YAZI KURULU KARARI

Mücahit

Prof. Dr.

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.

Cumhuriyet’in İkinci Yüzyılında Klasik Türk Edebiyatı Araştırmalarının Geleceği: Meseleler, Konular, Vazifeler

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.

Cumhuriyet’in İlk Yüzyılında Cevher-nâme Neşirleri ve Yayınları Üzerine

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.

Erken Cumhuriyet Dönemi Misyoncu Dergiciliği: 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.

Ateşten Gömlek’in İsveççe Çevirisinin (Eldskjortan) Tarihsel ve Edebî Bağlamı: Çeviri Stratejisi, Çevirmenle Halide Edib’in Mektuplaşmaları ve Romanın İsveç’te Alımlanması

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.

Trajik Karaktere Karşı İdealist Tip: Küçük Ağa’da Dramatik Başlangıç, İdeolojik Hikâye, Melodramatik Son

Nagihan

Türk Edebiyatının Yurtdışında Temsili Hakkında bir Soykütüğü Denemesi

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.

Hayretî’nin Şiirlerinde Abdallık ve Abdallara Dair

Berna

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.

Kadın Öğretmenlerin Bitmeyen Öğrenciliği: Çalıkuşu, Vurun Kahpeye ve Ankara’da Eril Özne Merkezli Karakter Tasarımları

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.

Altun Yaruk Sudur Metnindeki Hayvan Adlarının Çince Denklikleri ile Karşılaştırılması

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.

Karahanlı ve Harezm Türkçesinde Leksik Denk Çiftler

Aslıhan

Öğretim Görevlisi

Rizeli Âtıf ve Divanı

Gönül

Tanpınar’ın Dünyasını Anlama Çabasına Yeni Yaklaşımlar

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Engin

Prof.

Emre

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

Kutadgu Bilig’de Kılık ve Kılınç Sözlerinin Kullanım Özellikleri Üzerine

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.

Milletleşme Dönemi Şairinin İcadı: Ahmet Hamdi Tanpınar’ın Yahya Kemal Monografisi

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.

Hanımlara Mahsus Gazete’deki Hikâyeler ve Temaşa Fikri

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)

Modern Türk Dillerinde tama tama köl bolur Atasözü

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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.

Divan Şairlerinin Çevreye Dair Görüşleri (15. Yüzyıl)

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.

Yahya Kemal’in Yakın Dönem Türk Siyaset ve Edebiyatına Dair Gün Yüzüne Çıkmamış Bazı Hatıra ve Notları

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.

Modern Bireyin Yalnızlaşması ve Yabancılaşması Bağlamında Apartman Yaşamı ve Cahit Zarifoğlu’nun “Eksik Yol” Başlıklı Öyküsü

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Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, açık erişimli, hakemli, yılda üç kere Nisan, Ağustos, Aralık aylarında yayınlanan, uluslararası, bilimsel bir dergidir. İstanbul Üniversitesi Edebiyat Fakültesi Türk Dili ve Edebiyatı Bölümü’nün resmi yayınıdır. 1946 yılından beri yayınlanmaktadır. Dergiye yayınlanması için gönderilen bilimsel makaleler Türkiye Türkçesi ya da İngilizce olmalıdır.

Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, Türk dili, edebiyatı ve kültürü konusunda alana katkıda bulunacak araştırma makaleleri yayınlar. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

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DOAJ

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Türk Dili ve Edebiyatı Dergisi

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Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, açık erişimli, hakemli, yılda iki kere Haziran ve Aralık aylarında yayınlanan, uluslararası, bilimsel bir dergidir. İstanbul Üniversitesi Edebiyat Fakültesi Türk Dili ve Edebiyatı Bölümü’nün resmî yayınıdır. 1946 yılından beri yayınlanmaktadır. Dergiye yayınlanması için gönderilen bilimsel makaleler Türkiye Türkçesi ya da İngilizce olmalıdır.Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, Türk dili, edebiyatı ve kültürü konusunda alana katkıda bulunacak araştırma makaleleri yayınlar. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Amaç ve Kapsam

TÜBİTAK-ULAKBİM TR DizinMLA International Bibliography Index Islamicus*SOBİADDOAJERIH PLUSEBSCO Central &amp; Eastern European Academic Source Emerging Sources Citation Index (ESCI) *Index Islamicus sadece İngilizce makaleleri taramaktadır.

Dizinler

Dergi yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <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>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için: <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> Gönderilen makaleler derginin amaç ve kapsamına uygun olmalıdır. Orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmayan, her bir yazar tarafından içeriği ve gönderimi onaylanmış yazılar değerlendirmeye kabul edilir. Makale yayınlanmak üzere Dergiye gönderildikten sonra yazarlardan hiçbirinin ismi, tüm yazarların yazılı izni olmadan yazar listesinden silinemez ve yeni bir isim yazar olarak eklenemez ve yazar sırası değiştirilemez.İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir. Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.İntihalÖn kontrolden geçirilen makaleler, iThenticate yazılımı kullanılarak intihal için taranır. İntihal/kendi kendine intihal tespit edilirse yazarlar bilgilendirilir. Editörler, gerekli olması halinde makaleyi değerlendirme ya da üretim sürecinin çeşitli aşamalarında intihal kontrolüne tabi tutabilirler. Yüksek benzerlik oranları, bir makalenin kabul edilmeden önce ve hatta kabul edildikten sonra reddedilmesine neden olabilir. Önemli Not: Bu maddede belirtilen benzerlik kavramı, intihalden farklı bir olguyu ifade eder. Benzerlik oranı yüksek olmasa dahi çalışmada etik ihlal/intihal olarak değerlendirilebilecek en ufak bir husus tespit edilmesi, doğrudan red gerekçesidir. Çift Kör Hakemlikİntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Editör, makalelerin adil bir şekilde çift taraflı kör hakemlikten geçmesini sağlar ve makale biçimsel esaslara uygun ise, gelen yazıyı yurtiçinden ve /veya yurtdışından en az iki hakemin değerlendirmesine sunar, hakemler gerek gördüğü takdirde yazıda istenen değişiklikler yazarlar tarafından yapıldıktan sonra yayınlanmasına onay verir.

Politikalar

Dergi açık erişimlidir ve derginin tüm içeriği okura ya da okurun dahil olduğu kuruma ücretsiz olarak sunulur. Okurlar, ticari amaç haricinde, yayıncı ya da yazardan izin almadan dergi makalelerinin tam metnini okuyabilir, indirebilir, kopyalayabilir, arayabilir ve link sağlayabilir. Bu <a href="https://www.budapestopenaccessinitiative.org/translations/turkish-translation" target="_blank">BOAI</a> açık erişim tanımıyla uyumludur. Derginin açık erişimli makaleleri Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır.

Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz.

Yazarlar dergide yayınlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları  Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır. CC BY-NC 4.0 lisansı, eserin ticari kullanım dışında her boyut ve formatta paylaşılmasına, kopyalanmasına, çoğaltılmasına ve orijinal esere uygun şekilde atıfta bulunmak kaydıyla yeniden düzenleme, dönüştürme ve eserin üzerine inşa etme dâhil adapte edilmesine izin verir.

Editörler, yayınlanan makalede, bulguları, yorumları ve sonuçları etkilemeyen küçük hatalar tespit edilirse düzeltme yayınlamayı düşünebilirler. Editörler, bulguları ve sonuçları geçersiz kılan büyük hatalar / ihlaller söz konusu olduğunda, makaleyi geri çekmeyi düşünmelidir. Yazarlar tarafından araştırma veya yayını kötüye kullanmaya yönelik olasılık söz konusu ise; bulguların güvenilir olmadığına ve yazarların kurumlarının olayı soruşturmadığına dair kanıtlar var veya olası soruşturma haksız veya sonuçsuz görünüyor ise, editörler endişe ifadesi yayınlamayı düşünmelidir. Düzeltme, geri çekme veya endişe ifadesi ile ilgili olarak <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> ve <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> yönergeleri dikkate alınır.

Dergide yayınlanan tüm yazıların korunmasını ve kalıcı olarak erişilebilir olmasını sağlamak için makaleler, ulusal bir arşiv sitesi olarak hizmet veren ve aynı zamanda LOCKSS'in içeriği toplamasına, korumasına ve sunmasına izin veren Dergipark'ta saklanmaktadır.Ek olarak, yazarların kendilerinin makalelerinin son PDF sürümünü Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>) standartlarına uygun açık elektronik arşivlerde arşivlemeleri önerilir. Yazarlar, yayınladıkları arşiv versiyonundan, İ.Ü. Yayınevinin dergi web sitesinin URL'sine bağlantı sağlamalıdır.

<div style="text-align: left;">Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <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>, &#65279;<a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>&#65279; ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için adres: <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></div>Gönderilen tüm makaleler orijinal, yayınlanmamış ve başka bir dergide herhangi bir değerlendirme sürecinde olmamalıdır. Her bir makale editörlerden biri ve en az iki hakem tarafından çift kör değerlendirmeden geçirilir. İntihal, duplikasyon, sahte yazarlık/inkâr edilen yazarlık, araştırma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir.Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dâhildir.

Etik

Dergi araştırma etiğinde en yüksek standartları gözetir ve aşağıda tanımlanan uluslararası araştırma etiği ilkelerini benimser. Makalelerin etik kurallara uygunluğu yazarların sorumluluğundadır.<ul><li>Araştırmanın tasarlanması, tasarımın gözden geçirilmesi ve araştırmanın yürütülmesinde, bütünlük, kalite ve şeffaflık ilkeleri sağlanmalıdır.</li><li>Araştırma ekibi ve katılımcılar, araştırmanın amacı, yöntemleri ve öngörülen olası kullanımları; araştırmaya katılımın gerektirdikleri ve varsa riskleri hakkında tam olarak bilgilendirilmelidir.</li><li>Araştırma katılımcılarının sağladığı bilgilerin gizliliği ve yanıt verenlerin gizliliği sağlanmalıdır. Araştırma katılımcıların özerkliğini ve saygınlığını koruyacak şekilde tasarlanmalıdır.</li><li>Araştırma katılımcıları gönüllü olarak araştırmada yer almalı, herhangi bir zorlama altında olmamalıdırlar.</li><li>Katılımcıların zarar görmesinden kaçınılmalıdır. Araştırma, katılımcıları riske sokmayacak şekilde planlanmalıdır.</li><li>Araştırma bağımsızlığıyla ilgili açık ve net olunmalı; çıkar çatışması varsa belirtilmelidir.</li><li>İnsan denekler ile yapılan deneysel çalışmalarda, araştırmaya katılmaya karar veren katılımcıların yazılı bilgilendirilmiş onayı alınmalıdır. Çocukların ve vesayet altındakilerin veya tasdiklenmiş akıl hastalığı bulunanların yasal vasisinin onayı alınmalıdır.</li><li>Çalışma herhangi bir kurum ya da kuruluşta gerçekleştirilecekse bu kurum ya da kuruluştan çalışma yapılacağına dair onay alınmalıdır.</li><li>İnsan öğesi bulunan çalışmalarda, “yöntem” bölümünde katılımcılardan “bilgilendirilmiş onam” alındığının ve çalışmanın yapıldığı kurumdan etik kurul onayı alındığı belirtilmesi gerekir.</li></ul>

Makalelerin bilimsel ve etik kurallara uygunluğu yazarların sorumluluğundadır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığı konusunda teminat sağlamalıdır. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir.Gönderilen makalede tüm yazarların akademik ve bilimsel olarak doğrudan katkısı olmalıdır, bu bağlamda “yazar” yayınlanan bir araştırmanın kavramsallaştırılmasına ve tasarımına, verilerin elde edilmesine, analizine ya da yorumlanmasına belirgin katkı yapan, yazının yazılması ya da bunun içerik açısından eleştirel biçimde gözden geçirilmesinde görev yapan birisi olarak görülür. Yazar olabilmenin diğer koşulları ise makaledeki çalışmayı planlamak veya icra etmek ve / veya revize etmektir. Fon sağlanması, veri toplanması ya da araştırma grubunun genel denetmeni / danışmanı tek başına yazarlık hakkı kazandırmaz. Yazar olarak gösterilen tüm bireyler sayılan tüm ölçütleri karşılamalıdır ve yukarıdaki ölçütleri karşılayan her birey yazar olarak gösterilebilir. Yazarların isim sıralaması ortak verilen bir karar olmalıdır. Tüm yazarlar yazar sıralamasını <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">Telif Hakkı Anlaşması Formunda</a> imzalı olarak belirtmek zorundadırlar.Yazarlık için yeterli ölçütleri karşılamayan ancak çalışmaya katkısı olan tüm bireyler “teşekkür / bilgiler” kısmında sıralanmalıdır. Bunlara örnek olarak ise sadece teknik destek sağlayan, yazıma yardımcı olan ya da sadece genel bir destek sağlayan, finansal ve materyal desteği sunan kişiler verilebilir.Bütün yazarlar, araştırmanın sonuçlarını ya da bilimsel değerlendirmeyi etkileyebilme potansiyeli olan finansal ilişkiler, çıkar çatışması ve çıkar rekabetini beyan etmelidirler. Bir yazar kendi yayınlanmış yazısında belirgin bir hata ya da yanlışlık tespit ederse, bu yanlışlıklara ilişkin düzeltme ya da geri çekme için editör ile hemen temasa geçme ve işbirliği yapma sorumluluğunu taşır.

Editörler, makaleleri objektif bir biçimde bilimsel ve etik kurallara uygun olarak değerlendirirler. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlarlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti ederler. Editörler içerik ve yayının toplam kalitesinden sorumludurlar. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır.Editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve Dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemler, makaleleri objektif bir biçimde bilimsel ve etik kurallara uygun olarak değerlendirirler. Araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar.Hakemler yazarların atıfta bulunmadığı konuyla ilgili yayınlanmış çalışmaları tespit etmelidirler. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dâhil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kendileri için makalelerin kopyalarını çıkarmalarına izin verilmez ve editörün izni olmadan makaleleri başkasına veremezler. Yazarın ve editörün izni olmadan hakemlerin gözden geçirmeleri basılamaz ve açıklanamaz. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Seçilen makaleler en az iki ulusal/uluslararası hakeme çift taraflı kör hakemlik ile değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.

Hakemlik Hakkında

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Baş Editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar.Seçilen makaleler en az iki ulusal/uluslararası hakeme değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin değerlendirmeleri objektif olmalıdır. Hakem süreci sırasında hakemlerin aşağıdaki hususları dikkate alarak değerlendirmelerini yapmaları beklenir.-Makale yeni ve önemli bir bilgi içeriyor mu?-Öz, makalenin içeriğini net ve düzgün bir şekilde tanımlıyor mu?-Yöntem bütünlüklü ve anlaşılır şekilde tanımlanmış mı?-Yapılan yorum ve varılan sonuçlar bulgularla kanıtlanıyor mu?-Alandaki diğer çalışmalara yeterli referans verilmiş mi?-Dil kalitesi yeterli mi?Hakemler, gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir.

DilDerginin dili Türkiye Türkçesi ve İngilizcedir.Yazıların HazırlanmasıAksi belirtilmedikçe gönderilen yazılarla ilgili tüm yazışmalar ilk yazarla yapılacaktır. Makale gönderimi çevrimiçi (online) olarak ve <a href="https://dergipark.org.tr/tr/pub/iutded" target="_blank">https://dergipark.org.tr/tr/pub/iutded</a> üzerinden yapılmalıdır. Gönderilen yazılar, yazının yayınlanmak üzere gönderildiğini ifade eden, makale türünü belirten ve makaleyle ilgili bilgileri içeren (bkz: Son Kontrol Listesi) bir mektup; yazının elektronik formunu içeren Microsoft Word 2003 ve üzerindeki versiyonları ile yazılmış elektronik dosya ve tüm yazarların imzaladığı <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">‘Telif Hakkı Anlaşması Formu’</a> eklenerek gönderilmelidir.<ol><li>&#65279;Makaleler Times New Roman (özel yazı fontları kısmî olmak kaydıyla kullanılabilir) yazı karakterinde, 12 punto ve 1,5 satır aralığıyla yazılmalıdır. </li><li>Yazılarda büyük harflerle yazılmış olan Türkçe başlığın (14 punto) hemen altında yine büyük harflerle yazılmış İngilizce başlık (10 punto) yer almalıdır.</li><li>Makalede başlıktan sonra ve yazının giriş bölümünden önce 180 – 200 kelimelik Türkçe özet ve 180-250 kelimelik İngilizce özet ile 600-800 kelimelik İngilizce genişletilmiş özet yer almalıdır. Özetlerde beş adet anahtar kelime verilmelidir.</li><li>Yazarın adı hemen başlığın altında bulunmalı, “*” dipnotuyla unvanı ve çalıştığı kurum yazılmalıdır. Makaleyi gönderen kişi ayrıca iletişim için adresini, telefon numaralarını ve e-postasını açık olarak yazmalıdır.</li><li>Gönderilen makaleler (özetler ve kaynakça dahil) 11.000 kelimeyi geçmemelidir. (Önemine binaen daha uzun makaleler Yayın Kurulu kararı ile yayımlanır. Metin neşri vb. içerikler makalenin EK kısmına konulmalıdır.) </li><li>Yazılarda ve kısaltmalarda Türk Dil Kurumunun Yazım Kılavuzu’na uyulmalıdır.</li><li>Çevriyazı metin çalışmalarında Timesefras, Munevver, Oktay New Transkripsiyon veya Timestrans fontlarından biri kullanılmalıdır. Bunlar dışında bir fontla gönderilen çevriyazı çalışmaları kabul edilmeyecektir. Bu fontlar da yalnızca metin kısmında kullanılacaktır. Makalelerin “giriş, inceleme, sonuç vs.” bölümlerinde 1 numaralı maddede belirtildiği gibi Times New Roman karakteri kullanılacaktır. Ayrıca üzerinde çalışma yapılan metnin fotokopisi yahut CD’si de -hakemlere iletilmek ve metinleri değerlendirmede kullanılmak amacıyla- gönderilmelidir.</li><li>Çeviri (tercüme) gönderenler, orijinal metnin bir örneğini ve bibliyografik künyesini de dergiye iletmelidir.</li><li>Yayınlanmak üzere gönderilen makale ile birlikte yazar bilgilerini içeren <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D7486B5F313241CC98EC23955FC80101" target="_blank">kapak sayfası</a> gönderilmelidir. Kapak sayfasında, makalenin başlığı, yazar veya yazarların bağlı bulundukları kurum ve unvanları, kendilerine ulaşılabilecek adresler, cep, iş ve faks numaraları ve e-posta adresleri yer almalıdır (bkz. Son Kontrol Listesi).</li><li>Kurallar dâhilinde dergimize yayınlanmak üzere gönderilen çalışmaların her türlü hukuki, cezai ve bilimsel sorumluluğu yazar/yazarlarına aittir. Dergi ile hiçbir şekilde bağlayıcılığı yoktur. Yazar, burada bulunan tüm ilkeleri peşinen kabul etmiş sayılır.</li><li>Yayın Kurulu ve hakem raporları doğrultusunda yazarlardan metin üzerinde bazı düzeltmeler yapmaları istenebilir.</li><li>Dergiye gönderilen çalışmalar yayınlansın veya yayınlanmasın geri gönderilmez.</li></ol>

Yazım Kuralları

Makaleyi göndermeden önce Yazarlara Bilgi’yi lütfen okuyun ve aşağıdakilerin eksik olmadığından emin olun:Editöre mektup<ul type="disc"> <ul type="circle"> <li>Makalenin türü</li> <li>Başka bir dergiye gönderilmemiş olduğu bilgisi</li> <li>Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)</li> <li>Kaynakların APA6’ya göre belirtildiği</li> <li>İngilizce yönünden kontrolünün yapıldığı</li> <li>Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">Telif Hakkı Anlaşması Formu</a>Daha önce basılmış material (yazı-resim-tablo) kullanılmış ise izin belgesi<a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=kapaksayfasituded_636996636634738470.docx" target="_blank">Makale kapak sayfası</a><ul type="disc"> <ul type="circle"> <li>Makalenin kategorisi</li> <li>Makalenin Türkçe ve İngilizce başlığı</li> <li>Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonar şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri</li> <li>Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosu</li> <li>Tüm yazarların ORCID’leri</li> </ul> </ul>Makalenin ana metni<ul type="disc"> <ul type="circle"> <li>Makalenin Türkçe ve İngilizce başlığı</li> <li>Özetler 180-200 kelime Türkçe ve 180-200 kelime İngilizce</li> <li>Anahtar Kelimeler: 5 adet Türkçe ve 5 adet İngilizce</li> <li>Makale Türkçe ise, İngilizce genişletilmiş özet (Extended Abstract) 600-800 kelime</li> <li>Makale ana metin bölümleri</li> <li>Finansal Destek (varsa belirtiniz)</li> <li>Çıkar Çatışması (varsa belirtiniz)</li> <li>Teşekkür (varsa belirtiniz)</li> <li>Kaynaklar</li> <li>Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li> </ul> </ul>Makale Gönderme<ul type="disc"> <li style="text-align: left;">Makalenin gönderileceği DergiPark sayfası adresi: <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;">Yapılan başvurularda, çalışmanın sorumlu yazarının (corresponding author) hesabı kullanılmalıdır. Sorumlu yazarın dışındaki yazarların ya da çalışmada yazar olarak yer almayan bir başkasının hesabı kullanılmamalıdır. Başvuru ile ilgili bütün yazışmalar DergiPark sistemi üzerinden gönderilen elektronik posta ile sorumlu yazara iletilmektedir.</li> <li style="text-align: left;">Makale ana metninin dosyasını (Main Document)  yüklerken, çift taraflı kör hakem süreci gereği, bu dosyanın yazar kimliğini deşifre eden hiçbir unsur barındırmadığından emin olun. Makale ana metni dosyası (Main Document) başlık sayfasını (Title Page) içermemeli; yazar adı geçen ya da yazar adlarını ifşa edebilecek bölümler içermemeli (Örneğin: Teşekkür, her sayfada tekrar eden ve yazar adlarını içerebilen başlık).</li> </ul><ul type="disc"> </ul>Ayrı Ayrı Yüklemeniz gereken dosyalar<ul type="disc"> <li>Telif Hakkı Anlaşması Formu</li> <li>Resim, Tablo vb başka kaynaktan alındıysa izin belgesi</li> <li>Makale Kapak Sayfası</li> <li>Makale Ana Metni Dosyası  (Bu dosya aşağıdaki unsurları içermelidir)</li> </ul><ul type="disc"> <ul type="circle"> <li>Makalenin Türkçe ve İngilizce başlığı</li> <li>Özetler 180-200 kelime Türkçe ve 180-200 kelime İngilizce</li> <li>Anahtar Kelimeler: 5 adet Türkçe ve 5 adet İngilizce</li> <li>Makale Türkçe ise, İngilizce genişletilmiş Özet (Extended Abstract)  600-800 kelime</li> <li>Makale ana metin bölümleri</li> <li>Finansal Destek (varsa belirtiniz)</li> <li>Çıkar Çatışması (varsa belirtiniz)</li> <li>Teşekkür (varsa belirtiniz)</li> <li>Kaynaklar</li> <li>Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li></ul></ul><ul type="disc"> </ul>

Derleme yazıları okuyucular için bir konudaki kaynaklara ulaşmayı kolaylaştıran bir araç olsa da her zaman orijinal çalışmayı doğru olarak yansıtmaz. Bu yüzden mümkün olduğunca yazarlar orijinal çalışmaları kaynak göstermelidir. Öte yandan, bir konuda çok fazla sayıda orijinal çalışmanın kaynak gösterilmesi yer israfına neden olabilir. Birkaç anahtar orijinal çalışmanın kaynak gösterilmesi genelde uzun listelerle aynı işi görür. Ayrıca günümüzde kaynaklar elektronik versiyonlara eklenebilmekte ve okuyucular elektronik literatür taramalarıyla yayınlara kolaylıkla ulaşabilmektedir.Referans Stili ve FormatıTürk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, metin içi alıntılama ve kaynak gösterme için APA (American Psychological Association) kaynak sitilinin 6. edisyonunu benimser. APA 6.Edisyon hakkında bilgi için:- American Psychological Association. (2010). Publication manual of the American PsychologicalAssociation (6th ed.). Washington, DC: APA.- <a href="http://www.apastyle.org/" target="_blank">http://www.apastyle.org/</a>Kaynakların doğruluğundan yazar(lar) sorumludur. Tüm kaynaklar metinde belirtilmelidir. Kaynaklar aşağıdaki örneklerdeki gibi gösterilmelidir.Metin İçinde Kaynak GöstermeKaynaklar metinde parantez içinde yazarların soyadı ve yayın tarihi yazılarak belirtilmelidir.Birden fazla kaynak gösterilecekse kaynaklar arasında (;) işareti kullanılmalıdır. Kaynaklar alfabetik olarak sıralanmalıdır.Örnekler:Birden fazla kaynak;(Esin ve ark., 2002; Karasar 1995)Tek yazarlı kaynak;(Akyolcu, 2007)İki yazarlı kaynak;(Sayıner ve Demirci 2007, s. 72)Üç, dört ve beş yazarlı kaynak;Metin içinde ilk kullanımda: (Ailen, Ciambrune ve Welch 2000, s. 12–13) Metin içinde tekrarlayan kullanımlarda: (Ailen ve ark., 2000)Altı ve daha çok yazarlı kaynak;(Çavdar ve ark., 2003)Kaynaklar Bölümünde Kaynak GöstermeKullanılan tüm kaynaklar metnin sonunda ayrı bir bölüm halinde yazar soyadlarına göre alfabetik olarak numaralandırılmadan verilmelidir.Kaynak yazımı ile ilgili örnekler aşağıda verilmiştir.Kitapa) Türkçe KitapKarasar, N. (1995). Araştırmalarda rapor hazırlama (8.bs). Ankara: 3A Eğitim Danışmanlık Ltd.b) Türkçeye Çevrilmiş KitapMucchielli, A. (1991). Zihniyetler (A. Kotil, Çev.). İstanbul: İletişim Yayınları.c) Editörlü KitapÖren, T., Üney, T. ve Çölkesen, R. (Ed.). (2006). Türkiye bilişim ansiklopedisi. İstanbul: Papatya Yayıncılık.d) Çok Yazarlı Türkçe KitapTonta, Y., Bitirim, Y. ve Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme. Ankara: Total Bilişim.e) İngilizce KitapKamien R., &amp; Kamien A. (2014). Music: An appreciation. New York, NY: McGraw-Hill Education.f) İngilizce Kitap İçerisinde BölümBassett, 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) Türkçe Kitap İçerisinde BölümErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi. M. Zencirkıran (Ed.), Örgüt sosyolojisi kitabı içinde (s. 233–263). Bursa: Dora Basım Yayın.h) Yayımcının ve Yazarın Kurum Olduğu YayınTürk Standartları Enstitüsü. (1974). Adlandırma ilkeleri. Ankara: Yazar.Makalea) Türkçe MakaleMutlu, B. ve Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri. İstanbul Üniversitesi Florence Nightingale Hemşirelik Dergisi, 15(60), 179–182.b) İngilizce Makalede 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) Yediden Fazla Yazarlı MakaleLal, 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) DOI’si Olmayan Online Edinilmiş MakaleAl, U. ve Doğan, G. (2012). Hacettepe Üniversitesi Bilgi ve Belge Yönetimi Bölümü tezlerinin atıf analizi. Türk Kütüphaneciliği, 26, 349–369. Erişim adresi: http://www.tk.org.tr/e) DOI’si Olan MakaleTurner, 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 Olarak Yayımlanmış MakaleSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/10.1037/a45d7867g) Popüler Dergi MakalesiSemercioğlu, C. (2015, Haziran). Sıradanlığın rayihası. Sabit Fikir, 52, 38–39.Tez, Sunum, Bildiria) Türkçe TezlerSarı, E. (2008). Kültür kimlik ve politika: Mardin’de kültürlerarasılık. (Doktora Tezi). Ankara Üniversitesi Sosyal Bilimler Enstitüsü, Ankara.b)Ticari Veritabanında Yer Alan Yüksek Lisans Ya da Doktora TeziVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses. (UMI No. 9943436)c) Kurumsal Veritabanında Yer Alan İngilizce Yüksek Lisans/Doktora TeziYaylalı-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-portalid) Web’de Yer Alan İngilizce Yüksek Lisans/Doktora TeziTonta, 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.htmle) Dissertations Abstracts International’da Yer Alan Yüksek Lisans/Doktora TeziAppelbaum, 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.f) Sempozyum KatkısıKrinsky-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 American Psychological Association meeting, Orlando, FL.g) Online Olarak Erişilen Konferans Bildiri ÖzetiÇınar, M., Doğan, D. ve Seferoğlu, S. S. (2015, Şubat). Eğitimde dijital araçlar: Google sınıf uygulaması üzerine bir değerlendirme [Öz]. Akademik Bilişim Konferansında sunulan bildiri, Anadolu Üniversitesi, Eskişehir. Erişim adresi: http://ab2015.anadolu.edu.tr /index.php?menu=5&amp;submenu=27h) Düzenli Olarak Online Yayımlanan BildirilerHerculano-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.0805417105i) Kitap Şeklinde Yayımlanan BildirilerSchneider, R. (2013). Research data literacy. S. Kurbanoğlu ve ark. (Ed.), Communications in Computer and Information Science: Vol. 397. Worldwide Communalities and Challenges in Information Literacy Research and Practice içinde (s. 134–140) . Cham, İsviçre: Springer. http://dx.doi.org/10.1007/978-3-319-03919-0j) Kongre BildirisiÇepni, S., Bacanak A. ve Özsevgeç T. (2001, Haziran). Fen bilgisi öğretmen adaylarının fen branşlarına karşı tutumları ile fen branşlarındaki başarılarının ilişkisi. X. Ulusal Eğitim Bilimleri Kongresi’nde sunulan bildiri, Abant İzzet Baysal Üniversitesi, BoluDiğer Kaynaklara) Gazete YazısıToker, Ç. (2015, 26 Haziran). ‘Unutma’ notları. Cumhuriyet, s. 13.b) Online Gazete YazısıTamer, M. (2015, 26 Haziran). E-ticaret hamle yapmak için tüketiciyi bekliyor. Milliyet. Erişim adresi: http://www.milliyetc) 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 Ansiklopedi/SözlükBilgi mimarisi. (2014, 20 Aralık). Vikipedi içinde. Erişim adresi: http://tr.wikipedia.org/wiki/Bilgi_mimarisiMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.), The Stanford encyclopedia of philosophy. Retrieved from http://plato.stanford.edu/entries/ethics-business/e) PodcastRadyo ODTÜ (Yapımcı). (2015, 13 Nisan). Modern sabahlar [Podcast]. Erişim adresi: http://www.radyoodtu.com.tr/f) Bir Televizyon Dizisinden Tek Bir BölümShore, D. (Senarist), Jackson, M. (Senarist) ve Bookstaver, S. (Yönetmen). (2012). Runaways [Televizyon dizisi bölümü]. D. Shore (Baş yapımcı), House M.D. içinde. New York, NY: Fox Broadcasting.g) Müzik KaydıSay, F. (2009). Galata Kulesi. İstanbul senfonisi [CD] içinde. İstanbul: Ak Müzik.

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">Telif Hakkı Anlaşması Formu</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/89F9610598014D559EFC67AFDF9DD884" target="_blank">Makale kapak sayfası</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/3EABFA96159140DEB120141E716BCFB9" target="_blank">Yazar Formu</a>

Aşağıdaki listede eksik olmadığından emin olun:● Editöre mektup Makalenin türü Başka bir dergiye gönderilmemiş olduğu bilgisi Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz) İngilizce yönünden kontrolünün yapıldığı Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği● <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">Telif Hakkı Anlaşması Formu</a>● Daha önce basılmış materyal (yazı-resim-tablo) kullanılmış ise izin belgesi● <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/61D915DE6713408DB01FE55B11324495" target="_blank">Makale kapak sayfası</a> Makalenin türü Makalenin Türkçe ve İngilizce başlığı Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonra şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosu Tüm yazarların ORCID’leri● Makale ana metni dosyası Makale dilinde ve İngilizce başlık Özetler 180-200 kelime Türkçe ve 180-250 kelime İngilizce Anahtar Kelimeler: 5 adet Türkçe ve 5 adet İngilizce Türkçe makaleler için İngilizce genişletilmiş Özet (Extended Abstract) 600-800 kelime Makale ana metin bölümleri Finansal destek (varsa belirtiniz) Çıkar çatışması (varsa belirtiniz) Teşekkür (varsa belirtiniz) Kaynaklar Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)

E-ISSN	2602-2648
Yayın Aralığı	Yılda Üç Sayı
Editör	Ali Şükrü Çoruk, Şerif Eskin
Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, açık erişimli, hakemli, yılda üç kere Nisan, Ağustos, Aralık aylarında yayınlanan, uluslararası, bilimsel bir dergidir. İstanbul Üniversitesi Edebiyat Fakültesi Türk Dili ve Edebiyatı Bölümü’nün resmi yayınıdır. 1946 yılından beri yayınlanmaktadır. Dergiye yayınlanması için gönderilen bilimsel makaleler Türkiye Türkçesi ya da İngilizce olmalıdır. Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, Türk dili, edebiyatı ve kültürü konusunda alana katkıda bulunacak araştırma makaleleri yayınlar. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

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