Bahadır

Assoc. Prof. Dr.

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

Belagatte Söz ve Sözün Uzatılmasına Dair Terimlerin Türkçe ve Batı Kökenli Denklikleri Üzerine

Reyhan

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

Kasımalı Bayalinov’un “Kıyın Ötkööl” Romanında Zaman Unsurunun Öznel Tasarımı

Sümeyra

Lecturer

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

Çağatay Türkçesi Dönemi Eserlerinde Değerli Taşlar

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

Acem Diyarından Gelen Şairler ve Osmanlı Edebî Çevrelerinin Onlara Bakışı (XV. ve XVI. Yüzyıl)

Şahin

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

Dede Korkut Kitabı’nda Geçen balkı- Fiili Üzerine

Fatih

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

Hocalar Devri Uygur Tezkireleri Işığında Geç Dönem Çağatay Şairi Ömer Baki’nin Biyografisine Katkılar

Ahmet

Res. Assist.

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

Miftâhu’l-Ulûm Etrafında Gelişen Temel Belâgat  Eserlerinin Klasik Türk Şiirinde Ele Alınışları Üzerine

Fikret

Prof. Dr.

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

Osmanlı Edebî Kültüründe Popüler Sosyal Eleştiri Türü Olarak Nefsülemr-nâme Metinleri: Dil, Tema ve Üslup Özellikleri

Mizan

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

Şikârî'nin Karamannâme’sine Dair: Nüsha Değerlendirmesi

Zühal

Aysima

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

Şecere-yi Turfan Wang: Bilinmeyen Bir Berlin Elyazması

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

Edebiyat Sosyolojisi Bağlamında Dilenme ve Dilencilik: Hayattan Sayfalar ve Miskinler Tekkesi Örneği

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

Cemil Kavukçu’nun Başkasının Rüyaları Eserinde Örnek Okur

Rabia

Eski Uygur Türkçesi Hukuk Belgeleri

Ali Şükrü

Prof.

“Cumhuriyetin 100. Yılı”  Özel Sayısı

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Engin

Emre

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

Kutadgu Bilig’de Kılık ve Kılınç Sözlerinin Kullanım Özellikleri Üzerine

Halim

Assoc. Prof.

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

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

Hüsniye

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

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

Assist. Prof.

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

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.

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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)

Sayı Türü	Regular
Editör(ler)	Ali Şükrü Çoruk
Kapak (PDF)
Ön Sayfalar (PDF)