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 Adivar’s First Novel Attempt: 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.

Between the Two Commentaries: A Comparative Glance at the Commentation Techniques of Sûdî And Şem’î’s Commentaries on Bostân

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).

Sound Symbolism and an Attempt on A Different Classification of Sound-Meaning Relationship

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.

Children of War And Realism in Dağa Çıkan Kurt

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.

Cemil Meriç’in Kişisel ve Sosyal Kimlik Arayışı

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;

A Poor Haystack (Loda) Etymology Between Scholarship and Imagination, An Answer to My Young Colleague Ekrem Gül

Hayati

On Names of Rain in Turkish

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.

To Fictionalize the West is to Present the East, and to Fictionalize the East is to Present the West: “I” And “Other” in Occidentalism

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;

Notes on Old Turkic ‘Dongoin Shiree’ Inscriptions Newly Discovered at Mongolia

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.

The Islamic Balbals of Ayyios Andronikos: Sociolinguistic Notes on Some Tombstones Found in Yeşilköy / Cyprus

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;

Ethnocentrıc Discourse in Şemseddin Sami’s Play Titled as Besâ Yahud Ahde Vefâ, or Homeland or Albania

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;

“Grant Neither Equality Nor Freedom” Yahya Kemal and Power

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;

Translation of Mavahib-i Aliyya in Chagatai (Tafsir-i Husayni)

Feryal

Berker

The Sogdian Sound-System and the Origins of the Uyghur Script

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

Assoc. Prof. Dr.

One of the functions of folk songs that can shape one’s individual and social life is to produce indicators that point to members of the same culture and express the common meaning that is attributed. Based on the indicators created based on experiences rather than fiction, it is understood that in folk songs, the subjects are not the ones who are acted upon, but individuals who act upon life. Another function of folk songs, which convey people and events that have a place in life through language, is to carry material to the field of social history. Rumelian folk songs, which enable the formation of a common cultural memory tahat provide historical material, are an important data source for researching the effects of historical events on society and social life. Rumelian folk songs, that ensure past values are continued with by reminding society of its past, are witnesses of the common past with the Balkans and at the same time, are memory transmitters. For this reason, establish the discourse universe of Rumelian folk songs, to determine the purposes of creating them and to elucidate the functions they serve, “speech act theory”, a sub/field of pragmatics, was decided as the method for this study. The theory of speech acts, which is based on the distinction between meaning and usage, is generally evaluated as “a set of concepts that mean that making a sentence or constructing a fact requires doing something under certain conditions.” For example, declaring a couple as husband and wife, convicting someone, taking an oath, or making a claim, among other examples, in addition to the statement, also express the existence of performative power and the occurrence of an action. Furtmore, it is possible that the performative power of language that emerges from use gains meaning from the convention in society, but and is not independent of society. To reveal communication intentions within this concept based on convention, Searle categorizes grammatical elements that have meaning. Therefore, grammatical elements are included in the theory as the “smallest meaningful unit and the smallest sign”. Searle describes these elements as “rules that enable us to move from a crude phenomenon such as making some sounds to an institutional phenomenon by performing acts specific to human communication”. Searle also divides illocutionary acts into five components: People tell how things are with “definitive” expressions, they try to make others act with “directive” expressions, they impose responsibility to act with “prescriptive” expressions, they express their feelings and attitudes with “expressive” expressions,and they bring about changes in the world with “declarations”. Language users benefit from typological and psychological competence levels in addition to pragmatic competence in their communication preferences. For this reason, variables such as power, social distance, social conditions, hierarchy, and emotional state among other examples are also in question, which determine the preferred illocutionary words. Rumelian folk songs, which can reflect social and individual variables and are a cultural element, were the source of this study. For this reason, we assumed that Rumelian folk songs reflect many acts that take place in life as a transmission element; folk songs have been evaluated as illocutionary words and subjected to Searle’s classification. In this direction, certainty in folk songs were provided by referring to a concrete and natural reality, confirming the thought by asking questions, using words that express certainty, and by reminding social and religious rules. Thus, the illocutionary power of the definitive illocutionary words in folk songs was established from the world to the word, and the cultural transmission of folk songs has been supported. Directive illocutions in Rumelian folk songs are formed around the desire to reunite individuals with their beloved and their homeland. When Rumelian folk songs are examined in terms of prescriptive illocutions, sometimes the speaker demands responsibility with the desire to reunite with a beloved. Sometimes the speaker sees the reason for not being able to reunite with their beloved as others or due to fate and transfers the responsibility to other facts or subjects. Expressive illocutionary acts are formed around longing for the beloved and the homeland, and statements are formed around the beloved who they indeed reunited with or not. This situation implies that folk songs provide sociological and psychological data about the past in addition to cultural transmission. In line with the obtained findings, it is possible that Rumelian folk songs create an institutional phenomenon because they reflect cultural reality. Rumelian folk songs turn into perlocution and carry performative purposes such as the addressee coding their feelings of longing and yearning stemming from not being able to reunite with their beloved and their homeland and conveying social and religious rules.

Rumeli Türkülerinin Edimsözleri

Serdar

Kazakçada Akrabalık Bildiren anа ~ ene ve apa ~ aba Kelimelerinin Tarihî ve Modern Türk Lehçelerindeki Kullanımı Üzerine Bir İnceleme

Gizem

Assist. Prof. Dr.

The smallest meaningful unit in a language is termed a morpheme. Morphemes that cannot stand alone are called affixes or bound morphemes, while those that can function independetly are free morphemes. Unique morphemes, in contrast, occur only once or in a few instances within a language. For instance, the Turkish word yağmur is formed by adding the suffix -mur to the verb yağ-; however, the suffix -mur does not appear in other words. Similarly, belli is derived using the suffix +li, but there is no independent word bel in Turkish that establishes a semantic connection. Thus, unique morphemes in Turkish can exist as both suffixes and roots that cannot appear independently.Uzun et al. identified 22 monosyllabic morphemes that occur only once in their study on unique derivational suffixes of Turkish. Çolak analysed the words that have largely fallen out of use in standard Turkish and persist only in stereotyped phrases, listing a total of 212 words. Bacanlı and Tokuç proposed that cranberry morphemes may also be found in words derived with meaningful suffixes and suggested eight criteria for identifying them. Yıkılmaz examined clinging words and suffixes, also discussing their retention mechanisms. Yenice identified fossilised noun and verb bases in 31 derived Turkish words.Previous studies have generally focused on roots that cannot stand alone in standard Turkish or on words that once had independent usage but are now confined to fixed expressions.This study examines unique derivational suffixes in Divânu Lûgâti't-Türk, analysing their semantic and structural effects on noun and verb bases. The editions of Divânu Lûgâti't-Türk by Dankoff-Kelly, Atalay, Ercilasun-Akkoyunlu and Kaçalin were comparatively analysed, alongside the morphological studies of Bilgen, Nalbant, and Herkmen. Researchers' opinions regarding these suffixes, as obtained from the etymological dictionaries, grammar books, and articles, are included, along with discussions on their etymological structures and the words they modify. The semantic and structural changes that these suffixes cause in the noun and verb bases to which they are added are also emphasised.The data obtained in this study were categorised and analysed as follows: 1. Unique derivational suffixes for the noun bases: +gut, +ŋku, +nti, +zan, +pi 2. Unique derivational suffixes for the verb bases: -am, -at, -dak, -es, -gas, -kuy, -sin, -la-, and -sir-.Written in the 11th century by Kashgarlı Mahmud, Divânu Lûgâti't-Türk is the first known dictionary of Turkic languages. It is a significant historical work of Turkic languages, containing vital information about Turkic communities and languages at the time of its composition. It serves as an important resource for morphological studies of the Turkish language. Not all suffixes in Turkish exhibit the same frequency of use; some are limited to only one or a few occurences. This study identifies and analyses such suffixes in Divânu Lûgâti't-Türk.&nbsp;A total of fourteen unique derivational suffixes were identified in the work. These suffixes are +gut, +ŋku, +nti, +zan, +pi -am, -at, -dak, -es, -gas, -kuy, -sin, -la-, and -sir-.

Divânu Lûgâti’t-Türk’teki Tekçil (Donuk) Türetim Ekleri Üzerine Biçim Bilimsel Bir İnceleme

Fatih

Turks have been in a constant state of migration for various reasons since the earliest times of history. Throughout this period, significant wars and migratory movements have occurred across nearly all of Eurasia. These large and small movements have caused Turkish tribes to intermingle, leading to the gradual disappearance of some smaller tribes among dominant ones, the dispersal of dominant elements, or alliances with other tribes to subjugate stronger groups. Migrations naturally have numerous consequences, including various changes in linguistic structures. Most importantly, these movements have facilitated constant contact and interaction among Turkish tribes and dialects through the borrowing of many elements in phonology, morphology and vocabulary elements.One sound change frequently used as a criterion for the historical and contemporary classification of dialects is the evolution of the /d/ sound in Old Turkish. The transformations that /d/ undergoes depending on its position at the beginning, middle, or end of a word delineate fine boundaries between dialects and serve as distinctive features.&nbsp;Studies on Khwarezm Turkish generally report that the /d/ sound in Old Turkic transformed into /ḍ/ or /y/ during this period. Usta (1989) and Boeschoten (2022) note the presence of /z/ in Khwarezm Turkish but do not explain why it occurs. How should this sound, which theoretically should not appear in Khwarezm Turkic works, be understood? Is it merely a typographical error involving (ذ (zel / (ز (ze, or does it represent a feature of another dialect or an archaic remnant?&nbsp;This study focuses on the sound change (Old Turkic /d/ &gt; Khwarezm Turkic /z/) that, under normal circumstances, should not be present in the Khwarezm region, and tries to investigate the reasons for its occurrence. Several possible explanations can be considered.- This change may be absent in Khwarezm Turkish. However, the primary reason for its occurrence could be that the authors of the works originated from the Suvar, some Kipchak, Yimek, and Bulgarian tribes, reflecting their dialectal features in their writings. This situation can be attributed to dialectal influences rather than being a characteristic of Khwarezm Turkish.- Some books that circulated during Rabguzî’s lifetime have not survived to the present day. Rabguzî may have drawn from these texts, which may have been written in the azakḳ dialect in the Idyll basin. Like other Turkic tribes in Central Asia, the conversion of this region to Islam dates back to the 9th-10th century. Therefore, it is possible that copies of the Qur’an, the foundational text of Islam, or texts such as Kısasü’l Enbiyâ, which recount the lives of the prophets, were originally written in the Azakḳ dialect. As these unknown copies disappeared over time, they may have left traces that are observable in other works before their extinction.The grammar of Khwarezm Turkish can be elucidated through contemporary text editions of works from that period. In a region like Khwarezm, where tribes have historically intertwined, intense dialectal contact disrupts homogeneity within the dialect. This situation suggests that copies of the works from this period should be published separately, with all non-standard features identified and analyzed. Determining dialectal differences through such a study will enhance our understanding of Khwarezm Turkish and may contribute to a comprehensive understanding of its grammar in future research.

Harezm Türkçesi Metinlerinde Görülen Eski Türkçe /-d, -d-/ > /-z, - z-/ Ses Değişimi Üzerine

Ahmet

Tezkire is the name given to a biographical dictionary of poets, and this type of work forms one of the most crucial sources in the history of Turkish literature. These works began being written in Western Turkish in the 1530s. According to what is known, because Turkish works had begun being written in Anatolia at the end of the 13th century, the information these tezkires provided about the missing time in between will inevitably contain deficiencies and errors.Biographical works are only secondary sources that come after primary sources, such as the works of the persons in question and any documents about them. Studies that take these biographical works as a mirror image of truth are bound to make some mistakes. This study analyzes the information from 16th-century biographical sources provided about Turkish literature up to the late 15th century. For this purpose, this study firstly introduces the sources it uses, these sources being the tezkires of Sehi Beg, Latifi, Aşık Çelebi, and Kınalızade; the biographical sections of Gelibolulu Âlî’s history Künhü’l-Ahbar; and Taşköprülüzade’s book on the biographies of Ottoman scholars and mystics titled Şakayıku’n-Nu’maniyye, as well as its translation by Mecdi Efendi. In addition, this study also consults various sources of secondary importance.First of all, the tezkires should be noted to have not been written to reflect the entirety of Turkish literature. They generally pertain to poets who had written in Turkish in the Ottoman lands and who had adhered to the rules of classical literature, especially aruz. Secondly, this study should add that these authors had not followed the Arabic biographical tradition when writing their works but rather that of the so-called Herat tezkires of two Persian works and one Turkish work, all of which had been written in the last quarter of the 15th century.The study analyzes the epoch in question in three stages: the period up to Sultan Bayezid I’s accession to the throne (1299-1389), the period up to the conquest of Istanbul (1389-1453), and the period up to the death of Necati Bey (1453-1509), whose divan form one of the cornerstones of classical Turkish poetry. As the present study will show, such a division is in harmony with the information provided by tezkires. This study indicates the poets mentioned in the sources for each period and attempts to determine the degree to which the information given about them is accurate. In addition, this study also notes the poets who are expected to have been mentioned but who were not and touches upon the interrelationship of the sources throughout, showing how the tezkire authors often repeated what their predecessors had reported, sometimes citing them but frequently not.&nbsp;This study has observed the tezkires to contain very little information about the literature that had formed up until 1389, with the sources only mentioning two poets from this period. The period of 1389-1453 is considered the beginning of the formation of the Ottoman literature. The number of poets and works known from this period is incomparably higher than the previous period. As a result of the new capital city and the critical steps taken to establish the empire and social life, significant developments in literary culture are understood to have occurred after 1453, as well as this period is being understood to have been a harbinger of the advanced level that would be reached in the 16th century. Among this study’s findings, the biographers should be noted to have not paid attention to reading the works of the people they were introducing. For the tezkire authors to include tekke poets, a group that constitutes a significantly separate branch of literature from the poets of classical literature, into their works is also observed to have not been uncommon.

16. Asır Biyografi Kaynaklarının 14-15. Asırlar Türk Edebiyatı Hakkındaki Kaynaklık Değeri

Eren

The period, which is called the “Ara Nesil” and formed by some authors between Tanzimat literature and Serveti Fünûn literature, can be categorized into three groups: Proponents of classical Turkish literature, those who are between the old and the new, and the innovators. Sheikh Vasfî is an author of the Ara Nesil who supports classical Turkish literature. He has a number of original works as well as translated works. His work titled Hikemiyyâtı İslâmiyye, which is discussed in this study, is a translated work and will be latinized and analyzed by us, thus contributing both to the literature of translation and Ottoman literature.Sheikh Vasfî’s Hikemiyyât-ı İslâmiyye is a selected translation of Gulistân and Bûstân, the works of a famous name from the classical period of Persian literature, namely Sa‘di Shirâzî, indicating that he was a supporter of classical literature. The work consists of an introduction and a text part, which is further divided into two parts: Verse and prose parts.&nbsp;After presenting the biography of the translator and his works in the genres of poetry, letters, conversation, textbooks and translations, Hikemiyyât-ı İslâmiyye is analyzed and latinized in terms of content, translation language and methodology. In terms of content, both the introduction of the text and the translation itself are analyzed. The introduction is prepared as a manifesto text that displays the side and stance of the translator, and it is also constructed with a content that includes sections, such as “dedication, reason for translation” similar to the introduction of the works of classical literary authors. In other words, the translator introduces his translation with an introduction that combines the modern and the traditional. The text part was prepared as a prose translation of prose and verse pieces with wisdom features. It was determined that most of the source expressions in the prose part were taken from Gulistân and a few from Nasihat al-Muluk, while the source expressions in the verse part were taken from Bûstân. The language used by the translator in his translation is analyzed in terms of the Turkish, Persian and Arabic word origins, the frequency of the translator’s preference for Arabic and Persian phrases, idioms and proverbs, which are stereotyped word groups, and whether or not they correspond to the source text. In the section on translation methodology, firstly, the formal appearance of the translation was emphasized and the fact that the source text and the target text were given together was emphasized. Then, examples illustrate that the translation is a two-way translation, both from prose to prose and from verse to prose, that the meaning is translated in accordance with Turkish syntax, and that some translation strategies are utilized.As a result of the present study, the following conclusions were reached:Sheikh Vasfî is an author who wrote many original and translated works to maintain his classical literary understanding, wrote articles in many journals, and was a supporter of Muallim Nâcî in the key literary discussions of the period. He made translations from the works of important names of the East and contributed to the understanding of art he favored in this way. Hikemiyyât-ı İslâmiyye, one of the translated works that Sheikh Vasfî produced for this purpose, is a translation of Sa‘di Shirâzî’s works, mainly Gulistân and Bûstân. In the introduction to the work, Sheikh Vasfî emphasizes the necessity of translating the works of Islamic greats in response to the translations of Western literature’s texts on ethics. The work consists of the translation of 248 moral-themed texts, 130 of which are in prose and 118 in verse, and takes its place as a selected translation among the Turkish translations of Gulistân and Bûstân.The language used in Hikemiyyât-ı İslâmiyye reflects the characteristics of 19th-century Ottoman Turkish, and the style is quite simple and comprehensible. The languages preferred by the translator in his translations are predominantly Turkish, Arabic and Persian, respectively. The translator’s use of Arabic and Persian words varies in the translation of the prose and verse texts. This is probably because the source texts are prose or verse. It was observed that similar idioms and proverbs were used in the translation of phrases, such as idioms and proverbs in the source text.&nbsp;The combination of the source text and the target text in the copy demonstrates the translator's commitment to objectivity and allows the target audience to read the source text and the target text comparatively.Sheikh Vasfî opted for prose translation as a method in his translation. The translator, who translated both the verse part and the prose part in prose, did not translate word-for-word, but rather meaning-centered translation. Since the translator preferred a meaning-oriented translation, he employed translation strategies, such as addition, subtraction and borrowing.&nbsp;

Şeyh Vasfî ve Hikemiyyât-ı İslâmiyye Adlı Tercümesi

Irmak

Derived from the word shatah, which literally means “to move and overflow,” it is defined as “words uttered by a Sufi in Sufi states, such as sekr, vecd, cezbe, galebe, inbisat, istiğrak, cem‘, fanâ and tevhîd-i zâtî in which he cannot control himself” and used as the general name for poems sung in a state of rapture, especially among Sufi poets, since the 8th century, the aim of not being understood by everyone is dominant in the type of poems in the shathiye genre. After the shathiyes of early Sufis, such as Bayezid-i Bistâmî and Hallâc-ı Mansûr, it is generally seen that Sufi poets wrote shathiyes in Islamic literatures. It is not known who wrote the first shathiye in Turkish literature, but especially Yunus Emre's shathiyes are famous and we have many commentaries. For example, we have 10 different commentaries on Yunus Emre's famous sathiye, and other commentaries may exist. In addition to the possibility of identifying different commentaries on the poems of Yunus Emre and other poets who wrote shathiye in Turkish literature, there is also the possibility of identifying poems by some poets who are not known as shathiye poets.&nbsp;In this study, we point to a ghazal that shows shathiye characteristics and is found in Nevâyî’s divan named Fevâyidü’lKiber, based on a poetic commentary written by a poet with the pseudonym Fakrî on a poem of Nevâyî that shows shathiye characteristics. After pointing out Fakrî and the divan in which this poetic commentary is found in our study, we include Nevâyî’s shathiye and Fakrî’s commentary.The verse commentary that Fakrî made on Nevâyî’s ghazal, which exhibits the characteristics of the shathiye, is included in the divan under the heading “translation.” Fakrî’s divan is registered in the National Library of France (Bibliothèque Nationale de France) under the number Supplément Turc 977. This verse commentary is located between pages 24b-25a of this copy of the divan. It is not clear whether the word “translation” in the title of this commentary was used by Fakrî or the copyist, but it is clear that what is meant by “translation” is “commentary.” In the text that we will examine below, Fakrî did not try to convey the meaning of Nevâyî’s ghazal with different words but explained or commented on what should be understood from the verses of this ghazal. In fact, it is seen that Fakrî named this activity as “commentary” in the last couplet that he added to the end of his commentary, which we present below.Fakrî, while commenting on Nevâyî’s ghazal in verse, each time first gave a couplet of Nevâyî’s ghazal that showed the characteristics of shathiye, and then he himself commented on it with two couplets. This structure was broken only in one place. The fourth couplet of Nevâyî’s ghazal was commented on by Fakrî with a single couplet. After commenting on the seventh and last couplet of Nevâyî’s ghazal with two couplets, Fakrî ended his commentary by adding another couplet in which he pointed out the end of the commentary and the spiritual help of Nevâyî’s spirituality.&nbsp;When we look at Nevâyî’s shathiye, which was commented on by Fakrî, we see that his words, which seem meaningless at first glance, like other sufi shathiyes that have examples in Turkish literature, are actually symbols and metaphors. According to the commentary by Fakrî, Nevâyî actually describes the perfect man who reaches perfection by passing through his own self on the path of Sufi love in the context of the concepts of fanâ and beka. While doing this, we see that he establishes positive relationships and bonds between objects and events that do not have a relationship under normal conditions or have the opposite relationship and that he draws the reader’s attention to these meaningless expressions by qualifying the situations expressed with words, such as “turfe, turferak, and muhâl.”&nbsp;This study brings several issues to the attention of researchers. First of all, we draw attention to a poem in Nevâyî’s divan called Fevâyidü’l-Kiber. It is obvious that in the studies to be conducted on Nevâyî’s divans, it should be revealed whether there are other poems of this type and the works of this great Turkish poet should be examined from this perspective. With our study, the existence of a last Chagatai poet who introduced himself as “Fakrî” and “Fakr-i Tâhir” both in this poem and in the other poems in his divan has been revealed.

Nevâyî’nin Şathiye Türündeki Bir Gazeline Fakrî’nin Manzum Şerhi

Gülçin

Public spheres, which play a significant role in the formation of urban culture and daily life, are places where people from all walks of life come together and socialize. Among these public spheres, bazaars stand out as vibrant centers of social integration and commerce – long regarded as a backbone of the Ottoman Empire. These bazaars represent a space where nearly every aspect of urban culture and Ottoman social life intersect. Not only did they serve the needs and expectations of society, but they also posed as venues for discussions of various public matters, from trade to politics. Due to the Ottoman Empire’s strategic position on rich and dynamic trade routes, bazaars became vital hubs for the empire’s production and consumption activities. Dominated by a wide array of tradesmen, artisans, and merchants, these bazaars represented a complex yet cohesive system. Before cities transitioned to an increasingly multi-centered urban structure, bazaars were considered one of the three foundational components of the traditional Ottoman neighborhood, symbolizing commercial life.&nbsp;The Ottoman Empire’s possession of key strategic routes connecting Europe with the Middle East and the Far East -including segments of the Silk Road and Spice Road- granted the empire strategic economic importance. As a result, essential trading spaces such as inns, caravansaries, and bedestens – both open and closed markets were established along intercity routes and within urban centers. In addition to reflecting Ottoman culture and dynamics, the bazaar complex brought together various tradespeople from different ethnicities and religions, further reinforcing its central role in urban life. This dynamic was particularly evident in the 16th and 17th centuries when Western travelers visiting İstanbul, the Ottoman capital, and classical period poets who were adept at observing Ottoman social life frequently incorporated the bazaar into their works. Travelers recorded their impressions of the bazaar with astonishment and admiration in their journals. Meanwhile, poets integrated their observations of İstanbul’s central bazaar -located in the imperial capital where the Ottoman sultan resided- into their works, aligning them with classical poetic aesthetics. In doing so, they not only enriched their poetry, but they also contributed valuable material to social history. Based on these insights, this study examines the physical structure of trade spaces like the Bedesten and Grand Bazaar in İstanbul, the tradespeople, the goods sold in the bazaar, and the maintenance of order through the witness of these two key cultural pillars.Under the subheading of the physical structure of the bazaar, the architecture of the Bedestens, with their domed structures, thick stone walls, labyrinthine streets, fountains, and decorations, is discussed through quotes from travelers’ notes and examples of poetry. The second section describes the harmonious yet chaotic crowd of the Bedesten and Grand Bazaar. This section examines not only those who visited the bazaar for shopping but also those individuals who visited for other reasons, highlighting the bazaar’s role as a place of social interaction and integration. The third section of the study focuses on the tradespeople active in the sale and marketing of goods in the bazaar. In this part, the roles of merchant partners, brokers, apprentices, and town criers are discussed, with particular attention given to the distinct customs, manners, and approaches of Muslim, Jewish, Greek, and Armenian merchants. The fourth section describes the valuable and luxurious products, such as fabrics, jewelry, and weapons, that were displayed and sold in the Ottoman bazaar. In the second part of this section, special emphasis is placed on Western travelers’ notes concerning the slave market and its sales methods. The final section, titled “Maintenance of Order in the Bazaar,” explores how security was maintained in the Bedestens, which housed invaluable products, and describes the punishments imposed on tradesmen who engaged in dishonest practices.This trade center, which was the focal point of both local and foreign merchants due to its unique vibrancy, colors, and textures, became a place where the splendor of Eastern culture and art was showcased. It was not only a must-see destination for travelers visiting Ottoman lands but also an area where locals enjoyed spending time and observing daily life. In this sense, the subheadings created through the witness of Western travelers and poets, as well as the data presented under these headings, emphasize the commercial, economic, and sociological significance of İstanbul’s bazaars as a vibrant center connecting three continents. These findings shed light on economic and social history, as well as the relationship between literature and society, while also revealing the interrelated wholeness of Ottoman culture and civilization from multiple perspectives.

Batılı Seyyahlar ve Klasik Dönem Şairlerinin Tanıklığında Osmanlı Çarşısı

Elif

Yenişehirlizade Halit Eyüp, who remarkably produced twelve works during his brief twenty-four years of life, began his writing career at the age of seventeen with the Hizmet newspaper, which was published by Halit Ziya. Throughout his literary journey, Halit Eyüp authored four novels: Sevda-yı Nihan, Goriller İçinde, Nermin, and Şadi. Although he held Halit Ziya in high regard, he did not emulate his writing style; instead, he drew inspiration from Ahmet Mithat Efendi, whom he greatly admired.&nbsp;Halit Eyüp, a prominent figure within the Mutavassıtin Group, advocated for a more moderate engagement with both Western and Eastern influences, expressing his ideas across various literary genres. Among his novels, Goriller İçinde warrants particular attention due to its thematic content, narrative approach, and its intertextual connection with Ahmet Mithat Efendi’s work, “Bir Acibe-i Saydiye,” in which Mithat Efendi cites Paul du Chaillu’s writings as a scientific source. In his text, Ahmet Mithat Efendi fictionalizes a true story recounted by du Chaillu. Following this, Halit Eyüp composes Goriller İçinde, where he similarly explores the narrative of a young man named Ahmet Nebil, who assimilates with gorillas and, over time, becomes more gorilla-like than human. This narrative not only reflects Eyüp’s engagement with thematic elements introduced by Ahmet Mithat Efendi but also showcases his unique storytelling style within the context of late Ottoman literature.On a day when Ahmet Nebil and his friends decide to engage in a storytelling game, one of the young men begins to recount a tale titled “Gülle ile Seyahat,” which initially resembles a fairy tale but is soon interrupted. This interruption occurs because the group has lost interest in narratives that evoke a fairy-tale quality. Ahmet Nebil, who has a penchant for recounting all his life experiences, then takes the floor and begins to narrate an account of his visit to a zoo in Paris. During this visit, while standing in front of the gorilla enclosure, he is unexpectedly seized by a giraffe, which throws him into the gorilla cage. Although Ahmet Nebil is initially filled with terror as he sees the approaching gorillas, he is not harmed; instead, the gorillas escort him to a hut located deep within the enclosure and present him to two gorillas waiting at the entrance. These gorillas then take Ahmet Nebil inside the hut, where he is introduced to the chiefs of the gorilla community. This surreal encounter serves as a pivotal moment in the narrative, highlighting themes of fear, survival, and the intersection of human and animal worlds. Upon seeing Ahmet Nebil, the chief gorilla promptly removes his own clothing and creates a space for Ahmet Nebil to sit. In this moment, Ahmet Nebil realizes that the gorilla does not intend to harm him; however, he becomes increasingly preoccupied with thoughts of how he will escape the enclosure and what he will eat and drink during his captivity. Eventually, the gorilla compels him to consume the food provided in the hut. As time passes, a rudimentary form of communication develops between Ahmet Nebil and the gorilla, allowing them to interact more effectively. Ahmet Nebil remains in the hut for a period of eighteen months. Over this time, his hair and beard grow long, his skin toughens from prolonged contact with the rough surfaces of the hut, and he begins to physically resemble the gorillas around him. This transformation culminates when the chief gorilla dies, prompting officials to arrive and collect the body. Mistakenly perceiving Ahmet Nebil as a gorilla that merely resembles a human, they summon a scientific committee to investigate the situation. In a moment of irony, the scientific delegation, failing to recognize his humanity, examines Ahmet Nebil as if he were an animal. After initially finding amusement in their oversight, he eventually asserts his identity and explains that he is indeed human. This revelation prompts the scientific delegation to re-evaluate their assumptions and ultimately reintroduces Ahmet Nebil to the outside world.&nbsp;When considering a 19th-century Ottoman novel that references gorillas, it is essential to analyze whether it embodies the characteristics of a fantasy novel. When realism was the dominant literary approach and scientific inquiry was gaining prominence, the construction of a narrative that evokes the theory of evolution is noteworthy. It raises questions about the author’s intentions and the broader implications of the text. Although it remains uncertain whether Halit Eyüp consciously recognized his work as a fantasy novel, it is evident that he sought to critique the period’s glorification of European scientific advancements, particularly the theory of evolution. The novel suggests a concurrence with Ahmet Mithat Efendi’s views on evolution, yet it also presents a sardonic critique of the notion that humans descended from gorillas. Through his narrative, Halit Eyüp playfully challenges this idea, positing instead that the regression of humans to a primitive state is more plausible than the civilizing of animals. In this way, he constructs a fantastic narrative that not only entertains but also engages with significant cultural and scientific discourses of his time.In this study, the novel Goriller İçinde is examined through the lens of the criteria established in Tzvetan Todorov’s seminal work The Fantastic. This analysis reveals that these criteria align with the characteristics present in Goriller İçinde. Firstly, the interruption of a fairy tale-like story by one of Ahmet Nebil’s friends serves as an initial indication of the significance of reality within the narrative but also underscores the distinct nature of the extraordinary events that follow. This distinction is a fundamental characteristic of the fantastic genre: the fantastic narratives may depict extraordinary situations while the fairy tale is considered inherently fictional because of a consensus between the reader/listener and the author/narrator. Conversely, the fantastic novel operates under the assumption that, even if the described events are extraordinary, they could potentially be real. In Goriller İçinde, the construction of reality is maintained at a level that generates hesitation, as Todorov asserts. Ahmet Nebil’s tendency to narrate his experiences contributes to the uncertainty surrounding the veracity of the story he recounts. Since the narrator is exposed to the supernatural as an ordinary person, fear and horror are more amplified within the narrative, which Todorov underscores as a hallmark of the fantastic novel. As the core element of the fantastic, the ambiguity of events sustains hesitation, and in Goriller İçinde, this element is realized through Ahmet Nebil’s continuous confrontation with various dangers at every turn. Consequently, a novel crafted to critique the theory of evolution can be regarded as one of the earliest examples of fantastic literature in Turkish literary tradition.&nbsp;

Türk Edebiyatında Fantastik Roman Türünün İlk Örneklerinden Biri Olarak Goriller İçinde

Mustafa

Throughout history, translators and interpreters have played crucial roles in times of war. The rise of intelligence and propaganda activities in modern warfare has further amplified their significance. Despite their vital contributions, translators and interpreters have often been underrepresented in war literature.Historical novels can be regarded as primary sources, as they reflect the traces and influences of the period in which they were written, serving as contemporary narratives of the events of their time. Building on the idea that history forms the framework of literature and that literature inherently possesses a historical dimension, this study argues that identifying and interpreting representations of translators in literary narratives can contribute to a deeper understanding of their historical roles and missions—a subject often overlooked in traditional historiography.In this context, representation refers to the transformation of an individual character into a social and historical figure by emphasizing certain defining characteristics within a literary text. In fiction, historical information is not presented directly or in its original form but is instead reflected, represented, and interwoven into the narrative. This study moves beyond a mere examination of historical context, focusing instead on the interplay between historical fact and literary fiction.Translator and interpreter characters are notably absent from most historical and literary narratives of the Turkish War of Independence. However, Halide Edib’s novel Ateşten Gömlek and her autobiographical works Mor Salkımlı Ev and Türk’ün Ateşle İmtihanı stand out due to the subtle yet significant representations of translators and interpreters that emerge between the lines. Edib’s early engagement with foreign languages and literatures, combined with her identity as a translator and interpreter throughout her literary and political career, enabled her to craft these unique portrayals.This study examines the unique characteristics of translator figures in the aforementioned works, categorizing these representations under three headings: translators and interpreters as propagandists, intelligence officers, and collaborators—each carrying both positive and negative connotations. These representations are analyzed comparA atively and critically.In Halide Edib’s texts, translators and interpreters as propagandists emerge immediately after the Armistice of World War I, during the political phase of the Turkish War of Independence. These figures are depicted as defenders of justice and righteousness, yet their efforts are ultimately portrayed as futile. The characters, often wellAeducated, urban, upperAclass women who volunteer for the cause, are not glorified. This is due to their critical stance toward the Unionists (former members of Committee of Union and Progress [İttihat ve Terakki Cemiyeti]), their hesitancy regarding the Turkish War of Independence, and their tendency to adopt a submissive, compromising attitude toward the invaders.&nbsp;The portrayal of translators and interpreters as intelligence officers corresponds to the transition of the Turkish War of Independence from its political phase to its military phase. The depiction of these figures varies between Edib’s novel and her autobiographical works. In her novel, Ateşten Gömlek, translation is portrayed as part of intelligence operations but receives less emphasis compared to direct military engagements. In contrast, Edib’s autobiographical writings elevate her own experiences as a translator and interpreter, presenting them as heroic contributions. She emphasizes not only her role in translation but also her participation in strategic decisionAmaking. The character Peyami, who translates Greek newspapers during the day and serves at the front line at night, proudly considers himself part of the “war machine.” He prefers serving as a translator and interpreter at the front line over being stationed in Ankara. Halide Edib glorifies her intelligence work in her autobiography, underscoring her linguistic abilities and proactive role, whereas in her novel, she anonymizes Peyami’s role by referring to him simply as “Our Greek translator was a Turk.”Another category of translator representation in Halide Edib’s works includes translators and interpreters from minority communities who serve the occupying forces. Halide Edib portrays these figures with disdain, depicting them as collaborators and informants who display greater hostility toward the MuslimATurkish population than even the invaders. She does not attempt to empathize with these characters or explore the complexities of their situations. In her autobiography, she presents the case of a Greek translator working for the Turkish side as a normal occurrence, given his status as an Ottoman citizen.Literary texts also function as historical documents, reflecting the cultural and temporal contexts in which they were created. Although Ateşten Gömlek is a work of fiction, it can be a valuable historical source when analyzed critically alongside Edib’s autobiographies and other historical records. The representations of translators and interpreters in this novel, despite their seemingly minor roles, help illuminate the historical significance of these oftenAoverlooked figures. Examining such portrayals in literature and memoirs from different periods can provide deeper insights into the era and its people. Examining such portrayals in literature and memoirs from different periods will further enhance our understanding of the era and its people.&nbsp;

Propagandacı, İstihbaratçı, İşbirlikçi: Halide Edib’in Millî Mücadele Anlatılarında Çevirmen Temsilleri

Sibel

Prof. Dr.

Sakızlı İsa’nın Bolevî İsa Efendi’ye Atfedilen Tıp Eserleri Hakkında

Enis

Mahmud Celaleddin Paşa’nın Mecmua-i Eşՙar’ı

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Engin

Emre

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

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 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, bölgesel odaklı uluslararası bir dergidir; öncelikle  Balkanlar, Doğu Avrupa, Doğu Akdeniz, Orta Asya ve Orta Doğu’dan akademisyenleri, okurları ve yazarları hedefler Türk dili, edebiyatı ve kültürü konusunda alana katkıda bulunacak araştırma makaleleri yayınlar. 

Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

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Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, açık erişimli, hakemli, yılda üç kere Nisan, Ağustos 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, bölgesel odaklı uluslararası bir dergidir; öncelikle Balkanlar, Doğu Avrupa, Doğu Akdeniz, Orta Asya ve Orta Doğu’dan akademisyenleri, okurları ve yazarları hedefler 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 EBSCO Turkish Studies Source Emerging Sources Citation Index (ESCI) Gale Cengage <a href="https://about.proquest.com/en/products-services/Ulrichsweb/" target="_blank" style="font-size: 14.6667px;">Ulrichsweb</a> *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.

Yapay Zeka konusundaki gelişmeler ve akademik yayıncılıkta görülen uygulamalar dikkate alınarak oluşturulan Yapay Zeka Politikası, yazarların, hakemlerin ve editörlerin bu türden teknolojilerin kullanımında uymaları gereken editöryal ve etik ilkeleri içerir. Yapay Zeka politikasının oluşturulmasında, aşağıdaki kaynaklar dikkate alınmıştır:Committee on Publication Ethics <a href="https://publicationethics.org/guidance/cope-position/authorship-and-ai-tools" target="_blank">(COPE) - Authorship and AI tools</a>; International Committee of Medical Journal Editors <a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four" target="_blank">(ICMJE) - Artificial Intelligence (AI)-Assisted Technology; World Association of Medical Editors  (WAME) Chatbots, Generative AI, and Scholarly Manuscripts</a><a href="https://www.icmje.org/recommendations/browse/roles-and-responsibilities/defining-the-role-of-authors-and-contributors.html#four"></a>Yapay Zeka destekli teknolojiler (Büyük Dil Modelleri [LLM'ler], sohbet robotları veya görüntü oluşturucular gibi), metin, görüntü, ses ve sentetik veriler dahil olmak üzere çeşitli içerikler geliştirebilmekte ve üretebilmektedir. Bu yetenekleri etik ve güvenli bir şekilde kullanıldığında üretkenliği artırabilir ve yeniliği teşvik edebilir; ancak insan yönlendirmesi olmadan kullanımında doğru olmayan ve taraflı sonuçlar; atıf verme konusunda eksikler ve hatalar; gizlilik ve fikri mülkiyet haklarının korunmasında eksiklikler; yazar ve yayıncıların haklarının potansiyel ihlali gibi riskler taşımaktadır. IUPress, Yapay Zeka kullanımı konusunda söz konusu riskleri bertaraf etmeyi amaçlayan aşağıdaki temel ilkeleri benimser:  <ul><li>İçerik üretiminde kullanılan (metin, şekiller, resimler ve kod dahil ancak bunlarla sınırlı olmamak üzere) her türlü Yapay Zeka ile ilgili ayrıntılar çalışmanın uygun bölümünde (bilgi notu olarak ve/veya metod kısmında) beyan edilmeli ve net biçimde açıklanmalıdır. </li><li>Hiçbir Yapay Zeka aracı hiçbir bilimsel çalışmada yazar olarak listelenemez. </li><li>Yazarlar, herhangi bir şekilde Yapay Zeka kullanımı durumunda da çalışmalarının doğruluğu, bütünlüğü ve özgünlüğünden sorumludur; başkalarının fikirleri, verileri, kelimeleri veya diğer materyallerini doğru referanslama ve atıf ile sunmakla yükümlüdürler. </li><li>Hakemler ve editörler gönderilen çalışmayı tamamen ya da kısmen hiçbir üretken Yapay Zeka uygulamasına yükleyemez. </li></ul>IUPress yayınlarının editöryal süreçlerinde, Yapay Zeka ile üretilmiş içerikleri tespit eden yardımcı araçlar editörlerin kullanımındadır. Öte yandan okunurluğu, dil ve grammeri iyileştirme ve geliştirme konusunda önerilerde bulunan Yapay Zeka araçlarının kullanılması yaygındır ve IUPress  yayınlarında bu türden Yapay Zeka araçları editörlerin ve yazarların gözetiminde kullanılabilir.

Yapay Zeka Politikası

<ul><li>Yazarlar, gönderdikleri çalışmayı oluştururken <a target="_blank">Yapay Zeka destekli teknolojiler (Büyük Dil Modelleri [LLM'ler], sohbet robotları veya görüntü oluşturucular gibi) </a>kullandılarsa, bunu  beyan etmekle yükümlüdür. </li><li>Yazarlar hem ön yazıda hem de sunulan çalışmanın uygun bölümünde (bilgi notu olarak ve/veya metod kısmında), hangi Yapay Zeka aracını ve hangi versiyonunu ne amaçla kullandıklarını açıklamalıdır. </li><li>Yapay Zeka destekli teknolojilerden yararlanılarak oluşturulan içeriğin ve alıntıların doğruluğu, geçerliliği ve uygunluğunun sağlanması, olası hata, tutarsızlık ve taraflı sonuçların giderilmesi yazarların sorumluluğundadır. </li><li>Yazarlar, Yapay Zeka destekli teknolojiler ile üretilmiş metinlerde intihal potansiyeli olduğunu dikkate alarak, olası intihali bertaraf etmek için orijinal kaynakları mutlaka kontrol etmelidir. Kontrol ettiğini ve kaynakların orijnal kaynaklar olduğunu teyid etmelidir.  </li><li>Yapay Zeka destekli araçlar (ChatGPT gibi) yazar olarak listelenemez çünkü çalışmanın doğruluğundan, bütünlüğünden ve orijinalliğinden sorumlu olamazlar ve bu sorumluluklar yazarlık için şarttır. Bu nedenle, Yapay Zeka destekli teknolojilerin kullanımını içeren tüm materyallerden yazarlar sorumludur. Yazarlar, makalede yer alan ve çalışmanın hipotezlerini, yorumlarını, sonuçlarını, sınırlamalarını ve çıkarımlarını bildiren tüm ifadelerin kendi fikirlerini temsil ettiğinden emin olmalıdırlar.  </li><li>Yazarların, Yapay Zeka araçlarını temel araştırmacı ve yazar sorumluluklarının yerini alacak, aşağıdaki şekillerde kullanarak oluşturdukları çalışmalar bilimsel yayıncılık ve yayın etiği ilkelerine aykırıdır ve bu türden çalışmaların yayınlarda yer almasına izin verilmez: <ul><li>Titiz revizyon olmadan metin veya kod oluşturma, </li><li>Sağlam bir metodoloji olmadan eksik verileri ikame etmek için sentetik veri üretimi,  </li><li>Özetler veya ek materyaller de dahil olmak üzere her türlü hatalı, sentetik içerik oluşturulması </li><li>Yapay Zeka kullanımı ile görüntü ve şekillerin (resimler, çizelgeler, veri tabloları, tıbbi görüntüler, görüntü parçacıkları, bilgisayar kodları ve formüller) veya orijinal araştırma verilerinin oluşturulması ve manipüle edilmesi (bir görüntü veya şekil içinde belirli bir özelliğin artırılması, gizlenmesi, taşınması, kaldırılması veya eklenmesi).</li></ul></li></ul>

Hakem sürecinde gizliliğin korunması, değerlendirilen çalışmanın bu süreçte paylaşılmaması veya kullanılmaması esastır.  <a></a><a href="https://publicationethics.org/sites/default/files/ethical-guidelines-peer-reviewers-cope.pdf" target="_blank">(COPE – Ethical Guidelines for Peer Reviewers</a>) <ul><li>Hakemler, kendilerine değerlendirme için gönderilen bir makaleyi veya herhangi bir bölümünü gözden geçirme, değerlendirme veya karar verme sürecine yardımcı olması için üretken Yapay Zeka araçlarına veya Büyük Dil Modellerine yüklememelidirler; zira hakemlerin bu türden Yapay Zeka araçlarına içerik yüklemesi yazarların gizlilik ve mülkiyet haklarını ihlal eder.  </li><li>Bilimsel bir makalenin incelenmesi, yalnızca insanlara atfedilebilecek sorumluluktur. Hakem değerlendirmesi için gereken eleştirel düşünme ve orijinal değerlendirme bu teknolojinin kapsamı dışındadır ve teknolojinin makale hakkında yanlış, eksik veya önyargılı sonuçlar üretme riski vardır. Hakem raporu ve karar mektupları, hakemlerin ve editörlerin gönderilen içeriğe ilişkin kişisel değerlendirmelerini yansıtmalıdır. Hakem, raporunun içeriğinden sorumludur ve hesap vermekle sorumludur. </li><li>Yapay Zeka araçları, hakem değerlendirmesi ile bağlantılı olarak hakem değerlendirme raporu dilinin kalitesini artırmak için (çeviri veya dil düzenlemesi için) sınırlı bir şekilde kullanılabilir. Böyle bir kullanım olduğunda, hakem raporu iletirken, kullanımı beyan etmelidir. </li><li>Bir başvuruda üretken Yapay Zekanın uygunsuz veya açıklanmamış kullanımından şüphelenen hakemler, endişelerini dergi editörüne bildirmelidir. </li></ul>

Editörler dergiye gönderilen makalelerin değerlendirme sürecinde gizliliğinin korunmasını sağlamakla yükümlüdürler, değerlendirilen çalışmanın bu sürece dahil olan taraflar dışında paylaşılmaması veya kullanılmaması esastır <a href="https://publicationethics.org/files/Code_of_conduct_for_journal_editors_Mar11.pdf" target="_blank">(COPE – Code of Conduct and Best Practice Guidelines for Journal Editors)</a>.<ul><li>Editörler, yazarların gizlilik ve mülkiyet haklarını ihlal edebileceğinden, gönderilen bir makaleyi veya herhangi bir bölümünü gözden geçirme, değerlendirilme veya karar verme sürecine yardımcı olması için üretken Yapay Zeka  araçlarına veya Büyük Dil Modelleri'ne yüklememelidir. </li><li>Bilimsel bir makalenin editoryal değerlendirmesini yönetmek, yalnızca insanlara atfedilebilecek sorumluluklar anlamına gelir. Üretken Yapay Zeka veya Yapay Zeka destekli teknolojiler, editörler tarafından bir makalenin değerlendirme veya karar verme sürecine yardımcı olmak için kullanılmamalıdır, çünkü bu iş için gereken eleştirel düşünme ve orijinal değerlendirme bu teknolojinin kapsamı dışındadır ve teknolojinin makale hakkında yanlış, eksik veya önyargılı sonuçlar üretme riski vardır. Editör, editoryal süreçten, nihai karardan ve bunların yazarlara iletilmesinden sorumlu ve mesuldür.</li><li>Editörler, karar mektupları veya yayınlanmamış araştırmaların özetlerini oluşturmak için üretken Yapay Zeka aracı kullanmamalıdır. </li><li>Editörler, uygun hakemleri bulma konusunda yardımcı olması için üretken Yapay Zeka araçlarını kullanabilir.</li><li>Editörler, gönderilen bir makalede veya gönderilen bir hakem raporunda üretken Yapay Zeka kullanıldığından şüphelenirse konuyla ilgili editoryal bir değerlendirme yapmalı ve politikayı göz önünde bulundurmalıdır. </li></ul>

<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="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8386E9777C024C29B864DC7391BC3ED9" 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/JTA6CLJ8T5/8386E9777C024C29B864DC7391BC3ED9" 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/JTA6CLJ8T5/8386E9777C024C29B864DC7391BC3ED9" 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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