“Bindiği Dalı Kesmek”: Türk Dünyası Folklorunda Eş ve Benzer Yaratmalara Nasıl Yaklaşılmalı?

Author(s): Cemalettin Yavuz / Language(s): Turkish Issue: 107/2021

In this study, I examine the issue of how to approach similar cases encountered in Turkic World folklore. In this context, I emphasize the importance of comparison method, holistic approach and focusing on micro-scale common grounds, also remark the limitations of concepts such as genre, typology, variant, version and analytical tools and the importance of multi-dimensional and flexible approaches. Accordingly, based on the comparative model proposed by Lauri Honko, I analyze a case -commonly encountered in Turkic World folklore- with its ecological, historical and phenomenological dimensions. Determining the common point that connects the narratives which are quite differentiated in terms of text -genre, size, episode, number of motifs, language- and are attributed to different characters, I try to reveal the effect of the unique characteristics of various Turkic peoples that are geographically distant or close to each other, on folkloric production, and to show how socio-cultural, historical, religious and ecological factors differentiate or make similar communities within the framework of a common phenomenon. Finally, I suggest that the methodology of the folklore researches of the Turkic World should continue to be discussed, and studies should be carried out to collect the accumulated data in a common and large platform that is convenient to use the possibilities of the digital age effectively.

“BİTİSE KALIR SÖZ”: SÖZ VE YAZI İLİŞKİSİ AÇISINDAN KUTADGU BİLİG

Author(s): Gülten KÜÇÜKBASMACI / Language(s): Turkish Issue: 33/2021

"Kutadgu Bilig" is one of the first written works of Turks, who were included in a new cultural environment with the acceptance of Islam. The work, which deals with the ideal state and social order, is extremely important as it allows to identify the mentality and perception of the period in which it was written by converting it into a written text. The article will focus on the perception of "word" and "writing" in the 11th century, based on "Kutadgu Bilig" as a written text in the context of the written cultural environment. In the text called "If the word is written, it remains", the writing that creates a different communication style with the transition to the written culture environment is glorified. Since the writing fixes by saving the word, it represents the permanent against change. This feature of writing, which enables it to be glorified, also leads to the defective aspects of the written communication style. In the work, it is seen that the writing is superior to words because it helps to keep accounts, record the date and keep records. The permanence of writing has been in favor of writing in the face of human mortality. Although it is seen that the written word is considered more effective than the spoken word, the reliability of the word continues.

“DEDE KORKUT KİTABI”NIN KOMPOZİSYON ÖZELLİKLERİ VE ŞİİR SANATINA DAİR

Author(s): Rövşen Alızade / Language(s): Turkish Issue: 28/2019

Clans of Dede Qorqut narrates events occurring around a certain hero and such a condition was a serious base to offer opinion about two levels (characteristics of composition and poetry) of Oghuzname which were related to the name of bard Qorqut. The clerk who was compiling the book of Dede Qorqut in a single book collected all twelve books each of which belongs to separate oghuz clan independently. Irregularity of composition seen in discontinuity of developments of the events in clans of the book of Dede Qorqut is also related to this matter. Although some clans of Dede Qorqut are related to the same hero and similar events, in chronological perspective, they should have been appearing in the book with different arrangements. For Instance, we can pay attention to the fact that information on Salu Kazan (second, fourth, eleventh clans) is firstly given in the second clan. In this clan, Kazan Han’s son Uruz is in independent condition, moreover, when the men go hunting, he is accredited to protect the homeland with three hundred brave men. In the fourth clan, the son of Kazan has just reached the age of competence and “did not shed blood by beheading”. Kazan Han takes Uruz with him for hunting in order to teach him hunting and fighting. Hence, in comparison to the second clan, this clan incorporates events of more historic ages. Composition features of Oghuzname tradition are seen in verse presentation of prose sections that is classical for the epics of Oghuz successors. As in many epics of the Turks, in the book of Dede Qorqut, dialogues of the heroes and their alterations are illustrated in poems. Therefore, exciting layer of Dede Qorqut language is directly revealed by poems with apologetic content.

“İhtiyar Çilingir” Hikayesinin Metin Merkezli Dilbilimsel Eleştirisi

Author(s): Çimen Özçam / Language(s): Turkish Issue: 120/2003

Biz bu makalemizde, XX. yüzyıl Türk hikâyeciliğinin önde gelen üçbeş yazarından biri olan Memduh Şevket Esendal’ın 1921 öncesi hikâyelerinden “İhtiyar Çilingir” adlı hikâyesini metin-merkezli dilbilimsel eleştiri yöntemine göre inceleyerek bu değerli yazarımızın anlatı özelliklerini belirtmeye çalıştık. Michael Toolan’ın geliştirmiş olduğu bu eleştiri yönteminde edebî metnin önemli olan dilbilgisel özellikleri seçilir ve incelenir.

“Mâni’u’n-Nukûş” ve Klâsik Türk Şiirinde Duvar Yazısı: “Âh Şâhum”

Author(s): Mustafa Uğur Karadeniz / Language(s): Turkish Issue: 106/2021

Walls have transformed into a form of communication through which the distressed and the protestors conveyed their messages. In order to prevent graffiti, foundations have some staff called “mâni’u’n-nukûş”, which are appointed with a special allocation from their budget. It’s known that also the lovers may express their sentiments through graffiti in Turkish classical poetry. The prevalence of this action of the lovers, who write on the walls with various colors, can be understood from the formation of jargon related to the graffiti. In this sense, it’s been observed that graffiti has become the subject of many poems. While some verses can be written on the walls, some graffiti at times can be seen at some verses. It is known that lovers or sufferers write poems or other sentences expressing their longing, love and longing, pain and troubles on the walls of accommodation places such as inns, caravansaries or mosques, baths, and imaret. The lovers in trouble have found an exclamation to express their love and all their feelings to their lovers in the most concise way: “âh şâhum”. In this work, which aims to show a life-facing aspect of classical Turkish poetry and to give place to the sound of the street based on this poetry tradition, the reflections of graffiti in poetry were tried to be considered. The reasons for writing on the wall were discussed. When the sample texts are examined, the conclusion is that graffiti is common but not considered legitimate. In addition, it is seen that this action is trying to be prevented.

“Ne Develer Tellal idi, Ne Pireler Berber”: Tebdili Şaşan Türkmen Cadoğlu Aşiretinden İlhan Başgöz’ün Temaşa-i Dünyası

Author(s): Gönül Pultar / Language(s): Turkish Issue: 100/2019

ABD’nin Boston kentinde, koyda “denizle içiçe” şık bir lokantadayız. Harvard Üniversitesi’nde profesör bir doktor kadın ile, dünyaca önemli bir hukuk şirketinin ortağı olan avukat ikiz kızkardeşi, babalarını ağırlıyorlar. Babalarına en iyi balıkları, en iyi şarapları ikram etmek için yarış ediyorlar. Baba, iki kızıyla da gurur duymaktadır. İkisinin apayrı, birbirinden parlak meslek yaşamlarını aklından geçirir. O arada, “bir motor, denizi yarıp geç”er. Baba dalar, düşüncelerinde uzaklara gider. Orhan Veli’nin “Deniz yırtılır kimi zaman / bilmezsiniz kim diker / Ben dikerim” dizelerini anımsar. Şarabından bir yudum alır, kendi kendine, ben de denizi dikiyorum.

“Sinağrit Baba” ve “Köpek Balıkları İnsan Olsaydı” İsimli Kısa Öykülerde Sistem ve Toplum Eleştirisi

Author(s): Meryem NAKİBOĞLU,Betül Aşık / Language(s): Turkish Issue: 03/2021

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.

“Smuggling a Dangerous Cargo” Discovery of a Hidden Treasure

Author(s): Shahyar Daneshgar / Language(s): English Issue: 100/2019

For those who have made the study of the folklore of the Turkish and Turkic world their focus, the name Professor Ilhan Başgöz is not unfamiliar. Professor Başgöz is among the best-known scholars of Turkish folklore. He has devoted his entire life to the study of folklore internationally and Turkish folkloric materials specifically. Professor Başgöz was among the handful of scholars who, while residing in America, could go to the Soviet Union in the 1960s during the cold war to carry out research on Turkic oral literature materials. Indeed, folklore scholars and researchers outside Başgöz’s country of his birth, Turkey, were aware of his work, especially those in Azerbaijan and the Turkic speaking world. His works have been published in the Journal of American Folklore and by the Turkish Studies Publication at Indiana University. Professor Başgöz’s Turkish Folklore Reader (1971)3 is a classic work for students of Turkish and international folklore.

“Söze Başlamak Daima Zordur” İlhan Başgöz’le Söyleşi

Author(s): Serpil Aygün Cengiz,Solmaz Karabaşa,Meryem Karagöz,Aysun Ezgi Bülbül Yılmaz,Safiye Özkan,İlhan Başgöz / Language(s): Turkish Issue: 100/2019

Interview with İlhan Başgöz.

“When they praise your lips Bayrām’s verses are the water of life” Bayrām Khān’s Persian and Turkish ghazals

Author(s): Benedek Péri / Language(s): English Issue: 4/2019

The present paper aims at a comparative analysis of the Persian and Turkish (Chaghatay) ghazals of Bayrām Khān, a Mughal official, who was one of the most influential characters during the initial phase of Akbar’s reign (1556–1605). Like many noblemen who tried to follow the legacy of their Timurid predecessors, Bayrām Khān composed poetry in order to demonstrate that he was educated, erudite and cultured. His Persian and Chaghatay poems and the poetic strategies he applied provide the modern reader with an opportunity to get aglimpse of the cultural background of a Turko-Mughal official, his personality and worldview.

„СТРАННОСТ НА УМА“ НА ОРХАН ПАМУК – КАК Е НАПРАВЕН РОМАНЪТ (ТЕЗИСИ)

Author(s): Tsvetan RAKYOVSKI / Language(s): Bulgarian Issue: 1/2020

The article explores the diversity of narrative techniques in Orhan Pamuk’s novel A Strangeness in My Mind. The main idea is that the drama of a private life is told against the background of the drama of the life of Istanbul. To do this, the novel parallels the biographical ‘I’ of the main character and the historical ‘He’ of the City. This comparison provokes the idea of the novel’s close relation to the history of Istanbul and Turkey over the last fifty years. Orhan Pamuk does not spare the reader any of the specific, purely "Turkish problems" with the Kurds and Greeks, as well as the radical and conservative moods and public discontent from the 1950s to the 1980s. The narrative line is developed slowly and minutely, owing to the author's intention to authenticate real events through the perspective of fictional characters and vice versa – to romanticize cultural and purely civilizational processes in the last half century of the development of this part of the border between Europe and Asia. This is the only way to explain the presence of the problem of women's emancipation and the lack of that misunderstood "patriotism" which often prevents the depiction of purely national processes in life. This refutes the widespread opinion that A Strangeness in My Mind is a postmodern novel.

Самост в образа на юнгианския хадир и пътят към самост в дестаните за Кьороглу

Author(s): Nevrie Chufadar / Language(s): Bulgarian Issue: 1/2019

Carl Jung, when analyzing the text of the Qur'an, interprets the image of Hadir (Hazar) as a symbol of supreme individuation or attainment of Solitude, and the cave as the place of sacral transformation. In the article, the life path of the hero - defender of the outcasts - Kyoroglu in Turkic ethno-cultural consciousness, is seen as the way to Solitude or individuation - the consistent integration of the archetypes Persona, Shadow, Anima/ Animus, the Great Mother (Old Woman), the Eternal Child / Younger and the Wise Old Man. The last archetype in different destans about Kyoroglu is embodied in the image of Hazar (Hadir) or Saint Ali.

Стилът себки хинди в класическата турска литература

Author(s): Vejdi Hasan / Language(s): Bulgarian Issue: 1/2017

In terms of its language and content, Divan Poetry was undoubtedly exposed to the most crucial change with Sebk-i Hindi which was significantly effective in the 17th and 18th centuries. Though the meaning and content aspects of this style capture the researchers’ attention, the meaning and content features eventuate through the new structures of the language used. The acarpous structures and combinations in the poems written under the influence of Indian style poses the most important problem for those who want to understand and explain this poem. Without resolving[analysing] these structures and contents, it seems impossible to enter the rich imagination and sense world of the Sebk-i Hindi. Symmetry which is made up of words in Classical Turkish Literature texts, new phraseologies and giving meaning are among the features that improve the depth of the meaning in the poetry. This style whch was seen as exaggeraton in Nefi’s poems, as hikem^ and unvoicednew meanings in Nabi’s poems has been seen first as hikemi meaning as Koca Ragip Pasha’s poems just like in Nabi’s poems. Sebk-i Hindi, which appeared in our literature evidently in the seventeenth century and which gave its examples that can be thought as masterpieces in the eighteenth century, reached to a new period with Divan of feyh Galip because Indian Style in Galip ’s poems include effects of the style in question that belong to Indian branch that is more complex and deeper in terms of meaning and content.

Теоретико-приложни проблеми на съвременната тюркология

Author(s): Milena Yordanova / Language(s): Bulgarian Issue: 5/2017

Трансформација као пут ка „Другом“ у ранијим романима Елиф Шафак

Author(s): Ida Jović / Language(s): Serbian Issue: 12/2022

Believing that the only task of literature is to break the boundaries of our world of knowledge, Elif Shafak, one of the most successful Turkish postmodernist women writers, critically observes and re-examines history, tradition and identity, as well as the society ruled by stereotypes about minority groups which are defined by the term “Other” in her novels. In her six novels (Pinhan, City Mirrors, The Gaze, Black Milk, Bastard of Istanbul and Forty Rules of Love), which are the topic of this work, the author touches on important topics, such as identity crisis, binary oppositions and social determinism that hinders the possibility of transformation, but also introduces and recognises love as a universal category and driving force leading to transformation, both personal and collective, as well as empathy and acceptance of all kind of “Otherness”. According to Shafak, today’s societies in Turkey, and throughout the world, strive to create cultural ghettos based on similarities, which leads to the development of stereotypes about members of other groups. Therefore, it is important to step outside the circle conditioned by birth and establish connections with other circles, because breaking such links represents danger to personal development and humanity. Comparing communication among members of the same circle to staring at your own image in the mirror, Elif Shafak wants to point to the danger of being solely in contact with similar people, without empathy for members of other groups, that is, “Others”. Following the work of Judith Butler, especially in the novel Pinhan, Shafak questions whether there is a “certain” gender that people have or if it is an essential attribute that a person should have; and if gender is a construction, whether this indicates a certain social determinism that prevents the possibility of transformation since, according to certain understandings, gender is defined in anatomical terms and becomes defined as biological destiny. While she speaks of characters whose lives are burdened with being members of a certain group, gender or nation in her novels, Shafak observes the world as a stage on which everything, in the spirit of the theoretical framework of Jacques Lacan and Laura Mulvey, is reduced to “gaze”, that is, to see (observe) and be seen (observed). What we observe influences our matrix of recognition, makes us understand and love, and thus conditions our transformation. To Shafak, today’s society shows collective narcissism and common illusion that we are the centre of the world and that there is a clear difference between “us” and “them”, which represents compensation for our personal frustration, flaws and failures. The only way to overcome that is to open ourselves up to multiple belongings and lose the fear of the complexity of identity, because positive emotions erase the fear of Otherness.

Цветът на думите в "Червенокосата" на Орхан Памук - между ценностите и порока

Author(s): Borislava Ivanova / Language(s): Bulgarian Issue: 2 (4)/2016

აბდულჰაკ ჰამიდ თარჰანი (1852-1937) „შთაგონების ადგილი“

Author(s): Asmat Japaridze / Language(s): Georgian Issue: 2/2022

Abdulhak Hamid Tarhan (1852-1937) is a Turkish playwright and poet. He is one of the leading lights of the Turkish Romantic period. Elements of Western and Eastern culture and poetry are closely connected in his work. Abdulhak Hamit in the poem "Place of Inspiration" secludes himself in the bosom of nature, away from the noise of the city, to give himself time to think. He sees divine harmony in nature. For him, God and nature are one whole. The lyrical hero of the poem wants to be a part of this whole, but the pain of his soul and longing for his homeland prevent him from doing so.

თევფიქ ფიქრეთი (1867-1915) - „ნისლი“

Author(s): Fikret (Mehmed) Tevfik / Language(s): Georgian Issue: 1/2021

He is a representative of new Turkish literature. The influence of French literature can be traced in his work. In his early works, he adhered to the principle of "art for art's sake", and in his later poems he became interested in social problems.In the poem "The Fog", Tevpik Pikreti expresses hatred for Istanbul and calls it a prostitute. This is the first time such an this attitude towards Istanbul is found in Turkish literature. It is known that representatives of ancient Turkic literature considered Istanbul the center of world civilization and extolled it.

ორჰან ქემალი (1914-1970) – „საოცარი ბავშვი“

Author(s): Asmat Japaridze / Language(s): Georgian Issue: 1/2022

Orhan Kemal is a Turkish realist writer. His real name is Mehmet Raşit Ütçü. In the beginning, he tried his luck at writing poetry, but later, following the advice of Nazim Hikmet, whom he met in prison, he started writing stories and novels instead. In his writings, Orhan Kemal introduces us to the lives of "little people." Social problems are the main theme of his work.

საბაჰათინ ალი (1907-1948) – „მერცხალი“

Author(s): Kharshiladze Nato / Language(s): Georgian Issue: 2/2022

Sabahattin Ali was born in Eğridere in 1907. His father was an Ottoman officer. He became a teacher in 1926 and , after a stay in Germany, taught German in Turkey. He started writing poetry and then short stories. While working as a teacher in Konya, he was arrested for criticising Atatürk’s policies and libelling two journalists and spent several months in prison.He was released in 1933 and was eventually given a job in the publications division of the Ministry of National Education. He served in the army during World War II and was again imprisoned and then released in 1944. He applied for a passport but was denied. He was killed at the Bulgarian border in April 1948, possibly by a smuggler who had been paid to help him pass the border and who turned out to be an agent of the National Security Service. He wrote poetry, stories and novels.