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Almanya’da Yaşayan Azerbaycan Kökenli Bir Yazar: Orhan Aras

Author(s): Asuman Gürman Şahin / Language(s): Turkish / Issue: 01/2016

Turks, who have emigrated to Germany as workers, have found a place in literature for themselves in the country they lived. In Germany, lots of studies have been conducted on the development of Modern Turkish Literature. However, a lack of studies on Turkish artists’ lives and literary works is noteworthy. A master’s thesis was prepared by the writer of this paper about the life and literary works of Orhan Aras- an author about whom there is no information in the literature on authors of Turkish origin living in Germany. The purpose of the current study is to identify and plot where Orhan Aras stands in the Turkish literature developing in Germany as an author whose family migrated from Azerbaijan to Turkey, and who was born in Turkey and has been living in Germany. The analysis is conducted in two stages. In the first stage, the shared characteristics of second generation authors including Orhan Aras are presented, and in the second stage unique characteristics of the author are introduced. The foremost characteristic of the author distinguishing him from his contemporaries is his Azerbaijani accent and themes rooted in his family.

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Alternativni prostori/alternativna vremena. “Tvrđave” Meše Selimovića, Ismaila Kadarea i Orhana Pamuka

Author(s): Davor Beganović / Language(s): Bosnian / Issue: 38/2010

U promijenjenim uvjetima u kojima se znanost o književnosti našla s početka 21. stoljeća teorijsko je izučavanje prostora zauzelo jednu od centralnih uloga. Tzv. “turns”, kojima je Doris Bachmann-Medick posvetila čitavu studiju (Bachmann-Medick 2006), pomjerili su težište ispitivanja s filološkoga ka raznolikim područjima koja književnost kao ljudsku djelatnost pokušavaju ukotviti u diverzificiranim manifestacijama svijeta života što ih je nemogućno obuhvatiti klasičnim postupcima hermeneutičke ili strukturalne analize. U nizu obrata koje pod njihovim engleskim nazivljem nabraja Bachmann-Medickova jedan je od središnjih spatial turn, dakle prostorni.

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Ambiwalencje nowoczesności. Powieść turecka i modernizm

Author(s): Piotr Kawulok / Language(s): Polish / Issue: 6/2013

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.

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An ecocrıtıcal readıng of representatıons of nature in modern Turkısh novel

Author(s): Berrin N. Aksoy / Language(s): English / Issue: 2/2019

Modern Turkish novel developed in the 19th century, greatly inspired by the translations of foreign models. Since then, it has undergone a gradual transformation in terms of style, subject matter and innovative genres and modes of expression thanks to the potentials provided by local cultural and traditional literary sources. Of those, people’s ballads, court poetry and folkstories and songs which have celebrated the geographical, regional and natural characteristics of the homeland and which portrayed the forms of a relationship between the human and nature lie deep in the cultural memory and consciousness of the people. Such a literary climate enables novelists to weave several representations of this relationship between human and nature as a dominating metaphor or motif in their work. In this paper, I will trace the manifestations of this relationship and their artistic and literary functions in the novel Kuyucaklı Yusuf (Yusuf from Kuyucak) by Sabahattin Ali, and Ortadirek (The Wind from the Plain) by Yaşar Kemal.

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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.

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An Integrated Approach To Teaching/ Studying Postcolonial Poetry

Author(s): Belgin Elbir / Language(s): English / Issue: 2/2019

This article presents a discussion on teaching/ studying postcolonial poetry in English as part of a course on modern and contemporary poetry in a foreign language literature classroom at university level. The argument in the article is based on ways and benefits of using an integrated approach that pays attention to, and puts emphasis on, fostering students’ literary and language competence to meet their academic and occupational needs. The particular poems chosen to illustrate the argument are by Grace Nichols and John Agard, two contemporary immigrant poets from the Caribbean, whose work can be regarded as highly representative of the characteristic features and major concerns of much postcolonial poetry produced in Britain by poets from former colonies.

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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.

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ANADOLU TÜRKMEN AĞITLARININ YAPISI

Author(s): Evrim Ulusan Öztürkmen / Language(s): Turkish / Issue: 27/2019

On a verbal level, an elegy can be regarded as the narrative form of the death process. Elegies transmit the news of death, depict manner of death and convey the guidelines for re-ordering the lives of those left behind and dissolving the ambiguity following death. They describe the emotional responses to death such as pain, sorrow, anger and despair. However, the structure of an elegy cannot be limited to its verbal layout as the elegy is a performative poetic form. In the performances of elegies, the tears, meanings, tremors, accompanying the tune, and the responses of people to the transformative capacity of nature materialise through human voice and gestures, and they are transferred onto a cultural level. In order to interpret the characteristics of this poetic form, the melody of an elegy, the physical acts of its performer and the audience should be evaluated together. In this study, the elegy is addressed as a performative poetic form and the characteristics of Anatolian Turkmen elegies are discussed. Following a structuralist approach, elegies are analysed on thematic, melodic and dramatic levels. As a conclusion, it is established that Turkmen elegies follow some consistent and continuous patterns. The function of the findings in the organisation of Anatolian Turkmenian society is discussed. The elegies are types of rites-of-passage poems which guide the mourning communities from turmoil to order; therefore, elegies mostly deal with matters of life preceding and following death, rather than the death itself.

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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.”

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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.

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Anne Arketipinin Didem Madak’ın Şiirlerindeki İzleri

Author(s): Ece Serrican Kabalcı / Language(s): Turkish / Issue: 97/2019

Archetypes, which are included in the psychology studies that Carl Gustav Jung called “Analytical Psychology”, are behavioral patterns that have been transferred from past to present. The archetypes, which are accepted as “primary pattern/ model”, and which exist outside of humans’ mutual/collective unconscious, are the codes that connect the individual to the universal. One of these codes, the mother archetype, has a trait in human life. Didem Madak, a poet whose “mother archetype” could be traced, lost her mother at a young age and left her three-year-old daughter behind in her forties. Thus, Didem Madak has reflected pain of being motherless to her works. The three works that collect Didem Madak’s poems are titled as Grapon Kâğıtları (2000), Ah’lar Ağacı (2002) and Pulbiber Mahallesi (2007). The poet dedicated her poems to different people just as she did in her books. There are eighteen poems in Grapon Kâğıtları, nine in Ah’lar Ağacı, and fifteen in the Pulbiber Mahallesi. At the end of the Pulbiber Mahallesi; there are four poems which were not included in the books of the poet, but published in journals under the title “Ardından”, the text of her last days from the pen of her close friend Müjde Bilir, and the last poem she wrote, and her last poem named “128 Dikişli Şiir”. In this study, all the poems in the three books were examined based on the archetypal criticism method which was framed by Carl Gustav Jung and the findings obtained by taking the mother archetype in the center were evaluated.

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Anneyi Kusmak; Kristevacı İğrençlik Üzerinden Sevim Burak’ın “İşte Baş İşte Gövde İşte Kanatlar” Adlı Oyununda Göçün Dili

Author(s): Duygu Toksoy Çeber / Language(s): Turkish / Publication Year: 0

Göç olgusu sınır bir durumdur; iç ile dışa, uzak ile yakına, yaşayan ile ölüye, görünen ile görünmeyene, geçmiş ile şimdiye ait sınırların orta yerinde beliren bir muğlaklık yaratır. Bu arada olma durumu toplumda, kültürde, dilde, sanat ve edebiyatta yeni formlar yaratma imkanına sahiptir. Sabitlik yerine, hareketlilik ve akışkanlığı ifade eden göç, yazınsal ve tiyatral metinlerin mekan, zaman ve dilinde aynı muğlaklığa ve akışkanlığa yol açabilir.

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ANTIRATNO PISMO U ROMANU SEVDALINKA AJŠE KULIN

Author(s): Muris Bajramović / Language(s): Bosnian / Publication Year: 0

Ayse Kulin is a contemporary Turkish writer. In her novel Sevdalinka (Sarajevo of love and war) she is writing about the rising nationalism in the nineties. In literary theory she is using the poetics of the war letter. The novel is following love story between Stefan and Nimeta. It is showing how are the intimate stories and lives deeply contaminated by the history and politics, as the story shows.

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Araf’taki Edebiyat

Author(s): Şahbender Çoraklı / Language(s): Turkish / Publication Year: 0

Sonuçları önceden hesap edilmemiş olsa da, tarihleriyle, kültürleriyle, değerleriyle; kısaca kendilerine özgü dünyalarıyla; ailelerinden uzakta, sıla özlemi çeken, yalnız, dışlanmış, birçok sorunları olan bir topluluk meydana gelmiştir. İsviçreli yazar Max Frisch bu gerçeğe, “İş gücü istenmişti, insanlar geldi,”(Frisch, 1991: 14) diyerek dikkat çekmiştir. Zafer Şenocak da, “İş gücü demek, yedek parça demek değil. Onlar birer insan. Geçmiş bir tarihleri, kendilerine özgü bir dünyaları ve kültürleri var,”(Şenocak, 1986: 65-70) demiştir.

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ARAPÇA GÜZEL SÖZLER DERLEMESİ NESRÜ’L-LEÂLÎ’NİN MENSUR BİR TERCÜMESİ

Author(s): Âdem CEYHAN,Hasan Yilmaz / Language(s): Turkish / Issue: 03/2019

Nesrü’l-leâlî is a booklet that is prepared by Tabersî and it contains approximately 290 Arabic aphorisms of Hz. Ali chosen among his thousands words which was organized in accordance with the order of elifba. These wise words which express the ideas and recommendations of morality and dignity, have been the subject of translation and commentary activities of various scholars, poets and writers for centuries. The oldest examples that can be identified in the history of Turkish literature which were created in 15’th century, its translations and interpretations have continued for centuries. There are some well known literary figures such as Ali Şîr Nevâî, Kastamonulu Latîfî and Muallim Nâcî among the interpreters of this collection which have been translated or interpreted by four scientists, poets and writers. There are also Turkish translations of the book whose translaters are unknown. In these studies, one of the first Turkish translations of Arabic language prose whose author and the date of writing are unknown, its first introduced then the text of booklet translated into new letters are given. After the translation of the vocabularies, the unclear translator also expresses the ideas or lessons learned from them. The Turkish translation of the short Arabic text, which included the advice to the people and the people who followed the translation process, was included in the study, considering that it could be the work of the same translator as well.

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ARNAVUT KÜLTÜR VE EDEBİYATINDA MEVLİD YAZMA GELENEĞİ

Author(s): MERAL JAJHAI / Language(s): Turkish / Issue: 2/2015

Similar to other Muslim communities, mawlid occurs as the expression of love for our Prophet in the Albanian community. Recently, it has gained a wider place in cultural life as the written work or celebration ceremony.Mawlid is used to revive the religious life and in individual plans as signification tool for changes in all stages of life. In the beginning, it was performed in Turkish. In the passage of time, it started to be performed in Albanian which contributed to the accumulation of mawlids among the Albanians. Besides its educational character, mawlid is also a source of hope to gain intercession from Hz. Muhammed (s.a.v.), keep his name alive and commemorating him. This is one of the main motives behind survival and popularity of mawlid among the Albanian Muslims.In the light of texts of mawlids and latest research related with it, this study aims to focus on the development of mawlid as a part of the Albanian culture.

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Asyada bir kadin tezkireci (Dr. Şefika Yarkin)

Author(s): Murat Akyüz / Language(s): Turkish / Issue: 33/2017

In order not to forget peopled deemed important (valuable) and to make their memories last forever many have been in a search. One of these endeavors is observed to be “tadhkira”, a collection of records on the lives and works of the poets as well as prominent individuals (as a type biography). In this study, the term tadhkira has been initially defined while the reasons for the historical development of the tadhkira preparation as well as the tradition of composing them about poets have been emphasized. The heritage of drafting poet tadhkira in Turkish which was associated by the name Ali Shir Nevai, later on began to develop in the lands of Anatolia and Azerbaijan. Other than the work composed in Eastern Turkish by Ali Shir Nevai and Sadiki, unfortunately, no other examples have been written until XX century. Completely all of them written either in eastern or in western Turkish languages had been by males authors. At this point, Shefika Yarkin has been the pioneer female tadhkira author in Central Asia with her work named “Ipek Taleleri” (Silken Fates) covering the Uzbek poets of Afghanistan while writing the first biography on women poets. In this paper, while more information is provided about other works of Shefika Yarkin, the importance of the piece named “Ipek Taleleri” elaborating Uzbek women poets has been emphasized. The Purpose: To discover the female tadhkira authors besides the work done on women in the past and present.

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Ataol Behramoğlu’nun Şiirlerinde Şiddetli İmge ve Bunaltı İzleği

Author(s): Vedi Aşkaroğlu / Language(s): Turkish / Issue: 28/2015

A person begins to question the meaning of his/her existence in the presence of pressurizing spaces of the soul. Death, destruction and war are concrete cases which put great pressure on the soul of humans. These phenomena not only make humans question everything meaningful but also sweep away all the meaning of life, for humans have always been directed to live with others in the same space depending on them. In the case of death, the value of emotions, ideas and sharing turns into dust and nihilism, and losses emerge like messengers / clues of one's finite fate. Destruction leads to complete absence of understanding for a mind used to living in a cosmos based on logical cause-effect relationship, and humans suddenly find themselves in a horrible case of hollowness and chaos. Violent image is the tragic scream of a person who suffers from existential agony, questioning both his/her own identity and the community s/he lives in, in the presence of destruction, annihilation and loss of meaning. Violent image, which reflects the verbal incarnation of futile questioning and emotions, has an important significance in the poetry of Ataol Behramoğlu, who has a sensitive mind. Behramoğlu writes about the reflections of his mind against death, destruction, war, degeneration and loss of meaning on a personal level with the subject "I" and on a universal level with the subject "we".

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Atebetü’l-Hakayık’ta Algı Fiilleri

Author(s): Hüseyin Yildiz / Language(s): Turkish / Issue: 60/2018

Atebet al-Hakayık was written in Karakhanid by Edib Ahmet Yüknekî, which is placed in the first Turco-Islamic period’s literary works. It is a didactic-poetic work having religious and mystical scope. One of the sub-groups of mental verbs examined by linguists in various aspects is the perception verbs. In various sources, the terms perception verbs, sensory perception verbs and sensation verbs are used and the classifications on the perception verbs, which are also discussed under cognitive verbs from time to time, are generally based on essential ‘five sense’. Several studies are conducted on different languages by various researchers such as Viberg, Levin, Sweetser, framenet, IbarretxeAntuñano, González Orta, Gunnarsdóttir, Blendae and so on and on Turkish by Kuliev, Yaylagül, Kamchybekova, Şahin, Seçkin, Ayan and Türkdil, Gökçe, Yıldız and so on. In this study, the perception verbs that can be found in Atebet al-Hakayık written by Edib Ahmet Yükneki will be discussed in five different groups: eye, ear, nose, taste and contact verbs. The verbs will be classified in these groups and be analyzed by showing in related context, depending on example sentences. So that, the intelligence and ideas of the author and his era will be tried to be understood through a religious-sufistic content.

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Atebetü’l-Hakâyık’ta Bir Emir Eki

Author(s): Vugar Sultanzade / Language(s): Turkish / Issue: 59/2018

Atebetu’l-Hakayik contains three different morphemes for the second singular imperative. One of them is zero (null) morpheme, second one is -GIl, and the third one is -A. The first two morphemes have been used much more than the third one in Atebetu’l-Hakayik, as well as in the other sources of the Qarakhanid period; and moreover, the related literature deals generally with them when the imperative mood is in question. The third morpheme has not been approached as a special study until today. The article deals just with this morpheme. The morpheme -A treated generally as an emphatic or intensive particle. But as we see in Atebetu’l-Hakayik and other sources, the morpheme - A (as well as the suffix -GIl) was used for softening rather than for strengthening the order. The imperative mood does not mean just an order, a command; it includes also request, suggestion, recommendation and other functions. In the examples from Atebetu’l-Hakayik, the suffix -A is always used in a suggestion and advice function, and besides, for just for the second singular imperative. This limitation is the main proof that the morpheme is rather an imperative suffix than a particle. The article, where the differences between this morpheme and the real A particle are listed, presents other proofs as well. Information about the etymology and historical development of this suffix, as well as information on the use and functions of its traits in our days is also given in the article in comparison with the Qarakhanid period.

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