Berat

Every art has its apparent or invisible aesthetic basis, and classical Turkish literature is no exception to this rule. The aesthetic roots of classical Turkish literature date back to ancient Greek philosophers such as Plato, Aristotle, and Plotinus. This theory, which is called New- Platonism after Plotinus, was transmitted to Ottoman poetry through Muslim philosophers such as al-Fārābī (d. 950), Avicenna (d.1037), and Averroes (d. 1198). The first part of this transition was revealed by Şenel (2017), whereas Açıl (2022) showed how this thought had affected classical Turkish poetry and its poetic fundamentals. To distinguish between aesthetics as a branch of theoretical philosophy and poetics as a branch of applied philosophy in the Ottoman era would not be incorrect. Being an empire that was more pragmatic by nature, poets who lived in the Ottoman Empire penned more about poetics than aesthetics.Many studies have been conducted on the aesthetics and poetics of classical Turkish literature. Mengi (2009) and Açıl (2013) argued the ultimate aim of classical Turkish literature to have been iʿcāz [miracle], which is one of the significant features of the eloquence of theQur’an. Other studies have focused on Islamic aesthetics in general, such as Taşkent (2018) who revealed the aesthetics of al-Fārābī (d. 950), Avicenna (d.1037), and Averroes (d. 1198). Koç (2011) discussed the issue in terms of concepts such as faith (īmān) and beneficence (iḥsān), whereas Ayvazoğlu (1999) argued stylization to be the crucial concept in Islamic aesthetics. Okuyucu (2004), Doğan (1997), and Kaçar (2016) put forward the aesthetics of classical Turkish literature itself. Açıl (2018, 2021a) argued classical Turkish literature discusses poetics more than aesthetics, and concepts such as ʿacz, iʿcāz, and muʿcize are key terms in understanding the aesthetics and poetics of Ottoman poetry as influenced by the Qur’an.Though the studies mentioned above and others have demonstrated how aesthetics and poetics were established historically, practically no work is found to have discussed the role of hadith in forming aesthetics and poetics. The article will discuss this issue under four subheadings:1) the legitimacy of poetry, 2) the glorification of poetry, 3) the necessity of poetry, and 4) the nature of poetry. In conclusion, I argue that the Turkish poets of the Ottoman period wanted to trace the Qur’an and hadiths and thought that poetry should be written in line with truth .The first phase in the history of Ottoman poetics involved legitimizing poetry through the relationship between poetry and sorcery. As Tahir Üzgör’s (1990) seminal work, TürkçeDîvân Dîbâceleri showed, poets used hadith to prove the legitimacy of composing poetry. Their first aim was to clarify why they were composing poetry that was not forbidden butlegitimate, for Prophet Muḥammad himself had recited, wanted others to recite, and listenedto poetry. In the prefaces of their diwans [poetry collections], poets and the compilers of poets’ anthologies would cite hadith as evidence of the legitimacy of poetry. The most used saying of the Prophet on this topic was the one that argued poetry to have something magical in it. Therefore, poets argued that their poems had as magical an eloquence as the Qur’an does, while also claiming the Qur’an to be neither magic nor poetry. In so doing, poets argued that their poems were as effective as magic.The second phase of Ottoman poetics involved the glorification and dignification of poetryby comparing it with the concept of miracles (muʿcize). Because each prophet had been given a miracle on a topic, their addressee argued they were the best. In the time of Prophet Muḥammad, Arabs claimed they were the best at eloquence. Therefore, Prophet Muḥammad was given the Qur’an as a miracle whose main feature is its inimitable eloquence. Because poets are the ones who know eloquence the best, poetry and eloquence are, therefore, interdependent. According to them, Ottoman poets must reveal the miracle of the Qur’an to everyone. As a result, poets and compilers would quote the sayings from Prophet Muḥammad that dignified poetry.Just as poets think they must demonstrate the eloquence of the Qur’ān, so should the existence of poetry and poets be necessary. In that phase of poetics, poets emphasized the relationship between poetry and duty and how poetry must be done by quoting the sayings of Prophet Muḥammad, who stated poets have some duty to defeat enemies in battle.Although not the last phase, discussing poetry’s nature and meaning is necessary in order to understand aesthetics and poetics fully. Influenced by the emanation theory of Plotinus andSufism and similar to Plato, Ottoman poets treated poetry as mimesis. Poets must narrate what they have done and should not pretend to be sailors or warriors (Plato, 2009). The Surah al- Shuʿarā commands the same and blames poets who “only say what they never do.” Therefore, even in poetry, what is said should be correct and reflect the truth according to Ottoman poetics.

Klasik Türk Şiirinde Estetik ve Poetikanın Kaynağı Olarak Hadis

Şerif

On the basis of the assumption that literary texts are directly related to the historical and social contexts in which they are produced, this study discusses the idea of sovereignty through “Horoz” (The Rooster) and “Dünyanın Nizamı” (Order of the World) by Ömer Seyfettin. In this respect, firstly, the main arguments for this idea, theorized by Jean Bodin and problematized by Thomas Hobbes (particularly in Leviathan), will be examined. Furthermore, the roles played by intra-community relations, ambivalent relations of society with the state and the ruler, and human nature in constructing the idea of sovereignty, will be evaluated. Then, the origin, function, character, and historical evolution of the images of rooster and dragon derived from this idea in these short stories will be elaborated. The direction of this evolution, particularly from a divine to a secular character, will be followed through examples in Turco-Islamic art and literature. In addition, philosophical views on establishing the ideal social order, which are centered on sovereignty, will be presented in conjunction with the idea of nizam-ı âlem (world order), one of the defining concepts of Ottoman political history. Lastly, the earthly time and history that irrupt the realm of symbolic discourse in Ömer Seyfettin’s short stories will be analyzed within the framework of these concepts, and the intersections of literary, philosophical, and political categories will be interpreted. In this context, although the study depicts how the idea of sovereignty and the discourse of legitimacy related to it are constructed in the symbolic sphere, on the other hand, how the creative imagination functions in the process in question and the role of this functioning in the production of the political are tried to be concretized. Furthermore, apart from the current reductionist patterns, it simultaneously pointed out the possibilities of interpretation that literary texts can potentially offer when one goes beyond the disciplinary boundaries. Thus, based on inferences, this study argues that the most distinctive feature of the symbolic discourse in the short stories of Ömer Seyfettin is that it is both intertwined with the earthly time and history of the world, and is in contact with the cultural memory of the geography, as well as with the neighbouring cultures. All historical meanings of the motifs and images in the short stories in question clearly implicate this aspect. This fact indicates to the necessity of seeking for more comprehensive methodological approaches beyond reductionist interpretive templates in Ottoman–Turkish literary studies.One of the key outcomes of this study is that a historical continuity, instead of a rupture, became evident despite a number of transformations in the contents of images and conceptual frameworks. Even though the idea of sovereignty has been transformed in the historical process, the symbolic and conceptual frameworks are seemingly preserved. However, this continuity does not imply a steady situation, but a dialogical, dynamic transformation, all of which implicates the existence of a background which goes beyond, also encompasses the categories such as “literary” and “political”. On the other side, the function of literary discourse in the political subject’s search for self-expression was also proved throughout the analysis. In fact, the main power of literary language is its ability to represent the imaginary and the conceptual in synchronization.Last but not least, from the perspective of history of political thought and conceptual history, another most significant conclusions of this study is that the symbolic universe and discourse in Ömer Seyfettin’s texts analyzed support the argument that the concept of world order (nizâm-ı âlem) cannot be reduced to “unity of the state” or “political order”, and that it has a much broader meaning set, which refers to the “civilized world” where people build a social order by coming together and well-organizing, in a sense close to Ibn Khaldun’s 'umran. It was also seen that the concept (nizam-ı âlem) is not static and ahistorical, as implied in some commentaries, but rather dynamic and included in the historical time. Hence, in some prominent texts of Turkish literature of the Republican period, the order (nizam) will continue to appear in political-theological contexts. From this point of view, it does not seem possible to confine the history of this concept to the Ottoman Empire.

Dünyanın Nizamı: Ömer Seyfettin’in Son Dönem Öykülerinde Egemenlik Fikri

Hasan

The religious cultures of the ancient Turks are preserved in written documents. These documents provide information about many religious values. The information about the old Turkish religions is reflected in the vocabulary directly based on these belief systems. This old Turkish religious vocabulary was mainly developed through translated religious literature and borrowed religious cultures following the Turks’ adoption of religions such as Buddhism, Manichaeism, and Islam. Although the old Turkish religious terminology is methodically seen in borrowed quotations, it also has remarkable original examples, especially in the pattern of creating Turkish equivalents for foreign religious concepts.For example, for the Sanskrit expression ṛṣi (“soothsayer, enlightened person”), Buddhist Uyghurs used both the term erži of Sogdian origin and the product of the literal Turkish translation, ugan. The same situation can be seen in Islamic texts. In Islamic-Turkish texts, ugan (“Allah, who is omnipotent”) is the preferred Turkish equivalent of the Arabic expression kadir. In this case, the old Turkish religious vocabulary creates a Turkish consciousness by taking foreign religious terms and responding with the related concept in Turkish when appropriate. The present study evaluates the concept of “mockery,” which is seen as a religious sin in terms of both individual-society and individual-religion in Buddhist, and Islamic-Turkish texts. In Buddhism, “[to] mock,” which means making fun of something or someone, underestimating others, or revealing the faults and shortcomings of others with words, signs, or writing, is among the ten sins in Buddhism. In Buddhism, the ten sins are physical, language and mental killing, stealing, sexual abuse, blasphemy, flattery or random and irresponsible speech, slander and hypocrisy, greed, anger, and stupidity. In this respect, the concept of “(to) mock” in Buddhism is among the sins committed with language. The concept of “(to) mock” which is not permissible for a Buddhist who has adopted the principle of walking in a way of Buddha, is on a similar level to the religion of Islam. When we come to the religion of Islam, the concept of “(to) mock” is seen as making fun of both the religion and the person. In the Qur'an, “Woe to every person who makes it a habit to tug at people from behind and to make fun of their faces with the signs of their hands, eyebrows, and eyes!” (Humaza 1) and “O you who believe! Let one community not make fun of another community; maybe it’s better than what they mocked at, nor should women make fun of other women; maybe it’s better than what they're mocking. Donot blame each other; Do not call each other with hurtful or derogatory nicknames. How bad it is to call a person with a name that evokes sinfulness after he has believed, and how bad it is to do so and be branded as sinful after believing. Those who do not repent and turn to Allah after such acts, these are the oppressors themselves.” (Hujurat 11) both clearly prohibit mockery to protect the “fraternal bond” between believers in the Islamic thought system.The texts examined in this study demonstrate that historical Turkic languages have a rich vocabulary surrounding the concept of “mockery”. This is the product of both borrowing foreign terms and creating literal Turkish translations of foreign religious concepts. The present study will first explore the concept of “mockery” itself both in the Buddhist and Islamic contexts andin terms of the individual-society relationship. Afterward, the terms surrounding the concept of “mockery” will be elucidated, and I will conduct a linguistic analysis into the meanings of these terms as well as their origins, formation, and the texts in which they appear.The study identified 32 Turkish terms within the conceptual field of “ridicule (make fun of)”. These terms, listed as bullet points and analysed thematically and linguistically, show that the term “mockery”, which is forbidden as a religious sin in both Buddhist and Islamic systems of thought, has extensive products in the Old Turkish religious vocabulary.

Budist ve İslamî-Türkçe Metinlerde ‘Alay (Etmek)’

Ahmet

Textual criticism involves the effort of making a text free from any corruption it might have suffered for various reasons and bringing it to its original state as much as possible. The text established at the end of this labor is called a critical text, or critical edition. Different methods are known to have been applied in many cultures since antiquity, including Islamic culture, in order to arrive at the original text. Meanwhile, modern textual criticism became widespread in Europe in the 19th century. The subject this article discusses here is the introduction of this method to Türkiye. What has been said about this matter up to now is that no serious activity had occurred regarding textual criticism in Türkiye until German orientalist Hellmut Ritter, who had taught at Istanbul University Faculty of Letters since 1936, and his student Ahmed Ateş, who filled a huge gap in the field of philology with his 1942 article Metin Tenkidi Hakkında [On Textual Criticism]. This study discusses the critical texts published between the Second Constitutional Era (starting in 1908) and 1941 in Türkiye. However, the study will also touch upon the years before and after this period in order to put the period within its historical context.An important corpus of critical text can be seen to have formed in Türkiye from the works shown throughout the article prior to the 1940s. The most important cause of this had been the nationalist movement, which had increased among Turks since the last quarter of the 19th century. Turkish scholars who followed Europe gave special importance to the publication of old works on Turkish culture in order to show that their nation was at a level that could compete with European nations in terms of civilization. Although very valuable works had been published at the Ikdam Printing House at the end of the 19th century, the main improvement was seen after the proclamation of the Second Constitutional Monarchy. With the establishment of the Tarih-i Osmani Encümeni [Council of Ottoman History], the publication of old texts began to be included in the government program. The Council successfully continued this task until its closure in 1931. Although some defective publications did occur among them, this was the institution that had published the most texts.The most shining name from the 1910s was Fuad Köprülü. He attracted attention in the country and abroad with the articles he had written in his youth and became the greatest authority on Turkology. Köprülü always managed to get on well with the political power apart from some brief periods and quickly carried the academic level in Türkiye to a point comparable with Europe thanks to his superior ability to manage and benefit from the people around him. In fact, the period of 1908-1941, being the main subject of this article, was under his authority and influence enough to be called the Köprülü Period. He carried out very important works, especially in the Türkiyat Enstitüsü [Institute of Turkology], which he’d founded and directed until 1939. Although he did not show much inclination toward producing critical texts himself, he served this field with his various writings in which he emphasized the importance of textual criticism, the critical editions to whose publication he’d contributed, and the students he’d trained.In terms of publications, Kilisli Rifat Bilge was the most prominent person in this period, with Arabic works occupying an important place among his numerous publications. Kilisli took care not to interfere with any manuscript he’d chosen as the main basis for an edition by indicating the corrections and repairs and showing the differences between copies. Meanwhile, Ibnülemin Mahmut Kenal Inal came from a more traditional and conservative place, as the motivation behind his work was not nationalism, as was the case with most of the intellectuals of the period, but rather a desire to preserve the works of the eslâf [forefathers] from oblivion and to bring these to light. The publications by Sadettin Nüzhet Ergun, who is the most popular name regarding divan [poetry collection from one author] publications, had some flaws, as he would indicate the copies he’d used but would show the differences without providing the name of the copy.The development of textual criticism in the 1940s requires a comprehensive examination, as the critical editions from these years and their publications have had a much greater impact on the present. The most prominent names from this period are Reşid Rahmeti Arat, Ahmed Ateş, and Ali Nihad Tarlan. These people had served as the heads of three departments (Turkish Language, Arabic-Persian Philology, and Classical Turkish Literature, respectively) within Istanbul University for a long time and had an impact on the field of textual criticism through their works and the students they’d trained.

Modern Metin Tenkidi ve Tesisi Usulünün Türkiye'ye Girişi

Burcu

Nazan

Prof. Dr.

Füruzan 1975-1980 yılları arasında önce Deutscher Akademischer Austausch Dienst’in (DAAD) davetlisi olarak, daha sonra ise kendi girişimleriyle Almanya’da epeyce zaman geçirdi. Kaldığı süre boyunca Ruhr bölgesindeki madenleri gezdi ve Gastarbeiter madencilerle yaptığı görüşmeleri kaydetti. Ayrıca Batı Berlin’deki göçmen işçiler ve aileleriyle de bir araya gelerek röportajlar yaptı. Gözlemlerini ve yorumlarını Yeni Konuklar (1977) adlı kitabındayayımladı. Bunlara ek olarak hem Doğu hem Batı Berlin’de birçok Alman entelektüeli ziyaret etti ve savaş-sonrası ve bölünme-sonrası Almanya hakkındaki gözlemlerini Ev sahipleri (1981) adlı kitabında detaylandırdı. Çalışmaları her iki Almanya’da da ilgi gördü ve Wera ve Claus Küchenmeister ile birlikte, Türkiye hakkında bir çocuk kitabı olan Vom rotgesprenkelten Spatzen’i (1980) hazırladı. Son olarak Türkiye'den gelen göçmen bir aile ile yaşlı bir Alman kadınarasındaki dostluğun hikayesini anlattığı Berlin’in Nar Çiçeği (1988) kitabıyla deneyimlerini ve gözlemlerini roman formatında sundu. Bu dört eser Füruzan’ın yazarlığında bölgeler ötesi bir bakış açısı doğrultusunda önemli bir dönüşüme işaret etmekte ve onun Almanya dönemi külliyatını oluşturmaktadır.Füruzan’ın Almanya sonrası eserleri Türkiye’den Almanya’ya işçi göçü hakkında sağladıkları verilerin niteliği ve niceliği nedeniyle edebi ve entelektüel açıdan kritik bir yere sahiptir. Bu eserler, göç deneyiminin kesişimsel doğasının kadınlar ve erkekler için, Anadolu’dan ve kent merkezlerinden gelenler için ve iki kültür arasındaki arada derede halleriyle özgün bir bakış açısı sunan çocuklar için ne şekilde farklılıklar gösterdiğine dikkat çekmektedir. Yazarın çalışmalarının çizdiği farklı tablo Alman toplumunda kabul edilegelmiş tipik Gastarbeiter imajına karşı Türkiye'den gelen göçmenler hakkında daha incelikli bir anlayışı teşvik etmektedir. Özellikle çocuklarla yaptığı röportajlar farklı analiz olasılıkları sunması açısından yeni ve yenilikçidir.Füruzan eserlerinde Türkiye’den gelen göçmenlerin günlük yaşamlarında -hem evde hem işte- yüksek seviyelerde stres yaşadıklarını göstermektedir. Bahsi geçen göçmenler misafirperver olmayan bir toplumda güvensiz ve güvencesiz varoluşları nedeniyle sürekli baskı altındadırlar. Ayrıştırılmış hayatlar yaşamakta ve yeni “vatanlarında” ayrımcılığa uğramaktadırlar. Alman ev sahipleriyle eşit şartlarda olmayan etkileşimleri aidiyet duygularını kaybetmelerine, kimlik duygularında parçalanmalara ve “ev”de olma hissinden yoksun kalmalarına neden olmaktadır. Adaletsiz bir sosyal gerçeklikte yaşadıkları güvencesizlikler uyum sağlamalarını sorunlu bir hale getirmektedir. Sonuç olarak bu “misafirler” reddedilme hissiyatı karşısında mesafelerini korudukları ve etkileşimden kaçındıkları için entegrasyon olasılığı da zayıflamaktadır. Füruzan’ın “Almanya eserleri” bir yandan Türkiye'den gelen göçmenler ile Alman ev sahipleri arasındaki karmaşık dinamikleri ortaya koyarken diğer yandan Almanya’nın çok kültürlü bir toplum olarak geleceğinin fay hatlarına da dikkat çekmektedir.Ayrıca bu eserler göçmen çocukların da ebeveynlerini rahatsız eden ayrımcılık, baskı ve arada kalmışlıktan eşit derecede mustarip olduklarını göstermektedir. Çocukların yaşadıkları ihmallere değinmekle kalmayıp onların çok kültürlü bir Almanya için hem misafirler hem ev sahipleri açısından ne kadar önemli olduklarının da altını çizmektedir. Dahası, bu eserler çocukların bakış açıları, yabancı bir ülkedeki arada kalmışlık halleri, gerçek bir entegrasyona yönelik arzuları ve yeni vatanlarındaki geleceklerine dair dirençli ve umutlu bakış açılarıyla ne kadar yüksek bir farkındalığa sahip olduklarını da ortaya koymaktadır. Füruzan değerlendirmelerinde göçmen çocuklar ve yaşlı Almanlar arasındaki yakın ve içten ilişkilerin mümkün kıldığı çok kültürlü entegrasyonun kendine özgü olasılıklarını da sunmaktadır. Ortak kırılganlık ve ötekileştirme deneyimleri bu iki grup arasındaki kültürel ve sosyal bariyerleri yıkmakta ve her iki taraf için de olumlu bir gelecek imkânı vaat etmektedir. Bu minvalde aradaki dinamiklerin karmaşık yapısını irdelemekte ve yeni bir bakış açısıyla ele almaktadır.

Füruzan’ın Almanya Sonrası Eserlerinde Emek Göçünün Sınırında Çocuklar

Tanju

This study’s main focus is to determine Babur Shah’s breadth of language, his sensitivity toward orthography, and the features of translated language seen in his work Risāla-i Vālidiyya. Written language can be defined as the written form of a spoken language. Written language has a tradition, its own rules and forms. Differences in how a spoken language is pronounced may occur, but the writing tradition is to be followed when transcribing. Babur was born in the Timurid palace and received the highest level of education given to the princes. In this schooling, one’s mother tongue and foreign language are also given great significance. Having learned Turkish with all its subtleties from literary to diplomatic and daily speech, Babur used Turkish with great awareness. This is evidenced by the works that have survived to the present day. These works are as follows: Baburnāma, which has been written in a plain, clear, understandable language everyone can understand; Diwan, which was written in the Chagatai language; Mubayyan, which was written for everyone to learn the five fards of Islam; Aruz Risālesi [Treatise of Prosody], which he wrote on the science of prosody; and his translation of Risāla-i Vālidiyya.The article consists of two main parts. The first part examines Babur Shah’s breadth of knowledge concerning language and spelling rules, especially the prosody used in official writings and verse. The second par compares the use of Turkish in the translation of Risāla-i Vālidiyya to the original Persian, with emphasis on the method Babur Shah used in the translation and whether or not his Turkish had been affected by Persian. For Babur Shah, knowing a language not only concerns talking and understanding one another; his ideas involved having an enriched vocabulary and extensive grammatical knowledge; knowing the correct use of plain, clear, and rhetorical language based on the type of work being written; and paying extreme attention to spelling rules. While criticizing a letter that his son Humayun had written to him in Baburnāma, Babur emphasized how he doesn’t write prose as enigmas bur that one should use a language that facilitates the reader’s understanding while reading; he also criticized the lack of adherence to spelling rules. The following verses are found in the Istanbul and Tehran copies of Babur Shah’s Aruz Risālesi: Should I tell you about your eyes and eyebrows and words and tongue? Should I tell you about your height and cheeks and hair waist? “Köz ü ḳaş u söz ü tilini mü dėy / Ḳad u ḫad u saç u bėlini mü dėy.” These verses were applied in his treatise to 504 different poetic measures. This article provides examples of the spelling rules regarding the application of this poetic measure. ‘Ubaid-al-ilāh Aḥrār (b. 806/1404 in Tashkant; d. 895/1490 in Samarkand) was a Naqshbandi sheikh, and his Risāla-i Vālidiyya is a small treatise in Persian prose that had been written at the request of his father. This small treatise contains information that lead to such truths as love of Allah and worship, and how to follow the prophet Muhammad and discusses proof. Babur Shah translated and constructed it in verse using the catalectic meter of fä‘ilātun fä‘ilātun fä‘ilun, mainly to find healing and secondly for everyone to read and learn easily. In his religious work Mubayyan, he applied the method of teaching in verse within the Turkish writing tradition. The prose sentences of the original Persian text naturally underwent changes as they are converted into Turkish verse. He transformed the source text, which had often been written with parallel expressions and in rhymed prose, into more catchy couplets. Parallel structures as well as sound and word repetitions are seen in the Persian text as written by ‘Ubaid-al-ilāh Aḥrār, who’d spent his life in the Timurid capital of Samarkand. This feature facilitated Babur Shah’s translation into verse. Almost all of the borrowed words used in his translation of Risāla-i Vālidiyya involve words and word groups that had entered Turkish during the Khwarazm Dynasty and the pre-Classical Chagatai period. For this reason, Babur Shah cannot be said to have translated the words in the work into Turkish or spoiled its simplicity regarding the external structure of the language. These were words that were already known and understood. This short treatise consists of 243 couplets and a total of 736 words. Turkish words constitute a third of this vocabulary. Despite this abundance of quoted words, some couplets are found to be written entirely in Turkish, such as “She never loved anyone but herself know that” (RV 88), “The heart is there and he is on his side / Words are on his side, eyes are on his side” “Kö ül anda vü öz anı sarıġa / Söz anı birle köz anı sarıġa” (RV 111), and “The word hears peace, that’s enough!” “Söz ėşitür ėse uş munça yėter” (RV 239).Since the treatise was mainly written for teaching purposes, he used the stylistic features of the art of oratory, such as voicing; emphasis; a rich variety of short, simple, understandable imperative sentences; present and future tense sentences comprised mostly of action verbs conjugated in the subjunctive case; and noun clauses conjugated in the present tense. The verb bil- [to know] being used 66 times in a short text of 243 couplets is the best proof the work being a teaching text. Persian phrases were translated into Turkish as often as possible. The translation is seen to have the feature of using Turkish to its utmost, as the old Uyghur language continues in this text as well.

Babur Şah’ın Dili, Yazı Dili Hassasiyeti ve Tercüme Faaliyeti: Risâle-i Vâlidiyye Örneği

Fatih

Doğu Türkçesiyle Yazılmış Bir Tüccarlık Risalesi: Risâle-i Sevdâgerçilik

Muhammed

Born in 1945 in Erzincan, Türkiye, Mustafa Kutlu is a writer who emphasizes native values and the basic qualities of the Islamic faith in the form and content of his works. Kutlu’s writing style can be said to have been determined by the values of Anatolia, where he had been born and completed his education. Being a native can also be said to have determined Mustafa Kutlu’s profile as a writer.Mustafa Kutlu is recognized as one of the strongest writers of the story genre in modern Turkish literature and all its traditional connotations. The choice of genre in his works is also related to his life view. Mustafa Kutlu has mostly written works that can be defined as stories since 1970 and also has a position that attaches importance to nativeness in terms of the environment from which he comes. Based on this perspective, his works show nativesociablecharacteristics.In his long story titled Tarla Kuşunun Sesi [Song of the Skylark] published in 2017, Kutlu endeavors to describe the social developments through which the Anatolian people have gone, starting in the 1800s from the perspective of a conservative Anatolian native and Muslim worldview. The effort to draw a social panorama from the Ottoman Empire to the Republic through the experiences of three generations of a family forms the backbone of the story. The story follows the periods of Sultan Abdul Hamid II, İttihat ve Terakki [The Committee of Union and Progress], Sultan Vahdettin, and the Revolutions of the Republic. The social corruption experienced during this time and the roots of this corruption determine the background of the story. The author’s book Tarla Kuşunun Sesi has had five editions published as of 2023 and is a text that fulfills the combined requirements of the novel and traditional story genre in terms of technique and expression, as does other works of his. This book can be said to contain a different critical attitude that do not exist in other Kutlu’s books. This critical attitude is remarkable in terms of revealing the points of societal conflict, resistance, and reconciliation in the face of the great changes that Turkish society has undergone since the late 18th century. The critical position in the story also creates a unique formal preference. On one hand, the author utilizes all the possibilities of the modern novel genre to create his story, while on the other hand he consciously activates the strategies of the narrative genre in opposition to the modern novel on points where he wanted to defend tradition.The story can be evaluated in two main parts, with the first part containing the characteristics of traditional storytelling and the epic structure of a holistic worldview. This first part describes the changes that occurred from the late Ottoman Empire to the early years of the Republic. Yörük Molla Murat, who implies a Turkish-Islamic synthesis, lies at the center of these events. The early years of Molla Murat’s life story are set against the background of the transition from a nomadic to a settled life, the change in Anatolian conditions because of the weakening of central authority, and the dissolution of the imperial social structure. Fact and events that caused major changes in the social structure, such as the proclamation of the Constitutional Monarchy, the reign of Abdul Hamid II, and the İttihat ve Terakki [Committee of Union and Progress] administration are used in the novel to explain the changes in Turkish society.During the Balkan Wars, World War I, and the War of Independence, Molla Murat and hisbfamily represent the middle ground of Anatolian people who strove to defend their country and are supported in this endeavor by their traditional way of life and the religion of Islam. The revolutionary period after the proclamation of the Republic reveals some points ofm conflict in the Anatolian people’s relations with the new administration. In particular, the fiction brings the religious masses’ discomfort with the harsh Westernist practices to the fore. This discomfort does not turn into a concrete conflict in accordance with historical reality. Each point of conflict finds a point of reconciliation, again linked to tradition. The first part of the story, which is mostly event-oriented, chronologically follows the change in historical conditions. The reactions of the large conservative mass living in Anatolia to these changes constitute the main dramatic tensions in the story.The second part, titled “Kaybolmuş Tarih” [The Forgotten History] draws a social panorama of Turkey after the 1970s. The children and grandchildren of the protagonists of the story’s first part are the protagonists in the second part. The types of people emerging from the social structure described through neighborhood life have severed their relations with their ancestors’ way of life due to the necessities created by social changes. Therefore, none of the characteristics of their ancestors, such as being self-sacrificing, being resilient in the face of difficulties, or having an ideal, are observed in the grandchildren and children. This situation can be defined as corruption or cultural regression and is associated with the fact that the lifestyle modern conditions and capitalism had offered the people does not produce values. Those who have severed their ties with tradition and faith, no matter how good they are individually, cannot be happy in their lives because they are deprived of the collective protection created by tradition and religion.Kutlu’s (2017) long story, Tarla Kuşunun Sesi is a work in which the conservatives’ criticisms against the Republic in Türkiye have found room and a prudential form. These criticisms can be evaluated as the conciliatory objections of the broad masses of people against those who have been determining the fate of their country since the last period of the Ottoman Empire.

Yerli Bir Modernleşme Eleştirisi Olarak Mustafa Kutlu’nun Tarla Kuşunun Sesi Adlı Uzun Hikâyesi

Zeliha

The purpose of this study is to show the extent to which the literary works of Sema Kaygusuz are related to the idea of civilization. In this study, it is claimed that Kaygusuz’s works show not only how civilization works but also the places where it does not work. In that way, those works cast a critical eye on civilization. The study argues that because of the critical look at the concept of civilization, the author’s works can draw attention to the artificiality of the boundaries on which civilization is based and focus on what kind of discontent this artificiality creates in human life. Kaygusuz’s works are a field in which both the figures that represent civilization and civilized people and the others (nature/natural/barbaric) that exclude them are visible. The works are not a defense of the controlling, hegemonic, and cultural man in the position of the master of civilization. Rather, they show the functioning of civilization and the forms of resistance that this process exerts on the beings in life as a whole, thus becoming visible the interruptions and nonfunctioning.Kaygusuz’s works are the representation of civilization. They are also places where those who are excluded from civilization appear in their own voices, encounter civilization, and reshape it. Based on that idea, this study aims to show the forms in which resistance to the demands of civilized life as well as the functioning of civilization are manifested in Kaygusuz’s works. According to this study, which claims that those manifestations and resistances can be called “discontent,” inspired by Sigmund Freud’s Civilization and Its Discontents (2013), the discontent against which civilization is positioned is reproduced within the functioning of civilized life. The existence of the civilized is coordinated with the existence of the uncivilized. The civilization that draws the boundaries of human life loses life as a whole, regardless of what it excludes, whether natural or artificial. Those losses manifest themselves in individuallife and in social, political, and natural catastrophes that occur in social life. Although some people accept the losses caused by civilization and the sacrifices it demands and go on with their lives, some others consciously or unconsciously do not comply with the demands of civilization. Thus, it opens the door to another life. The discontent created by civilization and forms of existence other than civilized exist from the bottom up in life, but they influence, change, and transform civilization.According to this study, which was created to reveal civilization, the dissatisfaction created by civilization in people, and the proposed solution against this dissatisfaction developed in Sema Kaygusuz’s works, it can be said that Kaygusuz’s narratives go beyond the function of transmitting the values of the existing civilization. Looking at Kaygusuz’s works that question the values of civilization, civilization is a worldly concept and appears as a human fiction. Every concept, role, and position ideally glorified by civilization is a fiction. However, those fictions effectively regulate people’s lives and curtail their existence. We can say that this representation of civilization dominated by repressive power is the continuation of the understanding of civilization by thinkers such as Freud and Elias in the literary space. The prescriptions of civilization alienate people from themselves and their environment. Thus, civilization, which purports to remove violence from daily life, reintroduces it. A life born of alienation becomes a life dominated by violence and unhappiness. The works of Kaygusuz, which we can claim show the effects of civilization that reproduces life and simultaneously reduces it, listen to the barbarian who absorbs all that civilization rejects, excludes from life, and considers sinister and makes the voice of the barbarian heard. Because civilization is close to nature and the natural, it lets the woman, the child, the animal, and the plant speak and become themselves. They change the “negative” relationship that civilization establishes with the Other, creating an impossible relationship with the Other when viewed from civilization. They disrupt the framework of civilization created by distinctions. Thus, they can go beyond civilization in literary space and imagine an unequal, hierarchical, noncolonial form of relationship with the Other. We can say that this possibility can be interpreted as a strategy to cope with the discontent caused by civilization in Kaygusuz’s works.

Uygarlık ve Huzursuzluklar: Sema Kaygusuz’un Eserlerinde Uygarlığa Eleştirel Bir Bakış

Cemile

An earthquake is a sudden release of energy in the rocks of the Earth that generates seismic waves. Turkey is a seismically active country that has been subjected to severe earthquakes throughout history. Turkey has experienced earthquakes of magnitude 7 and above since the 1500s. On February 6, 2023, two separate earthquakes of magnitudes 7.7 and 7.6 occurred in the Pazarcık district of Kahramanmaraş. This event was one of the earthquakes that deeply affected the history of Turkey.Social media are online platforms where users can create content, share it, and interact with each other. During a disaster, a substantial amount of data were generated by social media users. When an earthquake occurs, social media acts as a crucial source of information for decision-making support systems. Furthermore, the experiences of people living through an earthquake can be quite diverse. There are several social media tools through which people share their experiences. Emotion analysis, a technique used in the field of natural language processing, is an analytical approach to identifying emotional responses in a data type. In this study, the flow of information on Twitter, including the moment of the earthquake and its aftermath, was investigated using emotional language analysis to assess the emotional language used by people in the tweets.The data analyzed in this study were limited to tweets posted between February 6 and June 6, 2023. Only those tweets talking about the primary earthquake and the major aftershocks were considered, and the analyzed tweets were further limited to the keywords #earthquake and #zelzele. The data collection method used in this study was based on A. Nakamura’s (2005) emotion analysis. These emotions were adapted to those that can be felt during an earthquake. The major classes of emotions selected for the analysis were joy, shame, grief, anger, surprise, fear, and relief. The chief conclusions were as follows:I. The most frequently used emotional language since the first moment of an earthquake was grief.II. Emotions of fear and anger were more common in tweets posted in the afternoon. Furthermore, the emotional language of grief and fear seen in the early hours and days of the earthquake turned into the emotional language of relief over time.III. The most commonly used emotional language in tweets after that of grief was the emotional language of relief. The emotion of relaxation was more common in tweets sent during the evening.IV. Since March, there have been tweets expressing feelings of joy. In sentences using the language of joy, expressions describing the happiness of children have been encountered.V. The least used emotional languages were joy, surprise, and shame.It was observed that certain distinct emotions emerged in the sentences, despite the absence of explicit emotional language. The frequency of certain words, excluding those used in the emotional language analysis, was also determined. It was determined that “begging” was the most frequently used emotion, other than the ones included in the emotion analysis language, and the most frequently used word was the verb “to protect.”

6 Şubat Depremi ve Twitter Duygu Analizi

Emrullah

The traditions of “New Literature” and “Old Literature” undoubtedly differ in terms of formal features and aesthetic understanding. In the history of literature, classifications such as “Old Literature,” “New Literature,” “Folk Literature,” and “Tekke/Sufi Literature” have emerged as a result of such formal and aesthetic differences brought about by periodic changes and cultural experiences. However, it would be unrealistic to claim that because of these differences, there are no common points between these literary traditions, or that they are channels that develop and take shape independently. It is natural for common points to exist between linguistic expressions of human existence, regardless of the conditions and periods in which they emerged. Poetry, as a genre, contains more common points of this type, as it touches on both the unchanging nature of human beings and their changing characteristics. One of the common themes that continues to exist in human life is undoubtedly love.The theme of love in classical poetry develops around three basic elements: lover, beloved, and rival. Āshiq, mashūq, and raqīb represent the lover, beloved, and barrier between the lover and the beloved, respectively. The lover-beloved-raqīb trio can also be discussed in İsmet Özel's poetry. However, there are some similarities and differences between this trio in Özel’s poetry and those in classical poetry. The lover in classical poetry is a more passive figure who is patient with his lover’s sufferings, even seeing them as a kind of grace, and cries and wails out of the pain of love. In Özel’s poetry, āshik (the lover) appears combative, takes action and initiative, turns away from the lover when appropriate, doubts himself, and embarks on new quests. The lover of classical poetry is as far away from the concept of “I” as one can get; the claim of being in love can be taken seriously only if he gives up the “self.” Meanwhile, in Özel, there is a strong emphasis of “I” within the poet/lover. He wishes to “permeate into the roots of the wild roses” and “inject his body into the realms.” İsmet Özel specified that the mention of “I” in his poems means Turkey (Özel, 2013a, p. 161). From this perspective, it can be compared to a lover who presents his own existence and self to the existence of the nation and destroys himself in a kind of “beloved.”The beloved in classical poetry is an idealized beauty, unattainable. It can be a metaphorical beauty of the world or Allah, a prophet, a religious leader, or a statesman. In Ismet Özel’s poetry, an unattainable nature of the beloved can be mentioned. It is difficult to discuss clear boundaries between the forms of love that arise from bodily, mental, and spiritual motives in his poetry. There are sharp and rapid transitions between the various manifestations of love. This situation is similar to the ambiguity of metaphor–truth in divan poetry, which occasionally causes the reader to hesitate. The ideal (socialism or revolution) that was beloved in earlier periods of Özel’s poetry was an ideal that promised an earthly paradise. This mental love for “the country of the mind fortified with its vigorous walls” or for the people can occasionally evolve into a sensual identity, so the utopian loved one becomes a loved one to whom sexual desire is directed.Material and physical categories can be used to evaluate both the imagination of an earthly paradise and the love of a beauty made of flesh and blood. However, the poet’s thirst was not quenched by the material world's limited, variable, and transitory rivers. Thus, he turned to a “mute’āl” (transcendent) beloved, that is, the Creator, who was free of all kinds of deficient attributes, and the poet/lover was reborn with him. In this regard, it is worth noting that a similar understanding of love has evolved in classical poetry, from figurative love to true love.In the broadest sense, the raqīb in classical poetry is a barrier between the lover and the beloved, and it could be a nanny, a bouncer, a guard, or a fad that does not deserve to be loved. In Özel’s poem, raqīb is the bosses, banks, arms factories, fascism, the world, ideological elements such as the police and power devices.The incomprehensible and indescribable nature of love encountered in Özel’s poetry can be reconciled with man's existence oscillating between the lofty and the lowly, open to progress and decadence, residing in a limbo between the animal and the angel. As a result, we can discuss various manifestations, levels of understanding, and states unique to love. However, according to Özel (2013b, p. 89), love is a substance that pins human “being” to “the Existent [God],” a lever that drags it into existence. Man receives his share from the Existent through this act, which occurs from being to existence.It is fated for the poet who rejects the vulgarity of speech and life to be “an unfit among nationalities.” Not allowing oneself to flow with life prevents one from reaping the blessings of the world’s gardens. His insistence on enveloping the “origin of life" and “his own mystery” caused him to “detach from the flavor of the sweet fruits,” causing the poet to “take a long journey.” Thus, while the meticulousness in words is monumentalized with poetry, the care and sincerity in life are crowned with love.

Âşık-Maşuk-Rakîb Bağlamında İsmet Özel Şiirinde Aşk

Ozan

Yusuf-ı Meddah lived in the 14th century and made significant contributions to the development of Turkish literature through his works. Unfortunately, limited information is available concerning his life. His name is mentioned, and one of his couplets is quoted in the book Kenzü’l-Kübera ve Mehekkü’l-Ulema written by Şeyhoğlu (d. 817/1414?). His mathnawi, Varka ve Gülşah, was written in Sivas, leading to the estimation that he spent a part of his life there. Furthermore, some studies have determined that his work titled Maktel-i Hüseyn was also written by Yusuf-ı Meddah. Based on the information provided in this work, he is speculated to have spent another part of his life in Kastamonu. The other information provided in various studies on Yusuf-ı Meddah’s biography is derived from interpretations of his works.Some of his extant works include Varka ve Gülşah, Maktel-i Hüseyn, Dastan-ı Kadı vü Oğrı, Hikayet-i Kız u Cühud, Dastan-ı Vercihan-ı Fanus Der-Hikayet-i Takyanus, and Yusuf u Züleyha. Moreover, there are two distinct works wherein he narrates the heroic adventures of Ali, the son of Abu Talib. In these works, Yusuf-ı Meddah did not adopt a sophisticated literary style but rather wrote the stories in simple Turkish verse.One of Yusuf-ı Meddah’s works is Dastan-ı İblis, which was first introduced by İsmail Hikmet Ertaylan, who provided some examples of couplets and summarized the remaining story. However, Ertaylan did not specify the library or private collection where the manuscript copy he used was found, preventing further study of the text. Furthermore, Adnan Erzi criticized Ertaylan’s study for certain errors and deficiencies. Another researcher, Metin Akar, analyzed Dastan-ı İblis in three articles, focusing on its subject and sources, and examining its similarity to other works written earlier.In addition, a recently identified manuscript of Dastan-ı İblis is registered in Süleymaniye Manuscript Library, Darü’l-Mesnevi Collection, number 9/3. As it was written after another work and there was no space between the two works, it was not identified or recorded in the catalog. This discovery provided additional information about the work.Dastan-ı İblis is written in the form of a mathnawi verse, and the manuscript contains 237 couplets. The work centers on the dialog between Prophet Muhammad and Satan. It began with a narrative concerning the expulsion of Prophet Adam from paradise, followed by Prophet Muhammad asking Satan various religious and moral questions to which Satan responded. Prophet Muhammad then asks Satan for advice to share with his close ones. As of the 213th couplet, Satan offers advice on timely prayers, avoiding inappropriate interactions with women, avoiding false oaths, backbiting, and slandering. Subsequently, Gabriel intervenes and resumes the discussion on Satan not prostrating to Prophet Adam. The text concludes with a prayer from Yusuf-ı Meddah and his remembrance of Mevlana Celaleddin-i Rumi (d. 672/1273). The objective of writing or narrating this work is to offer underlying advice to the reader or listener through these questions and answers, encouraging them to steer away from Satan’s path. Moreover, it inspires people who read or listen to the story to distance themselves from evil. There are also prose versions of this story, which are known to be translations from Arabic into Turkish. The translated work and Yusuf-ı Meddah’s work share striking similarities. Comparing the two versions, it is evident that the narrative began similarly with minor nuances, and although the order sometimes changes, almost the same questions are answered with the same responses. Hence, it is unlikely that Yusuf-ı Meddah made any original additions to the story.

Yûsuf-ı Meddâh’ın Dâstân-ı İblîs Adlı Mesnevisi

Hakan

Due to the relationship established with the West, different searches emerged in the field of literature in terms of literary genres and content. Literary genres specific to Western literature have been introduced, and new works with perception and expression characteristics different from those of traditional literature have emerged. The first work cannot fully implement the aesthetic judgments and standards of the imitated literary source. Biographical works and literary histories that introduce the world of Western thought and culture are translated into Turkish. Several translations have been made in the genres of novels, stories, poetry, and theater. Thus, it is observed that essays on modernization emerged under the influence of the West, which is fueled by translations. Itineraries, biographies, histories of literature, letters, discussion documents, and various types of literary translations play an important role in recognizing Western literature. Itineraries are texts that convey the value judgments, technical levels, and daily lifestyles of a foreign civilization to the reader firsthand. The new style works of the writers were influenced by the admiration that developed after their interest was encountered. For comparison studies, the impact stage sum is extremely useful. Studies of comparative literature discussions on this effect. Aesthetic aesthetic phenomena in French and Turkish literature. In these discussions, distortion of the original literature is sometimes criticized, while at other times the relevance of certain aesthetic elements is emphasized. Either way, comparative studies become the first condition for self-expression, regardless of one’s stance.Interest in foreign literature often seeks to establish limits while satisfying the need for self-expression. Writers who translate their literary preferences into aesthetic measures produce works that are influenced by these measures. Even when comparative literature was not mentioned in our literature after the Tanzimat period, comparative literature discussions and criticisms were made in practice. Tarih-i Edebî-i Âlem discussed in this review, is the first history of comparative literature translated from French to Turkish. This book was published by Mehmed Ali Ayni under the name of Tarih-i Edebî-i Âlem. This is Frédéric Loliée’s Histoire des Littératures Comparées: des Origines au XXe Siècle. Mehmed Ali Ayni states that the work can be considered successful in its current form, despite the challenges he faced in terms of style and arrangement. The first six chapters of this work were translated jointly with Mehmed Galib Bey. When the French original and the Turkish translation of the work were compared in terms of titling the chapters, the omissions and summaries in the translated work attracted attentionin the first place. Mehmed Galib and Mehmed Ali Ayni shortened the work, which contains a detailed explanation of the history of humanity, and translated it into Turkish. Throughout the translation, several footnotes from the original work and references were frequently missing parentheses upon their first mention in the text. Moreover, some proper names and concepts, which were absent in the original version, were introduced as short footnotes.This translated work should also be evaluated as a textbook and/or reference work. In this way, a source works that people who do not understand foreign languages can get information about human history and literary interactions, which has been brought to the Ottoman press. The fact that both Mehmed Galib and Mehmed Ali Ayni translated works as school books strengthens the possibility that they had this intention for Tarih-i Edebî-i Âlem.

Türkçedeki İlk Karşılaştırmalı Edebiyat Tarihi: Tarih-i Edebî-i Âlem

Günay

With physical, ontological, and theological dimensions, time is a vivid, distinctive, and transformative concept that has been used since Ancient Greece to both perceive reality and transform reality into a dream. The simple inability to understand time as a whole required thinking of it in terms of certain controllable parts, such as night, day, month, day, year, spring, summer, fall, and winter. Night best reflects the lover’s psychology who lives with the hope of meeting their lover and has a conceptual field that cannot be ignored for Diwan literature.First of all, night is the symbol of separation, despair and heedlessness. Nights expressed with adjectives such as laciverdî [dark blue/ultramarine] or susenî [suse green] describe nights that are about separation and are depicted using similes for objects such as tar and coal. Masnavis are seen to talk about joyful, happy, and entertaining nights are told. A contrasting relationship has been established between the daytime and the full moon or nighttime Similarities have also been established between for night with the dark-skinned Hindus, crows and the hawks. While faces are likened to the sun and day, the night is likened to the niqab because of its color and covering, with the hair being likened to the night for the same reason.Nazire is a kind of poetry practice, and is also an area of speech for poets to develop and protect their poetry writing skills. The fact that the poems composed in nazire journals are seen to be aimed at rhyme and redif, and that the vast majority of these are müreddef [verses with redif] make one say that redif in particular creates an undeniable activity in its own environment. In other words, the use of redif helped poets write poems with more harmonious and subjective integrity, while increasing the possibility of writing nazire for these poems.This study is curious about the course of poems that mention the Turkish word gice/gece [night] in their redifs. To examine this, the study first scanned nazire and matla journals with known compilers and then scanned the diwans of 95 poets from the 14th-19th centuries. All of the scanned works are publications that have been translated into the Latin alphabet. Some 59 poets from nazire and matla journals or their diwans are seen to have used the word night in their redifs. In addition, the poets’ rhyme preferences favored the mücerred [single/lone] and mürdef rhyme patterns. These 59 poets use the word gice in redifs, exceeding the redif limits on syllable and suffix, with the redifs having one to four words and being in the form of suffix + word.The possibility of finding examples of redif variations in at least two ghazals from 59 poets necessitated limiting the material of the article. In this case, the study chose redif of bu gice, which was the form the poets chose most often. Also, redif of bu gice was noted that in the nazire tradition to create a way with the mücerred rhymes of -â, -eh, -em, -en, -er, -et alongside the mürdef rhyme of -ân. Because this limitation provided sufficient material for this article, the article only included other rhyme + redif sequences that had been identified if they were in the same nazire network.The ghazals belonging to the rhyme + redif sequence of -â bu gice, which appeared with Ahmedî (1334/5-1413) and Şeyhî (circa 1376-1431) in the middle of the 14th and 15th centuries, formed the first examples of zemin poetry in this chain. Another nazire chain is in the form -ân her kiçe which began with Nevâyî’s ghazal in “Garâ’ibü’s-Sıgar”. Furthermore Ahmed Pasha (?-1496/97) who was the Sultânü’ş-şu‘arâ” of the Fâtih period, can be said to have expanded this nazire chain by using both redifs of bu gice and her gice.

Redifinde Gice/Gece Kelimesi Geçen Şiirler Üzerinden Bir Değerlendirme

Emre

Res. Assist.

Aktarma Tümcelerinde Sözcük Dizilişi

Aynur

Berna

Since the beginning of their existence, humans have produced abstract and concrete products through thinking and have made cultural developments. Some nations that advanced their cultures have achieved that progress in parallel with their thoughts, and have created bodies of wisdom. Every body of wisdom is created by the nature of the entire nation to which it belongs. The Turkish nation has created its own unique type of wisdom. Turkish wisdom has emerged through collective contemplation, which can be referred to as the collective thought of society, in which no one has sole authority. The Turks, who have interacted with people from numerous geographic areas and have reached an advanced level of culture and civilization, have acquired a realistic worldview that can act as a source for others. Because wisdom is a worldview, it is related to cosmogony.In the oldest and most original cosmogonic understanding of the Turks, the universe is based on a dual system represented by the Sky and Earth, which is also known as the “universalist dichotomy.” This cosmology of the Turks is attributed to the Chou Dynasty, which dominated the current Chinese territories between 1059 and 249 B.C. The Chou Dynasty, coming from its homeland in Inner Asia, brought its own worldview and the dualistic system called “dichotomy” to these lands, namely to the current Chinese territories. Because this cosmology is claimed to be universal, researchers refer to it as universalistic. In essence, this system, which encompasses two principles (universalist dichotomy), consists of two universal breaths (two universal principles) that are opposite but complementary, equal, and integrative. Since it is believed that the entire universe is formed by the harmonious unity of these two principles by these people, this understanding has an impact on all aspects of life. The understanding of universalist dichotomy (the two-principle or dualistic system) is also found in Turkish mythology, because it is reflected in material culture and narratives. It can be understood that this concept maintains its place at the very core and depth of the narratives and that the narratives are based on a dualistic system.When mythology is considered as a composition of symbols in a general sense, decoding the symbols allows us to reach the underlying layers of the narratives. Thus it is revealed what the mythological narratives really want to tell. Similarly, to reveal each meaning of the deep layers of the narratives of Turkish mythology, it is necessary to analyze the symbols. In this study, the aim is to reach the meanings in the underlying layers of the narrative by decoding the symbols in the “Narrative of Salur Kazan Kills the Seven-Headed Dragon” in the Oguzname (oral and written texts about the history and lifestyle of the Oghuzs), which was discovered in 2019. Explanations of the symbols in the narrative will be examined using hermeneutical methods, and the combinations of meanings will be evaluated in the context of universalist dichotomy. In that way, it will be possible to reach the understanding of universalist dichotomy that is hidden symbolically in the underlying layers of the narrative and even to understand that the narrative is based on the understanding of universalist dichotomy (the two-principle or dualistic system).The “Narrative of Salur Kazan Kills the Seven-Headed Dragon” consists of two parts. The first part is about the battle that Salur Kazan wages with his army, narrated in his own words. The second part tells the story of Salur Kazan’s struggle with the Seven-Headed Dragon, narrated by a third person. Although the two parts might initially appear to be disconnected, they are understood to be related, and they form a whole, like two sides of a coin, through analysis of symbols. In this article, the two parts of the text are first examined separately, and the symbols are interpreted using hermeneutical methodology. Then an attempt is made to connect the two parts by adhering to the conditions of the universalist dichotomy, based on the explanation of symbols. The aim is to reach the deepest layer of the text and demonstrate that the two parts indeed complement each other, forming a complete entity of contrasting yet harmonious components. Thus it is revealed that the text consists of stories about the outer and inner worlds (external and internal worlds) of humans.Since its discovery, the “The Narrative of Salur Kazan Kills the Seven-Headed Dragon” has been the subject of extensive research and examination. However, this study is significant because it approaches the narrative for the first time within the context of the universalist dichotomy, which is the oldest and most original understanding of the Turks.

Madalyonun İki Yüzü: Evrenselci Dikotomi Bağlamında Salur Kazan ve Yedi Başlı Ejderha Anlatısı

Ali Şükrü

Decision of the Editorial Board about articles

Mücahit

Within the scope of the 100th anniversary of the founding of the Republic of Türkiye, studies are seen to have been carried out to evaluate the work that has been done or not done in almost every field over the last hundred years through many events and activities. This article has been written for classical literature researchers, at least for emerging researchers, and the article’s purpose is to make general recommendations as simply and clearly as possible regarding the problems that need to be solved and the work that needs to be done in the field of classical literature in order to write a complete and accurate history of Turkish literature.Important texts in Turkish literature were largely published in the first 100 years of the Republic. However, especially since 2000 in the last quarter of the first 100 years of the Republic, digital images and copy information on the works in domestic and foreign libraries are seen to have been made available to readers through the rapid developments in technology. After pointing out the tasks awaiting classical literature researchers regarding text publication in the second century of the Republic, this article can summarize its suggestions on this issue as follows: Many valuable works can be identified when the works themselves are regularly and persistently reviewed instead of the catalogues of the works whose digital images are easily accessible in manuscript libraries. Special readings should be made to identify texts based on studies on the lives and works of authors whose works have been previously published or based on bibliographic sources, and the texts should be pursued based on regularly recorded notes. While publishing previously published works that are important for Turkish literature with newly found copies is important, so is publishing them with a good linguistic translation and analysis. Correctly reading a text that is to be published for the first time, connecting it to its related field, and examining it thoroughly are more important than knowing whether it is in verse or prose or how important it is for Turkish literature.As mentioned above, the texts to be published in the second century of the Republic need to be handled with intralingual translations and analysis. Likewise, reexamining the texts that had been published in the first century but that were not translated into other languages or properly examined should be pointed at as being valuable, and just as valuable as works on this subject.From one of Türkiye’s first text commentary teachers Ali Nihad Tarlan to those in the present day, classical literature researchers have given particular importance to the commentaries of ghazals to close this gap and to making the Ottoman poetry world understood by new generations. In this respect, although considerable new and current commentary literature has emerged,&nbsp;they have certain problems. To fully understand the odes and ghazals written in a language consisting of words with more than one meaning and connotation, the meanings of these words that have fallen out of use over time need to be known. The fact that some polysemous words used in classical Turkish literature are frequently used with a single meaning today causes the meanings and dreams in poems based on their different meanings to be incomprehensible today. Terms from different branches of science were used in the Ottoman poetry tradition, as well as references to information that would be possible by knowing these scientific branches. Turkish poets of the past had created a rich poetic language filled with connotations by referring to the meaning of a word as a term when the words used in daily life had been used as terms in a branch of science. In this case, to understand the poetry texts discussed in modern commentary studies, basic books on the branches of science that have fed classical Turkish poetry should be consulted, and researchers should conduct studies on how the terms and information contained in these branches of science have been used in classical poetry.One should note that classical literature research in the first century of the Republic had been generally based on text publications. These mostly involved the publication of verse texts always occupying a more important place than prose texts in the minds of researchers, and classical Turkish prose works, both large and small, are also in our libraries waiting to be published. These texts must be published and analyzed correctly rather than worrying what they are about.Up to this point, the article is believed to have sufficiently touched upon the work that needs to be done in the field of text publication in the second century of the Republic. The next section of the article will focus on the need for classical literature researchers to continue their work on text publication within the framework mentioned here into the next century by carrying out more thematic studies. This means making detailed studies on the rhetoric of Turkish, the Sufi literature, the literary genres, poetics, the Ottoman translation tradition, comparative studies, the Chagatai Turkish texts, literary patronage, and written culture.As can be seen in this article, which has pointed out some of the requirements for a complete and accurate presentation of the history of Turkish Literature, the duties that classical literature researchers must perform in the next century can be summarized as follows: Find and publish works that are mentioned in Turkish historical sources that have no available copies, and publish the works whose copies are available. Publish complete and intact texts with their intralingual translations through other copies. Try to determine the truth without repeating any of the incorrect information that was recorded in the early periods when Turkish literary history was written. Accurately determine the scope of the literature in a field by reading and annotating published classical Turkish texts correctly. Determine data about the different fields in these texts. Lastly, make more accurate determinations and comments about Turkish poets and writers and the periods in which they lived based on both their works as well as on information from different sources.

The Future of Classical Turkish Literature Studies in the Second Century of the Republic of Türkiye: Issues, Topics, and Duties

Sibel

Assoc. Prof. Dr.

Precious stones, mines and minerals, collectively referred to as “ore,” have captivated humanity since ancient times due to their diverse properties. Used for various purposes across different climates and cultures, ores are categorized as precious, semiprecious, or worthless based on their unique attributes. One significant reason for their importance across different cultures and epochs is their perceived healing capabilities. These healing properties are sometimes harnessed through traditional medicinal practices, either independently or in combination with other remedies, as well as through their believed mystical powers. Historical medical texts often mention stones, classified as precious, semiprecious, or worthless, being utilized in the treatment of various ailments due to their healing properties. Cevher-nāme, detailed accounts exploring the properties of ores, particularly precious stones, have been esteemed works across various historical periods and cultures.This article discusses copyrighted or translated cevher-nāme publications and works written in Turkish to date, primarily focusing on those concerning precious and semiprecious stones. By analyzing existing studies, this article examines how the cevher-nāme genre has been approached over time and offers suggestions for future research in this area.Within the study, a section titled “On the Publications of Cevher-nāmes in the Republican Period” delves into independent cevher-nāme and mentions publications brought into Turkish through compilation or translation. This section highlights a total of 17 cevher-nāmes, with 6 of them being copyrighted. While some of these cevher-nāmes are directly translated, others were influenced by renowned cevher-nāmes preceding them, drawing upon the information contained within. Some works specify the cevher-nāmes and sources they utilized, whereas in others, renowned cevher-nāmes or their authors are referenced in information transfers. Out of the seven cevher-nāmes introduced as translations, only one originates from an Arabic source, with the remaining translations derived from Persian works. During the translation process, certain translators omitted extraneous information deemed irrelevant to their contemporary context, while others supplemented their translations with personal experiences and knowledge. Four works of this nature can categorized as copyright-translation. Our study provides details concerning the author/translator, date of writing/translation, editions, content, and associated studies for each cevher-nāme. Among these 17 cevher-nāmes, a total of 8 books, 12 articles, and 25 studies, comprising 1 undergraduate, 3 master’s, and 1 doctoral theses, were identified during the Republic period.In the second section of the study titled “Thematic Studies on Ores and Cevher-nāmes,” thematic investigations regarding ores are addressed. Under the category of other studies, a total of 35 inquiries spanning the fields of medicine-folk medicine, literature, folklore, and history are outlined. Among these, two studies provide general insights into cevher-nāmes. Five studies, discussed within the medicine-folk medicine category, offer insights into the medical benefits of ores. These inquiries are founded upon ores or sections within texts mentioning ores concerning their medical advantages and drawbacks.Most investigations concerning precious stones are situated within the domain of classical literature. Our article encompasses a total of 16 studies in this area. Predominantly, these works focus on precious stones utilized within a century of classical literature or within a poet’s divan. Among these, ten studies delve into the subject, including two master’s theses, six articles, and two papers. Additionally, two articles explore poems wherein precious stones serve as elements of rhyme and meter, three articles concentrate on a single stone, and one article discusses precious stones in the context of jewelry and accessories. The two inquiries examined under this category, comprising one master’s thesis and one article, explore the treatment of ores within ancient Turkish language texts and Chagatai period Turkish literature. The scarcity of investigations on this topic may be attributed to the fact that copyrighted or translated cevhernāme publications predominantly feature sections focusing on linguistic analysis.&nbsp;Studies within the folklore domain, associated with folk culture and beliefs, typically center on semiprecious or worthless stones rather than precious ones. However, there are references to stones such as “yada stone,” revered for cultural reasons or believed to possess magical properties. Given the abundance of studies in this area, we mention one book and one article under this category, while additional studies on the subject are cited in footnotes.

Exploring Cevher-nāme: Publications and Studies on Gemology in the First Century of the Republic of Türkiye

Meriç

The first independent folklore journal on Turkish folklore was published in 1928. Chronologically speaking, Folklor Postası, whose first issue was published in 1944, ranks fourth. However, because the two journals that appeared in between only published one issue each, Folklor Postası is the second folklore journal to have been published continuously and is therefore very important. Launched on October 15, 1944, Folklor Postası completed its publication life with its 19th issue published in December 1946. The owner of the journal was Kemal Akça. Muzaffer Erdoğan had been an editor-in-chief for the first five issues. From the sixth issue onwards, Dr. Fethi Ferit Uğur became editor-in-chief and maintained this position until the 18th issue. From the fourth issue onwards, İhsan Hınçer was seen as the secretary and an editor in chief of the journal.&nbsp;The writing staff of Folklor Postası consisted of intellectuals, each representing the success stories of Republican Türkiye in their own field, most of whom were employed in the bureaucracy and who had shouldered the establishment process. This staff of writers brought to the journal the understanding of folklore that had been positioned along the axis of culture as institutionalized in the founding phase of the Republic. With the establishment of the Republic, recording the products of the society’s culture became important, as it had gained widespread educational tools. Folklor Postası also carried the identity of a recording tool for people who had internalized this need and mission. Folklore journals were one of the most favorable tools of the period for compiling and disseminating Turkish folklore products throughout the country, and the journal writers paid attention to compiling the products belonging to folk culture and literature, in addition to original articles. They worked to get to know the people and to be aware of their creations, including these in the journal. The journal presented readers not only with the products of folk literature but also with many aspects of Turkish cultural heritage. The journal also included opinion pieces on folklore and folk literature, novel reviews, movie reviews, criticisms on articles published in other journals, book reviews, and articles on various topics related to folklore and folk literature. In this respect, every aspect of folklore was covered by the intellectuals of the Republic. Folklor Postası revealed the mission the intellectuals of the newly established Republic had undertaken.A new era had begun with the Republic, and a new literary, cultural, and historical line began to be drawn in direct proportion to the decisions taken in this era. One of the ways to follow this course and the path being drawn was the content of Folklor Postası. The fact that so much emphasis had been placed on folklore in the early years of the Republic points to the&nbsp;reconstruction of the old perception and the path left behind, as well as to national identity. The founding will that had become institutionalized with the establishment of the Republic prioritized the field of folklore, one of the clearest flowing sources of society, in order to make its ideology about the people and to use this will to include the people in this founding enthusiasm, take them forward, and raise them. The Republic of Türkiye had been established with a nation state reflex after the victory of the War of Independence and prioritized folklore studies in order to produce policies favoring national consciousness in the field of culture. Working like a school, Folklor Postası undertook an important task in compiling, recording, and transferring folklore products to future generations. By addressing the public, the journal at the same time brought together the intellectuals and society it wanted to prepar.

Missionary Journalism in the Early Republican Period: Folklor Postası

Ahmed

This research article presents a comprehensive analysis of the reception in Sweden of Halide Edib, a renowned Turkish author, with a specific focus on the Swedish translation Eldskjortan (1928) by P. A. Norstedt &amp; Söner of her seminal work, Ateşten Gömlek (1922). Drawing upon the resources within Swedish archives, particularly in the National Library of Sweden, this article offers a detailed exploration of the impact this translation has had on cross-national literary relationships, recognition of female authors in Turkish literature, and the enrichment of Halide Edib’s biography to a certain extent. The article is organized into three interlinked sections, each of which offers both historical and literary contexts of the Turkish literature by providing unique insights into Eldskjortan.The article initially commences with a comprehensive historical overview of the first literary texts translated from Turkish to Swedish up to the 1950s, highlighting their significance in the context of Turkish-Swedish literary interactions. This section sets the stage for a closer examination of Eldskjortan and its pivotal role as the first text and novel translated from modern Turkish literature into Swedish. By tracing the trajectory of literary exchanges between Türkiye and Sweden, the article thus sheds light on the sociocultural milieu within which this pioneering translation had emerged, thereby offering a comprehensive contextual framework for subsequent discussions.The second section of the article takes an in-depth dive into the intricacies of the translation process that birthed Eldskjortan. It unveils the meticulous considerations, cultural adaptations, and linguistic nuances that Hjalmar Lindquist, the Swedish translator of the novel, confronted when bringing Halide Edib’s work to the Swedish-speaking audience. A pivotal component of this section involves the translator’s preface, wherein Lindquist articulates his motivations, challenges, and methods by providing invaluable insights into his approach to rendering this canonized Turkish narrative into Swedish at a very early period. This discussion extends to the novel’s appendix section, which unveils additional content included in the Swedish edition and its role in enhancing the readers’ understanding of the Turkish context, including its historical and literary points. A striking revelation within this section lies in the letters exchanged between Hjalmar Lindquist and Halide Edib, both those mentioned in the preface as well as those discovered in the archives of the Swedish National Library. These letters provide a rich and dynamic narrative, offering a glimpse into the collaborative efforts, the evolution of ideas, and the hurdles encountered during the translation process. These letters not only reveal the&nbsp;linguistic challenges and cultural discrepancies but also primarily paint a compelling portrait of the author-translator collaboration.The final section of the article conducts a thorough examination of Eldskjortan’s reception in Sweden and its impact on shaping the perception of Halide Edib there. It scrutinizes the articles, news, advertisements, and visual materials from the Swedish press related to the novel, revealing the multifaceted dimensions of its reception among Swedish readers. This section also delves into references to Halide Edib in Swedish books, providing a broader context for understanding her status as an influential figure in Turkish literature and history. By doing so, the article offers a holistic view of the cultural significance of Eldskjortan and its role in introducing Turkish literature to Swedish audience.&nbsp;In summary, this article presents a multifaceted examination of the historical and literary significance of the Swedish translation of Ateşten Gömlek in the context of Halide Edib’s reception in Sweden. Beyond its contribution to discussions on cross-national relationships and the recognition of female authors in Turkish literature, the study also enriches Halide Edib’s biography, especially with regard to her years in exile, by unearthing new documents and information. Through this comprehensive analysis, the article offers a fresh perspective on the intersection of literature, translation, and cross-cultural engagement during the early 20th century, fostering a deeper understanding of the global circulation of literary works and their profound impact on cultural and intercultural interactions and literary history.

The Historical and Literary Context of Ateşten Gömlek’s Swedish Translation (Eldskjortan): The Translation Strategy, the Letters Between the Translator and Halide Edib, and the Reception of the Novel in Sweden

Veysel

Assist. Prof. Dr.

In the analysis of Tarık Buğra’s 1963 novel Küçük Ağa [The Little Agha] and its central character, Çolak Salih, the reader delves into a fascinating literary exploration characterized by the intricate interplay between dramatic and melodramatic elements. This narrative is situated within the broader context of Turkish literary history and provides valuable insights into how literary narratives can be seamlessly interwoven into the sociopolitical tapestry of a nation’s historical landscape.The narrative commences with a compelling dramatic premise epitomized by the character Çolak Salih. The heart of the story revolves around Salih, a multifaceted persona who presents the reader with intriguing complexities. Salih is introduced as a disfigured and disabled war veteran, known for his dark history of alcoholism and his frequent visits to Greek taverns. This initial characterization teases a dramatic transformation, with Salih emerging as a morally ambiguous figure standing at the crossroads of various conflicting ideologies. His internal conflict mirrors the external strife of the Turkish War of Independence, an era characterized by the testing and redefinition of loyalties and allegiances.Salih’s transformation unfolds within the broader backdrop of war, a time marked by political turmoil, ideological tensions, and societal uncertainties. The narrative framework holds the promise of an in-depth exploration of Salih’s character as he grapples with his internal struggles where he personifies the larger societal and political dilemmas of the era. This dramatic potential forms the nucleus of the novel.Regrettably, the promising beginning of a multi-layered character and a dramatic narrative arc ultimately gives way to melodrama. The transition from drama to melodrama is marked by Salih’s almost miraculous transformation from a disfigured alcoholic to a heroic figure. The once morally ambiguous Salih swiftly evolves into a conventional hero, a fearless rebel leader championing the cause of the Turkish War of Independence. This transformation leaves behind the nuanced internal conflict and replaces it with a one-dimensional hero.The narrative crescendos in a showdown between Salih and Niko, his childhood friend turned traitor. This final confrontation, intended to embody the resolution of Salih’s internal turmoil, falls short of its dramatic potential. The inner conflict that would have added depth to Salih’s character is conspicuously absent. He has transformed into a stock hero, devoid of the internal turmoil that made him a captivating character at the story’s outset. This dearth of dramatic depth leaves the narrative feeling more melodramatic than originally intended.This shift from drama to melodrama is driven by the author's unwavering commitment to an underlying ideological thesis. Küçük Ağa is intrinsically linked to the Turkish War of Independence and the birth of the Turkish nation-state. The novel serves as a literary vehicle to convey the author’s particular historical interpretation and commentary, which implicitly challenges certain aspects of the official historical narrative. Representing the disfigured and damaged remnants of the Ottoman Empire, Salih emerges as a critical viewpoint within the narrative. He symbolizes the collapse of the Empire and Muslim Ottoman society, making his transformation into a hero all the more crucial.Jettisoning the complexities of Salih’s character by transitioning him into a here serves the larger ideological narrative. He embodies the shift from the old Ottoman world to the new Turkish nation-state. This ideological imperative overshadows the need for a genuinely dramatic character, leading to the substitution of Salih’s internal conflicts with a hero’s journey propelled by external circumstances.In a broader context, Küçük Ağa provides a unique opportunity to explore the formation of Türkiye’s ideological and intellectual landscape from the Turkish War of Independence to the contemporary era. Encompassing elements of modernism, the narrative highlights the intricate interplay between the thesis-driven ideological aspects of the narrative and the multi-layered character development with its modernist undertones.While Tarık Buğra’s narrative may not strictly adhere to modernist conventions, it does showcase a modernist character in Çolak Salih. His internal conflicts and alienation from society bear resemblance to the characters in a modernist bildungsroman [novel of character development]. However, the imperatives of the ideological thesis disrupt the modernist potential, leading to the transformation of the narrative structure.Moreover, the incorporation of formats such as cinema and fotoroman [photo comics] demonstrates the novel’s hybrid nature and its capacity to challenge the traditional boundaries of the literary genre. By analyzing Küçük Ağa within the broader context of Turkish history and literature, the fact that the novel transcends its role as a mere ideological text becomes evident as a multifaceted work that offers profound insight into the complexities of nationbuilding, identity and the evolution of Turkish society.In conclusion, Küçük Ağa serves as a compelling case study for understanding the transformation of a dramatic narrative into a melodrama. The character of Çolak Salih, initially promising in his complexity and internal conflicts, ultimately succumbs to the demands of the author’s ideological thesis. This transformation undermines the novel’s initial dramatic structure, turning it into a melodramatic narrative that simplifies the characters and their internal struggles.The author’s commitment to conveying his historical interpretation and commentary takes precedence over the need for a multifaceted character like Salih. Despite these challenges, Küçük Ağa remains a valuable literary work that provides a window into the ideological underpinnings of the Turkish War of Independence and the complex interplay among drama, melodrama, and modernism in Turkish literature.

Tragic Character vs. Idealist Type: Dramatic Beginning, Ideological Narrative, and Melodramatic Closure in Küçük Ağa

Nagihan

A Geneaology of the Representation of Literature from Turkey Abroad

Esma

In Ottoman poetry, the lifestyle, beliefs, and mindset of Abdal and Kalenderî dervishes serve as prominent themes through which poets express their emotions, dreams, and imagery. Hayretî, a distinguished abdal poet of 16th-century classical Turkish literature, intricately weaves elements related to the Abdal order of dervishes into his verses, reflecting his own life experiences.Within Hayreti’s Divan, the theme of Abdal is notably underpinned by three main elements. First, the Divan abounds with couplets that delve into reverence for Hz. Ali portrays his love and certain beliefs associated with him. Second, many couplets encapsulate the mentality of Abdals, characterized by their indifference toward worldly matters, penchant for defying societal norms, and expressions laden with symbolism in this regard. Finally, some verses depict the social and cultural aspects of the Abdal order, referencing practices such as self-cauterization, wearing tattered clothes, indulging in hashish, and carrying axe (teber).This study undertakes an evaluation of the poet’s works through these three contextual lenses. By selecting couplets from Hayretî’s Divan and categorizing them accordingly, we illuminate the emphasized issues regarding the beliefs, thoughts, and lifestyles of Abdals. Each couplet is carefully analyzed, focusing on the poet’s message and stylistic choices. Furthermore, the contextual background that informs the poet’s compositions is analyzed, elucidating the relationship between words, their placement, meanings, and nuances within the verses. Through this comprehensive analysis, we discern the new dimensions and interpretations that the poet bestows upon words, enriching our understanding of the Abdal ethos as portrayed in Hayretî’s poetry.In the Divan, Hayretî meticulously explores the characteristics of which Hz. Ali is revered and his significance within the belief system of the Abdals. In addition, the literary expressions and contexts in which Hz. Ali is included or used in similes that are discerned.Central to the identity of Abdals is their self-proclamation as “lovers,” a designation that signifies their detachment from worldly affairs. Hayretî employs mystical terms such as lamekani, ibn-i vakt, and uzlet to depict Abdals, reflecting his mentality. In the poet’s verses, the tension between the lover-zahit and ascetic is transmuted into that of abdal-zahit and ascetic, while the dynamic of lover-rakip and rival is portrayed as dervish-rakip and rival. Thus, the abdal assumes the role of the lover in Hayreti’s poetry.In portraying the lifestyle of Abdals, emphasis is placed on their practices of self-injury, hashish consumption, carrying of axe (teber), and disregard for conventional clothing. The Divan features intriguing imagery surrounding rituals such as self-injury and hashish use. References to çar-darb (complete shaving of hair, beard, mustache, and eyebrows) and begging are often mentioned together with Kalenderis. While the term abdal predominantly denotes dervishes in the Divan, names such as ıshıq, Haydari, Bektashi, and Kalenderi are also used.&nbsp;The poet’s self-identification as the abdal of Rum ili, Haydari, and Bektashi across various couplets implies the fluidity and overlap of these concepts during his era.&nbsp;Hayretî uses terms such as hırka, pashmina, nemed, buriya, shal, and chul to denote dervish attire. He frequently disparages luxurious fabrics, extolling nudity, and tattered clothing instead. The Divan also refers to rituals such as sacrifice, slaughter, and donations within tekkes, reminiscent of the “dîg- cûş” ceremony in Persian culture, implying a convergence of practices in Ottoman dervish lodges.Innovatively, Hayretî imbues words such as fena, hayran, ihtiyar, kazak, kurban, nacak, naşi, and yek-reng, with new meanings not found in dictionaries, crafting his distinct lexicon and style. Thus, the Divan not only sheds light on the mentality and cultural world of 16th-century Abdals and the social life of the period but also enriches the Turkish language’s vocabulary, showcasing Hayretî’s literary contributions.

Abdal Order of Dervishes and Abdals in Hayreti’s Poetry

Res. Assist. Dr.

An important point of Ottoman-Turkish modernization was the organization of educational institutions and activities. In this context, many educational institutions were opened with the proclamation of the Tanzimat Edict, primarily in areas such as military and health. In time, the female population also began to benefit from the educational opportunities that had initially been available mostly to the male population, and many institutions were set up to provide women’s education. This emphasis on education continued to exist within the framework of state policies with the proclamation of the Republic of Türkiye, and teacher training policies came into force. In order to popularize the reforms implemented in the period following the proclamation of the Republic, a demand occurred for intellectuals who would take an active role in the process and produce discourse. Teachers can be thought of as the practitioner branch of this cadre of intellectuals who’d created a theoretical perspective on official education and training activities, who worked in the field, and who had one-on-one contact with the public. During this period, many laws were enacted to systematize education and teacher training, various amendments were made to existing laws, institutions such as the Halkevleri [People's Houses] that prioritized public education became active, and the Ministry of National Education published many booklets for both teachers and students. In speeches in various parts of Anatolia, Mustafa Kemal Pasha addressed teachers, encouraged them in their commitment to their profession, and pointed to teaching as the most beneficial profession for the period.Literary works were also used to achieve the desired upbringing. In this sense, literary works can be said to have been functionalized in order to disseminate and consolidate the dominant policies. The novels The Wren (1921), which was published just before the proclamation of the Republic, as well as Vurun Kahpeye (1923) and Ankara (1933), which were published in the following period, are highly representative works that provide data on the sociology of their periods. The respective authors of these novels, Reşat Nuri Güntekin, Halide Edip Adıvar, and Yakup Kadri Karaosmanoğlu, were also prominent figures in the Turkish literature of the Republican era. This article utilizes the opportunities provided by feminist literary criticism to comparatively analyze the character designs of the female teacher characters in these three novels that were written at a time dominated by nationalist and idealist discourses. The study will discuss these teachers’ motivations for pursuing their ideals, their reasons for devoting themselves to patriotic service, and their experiences on this path in the context of the hypothesis&nbsp;that the authors had assigned the male protagonists around the female teachers to be their teachers. Feride, Aliye, and Selma seem to have been initially conceived by their authors as teachers with similar ideals. From a major perspective, they in fact share the basic common point of serving the homeland. When considering this basic commonality, the article will also discuss whether a fictional difference is present in the novels of the male authors and the female author in the context of the female teacher’s character design and relationships in social life, in which the concept of gender was positioned within the ideal of patriotic service in the case of female teachers. The study will also discuss the influence of the masculine subject in fiction.When evaluating the findings, certain fictional differences are noticeably present in the novels of female and male authors in terms of the design of female teachers. For example, Feride, the female protagonist in The Wren, had started her activities that can be considered within the ideal of service to the homeland as a result of a love affair. In other words, although Feride was fictionalized as an idealistic teacher, she was unable to start her story without the influence of a male protagonist. Similarly, Selma is the female protagonist in Ankara, and her motivation for love and the ideal of patriotic service are intertwined. Despite the fact that Selma wanted to devote her whole life to improving her country, the way she served her homeland and her profession changed alongside the changes in the male protagonist. She became a teacher under the direct guidance of her third husband, Neşet Sabit. In this respect, Neşet Sabit was almost like a guide for her. Unlike female teachers in these two novels mentioned above, Aliye, the female protagonist in Vurun Kahpeye, had started her profession through her own internal motivation. At certain points, however, she too was also unable to escape the limited schema imposed by the male imagination. Therefore, when considering the example of Şahin in Reşat Nuri Güntekin's Yeşil Gece, the novels of the male authors can be said to have generally shaped the consciousness of duty, which is endowed to the male protagonist as an a priori orientation, to the female protagonist through the influence of a male protagonist. In addition, the article will examine issues such as the bureaucratic problems that female teachers faced in educational institutions, the visibility of the female body in a patriarchal society, the unceremonious attitudes toward female teachers in the context of gender roles, and the standard of chastity, which is considered indispensable for the female identity, through a critical analysis of masculine fiction in novels.

The Never-End Studentship of Women Teachers: Character Designs Under the Influence of Masculine Subject in the Novels The Wren, Vurun Kahpeye, and Ankara

Hacer

When examining the Old Uyghur literature in general terms, religious texts in particular were translated from languages such as Chinese, Sogdian, and Tocharian, and therefore Old Uyghur has been described as a translation literature. One of these translated texts is the Altun Yaruk Sudur text, which was translated from Sanskrit to Chinese and then from Chinese to Uyghur. Each translation text contains additions and deletions, with three different versions of this text occurring in Chinese. These texts are included in T0663, T0664, and T0665 in Volume 16 of the Taishō texts. The Old Uyghur Altun Yaruk Sudur text has been translated from the Chinese version T0665. This text and the Old Uyghur text are not precisely compatible. For example, because the Süü section of the Altun Yaruk Sudur text was not included in the T0665 version, Zieme compared his work with T663. This may be an indication that the translator had also known other versions. In addition, when comparing the Chinese T0665 text to the Uyghur equivalent, the texts are seen to not have full equivalence, with the Chinese text here being shorter and the Old Uyghur text longer. The best example of this situation is Chapter 6 of Book 4 of the Altun Yaruk Sudur text. This is an indication that the translator did not just translate the work but also copyrighted the work. In addition, when examining the semantic equivalence of the Old Uyghur text to the Chinese text, the original Chinese text and the Uyghur text are understood to not be semantically equivalent, which means that the Uyghur translator had acted very liberally when translating. Therefore, one may need to be careful when interpreting Uyghur words or texts by looking directly at the Chinese text.Although the Altun Yaruk Sudur text is a religious text, many conceptual areas in the text should be evaluated separately due to the fact that the vocabulary is Turkish, one of these being the area of animal concepts. The animal world has a very important place for Turks, as for other peoples. Therefore, historical texts should be examined carefully in order to reveal the animal world and the geography of the Turks. Attention should be paid to the texts in which these animal names are used, and whether these texts are translations or not should also be considered within the scope of evaluation. Thus, the animal world or geography will perhaps be better revealed based on the animal names in Turkish texts. Thirty-nine animal names have been identified in the Altun Yaruk Sudur text, and these can be listed as: adgır [stallion], arslan [lion], at [horse], balık [fish], bars [Siberian leopard], böri [wolf], çaluk atlıg kurtk(ı) ya [leech], çipin çivez [fly and mosquito], enük [baby of wild animals], eşgek [donkey], iŋek [cow], irbis [Siberian panther], kara kab/vuŋ [black bee], karakuş [hawk, eagle], iŋek [crow], karsak [steppe fox], kaz [goose], keyik [wild, wild animal], koyn [sheep], kögürçgen atay [baby pigeon], kurt koŋguz [wolf and insect, worm and insect], kuş [bird], kuş kuzgun [bird; raven], laçın [falcon], manu [steppe cat, Pallas’ cat], müyüz baka [turtle, tortoise], ödirek [duck], sarıg öŋlüg kuşgaçk(ı)ya [oriole, Oriolus chinensis], semirgük [wren], sıçgank(ı)ya [little mouse,&nbsp;rat], siŋekkeye [little fly, housefly], takugu [chicken], tavışgan [hare, rabbit], tilkü [fox], toŋuz [pig], ud [cattle], ügi [owl], yılkı [animal], and yuy kuş [peacock]. Here, the article has compared all the animal names mentioned in the Uyghur text to the Chinese equivalents in order to reveal which words are semantically related to the Chinese text and understand how much the translator had adhered to the text and how freely he had acted. This allows one to estimate which animals were present in the Turkish geography.

Comparing the Names of Animals in the Altun Yaruk Sudur Text with Their Chinese Equivalence

Yaşar

This study compares the interlinear translations of two Qur’an translations in Karakhanid and Khwarazmian Turkish in terms of lexical equivalent pairs. The hope is to reveal whether any new vocabulary had emerged for the same Arabic words due to dialect differences and if so, how that got reflected in the respective translations. In this case, the translations are word by word and interlinear and thus allows the study to work the same way as well.Lexical units belonging to two different variants of a language are called lexically equivalent pairs if they express the same concept and in no way differ in terms of meaning.This study compares the interlinear translations of the Qur’an in Karakhanid and Khwarazm Turkish (Rylands, TİEM 73, Meşhed/293, and Hekimoğlu), comparing and contrasting all lexically equivalent pairs. The study uses Qur’an translations as its basis because they allow the identification of dialect differences using the same work and ultimately illustrates the dialect differences arising from lexically equivalent pairs in Karakhanid and Khwarazmian Turkish through plenty of examples.One can see in Ayah 9 of the Quran’s Surah 44 that the Turkish equivalent of the word dūne is aḍın in the Rylands and TİEM 73 manuscripts, öngin, özge, and bisre in the Mashhad/293 manuscript, and bisre in the Hekimoğlu manuscript. This difference in translation for the same Arabic word is a matter of century-based dialect evolution, more precisely the evolution of Eastern Turkish between the 11th and 14th centuries. In fact, Kâşgarlı Mahmud also recorded aḍın as “as Çigil dialect” in the Dīwān Lughāt al-Turk. Accordingly, aḍın ~ öngi(n) ~ özge ~ bisre (“other, other than”) in both centuries are lexical equivalent pairs of each other. The study has compared and contrasted other pairs that are believed to be lexical equivalents with the Dīwān Lughāt al-Turk, Kutadgu Bilig, Atabat al-Haqa’iq, Muqaddimat al-Adab, Nahj alFaradis, Qiṣaṣ al-anbiyāʾ, Mu'inü'l-Mürid, and Khosrow y Shirin and assesses any differences between Karakhanid and Khwarazm Turkish by making note of how frequently the words in question appear in both translations.14th-century written Eastern Turkic (Khwarazmian) had evolved out of Karakhanid Turkish but also includes linguistic features from other Turkic dialects due to the multiculturality of the surrounding region. Other studies on the relationship between literary Turkic languages and spoken dialects have shown that such differences had already begun as far back as the Köktürk period and thus weren’t unique to the 14th century. The main factor that distinguishes 14th-century literary Eastern Turkic from other periods is that the written language-dialect relationship is much more focused compared to the Old Turkic period.This study examines the differences in lexical equivalent pairs from two translations of the Qur’an, one made during the 11th and the other in the 14th century. The findings show the Khwarazmian translation to have preserved words specific to the Karakhanid version while also containing a range of vocabulary from other Turkic dialects as well. What is interesting in terms of historical linguistics is that the latter phenomenon had emerged in Karakhanid Turkish, not Khwarazmian.The following lexical pairs all appear side by side in the Karakhanid text: aḍın/öngin; balçıḳ/titig, ḳadaş/uya/ḳarındaş, kizle-/yaş(ur)-, çanaḳ/ayaḳ, tap-/kertgün-/inan-, tegre/yöre, törüt-/yarat-, tutaşı/ulaşu, and üsk/ḳat . Despite meaning the same thing, each pair or group of words is believed to hail from two different Turkic languages. Many are common in literary Köktürk and Old Uyghur. Similarly, aḍın is more common than öngin, and titig occurs more frequently than balçıḳ. Moreover, aḍın hails from Çigil Tukic, while balçık comes from Oghuz Turkic. In contrast, the frequency of these word pairs in Khwarazmian has changed direction all together. For example, the Old Turkic word titig had been completely forgotten, only to be replaced by balçıḳ, which Kâşgarlı stated was of Oghuz origin.

Dialect Contact in Karakhanid and Khwarazmian Turkish (Lexically Equal Pairs)

Aslıhan

Öğretim Görevlisi

Rizeli Âtıf and His Divan

Gönül

New Approaches to the Effort to Understand Tanpınar’s World

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Engin

Prof.

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

Assoc. Prof.

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)

Mehmet

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

Assist. Prof.

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.

Index Islamicus

MLA International Bibliography

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

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@METRIC_ISSUES

@METRIC_ARTICLES

@METRIC_OPENACCESS

Journal of Turkish Language and Literature

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Editor in Chief

Co Editor in Chief

Field Editor

Language Editor

Publicity Manager

Editorial Assistant

Editorial Board Member

@INFO_TAB_BOARDS

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) *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.

Policies

The journal is an open access journal and all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. This is in accordance with the <a href="https://www.budapestopenaccessinitiative.org/read" target="_blank">BOAI</a> definition of open access.The open access articles in the journal are licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">CC BY-NC 4.0</a>) license.

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles.

Authors publishing with the journal retain the copyright to their work licensed under the Creative Commons Attribution-NonCommercial 4.0 International license (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/</a>  ) and grant the Publisher non-exclusive commercial right to publish the work. CC BY-NC 4.0 license permits unrestricted, non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.

To guarantee that all papers published in the journal are maintained and permanently accessible, articles are stored in Dergipark which serves as a  national archival web site and at the same time permits LOCKSS to  collect, preserve, and serve the content.Additionally, authors are encouraged to self-archive the final PDF version of their articles in open electronic archives with  that conform to standards of Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>). Authors should provide a link from the deposited version to the URL of IUPress journal website.

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.

<div>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 name of the author has to be below the title of the manuscript and author’s title and affiliation have to be written with the footnote “*”. Mail address, phone number and e-mail address are to be indicated as well.5. The articles must not be over 35 pages.6. The Spelling Dictionary of the Institution of the Turkish Language (TDK) is to be abided in the articles and abbreviations7. 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).8. When submitting a translation for publication, a sample of the original text and bibliographical info must be attached as well.9. 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).10. 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.11. The author(s) can be asked to make some changes in their articles due to peer reviews.12. The manuscripts that were sent to the Journal will not be returned whether they are published or not. </div>

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 APA 6.</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>

Although references to review articles can be an efficient way to guide readers to a body of literature, review articles do not always reflect original work accurately. Readers should therefore be provided with direct references to original research sources whenever possible. On the other hand, extensive lists of references to original work on a topic can use excessive space on the printed page. Small numbers of references to key original papers often serve as well as more exhaustive lists, particularly since references can now be added to the electronic version of published papers, and since electronic literature searching allows readers to retrieve published literature efficiently.Reference Style and FormatJournal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) uses APA (American Psychological Association) style 6th Edition for referencing and quoting. For more information:- American Psychological Association. (2010). Publication manual of the American Psychological Association (6th ed.). Washington, DC: APA.- <a href="http://www.apastyle.org" target="_blank">http://www.apastyle.org</a>Citations in the TextCitations must be indicated with the author surname and publication year within the parenthesis.If more than one citation is made within the same paranthesis, separate them with (;).Samples:More than one citation;(Esin et al., 2002; Karasar, 1995)Citation with one author;(Akyolcu, 2007)Citation with two authors;(Sayıner &amp; Demirci, 2007)Citation with three, four, five authors;First citation in the text: (Ailen, Ciambrune, &amp; Welch, 2000) Subsequent citations in the text: (Ailen et al., 2000)Citations with more than six authors;(Çavdar et al., 2003)Citations in the ReferenceAll the citations done in the text should be listed in the References section in alphabetical order of author surname without numbering. Below given examples should be considered in citing the references.Basic Reference TypesBooka) Turkish BookKarasar, N. (1995). Araştırmalarda rapor hazırlama (8th ed.) [Preparing research reports]. Ankara, Turkey: 3A Eğitim Danışmanlık Ltd.b) Book Translated into TurkishMucchielli, A. (1991). Zihniyetler [Mindsets] (A. Kotil, Trans.). İstanbul, Turkey: İletişim Yayınları.c) Edited BookÖren, T., Üney, T., &amp; Çölkesen, R. (Eds.). (2006). Türkiye bilişim ansiklopedisi [Turkish Encyclopedia of Informatics]. İstanbul, Turkey: Papatya Yayıncılık.d) Turkish Book with Multiple AuthorsTonta, Y., Bitirim, Y., &amp; Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme [Performance evaluation in Turkish search engines]. Ankara, Turkey: Total Bilişim.e) Book in EnglishKamien R., &amp; Kamien A. (2014). Music: An appreciation. New York, NY: McGraw-Hill Education.f) Chapter in an Edited BookBassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), New cultural studies: Adventures in theory (pp. 220–237). Edinburgh, UK: Edinburgh University Press.g) Chapter in an Edited Book in TurkishErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi [Organization culture: Its functions, elements and importance in leadership and business management]. In M. Zencirkıran (Ed.), Örgüt sosyolojisi [Organization sociology] (pp. 233–263). Bursa, Turkey: Dora Basım Yayın.h) Book with the same organization as author and publisherAmerican Psychological Association. (2009). Publication manual of the American psychological association (6th ed.). Washington, DC: Author.Articlea) Turkish ArticleMutlu, B., &amp; Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri [Source and intervention reduction of stress for parents whose children are in intensive care unit after surgery]. Istanbul University Florence Nightingale Journal of Nursing, 15(60), 179–182.b) English Articlede Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. Discourse and Society, 10(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002c) Journal Article with DOI and More Than Seven AuthorsLal, H., Cunningham, A. L., Godeaux, O., Chlibek, R., Diez-Domingo, J., Hwang, S.-J. ... Heineman, T. C. (2015). Efficacy of an adjuvanted herpes zoster subunit vaccine in older adults. New England Journal of Medicine, 372, 2087–2096. http://dx.doi.org/10.1056/NEJMoa1501184d) Journal Article from Web, without DOISidani, S. (2003). Enhancing the evaluation of nursing care effectiveness. Canadian Journal of Nursing Research, 35(3), 26-38. Retrieved from http://cjnr.mcgill.cae) Journal Article wih DOITurner, S. J. (2010). Website statistics 2.0: Using Google Analytics to measure library website effectiveness. Technical Services Quarterly, 27, 261–278. http://dx.doi.org/10.1080/07317131003765910f) Advance Online PublicationSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/ 10.1037/a45d7867g) Article in a MagazineHenry, W. A., III. (1990, April 9). Making the grade in today’s schools. Time, 135, 28–31.Doctoral Dissertation, Master’s Thesis, Presentation, Proceedinga) Dissertation/Thesis from a Commercial DatabaseVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses database. (UMI No. 9943436)b) Dissertation/Thesis from an Institutional DatabaseYaylalı-Yıldız, B. (2014). University campuses as places of potential publicness: Exploring the politicals, social and cultural practices in Ege University (Doctoral dissertation). Retrieved from Retrieved from: http://library.iyte.edu.tr/tr/hizli-erisim/iyte-tez-portalic) Dissertation/Thesis from WebTonta, Y. A. (1992). An analysis of search failures in online library catalogs (Doctoral dissertation, University of California, Berkeley). Retrieved from http://yunus.hacettepe.edu.tr/~tonta/yayinlar /phd/ickapak.htmld) Dissertation/Thesis abstracted in Dissertations Abstracts InternationalAppelbaum, L. G. (2005). Three studies of human information processing: Texture amplifica&#173;tion, motion representation, and figure-ground segregation. Dissertation Abstracts International: Section B. Sciences and Engineering, 65(10), 5428.e) Symposium ContributionKrinsky-McHale, S. J., Zigman, W. B., &amp; Silverman, W. (2012, August). Are neuropsychiatric symptoms markers of prodromal Alzheimer’s disease in adults with Down syndrome? In W. B. Zigman (Chair), Predictors of mild cognitive impairment, dementia, and mortality in adults with Down syndrome. Symposium conducted at the meeting of the American Psychological Association, Orlando, FL.f) Conference Paper Abstract Retrieved OnlineLiu, S. (2005, May). Defending against business crises with the help of intelligent agent based early warning solutions. Paper presented at the Seventh International Conference on Enterprise Information Systems, Miami, FL. Abstract retrieved from http://www.iceis.org/iceis2005/abstracts_2005.htmg) Conference Paper - In Regularly Published Proceedings and Retrieved OnlineHerculano-Houzel, S., Collins, C. E., Wong, P., Kaas, J. H., &amp; Lent, R. (2008). The basic nonuniformity of the cerebral cortex. Proceedings of the National Academy of Sciences, 105, 12593–12598. http://dx.doi.org/10.1073/pnas.0805417105h) Proceeding in Book FormParsons, O. A., Pryzwansky, W. B., Weinstein, D. J., &amp; Wiens, A. N. (1995). Taxonomy for psychology. In J. N. Reich, H. Sands, &amp; A. N. Wiens (Eds.), Education and training beyond the doctoral degree: Proceedings of the American Psychological Association National Conference on Postdoctoral Education and Training in Psychology (pp. 45–50). Washington, DC: American Psychological Association.i) Paper PresentationNguyen, C. A. (2012, August). Humor and deception in advertising: When laughter may not be the best medicine. Paper presented at the meeting of the American Psychological Association, Orlando, FL.Other Sourcesa) Newspaper ArticleBrowne, R. (2010, March 21). This brainless patient is no dummy. Sydney Morning Herald, 45.b) Newspaper Article with no AuthorNew drug appears to sharply cut risk of death from heart failure.(1993, July 15). The Washington Post, p. A12.c) Web Page/Blog PostBordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. Retrieved from http://www.davidbordwell.net/blog/page/27/d) Online Encyclopedia/DictionaryIgnition. (1989). In Oxford English online dictionary (2nd ed.). Retrieved from http://dictionary.oed.comMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.). The Stanford encyclopedia of philosophy. Retrieved from http://plato.stanford.edu/entries/ethics-business/e) PodcastDunning, B. (Producer). (2011, January 12). inFact: Conspiracy theories [Video podcast]. Retrieved from http://itunes.apple.com/f) Single Episode in a Television SeriesEgan, D. (Writer), &amp; Alexander, J. (Director). (2005). Failure to communicate. [Television series episode]. In D. 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Issue Type	Regular
Editor(s)	Ali Şükrü Çoruk
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