“Cumhuriyetin 100. Yılı”  Özel Sayısı

Salih

Assist. Prof.

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;

Tuva Türkçesinde At Donları

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;

Sıra Dışı Üç Rüya Tabirnâmesi

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;

Karşılaştırmalı Edebiyat Bağlamında Halide Edip  Adıvar ve George Bernard Shaw’un Eserlerinde Kadın  Karakterlerin Görünümleri

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;

Eski Uygurcada Budizm’e Ait Bir Ritüel: Bakçan Olur-

İmren

Res. Assist.

Geçmişin Müzesini Yapmak: Huzur ve Masumiyet Müzesi’ni Müze  ve Şehir Kavramları Etrafında Birlikte Okumak

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;

Jungian Edebiyat Eleştirisi Bağlamında Cemal Süreya Şiirinde Kendini Gerçekleştirme Biçimleri

18. Yüzyılda Yazılmış Bir Mensur Hikâye: 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;

Görürce ve Tutarca Kelimeleri Üzerine

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;

Eski Uygurca, Partça ve Orta Farsça Bir Yazmanın  Rekonstrüksiyon Çalışması

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;

Türkçe ve Rusçada Benzer ve Ayrılan Yönleriyle Örtmeceler

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;

Peri Masalı, Eşitsizlikler ve “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;

Şairin Kadrajından Zant: Yitik Bir Kelimenin Peşinde

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;

İstiğrak, Saṃsāra ve Tövbe: Türlü Meselelere İlişkin  Eski Uygurca Metin Parçaları

Barış

Yabancı Türkologların Gözünden Türk Edebiyatı:  Necatigil’in Mektuplaşmaları

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;

Vesîletü’n-Necât’ta Cinaslı Kullanımlar

Süleyman

Prof.

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;

Millî ve Kültürel Bir Değer Olarak Süleyman Çelebi, Vesîletü’n-Necât ve Mevlit Geleneği: Üniversite Öğrencileri Üzerine Bir Araştırma

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;

Süleyman Çelebi’nin Vesîletü’n-Necât’ı ile Lâmiî Çelebi’nin Mevlidü’r-Resûl’ünün Mukayesesi

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;

Vesîletü’n-Necât’ın Mevlid Dışındaki Eserlere Etkisi: İndî’nin Hac Davetiyesi Örneği

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;

Necip Fazıl’ın Esselâm’ı Çağdaş Bir Mevlit Örneği  Olarak Okunabilir mi?

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;

Her Şey Değişirken: Şeyh Mehmed Raşid Efendi ve “Sırf  Türkçe” Mevlidi

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;

Mevlid-i Fâtıma’da Elma Yiyerek Hamile Kalma Motifi

Fatih

Mevlid Geleneğinin Toplumsal Kimlik Oluşumundaki  Etkisi Üzerine Karşılaştırmalı Bir Yaklaşım: Türkiye ve Dağıstan Örneği

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Engin

Emre

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

Kutadgu Bilig’de Kılık ve Kılınç Sözlerinin Kullanım Özellikleri Üzerine

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.

Milletleşme Dönemi Şairinin İcadı: Ahmet Hamdi Tanpınar’ın Yahya Kemal Monografisi

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.

Hanımlara Mahsus Gazete’deki Hikâyeler ve Temaşa Fikri

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)

Modern Türk Dillerinde tama tama köl bolur Atasözü

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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.

Divan Şairlerinin Çevreye Dair Görüşleri (15. Yüzyıl)

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.

Yahya Kemal’in Yakın Dönem Türk Siyaset ve Edebiyatına Dair Gün Yüzüne Çıkmamış Bazı Hatıra ve Notları

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.

Modern Bireyin Yalnızlaşması ve Yabancılaşması Bağlamında Apartman Yaşamı ve Cahit Zarifoğlu’nun “Eksik Yol” Başlıklı Öyküsü

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Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, açık erişimli, hakemli, yılda iki kere Haziran ve Aralık aylarında yayınlanan, uluslararası, bilimsel bir dergidir. İstanbul Üniversitesi Edebiyat Fakültesi Türk Dili ve Edebiyatı Bölümü’nün resmi yayınıdır. 1946 yılından beri yayınlanmaktadır. Dergiye yayınlanması için gönderilen bilimsel makaleler Türkiye Türkçesi ya da İngilizce olmalıdır.

Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, Türk dili, edebiyatı ve kültürü konusunda alana katkıda bulunacak araştırma makaleleri yayınlar. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Ali Şükrü

Index Islamicus

MLA International Bibliography

Emerging Sources Citation Index (ESCI)

EBSCO

ERIH PLUS

TR Dizin

DOAJ

SOBIAD

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Türk Dili ve Edebiyatı Dergisi

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Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, açık erişimli, hakemli, yılda iki kere Haziran ve Aralık aylarında yayınlanan, uluslararası, bilimsel bir dergidir. İstanbul Üniversitesi Edebiyat Fakültesi Türk Dili ve Edebiyatı Bölümü’nün resmî yayınıdır. 1946 yılından beri yayınlanmaktadır. Dergiye yayınlanması için gönderilen bilimsel makaleler Türkiye Türkçesi ya da İngilizce olmalıdır.Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, Türk dili, edebiyatı ve kültürü konusunda alana katkıda bulunacak araştırma makaleleri yayınlar. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

Amaç ve Kapsam

TÜBİTAK-ULAKBİM TR DizinMLA International Bibliography Index Islamicus*SOBİADDOAJERIH PLUSEBSCO Central &amp; Eastern European Academic Source Emerging Sources Citation Index (ESCI) *Index Islamicus sadece İngilizce makaleleri taramaktadır.

Dizinler

Dergi yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <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>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için: <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> Gönderilen makaleler derginin amaç ve kapsamına uygun olmalıdır. Orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmayan, her bir yazar tarafından içeriği ve gönderimi onaylanmış yazılar değerlendirmeye kabul edilir. Makale yayınlanmak üzere Dergiye gönderildikten sonra yazarlardan hiçbirinin ismi, tüm yazarların yazılı izni olmadan yazar listesinden silinemez ve yeni bir isim yazar olarak eklenemez ve yazar sırası değiştirilemez.İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir. Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.İntihal Ön kontrolden geçirilen makaleler, iThenticate yazılımı kullanılarak intihal için taranır. İntihal/kendi kendine intihal tespit edilirse yazarlar bilgilendirilir. Editörler, gerekli olması halinde makaleyi değerlendirme ya da üretim sürecinin çeşitli aşamalarında intihal kontrolüne tabi tutabilirler. Yüksek benzerlik oranları, bir makalenin kabul edilmeden önce ve hatta kabul edildikten sonra reddedilmesine neden olabilir. Makalenin türüne bağlı olarak, bunun oranın %15 veya %20'den az olması beklenir.Çift Kör Hakemlikİntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Editör, makalelerin adil bir şekilde çift taraflı kör hakemlikten geçmesini sağlar ve makale biçimsel esaslara uygun ise, gelen yazıyı yurtiçinden ve /veya yurtdışından en az iki hakemin değerlendirmesine sunar, hakemler gerek gördüğü takdirde yazıda istenen değişiklikler yazarlar tarafından yapıldıktan sonra yayınlanmasına onay verir.

Politikalar

Dergi açık erişimlidir ve derginin tüm içeriği okura ya da okurun dahil olduğu kuruma ücretsiz olarak sunulur. Okurlar, ticari amaç haricinde, yayıncı ya da yazardan izin almadan dergi makalelerinin tam metnini okuyabilir, indirebilir, kopyalayabilir, arayabilir ve link sağlayabilir. Bu <a href="https://www.budapestopenaccessinitiative.org/translations/turkish-translation" target="_blank">BOAI</a> açık erişim tanımıyla uyumludur. Derginin açık erişimli makaleleri Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır.

Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz.

Yazarlar dergide yayınlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları  Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır. CC BY-NC 4.0 lisansı, eserin ticari kullanım dışında her boyut ve formatta paylaşılmasına, kopyalanmasına, çoğaltılmasına ve orijinal esere uygun şekilde atıfta bulunmak kaydıyla yeniden düzenleme, dönüştürme ve eserin üzerine inşa etme dâhil adapte edilmesine izin verir.

Editörler, yayınlanan makalede, bulguları, yorumları ve sonuçları etkilemeyen küçük hatalar tespit edilirse düzeltme yayınlamayı düşünebilirler. Editörler, bulguları ve sonuçları geçersiz kılan büyük hatalar / ihlaller söz konusu olduğunda, makaleyi geri çekmeyi düşünmelidir. Yazarlar tarafından araştırma veya yayını kötüye kullanmaya yönelik olasılık söz konusu ise; bulguların güvenilir olmadığına ve yazarların kurumlarının olayı soruşturmadığına dair kanıtlar var veya olası soruşturma haksız veya sonuçsuz görünüyor ise, editörler endişe ifadesi yayınlamayı düşünmelidir. Düzeltme, geri çekme veya endişe ifadesi ile ilgili olarak <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> ve <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> yönergeleri dikkate alınır.

Dergide yayınlanan tüm yazıların korunmasını ve kalıcı olarak erişilebilir olmasını sağlamak için makaleler, ulusal bir arşiv sitesi olarak hizmet veren ve aynı zamanda LOCKSS'in içeriği toplamasına, korumasına ve sunmasına izin veren Dergipark'ta saklanmaktadır.Ek olarak, yazarların kendilerinin makalelerinin son PDF sürümünü Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>) standartlarına uygun açık elektronik arşivlerde arşivlemeleri önerilir. Yazarlar, yayınladıkları arşiv versiyonundan, İ.Ü. Yayınevinin dergi web sitesinin URL'sine bağlantı sağlamalıdır.

<div style="text-align: left;">Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <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>, &#65279;<a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>&#65279; ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için adres: <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></div>Gönderilen tüm makaleler orijinal, yayınlanmamış ve başka bir dergide herhangi bir değerlendirme sürecinde olmamalıdır. Her bir makale editörlerden biri ve en az iki hakem tarafından çift kör değerlendirmeden geçirilir. İntihal, duplikasyon, sahte yazarlık/inkâr edilen yazarlık, araştırma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir.Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dâhildir.

Etik

Dergi araştırma etiğinde en yüksek standartları gözetir ve aşağıda tanımlanan uluslararası araştırma etiği ilkelerini benimser. Makalelerin etik kurallara uygunluğu yazarların sorumluluğundadır.<ul><li>Araştırmanın tasarlanması, tasarımın gözden geçirilmesi ve araştırmanın yürütülmesinde, bütünlük, kalite ve şeffaflık ilkeleri sağlanmalıdır.</li><li>Araştırma ekibi ve katılımcılar, araştırmanın amacı, yöntemleri ve öngörülen olası kullanımları; araştırmaya katılımın gerektirdikleri ve varsa riskleri hakkında tam olarak bilgilendirilmelidir.</li><li>Araştırma katılımcılarının sağladığı bilgilerin gizliliği ve yanıt verenlerin gizliliği sağlanmalıdır. Araştırma katılımcıların özerkliğini ve saygınlığını koruyacak şekilde tasarlanmalıdır.</li><li>Araştırma katılımcıları gönüllü olarak araştırmada yer almalı, herhangi bir zorlama altında olmamalıdırlar.</li><li>Katılımcıların zarar görmesinden kaçınılmalıdır. Araştırma, katılımcıları riske sokmayacak şekilde planlanmalıdır.</li><li>Araştırma bağımsızlığıyla ilgili açık ve net olunmalı; çıkar çatışması varsa belirtilmelidir.</li><li>İnsan denekler ile yapılan deneysel çalışmalarda, araştırmaya katılmaya karar veren katılımcıların yazılı bilgilendirilmiş onayı alınmalıdır. Çocukların ve vesayet altındakilerin veya tasdiklenmiş akıl hastalığı bulunanların yasal vasisinin onayı alınmalıdır.</li><li>Çalışma herhangi bir kurum ya da kuruluşta gerçekleştirilecekse bu kurum ya da kuruluştan çalışma yapılacağına dair onay alınmalıdır.</li><li>İnsan öğesi bulunan çalışmalarda, “yöntem” bölümünde katılımcılardan “bilgilendirilmiş onam” alındığının ve çalışmanın yapıldığı kurumdan etik kurul onayı alındığı belirtilmesi gerekir.</li></ul>

Makalelerin bilimsel ve etik kurallara uygunluğu yazarların sorumluluğundadır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığı konusunda teminat sağlamalıdır. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir.Gönderilen makalede tüm yazarların akademik ve bilimsel olarak doğrudan katkısı olmalıdır, bu bağlamda “yazar” yayınlanan bir araştırmanın kavramsallaştırılmasına ve tasarımına, verilerin elde edilmesine, analizine ya da yorumlanmasına belirgin katkı yapan, yazının yazılması ya da bunun içerik açısından eleştirel biçimde gözden geçirilmesinde görev yapan birisi olarak görülür. Yazar olabilmenin diğer koşulları ise makaledeki çalışmayı planlamak veya icra etmek ve / veya revize etmektir. Fon sağlanması, veri toplanması ya da araştırma grubunun genel denetmeni / danışmanı tek başına yazarlık hakkı kazandırmaz. Yazar olarak gösterilen tüm bireyler sayılan tüm ölçütleri karşılamalıdır ve yukarıdaki ölçütleri karşılayan her birey yazar olarak gösterilebilir. Yazarların isim sıralaması ortak verilen bir karar olmalıdır. Tüm yazarlar yazar sıralamasını <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">Telif Hakkı Anlaşması Formunda</a> imzalı olarak belirtmek zorundadırlar.Yazarlık için yeterli ölçütleri karşılamayan ancak çalışmaya katkısı olan tüm bireyler “teşekkür / bilgiler” kısmında sıralanmalıdır. Bunlara örnek olarak ise sadece teknik destek sağlayan, yazıma yardımcı olan ya da sadece genel bir destek sağlayan, finansal ve materyal desteği sunan kişiler verilebilir.Bütün yazarlar, araştırmanın sonuçlarını ya da bilimsel değerlendirmeyi etkileyebilme potansiyeli olan finansal ilişkiler, çıkar çatışması ve çıkar rekabetini beyan etmelidirler. Bir yazar kendi yayınlanmış yazısında belirgin bir hata ya da yanlışlık tespit ederse, bu yanlışlıklara ilişkin düzeltme ya da geri çekme için editör ile hemen temasa geçme ve işbirliği yapma sorumluluğunu taşır.

Editörler, makaleleri objektif bir biçimde bilimsel ve etik kurallara uygun olarak değerlendirirler. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlarlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti ederler. Editörler içerik ve yayının toplam kalitesinden sorumludurlar. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır.Editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve Dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemler, makaleleri objektif bir biçimde bilimsel ve etik kurallara uygun olarak değerlendirirler. Araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar.Hakemler yazarların atıfta bulunmadığı konuyla ilgili yayınlanmış çalışmaları tespit etmelidirler. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dâhil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kendileri için makalelerin kopyalarını çıkarmalarına izin verilmez ve editörün izni olmadan makaleleri başkasına veremezler. Yazarın ve editörün izni olmadan hakemlerin gözden geçirmeleri basılamaz ve açıklanamaz. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Seçilen makaleler en az iki ulusal/uluslararası hakeme çift taraflı kör hakemlik ile değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.

Hakemlik Hakkında

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Baş Editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar.Seçilen makaleler en az iki ulusal/uluslararası hakeme değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin değerlendirmeleri objektif olmalıdır. Hakem süreci sırasında hakemlerin aşağıdaki hususları dikkate alarak değerlendirmelerini yapmaları beklenir.-Makale yeni ve önemli bir bilgi içeriyor mu?-Öz, makalenin içeriğini net ve düzgün bir şekilde tanımlıyor mu?-Yöntem bütünlüklü ve anlaşılır şekilde tanımlanmış mı?-Yapılan yorum ve varılan sonuçlar bulgularla kanıtlanıyor mu?-Alandaki diğer çalışmalara yeterli referans verilmiş mi?-Dil kalitesi yeterli mi?Hakemler, gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir.

DilDerginin dili Türkiye Türkçesi ve İngilizcedir.Yazıların HazırlanmasıAksi belirtilmedikçe gönderilen yazılarla ilgili tüm yazışmalar ilk yazarla yapılacaktır. Makale gönderimi çevrimiçi (online) olarak ve <a href="https://dergipark.org.tr/tr/pub/iutded" target="_blank">https://dergipark.org.tr/tr/pub/iutded</a> üzerinden yapılmalıdır. Gönderilen yazılar, yazının yayınlanmak üzere gönderildiğini ifade eden, makale türünü belirten ve makaleyle ilgili bilgileri içeren (bkz: Son Kontrol Listesi) bir mektup; yazının elektronik formunu içeren Microsoft Word 2003 ve üzerindeki versiyonları ile yazılmış elektronik dosya ve tüm yazarların imzaladığı <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">‘Telif Hakkı Anlaşması Formu’</a> eklenerek gönderilmelidir.<ol><li>Makaleler Times New Roman (özel yazı fontları kısmî olmak kaydıyla kullanılabilir) yazı karakterinde, 11 punto ve tek satır aralığıyla yazılmalıdır.</li><li>Yazılarda büyük harflerle yazılmış olan Türkçe başlığın (14 punto) hemen altında yine büyük harflerle yazılmış İngilizce başlık (10 punto) yer almalıdır.</li><li>Makalede başlıktan sonra ve yazının giriş bölümünden önce 180 – 200 kelimelik Türkçe özet ve 180-250 kelimelik İngilizce özet ile 600-800 kelimelik İngilizce genişletilmiş özet yer almalıdır. Özetlerde beş adet anahtar kelime verilmelidir.</li><li>Yazarın adı hemen başlığın altında bulunmalı, “*” dipnotuyla unvanı ve çalıştığı kurum yazılmalıdır. Makaleyi gönderen kişi ayrıca iletişim için adresini, telefon numaralarını ve e-postasını açık olarak yazmalıdır.</li><li>Gönderilen makaleler 35 sayfayı geçmemelidir (Önemine binaen daha uzun makaleler Yayın Kurulu kararı ile yayımlanır.).</li><li>Yazılarda ve kısaltmalarda Türk Dil Kurumunun Yazım Kılavuzu’na uyulmalıdır.</li><li>Çevriyazı metin çalışmalarında Timesefras, Munevver, Oktay New Transkripsiyon veya Timestrans fontlarından biri kullanılmalıdır. Bunlar dışında bir fontla gönderilen çevriyazı çalışmaları kabul edilmeyecektir. Bu fontlar da yalnızca metin kısmında kullanılacaktır. Makalelerin “giriş, inceleme, sonuç vs.” bölümlerinde 1 numaralı maddede belirtildiği gibi Times New Roman karakteri kullanılacaktır. Ayrıca üzerinde çalışma yapılan metnin fotokopisi yahut CD’si de -hakemlere iletilmek ve metinleri değerlendirmede kullanılmak amacıyla- gönderilmelidir.</li><li>Çeviri (tercüme) gönderenler, orijinal metnin bir örneğini ve bibliyografik künyesini de dergiye iletmelidir.</li><li>Yayınlanmak üzere gönderilen makale ile birlikte yazar bilgilerini içeren <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D7486B5F313241CC98EC23955FC80101" target="_blank">kapak sayfası</a> gönderilmelidir. Kapak sayfasında, makalenin başlığı, yazar veya yazarların bağlı bulundukları kurum ve unvanları, kendilerine ulaşılabilecek adresler, cep, iş ve faks numaraları ve e-posta adresleri yer almalıdır (bkz. Son Kontrol Listesi).</li><li>Kurallar dâhilinde dergimize yayınlanmak üzere gönderilen çalışmaların her türlü hukuki, cezai ve bilimsel sorumluluğu yazar/yazarlarına aittir. Dergi ile hiçbir şekilde bağlayıcılığı yoktur. Yazar, burada bulunan tüm ilkeleri peşinen kabul etmiş sayılır.</li><li>Yayın Kurulu ve hakem raporları doğrultusunda yazarlardan metin üzerinde bazı düzeltmeler yapmaları istenebilir.</li><li>Dergiye gönderilen çalışmalar yayınlansın veya yayınlanmasın geri gönderilmez.</li></ol>

Yazım Kuralları

Makaleyi göndermeden önce Yazarlara Bilgi’yi lütfen okuyun ve aşağıdakilerin eksik olmadığından emin olun:Editöre mektup<ul type="disc"> <ul type="circle"> <li>Makalenin türü</li> <li>Başka bir dergiye gönderilmemiş olduğu bilgisi</li> <li>Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz)</li> <li>Kaynakların APA6’ya göre belirtildiği</li> <li>İngilizce yönünden kontrolünün yapıldığı</li> <li>Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği</li> </ul> </ul><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">Telif Hakkı Anlaşması Formu</a>Daha önce basılmış material (yazı-resim-tablo) kullanılmış ise izin belgesi<a href="http://cdn.istanbul.edu.tr/FileHandler2.ashx?f=kapaksayfasituded_636996636634738470.docx" target="_blank">Makale kapak sayfası</a><ul type="disc"> <ul type="circle"> <li>Makalenin kategorisi</li> <li>Makalenin Türkçe ve İngilizce başlığı</li> <li>Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonar şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri</li> <li>Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosu</li> <li>Tüm yazarların ORCID’leri</li> </ul> </ul>Makalenin ana metni<ul type="disc"> <ul type="circle"> <li>Makalenin Türkçe ve İngilizce başlığı</li> <li>Özetler 180-200 kelime Türkçe ve 180-200 kelime İngilizce</li> <li>Anahtar Kelimeler: 5 adet Türkçe ve 5 adet İngilizce</li> <li>Makale Türkçe ise, İngilizce genişletilmiş özet (Extended Abstract) 600-800 kelime</li> <li>Makale ana metin bölümleri</li> <li>Finansal Destek (varsa belirtiniz)</li> <li>Çıkar Çatışması (varsa belirtiniz)</li> <li>Teşekkür (varsa belirtiniz)</li> <li>Kaynaklar</li> <li>Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li> </ul> </ul>Makale Gönderme<ul type="disc"> <li style="text-align: left;">Makalenin gönderileceği DergiPark sayfası adresi: <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;">Yapılan başvurularda, çalışmanın sorumlu yazarının (corresponding author) hesabı kullanılmalıdır. Sorumlu yazarın dışındaki yazarların ya da çalışmada yazar olarak yer almayan bir başkasının hesabı kullanılmamalıdır. Başvuru ile ilgili bütün yazışmalar DergiPark sistemi üzerinden gönderilen elektronik posta ile sorumlu yazara iletilmektedir.</li> <li style="text-align: left;">Makale ana metninin dosyasını (Main Document)  yüklerken, çift taraflı kör hakem süreci gereği, bu dosyanın yazar kimliğini deşifre eden hiçbir unsur barındırmadığından emin olun. Makale ana metni dosyası (Main Document) başlık sayfasını (Title Page) içermemeli; yazar adı geçen ya da yazar adlarını ifşa edebilecek bölümler içermemeli (Örneğin: Teşekkür, her sayfada tekrar eden ve yazar adlarını içerebilen başlık).</li> </ul><ul type="disc"> </ul>Ayrı Ayrı Yüklemeniz gereken dosyalar<ul type="disc"> <li>Telif Hakkı Anlaşması Formu</li> <li>Resim, Tablo vb başka kaynaktan alındıysa izin belgesi</li> <li>Makale Kapak Sayfası</li> <li>Makale Ana Metni Dosyası  (Bu dosya aşağıdaki unsurları içermelidir)</li> </ul><ul type="disc"> <ul type="circle"> <li>Makalenin Türkçe ve İngilizce başlığı</li> <li>Özetler 180-200 kelime Türkçe ve 180-200 kelime İngilizce</li> <li>Anahtar Kelimeler: 5 adet Türkçe ve 5 adet İngilizce</li> <li>Makale Türkçe ise, İngilizce genişletilmiş Özet (Extended Abstract)  600-800 kelime</li> <li>Makale ana metin bölümleri</li> <li>Finansal Destek (varsa belirtiniz)</li> <li>Çıkar Çatışması (varsa belirtiniz)</li> <li>Teşekkür (varsa belirtiniz)</li> <li>Kaynaklar</li> <li>Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)</li></ul></ul><ul type="disc"> </ul>

Derleme yazıları okuyucular için bir konudaki kaynaklara ulaşmayı kolaylaştıran bir araç olsa da her zaman orijinal çalışmayı doğru olarak yansıtmaz. Bu yüzden mümkün olduğunca yazarlar orijinal çalışmaları kaynak göstermelidir. Öte yandan, bir konuda çok fazla sayıda orijinal çalışmanın kaynak gösterilmesi yer israfına neden olabilir. Birkaç anahtar orijinal çalışmanın kaynak gösterilmesi genelde uzun listelerle aynı işi görür. Ayrıca günümüzde kaynaklar elektronik versiyonlara eklenebilmekte ve okuyucular elektronik literatür taramalarıyla yayınlara kolaylıkla ulaşabilmektedir.Referans Stili ve FormatıTürk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, metin içi alıntılama ve kaynak gösterme için APA (American Psychological Association) kaynak sitilinin 6. edisyonunu benimser. APA 6.Edisyon hakkında bilgi için:- American Psychological Association. (2010). Publication manual of the American PsychologicalAssociation (6th ed.). Washington, DC: APA.- <a href="http://www.apastyle.org/" target="_blank">http://www.apastyle.org/</a>Kaynakların doğruluğundan yazar(lar) sorumludur. Tüm kaynaklar metinde belirtilmelidir. Kaynaklar aşağıdaki örneklerdeki gibi gösterilmelidir.Metin İçinde Kaynak GöstermeKaynaklar metinde parantez içinde yazarların soyadı ve yayın tarihi yazılarak belirtilmelidir.Birden fazla kaynak gösterilecekse kaynaklar arasında (;) işareti kullanılmalıdır. Kaynaklar alfabetik olarak sıralanmalıdır.Örnekler:Birden fazla kaynak;(Esin ve ark., 2002; Karasar 1995)Tek yazarlı kaynak;(Akyolcu, 2007)İki yazarlı kaynak;(Sayıner ve Demirci 2007, s. 72)Üç, dört ve beş yazarlı kaynak;Metin içinde ilk kullanımda: (Ailen, Ciambrune ve Welch 2000, s. 12–13) Metin içinde tekrarlayan kullanımlarda: (Ailen ve ark., 2000)Altı ve daha çok yazarlı kaynak;(Çavdar ve ark., 2003)Kaynaklar Bölümünde Kaynak GöstermeKullanılan tüm kaynaklar metnin sonunda ayrı bir bölüm halinde yazar soyadlarına göre alfabetik olarak numaralandırılmadan verilmelidir.Kaynak yazımı ile ilgili örnekler aşağıda verilmiştir.Kitapa) Türkçe KitapKarasar, N. (1995). Araştırmalarda rapor hazırlama (8.bs). Ankara: 3A Eğitim Danışmanlık Ltd.b) Türkçeye Çevrilmiş KitapMucchielli, A. (1991). Zihniyetler (A. Kotil, Çev.). İstanbul: İletişim Yayınları.c) Editörlü KitapÖren, T., Üney, T. ve Çölkesen, R. (Ed.). (2006). Türkiye bilişim ansiklopedisi. İstanbul: Papatya Yayıncılık.d) Çok Yazarlı Türkçe KitapTonta, Y., Bitirim, Y. ve Sever, H. (2002). Türkçe arama motorlarında performans değerlendirme. Ankara: Total Bilişim.e) İngilizce KitapKamien R., &amp; Kamien A. (2014). Music: An appreciation. New York, NY: McGraw-Hill Education.f) İngilizce Kitap İçerisinde BölümBassett, 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) Türkçe Kitap İçerisinde BölümErkmen, T. (2012). Örgüt kültürü: Fonksiyonları, öğeleri, işletme yönetimi ve liderlikteki önemi. M. Zencirkıran (Ed.), Örgüt sosyolojisi kitabı içinde (s. 233–263). Bursa: Dora Basım Yayın.h) Yayımcının ve Yazarın Kurum Olduğu YayınTürk Standartları Enstitüsü. (1974). Adlandırma ilkeleri. Ankara: Yazar.Makalea) Türkçe MakaleMutlu, B. ve Savaşer, S. (2007). Çocuğu ameliyat sonrası yoğun bakımda olan ebeveynlerde stres nedenleri ve azaltma girişimleri. İstanbul Üniversitesi Florence Nightingale Hemşirelik Dergisi, 15(60), 179–182.b) İngilizce Makalede 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) Yediden Fazla Yazarlı MakaleLal, 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) DOI’si Olmayan Online Edinilmiş MakaleAl, U. ve Doğan, G. (2012). Hacettepe Üniversitesi Bilgi ve Belge Yönetimi Bölümü tezlerinin atıf analizi. Türk Kütüphaneciliği, 26, 349–369. Erişim adresi: http://www.tk.org.tr/e) DOI’si Olan MakaleTurner, 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 Olarak Yayımlanmış MakaleSmith, J. A. (2010). Citing advance online publication: A review. Journal of Psychology. Advance online publication. http://dx.doi.org/10.1037/a45d7867g) Popüler Dergi MakalesiSemercioğlu, C. (2015, Haziran). Sıradanlığın rayihası. Sabit Fikir, 52, 38–39.Tez, Sunum, Bildiria) Türkçe TezlerSarı, E. (2008). Kültür kimlik ve politika: Mardin’de kültürlerarasılık. (Doktora Tezi). Ankara Üniversitesi Sosyal Bilimler Enstitüsü, Ankara.b)Ticari Veritabanında Yer Alan Yüksek Lisans Ya da Doktora TeziVan Brunt, D. (1997). Networked consumer health information systems (Doctoral dissertation). Available from ProQuest Dissertations and Theses. (UMI No. 9943436)c) Kurumsal Veritabanında Yer Alan İngilizce Yüksek Lisans/Doktora TeziYaylalı-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-portalid) Web’de Yer Alan İngilizce Yüksek Lisans/Doktora TeziTonta, 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.htmle) Dissertations Abstracts International’da Yer Alan Yüksek Lisans/Doktora TeziAppelbaum, 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.f) Sempozyum KatkısıKrinsky-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 American Psychological Association meeting, Orlando, FL.g) Online Olarak Erişilen Konferans Bildiri ÖzetiÇınar, M., Doğan, D. ve Seferoğlu, S. S. (2015, Şubat). Eğitimde dijital araçlar: Google sınıf uygulaması üzerine bir değerlendirme [Öz]. Akademik Bilişim Konferansında sunulan bildiri, Anadolu Üniversitesi, Eskişehir. Erişim adresi: http://ab2015.anadolu.edu.tr /index.php?menu=5&amp;submenu=27h) Düzenli Olarak Online Yayımlanan BildirilerHerculano-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.0805417105i) Kitap Şeklinde Yayımlanan BildirilerSchneider, R. (2013). Research data literacy. S. Kurbanoğlu ve ark. (Ed.), Communications in Computer and Information Science: Vol. 397. Worldwide Communalities and Challenges in Information Literacy Research and Practice içinde (s. 134–140) . Cham, İsviçre: Springer. http://dx.doi.org/10.1007/978-3-319-03919-0j) Kongre BildirisiÇepni, S., Bacanak A. ve Özsevgeç T. (2001, Haziran). Fen bilgisi öğretmen adaylarının fen branşlarına karşı tutumları ile fen branşlarındaki başarılarının ilişkisi. X. Ulusal Eğitim Bilimleri Kongresi’nde sunulan bildiri, Abant İzzet Baysal Üniversitesi, BoluDiğer Kaynaklara) Gazete YazısıToker, Ç. (2015, 26 Haziran). ‘Unutma’ notları. Cumhuriyet, s. 13.b) Online Gazete YazısıTamer, M. (2015, 26 Haziran). E-ticaret hamle yapmak için tüketiciyi bekliyor. Milliyet. Erişim adresi: http://www.milliyetc) Web Page/Blog PostBordwell, D. (2013, June 18). David Koepp: Making the world movie-sized [Web log post]. Retrieved from http://www.davidbordwell.net/blog/page/27/d) Online Ansiklopedi/SözlükBilgi mimarisi. (2014, 20 Aralık). Vikipedi içinde. Erişim adresi: http://tr.wikipedia.org/wiki/Bilgi_mimarisiMarcoux, A. (2008). Business ethics. In E. N. Zalta (Ed.), The Stanford encyclopedia of philosophy. Retrieved from http://plato.stanford.edu/entries/ethics-business/e) PodcastRadyo ODTÜ (Yapımcı). (2015, 13 Nisan). Modern sabahlar [Podcast]. Erişim adresi: http://www.radyoodtu.com.tr/f) Bir Televizyon Dizisinden Tek Bir BölümShore, D. (Senarist), Jackson, M. (Senarist) ve Bookstaver, S. (Yönetmen). (2012). Runaways [Televizyon dizisi bölümü]. D. Shore (Baş yapımcı), House M.D. içinde. New York, NY: Fox Broadcasting.g) Müzik KaydıSay, F. (2009). Galata Kulesi. İstanbul senfonisi [CD] içinde. İstanbul: Ak Müzik.

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">Telif Hakkı Anlaşması Formu</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/89F9610598014D559EFC67AFDF9DD884" target="_blank">Makale kapak sayfası</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/3EABFA96159140DEB120141E716BCFB9" target="_blank">Yazar Formu</a>

Aşağıdaki listede eksik olmadığından emin olun:● Editöre mektup Makalenin türü Başka bir dergiye gönderilmemiş olduğu bilgisi Sponsor veya ticari bir firma ile ilişkisi (varsa belirtiniz) İngilizce yönünden kontrolünün yapıldığı Yazarlara Bilgide detaylı olarak anlatılan dergi politikalarının gözden geçirildiği● <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/2CD110C611044333B5D0884B656835D0" target="_blank">Telif Hakkı Anlaşması Formu</a>● Daha önce basılmış materyal (yazı-resim-tablo) kullanılmış ise izin belgesi● <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/61D915DE6713408DB01FE55B11324495" target="_blank">Makale kapak sayfası</a> Makalenin türü Makalenin Türkçe ve İngilizce başlığı Yazarların ismi soyadı, unvanları ve bağlı oldukları kurumlar (üniversite ve fakülte bilgisinden sonra şehir ve ülke bilgisi de yer almalıdır), e-posta adresleri Sorumlu yazarın e-posta adresi, açık yazışma adresi, iş telefonu, GSM, faks nosu Tüm yazarların ORCID’leri● Makale ana metni dosyası Makale dilinde ve İngilizce başlık Özetler 180-200 kelime Türkçe ve 180-250 kelime İngilizce Anahtar Kelimeler: 5 adet Türkçe ve 5 adet İngilizce Türkçe makaleler için İngilizce genişletilmiş Özet (Extended Abstract) 600-800 kelime Makale ana metin bölümleri Finansal destek (varsa belirtiniz) Çıkar çatışması (varsa belirtiniz) Teşekkür (varsa belirtiniz) Kaynaklar Tablolar-Resimler, Şekiller (başlık, tanım ve alt yazılarıyla)

ISSN	1015-2091
E-ISSN	2602-2648
Yayın Aralığı	Yılda İki Sayı
Editör	Ali Şükrü Çoruk
Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, açık erişimli, hakemli, yılda iki kere Haziran ve Aralık aylarında yayınlanan, uluslararası, bilimsel bir dergidir. İstanbul Üniversitesi Edebiyat Fakültesi Türk Dili ve Edebiyatı Bölümü’nün resmi yayınıdır. 1946 yılından beri yayınlanmaktadır. Dergiye yayınlanması için gönderilen bilimsel makaleler Türkiye Türkçesi ya da İngilizce olmalıdır. Türk Dili ve Edebiyatı Dergisi (TUDED): Journal of Turkish Language and Literature, Türk dili, edebiyatı ve kültürü konusunda alana katkıda bulunacak araştırma makaleleri yayınlar. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur.

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