https://turkishstudies.net/turkishstudies?mod=sayi_detay&sayi_id=331 Turkish Studies - International en 2026-07-16 <p style="text-align: justify; margin: 6.0pt 0cm .0001pt 0cm;">Ankara Bilim &Uuml;niversitesi</p> <p style="text-align: justify; margin: 6.0pt 0cm .0001pt 0cm;">Maltepe Kamp&uuml;s&uuml;</p> <p style="text-align: justify; margin: 6.0pt 0cm .0001pt 0cm;">Maltepe Mahallesi Şehit G&ouml;nen&ccedil; Caddesi No: 5 &Ccedil;ankaya, Ankara, T&Uuml;RKİYE</p> <p style="margin: 6.0pt 0cm .0001pt 0cm;"><strong>Web: </strong><a href="https://ankarabilim.edu.tr">https://ankarabilim.edu.tr</a></p> <p style="text-align: justify; margin: 6.0pt 0cm .0001pt 0cm;"><strong>Telefon:</strong> <a href="tel:4442228">444 22 28</a></p> <p style="text-align: justify; margin: 6.0pt 0cm .0001pt 0cm;"><strong>E-mail:</strong>&nbsp;<a href="mailto:info@ankarabilim.edu.tr">info@ankarabilim.edu.tr</a></p> https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20211 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20211 Yasemin ALPER In the novel Aşk Budur! by Sâmiha Ayverdi in 1938 the iner journey of a human being is descripted. In Ayverdi’s novel, finding a human being’s himself/herself, realising a human being’s existance and the journey to be an excellent human being is exhibited. It is necessary for a human being to be matured at each stage of the journey and then progress to the next stage. The claim of accepting each feature positive or negative i a human being’s personality other than being excellent forms the basis of i 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20233 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20233 Lale ARSLAN ÖZCAN, Pınar GÜZELYÜREK ÇELİK The French author Alain Robbe-Grillet's novel Djinn, Un trou rouge entre les pavés disjoints, has a special significance in terms of lexical fields. One of the important features of the novel is that it is constructed as a grammar book. Each chapter of the novel of which eight chapters in total was designed to study a different French grammar subject. In addition to this, the writer has included lexical units which form fit lexical fields in each chapter in order to develop French vocabulary. In this study, the methods and concepts of Berke Vardar will be adopted and the translation of lexical fields will be discussed. According to Vardar, the linguistic studies have three main categories: conceptual field, lexical field, and semantic field. The lexical units in the work will be examined in terms of related fields. Then, the parameters that have a role in the transfer of the identified lexical fields to the target text will be examined. In one sense, the translation performance of the novel will be so limited due to limited target audience and writing aim of the novel. When considering the complex and challenging nature of the translation, this study will enable to determine on translation and translator's limits. Considering this complex structure of the work, the translation will require different strategies. Translation will be source culture-oriented or target culture-oriented. If the target culture is focused, there will be two options for the translator: either chose a translation by equivalence, or prefer the option of adaptation. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20205 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20205 Hülya AŞKIN BALCI One of today's greatest sources of information, the internet is influencing every aspect of our social life through innovations and developments in communication technologies. Thanks to the many opportunities that it provides, our lives become richer, easier, more developed and 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20254 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20254 Yusuf AYDOĞDU Kemal Özer (1935-2009), one of the important authors of Turkish literature in the Republican era; is a productive and versatile artist who had worked on many types of literature such as poetry, story, moment, travel writing, essay, criticism, journal, interview. K. Özer gave particular importance to poetry especially among the species mentioned above, and he came to the forefront with his poet identity. The poet started to write poetry at the beginning of the 1950s, while in his early works of poetry especially in Gül Yordamı (1959), Ölü Bir Yaz (1960), Tutsak Kan (1963), the influence of 'İkinci Yeni' poetry is seen, it seems that he started to adopt a socialist realistic poetry concept together with his work Kavganin Yüreği (1973) written after 1970's. Although Kemal Özer's relation with the Second New is short, the poetry of this period has important effects on his understanding. K. Özer has created a poem that pushes the boundaries of poetry to create new utterance possibilities, which regards the word as the basic element of poetry, the image of which is important, the new quests in inter-word relations, against syntax and general rules. This creation has created a closed, distant-associative, self-confessing universe of poetry. It is possible to say that the poet generally goes to certain themes and items in his works which he keeps on the socialist realistic line. In this period, especially the problems of the working class become the focal point of his poems. His sensitivity towards this mass also shapes his understanding of poetry and the language of poetry. This new understanding of poetry, especially started with the Kavganin Yüreği, is fed from a political and discourse. Items such as social and political quarrels, labor-labor, supremacy, hope, universality, consciousness-consciousness and concept-collectivism are the main thematic elements in this basic template. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20101 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20101 Melik BÜLBÜL Language, as the conveyer of meaning, soul, and culture, is a device used in all areas of literature. In the process of creating new meanings, the effects of significance of using literary language is known. Artistic syncretism give meaning a word new meaning. The winged word metaphor find meaning in this sense. When the language has to assume artistic function, it is necessary to use language at the top level. Language is reformed both as a shape and as meaning. Poetry, as a genre of literature, is the step in which the finest settings of this level are performed. It is possible to reach the secret universe of the poet’s dream world in this way. Also in terms of culture, history, and art, the most dynamic power that enables the nations to be permanent is poetry tradition and language peculiar to that nation involving in this tradition. In this study, the image of texture of poetry, a significant genre of Turkish literature, was tried to be examined with examples. The mysterious effect of poetry genre passed through a historical filter with its general lines and a short anthology of Turkish poetry tradition distilled from its meaningful image repertoire with its specific lines were tried to be presented. Among the main features of a nation, it is possible to count them. It is only possible to find out the refined codes of society’s historical, cultural and social past in the form of poetry. The finest extensions of aesthetic thinking are hidden in poetry. In the study for methodology, approaches of reading, interpreting, documentation, and imaginary examination were used. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20244 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20244 Abide DOĞAN Selanik’te Sonbahar (2011) is the sixth novel of Tuna Kiremitçi who is a writer of songs, singer and novelist. This novel covers the advanture of a rock star who passed away many years ago. The novel based on the article of Mr. Tarık Günersel published in mid-90’s all the events are give from the point of wiew of a journalist woman (Latife) and a pop singer man (Atilla). The events are explained with the wording of me/the key figure’s in the novel. However, the key figuıre’s personal lifes are also covered. In the novel network form time to time reality and fiction are inter-connected. Through the letters another new story windows open, “Paşa’nın Mektupları” mentioned in the novel covers the events which are the reflexion of he pop singer’s life and happenings. The letters of Pasha from Selanik mentioned in the novel whose name is not given. But, on the bases of some clues it doesn’t seem to be difficult to quess the name of him. The wordines of sayings to youngesters, Selanik, Latife, Fikriye and Kemal are not chosen by chance. In the novel along with the personal concepts of love, loneliness, seperation, death, the political and social problems are also underlined. The events from the arts and music world are also included in the novel because the author himslef is a musician. The key persons of the novel are formed by living and dead persons. The father of Latife and Atilla as a pop singer in dialog with death which we faced are the supportive exidence about fictional aspect of the novel. Death becomes the internal voice of Latife. The name of novel called Selanik’te Sonbahar is the name of son singed and played by Atilla with his quitar. At the same time it is the last song of Atilla included in his Greatest Hits Album covering his top hit songs. Selanik is the city from where Atilla’s family roots comes and Pasha was born and grown up. As a novel Selanik’te Sonbahar seems to be a greath achievement of Tuna Kiremitçi as a novelist because of its subject and extraordinary characters. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20284 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20284 Gülşah DURMUŞ, R. Roland LEWIS This collection of one-act plays appears because of an increasingly large demand for such a volume. The plays have been selected and the Introduction prepared to meet the need of the student or teacher who desires to acquaint himself with the one-act play as a specific dramatic form. The plays included have been selected with this need in mind. Accordingly, emphasis has been placed upon the wholesome and uplifting rather than upon the sordid and the ultra-realistic. The unduly sentimental, the strikingly melodramatic, and the play of questionable moral problems, has been consciously avoided. Comedies, tragedies, farces, and melodramas have been included; but the chief concern has been that each play should be good dramatic art. They are: Sir James M. Barrie, ‘The Twelve Pound Look’; George Middleton, ‘Tradition’; Althea Thurston, ‘The Exchange’; Percy Mackaye, ‘Sam Average’; Lady Augusta Gregory, ‘Hyacinth Halvey’; Eugene Pilot, ‘The Gazing Globe’; Anton Tchekov, ‘The Boor’; Bosworth Crocker, ‘The Last Straw’; Alfred Kreymborg, ‘Manikin and Minikin’; Paul Greene, ‘White Dresses’; Arthur Hopkins, ‘Moonshine’; Paul Hervieu, ‘Modesty’; Jeannette Marks, ‘The Deacon’s Hat’; David Pinski, ‘A Dollar’; Beulah Bornstead, ‘The Diabolical Circle’; Hermann Sudermann, ‘The Far Away Princess’; August Strindberg, ‘The Stronger’. The Dramatic Analysis and Construction of the One-Act Play, which appears in the Introduction, also has been prepared for the student or teacher. This outline-analysis and the plays in this volume are sufficient material, if carefully studied, for an understanding and appreciation of the one-act play. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20141 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20141 Gülşah Azer EFE, Şerife ÖZLÜ The whole of material and spiritual values that a society reveals constitutes the cult of that society. It is certain that every nation has its own culture, which is called national culture. Undoubtedly, the concept of culture was explored by many Turkologists or researchers, and various definitions of culture were revealed. One of these researchers is Bronislaw Malinowski. Malinowski investigated the origins of the cult, and as a result of these researchers, the cultural theory of cultural research and the necessity of culture was revealed. Like every new idea, Malinowski's critique of culture theory has been criticized by others, while being respected by others. Malinowski has benefited from the way of life of the locals while presenting his cultural theory. During this field work, I was able to closely examine many rituals of the indigenous people. By that time, it has led to a great perception break in the human studies, showing that the principles seen as only wild creatures are also thinkable beings. According to Malinowski, the concept of "institution" and the cultures that bring humanity together must be studied. These institutions are religion, family and educational institutions, which are building blocks of society. This work will focus on Malinowski's cultural theory, functional theory and Malinowski's theory of culture. The aim of this study is to reveal the cultural patterns in Malinowski, the representative of the Functional Theory. For this purpose, Malinowski's books on magic, science and religion and sexual life of savages were used. In the light of this research, Malinowski 's "institution" concept of religion, family, education, etc. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20209 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20209 Hüseyin EZİLMEZ Sevil Emirzade is one of the most important authors of contemporary Turkish theatre literature. We can see that Emirzade has headed towards Turkish Cypriot Public culture and folklore in her recent plays. One these plays is Çifte Nikah (Double Wedding) published in 2015. Çifte Nikah (Double Wedding) is a very important and valuable piece with its rich public culture and folklore. The plot of the play happens in a Cypriot village in the middle of twentieth century. The play projects Turkish Cypriot villagers and village life with great success equipped with mainly Turkish Cypriot custom and traditions, superstition, clothing of that era, eating habits and kitchen culture, entertainment culture, folk music and dances, Turkish Cypriot folk literature and traditional way of thinking. What is more, a lot of Cypriot sayings, proverbs, prayers,swearing and curses are used in the play. The aim of this analysis is to determine and classify the public culture and materials of folklore. With this aim it is determined that there are 44 traditions, 8 superstitions, 11 short rhymed folk poems, 2 folk song, 3 folk dances, 3 epic heroes, 157 sayings, 17 proverbs, 12 curses, 15 prayers, 8 swearing and about 50 local words. As well as these, a lot of materials peculiar to Cyprus such as food and drink names, dressing style, make-up, furniture, old professions and so on have been determined and classified under the related subjects. As a result, the basic goal of this research is to draw attention to Turkish Cypriot folk culture, to remember those old forgotten traditions and custom ,to transfer them to the new generation and to connect the old to the new. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20191 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20191 Gülay KARAMAN Hasan Riza (1849-1920) who lived in the second half of the nineteenth century and the first quarter of the twentieth century, grew up in the harsh environment of the dissolution period is a great calligrapher. Being the greatest calligrapher in 2nd Abdulhamid period, he was the special calligrapher of 5th Mehmed Reshad and particularly well-known in the Qur’an written on nesihl. He has been involved in poetry outside of calligraphy and created a Divan which can be evaluated in the literature of dervish and sufi framework. Since Hasan Riza is recognized and famed as a calligrapher during and after his time, his name has passed in resources about the history of art as a great calligrapher and given information about his Divan composed of religious mystical poems. In this study, religious mystical content of the Divan that famous calligrapher Hasan Riza Efendi created in the form of dervish and sufi tradition is examined. Hasan Riza who introduced himself as Halveti Şa’bani at the beginning of his Divan, a member of Şa’bânîyy arm of the Khalwatiyya is a sufi poet. Therefore, in the Divan of Hasan Riza the religious mystical subjects and the poems written in the types of tevhid, münacat, na‘t, mevlid, medhiye, ramazaniye, ilahi that process these subjects hold an important place; the tariqa of Khalwatiyya and its sheiks are praised, the rules and the conventions of the tariqa form the basis of the poetry. In this sense, love of God, love of Prophet; the love, respect and admiration for the other important people of tariqa and religion, the existence of God, unification, creation, the mortality of the world, truth, sincerity, remembrance, Ramadan joy, the virtues of the three months, morality, self dominance, die before you die and advice are among the topics discussed often. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20113 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20113 Mehmet Akif KILIÇ Transcription of the recorded speech samples in language studies, especially in dialect researches and speech-language disorders and determination of the depth of it, have been a problem not only for Turkish but also for other languages. The depth of the transcription is generally adjusted according to the purpose of the study; meanwhile, they may go into detail unnecessarily or ignore the important points. In this study, a short information is given about the theories of Glossematics and Neurocognitive Linguistics that are inspirer of the study, and the allophones of the Turkey Turkish are examined by 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20238 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20238 Yakup KIZILKAYA In this article, diminutives in Turkish and Arabic languages are compared and analyzed in terms of phonology, morphology and particularly semantics and the similar and different aspects of the two languages are tried to be determined and the obtained results are tried to be evaluated. Diminutive structures which are formed with a number of changes in the structure of the word and certain diminutive additions cause numerous changes in the meaning indicated by the changes in morphology. While diminutives in Arabic, which is an inflectional language, are produced with letter additions and changes in the form of a word, they are made with suffixes in Turkish, which is an agglutinative language. Thus; the structures of diminutive in the aforementioned languages are different from each other in terms of morphology. Reasons of diminutive such as expressing the smallness of an object, pointing its quantitative fewness, expressing temporal and spatial affinity, underestimating, insulting, satirizing, sympathizing, showing affection, presenting the object as cute and even exalting it are common in both languages. Therefore, a semantic equivalence can be mentioned in both languages in terms of diminutives. In addition, diminutives in both languages appear as a kind of reduction in words. This structure provides an opportunity to express an adjective clause compounded by two words in a single word. Thanks to this, diminutive in verbal contexture shows the laconic form of this structure as well. Although adjective clauses can be used instead of diminutive structures in spoken and written language, diminutive structures are much more used in emotional expressions of underestimation, despise, sympathizing, showing affection, presenting the object as cute, spoiling. Diminutives expressed through adjective clauses are rather used to express the smallness of an object, and pointing a quantitative fewness. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20223 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20223 Muhammet KOÇAK, Sultan YALÇINKAYA In this study, Erich Kästner’s, writer of German children's literature, "Pünktchen und Anton", the children's novel is examined comparatively with the same novel "Noktacık and Anton" translated into Turkish by Vedat Corlu. During the examination, idioms, an indispensable part of literary texts, are emphasized and the examples of how the German phrases in this book are translated into Turkish are examined. The theoretical part of the study focuses on the definitions of translating and translating texts and includes descriptions of various scientists. Later, the literature translation has been discussed and the difficulties that have taken place in this process have been emphasized. After discussing how translation criticism should be done in literary texts, the application section has been passed. In the related section, it is shown how the selected idioms from the novel are transferred to Turkish and the related translations are evaluated. In comparing these two books, 28 samples were selected and it has been attempted to show which method these samples were transferred to the target language. It has been determined that 25 of the samples have been positively translated, only 3 of them have problems. As a result, Vedat Çorlu is convinced that he has a translation-oriented understanding of the target language with few exceptions, so the translation of the idiomatic expressions is found to be successful. Since the book is translated in general terms to match the target language and cultural items, it has been concluded that the target language readers can understand the book in the same way as the source language readers. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20184 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20184 Sevtap GÜNAY KÖPRÜLÜ Medical science, one of the earliest scientific fields, is a science discipline that is closely followed throughout the world and that always keeps abreast of change and evolves constantly. Due to the fact that it is related to human health, most information in this field such as a new inventions, technological developments, and treatment methods are shared among scientist around the world . This sharing occurs through translation. Translations made in the field of medicine are defined by a number of different terms, namely medical translation, translation for medicine, medical text translation, translation of medical documents. Translators who make translations in this area have zero tolerance to errors. This is because even the slightest misunderstanding about health can lead to fatal outcomes. In addition , many factors such as the unique terminology used in medical language, Greek and Latin based terms, the types of usage of these terms in the target language, and target language equivalents make the task of translators -who are under such a heavy burden - even more difficult. For this reason, medical translations cannot be made by any translator. Not only that it is not enough to master both languages (the translated and the target) but at the same time the translator must have a certain knowledge and experience in the field. In this study, the medical language and terminology and theoretical information on the method of medical translation has been included in the beginning. Then, the medical language and terminology in medical texts, how international medical terminology adapts countries to their own languages, and their equivalents in the daily language (intralingual translation) have been examined. Finally, wrong translation approaches and translation problems, which raise difficulties for translators and lead to misconceptions and error, are highlighted and a number of possible solutions are offered. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20142 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20142 Shahnoza NAZAROVA Prohibitions are the most important part of all human-created laws. They serve to bring up future generations in their ancestors’ ways and to maintain the integrity of society. But prohibitions are often broken. As a result, generations change; a new order replaces the old one. In this way, generations and entire civilizations endure a trial by fire. The historical, ritualistic, and poetic signs in folkloric texts reflect this process. Through textual analysis, this article examines the anthropological, ethnographic, and poetic meanings of prohibition. The motif of prohibition appears in Uzbek folklore, as well as in related Kirghiz, Kazakh, and Turkmen traditions. Only Tajik literature lacks parallel plots and motifs with relation to prohibition. This can be explained by the influence of Iranian mythology in Tajik literature. This shows that the literatures of the Central Asian peoples possess a unique and distinct mythological basis. Using the example of Uzbek folk epics and fairy tales, I will now examine the main qualities, symbols, forms, and types of the prohibition motif. I will also assess the genetic relationship between the image of the sponsor (helpmate) and the motif of testing a prohibition. I will also investigate the artistic and aesthetic functions of the motif of testing a prohibition. In the folkloric text, the poetic logic that necessitates the process of testing the prohibition (the initiation of a ceremony), will be examined as a device for moving along the plot, along with the motifs of birth, leaving home, the journey, encountering a sponsor, and performing the conditions of the sponsor, helpmate and others. Although prohibition usually denotes limits in myth and ritual systems, sometimes prohibition becomes a conditional motif and works against itself. This article also considers how the prohibition motif in the context of sung, as opposed to spoken folkloric works. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20187 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20187 Derya OĞUZ Over the last few years, the advent of the evaluation of audio-visual translation methods within the context of translation studies in the field has played a role in increasing the quality of products. The most common audio-visual translation methods under the generic term of the audio-visual translation are dubbing and subtitling. Dubbing is more costly and arduous in comparison with subtitling. The viewer of dubbed films should be considered apart from the view of subtitled films. The foreign movies coming out in our country are usually subtitled for viewers. Subtitling as a translation method can be evaluated in the general sense as the written translation of verbal and non-verbal signs of an audio-visual product that are meaningful from the perspective of the viewer and need to be translated. The translation of film dialogues into the target language as written lines generally appears at the bottom of the screen. It is anticipated that the subtitles appear at the most as two sentences at the bottom of the screen that the content is the same as the original and that it has the same effect on the viewer as the original. In order to ensure this, the subtitles have to be reduced usually due to time and space constraints. The most important point in audio-visual translation method is the synchrony between the audio-visual signs of the film and the content of the subtitles. This study has examined the theoretical information used in relation to subtitle translation of films and TV programmes and has then considered the points that should be taken into account with regard to subtitle translation. Within this context, issues relating to synchrony, which play an important role in relation to subtitle translation, were also examined. The research carried out has attempted to highlight the importance and necessity of synchrony from a visual and audio perspective, the root of synchron issues, how synchrony affects the translation process and the quality of the translation product. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20225 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20225 Suat ÖZER In this study, we will consider the conceptual content that accumulates in the word 'ear' in the Turkish context within the framework of cognitive approach. Therefore, we should underestimate the concepts of metaphors and metonym that are important in terms of cognitive semantics. The metonym 'X represents Y' is the conceptual relation, whereas the metaphor 'Understandable X in terms of Y', indicating the conceptual relationship. Another important distinction between metaphor and metonym is: When metaphors contain inter-field matches, the metonymy includes mappings within a single domain or domain matrix. Despite the approaches that deal with these phenomena separately, there are also studies about the interaction between metaphor and metonymic domains. In recent studies in the field of cognitive semantics, especially those associated with Antonio Barcelona, it is suggested that the metonym is more basic than metaphor and that it can motivate the metaphor. Body words are source domain and target domains are their abstract beings. The ear plays an important role in the realization of hearing as a body part. There are also internal organ parts attached to the ear anatomy in hearing; Anvil, hammer, stirrup. In addition, the external elements of the ear; Bucket, dice, breast. The reflections of metaphoric expressions are concentrated in these external elements. It is seen in the vocabulary that emphasis is on the external elements of the ear or on the whole of the organ. For example, of the consistency of an earlobe (emphasis on the part); child with scoop ear (emphasis on the whole). Our study discusses whether the metonymic relations of the word ear in the context of Turkish are motivational in terms of metaphorical context. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20189 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20189 Ali Osman ÖZTÜRK The sources of Şahmaran, mostly known as a popular legend, primarily go back to 'A Thousand Arabian Nights' in the culture of literature. 'A Thousand Arabian Nights' has been seen in Indian sources approximately for 250 A.D., Persian sources since 500 A.D. and Arabic sources since 8th century A.D. In Ottoman Empire, its first translation (only a part of it) to our language was made by Abdî, a writer from 15th century, with a name Câmasbname; and the last remarkable translation was made from French by Âlim Şerif Onaran in 1992-1993. This article shows the changes that the Blue Bride tale collated by Oğuz Tansel in 1943-45 has been undergoing since 'A Thousand Arabian Nights' in terms of its themes and patterns. Tansel added realistic elements to the tale instead of fantastic ones. Another elements that he removed are erotic items: The gift promised to the hero does not include virgin girls, or there is not any dalliance with women swimming in the pool. Falling into the trap is resulted from not being able to predict the end of actions. The palace has been replaced by the mansion; the gatekeeper of the Kuşlar Tekkesi (a kind of Islamic monastery) builded by the Prophet Suleiman has been transformed into an ordinary mansion owner, and the story has changed that he lefts the mansion in order to visit his brother. There are a lot of flowers and a pool in the forbidden garden, instead of a throne made of ruby. White pigeons do not get undressed, they flutter and masquerade instead. As the most important change, the unhappy ending which takes part in Sahmaran or The Arabian Nights: One Thousand and One Nights caused by the death of the girl has been removed; and a happy ending which is commonly seen in Turkish tales has been added. The curiosity of the tale character is not punished by his wife’s death. Although all the things happened were because of his ignorance; his courage, honesty and faith are praised. As a result, supernatural patterns seen in legends and tales have become more realistic in accordance with our modern age. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20264 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20264 Ayşegül SEKMAN, Yakup ÇELİK Mustafa Kutlu, one of the important Post-Republican period story writers, has proved his place in the modern day storytelling by publishing twenty-six story books so far. With the stories based on anecdote tradition, he expressed the depression of the modern man and the struggle of the pure Anatolian people against the changing order. The author, whose previous stories are dominated by romantic Anatolian culture style, touched upon the negative effects of the industrialization along with the capitalization in his later stories. In his works which we encountered the traces of the existentialist philosophy, he tried to construct a synthesis of Eastern-Islamic cultures by blending the art lessons from Ioanna Kuçuradi with the views of Nurettin Topçu who influenced him with the perception of the world. In his stories which he wrote with a social-realistic understanding, he regarded place as an element in which man should establish accustoming. Having an understanding of an inward-oriented place, Kutlu thinks that a person's moral orientation and his way of thinking will reflect on the place he lived. In his works, it is noticed that the places belonging to the modern life and the village life have different qualities and the way of life reflects on the living space. Kutlu, who is not pleased with time and space he lives in, creates an imagination of space designed to get away from this world. In our study, it was observed that how Mustafa Kutlu, uses structure and supplies of Şark literature, examined home as an indoor place as part of the relation of i 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20232 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20232 Güngör ŞAHİN Romantika, second novel of Turgut Özakman, is fictionalised upon love theme. The author mentions about feelings, warmth, friendship and passion which two people couldn’t find in their own partners. The characters confront the reader with a thrill created by using different temporal and thematic fiction. The flow of events and thematic transitivity give cause the reader for focusing on the feeling of love by setting aside the standarts of judgements. This work of art is a novel about an elegantly eleborated love experience. The author discusses the subjects like the concept of love, points of views related to marriage, entertainment styles according to the different perceptions and conflict between the generations. Representations of the values that make up the generation conflict, the differences between the two generations of emotion and thought are constructed around the theme of love. The political, social mobility of the period and the influence of this movement on the i 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20201 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20201 Zulfiya ŞAHİN In the process of teaching Russian as a foreign language among all suprasegmental units of prosody stress and intonation deserve a special attention. The success in oral communication depends largely on right stress and intonation context. Intonation speech disorders not only perturb the overall sounding, but often lead to misunderstanding of the utterance. The article covers the matter of forming and developing of intonation skills among Turkish students, who study Russian as a foreign language. Along with this, the article presents types of exercises that could help to build good intonation skills in Russian among Turkish students. The system of exercises offered in report is based on the results of comparison of intonations in Russian and Turkish languages. The comparison mentioned above was made in order to spot main differences in the intonations of two languages and to analyze them as possible reasons of negative cross-language interference. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20217 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20217 Lokman TANRIKULU, Seyit Battal ARVASİ Translation process is an irreplaceable activity which brings societies and i 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20279 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20279 Zafer TOPAK In this study it is aimed to designate the words and phrases which Seyyid Vehbî had used instead of poet, poesy characteristics which he wanted to see on a poet, simile elements related to the poet, his perspective towards the art environment of his period, his opinions about the other poets based on the poetic verses in Seyyid Vehbî’s diwan. Vehbî mentions his opinions and thoughts related to the poet mainly in the compliment (fahriye) sections of his odes (kaside) and pseudonym (mahlas) couplets (beyit) of his lyrics (gazel). Pursuant to him, a poet is to have endowment, from birth poesy skill, talent, wisdom of poem, silver tongue, nice and neat tone, miraculous phraseology which will charm everybody. The poet likening his poesy to elements such as “parrot (tûtî), nimble horse (semend), woolen draper (nessâc), spy (câsûs), Jesus Christ (Hz.İsa), Moses (Hz. Musa)”; sets up relationship between varios poesy features such as silver tongue, innovativeness, engrossingness, expressiveness through the agency of those elements. In his appraisements Vehbî apart from giving place to the word poet, he also uses words and phrases such as “ science scholar (allâme-i fenn), literature teacher of neat and eloquent (edîbân-ı sühan-dân), competent of poem (erbâb-ı nazm), who writes well (hâme-kâr), nice dilect (hoş-lehçe), one who tells words of wisdom (mu‘ciz-gû), humorous (nükte-perdâz), elocution (sühan-dân), one who likes elocution (sühan-perver), expert of poetry science (üstâd-ı fenn-i nazm), ethnarch of region of elocution (vâlî-i iklîm-i sühan). He, especially in his Vekâletnâme evaluates the art and poetry atmosphere of his period; states his beloved peots and reasons of appreciation; and mostly by general expressions he mentions about the poesy situations which he complains about and ails. Those poetic evaluations and assessments regarding Vehbî’s poesy, who once took vice of all poets as a task, will have importance for the studies relating to the evaluation of his own period’s and Ottoman Poetry’s general poetica. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20229 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20229 Nurullah ULUTAŞ Hermeneutics is a philosophy which tries to find deep meaning from superficial meaning of a philosophy text and whose scope consists of linguistic elements. On the basis of ontological issue of “comprehension”, conditions of the era when the text is written, identity and culture of author, gender and educational background of reader, language of source and target texts are all parameters which are related to the action of comprehension. Turgay Nar's play titled Can Ateşinde Kanatlar (Mevlânâ) tries to reveal how different perspectives have a common target taking stand from sufist approach and interest between Mevlânâ and Shams. In this work, we can see references and political criticism to atrocities committed by human to other humanbeing through mythological elements, past events or “text within text” along with sufistic perspective. Both depth and expansion are acquired in the work through shift of time and place. This work touches upon issues such as creation, transformation, transition between moods, and ontological reality of a place which had led to great discussions among Islam philosophers since the time of Greek philosophers. This study aims to bring an interpretation to the theatre play titled Can Ateşinde Kanatlar (Mevlânâ) within the scope of hermeneutics philosophy as far as possible. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20195 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20195 Beyhan UYGUN AYTEMİZ Latife Tekin, in Berci Kristin Çöp Masalları (Tales from the Garbage Hills), narrates the struggle of people, who live in squatter houses which are built on the garbage dump of Istanbul, trying to survive city life in spite of the fact that they are entrapped in a traditional life style. The novel, besides narrating the formation of the suburbs through the use of techniques of traditional Turkish narratives, also depicts a form of urbanization, and degeneration as an outcome of the process of urbanization, taking place at the outskirts of Istanbul. Elif Şafak, on the other hand, focuses on the experiences of modern city-dwellers through the lives of Bonbon Palas residents in Bit Palas (Flea House). The characters in the novel live in an apartment that stinks and they live as alienated from one another. The two novels differentiate from one another on the basis of narrative technique and character construction. However, waste stands out as an important constructive element that links the two. Both novels concentrate on waste as an outstanding element in the depiction of Istanbul. The article analyzes the city of Istanbul and the image of waste as linked to city life as depicted in Berci Kristin Çöp Masalları and Bit Palas. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20286 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20286 Emek ÜŞENMEZ The Modern Uzbek Turkic is the spoken and written language used in the Uzbekistan since the first half of the 19th century to the present day. The beginning of the formation of the Uzbek Turkic, which is considered to have been in the 1930s, begun with the occupation of the Turkistan Khanates (Fergana Khanate, Khiva Khanate and the Bukhara Khanate) by Soviet Russia. The works of written literature that developed around the idea of unity and solidarity in the aftermath of the occupation of Turkestan by Soviet Russia may be regarded as the beginning of the New Uzbek Turkic. The New Uzbek Turkic, which is a mixture of the Karluk, Kipchak and Oghuz dialects, constitutes the Old and Middle Turkic (as a sub-base) and Persian and Russian (as the upper-base). Due to the oppression and impositions, particularly during the era of the (Soviet) Council, the New Uzbek Turkic, which had taken a great number of words from the Russian language, was interrupted by the Second World War. However, following the war, accrued pain, yearning, longing and other similar emotions and thoughts were reflected in language and literature. The New Uzbek Turkic, which underwent a different process with the independence of Uzbekistan, has been sustaining its progress with literary works written as prose or poem. The lifting of pressure on poets and writers, following the independence in particular, led to freer thoughts and national elements coming to the forefront in the field of language and literature. In this study, the scope, qualities, historical process and establishment phases of New Uzbek Turkic are discussed from the perspective of the author, the period and language. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20076 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20076 Ali YAĞLI The Dumas family contributed much to the French history and literature; particulary to military, political and literary issues. Dumas Père was known worldwide by his historical and adventure novels. He was one of the most prolific writers of 19th century with his three hundred novels and plays. Although his works were regarded as having poor literary and artistic values by literary critics, they were translated into many languages and inspired over one hundred films. He dealt with the social pressure because of his cross-blood origin being a sucessful writer of historical novels teaching French history to French people. Father Dumas’s works became world classics; especially Monte-Cristo, Three Musketeers, were popularized as masterpieces of 20 th centry; even today they are widely rend all across the World. Dumas Père nicknamed as“novel factory”in the history of French literature because he wrote a lot of novels and became rich by the selling. He reached his reputation not only as a novelist and a dramatist but also as a cook, as a traveller and as a musketeer. Dumas Père started his career first writing dramas and then novels. Among his readers Dumas Père was known with his novels rather than the plays. The Son Dumas, following his father, wrote many widely read and staged plays during his time. The Dumas, who perpetually felt pressure of mixed race in their childhood and youth, caused to be famed not only by their numerous works but also by the scandalous life. In the 19th centry The Dumas influenced the Tanzimat novel inspiring Turkish writes who pioneered Turkish novel. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20194 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20194 Perihan YALÇIN, Semra TAYDAŞ This study is based on the evaluation of translations which have been done on several fairy tales chosen thematically among the La Fontaine fables. The focus will be on the equality and translation strategies throughout the translations. It will analyse how much translators relied on the original source as well as the level of acceptability and sufficiency of the adaptations made in the translations. As the topics of the fairy tales, The Ant and the Grasshopper is for advising working and being hard working; The cock and the fox is for cunning; The Lion and the Mouse is for cooperation; and the Fox and the Grapes is for blaming greediness for the desired things. As the translations, there will be two studies considered here: that of Sabahattin Eyüboğlu and of Orhan Veli Kanık. In both translations, different translation strategies were detected. It was seen that translation made by Orhan Veli Kanık was more dependent on the original source in terms of form. Though it was satisfactory in this sense, it was seen that the register and the vocabulary choice was challenging for the target audience. Regarding translations made by Sabahattin Eyüboğlu, it was noticed that adaptation, adding, and omission were the mainly used strategies. In terms of register, it was seen to be more appropriate to fairy tales and easier for children to comprehend. As a result, it was seen that translation of fairy tales is not an easy task and no matter how similar it is to the original source, translation includes rewriting and reinterpretation in the target language. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20220 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20220 Ceylan YILDIRIM The intergenerational and international transmission of cultural values reveals itself as a need for knowledge of the cultural heritage and also for opening up to the abroad. Başaran, with his bilingual books in Turkish-French, has greatly contributed to the intergenerational and international transmission of Turkish popular culture. This study aims to reveal the effect of translation strategy in the representation of Turkish culture abroad by the analysis of the bilingual collections of Başaran on Turkish popular culture. The method of this study is to analyze the Turkish cultural elements within the framework of Venuti’s strategies: Foreignization that prioritizes the standards of the source language and culture and Domestication that prioritizes the standards of target language and culture. The methods and the translation strategies adopted in the translations of Başaran, do they contribute to the visibility of Turkish culture in the target culture? Başaran, with his bilingual collections, transmits the Turkish oral and popular culture not only for people from Turkey living in France but also for the French who want to learn the Turkish language and culture. Başaran’s attitude that preserves the Turkish cultural elements in French translations makes Turkish popular culture visible abroad which is in risk of being forgotten by the new generation. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20227 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20227 İsmail ERBEK Epics have a significant role in building of nations. In the process of internationalization rewritten epics have a remarkable place on finding out the consciousness spirit of being nation , coming into existance of cultural identity. In the disintegration process of Ottoman state and establishment process of Turkey, it has been considered necessary to use varied political- National symbols with types that are related to narrative basis like Turkish mythical narrations,epics for regeneration of knowledge and consciousness , a new consructure of social structure, and it has been especially used for the first period of republic of Turkey. This symbols have been utilized effectively with teacher training policy which is conformed since the establishment period of republic of Turkey. H. Basri Gocul is a teacher - poet who often uses the symbols on his writings and poems, bases his poems on this symbols and narration. The verse epic of Gocul, named Oguzlama, is to be reinterpreted and rewriting up with a New spirit. In the article, the considerable work has been analyzed in different ways. Firstly it has been emphasized on the role of the occurance of National identity ,mentioned literary personage who studies to turn the epics into poetics, emphasized on characteristic of intertextuality, referred to language and narrative features , given information about content. To utilize these important literary works , it must be analyzed considering the standards of our children and youngs. Epics take first place among the Works which reverberate the consciousness of being nation. From this point of view, the contribution of epics will be great on giving children indirect social personality and identity. Because of all these reasons, Oguzlama is the one of the remarkable works which will implement this mission. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20190 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20190 Oktay Selim KARACA In this article, understanding of noun clauses in Russian and Turkish has been compared, problems that are encountered when translating some clauses which are seen as verb clauses in Russian to Turkish are investigated. Russian scientists approach to this subject has been investigated and after today's situation has been assessed, translation of commonly encountered noun clauses in Russian to Turkish are shown with examples. We tried to show that sentences formed by about twenty verbs that we identified from Russian grammar books and other works should not be translated as verb clauses but instead they should be translated as noun clauses. We usually took the examples from works about Russian grammar and Turkology. Nouns, adjectives, pronouns, verbal adjectives, noun numbers can form noun clauses without any connectives in Russian language. In fact, adverbs can also be used as verbs in noun clauses but this condition is not shown in Russian grammars. Words other than adverbs can be used as their different variants or in their simple forms. There are very little problems when translating these words to Turkish. It is seen that mistakes arose from interpreting some of the clauses that are formed by Russian verbs as verb clauses in translations from Russian to Turkish. In fact, nearly twenty verbs such as bıt’ “to be”, stat’”to be; to stop” which have abstract meanings along with verbs such as yavlyat’sya “to happen, to occur”, imet’ “to have”, prinadlejat’ “to belong” which preserve their dictionary meanings, form noun clauses. Most commonly encountered noun clauses in order are present tense, past tense and future tense noun clauses. It has been shown that olmak auxiliary verb should be used when translating Russian noun clauses which are in future tense to Turkish. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20196 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20196 Metin OKTAY After the Second Constitutional Monarchy and the declaration of the Republic, there was a great development and transformation process in every field of social life. Many intellectuals of that period were supported by the state in different dimensions in the process with the aim of a new person and a new society. İbrahim Alâettin Gövsa was one of the most versatile writers who tried to educate the public and to raise public awareness with his writings and books especially after the establishment of the Republic. He was sent to Switzerland by the Ministry of Education for the purpose of literary education in 1913. He studied pedagogy and psychology rather than literature education at the Psychology Laboratory of University of Geneva and Jean-Jacques Rousseau Pedagogy Institute. When he returned back home, he became teacher and administrator in various schools. He published books in various disciplines such as literature, education, aesthetics, psychology, pedagogy, dictionary and encyclopedia writing. He published the first book regarding the aesthetic education in the Republic Period, titled as “Bediî Terbiye” in 1925. Gövsa examined the components of social life from art to trade, from family life to social life; from school gardens to school buildings; from to visual arts education to music education; from school books to children’s literature in his book consisting of ten sections. He examined the history of these components as well as their present state at that time. He made original contributions and recommendations in order to ensure that aesthetic education would dominate every aspect of i 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20215 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20215 Emin ONUŞ Cyprus has been one of the (a few) major political issues in Turkish public opinion for last 60 years. Almost one hundred years until ‘1974 Happy Peace Operation’ was the time for Turks, who have lived in Cyprus which went out of the Ottoman-Turk dominance in 1878 and was perplexed by British in 1914, struggle to survive or not to be disappeared from the surface of the earth. The existence war of Turks of Cyprus’s has been on the paramount by declaring The Turkish Republic of Northern Cyprus (TRNC) in 1983. After 1950s, literary work was emerged in Turkey and Cyprus because of the uneasiness that British-Greek of Cyprus and ongoing political issues caused; upon this, poets and writers produced many literature works such as poems, novel, story, theatre. In Turkish culture heroic and bravery literature work take place when Turks feel that they are pushed into the corner. Cyprus themed literature was vital to keep people’s national consciousness alive and using them as the propagandize tool. All these literature works that reflects the struggle for the existence of Turks of Cyprus and about Cyprus have been continuing to be published. The Turkish leaders/pioneers are often mentioned in heroic literature work related Cyprus and therefore it has an essential place among Turks and in Turkish history. It aims to uplift the military heroism and martyrdom. Flag is another important motive. In the heroic literature, the nation of Turks is united. Those who are old, women and children played an important role in the struggle war. In the heroic literature works, it is preferred to cover a patriotic child, or even a heroic woman based theme to have a dramatic impact on public, support their spiritual power and inspire the i 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20197 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20197 Murat ÖZCAN The concept of equivalence, which expresses the relation between the source text and the target text in the translation process, can be defined as finding the closest equivalence of the source text to the target text. The equivalence between the two languages must be good so that the translated text can taste the same on the target side. Many novels have been translated into Turkish from Arabic literature. At first, many pieces of Arabic literature were not originally Turkic, but a second language, the English translation. After Naguib Mahfouz received the Nobel Prize for Literature in 1988, his interest in reading his works in Turkey has increased considerably. al-Cairo-al-Jadida, one of the social realistic novels that reveal the situation of the Egyptian people at that time, is referred to as Cairo, This translation has been transferred from Arabic to Turkish. In this study, the famous novelist Naguib Mahfouz of al-Cairo-al-Jadida of Egyptian novel was examined in terms of equivalence of the language games in Turkish translation. In addition to the meaningful, syntactic, linguistic and stylistic dimension, the proverb, which is the main material of a fancy language that affects texts formally, focuses on the translation of language games such as idiom, metaphor, personification and comparison and interpreted in terms of translation equivalence. Analyzes made within the scope of translation criticism of selected sample paragraphs from the romans show that the translator has produced a translation that is literally equivalent in terms of linguistic, syntactic and semantic, preserving the form and content of the source text considerably. Turkish readers are able to understand the language games actually found in Arabic in a similar way. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=19967 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=19967 Aslı SOYSAL EŞİTTİ Oğuz Atay's ‘Tutunamayanlar’ named novel which is written with the modernist techniques by the author, focuses on the problem of the existence of the i 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20278 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20278 Didem TUNA The Garip Movement in Turkish poetry, also called First New, was initiated by three young poets, Orhan Veli, Melih Cevdet and Oktay Rifat, with the publication of a book of poems titled Garip in 1941. Garip means “bizarre” or “odd,” or “strange”, and the word was used literally both for the movement and the book because these poems were unusual and uncommon for that period. Orhan Veli explained the particularities of the movement in the foreword of the book. Rhyme and measure were avoided in the poems written within this framework. The poets were against metaphors, figurative expressions, all kinds of artificiality, and fancy or ornate use of language. They tried to apply everyday language to poetry, and accordingly, they used certain words and expressions not previously employed in poetry. Ordinary people and their lives was a major theme. They were against poeticality in particular and also everything that was of yore. In this study, the titles of the poems in the book will be examined as gateways to the universe of meaning projected in each poem to see the extent to which they reflect the poem and the particularities of the movement. After that, the English and French translations of the titles will be compared with the original titles, and the results will be evaluated by Jean Claude Coquet’s Theory of Instances of Enunciation from the point of view of the semiotics of translation; the translator will be treated as the receiver of the discourse in the context of the original text and the producer of discourse in the context of the target text. 2026-07-16 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20241 https://turkishstudies.net/turkishstudies?mod=makale_tr_ozet&makale_id=20241 Hasene AYDIN 2026-07-16