Bilal

Res. Assist.

‘Ridda’ means “to return, to reject, not to accept, to return from the religion of Islam, to reject it”. Ridde events cover mostly the years of AH 10–11 (AD 631-633). Some Arab tribes, having accepted Islam before, refused Islam after Prophet Muhammad’s death, and also with the emergence of the false prophets on the grounds of economic reasons (not to give zakat). Most of these Arab tribes that rejected Islam have now returned to their old religions. Among the people who emerged during this period and collected these people around him through misconceptions and turned them from Islam, is the false prophet Musailamah al-kadzdzab. ‘Kezzâb’ means “to lie too much”. This name was given to Museylimet by Muhammad himself as he told a lot of lies. Prophet Muhammad wrote a few letters to him before he died, and asked him to give up his prophecy. Yet, he did not give up his claim on prophecy. After a while, Prophet Muhammad died and Hz. Abu Bakr sent Islamic armies on Musailamah al-kadzdzab in the first year of his caliphate. Two armies met in the Akraba region of Yemame, and the Islamic army had to retreat in the beginning. However, then Halid bin Velid took the control of the army, and it became one of the most bloody wars of Islamic history. The Battle of Yemame was concluded with the definitive victory of the Islamic army. Nevertheless, since many companions of Hafız (a person who had completely memorized the Qur'an and could recite it from memory) died in this battle, it worried Hz. Omar. Therefore, he went to Hz. Abu Bakr’s side and wanted him to have the Qur’an, which was scattered, and he gathered it soon. Thus, Zayd b. Sabit was brought to the head of the Assembly of the Qur’an. The verses of the Qur’an, which were scattered, were brought together and made into a book under the chairman of Zayd b.Halid. He then surrendered this Qur’an to Hz. Abu Bakr. After his death, it was transferred to the second caliph of Hz. Omar. After Omar’s death, it was transferred to his daughter, Hz. Hafsa. In this study, the information from different sources regarding the Battle of Yemame (Akraba), one of the bloodiest wars of the history of Islam, and Musailamah al-kadzdzab, are analyzed. In addition, we focus on gathering the Qur’an by Abu Bakr, and turning it into a book. The Battle of Yemame, and its conclusion (especially the gathering of the Qur’an), has been examined in order to explain the supporting of the couplets in Sharh alIslam al-Nurani by Sinoplu Safayi, one of the poets living during the 15th and 16th centuries.

The Reflections of the Effects and Results of Yemame War on Sharh al-Islam al-Nurani

Erhan

Assist. Prof.

Debate means to exchange opinions on a scientific issue. It is a style widely in literary tradition, and is a type of writing personifying two or more opposite concepts related to each other in the literary tradition by the language of the language. Its use in “to fight” in the Divânu Lugâti’t-Turk belonging to Kashgarli Mahmud shows that this type has a long history in Turks. Debate is commonly used in divan literature and folk literature. On the other hand, the fact that debate is very popular both in eastern and western literature has brought discussions about the origin of this style. The first view about the origin of the argument is that it takes place in Sumerian and Acadian texts. In Europe during the Middle Ages, even though it was believed that the first monuments were created from influences by the Arabian debates, it is accepted that the originated from the ancient Balkans through today’s Greek and Latin literature. Fuad Köprülü belongs to the other important opinion on the argument. Köprülü argues that the reason debate style was born by the influence of Turkish folk literature, and then it passed to Iran and Arabic literatures. Meserret Diriöz and Orhan Şaik Gökyay have the same opinion on this subject. However, according to the results we have obtained, the debate style in Turkish literature, or Arab literature originated in an oral culture and later became a separate literary structure. For this reason it is difficult to perceive which culture and literature it geographically originated from. The findings of Western writer Ethe prove that the nature of eastern and western debates are quite similar in both form and manner of thinking. The information revealed by Köprülü shows that the debates of Turkish literature can also be included in this circle. In this respect, these similarities have also been examined in the literature and life of the Turks as a source of debate in Turkish literature. The lives and struggles of the Turks form important grounds for debate. On the other hand, the views that Ziya Gökalp put forth in the winter and summer debate of the Divânu Lugâti’t-Turk has important clues about the origin of the debate. The “right arm” and “left arm” constructions that were valid until recently for the Turks directly influenced the formation of the debate style and till date. The military organization in which this structure is specifically formed constitutes the “reference context” of reasoning as seen in the debate of the summer and winter in Divânu Lugâti’t-Turk. There is also a dialectical relationship between “social life” and “narrative tradition” in the Turks. Thus, the reference context is conveyed through the texts being performed. In this respect, there are traces of the reference context in the creation myth, Oguz Kagan epic, Dede Korkut stories, and other Turkish heroic epics. On the other hand, as the context area changed, the nature of the struggle changed. The earth and sky epics clearly depict that the struggle forms the basis for reference context. The traces of this struggle are also present in animal struggle scenes showing the iconographic scheme of the Turks. In fact, the basic nature of the Turks that distinguishes them from other natioans is the military feeling and the ability to revive strengthen the arguments of Köprülü and other researchers. For the Turks, the formation of the debate style is a struggle, which is the direct effect of the wars. The “right arm” and the “left arm” structure that the Turks possess have made it possible for the debate style to come to a close. In this process, without a doubt, the contribution of the minstrels is great.

From ‘Struggle’ to ‘Debate’: A Conventional Look at the Source of Debate in Turkish Literature

Şule

After the end of the Second World War, Turkey wanted to be located within the Western Bloc and join the NATO. Consequently, Turkey was the first country after the United States (US) to respond positively to the request of the United Nations (UN) Security Council to send troops to the Korean War. Turkey, together with the United Kingdom (UK) and the US, sent the third largest military force to fight in Korea. A brigade of 4,500 soldiers comprising three infantry, one artillery battalion, and auxiliary troops were put under the UN’s orders to serve in Korea The battle began on June 25, 1950. The first Turkish brigade reached Korea on October 16, 1950, and got involved in the war. For three years, Turkish forces fought the war, and the losses were severe from both Korean and Turkish sides. The Korean War ended with a ceasefire signed on July 28, 1953, due to which 220,000 South Korean soldiers and one million Korean civilians lost their lives and five million people became homeless. As for Turkey, approximately 15,000 soldiers fought in the war, seven 720 of them lost their lives. The public and all the parties in the Turkish parliament were approached positively to send troops to Korea. The opposition parties criticized this decision, for it had been taken without a debate in the parliament. The news about the Korean War, which people actively followed, featured on the first pages of Turkish newspapers to inform the public about its important and decisive events. The resistance of the Turkish soldiers, in turn, particularly in the battle of Kunuri, which took place from 26 to 29 November, 1950, had wide repercussions for the rest of the world. The Turkish brigade was required to advance to the right of the UN Army in the Battle of Kunuri, despite the fact that the consequence of being alone on the frontline would cause the death of many soldiers due to guerrilla raids. Against this background, the Turkish brigade continued to resist and defend itself, and stopped the North Korean forces for three consecutive days, saving the US Eighth Army Division from being destroyed. Afterwards, news about the resistance of Turkish soldiers in Kunuri reached Turkey. Literature, which is not considered separately from the events that concern Turkey, has also considered the topic. The Korean War had broad repercussion for world literature, and famous literary authors of the period also included the topic in their newspaper columns. These examples, belongs to the writers that shared their opinions about the Korean War in the columns: Peyami Safa and Yusuf Ziya Ortaç in Ulus, Ahmet Muhip Dranas and Aka Gündüz in Zafer, Behçet Kemal Çağlar and Feridun Fazıl Tülbentçi in Vatan, Etem İzzet Benice and Nizamettin Nazif in Son Telgraf, İsmail Hami Danişmend in Milliyet, and Hikmet Feridun Es in Hürriyet. Only Peyami Safa and Etem Izzet Benice criticized the sudden acceptance of the decision to send troops to Korea by the decree of the Council of Ministers, since the&nbsp;decision had to be taken by gathering the parliament to discuss the matter, as required by the Turkish constitution. Apart from this, all the authors supported the involvement of Turkish soldiers in Korea. Many news, writings, poems, stories and serial novels about the Korean War were published in the newspapers. The Korean War began to be a topic of intense discussions in the country’s literary journals after September 1950, when Turkish soldiers began their journey to Korea. Yet, the newspapers had headlines about the war already from July 25, 1950, when the decision was made to send troops to Korea. Apart from the newspapers, journals such as Varlık, Kaynak, Orkun, Tanrıdağ, Ufuklar, and Türk Dili included poetry and writings about the war. Kaynak also prepared a special issue about the Korean War. Among these journals, the war was mentioned the most in Orkun. The writings published in Orkun specifically emphasized the Turkish-Chinese struggles in Turkish history. The Korean War was also a subject in literature, such as in the form of poetry. However, most of the books containing poetry were written by amateurs, as folk poets usually composed poetry about Korea during the war. All the authors generally supported the decision to join the Korean War. Nevertheless, Nazım Hikmet – who was in Russia at the time, and who also visited the different Eastern Bloc countries during the war – strongly opposed the Turkish government’s war policies, and by that, he also expressed his staunch criticism against the war in many of his poems. Apart from the stories and novels published in newspapers, the first novel The Northstar in Korea (published as a book about the Korean War) was written by Faruk Güventürk. Wind, in turn, the first storybook about the Korean War, was written by Fahri Celal Göktulga. In light of the literary texts and writings that we have obtained, we aim to determine how the war reverberated in the Turkish press and literature by examining the literary authors’ writings, as they were trying to express and form their opinions, and to make sense of the war as it was taking place in Korea.

The Reverberations of the Korean War in the Turkish Literature

Prof.

After The Mondros Armistice, which was signed at the end of the World War I and ended in defeat, the Unionist leaders Enver, Talat, and Cemal Pashas left the country between the 1st and 2nd November, 1918. There is a “past period” debate around the Committee of Union and Progress, which had made the decision to enter the country into war, in which it retained control during the war but fell from power later. In the discussions centered on enquiring information and calculations about this failure, mostly financial topics have been dominant, and therefore, the expenditures made by the Committee of Union and Progress during the war have long occupied the country's political agenda. In this regard, the most relevant expenditure item was the so-called “discretionary fund”. The most important feature of this fund was that “money [was] allocated to state officials on condition of being kept confidential for whom and for what purpose they are to be used in matters that are of interest to the public and which should not be disclosed”. Importantly, the fund was under no supervision. However, in the cases of failures and extraordinary circumstances, “discretionary fund” comes at the forefront of issues that government and governors are criticized. As a matter of fact, the same is true for the Union and Progress, which fell from power immediately after the World War I, and which is seen as being responsible for the defeat. The “discretionary fund”, which became a hugely controversial topic in the country, is of particular importance when it comes to the world of print and literature. The preferred authors for propaganda during the war, success of works, the financial dimension of the issue, the approach of authors to the subject etc. many issues lay the groundwork for debates around the government-author relationship. The same is true for expenditures&nbsp;made during the World War I and during the Union and Progress period. This article focuses on the payments made to the world of print in the light of the information and news reflected in the newspapers due to the Ministry of War and the Ministry of Internal Affairs during the Armistice Period. It also considers the “discretionary fund” account by the power of the Union and Progress in the course of the war. The articles published in Istanbul around November 1918–September 1920 are employed as the primary source of this article. Additionally, while evaluating the emerging figures and characters, it also examines memorabilia from other studies about the said period. The following conclusions can be reached regarding the payments made by the power of the Union and Progress during the World War I – on the basis of the sources and works mentioned above, and regarding the payments made to print media by the calculations of the Ministry of War, which were disguised as benefits and reflected on the press during the Armistice Period. 1. The discussion of the discretionary fund in the Armistice press. The first list of this issue was published on 21 October 1918 (19th of November) for the power of the Union and Progress, which started immediately after the signing of the Mondros Armistice when Enver, Talat, and Cemal Pashas went abroad. 2. Discretionary fund list that originated from the Ministry of War were published between 21 November 1918 and September 1920. It was meaningful to publish large lists, especially at the time of the Union and Terror, and during the antinational and struggling governments of Damat Ferit Pasha, which took place from 19 to 20 April 1919 and from 7 to 10 September 1920). In effect, Damat Ferit Pasha’s government fell on 17 October 1920, and this issue fell from the agenda after the establishment of the new Ahmet Tevfik Pasha government. 3. Alemdar, Peyâm and Peyâm-Sabah newspapers, like Damat Ferit Pasha, who opposed the Union and Terror and the National Struggle, wanted to constantly keep the issue of covered appropriation on the agenda. 4. Newspapers, magazines and books supported by discretionary fund account were Red-Black Book, New Magazine, The Translator of Truth, Literature-General Magazine, Armenian Hayrenik Newspaper, Farmers Association Magazine, and Hâver. 5. Tanin, Hilâl and Servet-i Fünûn were the printing houses which were paid from the discretionary fund. 6. Poets and writers who were paid from the discretionary fund account were Ahmet Rasim, Mevlânzâde Rıfat, Celâl Sâhir (Erozan), Samipaşazâde Sezai, Kâzım Nami Bey, Mehmet Emin Yurdakul, Abdülhak Hâmid, Ahmed Cevad Emre, Celâl Nuri&nbsp;Bey, Ahmet Ağaoğlu, and Hamdullah Subhi. It is also noteworthy to mention that Mevlânzâde Rıfat opposed the Committee of Union and Progress. 7. Abdülhak Hâmid, Mehmet Emin Yurdakul, Enis Avni, Kâzım Nami Bey, Mevlânzâde Rıfat, Ahmet Ihsan Bey, and some institutions (such as Hilâl Printing House) sent their explanations about the money they had been given to the newspapers, while others preferred to keep quiet. 8. It is difficult to assess whether or not the list of sources from the Ministry of War and Internal Affairs published in the newspapers is a complete list. Considering the information and statements made later, we can see that names, such as Cenab Şahabeddin and Yusuf Ziya Ortaç at the time of the Union and Progress, also received money from the covered appropriation. However, these two names are not included in the published lists. This raises the question about the rigor and reliability of the work done.

Discretionary Fund Expenditures Performed for the Press and Literature During the World War I by the Committee of Union and Progress

Harun

War is the collision of two or more states after diplomatic relations are cut off and special methods and tools are used through their armies. Wars often occur with the intention of using force that the two enemies cannot obtain in another way. For example, the Cold War period in military definition is society’s exposure to financial and emotional effects. These impacts are recorded in the works of art that were created during and after the war years. Literature includes all cultural artifacts based on a nation’s language, whether it has been transcribed or not. In a narrow sense, they are language artifacts written in an artistic manner of form and content and have certain rules. It is possible to evaluate previously written articles about “War Literature” which emerged by combining two concepts with different meanings in two groups. On one hand, according to writers in the first group, there is war literature and it is really important. On the other hand, those in the other group, who mostly take into consideration 20th century wars, argue that wars based on economic interests do not influence art and literature. However, art and thought actually make progress in times of peace. Extreme sentimentality, which had been substituted for logic in years of war, accelerates the shift of artwork toward conservatism, so peace is a great blessing compared to war. During war years, the human psyche was full of romantic, epic, and divine heroism. Yet the intellectuals were not sufficiently aware of the psychology of soldiers until the World War I. However, this psychology appeared in literary works of that period and was kept alive in romantic scenes. A common view in the articles is that the wars that were considered romantic in ancient times have influenced literature. The most important aspect of the wars during these times was the quality of individual courage and physical superiority. Men gaining a place in society depends on the heroism they show in wars, and that heroism has been superhumanly embroidered in the epics of the age's literary artifacts. Indeed, it is for this reason that these epics, which include epic characters, have been told many times for the name of a hero. The same situation continued in the Middle Ages by taking on a religious character. These wars, which were shaped in the imagination of both the artist and the people exposed to the pains of war, found a new life in literary works, especially in literary works containing an aesthetic purpose and were written directly to create war literature. This literature, which is clearly seen in poetry, novels, stories, and dramas, finds popularity in times of war. With the development of the press in the last century, public interest in wars has increased and the community has had the opportunity to follow circumstances in terms of the politics, military, history, as well as the literature. From the moment they appeared in the scene of history, Turks living inside wars have a rooted war literature. However, these literary sources have not been studied extensively and brought to light. In this work, Turkish war literature was examined from a comprehensive perspective and studied with sources, periods, texts, poets, and writers, and the importance of these works has been revealed in terms of national spirit and unity.

War Literature

Murat

The Ottoman Empire, which united communities with different ethnic and religious roots for centuries under its sovereignty, is an Islamic state in terms of the management of understanding and social life. Because of the close relation of the Ottoman State with the Islamic religion, Ottoman lands were called “Memalik-i Islam,” Ottoman sultans were called “Islam sultan,” and Ottoman soldiers were called “Asakir-i Islam.” In the Ottoman Empire, the sultan alone used the state power. Since the sultans represented the state institution, they were obliged to prevent persecution among people in order to preserve justice and to spread Islam on earth. In the eulogiums, the rulers are portrayed with their warrior and heroic personalities, and their heroism is praised. According to the eulogiums in the divan poetry, a warrior is one who is courageous, assiduous, powerful, ambitious, and pitiless. Also, a warrior should have a holy purpose to fight. This holy purpose differs from century to century or from one society to another society. Religion is one of the holy purposes of wars. According to Islam, the purpose of war is to spread Islam and Allah’s holy name (İlâ-yı Kelîmetullâh). Holy war is called “cihad” in Islam. Salvation is on the other shore of war. Islam and Islamic ideals are at the center of the Ottoman government’s mind. If Muslims want to approach Allah, they should go to the cihad. Paradise is found under the shadow of the Muslims’ swords. If Muslims want salvation from Allah, they should fight for him; this is obligatory in Islam. In the Middle Ages, fighting for Allah was the main purpose of wars for Muslim kingdoms. One of these kingdoms was the Ottoman Empire. At the foundation of the Ottoman Empire, there is a cihad ideal; thus, cihad is one of the most important tasks of the Ottoman sultans. In Ottoman poetry, a eulogium is a kind of poem in which great priests and politicians are praised. In these poems, poets bless and pray for politicians and speak about the perfect sultan. Some qualities of the perfect sultan are generosity, judiciousness, piety, and good poesy. One of basic qualities of ideal sultans is to fight for Allah and Islam, so sultans should fight for cihad. In this article, we explain some qualities of warrior sultans from the 16th century on the basis of eulogiums in divan poetry. To collect material for our research, we determined couplets in the eulogiums of divans of different poets from the 16th century. Some are first-class poets. Another occupation of a poet is to be a warrior in the Ottoman army. So, we need to understand these two kinds of poets to reveal the main topic. In divans of these poets, we examine eulogiums to explain the ideal warrior monarch in the Ottoman poets’ minds. In the eulogiums, sultans are the sword of Islam. They are sultans of Islam and their soldiers are soldiers of Islam. Sultans’ swords are a representation of cihad. They are victorious in the holy wars, and they owe their victories to Allah. One of the characterisctics of sultans is majesty. Their majesty comes from their heroism in the holy wars. Enemies fear the sultans because of their majesty in the cihads. In the eulogiums, there are some characteristics of sultans regarding their heroism. Sultans are fearless and cruel people. They do not have pity on their enemies because their enemies are also Allah’s enemies, and they must be destroyed by the Islam army. Monarchs should have a powerful army and they should become good soldiers to accomplish the gazâ mission. In the kasides, Ottoman sultans are explained as good soldiers who have all the qualities of a perfect soldier. Ottoman sultans are good commanders and heroes. They are merciless to Islam’s enemies and they are merciful to Muslims. They are frightening to enemies, and they give courage to soldiers in the Ottoman army. They rule with equalitiy and peace in the conquered countries. Poets simulate sultans to some mythological and historical heroes like Ali (who is the nephew of Prophet Muhammed), Darius, The Great Alexander, Cem, Sâm, Nerîman, etc. Most of these heroes come from the Şeh-nâme of Firdevsî. In conclusion, some sultans of the Ottoman Empire such as Bayezid II, Selim I, Süleyman I, Selim II, Murad III, and Mehmed III are praised in the eulogiums by divan poets for their heroism in the holy war cihads. Warrior profiles of sultans are ideal warrior profiles for divan poets. When we investigate eulogiums, we can understand what the ideal “gazi” profile is according to divan poets in the 16th century.

Portrait of Warrior Monarch in the 16th Century Qasidas

Dursun Ali

Assoc. Prof.

The interpretation of historical events as they witness social life, literary yields can be considered a reference point. Although history researchers do not regard utilizing literary resources as preferable for explaining historical events literary texts are actually resources for the interpretation of life experiences. In this study, first discuss what kind of breakdowns would have occurred if there had not been poets as witnesses in the transfer of history to the present-day; further, the study presents evidence from the those who lived in different social environments and various centuries, such as Horatius, Nef’î and Edip Ahmet Yuknekî, about the importance of the historical witness of the poets. As aforementioned people stated, emperors, kings, and sultans can be represented to future generations by reviving the words of poets. The best way for historical events to be eternality from the day they occurred is through a poet. Sharing the experiences via poems was considered as effective and as permanent as “carving into a marble”. Another important point that the study focuses on is that poets reveal the reasons behind wars with images and symbols according to their social and political environment they are in by interpreting why warriors fight. At this point, the poet is the voice of the silent crowd and a contact between sultans and soldiers, especially during campaigns. In addition, poems convey wars with a literal language blow-by-blow via “gazavatnamesliterary resources telling about the wars against Christian powers.” For example, gazavatname Cehrin by Vuslati cinematographically highlights a war from the beginning to the end. It is significant that poets witness important events in history, especially wars, in order to light on historical events. However, it should be remembered that above all, literary texts are written on the basis of images; thus, proper comprehension of these texts will be related to the analysis of their images by the reader. After all, it is certain that the issue of approaching historical and archival documents but also the experience of the poet into consideration is a needed in today’s interpretation of history. If the witness of the poet and the witness of the history corroborate each other, something having two witnesses will cause no harm. However, a poet explains everything that is experienced regarding war blow-by-blow like a journalist of the time, especially in genres like Gazavatname. It is known that the Ottoman people preferred to express almost every problem or happiness through poems. It would be a deficient and simple approach to access history to the an extent permitted only by archival documents.

War and Poem: Poets as a Witness to History

Fikret

The purpose of this study is to determine the military-administrative ranks and titles in Old and Middle Turkic texts beginning with the Köktürk Inscriptions, monuments bearing the first known Turkic written alphabet and the Old Uighur documents created afterwards. It is also aimed at demonstrating how this system of military ranks and titles were transformed in Middle Turkic Karakhanid, Khwarezm-Kipchak and Chaghatay Turkic as the idioms of the Islamic period of Turkic. In this context, it is established that in Old Turkic, a majority of the ranks and titles were of Turkic origin and only a limited number of the related appellations were Chinese, Sanskrit and Iranian. In the Köktürk Inscriptions Tonyukuk, Kültigin, Bilge Kağan, Ongi and Küli Çor, the highest titles are ḳaġan (the great king), yabgu (secondary ruler) and tėgin (prince-commander), all of which have both administrative and military responsibilities, while the military ranks şad / şadapıt, tarḳan / tarḳat, boyla, buyruḳ, sañun / señün, ėlteber and çor stand as the high army positions. The titles çabış and ayġuçı are some of the highest ranks held by Tonyukuk the Vizier. The Chinese word totoḳ is used for Chinese and foreign military governors. Although their grades and degrees of responsibilities are not clearly shown, the ranks ınançu, baġa, çigşi, ışbara, ėrkin and yarġan were middle and lower ranks. The word sü had the denotation of both an army and a soldier. Çerig, er, eren, erat and yaġıçı mean a soldier, warrior and military personnel, while the word yaġı denotes an enemy. In Old Uighur texts, while many of the Köktürk ranks and titles continued as earlier, the title ėlig (the great king) became more common than kağan, but şad and şadapıt as high ranks disappeared. The nature of title and ranks changed in Middle Turkic as Arabic and Persian vocabularies appeared in Kutadgu Bilig (11th century) for the first time as the first literary Islamic-Turkic work. Their number grew and replaced many of Old Turkic equivalents in the following Khwarezm-Kipchak period during the 14-15th centuries. In Karakhanid Turkic, the titles ėlig, ḫāḳān, ḫān, erk, şāh, pādişāh, sulṭān, melik, ṣāḥib-ḳırān and rarely ajunçı denote a king, while the words yavgu, tėgin, tėgit,bėg, yuġruş, tügsin, çuvı, öge-tėgit, terken, ispehsalār, saġun, kökyuk, ınal are the high army ranks and ınanç, çaġrı, atlıġ, başġan, toña, sü başı and çavuş denoted the medium and lower ranks. In addition to Arabic and Persian loanwords, many Mongolian words were also used in Chaghatay Turkic, which became an advanced literary Turkic idiom in the second part of the 15th century, and all these lexical items consequently created a rich military terminology in that period. The most common titles for king in Chaghatay were ḫān, emīr, melik, sulṭān, şāh/şeh, pādişāh, ḫāḳān, ṣāḥib-ḳırān, emīrü’l-umerā, sulṭānü’s-selāṭīn, ḫāḳānü’l-ḫāḳān, sulṭān-ı ṣāḥib-ḳırān; titles for high administrative and army duties were bek/beg/bėg, mīr, mīrzā, şeyḫ, sipeh-büd, sipeh-dār and baḫşi; high army ranks were sipehsālār, çerik başlıḳ, serdār, noyan / noyun, tarḫan, topçı başı tümen başı, tümen begi, miñ başı, miñ begi and medium and lower army ranks were başlıġ, bekevül/bökevül, ėşik aġası, ḳor begi, ḳoşun begi, ḳuş bėgi, toġḳan ağası, on bėgi, on başı and tovaçı.

Military Ranks and Titles From Old Turkic to Middle Turkic

Aslı

Ümran

Religions not only give direction to people’s lives but also affect tribes’ futures. Turks had the belief of Gok-Tanrı until the establishment of the State of Uyghur. After Bogu Kagan was throned, Manichaeism was accepted as the religion of the state. Learning of Manichaeism by Uyghurs came five hundred years later. They discovered this religion when they were in Otuken through Sogdians, the merchant missionaries of the Silk Road. This religion had never been accepted so commonly until the Uyghurs. Uyghurs, whose government was collapsed by Kirghiz, immigrated to the national boundary of China and the regions of Turfan and Tarim. Some of them came to Khansu and established Khansu Uyghur Khanate, which was where Buddhism vastly spread. The other Uyghurs who had not been placed in cities had gone to Turfan and established the Turfan Uyghur State. This state is known as the State of Khocho Uygur. Many works had been translated from Chinese, Tibetan, Tocharian, Sogdian, and Sanskrit to Old Uyghur Turkish. These works were about the principles of Buddhism and Manichaeism, and they aimed to teach these principles to the people who accepted the religions. So, Old Uyghur literature is based on works about religion. Most of the works have been found out to be in Turfan, Khansu, Khocho, Hami, and the caves of Tun-Huang. One of the most important principles of both these religions is not to harm any human being or any other organisms. A Manichean was forbidden to take any life, and he also must never damage any matter that contains light. Similar to Manichaeism, Buddhism is against murdering or killing animals. So these religions do not tolerate war. In these doctrines, believers cannot fight for their countries. In our work, we aim to determine how Manichaeist and Buddhist works talk about making war or killing. For this, we examined “Huastuanift,” “Irk Bitig,” and texts from Manichaica I, Manichaean poems analyzed by Reşid Rahmeti Arat in “Eski Türk Şiiri” for the Manichean&nbsp;area. For the Buddhist area, we examined “Altun Yaruk,” “Daśakarmapathāvadānamālā,” “Üç İtigsizler,” “Maytrısimit,” “Kuanşi im Pusar,” and “İyi ve Kötü Prens Öyküsü.” When we pay attention to these works, we see that murdering or killing animals can be done by people who have bad souls. Heavy penalties, which are the result of these actions, take place in these works. How people who killed anyone or anything must behave and what they have to do is told, especially in repentance texts. There are many war scenes in these texts, but almost all of them are about the wars between gods or boddhisatvas and the devil. To have a spiritual meaning, this war must be absorbed. In these scenes, many war equipments also occur in texts. Names of most of the equipments are Turkish. This can be a reflection of daily life, and it shows that these equipments belong to the period of the belief of Gok-Tanrı, i.e., before accepting Manichaeism and Buddhism. In only one condition is killing acceptable: A person can sacrifice his life for any other lives, which seems to be a virtue of these works. There is only one way to protect the country from enemies: Believers and especially the lord have to process the rules of religion and read and protect the sacred books. If not, the doctrine cannot be protected. People will have bad intentions and will lose the country by making war. And poverty, illnesses, and the danger of the enemy can never be eliminated. İn the Süü Ülüş part of Altun Yaruk, it is said that the book had been written to repent from killing animals and to save from penalties. In this work, we tried to show Buddhist and Manichaeist perspectives on war in the Old Uyghur Turkish texts.

Buddhist and Manichaeist Views on War on the Old Uyghur Turkish Texts

Sevim

Savaş ve Edebiyat Araştırmaları

Decision of the Editorial Board about articles

Hatice

Titles are one of the most significant elements that determine the hierarchical order in a society and indicate the existence of a certain legal system. Since their first establishment, Turkic states have been governed by a certain political structure and order. Certain institutions are established to perform certain duties in Turkic states and the titles used by the people representing these institutions are important in terms of reflecting their cultural background. Kocho Uyghurs had a privileged position in Turkic culture. Because they were the first of the pre-Islamic Turkic states to adopt a sedentary lifestyle. They also developed an economy based on agriculture, animal husbandry and handicrafts. In addition, Kocho Uyghurs were also important in terms of Turkic cultural history as they adopted various religious beliefs, such as Buddhism, Manichaeism and Christianity. Meanwhile, they also created a literature based on translation within the framework of these beliefs. The Kocho Uyghur State came under the Mongols’ rule in 1209. However, they had a special position within the Mongol Empire and the Kocho Uyghur state continued to be ruled by the Uyghur ruler Idikut. After Kublai Khan assumed power (1260), the Mongol-Yuan state made various administrative arrangements in the Kocho region. One of these arrangements was the establishment of the Local Supervision Bureau (按察司ancha si) and the appointment of Local Supervision Officers (按察使ancha shi). The Local Supervision Bureau was responsible for overseeing administrative, judicial and agricultural affairs of regions under Mongol rule. It is known that during the Mongol-Yuan dynasty, ançaşi, which were Local Supervision Offices, were also established in the Kocho region where Uyghurs lived. According to the information in the Yuan Yearbook, which is an important source on the history of the Mongols, the Local Supervision Bureau was established in Karakoço in the 15th year of Zhiyuan (1278) by order of Kublai Khan, but this institution became dysfunctional as a result of the riots in the region and was canceled in 1281. Later, the Hexi Supervisory Bureau was established in Hexi, where the Uyghur population was predominantly Uyghur, and this temporary institution was canceled in the third month of 1283, and the supervisory bureau in the Longyou district of Hexi replaced the Hexi Regional Supervisory Bureau. Uyghur civil documents, which constitute the primary material of our study, cannot be dated precisely because of the use of the Twelve Animal Turkic Calendars. However, the possible dating of these documents is estimated as the 9th-13th centuries. These documents cover various topics, such as buying and selling, lending and borrowing, lease documents, pledge documents, adoption, slave emancipation, and inheritance. These documents were obtained in the early 20th century due to research expeditions and archaeological excavations by archaeologists worldwide, such as Finnish, Russian, German, Japanese, and French. These facsimiles are available in Berlin, Leningrad, Kyoto, London, Paris, Helsinki, Beijing and Urumchi. A significant number of vocabulary studies and text editions have been conducted on Uyghur civil documents in Türkiye and abroad. The evaluation of the vocabulary of these documents, which provide crucial information on the political, economic and cultural life of the Uyghurs, by supporting them with historical, cultural and archaeological materials and interdisciplinary studies is very limited. The research of these documents, based on Chinese annals, is very important in terms of revealing information that has not yet been clarified in the Uyghurs’ political, economic, and cultural history of the. In this study, the historical development of ançaşi “auditor, inspector,” found once in Uyghur civil documents, is presented by giving information about the origin of this title and its use in the dynasties established in China. In addition, the introduction of the title of ançaşi into the Uyghur field, as well as its usage and jurisdiction areas, are revealed in this research.

On the Title Ançaşi in Uyghur Civil Documents

Muhammed

In this study, the ambiguous narrative style in Safâyî’s work titled Fetihnâme-i İnebahtı ve Moton and Adlî’s work titled Manzûme-i Feth-i Şirvan ve Demirkapı are analyzed and discussed. Written in the 16th century, these fetihnames in verse have a vague narrative style compared to other fetihnames in verse, making their content challenging to understand. Safâyî obscured the subject matter of his fetihname mainly through narrative techniques and partly through ta‘kîd practices that violate eloquence. The poet states that he aims to make his narratives not easily understood by the reader, and recommends that they be read over and over again to understand them. In terms of method, he generally narrates the events in a spiral manner and jumps back and forth in time; he makes it challenging to understand the identity of some individuals by mentioning their names, nicknames or ranks in different places; and sometimes he makes his own statements ambiguous. Therefore, to understand the subject matter of the fetihname as a whole, it is necessary to determine the chain of events, the order of persons, places and chronology, establish the connection between the information given, and reflect on ambiguous expressions. Safâyî, who made the subject matter of his fetihname challenging to understand in the aforementioned ways, opened some channels for the reader to overcome this difficulty. At this point, he first partially mentions some topics, then states that he will explain them later, and then explains them in a later section. In the same case, sometimes he explains a subject or person that he mentions but does not state that he will explain in another section. The poet’s explanations and statements about this activity have traces of the commentary tradition in classical Turkish literature. Some subjects or persons that are not fully comprehensible at the beginning become more comprehensible through the aforementioned ways. Adlî’s ambiguous narrative style is mostly characterized by the lafzî ta‘kîd, partly by manevî ta‘kîd, and sometimes by the use of figurative and ambiguous expressions. The poet’s abrupt transitions between subjects and the omission of details are another factor that makes comprehensibility of the main subject challenging. The poet emphasizes the significance of muamma, ta‘miye, remiz (symbol), îmâ (suggestion), ibhâm, îhâm and applies some of them in his work. He also states that he has read some works on the commentaries on muammas and that some of his protégés are also interested in the science of muammas. All these points reveal Adlî’s interest in the ambiguous narrative style. On the other hand, the meter, rhyme, repeated voice, language and rhetorical features of the poet’s work reflect the influence of Sebk-i Hindî. It is understood that the two fetihnames in verse analyzed were written in a deliberately ambiguous narrative style. Ambiguity is not seen much in the narrative style of the other&nbsp; fetihnames in verse, and their authors did not refer to terms, such as remiz, îmâ and ibhâm, related to ambiguity in poetry. When we look at the main difference in the two poets’ practices to make their works ambiguous, we see that Safâyî uses narrative techniques to make it challenging to understand the context between the subject and the people and to obscure the main subject. Adlî, on the other hand, uses metaphorical or ambiguous expressions by using the power of rhetoric in addition to ta‘kîd practices.In the tradition of classical Turkish literature, in the century in which the aforementioned fetihnames were written or in the following centuries, lügaz and muamma were written in which a name was concealed through the veiled utterance of the word. In the same periods, in some books or poems, veiled expressions were made by using figurative language, metaphorical expression, literary arts, such as telmih (reference), tevriye (double-entendre) kinaye (innuendo) or elements, such as lügaz, muamma and ta‘miye. In addition, in the periods in which the two fetihname poets lived, the effects of the Sebk-i Hindî movement, characterized by the closeness of meaning in poetry, began to be seen. In this framework, it is seen that the ambiguous narrative style adopted by Adlî was nourished by the same tradition, while Safâyî followed a path that we could call relatively unique with the narrative techniques he applied together with the tradition. Consequently, both authors’ fetihnames are texts that require commentary due to their characteristics, and it is noteworthy in this context that Safayi commented on some of his phrases.

Two Examples of Fetihnames in Verse Written in Vague Narrative Style

Mehmet

Assist. Prof. Dr.

In the 13th century, the Turkistan lands occupied by the Mongols featured a Turkic society that was more advanced than the Mongols in both administrative and socio-cultural aspects. The Uyghurs, who had a developed state organization in the region, became integral to the state apparatus of the Mongol Empire. This integration initiated a Turkic influence on the state’s administrative structure, shaping the official correspondence tradition. Thus, the diplomatics of the Mongol Empire incorporated Uyghur-origin diplomatic terms and stylistic characteristics. The Golden Horde, established in the 13th century as the westernmost part of the Mongol Empire, continued to Turkify due to the influence of the Cumans in the region. This ongoing Turkification was also reflected in the state’s written language and its diplomatic tradition. By the 15th century, the Crimean Khanate established its diplomatic tradition as a continuation of the Golden Horde. This tradition underwent significant changes by the 16th century due to Ottoman political influence.This study aims to catalog all terms related to diplomatics found in the 404 official documents of the Crimean Khanate. It investigates how the Crimean Khanate's diplomatic tradition evolved century by century by focusing on the terminology and stylistic characteristics of the documents. The present study seeks to contribute to developing the official correspondence tradition of the Crimean Khanate through detailed document analysis.This research examined 404 official correspondences from the Crimean Khanate, covering approximately 300 years from its establishment in the 15th century to its dissolutiondecline in the 18th century. The diplomatic correspondence examined in the study was the Crimean official correspondence found in the studies of Özyetgin (1996), Sıtkı Özkul (2011) and in the Atasoy (2017) publications. The corpus of sources employed in this study encompassed a diverse array of documents from the Crimean Khanate period. It included yarlıġs (edicts), bitigs/ḫaṭṭs (official letters), taḥiyyet-nāmes (letters of allegiance), tarḫan-nāme-i yarlıġs (edicts declaring tax exemption), mülk-nāme-i yarlıġs (edicts declaring fiefdom lands) and ʿahd-nāmes/şarṭ-nāmes (peace agreements).Official documents from the Crimean Khanate period are primary sources that determine the basis of the state's official correspondence tradition. These documents are also important in terms of revealing the development of the written language used by the state. Initially, this research elucidates parts of the Crimean Khanate diplomatics with detailed examples from the texts. It also included an examination of the linguistic and stylistic characteristics of official correspondence. This study systematically cataloged the diplomatic terminology identified within the 404 documents and organizes these terms chronologically by century. This research identified 108 diplomatic terms within 404 documents examined from the official correspondences of the Crimean Khanate. Analysis reveals that nine terms appeared in documents (spanning 11 documents) from the 15th century, 30 terms were noted in documents (20 documents) from the 16th century, and 61 terms were recorded in documents (368 documents) from the 17th century. Additionally, eight terms were found in documents (5 documents) from the 18th century. The trajectory of the Crimean official correspondence tradition from the 15th to the 18th century demonstrated considerable evolution, notably in terminology and the format of document preparation. Crimean official documents of the 15th century are a continuation of the Golden Horde diplomatic tradition in terms of terminology and stylistic characteristics. In this century, in Crimean diplomatics, the term yarlıġ was used for the edicts of khans and sultans, and the term bitig was used for letters of dynasty members and dignitaries. The terms mektūb, nāme and ruḳʿa are also present in the correspondence due to the influence of Ottoman diplomatics. The letters declaring political allegiance to the Ottoman Empire during this period are called taḥiyyet-nāme.Another point that drew attention in the documents was related to “edicts declaring tax exemption” and “edicts declaring fiefdomlands.” These documents have passed from the Golden Horde diplomatics to the Crimean Khanate. In the documents, "edicts declaring tax exemption" are called altun nişānlıġ al tamġalıġ yarlıġ in the official documents of the 15th century, while in the 16th century, kök mührlüg al nişānlıġ tarḫān-nāme-i yarlıġ. “Edicts declaring fiefdomlands” are called yüzük nişānlıġ yarlıġ, al nişānlıġ kök mührlig mülk-nāme-i şer̄if, mülk-nāme-i yarlıġ and kök mührlig al nişānlıġ yarlıġ in the documents of the 16th century.&nbsp;The Ottoman diplomatic influence on terminology continued to increase in Crimean official correspondence in the 16th and 17th centuries. In the documents, fermān and noun phrases, such as fermān-ı şer̄if, yarlıġ-ı şer̄if, yarlıġ-ı şer̄if-i ḫāḳān̄i, iʿlām-ı yarlıġ-ı şer̄if-i ḫān̄i, iʿlām-ı yarlıġ-ı muḥabbet-fercām, iʿlām-ı yarlıġ-ı şer̄if-i muḥabbet, iʿlām-ı tevḳ̄i -i ref̄iʿ ḫān̄i, iʿlām-ı yarlıġ-ı bel̄iġ-i muḥabbet-encām, münhā-yı ḫān̄i were also used along with the term yarlıġ (Golden Horde origin). The term bitig (Golden Horde origin) was not used in Crimean diplomatics after the 15th century. Instead, the terms ḫaṭṭ, ḫaṭṭ-ı şer̄if, mektūb, nāme, nāme-i hümāyūn, nāme-i şer̄if, rukʿa and varaḳa were used in the documents due to Ottoman influence.

The Evolution of Diplomatic Practices in the Crimean Khanate

Merve

Melancholia is extensively studied and discussed in medicine and psychology. In clinical descriptions, melancholia is usually described as a state of "pessimism" and "low" mood characterized by profound sadness, hopelessness and loss of energy. This mental state affects both the daily functioning and the quality of life of the individual. Melancholy results from a complex interplay of psychological and biological factors and profoundly affect a person's inner world. In the literature, melancholy is often explored as a profound theme. It serves as a powerful means of expressing the inner conflicts, profound sadness and characters’ despair. Melancholic themes allow individuals to formulate existential questions and explore the meaning of life and the inevitability of death through words. In this context, melancholy functions as a description of a mood in literature and a philosophical tool that penetrates the depths of human experience. Güzide Sabri Aygün, who is considered an important figure in Turkish literature because she emphasizes the voices and feelings of women, provides impressive examples of the literary representation of melancholy in her early novels Münevver (1901) and Ölmüş Bir Kadının Evrak-ı Metrukesi (1905). In both novels, the characters’ deep emotional conflicts and unrequited love serve as literary reflections of melancholic states. This study aims to analyze the aforementioned novels using Freud’s theories of melancholy and grief and to decipher the psychological and emotional experiences of the characters. Such a theoretical framework allows for a more comprehensive evaluation of the themes of love, loss and melancholy in the novels. It provides a new and original perspective on the intersection of literature and psychology. Sigmund Freud’s psychoanalytic theory has profoundly influenced the understanding and analysis of the human inner world. In particular, concepts, such as grief and melancholy, play an important role in understanding and explaining the individual’s emotional world. Evaluating the themes addressed in Güzide Sabri’s novels within a psychoanalytical framework allows for a comprehensive analysis of the characters’ inner conflicts and emotional richness. In examining the concept of melancholy in the texts studied, the focus is on its physical and emotional dimensions. Homer's approach to the relationship between mind and body makes it possible to view melancholy not only as a mental illness but also as a condition that affects the unity of mind and body. Münevver’s tuberculosis and Fikret’s heart condition illustrate how physical illness can deepen melancholy or how melancholy can exacerbate physical illness. The physical dimension of melancholy reflects the deep distress and conflict in a person's inner world. Furthermore, the examination of the relationship between melancholy and death shows that characters, such as Münevver and Fikret long for death and contemplate suicide, due to their deep attachment to the lost object. Their suicide attempts and longing for death reflect the profound pain and conflicts of melancholy. In addition, the characters attempt to alleviate their inner turmoil through spatial and spiritual escape. However, these escapes offer no lasting solution and deepen the characters’ inner loneliness. The preconditions of melancholy, such as loss of object, ambivalence and the regression of the libido to the ego, provide clues for understanding the psychological states of Münevver, Şefik, Fikret and Nejat. The loss of objects begins with the characters internalizing the losses they value, which leads to a feeling of emptiness. This loss deeply shakes their self-perception and emotional balance. Ambivalence explains the characters' contradictory feelings towards the lost person or ideal and the inner conflicts these feelings provoke. The couples long for their lost lovers and, at the same time, avoid them, which leads to emotional turmoil. The regression of libido to the ego illustrates the processes that lead the characters to feel worthless and guilty. Münevver, Şefik, Fikret and Nejat, who feel guilty and worthless in place of the lost object or ideal, exercise deep self-criticism by directing their complex emotions towards their egos. The interplay of these three elements reveals the psychodynamic structure of melancholy.

A Psychoanalytic Analysis of Melancholy in the Early Novels of Güzide Sabri

As an alternative to the Anthropocene modelled on binarized words/images, mind/body, symbolic/semiotic, human/nonhuman categorical divides, Deniz Gezgin’s YerKuşAğı presents a post-anthropocentric universe. The subjects of the novel, marginalized for not conforming to the exclusionary ideals of the humanist discourse and denied a unique voice for being taken as a threat to the operation of modernity’s binary mode of thinking, find a way to express themselves outside the trap of modernity with their journey to nowhere, a space implied to be remaining still uncharted or uninvaded by the Anthropos. On the journey they take by plunging into salt, which acts as a kind of purification from all the dualistic teachings of the dominant humanist discourse or as a kind of therapeutization from the traumas of being exiled to a civilized (!) land of binary codes based on epistemic demarcations and sterilized from the pre-Platonic, the peripheral characters of the novel who are stigmatized due to their deviation from the idea of a linear subject favored by humanism discover who they are outside the self/ Other dialectics. One of these characters, a little girl Moy, is depicted at the very beginning of the novel as lying on a death-bed in a room surrounded by walls and as suffering from the gaze of various stuffed animals hanged on these walls as the masterworks (!) of her hunter father, Asil Derbentçi. Considered an invalid, Moy is ignored even by her family let alone being excluded from the outer society thinking her as a source of disquiet for spoiling the smooth model of perfectibility proposed by humanism for the subject. Reduced to the state of a sick body and a dysfunctional mind, thus, she is equated with a trash to be discarded for reasons of hygiene, so much so that her existence is considered as futile by her father. A bird other, wounded bird Şuri, shares the same trauma with Moy. In the same way as Moy is condemned to bed and detached from the songs of childhood innocence heard in the imaginary-like garden of nature, Şuri is separated from the melodies of nature due to its oil-coated wings. As if reacting against its mobility or free-flying in the sky by remaining ignorant of any epistemic borders or illusionary linear structures, oil deprives Moy of its freedom or freezes it in a certain structure, which can be thought, I would argue, as an attempt for turning what is considered as the unknowable for its free-flight into the knowable or silencing its agency. In addition to Moy and Şuri, Hagrin and Cice are stigmatized as the inferiors of the Human due to their ambivalence: while Hagrin stands at animal-plant-human intersection, Cice stands at deer-dog&nbsp; intersection and with their such state of inbetweenness that does not fit into either/or divide, they are overlooked or discursively murdered. Denied a voice in the dominant discourse of humanism as its child, animal, or plant others, Moy, Şuri, Hagrin, and Cice are pushed to the space of the irrational and reduced to the state of the non-existent for the threat they pose to the rationalizing or Platonizing attitudes of modernity. However, the journey they take on by being reborn to their pre-symbolic selves through delving into salt as if delving into Lethe river through which all of the memories of the past are erased enable them to make their voices heard outside the words of the Other. Blurring all the boundaries and evading all the categorical definitions assigned to them within the discourse of modernity through this journey, implied to be at life-death intersection, they metamorphose into each other. In this way, with their attempt for Becoming, the characters who are codified as the imaginary others by the anthropocentric narrative due to their difference unravel from the discourse overlooking them and make visible infinite possibilities in life. In this vein, the study that takes the unravelling of the characters on the path of nowhere and the processes of their regeneration as the portrayal of human-nature continuum or relationality, consults such theoretical concepts as Rosi Braidotti’s concept of becoming-imperceptible which is traced to posthuman theory of death and Stacy Alaimo’s concept of transcorporeality.

As I Die(s): Dying as an Attempt for Becoming in Deniz Gezgin’s YerKuşAğı

Samet

Nahj al-Farādīs, written by Mahmūd bin ‘Alī al-Sarayī al-Kardarī in the middle of the 14th century, before 1358, is considered one of the texts that best reflects the characteristics of the Khwarezmian Turkish period. The work was probably written in the capital of the Golden Horde, Saray, and its manuscript copies soon spread over a wide geographical area, including Anatolia and Egypt. However, the Volga region was the region where it spread the most and was most influential.Eckmann intended to publish the critical text of this significant source of the Turkish language based on the Yeni Cami copy and by comparing it with the Paris copy. However, he died before he could publish his work. Eckmann’s work was later published with some corrections by Tezcan and Zülfikar, and Ata prepared the index of the Nahj al-Farādīs based on this edition. Some scholars proposed many corrections to the transcribed text after the edition was published. This study will not repeat the suggestions for re-reading made in these studies unless necessary. The present study aims to offer suggestions for the correction of copying, reading and interpretation errors which may lead to misunderstandings of the text, ghost words or meanings, incorrect interpretations in terms of the phonetic and morphological characteristics of the period. These issues may arise due to errors in reading, misinterpretations, or mistakes made by the copyist. This study provides recommendations for re-reading (→) or re-interpreting some words and for adding meanings to some words in the index (+):aḳ- ‘to raid,’ ammā + ‘as for,’ apra → asra, arıġ + ‘exempt; holy; halal,’ arıġlıḳ + ‘exemption,’ baġır +‘stomach,’ bastur- ‘to cause to trample,’ baştın ‘from the beginning, again,’ bel-ḫōd ‘on the contrary,’ bildür- + ‘to make someone rule something,’ bol- + ‘indicative declension; copula,’ bolmasa ‘whereupon,’ büken → bögen ‘tripe,’ bütünlükin ‘surely,’ çoġla- ‘to cry out, shot; to scold,’ edeb ḳıl- ‘to chastise; to correct,’ e ͡gek ‘chin,’ er- + ‘to exist,’ erklen- ‘to be in charge,’ eye → aya ‘palm of the hand,’ eymen → im̄in ‘secure,’ ezil- ‘to be made wet,’ ḥāl + ‘time present,’ ḫoca → ḫv āca-sarāy ‘eunuch,’ illā ‘except, only,’ i ͡gen + ‘yes, of course,’ ḳabūl ḳıl- + ‘to promise to give a ley,’ ḳadersiz → ḳadrsız ‘worthless,’ ḳaḳ- ‘to knock (on the door),’ ḳanġusuz ‘insatiable (to look at),’ ḳatı → vaḳtı (vaḳtı ḫoş bol- ‘to be happy’), ḳatıl- ‘to infere,’ ḳatın- → ḳaltın-, ḳavurtlıġ → ḳavurtsıġ, ḳayġı → katıġ ‘something eaten with one's bread,’ kir- + ‘to come into someone’s presence,’ ḳonuḳluḳ ḳıl- ‘to prepare a feast,’ ḳop- → ḳuvvatını (kö ͡gül ḳuvvatı: tranquility, peace of reassurance), ḳoy- → ḳuy- ‘to pour,’ köre → kör- ‘to follow, to obey,’ körüşgülüg ‘farseeing,’ mu ͡gluġ ‘needer,’ mu ͡gsuz ‘not in need,’ mühür → mehr ‘a widows share for life of her husband’s estate,’ öçek → üçek ‘roof,’ ölügse → ölüg, örge- → ürge- ‘to dwell, tarry,’ öz → or, öz ḳur- → arḳur- ‘to encounter,’ öz andām	→ ud andām ‘genitals,’ saḳsıḳ ‘a material made by firing clay, ceramic,’ sekit- ‘to scold,’ sıltaġ → tıltaġ, taḳıl- ‘to disperse,’ tap → tın ‘halter,’ tayan- → tıyan- ‘to quiet down, take a rest, stop,’ tek ḳal- + ‘take a rest, stop,’ tėmür-tiken ‘thistle,’ tobra ‘nosebag,’ tuynaḳ → tunyaḳ, tünek ‘bedroom,’ urluḳ ‘seed,’ uza- ‘to become long drawn out,’ uzaḳ ‘long,’ vafātı bol- ‘to die,’ bir yansı bol- ‘to stay aside, to go away,’ bir yansı ḳıl- ‘to rotate in another direction,’ yauḳ ‘close,’ yėldür- ‘to be defeated,’ yırt- + ‘to savage,’ yigit → bitig, yupula- → yobula- ‘to mock, ridicule,’ yolçı ‘guide,’ yöne- → yun- ‘to perform ablution,’ yul- ‘to buy,’ zehr → zehre ‘audacity’.

Reading and Interpreting Recommendations for the Nahj al-Farādīs

Züleyha

Köprülüzade Esad Pasha was a statesman who lived in the last quarter of the 17th century and the first quarter of the 18th. He was the youngest son of Grand Vizier Fazıl Mustafa Pasha and a poet, writing under the pen name Hasim. Although his name is mentioned in the 18th-century biographies, very little is actually known about him. The information given in tezkireh (biographic) sources is brief and is as follows: Hasim, one of the poets of the age, is the son of Fazıl Mustafa Pasha, one of the grand viziers of the Köprülü family, and the brother of Numan Pasha. He had a good educational life. He served with the rank of vizier in several sanjaks of the Ottoman Empire and retired from his final position, choosing a solitary life. He wrote very beautiful poems and was of admirable character.There is no study other than a master’s thesis and a published book about Hasim’s only known work, his divan, which consists of three odes and 159 ghazals (Ustaömer, 2010; Zavotçu &amp; Ustaömer, 2022).A manuscript discovered in the Köprülü Library prompted further research on Hasim, enriching the existing historical and literary knowledge about him. The manuscript contains an elegy written by Esad Pasha (Hasim) for his elder brother Numan Pasha, who died in 1719.To obtain more information about the literary and historical personality of Esad Pasha,18th- century chronicles and histories were carefully examined. Among the sources that provide insights into Esad Pasha are Silahdar Mehmed Aga’s Nusretname and Vakanüvis (chronicler), Rashid Mehmed Efendi and Celebizade Asım Efendi’s Tarih-i Raşid ve Zeyli.Significant new information on Esad Pasha was uncovered through these sources. More details have been obtained about his date of birth, years of appointment, term of office, date of retirement, life, death, personality, artistry, areas of interest, and sources of influence – all of which were previously missing or ambiguous in the literature. This information will be useful in filling the gaps about his life and art in 18th-century literature history.The research begins by discussing the place and importance of the Köprülü family throughout history. It then introduces Numan Pasha, the recipient of the elegy and the most senior member of the family during the 18th century. In the section dedicated to Numan Pasha’s life and character, attention is given to the aspects of his life that inspired the elegy. In the next section Esad Pasha’s biography is presented, and then his literary persona is discussed. A deeper understanding of Esad Pasha provided valuable insights into Hasim and his poetry. Through this new perspective, his literary personality and works are evaluated in terms of meaning, form, content, language, and style.The final section of the research focuses on the elegy to his elder brother and former grand vizier Numan Pasha, who died in 1719. This elegy, which resides in the Köprülü Library, is composed of 18 parts and is an incomplete yet voluminous section of the Divan. The research provides information on the physical conditions and catalog records of the elegy. After conducting historical and literary evaluations, the elegy was presented as a critical text though the research. The elegy can be considered a valuable literary work due to its impressive emotional depth, language and stylistic features.This study has resulted in a new and updated biography of Esad Pasha by comparatively evaluating the historical information and tezkireh texts as well as the themes expressed by the poet, which are reflected in the Divan. The study also while provides new insights into Esad Pasha and his Divan, offering a comprehensive perspective on his life, personality, and art.

Requiem for a Brother: Hasim and His Elegy to Numan Pasha

Ebuzer

The Tanzimat Period emerges as an intriguing era in the Ottoman Empire concerning the nature of the relationship between literature and politics. This period is considered the milestone of modern Turkish literature and the beginning of literature breaking free from the auspices and dominance of politics. When questioning who the intellectual and literary “master” of the Tanzimat Period is, there seems to be a broad consensus around İbrahim Şinasi. Şinasi’s influence on the intellectual atmosphere of the Tanzimat Period is so significant that the literature of this era is also referred to as the “Şinasi literary school.” Şinasi, seen as the pioneer of the political literature of this period, is regarded by some Turkish literary historians as the first Turkish literary figure to break the tradition of literature being tied to the palace and the Sublime Porte. This study focuses on the nature of Şinasi’s relationship with the thirty-first Ottoman Sultan, Abdülmecid Efendi, aiming to question the truth of the role attributed to him and enhance our understanding of the structure of the relationship between literature and politics in that period. The research method was document analysis. In this context, archival documents, primary sources, research and reviews were utilized. The relations between İbrahim Şinasi and Sultan Abdülmecid began with Şinasi’s acceptance into Abdülmecid’s presence in his early twenties when he was still working as a clerk at the Tophane-i Amire Müşiriyeti. When exploring the details of these relationships, it was apparent that Şinasi composed panegyrics, devised chronograms, and even authored and composed a march influenced by these connections. In the panegyrics, chronograms, and march, the praise of Sultan Abdulmecid was at the forefront. Furthermore, it was understood that Şinasi and Abdülmecid’s interactions gave rise to Şair Evlenmesi (The Marriage of the Poet), considered the first play in modern Turkish theater because Şinasi wrote the play in question in accordance with the special request of Sultan Abdülmecid. Consequently, a significant discrepancy was observed between the role assigned to Şinasi by Turkish literary historians and the nature of Şinasi’s relationship with Sultan Abdülmecid and the works derived from this relationship. In return for the Sultan’s compliments and favors, Şinasi was seen praising and exalting Abdülmecid’s glory through his works as a literary figure and artist. This situation suggests that the role attributed to Şinasi in political and literary terms has no reality. Thus, the literature of the Tanzimat Period, like classical Ottoman literature, needs the patronage of politics. However, this conclusion does not mean that there is an absolute continuity between the literature of the Tanzimat Period and classical Ottoman literature in terms of their relations with politics. Instead, it means there is a similarity between the two literatures regarding needing the patronage of politics.&nbsp;On the other hand, it is essential to note that Şinasi’s critiques in his works against the Ottoman Sultan and statesmen were not aimed at liberating Turkish literature from political influence. Instead, they stemmed from his desire to defend Reşid Pasha, whom he politically supported the internal political conflicts among the actors of the Tanzimat Period. In other words, in the background of these criticisms, Şinasi’s preference to side with Reşid Pasha against the faction of Âli and Fuad Pasha appears to have had a decisive effect.Finally, it should be noted that judging Şinasi based on these panegyrics, chronograms, and march has been neither justified nor necessary. This is because this conclusion does not make the value of Şinasi’s personality and the works he produced a matter of debate. Instead, it makes the reality of the role attributed to Şinasi by some historians of Turkish literature, which has been summarized above, questionable and needs further research.

Literature and Politics in the Tanzimat Period: Relations between İbrahim Şinasi and Sultan Abdülmecid

Bünyamin

Assoc. Prof. Dr.

Most of the terms in classical Turkish poetry are not clearly defined by contemporary sources. Instead, these terms are indirectly identified and uncovered by contemporary researchers based on sentences recorded in works in the form of dīvān, mathnavī and tadhkirah. One of these terms, which appears in the texts of poetry and tadhkirahs and is considered to be in need of detailed research in terms of its definition and function, is the term ḥusniyyāt or ḥasen shiʿr. In fact, this term, especially its expression in the form of ḥusniyyāt, has previously attracted the attention of other scholars. Thus, an accurate explanation of the term has been provided in the aforementioned publications. This study aims to fill in the missing aspects of the subject based on the attention of the aforementioned publications because these publications were limited to the word ḥusniyyāt based on a limited number of examples and did not mention the singular form of the same concept, ḥasen shiʿr. This study sets out to reveal that ḥusniyyāt refers to the totality of the works that are singularly described as ḥasen shi‘r. Therefore, both terms are literary terms for the same concept, with the attestation of a possible and sufficient number of works, and the following conclusions have been reached: In the tadhkirahs, the word ḥusniyyāt is used in almost every context in which it is used to denote a specific type of poetry. On the other hand, in poems are used in a way that can be understood in one or both of its dictionary and terminological meanings. In the texts of tadhkirah and poetry in which the word ḥusniyyāt is used in its literal sense, the sense in which the word is used is not specified. However, it is clearly stated that the texts considered within the scope of elāhī (hymn), na‘ṭ (a poem in praise of prophet Muhammad), hecv (satire), hazal (fun), and foḥsheyyāt (obscene texts) are not considered ḥusniyyāt. The texts presented under the name of ḥusniyyāt in tadhkirahs and dīvāns are love poems written with a focus on the beauty of the beloved. The term ḥusniyyāt is also used in tadhkirahs and poetry examples to denote the dīvān containing love poems written with a focus on the beauty of the beloved or the relevant section containing verses of the aforementioned nature. In this respect, an appropriate dīvān, majmu'a, or chapter can be called a dīvān/majmu‘a/chapter of ḥusniyyāt. Although it is understood that no definite form limitation was made for this style based on the poems recorded as examples of ḥusniyyāt in the texts, it was determined that the ghazal form came to the forefront in terms of constituting the overwhelming majority of the attested texts.The phrases uslūb-i ḥasen, naẓm-i ḥasen, shiʿr-i ḥasen and ṭarz-i ḥasen, which have almost no examples in the tadhkirahs but are frequently found in poetry, are explicitly used in many couplets in a terminological function as the name of a special style in the sense of “praising the beautiful” or “poetry sung in praise of the beautiful,” that is, love poetry centred on beauty. It has been evaluated that it would be possible and valuable to express the compositions uslūb-i ḥasen, naẓm-i ḥasen, shiʿr-i ḥasen and ṭarz-i ḥasen, which are all used as literary terms with the same meaning, under a single name and a standard term, ḥasen shiʿr. While poets often used the singular phrase ḥasen shiʿr deliberately for the verse it was used in, tadkirah writers used the plural form ḥusniyyāt to express the totality of the same type of texts. It has been concluded that the terms ḥasen shiʿr and ḥusniyyāt are identical terms expressing the same style of poetry. While poems on the subject of beauty and love are called ḥusniyyāt and ḥasen shiʿr in classical Turkish poetry, the fact that the same type of poems is classified as “güzelleme” in Turkish folk literature is evaluated as the result of a possible adaptation and the need for an independent research on the subject is emphasized.

Ḥusniyyāt or Ḥasen Shi‘r as an Independent Genre in Classical Turkish Poetry

Deniz Dilşad

Eshabil

In this study, two poems from Giacomo Leopardi’s Canti, namely A se stesso and All’Italia, are examined within the framework established by Ayfer Altay regarding the “untranslatable characteristics of poetry.” The poems were initially introduced into the Turkish cultural and literary system through Mehmet Rauf’s work titled İtalyan Tarih-i Edebiyatı (History of Italian Literature). Mehmet Rauf translated certain excerpts from these two poems into Ottoman Turkish in 1329 [1913]. Indeed, Rauf’s work holds particular significance as the first Turkish literary piece about the history of Italian literature, further emphasizing its importance in Turkish culture. One of the most debated issues in translation studies is the translatability/intranslatability of poetry. As Ayfer Altay points out, poetry translations are generally the most contentious and intricate literary translations. In her article titled “Untranslatables in poetry translation,” Altay systematically addresses the issue of the untranslatability of poetry, providing clarity through concrete examples. She summarizes the untranslatable characteristics of poetry into six main categories: deviations, repetitions, puns, use of proper names, short and elliptical expressions, rhythm, and meter. Altay has addressed the category of “deviations” under four subcategories: “lexical deviations,” “formal syntactic deviations,” “tonal deviations,” and “semantic deviations.” She has conducted a thorough analysis of the category of “repetitions,” breaking it down into five distinct subcategories: “rhyme,” “sound repetitions,” “duplication,” “additional repetitions” and “pun.” Altay’s methodical categorization of untranslatable elements clarifies the challenges involved in translating poetry, thus making it easier to understand. Mehmet Rauf’s History of Italian Literature is a unique work in Turkish literature, as it is the first literary piece to focus on Italian literature. It serves as an essential source of information on Leopardi and his works. Mehmet Rauf’s work consists of drawing upon four diverse sources and utilizing refined language to discuss Leopardi’s life and works briefly. Additionally, he translated selected verses from the poems All’Italia and A se stesso into Ottoman Turkish. Upon examining the sources utilized by Mehmet Rauf, a notable aspect emerges when considering Alessandro Manzoni’s seminal work, The Betrothed, an eminent novel in the history of Italian literature. Mehmet Rauf’s presentation of the title not in its original Italian form, I Promessi Sposi, but rather as Fiancés, indicates an intermediate language translation, particularly from French. This choice underscores the implication that the translations were&nbsp;conducted using French as an intermediate language. The sections of the aforementioned poems translated into Ottoman Turkish are included in the study in both the Arabic-scripted text and its Latinized version. With the advent of the nineteenth century, the Turkish cultural and literary framework began to be influenced by Western culture, redirecting its orientation towards the West. With the official introduction of the Tanzimat era, Turkish cultural and literary structure overtly embraced Western influence and many works from Western languages, especially French, were incorporated into our language. Intensive translation activities from Western languages to Ottoman Turkish were observed at the end of the nineteenth century and the beginning of the twentieth century. The initial 20 lines of the poem titled All’Italia by Giacomo Leopardi, one of the prominent figures in Italian literary history, and the translation of the poem titled A se stesso into Ottoman Turkish represent the first instances of Leopardi’s poems in Turkish. The first 20 verses of the lengthy poem titled All’Italia are translated into the target text entitled İtalya’ya (To Italy). On the other hand, the poem A se stesso is a short poem translated into Ottoman Turkish under the title of Kendime (To Myself). While the translation of the poem titled All’Italia lacks any specific meter, the poem A se stesso, composed in “endecasillabi” (eleven-syllable verses), is rendered into Ottoman Turkish using the pattern “fâilâtün fâilâtün fâilin (feilün)” in aruz rhythm. Both the source and target texts share a common characteristic: Due to the antiquity of the language employed in both texts, comprehending them without being transferred into contemporary Italian/Turkish through intralingual translation is challenging. In the process of transferring source texts to target texts, especially in the case of poetry, it is natural for some losses to occur, both semantically and formally. In Mehmet Rauf’s translations of Leopardi’s poetry, the inevitability of certain losses underscores the complexity of the translational process, yet this intrinsic aspect also yields valuable insights.

Giacomo Leopardi in the Turkish Cultural and Literary System: His Poems Titled All'Italia and A Se Stesso in Ottoman Turkish

Sema

Ezgi

During the Uyghur period, the Turks translated the terms relating to Manichaeism and Buddhism into Turkish. Similarly, during the Karakhanid period, after accepting Islam, they also translated many Islamic phrases into Turkish. The core of the language, specifically the conventional techniques employed throughout the Uyghur era to generate religious terminology, constituted the main source of Turkish religious terms at that time. Various methods started with God’s names, and Turkish terms associated with concepts like worship, prayer, and the afterlife emerged. Indeed, the literature has conducted numerous studies to determine religious term vocabulary. A closer examination of this research reveals that it primarily concerns the identification of religious terminology, yet it lacks detailed insights into the processes by which these terms are created. The objective of the study is to address the existing knowledge gap in the subject by examining the techniques applied to the development of Turkish religious vocabulary through the analysis of Quran translations. Within this particular framework, in order to examine the translations of Karakhanid Turkish, an ancient dialect that influenced Eastern Turkish, as well as Uzbek Turkish, a modern dialect spoken by its current representatives, the document analyzis methodology, a qualitative research approach, was employed. The academics acknowledged TIEM 73 as the initial Quran translation, whereas Muhammed Sadk and Alaaddin Mansur authored two Quran exegesis in Uzbek Turkish. Abdullah Kök and Suat Ünlü were used as the basis for TIEM 73. We identified the surah name and verse number of the terms from the Uzbek Turkish exegesis and established them next to the samples. In these translations, we compare and discuss the formation methods for religious terminology. This reveals the methods used to establish religious terms during Eastern Turkish formation, the extent to which these methods persisted in Uzbek Turkish centuries later, and the addition of new ones. The present study does not include all of the religious phrases that have been identified in previous research. Instead, the article focuses on elucidating a select number of instances wherein these terms were formed an examining the techniques employed by the Turks to develop them. Our study reveals that both Karakhanid Turkish, a historical dialect, and Uzbek Turkish, a contemporary dialect, utilize identical processes of term derivation when forming religious phrases. The works employ ellipsis, semantic transfer, derivation, compounding, reduplication, onomatopoeia, and lexicalization methods to form religious terms. The findings of the study are presented as follows:The most frequently used term formation method in TIEM 73 and in Quran exegesis written in Uzbek Turkish is ellipsis. This method often forms elliptic structures from adjective clauses formed with participles. Upon examining the religious terminology employed through ellipsis in TIEM, it is striking that the translator uses all the suffixes that he thinks will best correspond to the word in the Quran, rather than certain suffixes, in the formation of both religious concepts and words expressing the creator. We observe that the translator primarily employs the ellipsis method in instances where the noun precedes the adjective element. We have determined that these examples primarily serve to define the attributes of God. Semantic transfer creates religious terms by attributing a religious meaning to an existing concept in the language, particularly in accordance with the least-effort principle. The widespread use of this method in work hinders terminology. The derivation method established religious terms using different suffixes. We have determined that both dialects formed religious terms with the same meaning by adding different suffixes to the same base. This demonstrates that Turkish is not only a suitable language for the formation of terms, but it also has the capacity to prevent confusion regarding terminology. The auxiliary verbs utilized in compounding might differ in both dialects. For example, boyun ber- (TIEM 73); bo’ysun-~bo’yinsun- (OT). The inability to express the term with a single word indicates that the terminology has not yet been. It is also noteworthy that religious terms formed by compounding have high semantic permeability. One could argue that the authors of these terms benefit from concretization as it helps them visualize their intended term in the reader's mind.The methods of onomatopoeia and lexicalization are rarely used in the formation of religious terms. The religious term created by lexicalization is not identified in TIEM 73, but only one example is found in exegesis in Uzbek Turkish. Methods that can be replicated with different additions to the same term are valuable in revealing the richness of the Turkish language in speech production. These methods include finding different responses to the same term, adding additional diversity, adding new meanings to already existing words in the language, and utilizing all the possibilities of the language. However, this richness also raises a significant challenge in terms of incompleteness and termination barriers. Therefore, it is crucial to establish a common dictionary of religious terms in the Turkish world.

Methods of Creating Religious Terms in Turkish: TIEM 73 and Uzbek Turkish Quran Exegesis

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Engin

Emre

The fact that Kutadgu Bilig has a wide vocabulary besides his literary and intellectual power that has been going on for ages has led to numerous studies that have taken the work from various points in one and a half century. In this study, we will focus on the properties of the two words commonly used in the work, which are the words ‘kılık’ and ‘kılınç’. The words kılık and kılınç, both based on the verb kıl-, are first found in Uighur texts. The word kılık rarely seenused in this period means “creation, temperament” The word kılınç is frequently used in Uighur texts and has the meaning of “work, action, deeds” in Kutadgu Bilig, it is seen that the superiority in terms of frequency changes in favor of the word kılık (kılk) in contrast to Uighur texts. At the same time, the two words have converged in terms of meaning and the fact that both words are used together from time to time, as seen in examples (1) ↔ (2) and (3) ↔ (4) below, are similar in Kutadgu Bilig III Index.: kılık “kılık, huy, gidiş, tavır” (Arat, 1979, p. 248) ve kılk “huy, gidiş, tavır” (Arat, 1979, p. 250) and kılınç “work, behavior, temperament” (Arat, 1979, p. 249). However, as can be seen in the examples (5) - (7) below, the difference between the meanings of two words cannot be felt clearly from time to time clearly. Similarly, as shown in examples (8) and (9) below, the consecutive use of both words has increased the uncertainty. In this case, it can be thought that the two words that derive from the same root was converging in terms of meaning in time and that the Karakhanid is a stage of the shift from kılınç to kılık. In this paper, approximately 450 couplets in which the words kılık and kılınç are mentioned will be examined and the usage characteristics of these words will be examined and the reasons for the selection of the word in the relevant couplet will be emphasized considering the different features and necessities such as rhyme, meter and association usage.(1)&nbsp;&nbsp;yigit erdi oglan kılınçı amul “He was a young man, of quiet demeanor, uḳuşlug biliglig hem öglüg köŋül 463 intelligent and wise of heart”(2)&nbsp;&nbsp;örüg hem silig ol ne kılkı amul “It is calm and clear and peaceful in its conduct, ḳamug teprenürke bagırsak köŋül 1852 and compassionate toward all living things”(3)&nbsp;&nbsp;ukuşnuŋ eŋ aşnu kılıkı oŋay “First, his behavior and speech are moral and könilik bile ol yorıkı yıl ay KB 1865 upright, from month to month and year and year&nbsp;(4)&nbsp;&nbsp;kimiŋ aslı eḍgü kılınçı oŋay “A man deeds are witness to his nobility, isiz aslıŋa kendü kılkı tanuk KB 5811 his character bespeaks a noble ancestry”(5)&nbsp;&nbsp;ürüŋ süt bile kirse eḍgü kılık “If good character enters a man with his ölüm tutmagınça enürmez yorık 881 mother’s milk, it does not depart until death takes hold”(6)&nbsp;&nbsp;tadu birle katlıp törümiş kılınç “A trait that emerges from one’s natural humor ölüm buzmagınça buzulmaz erinç 882 cannot be destroyed except with death”&nbsp;(7)&nbsp;&nbsp;karında törümiş kılınç ögretig “A virtue born in the womb dies only in the yagız yėr katında kiter ay tetig 883 grave”(8)&nbsp;&nbsp;yüzi körki kılkı kılınçı özi “Noticing that his appearance and his manner ḳamug yakşı kördi tili uz sözi 531 were agreeable, and that his tongue was skilled”(9)&nbsp;&nbsp;küḍezsü iḍim tutsu köŋlüm tüze “May god support me, may He keep my heart ne kılkım kılınçım könilik üze 5820 straight, and my deeds upright”

On the Function Qualities of the Words Kılık and Kılınç i̇n Kutadgu Bilig

Halim

This study examines Ahmet Hamdi Tanpınar’s monograph Yahya Kemal, published shortly after the poet Yahya Kemal’s death in 1958. It focuses on Tanpınar’s attempt to discuss Yahya Kemal’s personality, character, worldview, and poetic aesthetics, and to position him in the history of Turkish literature. In order to analyze the political, cultural and literary implications of Tanpınar’s work, it explores how Tanpınar approaches Yahya Kemal’s life and work, in order to show the singularity of his self-identity and poetic aesthetics in the period of transition from Ottoman Empire to the Turkish nation-state in the early twentieth century. More specifically, relying on the concept of the monograph, this article investigates Tanpınar’s evaluation of Yahya Kemal’s ideas, by comparing them with modern intellectual and philosophical debates in the history of Western European modern thought. It also considers Yahya Kemal’s poetic production in relation to world literatures, in order to show the uniqueness of his personality and literary productions in relation to other Turkish authors from both his own and the previous generation. The study contends that in directly locating Yahya Kemal at the center of the Turkish nation-building process and modern Turkish poetry, Tanpınar attempts to underline the poet’s exceptional skill in the appropriation and domestification of Western ideas and cultures, according to the needs of the modern Turkish nation, by engaging with recent intellectual and literary movements in Europe. In this way, Tanpınar transforms his monograph into a narrative that invents Yahya Kemal as the poet of the nation-building process by reconnecting the current literature of the Turkish nation through effective negotiation with classical Ottoman poetry. In examining the complex nature of this monograph, the article provides a close reading of its opening pages, in which Tanpınar describes his first encounter with Yahya Kemal when he was a college student at the University of Istanbul during the Turkish War of National Independence. Carefully analyzing the narrative techniques, vocabulary, and details used by the author in the portrayal of Yahya Kemal, the article shows how this rendering serves for Tanpınar to challenge the thematic and structural conventions of the classic monograph, generally devoted to a single author’s life and his/her work. In this first scene, the monograph successfully intertwines both the narrative techniques of autobiography and prose fiction in his portrayal of Yahya Kemal, thus creating an aesthetic enchantment, as defined Rita Felski, on the reader. This shows how even in the opening passages Tanpınar transgresses the established thematic and formal conventions of the classic monograph. The opening passage also lays the groundwork for the complex and multilayered composition and theme of Tanpınar’s monograph that simultaneously incorporates various literary genres and scholarly methods. This unusual approach greatly contributes to the layering, pluralization, and complexity of Tanpınar’s book in terms of its narration, composition, theme, and discourse, thus essentially transforming it into a network of multiple narratives and artistic genres. In addition, the article critically examines the political, literary and discursive implications of Tanpınar’s monograph. It argues that he wrote this monograph to underline the singularity of Yahya Kemal’s individual self-identity and poetic creation by locating his life and work in the context of the Turkish nation-building process between 1912 and 1922. In this regard, Tanpınar focuses especially on Yahya Kemal’s ability to engage with Europe and the Ottoman past. This helped Yahya Kemal appropriate and localize modern European intellectual and philosophical movements, and also revitalize Ottoman poetry in a new Turkish context. It also contributed to his imagination of a modern Turkish identity, based upon the premises of a united Turkish language, culture, and literature produced in Anatolia and the Balkans since the arrival of the Turks in the eleventh century. According to Tanpınar, Yahya Kemal thematically and linguistically reconnected the new Turkish literature with classical Ottoman poetry, that had been separated from one another following the rapid literary changes in the Ottoman Empire from the mid-nineteenth century. Yahya Kemal achieved this by producing poetry in the traditional Ottoman aruz meter, while using a common Turkish language by means of creative communication with classical Ottoman poetry. The article concludes that Tanpınar’s book on Yahya Kemal often challenges the thematic scope and formal conventions of the traditional monograph, while also showing how Yahya Kemal essentially renovated Turkish poetry during the nation-building period in Turkey.

Invention of the Poet of the Nation-Building Era: Ahmet Hamdi Tanpınar’s Yahya Kemal Monograph

Hüsniye

Lecturer

The nineteenth century encompasses a period of modernization in the political, economic and cultural realms of the Ottoman Empire. The changes, which were based on traditional foundations, had a distinctive role, not only in the political structure, but also in the restructuring of the society. In this context, “femininity” and “female identity”, which were the important symbols of modernization, formed the basis of the current debates and were problematized by both men and women. After this change, women used their opportunities to “express” and “represent” the space offered by the authorship, and created a vast body of literature. In this period, the most effective role was the press. The problems and expectations of women were included in the newspapers and periodicals published during this period. Continuing its publication life between 1895 and 1908, Hanımlara Mahsus Gazete appears as a tool in which women’s voices are announced through the experiences of authorship in the changing social life of the Ottoman society. Adopting the mission of spreading the ideal of “good mother”, “good wife”, “good Muslim” woman, Hanımlara Mahsus Gazete is an important resource for the educated women writers of the period to announce their works and thoughts to other women living in Ottoman society in particular. It was seen that the periodical reached a wide range of readers with its articles and news published on various subjects ranging from education to family, home administration, raising children, from hygiene to health, from entertainment to fashion, from literature to culture and art. The literary activity in the magazine, along with other fields, continued intensively from the first issues. Women writers such as Fatma Aliye, Emine Semiye, Poet Nigar, Makbule Leman, whose names are often heard today, published their first works in this periodical. Researches about the Hanımlara Mahsus Gazete, analysis of women’s issues in general, emphasizing the importance of the press as a means of increasing the effectiveness of Ottoman women in society, II. Abdulhamid period and reforms through the reading of women’s periodicals emerged as studies. In this article, Hanımlara Mahsus Gazete will be examined in the context of the stories published. In this rich literary activity in Hanımlara Mahsus Gazete, it was found that the most published genre was story. The first works of writers such as Emine Semiye and Makbule Leman, whose names are often heard today, were the stories published in Hanımlara Mahsus Gazete. A total of 161 stories, including copyrighted and translated, were published in the journal. 102 of these stories were copyrighted and 17 were serialized, and the rest were published in a single issue. However, since these stories were not published or transferred to Latin letters, they were not included in the modern Turkish literary history. In fact, most of the texts produced by the women writers of the period, which are significant due to their guiding nature, could not take their places in the literary works, except for the ones that were published. Because they had to be translated into Latin letters and required an extensive archive work. In this context, the focus of the studies on the nineteenth-century Ottoman women’s literature in recent years is the idea of reintroducing women’s texts into the history of literature, which are not included in academic studies and literature. The first step of&nbsp;the research for this article is to turn to the primary sources in terms of reliability. Therefore, this study aims to reveal both the first works of the authors we know, and the women writers whose names are forgotten in time at the moment but who shared their writing experiences with the Ottoman readers through the periodicals. In these stories, which can be located somewhere between Tanzimat and Servet-i Fünun storytelling, the education mission comes to the forefront in parallel with the publication policy of the magazine. In the stories published in the magazine, love and marriage are among the themes frequently studied. The stories of young girls living in a mansion or a mansion at the center of the plot tell the stories of young lovers; sometimes advice is given to the families and sometimes to young people. In brief, the stories in Hanımlara Mahsus Gazete, which aimed to appeal to a wide audience during its publication period, chose a leading role for herself and opened an active writing space for women, emphasized the tendencies of women writers of the period and the differences in the fiction of literary works constructed after the Tanzimat period. İt is remarkable in terms of showing similarities.

The Stories in Hanımlara Mahsus Gazete and the İdea of Contemplation

Yong

The Turkic languages and dialects are spoken across a vast area from Pacific to the Baltic Sea, and from the Arctic Ocean to the Persian Gulf. The modern Turkic peoples descend from an ancient grouping of tribes who, through conquest, interaction and assimilation, extended its language and elements of its culture across Eurasia. In addition to the inherited items, the Turkic languages have numerous lexical items which have been copied from non-Turkic languages. There are several proverbs and many idioms in the Orkhon Inscriptions. Proverbs are also found in the Turkic literature of the periods after the Orkhon inscriptions. The Dīwān Luγāt at-Turk from the Karakhanid state contains many proverbs. One of them is birin birin miŋ bolur tama tama köl bolur “One by one becomes a thousand, drop by drop becomes a pond.” This proverb is found in Ottoman Turkish as follows: Damlaya damlaya göl olur – dušman gözü kör olur “изъ капель образуется озеро, глаза врага слѣпы – aus vielen Tropfen bildet sich der See, die Augen des Feindes sind blind.” olur kör gözi düšmen olur göl damla Damla طمله طمله كول اولور دوشمن كوزى كور اولور “Goutte à goutte le lac se remplit; peu à peu l’oeil de l’ennemi s’affaiblit / Tropfen warden zum See; auch das Auge des Feindes mit der Zeit blind.” This proverb and its related forms in modern Turkic languages are treated in the present paper. As a result of this study, it was possible to find the following points: 1. The proverb Tama tama köl bolur is found in the same or slightly different form in many of the modern Turkic languages like Turkish, Gagauz, Azerbaijani, Turkmen, Salar, Uzbek, Uyghur, Crimean Tatar, Urum, Karaim (Crimean dial.), Karachay-Balkar, Kazakh, Karakalpak, Tatar, Bashkir, Kyrgyz, Khakas, and Chuvash. 2. The proverb Tama tama köl bolur is not found in a few languages like Kumyk, Nogay, Tuvan, and Yakut. 3. Some forms are common to the languages spoken near each other. 4. Some forms are common to the languages spoken far away from each other. 5. Some forms are found only in one language. The proverb Tama tama köl bolur can be compared to the following proverbs of other languages: Per. شود دریا وانگهی گردد جمع قطره قطره Qaṭra qaṭra ǰamʿ gardad wa āngahī daryā šawad “Drops accumulate and then become a river.” Chin. 滴水成河 dīshuǐ chéng hé “Falling water drops become a river.” Rus. Капля за каплей – получается озеро; без единой капли – пустыня “Durch beständiges Tropfen entsteht ein See, ohne einen einzigen Tropfen [entsteht] eine Wüste.” Ger. Aus Tropfen wird ein großer Fluß, aus Flüssen ein See “Out of drops becomes a great river, from rivers a lake.” Mong. Дуслыг хураавал далай, Дуулсныг хураавал эрдэм “Ocean comes from collecting drops; Knowledge comes from collecting what you learn.” (Raymond 2014: 99)

The Proverb of tama tama köl bolur in modern Turkic Languages

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Mehmet Fatih

It is a known fact that poets cannot be considered separately from the environment they are in, that relations are established between artists and various circles, and that this situation is reflected in art pieces. Additionally, these relationships can be seen in various tighter forms in diwan literature. On the other hand, diwan poets made evaluations and detections on the environment through their poems. However, as Harun Tolasa stated, the relationship poets establish with their environment is an arts-based relationship. Poets’ evaluations allow us to learn about the environment while the identification of environment’s praise and critiques about the poet, identification of the personal artistic traits of poets, an artist’s criticism of their era/environment and revealing the impacts of the artist on their contemporaries are important in terms of providing materials for literature history. However, evaluations on the perceptions of the environment on poetry and poets are limited to what poets see or think. Poets of the 15th century included statements of complaints and grievances, satisfaction and gratitude in artworks such as eulogies, odes, and mesnevi. In our study, departing from these statements of poets, a general description of the poetry and the poet’s environment in the 15th century is provided. Additionally, characteristics of people and types that constitute this environment, the perceptions of the environment on the poet and their poetry, the intended audience, other artists, the impact of poets on the environment, and expectations from the readers are also addressed. Admiration and appreciation of poets’ own poems, writing poems that are desired and wanted, the impact of the poem and poets are considered as an important measure in terms of their talent. Being admired, being in demand is a common desire of every artist in any period. Therefore, poets have stated similar thoughts on how the environment approached them and their poems, and their poems are in demand, admired and complemented. These evaluations emphasize the superiority of the poet and their work. Additionally, the fact that poems and poets are complimented shows that the environment understands and appreciates poetry. The impact of poems or poets on environment is also evaluated. These impacts are stated as a gain for readers, listeners, and the environment in general. Poems, according to poets’ statements, would be able to eliminate troubles in soul, cheer up readers, provide relief, make them lose themselves and even fall in love, cause tears, provide a muse, make people poets of eulogy or silence them completely, make them incapable, emit beautiful smells by adorning the universe, make them forget about other poems and poets and cause jealousy. Most of the time, poets did not hesitate to express their expectations of the environment and their readers clearly with words spoken with the purpose of warning or advise or complain. Improvement of poets and creating valuable artwork is only possible through encouragement and incentives from the environment because what causes poets to write poems is the convenience provided by power, wealth, that statesmen have, and generousity. Thus, poets expect people to listen to and even memorize their words with sincerity, to understand the&nbsp;value of words and elegance, to approach it as truth, to be able to distinguish between what s valuable and vile, to be well-informed and have taste, to be mature and humorous, to desire poetry and to put efforts in pursuing poetry. If a reader circle or respondent cannot be found, poetry will not be appreciated and as a result, the poet would regret and first lose their motivation and then their creativity and finally will löse their interest in writing poems. On the other hand, those who do not understand art, who do not appreciate beauty, who cannot distinguish the valuable from the vile, those who are enemies of poetry are ambiguous people that poets complain about. Poets took caution and avoided presenting poems to this type of people. Poets shared their opinions on the artistic environment in their pieces through various means and purposes. First, famous masters of words from Iran such as Sa‘dî, Firdevsî, Nizâmî, Selmân, Kâtibî, Kemâl-i İsfahânî and Câmî, and secondly a group including Necâtî, Şeyhî, Ahmet Paşa, Ahmedî and Cem Sultan were mentioned in poems. This way, poets expressed their admiration and appreciation and felt closer to these names and even considered them as masters by following their path and thus were influenced by them. In some examples, poets of 15th century claimed that their poems or poetry skills are superior to others and they stated they left them behind and even asserted that these famous poets are jealous of them. Or, they stated that certain poets of their time are incompetent, that they did not like them and critized them. Frequent appeal of poets to their environment and readership shows that environment is of crucial importance to them. As a result of this approach of poets, it is possible to access admiration and criticism of the environment towards poetry and poets as well as information related to this environment.

Perspectives of Diwan Poets on Social Environment (15th Century)

One of the significant personal traits of Yahya Kemal in the history of Turkish literature is his perfectionism and the fact that he did not publish any books while he was alive. Yahya Kemal, who frequently reflected upon and edited his writings , especially his poems, even continued to work on his finished works. Before he passed away at the age of 74, Yahya Kemal increased his studies on his books towards the end of his life, having been persuaded by his friends, followers and readers to publish books throughout his life. He even made three poetry books ready for publication with his friends namely Ahmet Hamdi Tanpınar and Nihad Sami Banarlı. It is also well known that he even brought special papers from Europe for those books. However, it was not possible to publish the books. The Yahya Kemal Institute, which was established following his death under the Istanbul Conquest Society, signed an agreement with the legal heirs of the poet and began publishing the books one after the other. The first book, Kendi Gök Kubbemiz, was published in 1962. Those books, four of which are poetry and eight are prose, consist of poems and articles published by Yahya Kemal in magazines, newspapers or anthologies and also include his handwritten manuscripts. The authorities and employees of the Institute examined the magazines and newspapers he wrote until 1958, the year of his death, and his poems and writings were classified according to their subjects and then published in book form. However, the fact that dozens or even hundreds of magazines and newspapers were published between these years made it difficult or even impossible to form a complete list. Because Yahya Kemal, especially during the National Struggle, concentrated on prose, he published dozens of articles on history, politics, culture and literature. In fact, some of them were not published in his own name but under pseudonyms or nicknames due to the strict censorship of the occupation forces. In short, it is not possible to form a comprehensive collection even of the writings published by Yahya Kemal under his own name. In addition, the necessity of determining whether some writings belong to Yahya Kemal or not poses separate problems. Despite all the well-intentioned efforts and the use of opportunities provided by technology, and even taking into account the various collections and catalogs that have been available for access, nonetheless a comprehensive catalog of the author’s periodical publications has not yet been put together in Turkey. Some collections are also quite old and incomplete. Therefore, a complete list of the works of many poets and writers such as Yahya Kemal cannot be made. Throughout all the years that have passed, the fact that many archives, both individual and institutional, have been brought to light and opened to access has enabled many a deficiency to be eliminated. Large collections such as the Atatürk Library and Hakkı Tarık Us Library’s&nbsp;Newspaper and Magazine Catalog have been opened on-line. In addition, it is a great benefit that the archive of Taha Toros, a researcher, has been digitized and shared by Şehir University. In this way, the documents that have been entered into the Taha Toros Archive at various times and in various ways are made available to the public. 18 writings and notes of Yahya Kemal, which the reader will see in their transcribed versions in this article, have been made available from the Taha Toros Archive. Those writings, written by the poet at various times in different cities and even in different countries, are mainly about politicians, poets and writers whom he had the chance to meet. Yahya Kemal’s observations on the political characteristics of the Young Turks, whom he knew about when he was in Paris between 1903 and 1912, provide valuable data for today’s researchers studying the period in question. Some of those 18 writings include the findings and evaluations of Yahya Kemal, whose historical knowledge is extremely advanced. The historical events and personalities that the poet thinks of while passing by the Prut Plain particularly provide us with very original perspectives. Some of these writings provide vivid lines directly about Yahya Kemal’s personal development in poetry and literature. Yahya Kemal studied politics and history in Paris, but in those years he was more interested in poetry and literature than perhaps his subjects. During those 9 years, Yahya Kemal benefited from one of the largest libraries in Paris. He studied important sources of Turkish history and literature and acquired a very deep and original background. He soon shared them with the Turkish public. These articles contain important clues about Yahya Kemal’s poetic career. In addition, it is possible to observe where a young poet candidate sought poetry and how he formed his own poetry universe. In these articles, published for the first time in this study, it is revealed who Yahya Kemal reads, which art and literary circles he is part of in Paris and in which European schools of poetry and art he is interested.

Some Memoirs and Notes of Yahya Kemal Previously Unrevealed on Recent Turkish Politics and Literature

Büşra

Cahit Zarifoglu is one of the leading authors of modern Turkish literature. He wrote in many genres of literature such as poetry, short story, diary, novel and fairy tale. When we talk about Zarifoglu’s storytelling, we are generally contemplating İns, his short story book. However, aside from İns, the author has a few other stories and the short story titled “Eksik Yol” is one of these. Throughout his life, Zarifoglu observed the society in which he breathed with a special interest. He was closely interested in the modernization process of Turkey. He was aware of the twinges and dilemmas of Turkish people. Due to these reasons he managed to represent the difficulties encountered in this modernization process impressively. In this respect, it is necessary to evaluate “Eksik Yol” considering this characteristic of the author. We can learn much more about the background of this literary text by reading the diaries of the author, called Yaşamak. According to this book, the artist experienced an interesting event while he was looking for a flat for his family in Ankara in 1977. Zarifoglu felt disappointed when he saw the very small flats which made up the sixteen storey apartment blocks. Meanwhile, he determined that in modern cities, apartmentization had devastated the deeply rooted TurkishIslamic traditions. According to him there is a parallelism between being left of traditional Turkish architecture and the fragmentation of the family. Small homes located in modern apartment buildings have caused the extended family to disappear and leave the individual alone. And so he ineluctably faces psychological problems. Modernity promises a free hand to people. The modern individual believes that he can live without needing others. He feels more self-sufficient and independent than ever before. Furthermore it is very difficult to observe sincere and well-intentioned relationships in the modern city which has lost its traditional pattern. People are egoistic and self-seeking. All these factors isolate the individual increasingly. Loneliness of the individual has become an inevitable fact. Moreover these are harmful for him and cause him to become estranged from his surroundings, even to himself. In addition to all of this, the multistorey, concrete buildings which encircle cities contribute to the process of the alienation of the human being. In this type of construction which resembles modern jails, every apartment flat represents a different world. Nobody knows anything about the other residents. The basic characteristics of traditional neighborhoods like solidarity and cooperation are rarely observed in apartment life. The author wrote this short story from this point of view. “Eksik Yol” focuses on the isolation and estrangement of the modern individual caused by the modernization and urbanization process. This text realistically represents the characteristics of the modern individual who is a product of this modernity. The character in “Eksik Yol” lives alone in a ten storey apartment. He is a twenty-five year old young man who is a very silent and introverted person. He has no close friends or relatives. Moreover, he has not yet met with his neighbours - although he has lived in the same apartment for many years. He consciously doesn’t want to spend time with others because he&nbsp;has paranoid doubts about everbody. Also, he believes that the people around him might hurt him at any moment. In other words, ‘the other’ is a source of fear for him that threatens his existence and so he cannot feel safe. These feelings of fear and concerns have taken over his life. For this reason, he becomes panicked when he encounters his neighbours. In contrast, experiencing great sorrow he realised that he is alone in the vast crowded. He feels like an isolated prisoner in this apartment and he hopes to change this irritating condition. He desires to be included in the lively and colorful life outside. As a consequence, he wishes that others will notice him and start a healthy relationship. He has many original opinions about life and wants to explain all these to other people. This attitude may seem like a contradiction at the first reading. However, the human being is an interactive and social creature more than a biological creature. At every stage of history, human beings have felt the need to “socialize” and the main character of this short story needs to as well. He wants to leave his dark and isolated world. In other words, modernization and urbanization leave terrible effects on an individual’s soul. The aim of this study is to present how “Eksik “Yol” reflects all these changes.

Apartment Life and Cahit Zarifoglu’s Short Story Titled “Eksik Yol” in the Context of Isolation and Estrangement of the Modern Individual

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Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) is an open access, peer-reviewed, scholarly and international journal published three times a year in April, August and December. It has been an official publication of Istanbul University, Faculty of Letters, Department of Turkish Language and Literature. The journal has been published since 1946. The manuscripts submitted for publication in the journal must be scientific and original work in Turkey Turkish or English.

Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) publishes research articles on Turkish language, literature and culture, contributing to the field. The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

Prof. Dr.

Şerif

Index Islamicus

MLA International Bibliography

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

Gale Cengage

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Journal of Turkish Language and Literature

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Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) is an open access, peer-reviewed, scholarly and international journal published two times a year in June and December. It has been an official publication of Istanbul University, Faculty of Letters, Department of Turkish Language and Literature. The journal has been published since 1946. The manuscripts submitted for publication in the journal must be scientific and original work in Turkey Turkish or English. Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) publishes research articles on Turkish language, literature and culture, contributing to the field. The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

Aim and Scope

TÜBİTAK-ULAKBİM TR Dizin MLA International Bibliography Index Islamicus*SOBİADDOAJERIH PLUSEBSCO Central &amp; Eastern European Academic SourceEmerging Sources Citation Index (ESCI) Gale Cengage *Index Islamicus indexes only articles in English.

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. Plagiarism Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance.Reminder: The concepts of similarity and plagiarism refer to different phenomena. If plagiarism is detected in a manuscript, whether or not the similarity index is high, that manuscript will directly be rejected. Double Blind Peer-ReviewAfter plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

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The Artificial Intelligence Policy, prepared in light of developments in artificial intelligence (AI) and practices in scholarly publishing, sets out the editorial and ethical principles that authors, reviewers, and editors should follow when using such technologies. The following sources have been considered in the preparation of the AI policy:Committee on Publication Ethics <a href="https://publicationethics.org/guidance/cope-position/authorship-and-ai-tools" target="_blank">(COPE) - Authorship and AI tools</a>; International Committee of Medical Journal Editors <a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four" target="_blank">(ICMJE) - Artificial Intelligence (AI)-Assisted Technology; World Association of Medical Editors  (WAME) Chatbots, Generative AI, and Scholarly Manuscripts</a><a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four"></a>AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) can develop and produce a wide variety of content, including text, images, audio, and synthetic data. When used ethically and safely, these capabilities can increase productivity and foster innovation, but when used without human guidance, they pose risks such as inaccurate and biased results, omissions and errors in citations, deficiencies in protecting privacy and intellectual property rights, and potential violations of authors' and publishers' rights. IUPress adopts the following core principles to avoid these risks in the use of AI:  <ul><li>Details of any AI used in the production of content (including but not limited to text, figures, images, and code) must be declared and clearly explained in the appropriate section of the paper (as an acknowledgement and/or in the methods section). </li><li>No AI tool may be listed as an author in any scientific paper. </li><li>Authors are responsible for the accuracy, completeness, and originality of their work, even if AI is used in any way; they are responsible for the proper referencing and attribution of others' ideas, data, words, or other materials. </li><li>Reviewers and editors must not upload submitted work, in whole or in part, to any generative AI application.</li></ul>In the editorial processes of IUPress publications, tools are available to assist editors in identifying AI-generated content. On the other hand, it is common to use AI tools that provide suggestions for improving and enhancing readability, language, and grammar, and such AI tools can be used in IUPress publications under the supervision of editors and authors.

Artificial Intelligence Policy

<ul><li>Authors are required to declare if they have used AI-assisted technologies (such as large language models [LLMs], chatbots, or image generators) in the creation of their submitted work. </li><li>Authors should explain, both in the cover letter and in the appropriate section of the submitted paper (as a footnote and/or in the methods section), which AI tool and which version of it they have used and for what purpose. </li><li>Authors should also indicate how they used the AI tool and how they assessed the validity of the results obtained using this technology, and what aspects of the paper, manuscript content, data or supporting files were influenced by the use of the AI tool or were generated by AI.</li><li>It is the authors' responsibility to ensure the accuracy, validity and appropriateness of content and citations generated by AI-assisted technologies and to eliminate potential errors, inconsistencies and biased results. </li><li>Authors should always check the original sources to eliminate possible plagiarism, recognising that there is a potential for plagiarism in texts produced with AI-assisted technologies. They should confirm that they have checked and that the sources are original.  </li><li>AI-assisted tools (such as ChatGPT) cannot be listed as authors because they cannot be responsible for the accuracy, integrity, and originality of the work, and these responsibilities are essential to authorship. Therefore, authors are responsible for all material involving the use of AI-assisted technologies. Authors should ensure that all statements in the article that state the hypotheses, interpretations, conclusions, limitations, and implications of the study represent their own opinions.  </li><li>Studies created by authors using AI tools in the following ways, which substitute for the basic researcher's and author's responsibilities, violate the principles of scientific publishing and publication ethics, and such studies are not eligible for inclusion in publications: </li></ul><ul><ul><li>Generation of text or code without rigorous review, </li><li>Generation of synthetic data to replace missing data without a robust methodology, </li><li>Creation of any inaccurate, synthetic content, including abstracts or supplementary materials, </li><li>Creation and manipulation of images and figures (pictures, graphs, data tables, medical images, image snippets, computer codes and formulae) or original research data (enhancing, hiding, moving, removing or adding a particular feature within an image or figure) using AI.</li></ul></ul>

It is essential to maintain confidentiality in the peer review process and not to share or use the reviewed work in this process. <a href="https://publicationethics.org/sites/default/files/ethical-guidelines-peer-reviewers-cope.pdf" target="_blank">(COPE – Ethical Guidelines for Peer Reviewers</a>)<ul><li>Reviewers should not upload a manuscript or part of a manuscript submitted to them for review to generative AI tools or large language models to assist in the review, evaluation or decision-making process, as uploading content to such AI tools by reviewers violates the authors' privacy and property rights.  </li><li>Reviewing a scientific paper is a responsibility that can only be undertaken by human beings. The critical thinking and original evaluation required for peer review is beyond the scope of this technology, and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the paper. The peer review report and decision letters should reflect the personal assessment of the reviewers and editors of the submitted content. The reviewer is responsible and accountable for the content of his/her report. </li><li>AI tools may be used in a limited way to improve the quality of the language of the peer review report (for translation or language editing) in the context of peer review. If such use is made, the reviewer must declare the use when submitting the report. </li><li>Reviewers who suspect inappropriate or undisclosed use of generative AI in a submission should report their concerns to the editor.</li></ul>

Editors are obliged to ensure that the confidentiality of the manuscripts submitted to the journal is maintained during the evaluation process, and it is essential that the peer-reviewed work is not shared or used outside the parties involved in that process. (COPE - Code of Conduct and Best Practice Guidelines for Journal Editors) <a href="https://publicationethics.org/files/Code_of_conduct_for_journal_editors_Mar11.pdf" target="_blank">(COPE – Code of Conduct and Best Practice Guidelines for Journal Editors)</a>.<ul><li>Editors should not upload a submitted article, or any part of it, to generative Artificial Intelligence tools or Big Language Models to assist in the review, evaluation or decision-making process, as this may violate authors' privacy and property rights. </li><li>Managing the editorial review of a scientific article implies responsibilities that can only be attributed to humans. Generative AI or AI-assisted technologies should not be used by editors to assist in the evaluation or decision-making process of an article, as the critical thinking and original evaluation required for this task is beyond the scope of this technology and there is a risk that the technology will produce inaccurate, incomplete or biased conclusions about the article. The editor is responsible and accountable for the editorial process, the final decision and its communication to the authors.</li><li>Editors should not use generative AI tools to compose decision letters or abstracts of unpublished research. </li><li>Editors may use generative AI tools to help find appropriate reviewers.</li><li>If editors suspect the use of generative AI in a submitted manuscript or a submitted referee report, they should conduct an editorial review of the matter and consider the policy.</li></ul>

Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a>All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Each manuscript is reviewed by one of the editors and at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication.

Ethics

The Journal adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules.- Principles of integrity, quality and transparency should be sustained in designing the research, reviewing the design and conducting the research.- The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.- The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.- Research participants should participate in the research voluntarily, not under any coercion.- Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.- The independence of research must be clear; and any conflict of interest or must be disclosed.- In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.- If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.- In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a co-decision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form.</a>The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment. When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor to provide retractions or corrections of mistakes.

Editors evaluate the manuscripts objectively in accordance with scientific and ethical rules. They provide a fair double-blind peer review of the submitted articles for publication. They ensure that all the information related to submitted manuscripts is kept as confidential before publishing. Editors are responsible for the contents and overall quality of the publication. They must publish errata pages or make corrections when needed.Editor does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers evaluate the manuscripts objectively in accordance with scientific and ethical rules. They must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective.Reviewers should identify the relevant published work that has not been cited by the authors. They must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the Editor if they are aware of copyright infringement and plagiarism on the author’s side. A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the Editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The reviewers are not allowed to have copies of the manuscripts for personal use and they cannot share manuscripts with others. Unless the authors and editor permit, the reviews of referees cannot be published or disclosed. The anonymity of the referees is important. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.The editor hands over the papers matching the formal rules to at least two national/international referees for double-blind peer review evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Peer Review

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, sexual orientation, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing.Editor-in-Chief is responsible for the contents and overall quality of the publication. He/She must publish errata pages or make corrections when needed.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers. Only he has the full authority to assign a reviewer and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objectiveReviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by Editor-in-Chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.The selected manuscripts are sent to at least two national/international external referees for evaluation and publication decision is given by Editor-in-Chief upon modification by the authors in accordance with the referees’ claims.Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal.Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review.- Does the manuscript contain new and significant information?- Does the abstract clearly and accurately describe the content of the manuscript?- Is the problem significant and concisely stated?- Are the methods described comprehensively?- Are the interpretations and consclusions justified by the results?- Is adequate references made to other Works in the field?- Is the language acceptable?Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

LanguageThe language of the journal is Turkey Turkish and English.Manuscript Organization and formatAll correspondence will be sent to the first-named author unless otherwise specified. Manuscript is to be submitted online via <a href="https://dergipark.org.tr/en/pub/iutded" target="_blank">https://dergipark.org.tr/en/pub/iutded</a> and it must be accompanied by a cover letter indicating that the manuscript is intended for publication, specifying the article category (i.e. research article etc.) and including information about the manuscript (see the Submission Checklist). In addition, a <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">‘Copyright Agreement Form’</a> that has to be signed by all authors must be submitted.1. The manuscripts must be in Times New Roman typeface, 11 font size and have single line spacing (special typefaces can be only used partially).2. In the manuscript, the title in English must be written with capital letters (10 font size) and the title in Turkish with capital letters (14 font size).3. In the manuscript, after the titles and before the introduction section, Turkish abstracts of 180-200 and English abstracts of 180-250 words and an extended abstract in English comprising 600-800 words must take place. Five keywords must be included in the abstracts.4. The articles must not be over 35 pages.5. The Spelling Dictionary of the Institution of the Turkish Language (TDK) is to be abided in the articles and abbreviations6. In the studies of texts with transcription, one of the fonts of Timesefras, Munevver, and Oktay New Transcription or Timestrans is to be used. The transliteration studies with the fonts other than those will not be accepted. Those fonts will only be used in the text part. Times New Roman will be used in the Introduction, Analysis and Conclusion sections as stated in the first topic. Moreover, the photocopy or CD of the text that was studied has to be sent as well. (This is needed in order to send the text to the referees and for the evaluation of the text).7. When submitting a translation for publication, a sample of the original text and bibliographical info must be attached as well.8. A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D36464C416D445149AE140B21899A6F7" target="_blank">title page</a> including author information must be submitted together with the manuscript. The <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D36464C416D445149AE140B21899A6F7" target="_blank">title page</a> is to include fully descriptive title of the manuscript and, affiliation, title, e-mail address, postal address, phone and fax number of the author(s) (see The Submission Checklist).9. The rights of the manuscripts submitted to our Journal for publication, belongs to the author(s). Legal and scientific responsibility of the text which is published in the Journal, it belongs to the author(s) and the Journal is not responsible for it.10. The author(s) can be asked to make some changes in their articles due to peer reviews.11. The manuscripts that were sent to the Journal will not be returned whether they are published or not.12. The main text file of the manuscript must not contain any data on the identity of the author. Manuscripts in which anonymity is not ensured will not be considered for evaluation.13. Non-compliance of the manuscript drafts sent to TUDED with the journal's writing rules is a reason for rejection.14. TUDED, authors and other interested parties communicate via e-mail or the messaging module in the journal automation system. E-mails sent to addresses other than <a href="mailto:tuded@istanbul.edu.tr" target="_blank" style="font-size: 11pt;">tuded@istanbul.edu.tr</a>  will not be considered.

Author Guidelines

Before beginning the online submission process please read the Information for Authors and make sure you have the followings available:Cover letter to the editor<ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>Confirming that “the paper is not under consideration for publication in another journal”.</li> <li>Including disclosure of any commercial or financial involvement.</li> <li>Confirming that the statistical design of the research article is reviewed.</li> <li>Confirming that last control for fluent English was done.</li> <li>Confirming that journal policies detailed in Information for Authors have been reviewed.</li> <li>Confirming that the references cited in the text and listed in the references section are in line with Chicago Manual of Style .</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a>Permission of previous published material if used in the present manuscript<a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=titlepagetemplatetuded_636996636832412506.docx" target="_blank">Title page</a><ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>The title of the manuscript both in Turkish and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address, telephone and fax number</li> <li>ORCIDs of all authors.</li> </ul> </ul>Main Manuscript Document<ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts (180-200 words) both in Turkish and in English</li> <li>Key words: 5 words both in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for Turkish articles)</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li> </ul> </ul>Manuscript Submission<ul type="disc"> <li style="text-align: left;">DergiPark manuscript submission site of the journal is: <a href="https://dergipark.org.tr/tr/journal/854/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/854/submission/step/manuscript/new</a></li> <li style="text-align: left;">The manuscript must be submitted through the account of the corresponding author. The account of authors other than the corresponding author or someone else who is not included as an author in the work must not be used for submission. All correspondence regarding the submission is made with the corresponding author through e-mail via the DergiPark system.</li> <li style="text-align: left;">While uploading Main Document, make sure that the main document has no information that clarify the author’s identity. Due to double blind peer review, Main Document must not include Title Page, the name of author or any other detail that can disclose the author identity. </li> <li style="text-align: left;">Additionaly, Supplemental File for Review must not include any detail that can disclose author identity as well.</li> </ul><ul type="disc"> </ul>Files to be uploaded separately<ul type="disc"> <li>Copyright Agreement Form</li> <li>Permissions obtained for previously published material if used in the present manuscript</li> <li>Title page</li> <li>Main Manuscript Document</li> </ul><ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts (180-200 words) both in Turkish and in English</li> <li>Key words: 5 words both in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for Turkish articles)</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li></ul></ul><ul type="disc"> </ul>

For a manuscript to be published, the language quality must meet a standard of sufficient quality. This must be documented with a certificate by non-native English-speaking authors; a certificate is optional for native English-speaking or proficient English-language authors.  Below are some examples of editing service providers; it is expected, but not limited to this list, that the editing certificate is obtained from a professional service provider with a quality standard in editing. The editing certificate will be requested by the editors after the peer review process is completed.AJE<a href="https://www.aje.com/" target="_blank">https://www.aje.com/</a>  Best Edit &amp; Proof<a href="https://besteditproof.com/tr" target="_blank">https://besteditproof.com/tr</a>Editage<a href="https://www.editage.com/tr/editing-services/manuscript-editing.html" target="_blank">https://www.editage.com/tr/editing-services/manuscript-editing.html</a>Ejear Editing<a href="https://ejearedit.com/en/about/certificate.html" target="_blank">https://ejearedit.com/en/about/certificate.html</a>Enago<a href="https://www.enago.com.tr/" target="_blank">https://www.enago.com.tr/</a>English Go<a href="https://englishgo.net/services/english-editing/" target="_blank">https://englishgo.net/services/english-editing/</a>First Editing<a href="https://www.firstediting.com/technical-editing-services/" target="_blank">https://www.firstediting.com/technical-editing-services/</a>Kalite Akademik Tercüme<a href="https://kaliteakademik.com/en/native-speaker-editing.html" target="_blank">https://kaliteakademik.com/en/native-speaker-editing.html</a>PaperTrue<a href="https://www.papertrue.com/" target="_blank">https://www.papertrue.com/</a>Proofo<a href="https://proofo.net/" target="_blank">https://proofo.net/</a>Proof-Reading-Service<a href="https://www.proof-reading-service.com/" target="_blank">https://www.proof-reading-service.com</a>Scribbr<a href="https://www.scribbr.com/proofreading-editing/academic/" target="_blank">https://www.scribbr.com/proofreading-editing/academic/</a>Wordvice<a href="https://wordvice.com.tr/editing-journal-manuscripts/" target="_blank">https://wordvice.com.tr/editing-journal-manuscripts/</a>

Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) uses The Chicago Manual of Style (18th ed.) for referencing and quoting.Citations and explanations should only appear in footnotes at the bottom of the page. Please do not use the author-date system.The author(s) is responsible for the reliability and accuracy of the references. All cited sources should be listed in the bibliography at the end of manuscript. In quotations and in the bibliography, titles such as books, journals and newspapers must be written in italics.SAMPLE CITATIONSBOOKNotes1. Marcel Erdal, Old Turkic Word Formation: A Functiol Approach to the Lexicon Vol I (Otto Harrassowitz, 1991), 10.2. Peter B. Golden, Nomads and Sedentary Societies in Medieval Eurasia (American Historical Association, 1998), 165.Shortened Notes1. Erdal, Old Turkic Word Formation, 110.2. Golden, Nomads and Sedentary Societies, 190.Bibliography entries (in alphabetical order)1. Erdal, Marcel. Old Turkic Word Formation A Functiol Approach to the Lexicon Vol I. Otto Harrassowitz, 1991.2. Golden, Peter B.. Nomads and Sedentary Societies in Medieval Eurasia. American Historical Association, 1998.TRANSLATED BOOKNotesFrank Robert Palmer, Semantik - Yeni Bir Anlambilim Projesi, trans. Ramazan Ertürk (Fol Kitap, 2020). Shortened NotesPalmer, Semantik, 23.Bibliography entryPalmer, Frank Robert. Semantik - Yeni Bir Anlambilim Projesi. Translated by Ramazan Ertürk. Fol Kitap, 2020. CHAPTER OR OTHER PART OF AN EDITED BOOKNotesPeter B. Golden, “Reflections on the Ethnonym Türk”, in From the Khan's Oven Studies on the History of Central Asiaan Religions in Honor of Devin DeWeese, ed.  Eren Tasar, Allen J. Frank and Jeff Eden, (Brill, 2022), 3.Shortened NotesGolden, “Reflections on the Ethnonym Türk”, 5.Bibliography entryGolden, Peter B..  “Reflections on the Ethnonym Türk”. In From the Khan’s Oven Studies on the History of Central Asian Religions in Honor of Devin DeWeese, edited by Eren Tasar, Allen J. Frank and Jeff Eden. Brill, 2022.JOURNAL ARTICLENotes1. Muhamed Citaku, “Turk Character in the Legendary Albanian Songs Named the Songs of the Frontier Warriors”, Millî Folklor 18, no. 142 (2024): 77.2. Zharneke Shaygozova and Rustam Muzafarov, “Looking For A Changing Tradition: Kazakh Traditional Doll On Cer-emony, Rite, Game And Art Practice”, Millî Folklor 28, no. 140 (2023): 141.Shortened Notes1. Citaku, “Turk Character in the Legendary Albanian Songs,” 80.2. Shaygozova and Muzafarov, “, “Kazakh Traditional Doll,” 135.Bibliography entries (in alphabetical order)1. Citaku, Muhamed.  “Turk Character in the Legendary Albanian Songs Named the Songs of the Frontier Warriors”. Millî Folklor 18, no. 142 (2023): 78-85. <a href="https://doi.org/10.58242/millifolklor.1160485">https://doi.org/10.58242/millifolklor.1160485</a>.2. Shaygozova, Zhanerke and Rustam Muzafarov. “Looking For A Changing Tradition: Kazakh Traditional Doll On Cer-emony, Rite, Game And Art Practice”.  Millî Folklor 28, no. 140 (2023): 130-142. <a href="https://doi.org/10.58242/millifolklor.872921">https://doi.org/10.58242/millifolklor.872921</a>.BOOK REVIEWNotes Hakan Erdem, “Şikârî'nin Avları,” review of Karamannâme, by Şikârî, Karar Gazetesi, October 24, 2018.Shortened NotesErdem, “Şikârî'nin Avları.”Bibliography entryErdem, Hakan. Şikârî'nin Avları.” Review of Karamannâme, by Şikârî, Karar Gazetesi, October 24, 2018.THESIS OR DISSERTATIONNotesLoukia Taxitari, “The interaction between cognitive and linguistic categorisation in early word learning” (PhD diss., University of Oxford, 2008), 47, Oxford University Research Archive (uuid:5289ad15-88e4-4f3a-92ae-584280f7abf3).Shortened NotesTaxitari, “The interaction between cognitive and linguistic categorisation,” 82.Bibliography entryTaxitari, Loukia.  “The interaction between cognitive and linguistic categorisation in early word learning.” PhD diss., University of Oxford, 2008.  Oxford University Research Archive (uuid:5289ad15-88e4-4f3a-92ae-584280f7abf3).WEB PAGENotes“Research: Support for researchers,” University of Oxford, acccessed December 30, 2024, https://www.ox.ac.uk/research.Shortened NotesUniversity of Oxford “Support for researchers.”Bibliography entryUniversity of Oxford. “Research: Support for researchers.” Accessed December 30, 2024, https://www.ox.ac.uk/research.For more information:<a href="https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html" target="_blank">https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html</a>

<ul><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/0FBEAF0DFB25455D834B29BB947F632A" target="_blank">Title page</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/CA4A31E50DE644D7A8CC695CA0257A53" target="_blank">Author Form</a></li></ul>

Ensure that the following items are present:●    Cover letter to the editorü    The category of the manuscriptü    Confirming that “the paper is not under consideration for publication in another journal”.ü    Including disclosure of any commercial or financial involvement.ü    Confirming that last control for fluent English was done.ü    Confirming that journal policies detailed in Information for Authors have been reviewed.●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a>●    Permission of previous published material if used in the present manuscript●    <a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=titlepagetemplatetuded_636996636832412506.docx" target="_blank">Title page</a>ü    The category of the manuscriptü    The title of the manuscript both in Turkish and in Englishü    All authors’ names and affiliations (institution, faculty/department, city, country),e-mail addressesü    Corresponding author’s email address, full postal address, telephone and fax numberü    ORCIDs of all authors.●    Main Manuscript Document:ü    The title of the manuscript both in Turkish and in Englishü    Abstracts both in Turkish  (180-200 words) and in English  (180-250 words)ü    Key words: 5 words in Turkish and in Englishü    Extended Abstract (600-800 words) in English (only for articles in Turkish)ü    Body textü    Grant support (if exists)ü    Conflict of interest (if exists)ü    Acknowledgement (if exists)ü    Referencesü    All tables, illustrations (figures) (including title, description, footnotes)

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