"Tıp Öykücülüğü" Üzerine

Author(s): Hasan Erbay / Language(s): Turkish / Issue: Special/2017

Medicine is a discipline with its own rules and manner of operation. Literature is one of the dozens of kinds of art. The common point of both fields is that they touch human stories from within life. Human stories in the field of health are about the processes in which a person lives, may live or is able to live. With the definition of medical story, it is narrative which are written by medical staffs, especially physicians. Medical narratives are fictitious narratives connected with medical realities, interpreting the health environment from the perspective of a physician or health care provider. Such is the primary concern of the works in the literary concerns. The medical narratiation is a field with a limited number of examples in both Turkish literature and world literature. Due to the diversity of medical education models in recent years, there is a growing interest in the relationship of medicine with literature and social sciences. Both in terms of medical education and in the context of literary and medical literacy, “Medical Narratiation” as a product of “quest of beauty” is a new and distinctive area in Turkish literature.

"Verujem u Boga i u Sudnji dan" – Hayrun Yahya i savremena kontekstualizacija apokaliptičnih hadisa

Author(s): Marko Pišev / Language(s): Serbian / Issue: 1/2013

The motif of the apocalypse has fascinated mankind from the very beginnings of oral history and is present in various myths and religious traditions, finding its expression in the art of all time periods. Even today it hasn't lost its grip on human imagination. In modern Islamic contexts, the phenomenon of the apocalypse incorporates anti-western ideologies, which reflect, to a large extent the socio-cultural heritage of former anti-colonialist struggles, as well as the anti-imperialist attitudes which are present in a large number of contemporary Muslim societies. When paired with apocalyptic narratives, these notions can lead to negative essentializations of so-called "western morals and ethics", which are subsequently interpreted as a clear sign of the End times. Aside from the wider consideration of the symbolism of Islamic apocalyptic narratives, the paper will deal with a critical analysis of the visualizations of the Signs of the Last Day books by religious author Hayrun Yahya, who considers the topic of the apocalypse, as presented in the Koran and hadiths, in an affirmative light. We will attempt to puzzle out why the textual version of Signs utilizes certain quotes from the hadiths, while other, equally relevant quotes are avoided. We will rely on the so-called "interdiscursive" aspect of the enclosed quasi– documentary film, or rather, the heterogeneous elements which make up its audio-visual "text". This analysis should uncover the ideological notions behind this specific instrumentalization of scripture for the aim of religious, cultural and moral critique of contemporary (both Muslim and non-Muslim) societies; however, we will also attempt to point out the multifunctional idea – suggested to the viewing/reading audience of apocalyptic narratives – that Judgment day is near, and can come around at any moment.

(KUMUK DESTANLARININ TEMELİNDE) TÜRK DESTANLARININ GELENEĞİ

Author(s): Tomay Ramazan Hasanoglu / Language(s): English / Issue: 29/2016

Kumuk epics has a rich base not only from the side of quantity, but also quality. Works on Kumuk epic creativity is distinguished by possibility of a wide range of clarification of functional character, typological character, and as a whole specificity of epics. Formulas, epic schemes, development of its tendency of the structure of epics are of crucial importance in order to follow development of Turkish epic creativity. Therefore, research on Turkish epic creativity in different ways seems as one of the significant problems of folk of Turkish people.

13. Yüzyıl Türk Halk Şİİrİnde Ahlâkİ Anlayış

Author(s): Mehmet Yardimci,Ahmet Zeki Güven / Language(s): Turkish / Issue: 64/2010

With Malazgirt Victory in 1071 Turks migration began to Anatolia and Islam had found a new expansion field in the hands of Turks and spreading of Islam in Anatolia had accelerated in the period of Principalities and especially Seljuks, Anatolian Seljuks. But in the 13.centuries Mongolian influence which occurred in Central Asia and then affected to Anatolia, led to people different searches. Mongolians had vandalized where they gone through, therefore; a completely crisis period had began to in Anatolia. Especially in this period most of dervishes who got of Yesevi doctrines had immigrated to Anatolia and began to tell Islam with different ways to the people. This saints who came from Central Asia, dwelled upon to doctrines and emphasized that Islam is not a fear religion it is a love religion,and to fall for love to God rather than fear of God. In this way; this Yesevi dervishes who came from Central Asia, helped to people who fallen into crisis process and easily overcome from this process, also they exposed excellent and experienced human type with the help of advice which they gave to people in their works. In this study, in the century of 13 Religious-Sufism Folk Poetry ethical components were exposed and three great poets were examined who lived in the century of 13, such as Hacı Bektaş-ı Veli, Yunus Emre, Said Emre and also, common components which related with the ethical understandings were classified and commented on finding discoveries.

1657 TARİHLİ DUBROVNİKLİ MİHO MARTELİNİ’NİN MECMUASINDAKİ TÜRKÇE AŞK ŞİİRLERİ

Author(s): Derviš M. Korkut / Language(s): Turkish / Issue: 2/2016

Bu makale Derviš Korkut tarafından“Turske ljubavne pjesme u Zborniku Miha Martelinija Dubrovčanina iz 1657 g.” orijinal başlığıyla Saraybosna Şarkiyat Enstitüsü’ nün Prilozi za Orijentalnu Filologiju (Şarkiyat Filolojisine Katkılar) Dergisinde Sayı: VIII-IX, Yıl: 1958, ss. 37-62 yayınlanmıştır.

17.Yüzyil Halk Şairi Karacaoğlan’in Bir Şiiri İle 18.Yüzyil Divan Şairi Nedim’in Bir Gazeline Göster Gebilimsel Açidan Karşilaştirmali Bir Yaklaşim

Author(s): Medine Sivri,Berkant Örkün / Language(s): Turkish / Issue: 71/2012

Poem is the most layered among all other literary genre and is a closed intact with deep language patterns. In opposition to the linearity of prose unique structure of poetry enables a creative reading. In this study a poem of folk poet Karacaoglan and a gazel (ode) of Divan poet Nedim is compared thorough poetry analyzing means of semiotics. These poems brings the two poets lived in different centuries and were in different literary traditions together. Their poetry is based on love which is the main source of nutrition for mankind throughout the journey of life. As all genres of literature - poetry, novel, story or theater plays- represent a multilayered system, semiological approach enables the researchers to comprehend and evaluate the works more clearly.

19. Yüzyil Türkistan Şair Ve Tarihçilerinden Mûnis Harezmî (1778-1829) Ve Eseri: Firdevsü’l-İkbâl

Author(s): Hayrullah Kahya / Language(s): Turkish / Issue: 77/2014

Knowledge about the 19th century Central Asia Turkish language is quite insufficient. Moreover, an entire list of the artists of this period are not available as related information and documents for this period existed for many years under the domination of the Soviet Russia, a case which made it impossible to reach these documents for many years. However, knowledge about this period has increased thanks to new researches and publications. Certainly Munis Khwarazmi is one of the most important Turkestan artists in 19th century. In this paper, Mûnis Khwarazmi who earned reputation for not only being historian but also poet has been researched together with his important work Firdaws al-iqbal in which he wrote the official history of Khanate of Khiva. Initially, a short information is given about the khanates period of Turkestan (Khiva, Bukhara, Kokand Khanates) and then the life of Mûnis and his works are discussed. Following this, the most important work of Mûnis, Firdaws al-iqbal, has been examined. Phonetic and morphological properties of the work, written by Munis himself, have been examined in respect to its differing properties from Classical Chagatai Turkish until the fifth part of the work. Language style of Mûnis has been studied to be determined with the sample texts taken from the Firdaws al-iqbal.

A NARRATIVE OF CONTROVERSY: ORHAN PAMUK’S SNOW

Author(s): M. Önder Göncüoglu / Language(s): English / Issue: 11/2018

Nobel Prize laureate Orhan Pamuk’s novel Snow (2002), which local scholars argue that it takes its name from ‘karsu’ (snow-water), takes place in Kars, a city located on the north-eastern border of Turkey. As a borderline city, it stands as the nexus of distinguished civilisations, such as that of Armenians, Russians, and Ottomans; and bears the traces of several ethnic, cultural, and political characteristics of diverse identities. Snow represents modernist Turkey’s political, cultural, and religious turmoil experienced in the late twentieth century. The novel depicts the city of Kars as a witness to deep-seated conflicting political views and social values. The concepts of secularism, nationalism, and the Islamic Revival, including experiences of poverty that have been felt, unemployment, and suicide are all inscribed within the plot of this provocative novel. Hence, depicted concepts and felt experiences stir up much controversy among critics who explore Pamuk’s intention to understand the reasons why he might have thematised such problematic issues. However, Pamuk’s elaboration of a political issue in Snow seems to have been misconceived through political standpoints minimizing his artistic ability to solely a political gaze. In this respect, I will explore and discuss Pamuk’s Snow as a polyphonic novel inviting its readers to contemplate both the question of ‘the other’ and the dangers of radicalism rather than as a novel supporting a certain political group.

Abdullah Tukay'a Adnan Bir Mektup

Author(s): Çulpan Zaripova Çetin / Language(s): Turkish / Issue: 60/2009

Orphaned at the early age, to Abdullah Tukay spent his childhood with one family after another. In his writing, regardless of the subject matter, Tukay always aimed to serve the Tartar nation and their improvement. The letter, written by Sagit Ramiev in 1918, five years after Tukay's death, tells about the horrible changes that happened in Russia and the Soviet rule. Ramirev's words become a friend's cry of disappointment after having high hopes for the future. Sagit Ramiev displays poet's divine intuition in foreseeing the end of the events happening in the city even though they have begun not more then a year ago.

Abilkasim Cutakeyev (1888-1933)

Author(s): Muhammed Ali Ismail Fakirullahoglu / Language(s): Turkish / Issue: 34/2017

Adalet Ağaoğlu’nun Bir Göç Romanı: Fikrimin İnce Gülü

Author(s): Merve Esra Polat / Language(s): Turkish / Issue: 2/2016

Migration, a powerful force in societies, is among the topics of literature which is also a part of human life. One of the literary works mentioning migration is Fikrimin İnce Gülü, Adalet Ağaoğlu‟s second book. It is possible that the migration can be examined based person as "who go abroad", "turning back" and "survivor" in the text. In the light of text-based inspection method, historical and sociological approaches peopleoriented disclosed social, political, psychological and economic conflict is based on only the work, generalization is not done. The transforming family structure, continuity issue of relations with the dormitory, the hardships of the working conditions, discrepancies originated from culture, language, religion, alienation which leads to isolation and the problems in return are discourse in the process that based on people's expectations and disappointments. The characters that trapped between two different cultures, refuge on consumer goods, exhibit behaviours that lead to cultural degeneration to adapt to economic and social order of meta culture. The conflict and migration culture model will prevail in order to examine migration movements in Fikrimin İnce Gülü. In the context of this model, the conflicts of characters in the process of migration to Germany will reveal taking into consideration the difficulties and disagreements to be effective.

Ahmet Hamdi Tanpinar’in Şiirlerinde Devamlilik Düşüncesi Thought Of Continuity In The Poems Of Ahmet Hamdi Tanpinar

Author(s): Türkan Yasilyurt / Language(s): Turkish / Issue: 80/2014

While Ahmet Hamdi Tanpınar sees the men of letters’ taking the Western Literature as an example inevitable in the process of choosing a new lifestyle in the path to the Westernization with the Tanzimat, he opposes to the poets’ falling to the position of being follower and imitator of French Poetry with losing their ties with their own poetical roots. Tanpınar suggests that the Turkish poetry should head back to its roots that comprise divan and folk poetry. Tanpınar states that Turkish people and their language lived in the divan poetry until the works of Yahya Kemal despite its all deficiency. And also it was given importance not only because of it supplied an habitat to Turks and their languages but also literary works that can be labelled as Turkish classics are produced in this genre. He credits many poets, being in the lead Fuzuli, Baki, Galip, Nef’i and Neşati, or divan poems as the Turkish classics. Though Tanpınar sees folk poetry as one of the sources, he also underlines the restrictive and delimitative sides of it. He defends that Turkish poetry should change in accordance with the continuity. Actually Tanpınar’s idea of “continuity in poetry and culture” is a continuation of Yahya Kemal’s idea of “imtidâd.” Tanpınar’s idea of continuation with change and change with continuation proceeds in Hilmi Yavuz’s writing as finding the changeless among the changing, the essence among the signs and conveying it to today. Though Ahmet Hamdi Tanpınar does not object the idea of being open to the Western poetry, thinks the Turkish poetry that does not maintain ties with its own poetic tradition cannot keep its, in Henry Bergson’s words, “élan vital or creative evolution.” Ahmet Hamdi Tanpınar thinks that the poets should maintain their tie with their own poetic tradition without leaving themselves by escaping the imitation of the West through selection and sorting out.

AHMET MİDHAT VE DAĞARCIK MECMUASI ÜZERİNE BAZI TESPİTLER

Author(s): Koray Saridogan / Language(s): Turkish / Issue: 11/2014

Ahmet Mithat Efendi, who was one of the important people of Osmanlı literature that was living some changes on all fields with the Tanzimat, was known with his literary works. In the same time Ahmet Midhat is one of the important people of Turkish idea and philosophy life and he interested philosophy ideas which came from West, wrote and translated a great many works about that. Dağarcık, which he published in 1871-1872, was one of that works. Because of some articles in Dağarcık, some people accusationed Ahmet Midhat about he was a materialist and atheist and he was exiled to Rodos. But according to his works, we see that Ahmet Midhat has never been a materialist or atheist. By reading the Dağarcık today again, we can see that he hasn't been adopt the materialism entirely and must be analised the Dağarcık again as a ideational and philosophical magazine.

Ahmet Ümit’in “İstanbul Hatirasi” Adli Yapitinda Medeniyet Kavraminin Somut Göstergeleri

Author(s): Neslihan Yücelsen,Melda Karagöz / Language(s): Turkish / Issue: 81/2015

Although a lot of research has been done on the concept, the “civilization”, “urban” in lexicon, can not have an absolute conclusion that has been reached regarding its use. While some researchers view that the concepts of civilization and culture its equivalent some of others differentiate these concepts from each other. Definitely, there is a close relationship between civilization and culture. The pretiminary condition to cite a likely formation of a civilization is to have an extent of cultural accumulation. The literature is a form of art in which the cultural values of civilizations are described through language. It is likely to find the reflection of the cultural element, at the master of arts such as sculpture, music, architecture, furniture, food, weapons and so on. All these cultural elements of the work reflected by the work display the reality and the richness of life as well as civilization to the reader. Civilizations consist of material and spiritual elements which are interconnected to each other, and these elements show progress throughout the history. The works of literature are a reflector of the circumstances in which their own civilization was formed and also the witness of the time. It could be possible to see some trace, in each author’s time. However, this does not mean that his ideas belong only to his era. The authoruses the past, with all its glorious accumulation, and the future with its unknown world, as a tool. Literature, is a way go art to enrich all of these elements of culture and civilization. There are times when civilizations have disappeared. In such a case with the material and spiritual indicators, it is possible to find out specific features of lost civilizations. In this work Istanbul, as an important material indicator of civilization, has been selected for the place. Istanbul, due to its favorable geographic location and its private community, has been home to many civilizations as the capital town, even played a role in the formation of the historic ages. In a paralel way to these, it has a very high material culture. In these tudy, first, the meanings attributed to the concept of civilization, will be discussed. With the conclusions, the indicators of forming civilization will be determined. Then, some further information as for which indicators are to be provided among those in the work, looked through subsequently, will be presented. And, the functions of the indicators in the editing of the work will be touched upon.

Alageyik Efsanesi ile Kocacaş Destanında Ortak Unsurlar

Author(s): Sule Gezer / Language(s): Turkish / Issue: 89/2017

Literature from the past up to the present day from the value judgments of the society, the perception of life and their beliefs in their world hosts the content. In this regard, literature is a tool that enables the transfer of Culture. That belong to the past period, a belief, a way of life, sometimes when it is transferred to the current social environment is repeated. In this case, literary narratives, as a literary production have been associated with the old content, and carry traces of them. These texts provides the transition between the collective consciousness of a nation that is under the transfer of intellectual values caused by an organic bond. This bond that exists in modern culture as renewed in the past through a narrative similar occurs again. In addition, has a common background and the same culture at different times in different regions from each other, brothers who are members of communities of faith bearing the same motifs and similar elements of narratives can reveal. In this study, a common history and culture, Turkish culture, with the two brothers belonging to the community two of the common motif of narrative texts. will be evaluated in terms of. One dimension of this narrative that carries the legend of a folk literary narrative of Yaşar Kemal entitled The fallow deer, and the other that belongs to the Kyrgyz Turks and Kococas that are present in the oral environment is epic. Beliefs that the Turks belong to the period of hunting and gathering, which is located in the center of this narrative, this period featured in the deer/is centered around the cult of the loser. In this context, narratives and motifs that are common to both episodes have been identified. This partnership in which both of Turkish tribes in the cultural sense, born from the same source, the same culture in different geographies of the phenomena that they are.

Ambiwalencje nowoczesności. Powieść turecka i modernizm

Author(s): Piotr Kawulok / Language(s): Polish / Issue: 1/2013

In this paper, I examine the development of the Turkish novel from its beginning in the second half of the nineteenth century until the 1970s in terms of the concept of literary modernity. While it is often argued by many scholars that modernism, or literary modernity, began in Turkey only with the publication of Oğuz Atay’s Tutunamayanlar in 1971, I try to demonstrate that the chief concepts – as opposed to techniques – of modern literature were present in the Turkish novel from its very beginning. Modernity is thus exposed as a self-contradictory, ambiguous entity which encompasses various, often conflicting, tendencies.

AN IDENTITARY DISCOURSE OF PERIPHERY: “ISTANBUL. MEMORIES AND THE CITY” BY ORHAN PAMUK

Author(s): Cristina Stan / Language(s): Romanian / Issue: 11/2017

Reconfiguration of the self through memory, an autobiographical narrative brings forth the numerous windings of a life, as the author, who is in this particular case the same instance as the narrator and the main character of the narrative, chooses to recount. The autobiography and the memoir, literary genres that depict personal, subjective life stories, have similar characteristics and cannot always be distinguished using a strict delimitation. The aim of this paper is to take a close look at the configuration of a picturesque autobiographical discourse oscillating between the two genres and belonging to a minor literature, the Turkish one.“Istanbul. Memories and the city” by Orhan Pamuk not only evokes a certain period in the writer's life, but looks upon the history of a strange city, managing to recollect its “memories” as well. The singularity of this discourse is that the history of the city cannot possibly be separated from the author's self-perception and life experiences: the destinies of the two coincide.

Anadolu Ağitlarinin Türküleşme Süreci Ve Üç Ağit Örneği

Author(s): Merdan Güven / Language(s): Turkish / Issue: 75/2013

The elegies are invaluable works which take the place in cultural world of humanity since the starting of Human History. Composed of both literature and different musical works, elegy is of not only nationalistic features but also universal understandigs. The word of Elegy is directly associated with the meaning expressed as “crying”in a lot of world languages. The elegies are both literary and musical and sociologic documentaries reflecting social structure of societies. As well as expressing of various elements of life styles societies, the elegies harbour a lot of properties such as language, religion, history and traditions of nations. One of the most important features of the elegies is that they have comfortive effect both during their performance and after performance. People provide a spirutual discharge by means of elegies following to a dead person. Even if performing elegy seemed like a rebellion of People against the death, all these cries or elegies prepares a ground for new contstrection of family regulation and soothing of the spirit in the last moment. The tradion of expressing the elegy in Turkish Society has been performed with know application. The tradition of Elegy in the old ages of the history has been continuing with very little change. The elegies don’t stay as they were said first. The elegies adopted by society have been gone far away by repating of the society again and again. Like every musical work, the elegies as regards their melodies have undergone to the changing considerably with their initial forms. The elegies are very emotional works as regards their melodies. Parallel to the change of the society in time, the elegies also might lose their emotional features. Even this change occurs so rapidly that an emotional elegy can transform into rithmic dance. Three examples of the elegies we tried to show here with their notes, it has been abserwed that the elegies of Anatolia have changed in time.

Ankara’da Sahne Hareketleri

Author(s): Sedat Veyis Örnek / Language(s): Turkish / Issue: 82/2015

ÖTEYE DOĞRU yaşamakla ölmek arasındaki bıçak ağzı kadar keskin çizginin öbür tarafında, ölüm tarafında cereyan eden bir dram. Biz artık öyle bir yerdeyiz ki, kurtuluş için attığımız her adım, sarfettiğimiz her söz, her kımıldanış boş ve köksüz. Bütün yapıcı ve yaratıcı kabiliyetlerimizi kaybetmiş, ısrar ve çırpınmalarımıza rağmen mağlûb olmuşuz artık. Biz artık biziz. Sadece boyumuzla, gözümüzün rengiyle, saçlarımızla değil, hayat maceramızla, hayat maceramızın çizdiği kader grafiğiyle biziz. Tutulan ayna fiziğimizin hududunu aşıp içimizi aydınlatıyor ki kamarot, “Efendiler gemi limana noktamıza varıncaya kadar ışığa boğuyor.”

Anlam Çerçecesi Açisindan OLVIDO

Author(s): Tülin Arseven / Language(s): Turkish / Issue: 60/2009

Ahmet Muhip Diranas is one of the distinguished poets of modern Turkish literature. Very precious and unforgettable poets were won to Turkish poets by Ahmet Muhip Diranas. One of his important poems is Olvido. „Frameworks in terms of the meaning Olvido“ titled in this study Olvido poet will be analysed in two different respect: content and presentation.