Engin

Prof.

Emre

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

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

Beyza

Hope is at the core of humanity. Human existence is understood with hope. Man shapes his position, path and future in the world by hoping. The hopeful and hopeless state of a person affects not only the moment he is in, but also the steps he will take. Many philosophers have included the concept of hope in building their philosophy. In particular, existentialist philosophy benefited from this concept in its efforts to explain and make sense of the human struggle in the world. While hope leads people to good, despair and anxiety take the people to bad. On the other hand, there are also thinkers who approach the situation differently. These thinkers consider that the human struggle is directly connected to the hopeless. According to those thinkers, the struggle in the world is empty and meaningless. When we put all this aside, the hopeful quest of man has become the subject of literature. This shows us that hope is what guides people in many fictional texts. Hopeful people dream. The person who dreams, hopes to realize his dreams. This cycle continues with life and is never ending. For centuries, mankind has survived the worst situations, wars and destruction. Despite this, people did not stop hoping for a moment. There is hope at the heart of the desire to change the world and the present situation. For an author, it is impossible to think of a dreamless and hopeless person. Many authors have used both of these elements which we explained to create their main character. As an example, it is not deniable that the Little Prince has given hope to readers. On the other hand, there is hope at the basis of utopian and dystopic narratives. The hopeful expectation of man has created new worlds, and the hopeless state has destroyed these worlds. While Gabriel Marcel built a metaphysics of hope, Kierkegaard was fed by despair and anxiety. Ecology in fictional texts has been the subject of many studies in recent years. Authors have included non-human beings in their texts and turned them into images. These images can be interpreted in the text, as well as have been intertextual features. For example, Kafka likened man to an insect to criticize the modern world. Livingston's Seagull “Jonathon” tells how a seagull (and therefore a living thing) has achieved its ability to fly high beyond its limits. The concepts that animals and plants symbolize are different. These creatures can have both national and universal qualities. Therefore, how the work is approached is very important. Hasan Ali Toptaş is one of the leading representatives of contemporary Turkish literature. His novels are often associated with the philosophy of existence. The characters created in this direction are open to reading along with the concepts of hope and despair. The novelism of the author is not uniform. Toptaş is a writer who tries to write in different ways. His novels show many features of modernism and postmodernism. On the other hand, one of the elements frequently repeated in the novels of the author is the word bird. In his works, the bird takes place both as a living being and as a motif. It is an element of analogy. Birds, as a living being, are often associated with freedom, because birds have the right to move in the sky in any direction. This gives them the right to escape from any situation. Birds, which are at a&nbsp;height beyond human reach, have affected humans due to their ability to fly. Human beings want to be free like birds, they want to be where they want when they want. On the other hand, birds are creatures that guide people and play a role in many legendary narratives. As can be seen, it is possible to make different interpretations in this context. This study gives different interpretations of the bird motif in the novels of the author.

The Bird Motif in Hasan Ali Toptaş's Novels in the Context of Hope-Hopelessness Dialectics

Halim

Assoc. Prof.

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

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

Hüsniye

Lecturer

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

The Stories in Hanımlara Mahsus Gazete and the İdea of Contemplation

Yong

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

The Proverb of tama tama köl bolur in modern Turkic Languages

Zühal

Sevim

Res. Assist.

Zubdat-al-āthār is a historical work which was written by Abdullah bin Muhammad bin Ali Nasrullāhī, in (Chagatai) Turkic, completed in 1525 and dedicated to Sultan Muhammad who was the son of Suyunch Khoja Khan. The author’s name is spelled as ʿAbduʼllāh bin Muḥammed bin ʿAlī Naṣruʼllāhī (358a-4) in the copy registered under the number 5368 in Tashkent, Al-Biruni Oriental Institute; and as ʿAbduʼllāh bin Muḥammed bin ʿAlī Naṣruʼllāh (2a-14) in the copy located in St. Petersburg. In Hofman’s catalogue, the entry of the name appears as Naşrallahi or Navallahi, ʿAbdallāh b. M. b. ʿA. (Hofman, 1969, 256-257). The author’s name is mentioned in some sources also as Mevlana Abdullah bin Ali-yi Belhî (Çelik, 2012: 101). We have limited information about the author’s life, which we can only obtain from his own work. The reasons which make the work significant are that the chapters about the periods before the author’s lifetime consist of a compilation from primary sources of those times; and the chapters about the events of his era are original as either he narrates the events he witnessed personally or he relates the narratives he heard from his contemporaries. The work consists of eleven chapters. The work’s original manuscript is missing but there are three copies which have survived, none of which are complete (information about a fourth copy of the work was announced to the scientific community by DeWeese in his work named A note on manuscripts of the Zubdat al-āthār). In spite of their incompleteness and late dates, these three copies are still very valuable thanks to their rich content. The author indicates that he had used the Uighur records of the Genghis dynasties (Tarikh-i Khani), beside many other sources previously written. This alone implies that this work may include information not available in other authorities. Being one of the most comprehensive prose texts in Chagatai Turkic the work has a rich vocabulary. Since it is a chronicle, it also reflects the political, social, economic and cultural events of the society. This article tries to explain what the duties and potencies of the institutions or persons were in the state organization based on the governmental and administrative terms and titles attested in Zubdat al-āthār. The presence of these terms and titles reflects the presence of order and stability in the state. The text used in this study is formed by comparing two copies, the one located in the Leningrad Branch of the Institute of Oriental Studies of the Academy of Sciences of the U.S.S.R. (LOIV) and the one located in the Institute of Oriental Studies of the Academy of Sciences of the Uzbek SSR, Tashkent. In this article we will deal with the terms attested in the 9th, 10th and 11th chapters. The paper consists of two parts. In the first part, after the introduction, brief information about Zubdat al-āthār is presented. In the second part, ‘Organization Terms’ attested in Zubdat al-āthār are discussed: 1. Terms Related to the Operation of the State Organization: ḳurıltay, divan; 2. Persons in charge of the functioning of the State Organization: yasavul, ınaḳ, ḳorçı, kötval ͠ kotval, bitikçi, tovaçı, ḳuşçı, aḫtacı, daruġa, yurtçı, mühr-dār’. Examples of words discussed in the article: The root of the word ḳorçı is the Mongolian word kor ‘a case in which arrowheads are put’. But in Chagatai dictionaries it is found under&nbsp;the article kur ‘belt’, and the meaning is given as ‘belt’ and ‘weapon’; namely two different words which need to be shown under two different articles are put together. Thus, the word meaning ‘weapon’ should be derived from Mongolian kor ‘a case in which arrowheads are put’ and it should be shown under an independent article. Therefore, the right reading of the word is ḳorçı and not ḳurçı as we see in some sources, since its base is kor. The meaning of the title kötval, which represents an important position in the state can be seen as ‘guard, watcher, castellan’ in all dictionaries. Albeit not with great certainty we nonetheless have reason to believe that there were two words with same meaning and similar spelling but with different etymologies in Chagatai texts: 1. kötval or kotval, derived from Hindi kotvala which passed to Turkish via Persian; 2. Keptevül, derived from the Mongolian verb kepte-. The fact that words are used in the same meaning with minor differences in spelling may weaken this approach. In this study, we believe that significant determinations have been made especially about the readings and etymologies of the words korçı, kötval and tovaçı, which can be found with different reading in different sources.

Governmental and Administrative Terms and Titles in the Chronicle Zubdat al-Āthār

Mehmet

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

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

Büşra

Assist. Prof.

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

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

Uğur

Tümer

Old Uyghur, which is a branch of Old Turkic, was formed on the basis of religious texts of various circles such as Buddhism, Manichaeism and Christianity. Among these, the Buddhist canon has an important place in Old Uyghur translation literature. This paper aims to publish two Old Uyghur fragments belonging to the Faxiang school (法相宗 Faxiang zong), which was developed from the Yogācāra school of Buddhism. Before introducing the paper, it will be useful to present a short overview on the schools of Buddhism. Buddhism, which was founded by Siddhārta Gautama (563-483 bc), who lived in northeastern India, is a philosophical belief system. There are two main schools of Buddhism: Theravāda ‘the way of the elders’ or in other words Hīnayāna ‘small vehicle’, and Mahāyāna ‘great vehicle’. While Hīnayāna constitutes the conservative school of Buddhism, Mahāyāna school is more reformist. Mahāyāna Buddhism has two major philosophical schools within itself: The first is the school of Mādhyamaka, founded by Nāgārjuna and Āryadeva; the second is the Yogācāra school, founded by Asaṅga and Vasubandhu. One of the works of Vasubandhu, who is considered to be one of the founders of the Yogācāra school together with Asaṅga, and whose works left a significant influence on the subsequent Buddhist schools, is Triṃśikā. Vasubandhu’s Triṃśikā and ten prose commentaries on this work led to the emergence of Cheng weishi lun (成唯識論) by Xuanzang (玄奘), who was a Chinese pilgrim, translator and monk. In 629, the author of Cheng weishi lun, Xuanzang’s journey from China to India was influential in introducing Yogācāra Buddhism to China and led to the emergence of the Faxiang school in China. Xuanzang (602-664), who lived in important centers of Buddhist teachings between the years of 629-645, brought to China the Faxiang ‘dharma characteristics’ school, called also Weishi (唯識) ‘consciousnessonly’, as a version of the Yogācāra school in the early Tang Dynasty (618-907). This school was first formed by his disciple Kuiji and other followers based on Cheng weishi lun’s theories of teaching. Important names of the Faxiang school include the first patriarch Kuiji (窺基) (632-682), the second patriarch Hui Zhao (慧沼) (648-714) and the third patriarch Zhi Zhou (智周) (668-723). One of Xuanzang’s disciples, Kuiji, contributed to his teacher’s work, Cheng weishi lun in order to compile commentaries on Triṃśikā in particular. In addition to this, Kuiji wrote a commentary on Cheng weishi lun, called Cheng weishi lun shuji (成唯識 論述記) (Taishō no. 1830, vol. 43, 229a-606c). Two Old Uyghur fragments published in this paper are from a commentary of Xuanzang’s Cheng weishi lun. These fragments belong to chapter 21 of a compilation composed of “at least 30 chapters” (Özertural, 2012, p. 14) containing texts related to the Faxiang school in the Berlin Turfan Collection. Z. Özertural (2012, pp. 207-257, Catalogue no. 248-305), who prepared the catalogue of fragments of the manuscript, states with the reference to the unpublished article entitled “A Preliminary Report on the Study of the so-called Uigur Lehrtext: Chapter 20 and 21” by K. Kitsudō that chapter 21 is a translation into Old Uyghur from a commentary to Xuanzang’s Cheng weishi lun by Queiji. The four Old Uyghur fragments of chapter 21 were previously published by W. Scharlipp in 1986. This paper includes a transcription and transliteration of the fragments in question, translation into Turkish, textual notes, and glossary with an analytical index. The fragments used in the study are Mainz 702 (T I D 7) and Mainz 710 (T I D 6.a). The fragment with archive number Mainz 702 (T I D 7) contains a total of 72 lines, 36 on both sides. However, it is seen that this fragment is destroyed after the 22nd line on recto and the 24th line on verso. In Mainz 710 (T I D 6.a), there are a total of 72 lines, 36 on both sides. Both sides of this fragment are destroyed after the 23rd line. In the textual remarks of his aforementioned article, W. Scharlipp transcribed lines 11-15 on recto of Mainz 702 (T I D 7) and lines 2-13 on verso of the same fragment in order to explain two Buddhist phrases, and he translated these lines into German. In the chapter entitled “Transcription and Transliteration of Old Uyghur text”, we have mainly followed the transcription and transliteration systems used by Röhrborn (cf. 1977-1998, pp. 9-10 and pp. 13-14; 2010, pp. XXXIII-XXXV). In the textual notes, especially the Buddhist terms that existed in the text are mentioned. This paper should be considered as a small contribution to the literature in the understanding of Central Asian Turkish Buddhism.

Two Old Uyghur Fragments of A Commentary of Cheng weishi lun (12th and 13th Leaves)

İnci Enginün, Ahmet Hamdi Tanpınar, İstanbul, Dergâh Yayınları, 2019, 292 s., ISBN: 978-975-995-999-9

Prof. Dr.

Decision of the Editorial Board about articles

Burak

Mustafa

Âşık Kenzî, known as the only minstrel of Turkish Cypriots, was born in 1795 in Cyprus. After traveling to cities such as Edirne (Adrianople), Prizren, and Kalkandelen (Tetovo), he joined the Bektashi sect and wrote poems in this context. Âşık Kenzî included several types of poems in his divan, displayed all his skills in his poems, and wanted to show that he was as successful as the divan poets. The poet, whom we know thanks to the Cypriot researcher Harid Fedai, who identified his works and brought them into today’s Turkish, mostly used aruz meter and aruz folk poetry in his poems. Kenzî has written poems on many various subjects, including different historical elements related to Cyprus, particularly in the Ottoman Empire. Kenzî did not use syllabic meter, except for a small number of his ballads, songs, and epics. Âşık Kenzî was very assertive in proving his poesy by disliking official poets. He praised the elders of the religion and the state in some of his poems and tried to use the themes of divan literature skillfully, but he was not completely successful. In this study, data were collected in accordance with the qualitative approach. In this context, Âşık Kenzî’s divan, prepared by Harid Fedai and published in three separate books, was analyzed through descriptive analysis. Historical and Cyprus-related elements in the mentioned works were identified and interpreted. We think that determining the role played by Cyprus and historical elements in the poems of Kenzî, known as the only folk poet of the Turkish Cypriots, is extremely important in understanding the literary and historical value of the poet. Âşık Kenzî, who wrote poems on different topics, was also extremely sensitive to social issues and shed light on history by discussing the places he visited and the events he experienced. Based on the first book of the Cypriot Âşık Kenzî Divan published by Harid Fedai, various historical elements were involved in his works. Arguably, the historical elements in his books are mostly persons and events related to these figures. In addition, the poet frequently mentioned the historical places of his time. He mentioned historical personalities who played important roles in the Thrace and Balkans in the final period of the Ottoman Empire. His poems mentioned historical structures such as fountains and clock towers built in the Ottoman era. In addition, information on the personal lives of Kenzî and his children was also written in the book, which provides little information on Cyprus. The Divan II of Cypriot Âşık Kenzî contains historical figures from both the Balkan and Cypriot geography. Here, unlike the first book, he also included figures who lived long before him, such as Hallacı Mansur, Adem Nuh, Câlînûs, and Felatun. This book covered more elements related to Cyprus. As mentioned above, the most important element that draws attention in this book is that Âşık Kenzî defines himself as a public poet. Kenzî was closer to divan poetry than public poetry and wanted to be remembered as an official poet in literary circles. Although he reflected his mastery in some of his poems, he generally had difficulty in divan poetry and could not fully achieve the success he wanted.&nbsp;&nbsp;In the III. Divan of Cypriot Âşık Kenzî, elements related to history and Cyprus are in close proportions. Rebellions and wars are the most prominent features of this book. Three poems directly mention the Turkish–Greek wars. The Cyprus Saga also describes a revolt that took place in 1833. Kenzî, who revealed the circumstances of the public, disasters, and mood of the people in a realistic style in such sagas, has become one of the important figures who witnessed the period in which he lived. The evaluation of the three books (i.e., the poet’s notebooks) can claim that Cypriot Âşık Kenzî touched upon the geographies of the Balkans, Thrace, Cyprus, and Maghreb in his works. His works included historical figures who lived in the Balkans, Thrace, and Cyprus and were not indifferent to the important historical events of the period in which he lived. Moreover, he can be claimed as an Ottoman–Balkan poet of Cypriot origin who personally took part in these events.

Historical Elements and Cyprus in Âşık (Minstrel) Kenzî’s Poems

Ahmet

Res. Assist. Dr.

&nbsp;In Turkish literature, the travel writing genre remains in the background compared with other genres such as poetry, short stories and novels. Works written in this genre are not at the desired level in terms of both quantity and quality, and the reviews/criticisms written on these works share a similar fate. To compensate for this deficiency to some extent, this study centered on a travelogue.The first point that makes the travel book titled A Turkish Girl’s Journey to America interesting is that Lütfiye was not alone on this journey, she was accompanied by a Western sovereign female subject (Dr. Newton). However, it is also difficult to claim that Lütfiye, the child of an English mother and a father who constantly strived to be modern and Western, had a pure Eastern identity. Therefore, the book hosted different identity-centered contradictions and conflicts. In this context, Lütfiye’s effort to present herself as a “free traveler” throughout the book was also noteworthy. He wanted to experience everything firsthand throughout the journey and made his evaluations based on his testimonies, without being exposed to the epistemic and gender domination of guides, captains or various companions.&nbsp;In the study, to deeply analyze Lütfiye and Dr. Newton’s view of “other existences”, a theoretical framework that focused on orientalism and occidentalism has been drawn. Accordingly, the West was the first to understand that the first condition for establishing the “self” is to establish the “other”. The West, which attributes all the negative qualities it does not want to have in itself to the East and makes it an “other/object”, has therefore defined itself as a “non-Eastern”, that is, a “sovereign subject”, and has established an epistemic domination over the East. Based on this information, it is possible to assert that Dr. Newton demonstrated an orientalist attitude and perceived the East as an “object of desire”, so to speak. Dr. Newton who carries crates of “Eastern women’s clothes” from Egypt, Syria, Palestine and Istanbul to America had exhibited these clothes to the participants, again over women, through live models, at various conferences she held in his country. What she does is, in a sense, “the presentation of the other” because she is aware that the different and exotic is attractive. Conversely, regarding Lütfiye’s attitude toward “foreign presence”, some unexpected results are encountered. Although Lütfiye was disturbed by Dr. Newton’s hegemonic approach to Eastern countries, she wrote some expressions that came close to Dr. Newton’s approach, particularly in her notes on Algeria and Malta. An orientalist way of seeing is immediately felt in these lines. In these passages, which wink at “self-orientalism”, Lütfiye takes on a Western identity and watches the East and, in a sense, even creates her own East. Lütfiye internalized the Western/modern identity so much because she identified herself with the new female image of the early Republican period.&nbsp;As regards occidentalism, the other edge of the binary opposition, the “rival” of orientalism, no unity or commonality of discourse exists even in the definition of this concept. Occidentalism is a concept built with defensive reflexes to counter the attacks of orientalism. The Eastern self, which always feels late and behind in the face of the Western self-established before it, cannot escape the vicious circle because it cannot also take original steps to catch up its rival. Therefore, it is forced to accept “secondaryness” and “laterness” as a fate. Based on this, there is a hierarchical and asymmetrical power relationship whose roots go back to old times between orientalism and occidentalism.&nbsp;One of the most striking points in Lütfiye’s approach and perception of the West is that she did not see the West as a “single and holistic center” but tried to evaluate different countries or cities independently, like a critic. At this point, the comparison between America and Europe was particularly striking. In addition, Lütfiye did not rely on the conventional, stereotyped information she had heard about the cities she visited, whether in America or Europe, and prioritized her testimonies and experiences in the evaluation process.Thus, the work titled A Turkish Girl’s Journey to America, which was last published in 1935, can be described as “a forgotten travel book” in Turkish literature. The book is a prolific resource that presents qualified data for the travel writing genre in terms of its formation, author and content.

Recalling a Forgotten Travel Book in the Context of Orientalism  and Occidentalism: A Turkish Girl’s Journey to America

Serap

Assoc. Prof. Dr.

&nbsp;The groundwork for the origins of Manichaeism as a Gnostic doctrine has long been in place, since there was not only an ancient civilization in Mesopotamia but also a wide variety of religious traditions that had developed and converged there over a history of nearly a thousand years. In addition to extensions of the old Babylonian cults that can be traced here and there until the end of the Hellenistic period, there were Iranian religious ideas permeated the chain of Hellenistic civilization after the Persian domination (539 BC) and the reign of Alexander. Furthermore, a strong Judaism emerged in the country during the so-called Babylonian period (597 BC). In the second century, Christianity penetrated from Syria and established centers, especially in the north, such as Edessa and Nisibis (Rudolf, 1984, p. 378-379). Thus, different religious and cultural structures emerged in the same geographical area, on the basis of the traces of Babylonian cults, Hellenistic culture, Judaism, and Christianity. While some of these spread to large masses of people, the influence and spread of others remained limited.Every religion contains a mythology and a philosophy. For example, in monotheistic religions, just as the mythological story of Adam and Eve tells of the beginning of life on earth as a result of disobedience, the origin of the faith and the philosophy of its rituals are expressed through stories. In the case of a religion separated from us many centuries ago and whose traditions and rituals cannot be identified through participant observation, we need to deal with its mythology and philosophy separately. This distinction will help our understanding of the religion, and in the case of Manichaeism, it will also help us to compare and synthesize those fragments written in different languages and in different centuries. Therefore, if we want to understand the terms in which Manichaean philosophy is expressed, we must first familiarize ourselves with Manichaean mythology.&nbsp;We refer to Sundermann for the most significant sources of Manichaean cosmogony, namely, Epistula Fundamenti, Persian Shabuhragan, the Greek works of Alexander of Lycopolis, Hegemonius’ Acta Archelai, the book quoted by Theodoros bar Konai, the late Zoroastrian Shkand-gumanic Vichar, Al-Nedim’s Fihrist, Biruni’s Asar al-Baqiya, and Shahristani (Sundermann 1992). Henning lists the Epistula Fundamenti, the Middle Persian fragment M 98–99, the Middle Persian book T III D 260, the Uyghur fragment T II D 173, Theodoros bar Konai’s book, the source used by Al-Nedim, and a Sogdian fragment discussed in his paper (Henning, 1948, p. 306). Some Uyghur texts echo Mani’s account of the creation of the world, but only a few fragments could be linked to their Iranian counterparts.&nbsp;Clark identified 17 Turkish texts as cosmogonic; three texts are eschatological, two of which are related to the Mitri Burkan, and a few of them have parallels with the Persian Shabuhragan (Clark, 1997, p. 94). Unlike other texts, it would be incorrect to say that these sources, which constitute the substance of the Manichaean mythological story, bear witness to a regional adaptation of Manichaeism or its evolution. This is because these stories are not the product of a particular cultural milieu and literary tradition, but are common to all texts as a narrative of origin. The answer to the question of how much and in what form the Turkish texts in our possession contain this story will bear witness to the change and development of Manichaeism from its emergence to its acceptance as an official religion by the Uyghur Turks in the eighth century.Manichaeism is a Gnostic religion, even though it has become an institutional religion with its own rules and rituals, community, temple, and art, and has survived for centuries by becoming widespread. In Manichaeism, whose cosmogony we have sought to reveal with Syriac, Persian, Sogdian, Arabic, and Turkish sources, God is not the creator God. Creation is the work of demonic forces. The cosmos is a demonic copy of a superior world. The creation of the world was not the result of God’s omnipotence, but rather, of Darkness attacking Light. The sole purpose of mankind, that came into existence by mixing with demonic elements, is to save the divine particle within him.&nbsp;In Manichaeism and other Gnostic religions, these aspects are mentioned in separate studies. In this study, we tried to find the Manichaean cosmogony myth reflected in Uyghur texts, starting from the teaching of “iki yıltız üç üdkü nom,” (Two Principles and the Three Epoches) which is the first step of entering the religion, and it was possible to see that, despite the temporal and cultural changes in Manichaean rituals, the cosmogony myth remained unchanged except for discursive differences.&nbsp;The Uyghur texts have been included and retranslated into Turkish, taking into account all reading suggestions.

Manichaean Mythology in Uyghur Documents

Esra

The phenomenon of valence expresses elements carried by a verb according to its meaning(s), and can vary across languages. In essence, the valence actualizes the intended meaning of a verb. However, the valence can change depending on linguistic processes such as meaning, form, and syntax. A verb may govern a different valence in each dialect in which it is used. Accordingly, the valency potential of a verb can change because of such alterations. For example, in Turkey Turkish, the verb “taşı-” meaning “to carry something from one place to another” logically accepts four valency slots: -Gördüm, diyor, [trenler] [Ankara’dan] [Eskişehir’e] boyuna [asker] taşıyor ve Eskişehir’den Ankara’ya vagon dolusu erzak gidiyordu. (Karaosmanoğlu, 2019, p. 78) [who: agent] + [what: theme] + [to who: destination] + [from who: source] + taşı-. “I saw, he says, trains were carrying soldiers from Ankara to Eskişehir, and from Eskişehir to Ankara, wagonloads of provisions were going.” The verb taşı- opens four valence spaces: the object performing the action, the object whose position changes when the action is relized, the place in which the action originates, and the place to which the action is directed. It also reveals two valence gaps: the object that performs the action in the sense of “to bear the weight of an object” and the object whose position changes when the action is completed: [O] [Hemen kendi kadar büyük olan bu kızı] inleye sıkıla taşıyor. (Adıvar, 2022, p. 348) [who: agent] + [whom: theme] + taşı-. “[He] carries this girl, who is immediately as big as himself, groaning and straining.”&nbsp;French linguist Lucien Tesnière is considered the founder of the valency theory. Tesnière compared the potential of atoms to govern electrons as their dependents: the number of gaps presented by a verb and therefore the number of actants it is likely to govern reveals the valence of the verb (1959, p. 238). Tesnière believed that verbs ruled sentences and stated that every verb has an “actant” that it attaches to itself. Verbs display different images in terms of the number of actants they make dependent on them. All verbs do not control the same number of actants, and the number of actants available to a particular verb is not always the same (1959, p. 105-106).&nbsp;Tahsin Banguoğlu is considered to be the first researcher to use the term “valence” in studies conducted in Turkey. Banguoğlu stated in his “Türkçenin Grameri” that transitive verbs generally desire objects in [whom] and [who] situations and in such instances, the verb is labeled a “requestor” and the noun situation is named the “requested.” Banguoğlu defined the term valence saying, “We also call this state of the object according to the verb.” Banguoğlu also asserted that some verbs change their valences along the evolutionary scale of a language and that certain transitive verbs could want the [to who] status as exemplified by at-ıg mündi ~ at-ı bindi ~ at-a bindi (2004, p. 528).&nbsp;Studies on valence have gained momentum in Turkey in recent years. Numerous studies have been conducted on this subject in one aspect, albeit not explicitly using the term valence. The relevant studies have generally focused on themes such as the case suffixes accepted by verbs, alternations encountered in such suffixes and the reasons for the alternations, the differences in the case suffixes accepted by the verbs through the evolutionary process of the language, and the reasons for these differences. Many studies have also been conducted using the modern demand theory.&nbsp;The present study aims to determine the meanings of the verb ur- and its urul-, urdur-, uruş- derivatives in Karachay-Balkar and to explore the valence patterns of these verbs based on these meanings. Given the extensive usage and semantic diversity of the verb ur- and its derivatives urul-, urdur-, uruş-, their meanings were determined by examining novels, stories, plays, biographies, critiques, dictionaries, and other works written in Karachay-Balkar. These meanings were classified, and the actants and semantic roles governed by the verbs were identified based on these meanings. The valence of the verb ur- was found to change because of the narrowing and widening of meanings and the polysemy of the verb. It was observed that an increase or decrease in valence occurs in the derivatives of the verb ur- because of passivity, causativization, and cooperative functions.It is crucial to know the valence potential of verbs in interdialectal transfers, especially for common verbs that are utilized across dialects. Varied errors can occur in transfers across dialects if valence choices are made without knowing the valence of the verb in the source dialect. Such errors can be significantly minimized by revealing the valence of verbs and even compiling valence dictionaries for common verbs employed across dialects.

Valence Patterns of the Verb Ur- and Its Urul-, Urdur-, Uruş-  Derivatives in Karachay-Balkar

Atıl

Bilginç

Edebî eserler; sanatsal normlar ve estetik ölçütler kadar ortaya çıktıkları toplum ile dönemin değerlerinden ve koşullarından da beslenirler. Bu durum edebiyatı ortaya çıktığı toplumun kültürüyle sıkı sıkıya ilişkilendirir. Bu yakın ilişki sayesinde edebî eserler, o kültürel yapının birer parçası olan sosyal, tarihî ve siyasi koşullarla bağdaşma fırsatı bulur. Böylece edebî eserler, incelemenin alanına giren siyasetle derin bir ilişki kurar. Yazar ve okuyucunun siyasi görüş ve ideolojileri başta olmak üzere edebî eseri meydana getiren besleyici değerler arasında siyasi unsurların bulunması ve edebî eserin ortaya koyduğu kurmaca dünyanın siyasi açıdan birtakım toplumsal olguları somutlaştırması, edebiyat-siyaset ilişkisinin temel yapıtaşlarındandır.&nbsp;Edebiyat ve siyaset ilişkisinin kurmaca metinlerde en yoğun göründüğü alanların başında ütopik ve distopik türdeki eserler gelmektedir. Özellikle siyasi eleştiri, yönetimsel sorunlar, iktidar ilişkileri ve toplumsal tepkiler gibi bağlamlarda uyarıcı niteliklere sahip olan distopyalar, kurmaca dünyanın geniş imkânlarından faydalanarak siyaseti eser içerisinde yoğurabilen bir işlevselliğe sahiptir. Melih Cevdet Anday’ın Gizli Emir romanı da distopik bir çerçevede kurgulanmış ve henüz gerçekleşmemiş 12 Mart ve 12 Eylül dönemleri için adeta uyarı niteliği taşıyan önemli bir eserdir. Bu açıdan daha derin ve büyük bir anlam kazanan “Gizli Emir” ile “12 Eylül Darbesi” arasındaki bağlantılar ve bu bağlantıların toplumsal ve sanatsal çerçevede ortaya koyduğu izdüşümler bu çalışmada ele alınmıştır. Her iki ortamda da 12 Mart Muhtırası’nın sebep olduğu bir distopik zemin bulunmaktadır. 12 Eylül Darbesi’nin başlangıçta önemli bir aydın kesim tarafından olumlu karşılanması, romanda bir kurtarıcı olarak beklenen gizli emir ile ordu müdahalesini oldukça yakınlaştırmaktadır. Bu durumlar aynı zamanda aradaki paralelliklerin ana halkalarıdır. Bu paradigmayı perçinleyen temel nokta ise her ikisinin de geldiği ortamın neredeyse bire bir benzerliğidir. Nitekim romanda Ayot, gerçekte ise 12 Mart Muhtıra süreciyle vuku bulmuş olan sıkıyönetim oldukça benzer uygulamalara sahiptir. Bununla birlikte gerek gizli emri gerekse 12 Eylül gibi bir müdahaleyi bekleyen halk ve aydın tabaka, her ikisinde de hüsranla karşılaşır. Dönemin karanlık atmosferinde ve kaotik ortamında yönetimsel bir hareket bekleyen kesimin 12 Eylül Darbesiyle karşılaşması ve romanda kurtarıcı olarak beklenen gizli emrin içi boş bir umut çıkması, distopik görüntü açısından birbirleriyle neredeyse eşdeğerdir.&nbsp;Roman, distopik yapıya sahip olup kurmaca açısından gerçek zaman ve mekândan bağımsız olması gibi nedenlerden dolayı oldukça geniş bir yelpazede değerlendirilme olanağı taşır. Bununla birlikte siyasi, tarihî ve sosyal açılardan 12 Mart olayının haricinde aynı zamanda 12 Eylül Darbesiyle oluşan atmosferi de çağrıştırır. Nitekim darbe de gizli emir de benzer süreçler içindeki benzer koşullarla beslenerek gelişmiş olan sonuçlardır. Her ikisinin de toplumu hüsrana uğratmasının temelinde siyasi olduğu kadar toplumsal bir eleştiri de bulunur. Romanın ana fikirlerinden ve yazarın temel eleştiri araçlarından olan; içinde bulundukları karanlıkta beklemekten başka bir eylem gerçekleştirmeyip varlıksal bağlarını yalnızca ne olduğu belirsiz bir umuda endeksleyen kitlenin uğradığı/uğrayacağı hüsran, romanın yayımlanmasından on yılı aşkın bir süre sonra gerçekleşecek 12 Eylül Darbesi’nin sonuçlarıyla somutlaşmıştır.&nbsp;Romanda beklenen gizli emre dair umutların son bulmasıyla biten kurgunun karşısında tarihsel süreçte 12 Eylül Darbesiyle biten bir dönem bulunmaktadır. İkisinin de beklentileri karşılamanın ötesinde toplumsal açıdan hüsrana yol açan durumlar olması, akla darbenin de gizli emir gibi bir distopik eserde beklendiğini ve hüsranla sonuçlandığını getirmektedir. Bu noktada Melih Cevdet Anday’ın distopik bir hâl alan dönemsel gerçeklikleri sanatsal bir üslupla estetize ederek keskin bir öngörü sayesinde okura on yıl önceden sunmuş olması, edebiyat ve siyaset ilişkisi bağlamında önemli bir durumdur.&nbsp;&nbsp;Gizli Emir romanında yaşanan süreci 12 Mart Dönemi, kurtarıcı olarak beklenen fakat bir kurtarıcı işlevine asla sahip olamayan “gizli emri” de 12 Eylül Darbesi olarak ele alan bu çalışmada öncelikle Gizli Emir romanının politik ve toplumsal eleştiri yüklü bir distopya olduğu gösterilmektedir. Bu çerçevede roman ile bağdaşık olarak incelenen 12 Mart Muhtırası ve 12 Eylül Darbesi arasındaki dönemin oluşturduğu karanlık ve kaotik ortam ve bu ortamın toplum üzerinde yaşattığı gerilimlerin oluşturduğu trajik manzaralar hem tarihsel açıdan hem de roman üzerinden yapılan yorumlar sonucunda görünür kılınmaktadır.

Waiting for September 12: An Analysis of the Dystopian  Novel Gizli Emir

Seval

&nbsp;Edebiyat-ı Cedide (Servet-i Fünun) kuşağı için edebiyatın dili duyularla, duygularla ve düşüncelerle iç içe bir şekilde kuruluyordu. Yazar/şair tabiata tüm duyularını açmış, bu duyular aracılığıyla dünyayı hem gözüyle hem kalbiyle seyreden, gören ve hisseden biri olarak manzaralarla, levhalarla beslenen görsel/işitsel bir dil yaratıyordu. Bu dilin aktarımı için yeni kelimeler, yeni vezinler ve roman, sone gibi yeni edebî türlerle tanışılıyordu. Bu topluluk içinde yer alan Mehmet Rauf, roman, hikâye ve mensur şiir örnekleriyle olduğu kadar dünya edebiyatı hakkında yazdıklarıyla da döneminin önde gelenleri arasındaydı. Eserlerinde musiki gibi bir dil yaratma peşinde olan Mehmet Rauf, kadınları, aşk ve kadın-erkek dünyasını, yazdıklarında tekrar tekrar işlemiştir. O dönemin edebiyatçılarının anılarında onunla ilgili olarak birçok kadınla ilişkide olması, kadınlara tutkuyla bağlanması hatta bundan dolayı kendini öldürme teşebbüsünde bulunması, Bir Zambak Hikâyesi (1913) adıyla yazdığı eser sonucu askerlikle ilişkisinin kesilmesi sıklıkla anlatılır. O, bu kuşağın anılarındaki yaramaz “oğlan çocuğudur.” Bu “yaramazlık”, var olan hayatı başka bir düzleme taşıma düşüncesi, onun edebiyatında özellikle kadın-erkek ve aşk ilişkisiyle belirginleşir. Çünkü Mehmet Rauf’ta aşk, hayat için bir yaşam kaynağıdır ve tek bir şekli yoktur: Onun metinlerinde aşkın, iki erkeğin aynı kadına âşık olduğu ya da iki kadının aynı erkeğe âşık olduğu aşk üçgenlerinden tamamen tensel olanlara, platonik olanlardan gönül eğlendirmek için uğranılanlara ve hatta evliliğin sakin sularına uzananlara kadar pek çok çeşidi vardır. Yazar, bu kadar farklı aşk çeşidini eserine yerleştirirken arzuyu da baş köşeye oturtur. Dilini, arzu edilene yönelik bir tasarımla sunmak için duyularını, duygularını, düşüncelerini, imgeleri; çokluk da erotik imgeleri kullanır. Böylece ondaki arzu, karşısındakine yönelirken bedensel ve duygusal bir ihtiyacı karşılayacak şekilde ortaya çıkan bir duygusal eğitime dönüşür ve yazar buna âşıkane adını verir.&nbsp;Mehmet Rauf’ta duygusal eğitimin temelini, genç Osmanlı erkeğinin “uyanışı” oluşturur. Bu uyanışta kelimenin hem uyku ve uykudan uyanış hem de durgun bir halden sıyrılıp harekete geçmek anlamları bir aradadır. Âşıkane’de üç hikâyedeki erkek karakterler de bir kadının onlarda yarattığı hisleri bir uyku-uyanıklık durumuyla karşılarlar. İlk hikâyedeki kahraman, hikâyenin sonunda uykuya doğru koşarken, ikinci kahraman göz çevresindeki kırışıkları gördüğünde uykuda geçirdiği yıllara hayıflanır, üçüncü hikâyedeki kahraman da gördüğü kadınla birlikte bir uyanış yaşar. O halde âşıkane’nin ilk durağı bu uyanma halidir. Bu hal miskinlik ile hareket arasındaki bir mücadeleden doğar. Bu mücadelede genç Osmanlı erkeği âdet (alışkanlık) ile tesadüf arasında kalmıştır çünkü bunların ikisini de kontrol edemez. Kontrol edemediğinden, âdet ve tesadüf arasında miskinliğe kapılmamak için sürekli hareket halindedir. Bu hareketlilik sadece bedenini değil, zihnini de meşgul eder. Beden oradan oraya koşuştururken zihin de peşinde olunana dair bir düşünceler silsilesi ile onu takip eder. Kahraman, zihnindeki düşünce silsilelerini bir sanat eseri, çoğunlukla da şiir olarak cisimleştirir. Bir tutkuyla onu harekete geçiren kadına dair düşünür, onu takip eder, hayal eder, hayallerini sanat eserine dönüştürür; bu şekilde hem peşinde koştuğu kadını hem de ona dair zihnindeki düşüncelerini şiirde somutlaştırır. Flaubert, Balzac ve Stendhal’in eserlerindeki duygusal eğitimde delikanlılar, kendilerinden büyük kadınlara yönelik aşklarında çoğunlukla isteklerine karşılık bulamazlar &nbsp;ve bir süre sonra fikir değiştirirler. Ancak âşıkane’de bir ısrar vardır. Bu ısrar, aşkın en ufak bir kirlenmişliğiyle vazgeçişe yönelir. Duygusal eğitim, entelektüel dünyada ve sanat ortamında bir mücadele alanının içinde savaşmaktır, âşıkane ise bir sanatçı olduğunu çoktan kabul ettirmişlerin harcıdır. Kendisini başka erkeklere rahatça teslim eden kadınlar, genç Osmanlı erkeğinde bir iğrenme duygusu yaratır ki bu da onun âşıkane’sinin bir parçasıdır. Çoğunluğu yabancı ya da gayrimüslim kadınlarla girişilen bu evlilik dışı ilişkiler onlara evliliğin kutsal yolunu gösterir. Kahraman, evlilikteki iyiliğe, güzelliğe kendini ikna etmeye çalışsa da bundaki âdetin, rutinin onun ruhunu beslemeyeceğini de itiraf eder. Bu itiraflarda delikanlının “kirli” kadınlarla tanışabileceği kozmopolit ortamlar ve bu ortamlardaki “serbest kalan sözcükler”in dili de önemlidir.&nbsp;Bu makalede Mehmet Rauf’un 1909 yılında yayımlanan Âşıkane adlı hikâye kitabına odaklanarak yazarın bu kitaba ad olarak seçtiği âşıkane’nin 19. yüzyıl sonundaki entelektüel genç Osmanlı erkeğinin duygusal eğitimine karşılık geldiğini, Mehmet Rauf’taki arzunun aşk ile birleştiğinde bedeni de işaret eden bir dil ortaya çıkardığını, bu dilin sadece bedeni değil aynı zamanda bedenin sahnede bir oyuncu gibi hareketli halini de verdiğini iddia ediyorum.

The Sentimental Education of the Young Ottoman Man:  Âşıkane

Öznur

Assist. Prof. Dr.

&nbsp;This study analyzes in detail the conjunction belki ~ belkim, which establishes various semantic relations between sentences in Old Anatolian and Ottoman Turkish, such as “on the contrary, rather, even, moreover” rather than opposition, considering its syntactic and semantic aspects. In this sense, this study with particular analysis of the conjunction belki ~ belkim aims at drawing attention to the profound influence of Persian on Turkish to the extent that it mediates the borrowing of even some Arabic elements into Turkish. Indeed, the conjunction belki ~ belkim provides an excellent example of how materials borrowed from Arabic undergo some restrictions and change within the framework of the structure and possibilities of Persian and, having passed through the filter of Persian, borrowed into Turkish. The preposition bel (لب), whose main semantic function in Arabic is idrāb, i.e., linking sentences to proceed to a more important judgment by cancelling the previous judgment or leaving it as it is, has been borrowed into Persian with the same semantic function. Conversely, it is used alternatively with belkė (هکلب), which was formed by the inclusion of the multifunctional conjunction kė in Persian. Belkė is also used as an adverb to express possibility, doubt, etc., in Persian and has been borrowed into Turkish with both functions and meanings. It existed in Turkish as belki ~ belkim (مکلب ~ میکلب;یکلب ~ هکلب) since the first texts written in the Islamic period. That is to say:Ar. bel Far. bel/belkė (Ar. bel + Far. kė) EATü., OTü. belki ~ belkim&nbsp;This study explores the misinterpretations of Old Anatolian and Ottoman Turkish texts caused by the confusion between belki ~ belkim, a conjunction that was no longer used in the 20th-century Turkish, and belki, an adverb in Modern Turkish that denotes probability and doubt. Accordingly, this study first mentions the syntactic and semantic functions of the Arabic bel and Persian bel/belkė elements and then analyzes the use of this conjunction in Old Anatolian and Ottoman Turkish texts with reference to basic dictionaries and grammar books.&nbsp;The semantic relations established by belki ~ belkim between the sentences from the above-mentioned periods will be analyzed in the following three groups based on examples taken from various prose texts between the 14th and 19th centuries:(1) With the meaning of 'on the contrary, unlike, etc.' in the sense of rejecting the previous judgment and then introducing a judgment contrary to it.(2) With the meaning of 'even, and (even) more than that, etc.,' not to reject a judgment but to introduce another judgment that goes even further.(3) With the meaning of 'whereas, already, in fact, etc.,' to indicate a transition from one sentence to another.Arguably, sentences linked by the conjunction belki ~ belkim are hierarchically equal, just as in Persian, i.e., it is a coordinative conjunction. This syntactic feature is explained by comparison with megerkim, a subordinative conjunction of Persian origin in Old Anatolian and Ottoman Turkish. Finally, the last part of the study is shortly devoted to the adverbial function of belki ~ belkim.This adverb, which was borrowed from Persian into Turkish and whose use in Turkish to express possibility and doubt is incomparably more intense than that in Persian, being transferred via Ottoman Turkish into some Arabic dialects as belki, belkit, berki, etc., is a sign of the point reached in the centuries-long journey of a language unit. Consequently, the evaluation of the conjunction belki ~ belkim as an adverb in Old Anatolian and Ottoman Turkish (and in Chagatai) based on its current syntactic and semantic features presents as a major challenge to correctly understand sentences and leads inevitably to grave mistakes.

A Conjunction in the Arabic–Persian–Turkish Triangle: On the  Semantic and Syntactic Characteristics of the Conjunction Belki ~  Belkim in Old Anatolian and Ottoman Turkish

Dilber

&nbsp;Onomatopoeic words are the sounds that imitate and depict the sounds in nature, sounds made by humans and animals, and sounds resulting from actions such as falling and hitting. The sounds that people make are universal, whereas onomatopoeic words are pronounced and written differently in each language. A human being or an animal does not make different sounds in different languages. They make the same sounds; however, the way each society perceives and makes sense of sounds differently.&nbsp;Artificial intelligence technologies are shaping today’s conditions. The emergence of real-time translation systems has brought debates, and artificial intelligence applications in translation are being recognized as a threat to the translation profession. Accordingly, translators must keep up with technology and cooperate with artificial intelligence. The lack of studies in Turkey to date that relate onomatopoeias and interjections to artificial intelligence supports the importance of this study.&nbsp;In this study, the research object was the French comic book Lucky Luke–Daisy Town, published by Dargaud Publishing House in 1983, because it contains numerous (approximately 95) onomatopoeias and interjections. Published in 1989 by Milliyet Publishing House and in 2000 by Yapı Kredi Publishing House, the Turkish translations of Red Kit–Papatya Kasabası and the English translations of A Lucky Luke Adventure–Daisy Town published in 2016 by Cinebook Publishing House were evaluated. Translations by human translators and translation suggestions of the artificial intelligence tool ChatGPT3.5 were compared and interpreted within the scope of linguistics and translation studies.Based on the results of the analysis of examples, Turkish onomatopoeias and interjections can be evaluated within the scope of the principle of motivation of signs because they are perceived in the same way and met with the same phonemes. Because the English and French equivalents of Turkish onomatopoeias and interjections are perceived with different phonemes, they can be evaluated within the scope of the principle of arbitrariness of signs.&nbsp;In the translation of onomatopoeias, human translators used substitution, borrowing, perspective-shifting, and word-for-word translation strategies. Numerous examples were evaluated under the substitution strategy because substitution includes adaptation, equivalence, and domesticating. Given that onomatopoeias and interjections are specific to each language and culture, the substitution strategy basically involves the replacement of the onomatopoeias and interjections in the source text with their equivalents in the target text. In addition to translation strategies, the figure of speech “intak” was used. The concept of metathesis, which is one of the important sound events in the comic book as an element of humor, was explored, and the results revealed that the artificial intelligence tool could not translate the metathesis example. In the 1989 translation, most of the onomatopoeic words were not translated and left as they were. The probable reason was that the publishing house did not want to spend time on graphic editing due to reasons such as time and financial loss. Human translators have a good command of the source and target languages and culture. Conversely, the artificial intelligence tool that was involved in the translation process was not aware of information such as text type, source text author, and target audience. Thus, it sometimes fails to suggest accurate translations. The accuracy rate is higher in English than in Turkish. This may be because the voices of the dominant culture, such as English, have become universally accepted. The artificial intelligence tool provided two suggestions in most cases. At this point, human translators will choose the correct translation suggestion. The judgment of human translators is currently superior to that of artificial intelligence tools.&nbsp;Faculty members working in Turkish language and literature and faculty members working in the field of translation studies can conduct joint studies. Multilingual dictionaries of onomatopoeias can be prepared. In the future, the same artificial intelligence tool can be prompted to translate the same source text. This can determine whether the artificial intelligence tool has renewed itself over the years and whether it can provide accurate suggestions. Research reproducibility is important for the continuity of translation studies. From the results, human translators cannot be replaced for a long time, particularly in the translation of works containing onomatopoeias and interjections.

Human Translators and Artificial Intelligence in the Translation of  Onomatopoeias and Interjections Based on the Problematic of the  Arbitrariness/Motivation of the Sign

Hazel

&nbsp;In this study, the recurring images and forms of imagery in the poems of Ahmet Haşim, one of the founding figures of Turkish literature, are evaluated based on Gaston Bachelard’s concept of poetic reverie in his book The Poetics of Dreaming. In Bachelard’s phenomenology-based approach, literary creation is analyzed as an act of dreaming. The work gains meaning as a poetic dream/poetic dream within the framework of this creation. In this definition, the distinction between the concepts of dream and dream is important. The concept of dream is more in the field of psychology and is evaluated through unconscious. Conversely, just like dreams, dreams that are formed while consciousness is open are also suitable to be analyzed and interpreted in the light of concepts belonging to the unconscious. While analyzing poetic dreams, Bachelard uses C.G. Jung’s archetypal approach and the terms anima and animus. Based on the idea of a duality in every human being, male or female, Jung named the masculine and feminine sides of this duality animus and anima, respectively. The anima and animus approaches offer a reading method to explain the role of the images that make up the text in the reception process. The anima, which represents the feminine, contains archetypal meanings and is based on myths and legends. In parallel to this, Haşim’s poetry deals with the mother figure, childhood, dreaming, and remembering as the basic motifs of poetic imagination. Haşim’s poetics brings a poetry construction and interpretation practice that develops under anima. Haşim sees and interprets existence as a colorful reflection. He presents the outside world as a place of imagination, particularly through images based on nature. Therefore, the act of seeing turns into a form of imagination. Because of this form of imagination, Haşim’s poetry has often been analyzed by likening it to the atmosphere of a dream. In fact, the metaphor of dream in Haşim’s poetry corresponds to dreams, that is, poetic visions, which are seen with open consciousness. His poetry is the poetry of the subject-self, which directly addresses the object and interprets the manifestations of existence through their correspondences in consciousness. In this aspect, it is in harmony with Bachelard’s phenomenology-based reading practice. In this poem, which prioritizes the direct relationship with the object and daily, social, and historical contexts of the outside world are bracketed. The way the subject perceives objects is associated with concepts such as psychology, memory, and archetype, and certain schemes dominated by a highly individual sensibility are created. In Bachelard’s theory, the poet or writer is first and foremost a person who dreams of words. As the main material of the literary work is language, dreams are also constructed with language and words. In other words, dreaming is also an action performed with language and words. Given the nature of language, the semantic &nbsp;origin of words stems from the duality of masculine and feminine. Bachelard states that as a dreamer of words, the artist’s dreams are reflected in masculinity and femininity specific to the originary existence of language. Among the feminine elements in Haşim’s poetry, the anima manifests distinctly are the images of the mother and the woman who characterizes the lover. The mother remains in the peaceful times of childhood, is remembered as a lost paradise, and is depicted with her sick body and fragile soul. On the contrary, the beloved becomes evident in the narratives of imaginary women who are placed in imaginary places and are mostly referred to with qualifications such as “beloved” or “fairy.” In this sense, there is an esthetics of perception in which love, body, and desire are reinterpreted through phenomenology. The prominent indicators of this are the images of women presented with the metaphor of “angel” and the idealizing state of imagination that emerges in the imaginary spaces that the subject turns to. Anima, while shaping Haşim’s poetry, is a stronger opposition of animus. The prominence of themes related to memory and childhood in Haşim’s poetry also indicates that the anima is active. Bachelard associates the creative process of poets with the dreaming period when the child is alone and becomes the master of his world. The poetic dream presented by the poet is not different from a child’s dreams. As this analogy shows, memory and dreams are intertwined, and often the acts of remembering and dreaming are, by their very nature, intertwined. As there is a bit of memory in every dreaming, remembering can also be considered a form of dreaming. Based on the theory of poetic daydreaming, the theme of daydreaming, designs about the past and the ideal realm, which are intensely observed in Haşim, may lead the reader to experience poetry as conscious daydreaming. Accordingly, the dreams that the subject consciously constructs or imagines in these poems exemplify the poetic reverie conceptualized by Bachelard. Within the scope of the study, the connection of the images constructed through the mother, childhood, and memory with anima and animus in Haşim’s poems is clarified; thus, poetic reverie can be one of the key concepts in evaluating Haşim’s understanding of poetry.

Reading Ahmet Haşim’s Poetry with Bachelard’s Theory of   Poetic Reverie

Berker

Old Uigur Administrative Orders from Turfan

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Mehmet Fatih

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

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

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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 three times a year in April, August and December. It has been an official publication of Istanbul University, Faculty of Letters, Department of Turkish Language and Literature. The journal has been published since 1946. The manuscripts submitted for publication in the journal must be scientific and original work in Turkey Turkish or English.

Journal of Turkish Language and Literature: Türk Dili ve Edebiyatı Dergisi (TUDED) 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.

Şerif

Index Islamicus

MLA International Bibliography

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

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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*SOBİADDOAJERIH PLUSEBSCO Central &amp; Eastern European Academic SourceEmerging Sources Citation Index (ESCI) *Index Islamicus indexes only articles in English.

Indexing and Abstracting

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

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

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

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

Ethics

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

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

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

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

Peer Review

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

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

<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)

Issue Type	Regular
Editor(s)	Ali Şükrü Çoruk
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