İmren

Res. Assist.

Halide Edip Adıvar is one of the most prolific writers in our literary history. She entered the literary world at a young age, thanks to the good education she received at home from private instructors during her childhood. Her first effort was a translation of John Abbot’s book The Mother in the Home for which she was awarded a medal by Sultan Abdülhamit. Ahmet Mithat Efendi and Mahmut Esad, two great writers of the period, lauded her in their articles. In 1899, around 2 years after the translation was published, she published an unfinished novel titled Çingene Kızı in the Hanımlara Mahsus Gazete. Çingene Kızı was Halide Edip Adıvar’s first novel under the name “Halide,” written while she was still a high school student. To the best of our knowledge, this novel has not been mentioned in literary histories and in the various Halide Edip Adıvar biographies written to date. Only two articles refer to Çingene Kızı: one is Fethi Erden’s article about the lesser known facts unknown sides and memoirs of Halide Edip Adıvar (1964). In this article, Erden says that he asked Adıvar about her first novel and she answered it to be Çingene Kız, but Erden’s knowledge of the novel is incomplete and incoherent. The other article about the novel is Serdar Soydan’s essay titled “Is the Çingene Kızı the Unknown First Work of Halide Edip Adıvar?” published in Notos. Soydan wrote that this novel, which he noticed while looking through the newspapers, may have been written by Halide Edip. The novel consists of five chapters: Little Gypsy, Request, Success, Rıfkı’s Offer, and New Chamber of Gypsy. It describes a wealthy young girl named Güzide buying a gypsy child from her mendicant mother and taking the child to the house where Güzide lives with her aunt and cousin. Güzide wants to discover whether she can educate the gypsy child; everyone in the house finds the girl strange, but nobody can oppose Güzide’s wishes. Güzide asks her cousin Rıfkı to help persuade her aunt to keep the child, and Rıfkı convinces his mother, thinking that they will have fun. The gypsy child is allowed to live in the house, but the novel ends before the child’s education begins. Before Çingene Kızı, there were two novels written about gypsies in our literature, one of which is translated and the other is copyrighted. The first novel is the 15th part of Letaif-i Rivayat, published in 1886, and titled Çingene. The second work is a two-volume translation of Çingene Kızı in 1889 by Xavier De Montepin, the most-translated author of the 19th century. After this novel by Halide Edip, although some authors, especially Ahmet Rasim, wrote various texts about gypsies, we could not find a literary work that featured gypsies as main characters until Çingeneler by Selahattin Enis (1924). Furthermore, we could not determine the effect of Montepin’s novel on Edip’s work. However, Ahmet Mithat’s novel, Çingene, is noteworthy as it contains the main idea for her novel. This study examines the relationship between these two novels and discusses the writer’s process of writing the novel and leaving it unfinished.

Halide Edip Adıvar’ın İlk Roman Teşebbüsü: Çingene Kızı

Bedriye Gülay

After tafseer had become a scientific discipline dedicated to the Qur’an, works that were explicating manuscripts except the Qur’an and written for this purpose were named commentaries. In other words, a commentary is an explanation provided by someone who claims that he/she understands the text better than the other readership. The commentaries have undertaken the role of translating, explaining, and interpreting the diverse scholarly works written in many branches of science—from mathematics to astronomy and from rhetoric to logic—and have an exceptional place in Turkish history of literature. The literary commentaries, written for the Arabic and Persian classics have become a unique field within our literature. These works, which have a wide range of objectives, ranging from the reinterpretation of classical Islamic civilizations to the teaching of languages, contain seriously philological, literary, historical, etymological, lexical, mythological, cultural materials and knowledge. Sa’dî-i Şîrâzî’s work, Bostân, which he completed in 1257, is one of the commented classics of Islamic civilization. Bostân written in the form of mathnawi poetry style has become a work that has been widely read from the day it was written until today and it has been accepted as one of the main sources of learning for those who want to learn Persian. The work is inspired by the events that Sa’dî-i Şîrâzî has seen, heard or personally experienced and composed of stories written by him about politics, good morality, love, consciousness of being a servant, beneficence, thrift, consent and decency. This work, which is also loved by Turks, has many translations and commentaries. Sûdî-i Bosnevî and Şem’î, are contemporary and eminent commentators who wrote significant works in Turkish commentary literature and they both commented on Bostân. These two commentaries, which were made on the same source text and in the same century by different commentators, shed light on the tradition of commentary literature with their intersecting and diverging points in the sixteenth century, in which literary commentaries emerged. The presence of myriad copies of the manuscripts of two Bostân commentaries in different periods is an indication that they are among the works that were read intensely during and after the mentioned period. Both Sûdî-i Bosnevî and Şem’î commented on works apart from Bostân. As far as the clues reveal in their works, the two commentators had met and discussed as much that they would have opinion about each other, and both had read and studied each other’s works. It is understood from the refutations in their works that they had bitterness between them as a result of practicing in the same field, rivalry or other personal matters. In these refutations, they went beyond revealing the literary mistakes of each other and expressed negative opinions about each other’s characters. It is possible to say that Sûdî-i Bosnevî is more sharp-tongued and rough-styled in this manner. The attitude of Sûdî-i Bosnevî against Şem’î in his refutations is so harsh and cruel that it can overshadow the literariness of his work. In fact, in some of his utterances and expressions insults can be noticed about Şem’î. However, the work of Sûdî-i Bosnevî is more systematic and elaborate than the work of Şem’î in terms of technique and content. While the couplet was commented upon, it had been studied meticulously and carefully in every stage from the explication&nbsp;of grammatical elements to word denotations, from literary arts to translations. Both the copy differences and mistakes of Sürûrî and Şem’î, who commented earlier on Bostân, are taken into consideration, and the substantial effort has been made for translation to be the closest to the original. In the work of Şem’î, there is a translation in the center of the commentary. The commentator interprets each couplet by separating them verse by verse, and used annotations to explain the elements that he thinks are difficult to be understood. However, these explanations are very limited compared to those of Sûdî-i Bosnevî, and they are also superficial and weakly informative. It can be noted that Şem’î is qualitatively inferior to that of Sûdî-i Bosnevî in terms of the translation of the couplets. The translation of the Sûdî-i Bosnevî, which is far superior to that of Şem’î in attributing meaning to words, recognizing the Persian metaphor and translating it into Turkish, is much more robust and successful than Şem’î’s translation. However, it can be seen from time to time that Şem’î’s commentary of Bostân gives Arabic meanings of the words, used in couplets, alongside their Turkish meanings, as does Sûdî-i Bosnevî’s commentary of Bostân. Şem’î noted copy differences and for better understanding of the verses, he transformed them into plain sentences under the name of “takdîr-i kelâm” and wrote a refutation concerning the reviews of Sürûrî, who had written commentary for Bostân earlier which he considers mistaken. In this context, the comparative study of Sûdî-i Bosnevî’s commentary of Bostân and Şem’î’s commentary of Bostân, within the tradition of Turkish commentary literature, constitutes the subject of this work.

İki Şerh Arasında: Sûdî ve Şem’î’nin Bostân Şerhlerindeki Şerh Tekniğine Mukayeseli Bir Bakış

Didem

In almost all languages, there are words with phonemes that evoke the meaning they denote. The reason for this is that the same phonemes evoke similar concepts across many languages. Sound symbolism is a discipline that studies the relationship between sound and meaning. The similarity between the phonemes forming the words and the extra-linguistic sounds are significant in the types of sound symbolism, especially onomatopoetic words. Sound symbolism also deals with the relationship of the phonemes with senses other than audition. Here, the similarity between the phenomes’ articulation features and the extra-linguistic phenomenon with which they associate are significant. Sound symbolism is a field of language studies, and various disciplines research the associations created in the human mind by the sound-semantic harmony. For example, there is a considerable amount of research on this subject in the sub-branches of psychology, such as cognitive and behavioral psychology. In addition, studies on sound symbolism become especially important in the creation of brand names in the field of advertising. Although we know that Turkey has richer examples than many other languages in terms of sound and meaning harmony, these topics have not been addressed in all aspects of sound symbolism. This study provides information on the basic subjects and commonly used terms of voice symbolism with a view to pioneering new studies on sound symbolism in Turkish. Finally, in order to show that the layers of meaning associated with the phonemes have different levels in the mind, their relationship to extra-linguistic sound or phenomena are evaluated under three separate categories: • Natural harmony: Onomatopoeic words fall into this category as the basic element of the sound symbolism because the extra-linguistic sounds that are heard are represented by the closest phoneme in the language. The relation between phoneme » sound is taken into consideration. These are the linguistic signs that are farthest away from the conventional or arbitrary linguistic signs in a language. • Associative harmony: Here it is essential that the phonemes have a similarity between the form and place characteristics of articulation; that is to say, there is a similarity between the extra-linguistic sound/phenomenon and whether the phonemic is in the back, frontal, and whether it is glide, flapped, plosive, fricative. Although this similarity is established for all components of sound symbolism, sound symbolic items outside the onomatopoeic words should be included in this harmony because the relationship between signifier and signified is more indirect. • Melodic harmony is a type of harmony that is considered quite different from the other two types of harmony; it expresses a suprasegmental harmony created by using more than one word together. This harmony is widely used in tongue twisters, riddles, and especially in poetic language. In the language of poetry, the writer or poet conveys the emotion to the reader by using the phonetic properties of the phonemes and especially sound harmony (alliteration/assonance).

Ses Sembolizmi ve Ses-Anlam Uyumunun Farklı Bir Sınıflandırma Denemesi

Pelin

Assist. Prof.

Halide Edip Adıvar wants to reflect the conditions of war by bearing vivid witness to them, and to narrate suffering, emotional atmosphere, and the spirit of this period to the next generation in Dağa Çıkan Kurt (1922). By exhibiting common history, she also aims to unite the Turkish people who are in the process of becoming a nation state. In order to realize this unification and make a strong impression on readers, she stresses the importance of the readers’ positive reception of her writing; they should not doubt the stories she tells, and they should develop empathy with others suffering from challenging conditions of war. To solidify this impression, the author writes about historical events that she herself observed and witnessed. Her own acquaintances are a part of her stories. In this respect, she asserts that the stories in Dağa Çıkan Kurt are not fiction; instead, they are all real and reflect the literal reality. On the other hand, when telling stories focused on children, we see that Halide Edip moves away from the reality on which otherwise insists. This article discusses how the idealized child image originating from war conditions weakens her usual insistence on reality, and it analyses the reason for this idealization. It concludes that this idealization and movement away from reality is closely related to the role she attributes to children after the war in a new and young Turkey. At first sight, the stories in Dağa Çıkan Kurt seem quite realistic. Narrator Halide Edip emphasizes that she narrates stories about children whom she has met; that she knows them personally. She describes these children using physical details in order to bring the destruction of the war to light. We see that most of the children in the stories of Dağa Çıkan Kurt, Tanıdığım Çocuklardan, Himmet Çocuk and Muhlis’in Ağabeysi have lost their parents and are experiencing extreme poverty because of the war. They are always hungry because of poor nutrition. As a result, their faces and bodies are so thin and weak that their physical appearance is unhealthy. In this respect, when we compare the aforementioned stories with Gündelik Adamlar: Kabak Çekirdekçi, we understand the care that Halide Edip&nbsp;takes to reflect the destruction caused by the war on the children bodies seriously. In Gündelik Adamlar: Kabak Çekirdekçi, she does not depict the physical appearance of a child who lives in better social economic conditions and is not directly exposed to the war. Thus, her way of describing every child according to his/her own geographic, social, and economic circumstances makes her stories realistic and persuades readers that the stories are real. Of course, when wars affect the lives of real children, it turns their physiologies upside down in a way that might not be reflected in fictional narration. Not only does war cause chaos in their emotional world, but it also leaves them with lasting damage. Certainly, we cannot expect Halide Edip Adıvar to depict her characters as if she were an expert in psychology. She is a creative writer, and readers already know that they are reading about a fictional world she created. Nevertheless, the author who describes such a realistic physical appearance of children chooses not to depict their emotional and psychological worlds realistically. In fact, her choice weakens her usual insistence on the reality. Halide Edip Adıvar idealizes the children of the war. The children in her stories lack the traumatic effects of the war. They do not feel emptiness. On the contrary, they become mature and their tenacity increases. Despite their young ages, they are able to cope with big problems. Moreover, they are proud, honorable, and always hopeful. This idealization of children by moving away from reality is closely related to the duties Halide Edip Adıvar assigns to children. She expects children to leave behind the emotional and moral collapse caused by war and construct the new Turkey. She insists that now is the time for Turkish people to be reborn. Turkey is in the process of becoming a nation state, and she burdens many of the associated responsibilities to children during this period. With their courage, self-sacrifice, and diligence, children are the future of Turkey, and that is why Halide Edip idealizes them and creates her own reality.

Dağa Çıkan Kurt’ta Savaş Çocukları ve Gerçeklik

Bahtiyar

Cemil Meriç, yirminci yüzyılda kaleme aldığı eserlerle Türk edebiyatı ve düşünce hayatında seçkin bir yer edinmiş isimlerden biridir. Meriç, hayatı boyunca kişisel/bireysel kimlik ve toplumsal kimlik sorununun muhatabı olmuş, bir yandan bireysel kimliğini oluştururken, yani “ben kimim?” sorusunun cevaplarını ararken, bir yandan da toplumsal kimliğin oluşumu için yani “biz kimiz?” sorusunun cevaplarını bulmak için adeta savaşmış bir Türk aydınıdır. Cemil Meriç, Dimetokalı bir ailenin çocuğu olarak 1916’da Reyhanlı’da dünyaya gelmiş, o dönemin demografik yapısının bir sonucu olarak dilini bilmediği, kendisine benzemeyen bir toplum içinde yaşamak zorunda kalmıştır. Buna, bölgenin kısa süre de olsa Fransız egemenliği altına girmesi ve bunun sonucu olarak eğitim dilinin Fransızca olmasını da eklersek, çocuk yaşta yabancılığın, yalnızlığın ve öteki olmanın sancılarıyla tanıştığını söylemek kaçınılmaz olacaktır. Esasen eserlerinde de sık sık bu gerçeğe vurgu yapar. Meriç’in kimlik arayışı daha o yaşlarda başlar. Cemil Meriç’in kimlik arayışı tek yönlü değildir. Adeta şartlar bu arayışın iki yönlü olmasını zorunlu kılmaktadır. Bireyin aynı zamanda toplumsal bir varlık oluşu gerçeğini de göz önünde bulundurarak söylemek gerekirse, o bir yandan bireysel kimliğini, bir yandan da toplumsal kimliğini aramak, oluşturmak hatta kurmak mecburiyetini erken yaşlardan itibaren yaşamaya başlamıştır. Meriç’in kimlik arayışı, hayatının neredeyse sonuna kadar devam eden bir süreci işaret eder. Başlarda kültürel birikim ve gençliğin bir sonucu olarak bu arayış içinde sağa sola savrulmuş, el yordamıyla yönünü bulmaya çalışmıştır. Bu arayışın ya da savruluşun ilk durağı Batı olmuştur. Meriç, okuduğu eserlerin de etkisiyle dikkatlerini –tabii Fransızcanın da etkisiyle- önce Batı ve Batı kavramının temsil ettiği değerlere çevirmiştir. Ancak Batı’yı ararken yine Batı’nın içinde Doğu ile karşılaşmış ve böylece öncelikle Hint edebiyatını keşfetmiştir. Xavier de Montepin’i, Alexandre Dumas’yı, Dostoyevski’yi, Victor Hugo’yu, Andre Gide’i, Chateaubriand’ı ve Balzac’ı okuyan yazar, Schopenhauer ile Schelling vasıtasıyla Hint edebiyatına, Vedalar Çağı’na yönelir. Bunun tam anlamı Doğu’yu Batı üzerinden tanımaktır. Meriç’in Doğu’yu Batı üzerinden tanımasının birden fazla anlamı vardır. Bunlardan biri rehbersiz oluşudur. İkincisi yaşadığı toplumun aydınının psikolojik durumudur. Tanzimat’tan beri Türk aydını, Batı’nın aydınlığında(!) gözleri kamaşmış bir haldedir ve ışığın şiddetinden(!) başka hiçbir şeyi görmesi mümkün değildir. Onun Hint edebiyatına büyük bir açlıkla eğilmesinin gerisinde de bütün Türk hatta Doğu’lu aydınların yaşadığı aşağılık psikolojisinden kurtulma sevinci vardır. Hint dünyasını keşfedince adeta bir rahatlama ve bir özgüven duygusuyla buluşmuştur. Artık kendi dünyasına, ait olduğu kıtaya daha bir saygı ve rahatlıkla bakabilecektir. Meriç, uzun yıllar boyunca büyük bir iştah ve hayranlıkla, kimi zamanda kompleksle düşüncesini ve edebiyatını incelediği Avrupa’nın karşısına koyabileceği bir şey bulmuştur. Bir süre Hint edebiyatı ve düşüncesinin etkisinde kalan yazar daha sonra bunun kendi kimlik arayışına bir çözüm olmadığının farkına varacaktır. Cemil Meriç, tıpkı Yahya Kemal ve aynı kaderi paylaşan diğer Türk aydınları gibi “eve&nbsp;dönen adam”dır. Bir Konya seyahati sırasında içinde yaşadığı ama fark etmediği bir dünyanın varlığını keşfeder. Bu sırada ilk defa kendi insanıyla temas eden yazar, bir anlamda milli kimliğin ve kültürün diriltici, yaşatıcı iksiriyle buluşur. Cemil Meriç, sonunda bir bakıma kaçtığı yere, evine, kendi kültürüne dönerek kimlik arayışını sonlandırmıştır. Yazarın bu arayışı ve yaşadığı bir süreç içinde bireysel ve toplumsal önermeler içermesi bakımından son derece önemlidir. Çünkü yazarın yaşadığı arayış süreci, hem bir aydının, hem de bir toplumun kimlik arayışına denk gelmektedir. Bir bakıma Meriç, bu arayış sürecini hem kendi, hem de toplumu adına yaşamıştır. Bu bakımdan geçirdiği süreçler ve vardığı nokta toplumsal kimlik arayışı için de bir çözüm önerisi niteliği taşımaktadır. Cemil Meriç’i edebiyatımız açısından önemli kılan hususlardan biri de bu kimlik arayışı sürecinde belirginleşir. Meriç, bu arayış boyunca sürekli edebi eserlere vurgu yapar, yazılarında sık sık onlara göndermelerde bulunur. Bunun bir anlamı da kimlik inşası ya da arayışı sürecinde edebi eserlerin önemli bir role sahip olmasıdır. Meriç, hemen bütün eserlerinde bu kimlik arayışı ve inşası sürecini konu edinmiştir. Bu süreci anlatırken ve gerçekleri dile getirirken kullandığı üslup, kendi neslini ve sonraki kuşakları çok ciddi bir şekilde etkilemiştir. Meriç, arayışıyla da, üslubuyla da başka kimseye benzemeyen bir düşünür ve edebiyatçıdır. Bu çalışma onun kimlik arayışını, bu arayışın duraklarını ve niteliğini tespit etmeyi amaçlamıştır.

Cemi̇l Meri̇ç’s Search of Personal and Social Identity

Prof.

This review article aims to reveal and correct the most significant shortcomings of Ekrem Gül‘s attempt to elucidate the etymological background of Turkish loda ‘haystack’ submitted in his recent contribution “On the Term Loda” (“Loda Sözcüğü Üzerine”). Obviously inspired by the entry loda ‘a heap of grain, wheat which after threshing has been prepared for winnowing’ in the Mamluk-Kipchak language guide Kitāb al-’Idrāk liLisān al-’Atrāk (H. 712/1313) our young colleague searched the Kipchak group for more evidence and stumbled in Armeno-Kipchak upon the noun lodâ ‘boat’. Immediately he argues that both, the haystack term and the boat name could be connected to each other. Against this view we can raise the following serious objections: A. Under semantical considerations a tie between both terms is more than unlikely (boat vs. haystack). B. Etymologically speaking, the boat name is a loan from Ukrainian lodd’a, lod’ja having together with their cognates in other Slavonic languages a clear Germanic background. This information already given by Aleksandr Garkavec in his Crimean-Tatar dictionary (Kypčakskij slovar’ po armjanopis’mennym pamjatnikam XVI-XVII vekov) is also attainable by consulting an Ukrainian or a Russian etymological dictionary. C. Under phonetically aspects loda and lodâ may at the first glance seem to be homophones. But as indicated by the circumflex upon the letter â the preceding consonant is palatalised, thus Crimean Tatar lodâ is exactly representing the term’s Ukrainian form lod(d)’a. As for the attestation in Kitāb al-’Idrāk li-Lisān al-’Atrāk we already showed in our first publication on loda that it does not belong to the work’s regular text, but appears only in the glosses of the manuscript Veli ed-Dīn 2896 held by the Beyazıt Library/Istanbul. The history of this manuscript is relatively unknown. So we cannot determine by which hand and when these additions were made. Since there is no further evidence for the haystack term in a Kiptchak tongue – nor in an old neither a modern one, it is most likely that loda has been added later by an Ottoman hand. Next point in our review is the evaluation of Ekrem Gül’s main theses claiming that loda ultimately goes back to lādan ‘la(b)danum’ which is the fragrant resin of the Rockrose species Cistus ladanifer (western Mediterranean) and Cistus creticus (eastern Mediterranean). Starting point of his discussion is the entry lād in Meninski’s Thesaurus linguarum orientalium Turcicae, Arabicae, Persicae: lād ‘incrustation, plastering of a wall, rows of bricks or turfs in a wall; soft, fine silk (esp. from Hormuz); a fragrant herb, ladanum’; etc. Ekrem Gül, unfortunately, misunderstood this entry entirely, among other things, supposing that the underlying etymon is a single one. Actually, however, we have here – as already indicated by the widely differing semantics – at least three etyma with an absolutely different background: 1. lād I ‘incrustation, wall’, etc. (from a form *lāta- &lt;&lt; Iranian *dāta-, PPP of *dā- ‘to erect, build’, etc.; for l-&lt;&nbsp;*d- cf. Scythian Παραλάται (Para-látay) : Avestian Paradāta- “der Vorangestellte” &lt; *para-dāta-, and in Persian namak-lān ‘salt warehouse’ vs. namak-dān ‘salt cellar or salt shaker’; *lā-na- &lt; *dā-na-= nomen loci, nomen instrumenti). 2. lād II ‘soft silk’ (for Arabic lāẕ, plural of lāẕat). 3. lād III ‘ladanum’ which is – according to Burhān-i qāṭi‘ (1652) – a shortened form of lādan. As such, it is used almost exclusively in the classical Persian poetry (for example in the 10th century by Kesā’i Marvazi; cf. Loġat-nāme-ye Dehḫodā). Not only under semantical (‘ladanum’ ≯ ‘haystack’), but also under phonetical considerations (lād ≯ loda) Bülent Gül’s etymological attempt is untenable.&nbsp;

Acemî Bir Loda Bilim ile Hayal Arasında Etimoloji, Ekrem Kardeşime Cevap

Hayati

Türkçede Yağmur Adları Üzerine

Demet

This study focuses on Occidentalism by discussing the relationship of the East and the West by comparing and questioning them both. The perception of the East and the West in Occidentalist thinking depends on the definition of Occidentalism being applied; different definitions have been developed to contribute to the understanding of the related discussion. It is claimed that there are two categories of Occidentalism, which dominate Occidentalist thinking and study. This claim was developed in two parts that represent the intellectual background and arguments about the basic features and issues of Occidentalism. The first part draws attention to the differentiation of the East and the West in the context of I–Other relationships as well as the differentiation of “I” from the “Other”. To that end, the idea of I–Other is examined through the concept of subject–object perception in relation to consciousness as well as self-consciousness, and the idea of conflict. In this regard, the continuum of recognition, comprehension, interpretation and establishment of the “I” as opposed to the “Other” is analyzed based on the concept of identity–difference. Beyond that, Occidentalism and Orientalism are addressed in the context of prejudices, assumptions, ideas, binary contrasts, information production, image and fiction of the phases of the East–West confrontation. It is shown that Occidentalism and Orientalism evaluate their subjects in similar ways, even though they have some distinguishing characteristics. In the second part, the discussion concerns the historical, political and social aspects of the relationship of the East and the West. Further, it is said that this relationship continues by producing identical patterns, and tend to define the difference of I–Other. Hereafter, various definitions of Occidentalism and the image of “I” and the “Other” which is presented using motion points, are channeled in two directions. By doing this, it will be claimed that the first of the two channels fictionalized the West to present the East and; the second fictionalized the East to present the West; additionally, these two categories of Occidentalism will be evaluated. It is said that the first category which keeps the East at the center as “I”, offers to redesign East–West relations. The East implements the West in the construction of “I” through the objectification of the West and thus the subjectification of the East as well as by claiming superiority and dominance over the West to strengthen “I”s identity over the “Other”. Having said that, the position of the Occidentalist understanding is assessed in the terms of colonial and post-colonial critics, ideological criticism regarding traditionalism and nationalist politics, state and non-state policies, modernization processes and criticism of modernism, and the changing power relations. The second category, which keeps the West at the center as “I”, also offers to focus on the identity of the West as “I” in the eyes of the East. Through this, it is said that the West is further strengthened in its identity The last part of this study emphasizes that the concept of the East and the West, which has been shaped by many essentializations in the historical process, tend to reduce the “Other”s diversity to preserve the sustainable state of otherness. So, the East and the West evaluate each other neither as a static viewer nor an objective observer. On the other hand, the study stresses the active/passive or subject/object role in “I” and the “Other”s construct, and they are not determined by definite limits. In the first approach, it is argued that the East has used contrasting powers of representation and functionalized the qualifications of the West by intending to approve the qualifications of “I”. On the contrary, the second approach functions as continuing Orientalism from a different perspective. Occidentalism is instrumentalized by struggling to control power within the society and to determine the power balance in inter-communal relations. This paper discusses the difficulty determining a definition of Occidentalism because of political and cultural influences. It is stressed that Occidentalism can be used as a framework for study of the East and the West if its coherent definition and boundaries are specified. For self-realization of “I” and the “Other”, the emphasis is placed on the necessity of approaching the “Other” as the subject, not as an object. At the same time, it is deemed necessary that comparative studies take into consideration the period and environmental differences. As a result, the study claims that one approach to Occidentalism that is influenced by Orientalism identifies the East to present, represent, and recognize the West; and the other approach identifies the West to present, represent and recognize the East.

Batı’yı Kurgulamak - Doğu’yu Sunmak, Doğu’yu Kurgulamak - Batı’yı Sunmak: Oksidentalizm’de Ben ve Öteki

Mehmet

In their field work conducted in 2010, 2011 and 2013 on a site in the vicinity of Tüvshinshiree county, Sükhbaatar region, Mongolian archeologists have discovered some stone blocks with inscriptions and tamgas graven on them. Two of these, whose total number is 14, bear inscriptions in runic characters, and remaining 12, tamgas. Although many are relatively small in size, there is also specimens four meters tall. They contain in total 72 lines, 3857 characters, 1193 words and more than 86 tamgas. The number of the characters used is 22. Considering that in the inscriptions of Bilge Kagan and Köl Tekin there are 38 characters, we see that 16 characters, being not needed, have not been used here. As for the tamgas, the one which figures an ibex is the most frequent, followed by another in form of triangle. This last (triangular) tamga, with a long line on the bottom, occurs also on the Tunyukuk inscription. No ligature is used in these inscriptions. Although we can count 1193 words in them, all are not different lexemes. On the whole 19 different words occur in the texts. Three of them are used a great many times, but remaining 16 occur one or a few times. The most frequent is e v i m e “O my house (tent, home)!”. This word occurs 949 times, b e g i m e 117 times, y ė r i m e 39 times. All texts are written in interjectional style like this. Without regard to the contexts in which they are used, here are the words found in these inscriptions:&nbsp;av “hunt, game” begime “o my lord!” bėrdime “to the pers. I have given (it)” or “to the thing I have given” eleŋime “o my calm one!” (?) er “man, soldier” evime “o my house (tent, home)! ėlime “o my country (state)!” ėtmiş “(he) has done, made” şig “(his) work” teŋrime “o my God!” trtme (?) ULGKA (?) UŞGA (?) üze “on, over, on top” yaġız “black, dark” yėrime “o my place (earth, territory)” yışka “to the forest” YKA (?) yok “inexistent, neant”This site of inscriptions, with its many stones marked by tamgas, the appealing or supplicating style of the texts, could have been a sacred place for the Ancient Turks. Surer knowledge on this subject will come from more detailed studies of ethnologists and archeologists. In this brief note I would rather deal with the form l 2 ŋmA that, in the works of Mönhtulga and Oosava published in 2015, has been read as elaŋıma and glosed as “hunt at state / countrywide”, and compare it with the verb ele - “to be attentive, or quiet, calm” which occurs very rarely in Old Uigur texts and today only in Kazakh (?), and its imperative form having also an interjectional sense. As a first idea, I think the comparison seems to suggest that this word (l 2 ŋmA) can be analysed morphologically as ele- “be attentif or quiet” + ŋ “2. pers. imperative”. The word nominalized and lexicalised thus (as *eleŋ) could have taken later the suffixes +m “1. pers. possessive” and +e “interjection”. As a second and final analyze, I like to take the base as eleŋ ‘liver’ → ‘dear, dearest’, eleŋime ‘o my dear’.&nbsp;

Moğolistan’da Yeni Bulunan Eski Türkçe ‘Dongoyn Şiree’ Yazıtları Üzerine Notlar

Gökçe

Ayyios Andronikos is a village located in the Carpass Peninsula, which lays to the northeast of the island of Cyprus and the closest town to the village is Yialousa / Yeni Erenköy, located three miles to the northeast. The village was an ethnically and religiously mixed settlement until the incidents of 1974. The Turkish population constituted slightly more than half of the population in the village with the percentage of 53% in the Ottoman census of 1831. However, the Turkish population displayed a steady decline after the British takeover of the island in 1878. In the census of 1891 they constituted 46% of the village population and 30% in the census of 1946. After the establishment of the Republic of Cyprus in 1960, the Turkish population of the village had recovered to some extent with the return of some of the Turks, who were displaced from the village during the communal clashes of 1958. The Turkish population suffered a second blow in the clashes of 1964. The Greek population of the village also suffered from the same circumstances, causing a migration to the United Kingdom. In fact the population as a whole of the village displayed a continuous decrease until 1974. The Greek Cypriots started fleeing to the south of the island after the operation of the Turkish army in 1974. However 560 Greeks remained in the village until the end of 1975, but the majority of the Greek villagers had left by the end of the following year. Nevertheless the Greeks were still represented in the village in 1980 with the population of ten individuals. The leaving Greek population was replaced by Turkish Cypriot families from the neighboring villages. Additionally settlers from Turkey, mainly from the provinces of Adana, Osmaniye, Ordu, Kars and Muş were settled to the village. The British professor of Islamic Studies, C. F. Beckingham, who visited the village in 1954, had claimed that the Muslim population of the village together with that of the neighboring villages of Avtepe / Ayyios Simeon and Kaleburnu / Galinoporni are descendants of Cypriots, who converted to Islam, rather than ethnic Turks, who settled to the island after the Ottoman conquest. The reason behind this claim is the fact that the Muslims of these three villages were Greek-speaking. Beckingham also put forth that the Muslims of the Greek-speaking villages were taught by Turkish teachers to be Turks and the Turkish language was taught to their children that is to say they were Turkified by the Turkish teachers. Indeed Turkish – Greek bilingualism or monolingualism in the Greek language was a common situation among the Turkish population of the island until the early 1950’s, when Turkish teachers were sent to villages. The Turkish language gradually has rooted out the Greek language among the Turkish Cypriot society all over the island by means of education. Greek Cypriot history writing represented by historians like Kyrris and Papadapoullos claim that Greek-speaking Muslims of the island descended from Cypriots, who converted to Islam after the Ottoman conquest. The Muslim cemetery of the village exposes some rather interesting data regarding the issue. The cemetery contains tombstones, which are in the shape of effigies (see&nbsp;Figures 1–8). Erecting effigies, which are generally called balbals, had been a long-lived practice among the peoples of Eurasia, particularly Turkic peoples (see Figures 11–19). In fact the statues, which are named balbals in general, consist of two different phenomena; one being human-shaped statues and the other balbals. First of all, they differ in shape from each other. Balbals are sculpted roughly and are in an oval or a foursquare shape, whereas human-shaped statutes resemble humans – hence the name. Human-shaped statues symbolize the deceased and are erected in order to eternalize the deceased. On the other hand balbals usually resemble enemies killed by the deceased and are erected in order to serve the deceased in the next world. Additionally human-shaped statues were respected as they were representing the ancestor cult. It could be easily seen that there is a great resemblance between the tombstones erected in the village cemetery and the Eurasian balbals. Clearly the tombstones found in the village cannot be related to the balbals of Eurasia, which resembles a killed enemy of the deceased. However, the case with the human-shaped statues is rather a different story. An examination of cemetery sites found in Turkey could be enlightening on the question of the origin of effigy-like tombstones found in the village of Yeşilköy / Ayyios Andronikos. Even a quick scan of the literature dealing with cemetery sites in Turkey reveals that effigylike tombstones are present all of over modern Turkey from the west of the country to the east. Çanakkale (see Figure 21), Denizli (see Figure 20), Tunceli (see Figure 22) and Kars (see Figure 23) are few of provinces, where similar tombstones are found in Turkey. Moreover, all of the mentioned literature chooses to name such tombstones as “balbals”. The ethnographic specimens present in the cemetery of the village of Yeşilköy / Ayyios Andronikos, seem to disprove that of C. F. Beckingham, who states that the Muslims of the village were descendants of Cypriots, who converted to Islam rather than that of Turks, who were settled to the island after the Ottoman conquest. It is seen that the tombstones found in the village are very similar to the ones found in various corners of modern Turkey, and these tombstones particularly carry Turkic - Eurasian features. In other words it is very clear that the tradition of erecting such tombstones is a one carried to Cyprus by Anatolian settlers. Therefore the historical linguistic situation of the village, which led Professor Beckingham, to the conclusion that Greek-speaking Muslim villagers were descendants of Cypriots, who converted to Islam, seems to be more of a result of sociolinguistic processes, which was effective in the rest of the island throughout the 19th and 20th centuries.

Aya Androniko’nun İslami Balbalları: Kıbrıs Yeşilköy’de Bulunan Bazı Mezar Taşları Üzerine Toplum-Dilbilimlik Düşünceler

Nuri

In the late nineteenth century, in addition to the scientific works of the Turkish language and the history, written by Ottoman writers, who were not Turks or Muslims in origin, certain strategic works were published. These works include, Şemseddin Sami’s Besâ Yahud Ahde Vefâ (an ethnocentric play), Wiesenthal’s Asya’da Çernayef ve Türk Kahramanlar, and a newspaper’s columnist Tercümân-ı Hakikat. These theatrical texts create a weird “Turkishness consciousness” by sanctifying the concept of “Türk.” Those nonTurkish Turkists, whose real aim was to make the nationalistic claims of their own nations and gain legitimacy, contined their ethnocentric activities in the formation of the empire and, acting as if they had only good intentions. However, they were setting the stage for a political movement, which could accelerate the decline of the Ottoman government and endanger the survival of the Turkish nation. Thus, those non-Turkish Turkists kept in check the Turkist movement, which had become a political current since the beginning of the twentieth century. This Turkish movement also steered the cultural and political policies of İttihat ve Terakki Fırkası to a large extent. Therefore, to the Turkish nation whom they had driven through the harrowing wars of Tripoli, the First and Second Balkan, to the threshold of destruction named Common War, at this very threshold-when we were apparently weak in terms of politics, economics, and military strength-, they strived to inculcate the political and utopic ideal called “Turan,” which describes the aim to gather all Turks in the world under a common flag. We encounter the first traces of that political and utopic ideal in the article titled as “Lisan-ı Türkî (Osmanî)” by Şemseddin Sami, who is recognized as a Turkish nationalist by the canonical Turkish discourse. Although it is against the laws of nature to describe Şemseddin Sami in terms of his contributions to Turkish language and Turkish culture, it is equally most natural for him to strive and make the Albanian nation to which he belonged both ethnically and culturally as well as gain an independence-oriented national conscience. In the same way, we encounter an ethnocentric discourse in the play, Besâ Yahud Ahde Vefâ, which has been supposed to be related only to the Albanian custom and ethics till date. Although Şemseddin Sami writes in the introduction to the play that the work means to describe “certain ethical features and customs of the Albanian people,” he has also constructed, under the superficial meaning of the play, a completely different subtext, aiming to inculcate a national consciousness in the Albanians. Thus, the love between Meruşe and Recep, in the construction of that subtext, transforms into an ideological phenomenon, implying the desire and search for a national independence as a natural&nbsp;right against the sovereign system. That desire and search, which will be interrupted by barriers both in the fields of theory and activity, will cause the Albanian nation to pay a heavy price. Demir Bey and his men, who represent the government as a social class and who are lazy soldiers in the eyes of Zübeyir, will not refrain from acts of injustice and tyranny to prevent these two lovers from getting married; in other words, the character’s actions also function to prevent the independence of Albania. Thus, when he is forced by Demir Bey to let Selfo, one of Demir Bey’s men, marry Meruşe, Zübeyir, states that no one could do things by way of threats any more thanks to Tanzimat-ı Hayriyye, and is forced to pay the price of this noncompliance with his life. Reading from the subtext of a national conscience, this individual dramatic rebellion transforms into a common revolt, and the Albanian people, finally, are to gain independence after an immensely dramatic and tragic struggle.&nbsp;

Şemseddin Sami’nin Besâ Yahud Ahde Vefâ Adlı Piyesinde Etnosentrik Söylem ya da Vatan Yahud Arnavutluk

Assoc. Prof.

As in other fields of fine arts, literature has always been associated with power. Over centuries, Turkish poets established poetical relations with the then-rulers, the sultans, and the high-ranking statesmen, many times in praise of them and occasionally in creating satire about them. Since the beginning of the westernization period, that is, since the gradual decline of the central authority, after the demise of the empire and the establishment of the nation-state, these relations acquired completely new and different dimensions. Yahya Kemal was born during the reign of Abdulhamid II, and lived through the Constitution and the National Struggle. An important subject of current debate is the relationship of power and state with Yahya Kemal, who witnessed the establishment of the Republic. Some poets, researchers, and literary historians have heard quite speculative opinions about Yahya Kemal’s attitudes toward political power. In this article, we critique previous comments and evaluations, and we impartially examine the poet’s position in relation to state and politics. By Ece Ayhan’s description, Yahya Kemal “stood like a stone.” After the declaration of the Republic, he embraced the language he had blessed as “mother’s milk in my mouth.” He encouraged the adoption of the civilization’s language without submitting to any modalism, singularity, or insistence. Yahya Kemal neither supported the Constitutional Revolution nor the National Literature, especially that of Ziya Gökalp, in the language. He did not force Turks in Central Asia to use it, nor did he insist on the simplification which is a consequence of the Turkish language’s natural structure. He noticed that the words are not etymologically derived from the root, but rather an expression and product of the nation, and of civilization. To be objective, let us emphasize that Yahya Kemal lived in fear of being called conservative. In fact, he did not publish his gazel “Söz Meydanı” for Hz. Muhammad with this title. That is, he did not show a hard, radical opposition during the years when very serious changes and transformations took place in Turkey. But it should not be forgotten that Yahya Kemal’s thought and aesthetics were never involved in actual politics; he preferred to dissolve his ideas and acceptances within the mood of his art. Secondly, the appointment of Yahya Kemal as deputy and ambassador should be seen as an honorable state obligation. It is obvious that it is not appropriate for a poet to describe himself as a “poet of the state” in a negative way because of his duty to the state. In addition, the concept of the state was very difficult to communicate. Ece Ayhan, a graduate of the Faculty of Political Sciences, always criticizes the state in a negative way, and is regarded as the guardian of the order. This has never been applied in a negative sense about the works of Yahya Kemal, because he understands the state and knows that to lose it would mean disaster. Yahya Kemal, who accuses some poets and critics of being “Ottoman lovers,” “enemies of the Republic,” and even some of them “poets of the republican regime,” represents neither the epicenter of Ottoman history nor the Republican enemy. Yahya Kemal is a neo-classical person who knows that it is not possible to understand today and the future by denying history. He is trying to seek the correct sources of Turkish nationality and civilization on the verge of the 20th century. The works of Yahya Kemal are not related to the current policy of Turkey, which has experienced very rapid changes during the first half of the 20th century. These artifacts are the aesthetic interpretation of the foundations of a civilization that has dominated various parts of the world since 1071, and that has left deep traces in science, art, and culture. In fact, as with many intellectuals of the time, and necessarily in various units of the state, Yahya Kemal did not give his art or his thought to the emancipation of politics or politicians. He did not contribute poetry of straight and hard political ideas or philosophies. Moreover, Yahya Kemal opposed his understanding of art being expressed in the work as if it is concrete reality. Yahya Kemal’s poems are based on an aesthetic interpretation of reality, not concrete reality. It may contain words or concepts used by Yahya Kemal’s art, politics, or government, but these words and concepts lose their everyday and political meanings in his poetry. These words and concepts are a matter of history of civilization and culture. In light of all these comments and information, we have tried to evaluate Yahya Kemal’s interpretations of relation to “power” and reveal the aspects of the subject that have not been discussed before.&nbsp;

“Ne Müsâvâtı Ne Hürriyeti Ver” Yahya Kemal ve İktidar

Özcan

Saidbek

This work, the full name of which is Al-Mavahibu’l-Aliyya Fi Tafsiri’l-Kalami’r-Rabbaniyya, is also well-known with the names of Mavahib-i Aliyya and Tafsir-i Husayni. It was written in Persian by Husayn Vaiz Kashifi in the late XVth century. Husayn Vaiz Kashifi, as he did with some of his other works, dedicated the tafsir of Mavahib-i Aliyya to Ali Shir Navai, one of the most important personalities of the Eastern literature. After the acceptance of Islam by Turks, the need for translations and tafsir of the Qur’an increased so that the Turkish works of this kind multiplied. Some of the Qur’an translations and tafsirs of Turkish are copyrighted works while some others are translated works. Translated works are generally translated from Persian to Turkic. Mavahib-i Aliyya also was translated from Persian into Chagatai Turkic in the middle of the XVIth century by an unknown translator. This article has been prepared from the doctoral thesis. Firstly it was detected in the doctoral thesis,the work, which is well known as the Chagatai Koran Tafsir, and has two copies in Topkapi Palace Museum and Konya Karatay Yusuf Aga Library, is actually a translation of the work Mavahib-i Aliyya, written in Persian. Moreover, the Chagatai and Persian tafsir were compared with each other, and the third copy of Mavahib-i Aliyya was identified in Tashkent after the research that was conducted in the copies of Mavahib-i Aliyya. It is known in history that the first translation of the Qur’an was made into Persian. In some sources, it is stated that some of the surahs were translated to Persian while Prophet Muhammad was alive. According to many historical sources, the first Persian translation was made in the late Xth century. At the time of Abu Salih Mansur bin Nuh (961–976), who was the Samanid ruler, it was translated into Persian by taking the example of Tabari’s tafsir. The translations of the Qur’an in Turkish also date back to history. According to historians, the first Turkish translation was made in the X–XIth century. Eleven translations of the Qur’an intoEastern Turkic written in XII–XVIth centuries are known. These translations are structured in two ways. Translations made in the form of word–word translation are called interlinear Qur’anic translations. If there are examples from other works, examples from hadiths and exegetical explanations of the translated part after the Turkish translation, these types of works are called tafsirs. The eleven Eastern Turkic translations are as follows:1. Turkish and Islamic Arts Museum Copy 2. Suleymaniye Copy written in Khwarazm Turkic 3. Suleymaniye Copy with mixed language translation 239 Tabaklar Ö, Boltabayev S Türk Dili ve Edebiyatı Dergisi, Cilt: 57, Sayı: 57, 2017 4. Rylands Copy 5. Uzbekistan Copy 6. Anonymous Tafsir 7. Interpretive Mashhad Copy 8. Interliner Mashhad Copy 9. Bilingual Interliner Mashhad Copy 10. Translation of Tafsir-i Yakub Charhi 11. Translation of Mavahib-i AliyyaThe work, which we studied as a doctoral thesis, is called the Anonymous Tafsir in Chagatai. However, it was determined in the doctoral thesis, that the work is the Chagatai translation of Mevahib-i Aliyya, also called Tafsir-i Husayni, is written in Persian. The oldest known copy of the translation of tafsir is in Topkapi Palace Museum Library, Ahmet III Section at number 16. The second copy of the work is preserved in Konya Karatay Yusuf Aga Library (Archive number 42 YU 6624). Articles were written by scientists at various times on the work, and the doctoral thesis and master’s theses were prepared. On the 184a page of the work there is translation of Surah Tawba. While translating the phrase “ ” it is written as: ( nesezed ve revā bolmaġay müşrikìn müşriklerge). Afterwords the word “ ” was corrected as (oḫşamas). The word “ ” is a negative conjugation of the Persian verb “ ” (3rd person singular). Except for this, the characteristics of the Persian language are clearly identified in the work. Therefore, it is highly probable that the work has been translated from Persian. It has been proved that the work is a translation of Mavahib-i Aliyya by showing the comparison of Surah al-Fatihah, the comparison of the story in Surah Yusuf, and the comparison of personal names and poems in the work.&nbsp;

Çağatayca Mevahib-i Aliyye (Tefsir-i Hüseynî) Tercümesi

Feryal

Berker

Soğd Ses Sistemi ve Uygur Alfabesinin Kökeni

Turgay Sebzecioğlu, Dilbilim Kavramlarıyla Türkçe Dilbilgisi, Kesit Yayınları, İstanbul 2016, 438 s. ISBN: 978-605- 9408-13-4 (Tanıtma)

Ömer

Uğur Gürsu, Kazak Atasözleri, Türk Dil Kurumu Yayınları, Ankara 2017, 1175 s. ISBN: 978-975-16-3330-9 (Tanıtma)

Ümran

Ahmet Bican Ercilasun, Türk Kağanlığı ve Türk Bengü Taşları, Dergâh Yayınları, İstanbul 2016, 757 s. ISBN: 978-975-995-781-0 (Tanıtma)

Mizan

Bir Ömür Türkoloji... Prof. Dr. Semih Tezcan Anısına

YAZI KURULU KARARI

Hatice

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

Uygur Sivil Belgelerinde Geçen Ançaşi Ünvanı Üzerine

Muhammed

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

Muğlak Anlatım Üslubuyla Yazılmış İki Manzum Fetihname Örneği

Assist. Prof. Dr.

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

Kırım Hanlığı’nda Diplomatika Geleneği ve Gelişimi

Merve

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

Güzide Sabri’nin İlk Dönem Romanlarında Melankolinin Psikanalitik İncelemesi

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

Ben Ölürken: Deniz Gezgin’in YerKuşAğı’nda Bir Oluş Çabası Olarak Ölüş

Samet

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

Nehcü’l-Ferâdîs Üzerine Okuma ve Anlamlandırma Önerileri

Züleyha

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

Bir Kardeş için Ağıt: Hâsim ve Köprülüzâde Numan Paşa Mersiyesi

Ebuzer

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

Tanzimat Devri’nde Edebiyat ve Siyaset: İbrahim Şinasi ve Sultan Abdülmecid Arasındaki Münasebetler

Bünyamin

Assoc. Prof. Dr.

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

Divan Şiirinde Müstakil Bir Tür Olarak Hüsniyyât veya Hasen Şiir

Deniz Dilşad

Eshabil

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

Türk Kültür ve Edebiyat Dizgesinde Giacomo Leopardi: Osmanlı Türkçesinde All’Italia ve A Se Stesso Başlıklı Şiirleri

Sema

Ezgi

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

Türklerin Dinî Terim Oluşturma Yöntemleri: TİEM 73 ve Özbek Türkçesi Kur’an Tefsiri Örnekleri

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Engin

Emre

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

Kutadgu Bilig’de Kılık ve Kılınç Sözlerinin Kullanım Özellikleri Üzerine

Halim

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

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)

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

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.

Prof. Dr.

Şerif

Index Islamicus

MLA International Bibliography

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

Gale Cengage

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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) Gale Cengage *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.Geri ÇekmeDergi geri çekme durumunda <a href="https://publicationethics.org/sites/default/files/retraction-guidelines-cope.pdf" target="_blank">COPE Retraction Guidelines</a>’ı izler. Editör, aşağıdaki durumlarda bir makaleyi geri çekme hakkına sahiptir: <ul><li>Büyük bir hata (örn. yanlış hesaplama veya deneysel hata), uydurma öğeler  (örn. veri) veya tahrifat (örn. görüntü manipülasyonu) gibi bulguların güvenilmez olduğu sonucunu çıkarmaya dair açık kanıtlar varsa; </li><li>İçerikte intihal varsa; </li><li>Uygun atıf yapılmadan başka bir yerde yayınlanmışsa;</li><li>Kullanım izni olmayan materyal veya veri içeriyorsa;</li><li>Telif hakkı ihlali veya başka bir ciddi yasal sorun varsa;</li><li>Etik olmayan araştırma içeriyorsa; </li><li>Hakem değerlendirme sürecinin bozulduğuna veya manipüle edildiğine dair kanıt varsa;</li><li>Yazar(lar), editörün görüşüne göre, çalışmanın yorumlanmasını veya editörlerin ve hakemlerin tavsiyelerini önemli derecede etkileyebilecek, kritik bir çıkar çatışmasını açıklamamış ise.</li></ul>Geri çekme durumunda aşağıdaki adımlar izlenir:<ul><li>Makale başlığını da içeren geri çekme bildirimi derginin bir sonraki sayısında yayınlanır. Geri çekme bildirimi  içindekiler tablosunda sayfa nosu verilerek listelenir. </li><li>Elektronik versiyonda geri çekme bildirimi ile orijinal makale arasında link sağlanır. </li><li>Online makaleden önce geri çekme bildirimini içeren sayfa gelir; okuyucu daha sonra makalenin kendisine geçebilir.</li><li>Orijinal makale, her sayfadaki .pdf üzerinde “geri çekildiğini” belirten bir filigran dışında değişmeden kalır.</li></ul>Yasal Nedenlerle Makalenin KaldırılmasıAşağıdaki durumlarda, üst veriler (başlık ve yazarlar) hariç olmak üzere, makale metni kaldırılır ve makalenin yasal nedenlerle kaldırıldığını bildiren bir sayfa makalenin yerini alır. <ul><li>Makalenin karalayıcı içerik ihtiva ettiği veya başkalarının yasal haklarını ihlal ettiği tespit edilir ve geri çekmenin yeterli bir çözüm olmadığı düşünülürse;</li><li>Makale bir mahkeme kararına konu olmuşsa veya olacağına dair makul bir neden varsa;</li><li>Kamu sağlığı açısından önemli bir risk söz konusu ise;  </li></ul>

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.1. Makaleler Times New Roman (özel yazı fontları kısmî olmak kaydıyla kullanılabilir) yazı karakterinde, 12 punto ve 1,5 satır aralığıyla yazılmalıdır.2. Yazılarda büyük harflerle yazılmış olan Türkçe başlığın (14 punto) hemen altında yine büyük harflerle yazılmış İngilizce başlık (10 punto) yer almalıdır.3. 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.4. 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.)5. Yazılarda ve kısaltmalarda Türk Dil Kurumunun Yazım Kılavuzu’na uyulmalıdır.6. 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.7. Çeviri (tercüme) gönderenler, orijinal metnin bir örneğini ve bibliyografik künyesini de dergiye iletmelidir.8. Yayınlanmak üzere gönderilen makale ile birlikte yazar bilgilerini içeren kapak sayfası 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).9. 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.10. Yayın Kurulu ve hakem raporları doğrultusunda yazarlardan metin üzerinde bazı düzeltmeler yapmaları istenebilir.11. Dergiye gönderilen çalışmalar yayınlansın veya yayınlanmasın geri gönderilmez.Makale ana metin dosyasında hiçbir surette yazarın kimliğine dair herhangi bir veri bulunmamalıdır. Anonimliğin sağlanmadığı makaleler, doğrudan iade edilir12. TUDED’e gönderilen makale taslaklarının dergi yazım kurallarına uygun hazırlanmaması, doğrudan ret gerekçesidir.13. TUDED, yazarlar ve diğer ilgililerle e-posta veya dergi otomasyon sistemindeki mesajlaşma modülü aracılığıyla iletişim kurar. <a href="mailto:tuded@istanbul.edu.tr" target="_blank">tuded@istanbul.edu.tr</a> dışındaki adreslere gönderilen e-postalar dikkate alınmayacaktır.

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 Chicago atıf sistemine 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>

Makalenin değerlendirme süreci tamamlandıktan sonra yayın aşamasına alınması için İngilizce dil kalitesinin yeterli olması, ana dili İngilizce olmayan yazarlar tarafından bunun bir sertifika ile belgelenmesi gerekmektedir. Ana dili İngilizce olan ya da İngilizceye hakimiyeti olan yazarlar için sertifika opsiyoneldir. Aşağıda dil kontrolü konusunda örnek teşkil eden bazı hizmet sağlayıcılar belirtilmiştir; bu liste ile sınırlı olmamakla birlikte dil sertifikasının profesyonel ve dil kontrolünde kalite standardı olan bir servis sağlayıcıdan alınması beklenmektedir. Makale yayına kabul edildiği takdirde editörlerimizden de bu konuda bilgi alabilirsiniz.AJE<a href="https://www.aje.com/" target="_blank">https://www.aje.com/</a>  Best Edit &amp; Proof<a href="https://besteditproof.com/tr" target="_blank">https://besteditproof.com/tr</a>Editage<a href="https://www.editage.com/tr/editing-services/manuscript-editing.html" target="_blank">https://www.editage.com/tr/editing-services/manuscript-editing.html</a>Ejear Editing<a href="https://ejearedit.com/en/about/certificate.html" target="_blank">https://ejearedit.com/en/about/certificate.html</a>Enago<a href="https://www.enago.com.tr/" target="_blank">https://www.enago.com.tr/</a>English Go<a href="https://englishgo.net/services/english-editing/" target="_blank">https://englishgo.net/services/english-editing/</a>First Editing<a href="https://www.firstediting.com/technical-editing-services/" target="_blank">https://www.firstediting.com/technical-editing-services/</a>Kalite Akademik Tercüme<a href="https://kaliteakademik.com/en/native-speaker-editing.html" target="_blank">https://kaliteakademik.com/en/native-speaker-editing.html</a>PaperTrue<a href="https://www.papertrue.com/" target="_blank">https://www.papertrue.com/</a>Proofo<a href="https://proofo.net/" target="_blank">https://proofo.net/</a>Proof-Reading-Service<a href="https://www.proof-reading-service.com/" target="_blank">https://www.proof-reading-service.com</a>Scribbr<a href="https://www.scribbr.com/proofreading-editing/academic/" target="_blank">https://www.scribbr.com/proofreading-editing/academic/</a>Wordvice<a href="https://wordvice.com.tr/editing-journal-manuscripts/" target="_blank">https://wordvice.com.tr/editing-journal-manuscripts/</a>

Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, Chicago atıf sisteminin son sürümünü (halihazırda 18. sürüm) benimser. Ayrıntılar için The Chicago Manual of Style hızlı atıf ve kaynakça hazırlama rehberini inceleyebilirsiniz:<a href="https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html" target="_blank">https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html</a>Atıflar ve açıklamalar yalnızca sayfa altında, dipnotlarda gösterilmelidir. Lütfen parantez-not, metin içi atıf kullanmayın.Kaynakların doğruluğundan yazar(lar) sorumludur. Tüm kaynaklar metinde belirtilmelidir. Kitap ve dergi adları italik yazılmalıdır. Aşağıda örnek atıflar ve künyeler yer almaktadır: KİTAPDipnot (Kaynağa yapılan ilk atıfta)1. Zeynep Korkmaz, Türkiye Türkçesi Grameri Şekil Bilgisi (Türk Dil Kurumu Yayınları, 2017), 10.2. Mustafa Argunşah ve Galip Güner, Codex Cumanicus (Türk Dil Kurumu Yayınları, 2022), 392.Kısaltılmış dipnot (Kaynağa tekrar atıf yapıldığında)1. Argunşah ve Güner, Codex Cumanicus, 190.2. Korkmaz, Türkiye Türkçesi Grameri Şekil Bilgisi, 110.Kaynakçada verilecek künye (Kaynaklar soyada göre alfabetik sıralanır)1. Argunşah, Mustafa ve Galip Güner. Codex Cumanicus. Türk Dil Kurumu Yayınları, 2022.2. Korkmaz, Zeynep. Türkiye Türkçesi Grameri Şekil Bilgisi. Türk Dil Kurumu Yayınları, 2017.ÇEVİRİ KİTAPDipnot (Kaynağa yapılan ilk atıfta)Frank Robert Palmer, Semantik: Yeni Bir Anlambilim Projesi, çev. Ramazan Ertürk (Fol Kitap, 2020), 35. Kısaltılmış dipnot (Kaynağa tekrar atıf yapıldığında)Palmer, Semantik, 23.Kaynakçada verilecek künye (Kaynaklar soyada göre alfabetik sıralanır)Palmer, Frank Robert. Semantik: Yeni Bir Anlambilim Projesi. çev. Ramazan Ertürk. Fol Kitap, 2020. KİTAP BÖLÜMÜ VE DİĞER KISIMLARDipnot (Kaynağa yapılan ilk atıfta)Fikret Turan, “Türk Dili Tarihçiliği Bağlamında Julius von Klaproth’un Uygurca ve Uygur Yazısı Üzerine Çalışmaları”, Doğumunun 80. Yılında Prof. Dr. Ahmet Bican Ercilasun Armağanı içinde, ed.  Leylâ Karahan ve Hüseyin Yıldız, (Türk Dil Kurumu Yayınları, 2023), 983.Kısaltılmış dipnot (Kaynağa tekrar atıf yapıldığında)Turan, “Türk Dili Tarihçiliği Bağlamında Julius von Klaproth’un Uygurca ve Uygur Yazısı Üzerine Çalışmaları”, 984.Kaynakçada verilecek künye (Kaynaklar soyada göre alfabetik sıralanır)Turan, Fikret.  “Türk Dili Tarihçiliği Bağlamında Julius von Klaproth’un Uygurca ve Uygur Yazısı Üzerine Çalışmaları”. Doğumunun 80. Yılında Prof. Dr. Ahmet Bican Ercilasun Armağanı içinde, ed.  Leylâ Karahan ve Hüseyin Yıldız. Türk Dil Kurumu Yayınları, 2023.MAKALEDipnot (Kaynağa yapılan ilk atıfta)1. Ali Şükrü Çoruk, “Yahya Kemal’in Kitaplarında Yer Almayan Bazı Yazıları”, Türk Dili ve Edebiyatı Dergisi 58, no. 2 (2018): 358. [Not: Künyedeki 58 cilt, 2 ise derginin sayı numarasını işaret eder. Derginin cilt numarası yoksa ilgili kısıma herhangi bir rakam girilmez.]2. M. Fatih Köksal ve Rıfat Kütük, “Vesîletü’n-Necât’ın En Eski Nüshası ve Süleyman Çelebi’nin Bilinmeyen Şiirleri”, Divan Edebiyatı Araştırmaları Dergisi 28, no. 28 (2022): 395.Kısaltılmış dipnot (Kaynağa tekrar atıf yapıldığında)1. Çoruk, “Yahya Kemal’in Kitaplarında Yer Almayan Bazı Yazıları,” 360.2. Köksal ve Kütük, “, “Vesîletü’n-Necât’ın En Eski Nüshası,” 402. Kaynakçada verilecek künye (Kaynaklar soyada göre alfabetik sıralanır)1. Çoruk, Ali Şükrü.  “Yahya Kemal’in Kitaplarında Yer Almayan Bazı Yazıları”, Türk Dili ve Edebiyatı Dergisi 58, no. 2 (2018): 345-373. https://doi.org/<a href="http://dx.doi.org/10.26650/TUDED496219" target="_blank">10.26650/TUDED496219</a>   2. Köksal, M. Fatih ve Rıfat Kütük. “Vesîletü’n-Necât’ın En Eski Nüshası ve Süleyman Çelebi’nin Bilinmeyen Şiirleri”. Divan Edebiyatı Araştırmaları Dergisi 28, no. 28 (2022): 393-430. <a href="https://dergipark.org.tr/tr/download/article-file/3169793">https://dergipark.org.tr/tr/download/article-file/3169793</a>KİTAP TANITIMIDipnot (Kaynağa yapılan ilk atıfta)Hakan Erdem, “Şikârî'nin Avları,” Karamannâme üzerine değerlendirme, Şikârî, Karar Gazetesi, 24 Ekim, 2018.Kısaltılmış Dipnot (Kaynağa tekrar atıf yapıldığında)Erdem, “Şikârî'nin Avları.”Kaynakçada verilecek künye (Kaynaklar soyada göre alfabetik sıralanır)Erdem, Hakan. Şikârî'nin Avları.” Karamannâme Üzerine Değerlendirme, Şikârî, Karar Gazetesi, 24 Ekim, 2018.TEZLERDipnot (Kaynağa yapılan ilk atıfta)Fatos Dibra, “19. yüzyılda Arnavutluk'ta Kullanılmış Türkçe Üzerine Bir Dil İncelemesi: Güney Arnavutluk’ta Kaleme Alınmış Yunan Harfli Türkçe Bektaşi Cönkleri” (Doktora tezi, İstanbul Üniversitesi, 2021), 67, Ulusal Tez Merkezi (663190).Kısaltılmış Dipnot (Kaynağa tekrar atıf yapıldığında)Dibra, “Yunan Harfli Türkçe Bektaşi Cönkleri,” 80.Kaynakçada verilecek künye (Kaynaklar soyada göre alfabetik sıralanır)Dibra, Fatos.  “19. yüzyılda Arnavutluk'ta Kullanılmış Türkçe Üzerine Bir Dil İncelemesi: Güney Arnavutluk'ta Kaleme Alınmış Yunan Harfli Türkçe Bektaşi Cönkleri.” Doktora tezi, İstanbul Üniversitesi, 2021.  Ulusal Tez Merkezi (663190).ANSİKLOPEDİ MADDESİDipnot (Kaynağa yapılan ilk atıfta)Zeynep Tarım Ertuğ, “Hünernâme,” Türkiye Diyanet Vakfı İslam Ansiklopedisi 18, (Türkiye Diyanet Vakfı Yayınları, 1998), 485. Kısaltılmış Dipnot (Kaynağa tekrar atıf yapıldığında)Tarım Ertuğ, “Hünernâme,” 484.Kaynakçada verilecek künye (Kaynaklar soyada göre alfabetik sıralanır)Tarım Ertuğ, Zeynep. “Hünernâme,” Türkiye Diyanet Vakfı İslam Ansiklopedisi. 18: 484-485. Türkiye Diyanet Vakfı Yayınları, 1998.WEB SAYFASIDipnot (Kaynağa yapılan ilk atıfta)“Araştırma: Uluslararası Projeler Ofisi,” İstanbul Üniversitesi, erişim 30 Aralık, 2024, https://upo.istanbul.edu.tr/tr/Kısaltılmış dipnot (Kaynağa tekrar atıf yapıldığında)İstanbul Üniversitesi “Uluslararası Projeler Ofisi”Kaynakçada verilecek künye (Kaynaklar soyada göre alfabetik sıralanır)İstanbul Üniversitesi. “Araştırma: Uluslararası Projeler Ofisi.” Erişim 30 Aralık, 2024, https://upo.istanbul.edu.tr/tr/.***DİĞER AYRINTILAR İÇİN: <a href="https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html" target="_blank">https://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html</a>

<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)

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