İsmail

This study investigates Kendime Dair (About Myself), the autobiography of Ibnulemin Mahmut Kemal Inal, who wrote many biographical works during his literary career. Ibnulemin’s autobiography was written in a style that conforms to the contexture and classification he employed in Son Asir Turk Sairleri (Turkish Poets of the Last Century). Through textual analysis, this article seeks to investigate Kendime Dair from individualistic, social, cultural, and ideological perspectives. The author’s autobiographical memory, his inner world (particularly his emotional state), his position in his social and intellectual milieu, and his business life are analyzed. Thus, the article proceeds as follows: First, Ibnulemin’s autobiography will be discussed in terms of the author’s self-presentation, the events he emphasizes as milestones in his life story, the collective self-image that emphasizes family unity, and the author’s emotional state in the face of his experiences. The text will be then evaluated from a social, cultural, and ideological perspective. The social standing of the author, the general characteristics of the period in which he wrote, and his long-standing relationship with the state as a bureaucrat is highlighted.&nbsp;In Kendime Dair, which attracts attention with its 44 pages, Ibnulemin adopts a first-person perspective to express the memories that come to his mind from his own perspective. The events in the autobiography, which begins with his birth, introduces his family elders, and continues with his education, work, and literary life, are primarily arranged chronologically. However, the text sometimes diverges from strict chronological order. Undoubtedly, this was intended primarily to draw attention to the development of events and to ensure the integrity of meaning between them.Both individual and collective self-descriptions of Ibnulemin have a quality that validates/ glorifies himself and his family members. This suggests that the autobiographer was motivated by a desire to provide or protect a positive self-perception as he “reconstructs” his self and his past. From this point of view, the autobiography can also be read as a defensive text in which the author responds to certain instances when was misunderstood, mishandled, or accused during his life.While the sequence of events in autobiographies is usually chronological and thematic, they also include critical times and events that can be called seminal moments in the individual’s life. The most important such events that formed turning points in Ibnulemin’s life are as follows: The death of his brother Ahmet Tevfik, the fire in his mansion, the occupation of his mansion by French and British soldiers, and the classification of the documents of the Yildiz Palace.&nbsp;Another incisive moment in Ibnulemin’s life was an incident during the invasion, so severe that it overshadowed the fire in the mansion and the resulting losses. After the First World War defeat, French soldiers came to the mansion on a Friday morning, declared that the mansion would be used as their headquarters, and ordered its immediate evacuation. This mansion in the Beyazit / Mercan Aga district, where Ibnulemin was born in 1871, was an important meeting place for culture, art, and literature in the period. His library in the mansion contained precious works, calligraphy plates, and many other treasures, all of which were damaged or lost during the occupation of the mansion by French and British soldiers.&nbsp;Ibnulemin’s “birth” as a cultural historian and biographer was undoubtedly his role in the commission to classify the documents of the Yildiz Palace. This study and classification work, which occupied an important place in Ibnulemin’s writing and literary life, gave him access to information and documents that became key sources for the biographical works of his later career.Another feature of Kendime Dair is that it contains information concerning the author’s idiosyncratic emotional states. These emotional states include: reproach, acceptance/approval of the truth, justification, and egocentrism/self-glorification.Socio-cultural and ideological aspects of Kendime Dair include censorship of the press, criticism of bureaucracy, and the theme of “unionism.” The confiscation of his novel Sabih, difficulties faced during his working life, delays in his appointment and promotion, and the claim by those who disliked him that he was the “mentor” of Union bureaucrats and the Progress Committee is all highlighted in Ibnulemin’s autobiography.&nbsp;

Analyzing Kendime Dair (About Myself), The Autobiography of  Ibnulemin Mahmut Kemal Inal

Muhammed

There are notable poets known as melikü’ş-şu’arâ in the history of literature. Melikü’şşu’arâ/sultânu’ş-şu’arâ are Safâyî Efendi’s inclusion of a hatt-i humayun text, which he claimed belonged to Ahmed III, in his Tezkire concerning Osmanzâde Tâ’ib Ahmed (d.1136 / 1723), one of the best poets of Ahmed III era, made him to be known as melikü’ş-şu’arâ/ re’îs-i şâ’irân. A hatt-i humayun text related to Osmanzâde, which was revealed because of document reviews in the Ottoman archives, showed that Safâyî Efendi’s transmission about Osmanzâde Tâ’ib was incorrect. However, it is evident in hatt-I humayun that Osmanzâde Tâ’ib was praised but he was neither referred to as melikü’ş-şu’arâ/re’îs-i şâ’irân nor was he assigned such a mission. This recent discovery revealed the necessity of reassessment of Osmanzâde Tâ’ib. While making this reassessment, the life of Osmanzâde Tâ’ib is discussed in the first section. Nevertheless, to clarify his personality thoroughly, his professional life, patronage relations, and his approach to other poets are presented in chronological order. In the second section, the important poets of the literary circles of 1133/1721 are introduced, since it is claimed that he was appointed as the melikü’ş-şu’arâ/re’îs-i şâ’irân within the same era. The positions of eminent poets, such as Dürrî Ahmed Efendi (d.1135/1723), Arpaeminizâde Mustafa Sâmî Efendi (d.1146/1734), İzzet Ali Paşa (d.1147/1734), Mirzazâde Sâlim Mehmed Efendi (d.1156/1743), Şeyhülislam İshak Efendi (d.1147/1734), Edirneli Kâmî Mehmed Efendi (d.1136/1724), Neylî Ahmed Efendi (d.1161/1748), Abdürrahim Fâ’iz Efendi (d.1138/1726), Vakanüvis Râşid Mehmed Efendi (ö.1148/1735), Seyyid Hüseyin Vehbî Efendi (d.1149/1736) and Nedîm Ahmed Efendi (d.1143/1730) in 1133 are evaluated by considering their patronage relations and the views of other poets about them. Thus, we attempted to clarify the status of Osmanzâde Tâ’ib in the literary circles of Istanbul in 1133. In the third section, after mentioning the interest of Ahmed III in poetry, it is stated that he sometimes shared his poems through his hatt-i humayun and conducted evaluations of various poets. In addition, extractions from hatt-i humayun with concerning Dürrî Ahmed Efendi and Seyyid Hüseyin Vehbî are presented. In the fourth section, the process that brought about Osmanzâde Tâ’ib to be called the head of poets is explained in detail. After touching on the birth of Sultan’s son Ibrahim, the poes presents the dates and evaluations of these poems by Ahmed III, Safâyî Efendi’s incorrect transmission of Ahmed III’s hatt-i humayun is accentuated. The full and original text of the hatt-i humayun of Ahmed III is provided, and the evaluations arising from the incorrect transfer are mentioned. In the fifth section, after mentioning patronage relations, the position of Osmanzâde Tâ’ib related to his colleagues is explained. In addition to the inclusion of biographical sources of that era, the quality of their assessments is scrutinized. In conclusion, it is emphasized that Osmanzâde Tâ’ib claimed to be the greatest poet throughout his poetic adventure and used Ahmed III’s hatt-i humayun as means to turn this claim into reality. For the first time, the falsity of the claim that a poet is titled as melikü’ş-şu’arâ/re’îs-i şâ’irân through hatt-i humayun is mentioned, and it is stated that he was not melikü’ş-şu’arâ/re’îs-i şâ’irân, but one of the prominent poets of his era because of his poetry and patronage relations he developed.&nbsp;

Was Osmanzâde Tâ’ib Re’îs-i Şâ’irân?

Eren

When the first madrasah was built in Baghdad by the vizier of the Great Seljuk State, Nizam al-mulk (one of the most successful statesmen of the medieval Islamic world), scientific activities began and educational activities gained an official and institutional identity in the history of Islam. Nizamiyye madrasahs (named after Nizam al-mulk) were built in various cities, especially in Baghdad. Their architecture and curricula greatly influenced the madrasahs that were eventually established in various parts of the Islamic world. In the curriculum of the Nizamiyye madrasahs, there are courses such as the Qur’an, hadith, fiqh, kalam, Arabic language and literature, mathematics, and the science of Islamic inheritance. A similar education curriculum occurred in the madrasahs during the Ottoman Empire. Information regarding the education curriculum of the Ottoman Period can be obtained from the works by various scholars. These works related to the curriculum indicate that the information regarding the Qur’an, kıraah, calligraphy, doctrines, morals, lexicon, morphology, syntax, tajweed, fiqh, logic, customs, rhetoric, Islamic philosophy, kalam, geometry, arithmetic, astronomy, hadith, tafsir, and the science of Islamic inheritance were taught in Ottoman madrasahs.In the madrasas, besides religious sciences, linguistic sciences were of great significance. For example, Ibn al-Hâjib’s al-Kâfiya is one of the most frequently taught works on syntax in Ottoman madrasahs. Although this work was created as a summary of the syntax books written earlier, various annotations and translations have been made in order to better understand this concise but dense work. Many translations, some in prose and some in verse, were made during the Ottoman Period, with more than one hundred annotations in Arabic, Persian, and Turkish.In this study, the issue of writing scientific works as verse was first examined, and then it was revealed that the issue of translating verse was performed for similar purposes. The reasons why scientific works, especially works related to linguistics, such as morphology and syntax, were written in the form of verse are as follows:1. It offers ease of learning because the Arabic grammar is shorter and more concise. 2. The unique features of the verse text make the repetition and memorization methods used in the madrasahs more functional. 3. The authors show that they are talented in the field of literature as well as in the scientific field.Manzûm Kâfiye Mefhûmu and İrşâd-ı Ezkiyâ are translations made as verse to al-Kâfiya during the Ottoman Period. Based on an examination of these two translations of al-Kâfiya, both translators stated that they provided “short and concise” translations for easy “memorization.” From this perspective, it is possible to conclude that the verse writings related to syntax and the verse translations were made for the same reasons.&nbsp;In this study, a translation of Ibn al-Hâjib’s al-Kâfiya, called Manzûm Kâfiye Mefhûmu, by Şâkir was also presented. However, there is no such work by Şâkir in the collection of biographies. For this reason, we attempted to prove that this work actually belongs to Şâkir. For instance, when we compare the criteria, such as “pseudonym,” “history,” “profession,” and “praise of Damat İbrahim Paşa,” with both Şâkir’s life and his Dîvân, it is possible to state that Manzûm Kâfiye Mefhûmu belongs to Şâkir.As for Manzûm Kâfiye Mefhûmu, it is a translation in which the Arabic is intense in terms of language. Şâkir also preserved the frame in the source text while translating the work. However, some sections were not included in the translation, with others including short explanations about some sections that are only mentioned by their names. Moreover, the majority of the examples in the source text were not included in the translation. This is because the translation is only a concept translation. For this reason, the original Arabic terms in the source text are given without translation in order to ensure that the language was predominantly Arabic.Finally, in this study, an unknown work of Şâkir was examined and the idea was posited that there might be other works by him. It was also determined that translating a syntax work as a verse can make dense works shorter and more concise, fostering the ease of repetition and memorization. Furthermore, we found that the translations, which focus on the “concepts” of the source text, do not use methods such as explanation, detailing, and sampling. Overall, it is hoped that the translation Manzûm Kâfiye Mefhûmu will contribute to the work of researchers in the fields of syntax, literature, and translation.&nbsp;

Turkish Translation of Ibnu'l Hâjib's Al-Kâfiye (Manzûm Kâfiye Mefhûmu)

Selim

The Turkish word “şur-bâ,” or soup, is derived from the Persian terms “şor” (salt) and “bâ” (water). Also known as “şurva,” “şorva,” and “şorbaç” in different regions, “şur-bâ” refers to “salty water, salty food, blurry water, boiled broth, or mixed meal.” Soup has existed to meet a physical need since ancient times, and its many varieties possess unique cultural identities in terms of their contents, means of preparation, taste, color, smell, and region. Given these qualities, the history of soup can be said to be almost as old as the history of humanity. The origin of primitive forms of soup, based on adding different foods to water, is known to go back to the Paleolithic period. Thus, the history of soup constitutes an organic witness that extends back thousands of years in Turkish society. For instance, the meats that the Saka Turks cooked with water on animal bones in the 7th century B.C.,. are evidence of the ancient existence of soups among the Turks. In addition, products made by central Asian Turks, such as “omaç / umach,” “katık,” “toyga,” and “tarhana,” which use “yogurt,” “flour,” and “water” as their main ingredients, allow soup to be traced in Turkish cuisine. These soups still preserve their original form, ingredients, and cooking methods.&nbsp;The wide variety of soups, such as tarhana, tripe, lentil, tutmach, ezogelin, chicken, and yogurt, their popularity in almost every region, and the demand for them among all social classes, are a testament to the reputation of soup in Turkish cuisine. In fact, in Anatolia, from rural communities to mansions, it is rare to see a table without soup on important occasions such as births, deaths, circumcisions, entertainments, and weddings. Thus, the cultural codes associated with soup in the health, economic, epic, political, and military spheres have enabled it to gain an identity that permeates all segments of society. Consequently, with its different colors and flavors, soup represents sharing in the family, abundance at the table, labor in the field, healing in the hospital, display at the banquet, generosity in the military community, and gratitude in the dervish lodge. The profound significance of soup, which is relied upon for breakfast in the morning, for nourishment during the day, and for the remedy of hunger in the evening, has not escaped the attention of classical Turkish poetry, which acts as a witness to tradition. The reflection of all the above qualities in poetry demonstrates that soup is regarded as an aesthetic material. in that literary medium. Moreover, the frequent use of idioms and proverbs about soup in Turkish society has led to the formation of a vocabulary on “soup” and “soup culture” in social life and literature. The corpus of texts that mentions soup is so large that it can even be said to constitute an independent “soup literature.” Based on historical and literary documents, this study reflects on the role of soup, an ancient food in Turkish cuisine culture, and the cultural elements associated with it in Turkish tradition and classical texts. To obtain more meaningful results, this study undertakes a comparative, evidence-based, critical examination of the “health” and “economic” qualities of the selected soups in classical Turkish poetry and establishes a conceptual border for the subject.&nbsp;

Health and Economic Aspects of “Soup”: an Ancient Turkish Food  and Its Treatment in Classical Poetry

Derya

In Beş Sevim Apartmanı, women almost always take refuge in madness when they cannot step out of the traditional roles that reproduce the male-dominated world. In these stories we hear from the women oppressed under the roles assigned to them by society and condemned to remain silent. We see how they were pushed into loneliness in their inner worlds and condemned to silence. As being a wife, a woman lacks love and attention and as being a child, she again becomes as the other in the society and is deprived of compassion since she is not born as a son. Motherhood is also problematized. Women as mothers are blamed for not giving birth to a son, and she is also the target of the anger that should be aimed toward the father. Moreover, these are crazy women imprisoned in a destiny that is not even taken as truth, but rather reconstructed under the strict language of power.The five stories in Beş Sevim Apartmanı imply a world where gender norms consistently operate against women. Huriye, Yeşim, Elif, and Melike go mad because of the traumas associated with gender norms. Huriye is repeatedly subjected to violence by her husband for the boys she could not birth, while every girl she did deliver died from a lack of love as well as parental indifference. Huriye also withdraws from the same lack of love and indifference, becoming isolated from society and leading a half-mad life by sheltering cats.Oğuz, one of the male residents of the apartment building, kills his mother Gülsüm by stabbing her in seven spots one night. Worse, her ill fortune had started earlier when her family turned against her, and when she couldn’t abort her baby, whose father she did not know, her hatred turned toward her husband, who sold her, and she had stabbed him in seven spots and killed him.&nbsp;Yeşim, another resident of Beş Sevim Apartmanı, grew up far from the affection of her parents and is a nymphomaniac. This time, the social structure creates pressure on Yeşim’s family due to her illness. Instead of understanding this disease and having their daughter treated, her parents choose to be ashamed of it because they cannot counter the social ostracization due to the disease. This shame drives the mother to death and Yeşim to insanity. Yeşim, however, loses her mind as a result of these traumas and kills her grandmother because of it.&nbsp;Elif, goes through her own gender identity crisis, kills her femininity, and goes mad in order to find a little compassion from her father. Melike sees the first man she meets as her father. With her longing for her father that she has never seen, how could she know, that the man she saw as her father would be her rapist?&nbsp;He too, would not be able to escape his wicked fate. The rapist will go mad and kill his mother and grandmother, whom he blames for the rape. All the women in Beş Sevim Apartmanı are either dying, killing, or going mad. Each time one of these women is a passive victim her persecutors are members of the patriarchal order.&nbsp;An important point of attention in the novel is that the stories of five mentally ill people, whose biographies are told, appear in two variants. First, we read the autobiographical stories told by the patients themselves under the title offairy tales.” In contrast, we read the stories of the patients as recorded in their hospital files under the title of “true stories.” While the stories that the women tell in their own language cannot go beyond being a “fairy tale,” the records of the mental hospital are presented as their reality. The fate of womanhood is mired in the language of power for all time. The fairy tales of these crazy women are somehow a symbol of their rebellion against masculine norms as is their language. These tales, however, neither make them visible nor allow them to make their voices heard. After all, all these things they tell are just fairy tales too fanciful to be true. Those who tell these tales are just “crazy” say the records of the mental hospital.&nbsp;

Active Perpetrators Passive Victims: Madness as a Feminine Disease  in Beş Sevim Apartmanı

Beyhan

Prof.

The Constitutional Monarchy period is an era when children’s literature began to develop as a separate field and publications for children heightened. In this period, the fact that children’s poems and stories were commonly written as well as periodical publications for children and that the inclusion of visual elements in children’s books affected those innovations in children’s culture was transferred to large masses. One of the important aspects in this period was that they contained data that could reflect aesthetic, pedagogical, and thematic changes and features that children’s culture and literature had undergone in the historical process. This is due to the fact that works in the type of advice or verse dictionary that had more pedagogical purposes for children were written apart from oral culture products such as lullabies, fairy tales, and rhymes in Ottoman-era Turkish literature. In this context, the Tanzimat Period, which was taken place as a breaking point in Turkish political and social history as well as in Turkish literature, also included innovations that strengthen the relationship between children and literature. Moreover, it is seen that newspapers and magazines for children were important in addition to fictional texts during the Constitutional Period, where newspaper, magazine, and press mobility are of great significance. In addition to the pedagogical attitude, a simple, fun, and immersive narrative was adopted to gain the habit of reading in the works written for children during the Constitutional Period. Khalil Hamid, who wrote children stories in this period, is also among the authors who contributed to the development of children’s literary culture.As a graduate of Darulfunun and a teacher for many years and being one of the authors of both the Ottoman and Republican periods, Khalil Hamid wrote popular love novels, stories for children, detective novels, and works related to women’s rights and family life, especially during the years of the Constitutional Monarchy. The author’s writing activities in Constitutional Period have been manifested in magazines, especially for women and children. After Republican, as a worker at Ankara Boys’ High School and in Edirne, Tekirdag, he wrote articles about history, literature, women’s rights, and Turkish culture in Kaynak (1933-1951) magazine, Turkish Language (1926-1968) newspaper published in Balıkesir, and Balıkesir Postası and Alkım (1934-–1939) magazine published by Balıkesir High School students. Although he was an author who contributed to the development of Turkish children’s literature by writing stories for children, especially during the Constitutional Era, no studies have been conducted related to his literary personality and works. However, he published different types of works in the Çocuk Duygusu (Children’s Sense), which was one of the magazines of the Constitutional Period. His works in the Çocuk Duygusu (Children’s Sense) published between 1913 and 1914 varied in terms of both genre and theme. Children’s games that have educational and instructive aspects and children can play with their friends, as well as riddles, stories, and simple and concise historical information that can affect the formation of national consciousness in children, were written in this magazine. As basic principles of children’s literature, naturalness and simplicity are also the basis of the works written by Khalil Hamid for children.&nbsp;As a writer, Khalil Hamid prioritizes activating the sense of curiosity in children by writing his works for children in a form between a story and a novel. The author’s works should be evaluated in the context of the sociological conditions and pedagogical trends of the period. From this perspective, his works can be considered among the popular children’s books that were decently read, immersive, and entertaining in his period. The author’s books for children can be classified in three parts: didactic stories in the form between fairy tales and fables, fantastic subjects fictionalized through a dream, and children’s stories.Although his works on women’s rights and detective novels have been cited as references, no studies have been conducted on his life, literary personality, and works written for children. This article provides information about Khalil Hamid’s literary personality, with which no academic study has been done related to him. Furthermore, children’s books selected as sample will be examined in terms of pedagogical, aesthetic, thematic, and fictional perspective by considering the characteristics of children’s literature in the aforementioned period.&nbsp;

Children’s Literature in Constitutional Period and Khalil Hamid’s  Works for Children

Melih

Assist. Prof.

Image and Responsiveness: Melih Cevdet Anday’s Poetry

Kübra

Res. Assist.

Ḳıṣṣa-i Mūsā ʿaleyhi’ṣ-ṣalāt ü ve’s-selām [i.e., Kissa-i Musa (KM)] deals with the struggle of the Prophet Moses with the Israelites from his birth to the death of Pharaoh. The work has a special place in the historical Turkish text corpus in terms of being the only known separate “prose” tale of the Prophet Moses in the Western Turkish field. The work reflects the 16thcentury Old Anatolian Turkish language features and shows a deep-rooted tradition dating back to the first records of the Islamic literature period. As you can see in the “Introduction” chapter and the example below, various quotations from Quranic verses were highlighted using red ink between the Turkish lines throughout the text. These quotations are called iqtibas in classical resources. This study deals with the structural characteristics of these quotations.According to Qazwini’s definition, iqtibas means that the verses are quoted from the text without any reference to the relevant suras. To increase the power of the narrative and keep the readers’ interest alive, these quotations are used in literary works dating back to historical periods. Since these quotations are replaced in poetry rather than prose in Turkish literature, ongoing studies mainly focus on examining the verses and hadiths hidden between the couplets. Therefore, the features of the quotations, taken from the Quran to a “prose” text, represent a new subject waiting to be studied. This study aims to evaluate the theory of “iqtibas” (in a Turkish text) at the syntactic and text-linguistic levels. To achieve the purpose of the study, 91 different quotations were listed from Kissa-i Musa in relevant contexts. The verses written in red ink in the original text were directly transferred to the transcription of the Turkish text, and their Turkish meanings were reflected in the translations in a way that can be distinguished by italic fonts, for example:Ḥaḳ Teʿālā, Mūsā’ya evvel gösterdi tā ki Firʿavn öŋinde bir aġaççıḳ ḳorḳmaya, gözi aŋa ögrene. Çünki Mūsā’ya anda Ḥaḳ Teʿālā eyitdi: 1 َا ِذ َا ٰ َ يها ف ْق َل َا َ ُ ا م ٰوسى ف ِ َها ي ْق َل ال ا َ َ ق َ ْس ٰعى ٌ ت َّة حي َ ي َه” ِBıraḳ elüŋdeki!” Bıraḳdı, ejdehā oldı. (KM/4a/2-5) “God previously showed Moses (what would happen) in advance so that he would not be afraid of a piece of wood in front of Pharaoh, and his eyes would get used to it. God said to Moses there: “He said, ‘Cast it down, O Moses.’ So he cast it down, and behold! It was a serpent running.” “Let go of what you hold!” (Moses) let go of (his scepter) and it became a dragon.”According to their characteristic features, the quotations were classified into two types: intersentential quotations (27%) and intrasentential quotations (73%), at syntactic and text-linguistic levels.The second chapter of the study, dealing with “the structural features of the quotations,” includes four categories of the “iqtibas” in Kissa-i Musa, which are “incomplete, complete, combined, and mixed,” respectively. An “incomplete quotation” means that a part of the verse is taken into the text rather than the whole verse. A “complete quotation” means that the verses are placed in the text without any changes. A “combined quotation” is created by combining a verse with the verse that follows it. In a “mixed quotation,” a new and complete expression is made by bringing together the different parts of the verses from different suras. The number of verses (97) and quotations (92) is not equal in Kisa-i Musa. The reason for this quantitative difference between verses and quotations is that some verses are fused between compound and mixed quotations. The quantity of the quotations shows that the incomplete quotations are 60%, complete quotations are 20%, combined quotations are 13%, and, finally, mixed quotations are 7% of the total quotations in Kissa-i Musa.The presence of the various quotations in a Turkish text reflects the author’s skill and mastery over the Quranic verses. However, the diversity of the quotation types in a prose sample indicates that the usage of quotations expanded in the 16th-century Anatolian Turko-Islamic tradition. The purpose of using the verses and their functions in the text were excluded in this study. It is possible to examine the structural features of the quotations identified in Kıssa-i Musa in a larger text corpus (e.g., in Rabgūzī’s Ḳiṣaṣ al-Anbiyāʾ). Moreover, the frequency of the quotations in other historical texts can be examined. In this way, the methodology proposed here can be tested and improved with new research works.

Some Findings of the Structural Features of the Quotations in  Kissa-i Musa at the Syntactic and Text-linguistic Levels

Ahmet

Extensively studied from various perspectives over more than two centuries, the Book of Dede Korkut constitutes one of the most important linguistic and cultural monuments of the Turks. More than 1600 studies of the work have been published to date, and each new one contributes to a better understanding of the text, helping to settle problematic issues in its reading and interpretation. Nonetheless, several unresolved or misread words still await clarification or correction.This article makes a novel proposal concerning one proper noun that appears multiple times in the text but has been consistently misread in existing studies. The word in question is used to refer to the Georgian king and is usually interpreted as “Şökli,” or less frequently as “Sökli,” “Sökeli,” “Şökülü,” or “Şükli.”The name Gürcistan (Georgia) appears a total of five times, twice in the third story and three times in the ninth. It is first mentioned in the second story in the context “sası dinlü Gürcistān” (Georgia of false religion) (D20b/4). Immediately thereafter, the author refers to “kāfirlerüŋ azġunı Şökli (!) Melik” (Şökli Melik, the depraved one of the infidels), who is presented as the king of these lands (D21a/1-2). This word, used in reference to the king, appears a total of 13 times in the Dresden manuscript, nine times in the second story, once each in the third and fourth stories, and twice in the ninth story. The Vatican manuscript, which differs in terms of the number and order of the stories, uses the name 11 times, once each in the second and fourth stories, and nine times in the third story. In every instance in both manuscripts, the name under study is postmodified with the epithet “melik” (king) (see Appendices 2 and 3).Turco-Georgian relations date back to the mid-11th century, but this relationship is known to have been less than amicable both initially and subsequently. By the early 12th century, Georgia had achieved the peak of its power and territorial extent. During the period in question, the Kipchaks of the Caucasus lived under Georgian rule and actively collaborated with them, which entailed fighting against Muslims (Arabs and Oghuz Turks). Georgia experienced its golden age under Queen Tamar until the first quarter of the 13th century (Toumanoff 1966: 593 ff). This era saw Georgian territory extend as far as the vicinity of Erzurum to the west. Later, the Mongol invasions took their toll on Georgia, which began to decline throughout its vast dominions, leading to contraction and fragmentation.This paper includes a brief excerpt on Turco-Georgian relations (i.e., hostility) and the Georgian commander (i.e., the king), which is presented in a simplified form in Appendix 1.Returning to the word in question, it should be noted that a meaningful explanation for it cannot be achieved while disregarding the Georgian language. It is a crucial point of departure to assume that the name (word) in question refers to the Georgian king. Before resorting to folk etymologies that draw on Turkish, Arabic, or Persian, it would be more reasonable to first consider the Georgian language.In the Dresden manuscript, written without harakahs, the word starts with sīn (س (in two cases and with shīn (ش (in 11. Accordingly, the spelling variants (سوکلی (and (شوکلی (should be transliterated as and &lt;ŞWKLY&gt;, respectively. The likelihood of forgetting three dots in two instances seems greater than that of erroneously inserting three dots on 11 occasions. Hence, the former transliteration should be ruled out as an alternative. Indeed, this line of reasoning was also adopted by researchers who either drew upon the Dresden manuscript or considered it to be more reliable in their critical editions. Consequently, this initial sound was unanimously thought to be /ş/ (see Appendix 2).By contrast, the Vatican text, marked with harakahs, consistently represents this word as starting with sīn (س .(Hence, the text here could be transliterated as (see Appendix 3). Only Rossi built his study on this manuscript alone, and he thus interpreted the word as “Sökli” (1952). In their study providing separate transcriptions of both manuscripts, Tezcan &amp; Boeschoten also read the word as “Şökli” in their chapter on the Vatican manuscript. Yet, in a footnote they remark that the name in question “was written in a way to allow an interpretation like Sökli (and at times Sökeli)” (2012, s. 310).In conclusion, this article claims to have found the correct interpretation of the word Şökli/ Shökli, which has been consistently misread by hundreds of studies to date.&nbsp;

Who is This Shökli? -Proposals for a Novel Reading of Dede Korkut-

The Edebiyat-ı Cedide Library constitutes a series of 35 books, published over 16 years from 1899 to 1915. These books share common features in terms of their physical characteristics, meticulous detail, and the absence of a foreword. One significant misconception about the Edebiyat-ı Cedide Library is that, in bibliographical references to the individual works, it is often treated as a publisher or publishing house. In fact, the individual volumes were printed by various different publishing houses. “Library of Edebiyat-ı Cedide” is the name given to the series of books published only under the same roof.As he noted in his memoirs, Hüseyin Cahit Yalcın conceived of the series and was the author of the first volume. It is also recorded that Hüseyin Cahit gave the income he earned from the sale of this first book to Tevfik Fikret. Tevfik Fikret in turn published the second book of the series with this money, and the initial economic challenges face by the series were overcome with solidarity.All of the authors who contributed to the series belonged to the Servet-i Fünun generation. These authors were: Mehmet Rauf, Halit Ziya Uşaklıgil, Safveti Ziya, Hüseyin Cahit Yalcın, Celal Sahir Erozan, Tevfik Fikret, Hüseyin Cahit Yalcın, Hüseyin Suat Yalcın, Cenab Şahabeddin, Hüseyin Siret Özsever, Ahmet Şuayb, and Ahmet Hikmet Muftuoglu. The book series, produced by a highly diverse group of authors, displayed equal diversity in terms of literary genre. Thus, the series included novels, stories, poems, prose poetry, theater, travel writing, and literary criticism.The series consists of 35 works, 11 of which were published between 1899 and 1901 and the remaining 24 after 1908. No works were published in the intervening period of about eight years, as a direct consequence of contemporary socio-political conditions. The period from 1901 to 1908 is considered the most barren of the last two centuries of Turkish literature history.The books published as part of the Edebiyat-ı Cedide Library have some common features. First, every book has a red cover, on which was written information such as the author, the title, and the year and place of publication, all in white ink. The books’ covers thus took on a red-white appearance resembling a flag. Another common feature of the books in the series is the absence of a preface, apart from a few exceptions written after 1908. Both features are directly related to the Sultan and the official censorship of the period. Writers of the Servet-i Fünun generation, who risked being caught on the radar of the censors by omitting a foreword and failing to “thank” or “pray” to the Sultan of the period, hoped to compensate for this deficiency by creating a cover that recalled the flag.Another common feature of the Edebiyat-ı Cedide Library is paper quality. The Servet-i Fünun generation, who sought to save their books from clutter, size differences, and inferior paper quality and to achieve a print quality comparable to that in Europe, achieved a high standard in this regard.&nbsp;An essential feature of the Edebiyat-ı Cedide Library is its publication in chronological order. The books in the series have an organic integrity in that they advertise each other consistently. Reminding the press of the previously published volumes in the series on the inside cover and announcing those expected for future publication closely resembles the practices of modern publishing houses. Today, when a novel is published, a list of other books by the same author and published by the same publishing house is typically provided on the inside cover, often including the number of editions that has been reached. Thus, the practices used in publishing the Edebiyat-ı Cedide Library were a prototype for the dynamics of today’s sociology of literature.&nbsp;

Reflections of Servet-i Funun Literature in the Press: the Edebiyat-i  Cedide Library

Ercan

Our Test with Westernization or the Place of the European  Image in Our Modern Poetry

Gülşah

Uighur Altun Yaruk (Introduction, Text and Index)

Sabanur

Öğretim Görevlisi Dr.

On the Study Titled Eski Uygurca Abitaki Metinlerinin Söz  Varlığı

Index of Short Stories in Literary Journals Published Between 1938-1950 in Turkey

Ali Şükrü

"100th Anniversary of the Republic" Special Issue

Salih

Until recently, Tuvans had led a nomadic lifestyle in the Republic of Tuva in Southern Siberia under the Russian Federation. Upon examining the Tuvan vocabulary, one can see that many words are found in relation to equine coats in their language, words that are quite common and extensive. This study features a diachronic and synchronic examination of the equine coat names identified in Tuvan.An equine coat name is defined as the color of a horse’s hair. This definition is accompanied by the distinctive color of a horse’s hair, the distribution of this color over the entire body of the horse, as well as the color of the tail, mane, and other relevant markings. However, a number of limitations is revealed at this stage of the definition, the first of which is that how the appearance of the hair color covering the horse’s body is interpreted can vary from person to person. Secondly, the horse’s hair color can change in winter and summer. Lastly, the horse’s hair color can be evaluated differently based on whether the weather is hot or cold. These issues should be considered problematic parts that increase subjectivity in defining an equine coat. Another point to consider in the language evaluation is that the form of words related to equine coats are observed to change in meaning, although the form may be preserved within the historical and contemporary branches of the language. When reviewing Turkish sources related to the study’s subject matter, one can observe that the meanings of particular horse coat names as witnessed in historical period texts are not reflected in the forms used in contemporary Turkish. These semantic changes are sometimes completely different while at other times bear small but distinctive common features.The primary source regarding the compilation of equine coat names analyzed in the study is the album section of Vyaçeslav Darja’s (2014) work, Loşad’ v Traditsionnoy praktike Tuvintsev Koçevnikov [The Horse in the Traditional Practices of Tuvan Nomads] issued in Kızıl, capital city of the Republic of Tuva. The second source where phrases regarding equine coats is witnessed is Kuular Еlena Мandan-Оolovna’s (2017) article “Leksemı, oboznaçayuşçiye masti loşadey v Tuvinskom Yazıke [Words Indicating Equine Coats in Tuvan]” that was written to identify horse hair colors and is based on Darja’s (2014) work. Apart from the equine coat data in these two sources, no other studies have been encountered directly related to the research subject. However, the equine coats in Tuvan as identified in these sources overlap with some words in Tuvan language dictionaries prepared during the analysis stage. While the study performed a synchronic (i.e., present time) analysis for all words for equine coat, it also performed diachronic analyses regarding cases where equine coat names had manifested within the historical periods of the Turkish language. In this context, the diachronically analyzed units are shown alongside their historical testimonies. From this perspective, the study uses the qualitative method due to identifying the research subject as equine coat names in Tuvan.This study has been conducted because upon reviewing studies on horse coats, even the sources used (Darja, 2014; Мandan-Оolovna, 2017) are not seen to have presented both diachronic and synchronic analyses of the Tuvan materials. Thus, as mentioned above, this article uses diachronic and synchronic analysis methods to analyze the equine coats present in the Tuvan language due to the shortcomings and limitations identified in the studies thus far.In order to introduce the method the study followed for categorizing equine coats, differing assessments should be mentioned to exist pertaining to these categorizations. While horse coats are generally discussed under three headings (i.e., basic, derived, and variegated), other studies have described these coats in more detail. Furthermore, the differences in the categorizations used for equine horse coats has occurred not only with regard to the main headings but also the sub-headings. For instance, while bay as an equine coat is considered one of the basic equine coats in some categorizations, other categorizations accepted bay as being modified or derived. Due to the lack of specific objectivity in any of the categorizations, this study also does not adhere to any specific categorization. Instead, the study arranges equine coat names in alphabetical order as they appear in the Tuvan language based on their nominative case as main items (e.g., kara [black], melder (kaldar) [chestnut]). The study additionally analyzes sub-items under these main forms (e.g., das kara [coal black, black matte color like a vulture], kuskun kara [the color of a brilliant raven’s wing]).As a result, the study completed an analysis of the 18 main items and their sub-items that appeared when exploring equine coats specific to the Tuvan language. The analysis stage also introduced certain morphemes that were found to have been borrowed in the language. In this way, the study has revealed the meanings and structures of words related to horse coats, and the analyses have allowed a semantic understanding of the distinctive components used in defining the Tuvan equine coat names as well as the form characteristics of the equine coats that were examined structurally in the Tuvan language sources.&nbsp;

Equine Coat Names in the Tuvan Language

Savaşkan

Assoc. Prof.

Sleep and its surprise gift, the dream, have been subjects of greatest curiosity for millennia, starting with the first human being. Various works are known to have been written about sleep and dreams even thousands of years before modern psychology. The first of such known works was written during the old Assyrian period. Almost all cultures have given importance to dreams and their interpretation. Unsurprisingly, dreams that are based on religiously sound foundations have formed a unique genre in itself. Ottoman libraries have many manuscripts on this topic, and when looking at the works on dream interpretations registered in these libraries, they are seen to be mostly attributed to Ibn Sirin or Ja’far al-Sadiq. Some of these have been studied in master’s theses and doctoral dissertation and published as books.The reason why almost all the works on dream interpretations that are in Ottoman libraries, in homes in Türkiye, or that have been transferred to the Internet these days have similar content regarding how to interpret dreams is that these have been prepared based on the same sources. When examining the studies mentioned above, dream interpretation works are seen to have been arranged using a certain method. Works on dream interpretations are organized in the form of a brief introduction, information about who the work belongs to, classification sections that explain the concepts that are seen in dreams, and stories that are told about these explained subjects or concepts. These works that have come from the same source but differ in terms of the number of interpretations they contain can be said to have attained a standard structure.The dream interpretations that are the subject of the study differ greatly from the normal interpretation structure in terms of style, content, and number of pages. The first of these dream interpretations interprets dreams based on the first letters of the concepts seen in the dream, the second interprets a concept in a dream based on the day the dream was seen, and the third interprets dreams with regard to the Qur’anic suras the dreamer saw themselves reading within the dream. The first interpretation involves four pages, the second involves 13 pages, and the third also involves 13 pages.The manuscript this article subjects to study is registered in the National Library of Türkiye as 06 Mil Yz A 2366. The manuscript contains four texts on interpretations. The dream interpretation found in the introduction to page 127b has been prepared as a master’s thesis (Otugüzel, 2018). The current study will attempt to present to the world of science information about the three short texts on dream interpretations that appear in the pages following those studied in the master’s thesis, and these are observed to be beyond the understanding of the conventional nomenclature. The first of these dream interpretations is found on pages 127b–129a of the manuscript, the second on pages 129a–135b, and the third on pages 135b–141b. The current study will provide the texts from these dream interpretations will be given separately, with information about each interpretation occurring just before each text.&nbsp;Each of these dream interpretations differs from the others in terms of content. While Turkish libraries contain thousands of copies of works on dream interpretations, the books containing hundreds of thousands of items and glossaries of the objects seen in dreams generally come to mind when discussing works on dream interpretations, and the readily available examples lead one to think this way. However, the interpretations this study has presented show that sometimes dream interpretations had been prepared to serve a daily purpose other than what is expected.&nbsp;

Three Extraordinary Dream Interpretations

Yasemin

Sevim

Introduction and Purpose Comparative literature is a discipline based on the notion of interaction and comparison. Within the scope of comparative literature, the idea prevails that the unique characteristics of cultures are best reflected in literary works and thus become objects of comparison for other cultures. Comparative literature is most commonly known for presenting comparative studies of authors and their works based on different cultural and civilizational perspectives.This study will examine the commonality and similarities between the female images as depicted in the fictional worlds of two contemporary authors: Halide Edip Adıvar (1884-1964) and George Bernard Shaw (1856-1950). These two contemporary writers from different cultural backgrounds and genders are interestingly seen to have developed similar notions and structures regarding the concept of women in the rapidly developing and transforming world of the 19th century. Also fascinating is that the authors are social entities who sometimes reflect and criticize the codes and teachings of the society in which they had been born and raised.Theoretical FrameworkThis research takes its basis as a comparative literature study analyzing the biographical data of two authors who lived in different geographical locations of the world. The study mainly analyzes and discusses the common and similar aspects of the heroines in Halide Edip’s novels and Bernard Shaw’s plays. Many biographical and text-based research and analyses have been carried out over Halide Edip Adıvar and George Bernard Shaw. Among the major studies in the Turkish literature on Halide Edip Adıvar are İnci Enginün’s two books, titled Halide Edib Adıvar (1998, 2019) and (Halide Edib Adıvar’ın Eserlerinde Doğu ve Batı Meselesi) The Issue of the East and West in the Works of Halide Edib Adıvar, as well as various other studies. Şerif Aktaş in addition to many other scholars and researchers have penned studies on Halide Edip Adıvar using the biographical text analysis method. Similarly, the Western literature has many studies that have been done on the plays and other works of Bernard Shaw, such as Henderson (1911), Glosser (1965), Holroyd (1979), Grene (1984), and Chesterton (2014) to name a few.Although some studies have occurred separately in both the Turkish and English /Irish literature, a lack of studies also appears to have occurred in the area of comparative literature studies of Turkish and English/Irish literature. Thus, this study will attempt to fill this gap in the related field. Additionally, this study is thought to be able to secure a place in the related literature by depicting the perspectives of the two authors with regard to the social status of women as well as the value placed on them within the scope of historical and sociological criticism.Methodology and FindingsThe research study is mainly based on the concrete data presented by the theory of comparative literature. This study also discusses the effects and indicators of both authors’ life experiences that can be seen in their female characters and images. The study presents the structures that are similar in the female images in both authors’ works and also emphasizes the meanings that arise within their texts as they emerge when presenting these similarities. The study discusses the representation of heroines as different from the female portrait drawn by the traditions in both societies and brings to light the missions these representations undertook in both authors’ works as well as in the period in which they lived.Conclusions and RecommendationsAs a result, despite the fact that both authors lived in different countries with different cultural backgrounds, the similarities in their opposition to the traditional positioning of women in society united Halide Edip Adıvar and Bernard Shaw’s female characters in their works, with women being reflected in their works as being strong and educated and having guiding roles in male-dominated societies, such as the characters of Sainte Jeanne, Candida, Aliye, Seviyye, and other female characters these two authors had created. The two authors emphasized women’s problems, the need for them to receive equal education with men, and the need for women to seek out their social rights. Both authors focused on the social problems of their societies while expressing women’s issues by emphasizing universal values such as love, respect, and trust because they wanted the family to have a solid foundation in society. Both Shaw and Adıvar referred to women as the cornerstone of the family and therefore the two wrote about educated women in their works who had strong personalities, as well as the way these women lead society. The path both writers paved through their images of universal values and changes to the role of women in the world and in society is a subject worthy of attention and study.&nbsp;

Representations of Female Characters in the Works of Halide Edip  Adıvar and George Bernard Shaw: A Comparative Literature Study

Burak

Rituals in the early days of Buddhism were simply performed around monasteries; over time, however, they evolved into annual rituals and festivals and took on a social structure. Before Buddhism, rituals in South Asian religious beliefs were performed on the days of the lunar sabbath in particular. Buddha is known to have rejected the extreme ascetic attitude and to have accepted the middle way. Although Buddhism has a more moderate ascetic rule compared to other Indian belief systems, the aim is to dull desire, suppress bodily pleasures as much as possible, and bring spiritual pleasure to the fore. These retreats generally coincide with the summer rains in Buddhism, with the culmination of the retreat occurring in a ritual of repentance and confession.Various opinions are found regarding the root and cognate languages of the Old Uyghur bakchan. While some scholars are skeptical, others directly cite the origin of the word as the Sanskrit bhakta-chinnaka [withdrawal from food, hunger] which then passed into Old Uyghur by means of cognate languages such as pakaccāṃ [period of rest from travel during the monsoon] in Tocharian B, pākäccāṃ in Tocharian A, pkc’n [summer residence duty] in Sogdian, which is equivalent to anju 安居 [tranquil dwelling; to live in peace] in Chinese. In Bhuddism, bakchan means to retreat from life by remaining within a monastery for three months during the rainy season, which is san anju 三安居 [the three months of summer retreat], yu anju 雨安居 [the rains, the rainy season, time of the summer retreat], or xia anju 夏安居 [the period of the summer retreat for meditation] in Chinese, or dbyar gnas in Tibetan. According to these, Sogdian is the lexical cognate that is closest to the Old Uyghur form in terms of form and meaning. In light of current knowledge, determining which of these three existing lexical cognates is the source of the Old Uyghur form appears difficult. However, the point that draws attention here is that the meaning of the forms in the lexical cognates’ languages and Old Uyghur are far removed from the meaning of the Sanskrit form, which is the source language. According to this, while the Sanskrit form of bhakta-chinnaka is the source of the Old Uyghur form, this effect did not occur in a semantic dimension. It is possible to say that the languages of the lexical cognates greatly influenced the meaning of the Old Uyghur form. In one Old Uyghur example, yay kısh b(a)kchan olur- [summer (and) winter are the time for retreat] indicates that the term bakchan has a different semantic value apart from the rainy season retreat.The most common spelling for the Old Uyghur word is bakchan or b(a)kchan. However, the text Insadi Sutra shows the word to have a different spelling compared to other examples. This may be a case that directly relates to the text’s author and/or copyist. In addition, the change in spelling can be thought to have occurred due to the text being counted among the old Uyghur texts. According to this, the Insadi Sutra is one of the oldest dated texts of Old Uyghur, with the existing copy dating back to the 17th or 18th century. This text is also stated as being the first one written in the old period of the Yuan Dynasty. Considering this historical background, the Old Uyghur form of birkchan can be considered to have been influenced by Mongolian orthography and to have moved away from its earlier forms.&nbsp;The Old Uyghur bakchan is one of the expressions used in the texts of the religious circle of the Uyghur language and also one used to refer to a Buddhist religious ritual. The heavy rains and floods seen in the monsoon season in some parts of South Asia can initially be said to have completely hindered the bhikkhu and bhikkhuṇi from wandering around and begging. This season required wandering beggars to find shelter, and Buddhism adopted the rainy season retreat from early Indian religious traditions.In the early period, temples or monastic institutions did not exist, and monks mostly lived in the forest or under trees, traveling from village to village collecting food and spreading teachings. Although Buddha and some of the monks who followed him are known to have lived in one place during the rainy season, the monks continued their wanderings during the rainy season. The question was raised to Buddha as to why Buddhist monks were not allowed to stay in one place while ascetics belonging to other Hindu religious beliefs did not have to wander during the rainy season. With these factors in mind, Buddha later came up with a rule that required Buddhist monks to stay in a residence for three months during the rainy season. The three-month rainy season retreat usually begins with the full moon of Āṣāḍha. In general, however, some flexibility is given to setting the start date of the rainy season retreat, but it should definitely last the full 90 days.&nbsp;

A Ritual of Buddhism in Old Uyghur: Bakçan Olur-

İmren

Making a Museum of the Past: Reading A Mind at Peace and The Museum of Innocence Through the Concepts of  Museum and City

Tuğrul

According to Carl Jung, archetypes are a collective reflection of the experiences of the human being on the unconscious over different periods. These archetypes can emerge from the psyche of the person for various reasons, and they can be involuntarily processed by an artist when producing art. In the 1920s, Jung began to espouse different views than his contemporary and friend Sigmund Freud. Jung moves away from Freud’s literary analysis with his works. According to his ideas and contrary to Freud’s thinking, symbols do not originate from the reflection of sexual fantasies but instead come from the collective unconscious, which is an realm of the unknown. After abandoning Freud’s ideas, Jung began to analyze artistic works through his newfound perspective, including Picasso’s paintings and the novel Ulysses. Jung believed that all art can be divided into two major categories: psychological works, in which the psychological implications are fully explained by the author, and visionary works, in which humanity’s deep fears, anxiety, and expectations are expressed without any intention. Based on Jung’s categorization of artworks, we would say that Sureya’s poetry belongs to the second category of works. In order to understand his fear, desire, hopes, and thoughts, we need to deeply examine all of his poems.Both in Turkish literature and the literature of other cultures, it can be seen that fairy tales, myths, poems, and novels are directed by archetypal patterns. Therefore, Jungian criticism helps us understand the work in question by revealing the motivation of the artist when producing their work, through such notions as intertextuality, structuralism, and a critical analysis of the work. The Second New Poetry literary movement stands out in terms of individuality and an intense usage of image, reflecting the artist’s hopes, emotions, thoughts, fears, and desires. In this way, these works also reflect the manners/approaches of the poets found in their psyche. Based on the view that each person strives to achieve self-realization and that their paths are differentiated, Sureya also conveys the path of self-realization in his poems in a unique way.Researchers who have examined the poetry of Sureya have already examined the archetypal styles in the poems through the archetypal criticism method. However, the question of how the archetypes of Sureya’s poems have an effect on the self-realization of an individual and on reaching self-transcendence/initiation remains unanswered. This study, while examining the poetry of Sureya with the method of archetypal criticism, was produced with the aim of revealing which impulses the poet tried to convey in his poems as a way of reflecting the poet’s view of the poem and his own psyche.In the poems of Sureya, sexual intercourse and the act of being with a woman synchronize with initiation and transcendence. Most of the female characters in his poems take on a guiding role or accompany the protagonist/individual on the journey. The subjects of the poems affirm the woman who attempts to break through social norms in the same way the protagonist/ individual/poet does. The poet connects the traits of these females to goddess figures.On the other hand, people who conform to social norms are criticized in Sureya’s poems. It appears that Sureya moved away from such ideas as human beings oscillating between the thought of survival and giving up on life and became obsessed with darkness and persona in the process of being with women. In this way, the subject of the poems, who take togetherness as their path to self-realization, are inspired by the societal, religious, historical, and political personalities who lived at different stages of human history. Thus, it became easier for the poems to be adopted by the masses they addressed. Through his poetry, Sureya strengthened the love archetype which he embodies by borrowing from some aspects of characters in legends and folktales. While some of these selections are voluntary, in others, the unconsciousness directs the subject of the poem by getting involved in the processes. In this way, it can be considered that similarly-qualified women interact with the subject of the poems with the guidance of the poet’s anima archetype. The way the poetic subjects reach the self is similarly handled: by them being with a woman. The same idea is seen in the desire to continue living after being helped by women, thus having the subject of the poem overcome the desire to die.The present work has been prepared to explain the history of archetypal criticism and archetypal manners in both Turkish Literature and the literature of other cultures. In addition, this study will be seek the archetypes of Sureya’s poems in light of Jung’s four major archetypes found in his categorization of analytical psychology&nbsp;

Forms of Self-realization in the Cemal Süreya Poetry ın the Context of Jungian Literature Criticism

An 18th-Century Prose Story: Câlibü’s-Sürûr ve  Dâfi'u’l-Gumûm

Gamzegül

The story of Fîrûz is the Turkish translation of the 45 volume work of Muhammed Tahirî-i Bîgamî, known as “Fîrûzşâh-nâme” or “Dârâb-nâme” in Persian literature. In the sources, it is mentioned with various names such as Fîrûz-nâme, Tercüme-i Fîrûz-nâme, Kıssa-i Fîrûz Şâh, Menâkıb-i Fîrûz Şâh, Hikâye-i Fîrûz Şâh, Hikâye-i Fîrûzşâh, Kıssa-i Bahmen Şâh bin Fîrûz Şâh. It was translated into Turkish in eight volumes by Celalzâde Salih Çelebi (b. 910/1504-1505 d. 973/1565) upon the behest of Suleiman the Magnificent. Many copies under various names can be found in libraries in Turkey and abroad. In the current article, I study the third volume of the manuscript titled Fîrûz-i Cihângîr Hikâyesi [Story of Firuz-i Cihangir] in the Suleymaniye Library’s Pertevniyal Collection no. 862. This volume consists of 354 folios in prose with some verse sections. The volume concerns the heroism and adventures of the Iranian ruler Melik Darab’s son, Firuz Shah, and his warrior wrestlers. The characters face a moral and physical test, and this volume of the story has two main groups: the God of Zarathustra and the fire-worshipper. The heroes of these two groups fight in a large square. In the fights, one hero from each of the two groups face off to one another, and the fight between the two heroes ends with the death or injury of one or the other. The victorious hero starts a new fight with another brave man from the opposite group. The work generally uses a simple, understandable language. While the work has an extensive vocabulary, it was enriched by using the features of spoken language, and the characters are often the ones narrating the story. Sometimes the work is seen to use exaggerated forms of language such as reduplications when telling the story, and the fight scenes are additionally narrated using vivid descriptions.This article concerns the words görürce and tutarca as seen in the text titled Fîrûz-i Cihângîr Hikâyesi, which was likely written in 16th century. My master’s thesis titled “Firuz-i Cihângîr Story Language Analysis-Text-Dictionary (Folios 71r-140r)” described the use of the words görürce and tutarca as denoting organ names, with görürce being seen to mean “the organ that enables sight; the eye” and tutarca meaning “the organs that enable movement, such as the hands, feet, and legs.” (Kılıç, 2022, s. 158) Thereupon, within the scope of the article, Tarama Sözlüğü, Derleme Sözlüğü and various texts were scanned, and it was determined that these words in Western Turkish were not used instead of organ names.As a result of the research, these words appear to have occurred in Turkish during the 14th-21st centuries in Turkey, but they weren’t used for organ names. This article discusses the structure of the words görürce and tutarca as derived from a common suffix (-ArcA/-(I)rcA). The study has identified words derived from this suffix and attempted to evaluate the functions and meanings of the suffix. The words derived from the suffix –ArcA/-(I)rcA are seen to have been used as nouns or adjectives, with sample sentences used for the words being present in the sources. 29 example words have been identified for the use of this suffix as a noun and six example words for its use as an adjective. The following variations were observed in the use of the nouns classified according to their meanings: disease, animal, plant, tool, object, drug, organ, geography, and essence. Among these categories, 10 examples were used for disease names, four for abstract names, four for animal names, two for geographical names, two for object names, and one example each for a drug, a plant, and an action name.&nbsp;&nbsp;

Some Notes on Words Görürce and Tutarca

Betül

The archaeological findings from the region of Turfan in Northwest China that occurred during the discoveries at the beginning of the 20th century are highly unique in terms of Turkic and world history. The works here have provided a precious archive written in dozens of different languages as well as many different scripts and alphabets. These works have attracted the attention of field researchers in many countries since the first years they were found.The corpus of these findings has maintained its place among the essential resources of researchers from many fields of science for more than a century due to its comprehensive content, with the multilingual works in this rich archive being particularly exciting. These works contain texts within the same codex or book scroll that have been written in different languages, clearly showing the period’s multinational, multilingual, and multicultural structure, and these can be counted as the most interesting pieces of the archive. The essential corpus of Manichaeism, which had spread from Mesopotamia to the world in the 3rd century and is now a lost religion, should also be noted to be included in this archive. However, due to the fragmentary nature of many of the texts on Manichaeism, a significant part of the corpus is unfortunately missing. Therefore, contributions from a variety of different experts are required to arrange and reassemble the fragments in order to overcome this limitation.Since the second half of the 1900s, codicology has been one of the most commonly used methods for assembling manuscript fragments. The French historian Alphonse Dain proposed the term codicology in 1949 in response to the German term Handschriftenkunde for manuscript studies. The term is a combination of the Latin codex [book] and the Greek suffix -logia [study of] and was initially used for studies on the dating of manuscripts but was later expanded to involve the examination of all aspects of a book (Gulásci, 2005, p. 8; Lowden, 1992, pp. 9–10).Meanwhile, art historians such as John Lowden emphasized the most crucial feature of the codicological method to lie in its emphasis on the integrity of a book and underlined the impossibility of fully understanding a historical work without resorting to all the elements that compose a book, such as its title, decorations, writing style, page arrangement, and the quality of the written material (Lowden, 1992, p. 9). Zsuzsanna Gulásci is known for her important contributions regarding illustrated Manichaean works and also stated how she uses codicology for a holistic codicological/archaeological approach (Gulásci, 2005, p. 9). This broad area of this term’s usage, which has expanded significantly through the contributions of art historians, is also critical. As can be observed below regarding this study, an artifact that has remained in the dark for a long time now gains a different appearance upon reaching the light again. No matter how meticulously researchers try to reconstruct the so-called old whole by putting the pieces together, losses are inevitable.The findings obtained in this paper as a result of analyzing elements such as the paper structure, paleographic features, damage characteristics, and book format of the Old Uyghur, Parthian, and Middle Persian fragments that have been classified as belonging to the same manuscript are as follows. The manuscript examined here was written in the Manichaean square script using a single-page codex format and contains Parthian, Middle Persian, and Old Uyghur passages. The Turfan Studies archive of the Berlin-Brandenburg Academy of Sciences and Humanities catalogues notes the fragments archived by shelf and number as M 6220, M 6221, M 6222, M 6223, M 6230, M 6232, M 6233, M 6238, M 6239, M 6240, M 6241, M 6242, M 6243, M 6255, M 6257, M 6258, M 6259, M 6260, M 6261, M 6262, M 6263, M 6264, M 6265, M 6266, M 6267, M 6268, U 7, U 8, U 9, and U 10 to be part of the same manuscript. This article studies these fragments and their composition.&nbsp;

A Reconstruction Study of an Old Uyghur, Parthian, and Middle  Persian Manuscript

Hanife

The concept of ‘euphemism’, which is euphémisme in French, verhüllung/euphemismus in German, and eufemismo in Spanish, in some western languages comes from the Greek word ευφημισμός (euphemismus) and means ‘to say a nice word about something, to say good and auspicious words’ (Aksan, 1990, p. 98). Euphemisms occur in the socio-psychological dimension of languages, and they are and should be considered valuable.Borrowing, as a form of censorship, denotes social control mainly by replacing inappropriate, harsh expressions with soft and convoluted ones. In this sense, individual and social events such as fear, sadness, respect, pressure, belief, and illness that cause the controlled use of the language are areas that require in-depth studies specific to each language. Euphemisms differ in their subject matter. Although their degree of importance and density differs from language to language, the most common topics are religion, sexuality, excretion, some organs of the body, politics, money/social status, race, death, etc. This study established the concept of euphemisms, which have their linguistic features, and discussed the semantic features and the formation of euphemisms that are widely used in Russian and Turkish. This study focuses on euphemisms that emerged from the pressure of taboos and were defined as implicit expressions. The logic and manner of forming euphemisms, which also have national, local, traditional, and historical dimensions, will be evaluated with two different cultures and languages. In this context, the study attempts to explain the logic behind euphemisms in Turkish and Russian with their differences and similarities through examples.This study first examined the methods from the aforementioned studies to create a table of euphemisms in Turkish. In the light of these methods, euphemisms in the Turkish vocabulary were determined and a Turkish-specific table was created. The words in this table are categorized under three main headings: ‘structure-based euphemisms’, ‘meaning-based euphemisms’, and ‘borrowings’. Additionally, a detailed examination of the euphemisms in Russian and Turkish was conducted by creating sub-headings under these main headings.In the examination conducted under this heading, the euphemisms used in Russian, and Turkish are reviewed in the tables created for both languages. As per the classification, meaning-based euphemisms can be grouped under 11 and 12 titles in Turkish and Russian, respectively. Because of the semantic and structural differences between the languages, Table 1 comprises ‘meaning-based euphemisms’ in Turkish and ‘lexical meaning-based euphemisms’ in Russian and offers the opportunity to view all meaning-based euphemism types in both languages collectively. After presenting the general view, the main and sub-headings are explained. Table 2 presents the titles containing all the structure-based euphemisms in Turkish and Russian. The classifications for Turkish and Russian were obtained from the Turkish and Russian literature, respectively; they were compared, grouped, and matched. In this context, the study attempts to explain the logic behind euphemisms in Turkish and Russian with their differences and similarities through examples.&nbsp;The study results show that euphemisms, which are frequently used in daily life, politics, or literature, also appear in different languages and show differences/similarities at the morphological and semantic levels. Euphemisms, which are utilized in every language for psychological, pragmatic, or sociological reasons, constitute a different dimension of the language phenomenon. This study compared the two languages technically through euphemisms and revealed the differences and similarities between these languages through various examples. Although the usages have different names, it can be stated that the concept of language reflects the common aspects observed in the different cultures of different geographies. The usages that differ from each other and are unique to each language can be seen as a manifestation of the cultural diversity in the world. In both ways, this indicates the reflection of cultural differences or commonalities in societies on language through euphemisms.&nbsp;

Similarities and Dissimilarities in Euphemisms in Turkish and Russian

Ürün

Tales are a genre that have been described in many different ways from different perspectives. Nevertheless, giving one single absolute definition of what a tale is is now widely accepted to be impossible. In this regard, studies on tales or discussions around tales are not limited to folklore these days. A serious critical accumulation of gender and power structures have been gathered in classical tales created through the literalization and domestication of fairy tales, and the moves made to destroy classical tales, especially since the second half of the 20th century, have been strong enough to form a vein. Although these tales are called postmodern tales and have a very comprehensive definition, explaining every rewritten tale with this quality alone is not enough. Hence, names such as counter tale, equaltale, liberation tales, progressive tale, and anti-tale have also been used for rewritten tales. The debates around these rewritings and the criticisms and analyses toward them have also been directed toward the structures in classical tales that were destroyed and what these structures represent, rather than discussions about genres and names. Rewritten tales do not just destroy these structures, they often build new ones in their place. The critique and analysis of postmodern tales has as much to do with what has been constructed or transformed as much as what has beendestroyed. Generally, postmodern tales often use two ways to destroy classical tales: Either they transform the structure, symbols, and metaphors of the classical tale to which they refer with very clear signs, or they create a more pluralistic mosaic of images, or in other words, the move to destroy is directed more toward the text and what it represents. The texts that are often taken as a basis for destruction or transformation tend to be based on the productions of writers who’ve literalized and domesticated tales, such as the Brothers Grimm, Perrault, and Andersen. Sometimes,the variants that Disney are seen to produce are also based on including a criticism of the transformation of tales into a cultural industry. The most important pointsall these works that are wanted to be destroyed have in common is that they impose a patriarchal morality and bourgeois culture, cut the emancipatory and egalitarian roots of oral tales in order to literalize them, and in so doing, domesticate them. Therefore, all rewritings that aim to destroy or transform classical tales also search for the possibility of another life. By prioritizing being disturbing and shocking, some of these reconsider the normality of the structure in question and are mostly aimed at adults. Others transform a familiar example by clearly emphasizing its message. Reproductions in this second group are usually aimed at children and basically reflect the imagination of an equal world. Discussions around tales in Turkey are quite limited compared to those in the West. The fact that the process of development and change regarding classical tales in the West did not take place in Turkey is certainly an important factor. However, most of the classical tales were transformed into materials in the style of capitalist consumption, first by industrializing children's literature and then under the influence of Disney. The genre we call tales today continues to be spread and reproduced not as a folk narrative, but rather through translations of classical tales and cartoons certainly through all the kinds of consumer goods in which the characters in these cartoons are processed. Although examples do exist of counter-tales or postmodern tales produced for adults and children in Turkey, this vein cannot be said to be a very strong one yet. Therefore, a dynamic critical accumulation on the subject has yet to be formed. For this reason, the “Eşit Masallar” series can be considered a significant move. Although “Eşit Masallar” from time to time paradoxically parallel the moral and educational attitudes of modern classical tales and literalized tales, the aim is quite clearly to show children that a world with gender equality is possible using examples from classical tales that have been transformed and rewritten. So formally, the texts in this genre can be considered as postmodern tales. However, some inconsistencies are seen when investigating whether these tales are able to construct the promised equality discourse; whether they destroy the inequalities, power relations, and patriarchal norms in classical tales; and thus whether they carry out a profound transformation. The present study analyzes the rewrites of Little Red Riding Hood from Perrault, Snow White and the Seven Dwarfs transformed from the Brothers Grimm, Cinderella’s Riddle, Rapunzel, and the Frog Prince in the context of gender and power relations by establishing parallels with the ideological transformation that occurs in the tale from the classical to the postmodern versions as well the critical accumulations that have been constructed.&nbsp;

Fairy Tales, Inequalities, and “Eşit Masallar”

Süreyya

Within the entire life trajectory of classical Turkish poetry, the 15th century marking the period when the genre started to find its own voice is evidence of it having attained maturity. Ottoman poets could now ingeniously apply what they had learned from the Persian masters who had been their source of inspiration for centuries, and clearly the period of meşk [practice] was coming to an end. Meanwhile, the 16th century, or classical period as described by a great majority of researchers of the history of literature, was characterized by a conscious voluntary disengagement from Persian poetry which was the main source of tradition. From this century onward, poets started to turn their gaze to the realities of their society and to actual life with all its dynamics, both due to their aim of becoming more local and national as well as to their eagerness to rejuvenate the meanings that had become outdated through overuse and excessive elaboration. Thus, anything that added vitality to society could become a theme, backdrop, or object of poetry and find its way to the present through the “verbal photographs” the poets created. An attempt at categorizing all these verbal photographs would probably reveal a considerable amount of repetition. Continuing with the same example, an arduous and timeconsuming selection process would be required to open an exhibition or create a collection of these photographs.Some of the life scenes and objects depicted in the couplets that have survived to the present create a familiarity that pleases the reader. For instance, ants swarming on sugar, girls carrying trays over their heads on henna night, a beauty bathing in a Turkish bath, or a wineglass with basil leaves all mean something to readers in the 21st century. Moreover, seeing them in centuries-old texts gives the excitement of discovering correspondence across eras. In other couplets, scenes or objects appear archaic to the modern reader and can only be understood through the use of dictionaries and historical references. In certain cases, however, the text may tell something by depicting a scene or object, the traces of which can barely be found either in contemporary texts or in subsequent written sources. This article explores the meaning of zant, which is both the focus and redif of the descriptive gazel #203 in the Divan of the Janissary poet Aşkî of Üsküdar in the court of Suleiman the Magnificent, a poem which constitutes a perfect example of such cases and offers unique materials both for a historical dictionary of Turkish and the history of Ottoman material culture. Based on the evidence from Aşkî’s gazel, with zant being a redif in which the object is depicted as the poem’s focus, zant can be defined as a type of fringy, reddish headgear that resembles a hawk with spread wings.Costume albums made to order for foreigners by Turkish “marketplace artists,” as termed by Metin And (1985, pp. 40-45), or even made by skilled foreigners are invaluable documents that depict daily life scenes, offer visual materials regarding the dress styles of individuals from different Ottoman social classes in particular, and can also serve as a guide for Ottoman poetry. The visual material that can assist the study in speculating about the meaning of zant that Aşkî depicted in his gazel, which the present article explores, is found in the book of costumes titled Bilder aus dem Turkischen Volksleben, registered in the Austrian National Library under Code 8626. Thanks to the data obtained through a literature review based on a successive series of searches starting with Reinhart P. Dozy’s (1845) Dictionaire détaillé des noms des vêtements chez les Arabes, the study is able to safely confirm that one of the two images identified therein contains a zant. As informed by Western scholars of Mamluk studies who draw upon Dozy and L. A. Mayer (1952), the zant was a bright red headgear made of goat’s wool, unique to the Circassian Mamluks, who were also known as the Burji Mamluks.Thanks to the accounts of travelers who visited late medieval Egypt, eye-witness information exists about what the zant looked like, with a surviving example currently on display in the Coptic Museum in Cairo. Dietrich von Schachten had traveled to the Near East in 1491 and described the zant as red headgear with finger-length thrums and a muslin wrapped around it. Arnold von Harff, another contemporary German traveler, left a drawing of a dervish wearing a zant. Likewise, zants of various shapes and sizes are represented in Ottoman miniatures and illustrations of furusiyya texts, as well as in paintings by Venetian Renaissance artists such as Bellini, Carpaccio, and Mansueti.&nbsp;

The Word Zant from the Poet’s Perspective: In Pursuit of an Obsolete Word

Uğur

Although when Turks adopted Buddhism is not precisely known, the emergence of this belief among the Turks is thought to date back long before the Western Uyghur Khaganate to the Turkish Khaganate in Mongolia. Chinese sources state that Turks had had a clear interest in Buddhism during the First Turkish Khaganate. However, no record exists regarding Buddhism in the Second Turkish Khaganate inscriptions; therefore, studying the relations of Turks with Buddhism through sources written by Turks does not seem possible. With the collapse of the Uyghur state known as the Eastern Uyghur Khaganate in Mongolia in 840, some of the inhabitants of this state migrated to the south and others to the southwest. The Uyghurs who migrated to the Turfan oasis in particular were known as the Turfan Uyghurs and laid the foundations of the state that would come to be called the Western Uyghur Khanate. In addition to completed works, some fragments have also found as a result of expeditions to East Turkestan. In this regard, the current paper concerns the edition of seven fragments that deal with various issues related to the Old Uyghur literature on Buddhism that have not been previously published. Each of these fragments is currently preserved in the Berlin Turfan Collection under the following archival codes: Mainz 281 (T II S 32/517), U 1206 (T I 5 XVIII 28), U 1762 (T II S 32a), U 4997 (T II Y 22), U 5468 (T I D 645), U 244 (o. F.), and U 5012 (T II Y 59).The first fragment included in this study is archived as Mainz 281 (T I S 32/517). This fragment consists of six lines on the recto and six lines on the verso sides for a total of 12 lines. The fragment is complete except for some minor damage on the first line. The catalog information containing the physical features of the fragments was prepared by Orçun Ünal. This manuscript deals with numerous bodhisattvas and how they’d gather around Buddha. The second fragment is archived as U 1206 (T I 5 XVIII 28) and consists of 14 lines, seven on the recto and seven on the verso sides. The catalog information containing the physical features of this fragment was provided by Ünal. The subject of this fragment is meditation. The third fragment is archived as U 1762 (T II S 32a) and consists of six lines on page “a” and six lines on page “b” for a total of 12 lines. Ünal also prepared the catalogue for this fragment. The subject of this fragment involves the idea of ​​saṃsāra, known in Buddhism as the circle of death and rebirth. The fourth fragment is archived as U 4997 (T II Y 22), and has confession as its subject. The fifth fragment is archived as U 5468 (T I D 645), and Page “b” of this fragment has not yet been cataloged. According to my estimation, the subject of page “b” is about Maitreya [The Compassionate One]. This article does not include page “a” of this fragment. The sixth fragment is archived as U 244, and the catalog information regarding this fragment was also prepared by Ünal. The subject of this fragments is Abitaki-sūtra [Sutra of Infinite Light], and it has 12 lines in total, six on the recto and six on the verso sides. The seventh and final fragment is archived as U 5012 (T II Y 59), and the catalog for this fragment was also prepared by Ünal. The theme of the fragment is about the confession of sins.&nbsp;This paper consists of the transcriptions, transliterations, translations into Turkish, explanations, and a glossary/index of the fragments that have been introduced in general terms above. The results from the paper can be summarized as follows: (1) This paper presents data that have been extracted based on the text from these seven fragments in the form of 71 lines of Old Uyghur for researchers to use. (2) Although most of these lines remain fully preserved, some only contain a few remnants of the letters. Of the 71 lines, six are damaged, which represents 8.45% of the total text. (3) The indexes from this study contain 163 entries. Of these entries, 38 (23.32%) are verbs and 125 (76.38%) are nouns. (4) Within the glossary of the text, two words have been directly quoted from Chinese (1.22%), eight words (4.90%) in Sanskrit have been quoted from Tocharian A or Tocharian B, four words (2.45%) in Sanskrit have been quoted from Sogdian, and one word (0.61%) in Greek has been quoted from Sogdian. When considering the Old Uyghur text in general, 9.2% of the text is seen to be comprised of quoted material.&nbsp;

Meditation, Saṃsāra, and Confession: Fragments of Old Uyghur  Text on Various Issues

Barış

Turkish Literature from the Perspective of Foreign  Turcologists: Correspondences of Necatigil

Bekir

This study firstly discusses the subject of puns. Although different approaches exist regarding the classification of puns, this study has determined the classical classification to be more appropriate. The study attempts to reveal the characteristics of puns, their limits, and old and new approaches to making puns. The study has also prepared a chart showing the types of puns in order to better see the position types of puns have in the classical approach. After pro-viding general information, the study will examine the puns expressed in Süleyman Çelebi’s Wasîlat al-Najât.Most of the sources that address the stylistic features of Wasîlat al-Najât have drawn attention to its usage of puns. Puns are said to have been used since ancient Turkish poetry, and Wasîlat al-Najât is one important example of Turkish poetry possessing this feature. This study has been prepared based on the question of whether the puns used in Wasîlat al-Najât are focused and what type of puns they qualify as. This question is an important starting point, as the sources that have addressed the puns in Wasîlat al-Najât were content only giving a few examples of puns. When scanning the studies that have been published regarding Wasîlat al-Najât as a text or that have examined this work, the subject of puns is seen to have been always handled superficially. Recent master’s theses and articles are also far from having adequately explained this issue. Therefore, this study has examined the full text of Wasîlat al-Najât from beginning to end and classified all the examples of puns in the couplets after iden-tifying them.While processing the collected data, explaining the different types of puns became necessary. Therefore, after a general introduction to puns, the study will provide brief information about each type of pun based on what is found in the sources. The study will address the semantic contribution of these types of puns to the text, as well as the value of harmony. Then, the study will then provide copies of exemplary couplets in relation to the types of puns used in Wasîlat al-Najât. In order not to unnecessarily increase the length of the article, only the most qualified examples will be displayed, with the location of couplets for the remaining examples of type being shown in the footnotes.Accordingly, a total of 288 puns were identified in Wasîlat al-Najât. Among the types of puns mentioned in accordance with the classical classification, no examples of darbî [striking] puns were found. 230 incomplete puns and 58 completed puns have been identified. Among the incomplete puns, 12 examples of mükerrer [reiterated] puns, four examples of muharref [corrupted] puns, and six examples of hattî [old era] puns were found. Among the nâkıs [incomplete] puns, 44 examples of mutarraf [partial] puns, 12 examples of müşevveş [disorganized] puns, and 19 examples of müzeyyel [add-on] puns have been identified. The most common type of pun in Wasîlat al-Najât is the mütekarib [recurring] pun with 31 examples of the muzâri [similar] pun as a subtype, as well as 102 examples of lâhık [linked] puns. The incomplete puns are seen to not directly shape the meaning but to contribute to greater harmony. The 58 examples of nâkıs [incomplete] puns in the text are also seen to affect the meaning. The study also found 16 examples of mürekkeb [mixed] puns, another type of nâkıs [incomplete] pun, which can be further broken down in terms of subsubtypes into four examples of müteşâbih [allegorical] puns, seven examples of mefrûk [separated] puns, and five examples of merfû [elevated] puns. In accordance with grammatical classifications, 10 examples of mümâsil [exemplified] puns and 32 examples of müstevfâ [perfect] puns have been identified. The types of puns mentioned in previous sources regarding Wasîlat al-Najât must have been complete puns because the precise puns are immediately noticeable in the text. Still, the examples complete puns also make a great contribution to the meanings of the couplets. Upon having revealed all the puns expressed within Wasîlat al-Najât, the study concludes this text to be rich and qualified in terms of puns.Comparing the use of puns in Wasîlat al-Najât with other mawlid texts in Turkish literature would also be appropriate for revealing the influence Wasîlat al-Najât has had due to its important place in Turkish culture and life. In this way, future studies can reveal the area of influence area Süleyman Çelebi’s work has had using more concrete data.&nbsp;

Pun Usage in Wasīlat al-Najāt

Süleyman

Lütfullah

The Mevlit/Mawlid, the traditional celebration of the birth of the Prophet and an occasion to demonstrate love of the prophet, is an inseparable part of religious life in the Turkish-Islamic geography. This tradition is a reflection of faith within the framework of social, cultural and religious values in the Islamic world. The foundation of the mawlid tradition consists of reading verse and prose literary texts about the birth of Muhammad, his family, prophetic qualities, miracles, morality that serves as a paradigm for believers, and various periods of his life and his death. The work “Vesîletü’n-Necât”, more widely known by the public as “Mevlit,” by Süleyman Çelebi is one of the most admired, loved and read works of the mawlid tradition. Although there are many works in the genre of mawlid, “Vesîletü’n-Necât” is the most famous and the first work of its kind written in Turkish. Süleyman Çelebi’s plain and effective language helped make it one of the main works of the mawlid tradition. Süleyman Çelebi was born in Bursa in 1409. Sources report that he was the imam of the Dîvân-ı Hümâyun for a while before being appointed as the Imam of the Bursa Grand Mosque. It is generally accepted that the poet, who is claimed to be Mevlevi or Halveti, died in 1422, as indicated by the composition of “râhat-ı ervâh.” In Turkish society, apart from the birthday/night of the Prophet and religious ceremonies, “Mevlit” is also read at other ceremonies such as births, deaths, marriages and circumcisions and sending off soldiers. In terms of these practices, the ceremonies of mawlid have become not only a religious practice, but also a socio-cultural value and have an important role in value transfer. Given the guiding and integrating effect of values in social life, it can be said that mevlit is a tradition that unites Turkish society and incorporates national and spiritual root values. This research aims to determine the opinions of university students, who constitute the young generation of intellectuals in society, about the tradition of mawlid, and in particular, Süleyman Çelebi and Vesîletü’n-Necât. The research was designed as a phenomenological research. The study group consists of students at different faculties and grade levels studying at various universities in Istanbul. In the study, easily accessible case sampling was preferred in selecting the study group. In order to collect data for the research, an open-ended question form was prepared for the students by the researchers. The open-ended question form consists of two parts. The first part contains questions regarding personal demographic information, while in the second part, there are questions divided into “Self-Status Assessment” and “Süleyman Çelebi, Vesîletü’n-Necât and Mawlid as a Value.” The obtained data was subjected to content analysis with an inductive approach. The research paper aimed to determine the knowledge of the students about Süleyman Çelebi, Vesîletü’n-Necât and the tradition of mawlid, and whether they had attended any mawlid ceremony before. When the data obtained was examined, it&nbsp;was concluded that a little more than half of the students had knowledge about Süleyman Çelebi and his work Vesîletü’n-Necât. Thus, the majority of the students have participated in a mawlid ceremony before. The fact that the majority of the students have been in some form of mawlid ceremonies at some point in their lives is an important indicator of the fact that the mawlid tradition is an important value in Turkish-Islamic society. As a second value in the research, it aimed to determine students’ views on Süleyman Çelebi, his work Vesîletü’n-Necât and mawlid ceremonies. When the data obtained were examined, it was seen that the words used by the students in their opinions about these names were “Hz. Muhammed, divan poet, mawlid, scholar, great mosque, Turkish, prophet, special, emotional, famous, poetry, Celebi, esotericism (Bâtinîlik), religious poet, imam, death, birth, circumcision, love, literature, Bursa, morality, eulogy, “ The expressions that the students emphasized the most were about the Prophet Muhammad and the poet’s love for him. Secondly, various questions were asked to the students in the context of direct values. The study aimed to determine what values ​​the mawlid tradition reflects and its place in the context of socio-cultural values. After evaluating the data, it was determined that the students mostly used the concepts of “love, morality, unity and solidarity, truthfulness, trust, goodness, beauty, mysticism.” It can be seen that they draw attention to the existence of Islamic and human values.&nbsp;

Suleyman Celebı, Vesıletu'n-Necât and The Mawlid Tradıtıon as a National and Cultural Value: a Case Study on Turkish University  Students

Songül

Vesîletü’n-Necât was written by Süleyman Çelebi (d. 1422) in Bursa in 1409. It is the second mawlid written in Turkish literature. The work influenced almost all the mawlids written after it. It was translated into different languages. It turned into a ritual in which large masses of people gathered to listen and the work was called "Mevlid" or "Mevlud". Thus, a tradition of Mevlit was formed and this tradition spread throughout the Ottoman geography. About 100 years after Vesîletü'n-Necât There is another mawlid called Mevlidü’r-Resûl written by Lâmiî who is another Bursa poet. Lâmiî Çelebi is one of the most prolific authors of Turkish literature with his numerous copyrighted and translated works in verse and prose. He spent most of his life in Bursa, where the Mevlit tradition is very lively.This article’s subject is comparing these two mawlid works written by two important poets in the same city, about a century apart. How much was Lamiî Çelebi's Mevlidü’r-Resûl influenced by Vesîletü'n-Necât, which was written about 100 years before it and left its mark on the type of mawlid? How original is Mevlidü’r-Resûl? This article will seek answers to these questions. Considering the fictional structure of Mevlidü’r-Resûl, it will be mentioned in which aspects it is similar and different from Vesîletü'n-Necât. Thus, the literary value of Mevlidü’r-Resûl and its relationship with Vesîletü'n-Necât will be tried to be revealed.Both the Vesîletü’n-Necât and the Mevlidü’r-Resûl were written in masnavi verse. The prosody used by Süleyman Çelebi in the work is fâ’ilâtün fâ’ilâtün fâ’ilün. On the other hand, Lâmiî Çelebi used mefâ’îlün mefâ’îlün fa’ûlün. The prosody preferred by Süleyman Çelebi was mostly used in works written for the public. The prosody is suitable for simple Turkish expressions and more suitable for writing in simple language. However, the prosody chosen by Lâmiî is mostly encountered in Classical texts, in works written for literary purposes, a little further from the language spoken by the people. This difference in prosody preferences shows which readership both authors are targeting.Both the Vesîletü’n-Necât and the Mevlidü’r-Resûl were written in masnavi verse. The prosody used by Süleyman Çelebi in the work is fâ’ilâtün fâ’ilâtün fâ’ilün. On the other hand, Lâmiî Çelebi used mefâ’îlün mefâ’îlün fa’ûlün. The prosody preferred by Süleyman Çelebi was mostly used in works written for the public. The prosody is suitable for simple Turkish expressions and more suitable for writing in simple language. However, the prosody chosen by Lâmiî is mostly encountered in Classical texts, in works written for literary purposes, a little further from the language spoken by the people. This difference in prosody preferences shows which readership both authors are targeting.Every part of Vesîletü'n-Necât is constructed with means couplets that invite the reader/ listener to say salat u selam. Means couplets mean that the chapter is over and a new chapter will be started. This method was used in many mawlids written after it. Lamii also fictionalized the parts of Mevlidü’r-Resûl with means couplets. But he expressed the couplets in his way by making some savings. In this respect, it can be said that one of the most beautiful nazires written on the means couplets of Süleyman Çelebi is the means couplets in Mevlidü’r-Resûl.Expressions such as “dinle”, “işit”, “dinlenüz”, “Ger dilersiz bulasız” in Vesîletü'n-Necât suggest that the work was written to be read in an assembly. Both the simplicity of the language used by the narrator and the expression technique and the mawlid ceremonies organized for centuries proves this. Also, it reveals that the work is a text written for the public. Mevlidü’rResûl, on the other hand, is a masnavi that was written in a classical style and constructed with a unique expression according to its time. Mevlidü’r-Resûl did not score with a masterpiece like Vesîletü'n-Necât because Mevlidü’r-Resûl’s language is more incomprehensible.&nbsp;

A Comparison of Suleyman Celebi’s Vesiletu’n-Necat and Lamıı’s Celebi’s Mevlidu’r-Resul

Seydi

Mawlid means birth, birth time, and place of birth and is used as a term in Turkish literature to express the works that describe important periods of the Prophet Muhammad’s life, such as his birth, prophecy, miracles, and death. Before mawlid works were printed, written texts had occurred that are reminiscent of this genre. Among these, Ahmed Fâkih’s (d. 650/1252) Çarh-nâme and the relevant section in Mustafa Darir’s Tercüme-i Siyer-i Nebî [Translation of the Prophet of Prophets] come to the fore. The mawlid written by Taj al-Din Ibrahim ibn Khidr Ahmadi (d. 815/1412) in 810/1407 has been identified as the first Turkish mawlid text; it is not a standalone work but a 625-couplet section in his Iskandarnamah [Book of Alexander].A founding and pioneering work regarding the formation of the mawlid genre is Wasilat al-Najat, which was compiled two years after Ahmadi’s mawlid and written by Süleyman Çelebi (d. 825/1422) in 812/1409. Wasilat al-Najat has an important place in the formation and evolution of the mawlid genre in Turkish literature and its transformation into a solid tradition that has survived to the present day. Hundreds of mawlids have been written since this work, and although these show some differences in terms of narration, form, language, and style, all of these show they had been influenced by Wasilat al-Najat.These works that had been influenced by Wasilat al-Najat were sometimes seen as significant imitations, sometimes as nazirah [a poem modeled after another], and other times as similar in motif and content. This study will not elaborate too much regarding the effect of Wasilat al-Najat on its own genre, and having briefly addressed this topic, it will now investigate the influence of Wasilat al-Najat regarding other genres, examining the rate of this effect, and the forms of its reflections. Thus, the study will attempt to reveal Süleyman Çelebi’s influence on other non-mawlid poets.The content of the research is limited to the genre known as manasik al-hajj [rites and ceremonies of the hajj], which explains the methods and principles of the hajj, its requirements and prohibitions, sunnah, and mustahab [recommended things]. The study will discuss in this context the mathnawi [poem written in couplets] titled Hac Davetiyesi [The Hajj Invitation] written by an Indî pseudonymous poet in the 19th century. The work, of which only one copy is currently known, is registered at the Çorum Hasanpaşa Manuscripts Library under 19 Hk 1421.While many studies have been done on the effect of Wasilat al-Najat, not many studies have examined its effectiveness on other genres. This study investigates the effect of Wasilat al-Najat on printed works in different genres. One of the two works in which this effect is seen is Niyazü’l-Müznibin by Ali Zelilî of Manavgat, which has religious content, and the other is mathnawi titled Hac Davetiyesi. Due to this second work being the main subject here, the study will discuss Hac Davetiyesi in detail and only give Niyazü’l-Müznibin a partial mention.As can be understood from the name Hac Davetiyesi, the influence is not in terms of content, but in terms of form, meter, wording, and expression. The first reference to Wasilat al-Najat in the Hac Davetiyesi is found in the reason for printing it. Another effect from Wasilat al-Najat is seen in the parts where the driving couplets and the introduction to each of the mawlid’s sections are repeated at regular intervals. Since the word Labbayk [Here I am time and again] is frequently repeated in the prayers made during the hajj and the takbir is one of the principles of this worship, these expressions stand out in all the couplets that have been determined as the driving couplets. The poet drew attention to these phrases in one half of some couplets and evoked how it had been used in Wasilat al-Najat with the other half. However, in other couplets where the terms related to pilgrimage are taken into consideration, the meter is not taken into account.In Hac Davetiyesi, Wasilat al-Najat is mentioned twice by name, and the aruz [Ottoman poetic rules for prosody] pattern is said to have been preferred in the work because it was also used in Wasilat al-Najat. The remarkable point in Hac Davetiyesi is that the wish to be read is expressed by associating it with Wasilat al-Najat. That Hac Davetiyesi is mentioned alongside Wasilat al-Najat instead of any other book is no coincidence but a conscious choice, and this preference is thought to lie in the fact that Wasilat al-Najat has become a classic by being read in every century. By imitating an unforgettable work, the anonymous poet wished that his own work would be counted among the unforgettable ones. In fact, Indî’s imitation of Süleyman Çelebi lies in the desire to capture immortality. Undoubtedly, the influence of Wasilat al-Najat is not limited to the non-mawlid works identified in this study. New studies and research to be done are expected to be able to access newfound works that were printed in other non-mawlid genres.&nbsp;

The Effect of Wasilat al-Najat on Other Non-Mawlid Works: The  Case of Hac Davetiyesi by Indî

Demet

While confusion is found regarding genres even within a tradition, giving a definite answer to the question of whether Necip Fazıl Kısakürek’s Esselâm can be read as a contemporary mawlid is nearly impossible. Moreover, attempting this does nothing but limit a modern text to a reductionist view.&nbsp;The poet Necip Fazıl insisted that his work was not a mawlid in his Introduction to Esselâm, but in this same Introduction he creates the impression that he is presenting a modern mawlid text in every identification he makes about Esselâm. Kısakürek’s confusion and intentions he hoped to achieve through his text are the main starting points of this article. For this reason, the study makes a comparative reading between Kısakürek’s Esselâm and Süleyman Çelebi’s Wasilat al-Najat as a masterpiece of mawlid literature, and researches the extent to which Necip Fazıl had achieved his intentions regarding his work. A similarity exists between the two works in terms of having found their artistic value, even if not in terms of plot.In Wasilat al-Najat, light spreads throughout the text as the dominant image and poetic expression. That unique aspect of the work did not escape Necip Fazıl’s attention, who also frequently used light imagery to describe the Prophet Muhammad in Esselâm. The presence of the light of Muhammed based on the belief that God created the Prophet Muhammad from His own light in both texts cannot be considered independent of the metaphor of light. Strong descriptive constituents draw attention to the sections in Wasilat al-Najat and Esselâm regarding the prophet’s birth, with both of them having Aminah, the prophet’s mother, undertake the role of narrator in certain places. While focusing on the birth of the Prophet, Süleyman Çelebi preferred to embellish situations with mythological elements rather than historical. The miracles of the Prophet are the most remarkable ancillary items in this respect. The Prophet’s miracles in Esselâm are also important in terms of showing the portrait Necip Fazıl drew of the Prophet. Even though Kısakürek in Esselâm focused on the Prophet’s human aspects, such as his wars and migration, Kısakürek’s poetic skill manifests itself in his admiration for the Prophet’s miracles. The Miraj miracle is the richest part in terms of mythology due to the difficulty of explaining it mentally. The poem “Miraç” [Miraj] in Esselâm presents the Miraj event according to the order in which it occurred in Süleyman Çelebi’s Wasilat al-Najat. The Buraq [the lightning and name of the steed that conveyed Muhammed] is featured in short versions of mawlid texts and takes place in both the works studied here only because this steed carried the Prophet on his journey to heaven. Apart from that, Buraq is not prioritized as a supporting figure. The sections in which the Hijra and the death of the Prophet are narrated draw attention in both works in terms of highlighting biographical elements over mythological elements. While the Hijra takes place in Wasilat al-Najat as a phase of the Prophet’s life, it is depicted in Esselâm alongside its reasons. While Wasilat al-Najat describes the Prophet’s Death, in detail, including his illness, conversation with Azrael, funeral prayer, and role as an intercessor on the Day of Judgment, Esselâm also discusses the Prophet’s death in detail, though within the framework of the Prophet’s illness, Farewell Sermon, day of his death, and state of the world after his death.Esselâm carries traces of Wasilat al-Najat in terms of its artistic value, even if not in terms of plot. Esselâm also has poems with biographical elements. However, these poems are rather unsuccessful in terms of image usage, atmosphere description, and poetic expression compared to those written about the Prophet’s birth, Miraj, and other miracles; in this respect, these less successful biographical poems give the impression that Kısakürek had included them in Esselâm in order to complete the chapters to 63 which is the number of years Hz.Muhammad lived.The poems that are the subject of this study are remarkable in that they have been presented in an atmosphere suitable to the luminous world that Süleyman Çelebi had created in his mawlid Wasilat al-Najat. In addition, the image of the Prophet as created by Necip Fazıl in Esselâm is very close to the image of the Prophet adorned with miracles and extraordinary events as created by Süleyman Çelebi in Wasilat al-Najat. As such, Esselâm’s main memorable aspect, just like in Wasilat al-Najat, can be said to be the narrative pieces that Necip Fazıl embellished with mythological elements, more so than the historical documents.&nbsp;

Can Necip Fazıl Kısakürek’s Esselam be Read as a Contemporary  Example of a Mawlid?

Abdullah

Ensar

Mehmed Rashid Efendi was born in 1278/1861-1862 in the Istanbul neighborhood of Aksaray. His father was the sheikh of the Sertarikzade Sufi lodge, a Cerrahiye [Jarrahiyyah] branch of the Halveti [Khalwati] order. Rashid Efendi started his education at the Mihrişah Valide Sultan Mektebi [Mihrişah Valide Sultan Kuttab]. After that he became a hafiz in 1293/1876- 1877, he received an ijazat [certificate of authority on scripture] from the calligrapher Emin el-Eyyübi for the Naskh and Thuluth scripts. While studying different topics, Rashid Efendi succeeded his father as imam of the Gureba Hüseyin Ağa Mosque. Upon his father’s death in 1315/1897, he was appointed sheik of the Sertarikzâde Sufi Lodge. After 14 years as sheikh in the same lodge, he was removed from his position. Apart from being an imam and sheikh, Mehmed Rashid Efendi also occupied several positions in the Ottoman bureaucracy. After the closing of dervish lodges in 1925, Rashid Efendi became the second imam of the Eyüp Sultan Mosque, a position he occupied until his death on January 18, 1945. He was buried along the ridges of the Pierre Loti Hill in Istanbul’s Eyüp District.When one looks through his biography, Rashid Efendi appears to have been an ordinary person who’d devoted his life to the Quranic sciences and to guiding people to the path of wisdom at his lodge. What is unusual about him, however, is that he was also interested in the science of languages. He attended the first Turkish Language Congress held on September 26, 1932 as a delegate and the only imam among the delegates. His works on the Turkish language did not start with the Alphabet Reform, as prior to this he had already been compiling dictionaries. With the rise of nationalism and the Sun Language Theory, Rashid Efendi found a way to show his passion for the Turkish language. He compiled a mawlid that he claimed to be purely Turkish. He based this new text on Süleyman Çelebi’s mawlid Wasilat al-Najat, one of the earliest and most influential works of the mawlid genre in Turkish. Rashid Efendi’s mawlid was actually an intralingual translation of a different new version of Süleyman Çelebi’s mawlid with a few additions. His text followed the arrangement of Süleyman Çelebi’s mawlid, starting with tawhid [unity of God], the creation of Adam, the transfer of the light of Muhammed from prophet to prophet, the ascension of Muhammad, and his munajat [supplication for the repentance of sins]. Rashid Efendi supplanted the Arabic and Persian words in Süleyman Çelebi’s mawlid with Turkish ones. For example, he changed the word shaitan to dev, which he thought must be of Turkish origin. He also derived the word zık from Chagatai to replace the word ruh [soul]. As an aggressive defender of the Turkish language, Rashid Efendi even made no mention of words such as Allah or peygamber [prophet], but instead used words from Old Anatolian Turkish such as Çalap [God] and savcu. He further conducted his work so as to find a way to not mention prophets’ names, as they were not originally Turkish, even for the name of the prophet Muhammad, with the only exception to this being the name of the mother of the Prophet Muhammed. Rashid Efendi mentioned her name as Emine because it is a Turkified version of the Arabic name Aminah. For the word ashab [followers], Rashid Efendi used yandaş, and in place of the word ummah, Rashid Efendi used ulus [nation/people], thus creating a purely Turkish text. On top of the changes he made to the language of the mawlid,&nbsp;Rashid Efendi also made a few additions. For example, he added two couplets describing the story of the expulsion of Iblis from heaven. In addition, Süleyman Çelebi had compiled his book in the aruz poetic meter, while Rashid Efendi wrote his mawlid using a syllabic meter. This article probes Rashid Efendi’s motivations for compiling a mawlid purely in Turkish. With the revolutions of the Republican era, Rashid Efendi’s world had changed in a way he could never have predicted. By compiling a new mawlid, which were the most popular religious texts, this article argues that Rashid Efendi may have been trying to create a link between tradition and his world that had been remade. Regarding his works on language studies, one might also assume that with the changes in the language, he had also found a way to present his works to a larger audience. Rashid Efendi may have believed that everyone would talk purely in Turkish after the Alphabet Reform and as such tailored his works to this new audience.&nbsp;

While Everything Was Changing: Sheik Mehmed Rashid Efendi and  His Purely Turkish Mawlid

Nursel

Fatimah al-Zahra is the daughter of Muhammad and the leader of the women of paradise in the history of Islam; she is also considered an important personality in terms of folklore who led to the formation of the Ana Fatma [Mother Fatimah] cult and the matron of midwifery. Mawlid is an Arabic word meaning “birth of a child.” The birth of the youngest child of the Islamic prophet Muhammad in combination with the apple motif has been seen as a blessing from God. This study aims to consider and evaluate Fatimah’s extraordinary conception as an example of a type of mawlid.The study will examine and translate the text “Mawlid-i Fatimatü’z-Zehra”, date of writing and author are unknown. The manuscript is registered at Süleymaniye Library under Manuscript Donations Number 05846 and consists of four-and-a-half sheets containing 95 couplets. This text bears a great deal of similarities to the mawlid text “Viladetnâme-i Hazret-i Fatima” written by Süleyman Memduh in the 19th century. Differences also occur between the texts in question in terms of language and expression, structure, context and execution. The manuscript from Süleyman Memduh consists of only 83 couplets and was studied by Hakan Yekbaş. Yekbaş identified four mawlid texts written for Fatima in his book; however, the text that constitutes the subject of the current study is not among these four mawlid texts. One would not be wrong to think that many more mawlid texts exist among the manuscripts containing religious stories that are small in volume in terms of the number of leaves.The introductory part of the text respectively gives praise to the Ahl al-Bayt and the four caliphs as well as an Arabic praise written for Fatimah. The second part of the text explains the prenatal events of Fatima, explaining how Khadijah had become pregnant through an apple brought from heaven, as well as some of the accompanying miracles that were seen. After listing Fatima’s family and characteristics, the third section discusses her birth. After a passage involving a slight digression, the fourth section concludes with Arabic praise about Fatima, the prayer for the Ahl al-Bayt and the twelve imams, as well as blessings of peace for Fatima.Collecting religious texts that have been written for the purpose of being read and told among the public under four headings (i.e., language and expression/structure, content, context/ execution, and functions of the text) and evaluating them are important in terms of folk literature.Fatima has the characteristics of a strong heroine and attracts attention for many reasons such as being the child of distinguished parents, enduring pain, being a useful person to society,&nbsp;and being an exemplary model for women through her roles of mother and wife. However, her life did not exactly coincide with the life of a hero in an epic. Her hagiographic life has changed her mission. Two of the most important functions of Fatima that are known to society are her healing and sustaining. Fatima is women’s greatest assistant during childbirth and the addressee of midwifery procedures. The cult of Ana Fatma is an extension of the cult of Umay Ana in pre-Islamic Turkish beliefs.The narrative element has been instrumental with regard to her extraordinary birth but has also been symbolized by different fruits in the texts; this narrative element formed into oral folk narratives and with time was put down in writing. Although the apple symbol is associated with her birth in the text, it did not give Fatimah any extraordinary qualities. This is because Fatima was already an important person as the daughter of the Islamic prophet; still, because of Fatima, the apple has been legitimized as a sacred motif. In Europe, Jesus is believed to have collected himself the sins of the world symbolically after his birth, thus enabling humankind to return to its state of innocence before their fall into the world. Similarly, the use of the apple symbol in the birth of Fatima purges the Adam and Eve narrative, beginning anew sacred time and ensuring the cosmos. Thanks to this text, the apple in the story that had caused the expulsion of Adam and Eve from heaven no longer remained a forbidden fruit.Mawlids about Fatimah being recited in a special way in a community in Medina, as well as the expression of “Let it be by the hand of our Mother Fatma, not mine” used by midwives during births in Anatolia show the diversity and prevalence of practices among people. As a result, the contexts of spelling and pronunciation are also necessary beyond seeing the written mawlid texts as just text. In line with this, the Fatima text addressed here evokes a ritual whose myth has disappeared.&nbsp;

The Motif of Conceiving by Eating an Apple in “Mawlid-i Fatima”

Fatih

A Comparative Approach on the Effect of Mawlid Tradition on Social Identity Formation: The Case of Turkey and Dagestan

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@JOURNAL_BOX_EARLYVIEW

Engin

Emre

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

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

Halim

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

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

Hüsniye

Lecturer

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

The Stories in Hanımlara Mahsus Gazete and the İdea of Contemplation

Yong

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

The Proverb of tama tama köl bolur in modern Turkic Languages

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Mehmet Fatih

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

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

Mehmet

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

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

Büşra

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

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

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

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

Index Islamicus

MLA International Bibliography

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

Co Editor in Chief

Field Editor

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Editorial Assistant

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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

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

Policies

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

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

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

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

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

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

Ethics

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

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

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

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

Peer Review

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

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

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

Author Guidelines

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

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

VOLUME 62, ISSUE 1, 2022

Analyzing Kendime Dair (About Myself), The Autobiography of Ibnulemin Mahmut Kemal Inal

Was Osmanzâde Tâ’ib Re’îs-i Şâ’irân?

Turkish Translation of Ibnu'l Hâjib's Al-Kâfiye (Manzûm Kâfiye Mefhûmu)

Health and Economic Aspects of “Soup”: an Ancient Turkish Food and Its Treatment in Classical Poetry

Active Perpetrators Passive Victims: Madness as a Feminine Disease in Beş Sevim Apartmanı

Children’s Literature in Constitutional Period and Khalil Hamid’s Works for Children

Image and Responsiveness: Melih Cevdet Anday’s Poetry

Some Findings of the Structural Features of the Quotations in Kissa-i Musa at the Syntactic and Text-linguistic Levels

Who is This Shökli? -Proposals for a Novel Reading of Dede Korkut-

Reflections of Servet-i Funun Literature in the Press: the Edebiyat-i Cedide Library

Our Test with Westernization or the Place of the European Image in Our Modern Poetry

Uighur Altun Yaruk (Introduction, Text and Index)

On the Study Titled Eski Uygurca Abitaki Metinlerinin Söz Varlığı

Index of Short Stories in Literary Journals Published Between 1938-1950 in Turkey

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