striking and shocking, they become more effective on the reader. The main purpose of the author who uses irony method is not to devalue or to humiliate but rather to force the criticism elements to change and transformation in the affirmative meaning. There are similar aspects of irony with comic. As well as the sense of comic stems from “the inconsistency between something and the presentation of it” irony also arises from “the inconsistency between said and intended”. In addition, comic has the objective of social arrangement and this makes it closer to the irony. Another genre intertwined with irony is parody; because parodies necessarily contain irony. İhsan Oktay Anar, who is one of the important representatives of the postmodern narrative in Turkish Literature, successfully uses comedy and parody with their critical features in his works. In this study, how irony and comedy factors in Efrâsiyâb’ın Hikâyeleri (Stories of Afrasiyab), written by İhsan Oktay Anar, turn into means of entertainment from the viewpoint of author and reader will be represented. Efrâsiyâb’ın Hikâyeleri(Stories of Afrasiyab), written by using "Frame narrative" technique, consists of nine chapters. In this study, the classification of examples is based on the differentiation of "irony object" and "irony victim" made by D.C. Muecke. İhsan Oktay Anar uses the irony as an instrument of both criticism and entertainment in Efrâsiyâb’ın Hikâyeleri (Stories of Afrasiyab). In the stories, it is seen that irony intertwines mostly with comedy and partly with parody. This reduces the tension posed by the irony, and also makes entertaining the meeting of text with author and reader. For this, a lot of elements of fairy tales in the story also prepares the ground and makes it easier for entertainment element to become prominent. Anar’s criticisms made by irony technique aren’t the criticisms of political incidents, people or a certain period. Anar, with the influence of his philosopher identity, mostly discusses thoughts and beliefs, settled social attitudes and habits and their reflections in social life. In this study, the most typical irony usages have been commentated as examples. On the other hand, the irony which has a dominant function in the structure of book is preponderant element in almost entire work. Irony technique, that criticizes while praising, provides a great convenience of expression to author. The author chooses educational system, religious life, the superstitions, the so-called heroism, customs and traditions, male-dominated social structure and gender relations as the subject of irony. Irony victims are people associated with these selected irony objects. Although the contrast between eiron and alazon characters put forward by Aristotle, constitute the structure of ironic texts, Anar doesn’t benefit from alazon-eiron contrast in the ironic fiction of his stories. Instead of this, the author plays the role of eiron himself. Anar mostly creates the alazon characters which have the features such as unscrupulousness, selfishness, self-interest, ignorance, greed, biased and far from being inquisitive, lack of education, misinterpretation of religion. In the story titled “Güneşli Günler” (Sunny Days), main irony objects are the violent education given at schools; this education intended to frighten "pupils" and the teaching staff who continues to give such kind of education. Anar expands his critical view focused on a fictional example, as he does in other stories and draws

Şehrengiz of Sinop by Beyânî

Taner GÖK — 2026-07-16

Shehrengizes are works written in verse that promote the natural and historical beauty as well as the renowned tradesmen (belles) in various branches of profession and trade. Offering their first examples with 16th century in the Ottoman field, shehrengizes were no longer in demand in the 18th century at the end of two-century-old process and disappeared some time later. There are more than sixty sehrengizes in our literature written about many cities like Istanbul, Edirne and Bursa. One of them is Shehrengiz of Sinop written by Beyani. Beyânî lived in the 16th century in which shehrengizes recently gained prevalence and presented one of the examples of this genre for his hometown Sinop. There are ten poets with pseudonym Beyânî in our literature and information on many of them is available in a variety of resources. However, there is a short information about Beyânî of Sinop only in Âlî of Gelibolu’s work entitled Künhü’l-Ahbâr. Âlî also provided information about Beyânî of Sinop after the item “Beyânî” with the following statements: “Yanbolıdan bir Beyani da?i gelmişdür. Biri da?i Edirneden ?uhur itmişdür. ?atta bir Beyani-i heccav da?i Sul?an Murad ?an-ı s_alis_ devrinde Sinob nam ?a?abadan vücud bulmış idi.” Beyânî was a poet known with his satire that lived in the period of Murad III (1574-1595) according to the statements included here. It is unclear whether the poet had works other than the mathnawis called Şâh u Derviş apart from Shehrengiz of Sinop. However, Sadettin Nüzhet Ergun mentioned about a pentastich that belonged to him after introducing Beyânî in his work called Türk Şairleri. This shows us that the poet might have other works apart from masthnawis. It is understood that he received a good education by referring to his works in which no information on his life was included. Shehrengiz of Sinop, written by Beyânî, is the only shehrengiz composed for this province and the date of its composition is unclear. The only copy of the work is registered at no 2020/2 of Turkish Manuscripts in Izmir National Library. The work is located in 35a-45b pages of the corpus. Tearing and deletions occurred in some parts of the corpus due to wearing. Couplets were written in a single column on the last page of the text on whose page usually 4 columns were written. Shehrengiz was composed in diwani calligraphy even though different writing styles were used in the corpus. Shehrengiz of Sinop bears many common features with many of shehrengizes in our literature. First of all, the poet, in this work, complied with the general scheme of arrangement in other shehrengizes. This type of shehrengizes usually begins with the “Invocation” section in which poets pray to God for forgiveness from the sins they feel guilty about because of the beauties they fell in love with and continues with supplications and the “Sebeb-i Te‘lif (Reason for writing)” in which explanation on the reason why the work was drafted. Sometimes, the depictions of day, night and dawn were included in this section. The praises on the most beautiful belles in the city are presented apart from these. The work ends with “Hatime (Epilogue)” after the completion of praises. Shehrengiz of Sinop consisted of nine sections in accordance with the information given above: Invocation in Shehrengiz of Sinop Supplication The attributes of Night and Reason for drafting Shehrengiz The attributes of Day and Conversation with biting language The characteristics of Sinop Province and Mergûb Fortress Description of the Mosque The praise of Handek Garden Description of Boztepe The attributes of Belles The work, observing the tradition in terms of prosody and versification, was composed in mathnawi form and mefâ’ilün mefâ’ilün fa’ûlün pattern. At the end of the work consisting of 230 verses, there is also a section consisting of 5 verses written in mefâ‘îlün / mefâ‘îlün / mefâ‘îlün / mefâ‘îlün pattern and verse of ode in which the poet offer

Believes About The "Owl" And On The Word "Owl"

Sevda GÜLAKAN KAMAN, — 2026-07-16

Birds have always had a great importance for human beings for centuries. Birds, which humans envy them for their capability for flying, have always been one step further and they have been a topic for fine arts. Humans have observed types, physical features and attitudutes of birds; and some of them are believed to bring luck, while others are considered to bring bad luck. In this article, the emphasis is on owl, which live anywhere but Antarctica region on Earth, mostly known for bringing bad luck but these days seemed to have become a popular icon of fashion, and the word owl , and myths/ beliefs about owl. In the first part of the article owl have been defined as a nocturnal bird of prey with large eyes, a facial disc, a hooked beak, and typically a loud hooting call (MBTS: 117) , and data about owl position in folk tales /beliefs, implied meanings and attributed messages for owl have been compiled. Then, owl’ position from shamanic beliefs up to now in Turkish culture has been examined. In the second part that there is different types of owl in owl family has been emphasied. Based on historical and modern written Turkish documents, the words from ancient old Turkish ügi/yapāķulaķ/ķuburġa corresponding to the word owl have been examined. The etymology, the shape of words in historical eras, corresponding words in dialects and modern accents are stated examining these words. In the third part of of the article, etymology of owl itself and its historical changes have been mentioned; afterwards the other words given to the owl have also been stated. At the end of the study, a general evaluation is taken place. By looking at the words given to owl, it has turned out the effect of beliefs on language Some of the folk beliefs have been derived from the effects of animals, a part of the nature on humans. The bird singings, the colour and the shape of their feather ,all kind of physical features ,the way of feeding, its nest or habitat and whether it is wild or domestic have affected the way people name the birds. There are some various reasons why the owl is believed to bring good luck: Its big head can rotate 270 degrees, It can put a spell on and hunt smaller birds such as sparrows by widening its luminous eyes with the ability of night sight ,it lives in abandoned sites and it doesn’t sing nicely. Considering the beliefs about the owl, it has been detected they can vary in different cultures, however they have some similarities to the common sense in some cultures. In this work it has been emphasized that the owl is believed to symbolize death and destruction in one culture while it symbolizes good luck,wisdom , mind, fine arts and holy knowledge in another. In addition, in some medical works of classical period it was reported that each organ of the owl is vital to medicine, it was used a cures to some illnesses and it was believed to be the companion of healers and to be a sign of secrets. The owl which is considered to be evil in some societies and during some periods has recently been a figure commonly used by fashion designers, stylists and architectures. When questioning the reason why the owl, considered to bring good luck with its physical appearance, especially its eyes has become a figure in fashion, decoration and jewelry, the point of view of fashion must be taken into consideration because the skull figure has also become popular recently and this shows that fashion loves using contradictions and it focuses on attractive elements. Fashion has an important power on leading and forming human perception. In addition to this, in the light of the information in the first part of the article, it can be stated that the owl motive has become common and fashionable because the opinion that it symbolizes fine arts and wisdom in Greek and Ancient Rome is stronger than the belief of bad luck. The changes in perceptions of generations may also have an important impact. It is a sign of the belief of being a healer

Turkish Music In The Poem Of Yahya Kemal And Yahya Kemal In The Turkish Music

Sevim GÜLDÜRMEZ — 2026-07-16

The objective of this work is to ascertain Yahya Kemal’s poetry’s connection to music and at the same time to specify the importance of Yahya Kemal’s poetry in terms of Turkish Music. Yahya Kemal made use of classical art in his poetry frequently but music took part in his poem involving its meaning beyond only being an art branch. Besides Turkish Music did not mishit Yahya Kemal’s poetry but provided it to gain lyrics quality. So this research has been made both to indicate the relationship between literature and music and to look into Yahya Kemal’s poems from this perspective. Literature and music have been closely connected to each other for centuries and especially poetry has been one of the types in which musicality is felt. Composing appearing in folk poetry and classical poetry or the situation of being said in company with direct music has showed itself as poetry having gained the quality of lyrics during New Turkish Literature. Poetry of many poets from past to the future such as Yunus Emre, Ercişli Emrah, Fuzuli, Nef’i, Namık Kemal, Nigar Hanım, Sezai Karakoç has been composed and Yahya Kemal had the characteristics of being one of the poets whose poetry has been composed most. Besides poetry’s specific factors such as meter, rhyme, assonance, alliteration provided poetry and music to be associated based on harmony as well as hosting rhythm in itself. Yahya Kemal’s poetry, who mostly used aruz prosody and gave much importance to voice, has gained the importance of being evidence of the connection between poetry and music. Yahya Kemal, rather than being an ordinary listener, has an excessive theoretical knowledge about Turkish Music. Yahya Kemal’s this body of knowledge about music took place in poetry and at the same time Turkish Music highly made use of it. When he was alive he observed that mcuh of his poetry has been composed and after he died his poetry continued to be composed. In this article, the music aspects in the poems of Yahya Kemal and the importance of him in terms of Turkish music are tried to study in two parts. Firstly, Yahya Kemal’s poem is examined in terms of meaning and formation from the point of music and the couplets where the Turkish music composers are cited are observed and in the second part, some examples are presented from his composed poems in the context of music and poetry relation. While conducting this study, all available resources and other studies on Yahya Kemal’s life and works were reviewed and his poems that are the main subject of this study were especially elaborated. The proems were firstly searched and observed on the basis of music and then a list of the composed poems was made by referring to the Turkish music resources. In the general framework, the music and poetry are studied in relation to the Yahya Kemal’s poems and Turkish music in the context of the main subject. Before, many studies were made on relation between the Yahya Kemal’s poems and music but in this study, both a link is established between the Yahya Kemal’s poems and music in termns of formation and conten and also Yahya Kemal in Turkish music is shown. Moreover, the music is not only related to the poetry in theory but also studied as being a part of the culture. Yahya Kemal born in 1884 and died in 1958 was raised by the empire culture, recognized the West by going to France and observed the establishment and recovery phases of a new state after a while of his return. He also observed the literature, which never lost its movement and actuality together with these phases, and the stages tha the literature went through. He had been affected from Servet-i Fünun (Wealth of Knowledge) poem that he met before he going to Paris but he had never been bounded to any flow, ecole, community or movement –except for a short “adventure” of a flow called “Nev-Yunanilik”- and he did not participate in the such discussions as syllabic-prosody, national-not national but only expressed his opinions on cert

The Odes Written For Şeyhülislâm Bahâyî Efendi By The 17th Century Poets (Neşâtî, Nâ’ilî And Cevrî)

Fatma Nur GÜLEN — 2026-07-16

Turkish Literature in the 17th century corresponds to a period of social and political turmoil. In this period, there was a great change and progress in poetry. In terms of literature, it was a great century in which Turkish poets were superior to Persian poets and it has many successful name and types. Sebk-i Hindî left deep marks in the literature for the 17. Century and later is an important period of Turkish poetry in terms of form and content. Sebk-i Hindî is a synthesis thought that rising in Iran. It was effective in India and passed to Turkish literature. Sebk-i Hindî is a current of poem based on exaggerated expression that supported by dreams and symbols. Many poets in Turkish literature are influenced by Sebk-i Hindî current. Neşâtî, Cevrî, İsmetî, Fehim-i Kadîm, Şehrî and Nâ’ilî are some major representatives among them The topics selected by the poet in the odes sometimes is an eulogy or an elegy. In this article, the odes written by Neşâtî, Cevrî and Nâ'ilî praising Şeyhülislâm Bahâyî Efendi are handled and analyzed. Before analyzing the odes, the life story and the literary figures of four poets are presented in brief. Şeyhülislam Bahayî Efendi was a statesman and also a poet. The odes written by a few poets lived in the same period with him are analyzed in this study. In the odes, the poets praise Şeyhülislâm Bahâyî Efendi with his various features. The odes are analyzed in terms of literary. The qualifications of Şeyhülislâm Bahâyî Efendi who is praised in the odes are demonstrated in the analysis. In this study, the characteristics of the used words and phrases in order to praise Şeyhülislâm Bahâyî Efendi emphasizing his features are analyzed and presented concretely to the reader in tables. We see that The poetry of Sebk-i Hindi has reached the desired maturity in terms of art, harmony and elegance in the 17th century. In this century, Ottoman empire's dialect in literary was not only the official language but also the language of science and arts. We see that to establish the couplets of Sebk-i Hindi, the words that scarcely used were selected from dictionary, carefully. And the words and phrases in Persian language are used in it. Those scarcely used words and especially Persian words, phrases make the poetry difficult to understand. In the poetry, the art of exaggeration was used quite a lot. Suffering and grief come to forward as one of the main topics of those poetry. The eulogy and diatribe, written about a poet, in the form of any verse like panegyric, stanza are usually not considered within the scope of literary evaluation. In these poems the aim is to make praise and satire. For this reason, the poet wants to show his skill by using all praise adjectives and all satire adjectives about concerned person. Some poets praises another poet in the eulogy, he tends to compare the poet with himself sometimes. And sometimes he states his admiration for the poet using the finest expression. The purpose of the poet here is to make the eulogy aesthetic and to show his talent and to praise the people who deserve. We see that Neşâtî and Nâ’ilî in their eulogy talking about the poem style of Bahâyî Efendi rather than his state duty feature. Based on the allusions made, we have the idea about the depth of his knowledge, his moral beauty and his witty, characterized sociable, having a graceful and affable human nature. In terms of his poet style, we see that they described him having the beauty in the meaning, being skilled in speech, having eloquence tallent, the only one who can write beautiful poem, in their medhiye. Results: Political and social upheavals in the 17th century have affected the Turkish literature. Despite the upheavals, the development of poetry in that century is continued. This century trained many poets that achieved to hit their mark to poetry and to create significant movement in poetry. Supporting poetry and poets by the Sultan and state officials is a very important reason to re

Evulations On The Literary Surrounding In Kütahya From The XIX Century

Kadir GÜLER, Ayşe KANDEMİR YAZICI — 2026-07-16

Kütahya has a rich heritage and it can be considered as the cradle of Anatolian civilazations. It appeared as one the most imprtant cultural centers of each peirod in this geography with nurtured poets. During the 150 years of Germiyan governorship a serious literary environment was appeared in and around the city with a given importance to scholor and poets especially with support of the Süleyman Şah and II. Yakup Çelebi. Existing Literary environment was protected in this centuries. One of the most brillant periods of the classic Turkish Literarure was lived until the 16th Century. Reducing the literary environment until the 19th century some differences were appeared between Ottoman politic’s look on literarture. In this eras ,politicians and writers who discovered problems of Ottoman Empire and tried to treat them in itself, had an effort to revive old dynamics of society without thinking of changing civilization and tried to inspire the old dynamics of the society. Starting in the last quarter of 18th century new institutions were opened that gave direction to military education and the Janissary was abolished. There were new developments on poetry with the declaration of Tanzimat Fermanı (Reforms Ordinance) and new genres of literary expression appeared in our literature as prose, theatre, novel, story, memoire, and criticism that have not existed before. Altough 19th century was a period of reform actions, centuries-long habits not been able to disappear in a moment, the new reigned, intertwined with the old. In this study, we discovered that many poets improved simultaneouslywith existing developments in Kütahya. We took informations of the poets from sources of the period. While evaluating the poets, we set forth this period’s literary surroundingsand cultural values. We established plenty of information about political lines, world views, mystical positions, works and artistries of poets who lived in Kütahya. As a result of our research, we saw three general environments which were influential on the development of poets and the literary surroundings of Kütahya in 19th century. First environment which was effective on the development of poets was goverment officials. Artists have created a literary surrounding in palaces and mansions and at goverment centers, incounty centers out of Istanbul, emirates and mansions of pashas and governors, in princes’s palaces. Most of the poets joined in these palaces and mansions with the intention of official duty or provide for their life. They also received protection in these places . In return, they wrote their works and presented them to their patrons. Without doubt, largest literary surrounding was the one around the palace. As long as Sultans and other governors protected artists and lived within the arts, these literary surroundings might prosper. At the end of our researchs we found thirty poets who worked in the Goverment Office of Kütahya in 19th century. These poets are as follows: Abdulaziz Efendi, Abdullah Hakkı Efendi, Abdülkadir Şükrî Efendi, Ahmed Âtıf Bey, Ahmed Şâkir Paşa, Ahmet Vasfi Erkut, Ali Süha Delilbaşı, Asım Yakup Efendi, Baharî Bey, Hacı Nurî Bey, Hacı Yahya İhyâ Bey, Hasan Bedrettin Paşa, Hakkı Bey, Hakkı Paşa, Halet Mehmed Said Efendi, Halil Edîb Bey, Hasenî, Hüsnî Bey, Kirâmî, Lebib Mehmed Efendi, Mustafa Reşid Paşa, Namdar Rahmi Karatay, Osman Nurî Paşa, Osman Seyfi Bey, Râgıb Mehmed Paşa, Seyyid Mehmed Saîd Gâlib, Seyyid Mehmed Şem'î, Sirozlu Yûsuf Muhlis Paşa, Vahid Mehmed Paşa. At the begining of the century we witnessed that II. Mahmud and III. Selim who were interested in poetry and literarture, provided patronship for the artists. III. Selim had an artistic soul and wrote poetry with a inspiration. He protected poets who were raised in his period especially Şeyh Galip. Abdülkadir Şükrü Efendi who was a poet and existed in III Selim’s literary environment even gave Hüsn-ü Hat lessons to him. II. Mahmut wrote poetry with the nickn

Translation of the Yavuz Selim's Persian verses

Hasan GÜLTEKİN — 2026-07-16

In this article we have transcribed Sheikh Vasfi’s book Barika in the Latin script which contained selected verses and couplets from Yavuz Sultan Selim’s Persian Divan. Except Turkish translation of Yavuz Sultan Selim’s Persian Divan published by Ali Nihad Tarlan in Istanbul in 1946, none of the studies has been made before on this issue. Working under this article one more translation of the Barika has been published. However, it is not a scientific study but it is popular study. The primary aim of this article is to publish Yavuz Sultan Selim’s verses and couplets from Barika in Turkish letters. Sheikh Vasfi translated Yavuz Sultan Selim’s selected verses and couplets published them in the Arabic scripted book Barika in Istanbul in 1307/1889. Sixty-seven paged book includes sixty-six hundred couplets and twelve verses. In the preface to Barika Sheikh Vasfi made comments about Yavuz Sultan Selim’s poetry and mentioned that Yavuz Sultan Selim was superior to many Persian poets. In Barika Sheikh Vasfi did not choose the verses and couplets according to his own taste but aiming to show Yavuz Sultan Selim’s personality as a poet. Yavuz Sultan Selim was the ninth Ottoman sultan. He was a poet as well as a sultan and he had a Persian Divan and some Turkish poems. The reason why Yavuz Sultan Selim wrote poetry in Persian instead of Turkish was a competition with Shah Ismail, a sultan of Safavid state, who had a Turkish Divan and wrote under the penname Khatai. Actually this competition was either political or literary. A large part of Yavuz Sultan Selim’s life passed on horseback in the wars. Jihad was a main aim of his political fight as a sultan and he did a lot to achieve this aim. He believed that Allah had given him the task to rule the Sultanate. In his poems there is evidence that he was a humble servant connected wholeheartedly to Allah and who did not do anything outside of Allah’s will. Yavuz Sultan Selim gave a lot of consideration to the poets, artists and scientists. He often invited them and had long private talks about poetry and purpose of life. Many poets considered him as a master poet and wrote in his peculiar style. Yavuz Sultan Selim was known for his hard and adamant character as a sultan but in his poems he represents as a different person – an emotional passionate human being and committed Muslim. The main purpose of this article is to introduce the readers to the emotional and artistic personality of Yavuz Sultan Selim. It is necessary to indicate that he had a mystical style of writing. Relying on his poems we have collected the special information about his personality. On the one hand, he was a humble and abstinent Sufi person. He believed that possession of the universe is worthless, life is short and this world is temporary. He represents as a strong believer depending wholeheartedly on Allah’s will and acting on Prophet Mohammed’s admonitions. He totally confined on and surrendered to Allah in his poems. He wrote that he was ruling sultanate in accordance with Allah’s orders and requests and could do nothing without Allah’s will. In addition, he emphasized that the prophets were simple servants but the prophetic mission that Allah gave them made them exceptional. As well as himself he considered as Allah’s obedient servant, but Allah also made him superior entrusting sultanate. On the other hand, he tasted human

The Phenomenon of “Homelessness” from the Jews to the Palestinians

Neslihan GÜNAYDIN — 2026-07-16

Homelessness, dispossession and genocide were destined both to Jews and the Palestinians as a deeply felt experience. Non-Jewish Zionism aimed to get rid of Jews by sending them to their homeland, Palestine and to exploit Jews for the imperial interests of Western powers in the Middle East, since Zionism equalled colonialism in one sense. For Jews who are exiled, excluded, oppressed and exterminated by the Nazi regime, Zionism may have been “an idea”(Said 1992: 60), as Edward Said claims, while it had disastrous results for the Palestinians which were subjected to the acts of genocide and dispossession by the Jews themselves. In a way the Palestinians have had to confront the fact that “they are the victims of victims”(Cleary 2002: 187). Even though the expulsion and extermination of the Palestinians by the Jews were reflected to be a

On A Typology Text Translated From Arabic To Turkish

Bahadır GÜNEŞ — 2026-07-16

Turkish Language is a language, which becomes prominent with its historical depth and historical wealth in an enormous geographical area and which have initated to numerous works being composed about various topics indifferent cultural centers. Historical texts that are reflection of this language’s past existence, have been mentioned to studies from past to present and also being represented to relevant people with different aspects. Compilation or translation characteristic works have subjected to Turkish language and literature studies and also they can be written in a great variety of subject and they can belong to different periods. After the Turks had accepted Islam, they maintained their Culture (which they composed through Turkish Language) and their language with Arabic Alphabet. Within this period, Turkish People belonging to different tribes composed various kinds of literal works both in Turkestan Geography and in Anatolia Area and through these works they continued to build the Turkish language, literature and culture. At the beginning of this period, many of the works were translated from other languages and so they had translation characteristics, but after Turks had reached to producing maturity, they wrote original literal works. And also, because of the influence of Islam, source language of translated works were Arabic in general. A lot of Arabic works written in different kinds of subjects were translated to Turkish by Turkish authors and poets of that period. Abdillah bin Muḥammed ibni Ṭâlibü’l-Enṣârî ed-Dımışḳî composed a work named Kitâbü’l-Âdâb ve’s-Siyâset fî İlmi’n-Naẓar ve’l-Ferâset in 1300 and this work includes ideas of Muhammed Râzî, Imam Shafii’i and Sheik Muhyiddîn-i Arabî, Abdurrezzak Kashani and Plato, Aristo, İladus about Kıyafetname (Typology). In this study, the Turkish translation of that work named as Kıyafetname (Typology) was analyzed. This text was chosen as subject of the study because of its translation characteristic, different features in its orthography and also, for providing basis to comparative analysis between Kıyafetname (Typology) texts from past to present. In this study, information about typology, history of kıyafetname (typology), examples of kıyafetname (typology), works about kıyafetname (typology)written in Arabic and Persian and their writers, works being composed with kıyafetname (typology)in Turkish Literature and Language and their writes was given. Also the mentioned kıyafetname (typology)text, which is the subject of the study, was analyzed and information about its translator was given. After these information, some orthography features of the text were described and examples from every part of the text (just one example from all of them) were added to the study. On the top part of the analyzed text there is a registration number (178789). The text consists of 48 pages including the cover page. Page numbers are located on top part of every page and also in the middle of the text. There are 14 lines in the first page of the text; 5 lines in the last of the page; and 19 lines in the other pages of the text. The text was written as prosaic and vowel point was used in it. In the second and third pages of the text, the writer mentioned about thank to Allah, praise to the prophet, verses and hadiths. Between the fourth and seventh pages of the text, the writer mentioned through the verses and hadiths that moral structures and physical qualities of people can not be same as one another. In parallel that, the writer also mentioned that as a general opinion, tall people are tender-minded, calm and benefactor; in spite of that short people are angry. Besides it was specified that characteristic and physical qualities of people reflected on their behaviors. Even though the work is said to consist of 26 chapters, when all the titles are taken into consideration, it is obvious that the work consists of 27 chapters. Moreover, the titles that take part in cer

Comparison Of Vocabularies Of The Esrar-ı Cinayat And Beyoğlu Rapsodisi Novels

İsmail Teoman GÜNEŞ — 2026-07-16

Each literary work is a valuable resource to understand the literal language of theperiod. The literal language of the period has shaped by the social political and cultural understanding. The tests performed on the literary works provide important information on all these areas. Last 150 years Turkish society has experienced major changes. Language reform is the most important part of the Tanzimat reforms. As a result of the language reform, the literal language has been differed significantly. There were major problems against Ottoman novelist. Literary language that built on poetry for centuries had not been developed in terms of prose. Novel had to use usual language, but that language was in adequate and it was sure that people did not understand the high level of the Ottoman Turkish language. This was not a wanted circumstance for the novelist trying to reach more people. At the same time, considering that the Tanzimat intellectual novelists who have the mission of educating people it may be seen as a major problem of intelligibility. Main criticism of simplification of the language activity was the impoverishment of literary language via removing foreign origin words from Turkish. Removing many words that used in literary language and also in usual language for centuries creates a deficiency. Despite of deriving new words as covering, there are some significant difficulties such as acceptance of new words are not easy, literal sense is not the same as the old word or the new word is "artificial". A lot of words that put in place of the old word also has not been understood. The novel that in the purpose of being understand, educating society, establishing unique literary language, showed a great improvement in the last century and today is the most interested type of Turkish Literature. In this study the aim is to analyze the 120-year change in the literary language via comparison of the first detective novel and a modern detective novel. In this study it is attempted to analyze the language of the Tanzimat literature. Stories and novels for the first time have entered Turkish literature in Tanzimat period. It is important to know earlier period in order to understand the development of language of modern novels and stories. In this article first Turkish detective story "Esrar-ı Cinayat" by Ahmet Midhat Efendi -year 1884- has been compared with a modern detective story "Beyoğlu Rapsodisi" by Ahmet Ümit -year 2003-". Similar types of books have been selected to emphasize the changes in the vocabulary clearly. If it were analyzed for different species, depending on the change of subject, it would change the vocabulary. İstanbul is also the venue of both books. This situation increases the parallelism between these vocabularies. In this study, changes of Turkish language for 130 years have been studied by comparing the two books that have similar subjects and venues. The Turkish language has undergone major changes over the last 130 years. Language has been simplified by removing foreign words. The Ottoman Literature Language called "Osmanlıca" was an artificial language. This language consisted of Arabic, Persian and Turkish words. The large part of the public did not understand this language because of so much foreign words. Only the well-educated part of public could understand. Tanzimat literati has considered removing Arabic and Persian words from the language to reach the public. They had missions to educate the people, but the simplification of language was not easy. Turkish Language was not considered as a sufficient language for literature and also the literary Ottoman language was used for centuries. Language revolution is the most comprehensive simplification movement in Turkish.. Arabic and Persian words were removed from the language with the language revolution. Literary works have been started to written in the public language. Here in this study aimed to analyze that major difference between Tanzima

Balkan Geography In The Poetry Of Atâyî Who Was A Kadi Of Rumeli

Müberra GÜRGENDERELİ — 2026-07-16

Atâyî, who was a 17th century poet, was known as possessing a hamse. He is the son of Nev‘î who was one of the prominent poets and scholars of 16th century. The real name of the poet, who was known as Nev‘îzâde Atâyî, was Atâullah. He was born in İstanbul in 1583, was appointed as müderris to Canbaziye Medresesi in 1605 and became a kadı of Lofça in 1608. He spent most of his life as kadı at several Rumeli kadılıks especially at Varna, Rusçuk, Silistre, Tekirdağ, Hezargrad, Manastır, Tırnova, Tırhala and Üsküp and passed away in İstanbul in 1635. His grave is located at Şeyh Vefâ dervish lodge (tekke) near to his father’s grave. His interest tended to Islamic Sufism and he became one of the followers of Aziz Mahmûd Hüdâyî. As a productive poet, Atâyî had a considerably voluminous

A Risâle Of Archery: Kavsnâme

Rifat GÜRGENDERELİ — 2026-07-16

Works describing the rules of manners for shooting arrows, ranges, arrows and bows are called kavsnâme. Originating from the Arabian “kavs” and the Persian “nâme”, kavsnâmes usually narrates about the religious characteristics of arrow and bow, the way of using arrow and bow, the terms for archery, the sizes and dimensions of arrow and bow, shooting arrows and archers. Turks, have used arrow and bow, which belongs to their own culture of war, throughout the geography, stretching out from the Middle East to Anatolia and from Anatolia to Balkans, by adding the characteristics of arrow and bow from the cultures they encountered. As molded with Islamic culture, archery gained a religious and motivational characteristic by the hadiths of Prophet Muhammad. According to the Islamic resources, arrow and bow were first given to Prophet Adam. Nevertheless, it was Prophet Muhammad who specifically supported war sports as archery, wrestling, and equestrianism etc. It is known that there are approximately 40 hadiths describing the religious characteristics of arrow and bow and the virtues of shooting arrows. Sacred terms existing before Islam about arrow, bow and horse, attracted considerable attention as they were supported by the hadiths of Prophet Muhammad, and several works have been translated and copyrighted works were written about this issue. Cahiz, who lived during the 9th century and who was a writer about Islam, tells the mastership of Turks about shooting arrows and equestrianism as follows: “Turk carries his weapon, horse and everything related to harnessing together with him. Turk shoots arrows to the four winds on a fast running horse. More than half of the life of a Turk passes on horse; Turk is a shepherd, and a veterinarian, a cavalry and a warrior.” Chaters on arrows and archery were usually studied in sections of books related to horses and equestrianism. Works written in the Islamic world related to horses and equestrianism were concentrated on two different topics: works related to diseases of horses and their treatments were usually written under the title of baytarnâme; works related to equestrianism, archery, and swordsmanship were written under the titles as kitabu’l-hayl, kitâbul-fürûsiyye, hayl-nâme, feres-nâme, and esb-nâme. Hadiths of Prophet Muhammad used in kavsnâmes and also in this article, as “Power means shooting arrows”, “Learn archery and equestrianism”, “Shooting arrows is a salutary game”, “Shoot! Sons of Ismail, your ancestor was an archer”, “right of a son on his father is to make him teach Kur’an, writing and shooting arrows”, show the importance given to archery by Islam. Word of ‘rema’ in Kur’an-ı Kerim, Enfâl 17 was commented as shooting arrows in kavsnâmes. Books of authors as Ebû Hâşim el-Bâverdî, Tâhir-i Belhî, İshâk er-Reffân, Abdurrahman et-Taberî, Ebû Câ‘fer el-Hîrevî, Ebû Mûsâ Harrâs, Behram b. Bâbek, Kadı Muhiddin were the primary works related to arrow and bow. Books as Hulasa (Kitâb fî İlmi’n-Nüşşâb; Kitâb fî-Riyâzâti’l-Hayl; Kitâb fi’-İlmi’l-Musâbaka), Kavsnâme of Kemânkeş Mustafa Efendi, Telhîs-i Resâilât-ı Rumât (Archery Book) of Mustafa Kânî Bey, Türk Okçuluğu (Turkish Archery), Ok Meydanı ve Okçuluk Tarihi (Arrow Field and History of Archery), Türk Okçuluğu ve Sultan Mahmud’un Ok Günlüğü (Turkish Archery and Arrow Diary of Sultan Mahmud) are among the main resources of modern - day Turkish archery. Especially in recent years, books about arrow and bow and arrow shows and contests draw interest. Foundations and associations are being established about archery; the archery clubs in universities are conducting researches. Archery books written in Turkish are prosaic works, in some archery works parts of poems as beyit and kıta can be found as well. These books are assessed in two groups: works in the first group mention about the importance and good deed of shooting arrows, verses of Kur’an and hadiths related to shooting arrows, prophets starting from Prophet Adam and

A Survey On Translation Policies And Publishers In Turkey Within A Time Frame

Beki HALEVA, A.Zeynep KIVANÇ — 2026-07-16

Introduction and Purpose of Study Socio-cultural structure of the Republican era has launched many reforms in the fields of language, culture and literature. In particular, transition from the Arab alphabet to the Latin alphabet, the increase in mass educational institutions as well as changes in the organization of education, and translation activities relying upon transfer of knowledge and culture have accounted for the essential moves in the plan aiming to create a new Turkish identity. Creating a modern, national literature was the preliminary objective of the State project, which brought about a deliberate process of translation activity with a large scale State initiative. At this point, the contribution of publishers of Bâbıâli to shape the new national identity and literature in compliance with national policies cannot be underestimated. The obtainable data to trace the publishing activities and policies of the publishers operated in the early years of the Turkish Republic being extremely limited was the main motive behind this study. Hence, we were attracted to investigate the emergence of a large scale translation activity of publishing houses in the time period in question with the aim of filling a gap in the area of the history of translation in the Turkish Republic. Accordingly, this study, being limited to the period 1928-1967, focuses on the translation and publishing policies of Turkey along with its socio-political and socio-cultural structure. In the first part of this study, the national institutions and activities that initiated and shaped translation activity have been explored. The time periods highlighted have been chosen considering the events that can be regarded as historic benchmarks. Within this framework, in the initial period from the Alphabet Reform launched in 1928 until the First Turkish Publications Congress held in 1939, the initiatives playing a role in creating the national identity which were set in motion along with Atatürk’s reforms have been discussed. The next period determined is from 1939 to 1967. Within this period, in accordance with the decisions taken in the First Turkish Publications Congress with the aim to start a full-scale translation project as an extension of the state policy, the translation activities beginning under the auspices of the Ministry of National Education in 1940 and ending in 1967 have been put under the spotlight. The second part of the study has investigated the publishing houses of the period in question through which the implications of the state policy regarding the emergence of national identity and literature can be seen clearly. For this purpose, the translation activities of publishers have been examined by means of a selection of nine publishers with the older publishers being given priority. Cultural Planning and Publishing Houses from 1928-1967 On implementing the project of cultural planning of the Republic in 1930s, government officials established new institutions to educate the public in order to make them adopt these plans. One of these institutions is the People’s Houses (Halkevleri) which were established in 1932 in 14 cities. These People’s Houses, the number of which had reached to 478 when they were closed down in 1951, had activities in nine branches: language and literature, fine arts, drama, sports, social assistance, adult education, library and publications, village welfare, history and museums. Another important activity of this period was to take advantage of foreign educators who were experts in their fields for modernizing and restructuring of national education. It was thanks to the immense efforts and activities of Hasan Âli Yücel, who was appointed as the Minister of National Education at the Cabinet of Celal Bayar in 1938, that translation activity was brought up again as a state policy and a systematic and intense publication activity was launched. One of the most significant initiatives of this period was the foun

Some Opinions On Linguistic Features Verses Khoja Ahmad Yassawi

Nadirhan HASAN (Nodirkhon Khasanov) — 2026-07-16

In the various libraries of the world are retained Hikmet (poetry) Khoja Ahmad Yassawi called "Divan-i Hikmat" the written and typographic form. They are considered the best examples of the most Turkic Sufi literature. And they are already several hundred years of literary and spiritual needs. Painted after his death and copied lists are a problem in the study of the language works. This article will share some ideas on this issue. Since the study of language, literature, poetry and mystical sides Ahmad Yassawi, is very important in the study of Yassawism.

Evliya Çelebi as Linguist

Erkan HİRİK — 2026-07-16

This article has been located among the articles published for the sixtieth birthday of Omeljan Pritsak. These articles had been written by his colleagues and students. This translated article was written by Tibor Halasi-Hun and was published in this book. Halasi Kun has pointed out one of the literary works as Seyahatnâme, which is an enlightener about Turkish history, language and Ottoman geography in his article. Besides, Evliyâ Çelebi can reflect phonetic features just like a linguist. As known, Evliyâ Çelebi wandered the territories of the Ottoman Empire for more than fifty years and compiled his experiences in his work. Therefore, Evliyâ Çelebi has been one of the most prominent figures of Ottoman Literature and the 17th century for both local and foreign scholars. This period, which is attributed to Evliyâ Çelebi, stems from his work, Seyahatnâme, which he penned patiently and determinedly while travelling around the Ottoman territories. Evliyâ Çelebi not only transferred the geographical properties of the places he travelled but also gave information about many other things including the histories, people, plants, foods, clothes, traditions and customs, narratives, and local dialects of these places. This fact made the content of the work come into prominence, thereby the content of the work has been examined in many academic researches. Because the content of Seyahatnâme came into prominence, the work has been ignored in terms of linguistic features. Beyond any doubt, one of the most striking features of Seyahatnâme in terms of Turkish language is its language and wording. Seyahatnâme was written in a language which does not share any parallelism with the other texts, written in Ottoman Turkish language. Although each writer had his/her own wording, generally a syntactical pattern was used as a convention in the texts, written in Ottoman Turkish language. Considering this notion, Evliyâ Çelebi is definitely a writer, who is far from being a stereotype especially in terms of language. It is observed that Evliyâ Çelebi specified the features of the language he used while informing about the traits of the places he visited, did not acquiesce in the general tendency, in short, he made up his own rules. Though a variety of researches about history, art, folklore, and geography has been done by referencing to Seyahatnâme by both local and foreign scientists, the studies about its value as well as its qualifications in terms of language are not sufficient in amount, as aforementioned. Taking the historical development of Turkish language into account, the properties of all the periods, which are assorted through different methods, are manifested clearly. However, researchers, surveying on Turkish language, have constantly ignored the period between the 16th and 19th centuries, which they named as Ottoman Turkish language. Therefore, language features of this period, particularly the vocal and consonant systems, are evaluated within a large corpus and are specified clearly. Beside his

View Of Adverbs In Modality

Seçil HİRİK — 2026-07-16

There are some views in various sources about the fact that a modal is the way an action in a verb is realized. Besides, it is difficult to state that there is a consensus over the mentioned term, which also underlines the speaker’s state of mind, expression patterns as well as the temporality feature. With reference to definitions of a modal by a variety of local and foreign scholars such as Korkmaz, Ergin, Karaağaç, Kaya, Akerson, Hacıömeroğlu, Palmer, Hogeweg, de Haan, Nuyts, and Nauze, it is possible to assert that a modal is the attitude, manner, and state of mind of a speaker during an event; the mode of the action, which is specified in a sentence. Beside the numerous definitions of modals, there are also great many modal classifications in literature. The basic modal categories depend on realis and irrealis distinction. Some of the information in the world is realized, in other words, it is completed (realis: Ali bacağını kırdı): some of it, on the other hand, is not realized, which means it is planned (irrealis: Ali bize gelecek). According to this distinction, the idea that mood is

Folkore Texts Recorded From Gagauzs Living In The Semey State

Bülent HÜNERLİ — 2026-07-16

The aim of A.S. Amanzholov’s work on the folklore of Gagauz people living in Kazakhstan is to collect their oral literature materials. Current geography of Gagauz inhabitancy is also mentioned in this article. Not only do they live on the territories of such countries as Moldova, Ukraine, Bulgaria, but also in the North Caucasus, Kazakhstan (regions of Semey, Pavlodar, Aktobe, Almaty, Shymkent), Kirgisistan and Uzbecastan. Especially, information about those Gagauz people that are currently living on the territory of Bucak district is shared. Given materials date back up to the year of 1965 of the Soviet Union period. The main part of the article, of course, introduces different examples of folklore texts. Gagauz Turkish is a Turkic language and it is usually considered as a dialect of a Turkey Turkish. Although it has a number of unique features. Actually, it may be said that from the point of view of its grammar peculiarities and vocabulary it bears more archaic character of Modern Turkey Turkish. In 1957 this dialect came into written language, thus it is known as the latest Turkish dialect that obtained the written form. The number of literary works in this regard has been rather limited until today. But in recent years in particular the “Gagauz Eri” Autonomous Region in Moldova shows a large number of published works in written Gagauz Turkish. In parallel, there are books printed in Ukraine as well. Among them especially works of poetry obtain the leading position. Along with the poetry there are a lot of works of Gagauz Turkish in Moldova and Ukraine prepared or being in preparation for the teaching or learning of Gagauz mother tongue, that are also attract attention. It is expected the significant increase of the number of works created in the Gagauz Turkish forward with the expansion of native education. Nowadays Gagauz people live in so-called Gagauz Eri (Gagauz Place) in Moldova and also live in countries such as Ukraine, Bulgaria, Greece, Romania. Gagauz people were expatriated out from their main settlements – the Danube region (Dobrudja) between 19 and 20th centuries, as well as other Turkish communities during the period of the USSR they also have been subjected to forced migration. They faced great challenges. Today there is Gagauz immigrants’ mark is remaining in Kazakhstan. Thus, geographically located within the Western Turkish speakers Gagauz Turkish speakers in consequence of force majeure cling to life in the region of Kazakh Turks (Kipchak group) who spoke north-eastern Turkish. Likewise, there are also Gagauz groups emigrated in recent years and settled to Brazil, Russia and Turkey. The main purpose of this article is to present language pecularities of Gagauz people living in Kazakhstan. Therefore, singularities of their dialect features, while living on the previous habitant territories and before moving to these lands are described. Dialect pecularities of Gagauz people living in Kazakhstan are compared with dialect of those living in Bucak district. In 1960 A.S. Amanzholov visited Vulkaneshty, Etulia and Cheshmekoy villages situated in the region of Vulkaneshty, Moldova, in order to collect foklore materials of Gagauz people habitting there. In this work, speaking language of Gagauz people living in the Semey region was compared from different points of view, based on the compiled materials. As the result, it was discovered that speaking language pecularities of Gagauz people from the districts Kokpekti and Jarma of Semey province, Kazakhstan are very similar Cheshmekoy dialect of Gagauz people from Bucak region (based on “Bir Popaz Masalı” and “Annatma” texts). In the course of his investigation A.S. Amanzholov points out obvious differences between Chemeshkoy and Chadyr-lunga with Komrat dialects (with mutual dialect) in this way: 1. In the Cheshmekoy language dialect -primarily like any other southern dialect-, the “e” sound is not changed into “ä”, it remains without any change, like in

Tradition and Remembrance: a Discussion on the Cultural Reconstruction of Memory

M.Emir İLHAN — 2026-07-16

In this article, starting from the concept of the 'western' tought tradition, a general discussion will be made about the three different memory types it developed. The first aim of this discussion is to draw attention, that the first two of the three memory understandings which were developed based on the "rememberance" concept, only concentrate on the i

Ilhan Berk’s Poems As A Perception Of Value

Ruhi İNAN, Aliye USLU ÜSTTEN — 2026-07-16

Defining the value as the expression of the superrational with the reason, Ülken somewhat highlights the reason and suggests understanding and comprehension as being two prerequisites for the perception of value perceived through emotions. That is to say that nothing that has not been intellectualized can be considered as a value. “Value paradigm” discussed by Dilthey while addressing the human sciences and the natural sciences with a different method, .i.e. “method of understanding”, has later begun to take the form of a theory when especially Scheler and Hartmann explicitly established the philosophy of value. Therefore, “value” has acquired a deep/comprehensive functionality as well as becoming the question of existence considered in terms of truth, beauty and good. Essentially, given the literary texts, an author’s wording of his/her thoughts is also an outcome of the process of existing going in the same direction. Though from time to time being considered as an unintelligible poet, İlhan Berk is actually renowned as a poet who builds his poems with the tiny clusters of meaning he sandwiches between verses aiming to conduct the meaning of the apparently unconnected words or only the sentences he wishes to be understood. In doing so, Berk actually takes an opposing approach to the existing poem paradigm, and with the help of remotely associated phrases and deconstructive wording, he “proceeds through the poem by striking out the meaning”. The present paper discusses, in philosophical terms, the relative position of the “value construction” concept to the remotely associated phrases, and the effects of deconstructive wording on the reader’s perception. The selected poems of the poet are studied throughout the article under such chapters as “unusual syntax”, “unusual word choice” (unusual correlations), “lexical deviances”, and “orthographical deviances”. Significance Of The Study In literary texts, and particularly in poems, “what” is said is as important as, and even more important than, “how” it is said. Considering its characteristic features, one encounters some features, which are called “deviances”, of the poetic language which is a meta-language developed based on this “how”. The “deviances” which have begun to be systematically discussed following the relevant studies of some contemporary linguists such as Samuel R. Levin, Jean Cohen, Roman Jakobson, Geoffrey N. Leech, Ursula Oomen, and Ivo Braak, are now one of the indispensable topics of poetry analysis. As the number of studies on this topic increases and the case studies vary more and more, the specific aspects and different features of the poetic language will be understood more clearly by the audience and the researchers, thus allowing the detailed representation of the intellectual and aesthetic backgrounds to this subjective linguistic performance, and somewhat systematization and basing on a scientific foundation of these backgrounds. Poets of the Second New (İkinci Yeni) movement strived to make use of the language as far as they could in order to evoke new designs in the minds of their audience. To do so, they based the poetic language on both linguistic and semantic deviances by phonetically, morphologically, syntactically and semantically transforming linguistic elements, and they even embarked on a new value production process. This study aims to establish, in terms of functionality, a rigid framework for the poems and the concepts of perception and value of the Second New movement. Conclusion Poetic language is a “meta-language” which has its own specific, non-colloquial and eccentric usages. Simply thanks to this aspect, a genre determining its own audience can transcend centuries with great skill, and even carry along the zeitgeist with it. It is because the value is closer to the understood and the transcending rather than being a friend of the new. One should discuss exactly how far he is in being immortal and producing value when he inculc

The Three-Languaged Gazel From Three-Languaged Poet Ayşe Teymûrî

Abuzer KALYON — 2026-07-16

Egypt, which hosted many civilizations throught all periods of the history, now continues to attract interest and attention through the civilizations which lived in its lands especially the Pharaoh civilization. A person like Salahaddin-i Ayyûbî who arranged a lot of things in Egypt like education, religion and administrative work, is still being memorialized by the Egyptians. The works left from the Mamluk civilization are also important. The conquest of Egypt by Yavuz Sultan Salim helped this country to recover itself in sciences, trades and administrative work. Even today, Kavalalı Mahmat Ali Pasha is being praised by Egyptians and being sculptured as monuments. He became the governor of Egypt through the conquest by Yavuz Sultan Selim. With the Ottomans, Turkish culture popularity increased in Egypt. In the 20th century, important works published in Ottoman poetry genre. These works belong to mesdames who lived in the Cairo palace or in places which are near to the palace. Ottoman poetry Cheshmî Âfet Hanim Dîvâni was published by Associate Professor Semra Tunç. And one of the poets who lived in the same period at the Cairo palace Gulparî Hanim's Guldasta-i Hâtirât was published by Filiz Kalyon In the same century, another important personality was Aisha Taymûrî who grew up in Cairo. She was born in 1840, in Cairo. She belongs to the famous Taymûrî family which was influential in cultures and politics. According to the information given by, a researcher who comes into prominence with her Christian personality, Mari Ziyada, Aisha Taymûrî's grandfather Mohamed Kâshif, (Mohamed Taymûr bin Ismail bin Ali Kurdî) moved to Cairo with Ottoman soldiers after the French exited from Egypt. Aisha Ismat Hanim's father Ismail Taymûrî was the president of the Assembly of H

Gülperi Hanım and Güldeste-i Hatırat

Filiz KALYON — 2026-07-16

The Ottomans have written very important works in literature and culture in Egypt. Some of these works are placed in Egypt's libraries, and these works of which just some are discovered have been a bridge transmintting the important issues like the public constitution, language and culture of the period in which they were written. Being seen as either prose or poem, they are very significant in terms of Turkish-Egyptian cultural relationships. It redounded a different meaning that some of them were written by Egyptian poets and authors. Many aspects of the period were reflected by the writers. One of these works was Güldeste-i Hatırat written as a mesnevî by Gülperi Hanım, who was a handmaiden grown up in the Kahire Palace. The work is very essential as it illuminates the century and reflects the lives in Egypt then. Because Gülperi Hanım projected the interesting things she saw as she was travelling and the public's way of thinking to her poems. Written in the term that Egypt was under control of England, it is crucial as it clarifies the difference in the way the people looked at the period, the situation that the Ottomans who stayed in Egypt were in, the sadness and distinct thoughts. Gülperi Hanım, who travelled many places that are touristic now by ship, faced a different scene at every harbour she stopped by, and she expressed the reaction to these in her poems. It also constitutes importance that the poems were written with one prosody in the way of it is masnavi. Gülperi Hanım also let us know about what kind of position the cultural structure and Turkish literature were at writing a one-prosodied masnavi. Gülperi Hanım, about whom we know very little, was known as handmaiden grown up in Kahire Palace. She was one of the three outstanding female writers of Turkish Literature that grew up in Egypt and was brought up in the castle of Hoşyar Hanım who was the wife of one of Egypt’s governors, İbrahim Paşa. Later she went to the castle of H

Structure And Theme In The Dystopic Novel Gökdelen

Şeyma KARACA KÜÇÜK — 2026-07-16

Tahsin Yücel’s Gökdelen is a dystopic novel which has a reference to a nightmare future. As a product of modern age, in dystopia a dark world is designed, which is under the rule of opponent forces in contrast to the utopia that presents an enlightened version of the world. This design is also the product of modern mind. As a matter of fact, the modern world, which witnesses the lost of traditional values causes the increase of i

Frantz Fanon’s Definition of Inferiority Complex, and Striving to be the ‘Other,” and Leaving Tangier

Nimet KARADAĞ — 2026-07-16

Colonialism has still effects on both the colonizer and the colonized. For that reason, many of its reflections can be found in post-colonial literature. Leaving Tangier, by Tahar Ben Jalloun, an influential Moroccan writer, is an example of post-colonial literary works which deal with the influences of the colonialism on both sides of the issue. Leaving Tangier gives the reader an insight about how colonialism destroyed the native culture, belief system, and lifestyle. The purpose of this paper is to show how the characters in the book are influenced by colonialist pressure which was created by the colonizer and was embraced by the colonized. The theoretical framework of the paper will be drawn by an influential Afro-Caribbean writer, Frantz Fanon’s thoughts on colonialism, the colonizer and the colonized, and the colonial influences as they are put forward by Tahar Ben Jelloun in Leaving Tangier will be shown under the light of Frantz Fanon’s thoughts, which suggest that the colonized suffer from a severe inferiority complex and it results in their desperate strive to be one of the “Other.” Fanon discusses that the colonial system both desires to have control over all aspects of the native’s life, and develops strategies that cause disruption in the native’s life. According to Fanon, “[….] Europe has a racist structure” (1967, p. 68). Fanon claims that he is evaluated by his outer appearance which has been loaded with negative connotations by white people. He believes that white people’s conception of blacks never changes. Fanon argues that all these attitudes of the white man lead blacks to have an inferiority complex. Fanon argues that not just any minority group, but specifically, black people feel inferior. The native suffers from two kinds of complexes as far as he is concerned with the perception of self, and it is mainly because of the fact that the native is the product of the colonial system as Fanon points out. The most obvious complex that the native suffers from is the inferiority complex in relation to the colonizer. Being in a dominated position in his own country, the native feels inferior. Likewise, Leaving Tangier discusses how the colonial power in Morocco created a world where the black native were accepted inferior both by themselves and by the colonizer. The colonized psychological handicap defined by Fanon is very well reflected in Leaving Tangier, which tells the story of the colonized Moroccans. .” In the novel, the Europeans’ point of view of the Moroccans are reappear in many cases, by which Ben Jelloun shows the reader how the white see themselves as superior to the black colonized Moroccans. While Europe is the source of all good things on the world such as high culture, money and prestige for Moroccans, Moroccan people, like all the other colonized ones, are people to be looked down on and to be avoided, according to the Europeans. As a result, in Leaving Tangier, many people suffer from an inferiority complex, in Fanon’s terms, as they see themselves, their nation, and their culture as insufficient and barbaric compared to the European lifestyle and culture. According to Fanon, the inferiority complex of the colonized leads them to have desire to be the “Other.” Fanon uses this concept in reference to adopting the cultural norms and values of the colonizer, which is a natural outcome of the inculcated inferiority complex. One of the powerful observations Fanon makes on this issue is that the black man, specially the Antillean, requires the “Other” to “corroborate him in his search for self-validation” (1967, p. 165). Therefore, the black man “seeks to be like the superior race” (Fanon, 1967, p. 167), which is the white. Therefore, the colonized chooses to adopt the values of the colonizer, devaluing his own. The colonizer shapes the natives worldview by controlling all means of media and the native starts to see the world from the perspective of the white as there is no black voice to be found.

Symmetry and Literature: Aspect Of Symmetry in Turkish Classical Literature

Volkan KARAGÖZLÜ — 2026-07-16

The word symmetry used as symmétrie to mean proportion, the relation of pieces in the 16th century French language is derived from the words symmetria in Latin language, and symmetros in ancient Greek language. This word meant “to have common measure, proportionate, proper” in ancient Greek. The word is formed by the words syn- which underwent a phonetic change, meaning “together”, and the word metron meaning “measure”. Symmetry denotes perfect harmony, and balance. One of the meanings of this word is about beauty. Accordingly, symmetry means beauty associated with perfect harmony/proportion, or the beauty of figures by perfect harmony. According to this meaning of the word, symmetry is intertwined with aesthetics, and beauty. There are symmetry, and its uses in positive scientific fields such as nature, art, literature, mathematics, physics, chemistry, biology, shortly in everything that concerns man. Symmetry is not a concept special to modern people only in the history of mankind. In the history of humanity, it is possible to see signs of symmetry in the periods about which we have less information. Some of the objects made of stone, horn, and wood dating back to 140 000 years b.c. are symmetric, fine, and shaped well. Symmetry in literature is used in poetry mostly. The unity of sound, speech, harmony led to the use of some structures, and with the forms of poetry supporting these structures, symmetric uses appeared. In Classical Turkish Literature, the use of speech very carefully in the verse forms such as encomium, masnavi, gazel (ode) brought with it symmetry. The elements forming symmetry in poetry focuses on style and literary arts. Particularly, some literary arts such as tekrir, cinas, iştikak, aks, leff ü neşr used in poetry constitute sound, and meaning symmetry together with sound symmetry. The quatrade (murabba) that Yavuz Sultan Selim wrote to Shah Ismail is one of the best examples of sound symmetry. In this poem in which the same verses appear in syntagmatic and paradigmatic axis, the first verse is

Magic In The Classical Turkish Poetry Aesthetics

Gülay KARAMAN — 2026-07-16

Culture changes and grows up more or less by the time, is often enshrined and handed down from generation to generation by literary works. In this way, literary works of a society are charged with a bridge among its past and future. Consequently cultures of societies continue by literary works. Classical Turkish literature, is a very rich literary tradition that we can follow the traces of our civilization from the 13th century until the 19th. In this literary tradition that showed more development in the field of poetic, the couplet that has different layers of meaning that reflects the mindset elements of the society especially the social, cultural, religious and political aspects, provides a highly aesthetic manner to the reader. In this sense, in the products of classical Turkish poetry revealed by 13th century we see magic with a variety of features which has an important place in the lives of Muslim Turkish people as ancient Turks. Magic, can be defined as the science or art of making an extraordinary impact on people and nature by secret set of methods. Having the power to influence people like magic beauty and charm are among the special sense of magic. In general terms, literature the art of effective and eloquence, poetry in particular sense, both sources formed due to extraordinary impact on collocutor also are associated with magic and sorcery. In particular, in many cultures, the source of poetry that is one of the oldest types is based on a supernatural ability, inspiration, discovery or a spiritual being. In addition, the effect of fine word and poetry on collocutor which can be said extraordinary is seen as magic. Classical Turkish poetry is a poetry that leans on a tradition and blends it by processing for centuries. In this sense, both the case of magic that has been in social life since the ancient Turks and the poetic and aesthetic structure of art and literature have been effective in using magic and sorcery intensively in classical Turkish poetry. Magicians gain power with magic and sorcery, so it is believed that uses related to the concept of magic will add mystical and miraculous connotations to the poetry. As in one sense magic and sorcery are made to achieve power, it is not wrong to say magic and the other concepts often used in poetry have come forward with the idea that these will add power to the poetry. Because using some words in poetry makes the poem more effective and powerful. Some of the classic poets use pen names express the power of magic in their poems. In this sense, the pen names Sihrî and Sâhirî which are collected around a concept in the tradition of classical Turkish literature attract attention. The fact that word is accepted as magic and sorcery is an important factor in prefering these pen names that are related to magic. In classical Turkish poetry, the poet is described as magician of poetry, sorcerer of word and poet who fascinates with magic. The word of poet, in other words poem is charm too. This state is also connected with astehetics of poetry. In aesthetics of classical poetry, on the way of ijaz which is the last point that the poet wants to reach in poetry magic is an aesthetic criterion too. The phrases like sihr-i mübîn, sihr-i beyân, sihr-i helâl that are especially chosen to describe the “fine” are used in poetry as an aesthetic value statement. In every century of classical Turkish poetry, magic and sorcery have been mentioned by almost every poet. In paralel to the meanings of enchanting beauty and the power of influence, in classical Turkish literature, especially poetry magic and sorcery are a degree in art and aesthetics which the poets are proud of saying poems with the properties of magic. When word and poetry are related with magic and sorcery generally it is seen that the poet or the writer praises word, poem or poet. In fact, presenting the poet as a magician of word and also his poem magic and sorcery is an expression of a position that the poet wi

Risâle'-i Câme-şûy-nâme

Serdal KARA — 2026-07-16

The “Risâle’-i Câme-şûy-nâme”, which describes how various stains can be removed from different types of dress and fabric, is a translation from Arabic to Turkish. The text contains no information about the translator or date of composition of the text, which we assume to have been written in the period of Classic Ottoman Turkish. On page 2b of the anonymous text is mentioned the name Ahmedî who is praised and whose qualities are described. However, the text gives no information as to the identity of this person. Although the work about the cleaning of stains is on page 2b said to consist of two sections in keeping with its topic there is only one section in the text. While the first section about the cleaning of dress is

A Medical Text From Bulgaria-Tırgovişte Belonging To The Ottoman Period

Abidin KARASU — 2026-07-16

Usage of plants for treatment begins with history of humanity. Thousands of years ago, humans had found out power of plants for treatment and have derived benefit from it to sustain healthy way of living. Public medicines are the applications which have extended from past to today as the outcomes of a long term experience in Anatolia where public medical science applications are encountered extensively. Many works were written by the physicians for the treatment of diseases in the Ottoman Era. Meeting the need for medical knowledge in public, these works bear the traces of post-Islamic period stylistically. These works draw the attention of such fields as medicine, pharmacy, linguistics etc. with their characteristics. Information relating diagnosis and treatment of many diseases is provided in the medical manuscripts of the Ottoman Era. Several methods have been used throughout the history of humanity on the diagnosis and treatment of disease. Human, who previously see all the negativity of physical, mental and social as a supernatural event, firstl sought remedy on sorcerers. These people, who were also known as healers, have played an important role in the detection and treatment of disease. Later, mankind who discovered new treatment methods through trial-and-error, has laid the foundation of modern medicine. Folk medicine is an institution that is away from scientific medicine and composed entirely of traditional and magical treatment methods. The folk medicine texts that are used for the treaatment of people as illogical practice and the text that is on the weight of that application on the folk medicine are separated from the medical texts that depend on the scientific medicine understanding that were written of that time. Turkish culture has appeared in Anatolia since Turks migrated to the territory. Folk medicine-being an important part of Turkish culture- had also been carried to the area. There are many copyright and translated works on Anatolian Turkish medicine, which carried on its improvement independently of master-apprentice relationship, dating back to 14th century. Historical medicine works make up important research fields for some disciplines in terms of form and content. These works are within the framework of language studies in terms of language material and technical terms they include. They are also important for alternative medicine as they include techniques which utilize raw plants instead of synthesized ones. In addition, these works are within the framework of pharmacognosy because they contain drugs made of synthesized plants and other substances. Finally, historical medicine works are in the field of research of folklore as they include not only modern medical application of the period in which they were written but also folk medicine and other medical traditions. Turks, who were under the influence of the Middle-Age Islamic Medicine Literature, had written 50 medical books using the Olden Anatolian Turkish. The medical information these books included were ahead of the time period that they were written and they also provided considerable medical information for the current time period.Most of the authors of these medical books were medical doctors and they comprehended various disciplines of medicine. The Anotolian medical text written in Turkish dates back from the 14th centruy. Old Anotolian Turkish Period medical texts written in Turkish are quite numerous. In this paper, we aimed to introduce a medical book brought from the town of Bulgaria-Targovishte, formerly named Eski Cuma during the 1877-1878 Ottoman-Russian War by a family migrating to the village in the province of Kocaeli Sapakpınar. A lot of Turkish works were written after creating the written language based on Oghuz dialect when Oghuzs came to Anatolia.The medical works among the texts written in this first period that can be called ‘Old Anatolian Turkish’ or ‘Old Oghuz Turkish’ have taken an important place. The medic

Analysis Of Conceptual And Perceptual Processing Of Literary Of Alienation In The Stranger By Albert Camus

Muzaffer KAYA — 2026-07-16

This is a novel by Albert Camus in which he tells about his reaction against a prejudiced society. He expresses the meaning of life for a person who has a both social and natural behavior. Through all this narration, he shows us how pointless humans are, and their desire to own everything and to impose what he thinks is absolutely real on others. It is not true to say that Camus did not try to portray the real case of colonial Algeria, but it is true that he wanted to show that such a situation is pointless. This work is narrated in the first person singular by the main character, Meursault, which means that Camus’s personality suits his hero. It is interesting that we are unable to see the death of the hero as he is the narrator of the story who cannot narrate his own death. Instead, Meursault let us discover his inner world by expressing his emotions. It is possible to say that Meursault and Camus has a secretive relation. The narration in the first person singular might be considered as an autobiography, however, we know it is not. The usage of “I/me” concept intends to describe the relation between Camus and Meursault, and to make Meursault’s inner world obscure by eliminating the distinction which eases value judgment. Meursault never feels himself out of the nature.We recognize that some natural situations about the world are abnormal to him.It’s not a matter of alienation from the world but feeling alienation from the situations i

Orientational Metaphors and Cultural Differences

Mağfiret Kemal YUNUSOĞLU — 2026-07-16

Introduction The knowledge and experiences accumulated by human beings in relation to our lives and our natural environment over the years, have been processed and reconstructed through our imagination and these reconstruction process is used as communication tools in languages. This process have been believed to be the most basic patterns of the human imagination system. People have been utilizing language to express knowledge and experiences, which over time, have evolved into new fields and given new meanings to allow their revival. This is achieved by conceptual metaphors. According to traditional view a metaphor in language, especially in literature, was known as as a rhetorical device in particular. After the discovery of American linguists Lakoff and Johnson who argued that “that metaphor is pervasive in everyday life, not just in language but in thought and action” (Lakoff-Johnson 1980:3), the works dealing with the concept of metaphor on the basis of new theories began to be discussed with growing intensity. Lakoff and Johnson’s theories of metaphor have to a great extent influenced and accelerated the development of cognitive linguistics. One of the topics that attract attention is a cultural metaphor or culture-specific aspects of metaphorical conceptualization. Studies on the subject have achieved the most important findings on the relations between thought, language, culture and metaphor. This article aims to experiment and research on how the world of Turkic imagination have comprehended spatial knowledge and experiences and how it these experiences have been conceptualized in language. Orientational metaphors theory Orientational metaphors of space are expressed with concepts establishing the direction oriented relationship with respect to one another. Therefore, they are named as spatial metaphors or orientational metaphors. In such metaphors of space, directions within physical space constitute a source and target area. Accordingly, they are associated with concepts of spatial orientation as up-down, in-out, front-back, on-off, deep-shallow, central-peripheral (Lakoff-Johnson 1980:14-17). Lakoff and Johnson find these metaphors in references to spatial areas where people maintain their everyday lives and link their sources to human psychological and cultural experiences. For the same reason, distinctions between cultures are represented by the differences in metaphors. Orientational metaphors and culture In Turkish, we can see many examples of orientational metaphors we use in everyday life. Idiomatic expressions like başı göğe ermek, mutluluktan uçmak, ayağı yere değmemek are used to express joy and/or happiness. These statements show that happiness in Turkish culture is perceived as rising up in the vertical direction. This means that in Turkish thinking or a mind HAPPINESS IS ON THE TOP AND UP (rising and elevating) while GRIEF AND SORROW IS DIRECTED DOWN AND BELLOW. If we look up the verb düşmek in the Turkish Dictionary, we can see that ‘fall’ or ‘falling’ is in the most cases connected to negative situations and circumstances (TS 422b-423a). All the negative phenomena in Turkish culture are generally associated with falling into place, lying down, or to be DOWN, UNDER OR BELOW. Although orientational metaphors display similarities between many human cultures they also represent a great variability of cultural differences. While the Chinese culture conceptualizes past as something above (or ahead) and future as lying below (or behind), in both, Turkish and English and in many other languages the phenomena are being expressed in an opposite order. We think of the past as of the time period that stays back/behind us/below which is, in comparison with the Chinese language, contrasted with the word shang ‘the one which is above, ahead, in front’. For the time that is before us, in the future, Chinese uses xia ‘lying below, at the back, behind’. Past tense: 上星期 shang-xing-qi “ the up

Cellât (Executioner) Novel And Violence In Early Modern Europe (1500-1800)

Ferhat KORKMAZ — 2026-07-16

Ahmet Mithat Efendi carries the affairs of his era to his art with over thirty novels. Apart from being a journalist, just as he is interested in the problems of Ottoman Empire, he is also interested in the problems and histories of Middle East, Africa, America and Europe. From beginning of Medievel European history to recent years violence and crime have lived between public and power. This is a contoversial point of wiev between subject and object. Ahmet Mithat Efendi cared about Europe’s crime and violence history and reflected in his novels. The violence that European history had attracts the attention of Ahmet Mithat Efendi, with his novel called Cellât (Hangman), he presents that to the readers’ taste in a fictive world. Cellât is the first Turkish novel that there presentation of violence is aimed. Ahmet Mithat Efendi who likes to reflect the historical facts to his novel tells the lives of an executioner and his son that pass in violence by keeping parallel with European history in the novel. The events that passes from the Napoleon’s return from the exile in Elbe Island to Waterloo War, which coversone hundred days of authority of him, are handled with a novelist genius in a fictive ambience. In our work, the violence in early modern Europe will be handled by considering the fictive ambience of Cellât. Determining violence as a subject in Turkish literature is a condition first time witnessed. Ahmet Mithat Efendi who uses new themes, characters and places in his novels submits a new novel type to Turkish society with Cellât: Violence novel. Violence scenes in Cellât are so widespread that a modern reader feels himself as if he watches a movie of David Lynch or Quentin Tarantino. Key issue in the novel could be summarized like this: Before we deal with our work, we think that it is useful to make a short summary of the novel. The novel’s place is Paris. Leandre Garas is a journalist who studied law and he is one of the characters whom Ahmet Mithat Efendi likes handling. Simon Garas is his father and works as an executioner. He has worked as an executioner for thirty years. Pol Tonak works as a military contractor which is peculiar to medieval and he is given Légion D’honneur by Napoleon. Pol Tonak lives with his wife and his daughter Stefani. Leandre Garas meets Stefani. He hides his real identity by using a nickname called Andre Gocafo. Leandre saves Stefani and her mother Eyena from molestation of a person called Leon in Eyena Bridge. He hides his real identity because of his father’s job. A society does not accept a person in itself who terminates others life. While Simon is introduced in the novel, plenty of violence is presented at the same time. Leandre Gocafo can not respond Stefani’s love due to his real identity. On the other hand, Stefani’s mother and father who think modernly want to get their daughter to marry with Andre Gocafo. Also, Napoleon wants Pol Tonak’s daughter to marry with that young man since Pol Tonak is one of the close friends of Napoleon. However, Leandre Garas disappears. He rescues a man called Piyer Tolkaş who is sentenced to death by Simon Pankar’s intrigues with the help of an article written by him to a journal and a small piece of work. Simon Pankar is a man who seized all property of Pol Tonak before. Leandre confesses his real identity. Nevertheless, she doesn’t give up her love. Simon Pankar wants to have Stefani with the help of his intrigues. Simon Pankar persuades Leon and his friends to a murder not to become this marriage real. Leandre is shooted with a gun but he rescues from death. Simon Pankar is killed with a severe torture by Simon Garas because of this assassination. Leandre marries with Stefani. Napoleon is exiled to St. Helene isle after Waterloo War and Simon Garas is executed. Ahmet Mithat Efendi who knows European history and press through books he has read and culture and friendship relation he has become familiar in the period that he has not still seen Eu

The Faith of Evil Eye in Traditional Anatolian Carpets and Rugs: The Amulet Motif

Ayşegül KOYUNCU OKCA — 2026-07-16

Türk kültürünün yapı taşlarından birisi olan geleneksel dokumalar çeşitli amaçlar için üretilmiştir. Günlük kullanım eşyası olarak ya da çeyizlik amaçlı üretilen geleneksel dokumalar, motifleri bakımından da çeşitli anlamları bünyelerinde barındırmaktadır. Anadolu insanının duygu ve düşüncelerini yansıtmakta en etkili iletişim aracı olan geleneksel dokumalar aslında sessizliğin sesi ve duyulmayan bir haykırıştır. Anadolu’daki önemli inançlardan birisi de kuşkusuz nazar inancıdır. Bu çalışma ile Anadolu halk inançları arasında bulunan, kültürümüzde ve toplumumuzda önemli bir yeri olan nazar inancına ve nazar inancına bağlı olarak ortaya çıkmış olan muska motifi tespit edilmiş, bu motifin hangi amaçlar için kullanıldığı, geleneksel dokumalardaki durum tespiti yapılarak dokumalardaki kullanımına ve yüklenen anlamlarına dikkat çekilmiştir. Muska motifinin belgelenerek bu konuda araştırma yapacak araştırmacılara kaynaklık etmesi ve geleneksel kültürümüzün içinde var olan bu motifin gelecek nesillere tanıtılması amaçlanmıştır. Yöntem anlayışımız ışığında amaca ulaşmada gerekli araçlar olan gözlem, söyleşi ve yerinde inceleme teknikleri kullanılmıştır. Ayrıca dokumalarda tespit edilen muska motiflerinin çizimleri yapılarak ve fotoğraflanarak belgeleme işlemi gerçekleştirilmiştir. Motifler, simgeler ve semboller bir uygarlığın dili ve yazıtları kadar çok şey anlatabilen sembollerdir. İnsanoğlunun eskiden beri bir tutkusu haline gelen süslemek ve süslenmek geleneksel Anadolu halı ve kilimlerinde çeşitli ebat, renk, simge ve semboller ile ifade edilmiş motifler şeklinde karşımıza çıkmaktadır. Çeşitli duygu ve düşünceleri anlatmada kullanılan motiflere yüklenen anlamların zenginliği ve çeşitliliği, geleneksel dokumaların tarih boyunca ileri bir düzeye ulaşmasını sağlamıştır. Geleneksel dokumalarda görülen motifler, taşıdıkları anlamlara göre gruplara ayrılarak bir sınıflamaya tabi tutulmuşlardır. Doğum ve çoğalma ile ilgili motifler, yaşamı simgeleyen motifler, ölüm ile ilgili motifler şeklinde üç ana grupta incelenmektedir. Konumuz olan muska motifi ise yaşamı simgeleyen motifler grubunda bulunan korunma ile ilgili motifler arasında yer almaktadır. Geçmişten günümüze tüm toplumlarda bilinçli ya da bilinçsiz olarak koruma amaçlı ortaya çıkan ve inanç sistemi içerisinde önemli bir yer tutmayı başaran nazar ve nazar ile ilgili motifler, geleneksel dokumalarda da önemli ölçüde kullanılmıştır. Geleneksel yaşamda halk, göz değmeye karşı korunmanın en kolay yolunu dokumalarına nazar motifini dokumakta bulmuştur. Bu nedenle nazara iyi gelmesi amacı ile halı ve kilimlerin başlangıcında ve bitiminde yer alan kilimlik olarak adlandırılan kısma göz motifi dokunmaktadır. Böylece, dokumaya ve dokuyucuya göz değmesinin önleneceği düşünülmektedir. Ayrıca dokumaların bir yerinde mavi boncuk kullanarak nazara karşı önlem alanlar da bulunmaktadır. Göze göz ile karşılık vermek en basit karşı koyma tekniği olarak kabul edilmiştir. Gözden çıkan vurucu kuvvetin zararından korunmanın tek yolu olarak yine gözden faydalanılmıştır. Bu yüzden göz şeklindeki her nesne ya olduğu gibi ya da renk ve biçimi değiştirilerek nazarı uzaklaştırıcı muska motifi olarak dokumalarda yerini almıştır. Üçgen en basit şekli ile karşımıza çıkan muska motifidir. Genel olarak geometrik bir form olan eşkenar üçgen ile sembolize edilen muska motifi yörelere göre oldukça çeşitlilik göstermektedir. Geleneksel dokumalarda muska motifi korkulardan korunmak için sıklıkla kullanılan bir motif olmuştur. Muska motifinin yer aldığı dokumalar bu yüzden Anadolu insanının gözünde çok değerlidir. Çünkü dokuyanın evini, mutluluğunu nazardan ve kem gözden koruduğuna inanılır ve yere serilen bir çeşit nazarlıktır.

Manas Epik According To Greetings

Gülten KÜÇÜKBASMACI — 2026-07-16

Language is one of the important elements of culture which can be described as life sytle of a nation. There is an unchained relation between culture and languge due to either language is one of the elements of it or it enables to reflect culture. The codes belonged a nation are expressed in the language of a nation. According to Lacan, collective unconscious is as a result of human relations. The realtion between society and unconscious can be construct by this manner (Eagleton 2004, 207, 212). Literaly work lies down i

Eski Türk Edebiyatı

İslam KÜÇÜK — 2026-07-16

Idioms are groups of words that include all sensitivities and experience of a society from cultural, historical, sociological, and philosophical perspectives. They are the most important elements in the language treasures of the communities. It is possible to say that there are quite deep metaphorical meanings in their contents. In a sense, they reflect, though partially, communities’ outlooks on life, their joys and sadnesses and their characteristic structures in the form of a mirror. Proverbs also have similar characteristics and, therefore, they were frequently confused with idioms, and could not be distinguished with precise lines and determinations. Researchers have also refrained themselves from making very clear and using terms at this point. Similarly, idioms and proverbs were seen to be used together in the works penned in the related field during the Ottoman era. Therefore, it is quite impossible to distinguish proverbs and idioms that were intertwined together. There was also no precise classification in the worlds of the author in the manner of these are proverbs or others are idioms. The works that brought idioms and proverbs were also written during the Ottoman period. These works were given titles such as Durûb-ı Emsâl, Durûb-ı Emsâl-i Osmâniyye and Manzûme-i Emsâl. Both proverbs and idioms were seen to be together in many of these types of works. The explanation of five idioms, written during the Ottoman period, but almost forgotten or never used today, were attempted to be made with current examples in this study. The primary forms of verse used in Old Turkish Literature are ode, eulogy, mathnawi, rubaie, song and cantos. In addition to these, the works that are called “Durûb-ı Emsâl” and consist of proverbs and idioms are also available. All of the idioms in this study had been identified in Ali Emiri Efendi’s work called Durûb-ı Emsâl-i Osmâniyye consisting of proverbs and idioms. These works, entitled as Durûb-ı Emsâl, are made up of proverbs and idioms. This work of Ali Emiri, written in Ottoman Turkish, consists of 161 sheets. It is registered in three volumes at Ali Emiri Literary Works Section of Istanbul National Library in the numbers 282,283 and 284. The first volume consists of 54 leaves. The accounting records of 27 pages are available from Leaf 41b. A leaf in this section where the accounting records were found was left blank. Created in the order of Arab alphabet, this volume includes letters of ‘alif, ba, p and t’ according to the vowel points they received. There is not any record of the volume’s date of compilation. The second volume is 60 leaves. According to Arabic alphabet, all letters between these two letters including letters ‘jim’ and ‘kaf’ are arranged in accordance to the vowel points they receive. The third volume is 61 leaves. There is an ordering in this volume beginning with the letter ‘kaf’ leading up to ‘ye’ which is the last letter of Arabic alphabet. The ordering was carried out in accordance with the vowel points letters received just like in other volumes. This is the only available copy of the work. There is no another copy of the work available at libraries. It was written with a font called rik’a. There are two-thousand four hundred forty two proverbs and idioms and approximately one thousand two hundred verses (a verse form consisting of two lines) in the work. Some of proverbs and idioms are Arabic and Persian. Some of the idioms available in the work are as follows: Ağzı gümüşlü (Silvery mouthed), Ahfeş’in keçisi (Ahfes’s goat), ayağı düze bas (business is thriving)-, ayıya kaval çaldır (trying to tell something to an inconsiderate person)-, mum ile oku (extending invitation to someone)-, başında değirmen taşı dön (consistently rubbing someone’s nose in it)-, delilere zincir vur (not letting heart fall in love with a fairy)-, hora geç (be appreciated)-, köy göçtü (everyone left), ocağına su koy (destroy someone’s family)-, okunu at (throw your arrow)-, ölüsü di

The Caricature Masters of the “Mullah Nasreddin” Magazine

Allahverdi MAMMADLİ — 2026-07-16

The presented article “The Caricature Masters of the “Mullah Nasreddin” Magazine” by Allahverdi Mammadli is devoted to the creative work of the painters who carried out activities for the magazine. The magazine (1906-1931) was published on the initiative and by the editorship-in-chief of Jalil Mammadguluzadeh-the notable writer of Azerbaijan, in Tbilisi which was regarded the South Caucasian people’s cultural center at that time, in the Azerbaijani language. The magazine continued its activity in Tbilisi till 1917, in Tabrizcity in 1921 and in Baku in 1922-1931, showing great services in the formation and development of the critical literature, press, as well as cartoon art and has left indelible traces in the history of the Azerbaijani literature and press. “Mullah Nasreddin” was the first colored and cartoon magazine in Azerbaijan and the Turkish-Muslim world. The satiric graphics, illustration methods, political posters and welfare genres have been used here. If we take into consideration that half of each magazine issue consists of those coloured images-cartoons, then it can be known how great the importance of cartoons is. At the beginning of the twentieth century the cartoon conveyed great public character. The sharp criticism and bitter laughter focused on the freedom and spiritual progress of the Azerbaijan people. In general, the cartoon has served wishes to heal the wounds of the Azerbaijan society, se it free, independent and developed. According to the author’s conclusion, “Mullah Nasreddin” era cartoon is a special and mature phase of the Azerbaijan cartoon art. It is known that Azerbaijan people are of Turkish family and origin. All the typical features and qualities are evidences of this. The Turks have been split at a certain period of history. The Slavs dictated the broken Turks. In order to separate Azerbaijan people of Turkish origin fromthe root, they had been given the name of “The Muslim”. The reason for this was that those people were more connected and royal to the Islam religion. Another reason was that, it was necessary gradually to cause to forget their being of Turkish origin. But the intellectuals of the Turkic world were mobilized to ensure self-consciousness, self-return and national identity of the Turks not to disappear. They began to organize keep up of Azerbaijan people of Turkish origin with the modern world and prove that they were worthy of it. Ali bey Huseynsadeh–The Turanian thinker had suggested the slogans of “Islamization”, “Modernization” and “Adoption of Turkic Habits”. It was the calculated ideological line of the nation’s future and philosophy of life. The illustrators of the “Mullah Nasreddin” magazine tried to implement it in Azerbaijan’s hometown reality by their cartoons on the basis of ideological line. The Azerbaijanity took the lead. The author has drawn the reflection of issues related to the fate of the so called Azerbaijani’s country, fate of Azerbaijani Turks, protection and development of the mother language in the cartoon master’s creation to the research. One of the conclusions made by the author is that cartoon masters, taking an advantage of the entire realistic cartoon, had achieved the strengthening and development of national ideas in the national and public opinion. Ideas of Azerbaijanism–national liberation, independence, moral progress and rise of “Mullah Nasreddin” literary school serve the strengthening of independence, national-moral self-recurrence and self-consciousness even today in Azerbaijan. The first artist of “Mullah Nasreddin” was Oscar Shmerling (1863-1938), German by background. His drawings immortalize in itself the Azerbaijani national color and Eastern traditions. Azim Azimzadeh, Khalil Musayev, Ismail Akhundov, Gazanfar Khaligov and Hussein Aliyev worked as the artists for “Mullah Nasreddin”. These artists, in their pictures satirized incisively negative characters either with a sharp humor or gentle irony. The aim of the article is t

A Young Turk In Cyprus – Ahmet Tevfik Efendi And The Second Constitutional Era In His Poems

Emin ONUŞ — 2026-07-16

Turkish Cypriots struggled for survival on the island for almost a hundred years from the time of the British leasing of the island in 1878 to the 1974 Peace Movement. They never severed their ties with Ankara, and even though they were under the British colonial rule when the Turkish War of Independence began in 1919 they gave it their material and moral support, and following the declaration of republic in Turkey they quickly adopted Mustafa Kemal Atatürk’s Reforms. However after EOKA terror activities on the island in the late 1950’s Turkish Cypriot poets and writers produced a nationalistic, enthusiastic nation-focused literature on the island. We can see such literary works still maintaining relevance in our days. In this regard we are safe in saying that besides the journalism which started in Cyprus from 1890’s the significant reason behind these behaviours of Turkish Cypriots was the emotions aroused by Cypriot Young Turks such as “existence, insistence, resistance, the idea of freedom, and Turkishness”. When the British administration was established on the island besides the colonial rule it also sought to substitute the Turkish identity with the Muslim one and thus applied restrictions to the national symbols. When the British colonial rule was aggravated by the extremism of Greeks on the island, the Turkish Cypriot intellectuals began to act. Thus when Young Turks were struggling for a constitutional management in the Ottoman Turkey against Abdul Hamid II, one of the places they travelled to was Cyprus. Young Turks came to Cyprus on their way as they were fleeing to Europe or Egypt, and they quickly found their supporters on the island with their emphasis on parliament, liberty, and Turkish identity, because the Englishmen were trying to establish the concept of Islamic community – Muslim Cypriots. The Liberty and Progress Club formed out of two clubs on the island was spreading and defending the ideas of the Ottoman Union and Progress administration. Among the main published newspapers which were under the influence of Young Turk movement or even known as Young Turk newspapers the following ones can be mentioned: Hacı Derviş Tüccarbaşı’s Zaman (1891-1900), Ahmed Tevfik Efendi’s Akbaba (1897-1898) and Mirât-ı Zaman (1901-1910), and Seyf (1912-1914) owned by Bodamyalı-zâde Mehmet Münir Bey. Hacı Derviş Tüccarbaşı’sZaman newspaper – which is accepted as the first newspaper of Turkish Cypriots – may seem to be supporting Sultan, but in fact it was influenced by the writers supportive of Young Turks. The main principles of Zaman newspaper were: resisting the Greek press, Enosis, and British colonial rule, maintain national awareness and the connection to Homeland, and promote Turkishness. Here we can safely add to the list Ahmed Tevfik Efendi’s Akbaba which is known as a comic newspaper. We see that this newspaper joined Young Turk movement and mercilessly criticized Sultan Abdul Hamid II. The leading Cypriot culture and literature researchers Harid Fedai and Ahmet An share this opinion that the newspaper and its publisher were Young Turk supporters. Ahmed Tevfik Efendi’s weekly Mirât-ı Zaman newspaper which he published after Akbaba is also knows as one of the most important newspapers supporting Young Turks in Cyprus. Besides the criticism of Sultan Abdul Hamid II and the poems on national, libertanian, and Turkishness themes, the newspaper included articles of such Young Turks as Lokman Hekim Doktor Hafız Cemâl from Cyprus and Vizeli Rıza Efendi and İzmirli Saffet Bey from the Ottoman Turkey. And Seyf newspaper owned by Bodamyalı-zâde Mehmet Münir Bey should be mentioned as one of the closest to Young Turks’ publications in Cyprus. This newspaper promoted national ideas despite the British administration and its title-logo was “national”. The logo of Seyf newspaper consisted of the word ‘Seyf’ (which means ‘sword’) written in the old Ottoman letters in the form of a sword with a moon and a star on its tip. At the

The Etymology of “Ash” and the İmportance of it in the Kyrgyz Culture

Mayrambek OROZOBAYEV — 2026-07-16

In a variety of research conducted so far on the Turkish culture on "ash", nation's beliefs and ideas on ash, fire in general, were addressed by clarifying issues on stove. Whereas, there are many cultural elements related to ash as powdery substance that we throw away as remnants of fire for centuries, which we benefit from it again for various purposes. An important part of these elements are reflected to our language within the folk literature such as proverbs, idioms, epics, tales, folk songs, requiems, applause, curse, taboos, etc. For instance, Turkish people have taboos about ashes such as do not step on ashes against ashes, do not scatter ashes, do not pour water to the ash, etc.. However, there are contradictory statements about the reason for the output source of such taboos. While some researchers associate the traditional practices related to ash coincident among the community, the others connects it with the stove or some other cult. These show that cultural values of ash are not fully identified in the minds of the Turkish people. Indeed, questions such as the place of ash in our culture, what are the cultural values in the society and how they are reflected to dialect has not yet found the answer. In addition, debate about the origin of the word "ash" continues. All these conduced toward approaching both linguistic and cultural dimensions of the subject "ash". The purpose of the study is to overcome the deficiencies and to contribute to solve the problems specified above. Due to the discussion of the subject in article format, it must be stated that it only mentions the use in Kyrgyz and it is limited to the Kyrgyz culture. The matter was approached in terms of language at first and the term "ash" was evaluated in terms of origin information and considering the history of Turkish and the use of other contemporary literary language. Then the Kyrgyz conceptual dimension of the word was emphasized and the use of the word in Kyrgyz proverbs and idioms were discussed to clarify this dimension. As is known, proverbs and idioms as the original product of the oral traditions, which combines language and folklore, are the values that have the characteristics of a bridge between the two. In particular, idioms reflect the unique ideas of public and the effect of the imagination. Thus, in the Kyrgyz proverbs and idioms, the folkloric dimension of the term "ash" must be examined while assessing the conceptual field of the term. From this point of view, the importance of ash in the Kyrgyz Folklore has been focused on further. As a result of the study, the following can be said about the origin of the term "ash", conceptual field in Kyrgyz and its importance in the Kyrgyz culture in summary: 1) The word "ash" did not undergone many changes in terms of both form and terms despite the fact that its written sources from ancient Uighur Turkish to each area of Turkish are encountered. The right approach to be emphasized about the word's origin is the approach that occur with the addition of the letter -l to the b-verb <*kü- "store, preserve" that transferred verb to word by Gülensoy. However, the kü- verb estimated to be used as "preserve, store" associate with the verb küy- used as "burn; external carbonization; be angry; feel pain; long for; worry; be anxious; be sad; sincere love" as in some Turkish literary languages such as New Uygur, Kyrgyz, Kazakh, Tatar. The -y- at the end of the verb küy- is the developed version of the -d- suffix that is the additional reinforcement suffix from Old Turkish to -d- and -y- in the following eras. Thus, there is a possibility that the verb *kü- has the meanings of "burn, feel the pain" as well as "to store, preserve" and the possibility to have the word ash originate from the nominalization of the -l suffix is higher. 2) "Ash" in the minds of the Kyrgyz has taken place in both positive and negative concepts and they have been reflected to their language, literature, traditions, custom

Mathematical Terminology And The Language Of An Accounting Mathematics Work Written In Old Anatolian Turkish Language

Sezay ÖZÇELİK — 2026-07-16

The mathematics terminology used in Mecma‘ü’l-Kavâ‘id, a book about mathematics of accounting written in the second half of 15th century, which could be dated to Ancient Anatolian Turkish, was analyzed in this study. The mathematics terminology in the work were classified in accordance with their linguistic characteristics. Thereby, the way scholars, who produced works in different fields of science in Ancient Anatolian Turkish era, used the material of language while corresponding the terminology and concepts related to this scientific field were brought to light. Disclosure of the terminology used in such works regarding various scientific fields has enlightened another phase in the progress of Turkish up to date as a language of science. On the basis of our study, we could say that Turkish wasn't widely used as term equivalent in mathematics during Ancient Anatolian Turkish period, rather it was used as a description of Arabic - Persian terminology. Once more it was revealed that translation and derivation and compound forms as structural characteristics of Turkish had a critical importance in expansion of vocabulary regarding language of science in Ancient Anatolian Turkish. The terminology used in the work and their explanations are included in our study. The explanatory and didactic tone of the work constituted a resource in defining the terminology. Also, the work frequently includes the unit of measure of the period and explanations related to hem. However this study doesn’t include units of measure. Mecma‘ü’l-Kavâ‘id, written by Hacı Atmacaoğlu Muhyeddin Muhammed, one of the scholars of Fatih and Bayezıid 2 era, on mathematics of accounting (ilm-i hesap) in the second half of 15th century (1494), is one of the works which illustrates its use in terms of scientific language in this century. Mecma‘ü’l-Kavâ‘id includes subjects related to accounting science. In other words, it is about "technical mathematics" used in Ottoman accounting system by council officers and companions. The book consists three sections. First section is on whole numbers, the second section is on fractions. There are forty problems with solutions in the third section. There are more than twenty copies of this mathematics book which explains the subjects needed by companions in a clear style, both in Turkish libraries and abroad. The reason which Muhyeddin Muhammed compiled Mecma‘ü’l-Kavâ‘id’i was to provide a temporary Turkish work for companions who were new to the accounting field. The writer explains that, he examined many "superior" books in this field, however he couldn't make use of these as they were compiles in Arabic and Persian. The reason that make him take action was to provide a comprehensive and Turkish resource for the newbies as well as accounting class. Until the period Mecma‘ü’l-Kavâ‘id was compiled the accounting works were generally run by people who represent the heritage of Selcuklu and Beyliks through resources in Arabic and Persian. In this period, the accounting system predominating Anatolia and the people running this system were of Persian origin. After the conquest, Ottoman accounting system started to produce its own resources. As accounting class was composed of Turkish bureaucrats and apprentices, the books in the beginner level were compiled in Turkish. We could see that Turkish equivalents of terminology were sought in various scientific works written or translated in Ancient Anatolian Turkish and when Arabic - Persian terms were used, Turkish explanations were added so that target audience could understand it. In terms of Mathematics terminology, some of the terminology (carryover, percentage, units, tens, hundreds, thousands, tens of thousands) we use today were translated into Turkish as of 15th century. These new terms brought in Turkish expanded the vocabulary of Turkish and the explanations of the terminology are important to demonstrate expressional capabilities of Turkish language. Mathematics terminol

White Bearded legend of the " Flame of Cyprus in the Context / Turkmen Investigation of the Ruins of Faith Items

Şevket ÖZNUR, Ejdan SADRAZAM — 2026-07-16

The main aim of the paper is to examine and to discover the continuity and handling of the symbols and concepts of antique Turkish beliefs such as samanism and animism etc. in ‘The White Bearded Legend’ that has been compiled at the present time. The religious symbols formulate a basic congruence between a particular style of life and a specific metaphysic, and in so doing sustain each with the borrowed authority of the other. The symbols and concepts of antique Turkish beliefs that carried by Alevies were against the official religion and subsidiary. And therefore was kept secret in legends to train new generations in order to adopt traditional Turkish religions, modes of thought and lifestyles. The beliefs embodied in the various symbols such as the rabbit totem, the holy mountain motifs, the consecrated migration phenomenon, the sacred numbers three and seven that were very important at the ancient Turkish beliefs, the holy tree cult, the soul in disguise, fire control ability of shaman and shaman himself have been found throughout the research. So far as culture patterns, systems or complexes of symbols, are concerned that religious symbols are extrinsic sources of information. However, they internalize knowledge, was integrated into society. We can understand the link from the success of a legend that strictly depends on constantly repeated in family and in community. But the real success of it, can provide creative and specific responses for community that suffering from many unexplain diseases, griefs, and the other disasters etc. and to establish a base of continuity between past and present or deaths and the new generations. The deconstaction of the legend’s context will contribute to make the invisible reality of Cyprus Turkish Society visible and can be made useful for theoretical as well as methodological questions understanding the alteration of beliefs in Cyprus Turkish Society. Myths are stories from ancient times. They explain natural phenomena such as day and night and seasons; the creation of the Earth and universe; mysteries of life and death or narrate the origin of man and history of people. More often than not a myth is intertwined with religion and attempts to give a spiritual explanation. Myths evolve as they are told and re-told and become widespread as they are passed from one generation to another by word of mouth or in writing. They may contain a degree of supernatural elements although a number of myths are based and rely on historical events and real-life heroes. The Turkish people began to settle in Asia Minor towards the end of the 11th century after the Oghuz Turkmen tribes led by the Seljuk clan defeated the Byzantine forces at Manzikert/ Malazgirt in 1071. With the arrival of the new settlers the predominantly Christian Anatolia was introduced to Islam which the Turkic people had begun to convert to as early as 8th-9th century. But most of the nomadic Turkish tribes rather than adopting Orthodox Islam they chose to embrace a heterodox system of belief which was a mixture of mystic (Sufi) Islam and the deep-rooted traditions/rituals which they found hard to entirely abandon. This heterodox belief was powerfully influenced by Shamanizm-dominated pre-Islamic mythology as well as other faiths which played a major part in shaping the nomads way of living, religious life, traditions, customs, superstitions, legends, tales, myths etc. Centuries later this unorthodox belief which came to be known as “Alevi/Bektaşi/Kızılbaş” in the 13th century was imported into Cyprus after the island was conquered by the Ottoman Empire in 1571. An imperial decree in 1572 commanded that people from different parts of Anatolia be forcefully transferred to Cyprus with the purpose of colonizing it in accordance with the long-standing policy of the State. Amongst those who were re-settled were members of the nomadic “Yürük/Turkmen” tribes who were devoted followers of the Alevi/Bektaşi belief/culture/philosophy and

+gu, +gu Suffix and Functions

Sezer ÖZYAŞAMIŞ ŞAKAR — 2026-07-16

In Turkish, new words are formed with structured affixes, word composition, and word repetition. Turkish is a agglutinative language, which means new words are mainly formed using derivational affixes. Deriving new words through joining noun or verb type roots and bodies, in order to meet new notions is a basic feature of Turkish. At the same time this basic feature is the most natural, frequent and vast way of new word acquisition. In Turkish in order to derive language correspondences of new entites and notions, denominative noun affixes, deverbal noun affixes, denominative verb affixes and deverbal verb affixes are used. We see denominative noun affix +gu/+gü and deverbal noun affix -gu/-gü with same sounds among these kind of derivational affix. Works had been done before about deverbal noun affix -gu, -gü and derivatives. These are named, Mecdut Mansuroğlu’s “Functions of -gu Affix in Turkish”, Mustafa S. Kaçalin and A. Azmi Bilgin’s “Upon +lağu, +legü Affix” and Kemal Eraslan’s “Denominative Verb Affix -gu/-gü in Historical Literary Language, -ku/-kü, Structure, Function, Usage and Extended Patterns”. In this study suffix of denominative noun +gu, +gü and its derivaties will be studied. Widely usage of the affix in historical eras of the Old Turkic and Middle Turkic works have decreased since Old Turkey Turkish. +gu, +gü affix and (+ku, +kü, +agu, +egü, +agun, +egün, +agut, +egüt, +a?u, +e?ü, +avu, +evü, +avut, +evüt, +av, +ev, +?gu, +?ku, +agı, +egi) derivations are rounded vowel in historical eras of Turkish. Unrounded vowel, +gı, +gi, +kı, +ki, +agı, +egi forms appeared in Turkey Turkish. The affix derives state and quality names (böngü “confused”, edgü “good, beautiful, earning”, esengü “robustness, health”, inçgü ~ inçkü “serenity, peace”, me?igü “happpiness”~ me?gü “eternal, perpetually; perpetuity”, oglagu “polite, gentle, noble”, tıla?u “one who speaks effectively and beautifiuly, good speaker”, zorgu “difficulty”); group number names (altagu “six of them”, altıgu “six of them”, ikegü “both”, ikigü “both”, törtegü “all four”, yetigü “every seven, seven of them”, yüzegü “hundreds of”); indefinite pronouns (alkugu “all, whole, everybody”, kamagun~ kamıgun “always, completely, all”, tüzügü “whole, always”, yomkıgu “whole, always”); equipment, belongings, tool, material or substance names (dışkı “stool, fertilizer”, fışkı “fresh manure of equine, fresh manure”, karagu “black paint called zaç”, kavagu “quickly drying flammable substance”, kavkı “shell”, kılagu “straight razor”, közgü~gözgü “mirror”, pürgü “headscarf”, torku~torgu “silk, pongee”, tuzgu~duzgu~tuşgu “ration; passengers gift”, ülgü “measure, scale”, yüzgü “mirror”); organ names related to human and animals (başgu “forehead with white patch”, eyegü “rib”, içegü “innards”); names related to nature, climate or environment (karagu “dark, no light”, kıragu “hoarfroast”); names announcing illness, deficieny and deficit (karagu “blind”, karağı “night blindness”, kekegü “stuttering”, tumagu~dumagu~dumagı~tumagı~dumağı “catarrh”); names indicating community, social stratum and relation (alpagut “valiant, warrior”, bayagut~bayakut~bayagu “wealthy, rich”); animal or animal related names (kelegü “jerboa, marsupial mouse”, yılkı “horse herd”); question names (negü “what, how, why”); names announcing likeness, similiarity and equality (azırgu “little”, bugragu “like male camel”); determination, discrimination, limitation expressing names (belgü “sign, footprint”, özgü “peculiar to itself, itself”); names announcing color (çilgü at “red horse”, karagu “black, dark”); names announcing place (kargu “hill”); game names (karagunı “a kind of game that is played by children at nightfall”). As a result, denominative noun +gu, +gü and its derivatives had been widely used in Old Turkic and Middle Turkic texts and dictionaries mainly in the form of rounded vowels, also voiceless consonant affixes existed, after the Old Turkic Turkish unrounded vowel forms of the affix

Determination Of Syructural Identity Of Languages

Mustafa SARICA — 2026-07-16

Introduction and purpose of the study: The words which are reserved by the languages are changing according to the centuries or periods. It is not necessary for the word which is coming into use to appertain structurally to the language at issue. The words used by a language consist of native vocabulary, vocabulary which is borrowed from other languages, and the words which cannot be defined. It is not quite easy to make such a

Perspective And Narrator In Zülfü Livaneli’s Narrative

Emrah SEFEROĞLU — 2026-07-16

One of the most popular writers of contemporary literature, Zülfü Livaneli’s works, his narrative world capturing his character and worldview, is a kind of demonstration of the Turkish Novel after 1980s. He has totally seventeen works of the essay, story, novel and memory. The point of view and narrator are some of the structure elements which determine and shape the fiction in texts which are based on the principle of narration. Narrator who is the displaying of author in text is an imaginative identity and narration is fictioned according to his/her viewpoint. This structure element which points at the situation/location of narrator in work of art, belogs to fiction of text and world of expression in level of discourse. The deep relation between the appearances of viewpoint, narrator and the i

Contribution Of Quotations From Poetry To The Context In The Hüseyin Rahmi Gürpnar's Novel Iffet

Fatma SÖNMEZ — 2026-07-16

Hüseyin Rahmi Gürpınar deserves to be called as one of the most productive novelist in Turkish Literature with his forty one novels. Not only his productivity but also his creativity and success in depicting characters in his novels puts him in a special place in Turkish Literary. If we put the technical problems and use of similar thematic areas in his novels aside, clarity and humorous writing style of his novels made him to be loved by the public. He consciously did not adhere to any literary movement as a novelist even tough many novelists were affected by many different literary movements from the end of 19th century to the beginning of 20th century. In addition to that, there was a cultural transformation in this period as well. In this regard, the change in the mentality can be clearly observed in his novels. His novel ‘Iffet’, which is the subject of this study, is written in ‘hakikiyun meslegi’ style as described in the foreword of the novel. In this novel unfortunate story of a poor girl named Iffet is portrayed by the narrator. It is clear that the use of personification method starts with name Iffet, which was chosen to describe pure and clear nature of the girl. She is an introvert, sensitive and depressed girl. Narrator uses quotes from poetry in order to portray her story and these quotes enrich the context and the fiction of the novel. They also depict the well-educated and sensitive nature of Iffet. Furthermore, they are used as a way of creating an atmosphere. The poems from headstones are particularly to serve this purpose in the novel. Hüseyin Rahmi is a novelist who writes on realist/naturalist topics and draws his characters out on his social frame. He uses this aspect in İffet as well. Furthermore, he depicts İffet’s gloomy side by the poem quote included in the panel at her home and by doing this he provides a clue about İffet. This quote shows the reader not only her gloomy side but also her taste in aesthetics and culture. Thus, it contributes to the context of the novel. Similarly, writer-narrator is troubled about İffet’s life after seeing this poem and he frequently visits her house with his doctor friend. Thus, he becomes curious about her life and gathers a lot of information about her as the doctor visits İffet’s sick mother. While mentioning her educational background narrator informs us that she has learnt a poem from Victor Hugo’s Angelo play by heart and even translated it to Turkish. This poem is quoted in its original form-French and İffet’s translation is also provided. This quotation not only shows İffet’s education level but also which type of poetry she reads. After İffet’s death Latif acquires pieces from her diary. In order to get these pieces writer-narrator reads poems according to Latif’s psychological state. Latif is convinced to give the pieces thanks to these poems. In this regard, the poems enrich the context and fiction of the text. The poems written on the headstones are also important to depict the sorrowful and temporary nature of the life on earth. These poems does not bring the death to mind but tells the journey of doctor and writer-narrator to İffet’s grave and how they learn about İffet’s death. Therefore, they are important for the progression of the story. Moreover, their journey to İffet’s grave and her death makes inhuman nature of death clearer as it is pictured in poems written of the headstones. Quoting Lamartine and challenging how hard it is to explain the feelings by the alphabet even for a talented poet like Lamartine in İffet is an important detail. Because, writer-narrator cannot explain İffet’s love towards Latif by his own words and uses a quote from Lamartine to explain intensity of her feelings. This show that writer-narrator feels that it is impossible to depict the emotional state of characters. This also indicates how writers from this era feels toward explaining the feelings of the characters and their feeling of inadequacy for depicting it i

Köprülüzâde Ebû Nâile Abdullah Pasha and His Kasîde-i Vâviyye

Murat SULA — 2026-07-16

The aim of this article is that to tell about of Köprülüzâde Abdullah Pasha’s life and his Kasîde-i Vâviyye wrote about his father in love Şeyhulislâm Feyzullah Efendi (d. 1704). Article is comprised of two main parts, four sub-headings and result with the exception of introduction. Poet's life in the first main topic is discussed briefly. In the first sub-heading of the second part, has been given the Arabic kasîde with its prose translation. In other titles, respectively, different subjects like to be evolution of the kasîde in terms of contents, eloquence and literary arts, sentence typesetting and word structure and zarûrat al-şi‘riyye/necessities of the poetry focused. Köprülüzâde Abdullah Pasha was an Ottoman general of the first half of the 18th century and one of the commanders during the Ottoman-Persian War. He was a member of the renowned Köprülü Family that had given three grand viziers to the Ottoman Empire. Abdullah Pasha was the second son of Köprülüzâde Fâzıl Mustafa Pasha who killed as martyr in war of Salankamen in 1691. His surname (consisting of abû or umm followed by the name of the son) is Abû Nâile, according to some tabakât books and his manuscripts at the various libraries. Abdullah Pasha's works and functions that he stayed suggest that he had got a good education. Probably, he received his elementary education from his father or children’s school. If we consider the current education system in his time, we can say that Abdullah Pasha could have completed his education in the 18-20 age. Accordingly, it can be that the date of Pasha is between 1088 and 1090. According to bibliography sources, Abdullah Pasha married with Zübeyde the girl of Şeyhülislâm Feyzullah Efendi and rose to the rank of vizier. After a short time, in 1702, he was governor of İstanbul that accepted the first office after the grand vizier in the state organization. He was appointed a governor of various cities (etc. Sakız, Sivas, Trabzon –twice-, Eğriboz, Musul and Aydın) between 105 and 1715. In 1716, he was appointed as Ministir of war/Serasker of Kudus, Hamid and Mora. Abdullah Pasha worked in different government offices between 1723 and 1735. He met the Persian general Nadir Shah in the Battle of Arpaçayı in 1735 and been martyred in the mentioned battle, like his father. He had seven children including one girl. Boy’s names are Abdurrahman Bey (dead when he was governor of Trabzon), Abdullah Bey (d. 1749), Ammar Bey (d. 1759), Ayaz Bey (d. 1763), Hamdi Mehmed Bey (d. 1771), Sadık Mehmed Bey (d. 1763) and Affân Bey (d.1783). His daughter and his wife are buried in the tomb next to the mosque, which was built in Diyarbakır his own. Abdullah Pasha made many endowment buildings to be used in the service of human society and he paid careful attention about taking the necessary measures in order to meet the needs of all kinds of buildigs. According to libraries records, Abdullah Pasha wrote three books. One of them is Durriyyât/Nuhbet al-aş‘âr and it consists of his selected poems. The second book is Şerh al-Kasîde al-‘ayniyye li-İbn Sina. It is interpretation on poems of İbn Sina. The last work of him is the el-Edille al-mukni‘a fî kırâet al-eimme al-erb‘a. The content of this book is evidences regarding the recitation of the four reader leaders. Abdullah Pasha's poems suggest that he had the private interest against Arab poetry. Some of his poems have been interpreted by his contemporaries: Abdulbakî Ârif Efendi (d. 1713) known as “hezafen” in his period and Gölpazarlı Mehmed Selîm Efendi (d. 1726), wrote a book about the zarûrât al-şi‘riyye/necessities of poetry, when he was alive. The name’s his poem, which elucidated by his contemporary by Gölpazarlı, is Kasîde al-Vâviyye. It’s named as Vâviyye because of the rhyme letter. This kasîde was told in bahr of Tavîl and consist of forty six couplet. Kasîde that is the subject of this study is not to be found in the books which included his poems and poetry reviews t

A Psychoanalytic Approach to Nature-Culture Contrast/Conflict in Turkish Poetry of the Republican Period

Cafer ŞEN — 2026-07-16

Introduction and the Aim of the Study In this article, it has been aimed to put forth the attitude of the poet who opposited theurban in the Turkish Poetry of the Republican Period. While doing this, it has been tried to showpsychic aspect in the sensation and perception of poet against the urban with psychoanalytic theory. At this point,owing to the fact that the urbanis a cultural/symbolic area, the poet want to leave from this place. The most important reason is that the laws of the cultural area block pleasures. Culture emerges as a consequence of separating from nature. Actually, it means alienation to the nature. Therefore it is situated just opposite the nature. In nature, there is no distinction or categories on the meanings and values contrary to cultural area. Hence the nature is an area of integrity. Nature is accepted as an area of absolute pleasure, desire, satisfaction and fulfillment. Culture is, on the contrary, the area of law and prohibition which blocks the absolute pleasure and satisfaction. In psychoanalysis, the period having the characteristics of the area of the nature corresponds to first three years. However, cultural area emerges as the consequence of learning the language. Sigmund Freud terms this seperation as primary and secondary processes,while Jacques Lacan terms them as the imaginary and the symbolic stages. Imaginary stage is the period in which the desires are met with a holistic perception, narcissistic satisfaction is felt intensely and a self-image is established for the first time. However, symbolic stage is the period in which most of those narcissistic sensations belong to imaginary period are inhibited and the first self-image established is degraded. The subject had to leave most of his narcissistic sensations which belong to first period while establishing himself by leaving the imaginary area and entering the symbolic area. Therefore the subject desires to return back from symbolic area to the integrity, narcissistic sensation and the first self-image of his imaginary area he lost as long as he lives. At this point, the poet expresses his desire to return from cultural/symbolic area, from the urban to the nature area / imaginary area in his poetry. Hence, the poet raises the value of nature while fighting against the cultural areas/urban and aganist the meaning and value of them. In poetry, the nature is associated with pleasure, desire, unconsciousness, unmediated perception and feminine images. On the other hand, the culture is associated with urban, law, prohibition, obstacle, consciousness, mediated perception and masculine images. In fact, dialectically, obstacles produce pleasure. There is no joy or delight in where without obstacles and with the absolute pleasure. Therefore, pleasure does not exist in nature. Pleasure arises as a result of blockings of cultural area from which the nature is alienated. At this point, the pleasure which emerges in the cultural area is the form of sexual impulses and instincts of Eros being transformed into life according to the reality principle. The poet do not accept the incomplete pleasure of cultural area or the urban. He desires the absolute pleasure and satisfaction which exist in the instinct and impulse of death of Thanatos by gravitating towards the nature. Dialectically, there cannot be found pleasure in where absolute pleasure and satisfaction exist since there are no obstacles or inhibition. The nature-culture contrast in the Turkish poetry of the Republican period is treated with the richness of all these sensations and perceptions. Conceptional/Theoretical Frame In this article, theurbanhas been taken as cultural/symbolic area.Symbolichas been taken from Jacques Lacan's psychoanalytic theory as a concept. Ithas been used linguistic area in which the subject live.The cause of the poet’s leaving from the cultural area is to return back to the imaginary area. Imaginary which is taken Lacan’s theory as a concepthas been used by

In the Early Republican Novel Building Identity of Consevative Men: In the Sample of Peyami Safa’s Novels

Ürün ŞEN SÖNMEZ — 2026-07-16

The first period of Republican novel, beyond aesthetic intentions, contains the reflections of young nation state ideology and the reflections of formalization. In this era novel, nationalistic approachment which has shown itself from national literature, unites with state’s ideology and is used in building identity. Aforementioned identities are mainly men identities, fundamentally, with these qualities, have already been parts of state ideology. The main purpose of this research is that supposing by novels, were written in the early years of National Struggle and Republic, used as a tool in which forming nation state and national identity, to analyze the years of National Struggle and the first period of Republic’s role of literated novelists, nation state, nation i

Bath Culture And Its Functions In Bursa

Hülya TAŞ — 2026-07-16

Water is one of the indispensable elements for all creatures. Therefore, it is one of the sources of life. Water has always been important to Turks, as well. It can be deduced from creation myths that start with water and from the fact that Turks blessed the land-water culture in Gokturk scripts and attributed a personality to water. When Turks arrived at Asia Minor in large masses, they brought along the bath culture due to the importance attributed to water and being clean within the religion they adopted. Bath culture is common throughout Asia thanks to abundant sources of hot water. Not only large towns and cities but also smaller settlements, which are similar to today’s villages, had baths in the 13th century. Bursa is one of the places known for its baths and healing waters at that time. Bursa thermal springs, which had been renowned even prior to the Turkish conquest, preserved their importance in the aftermath of the conquest. Remains of thermal springs from the Byzantine Empire were modified by Turks. In other words, Turks utilized these remains by making certain additions. Sultans, notable officials, and charitable wealthy people built more than fifty public baths in Bursa throughout the history. The reputation of Bursa thermal springs has also been mentioned in the poems of famous poets. Among these poets, Ârif and Lamii Çelebi also wrote poems praising thermal springs of Bursa. Bath traditions, which are an important part of the Turkish culture, had an important role in the social life of Turkish people in the past. Even if it is not possible to assert that currently they are still as influential as they used to be, they still survive. Bath occasions are held in Bursa for various reasons. Some of these reasons are “bridal shower” which is held one or two days before the wedding ceremony, “40th day shower” which is the celebration on the 40th day of a newborn, “circumcision shower”, “military service and groom showers” held by men, and “vow shower” which is the celebration held by a person who achieves what s/he wishes. This study deals with two baths located in the central district of Bursa Province and used only by women. The study involves (1) legends and vows about the historical Sultan Çekirge Bath, also known as bath with entombed saint, vowing bath, wishing bath, bath for poor people, and base bath, and (2) bridal shower practices in Kaynarca Bath. Though the establishment date of the historical Çekirge Sultan Bath is not known clearly, it is known that it was built between 1365 and 1370. It is stated that Çekirge Sultan Bath was the foundation of a person known as Çekirge Sultan who lived during the reign of Murad I. His tomb is next to the complex of Murad I. The legend told about Çekirge Sultan, after whom both the district and the bath were named, is as follows: Sultan of that period wants to test a person who is known as a saint while wandering with him. He picks up something from the ground and asks the saint what the item is. The person, who plans getting over the situation by explaining that he is not a saint and the name is attributed to him randomly, tries to exemplify this situation with the hops of a grasshopper. As soon as the so-called saint utters the word grasshopper, the sultan opens his palm and the grasshopper inside his hand hops out. The sultan believes that he is a real saint since he predicts what he is hiding. Therefore, the sultan gives a lot of gifts to the man. The saint becomes grateful for not being executed. Thus, he builds this thermal spring to pay his debt of gratitude. The name of the district has been Çekirge (i.e. grasshopper) since then. One enters the historical Çekirge Sultan Bath by descending through the stairs. When entered, one sees a window wall place where the bath owner and the staff sit. There are lockers on the wall where clothes are kept. This place is within the part called cold room. Generally speaking, baths are

Public Opinion Of Turkey Reflected In The Group Of Words

Ali TAŞTEKİN — 2026-07-16

Language is the mirror of society; and syntax is the sentence of meaningful images reflecting from this mirror. By examining the form and scope of language, it is possible to determine a community’ssocial, political and cultural development and change template. Scanning daily newspapers of the lastfew years and examiningthe new word groups entered our family and business environmentsthrough television help usevaluate the improvement process of language and changing direction of society. We totally collected two hundred remarkable word groups for this study. We tried to collect the word groups that affect Turkish society’s socio-cultural structure with the aim of determiningthe effect of language onsociety. We categorizedthese word groupsaccording to their form and content. We tried to identify what the structure types and the included messages mean for linguistics andwhat thisphraseology brings alongin terms of the priorities of the society. Phrases are the fundamentals of the Turkish language in Turkey. They carry the traces of both theTurkish language history and the cultural development and change of Turkish society. In this study, we examined 200 recent popular phrases. Most of them were identified to be a political phrase or a compound noun. When the example phrases are set in type in order of frequency of use by their first letter, ‘K’ is in the first line with 21 (10,5?) times of its amount of use. It is sequentiallyfollowed by the other lettersaccording to their amount of uses as D:19, S:17, A:16, T:16, B:15, Y:11, M:11, P:10, İ:9, G:7, E:6, Ç:6, H:6, I:3, O:3, U:3, C:3, F:3, R:3, V:3, Ö:1, Ü:1, Ş:1, W:1, Z:1.Four of the word groups begin with numbers. It was observed that the frequently used vocals and consonantsin the beginning of Turkishwords are also frequently used in these phrases. Most of these phrases (84 %) were made up with two words, 12.5 % with three words, and only four (2 %) of these phrases were made up of four words. There were no phrases made up with five or six words. This can be attributed to the tendency towards achieving more with less in accordance with the economy principle of language. The first word was the “root” in 52 % of the phrases that were examined, and the others had no complex stems; 3.5 % of them were acronyms. This is likely a consequence of the fact that most of the Turkish speakers use simple expressions and avoid complex and indirect ones. The results of the study have demonstrated that the compound nouns are used effectively in modern Turkish, and that two-word compound nouns are preferred generally. Finally, there is a trend towards meaning more with fewer words. Result: The group of the words starting with a vowel comprises the 21 ? of the overalltwo hundred word groups we analyzed, 77% of the words start with a consonant and 2 % with a number. 1,5 ? of the word groups are compound words written asa singleword. The groups that are composed oftwo words constitute 84 ?; the groupsthat are made up of a number and a word,of a number and two words, and of one abbreviation and two wordseachconstitute1? of the overall groups. The groups made up with an abbreviation and awordconstitute 2 ? of the total. Three-word phrases are 12,5 ? of total, the four-word ones constitute 2? of it. There is no word group having five or more words. When we analyzed the word groups according to the type of their first words, we observed the proportion of uses as: Nouns 67?, adjectives 33?, adverbs 0,5? . However, we realized that pronouns, connectives, preposition and verbs are not used at all. According to the structure of their first word, the word groups are formed from radix (52?), trunk (44,5 ?) and abbreviation (3,5?). According to the type of word groups, idioms are 50?, noun phrases are 70,5?, adjective clauses are 25?. In addition, gerunds are 2?, orientation groups are 1,5?, reiterative 1?, vehicle groups are 0,5?. No other word groups are available. Most of the meaning and con

The Appearance Of Divan Poetry In Ali Günvar’s Poems

Bünyamin TETİK — 2026-07-16

As a “Dasein” person artist is intercommunicating with current conditions and cultural accumulation. Today’s poet accepting the art the way it is, is making use of art of Ottoman culture artworks as an escape or healing way from toughness of modern life. By this way, for almost two long century, Classic Turkish literature still maintain living and is a resource for Turkish literature. This situation applicable for Ali Günvar putting pen to paper his works between 1985 and 2013. The loudest and most clear proof of influences are epigraphs and quotation. The quotations in Günvar’s poems, like a lighthouse, is giving clue about code of texts. Some of these quotation whole or partial. Collected from a lot of cultural environment the quotations prove their artistic richness and canalize readers’ perception to where wish of poets. The massive percentage of quotations is epigrams. In his poems, Fuzuli’s Su Kasidesi (eulogy of water), Nedim’s and Nabi’s lyrics and Galib’s Hüsn ü Ask (Beauty and Love) is quoted. Besides, some books, for example Mevlid, Gül ü Bülbül (Rose and Nightingale), Leyla ü Mecnun, is memorialized with reference saying their names. In aestetic level, classic Turkish poetry, prejudice Modern Turkish Literature with phonic usage, harmony and rhythm. In his poems, first impressive aspect is usage of aruz (prosody in Ottoman style). Some poems named for Gazel, Munacat and Naat. Aruz, used in two poems and some poetic parts, is an instrument of communication between tradition and modern life. Both of these two poem written with the aruz meter that “mefûlü mefâîlü mefâîlü feûlün”. Separately, to bring into consonance, some Ottoman poetic styles take a place in his works. Ottoman lyrics style and its couplet and rhyme system are used intensely. Likewise, mustezad libre is used even with some differences. Because of major importance of sound, Ali Günvar’s books, especially Ricatlar Kitabı, have a strong impact of music. Some song names and even musical notes can be encountered. Besides some of quotations is selected by special poems that be composed for Mevlevi ceremonials. In spite of weakness for originality, symbolic language is took advantage of Günvar’s poetics. Symbols serve the purpose of composing multilayered expressions and implicate some distant and shadowy meaning for readers. According to Ali Günvar, historical and cultural consciousness created by if and only traditional texts and art pieces. Traditional symbolism provide the awareness instrumentally. For that matter, the symbols should be comment as a traditional image rather than outdated and banal usage. Traditional imagination not only express historical conscience, but also in some situations, symbolic language transform and express modern meaning ironically. By the help of a vivid contrast, symbol of traditional metaphysic and harmony switch to modern depression and melancholy. For instance çemenzar (lawn), selvi (cypress) and sahra (sahara), with a reversal meaning, stand for tension between psychic unity and modern life. Traditional life style is addressed an issue that still living at the present, not a nostalgic and historical situation. The kind of usage argue that adaptation of tradition or possibility of its existence. Günvar claim that traditional life style is pushed some small circles and under the risk of disappearance step by step. In contrast to this pessimistic scene, traditional susceptibil ity still is capable of returning to life with refreshing power of words. Tradition is a shelter in harshness of modern life for Ali Günvar. In the poems, it emphasized that tradition unify i

Eurasia as his novels focusing on the perception of urban space

Ramazan TOPDEMİR — 2026-07-16

Geographical Locations Reflections on Literature of one of the most common types of literature in novels and poetry, is given broad geographical places Author and poet's geographical places, lend works great wealth. Geographical places, one of the essential elements of literary genres. Especially now in the novel, it is clear that as the old space. Space is used for the subject, if necessary. Whether he or decorations are not used for the purpose of business. The novelist lived in a world where the air is opposite inhalation. Information about that world history books, Travel, description, literary works and antique goods is limited. Novelist space and the elements of this space are very important to work even at the point of artisans might also not be neglected in case this information is passing in front. That's why space in the novel, from the first case are separated by other novels. Novelist artisans compared to others in terms of power is forced to be more creative. Because the hero of the novel as a common place in the venues in which they live can not conceive on their speed in making serious examination is difficult to interpret. Them in the past, the terms should endeavor to call. Thus, at least to feel the characteristic aspects of the transfer should work. Poetry is also true in case of the month. Yesterday and perspectives used today in the fields of geography and venue are subject to change. However, venues, poets is the indispensable material. I

In terms of ethnopedagogy Mongush Kenin-Lopsan's work: Tıva Çançıl

İlker TOSUN — 2026-07-16

Herder and Brothers Grimm has been recognized as the founder of the folkloristics. On the other hand, interest in the their folklore of Europeans was started after the conquest of the Americas. At the end of the 15th century some travellers, clerics, traders went to America and they did compilation about social lives of American natives. Europeans were very interested in lifestyle of primitive people living far from civilization. In the following years European humanist intellectuals focused on their folk culture. Marc Lescarbot (1580-1630) wrote the “History of New France” (Histoire de la nouvelle-France) and Jesuit priest Lafitau wrote the “Customs of the American Indians Compared With the Customs of Primitive Times” (Moeurs des Sauvages Amériquains, Comparées aux Moeurs des Premiers Temps). These studies affected the philosophers of Age of Enlightenment and blazed a trail for new comparative researches of folklore and ethnography. James Macpherson published “Fragments of Ancient Poetry, Collected in the Highlands of Scotland and Translated from the Gaelic or Erse Language in 1760, “Fingal” in 1762, and “Temora” in 1763. His poems had widespread influence of European literature and started literary movement before the Romantic era. Thomas Percy published the Reliques of Ancient English Poetry and his works gave impetus the Ossianism. German poet, philosopher and thelogian Johann Gottfried Herder’s (1744-1803) works were extremely important for folkloristic studies. His aim was purification to German language and culture. At the same time, in the Herder’s period, Germany was

The Old Ox: An Ecocritical View

Serpil TUNÇER — 2026-07-16

Refik Halid Karay’s short story, “The Old Ox” might be subject to various methods of literary criticisms depending on cultural, psychological, philosophical, social and feminist analysis. However, this study aims at establishing a new consciousness of the relationship between Nature and humans and between humans and the non-human. This new consciousness corresponds to a recently developed interdisciplinary field studying the relationship between the environment and literature and is called, “ecocriticism” which applies the ecological principles to literary texts. Since ecocticism is an interdisciplinary field, it exploits the data of the fields such as biology, environmental ethics, ecology, eco-philosophy, geology, socio-ecology and linguistics. Actually, the bridge between Nature and literary texts has not been only recently built; there has always been notable links between literature and Nature’s basic issues. However, man, is now forced to make a radical change in the way s/he deals with Nature, and due to this, in the way s/he handles all other scientific and social fields forming a base to comprehend various phenomenons of this world. Man is really forced to establish a novel method in viewing this planet in which life has to be rendered sustainable; otherwise man’s civilization is to confront a vital problem of existing because of the illusion that man and Nature are rivals and man’s benefit is the single legal one ranking as the first among all living and non-living entities. Ecocriticism embodies that Nature is not the source that supplies man with his basic needs but it is a whole made up of complex systems constituted by living and non-living things within air, water, and earth. In this sense, Eco-literary texts emhasize that Nature is there for mankind now, but not forever. Nature is subject to be consumed and it is not an eternal source. Moreover, man’s history is involved in Nature’s history; being not separate histories. The traditional approaches which overlook ecocriticism, usually employ templates related to Nature, like images of paradise, the virgin land, wild land, deadly forests and mortal seas. Man’s alienation from Nature originates from the duality that man and Nature are two distinct entities. Ecocriticism handles not only land, seas and forests but also animals, cities, technology, recycling and disposing wastes, deserts, primitive and local communities and man’s body, since each member has a direct impact on the rest. So, ecoliterary texts display a specific concern for the representation of the natural world. This is to say that the ecocritical approach involves the serious task of rereading literary texts from an ecocentric perspective. It is obvious that the shaping of a writer’s thoughts depend on the environmental conditions his/her life is surrounded with. Those writers who convey an overwhelming environmental consciousness in their work should be traced and reassessed. Refik Halit Karay’s short story, The Old Ox, chosen to be exemplified among many others, focuses on the conventional beliefs, manners and acts of peasants leading agricultural lives in Anatoly, just before the establishment of the Turkish Republic (1919). Refik Halit Karay The significance of the story rests on its featured content highlighting not merely the pastoral life, but also the socio-cultural relations of farmers as lower class members who are the primary focus of Karay’s work. Alongside the lower class members, fallen women, animals ( as they are involved in the non-humans), have also been examined closely by Karay. The author has presented in the story, thoughts, feelings and the spiritual mode of an ox, the sensitivity of an animal, making it the main character of the story. This is at the same time, the sensitivity of Karay, clearly transmitting a message to humans about performing constructive interferences in Nature, instead of destructive attempts. Man’s history puts forward the verifications of denying

DİLBİLİM-SEMANTİK

Melike UÇAR — 2026-07-16

Imperative, ordering the construction of the action, social status, age, gender, along with another person to prescribe due to many factors such as experience, mandated to do, is a form most of the time in my command as an expression of feeling due to prescribe power. This mode is also used to give a lecture area where at least two people involved with attachments felt Charter for expressing my order in a plane shape and command. Ancient Turkish and used effectively today and to examine a wide variety of morpheme to the semantic context of the crop from -GIl with attachments imperative is important. Context, before or after a language phrases from the said unit or change the meaning of the units affecting every aspect of determining unit is defined as the whole. Therefore imperative in order to demarcate the meaning of -GIl crops that adds polish to the scanning of historical texts and sentences mean that participated in these crops have been identified by departing from the text context. Analysis consists of two parts. In the first chapter reinforce, strengthened our -GIl attachment orders referred from other parts of the text when referring to the context of the orders even though the expression of transport orders that function in the sentence -GIl crop attachment. In the first part orders -GIl informed about studies and the ideas put forward by anyone with additional information about the known primary duties of the -GIl attachment "to order" where the meaning of examples will be presented. In addition, this will show you how formally annexed the historical dialects in which changes in tables. This represents an additional definite order. For future action, which specify the type of work to be done. As meaning varies according to the person. Additional Old Turkish period can be used for both singular plural person. More advanced by hakan as an oratory made public and reflects be plural. Scientists are united in purpose to determine whether these crops are used to reinforce. These crops are used where although reinforcement and strengthening purposes, though, that attachment and attachment orders are not denied in the order used for the text. This is in addition to the present day Turkey continues excised Turkish finds social status again by hosting the express orders of people with high expression. In the second part except that the order of addition -GIl attachments Imperative also has other meanings. Some of the orders contained in the text are expressed as a function may seem to carry this additional order form. In the survey, only those crops where there is meaning orders, in contrast was found to contain many meanings in the text context. Command of spoken word command to be expressed firstly from the opposite side to have a higher status, the status of the power of expression and command purposes are required to carry. Adds imperative that the -GIl annex that contains historical dialects belong to an order in sentences all the time, command and status of superiority expressed whether or not have was curiosity. From this point on the basis of the study focused on the function and meaning of the text in the context of additional -GIl adds were examined. Transportation command for the purpose of -GIl adds as well as have been found to have a different meaning. The study consists of two parts. In the first part of the -GIl adds known and studied by researchers in the direction while expressing the historical dialects belonging to the second part of the adds the scanned text in the meaning of that the boundaries were drawn. With additional -GIl adds command in Turkish are not always express command that have been proved with examples taken from historical dialects. 15 works belonging to the historical dialects scanned, the scanned examples of the works have been presented. Which reveals the connection with other departments concept we call orders. -GIl adss different meanings outside the bar to order the sentence that is

Turkish Language Issues By Kemal Tahir

Mustafa ULUÇAY — 2026-07-16

Language is the most important aspect of the literature. That is why every poet, story teller or a novelist has to take the linguistic style of his/her writing seriously in order to produce a unique work. Kemal Tahir is one of the authors in Turkish Literature who meets this aspect of literature properly. He does this not just in theory but also in practice. The famous statement from him, “Using your own language properly is the best manifestation of one’s patriotism” embodies his concern about language. Kemal Tahir uses a unique style of the language in his novels and stories. Among his novels, Devlet Ana (Mother State) is the pinnacle in language and won the Turkish Language Association award. Kemal Tahir initially dealt with the Turkish Language’s questions as a novelist. On the one hand, he took the responsibility of demonstrating the beauty and enrichment of the Turkish language; on the other hand he attempted to resolve the problems of the language. In this regard, it is fair to call him, ‘Yorgun Savaşçı’ or ‘the Exhausted Warrior.’ Kemal Tahir was concerned about all aspects of the language and dealt with the linguistic problems diligently. He then noted the results of his research. His writings covered the questions such as fabricated words and inverted sentences that emerged after the alphabet reform, discussions around purifying the Turkish language from foreign words, the relationship between language and culture, slang, and Turkish dialects and accents. There is no doubt that the writings and endeavors of such an intellectual do matter to us and need special attention. Kemal Tahir’s views on the various questions of the language can be found in the issue of Esi Dergisi published in 1956. It is important to note that the contributions of Kemail Tahir with regard to linguistic matters are not limited to Turkish. One can see a global concern in his writings. All of his writings about language, literature, the art of writing a novel, and culture were published by Cengiz Yazoğlu in a volume called “Notlar (Notes)” From his notes on art and literature, we know that Kemal Tahir wrote a dictionary of Turkish Slang language during his years in prison. He based his notes on Koçubey Risalesi, Azeri dialect, The Book of the Thousand Nights and One Night, different accents in Anatolia, proverbs, expressions, and street language of Turkish. Kemal Tahir did not accept any foreign intervention in language. He believes that the alphabet reform was a mistake, because many people lost the access to thousands of manuscripts. Also, he critiqued the theory known as the Sun and Language Theory. This theory argued that all human languages are descendants of one proto-Turkic primal language. One of the issues that Kemal Tahir critiqued severely was the alphabet reform. He believed that the treasure of a language such as words and the structure of its sentence cannot be changed by force. A power from top to down cannot reform a language’s established structure. Any change in language should be an organic change in its cultural and historical context. A power from outside should not intervene. Kemal Tahir believed that language is shaped by the life a nation and its social reality. This is also the case with the words. It is because of this reason, producing new words is not about the desires of some i

Cultural Alienation And Identity Crisis In Turkish Novels

Nurullah ULUTAŞ, Emine ULU — 2026-07-16

The West which proved its superiority in every field following the19th century created an identity crisis not only in social life but also in novel genre which is the mirror of social life. Considering the centuries-long history of culture and identity and the challenge of leaving traditional values, it is undeniable that the transition obliged by Westernization within almost every field would encounter a natural resistance. This resistance would lead to a natural civilization crisis. It can be seen that culture and identity crises which started by Tanzimat period are commonly discussed as a subject in Turkish novels. The dimensions that this transition and resistance expanding the 21st century reached in Turkish literature can be explained only through a systematic reading and the attitudes that characters adopted against Westernization movement. Unlike very clear characters like black-and-white fictionalized by the first period novelists, characters who internalize Western culture and even take the position of “Other” against their own culture are encountered in late period novels. Although the historical roots of Turks are from Asia and Islam, they have always had eyes on the West. This transformation towards Westernization has undoubtedly reflections on novel being the mirror of society in different dimensions. Identity crisis in Turkish Literature became evident after the conflict started with Western life styles especially after the Second Constitutionalist Period. With the effect of post-Tanzimat positivism, reasonable, self-confident, intelligent, cultured, well-informed, intellectual characters are idealized in our novels and stories. This intellectual type and desired life enable readers to make a comparison through protagonists and their remarks between lines in many novels. In some novels, architecture of Western cities like England and France and their life styles, home order and recreational life are presented; in others, topics such as etiquette, ethics, love life, marriage, working discipline etc. make readers think. According to Ziya Gökalp, during the civilization change caused by Westernization and technologic progress, Turkish nation tried to build up national identity and national awareness which was ignored and underestimated under Ottoman Empire along with national values, culture and identity. As a matter of fact, "civilization" used to symbolize the cosmopolitism which was corrupted and alienated to national identity within Ottoman society structure; "culture" is hidden within the Turkish identity that protected its historical and cultural entity. The field which westernization presented itself most in the empire was absolutely life style. In fact, no measure can show the features of a nation and civilization as much as social life does. Things that can penetrate most easily before civilization changes or a new civilization proposal can be seen in life style as well. What we call as "life style" shows a national style. It is normal that some resistance can be seen during the protection of old values from the past. Considering the fact that culture is not the total but the synthesis of material and moral values; it is a scientific fact that moral values taken from a mutual past and the values brought by modern science and technology will interact and they will be in a dialectic fight until a balance is set within the organic whole made by this synthesis. As it is known, Turkish people had an Eastern/Muslim identity until the first years of Tanzimat. A life standard determined with mostly sacred rules and traditional customs used to shape the living style of Turkish society. As of Westernization, we have encountered a society which tries to imitate and then applies Western standards in social, political, religious and literary sense. This change which initially started as a wannabe attitude turned into a new form which internalized this new life style in following years. This study focuses on the

Anatolia in the Romantic Novels of Resat Nuri Guntekin

Beyhan UYGUN AYTEMİZ — 2026-07-16

Reşat Nuri Güntekin (1889-1956), acknowledged as one of the founders of National Literature, is an author who made important contributions to Turkish literature by the fictional and non-fictional books he wrote after the publication of his famous Çalıkuşu, which was printed in 1922. His place in Turkish literary canon is determined by the fact that he treated Anatolia, which was a disregarded subject till the National Literature Movement, as a main theme in his works. Güntekin, as a writer concerned with social affairs, draws full attention to the underdeveloped and neglected Anatolia, the problems in the education system, the poverty and ignorance of the Anatolians, and the inequalities inherent in the social system. He also provided remedies for the mentioned problems. Criticism on Reşat Nuri’s work generally discusses the above-mentioned aspect of his literary output, and problematizes the representation of Anatolia in the “social novels”, as Cevdet Kudret calls them, such as Acımak (1928), Yeşil Gece (1928), Miskinler Tekkesi (1946), Kavak Yelleri (1961), Kan Davası (1962). This study discusses how Anatolia is represented by the narrators of the following “romantic novels” of Reşat Nuri Güntekin: Harabelerin Çiçeği (The Flower of the Ruins, 1918), Gizli El (The Secret Hand, 1920), Çalıkuşu (The Wren, 1922), Damga (The Stigma, 1924), Dudaktan Kalbe (From Lips to Heart, 1925), Akşam Güneşi (The Sunset, 1926), Bir Kadın Düşmanı (A Misogynist, 1927), Eski Hastalık (The Old Pain, 1938), and Ateş Gecesi (Night of Fire, 1942). The first section of the article entitled as “The Position of the Narrator as a Viewer of Anatolia” discusses from which point of view Anatolia and Anatolians are represented. The novels of Güntekin analyzed in this study are centered around protagonists who are either exiled to Anatolia from Istanbul or who feel themselves as “exiles” in Anatolia, and the representation of Anatolia is determined by their character traits. Broken hearted Feride (Çalıkuşu), who flees to Anatolia in order to find consolation; Şeref (Gizli El), who has to work as a treasury clerk in Gemlik since he cannot find a job in Istanbul; İffet (Damga), who has no choice other than working in Anatolia because he has a bad reputation as a burglar in Istanbul; Süleyman (Harabelerin Cicegi), who avoids society because of his fire-deformed face; composer Hüseyin Kenan (Dudaktan Kalbe), who begins to miss his birthplace when he loses his popularity in Istanbul; Züleyha (Eski Hastalık), who is forced to live in Anatolia by her father; Nazmi (Akşam Güneşi), who takes refuge in the country because of his illness; Jülide (Akşam Güneşi), who has to live with Nazmi and his wife because of the loss of her mother and father; Sâra (Bir Kadın Düşmanı), who prefers to attend the marriage ceremony of her cousin in a village nearby Istanbul instead of spending her vacation with her father in Erzurum; and Kemal Murat (Ateş Gecesi), who is exiled to Milas are all outsiders in Anatolia. The protagonists of the novels, some of whom have been to Europe, are generally Istanbulites, who have knowledge of one or two foreign languages; and they are forced to live in Anatolia. Therefore, Anatolia and Anatolians are represented from the point of view of Istanbulites. It is recognized as a place of exile by the majority of Reşat Nuri Güntekin’s characters, and thus implies a place of temporary residence which is not adopted. In short, “periphery” is depicted by the ones from the “center”. The character representing Anatolia is viewing it as an “outsider”. The second section of the article entitled as “Country Experiences of the Characters” discusses how Şeref of Gizli El, Kenan of Dudaktan Kalbe, and Nazmi of Akşam Güneşi share common experiences of Anatolia. Anatolia, for the male protagonists, is a place of exile where the “self” is experienced as entrapped and dreams about future are withered. It is pointed out in the third section of the article entitled

The Relevance Of The Hamdi’s Yusuf u Zeliha Masnavi To The Sura Of Yusuf

Mehmet Cihat ÜSTÜN — 2026-07-16

The Yusuf and Zeliha masnavi is regarded as the most beautiful work in the 15th century

Contribution to The Old Anatolian Turkish Vocabulary – An Anonymous Example of Cerrāh-nāme

Serdar YAVUZ — 2026-07-16

Medicine studies are considered important in Turkey as in other countries and remarkable studies have been carried out. We can date back to old times the studies that Turks worked on. It is known that in Central Asia Turkish regions the illnesses were treated with different medicine combinations and separate tents marked with flag and spear were built to treat the ill people. Before the acceptance of Islam the Turks were interested in medicine. These data related with the period before the acceptance of Islam were gathered from Uyghur texts. Disease, medicine and plant names which were extant in 45 written texts in different lengths and a partly lost book are important both for language and medicine history studies. Cerrahname is a common name for the works that mentions about surgery. Making medicine and its application took more place than the surgical methods in the works. Our investigation text is a study which gives place to pharmacological features largely. Furthermore, some parts of the text mentions about the treatment of the disease by religious features. Cerrahname was copied in 1504 according to a script written in an unknown date in 910 under a folio numbered 155a. The work has an important place among the other medical works which were translated, semi translated or semi copyright in XIV in Anatolia. Cerrahname is a medicine book written in Turkish in the beginning of the 15th century. In the copy that we are studying on they explain the reason for the composing of the book as follow: I arranged this booklet as 134 chapters. I tried the collect the words of the wise people. I hope this booklet will be helpful and beneficial for people. According to the data above the book consist of 134 chapters. This book is like a handbook written with a simple language since the writer may think that people will use this book when they do not have a chance to contact a doctor. We think that the editor of the book had knowledge of the field since the names of the remarkable medicine scientist of the age were uttered by the editor and the suggestions of them were applied even by him. We will try to give some medicine terms we have located in our study in Cerrahname which is an Old Anatolian Turkish work. While defining the terms short explanations of the terms together with the language they belong to are shown as abbreviation. The abbreviations that took place after the explanation stand for the folio and line numbers. 44a/1 (44. Varak 1. Satır) 1. Medical instruments names 2. Doctor names uttered in the text 3. Disease names 4. Medical terms / drugs 5. Plant names 6. Drugs used in medicine production. Result Haza Kitabı Cerrahname, written in Turkish and edited by anonymous is an important work showing old Anatolian Turkish language characteristics together with being a medicine book and have recommendations for diagnosing and treating diseases It is quite important to investigate written works of different fields especially medicine texts to unearth the vocabulary of Turkish Language. There are 344 plant names in Haza Kitab-ı Cerrâh-nâme. 103 of them is in Turkish (%30), 100 is Arabic (%29), 118 of them is in Persian (%34), 20 of them is in Greek (%5.8) , 2 of the is in Bulgarian (%0.5) and 1 of them is in Armenian(%0.2). Persian, Arabic and Greek names took place greatly as it is seen. 42 of the plant names consist of two or more words. These compound words mostly seen in Turkish, Arabic and Persian words the use of compound words is less. The existence of Medical instruments names and detail knowledge about their using shows the importance of the text. The use of clear and understandable language in the text and definition of the roots, water and syrup in detail, make it clear that the text is important for folk medicine for modern day.

Diwan Poet's Sultan Mentality

İlyas YAZAR, Esra USLU — 2026-07-16

Centuries of Turkish literature in classical literature covering a period of verse, has an important place in the qasida in verse types. Qasida includes tewhid, munacat, hicviye, methiye etc. species. Methiye holds an important place for qasida. Divan literature poets, were patronized by the palace and its surroundings. Aristocrats has created a literary milieus. This literary milieu in praise of the many examples are given. The sample in the period between XIV-XIX. was selected. Methiyes were examined in terms of form and content. The frequency of tesbih, istiare and telmih using were examined in study. The form and meaning of the results of this investigation have been aimed value of methiyes on assessments. Aristocrats’ literary milieus and their auspeies for poets contributed to relationship between poets and their sultan. Study revealed the positive aspects of the sultan poets praised in qasida. Study revealed poets “ideal sultan” perception. Every century has a mentality. İdeal sultan created by the qasida tradition developed and flourished during every century. in the end final “ideal sultan” perception came up. In the study we tried to put forth final “ideal sultan” model.

Impactful Expressions From The Literary Works Of Halide Edip Adıvar

Ufuk YELTEN — 2026-07-16

Halide Edip is a distinguished author of Turkish literature with her unique expression of feelings, her strong character, and her influential writing style. In our article we would like to introduce her to the readers with selected pieces from her works. Necessary explanations are also provided throughout this article so that the examples make the most sense to readers. Childhood memories, ideological discussions, political problems of homeland, and psychological analysis of women were common subjects in her articles and novels. Here, some impactful examples were provided to demonstrate her strong ability as a talented writer. Her lyric words described powerfully how an empire was going down and how she became a part of rescuing fatherland. Also we will see examples how she masterfully explained her emotional world during all the turmoil in the surrounding. Halide Edip was an author who was strongly influenced by the Western education she got in her early ages. As a voracious reader she got through all the classics of Western literature and she was able to articulate them in a unique and original style in her later works. Besides, she was a skillful public speaker. During the starting days of the national struggle she addressed to a large audience in Sultan Ahmet Square where she condemned the occupation of Izmir by Greek armed forces. Many critiques agree that her speech was so powerful that many people from the audience was so inspired that they decided to join the national forces forming in Central Anatolia. This is a clear indication that she was a master of transforming ideas into real life motion. Although she got immersed into Western culture so young she was able to retain her nationalistic and religious feelings. It can be claimed that these feelings were developed as a reaction to her vulnerability towards Western culture. As a nationalist and religious woman but also modernistic woman figure she was undoubtedly a new line of thought in Ottoman Society of 20th century. After the World War I she participated actively to the National Struggle as a soldier next to Mustafa Kemal Pasha, leader of the National Movement. She shared Mustafa Kemal’s vision of fully independent Turkey as she realized how imminent the collapse of Ottoman Empire was. After the successful ending of the National Movement, however, Mustafa Kemal Pasha and Halide Edip’s views strongly

Post Wedding Traditions Of Ondokuzmayis Yoruks Of Samsun

Fatma YILDIRMIŞ — 2026-07-16

The culture consists of A nation’s religion, language, history, geography, literature, social and political life, and many customs and traditions related to such as life style, traditions, customs and beliefs, moral and material values. These culture elements are the clearest features that separate a nation from others. The communities manage to stay together as long as they protect these cultural values. Common values which comprise of the spirit of partnership are encountered in the processes of birth, marriage, and death. Under each of these processes there are some applications of various customs and beliefs. In the process of marriage, which is the subject of this study, the traditions of before wedding, during wedding and post wedding traditions are involved as three groups. Marriage can be described as a change in the status of i

The Effects of Scene Narration Styles in Stories on Narration and Stories of Yıldız Ramazanoğlu

Alpay Doğan YILDIZ — 2026-07-16

A novelist or a storyteller can narrate a story in different ways. A novelist/storyteller, makes use of narration techniques to tell the story in the style he/she wants. The way of using narrative techniques are among the components which form the genre of the writers. Another way which the writer applies to while narrating is the method which is expressed with the words ''staging/ presentation''. The scenes in a novel or story can be narrated in different ways. The scene narration methods of storyteller Yıldız Ramazanoğlu are analyzed in this essay. The way how the scenic methods affect the writers general narration is also found. Yıldız Ramazanoğlu makes little use of the classical staging method, which aims to show the external world. The dialogue method decreases the intervention of the narrator in staging. Yıldız Ramazanoğlu uses dialogues together with interpretation and apprizing expressions. This situation has got two meanings in the narration features of the writer. Firstly; Yıldız Ramazanoğlu's narration is mainly of the internal world and secondly, the writer's stories are generally long. The writer narrates more scenes by the methods she uses. The internal world narration takes an important place in the writer's stories. This situation is reflected on the writers scene narration style. It can be seen that extrovert and introvert display is within each other in the writer's scenes. Yıldız Ramazanoğlu's stories are generally long. The inner world display of the author's narration is more on the forefront. The stages which display the external world are taken short. These stages are narrated between the internal world narration, and one within the other from place to place. All these make Yıldız Ramazanoğlu's reader's work more difficult. The stories of the writer demand a slower, a more intense and a more attentive reading. This slowness and attention is important. Otherwise, especially the homodiegetic narrator's attention and the interpretations which are the reflection of these attentiveness can escape the attention. The attentiveness and the interpretations are important in terms of understanding the characters. The same situation comes into question when the characters are narrated by a out of text narrator. Internal world narrations take an important place in Yıldız Ramazanoğlu's stories. The external/ objective world is in the forefront in predominantly staging narration. In staging, the characters are shown in the objective world stages. The narrations which give direct knowledge about the characters gain importance in narrations which show the characters inner world. There are various narration methods for expressing the internal world. These methods are greatly used in Yıldız Ramazanoğlu's stories. Besides this, staging of the classical sense is less in the writer's stories. In current stages, the staging method's function of showing the objective world without an agent is reduced. There are little dialogues, the dialogues are generally between the inner worlds and is usually given in conjunction with interpretive statements etc. This situation contributes to narration on the basis of the internal world in the writer's stories.

Nabi Commercial And Economic Elements In The Divan

Yahya YÜKSEL — 2026-07-16

Trade is an activity which has been done since people left the hunter-gatherer society and began to trade surplus with each other. It is one of the most important factors in order for a country and a society to be financially powerful and have a voice in international arena and be accepted worldwide. The Ottoman Empire also did what needed to be done as a powerful country. These commercial improvements and society’s look on trade has also attracted the attention of Ottoman poets. Ottoman poets because they are part of the society they live that they can not be

Turkish Manuscripts Presented As A Gift To The Swedish King II. Oscar By The Ottoman Sultan II. Abdulhamit

Ünal ZAL — 2026-07-16

The affairs between the European countries and the Turkish people have varied continually due to political, economic and cultural reasons in a historical period. Especially in a period from the establishment to the fall of Ottoman Empire, the point of view towards the Europe shows differences. While there was a superior view and marginalization towards the Europe in founding and rising periods, they passed into the process of recognizing and understanding the Europe from the period of stagnation. Europe is completely started to be seen as a sample model in a period of regression. However, the affairs between Sweden and the Turkish world have continued in a way different from other European countries. The beginning of The Swedish-Turkish affairs dating back to the period of Vikings, continued with the establishment of intensive diplomatic affairs of Sweden with the Ottoman Empire and Tatars from 16th century. These intensive contacts brought together academic interests towards the Turkish languages in Sweden. The University of Uppsala is the most important center of this academic interest. The beginning of Turcology studies here dates back to 17th century. Uppsala University, regarded as the oldest university of Sweden where Turcology studies have continued so far since then, is accepted as a center where Turkish languages are taught and studies are carried about these languages. There is a collection of manuscripts and printed works belonging to the Ottoman period in the library of Carolina R

The Genre “Ballad-Novel” And The Other Truths Of Society In Work Tirende Bir Keman By Mustafa Kutlu

Mahfuz ZARİÇ — 2026-07-16

Mustafa Kutlu (1947 Erzincan-) who has been studying as a Turkish-literature teacher, director of literature magazine, writer of encyclopedia, journalist and television programmer has published his firs story “O” on the magazine named Hareket in 1968. Kutlu has been publishing his long-stories hitherto. In addition he has been publishing essays and reviews. He has been publishing a long-story every year since 1999. Kutlu has published Tirende Bir Keman (A Violin in Train) in 2015. There is word “Story” on the cover of that book. However this book can accept a novel because it has been edited as a ballad-novel. Kutlu has taken hand social truths both in terms of Islamic sensitivity and particularly in social realism. Story-teller Mustafa Kutlu who writes on İslamic sentiment has maintained searching novel kind in Oriental narrative tradition at his work named Tirende Bir Keman. Kutlu has benefited from songs and folk-songs both in fiction and the content in his text. Therefore his text Tirende Bir Keman could be named as “ballad novel” in terms of its gender. Kutlu has partially deviated from storytellers between 1950-1980 had wrote in Islamic sentiment as Necip Fazıl Kısakürek, Sezai Karakoç, Şevket Bulut, Rasim Özdenören, Cahit Zarifoğlu, İsmail Kıllıoğlu, Durali Yılmaz, Ali Haydar Haksal, Hüseyin Su and Ramazan Dikmen. Kutlu has brought a new perspective to the traditional comprehension that had glorified Anatolian / provincial human contrary to the life of the city people. Author has confronted his readers to the truths in the context of both Istanbul and provincials as Adana, Mersin, Gaziantep and a no-named small town, taking three generations of a family of musicians to the center of theirs narration. Mustafa Kutlu’s approach to Turkish novel history likes Ahmet Hamdi Tanpnınar’s approach. Kutlu accepts Turkish novel history as a journey to westernization. He takes hand this issue in regard to changing civilization. However he believes that a forced changing like this is impossible in context of Islamic tradition. Kutlu warns us that nowadays the literature has become consumption merchandise on all over the world in which the capitalism had become unique ruling except from some real reader end writer. (Kutlu, 2002: 736, 737) Kutlu has continued his novel render search in the oriental narrative context with his new book Tirende Bir Keman which we introduced it as a ballad-novel. The narrator of this book gives information about each song and composer in question by every suite situation or folk-songs that come remind. The first song said in the story is “Canımın yoldaşı ol gönlüme bin neş’e bırak/ Be my soul’s fellow traveler; leave in my heart a merriment” (Uşşak melody-by Şükrü Tunar), the second song is belongs Hacı Arif Bey that begins with words “Olmaz ilaç sine-i sad-pâreme / Çare bulunmaz bilirim yâreme—There is no any medicine for my chest

Le Nom Propre D'homme "Qorqut": Discussion Etymologique

Münevver Ebru ZEREN — 2026-07-16

This article presents Turkish translation of L. Bazin’s famous article “Le Nom Propre d’Homme “Qorqut”: Discussion Étymologique” published in 1964, with some explanatory notes. Although it had been published since over fifty years, we found its translation to Turkish as crucial because even it is one of the most important works dealt with the meaning of “Korkut”, the name given to the most famous wise ancestor of Turks, Dede Korkut, it is not widely known by Turkish academic world. We also tried both to give related literature for the personal name “Korkut” onwards and to compare some other ethymological approaches so far within translator’s notes. This additional work provided us a further evidence of the importance and superiority of Bazin’s etymological approach. In this very important article for Turkish culture, Bazin clearly took the origin of the etymological discussion from L. Rásonyi’s work, which mentioned Korkut in the long list he prepared for Turkish personal names made from imperatives. Although Bazin accepted initially his suggestion that Korkut means “korkut! (frigthen!)”, he was inspired later from the hendiadys qur-qut (kor-kut) that he encountered in an Uzbek-Russian dictionary, which means “accumulated property, wealth, treasure, reserves”. Thus, his article starts with the question “Is Dede Korkut a frightening person or is a (sagesse) treasure?”. To answer this question, first the known persons with the name Korkud/Korkut were listed to shed light to the meaning of this name, with the special focus to Dede Korkut. Then, he proposed that the Uzbek kor-kut word meaning entirely overlapped with the old Turkish conception of Dede Korkut and this expression was composed with the junction of two words: “kor” and “kut” highlighting “wealth” and “benediction”. Bazin later tried to reveal the meanings of “kut” and “kor” in old Turkish religion and culture respectively. Besides the known meanings of “kut”, he found in a Kirghiz dictionary that kut means: “fragment of the jelly material dark red which falls down from the top smoke hole of the tent and brings wealth to the person who catches”. This is important to reveal its resemblance to “kor” with its color and regarding the relationship between kut – top smoke hole of the tent and fire place (oven). He also underlined that this meaning of kut was totally in line with the cosmic conception of Turks and Mongols, where the vertical line connecting the fire place to the smoke hole in a tent represents the cosmic axis via which human world interacts with the

Why Doesn’t He Commune With Nef’î Felek?

Muhammet Nur DOĞAN — 2026-07-16

17th Century mighty and genius poet Nef’î had such ode that the song the ancients used the idiom “merace’l-bahreyn” in other words “junction where two seas meet” was composed by great composer Itrî and we have brought up repeatedly and it continuous to touch a cord. The phrase “Merace’l-bahreyn” takes place in Quran. This phrase tells the junction where sweet and salty water flow in reverse direction without mixing ecah other. Allah builds a barrier between the water in the depth of bosphorus where the stream of two seas meet reciprocal and thus wishes to flow these water one below and the other above without mixing each other. In this ode in which he challenges to the world, contemporary poets and even the fate, Nef’î emerges as a poet philosopher identity as well as his being a man of culture and a genius poet identity. In our classical poem parrot (tuti or dudu bird) symbolizes bird because although a parrot is a bird, it speaks out of ordinary and astonishes the people. Thus poets liken themselves to parrots in terms of uttering such phrases which astonish and make the readers bewildered. ‘Master, teacher’ and ‘mirror’ components are given together wherever a parrot is mentioned in

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