Hasan

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

“Mockery” in Buddhist and Islamic-Turkish Texts

Berat

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

Hadith as a Source of Aesthetics and Poetics in Classical Turkish Literature

Şerif

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

Order of the World: The Idea of Sovereignty in the Late Stories of Ömer Seyfettin

@JOURNAL_BOX_EARLYVIEW

"100th Anniversary of the Republic" Special Issue

Decision of the Editorial Board about articles

Bahadır

Assoc. Prof. Dr.

Based on the principle of the pertinent and accurate expression of words according to certain rules, rhetoric is one of the oldest rule-making disciplines associated with word usage. This discipline ensures elegance of expression by means of associated branches and sub-branches. Branched into meânî [meaning], beyan [statement], and bedii [aesthetic], rhetoric appears as a body of rules that aim to embellish speech and show the ways of proper and timely expression with further sub-branching these three branches.Dating back to before the common era (BCE), rhetoric has always exhibited the characteristics of an interesting discipline since earliest times. Rhetoric has a rich seam of information for linguistics outside the literary science, which focuses on speaking in a beautiful, correct, place and time. Rhetoric and its sub-units have become an important field of research, especially for analyzing the language of poetry, as well as for the type of analyses on which linguists deliberate. Furthermore, rhetoric has become a unique sphere of research owing to the Turkish as well as other terms hinting at the Arabic elements in its rich terminology. While how these terms had gained popularity might be a question for other research and analysis, the emergence of such a terminology-based field of study is significant proof also indicating rhetoric to offer valuable data for linguistic studies as well as literary research.The scientific approach toward literature and, accordingly, toward language as the basic element of rhetoric in linguistic studies is one of the factors that converge and combine the two disciplines. In this sense, in studies on rhetoric, it is possible for literary science and linguistics to achieve more quality results by combining different ideas within the same plan. This is an important point to consider in order to have Turcology studies be able to achieve its own interdisciplinary dimension.Figures of speech are among the most notable elements that show rhetoric and language to involve various aspects of joint study methods, in which former denominations continue according to similar reasoning. Although figures of speech are essential elements of rhetoric, they don’t signify rhetoric to the fullest extent. Nevertheless, they are the most distinguished aspect of rhetoric when coming to Turkish studies.Rather than the full extent, this article instead discusses the particular elements that are categorized as words under the term of word and attempts to address the terms that relate to belaboring, which is considered a linguistic flaw or deficiency in rhetoric. In this respect, this study dwells on the terms of kelam [remark], kelime [word], and lafız [wording], as well as ıtnab [belabor] and haşiv [pleonasm], both of which are considered linguistic flaws; the study will also briefly evaluate their usage in rhetoric. Concerning the derivation and use of the Turkish equivalents of such terms, the study also compares the terms suggested by resources as well as the lexical equivalents in English. The study finishes by evaluating the original terms in Arabic against their respective Turkish and Western terms based on the quality of their equivalence.As a result of these comparisons, rhetoric terms that have posed a well-established order for centuries are seen to actually preserve their original terminology despite the Turkish suggestions and Western terms. In addition, the suggested Turkish rhetoric terms create a notable terminological body of data. In conclusion, a general semantic equivalence or overlap is seen to be present among the original terms of Arabic origin, the suggested words of Turkish originEnglish. However, the presence of such equivalence or overlap does not mean that the related terms can be used interchangeably in all cases.

The Turkish and English Equivalents of the Terms Associated with the Concepts of Word and Belaboring in Rhetoric

Reyhan

An author may approach the time of an event differently in objective time. The fact that the flow of time lacks a specific tempo also determines an author’s perspective toward time. In this context, the current study aims to reveal the Kyrgyz author Kasımalı Bayalinov’s perspective toward time in his novel Kıyın Ötkööl [Hard Times].Bayalinov (1900-1980) was a pioneering founder and constructive writer who made an undeniable contribution to the formation and development of Kyrgyz prose, which possesses a very strong oral background. His long story Acar [Open] is considered the first and most successful example of prose in contemporary Kyrgyz literature. He produced works in many genres (tales, poems, articles, critiques, essays) apart from stories and novels and also translated works from the Tatar, Kazakh, and Russian literatures. His life as an author was shaped by the socialist realist ideology and maintained its productivity by bringing works to contemporary Kyrgyz literature, remaining loyal to the Soviet regime until his very last moment. All of the author’s works are taught in educational institutions in Kyrgyzstan and still continue to be published and followed with interest.Bayalinov’s work Kıyın Ötkööl was published in 1980 and includes sociopsychological events with a socialist ideology throughout a history that includes the collapse of the Tsardom of Russia, the Central Asian revolt of 1916 (Urkun event), the 1917 Bolshevik Revolution, and the establishment of the Soviet Union. These events started with the revolt against the Tsarist rule of Russia in Kyrgyzstan. The revolt was suppressed by the Russians and turned into an exile and escape known locally as the Urkun event. Kıyın Ötkööl reflects upon the Urkun event, as well as the events before, during, and after the exile to the Turfan region of China. The Kyrgyz who fled were forgiven by the Soviet regime and allowed to return to their lands, which had begun to take shape under a different ideology after the collapse of the Russian Tsarist rule shortly after the Bolshevik Revolution. The political, social, and cultural life of that period is definable in this way and is briefly reflected to the reader.Upon conducting a time analysis of the events in the novel Kıyın Ötkööl in line with the theories of the classical (structuralist) period narratology, understanding Bayalinov and his work through the limited possibilities provided by calendar-dependent time data such as the day, month, and year of events was seen to be impossible. Therefore, this study takes Genette’s (2011, p. 21-164) categorization of structuralist time as its basis in an attempt to evaluate the element of time in terms of its philosophical, subjective, and psychological dimensions. In this&nbsp;context, the study discusses time under the two main headings of extra-textual and intra-textual and evaluates time in the narration based on the categories of order and duration.The conducted analysis has observed that the novel Kıyın Ötkööl, which was written in 1979, to cover the years between 1915 and 1921. Namely, it covers the time when the Central Asian revolt of 1916 (i.e., Urkun event) was experienced, the successful end of the Bolshevik Revolution, and the first years of the newly established Soviet regime. The author is seen to use temporal flashbacks to establish a connection between the past and the present and to enable comparisons with the aim of having the reader be better able to perceive the process by comparing what had happened in the pre-Soviet and post-Soviet years. The author also uses breaks in time to emphasize the destruction experienced during and after the revolt, especially during the period of Tsarist Russia. The author prefers to use ellipses for the moments when positive developments were not experienced by the Soviet regime, as well as for the moments that were not desired to be remembered on behalf of the Kyrgyz. The author also uses the stage technique to present the new regime and the message of “we are all equal” in an environment where no hunger or poverty exists. The author also uses time to reflects the physical and spiritual changes resulting from the characters’ change in status, with time also having a psychologically oppressive feature throughout the novel, especially for the past. The author uses past tense to symbolize unrest, present tense to symbolizes a life accompanied by peace, and future tense to symbolize the transfer of peace to the future. As a result, Bayalinov can be suggested to have designed the factor of time in his novel Kıyın Ötkööl along an ideological axis with an understanding that serves the Soviet regime and contributes to the establishment and adoption of the new system.

Subjective Projection of Time Modality in Kasımalı Bayalinov’s Novel “Kıyın Ötkööl”

Sümeyra

Lecturer

Precious stones have attracted the attention of mankind because of their properties such as colors, shapes, fascinating images and appearance, as well as their use for protection, decoration, representation of social status, as accessories for mental and physical healing, determining social status, etc. Today, these stones still continue to have a great importance in people's lives.Precious stones have been used as messages that are desired to be given to people who assimilate the same culture by serving as an intermediary between gods and humans, showing depictions through jewelry made with these stones, making jewelry from certain materials and stones, and wearing jewelry on the body/clothing in certain ways. In Western literature, the healing powers of precious stones were first attributed to the Greeks, who provided information about the physical properties of precious stones such as their colors, transparencies, brilliance levels, breakage [splitting] points, hardness levels, and density, as well as their medical value. This interest and effort shown toward precious stones that have been shaped, cut, carved, and/or polished to increase their natural beauty has been reflected not only in the physical dimension but also in terms of written works. These works are known as Cevhername in Turkish and contain information about, how precious stones form, and what geography they are found in, as well as their colors, types, benefits, and value and how to store them. The majority of these works are in prose, with very few examples occurring in verse. Cevhernames are known as lapidaries in English (lapidaire in French), which is a term derived from the Latin lapis meaning stone.&nbsp;Precious stones have not only attracted great attention in the West (especially in the Greek and Roman periods), but have also been cherished in the Islamic geography. Starting in the 8th century CE, Muslims translated all sorts of scientific works into their own language that had been previously written on stones and metals. During this period, they were in contact with Western civilizations and in the 9th century benefitted from the works of such Greek authors as Socrates, Bolos Democritus, and Galen of Pergamon. Kitāb al-Ahjār [Book of Stones] and Kitab Sirr al-Asrar [Book of the Secret of Secrets] appear as two important ore-books that give information about precious stones. In the following centuries, the most outstanding works on precious, semi-precious, and non-precious stones were written by al-Bîrûnî and İbn Sînâ. During the Ottoman Period, the first researcher known to be interested in the science of ore was Muhammed ibn Mahmud al-Shirvani, who lived in the first half of the 15th century and was mostly known for his medicine studies. Al-Shirvani also wrote two works on precious stones. The first of these is the work called Cevhername, which consists of an introduction and twenty-five chapters. The second is called Tuhfe-i Muradi, which is an expanded form of the ore-book and consists of an introduction and thirty-two chapters. Chagatai Turkish works are also found regarding precious stones and their usage, which shows these stones to have maintained their importance in every period. Many valuable works are found such as Ali-Shir Nava'i’s booklets Tarixi Anbiya va Xukam, Tarixi Muluki Ajam, and Munshaot; the Diwan of Shiban Khan; and Abu al-Ghazi Bahadur Khan’s Shajara-i Tarakima. These works mention the names of precious stones both metaphorically and with their basic meanings. When&nbsp;considering these scanned works, the results of the study have divided stones into precious and semi-precious stones and examined diamonds, rubies, and emeralds under the heading of precious stones. All other stones being less valuable are thus categorized under the heading of semi-precious stones.By examining works from this period, it is found that other words were used for precious stones, such as bīcāde, behremān, behremen, titiŋ, and yaķut for ruby; almās and elmās for diamond; and zümürrüd for emerald; and for semi-precious stones, words such as firūze for turquoise; kāhrübā, kehrābe, kehrubā, kehrübā, and kehrübā(y) for amber; ‘akįķ and‘aḳīḳ for agate, lāceverd for lapis lazuli; la‘l for garnet; ḫār, incü, inçi, inçü, lü’lü’, lülü, mōti, mürvāríd, subusun, üncü, ünçi, ünçü, yencü, yinçü, and yünçü for pearl; cada, cedde, şedde, yada, yede, and yeşm for jade (nephrite); zeberced for chrysolite; perpi for snake-stone; and mercān and sitük for coral. In addition, current research presents examples from couplets written about stones along with some information regarding the benefits and usage areas of stones within the sources.

Precious Stones in Chagatai’s Turkish Period Works

The Ottomans named the geographical regions to their east that were under the rule of the Ancient Iranian state as Ajam.Although this region is synonymous with Iran among the people, it also includes the geography of Turkestan as well as some southeastern Anatolian provinces and the region of central Iran (al-Jibal).The inhabitants of these regions were considered to be from Ajam regardless of their ethnic affiliation. Ajam also included the important scientific and cultural centers of the period where mostly Turkish scholars and artists lived. Poets who wrote Turkish and/or Persian poems in these regions were accepted as masters.The Ottoman Empire aimed to have Istanbul become a cultural center by bringing art and science experts from the regions that were previous cultural centers during the period when classical Turkish literature was being established. The literary activity that had started in Anatolia in the 13th and 14th centuries, especially with the poets of the Germiyanids, accelerated during the reigns of Mehmed II and Bayezid II, gained a significant acceleration with Sultan Selim I. It experienced its brightest period when Istanbul became a favorite cultural center during the reign of Suleiman the Magnificent with artists from many places attempting to show themselves by flocking to the state center.During these periods, poets and artists from Ajam came to Istanbul for travel, education, trade, political asylum, and embassy work and attended poetry assemblies, thus also interacting with Rumi poets. These poets were generally referred to as being from Persia or from Ajam (Safavid) in the collected biographies of the period. Poets from Shiraz, Khorasan, Darchatzin, Bukhara, Shirvan, Ardabil, Soltaniyeh, Gilan, Samarkand, Bastam, Tabriz, and Hamadan are also described as part of Ajam.The studies on Ajam and Ajam poets in classical Turkish literature studies are of the opinion that poets coming from these regions were overly popular within the Ottoman bureaucracy. The complaints from poets that were stated in the biographies are said to have played a role in the formation of this judgment. The poet La’ālī from Tokat had introduced himself as a dervish from Ajam in order to gain entry to the palace, and when his lie was revealed, he was removed from the palace. Mesihī thought he hadn’t got the attention he expected because he wasn’t from Ajam. In the biographies of the period describing La’ālī, they deemed what had happened to him to have been because an overrated interest in Ajam had been occurring at that time.However, when looking more closely at the biographies, respect for a poet was seen to not be related to the poet’s place of origin but to their artistic ability, intelligence, and scientific degree. A poet may have acquired these competences in any science center in Ajam or Rum&nbsp;lands. Indeed, a poet who had proven themself capable of making use of these centers may qualify for high ranks.The study reexamines the terms Ajam and Ajam poets in light of the biographies of the eraand with the help of these biographies, presents short biographies of poetsfromAjam as well as reviews of the biography writers.The study also summarizes the development of Turkish literature in Anatolia in the face of the dominant Persian Literature.The study also discusses the conflicts poets had with each other within the competitive environment where guardianship was vital for a poet, as well as examples of the noises poets expressed in their debates, regardless of where they were from. The study benefits from biographies and other resources to also examine the compliments that Ajam poets had received during the 15th and 16th centuries compared to Rumi poets.The study has found classical Turkish literature in Anatolia to have gradually matured in the face of Persian literature with the support of rulers who aimed to develop culture and art. Initially, the admiration the Rum poets had for the great Ajam masters such as Nizāmī and Hāfız transformed into an attitude where they began to consider themselves to be superior to them. When examining the situation and evaluations of 32 poets from Persian lands who’d been included in the biographies of the period in the Ottoman Empire, many examples are encountered that contradict this opinion. Biographies are full of Ajam poets who are described as not getting the respect they deserved; having been expelled from the palace for their mistakes; being sent back to Ajam because they were not worthy, and having plagiarized from master poets just to gain the sultan’s respect. Meanwhile, the in'am records that recorded the tips and gifts poets received the poets who had received the most compliments in the 15th and 16th centuries to have been Rumi poets.Based on the biographies of the Ajam poets, they like all other poets are understood to have been in a tight race to be accepted, to have lost this race from time to time and then returned, and to have been complimented to the extent that their poetry had been appreciated.Just like the Rumi poets, Ajam poets had also been subjected to certain evaluations by the biography writers in addition to the compliments they’d received from the statesmen. The biographies discussed Ajam poets their conflicts with other poets, as well as their insufficient ability torecite poems in Turkish. The biographies are also seen to given special treatment to these poets. Among the poets from the Ajam land, those who had been more or less successful at reciting Turkish poems found a place for themselves in these biographies, as those who’d tried to recite in Turkish were appreciated.Upon closely examining the biographies some researchers’ claims that the Ottoman bureaucracy and the palace society of the period favored the Ajams are understood to be based on the lines of some poets regarding the spirit of a loss of dignity, not because they had admir ed foreigners.

The Ajam Poets and Ottoman Literary Society’s Approach Toward Them (15th-16th Centuries)

Şahin

The Book of Dede Korkut is one of the most important epics in Turkish literature and one of the few to have been able to remain in the center of the attention of researchers since its discovery. In order to make full and accurate use of the work, which contains important information about the history, culture, sociology and world-view of Oghuz Turks, a significant number of attempts at new readings and interpretations have been made in a short time. The etymology of the words in the stories has also attracted attention in this context and been the source of many studies. The current article discusses the verb balkı-, which is located in the sentence “öteki ḳara ṭaġuŋ bir yanında alnı başı balḳır bir er gördüm” (D207 / 2) in the Dresden copy of the Book of Dede Korkut. The Günbed manuscript of the Book of Dede Korkut shows this word as balġı- and balġu-. No consensus is found in the sources regarding the origin of the verb, which does not occur in many etymological dictionaries. Tatçı mentioned a word change in the form of berk urmak ˃ balkırmak / balkurmak, while Shahgoli et al. who studied the Günbed manuscript of the Book of Dede Korkut, reported that the word may have originated from Old Oghuz Turkish. Etymologically speaking, the word is only found in the Tietze and Nişanyan dictionaries. The information about word provided by Nişanyan is not consistent, while the first accurate views on balkı- were put forward by Tietze, who linked the word to the Arabic word bark [lightning] and tried to show how it had been made with the denominal verb suffix +ı- in the form of barkı- / balkı-. This article presents the formal and semantic adventure of the word, from the early texts to the dialects of Anatolia, and tries to prove the etymology as provided by Tietze needs to be corrected. Thus, the article suggests that Tietze’s statement of the barkı- form of the word being the first form is incorrect and that balkı- form is older, due to being mentioned as balk in the oldest Turkish texts.In this context, the article begins by mentioning some studies on the Book of Dede Korkut. The section titled On the Verb balkı- provides examples of the use of the verb in Behcetü'l Hadâik, Kıssa-i Yûsuf, Codex Cumanicus, Divan of Yunus Emre, Kısasü'l-Enbiyâ, and Hüsrev ü Şirin, which are the oldest texts in which the verb balkı- is used. Accordingly, the verb is said to have occurred in Turkish texts written as early as the end of the 12th century. The article then goes on to emphasize the derivatives and meanings of the verb balkı-. The section titled balkı- in the Book of Dede Korkut provides information about the sentences in which this verb was included in the work and how researchers have studied the verb balkı-. This section also notes how Schiemede had misread the word as Balkar. The section titled On the Origin of the balkı- stated how the word is used as balġı- and balġu- in the Günbed manuscript through the influence of Azerbaijani Turkish. Because the word is used as balk in the earlier Turkish texts, the article attempts to explain the origin of the verb through balkı-. Afterwards, the researchers views on balkı- were mentioned and Tietze's opinion was discussed. Accordingly and contrary to Tietze’s reasonable opinion, the word has been concluded to not have developed as bark ˃ balk but to have entered Turkish as *belḳ or balḳ, after which it began to be used as balkı- by taking the denominal verb derivation suffix +ı-.

On the Verb balki- in the Book of Dede Korkut

Fatih

One area where the Eastern Turkish written language, which had been the common language of Northern and Eastern Turkism between the 15th-20th centuries, had existed was the East Turkestan region, which Uyghurs had densely populated and is within the borders of the People’s Republic of China today. Cultural centers should be mentioned in this region, such as Kashgar, Yarkant, Hotan, and Turfan, where important data for Turkish language, history, and culture have been recorded. These cultural centers fulfilled their mission within the framework of the teaching approach and curriculum of the period and trained many poets, writers, literary figures, thinkers, and scholars. Most of these names can be seen in the biographies that are listed among the primary sources of the period.One of the personalities in these biographical works is ‘Umar Baqi, and among the biographical works on the Uyghur, two come to the fore that contain data contributing to ‘Umar Baqi’s biography. One is Tazkira’i Khwacagan, and the other is Qissa’i Hazrat’i Khwaja Afaq, Yusuf Khwaja, and Khwaja Cahan. As is understood from the information in these two biographies, ‘Umar Baqi’s religious, scientific, and literary aspects were dominant for his period. However, not much information is seen to be present about ‘Umar Baqi and his life in the source works or short notes written about him. For this reason, some inferences were able to be made about ‘Umar Baqi based on the opportunity of being able to examine the biographies within the scope of the primary sources of the period and the field.When examining the data in the biographies, the poet ‘Umar Baqi from Yarkant is seen to have had a versatile personality that was recognized and respected in the period and the region, as well as to have been a man of literature. Among the data, the most emphasized feature is that he was knowledgeable, well-educated, and the best scholar of Yarkant and even of the period. This feature is constantly mentioned in the relevant lines of the biographical texts that were scanned. Another feature is that ‘Umar Baqi, who is encountered in some lines, had undertaken the duties of a kind of ambassador and spokesman between the ruling class of the region and the umara [leading gentlemen] and hâkim begs. He was a consultant who played a role, especially in resolving internal issues, and was consulted on occasion. All these texts show that ‘Umar Baqi’s success and mobility in the professional fields, over which the study has attempted to draw boundaries using contextual data, involved his versatile personality that had been brought up in accordance with the educational model of the period.New information about ‘Umar Baqi has been brought to the literature thanks to the textual transcriptions performed regarding the relevant lines of these biographical works written in Chagatai Turkish and transferred to Türkiye Turkish, as well as to the data that were found using a text-contextual method. Thus, in addition to being an important man of literature and art, ‘Umar Baqi had also been one of the ‘ulama [theologian], a respected bureaucrat on the right side of the ruling class, an ambassador or spokesman who played a role in resolving various domestic issues, and a mullah [mosque leader] of Yarkant and his era; he was also determined to have been a top akhund [Persian for Islamic scholar]. This is understood due to ‘Umar Baqi being mentioned in the biographical work of Qissa’i Hazrat’i Khwaja Afaq, Yusuf Khwaja, and Khwaja Cahan as the “Hazrat’i Akhund Mullah ‘Umar Baqi.” In Tazkira’i Khwajagan, he is mentioned only by the title of akhund (i.e., ‘Umar Baqi Akhund). Therefore, ‘Umar Baqi was an effective akhund of his age while at the same time also being one of the most important mullahs of Yarkant (i.e., one of the best teachers).As a result, upon evaluating all these data and despite ‘Umar Baqi describing himself with words such as fakir [the poor] and fakir-al-hakir [the abjectly poor] as signs of humility, primary sources of the period are also seen to have described ‘Umar Baqi with such titles such as hazrat [the venerated] and akhund. He was even referred to as muqtada’i dil-pasand [the person who is liked by the hearts and followed].

Contributions to the Biography of the Late Period Chagatai Poet ‘Umar Baqi in Light of the Biographical Memoirs of the Uyghurs Written During the Khwajagan

Ahmet

Res. Assist.

One of the sciences taught in Ottoman madrasahs is rhetoric as well as grammar, syntax, fiqh, exegetics, hadith, medicine, prosody, dictionary etc. The third part of Miftah al-Ulum, written by al-Sakkaki, on rhetoric, comes first among the works taught in madrasas related to the science of rhetoric. Miftah al-Ulum was given so much importance that Madrasahs, which constitute the second step of the teaching system established by Fatih Sultan Mehmed, were named after this work as miftah madrasahs. The reason for this is that Miftah al-Ulum or its commentaries have been taught in the field of rhetoric since this stage of the madrasahs. Al-Sakkaki wrote Miftah al-Ulum by making use of the works on rhetoric written before him.The third part of Miftah al-Ulum on rhetoric had a significant impact on the rhetoric tradition as it was the most compact work written in the field of rhetoric until its time. So much so that, in time, a culture of rhetoric developed around this work. The main rhetoric works developed around this work are as follows: Khatib al-Qazwini's Talhis al-Miftah and al-Izah, which he wrote as an commentary on Talhis al-Miftah, al-Taftazani’s Mutawwal, a commentary on Talhis al-Miftah, and Mukhtasar, which he wrote as an abbreviation of Mutawwal; al-Sayyid al-Sharif al-Jurjani’s commentary on Miftah al-Ulum’s “On Rhetoric” titled al-Misbah, and Isamuddin al-Isfarayini’s commentary on Talhis al-Miftah titled al-Atwal. As one of these works, Talhis al-Miftah was written in order to eliminate the unnecessary parts and deficiencies of Miftah al-Ulum. Al-Izah was written in order to clarify the closed and incomplete parts of Talhis al-Miftah by making use of other works through transfers and examples. Mutawwal was written by making extensive and detailed explanations in order to increase the influence of Talhis al-Miftah. Mukhtasar was written in order to increase the area of influence of al-Taftazani’s extensive and detailed commentary titled Mutawwal by removing some of the redundancies. Al-Sayyid al-Sharif al-Jurjani wrote al-Misbah with the claim that the commentaries written by Kutbaddin al-Shirazi and al-Taftazani regarding Miftah al-Ulum’s Part III “On Rhetoric” are insufficient and contain some errors. Meanwhile, al-Atwal was written as a result of the claim of being the most extensive and detailed commentary on the subject in order to criticize al-Taftazani’s commentary on Talhis al-Miftah titled Mutawwal. As can be seen, all these works were created either as a summary, commentary, or abbreviation of previous works on the subject or as a criticism of some deficiencies or flaws encountered in previous works. These works would become the main sources of studies on rhetoric and also left a significant impact on classical Turkish poets.Classical Turkish poets dealt with the names of the basic works on rhetoric given above in various ways in their poems. While the classical poets sometimes used the words miftah, talhis, izah, mutawwal, mukhtasar, misbah, and atwal in the sense of works directly related to rhetoric, sometimes they created certain artistic expressions by making use of the dictionary meanings of these words. Some evidence has been presented to the reader in the couplets in which these words have been used directly in the sense of works related to rhetoric. Although some clues are given in the couplets that refer to these works by referring to artistic expressions, the determination of this situation is seen to have been usually left to the intuition of the reader. Some couplets are found to have only one reference to the main rhetoric works that developed around Miftah al-Ulum, while others have two, three, or even more. The title of the current study has been made by considering these issues.The introduction of the current study talks about the individual poems that were written about the sciences and the works that were taught in the Ottoman madrasahs, presenting three of these poems as examples. After the introduction, the first section gives information about the basic rhetoric works that developed around Miftah al-Ulum. After which emphasis is place on how these works were handled in classical Turkish poetry. This second section evaluates the couplets in which the names of the works mentioned above had been handled either directly or through some type of artistic expression. The couplets that refer to these works by means of some type of artistic expression mostly used tevriye [tawriya/double-entendre] and îhâm [deception regarding multiple meanings] were used.&nbsp;

On the References Dealing with the Basic Rhetoric Works That  Were Developed Around Miftah al-Ulum in Classical Turkish Poetry

Fikret

Prof. Dr.

Nafs al-amr-nāme texts, the first example of which was written by Lāmiʿī Çelebi, are humorous critical texts that were read with pleasure by literate and cultured urban people. The texts were expanded upon and enriched between the beginning of the 16th century and the end of the 19th century in Ottoman literature. These texts criticized the unpleasant and disturbing attitudes and behaviors of various individuals and groups in society and had a common compound-complex sentence structure composed of participles, as well as a vernacular diction that included widely used slang words for scolding, humiliation, sarcasm, and insults. These texts depict and criticize these problematic people through a fashion that makes them look ridiculous with a general humorous tone. Having common subjects, vocabulary, and sentence structures, these texts also demonstrated the common feature of a genre of social criticism that the authors of the classical Ottoman literature had developed themselves. Three variants of the Nafs al-amr-nāme by Lāmiʿī Çelebi are currently known to exist. The first is the variant with the shortest text and is understood to be very similar to the author’s original copy (Lāmiʿī-Bursa I). The second is the extended variant (Lāmiʿī-Bursa II), which criticizes the issues described in the Bursa I variant as well as some similar additional attitudes and behaviors. The third variant is the Istanbulized variant that, while including the criticisms seen in the first two, also criticizes the people who live, work and are engaged in various activities in many districts of Istanbul, including tradesmen, civil servants, and people belonging to various ethnic groups (Lāmiʿī-Istanbul I).Currently, after the Nafs al-amr-nāme of Lāmiʿī Çelebi, the text with the most copies is the Nafs al-amr-nāme of Niksarizāde Efendi. The text written by Kurbi Mehmed Said Efendi, which occurs in the form of an 18th-century edict and an anonymous text copied in the form of a 19th-century royal patent are other texts of the genre that share similar subjects, language, and styles.These texts were written for a similar audience for similar social and literary purposes and aimed to criticize with a humorous tone the behaviors that were seen to go against the socially accepted manners, traditions, general morality, and justice system and to improve those who behave improperly by holding a textual mirror up to them. All these texts became a polyphonic dynamic area of literary forum, one that was constantly expanded and enriched&nbsp;&nbsp;upon with criticism of newly emerging problems involving the corruption and weaknesses of certain individuals and state officials, as well as other problems encountered in the everyday lives of common urban people. All these problems are criticized from various angles, and certain readers also sometimes participated in the criticism by adding their own similar views written on the margins.&nbsp;&nbsp;The reason Lāmiʿī Çelebi’s Nafs al-amr text was copied into variants and then, together with the works of other authors of similar quality, turned into a literary genre must have been due to how the works dealt with actual social issues observed in the everyday lives of the common people, how they criticized the problematic individuals with the purpose of reform, and how they kept a humorous tone for literary pleasure all throughout. Due to the subjects and persons being criticized in these texts also being frequently encountered and experienced, as well as these situations causing similar negative feelings in individuals’ daily social lives, the texts established associations in the minds of the readers regarding various elements among the similar social situations and experiences through the same text. Thus, such situations created impulses in the reader to expand upon and enrich these texts with similar subjects and literary features. In this respect, Lāmiʿī Çelebi’s Nafs al-amr ceased to be a text that could only be read and passed around, instead becoming a dynamic writerly-text that forced the reader to reinterpret, rewrite, and expand upon the text using similar subjects, syntax, vocabulary, and approaches. In this context, these reproduced variants, which strictly maintained their connection with the main text in terms of theme, language, rhetoric, and tone, alongside other original works written in the same fashion, all created a category of literary texts that were quite rich in terms of intertextual elements that, as a result, ultimately turned into a literary genre.

The Nafs al-Amr-Name Texts as a Popular Genre of Social Criticism in Ottoman Literary Culture: Their Linguistic, Thematic, and Stylistic Features

Mizan

The acceleration of the construction of Turkish works had been limited by the arrival of the Turks in Anatolia, the struggles between the principalities after their domination of Anatolia, political instabilities such as the Mongol invasion and the Battle of Ankara, and the Persian predominance in cultural life. In fact, the first historiography of Turks in Anatolian lands corresponds to the 15th century. After the conquest of Istanbul, many literary works were written through the reputation of the poets in the palace, and a standard historiography began to take place regarding Ottoman sources. Nesri’s Kitâb-ı Cihannmâ [Atlas of the World] and Âşıkpaşazâde’s Tevârih-i Âl-i Osmân [The Ottoman Histories] are historical works of this nature. Ottoman historiography matured not only with these works, but also through the şehrengizes [poetry written in honor of various cities and provincial towns of the Ottoman Empire], biographies of saints and poets, seyahatnames [travelogues], sefaretnames [expedition notes], biographical works regarding certain professions, and vakanüvislik [chronicling the history of a reign], which today constitute a significant amount of the sources in libraries. All these works were written with a common perspective. These historical texts in the Ottoman sources always focused on the Ottoman Empire and based themselves on the glory, justification, and victories of the Ottomans.Karamannâme is a historical work that tells the history of the Karamanids. No other work similar to this one is found in the Ottoman sources, as this historical text differs in terms of both content and style. Karamannâme was written with an attitude that focuses on the Karamanids, praises the Karaman lords, always justifies the Karamanids in their struggle with the Ottomans, and harshly criticizes the Ottoman sultans. The work describes the 250-year span of the Karamanids, starting from Nuri Sofi, the lord who’d come to Anatolia and established the principality, up to when the Ottoman Empire put an end to their existence. The work contains much information about the political and social life of the lords, such as their wars, divans, relations with other principalities, hunts, and entertainment. The history of Karaman is written in a plain language full of exaggerations, extraordinary events, and chronological errors and has the style of telling a story in front of a large audience.Şikârî is the author the Karamannâme, whose identity is able to be gleaned from a couplet within the work. When reviewing the biographies of poets, none of the three with the name of Şikârî are mentioned in these sources to have authored any work called Karamannâme. This is perhaps due to the content and perspective of the work, as mentioned above. Şikârî&nbsp;stated that this work had started to be written by Hodja Dehhâni in Persian verse in the style of the Shahname, but had remained incomplete, with Yârcânî ending up completing the work. According to Şikârî, however, the work did not find the value it deserved in the Persian language, so he translated this work into Turkish. Şikârî not only translated Karamannâme into Turkish as prose, but also expanded upon the content of the work by adding events from centuries that Yârcânî could not have witnessed, thus narrating the history of Karaman as a whole. The Persian work Şikârî mentioned has not yet been found.Ten copies of Karamanname are known to exist, but only three of these copies are concise. This study takes the following copies into consideration: the Yusufaga Library Copy (42 Yu 562), the Nation’s Library Copy (34 Ae Tarih 458), the Izzet Koyunoglu Library Copy (13377), the National Library Copy(06 Mil. Yz. A4771), the Berlin Library Copy (Ms. Or. Fol. 3129), the Ataturk Library Copy (1 of 2) (MC Yz K. 044401 and Bel Yz K001007), and the Istanbul University Copy ( NEKTY00646). Among these copies, the Istanbul University copy should be removed from consideration as a Karamannâme copy, as it is both concise and has been considerably altered by Ibrahim Aczi Efendi, its copyist. When comparing this copy with the others, the negative elements against the Ottoman Empire are seen to have been removed, with some events also having been altered in favor of the Ottoman Empire. Thus, this copy should not be taken into consideration regarding the critical text publication of Karamannâme, as it was not written directly by the author. The oldest of the copies is the Yusufaga Library copy, dated 1023 Hegira, and the end of this copy is missing. This copy can be said to represent a branch in the genealogy of the copies. The National Library (Ali Emirî) copy is dated 1119 Hegira and can be said to be a complete and comprehensive copy representing the other branch in the genealogy of the copies. The Izzet Koyunoglu Library copy is also dated 1119 Hegira and complete, in addition to being quite similar to the Ali Emirî copy. The National Library Copy is cataloged as Fermannâme and its author is listed as Konevî. However, this identification is based on a complete misreading. This copy is also a complete copy. The manuscript in the Berlin Library is seen to be dated 1908, and when evaluating the characteristics of this copy, it is clearly understood to have been copied at a much later date. Although the two copies in the Ataturk Library are both a concise history of Karaman, both are missing the ending. One of these was annotated by Melih Cevdet Anday. Apart from these, two concise copies of Karamannâme are found in the National Library. When evaluating the features of all these copies, the Yusufaga, Ali Emirî, Izzet Koyunoglu, National Library, and Berlin copies are assessed as primary copies approaching the author’s copy, and these copies can be used in the critical text analysis.

Evaluating the Copies of Şikârî’s Karamannâme

Zühal

Aysima

East Turkestan (Xinjiang Uyghur Autonomous Region) is a region in the middle of the Silk Road housing a variety of ethnic groups with rich cultural and religious traditions. As a result, many religions and cultures intermingled and left their traces there. Since the mid-19th century, East Turkestan has attracted the attention of Orientalists who traveled there to delve into the unexplored language and culture of this section of the Silk Road.The German (at the time, Prussian) “Turfan Expeditions, which were sent to East Turkestan four times between 1902-1914, were a primary attempt to acquire Buddhist and other cultural monuments and written documents from pre-Islamic Central Asia. The first and second expeditions took place mainly in , located south of the Tian Shan Mountains in eastern East Turkistan as an important intersection of the Silk Road and a major gateway to the West. It had also remained the center of a productive oasis and important commercial hub for a long time.Despite all the difficulties, the German participants in these expeditions achieved great success and were able to provide Berlin museums with exceptional finds from excavation sites along the ancient Silk Road. Valuable materials, in particular numerous written documents in various languages and different scripts, were secured for study. However, one should not overlook that these expeditions could not have been done without the participation of local people, the Uyghurs.One of the manuscripts we would like to introduce here is a short genealogy of the Lukchun Wangs (kings) that was brought to Berlin during the second and fourth German Turfan Expeditions to East Turkestan and is now preserved in the Oriental Department of the Berlin State Library. European libraries and archives contain many manuscripts travelers had brought to Europe during such expeditions that have yet to be properly researched.The manuscript registered as Ms. Arab 4 and preserved in the Oriental Department of the Berlin State Library precisely shows evidence for the reigns of the Turfan Wangs, from Feridun Wang to the last Turfan Wang, Emin Wang. The manuscript clearly describes how these rulers ruled and which events took place during their reigns, as well as how they died. Additionally, the end of the manuscript states that Emin Wang had successfully managed this region for four years and was wished a long life.Many pages from Ms. Arab 4 were written in black ink on a total of 20 sheets of European watercolor paper, measuring 19.5x13.6 cm. This manuscript consists of three different texts. The first is the one this study presents. The second is titled Muqbil Rūšen-dil, and the third&nbsp;is titled Ġezel. Nasta'liq was the calligraphy style used in this manuscript. However, the manuscript can be assumed to have been transcribed around 1904-1905. Based on the paper used, the manuscript can also be assumed to have been written in response to a request from Europeans, most likely Germans, and that the text had been written by Mullah Obulmehdi, Le Coq’s Uyghur language teacher in Turfan Karahoja, because very few such scribes were found in Turfan at that time, and Obulmehdi had worked for them until the Germans returned.This article presents not only the transcription of the genealogy but also provides a brief overview of the language features of the text based on the short biography of the family. In addition, the article provides a brief analysis of the Wang family in different parts of the text have been identified based on Uyghur and Chinese sources. Furthermore, the article provides evidence that the language used in the text is significantly distinct from the Turfan Wang family genealogy as recorded under EM13138 in the Ankara Ethnography Museum and originally introduced by Ahmet Temir in the Ural-altaische Jahrbücher (Ural-Altaic yearbook) in 1961. Moreover, David Brophy republished this genealogy in Japan in 2016, and the publication represents an in-depth study of this manuscript.The author of Ms. Arab 4 narrated the story of the Wang family in a literary manner, with the text presented in the form not of a direct narrative but of a typical historical text. The text belongs to the late Chagatai period when Chagatai transitioned to pre-modern Uyghur, so its language differs from the genealogy recorded under EM13138 and contains a significant number of Arabic and Persian elements. In addition, the text has many spelling errors and reflects some influences from Uyghur dialects. The research of such manuscripts is crucial not only for linguistics but also for historical source studies.This study’s research on these limited manuscripts marks an attempted to elucidate the information and linguistic characteristics pertaining to the Wang. However, in order to conduct more extensive and systematic analysis of the subject, additional information and time are required.

An Unknown Berlin Manuscript: Şecere-yi Turfan Wang

Literature is an art form that is specific to human beings and therefore to society. Although literature and sociology are two distinct disciplines, they share a common ground in their depiction of human beings and society. The domain of literary sociology examines the interrelations between literature and social life.The novel genre in particular is regarded as a mirror of society and is open to interdisciplinary relations with fields such as psychology, sociology, and history. Novels are based on fiction and have the opportunity to broaden their source material to address social issues by extending their scope through their relationship with these disciplines. The social issues novels collect or indirectly deal with allow for a literary sociological exploration.Begging has existed throughout human history and has had common characteristics across societies. Factors such as wars, epidemics, migrations, natural disasters, economic instability, and a hereditary inheritance from parents to children, as well as the existence of people who practice begging habitually have contributed to its emergence.Historically, begging and beggars was frowned upon in most societies and religions. In this context, although various measures were taken, laws enacted and institutions established to combat begging in Ottoman society, these were insufficient. Despite the negative perception of begging and beggars across societies and religions, it has been a recurring theme in Turkish literature across various genres, from poetry, drama, and stories to novels and essays. Turkish novels have also been characterized as a mirror held up to the street and have been particularly significant as a platform for exploring the issue of begging. Thus, begging and beggars have been central themes to many novels in Turkish literature from the Tanzimat to the present. Hüseyin Rahmi Gürpınar’s (1919) Hayattan Sayfalar [Pages from Life] was penned in the last period of the Ottoman Empire, while Reşat Nuri Güntekin’s (1946) Miskinler Tekkesi [Lodge of the Lazy] was written in the Republican period. Both are noteworthy examples of such works that best describe the subject of begging.A beggar’s appearance is crucial to their success, as their appearance is based on appealing to people’s feelings of compassion. Unlike in Western societies where beggars may be indistinguishable from other people in terms of appearance with their clothing and attire and who can beg by performing art, having an image that aligns with society’s preconceived notions of beggars, such as having old, tattered clothes, unpolished shoes with holes, a dirty discolored cap or fez, a crooked cane, a scarf around the neck, a light beard, and dirty glasses, is critical to their image in Eastern societies. The beggar’s greatest strength lies in their appearance and silence.Beggars have been called different names by society over time depending on their methods and skills with begging. One of these is the beggar whom the ancients called fukarayı sabirin. These people would walk around in worn-out robes and turbans and appear to be trying to hide their great poverty, never uttering a word of complaint or request; elders regarded them as half saints. Another type of beggar was the noble beggars, those who were beggars by descent. Another type of begging was based on a relationship of interest, whereby favors were exchanged for begging. Yet another form of begging involved begging in government offices, where the beggar would quietly sit on one side in accordance with the atmosphere of the office, unlike those who would beg on streets, avenues, and squares. Moreover, other types of beggars would seek to obtain a position within a governmental office by begging the manager or those in higher positions. Additionally, others would beg at the court house, attempting to prove their innocence despite being in the wrong or seeking to procure false witnesses. Still another type of beggar would be the beggars of Ramadan, Muharram, and the holy months, with people from Anatolia flocking to metropolitan cities, especially Istanbul, during these periods. Another type of beggar was called the Hajiyatmaz. They were very skilled at pretending to be physically crippled or to have no arms or legs and would be left by certain people in certain squares to beg. Child beggars, madmen, and fools, as well as those begging by post were other groups of beggars. A new type of begging has emerged with people who are wealthy, these beggars own properties but shout about being hungry when faced with minor problems.Beggars can be found anywhere. However, they tend to prefer crowded locations such as mosques, cemeteries, train and ferry stations, government offices, court houses, and hospitals. This article analyzes how begging and beggars were depicted in Turkish novels from the last quarter of the nineteenth century to the first years of the Republic through the specific examples from Hayattan Sayfalar and Miskinler Tekkesi.

Begging and Beggary in the Context of Literary Sociology: Hayattan Sayfalar and Miskinler Tekkesi

Umberto Eco’s (2013) Six Walks in the Fictional Woods can be considered a reading guide for literary works. After emphasizing the primary roles a reader has in a narrative, Eco goes on to describe how an author tries to make the listener or reader think and notice different standpoints, both through the questions the author asks and the examples the author gives, and shows how the reader should follow a path to uncover the profound meaning embedded within the text. Eco states that one of the first requirements for being a model reader is to cooperate with the text, because the process of the reader’s reception and interpretation of the text is related to the cultural baggage the reader has more than the story being told. Eco (2013) describes the concept of the model reader not as people reading a narrative text, especially a fictional text, as a result of their own experiences, expectations, or predictions but rather as a type of reader who assumes the role outlined by the model author. Based on six lectures, the work stands out as a study that makes general definitions that are visualized by examples. Eco discusses the notion of the reader through all aspects that he has already addressed in other works.Cemil Kavukçu’s (2011) short stories in his work Başkasının Rüyaları [Someone Else’s Dreams] stand out as having a structure in which the narrative and story time are intertwined and where the chronology often changes with flashbacks. As a result, a narrative emerges in which the reader sometimes has difficulty following the events and the story itself. When analyzing all the stories in the book, although one gets the impression that the stories have different narrators, once the reader uncovers the connections between the stories, they eventually discover that all of these narrators are versions of a single narrator at different periods in life or the voice of scenes narrated in a dream or a reverie. Parallel to the reading process in Eco’s (2013) woods metaphor, the reader moves forward or backward in the narrative, rediscovers some facts, tries to find connections, and mentally visualizes the story’s integrity based on the clues gotten from the text.The book leaves the reader under the influence of an illusion and appears as a non-synchronic narrative of stories in which distinguishing dream from reality, memory from reality, and reality from a dream becomes increasingly difficult. However, the narrative often proceeds through analepses and prolepses and also takes on a form in which reality, dream, and memory are interlaced. This fragmentary structure is achieved by creating each story as a different universe. However, the story’s integrity and close interconnections between the stories allow the reader to read the whole text as fragmentary parts of a single book.Upon analyzing the stories, the narrative protagonists are initially seen to remain within the boundaries of the stories in which their narratives take place but later reappear as migrated&nbsp;individuals in the following narratives. The characters migrate from one story to another, and eventually all come together, especially in the story titled Düğün [The Wedding].The wholeness formed by the stories takes the model reader out of a narrative universe composed of a selection of stories and places them in a novel universe. In addition, the presence of protagonists who transcend the boundaries of the story enables the reader to see each story as a sequential episode rather than as a separate universe.As the reading progresses, intertwining events, level-changing narrative universes, and migrating characters leave the reader uncertain; however, the model author intersperses the elements to ensure a following up in the text. In these aspects, the model author guides the model reader at textual, narrative, and metafictional levels and tries to make them linger in the woods to understand his narrative better.

The Model Reader in Cemil Kavukçu’s Başkasının Rüyaları

Rabia

Old Uighur Turkish Legal Documents

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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

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

The Stories in Hanımlara Mahsus Gazete and the İdea of Contemplation

Yong

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

The Proverb of tama tama köl bolur in modern Turkic Languages

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Mehmet Fatih

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

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

Mehmet

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

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

Büşra

Assist. Prof.

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

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

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

Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) publishes research articles on Turkish language, literature and culture, contributing to the field. The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

Ali Şükrü

Index Islamicus

MLA International Bibliography

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

@METRIC_VOLUMES

@METRIC_ISSUES

@METRIC_ARTICLES

@METRIC_OPENACCESS

Journal of Turkish Language and Literature

@INFO_TAB_ABOUT

Editor in Chief

Co Editor in Chief

Field Editor

English Language Editor

Editorial Assistant

Publicity Manager

Editorial Board Member

@INFO_TAB_BOARDS

Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) is an open access, peer-reviewed, scholarly and international journal published two times a year in June and December. It has been an official publication of Istanbul University, Faculty of Letters, Department of Turkish Language and Literature. The journal has been published since 1946. The manuscripts submitted for publication in the journal must be scientific and original work in Turkey Turkish or English. Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) publishes research articles on Turkish language, literature and culture, contributing to the field. The target group of the journal consists of academicians, researchers, professionals, students, related professional and academic bodies and institutions.

Aim and Scope

TÜBİTAK-ULAKBİM TR Dizin MLA International Bibliography Index Islamicus*SOBİADDOAJERIH PLUSEBSCO Central &amp; Eastern European Academic SourceEmerging Sources Citation Index (ESCI) *Index Islamicus indexes only articles in English.

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. Plagiarism Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 15 or 20%. Double Blind Peer-Review After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Policies

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

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

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

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

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

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

Ethics

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

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

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

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

Peer Review

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

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

<div>LanguageThe language of the journal is Turkey Turkish and English.Manuscript Organization and formatAll correspondence will be sent to the first-named author unless otherwise specified. Manuscript is to be submitted online via <a href="https://dergipark.org.tr/en/pub/iutded" target="_blank">https://dergipark.org.tr/en/pub/iutded</a> and it must be accompanied by a cover letter indicating that the manuscript is intended for publication, specifying the article category (i.e. research article etc.) and including information about the manuscript (see the Submission Checklist). In addition, a <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">‘Copyright Agreement Form’</a> that has to be signed by all authors must be submitted.1. The manuscripts must be in Times New Roman typeface, 11 font size and have single line spacing (special typefaces can be only used partially).2. In the manuscript, the title in English must be written with capital letters (10 font size) and the title in Turkish with capital letters (14 font size).3. In the manuscript, after the titles and before the introduction section, Turkish abstracts of 180-200 and English abstracts of 180-250 words and an extended abstract in English comprising 600-800 words must take place. Five keywords must be included in the abstracts.4. The name of the author has to be below the title of the manuscript and author’s title and affiliation have to be written with the footnote “*”. Mail address, phone number and e-mail address are to be indicated as well.5. The articles must not be over 35 pages.6. The Spelling Dictionary of the Institution of the Turkish Language (TDK) is to be abided in the articles and abbreviations7. In the studies of texts with transcription, one of the fonts of Timesefras, Munevver, and Oktay New Transcription or Timestrans is to be used. The transliteration studies with the fonts other than those will not be accepted. Those fonts will only be used in the text part. Times New Roman will be used in the Introduction, Analysis and Conclusion sections as stated in the first topic. Moreover, the photocopy or CD of the text that was studied has to be sent as well. (This is needed in order to send the text to the referees and for the evaluation of the text).8. When submitting a translation for publication, a sample of the original text and bibliographical info must be attached as well.9. A <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D36464C416D445149AE140B21899A6F7" target="_blank">title page</a> including author information must be submitted together with the manuscript. The <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D36464C416D445149AE140B21899A6F7" target="_blank">title page</a> is to include fully descriptive title of the manuscript and, affiliation, title, e-mail address, postal address, phone and fax number of the author(s) (see The Submission Checklist).10. The rights of the manuscripts submitted to our Journal for publication, belongs to the author(s). Legal and scientific responsibility of the text which is published in the Journal, it belongs to the author(s) and the Journal is not responsible for it.11. The author(s) can be asked to make some changes in their articles due to peer reviews.12. The manuscripts that were sent to the Journal will not be returned whether they are published or not. </div>

Author Guidelines

Before beginning the online submission process please read the Information for Authors and make sure you have the followings available:Cover letter to the editor<ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>Confirming that “the paper is not under consideration for publication in another journal”.</li> <li>Including disclosure of any commercial or financial involvement.</li> <li>Confirming that the statistical design of the research article is reviewed.</li> <li>Confirming that last control for fluent English was done.</li> <li>Confirming that journal policies detailed in Information for Authors have been reviewed.</li> <li>Confirming that the references cited in the text and listed in the references section are in line with APA 6.</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a>Permission of previous published material if used in the present manuscript<a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=titlepagetemplatetuded_636996636832412506.docx" target="_blank">Title page</a><ul type="disc"> <ul type="circle"> <li>The category of the manuscript</li> <li>The title of the manuscript both in Turkish and in English</li> <li>All authors’ names and affiliations (institution, faculty/department, city, country), e-mail addresses</li> <li>Corresponding author’s email address, full postal address, telephone and fax number</li> <li>ORCIDs of all authors.</li> </ul> </ul>Main Manuscript Document<ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts (180-200 words) both in Turkish and in English</li> <li>Key words: 5 words both in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for Turkish articles)</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li> </ul> </ul>Manuscript Submission<ul type="disc"> <li style="text-align: left;">DergiPark manuscript submission site of the journal is: <a href="https://dergipark.org.tr/tr/journal/854/submission/step/manuscript/new" target="_blank">https://dergipark.org.tr/tr/journal/854/submission/step/manuscript/new</a></li> <li style="text-align: left;">The manuscript must be submitted through the account of the corresponding author. The account of authors other than the corresponding author or someone else who is not included as an author in the work must not be used for submission. All correspondence regarding the submission is made with the corresponding author through e-mail via the DergiPark system.</li> <li style="text-align: left;">While uploading Main Document, make sure that the main document has no information that clarify the author’s identity. Due to double blind peer review, Main Document must not include Title Page, the name of author or any other detail that can disclose the author identity. </li> <li style="text-align: left;">Additionaly, Supplemental File for Review must not include any detail that can disclose author identity as well.</li> </ul><ul type="disc"> </ul>Files to be uploaded separately<ul type="disc"> <li>Copyright Agreement Form</li> <li>Permissions obtained for previously published material if used in the present manuscript</li> <li>Title page</li> <li>Main Manuscript Document</li> </ul><ul type="disc"> <ul type="circle"> <li>The title of the manuscript both in Turkish and in English</li> <li>Abstracts (180-200 words) both in Turkish and in English</li> <li>Key words: 5 words both in Turkish and in English</li> <li>Extended Abstract (600-800 words) in English (only for Turkish articles)</li> <li>Main article sections</li> <li>Grant support (if exists)</li> <li>Conflict of interest (if exists)</li> <li>Acknowledgement (if exists)</li> <li>References</li> <li>All tables, illustrations (figures) (including title, description, footnotes)</li></ul></ul><ul type="disc"> </ul>

Although references to review articles can be an efficient way to guide readers to a body of literature, review articles do not always reflect original work accurately. Readers should therefore be provided with direct references to original research sources whenever possible. On the other hand, extensive lists of references to original work on a topic can use excessive space on the printed page. Small numbers of references to key original papers often serve as well as more exhaustive lists, particularly since references can now be added to the electronic version of published papers, and since electronic literature searching allows readers to retrieve published literature efficiently.Reference Style and FormatJournal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) uses APA (American Psychological Association) style 6th Edition for referencing and quoting. For more information:- American Psychological Association. (2010). Publication manual of the American Psychological Association (6th ed.). Washington, DC: APA.- <a href="http://www.apastyle.org" target="_blank">http://www.apastyle.org</a>Citations in the TextCitations must be indicated with the author surname and publication year within the parenthesis.If more than one citation is made within the same paranthesis, separate them with (;).Samples:More than one citation;(Esin et al., 2002; Karasar, 1995)Citation with one author;(Akyolcu, 2007)Citation with two authors;(Sayıner &amp; Demirci, 2007)Citation with three, four, five authors;First citation in the text: (Ailen, Ciambrune, &amp; Welch, 2000) Subsequent citations in the text: (Ailen et al., 2000)Citations with more than six authors;(Çavdar et al., 2003)Citations in the ReferenceAll the citations done in the text should be listed in the References section in alphabetical order of author surname without numbering. Below given examples should be considered in citing the references.Basic Reference TypesBooka) Turkish BookKarasar, N. (1995). Araştırmalarda rapor hazırlama (8th ed.) [Preparing research reports]. Ankara, Turkey: 3A Eğitim Danışmanlık Ltd.b) Book Translated into TurkishMucchielli, A. (1991). Zihniyetler [Mindsets] (A. Kotil, Trans.). İstanbul, Turkey: İletişim Yayınları.c) Edited BookÖren, T., Üney, T., &amp; Çölkesen, R. (Eds.). (2006). Türkiye bilişim ansiklopedisi [Turkish Encyclopedia of Informatics]. İstanbul, Turkey: Papatya Yayıncılık.d) Turkish Book with Multiple AuthorsTonta, Y., Bitirim, Y., &amp; Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme [Performance evaluation in Turkish search engines]. Ankara, Turkey: Total Bilişim.e) Book in EnglishKamien R., &amp; Kamien A. (2014). Music: An appreciation. New York, NY: McGraw-Hill Education.f) Chapter in an Edited BookBassett, C. (2006). Cultural studies and new media. In G. Hall &amp; C. Birchall (Eds.), New cultural studies: Adventures in theory (pp. 220–237). Edinburgh, UK: Edinburgh University Press.g) Chapter in an Edited Book in TurkishErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi [Organization culture: Its functions, elements and importance in leadership and business management]. In M. Zencirkıran (Ed.), Örgüt sosyolojisi [Organization sociology] (pp. 233–263). Bursa, Turkey: Dora Basım Yayın.h) Book with the same organization as author and publisherAmerican Psychological Association. (2009). Publication manual of the American psychological association (6th ed.). Washington, DC: Author.Articlea) Turkish ArticleMutlu, B., &amp; Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri [Source and intervention reduction of stress for parents whose children are in intensive care unit after surgery]. Istanbul University Florence Nightingale Journal of Nursing, 15(60), 179–182.b) English Articlede Cillia, R., Reisigl, M., &amp; Wodak, R. (1999). The discursive construction of national identity. Discourse and Society, 10(2), 149–173. http://dx.doi.org/10.1177/0957926599010002002c) Journal Article with DOI and More Than Seven AuthorsLal, H., Cunningham, A. L., Godeaux, O., Chlibek, R., Diez-Domingo, J., Hwang, S.-J. ... Heineman, T. C. (2015). Efficacy of an adjuvanted herpes zoster subunit vaccine in older adults. New England Journal of Medicine, 372, 2087–2096. http://dx.doi.org/10.1056/NEJMoa1501184d) Journal Article from Web, without DOISidani, S. (2003). Enhancing the evaluation of nursing care effectiveness. Canadian Journal of Nursing Research, 35(3), 26-38. Retrieved from http://cjnr.mcgill.cae) Journal Article wih DOITurner, S. J. (2010). Website statistics 2.0: Using Google Analytics to measure library website effectiveness. Technical Services Quarterly, 27, 261–278. http://dx.doi.org/10.1080/07317131003765910f) Advance Online PublicationSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/ 10.1037/a45d7867g) Article in a MagazineHenry, W. A., III. (1990, April 9). Making the grade in today’s schools. Time, 135, 28–31.Doctoral Dissertation, Master’s Thesis, Presentation, Proceedinga) Dissertation/Thesis from a Commercial DatabaseVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses database. (UMI No. 9943436)b) Dissertation/Thesis from an Institutional DatabaseYaylalı-Yıldız, B. (2014). University campuses as places of potential publicness: Exploring the politicals, social and cultural practices in Ege University (Doctoral dissertation). Retrieved from Retrieved from: http://library.iyte.edu.tr/tr/hizli-erisim/iyte-tez-portalic) Dissertation/Thesis from WebTonta, Y. A. (1992). An analysis of search failures in online library catalogs (Doctoral dissertation, University of California, Berkeley). Retrieved from http://yunus.hacettepe.edu.tr/~tonta/yayinlar /phd/ickapak.htmld) Dissertation/Thesis abstracted in Dissertations Abstracts InternationalAppelbaum, L. G. (2005). Three studies of human information processing: Texture amplifica&#173;tion, motion representation, and figure-ground segregation. Dissertation Abstracts International: Section B. Sciences and Engineering, 65(10), 5428.e) Symposium ContributionKrinsky-McHale, S. J., Zigman, W. B., &amp; Silverman, W. (2012, August). 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