![Иван Думиника. Храм Успения Божией Матери села Кирсово. Исторические аспекты. Науч. ред. Кишинэу: Garomont Studio, 2012, 274 с.](/api/image/getissuecoverimage?id=picture_2014_31762.jpg)
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The aim of the study is to analyse the story of The Tale of King Shahryār and his Brother King Shah Zaman which forms the framework of 1001 Arabian Nights based upon the belly of the whale in Joseph Campbell’s monomyth theory in his The Hero with a Thousand Faces. Monomyth consists of three main parts, namely setting off, initiation and return. These parts narrate a person confronting his unconscious-self after facing a problem and breaking away from his former boundaries. After successfully going through such a spiritual process, one would almost be reborn by leaving behind old habits, boundaries. Psychoanalytically, these parts stand for the divergence of conscious and unconscious, confrontation with the unconscious and combination of the two ending up with a balanced whole. As fort he belly of the whale, it is the confrontation with the unconscious. The system of Campbell is an extended form of the doctrines of most notably Sigmund Freud and Carl Gustav Jung and also Melanie Klein and Géza Róheim. In this article, Shahryār listening to the tales for a thousand and one nights in the 1001 Arabian Nights will be interpreted in relation with Campbell’s belly of the whale, Jung’s active imagination, Freud’s daytime thoughts, Donald Woods Winnicott’s transitional objects. In addition, the hero/heroine in this case does not perform an effective action, but he listens to tales and matures by the narratives of the characters in the tales. This is an indication that reading monomyth through metaphors as in belly of the whale provides a deeper sense to the story.
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The subject of this study is Deli Dumrul one epics of Dede Korkut. The study is aimed to read the epic with all layers and the deeper meaning. For this purpose, the classic epic text and the story “Dumrul ile Azrail” by Murathan Mungan are discussed by comparing with. The reason for using as equal features of the texts of the literary text and the epic of oral culture is the acceptance of the narrators of the texts on the same narrative tradition line. The study consists of three parts: The first chapter, the general features of the texts such as type, motif, theme, are determined. The second chapter, structures of the texts is detected with help of different theories. The last chapter, two texts re-read the focus of the characters. In this way, subject, opposition and theme of the epic are re-discussed and are discovered components of the epic to become a classic. The data obtained by analyze at the other two chapters have also been used to interpret. Some findings of the study are as the following: Themes, main characters, and events of the both texts are same. But their fiction and narrative style are different. Narrative text of Mungan correspondences with interprets styles of traditional narration by contemporary writers. Classic text consists of a combination of two classic themes. Two classic themes are added to them in Mungan’s. Classic text is based on dichotomies and its structure is opposite to reflective. Main characters of both texts make a discovery about themselves and partly reach their will: In classic text, Dumrul hasn’t got immortal but a long life by accepting his own death. In Mungan’s text, when accepted to die for Dumrul, Azrail become immortal by narrative told his love.
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Turkish epics are oral literature feedback ,each of which presents a precious thing,and common values have been preserved in these epics since the existence of the Turkish nation.A lot of researches have been made about these Turkish epics so far but a model belonging to the central hero type that exists in these epics has not been discovered yet.In this study,basic properties of this central hero that is found in these epics are determined and it has been explained with some examples from the Turkish epic world.The most important effects which play a vital role in the formation of these models we met in this epic tradition are the doctrines of the Turkish belief system.The Turkish nation has formed mores due to its nature and its life conditions and continued its existence around these mores.The Turkish hero model was shaped according to these mores.Accordingly,the Turkish central hero model was examined under 24 articles.Each of these properties in this frame of the Turkish epic hero was explained and various examples were given about this topic.It was considered to clarify the discussions about the reliability of the model with this.It is not possible to reach strict results like the positive sciences in the field of social sciences.All of the researches made are supposed to contribute to the development of the related problems and examination methods .Therefore;the following articles about the Turkish epic hero model may later be enlarged or contracted.It is expected that these models will be an example in the examination of these central heroes which are found in the Turkish epic.
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Nasreddin Hodja is a Turkish anectode hero, who lived in Anatolia on 13th century. His anectodes were written since 16th century and remained until today. Turkish folk avanged their right from Timur by Nasreddin Hodja. For this very same reason, Timur was shown as coeval with Nasreddin Hodja and Nasreddin Hodja was always emphasized as superior to him in these anectodes. Tamerlane and Nasreddin Hodja anecdotes, those were taken part in some old manuscripts starting Evliya Celebi’s Seyahatname and published to the present Nasreddin Hodja’s printed books. Tamerlane and Nasreddin Hodja anecdotes are compiled in written and oral sources and also in 107 anecdotes of 1555 anecdots included in the book Nasreddin Hoca ve 1555 Fıkrası [Hodja Nasreddin and His 1555 Anecdotes]. 36 of those were compiled from Anatolia, 47 of those were compiled from Uzbekistan and 24 of those were compiled from Azerbaijan. Were understand from the published books in Uzbekistan that Tamerlane and Nasreddin Hodja anecdotes were very much popular and always be described anecdotes. Starting from Goethe, Tamerlane and Nasreddin Hodja anecdotes were be met with interest by some foreign writers in the west. For example Goethe has included a Tamerlane and Hodja Nasreddin anecdote in his West-östlicher Diwan work. This article consists of Timur and Nasreddin Hodja relationship using the anectodes that are generated in time starting with the oldest writings. This book includes but not limited to the anectodes that were compiled in Anatolia and also in Middle East.
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Macedonian Orthodox Church (MOC) is one of the newest hierarchies in the Orthodox world. Its' appearance is largely a reflection of the processes in Eastern Europe after World War II related to the dominance of atheistic regimes over religious institutions. MOC was founded by Church-People's Assembly (CPA) convened in March 1945 by the Initiative Committee.
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The article summarizes the main opinions on the Macedonian issue spread between the twoworld wars among French political observers and experts on the Balkans.
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The analysis examines the nature of the political system of the Republic of Macedonia - it presents the level of its democracy (polyarchic) in comparative historical perspective(within the last decade).
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The article presents the legal and purely professional activity of one of the founders of the IMARO - Dame Gruev.
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This study traces the development of relations between the Internal Macedonian-Adrianople Revolutionary Organization (IMARO) and specifically one of its creators - Damyan Gruev and the winners of the Serbian national idea in Macedonia, carried out in the form of educational and armed propaganda at the end of XIX and early XX centuries.
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Fairy tale, re-born in every time it’s told and migrate from one land to another is a traditional oral culture product. However, the everyday life transformations in modern world also affected the context of fairy tales as we used to. Now tales are transferring from one generation to another not in a traditional way but mostly in written or electronic ways. When tales were immigrating rural to urban, the context of it also transformed. Because, the new context of tales is cinema in urban culture, this article focuses on rural-urban paradox by analyzing the movie Anlat İstanbul. Anlat İstanbul is a movie shown in March 2005 and about fairy tales and its heroes in İstanbul. Concepts like modernization, tradition, urbanization, cultural erosion will be discussed within the context of urbanization process of the oral culture and traditions over the movie Anlar İstanbul. In addition, depressions and failures of the fairy heroes will be explored.
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Throughout the history, Hungarians having relations with Turks as their common geography settled Volga region the Kuban River from Eurasian plains had entered under the domination of the Caspian, at the end of the 9th century they immigrated to today’s homes. Besides Budin invasion by the Turks in 1686 and Hungary’s was brought under control, the fact that 150-year siege to take place has left several features will forever impact in the Hungarian culture and language. Within the context of Turkish-Hungarian cultural interaction the data showing the effects of Turkish in the Hungarian culture, in addition to traditions and vocabulary, the narrations such as legends, folk tales in oral literature involve. However, until today, in the frame of Turkish-Hungarian relations among these oral narrations shows the relations between two nations, what is unknown genre -especially in Türkiye- in oral literature is the ballad. In European culture, one of the genres in oral literature and oral music which is one of the basic types of ballad, a story told with music that often anonymous and unique musical narrative is a kind of radical. This limited study, compiled by the Hungarian oral culture is described in a sample group of ballads, old style that characterized the nature of the motion is attributed to the type of Turk, the image of Turk will be tried to portray. The basic data used and reviewed examples of the Hungarian ballad, is based on Hungarian Ballads and the European Ballad Tradition with his two-volume immortal work by Lajos Vargyas, the most comprehensive research on Hungarian folk ballads and the study of Ildikó Kriza (1980) Hungarian Folk Ballads and Nepdalok es Balladak Egyal-Dunai Szekely Közössegböl by Ujvary Zoltan (1968) who researched on the various aspects of Turk figures in Hungarian folk theater. In addition, another study of Lajos Vargyas (2005) Europa Diakkönyvtar/ Magyar Nepballadak.
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Since mythological times mankind attempted to understand what s/he observed and give meaning to them. As they evaluated the things around, they made use of numbers, and considered some numbers as “sacred”. Mankind who founded many different civilizations used this “sacred number tradition” in literature and passed it onto next generations. Tatar Turks, living in Rumania, has a rich oral tradition that harbours sacred number tradition. This article aims to reveal the sacred numbers in Rumanian oral tradition and their mythological roots and their function in the culture. It has been understood that 3, 4, 5, 6, 7, 9 and 40 have symbolic meanings in the oral literary products of Tatar Turks living in Rumania. The examination and evaluation of these numbers will contribute to determine the extent to which Turkic culture expands. In addition to revealing the usages that stem from Turkic mythology, revealing some common aspects with universal culture is also within the objective of this paper.
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