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Bu sabah uyandığımda güneş daha parlaktı. Hava açık herhalde diye düşündüm. Banyoda yüzümü yıkarken sular ılık ılık akıyordu. O soğukluk gitmişti. Yüzümü yıkayıp sofraya geçtim. Sofrada yok yok. Sucuk,salam,sosis,3-4 çeşit reçel ve peynir, bal vs.
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Jedan vrlo stari tekst dodjeljuje Nasrudin Hodži titulu "kompletnog idiota". Ne treba pogrešno razumjeti: takva kvalifikacija nije kuđenje nego pohvala. Ona ne znači da je Nasrudin kompletan idiot prema uobičajenoj upotrebi termina nego prije "savršeni idiot". Kako drugi prihvataju nadahnuće on bi postigao krajnji stadij uzvišenih idiotluka.
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This article offers some basic information on Mehmed Akif Ersoy (1873 – 1936), Turkish poet and the Author of Turkish National anthem. In the introductory part, Ajet Arifi writes his short biography and offers a review of the famous poet’s opus, along with the quotes on Akif ’s poetry written by Turkish literary critics. For the first appearance in Bosnian language of this truly great poet of all Muslims, our interpreters have selected some of his most interesting poems.
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Bosna je dugo vremena bila jedan od glavnih kulturno-civilizacijskih centara u najzapadnijem dijelu evropskog dijela Osmanskog carstva. Osmansko carstvo, kako kaže Ilber Ortayli, gubitkom Bosne nije izgubilo samo teritorij, nego i jedan od strateški jako važnih kulturnih centara na Balkanu.
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Jusuf Has Hadžib je poznati turski pjesnik iz 11 stoljeća. Napisao je dugački ep Znanje koje sreću daje (Kutadgu Bilig), djelo koje se ubraja meðu prva značajnija djela Turaka muslimana u srednjoj Aziji. To njegovo djelo, napisano prije blizu 1000 godina, predstavlja jedno od rijetkih filozofskih djela u stihu koje se bavi temom ureðenja idealne države utemeljene, s jedne strane, na islamskim principima razumijevanja pravičnosti...
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The concept of sea has been mentioned in many metaphors and dreams in Classical Turkish literature. To express sea many words such as ummân, kulzüm, muhit and yemm particularly derya and bahr have been used. The sea is also referred to with phrases like sea of romance, sea of love, sea of tears, sea of blood, sea of absence, sea of grief, sea of knowledge, sea of poetry, sea of sense. It has been associated with heart due to its recession and gush situations. It symbolizes abundance and eternity. In Islamic mysticism sense, sea symbolizes unity, while drops and waves symbolize abundance. The mystic mood in Islamic mysticism is expressed in the form of sea metaphor. It sometimes raises, overflows, pulls you in and destroys; but sometimes revives you to the maturity by inner values. It is necessary to pass the sea of romance to reach the sea of beauty of the lover.Sea is called by various similes and metaphors by Classical Turkish poets. In this context, this study lays similes, metaphors and dreams of sea in the divan of sheikh al-Islam Yahya before eyes and an overall assessment is made.
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Literary works are the reflection of social life. Especially, the tales dating back hundreds of years and transmitting the common values of societies include rich materials in terms of the reflection of cultural lives. It is a quite natural process to place the cultural codes in this literary genre, which is more widespread than other genres from oral tradition such as myths, legends, folk tales etc. At this point, it is important to read, evaluate and make sense of the tales from socio-cultural perspective. Although men are considered to be the main actor managing and maintaining the families and playing the lead role in the economic life in Turkish society, Turkish tales demonstrate that Turkish women are the resources of controlling, instructive and original ideas in the background. It is quite normal that an emphasis is given on the male characters/personalities in the genres specific to male narrators (such as legends, folk tales, anecdotes etc.), and that men are in active status according to the features of the genres. However, it is out of question to humiliate, ignore or despise the women in these genres. Turkish women just take smaller place in the above-mentioned literary works when compared to male characters. On the other hand, active role of female characters in the tales identified with the female narrators called “mothers of tales” should be considered as an effort for women to reveal themselves as active personalities of real lives. Mothers of tales try to demonstrate the real value of women by imposing positive discrimination. Although Turkish women are characterized as the symbol of patience in the tales, they take part directly or indirectly in political, economic, religious and cultural life. Women eliminate negative conditions by means of their original ideas, entrepreneurship, and courage that should be appreciated. In this study, we aim to indicate the position of Turkish women in society from the perspectives of tales and determine her typologic characteristics in this context.
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The individual’s own quality and behaviors and the characteristics that distinguish him from other individuals are called identity. Not knowing which identity an individual incorporates himself in or moving away from his own qualities causes him to have crisis of identity. From the 19th century in the Ottoman Empire there were a lot of reform movements because the Empire fell behind Europe. There were a lot of histo-incompatibilities during the adoption of the mentioned westernization movements by the people, and this caused identity crisis in society and individuals from the general to the specific. This situation was frequently covered in novels whiche specially depict last years of Ottoman Empire and early years of the Republic. This study examines Mithat Cemal Kuntay’s novel “Üç İstanbul” and it focuses on individuals from the book who have crisis of identity.
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The dream in the Book of Dede Korkut has two hypostases. On the one hand it is the natural state of man, which alternates with the bright state. Very often, however, the dream is a particular state dream, called "The little death". This is a dream, which is typical of the beks and may continue for weeks. During this dream possible visions of the nether world are possible. On the other hand very interested are the dreams themselves, many of which are archetypal visions of the future and the heralds of the future.’The Little Death’ is a particular state when "kut" temporarily leaves the human body and is a third, intermediate member of the opposition between life and death.
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Bahtiyar Vahapzade and Abdulfettah Rauf, although their homelands and regions are called differently, produced their works in Oghuz dialect of Turkish, went through alike conditions and thus exhibited similar approaches in their poems with the theme “motherland”. Both poets have concerns about the motherland. It is expressed as ‘complain about the situation and concern for the future’ in Vahapzade. Whereas, it appears as ‘complain about the situation and longing for the glorious past of the motherland’ in Rauf. Vahapzade, in general, considers the South and the North Azerbaijan as the motherland. However, Abdulfettah Rauf orientates his emphasis of motherland into special places such as ‘Skopje, River Vardar, Meddah Madrasah and Islahhane Park’, which all have special meanings for himself.Concerns of both poets go beyond the borders of the countries that they reside. Rauf worries about the problems in the Islamic world beyond the Balkans. Vahapzade is anxious particularly about his motherland, Azerbaijan, especially after it was divided into two with the Treaty of Turkmenchay. The poet is also worried about the Turkish communities that were sent to exile or massacred such as ‘Karachays, Akhaltsikhe and Crimean’, as well as the expat Turks living in Germany.
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In his My Name is Red, Pamuk's clever use of metafiction shows that the novel responds to problems of plurality, inclusivity, and exclusivism concerning the theoretical debates on belonging, identity, and secularism in the nation-state. In the present study, we first show that the novel's statement is expressed via the inherent plurality of the narrative, achieved through constantly shifting perceptions and the use of several unexpected narrators in the novel. Second, we find such a pluralist use of metafiction quite significant, because the novel not only gives voice to the underrepresented, but also because Pamuk's metafiction offers an alternative and more plural, inclusive and democratic understanding of self-reflexivity. Metafiction in Pamuk's sense can make meaningful contributions to theory and its capacity to better understand modern, cosmopolitan and multicultural nations.
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Sultan Walad is one of the great intellectual figures of his era. He has considered his father's legacy in an outstanding way and has conveyed this legacy to the present day through his excellent organization. His interest in poetry and his poetry as a poet complements an important part of his intellectual personality. The great contribution of Sultan Walad in four languages -Persian, Turkish, Arabic and Greek- like his father, is enormous in every aspect of his developing Turkish literature. Sultan Walad, who adorned his diwan with almost all the forms and shapes of classical poetry, also by using the muwashshah (acrostic) species gave the first examples of this species in Anatolia. The muwashshah (acrostic) odes in diwan are about; Alamaddin Kaysar, Majdaddin Ali bin Mohammad, Sharafaddin Ibn-i Hateraddin, Tajaddin Hosayn and Akmaladdin Moayyad Nahjevani.
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Basic structure of literary texts consists of place, person, time and event. In some fictions, some elements are used decisively. Characters play a major role in the development of fiction. It provides a better perception of main event and the characters' experiences and brings the conflict to the peak. He sees his dreams, his frustrations, his expectations, his inner conflicts, his sadness, his life or his wishes. In other words, he sees himself in the fictional world.Act of sight will actually begin with empathy the person establishes. Identities such as women, men and children enable reader to empathize over experiences in novels and increase the identification rate with characters over time. At this point, it was decided to evaluate usage of gender and their usage rates in his novels. While conducting study on occupations in Orhan Pamuk's fiction, we found in Orhan Pamuk's fiction-based texts, he evaluated characters by associating them with occupations. While determining this, it was examined usage of gender in his fictional texts. It’s observed that gender is used in a certain way in reflections of characters in the course, conflict, emotion and sense transfer. Some are process novels, where women can be observed, albeit slightly, while number of child characters increases. Men have been used extensively in all fictions. All these observations were identified and templated with numerical data. In Orhan Pamuk's fiction, where relationship between literature and sociology is embodied through professions, work of gender concept in fictional world was evaluated from writer's point of view by specifying relationship between profession, character, gender and place of women, men and children.
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Attila İlhan, one of the last representatives of socialist poetry written by the 40 generation and a quite fertile poet, handles socialist themes with a sensitivity that is expressed by a language in which “I” is put at the forefront. Romantic elements can be observed and identified in Attila İlhan’s poetry in two different forms: A kind of romance is built by highlighting individualistic sensitivities that reflects his adventurer temperament. Another kind of romance is built by handling various themes which includes and pictures socio-political side of Romanticism movement. This article examines how Attila İlhan handles various themes such as heroism, liberty, homeland along with characteristics of Romanticist movement.
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With his unique teaching ,advice and guiding wording, Nâbî is one of the most important names of Divan poetry. The poet who spent his first youth in Urfa, his ore was noticed by Muhasip Mustafa Pasha shortly after arriving in İstanbul and this ore was rewarded from the state official, and even from time to time by the sultan himself. The poet who spent most of his life in important cities of the period such as Istanbul, Edirne, Aleppo, witnessed the events in the Ottoman State closely in the 17th century. Besides writer and poetry, Nâbî who was an idea man,was not insensitive to the issues he witnessed, derived lessons for himself and his community. Almost all of the poet's works have traces from these lessons. The important work of Nabi, which is the subject of the study, is almost a summary of the six sultans' era witnessed by the poet. The poet sheds light all the important events of his period with history-related odes and historical poems in his Divan. It is the poem that the subject of the study is the first of these historical poems and with the title “Târîh Berây-ı Tedmîr-i Celâlî” related to Celâlî rebellions. It is noteworthy that the incident took place twenty years before the birth of the poet was the subject of the Divan. It shows that the effect of the rebellion still continued in the years when the poet's divan was organized. It will be tried to evaluate how this very important event for the Ottoman Empire was understood by a Divan poet very close to the administration.
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Peyami Safa is one of the writers of the Republic period, which deals with the depressive and depressed periods that Turkish society lived through in socio-cultural and socio-economic levels with a realist approach in his novels. In his novels, he reflects the people of the period who could not fully comprehend the changes and transformations that took place in the social structure after 1923 through the conflicts, contradictions and dilemmas. Mahşer is one of the works written by Peyami Safa in this dimension.Peyami Safa, in his novel, Mahşer, narrates the degradation / disappearance caused by de-identification, alienation and degeneration by putting human and society at the center. People / society who turn away from moral, social and cultural values due to the objectifying / commodified structure of the age constitute the basic framework of the Mahşer. Drawing our attention on the dominant spirit / weighted value of the period from a critical sometimes ironic perspective, Peyami Safa handles the war-rich people who turn war into an opportunity, the conformist perspective, the mentality based on personal benefit and benefit in all dimensions in Mahşer. He refers to the person he idealizes by swowıng hearperson Nihat, who is presented as a sum of values such as virtue, life, dignity and national identity, against such a hesitant mentality. Nihat, speaking as the spokesperson of the author, criticizes the current order and refers to the apocalypse in the world of values in a symbolic dimension. Nihat, who witnessed how sincere people who established a life style based on material gain, refuted the social structure, narrates the crisis of his generation, who could not adapt to the time he lived, in his own person.In this study, the effects of the perspective that destroys moral values and highlights the reality of materialism in a perverse way on human and society will be discussed with reference to the novel of Mahşer.
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When we look at our spiritual heritage of the recent past, it is impossible to pass by without seeing the traces of the era in which we lived. This was the period of the Soviet Union. Due to the political conjuncture of the era, some responsibilities are so ingrained in our social and current lives, or even in our memories, that it took quite a long time to give up many habits. Among them, a special place is occupied by the concept of the East, which we are used to hearing. This word is a little exaggerated both in meaning and perception. In this article, we will focus on the words, phrases, and meanings gathered around the concept of East. This statement attracts attention in the scientific literature of the Soviet period in terms of covering such areas of scientific research as Turkology, Sinology, Japanese science, Persian science, and Korean science, which have a wide range of meanings. If we take into account people other than nations of European origin, it is necessary to interpret this again with the word East. This situation is not accidental, it is aimed at destroying the Turkic name and everything connected with the Turkic world around the concept of "East". Thus, the main goal was to weaken the semantic weight of the Turkic culture and language, spreading it over large territories. Ahmed Yassawi, Korkyt-Ata, Navai, Fuzuli, YunusEmre – all Eastern poets. Similarly, they may include the world-famous Chinese thinker Confucius or the Tibetan Dalai Lama, because they are also called Oriental. Our article will consider the aspect of the concept of "East", referring to the Turkic Great personalities, who retained their reality in the Soviet era, even today, and will be devoted to the works of the famous poet and thinker of the Kazakhs ShakarimKudaiberdiuly. Shakarim's works will be compared with the works of Fuzuli and famous Turkish thinkers of the Middle Ages, and we will try to focus on the general features.
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Orhan Veli Kanık, Oktay Rifat Horozcu and Melih Cevdet Anday, representatives of The First New movement (Garip movement), have left an extremely significant mark in Turkish literature. These poets believed that poetry should be simple, free of all rules and principles, because simplicity is actually the core of art. Besides, poetry should be dedicated to the wider masses of the people, to the ordinary people, which was also one of the views of these poets. This movement, as well as its representatives, in Bosnia and Herzegovina are known exclusively within the scientific and pedagogical study of Turkology, which means that The First New movement in our country has not experienced its valorization.
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The cultural transformation and conflicts of a street and its inhabitants are told through space-human interaction in Bahaeddin Özkişi’s novel “Sokakta” (On the Street). In that period, which coincided with the first years of the Republic, the street-level manifestation of the innovation movements and the conflict between the old and the new come to the fore. The novel focuses on the conflict between those who remained distant from the modernization movements that the society had experienced/witnessed since the Edict of Gülhane on the grounds that it harmed spirituality, on the one hand, and the novel’s main characters who regarded innovation as a vital necessity, on the other hand. The novel’s subject that develops around the protagonist who was a police superintendent and was born in the neighbourhood covers a period of thirty years. Having the characteristics of a detective novel in view of the progression of dramatic action and the adventure of the protagonist, the story continues with the events that develop after the protagonist returns to his old street due to a murder investigation. The dialectic aspect of space-human interaction is striking in the novel, which describes social values and corruption through strong metaphors based on space and people. Almost all the main characters emerging in the novel are developed within a dominant space and they are identified with that space. Each of these anonymous main characters is like a part, an ontological mirror of the space they occupy. This stands out as an element that enriches the symbolic plane of the novel. Feeding the conflicts that create the dramatic action of the work, these elements depict the revolutions taking place in the first years of the Republic and the projections of the reform movements on social life from the viewpoint of a street. The present study will examine the novel “Sokakta” in the context of space-human relationship and analyse the projections of the space on the protagonist, the friend who is assumed a suspect and Küçük Bey.
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Ahmet Haşim is one of the important names of Turkish literature. The poet, who was influenced by the poems of Abdülhak Hamit and Muallim Naci, who were the artists of the Tanzimat, later wrote poems in accordance with the artistic understanding of Servet-i Fünun. French poetry, on the other hand, deeply affects his understanding of art. The poet, who preserved his sense of individual art with his poetry in his own time, published his first poetry book, Lake Hours, in 1921. Later, he wrote Piyale in 1926. Ahmet Haşim, one of the founders of modern Turkish poetry, influenced many artists after him, such as Cahit Sıtkı Tarancı, Ahmet Hamdi Tanpınar, Ahmet Muhip Dıranas and Necip Fazıl Kısakürek. Many studies have been done on the artist's poems and books have been published. At the same time, his individual-oriented understanding of art caused him to be criticized by the artists of the period and the artists who came after him. Especially Haşim's spatial connotations such as "dream pool" are the target of such criticism. Generally, setting is seen as one of the elements of the novel and story. However, the concept of setting has gained a new meaning with various connotations in recent years, but also finds its place in poetry. Setting and people have a mutual interaction. Therefore, the setting and the poet are also in interaction. In Ahmet Haşim's poems, the concept of time is emphasized. On the other hand, there is a question of setting, intertwined with reality and imagination, embodied in poetry outside of time and with time, in Ahmet Haşim's poems. The aim of study is to determine the elements of setting based on Ahmet Haşim's poems and to examine how the elements of space are used in his art. The main purpose of the study is to reveal what the setting means for the poet -with reference to his biography.
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