Beyaz Güzel Bir Boşluk
Review of: Metin Turan, „Beyaz Güzel Bir Boşluk“. Review by: Emine Ayan
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Review of: Metin Turan, „Beyaz Güzel Bir Boşluk“. Review by: Emine Ayan
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In Orhan Pamuk’s Yeni Hayat, it is mentioned about a life which can be considered as meaningful by being converted to a fiction by the protagonist, Osman. The cycle of journey occurs in the dark depths of Osman’s subconscious. This cycle bears the signs of rootlessness, desire for liberation, and desire to become a ‘subject’. The image of angel pursued during these journeys points to Osman’s desire to find his existential meaning through an imagined ‘other’ associated with innocence and childhood, to build his identity and to be complete. During these journeys, the angelic image, which appears continuously as a way of salvation, refers to the desire to return to the paradise lost and mother figure; as well as the purification of sin. Eventually, this vicious cycle points to the process of Osman’s self-realization, self-recognition and self-discovery. Thereafter, he completes his ego and become a ‘subject’. In this article, a psychoanalytic review on Orhan Pamuk’s Yeni Hayat with the help of Sigmund Freud’s and Jacques Lacan’s theoretical perspectives on anxiety, id-ego-superego, creative writers and day-dreaming, psychoneurosis and mirror stage will be expounded.
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The Kizilbash/Alevî and Bektashî have been subject to various negative criticisms due to their beliefs outside Sunnism, the official belief system since the sixteenth century. It has been seen that the members of the two groups, whose social bases and beliefs mostly overlap, have faced several accusations because of their exclusive rituals. On that sense, this case came to be a subject matter in Ottoman official documents as well as in the texts written by the Westerners who were active in Ottoman territories. Sexual ones are foregrounded among the accusations that they were subject to owing to this exclusive structure of the Bektashî and the Kizilbash/Alevî communities. This perception of the communities in question came to be a mystery in accord with doubts put into circulation by Sunni communities especially. The growing interest of the society in this mystery were to be a subject matter of both the Ottoman literature and the literature of the Republic. Nur Baba penned by Yakup Kadri Karaosmanoğlu in serials in 1913 and published into a book in 1922 was the first work upon this subject. The repercussions Nur Baba had and its content became an inspiration to following works by others. The opposition to the Bektashi and the Kizilbash/Alevî was employed in common and distinct works by Ömer Seyfeddin, Peyami Safa (Server Bedî) and Niyazi Ahmet Banoğlu in the following years. This paper intends to chronologically study and analyse the portrayal of the Kizilbash/Alevî and the Bektashî in relation to the continuation of the negative perception in literature, starting with Nur Baba, , in Harem, Pamuk İpliği and Bir Genç Kız Bektaşiler Arasında and Bektaşi Kız, from the late Ottoman period to the midst of the Republic period except for Sadri Ertem’s Çıkrıklar Durunca novel.
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Ahmad Yasawi is one of the poets who had a powerful influence on Turkic culture and literature. Yasawi, for centuries, has been a source of inspiration for many poets in Turkic lands and has played a pioneering role in Sufi poetry. Until today, different copies of Dīvān-i Ḥikmet have been found, based on which different editions of the work have been published. Although in historical sources such as Mihmannâmeyi Buhara it has been mentioned as the old copies of Dīvān-i Ḥikmet, the copies we have are mostly copied in the nineteenth century. These copies which differ from each other, generally contain wisdoms from other poets. This paper has dealt with a new copy of Dīvān-i Ḥikmet in The National Library of Iran. Moreover, descriptions are provided on the features of this copy and compared with published copies, where is necessary. There are differences between this 190-page copy and the copies that have been published so far. It contains new wisdoms that does not exist in other copies. There are, in this copy, in addition to ten wisdoms in which the pen name of other poets are seen, 60 other wisdom and one litany. Sixteen of the 60 wisdoms are new. This new wisdom, which includes nearly 370 verses, will undoubtedly give a new identity to Dīvān-i Ḥikmet.
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In his youth years L. N. Tolstoy chose Arabic-Turkish literature as his future specialty. He enrolled in the Department of Arabic-Turkish Literature at Kazan University, started learning Turkish. In 1860’s he published a booklet called Muhammed where he spoke of the lives of the Turks. Tolstoy visited Turks in Tula who were taken captive by Russians in the 1878 Turkish-Russian war, talked to them about Turkish culture. He also talked to the Russian villagers who were captured by the Turks and then later returned to Russia about the life and moral structures of the Turks. Tolstoy corresponded with the translator Olga Lebedeva who came to Turkey in 1881 on his books’s translation into Turkish language. Tolstoy received information about Turkey from her. Tolstoy reflected the gained information on the lifestyle of Turks and Turkish culture in his works like Russian Reading Books, Reading Circle, Life Path etc. In the early 1900’s Tolstoy started correspondences with Turkish writers. Turkish writers such as Baha Tevfik, Raif Necdet, Vahdet Gültekin, Nazım Hikmet, Zeki Baştimar translated Tolstoy’s works into Turkish language. Trukish writers like Reşat Nuri Güntekin, Halit Fahri Ozansoy, Sabahattin Ali confessed that Tolstoy had a profound impact on their literary creativity.
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History and novel have similar concerns as the experience of dealing with and writing about social events in which man is his subject. The construction of history as stories of important events and people since ancient times has kept these two acts of writing close. The words "story" of the English word "history", which come from the same root, are a concrete indicator of this closeness. The fact that people's individual and social life styles, their struggles in the historical process, and all their actions that made it come into being, are being recorded and transmitted to next generations as concrete evidence of collective memory has forced the world of history and literature to operate on common grounds. It is doubtless that the First World War, one of the most important socio-political experiences of Turkish history, deserves literary as well as historical attention in this context. This study is intended to affect our social history and how it is seen by the Ottoman Empire in locating the authors of the war period to leave the Republic of Turkey creates conditions. The novels of the authors who wrote during the war years are analyzed with close readings made on individual, social and political themes. Novels in this period have the potential to disappoint readers who believe in the relationship of literature with society because based on the twenty-nine novels examined, the war in question is not mentioned in the works written during the war years. It is quite interesting that no hero of a novel mentions this war and the authors are more interested in the themes of the Servet-i Fünûn period, even though it is considered reasonable that the events that deeply affect societies did not immediately reflect on literature and especially in the novel. The purpose of this study is to examine the possible reasons for this interesting situation in the thematic plane of the novels.
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When the place is thought as publicly and privately, it becomes known with religion, culture, class, and gender by going beyond just being a home or a country. Therefore, although the adoption of a physical unit is intended to meet concrete needs at the beginning, the meanings it gains in the process is inherent to certain experiences. At this point, a fictional or physical place should be examined with the symbols that are loaded in time but actually constitute an important part of the social/ cultural structure. While cultural symbols form a power that shapes gender roles in the process of socialization, this formation turns into cultural codes of social memory through various cultural elements and by going through a certain phase. Thus, it is seen that places are matched with genders by acquiring figurativeness sometimes in accordance with the forms, sometimes how they are used, their usage practices or their positioning in social perception. In this sense, especially folk culture elements in which social acceptances are shaped can be seen as one of the important areas where the relationship between gender and place can be read in parallel with social acceptances. As a matter of social hierarchy, the direct or indirect relationships of the communities that belong to the same cultural structure create a gender distinction that can be encountered in almost every culture. This situation also carries an individual or a collective value. Within this scope, the relation of gender and place, whose primary field of occupation is culture in folk culture, can create a wide working area holding different perspectives. From this point of view, Dede Korkut stories which present many things about Turkish culture as a whole should also be examined within the relationship between gender and place.
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The aim of this study is to ensure that the cultural dimension discussed among the strategies to cope with the earthquake and to propose the use of this cultural dimension in earthquake education. The documents of the study consist of Turkish folk poems and memorates. In the study, document analysis method, one of the qualitative data collection methods, was used; the data were interpreted with information obtained from descriptive analysis. As a result of the research, it has been observed that Turkish folk poems and memorates have supernatural, mystical, traditional beliefs and thoughts about earthquake. The positive cultural dimension related to the earthquake that is folk poems and in memorates is that unity and solidarity and glorify of the solidarity tradition. On the other hand, the negative cultural dimension is the belief that the earthquake is a punishment due to people violated the religion, tradition and custom. In addition, the social and political disintegrations that occurred during the earthquake were also interpreted as a negative cultural dimension. From this point of view, it is suggested that the cultural dimension of the earthquake is considered as an additional strategy in addition to the known coping strategies and is defined “cultural memory strategy”.
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Oral, written and electronic cultural environments have revealed new aesthetic perception styles that enable the reproduction of literary texts. Folk culture and folk literature texts in oral medium have been seen as a source in literary productions based on this tradition in written environment and original literary works. In this article, the method of intertextuality used in modern literary studies is used to explain the way written culture takes it from verbal media texts. While the concept of text is used for written cultural products in modern literature, it is accepted that all meaningful cultural forms are text in folklore studies. In this framework, Turkish folk culture texts based on oral tradition have entered the agenda of the intelligentsia with the Ottoman reform movements. The interest in folk culture, which started with the nationalization movements, became an important source of nutrition for intellectuals from different political segments in the Republic Period. In this context, Bedri Rahmi Eyüboğlu is one of the artists who use folk culture elements by transforming them into verbal language based signs. This situation is also related to Eyüboğlu's ideological attitude. In the article, the intertextual relationship in oral and written culture in Eyüboğlu's poems is discussed. The literature on the subject has been searched and Bedri Rahmi Eyüboğlu's poems have been analyzed using text analysis method.
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Latife Tekin has focused on the issue of women with a special sensitivity in almost all her works since her first work, Sevgili Arsız Ölüm (1983), and has dealt with women in the home, social life and working life. She focused on issues such as gender inequality, oppression of women in patriarchal society, gender-based acceptance of women, deprivation of women's rights to life, equality, freedom and security. On the other hand, it has also processed the phenomenon of violence, which turns the lives of women into a nightmare and is perceived as a "disease of the age", with its sources and consequences. In Manves City, published in the same year with her latest novel, Sürüklenme (2018), it is seen that the various aspects of violence are described in more dimensions than in other works of the author. Tekin draws attention to the phenomenon of violence, which is a "health problem" and "violation of human rights", with its forms reflected in the public and private sphere. She tried to raise awareness of the reader by emphasizing all physical, sexual, economic and psychological forms of violence, its causes and especially its negative and destructive consequences on women and girls. In Tekin's work, in which she examines the issues of violence against women and gender discrimination by developing different perspectives, violence is seen in all areas of life and in every layer of society. In her work, Tekin deals with the socio-psychological status of women in particular, revealing the theme of violence in a small neighborhood rather than the acts of violence in big cities, and explains the increasing violence in parallel with technological developments and environmental degradation. From this perspective, in this study, the phenomenon of violence in the novel Manves City and the types of violence, physical, sexual and economic, are examined through female identity.
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The phenomenon of nostalgia that emerges as a result of the feelings of longing fort he past on the individual has a very close relationship with culture. Both nostalgia and culture are largely composed of the traces left by some lived / experienced events on individuals and society. It is known that nostalgia is more individual, as for culture, there are phenomena that concern the general public but it should not be forgotten that some nostalgic elements evoke the same wolds of meanings for many people. This is especially true for people of the same generation. The intersection point of nostalgia and culture is in history. The history here covers a maximum of 100 years for nostalgia but hundreds or even thousands of years for culture. Therefore, the effect and association area of the concept of culture is much wider. Nostalgia can be considered as one of the rivers feeding the ocean of culture. Although there are exceptions, both culture and nostalgia contain positive references for the individual. In this study, after the relatibnship between culture and nostalgia is explained, it will be determined what today’s folk poets desire most in terms of longing fort he past with reference to 15 folk poems that written in the 21. century, nostalgic themed, belonging to today’s folk poets,. Through the identified elements, it will be understood why these elements are missed and how they are approached, as well as what their place and values are between nostalgia and culture. As a result the traces of nostalgia can be traced in today’s folk poetry through the present representatives of Turkish folk poetry which dates back to ancient times.
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In Persian and Turkish literature there is a perpetual clash over morality between two archetypes, the ascetic and the bohemian. Throughout the history of Muslim peoples, traditional moral authorities like imams, preachers, muftis and sharia judges are those who judge and make decisions about the fate of the people in this world, and, moreover, in the afterlife. Ignoring the earthly dimensions of man, these authorities, claim to create a purely spiritual individual. Such a discourse created individuals who had to either lead an ascetic life or have two contradictory ways of living. Living with double standards caused the rise of hypocrisy and deceitfulness. The fighting against this phenomenon of hypocrisy took a special place in Persian literature, and later in Turkish, furthermore, in the Oriental-Islamic Albanian tradition. Such a topic has occupied an important place likewise in the poetic work of Ymer Lufti Paçarizi. In his poetry there are two literary characters, the ascetic vs bohemian, who follow completely opposite discourses on morality.
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Written in the second half of the 18th century in the Ottoman Turkish language the Chronicle of Mullā Muṣṭafā Basheskī discusses ideological references about hetero-images in regard to post-structuralist imagology. Considering the hypothesis that the image of the other is always culturally conditioned, the members of other religions are researched through the analysis (Bosnian Catholics, Orthodox and Jews), military and political enemies of the Ottoman Empire (Austrians, Russians, Montenegrins) and non-Bosnians (Turks and Arabs). To be more precise, the way in which the chronicler creates the image of the members of other religions always depends on the fact whether they are neighbors i.e. people who live nearby and share living space or the members of other religions living across the Empire’s border. Basheskī’s descriptions, characterizations, as well as his comments of the ‘’inner others’’, are never primarily directed at the religious identity of the mentioned ones; those characterizations, however, either affirmative or negative, are always ad hominem oriented and related to real people. Nevertheless, as regards to the imagery point of view, those characterizations go beyond the notion of religion, being general and universal. Accordingly, such perception is related to chronicler’s cosmopolitan interpretation of the original rules of Islam, as well as to his affinity towards Sufi mysticism. As a result, imagery point of view of Sarajevo in the Chronicle does not function on the profanedescriptive, but on the ethical grounds, thus connecting empirical, concrete and metaphysical. However, as regards to the ‘’external others’’, the lack of information and affective relation towards the real danger, resulted in predominance of mythological conceptions and stereotypes even in Basheskī’s Chronicle.
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The present study is made from the valuable research of well-known authors in the field of folkloristic and anthropology, an important role having the research that we undertook on the ground among the Tatars and Turks of Dobruja were carried out through direct contact with them, with priority using the method of participatory observation, the second method used is the case study method on the significance of Dobruja, in this research we are talking about the traditional Romanian culture of Dobruja and last but not least the interview method to learn significant details and symbolic plurivalence of popular holidays from the perspective of the direct experience of the main actors. In the life of a man there are three elements of decisive importance, they are: birth, marriage and death. Human relations with the environment begin before birth and end with death. This happens especially in traditional social media, where man is very closely linked to the surrounding social environment. In the traditional social environment, the birth of a man has the meaning of entering a world with well-defined traditions and Customs. From the great wealth of traditions and Customs in our work we have submitted to attention the traditions regarding funeral customs as the final stage of human existence, starting from the idea that life is a crossing, a party, a road with three great thresholds. This last part of life death is the tragic ending of a biological cycle. At this stage the participation of the individual is only symbolic in the conduct of events. Religious traditions are predominant in both Muslims and Christians, which leads to the standardization of Customs. As collective rites, they are periodic ceremonies of remembrance of the deceased. As rites of aggregation, first of all are the meals after the funeral and those on the occasion of commemoration, the tables aimed at renewing for the members of a group remaining alive, and sometimes with the deceased, the chain broken by the disappearance of one from its elements. Man's duty is to live life as long as he was given himself, no more, no less. Life is a road with thresholds, from which you cannot turn, nor can you stop.
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One of the important figures from Bosnia and a commentator on classical works written in Persian was Suʻūdi Bosnawī. Suʻūdī’s commentary on the Divan of Hafiz gained the fame during his lifetime and continued to be read in later centuries. This paper discusses the issue of understanding Suʻūdī’s method of hermeneutic analysis of words, concepts and metaphors in literary texts and what types of knowledge are provided in it. Suʻūdī’s method of commentary is attempted to be illustrated by the example of the analysis of one distichon.
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Human beings are the only creatures that "evaluate their actions within a certain meaning, select them and take responsibility for what they encounter as a result. However, in an unequal system where the strong rule over the weak, individuals become dependent, obedient and to be pasture individuals over time. In this context, the factor that brought together Bertolt Brecht and Sait Faik Abasıyanık, who lived in different nations in the same period, at a common point; their belief that every problem encountered at the level of individual and society can be solved by taking the mind as a guide and assimilating the critical view. In this study, written in two different geographies, in two different languages; Sait Faik's short story Sinagrite Father and Bertolt Brecht's short story If Sharks Were Human were handled with hermeneutic method. Purpose; to explain the critical attitude of both authors towards the system and society with a comparative understanding. As a result of the study, it has been observed that in the short stories that both authors deal with an allegorical narrative, they bring a universal criticism towards the oppositions such as strong/weak, oppressor/oppressed, active/passive degeneration of human beings and the existing system that causes it.
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Chelebi (Çelebi) Sulṭān is a Ṣūfī poet. Due to poor and limited sources, there is a hardness in finding accurate and sufficient information about him. Abdülbaki Gölpınarlı claimed that this anonymous poet could be Oğlan Sheikh İsmāʿil-i Maʿşūḳī (d. 1539) from Bayramī-Melāmī by relying on the unanimous ghazal recorded in Ḥālet Efendi 800 in Suleymaniye Library. However, the fact that the aforementioned ghazal with simple copy variations published in Eşrefoğlu Rūmī Diwan weakens the credibility of his argument that Chelebi Sulṭān could be Oğlan Sheikh İsmāʿil-i Maʿşūḳī. Though the acknowledgment of this data, Gölpınarlı still insisted on the credibility of his claim that the ghazal belongs to Oğlan Sheikh. Moreover he argued that the claims suggesting that the ghazal belongs to Eşrefoğlu Rūmī (d.1469) should be questioned. Other than this ghazal, there is one more qasida (ḳasīde) with having gizlidir word after the rhyme associate to Chelebi Sulṭān, and an annotation to this qasida by Āyīne-zāde Meḥmed Şemseddīn-i Sirozī (d. 1688/89). However, neither the qasida and ghazal attributed Chelebi Sulṭān nor the Āyīne-zāde’s annotation provide satisfying information to identify the identity of the poet. Therefore, it can be claimed that Chelebi Sulṭān’s identification is based on weak arguments. No more evidence can develop these estimations into evidence-based arguments. This article tries to provide a virtual framework for the identity of Chelebi Sulṭān. In this context, the article firstly discusses Chelebi Sulṭān’s disposition and popularity on Ṣūfī groups by considering the contents of the manuscripts mentioning him. Then, it analyzes whether Chelebi Sulṭān is associated with Ḥurūfīs or not by focusing on the ism-musemmā subject in the two first couplets of the qasida attributed to the Ṣūfī poet. Finally, the article speculates whether the poet called Chelebi Sulṭān in literature could be Misālī (d. 1577), or not, who is one of the Ḥurūfī poets. The subject of Chelebi Sulṭān's connection with Ḥurūfīsm is examined under two titles in the article. The possibility of Chelebi Sulṭān to be Misālī, one of the Ḥurūfī poets, was discussed based on the qasida with nedür rhyme. In this regard, there are two assumptions. The first one is that the pseudonym Misālī is mentioned in the qasida, and the second evidence is that there is a qasida with nedür word after rhyme belonging to Chelebi Sulṭān in the two copies of the Misālī Diwan. However, although the mentioned qasida exists in the recent copies, this qasida is not found in the oldest copies of the diwan. Therefore it is possible to conclude that this lack weakens the possibility that Chelebi Sulṭān could be Misālī, one of the Ḥurūfī poets. The second title is related to the issue of the ism-musemmā in the first two couplets of the qasida with nedür word after rhyme. Through this analysis, it was discussed whether Chelebi Sulṭān could be Ḥurūfī or not. At this point, it is revealed that there is a similarity between the two couplets of Chelebi Sulṭān in the qasida with nedür word after rhyme on the issue of ism-musemmā and some other couplets of Ḥurūfī poets (Nesīmī / Ḫalîlî, Misālī, et al.) on the same issue. Besides, the views of a few groups, apart from the Ḥurūfī Poets, that discussed ism-musemmā issue in their poetry, were evaluated. The article refers to the Ṣūfī poet's qasida with nedür word after rhyme while discussing the issue of which groups favored Chelebi Sulṭān more and it also tried to determine which groups read this qasida at that period. To discuss the general content of the manuscript, the manuscript registered in Suleymaniye Library Mihrisah Sultan number 185, the corpus cataloged in Suleymaniye Library, Galata Mevlevihanesi 233, and the manuscript cataloged in Millet Library Ali Emiri Collection (AEArb) 4341, were examined. Thus it can be claimed both Chelebi Sulṭān and his qasida were popular among heterodox groups, as it was observed that the qasida also exists in the works of Ḥurūfī, Alevi-Bektashi, and Bayramī-Melāmī groups. Despite all this, there is no clear conclusion regarding the identity of Chelebi Sulṭān. Nevertheless, it is possible to say that Chelebi Sulṭān was popular among heterodox Ṣūfī groups and that some Ḥurūfī views influenced him.
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Orhan Hancerlioglu (1916-1991) was a writer who served in civil service positions in Istanbul, Anatolia and Thrace. Although at the present day he is usually remembered with his philosophical works, he had contributed to the Turkish literature with his novels and stories, in which he had told his observations about the places where he had lived and observed depending on people, nature and tradition. In particular, his stories which were published between 1946 and 1953 drew attention with his observations about the people living in Istanbul together with the details about Turkish villagers from the point of view of a townsman who had to serve away from the city. The contrast depending on a townsman who live in a village creates an astonishing and strengthening effect of the perception about rural settlement. Depending on the features of Turkish peasants and townsmen which were presented by Hancerlioglu in his Unmanned City, which was published in 1953, this essay seeks to commemorate him on the 30th anniversary of his death, examine the various aspects of Turkish people’s abilities in rural and urban life through the possibilities of fictional structure and remember his place in Turkish literature.
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Turkish humor publishing, which takes its roots from oral culture, has formed its own tradition for a century and a half despite the troubles it has gone through from time to time, and many classic heroes have emerged from this tradition, shaped by the lines of powerful cartoonists. The heroes in question have gained a folkloric meaning by settling in the common memory, such as Nasrettin Hodja, Bektashi, Karagoz, Kavuklu and many other examples in traditional narratives. The subject of this article is the analysis of the series, which is the narrative of one of these heroes and created by Umut Sarıkaya in the Uykusuz Magazine with the name “Aşkımızın Meyvesi Aytek (The Fruit of Our Love, Aytek)” from the axis of the conflict of tradition and modernity. In the aforementioned cartoon series, the story of a couple who adopted the Western lifestyle as a whole and their children named Aytek, who represent peasantry, provincialism, poverty and traditionalism in almost every detail, are told. The series mentioned in this study has been tried to be analyzed with the semiotics approach. Although the conflict between modernity and traditionalism was shown in the cartoons through his parents and Aytek, it was found that this performance was presented in unusual roles as a result of the research. It has been concluded that through the dissonance of the new generation prefering the old and the old generation prefering the new, this unique humor has remarkable data in terms of presenting the consequences of the Westernization efforts that has been going on in social life in Turkey for nearly two centuries and which can also be described as a kind of “cultural schizophrenia”.
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This study aimed to investigate the writing technique applied to produce the first local popular novels in the Turkish literary system, and the roles of these novels in the specific time period. The research materials of this study were Türklerin Sherlock Holmes’ü Amanvermez Avni (1913-1914), Kazıklı Voyvoda (1928), and Baytekin (1935-1936), respectively the first examples of the crime fiction, horror fiction and graphic novels in the Turkish literary system. These first local examples of popular literature are also labelled adaptation or imitation because of their resemblance to popular Western fiction. Since the contemporary translation theories are based on the idea that every translation is a rewriting and represents a particular ideology, I analysed the aforementioned works as “translated texts” in relation to the social conditions of the period of publication. The study showed that popular literature is a functional tool to construct national identity, aiming to spread the tenets of the adopted ideology to every segment of society, and that the first examples of Turkish popular literature were produced through translation for this particular purpose. In this study, I used the Turkish term “telif” not as the synonym of original, but to describe a writing technique which means “creative mediation”. Therefore, I discussed the findings of the analysis within the framework of “telif” (“creative mediation”), which in this case means writing/creating through translation in the Ottoman period and early years of the Turkish Republic. As a result, this study uncovered that the aforementioned works as the first examples of Turkish popular literature genres were produced through translation technique called “telif” (“creative mediation”).
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