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

Assoc. Prof.

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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Hilal

Poetry has a unique purpose, using intertextuality and contextual references to evoke emotions. To analyze the contextual structure of the poem, it is necessary to investigate the meanings of the functions of elements such as image, metaphor, and symbol and to determine which emotions these meanings arouse directly or implicitly through indicators. This reveals the poet’s use of language and data combined to convey a message. In addition, this created context inspires interpretation of the materials of the poem by revealing the function of the text in the style of the poet. The poem uses strong, abstract images as symbols, and that pattern must be analyzed to make concrete inferences about the poem. What should not be forgotten here is the difference between the intention of the poet and that of the reader. Although the conceptual dimension of the word is related to its imaginary, symbolic, and metaphorical dimension, the reader can make sense of the poem based on his or her own experiences and emotions and how they affect an interpretation. Additionally, the appearance of the word outside the collective consciousness of the reader is important. The words that settle into the world of the individual through language acquisition are also a means of transferring the psychological ancestral legacy as the carrier elements of the collective unconscious. Poetry is the most suitable genre among the literary genres. Hermeneutics, which is an art and philosophy of interpretation, started to be used in the analysis of contemporary literary texts, opening these to different reading techniques. Necip Fazıl’s poem “Mirrors Cut My Way” was examined with the philosophical interpretation technique in terms of content, and the features and functions of poetry language were revealed by evaluating the sensory and emotional functions of words, discourse analysis, and intertextuality through metaphor, symbol, and image. According to Necip Fazıl’s poetics, the poet, who undertakes the search for the truth, seeks the truth like a thief. Most of the poet’s poems in this context are based on the quest motif. The poet is trying to create a different language of poetry and discourse analysis by adding a new literary reality to the traditional; it uses metaphors, symbols and images that bring a secret search to conceal, strengthen, and create aesthetic perception. In this context, the poem in question has been divided into the following topics.1. Figural, Symbolic, and Imaginary Meaning at the Interpretation Level 2. Indicators and Notifications 3. Intertextuality and Contextual Reference 4. Sensory and Emotional Function 5. Language and Discourse Analysis 6. Author’s / Poet’s Intention 7. Reader’s ResponseSurrounded by the circle of modernism, the questioning of the individual and his efforts to confront himself with his own journey are particularly reflected in Necip Fazıl’s poem Mirrors Cut My Way. The metaphors, images, and symbols in poetry support both the signs of poetry and the establishment of intertextual relationships among religious, historical, philosophical, psychological, mystical, and metaphysical references. While creating this pattern in his poetry, Fazıl actually preferred to use the language individually by sampling his poetics, to create a completely new context for known concepts, and to have the entire text contain multiple meanings. The mirror metaphor in poetry provides the mystical metaphysical doctrine with the images it chains, creating a metaphorical language, concretizing the relationship between the signifier and the signified, and activating the reader’s senses, feelings, and intuitions. The intention of the poet is to force the reader to pass between the physical and metaphysical world by forcing the boundaries of the language of poetry with this poem, which is based on metaphors that contain mystical and mystical meaning, and to open the door of his soul with symbols placed in lines, to allow him to reach the ancestral experiences experienced by the images that come with associations. The definition of the connection between man and the sacred in poetry by referring to metaphysical facts brings an inner reckoning, prompting the reader to identify with the subject of the poem. This poem, in which metaphysical teaching is integrated with figurative meaning, forms a coherent whole in terms of language and is prone to be the poet’s poetic text with its rich associative power and contextual references.

A Hermeneutic Approach to Necip Fazıl’s “Mirrors Cut My Way” and  Functions of Poetry Language

Alphan

Poetry is literary art in which sound and visual images feature extensively. Therefore, the text analysis on poetry focuses on auditory and visual images. In Ottoman lyric poetry, music and visual images are more important than intellectual content. Modern Turkish poetry is the same. The French symbolists, who influenced Turkish poetry for a long time, tried to bring poetry to non-verbal music as much as possible by seeing thought as an element that sullied its purity. Yahya Kemal Beyatlı and Ahmet Haşim, referring to the symbolists, emphasized form and musical features of the language, more than meaning or idea, as essential in poetry. Therefore, the idea that poetry should be lyrical and musical became dominant in modern Turkish poetry. The transformation started in the 1950s and ended the dominance of sound patterns in poetry. By this time, visual images became dominant in poetry. The focus of poetic became the images that appeared in journals and books of that period. As verbal expression intensified in poetry, voice patterns or imaginary associations rather than ideas and meanings gained prominence. For the reader, poetry expresses a multidimensional visual world. There is no specific subject covered in these poems. Instead, there are image patterns and word associations that readers or critics must carefully decipher.The prominence of sound and image in Turkish poetry studies neglected logical expressions. However, poetic expressions with logical propositions, such as humor, irony, and satire, have always been important in traditional and modern poetry. The philosophical style in Divan poetry (hikemî tarz), mystical teachings in Sufi poetry, in which conceptual issues such as freedom and equality after Tanzimat, show that poetry has an intellectual aspect. Even Tevfik Fikret, devoted to the aesthetics of poetry, especially its sound features, engaged in political discussions and put forth idealism in the most striking poems of his poetry career. In the poems of Yahya Kemal and Ahmet Haşim, followers of pure poetry, we come across lines that read like a philosophical proposition. There is always an intellectual aspect in the works of poets such as Nazım Hikmet, Necip Fazıl, Fazıl Hüsnü Dağlarca, and Orhan Veli Kanık although they have different styles and content. Although the poems of the “Second New” poets that emerged in the 1950s were interpreted as meaningless and abstract by the critics of the period, thought played an important role in the poems of these poets. These examples make it necessary to discuss the subject of thought in modern poetry, especially in modern Western poetry, where it is never excluded. How?Modern Western poetry is not a follower of pure poetry, whose supporters claim that “all arts aspire the condition of music.” On the contrary, the prominent modernist poets of the twentieth century react to the chaotic era in which they live and therefore oppose both the sentimental poetry of the romantics and the melodic poetry in which the symbolists destroy the meaning and seek only an ambiguous purity. It does not mean that there is no emotion or musicality in their poetry; these poets transcend traditional poetic styles by equipping emotion with critical mind and musicality with intense intellectual content. Modernist poets bring intellectualism to poetry. They refer to mythology and anthropology and deal with the tension between tradition and modernism. In doing so, they always add a philosophical dimension to their poems. Thus, T. S. Eliot glorifies poets such as John Donne and Andrew Marvell, who were known as metaphysical poets and were active in the seventeenth century, because they could melt reason and emotion in a single pot. Ezra Pound, on the other hand, adds logical poetry (logopoeia) to his poetics, as well as sound and image. In modern Turkish poetry, some poets put the emotional side to the background and emphasize the mind, intelligence, and wit. In the poems of Melih Cevdet Anday and Özdemir Asaf, the lyrical expressions representing the “heart-cry” are replaced by the “mind cry,” and the visual imagery is supplanted by the “logical eye” that examines everything with a critical perspective.

Thinking in Poetry: Observations on the Poems of Melih Cevdet Anday  And Özdemir Asaf

Ruşen

This study of the epic, The Book of Dede Korkut found that connections are formed between the positioning of characters such as Kazan Khan and Aruz Koca because of the functional nature of Beyrek’s characterization. It examines Beyrek’s murder in the twelfth and last boy (narrative) using semantic arguments that allow the determination of a ritual context to the characterization of Aruz and Kazan. The study also evaluates Beyrek’s place and role within this framework and explains that this character is also subject to a change of status along with other figures such as Kazan and Aruz. The highlighted transformation of Beyrek’s positioning is integrated with the function of mediation. The identification of Beyrek’s modifying function allows the disclosure of the ethno-ritual context of shamanism. Beyrek occupies a shamanistic status in the lower layers of the thematic structure and may be identified with the adventure reflected in the third boy of The Book of Dede Korkut, offering several important clues to its significations.&nbsp;The study also discusses the hostility between Aruz Koca and Kazan Khan in terms of an internal problem of the Oghuz community. It states the inevitability of finding a meta-ethnos mediator to eliminate the prevailing difficulty and examines Beyrek in the context of a wolf cult, citing examples that elucidate the lupine cosmogonic connections in the qualities of this character. The characters of Beyrek and Korkut Ata are also compared, and it is demonstrated that Beyrek is the metaphorical equivalent of Korkut Ata’s personality. However, it is noted that wolf-specific features may be observed in both characters in contexts underlying the thematic structure of the epic. The article further comments on the ritual setting of the last boy and elucidates the ceremonial nature of the characters.The existence of transformative elements between the two-layer thematic structures of the text is illuminated and examined through the archetype of the last boy. The transitional phases between these elements are also marked, highlighting that a retrospective methodology is the only applicable means of restoration. Applying this method, it becomes possible to gradually progress from the upper to the lower layer of the thematic structure, which can then be transferred to any context.In this respect, the old context is present in the new setting in the form of reflections, but these reflections are also found to create oppositions in the new context. The article shows that the contrasts that achieve subtextual consistencies in the thematic structure of the last boy are reflected in the upper layer of the thematic structure as signs. The clarification of these highlighted signs is imperative for the restoration of the lower layer of the thematic structure. This reported framework allows observations to be effected on the basis of the most striking contrast reflected in the upper layer of the thematic structure, the dual positioning of Aruz and Kazan. It is contended that the subtextual is made visible in two aspects. First, the narrator attempts to sustain Kazan Khan’s image as a hero from the beginning to the end of the thematic structure; nevertheless, Kazan’s anti-hero status is revealed. Second, the narrator attempts to portray Aruz Koca as the anti-hero who destroyed Kalın Oghuz; however, Aruz’s heroic status is seen and inferred.&nbsp;The present study determines that the transformative positioning of Beyrek’s character in the third and the last boy reflects varied contexts, but important structural elements are repeated through ritual, and Beyrek’s character assumes the position of mediacy. The article discusses the topical construction of the aspect of ritual in the lower layer of the thematic framework of the last boy and evinces the presence of a status changing ritual within this structure. The epic contrast is reflected on the thematic structure as a value-based opposition, and the ritual reinstated in six thematic contexts is actually a status changing ceremony. It is explicated that Oghuz Khan represents the figure that caused the formation of the first cosmogonic processes. Cosmogony is not comprised merely of universe-congenital elements but also the cosmogonic process. The concerned process is directly related to Oghuz Khan’s foundational role in the world and is associated with the modeling of the Oghuz cosmos in the texts that mention his name. The study ultimately reports that the world model labeled Üç Ok - Boz Ok (Three Arrows - Dun Arrow) was created by Oghuz Khan and was reinstated by the Oghuzs in the status changing ritual described in the last boy. It would be impossible to restore the Inner Oghuz-Outer Oghuz cosmos (world order) without grounding it in this model.

The Character of Bamsı Beyrek in “İç Oğuza Taş Oğuz Asi Olup  Beyrek Öldüğü Boy” and the Functional Model of Thematic Structure

İsmail

As a literary term, a nazire (reply in kind) is a poem that acts as a response and uses the same prosody, rhyme, and tone as the “base poem.” In Turkish literature, examples of reply in kind are available in almost all kinds of verse, especially in the forms of masnavi, eulogy, mustezat, and musammat; however, the majority of the examples are odes. The poems discussed in this review are nazires written in response to the renowned “verse” of Mustafa III, the 26th Sultan of the Ottoman Empire.Mustafa III (1129–1187/1717–1774) served as 26th Sultan of the Ottoman Empire between 1757 and 1774. Research suggests Mustafa III was a merciful, benevolent, generous, traditional, righteous, and prudent sultan who used his best efforts to reign in good faith. Mustafa III wrote various poems under the pseudonyms of “Cihangîr,” “İkbal,” and “İkbalî.”&nbsp;The famous poem by Mustafa III as cited in almost all resources referring to the Ottoman sultan is roughly translated into modern language as follows: “This world goes to rack and ruin, do not expect it to get better in our time. Besides, the vile fate has handed over the state to completely contemptible people. Hence, those who are now at the gates of bliss (in the government) are troublemakers and corrupt people. Henceforward, our only hope remains at the mercy of the God.”It is reported that Mustafa III wrote the aforesaid poem during the first or second year of his accession to the Ottoman throne in response to the lack of experienced, trustworthy, and welleducated officials serving for the purpose of reforming the state, which had begun a gradual downturn, to reclaim its former strength. The Sultan despaired at the dire military, political, and economic conditions of the state gradually worsening and summarized his thoughts in these two couplets. It is interesting that such verses were written by an Ottoman sultan who was meticulous and extremely prudent in all respects. Although similar concerns had been identified by high-ranking officials previously as well, no sultan had ever explicitly expressed such concerns with a view to protect the perpetuity of the Ottoman Empire.Six of the replies in kind in response to the famous verse of Mustafa III were previously introduced through an article to the academic world. Our research identified 11 additional works to make a total of 17. Found in the National Library, Isıklı Library, Gazi Husrev Bey Library in Sarajevo, Târîh-i Enderûn, and Âdâb-ı Zurafâ, these works were written by the following poets: Koca Râgıb Paşa, Şeyhülislamı Küçük Çelebizâde İsmail Âsım Efendi, Enderunî Hazineli Şeyh Râsih Efendi, Şâkir Mehmed Hâkim, Derunî Ali Uşşakî, Hâkim Selim Efendi, Şeyh Mehmed Uşşakî, Hâkim Mehmed Efendi (2 works), Şeyhzâde Süleyman Uşşakî (2 works), Şabân Efendi Uşşakî (2 works), Hüsâmeddin, Dâniş Efendi, Hıfzîzâde, and Mihalicî Kâzî-i Uşşak.As significant examples of the Ottoman tradition of writing replies in kind, such works have helped discover some previously unknown poets, some of who only have one work. In addition, some of these recently identified poems are new additions to the catalogue of works of some known poets.The majority of such works were found to be contained in three journals, clearly proving once more the significance of journals (mecmua) in Turkish literature. As the number of studies conducted on journals increases over time, it could be possible to discover other examples of reply in kind in response to the aforesaid verse of Mustafa III.

“This World is Falling to Pieces, Do Not Expect it to Get Better in Our  Time”: Nazires to the Famous Poem of Sultan Mustafa III

Şeyma

Öğretim Görevlisi

The social self refers to a person’s bond with others. Many people and institutions are involved in the formation of this bond: including family members, friends, and the school environment. Among which the family has the greatest impact. Family can be considered as the starting place of the social self in terms of people living together. It is a family that raises a person, makes the greatest contribution to communication with himself and his environment, and, in short, forms the person as an individual. As such, it has many roles, most importantly, meeting the physical and mental needs of the individual during childhood. It is equally important to meet a child’s mental needs as well as physical needs. Meeting a child’s needs for love, care, trust, and freedom in a family environment will also have a positive impact on his future life. However in the opposite situation, that is, in a family environment where a child’s needs for love, care, trust, and freedom are not met, the child grows up without the most important needs in the formation of the social self. This situation negatively affects his communication with others.The quality of interaction among family members also affects the course of a child’s social self-process. In an environment where parents communicate with each other in a healthy way, the child adopts a healthy language in communication. However, in an environment where parents communicate unhealthily, the child inevitably adopts an unhealthy language, too. In this respect, good communication in the family is very important for the quality of the child’s later life. In a family environment with good communication, family members respect each other’s opinions and decisions, and relationships are established within personal boundaries. On the other hand, the social self suffers in environments where family members oppress or do not like each other. A child who grows up in such an environment feels a lack of trust and love in his communication with others, and this makes it difficult for him to socialize.Like many authors, Ayfer Tunç takes up the influence of one’s family on the social self. Tunç is a well-known name in today’s literature. She attracts attention through her strong bond with society and reality. Her works are a reflection of life where love, loneliness, social and individual conflict, and incompatibility emerge as the main issues. Notably, the heroes in her writing look at their surroundings with a critical eye and question life. The critical interest this brings to many parts of society, combined with the power of observation, expands their sphere of influence. Specifically, Tunç’s novels and stories frequently criticize the institution of the family, which is considered the smallest and yet most influential part of society.Moreover, time appears as a whole in her fiction. This wholeness is also reflected in how the heroes tell their life stories. Tunç often takes readers back to the childhood of the heroes where they endured a trauma that affects them for their lifetime. That is, Tunç’s heroes who face difficulty in society and live on the margins bear the traces of family conflicts from their childhoods. These traces are the biggest obstacles they face to leading a normal life. Because&nbsp;they were not loved or were oppressed by their parents in childhood, they cannot keep up with their social environment as adults.Tunç, with her interest in psychology, provides in-depth descriptions of the traumas her heroes faced and the effects of these traumas on their. Almost all of her heroes have been abandoned, repressed, or doomed to lovelessness by their parents. Authoritarian and loveless parents are the problem Tunç emphasizes most in her depictions of problematic family relationships. Various traumas experienced in the family environment have different effects on the heroes. The heroes all have different characters, but the fact that they feel lonely throughout their lives unites them in the same destiny. That is, all of Tunç’s heroes are alone, having failed to form social egos because they grew up in restless families. Therefore, it is clear that Tunç sees the family institution as a problematic place. The aim of this study is to reveal the relationship between the social self and the institution of the family in Tunç’s novels and stories.

The Relationship between Social Self and Family as an Institution in  Ayfer Tunç’s Novels and Stories

Fethi

Nahide

Globalization has intensely affected the leading art of literature that has, for centuries, deployed languages to discharge a pivotal role in the construction of national cultures. Currently, literature is a means of transcending the national to achieve a global dimension. The development of technology, especially in the last half-century, has enabled digitalization, made translation possible at a dizzying pace, and introduced publishing techniques. These advances have shaken the paradigm that only positions literature within the ambit of national borders. The interactions between stakeholders of the literary world have naturally increased because they can now meet within short durations as literature is produced across the globe in almost every country and language. Thus, a global atmosphere is made available to both authors and readers, radically transforming the content, format, and publishing techniques of texts. Goethe’s conception of Weltliteratur in the first half of the 19th century has surpassed his predictions. In particular, the concept has been transmogrified into “global literature” in the current millennium and has become the fundamental notion of the art and culture industry. This reality is most explicitly manifested in the Nobel Prize for literature.&nbsp;&nbsp;The Nobel Prize has been awarded for many disciplines since the beginning of the 20th century. Despite numerous debates, it is generally regarded as the most prestigious literary award in the world. The awarding of the Nobel Prize after 2000 has generally coincided with trends in global literature. The preference for literati who can claim a place in the international arena is evident over authors prominent in their national literature. Such internationally accessible intellectuals tackle issues that concern all humanity from a universal perspective. They are distanced from ideological bigotry and utilize a moderate, synthesist, and conciliatory style. It is also apparent that such writers live like global citizens and pioneer new literary eras.This study performed a descriptive analysis of the reasons, genders, countries, languages, genres, and content-related attributes and variables pertaining to writers awarded with the Nobel Prize for literature in the period spanning 2000–2020. The study also attempted to determine the correlations between global literary theory and the post-2000 Nobel Prize awards for literature. Descriptive analysis techniques were deployed for the assessments.&nbsp;The descriptive analysis of the collected data revealed that 7 (33%) female writers were awarded the Nobel Prize for literature in the last 21 years. Before the beginning of this century, 10% of the Nobel awardees for literature were female; this figure rose to 33% in the current millennium. This increase may be attributed to the general strengthening of the presence of women in all walks of life. That universal themes such as feminism and women’s rights now form a crucial aspect of global literary awareness could also have contributed to the increased recognition of women by the Nobel committee. It was determined that the awarded writers wrote mainly in English, French, and German. The issue of genre is also an essential intersection node for the literary Nobel and global literary trends. The genres of work represented by the awardees included 16 (76%) novels, 3 (14%) poems, 1 (5%) story, and 1 (5%) play. Goethe, posited the idea of Weltliteratur, described poetry as the “universal property of humanity.” However, the genre of poetry must yield to the novel in the process of the globalization of literature. Poetry is confronted with several obstacles in global literature because it must appeal to emotions and intensively encompasses images and metaphors that may not be universally available. The nature of the 21st century is information/informatics, which holds the mind/ thinking at the forefront. The relativity and variability of knowledge have also contributed to the novel becoming the dominant genre of contemporary literature.Undoubtedly, the recent transformations in technology, transportation, social lives, and economic activities have been pivotal in the evolution of the notion of Weltliteratur to global literature. Literature has been restructured through transnational knowledge, and the Nobel Prize for literature is a palpable indicator of such worldwide familiarity. Any analysis of the dialectical relationship between the Nobel Prize for literature and global literary understanding must make sense of and examine the literary and cultural milieux of the future. An international prize of the stature of the Nobel awarded in the context of global literary trends can only be comprehensively grasped through the argument of global literary appreciation.

Post-Millennium Nobel Literature Prizes in the Context of Global Literary Trends

The greatest factor in Fez reaching large masses in the Muslim Ottoman society was II. It is the decree issued by Mahmud (1826). It is stated that the main reason for the popularization of the fez, which is accepted as the official “clothes” after the abolition of the Janissary House, is “Sultan Mahmut Han’s determination to leave no memories and works resembling the old age in order to eradicate the janissary” (Pakalın, 1993: 611). Since there is no unity of dress in the Ottoman society, fez is assigned as a common heading for “members of every religion and community in order to eliminate the dressing difference between Muslims and non-Muslims” (Pakalın, 2013: 614). Fes was first imported from Tunisia and France (1826), and later from Austria (1832). Austrian goods are boycotted because Austria, from which the fezes were imported, attacked Bosnia-Herzegovina. Due to this boycott, fezes were removed and thrown on the ground.The greatest factor in Fez reaching large masses in the Muslim Ottoman society was II. It is the decree issued by Mahmud (1826). It is stated that the main reason for the popularization of the fez, which is accepted as the official “clothes” after the abolition of the Janissary House, is “Sultan Mahmut Han’s determination to leave no memories and works resembling the old age in order to eradicate the janissary” (Pakalın, 1993: 611). Since there is no unity of dress in the Ottoman society, fez is assigned as a common heading for “members of every religion and community in order to eliminate the dressing difference between Muslims and non-Muslims” (Pakalın, 2013: 614). Fes was first imported from Tunisia and France (1826), and later from Austria (1832). Austrian goods are boycotted because Austria, from which the fezes were imported, attacked Bosnia-Herzegovina. Due to this boycott, fezes were removed and thrown on the ground.The socio-cultural clues behind the biggest reaction of the reforms against the Hat Revolution can be captured from these narratives. Historical texts are insufficient to explain the dimensions and reasons of this social reaction. On the other hand, the presence of some details in the relevant literary texts that provide material for sociological readings partially gives clues to the mysteries of this social reaction. Looking at today’s value judgments, it is not possible to understand neither the hat revolution nor the reaction against this revolution. Historical texts are far from giving this to us. Although it is not reflected in literary texts in a neat way, it is possible to trace the symbolic value that the people of the period attributed to the hat and fez from some scraps scattered among them.The novel is open to sociological readings; Therefore, they are the reference sources for the enlightenment of the periods, mentalities and events. Of course, this determination should be made, considering that fiction-based genres are not exactly history or sociology. So what; Sometimes and events based on fiction gain more importance than historical documents, sometimes they can be a source almost alone for sociological determinations. In this context, the novels of the period are important sources for understanding the reforms of the Atatürk period and evaluating them with a more accurate expression. Although it caused mass reactions,&nbsp;as far as we can see, we have not encountered any novel that tells about the effects of the Hat Law, or at least partially that deals with these reactions. However, we tried to reach a whole based on the information given in one or a few sentences in some novels.Halide Edip, one of the authors discussed in the article, had negative feelings towards the hat. Halide Edip’s “assimilation of the Eastern-Islamic culture with his heart, though he is Western with his mind” is effective in this. However; he seems to have adopted the hat in his later novels. Yakup Kadri drew attention to the hat with a story in a very early period among the writers discussed, and stated indirectly, even if not directly, that the society found the hatred of the hat as exaggerated and unnecessary. However, the fact that the fez, whose symbolic value came to the fore during the years of the War of Independence, was not digested by the occupying officers, also reflected in his novel. On the other hand, Peyami Safa; He mentions in his novels that being headless was not accepted for a man during the Ottoman period. From his narrative there is the impression that he finds this imposition of tradition unnecessary. Hat or fese, on the other hand, does not impose symbolic meanings and values that go beyond their own. Although Refik Halit Karay reflects the symbolic meaning attributed to the fez and hat by the society, it does not express a value judgment in his expression. Kemal Tahir sees the hat as an indicator of a mentality change.

The Fez–Hat Struggle in the Context of Symbolic Values in the  Turkish Novel

Ataberk

Bilge Karasu has been a part of the literary canon for many years as a leading figure in Turkish literature. However, in literary studies, Karasu’s texts are not given as much importance as they deserve. One clear reason is that the language of his texts is difficult to understand, and his ambiguous style may deter literary researchers. However, as anyone who has read Karasu’s texts will attest, the individual and his fragmented world are always at the center of the author’s works.The psychology of the modern individual has a very fragmented structure. The state of the individual is directly related to the knowledge that he has. The world view, education, value judgments, and experiences of the individual directly affect his life practices. It is obvious that the individual will feel like a stranger to his cultural values ​​if he does not comply with the community in which he lives. The alienated individual is inevitably driven to escape. It is natural for people who have failed to build a healthy self, due to their childhood experiences, to encounter bonding problems in their adult lives. Individuals whose psyche has been hurt turn to various defense mechanisms to avoid injury in their relations with the society. Turning toward defense is a sign of the individual’s escape from society and indicates that the person is in the psychology of escape. Escape can arise from the inner self, or it can develop as a result of pressure from the society to the person.&nbsp;The exploration of escape is prevalent in literature. The entire literary history, from Lucretius to Lübeck, from Novalis to Hesse, has been a field where fugitive characters show themselves. From the beginning of modern Turkish literature, fugitive individuals have stood out. The fugitive writers’ distance from traditional narrative techniques paves the way for the theme of escape to be addressed more widely in literary works. The fugitive writers, who put the fugitive individual at the center of the text, do not stay away from people’s problems as it is thought. On the contrary, the writer touches on the issues of society when describing the problems of the fugitive. That is exactly makes the theme of escape in modern Turkish literature meaningful.&nbsp;The first representative of fugitive writers in the modern period is Beşir Fuad, a person whose entire life was defined by escaping from his society and world. He spent his whole life with pursuing a new identity. This search ended with suicide. The theme of escape has perhaps most clearly manifested itself in the works of the Servet-i Fünun group. All members of the Servet-i Fünun ensemble deeply felt the desire to escape and reflected this in their literature. Tevfik Fikret, exhausted from the oppressive environment of Istanbul, retreated to voluntary exile in Aşiyan. The most competent example of the fugitive characters in literary texts until the new era is Ahmet Cemil in Halit Ziya’s novel Mai ve Siyah. The escape of Ahmet Cemil, the protagonist of the novel, aligns with the escape of a whole generation of Servet-i Fünun. Fugitive writers and poets continued to produce works during the republican period, and the fugitive characters followed each other on a line in literary works.Bilge Karasu has given some of the most competent examples of fugitive characters in modern Turkish literature. Karasu, who reveals a fugitive personality with his life and identity, has put the modern individual’s escape at the center of his literary works. Karasu, who comes from a Jewish family and identifies as homosexual, lived a life limited to a narrow circle of friends to avoid scandal. He has been a person whom in the psychology of escape throughout his life for the reasons we have stated. When viewed from this point of view, the writer’s texts are both a continuation of the fugitive characters line in modern Turkish literature and a reflection of the author’s life itself. He wrote many texts in different literary genres, and although each of these texts is shaped around different topics, the theme each has in common is the issue of escape. The individual is at the center of these texts and is written from the perspective of the desire to escape. The main subject of Karasu’s texts is the individual’s psychology of escape.

The Individual and the Desire of Escape in Bilge Karasu’s Texts

Dilek

Onomatopoeic words are formed through the imitation of sounds in nature and demonstration of various movements, and have an important place and extensive usage in language. Onomatopoeic words breathe new life into languages and are common in colloquial language. Moreover, onomatopoeic words are shaped according to each language’s rules and share similarities with different languages. Especially those words produced through sound imitation can share similarities or demonstrate differences with other languages.The term yeliklewişler is used in Karakalpak Turkish and can be divided in two based on its meaning, that is, seske yeliktewişler or “sound imitation” and köriniske yeliktewişler or “appearance imitation.” Sound imitations include human, animal, bird, and object movement sounds, and representative examples include tars tars, şırt şırt, and mırs mırs. Sound imitations can further be divided into two groups, that is, imitations of living creatures and imitations of lifeless objects. Sounds from humans, animals, and children represent the imitation of living creatures, whereas sounds from the surroundings and the natural sounds resulting from movements represent the imitation of lifeless creatures. Meanwhile, appearance imitation includes onomatopoeic words based on the movements of living creatures or objects, and representative examples include pırrım pırrım, jılt jılt, and dağal dağal.This study analyzes and reveals the sound features of onomatopoeic words in general terms and demonstrates that onomatopoeic words have a broad and special place in Karakalpak Turkish. While the solo usages of onomatopoeic roots, which are primary forms, are uncommon, extensive shapes generated from onomatopoeic roots, which are secondary forms, are more common. In onomatopoeics, primary and secondary shapes are used in sentences by taking and expanding auxiliary verbs with derivational affixes or forming reduplications, such as bırq-bırq et-, bırqılda-, and so on.By examining onomatopoeic words in Karakalpak Turkish, we see that vowels differ and are unstable. Semantic differences also reveal changes in vowels. For instance, bajılda- means “yelling in anger; saying bad words,” whereas bıjılda- means “talking too much; grumbling.” While the first example expresses a thick, rude, and loud sound, the second example does not represent a loud sound. Extending such examples is also possible. For example, manqıldaq means “chatterer; someone blabbing; tactless,” whereas mıŋqılda means “nasal twang; blithering; and so on.” Varieties in vowels in onomatopoeics contribute meanings such as strong weak, violent non-violent, continuous discontinuous, and intense mild. In terms of the sounds they reflect, wide vowels have stronger sounds than narrow vowels, whereas narrow vowels have weaker and more unclear sounds than wide vowels. For example, qorqılda- means “slurping a liquid,” and the sound it indicates is rude and intense, whereas qılqılda-, which means “drinking a liquid noisily,” is similar to “chugging” and represents the natural sound produced while drinking, rather than a rude or loud sound. Sound and meaning relationships exist between onomatopoeic words, which form a vocabulary via their unique sounds and syllable system.Onomatopoeic words form through the emergence of one, two, three, four, five, or six sounds in terms of sound number, and primary shapes form in terms of vowels and consonants, such as V, CV, VC, CVC, VVC, and CVCC. Moreover, secondary shapes are VCVC, VCCV, VCCVC, CVCVC, and CVCCVC. Among these structures, CVC and CVCC are the most common.Karakalpak Turkish discriminates between the meanings of some sounds at the onset, peak, and coda of onomatopoeic words. Onomatopoeics abide by the general phonetic rules of Turkish and Karakalpak Turkish in terms of onset or coda vowels.The usage of significant structures and sounds in the coda of onomatopoeic words can be observed through phonetic examination. Consonants b, d, g/ğ, j, k/q, l, m, p, s, ş, t, w, and z can be seen at the onset of onomatopoeic words in Karakalpak Turkish. While checking the consonants used in the coda (CV), b/p, k/q, l, ŋ, r, s, w, and z sounds are considered as primary shapes with two sounds, while in (CVC), b/p, g/ğ, j, k/q, l, m, ŋ, r, s, ş, t, w, and z sounds are deemed as primary shapes with three sounds. A total of 12 dual consonants can be seen in the coda of primary-shaped (CVCC) structured onomatopoeic words. Dual structures are represented by lk/lq, lt, lb/lp, lş, mp, rt, ŋg/ŋğ, ŋk/ŋq, rk/rq, yk/yq, rp/rb, rs/rş, and rt.&nbsp;Primary shapes generally form secondary shapes by enlarging -ir or -il. In some examples, primary forms can be extended through the use of -aŋ or -ıŋ, such as bultaŋ, jaltaŋ, dızıl, güwil, jıbır, jığır, mıljıŋ, sılpıl, solqıl, şılqıl, parıl, partıl, şalpıl, şatır, and zırqıl. In addition, -ir and -il contribute significant meanings while enlarging onomatopoeic words. Specifically, each structure contributes the meaning of “being durable–being not durable” and “continuity–discontinuity,” such as digirle-, which means “something rattling in crooked place; making a sound,” and dikilde-, which means “heart pounding frequently and strongly; thumping violently.” The first example represents an intermittent, distant sound with no contact to a smooth surface, whereas the second example represents a continuous, nonstop sound.

Primary and Secondary Onomatopoeic Words in Karakalpak Turkish  in Terms of Phonics

Bilge

This study is an interdisciplinary text analysis and categorization study that takes advantage of psychology and Turcology knowledge. The main character Yigenek, from Dede Korkut’s story “Kazılık Koca Oğlu Yigenek” is analyzed according to the characteristics of the moral development phases of Kohlberg, whose theory had a great impact on 20th century psychology. Kohlberg’s vision of moral developmental psychology began with the exploration of the psychological understanding of cognitive considerations when making decisions. His work was decidedly interdisciplinary, grounded in the philosophy of Emmanuel Kant, James Mark Baldwin, and John Rawls, in the pragmatism of John Dewey, the sociology of Emile Durkheim, the psychology of William James, the political theory of John Rawls, and the communication theory of Jürgen Habermas (Zizek, Nowak, &amp; Garz, 2015, p. 8). The current research also comprises a combination of separate scientific areas of use. The stories of Dede Korkut, which reflect the culture of Turkish society and are one of the most important works of the Turkish language, are often chosen as a research topic in scientific studies on Turkish language and literature, because these narratives provide important information about all the cultural facts that exist in the daily lives of the Oğuz people.This research examines Dede Korkut’s heroes, who were created as part of the oral tradition centuries ago. Studies about Dede Korkut’s stories are increasing today. The main question of the research is how the male Turkish alpine character found in these stories, which are thought to have been transcribed in the 15th century, will come to life in a psychological theory. Muharrem Ergin (2003, p. 3) is one of the greatest scholars of Turkish literature. In the preface of his book on Dede Korkut, he writes that Fuat Köprülü had always said, “If you put all the Turkish literature on one of the scales and Dede Korkut on the other side, Dede Korkut outweighs them all.” In these stories, Yigenek is mentioned frequently when it comes to battling and victory, and he even has a story in his name. What are the world view, values, and social life of the character of Yigenek, son of Kazılık Koca. The aim here is to get to know the character of Yigenek, which is described as a person who grows up in the Oğuz culture where the individual is for the whole community and the community is for the individual. The question of the depiction of the alpine male character that will be a role model for the youth of the Oğuz community is answered at the end of this research. The moral development theory mentioned at the beginning of the article was chosen as the most useful theory that offers an inclusive method for this purpose.There are many researches about this topic, Dede Korkut, and have become more and more deeply and diversified. But considering Kohlberg’s Moral Theory, in particular, the studies that combine Kohlberg’s theory with stories from Old Anatolian Turkish literature, such as Dede Korkut’s stories are numbered (Dağaşan, Erginsoy Osmanoğlu, &amp; Erdağı Toksun, 2017; Yılmaz, 2019). We hope this research will take its place among these works and contribute to other Turkish literature and Turkish language research. The data obtained in this stdy are summarized and interpreted according to the previously determined themes and are analyzed and classified within the framework of Kohlberg’s theory of moral development. Firstly, in Section 2.1, text analysis was conducted, and it was investigated whether the name Yigenek is used in the other narratives and how it is depicted if it is used. After this research, the references to the Yigenek character were determined throughout the text, and Yigenek’s associations with the situations throughout the book were examined. In this context, after all the physical and characteristic features of Yigenek were determined, they were interpreted in accordance with Kohlberg’s theory of moral development in Section 2.2 and the moral development stage in which the main character appropriately belongs.

Reading Dede Korkut’s “Yigenek” Through the Lens of Kohlberg’s Moral Development Theory

Cemile

Res. Assist.

Ali Ekrem Bolayır was the son of Namık Kemal, one of the best-known writers of the Tanzimat period. He was influential during the period of Servet-i Fünun, which formed an important threshold in Turkish literature, due in part to the literary legacy he received from his father. During this period, he wrote works in various genres, including poems, essays, monographs, and stories. He also worked in Secretariat of the Mabeyin, an important state function under the Ottoman Empire. The main features of Ali Ekrem’s stories can be seen to be the life of people in need of help, the negative consequences of alcohol addiction, the family, and marriage questions, and the importance of childhood education. Themes related to family and marriage took a particularly large place. The story “Teehül,” which we identified under the reference number Bel_Mtf_070715 in the Osman Ergin collection of Atatürk Library, focuses on these issues.In “Te’ehhül,” the main character, Azmi, is a young man who has just graduated from school. His mother wants him to marry someone. However, his mind remains focused on the education he has just completed, and he displays inexperience in the face of the realities of life. His emotional stance is presented through intense depictions in the story. Azmi meets his friend Rıfkı later in the story and discusses his mother’s insistence on marriage. Rıfkı on says that it is still early to think about marriage, and says that he is inexperienced with women. Following this thought, he decides to take his friend to Beyoğlu, an Istanbul district. The story tells of the house of a woman named Sarı Mama in Beyoğlu. Azmi’s first experience with a woman is with Katina, who works at this house. He becomes a regular at the house for a while. Later, when he finds out that Katina is pregnant with someone else’s child, he feels reverence for her motherhood. Azmi, feeling strong emotions, goes to his mother and agrees to be married, which is to take place after about a month. During the henna night, his friend Rıfkı’s words about the healthier family he will establish as a result of his experience recur, and this seems to show the main theme of the story.The history of the story, as recorded by the author (12/19/1898), indicates that it was written during the Servet-i Fünun period and gives us important analytical clues. This story reflects the language perceptions of the literary community to which its author was a member in its preference for ornamental language, except in dialog. Characterization includes long descriptions of spirit worlds and lives, and the characters speak in a style appropriate to their social status and ethnic identity. Premarital experience and the idea that a solid family can be established on this basis are important points highlighted in the story.The character traits given in “Te’ehhül” and the analysis of the cases show a number of characteristics parallel to the life of the author, Ali Ekrem. As a young graduate, Azmi’s idealistic and respectable side is emphasized, along with his inexperience. Here it is clear that the author is an important proponent of the ornate language exhibited in Servet-i Fünun. Another notable point on this story is that the author interrupts the flow of the text to present his own view. This tendency is technically at odds with that of the modern understanding of story.This study was performed to introduce this work written with the author’s hand-writing from Arabic alphabet to the new Turkish alphabet. A secondary aim is to determine the location of the text in relation to the period in which the text was written and views of its author Ali Ekrem, along with the presentation of some references. A facsimile of the text in the library collection has also been added to the end of the study, along with the story text, and an opportunity to observe the author’s work was provided.

An Unknow Story of Ali Ekrem Bolayır: Te’ehhül

Merve

This study aims to analyse the novel Haberci Çocuk Cinayetleri, which attempts to reveal the deep gap between the experience of femininity, which has already been fictionalized, and unequal practices such as sexual politics, race, and class discrimination through the detective genre, which is a very strict literary genre. During the analysis the focus is on literature, which is a collaborator of the artificial distinctions between individual and public life in general, the forms of representation depending on the way the social structure functions (Irigaray, 2006, p. 17), and on the detective novel within the scope of sexual politics in particular. Thus, the character representations constructed on the basis of gender and sexuality and the stance of these representations against male domination are questioned in the novel, and these come to life through language. It is possible to follow the dramatic changes in the status of the characters through literature that contains ideological codes, because literature allows us to determine how the phenomenon is perceived; perception affects the direction and speed of the action (Maugue, 2005, p, 478).This study employs the postfeminist theory and uses detective narratives in detective genre preferring the whodunit?/ whodonit? type of text. The dichotomous setup of the Whodunit is convenient for tracking changes in gender and sexual orientation. In addition, the lack of a comprehensive study on the Haberci Çocuk Cinayetleri is among the criteria in the selection of the book. Both the fact that Mağden’s writing technique is open to changes and the reality that she benefits from postmodern methods provide data suitable for evaluation in terms of the arguments of the study.The analysis method of the study is that of a post-feminist critique that assumes not only women’s but all grievances, acts with a comparative understanding without targeting the universal, and develops new social criticism paradigms without relying on the traditional foundations of philosophy (Sarup, 2010, p. 219-222). The concept of deconstruction, which is the method of poststructuralist theories and which made feminine language possible (especially that advocated by French feminists and put forward by Jacques Derrida), shows that language is an ideological device with a philosophical approach and is used in text analysis. Intertextuality is among the methods used to reach the deep structure of the text and analyse the discourse.During a long period of convalescence after illness S. S. Van Dine (Willard Huntington Wright), spurred on by his interest in detective fiction, prepared a list of The Twenty Rules of the Detective Novel, in which he determined the common points of the texts after reading a large collection of detective novels. He created his own detective and wrote texts according to the rules on the list. The dystopic detective novel Haberci Çocuk Cinayetleri, written by Perihan Mağden and first published in 1991, is included in the detective genre, but it does not comply with the rules determined by S. S. Van Dine. The text, which is a parody of traditional detective, leaps away from the strict prescriptiveness of the genre on the positivist level and also on the level of character fiction. It has a plot that supports all established patterns, proof that the species is deconstructed. In this text, all impositions are repelled without adhering to the inadequate theorizing of the detective genre and reducing standards. With its spaceless and timeless fiction that has evolved into the fantastic, the novel weakens the rationality of classic detective stories, questioning the patterns of the genre with its attempts to expand the boundaries of gender. The replacement of the structure is based on the rules of a fluid understanding of literature that cannot be defined. It clears space for differences in gender and sexual orientation, ensures that exclusionary policies evolve into embracing approaches and emphasizes the unique existence of individuals. Refusing to display a typical enigmatic adventure novel to her readers, the author presents her novel as a work that is in dialogue with the classical structure and in which both change as society changes.

A Distinctive Detective Novel: The Deconstruction of Classic Detective  Fiction in Haberci Çocuk Cinayetleri

Funda

Ferhengnâme-yi Sa’dî Tercümesi (The Translation of Ferhengname-yi Sadi) is a didactic mesnevi written in the 14th century in Old Anatolian Turkish. The writer, Hodja Mes’ud bin Ahmad acknowledges that he translated his work in 1354/1355 (H.755) from the Persian version called Bustan by Sadi dated 1257. Although Bustan has 4044 couplets, Ferhengnâme-yi Sa’dî Tercümesi has just around one thousand couplets.&nbsp;In the introduction, Hodja Mes’ud implies that he did not use any foreign words in his translation work. The text actually portrays the richness of Turkish vocabulary in the Old Anatolian Turkish period. However, although Hodja Mes’ud claims that the work has been written in pure Turkish, he also tried to keep the original form and the structure. When we compare his translation and the original text, we can easily say that they are written in a very similar form. Ferhengnâme-yi Sa’dî Tercümesi was written in the same meter of mutekarib (feûlun feûlun feûlun feûl) just as Bustan. Ferhengnâme-yi Sa’dî Tercümesi and Bustan also have similarities in terms of meaning. As Hodja Mes’ud mentions in his text, he tried to keep the meaning as he did for the form.Hoca Mes’ud states that the book he intended to write was not original Bustan, but a concise work created with selected couplets from it. Fuad Koprulu and Kilisli Muallim Rifat also stated that they examined many of the shortened and selective Bustan and none of them were compatible with the work written by Hodja Mes’ud. Unfortunately, despite my long-term efforts, I also could not find a shortened Persian copy that overlaps with the work of Hodja Mes’ud.Although I did not find the original of the work, when we compare the text with the original Bustan, we see that the meaning of the couplets in Persian and Turkish overlap. In other words, as Hoca Mes’ud said, the work had been translated in the same meter with Persian and without much change in the meaning. In the copy published by Kilisli Muallim Rifat, some couplets in Persian forms are also added as a footnote. Comparing the Persian and Turkish forms of these couplets, some couplets seem to be exactly the same. As Rifat did, I also compared some other coupletes in the two languages, and I found that the translation was made word for word from Persian to Turkish in some couplets. As an example, in Turkish, götürmez-mi-di yėl her ṣubḥ u şām/Süleymān serīrin ʿalayhi’s-salām (Kopenhagen: couplet 72) (Did wind not bring Suleiman’s crown from place to place every day and every night); is translated from Persian text, ne ber bād reftī seḥergāh u şām/serīr-i Süleymān ʿaleyhi’s-selām (Bustan: page 83/couplet 13)As was Ferhengnâme-yi Sa’dî Tercümesi, many other works such as Hüsrev and Şirin, Mantıku’t-Tayr, Leyla and Mecnun, Yusuf and Züleyha were translated from Persian into Turkish during the period when Turkish was the written language in Anatolia. As a result of this, many Persian structures, phrases and words have been used widely in Turkish. Undoubtedly, one of these examples of structures that have been translated from Persian to Turkish is idioms.&nbsp;Many idioms that are still in use in contemporary Turkish also exist in Persian. The question of whether these idioms were transmitted from Persian to Turkish through texts or from Turkish to Persian verbally is controversial. However, it can be said that some of the idioms used in Turkish based on written texts were translated into Turkish during these translation activities and gained widespread usage in Turkish. One could also say Hoca Mes’ud must have tried to use the idioms that were already used in Turkish at that time, to make the text more meaninful and at the same time to stay with the Persian script.&nbsp;Ferhengnâme-yi Sa’dî Tercümesi contains many idioms that were written in the Old Anatolian Turkish era in the 14th century and translated from Persian Bustan and have similar use in terms of its structure such as dilüŋ çek-: dilini tutmak, susmak vs. zabān dar kashīdan: to keep in one’s tongue. Apart from these, there are some idioms used in the Turkish version which are not the same as in the Persian couplets. However, same idioms might be found in Persian. One of the methods of creating this kind of idiom is taking the nouns as they are and adding a Turkish verb in the same meaning with Persian ones such as cemʿ ḳıl-: bir araya getirmek, toplamak vs. jam’ kardan: to assemble, bring together, collect. Another type of idiom used in the text is where nouns and verbs were different but with the same meaning such as el yu-: kötü bir şeyden uzak durmak, onu yapmaktan vazgeçmek vs. dast shustan: to abandon.As I explained above, because Hodja Mes’ud tried to keep the form and the meaning close to its Persian version, Ferhengnâme-yi Sa’dî Tercümesi has traces of some Persian structures and patterns. One of these structures is idioms used to strengthen expression in the work. In this study, the idioms in the text of Hodja Mes’ud were identified and the similarities to their Persian equivalents were pointed out.

Some Idioms Used in Ferhengname-yi Sadi Tercumesi and Their Persian Equivalents

Zeynep

Based on Mehmed Celâl’s novella Venus, this article aims to investigate the diversity of late Ottoman literature intrinsically and in relation to Greco-Roman mythology. In his novella, Mehmed Celâl transforms the mythological image of Venus into a local one. Having removed Venus from her mythological context, Mehmed Celâl chooses a most appropriate venue to match the archaic narrative: sea baths. As the only places in the text where crowds are encountered, Mehmed Celâl’s depiction of sea baths provides important details in understanding gender roles in the period. Thanks to sea baths, the Poet has the opportunity to gaze upon his lover while she is swimming. Mehmed Celâl feared that these swimming scenes would attract negative attention, as it was uncommon for women to swim in public. He therefore provides information about sea baths in the preface to make it clear that his portrayal of them is accurate. He claims that swimming in the sea baths is common for both men and women in some districts of Istanbul, and that it is considered normal to see Christian women swimming in public. He demands that his readers not doubt his depiction and not regard these scenes as unusual.Surrounded by wooden canopies, cliffs, and caves, the sea baths remained outside the usual narratives of public space in nineteenth-century Ottoman literature. Despite being a women-only space, historical records demonstrate that restrictions preventing access by men were easily overcome. Interestingly, the popularity of sea baths in the literary sphere suddenly grew after Venus. İbrahim Cemal published Deniz Hamamı Risalesi (Sea Bath Treatise) in 1890, seeking to answer all the questions that might arise regarding sea baths. His treatise includes a wide variety of information, from water temperature to wind direction, and it can be seen as an indicator of increasing interest in sea baths. These developments enable us to evaluate sea baths as a new public space in the late nineteenth-century.Although Mehmed Celâl does not completely reject traditional forms of Ottoman poetry, he stretches its content by selecting a Roman goddess, Venus, as the subject of his work. He uses traditional Persian and Arabic phrases and “mazmuns” along with newly invented ones to build his narrative. Poems, written in a variety of classical Ottoman verse forms such as gazel and musaddas, incorporated into the prose sections and including correspondence work together to create a formally hybrid text. Mehmed Celâl not only transforms classical Ottoman poetry by utilizing mythological elements but also modifies the archaic narrative of Venus by Ottomanizing it. In some verses, he compares Venus to Zohra and refers to Venus as an angel rather than a goddess. After the publication of Venus, the number of books written on mythology increased remarkably. Famous Ottoman writers Şemseddin Sami and Nabizade Nazım each wrote a work of non-fiction titled Esâtir, and interest in classical mythology thrived in the Ottoman literary field. In short, all these developments helped to pioneer the movement of “Neo-Hellenism.”Consisting of forty-five pages of text, Venus is a striking novella that recreates mythological elements in the Ottoman context. As is clear from contemporary criticism, the subjects and&nbsp;forms he employed were not well-received in the literary circles of the period. Changes in literary taste left Mehmed Celâl and his texts forgotten and excluded from the literary canon. However, even if his novels are considered weak relative to current criteria, their hybridity contains clues essential to understanding the Ottoman novel and positioning it within world literature.

When Spaces and Genres Intersect: An Ottoman Venus

Fatih

Öğretim Görevlisi Dr.

Behiştî, a sixteenth-century poet, wrote in the Turkish classical literary genre of shahrangiz, for the city of Bursa. His real name was Ramadan, though he was known by the pseudonyms Vizeli, Vaiz, and Sânî, to avoid confusion with other poets bearing the same pseudonym. Behiştî was born in Vize on an undetermined date, completed his madrasa education in Istanbul, and received caliphate from Halvetî-Sunbülî sheikh Merkez Efendi, a famous scholar of the period. He later settled in Çorlu and engaged in Sufistic duty in the lodge he established until his death (979 AH / 1571-72 AC).According to biographical studies, Behiştî wrote twelve literary and scientific works in different volumes. The shahrangiz, written for the city of Bursa, is the subject of our article. Sources on his life make no mention of Behiştî's relationship with Bursa. From the couplets in his shahrangiz, one assumes he was abroad in Bursa for an unknown reason during his youth. His shahrangiz for Bursa is intertwined with the shahrangiz of the Mesîhî and the Kerîmî and is part of a poem collection manuscript with scattered pages, registered as Mil Yz A 827 in the Ankara National Library. The work is first mentioned in Yaşar Aydemir's doctoral dissertation about Behiştî and his divan. Aydemir was unable to specify whether this shahrangiz was written for Bursa or Vize due to the lack of information on the poet’s connection to Bursa and this poetry collection. Despite this uncertainty, the text was probably written for Bursa, based on some couplets in the shahrangiz. These include a statement that one of the people in Şehrengiz lives in Yıldırım (Yıldırım, mentioned in the poem, is likely a Bursa settlement) and another reference that he is abroad and not surprised that Vize is not a place in demand because of its distance from Bursa.The only identified copy of shahrangiz is found in a disorganized and incomplete poem collection manuscript registered under the number Mil Yz A 827 in the National Library of Ankara. Foil numbers further complicate the collection due to multiple numbers. However, Behiştî’s work is intertwined with the shahrangizes for Edirne by Mesîhî and Kerîmî. Based on the poet’s clear statement that each person is mentioned in three couplets, the text, consisting of 113 couplets, was reorganized by excluding the couplets belonging to the Mesîhî and Kerîmî, and the remaining three couplets were assumed to belong to Behiştî. After a 24-couplet invocation section, which appears to be missing its beginning, there is an unfinished reason for the writing section that includes 4 couplets. We then come across a description of 21 beautiful citizens of Bursa: İbrâhîm, Memî, Hâfız, Âl-i Muhammed Hâşîm, Şeyh-zâde, âteş-ruh bir güzel, Gazzâzlarda Mustafâ, Yağmurcaoğlu, Nakîboğlı, Muhzıroğlı, Sultân Mahmûd, Mîve-fürûşoğlu Mehemmed, Başmakçılarda Mahmûd, Kirdeci, Biryâncıoğlı Mehemmed, Lütfî, Çeşmecioğlu ʿAlî, Frenkoğlı, Yehûdîlerde bir sanem, Hâce kulu Mahmûd, Âl-i Mustafâ Ahmed. After the 4 couplets and the last name is mentioned, there are ending and prayer sections. Along with the missing beginning, there is another part missing at the end of the text. The penultimate folio comes after the last couplet and indicates the first word of the next folio, reddâde, müş‘ir/ müş‘ire, ayak, etc. The expression in terms (İlâhî) does not appear in other folios. At the end of the shahrangiz, there is a ghazal of five couplets, different from the main text, written as fâilâtün/ fâilâtün/fâilâtün/fâilün meter. Mesîhî, who wrote the first example of the shahrangiz genre in Turkish literature, included two ghazals at the end of his shahrangiz. Since this example, it was traditional to end the shahrangiz with a ghazal, although it is not always followed. Behiştî also followed this tradition and ended his work with a ghazal.Our study, briefly mentioning the life and works of Behiştî, will focused on the shahrangiz, written for the city of Bursa. The work will be examined in terms of form and content, and the original text will be given a facsimile. We hope a complete copy of the work will be found so that missing parts are found and speculation resolves on the shahrangiz written for Bursa.

Behiştî of Vize and The Shahrangiz of Bursa

İlgar

In the Turkish system of thought, man and woman are positioned together—managing life and all kinds of business, with counseling—to maintain the order in social life. Woman partners with her husband, her family, and the fate of the society to which she belongs. Moreover, this situation is reflected in the Turkish State tradition. Women direct state politics, mentor, manage the state when it comes to their roles, and fulfill positions in the management system. Overall, the belief system reflects women’s main position in all areas of public life. In the Alevi-Bektashi tradition, Fatma is the daughter of the Prophet Muhammad, the wife of the Prophet Ali, and, on the other hand, the mother of imams. Thus, she converges on “kut” and keeps it going.During the history of the Safavid State, an important phase of Alevism-Bektashism, periodic differences occurred in the view of women’s place and importance. Both in the Safavid State’s foundation stage and in Shah Tahmasb’s first ruling area, women filled important positions in policy, the economy, and the army. Chronicles of the period and travel literature recorded women’s active role in society. Later however, consequent to socio-cultural and, particularly, faith-related reasons, a woman’s area of activity was restricted, and she gradually and steadily lost her earlier social position. Woman, previously an important figure in society from battlefield to economy and policy to worship, came, over time to be perceived as an object and to be constricted into harems. Tajlu Begum (Shah Bige Begum), a member of the Mawsillu tribe ruling Diyarbakir, emerges to symbolize women’s position in Qizilbash society during the years following the Safavid State’s foundation.After Shah Ismail’s death, the new worldview that emerged during Tahmasb’s reign led to the decline of women’s role in society, the economy, and politics. Influenced especially on theological and social issues by the new Shia sect scholars, Tahmasb’s edicts or approvals of these scholars’ orders can be considered beginning steps in pushing women to the background of social life. Even in the field of faith, this occurred in a way that did not conform the AleviBektashi belief system’s spirit as manifested in economics and politics. Consequently, woman, a complementary figure in Qizilbash society at every life stage—from worship to economic and social life—was over time compressed into harems, seen as a sexual object, and limited in her field of activity: so much so that in the period after Tahmasb, various methods of keeping women away from men were used, and, under Shah Abbas I, some areas were designated as “women-only” on a certain day of the week.During Shah Ismail’s reign, Tajlu Begum (Shah Bige Khanum), who belonged to the Musullu tribe that dominated Diyarbakir on women’s place in society, is an important example. She was Shah Ismail’s “right-hand man,” wife, gun mate, and comrade during his lifetime. She had a stake in administration of the state, directed politics, and dismissed or disenfranchised high authorities such as viziers and emirs. Besides that, folk listened to her word in mediation of disputes. She negotiated for war or peace, having a say in the state’s foreign policy as well as in domestic politics. When the time came, she was present in battle with a sword, and when necessary, managed the state after the sultan’s death, preventing it from falling apart. In addition to being the Shah’s wife and performing all these actions, Tajlu Begum complemented Shah Ismail, the Murshid-i Kamil of the Qizilbash. Thus, she became exemplary in representing Turkish women in history and culture.But Tajlu Begum’s social position was not specific solely to her and the Safavid State. In Turkish history, many women have led the state and been proactive politically. Likewise, the nearby Alp (Warrior) woman is positioned similarly in the Turkish epic tradition and Turkish mythology. In fact, Qizilbash women and Tajlu Begum’s actions and attitudes are structured similarly according to perception of women within the Turkish State tradition. During the conditions of the day, all members of society continually struggled together, and women’s mobility in the social status they deserve allowed them to overcome difficulties and maintain woman-centered religious roots in the Alevi-Bektashi belief system.

Woman in Qizilbash-Turkmen Society during Safavid Period (Tajlu  Begum: an Example of Qizilbash Woman)

Erkan

Stories of miraculous deeds are called keramet. Narratives of such feats performed by prominent figures of a sect are termed menakıbnames and are also known as velayetnames in Bektashi culture. These texts reveal considerable information about the culture, social structure, and religious beliefs of the times in which they were recorded. The word menakıb means praiseworthy actions. In the early phase of Islam, these texts merely described the praiseworthy acts performed by Prophet Muhammad’s companions. In time, as Sufism expanded and large Sufi dervish orders were founded, the words of wisdom, virtuous deeds, and the miraculous actions or keramet of the Sufi saints were also recorded. Initially, such accounts of keramet in the Sufi tradition were orally transmitted. Numerous motifs may be observed in the menakıbnames, and Bektashi culture has instilled its velayetnames with many pre-Islamic era elements of Turkish culture as well as features adapted from neighboring cultures with which Turks were in contact. The struggle against a dragon is one such motif, many examples of which may be cited in Bektashi velayetnames.Dragons appear in the mythologies of numerous nations across the world. Although this creature is sometimes depicted in a good way, the dragon symbolizes great power and can wreak immense destruction. Hence, in certain cultures, including Turkish culture, it is an oft-repeated leitmotif, a recurring theme, portrayed as a threat to the cosmos. The dragon is thus related to chaos, which represents the antithesis of the order of the universe, which is believed to have been constructed by the gods. The velayetnames are written records of the miraculous deeds of the Bektashi saints. Their recurrent motif of the struggle against a dragon to illustrate that an extraordinary feat does not merely signify fighting a mythical creature. Rather, it conveys an underlying allegorical connotation of conflict against a mythic entity represented as a destructive force. Hence, this conflict is between forces representing chaos and those denoting the cosmos or order in any form.In the Ancient Near East, the Babylonian creation myth Enuma Elish describes one of the most ancient prototypes of the motif of the fight against chaos. Parallels to this account also exist in the Baal Cycle, which forms a part of Ugarit texts. This motif also occurs in other religious and mythological texts such as the Old Testament and the Rig Veda.&nbsp;Hermann Gunkel attempted to expound this motif, which is also scattered in the Old Testament, noting similarities with Enuma Elish in the struggle between Marduk representing the cosmos and Tiamat denoting chaos in Enuma Elish to the battle between Yahweh and the dragon Leviathan in the Old Testament. His Chaoskampf theory is based on his work titled Schöpfung Und Chaos in Urzeit und Endzeit: Eine Religionsgeschichtliche Untersuchung Über Gen 1 Und Ap Joh 12 (Creation and Chaos in the primeval era and the eschaton: A religio-historical study of Genesis 1 and Revelation 12). This treatise was published in 1895, and to date, it has attracted considerable support as well as much criticism. Scholars still reference this concept in their studies. Chaoskampf is conceptually adaptable, and its traces&nbsp;may be observed in works of oral literature as well as television series. The current study applies Hermann Gunkel’s theory of Chaoskampf to the analysis of the conflicts between Bektashi saints and dragons.This study comprises five sections. After the introduction, it describes the elements of the Chaoskampf motif and demonstrates the conceptual flexibility of this theory. Next, it elucidates the portrayal of the dragon as a chaotic mythical creature in Turkish culture. Then, it examines Bektashi velayetnames through the perspective of Chaoskampf, or the motif of the struggle of order against chaos, and renders an overall assessment.

Using Hermann Gunkel’s Chaoskampf Theory to Examine Bektashi  Velayetnames About Struggles with Dragons

Mustafa

Prof.

Cemalettin Server Revnakoğlu’s personal archive is significant in Turkish cultural history. The archive is currently located in the Süleymaniye Library, and the documents that it contains related to the history of Istanbul Sufism and the tariqas draw special attention. Due to his special interest and duty, Revnakoğlu visited many dervish lodges and zawiyas, shrines and tombs, mosques and kulliyes in Istanbul; he gathered information about these places from both written and oral sources and recorded his own observations.This study only cites only some of the Bektashi fathers and Bektashi zawiyas from Revnakoğlu’s Sufism archive consisting of thousands of documents. Revnakoğlu contacted almost all of the Istanbul Bektashi fathers; he wrote the dervish lodges of Merdivenköy, Çamlıca, Kuyubaşı, Karyağdı, Karaağaç, Sütlüce, Rumelihisarı, and Topkapı Bektaşî and also identified humble Bektaşî lodges operating in Istanbul. He is the only person who has been attributed the titles of sheikh, caliph, professed, and gifted and who wrote about the Istanbul era of the Bektashi—from persons to lodges— from the inside. Revnakoğlu, whose father was also a part of Bektashism, personally knew most of the sheikhs that he had spoken with. In the biographies he wrote, what draws attention is his depth, mastery of the subject, and a literary language that is not seen in other studies of this kind. Individuals were determined either directly by their own familiarity or by the testimonies of those around them, and Bektashi fathers were depicted in a style that would make the reader sympathize with them. On the other hand, Revnakoğlu gathered information by asking those who knew the sheikhs what he did not have the chance to know. He included his own observations and evaluations about Baba İbrahim, Baba Hasan Basri, Baba Tevfik, Ali Fethi Beybaba, and Ali Bey, whom we cited in this study, and even recorded rumors about them. Particularly, the wits, rumors and jokes about Baba Tevfik’s Bektashism, who was unique to him, have drawn attention. Among other people recalled by Revnakoğlu was Baba Hasan Basri, who had spread Bektashism in the Grand Bazaar and Üsküdar after receiving the diploma for becoming a Bektashi father from Baba Ali Nutku (sheikh of Çamlıca Bektashi Dervish Lodge and Bektashi Ali Bey); although not well known in the field due to his little influence, he has served in many works—especially in the apostils of Aşık Pasha and Lutfî Efendi’s Histories. Revnakoğlu also spoke about Ali Fethi Beybaba, who received a diploma from Baba Nutki and was admired by Revnakoğlu because he preserved his childhood embarrassment and never benefited from the tariqa.It is possible to reach the Bektashi joy—which manifested itself in many tariqas with the decrease in the fanaticism of Bektashism in the nineteenth century—in archive documents. Ziya Efendi (the sheikh of Üsküdar Rifa‘i Dervish Lodge) and Baba Emin (the sheikh of Yedikule Ussaki Dervish Lodge) reflected the Bektashi aspects into their tariqas. The latter, a member of a branch that is described as disruptive, transformed the Ussakiyya s into the Bektashi color; after him, Caliph Fahreddin Himmeti Efendi carried on the Bektashi joy in Ussakiyya. Baba Haşim, who carried this joy into Celvetiyya, paid the price of his choice because he was Bektashi, and his funeral prayer was not allowed to be performed in the Celvetiyya dervish lodge. When he died, he was brought to the dervish lodge of Celvetiyya to perform the funeral prayer, but he was not taken inside because he was Bektashi, and his funeral prayer was performed near the main door. Later, this place was named the Hashimiyya coffin rest.Dede Ramiz, of whom Revnakoğlu claimed to know every aspect and sometimes criticized for his behavior, brought Bektashi joy to Khalwatiyya. On the other hand, Sheikh Mustafa Efendi, who was said to be an astonishingly Alevi with his long mustache, brought the Bektashi joy into Naqshibandiyya. Some of the sheikhs, whom Revnakoğlu stated belonged to other tariqas while tending toward Bektashi, had benefited from both being Bektashi and the status of fatherhood. One of these sheikhs was Abdülvahid Çelebi from Mevleviyya, who reflected the Bektashi color most intensely in Mevleviyya; moreover, the sheikh of Bahariye Mevlevi Lodge, Dede Hüseyin Fahreddin, also fed off the sheikh of Sütlüce Bektashi Dervish Lodge, Baba Münir. Revnakoğlu conveyed the biography of Abdülvahid Çelebi, who received his caliphate from Bektashiyya and made his contribution, with his remarkable aspects. Revnakoğlu related that Abdülvahid Çelebi was not liked by the palace and some Bektashi people because he helped the libertarians, and he also touched on the jealousy in Bektashiyya. A copy of a long document in which Abdülvahid Çelebi confessed to being Bektashi is preserved in the Revnakoğlu archive. This document reflects many folkloric materials, beliefs, and practices regarding daily life and special days such as Muharram. All these documents in Revnakoğlu’s archive, who also gathered information about Bektashism while working on the history of Istanbul dervish lodges, prevented the forgetting and progressive loss of information belonging to the last period of this history.

Determinations in Revnakoğlu’s Documents Regarding Bektashization  among Bektashi Fathers and Other Dervish Lodges

Yusuf

The approaches used by translators and the decisions they make when converting any source language input to target language output are called methods or strategies in the scientific literature of translation. In this study, the sentence-level translation preferences adopted by the translator, specifically for poem inputs translation, are examined. Thus, following the comparative description of the source language text and the target language text, we reviewed data in the form of 10 poems belonging to Yunus Emre, translated by Tahsin Saraç in 1973. We felt the data obtained from this research may be useful in creating resources that can be developed for the training of translators.First, brief information about poetry as an input type is given in the study, and the different points of view regarding untranslatable poems are identified. The translation of poetry presents serious difficulties as it is a genre in which the relationship between form and content is particularly important; however, it is also highlighted that many poets are internationally recognized, owing to the outstandingly successful translations of poetry in the historical process.After the poetry translation methods, the translation strategies known in the literature are summarized. To this end, semantic and communicative translation methods, translation approaches at lexical and supra-lexical levels, and the concepts of direct and indirect translation processes are explained.In the section where research information is given, some studies on the translation of Yunus Emre’s poems are briefly presented to determine what interventions were made at the sentence level. (Our study does not address translation criticism.) In addition, the translator’s strategy choices are limited only at the syntactic level. In other words, the translator’s attempts to affect the level of the sentence have been taken into account.Some of the results obtained from the sentence-level descriptive research relate to the formal aspect of the poem, with a significant part involving translations aimed at the verb groups. The translator has chosen to translate all of the poems with two or four strings in the source text as two strings.Another finding concerning the formal dimension of the poems in our database is related to rhymes. Saraç had to reduce a significant part of the rhymes included in all the source poems. This indicates that the translator focuses more on the dimension of the message and meaning in the poems than on the poem construction.As for Saraç’s attempts at the syntactic level in translations of poetry, the first is based on changing the mode of action in the source text. The transformation from imperative in the source language to indicative in the target language and vice versa is one of Saraç’s preferences. Another type of intervention is the transformation of the verb in the infinitive to a conjugated verb.Some of these examples include the reduction of the verb -imek which is the head of the verb phrase in the source language, and its transformation into an adjectival phrase formed with past participle in the target language; some others, in addition to the reduction of the same verb, are based on translation through adjectives created by other methods of derivation (crazy, impossible, etc.).Another intervention by Saraç at the modal level is based on the translation of a verb in indicative mode into the source language by converting it into a present participle in the target language. This attempt results in the translator determining one of the two independent sentences as the main sentence, thus converting the other sentence into a subordinate clause. Saraç transforms some of the sentences of the source language into a prepositional group and transfers them to the target language. The modification of the verb type often results in an intervention at the syntactical level.In conclusion, although a translation strategy must always be defined in the translation process, it is a concept that contains uncertainties. It is clear that the strategies presented under separate headings as a direct or indirect translation strategy cannot be definitively separated from each other, especially when languages with significant structural differences such as Turkish and French are involved.Although the concept of translation strategy is not sufficient to fully explain the translation process, it is a concept that should be taught to candidate translators in translator training. A novice translator should be able to compare a particular translation product with its source input and determine the type of translator preferences and the reasons for those preferences.

Syntactic Initiatives in the Translation of Yunus Emre’s Poems from  Turkish to French

Erol

The Ahi-Order organization draws attention as a socioeconomic, political, and military power during the Seljuk and Ottoman Empire(s). The structure of this organization consisting of tradesmen and craftsmen was shaped by both Turkistan and Iranian Turks. With the victory of Malazgirt, the doors of Anatolia were opened to the Turks. Then, the great Turkish migrations began from Asian lands into Anatolia. Mongol attacks also had an effect on this migration. The Turks, who settled in villages, towns, and cities in Anatolia, established bazaars and markets with new names such as “bedesten” (covered Turkish bazaars), “arasta” (Ottoman bazaar), and “uzun çarşı” (long bazaar). In these bazaars, they provided means of employment and production and constituted markets to sell their produce. The Ahi community organized these bazaars. The members of this community were called “Ahi.” The original word “ahi” means brother in Arabic. The same word appears as “aki” in Diwan Lughat-al Turk, which is one of the original sources of the Turkish language. The dictionary meanings of the word are “generous,” “openhanded,” and “helpful.” The futuwwa understanding played a big part in the organization of the Ahi-Order in Anatolia. The futuwwa, which was seen in every community, was an ideal of valor. After the Seljuks settled in Anatolia, they adopted this ideal, which were enriched by their own concepts of generosity, valor, and heroism. The principles of this organization were written in the “futuwwatname,” which was considered the constitution of the Ahi community, and in the Ahi secerename(s). In order for an Ahi to enter the Ahi organization, he had to be trained by a master and have a skill. The Ahi community had great influence in towns, villages, and frontiers, as well as in cities. They kept city life under control both economically and politically, especially when the state authority was weakened. With the rules they set, the members of the Ahi-Order organization tried to ensure the stability of socioeconomic life. During the time of the Anatolian Seljuk State, well-known sufis, such as Evhaduddin-i Kirmanî, Muhyiddin İbnü’l-Arabî, and Sheikh Nasuriddin Mahmud el Hoyî, came to Anatolia from Baghdad. Ahi Evran, the sage of tanners stayed in the capital city of Konya for a while. Then, he settled in Kayseri, which was a trade center at that time. There, he married a lady named Fatma (Bacı) Hatun, daughter of his teacher Sheikh Evhaduddin-i Kirmanî. Later, he settled in Kırsehir, an important Turkish city. There, he established an Ahi zawiya and made it a center of Akhism. Ahi Evran visited many cities and towns in Anatolia. He stayed for a while in some of the places he visited. He united Turkish tradesmen, craftsmen, and merchants around the principles of morality, generosity, and&nbsp;hospitality. Ahi Evran stayed for 14 years in Kırsehir, and he died there in 1261 at the age of 93. The Ahi-Order organization continued to be organized all over Anatolia during the period of the Beyliks who came to the fore after the Seljuk state. This organization also played an active role in the establishment of the Ottoman Empire. During the foundation of the Ottoman Empire, Osman Ghazi, the founder of the Empire, had his father-in-law Sheikh Edebali, the leaders of the Ahi community, and tribal chieftains gathered around him. Osman Ghazi, Orhan Ghazi, Alaeddin Pasha, Murat I, also Sheikh Mahmud Ghazi, Ali Hasan, son of Ahi Semseddin, and Kara Halil from Cendere (Candarli), had all put on a special belt, named “sed” during a master ceremony of the Ahi-Order and thus became members of the Ahi-Order organization. The leaders stated in the foregoing text had benefited from the Ahi community’s military power in conquests. The famous traveler Ibn-i Battuta from Tangiers gave first and important information about the Ahi-Order organization in his “seyahatname” (travel book), indicating the serious presence of this order in Anatolia. Evliya Celebi also mentioned in his “seyahatname” about the personality of Ahi Evran, the professional ethics of the Ahi community, their workplaces, and their daily lives too. A young person’s professional life in the Ahi-Order organization begins as an assistant (yamak) at the first stage. This period starts with bringing children, who are not younger than 10 years old, to a master by their parents in order for them to be trained to learn an art. In addition to their vocational trainings in lodges, the assistants were given religious, social, and moral knowledge for the purpose of educating them to become well-behaving, good persons. Those who had spent 2 years at the lodges free of charge were promoted to the apprenticeship (çırak) with a special ceremony. The apprenticeship period usually lasted 1001 days. After completing this period, and having been trained by his foreman and master, the apprentice had to take an exam. If he succeeded in the exam, he would be promoted to a higher stage and became a foreman. To be a master, a foreman had to successfully complete all of his necessary training, which took 3 years for all professions, and then, he had to participate in a ceremony that included an exam as well. The foreman brought all the handicraft works he had prepared and presented them to the council of masters headed by the representative of the Head of Ahi-Order. If the works of the young foreman were appreciated by these masters, then he was promoted to the level of mastership. At the end of the ceremony, the master who trained the foreman tied the mastership loincloth (sed) to the foreman with his own hands. The ceremony was called as “Sed Kusatma,” and it ended with the new master’s kissing the hands of those present at ceremony and receiving their prayers. The Ahi-Order organization turned into a guild beginning from the 16th century. Then, it continued its activities as “gedik.” Later, it lost its authority over the tradesmen and the public, ending up with no effect at the beginning of the 20th century.&nbsp;In this study, the structuring of the Ahi-Order organization in Anatolia will be described. In addition, Ahi Evran, the founder of the organization and the sage of tanners, the roles of the Ahi community during the establishment of the Ottoman state, the loss of their functions afterward, and the formation of the tradesmen and craftsmen guilds in the Republican period in Turkey are expounded in this study. Last, research about the Ahi culture from the 1950s until this day will also find mention.

Ahi Evran, the Sage of Tradesmen and Craftsmen and the Ahi-Order From Past to Present

Beyza

Öztoprak, Nihat. (2020). 20. Yüzyıl Mutasavvıf Dîvân Şâiri  Seyyid Osman Hulûsî Efendi Dîvânı (İnceleme-Metin-Nesre Çeviri), İstanbul: Nasihat Yayınları, 4 Cilt, ISBN: 978-605-06574-0-1

Fatoş

Aras Toktaş, Hayat (2020). Tuvaca ‘Alday-Buuçu’ Destanı (Metin-Çeviri-Adlar-Sözvarlığı), İstanbul: IQ Sanat Yayıncılık, 548 s., ISBN: 978-975-255-523-5

Hasan

Belge, Murat (2018). Şairaneden Şiirsele: Türkiye’de  Modern Şiir. İstanbul: İletişim Yayınları, 581 s., ISBN: 978-975-05231-8-2

Nedret

From Alfred de Vigny to Yahya Kemal Beyatlı: Notes of a Research

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Yasemin

Reşat Nuri reflects many types of people in a society through his work. İffet, the hero of Güntekin's Damga, is someone who the author considers an honest person in a society infested with corruption and immorality of different types. His behavior does not conform to the norms of the self-centered lifestyle that prevails in almost every layer of a society. İffet does not prioritize himself, and he cares about things outside of himself and seeks to bring benefit to his position. However, in the novel, inconsistencies are observed in his behavior owing to negative events that have been in his subconscious since childhood. These events begin to confront İffet with the devastating consequences of his excessive indulgence in his own decisions. In this fiction, Güntekin reveals the attitudes, motions of the soul, and dilemmas of his hero İffet in the face of events and enables the readers to form opinions about the morality of his hero.İffet saves Vedia, a woman with whom he is having a love affair, with an impulsive decision and at the cost of stigmatizing himself. This decision was rooted in his tendency to sacrifice himself, which was attributed to his subconscious mind, rooted in his childhood, and it was not a decision made on the absolute command of his mind. Because this decision was based on experience, İffet was acting against a moral law.İffet argues against becoming a lawyer by citing the fact of his legal punishment as part of his own maxim. However, this maximis not eligible for a legitimate or general law, as it does not have a universal criterion applicable to everyone. If İffet’s thought had been accepted as a maxim, someone sentenced for a crime would not be able to work in any job regardless of whether or not he had the skills. This approach is universally contrary to human nature and the entire human experience. Therefore, İffet could not be a legislator in Kant's kingdom of ends with this maxim, as it contradicts the universal principles of moral law.In another case, İffet saves a fallen woman from the environment she is living in and ensures that she is safe next to him. In return, he expects the woman to worship him like a deity. It is not possible to speak of the consciousness of moral law and duty under the guidance of these tendencies and desires. İffet, who intends to resurrect a woman whose honor and dignity have been violated and whom he sought to save using her ashes, dreams of becoming a respectable person in society again. Good intentions and actions, aimed at establishing human dignity, are undoubtedly among the aims of the moral law. In fact, goodwill is like a gem that carries its own value, and there is nothing in the universe that can be considered good other than goodwill. However, the slightest expectation or interest from intentions and actions means contradicting the principles of moral law. Good and bad actions that emerge as a result of the interaction of intention and will are also the subject of literature. The intentions and actions of İffet can be questioned in relation to Kant's moral law using concepts, such as goodwill, conscientious morality, and maxims, which are among the basic elements of Kant's understanding of ethics.According to Kant, the human is the subject and subject of mind, moral decisions, and setting one’s purpose. What adds value to people and gains the dignity of being human is to act in accordance with the moral law. Despite the long-term misery he has gone through, İffet avoids all the bad roads, although he eventually gets involved in illegal affairs owing to financial need. In the illegal environment, he acts with the intention of doing good to people and takes several virtuous actions that are suitable for duty. He does not use his interests, at least in terms of obtaining material benefit. This feature of him is valuable next to people who do not care about moral values such as chastity honor and dignity. However, according to Kant, not every action suitable for duty has a moral value. In Kant's eyes, if duty is fulfilled out of respect for the law, good intentions and morality come to pass. İffet is not good as judged by Kant's moral law, as he does not carry out his actions with a sense of duty, although he does do much that is appropriate to the task.As the hero of the novel, his effort to turn toward goodness and to be subject to the moral law is perceived. The biggest obstacle to this positive orientation is his society, which stigmatizes people for acting with pragmatic and egocentric tendencies, with feelings that people have difficulty controlling.&nbsp;

A Philosophical Approach to Reşat Nuri Güntekin's Damga: İffet  against Kant's Moral Law

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Engin

Emre

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

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

Halim

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

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

Hüsniye

Lecturer

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

The Stories in Hanımlara Mahsus Gazete and the İdea of Contemplation

Yong

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

The Proverb of tama tama köl bolur in modern Turkic Languages

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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.

Index Islamicus

MLA International Bibliography

TR Dizin

DOAJ

SOBIAD Sosyal Bilimler Atıf Dizini

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Journal of Turkish Language and Literature

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Editor in Chief

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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.

Aim and Scope

TÜBİTAK-ULAKBİM TR Dizin MLA International Bibliography Index Islamicus*SobiadDOAJ *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 Committee on Publication Ethics (COPE), the Directory of Open Access Journals (DOAJ), the Open Access Scholarly Publishers Association (OASPA), and the World Association of Medical Editors (WAME) 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.

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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.

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 Committee on Publication Ethics (COPE), the Directory of Open Access Journals (DOAJ), the Open Access Scholarly Publishers Association (OASPA), and the World Association of Medical Editors (WAME) 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). Are neuropsychiatric symptoms markers of prodromal Alzheimer’s disease in adults with Down syndrome? In W. B. Zigman (Chair), Predictors of mild cognitive impairment, dementia, and mortality in adults with Down syndrome. Symposium conducted at the meeting of the American Psychological Association, Orlando, FL.f) Conference Paper Abstract Retrieved OnlineLiu, S. (2005, May). Defending against business crises with the help of intelligent agent based early warning solutions. Paper presented at the Seventh International Conference on Enterprise Information Systems, Miami, FL. Abstract retrieved from http://www.iceis.org/iceis2005/abstracts_2005.htmg) Conference Paper - In Regularly Published Proceedings and Retrieved OnlineHerculano-Houzel, S., Collins, C. E., Wong, P., Kaas, J. H., &amp; Lent, R. (2008). The basic nonuniformity of the cerebral cortex. Proceedings of the National Academy of Sciences, 105, 12593–12598. http://dx.doi.org/10.1073/pnas.0805417105h) Proceeding in Book FormParsons, O. A., Pryzwansky, W. B., Weinstein, D. J., &amp; Wiens, A. N. (1995). Taxonomy for psychology. In J. N. Reich, H. Sands, &amp; A. N. Wiens (Eds.), Education and training beyond the doctoral degree: Proceedings of the American Psychological Association National Conference on Postdoctoral Education and Training in Psychology (pp. 45–50). Washington, DC: American Psychological Association.i) Paper PresentationNguyen, C. A. (2012, August). Humor and deception in advertising: When laughter may not be the best medicine. Paper presented at the meeting of the American Psychological Association, Orlando, FL.Other Sourcesa) Newspaper ArticleBrowne, R. (2010, March 21). This brainless patient is no dummy. Sydney Morning Herald, 45.b) Newspaper Article with no AuthorNew drug appears to sharply cut risk of death from heart failure.(1993, July 15). The Washington Post, p. A12.c) Web Page/Blog PostBordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. Retrieved from http://www.davidbordwell.net/blog/page/27/d) Online Encyclopedia/DictionaryIgnition. (1989). In Oxford English online dictionary (2nd ed.). Retrieved from http://dictionary.oed.comMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.). The Stanford encyclopedia of philosophy. Retrieved from http://plato.stanford.edu/entries/ethics-business/e) PodcastDunning, B. (Producer). (2011, January 12). inFact: Conspiracy theories [Video podcast]. Retrieved from http://itunes.apple.com/f) Single Episode in a Television SeriesEgan, D. (Writer), &amp; Alexander, J. (Director). (2005). Failure to communicate. [Television series episode]. In D. Shore (Executive producer), House; New York, NY: Fox Broadcasting.g) MusicFuchs, G. (2004). Light the menorah. On Eight nights of Hanukkah [CD]. Brick, NJ: Kid Kosher.

<ul><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/0FBEAF0DFB25455D834B29BB947F632A" target="_blank">Title page</a></li><li><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/CA4A31E50DE644D7A8CC695CA0257A53" target="_blank">Author Form</a></li></ul>

Ensure that the following items are present:●    Cover letter to the editorü    The category of the manuscriptü    Confirming that “the paper is not under consideration for publication in another journal”.ü    Including disclosure of any commercial or financial involvement.ü    Confirming that last control for fluent English was done.ü    Confirming that journal policies detailed in Information for Authors have been reviewed.●    <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/8C817D4C271A46D0A24AECA7DED998DC" target="_blank">Copyright Agreement Form</a>●    Permission of previous published material if used in the present manuscript●    <a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=titlepagetemplatetuded_636996636832412506.docx" target="_blank">Title page</a>ü    The category of the manuscriptü    The title of the manuscript both in Turkish and in Englishü    All authors’ names and affiliations (institution, faculty/department, city, country),e-mail addressesü    Corresponding author’s email address, full postal address, telephone and fax numberü    ORCIDs of all authors.●    Main Manuscript Document:ü    The title of the manuscript both in Turkish and in Englishü    Abstracts both in Turkish  (180-200 words) and in English  (180-250 words)ü    Key words: 5 words in Turkish and in Englishü    Extended Abstract (600-800 words) in English (only for articles in Turkish)ü    Body textü    Grant support (if exists)ü    Conflict of interest (if exists)ü    Acknowledgement (if exists)ü    Referencesü    All tables, illustrations (figures) (including title, description, footnotes)

Journal of Turkish Language and Literature

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