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CEM SULTAN’IN CEMŞÎD U HURŞÎD’İ ÇEVİRME NEDENLERİNE DAİR BİR DEĞERLENDİRME: EJDERHAYI ÖLDÜREN KİM?

CEM SULTAN’IN CEMŞÎD U HURŞÎD’İ ÇEVİRME NEDENLERİNE DAİR BİR DEĞERLENDİRME: EJDERHAYI ÖLDÜREN KİM?

Author(s): Sibel Kocaer / Language(s): Turkish Issue: 37/2022

The Ottoman Sultan Cem (d. 1495), who is well-known worldwide, almost beat the rival to the throne, but failed. However, compared to other Ottoman princes, he was the closest to victory. Although he was prevented from ascending the throne, through his character, charisma and achievements he gained the support of those around him and was accepted as sultan by his supporters. Because of this, he is the only Ottoman prince who can claim the title ‘Sultan’. After the death of his father Mehmed II (d. 1481) his life changed dramatically with the start of his years in captivity. His captivity had a major effect on the political agenda of both the Ottoman State and European kingdoms. This article focuses on the Âyât-ı Uşşâk (1478) by Cem Sultan, which is the Turkish translation of the Cemşîd u Hurşîd by Selmân-ı Sâvecî (d. 1376). The original work is in Persian, and the translated work is also referred to as Cemşîd u Hurşîd in academic studies. Cem Sultan was the governor of the Konya and Karaman region when he translated the Cemşîd u Hurşîd. Owing to his great interest in literature, he was often accompanied by an admiring group of poets, and some of them accompanied him during his stay in Europe as well. Cem Sultan was also the patron of the Saltuknâme (1473-1480), which closely mirrors the political events of its time. The fact that he translated the Cemşîd u Hurşîd, at a time when he was trying to strengthen his power amidst political struggles and wars, makes this work stand out and thought provoking. This article will examine Cemşîd u Hurşîd with a particular focus on the princely identity of its translator, Cem Sultan. Unlike the original work, its translation includes a separate chapter on the killing of the dragon by Cemşîd, and it consists of 41 couplets. Looking closely at the episode on the killing of the dragon, which was rewritten by Cem Sultan, this article addresses the possible reasons why an Ottoman prince should choose to translate the Cemşîd u Hurşîd.

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CENGİZ AYTMATOV’UN DENİZ KIYISINDA KOŞAN ALA KÖPEK ROMANINDA MEKÂNIN RUHU VE “KENDİLEME” KAVRAMI

CENGİZ AYTMATOV’UN DENİZ KIYISINDA KOŞAN ALA KÖPEK ROMANINDA MEKÂNIN RUHU VE “KENDİLEME” KAVRAMI

Author(s): Serap Aslan Cobutoğlu / Language(s): Turkish Issue: 39/2022

Cengiz Aytmatov, who is one of the distinguished writers not only of Kyrgyz literature but also of all Turkish world literatures, is known to have special interactions between space and people in many of his works. It is possible to say that one of the main pillars of the author, who develops an eye-opening understanding of human psychology in his works, is the knowledge of geography, nature, space and place to which he is passionately attached. In this respect, the spatial elements in the works of the author, who are seen to deal with issues such as environmental problems and the deterioration of the human essence in parallel with the deterioration of the natural balance, in his stories and novels appear as the main determinants in reaching "human" and understanding "human". It is certain that detailed spatial studies on Aitmatov's works will create awareness in terms of understanding the author and the characters he creates in his works. In this respect, this article focuses on the subject of space and identity in Cengiz Aytmatov's novel The Ala Dog Running on the Seashore. The character of the place in the work has dimensions beyond visual and spatial features. It is seen that many spatial units of nature are symbolized through an identity value and take place in the novel as a spiritual value in terms of culture. Every effort to glorify and mythologize the place in the work has resulted in the place gaining a unique identity and its inhabitants owning it. This situation shows parallelism with the phenomenon of "owning" the place where people live. Spatial units, which are mostly told from the eyes and point of view of the child character Kirisk in the novel, are shaped around the concept of "owning" through place identity. In this context, in this article, the identity value of the place in the work is read through the phenomenon of place identity and the process of transition from place identity to identity around the concept of "owning" is mentioned.

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CENKNÂME GELENEĞİNDE HZ. ALİ İLE İFRİT CENGİNE DAİR YENİ BİR NÜSHA HAKKINDA DEĞERLENDİRME

CENKNÂME GELENEĞİNDE HZ. ALİ İLE İFRİT CENGİNE DAİR YENİ BİR NÜSHA HAKKINDA DEĞERLENDİRME

Author(s): Berna Ayaz / Language(s): Turkish Issue: 37/2022

Cenkname where Ali is the protagonist has a key role in our narrative tradition, within the life of the Prophet Muhammed. For the Turks who accepted Islam, the ideal of providing world domination in the name of the Tengri has turned into an understanding of holy war in order to spread the name of Allah. This case has also been reflected in literary tradition and appreciation. Cenknâme gives religious and moral messages, Ali also reveals a type that is idealized specifically. As is known, Ali, Muhammad's son-in-law, is his uncle's son and fourth caliph. In Cenknâme, the Prophet Muhammad and the love of Ahl al-Bayt (People of the House) are clearly seen. Ali is brave, warrior, strong, fair, intelligent. He always wins in his battles with the infidels. Ali also fights legendary and mythological beings such as giants, dragons, and afreets besides infidels. Cenkname constituting the subject of this study is recorded in Ankara National Library Writing Works Collection with 06 Mile Yz A 1454/3 archive number. The main work consists of four separate mesnevi titled Dâstân-ı Muhammed Hanefî (1a-18a), Dâstân-ı Kesikbaş (19b-22b), Hikâyet-ı Hazreti (23a-36b) and Dâstân-ı Kız (37b-441). The section consisting of 13 gold leaves is the third mesnevi in this article and was written with a mobile Nesih line. There is no definitive information related to the date of writing and the author of the work. However, the bottom of the gold leaf no. 32a has the records of H. 1187 (M. 1773-74) date and Mehmed Ağa phrases, which we believe that they have acquisition records. In the study, information will be given about the cenknâme first and then the copy will be introduced. As the hero type in the text, Ali and Efreet, the representative of evil, will be evaluated.

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Cevherî’nin Sultan II. Bayezid’e Sunduğu Methiyeler

Cevherî’nin Sultan II. Bayezid’e Sunduğu Methiyeler

Author(s): Türkan Alvan / Language(s): Turkish Issue: 1/2022

he tradition of presenting eulogy to the sultan, which was common in Turkic-Islamic societies, is not only related to poets' desire to gain rank and gifts but also has strong religious foundations. Firstly because the Prophet Muhammad liked Qaṣīda al-Burda, he gifted his mantle to the poet Ka‘b b. Zuhayr (d. 24/645). Hereafter the sultans, regarded as the khalīfa of Islam, always supported the poets to comply with the prophetic traditions (sunna). Thus the tradition of presenting eulogy to the sultan as showing devotion became widespread among poets. There are verses in the Qurʾān that point to the political relations between the governor and the governed in the world order. Accordingly, the governors are responsible for ensuring justice and serving their people. Also, the obedience of the governed people to the governors is a religious obligation for peace and stability. The reign (salṭanat) is of divine origin and obedience to the sultan is obedience to God and his Messenger. According to the widespread religious-sufistic view, the salṭanat is divided into two parts: a. Salṭanat-ı ẓāhir (the real reign) is that the lawful sultan reigned. b. Salṭanat-ı bāṭin (spiritual reign) is that bestowed on the patron saint (quṭb). The lawful sultan and the quṭb are religious heirs of the Prophet Muhammad (s.a.s), the most perfect human. So, there is a spiritual connection between the quṭb and the lawful sultan of each era and the quṭb helps the sultan with the support of God. It should be noted that such statements are a reference to the politicalspiritual union in the structure of the state. Ottoman sultans represented the caliphate model fermented with sufistic thought. In the Ottoman state tradition depending on the religious-sufistic sources quṭb-sultan relationship was considered important. The desire of every sultan to establish an affiliation with the most famous Sufis is a result of this relationship. The Ottoman people also respected the sultans, whom they saw as the last guardians of the world order (niẓām al-ʿālam). This is not the imposition of the sultan on the public but is a natural formation reflecting the agreement between the sultan and his people. Thus the legitimacy of the Ottoman sultanate had been supported by Walâyah and menākıbnames since the establishment of the state. For example, Sulṭān Bāyezīd II was known as a saint (walī) in public with his legends. But the sultans were aware that exaggerated expressions such as quṭb, mahdi in the odes were used to refer to the political-spiritual unity. With this awareness the Ottoman sultans always made an effort to protect the scholars and artists to show the power of their reign, to make their effects permanent and to gain the support of their people. Therefore, the entertainment assemblies of the sultans, most of whom were good poets, calligraphers and musicians since their princedom, had always been the most important art gatherings where especially poets and musicians exhibited their skills. Being an artist and an art-loving leader Bāyezīd II generously patronized scholars, artists, and especially poets from all over the world during his princedom in Amasya and his reign (r. 886-918/1481-1512). While he was in Amasya, he was with poets Zeynep, Mihrī, Necātī Beg, Müeyyedzāde, Hātemī, Tācizāde Cafer etc. He was a professional calligrapher, poet and composer. His nickname ʿAdlī (lawful) was appropriate to his activities: During his reign, with the spread of justice and prosperity, the peace and stability of the society increased; there had been a great development in arts, especially literature and music. The official notebook includes registers of the gifts given to the poets during the reign of Sulṭān Bāyezīd II. There are not only famous poets such as Necātī, Ḥamdī, Revānī, Firdevsī-i Rūmī, Mihrī, Ẕātī, İdris-i Bitlisī, Şerīfī, Mesīḥī but also many unknown poets in the notebook such as Nūḥī, Keşfī, Ṣafāyī, ʿAzīzī, Ṣabāyī, Mā’ilī, Sā’ilī, Rūḥī, Şehdī, Kātibī, Saʿyī, Refīḳī, Lālī, Naṣībī, ʿİyānī, Yarḥiṣārī, Vaṣfī, Müşterī, Viṣālī, Sinānī, Nişānī, Şefīʿī, Żamīrī, Nāṭıḳī, Edībī, Ḥadīdī, Baṣīrī. One of the poets mentioned in the book is poet Jawharī. In this article, the religious-sufistic background of poets’ tradition of presenting odes is explained and the determinations are made about unknown poet Jawharī’s life and his new poems’ literary value, linguistic and stylistic features of the poems translated.

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Colloquia Comparativa Litterarum

Colloquia Comparativa Litterarum

Frequency: 1 issues / Country: Bulgaria

<p>Colloquia Comparativa Litterarum is published by Sofia University St. Kliment Ohridski and edited by the literary scholars of the Balkan Studies Masters and Doctoral Studies Program (Department of General, Indo-European, and Balkan Linguistics with the Faculty of Slavic Studies). This journal aims to encourage the study of Comparative Literature. The similarities and overlaps between less popular literatures and the well-researched canonical phenomena remain rather unexplored. Colloquia Comparativa Litterarum wants to give priority to such issues; to reconsider the clich&eacute;d notions of centres and peripheries, of one-way influences, temporary delays and topic deficiencies. It makes sense to seek the meaning of common affinities and trends, in other words &ndash; to look at what is positive, stimulating, and creative about the communication between literary and cultural phenomena. In fact, the Balkans are home to just a small share of the less researched literatures in the field of Comparative Literature. In Europe, we often know too little about our neighbours, unless they happen to be the French, German or British literatures.</p> <p>Colloquia Comparativa Litterarum expresses itself in three languages: Bulgarian, French and English. It provides new opportunities for communication between scholars of Comparative Literature with the aim of a complete, conceptual and terminological understanding of new ideas within our field of research.</p>

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CÜMCÜMENÂME’NİN YENİ NÜSHALARI VE BU NÜSHALARDAN HAREKETLE CÜMCÜMENÂME YAYINIYLA İLGİLİ BAZI DÜZELTME TAVSİYELERİ

CÜMCÜMENÂME’NİN YENİ NÜSHALARI VE BU NÜSHALARDAN HAREKETLE CÜMCÜMENÂME YAYINIYLA İLGİLİ BAZI DÜZELTME TAVSİYELERİ

Author(s): Mustafa Toker,Muhsin Uygun / Language(s): Turkish Issue: 74/2022

The Jumjumanama of the Khwarezm Turkish period was published in 2020 as a joint publication of Mustafa Toker and Muhsin Uygun. Four copies were used in the publication, two in S. Petersburg and two in Kazan. As a result of our research we have done in the intervening two years, we have found 6 more copies of Jumjumanama in Kazan libraries. Two of these copies are complete, one is incomplete in the end and three are fairly incomplete. The aim of this article is to introduce these newly found copies and to ensure that some parts that disrupt the rhythm and rhyme in the copies used in the publication are corrected with the help of these newly found copies. In the copies, it is seen that there are rhythm mistakes in some verses and problems with rhyme in others. According to the statements of the authors, some of these defects were corrected based on the other copies used in the publication, and some of them were left as they were without any intervention, since they were the same in all copies. In this article, firstly, these newly found copies were introduced, and then, starting from the new copies, tried to eliminate the rhythm and rhyme errors found in other copies and reflected in the publication.

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CUMHURİYET’İN GÖLGESİNDE OSMANLI’YI HATIRLAMAK: ZEYTİNDAĞI’NDA ÖZNE, İKTİDAR VE KİMLİK

CUMHURİYET’İN GÖLGESİNDE OSMANLI’YI HATIRLAMAK: ZEYTİNDAĞI’NDA ÖZNE, İKTİDAR VE KİMLİK

Author(s): Murat GÜR / Language(s): Turkish Issue: 75/2022

Falih Rıfkı Atay was a well respected Turkish writer and journalist, and one of founding elites of Modern Turkey. In this paper, we shall examine his memoir Zeytindağı within the framework three concepts: subject, power and identity. Here, we aim to illuminate how he constructed his own identity. We will look at the text in its respective historical, ideological, and literary discourses. We also will discuss the connection between autobiographical narratives and power, and show that such texts are a means for the writer to establish themselves as a subject of power. Later, we will look at Falih Rıfkı’s distance from the power structures of the past, and his attitude towards the dominant ideology at the time. Our preliminary findings reveal that he coded his work, divided it into themes, and arranged it in such a way that it would serve the purposes of the founding ideology of Modern Turkey. They also demonstrate how memoirs can very much be part of the actuality in which they are written, even though they are retrospective in nature as a literary genre. Likewise, we’ve also come to the conclusion that memories can be read both as identity narratives, and how though them, the author can serve the continuity of the discourses of power

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DEDE KORKUT HİKÂYELERİ ÜZERİNDE BİLGİ KİRLİLİĞİ VE TAHRİFATLARA İKİ ÖRNEK

DEDE KORKUT HİKÂYELERİ ÜZERİNDE BİLGİ KİRLİLİĞİ VE TAHRİFATLARA İKİ ÖRNEK

Author(s): Erdoğan Altınkaynak / Language(s): Turkish Issue: 55/2022

Dede Korkut Stories is a work that can be a source of the quotation in almost any discipline in the field of Turkish social sciences. Therefore, like scripture, it must be emphasized, protected, and preserved. Anyone without qualification should not write about these stories, or what is written should be filtered by an expert committee. There have been many publications about Dede Korkut Stories, and even many criticisms of these publications in the scientific community. In the scientific circle, these writings have been pursued with interest, and these discussions have been an important benchmark in the formation of convictions about the work.Using a word that Fuad Köprülü, known as the founder of Turkology, may have said, as if heard it from his own mouth or taken from an article he wrote, giving the main discourse without citing or referring to it, constitute a populist approach and at the same time information pollution. This pollution becomes then a rule and accepted. A word or a sentence that there is not or is incorrectly used is later legitimized. There are several explanations for the editions of Dede Korkut Stories. We can split them into scientific or commercial publications. Another third publication type is for prestige purposes. In scientific publications, the control mechanism is also used comfortably, as the original of the stories is given. Commercially purposed publications are often published after being simplified and translated into modern Turkish. The only prestige publication is the one produced by TOBB. Simplifications made by non-experts in this prestige publication for the purpose of simplifying the stories in the publication cannot be found appropriate in terms of Turkology and simplification.

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Dede Korkut Kitabı’nda Yinelenen Öldürülme Motifleri

Dede Korkut Kitabı’nda Yinelenen Öldürülme Motifleri

Author(s): Ruşen Alizade / Language(s): Turkish Issue: 110/2022

This stady discusses the reasons and results of the emergence of recurring motifs of being murdered in the Dede Korkut Book, which has monumental importance in the Turkic culture. It is not clearly known how the inconsistencies seen in the stories have emerged and became widespread in both oral and written traditional literature. Based on Orhan Şaik Gökyay’s Dede Korkut Book, this study examines the simultaneous layers containing recurring motifs of being murdered within the context of the stories found in the book. Findings suggest that the act of killing has an invariable function. In the study, the archetype of the “recurring motifs of being murdered” examined by applying the structural-semiotic method was determined. In addition, this study found that the motifs in question, which were distributed throughout the stories, were accepted as normal events that took place in the epic by the Oghuz. Findings from this study suggest that the gradual emergence of the relationship between Oghuz Khan and the Oghuz occurred through cosmogonic rituals. In analyzing the nature of the motifs, it was found that the motifs reflect the gradual death and resurrection of these characters found in the stories.

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Denizim

Denizim

Author(s): Müge Barutca / Language(s): Turkish Issue: 119/2003

Poem: The Sea

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DERVİŞ MUHAMMED EMİN DİVANI ve DİVANDAKİ TAHMİSLER ÜZERİNE BİR İNCELEME

DERVİŞ MUHAMMED EMİN DİVANI ve DİVANDAKİ TAHMİSLER ÜZERİNE BİR İNCELEME

Author(s): Ersin TOPÇU / Language(s): Turkish Issue: 55/2022

We can say that divan literature, the first examples of which we started to encounter in the 13th century, continued until the 19th century and showed a development mainly in poetry. The divan poet Derviş Muhammed Emin, who is the subject of our study, is an 18th century divan poet. Derviş Muhammed Emin is a divan poet who uses the pen name "Emin" in his poems and whose name we can not find very often in the sources. Emin has a large sofa that can be considered voluminous. Based on his Divan, it is possible to say that Derviş Muhammed Emin had a religious-mystical literary background. While the poet says that he is connected to Celvetiye, we can say that he is also close to Halvetiye. We think that the tahmis of Derviş Muhammed Emin, who successfully used the verse forms of divan poetry in his divan, are also noteworthy. This is about the unstudied Dervish Muhammed Emin and his tahmis. We checked whether the tahmis were among the works of the poets whose tahmis were written, and we transferred them to today's Turkish to make the tahmis more understandable.

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DJELO MAṬLAʻUʼL-FECR SALAHUDDINA UŠŠAKIJA (SALAHIJA) KAO PRIMJER PRVE REGAIBIJE U OSMANSKOJ KNJIŽEVNOSTI

DJELO MAṬLAʻUʼL-FECR SALAHUDDINA UŠŠAKIJA (SALAHIJA) KAO PRIMJER PRVE REGAIBIJE U OSMANSKOJ KNJIŽEVNOSTI

Author(s): Emrah Seljaci / Language(s): Bosnian Issue: 71/2022

This paper presents the work of Maṭlaʻuʼl-fecr by a famous Ottoman poet of the 18th century, Sheikh Abdullah Salahuddin Ushshaqi - Salahi. The work is of enormous importance for the entire Ottoman literature since it is the first poetic work that thematizes the conception of the Prophet of Islam. Thus, this is the first Regaʼibiyya written and composed for the purpose of performing at religious ceremonies on the occasion of Laylatur-regaib, the blessed night of the first Thursday in the month of Rajab. According to Islamic tradition, that night the Prophet’s mother Amina conceived Muhammad. Although this type of poetry is not as frequent in Ottoman literature as the Mawlid and Miʻrajiyya, its importance should not be neglected. It is particularly significant that the first Regaʼibiyya in the history of Ottoman literature was written by Salahuddin Ushshaqi, a poet of Bosnian descent. Therefore, in the continuance of the paper, general information about the author, his life and work is offered, and after the basic characteristics of Salahi’s Regaʼibiyya, an integral translation of the Mathnawi Maṭlaʻuʼl-fecr is presented. The translation itself is accompanied by additional explanations and interpretations of certain terms or verses.

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DÜSTÛRNÂME-İ ENVERÎ İLE DEDE KORKUT TÜRKİSTAN/TÜRKMEN SAHRA/GÜNBET YAZMASINDA YER ALAN EJDER MOTİFİNİN İŞLEVİ ÜZERİNE

DÜSTÛRNÂME-İ ENVERÎ İLE DEDE KORKUT TÜRKİSTAN/TÜRKMEN SAHRA/GÜNBET YAZMASINDA YER ALAN EJDER MOTİFİNİN İŞLEVİ ÜZERİNE

Author(s): Esra Bilge Savci / Language(s): Turkish Issue: 39/2022

Düstûrnâme-i Enverî is one of the oldest history books of the Ottoman period, consisting of 118 pages written during the reign of Fatih Sultan Mehmed in the second half of the 15th century (1465). Düstûrnâme, which was written in Old Anatolian Turkish in the form of masnavi, consists of 3730 couplets. In the part of the work, which is about Ottoman history, there is a text about the struggle of Shah Melik and his sons Gündüz and Gök Alp with the dragon. In the text, the situations experienced by the beys who came out to take the dragon's head and the events that followed are described. Dede Korkut Turkestan/Turkmen Sahara/Günbet Manuscript, is a work consisting of 31 leaves, which is said to have been written in the 17th-18th century. The manuscript contains the narrative about Salur Kazan killing the dragon. In this study, the parts about the fight against the dragon in these texts, which show the Oghuz-name feature, were examined in terms of their functions. The effects of the oral creativity environment on the written creativity environment were evaluated in terms of texts. The functions of the dragon motif in the texts were discussed and it was concluded that the dragon motif, regardless of its source or origin, preserves its vitality in the public imagination and is included in these texts as a result of its wide area of influence.

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ELEŞTIREL BAKIŞ AÇISIYLA ÖZKER YAŞIN’IN “GIRNE’DEN YOL BAĞLADIK” ROMANINI YENIDEN OKUMAK

ELEŞTIREL BAKIŞ AÇISIYLA ÖZKER YAŞIN’IN “GIRNE’DEN YOL BAĞLADIK” ROMANINI YENIDEN OKUMAK

Author(s): Mustafa Yeniasır,Burak Gökbulut / Language(s): Turkish Issue: 55/2022

It is known that society has an important role in the formation of literary works. While some works of literature are created with the impact of society, a considerable number of works affect society and direct social events. Therefore, it can be said that society and literature interact with each other. When the works of Özker Yaşın, one of the important names of the Turkish Cypriot literature, are analyzed, the troubles and pains that Island Turks suffered especially in the years of national liberation struggles can be clearly seen. Özker Yaşın has presented a panorama of the national liberation struggle by the Turkish Cypriot with his many works of various types that he wrote at that time. While revealing the suffering experienced in several works such as he also reflected the historical realities to the literary field. In this study, we determined the social events reflected in Özker Yasın's novel "We tied a Road from Kyrenia", which was published in Istanbul in 1976, and evaluated the artist's perspective on these events. As a result of the examination, it was seen that the artist adhered to the realities experienced in those years and successfully applied the critical history understanding.

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EMİNE IŞINSU’NUN HİKÂYELERİNDE FEMİNİZM

EMİNE IŞINSU’NUN HİKÂYELERİNDE FEMİNİZM

Author(s): Elif Dinçer / Language(s): Turkish Issue: 39/2022

Women have been one of the symbols of modernization since the Westernization process. Although women have equal rights over the law with men, it has not been possible to see the applicability of this equality in life because the habits brought by the patriarchal life style could not be abandoned in a short time. The concept of democracy, II. After the Second Constitutional Monarchy, in a way, it merges with the feminis movement and the longing for women to raise the personalities that will ensure the survival of democracy begins. The feminist movement, which started under the leadership of Simone De Beauvoir and called the “Second Wave Women’s Movement”, also affected Turkey in the eighties. In this period, when women’s existential problems regarding gender are discussed, being a woman and feminine questions are discussed, women are no longer listening and come to a position of speaking, discussing and making their own decisions. In our country, women who cannot use their legal right sand who are subjected too ppression and violence are handled by recent novelists, albeit partly for ideological purposes. One of these writers is Emine Işınsu. In particular, most of the artist’s stories are important in that they are examples of the reflections of the changes in the view of woman after the eighties in olur literature. In our study, we aim to identify the feminist elements in these stories and to determine how and for what purpose these elements are used.

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ERDAL ÖZ’ÜN YARALISIN ADLI ROMANINDA TOPLUMSAL BİR ‘YARA’: ŞİDDET

ERDAL ÖZ’ÜN YARALISIN ADLI ROMANINDA TOPLUMSAL BİR ‘YARA’: ŞİDDET

Author(s): Tuğba Küçük / Language(s): Turkish Issue: 53/2022

"You are wounded" is one of Erdal Öz's novels that tells about the period of March 12, 1971, which is an important turning point in Turkish political history. The novel shows the violence suffered by a person detained as a “Political Criminal”. The novel "You are wounded" describes the destruction of a person through objectification. Violence is a behavior that has its roots as old as humanity. The dose and forms of violence have increased in the century we have left behind. Although their forms are different, violence is observed in every community, starting with the smallest unit of society, the family. As the purpose of violence, which is based on the urge, has diversified, types of violence have emerged. Although there are also several types of violence in the novel "You are wounded", its basis is the destruction of life, the objectification of man. There are physical, sexual, emotional, psychological, and economic dimensions and types of violence. Basically, these species are also decoupled into different subspecies among themselves. Physical, sexual, emotional, and psychological types of violence occur in the novel "You are wounded". The dimensions of psychological violence are multi-layered, and sadism-oriented violence and bloodthirstiness stand out among these layers. In this paper, the definition of violence, which is associated with the history of mankind and continues to be applied in its different forms despite the development at the level of civilization, is made first. After the general definition, the types of violence were introduced with a theoretical framework. In the novel "You are wounded", depending on the partitioning of violence, analyzes were made about how seemingly strong but actually powerless people turn others into an object to exist.

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Ergodik Edebiyat: Yeni Bir Okuma Yöntemi mi? Hâlihazırdaki Yöntemlerin Yeni Adı mı?

Ergodik Edebiyat: Yeni Bir Okuma Yöntemi mi? Hâlihazırdaki Yöntemlerin Yeni Adı mı?

Author(s): Hayrunisa Topçu / Language(s): Turkish Issue: 20/2022

In 20th and 21st centuries, scientific and technological developments that have affected all areas of life have started a new era called “digital age”. One of the fields that have changed with the effect of digitalization is literature. This process leads to the birth of a new field called electronic literature. The spread of electronic literary works causes the need for new reading methods. Ergodic literature, which is the subject of this article, is a reading method that has been theorized with the increase of electronic texts. The framework of the concept will be formed based on Espen J. Aarseth’s Cybertext Perspectives on Ergodic Literature, definitions of hypertext and cybertext will be made, and their relationship with ergodic literature will be discussed. The main purpose of the study is to introduce the concept of ergodic literature to Turkish literature at the theoretical level.

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Estetika istoka i etika zapada u djelu Orhana Pamuka

Estetika istoka i etika zapada u djelu Orhana Pamuka

Author(s): Sonja Tomović-Šundić / Language(s): Montenegrine Issue: 1/2009

This work is based on a research of poetical world of Orchan Pamuk. Author tried with literatre waz to describe difference between east - visual and west culture of word. Particularly his concept of colour, first Red, it’s analized with the point of her religious sence in shaping the world. Essay dedicated to Pamuc, deals with personal author poethic wich interlock two ways - love of the main heroes and mastor workshop of the sultan’s painters and mastor who it’s on decoration bright books imitating it’s own act of creating the world. This way, two plans interlock and refill in the authors vision of the world between Eros and Tanatos. The theme of art and colours as it’s dominant look particularly is to pointed out in Pamuck’s work, because colour has a theological sence in his deep understanding in the mistick of east.

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Faruk Duman’ın Orman Tasvirlerinde Ekofobinin İzleri

Faruk Duman’ın Orman Tasvirlerinde Ekofobinin İzleri

Author(s): Türkan Topcu / Language(s): Turkish Issue: 110/2022

The term ecophobia, which was introduced by Simon, points out the fear from or hate of nature without any logical basis. Ecophobia is deeply cultivated in the Turkish culture, so it is easy to see its traces even in the works of writers who have a certain level of nature awareness. For instance, Faruk Duman, a contemporary Turkish writer, specifically mentions a fear of the forest in his works, which can be considered as an ecofiction. This situation creates a contradiction. Faruk Duman is one of the authors with an awareness for nature. Nature is definitely not a background in his novels; however, nature has its own personality and directs the fiction. Moreover, Duman builds his novels on the unity of nature and humans. The fear of nature can be seen quite clearly in his works, where the forest stands against the reader with all of its frightening characteristics. Fictional characters are filled with apprehension regarding the forest, for which they entered for some reason. In this study, complicated characteristics regarding the relationship between nature and human will be revealed, even in ecofiction.

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Fıkra Metinlerinin Kız Ve Erkek Çocuklar Tarafından Algılanışı

Fıkra Metinlerinin Kız Ve Erkek Çocuklar Tarafından Algılanışı

Author(s): Nalan Kızıltan / Language(s): Turkish Issue: 134/2006

This study aims at discussing if there is a significant difference between male and female students’ comprehension skills of humorous texts. Therefore, six Nasreddin Hodja’s jokes in Turkish books for the first graders in Turkey have been given to 120 students in Samsun, Turkey. Both reading and listening comprehension skills of the first graders have been tested through 41 questions about the six jokes. The data have been analysed by SPSS. It has been indicated that the comprehension competence of both female and male students can be said to be insufficient for humorous texts.

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