Pelin

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.

Illocution of Rumeli Folk Songs

Serdar

Assist. Prof.

A Study on the Usage of the Words ana ~ ene and apa ~ aba Denoting in Kazakh and Their Usein Historical and Modern Turkic Dialects

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-.

A Morphological Analysis of Unique Derivational Suffixes in Divânu Lugâti’t-Türk

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.

On the Sound Shift Old Turkic /-d, -d-/ > /-z, -z-/ in Khwarezm Turkic Texts

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.

The Source Value of 16th Century Biographical Dictionaries on 14th-15th Centuries Turkish Literature

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;

Sheikh Vasfî and His Translation Titled Hikemiyyât-ı İslâmiyye

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.

Fakri’s Poetic Commentary on a Ghazal in the Shathiye Genre by Nevâyî

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.

The Ottoman Bazaar Through the Eyes of Western Travelers and Poets of the Classical Period

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;

Goriller İçinde: One of the Earliest Examples of the Fantasy Genre in Turkish Literature

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;

Propagandist, Intelligence Officer, Collaborator: Representations of Interpreters in Halide Edib’s Narratives of the Turkish War of Independence

Sibel

Prof. Dr.

On the Books of Sakızlı İsa Attributed to Bolevî İsa Efendi

Enis

Mahmud Celaleddin Pasha’s Mecmua-i Eşՙar

Şerif

Decision of the Editorial Board about articles

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Engin

Prof.

Emre

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

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

Halim

Assoc. Prof.

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

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

Hüsniye

Lecturer

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

The Stories in Hanımlara Mahsus Gazete and the İdea of Contemplation

Yong

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

The Proverb of tama tama köl bolur in modern Turkic Languages

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Mehmet Fatih

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

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

Mehmet

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

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

Büşra

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

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

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

Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) is a regionally concentrated international journal that  targets audiences primarily in the neighbourhood of Turkiye; such as Balkans, Eastern Europe, Eastern Mediterrenean, Central Asia, and Middle East and publishes research articles on Turkish language, literature and culture, contributing to the field. 

The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

Index Islamicus

MLA International Bibliography

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

Gale Cengage

Ulrichsweb

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Journal of Turkish Language and Literature

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Editor in Chief

Co Editor in Chief

Field Editor

Ethics Editor

Publicity Manager

Editorial Assistant

Editorial Board Member

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Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) is an open access, peer-reviewed, scholarly journal published three times a year in April, August and December. It has been an official publication of Istanbul University, Faculty of Letters, Department of Turkish Language and Literature. The journal has been published since 1946. The manuscripts submitted for publication in the journal must be scientific and original work in Turkey Turkish or English. Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) is a regionally concentrated international journal that targets audiences primarily in the neighbourhood of Turkiye; such as Balkans, Eastern Europe, Eastern Mediterrenean, Central Asia, and Middle East and publishes research articles on Turkish language, literature and culture, contributing to the field. The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

Aim and Scope

TÜBİTAK-ULAKBİM TR Dizin MLA International Bibliography Index Islamicus*SOBİADDOAJERIH PLUSEBSCO Central &amp; Eastern European Academic SourceEmerging Sources Citation Index (ESCI) Gale Cengage <a href="https://about.proquest.com/en/products-services/Ulrichsweb/" target="_blank" style="font-size: 14.6667px;">Ulrichsweb</a> *Index Islamicus indexes only articles in English.

Indexing and Abstracting

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

Policies

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

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

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

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.RetractionJournal follows <a href="https://publicationethics.org/sites/default/files/retraction-guidelines-cope.pdf" target="_blank">COPE’s Retraction Guidelines</a> in case of retraction. The editor has the right to retract an article if: <ul><li>There is clear evidence that the findings are unreliable; either as a result of a major error (e.g. miscalculation or experimental error), or as a result of fabrication (e.g. of data) or falsification (e.g. image manipulation).</li><li>It contains plagiarised content. </li><li>It has been published elsewhere without proper attribution. </li><li>It contains material or data without authorisation for use.</li><li>There is copyright infringement or there is some other serious legal issue.</li><li>It reports unethical research. </li><li>There is evidence that the peer-review process is compromised or manipulated.</li><li>The author(s) failed to disclose a significant competing interest (also known as a conflict of interest) that, in the opinion of the editor, would have unduly influenced the interpretation of the work or the recommendations of the editors and peer reviewers.</li></ul>In case of retraction the following steps are followed:<ul><li>Retraction notice including article title is published in a subsequent issue of the journal. The retraction notice is paginated and listed in the table of contents. </li><li>A link is provided between the retraction notice and the original article in the electronic version. </li><li>The online article is preceded by a page containing the retraction notice; the reader can then proceed to the article itself.</li><li>The original article remains unchanged, except for a watermark on the .pdf on each page stating that it has been &#34;retracted”.</li></ul>Article Removal for Legal ReasonsIn the following circumstances, except the metadata (title and authors), the text of the article is removed and a page informing that the article has been removed for legal reasons replaces the article. <ul><li>The article is found to be defamatory or to infringe the legal rights of others, and retraction is not deemed to be an adequate solution.</li><li>The article has been, or is reasonably likely to be the subject of a court order.</li><li>There is a significant risk to public health. </li></ul>

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

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

Artificial Intelligence Policy

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

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

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

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

Ethics

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

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

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

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

Peer Review

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

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

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

Author Guidelines

Before beginning the online submission process please read the Information for Authors and make sure you have the followings available:Cover letter to the editor<ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>Confirming that “the paper is not under consideration for publication in another journal”.</li> <li>Including disclosure of any commercial or financial involvement.</li> <li>Confirming that the statistical design of the research article is reviewed.</li> <li>Confirming that last control for fluent English was done.</li> <li>Confirming that journal policies detailed in Information for Authors have been reviewed.</li> <li>Confirming that the references cited in the text and listed in the references section are in line with Chicago Manual of Style .</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a>Permission of previous published material if used in the present manuscript<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/83A8012772B64554B31F27C9E42133E6" target="_blank">Title page</a><ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>The title of the manuscript both in Turkish and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address, telephone and fax number</li> <li>ORCIDs of all authors.</li> </ul> </ul>Main Manuscript Document<ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts (180-200 words) both in Turkish and in English</li> <li>Key words: 5 words both in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for Turkish articles)</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li> </ul> </ul>Manuscript Submission<ul type="disc"> <li style="text-align: left;">DergiPark manuscript submission site of the journal is: <a href="https://dergipark.org.tr/tr/journal/854/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/854/submission/step/manuscript/new</a></li> <li style="text-align: left;">The manuscript must be submitted through the account of the corresponding author. The account of authors other than the corresponding author or someone else who is not included as an author in the work must not be used for submission. All correspondence regarding the submission is made with the corresponding author through e-mail via the DergiPark system.</li> <li style="text-align: left;">While uploading Main Document, make sure that the main document has no information that clarify the author’s identity. Due to double blind peer review, Main Document must not include Title Page, the name of author or any other detail that can disclose the author identity. </li> <li style="text-align: left;">Additionaly, Supplemental File for Review must not include any detail that can disclose author identity as well.</li> </ul><ul type="disc"> </ul>Files to be uploaded separately<ul type="disc"> <li>Copyright Agreement Form</li> <li>Permissions obtained for previously published material if used in the present manuscript</li> <li>Title page</li> <li>Main Manuscript Document</li> </ul><ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts (180-200 words) both in Turkish and in English</li> <li>Key words: 5 words both in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for Turkish articles)</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li></ul></ul><ul type="disc"> </ul>

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

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

<ul><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/83A8012772B64554B31F27C9E42133E6" target="_blank">Title page</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/CA4A31E50DE644D7A8CC695CA0257A53" target="_blank">Author Form</a></li></ul>

Ensure that the following items are present:●    Cover letter to the editorü    The category of the manuscriptü    Confirming that “the paper is not under consideration for publication in another journal”.ü    Including disclosure of any commercial or financial involvement.ü    Confirming that last control for fluent English was done.ü    Confirming that journal policies detailed in Information for Authors have been reviewed.●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a>●    Permission of previous published material if used in the present manuscript●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/83A8012772B64554B31F27C9E42133E6" target="_blank">Title page</a>ü    The category of the manuscriptü    The title of the manuscript both in Turkish and in Englishü    All authors’ names and affiliations (institution, faculty/department, city, country),e-mail addressesü    Corresponding author’s email address, full postal address, telephone and fax numberü    ORCIDs of all authors.●    Main Manuscript Document:ü    The title of the manuscript both in Turkish and in Englishü    Abstracts both in Turkish  (180-200 words) and in English  (180-250 words)ü    Key words: 5 words in Turkish and in Englishü    Extended Abstract (600-800 words) in English (only for articles in Turkish)ü    Body textü    Grant support (if exists)ü    Conflict of interest (if exists)ü    Acknowledgement (if exists)ü    Referencesü    All tables, illustrations (figures) (including title, description, footnotes)

Issue Type	Regular
Editor(s)	Ali Şükrü Çoruk, Şerif Eskin
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Full Text (PDF)
Front Pages (PDF)