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Örnek, Sedat Veyis 1969 “Pirinçler Yeşerecek”, Yeni Türk Tiyatrosu içinde, (Haz. Püsküllüoğlu, Ali) 106-137
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Every steps on the streets has many stories. The thousand-word stories of the people taking the roads are the proofs of how this world we live in contains many different experiences. The streets of cities change and gain new meanings with new people stepping them. For instance, a street for whom is dark and not walkable after a certain time may be the house of another people; a street which is open to be stepped anyone, every hour, may not be a place where inspires same feelings to every people passing in that street. Just like Beyoğlu… In this study, by following the novels of Yusuf Atılgan, Aylak Adam [The Idle Man, 1959] and of Leyla Erbil, Tuhaf Bir Kadın [The Strange Woman, 1989], both of which settled in Beyoğlu, it will be examined how male and female writers narrate different lives, feelings, thoughts and interpretations of men and of women walking on the streets. Moreover, the images of ‘flâneur’ and of ‘flâneuse’, rather than historical figures, will be discussed as critical metaphors with reference to the comparison between The Idle Man by Yusuf Atılgan and The Stranger Woman by Leyla Erbil. An analysis on the lives of Mister C, idle of the years 1950s, and of strange woman, Nermin who walks in Beyoğlu in 1980s, that refers to the different experiences of urban/public/street by men and women, will give a chance to a critical interpretation of the social history of Turkey and to a re-reading of past.
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Various patterns have been benefited from in order to emphasise the meaning of the sentences within the written texts and to enhance them since the Old Turkic period. One of these patterns is the reduplication. Reduplication, which has been used during almost every period of the Turkish language, can also be seen in the written resources with current Turkish languages. Turkmen is also one of these. Reduplication is frequently used in texts that are written in Turkmen. One of the principle writers of the classical Turkmen literature is Mahtumkulu Firâkî. Mahtumkulu, who has an important place with regards to the development of the Turkmen, has used reduplication patterns in most of his poems as the richness of the expression and as the element of harmony. These patterns, which are the main ones of element of harmony for poems of Mahtumkulu, differ by way of formation. In this respect, we have studied some of the reduplications in our study, which we had compiled by scrutinising some of poems of Mahtumkulu, in various aspects. We have primarily classified these patterns in a certain order. We have listed these classifications we have carried out in the form of subtitles. We have tried to explain those patterns under these subtitles. We have frequently compared those with those reduplications available in Turkish. In this respect, we have tried to establish similarities and differences between these written languages, which represent two different branches of Turkish languages of the Oghuz group. We have made use of work of Baýmuhammet Atalyýewiç Garryýew with the name of “Magtymguly” in our study.
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People live together in order to be able to satisfy their needs and dominate to the nature. There is an interaction between individuals and groups which is generated by individuals. Individual is a part of the communal living, communal living is the part of the individual too. In that case, the phenomenon of social class which involves sociable relationship and social communication between people exists throughout history. In this sense, we aim to reveal the concept of social class how is reflected in both works which own different languages and cultures but occur in the same century. In this study, Elif Şafak’s “My Master and I” and Jose Saramago’s “Elephant’s Journey” is evaluated within the framework of pluralistic survey method. The concept of the social class is based by this study while both books are evaluated. These books are addressed with an interdisciplinary approach in the light of sociological and historical knowledge. At the same time, this study is evaluated within the frame of science of comparative literature which aims to examine two works came from different languages in terms of issue, idea, and form; to exhibit the different, similar, and common aspects of productions; to interprete the reasons of similarities and discrepancies of works. The community which lives longer than human life is permanent and it is categorized according to various variables. Namely, social classes have not been disappeared, they have been continued through transfiguration. In the conclusion part of the study, we aim to determine the similarities and differences of classes in the Ottoman and Europe communities in centre of social stratification during 16th century before aspect of recent modern societies.
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The novel owes its popularity as a literary type in modern times to its explaining and discussing the person and society reality with its all aspects in detail. In novels where every status of the person and the society is reflected, one of the indispensable basic elements of the fiction is “place”. Place doesn’t confront us just as a scene element in narrations. With its various functions, symbolic value, it may be one of the narration heroes carrying the thematic power on itself. Readers and researchers can follow the human and society’s progress in history and their later journey from the places in the works. In this regard, one of the important symbolical places in society-time-place mechanism is “hotel”. The access of hotel to our novels is the result of the fact of urbanisation in modern times. Hotels are handled with their symbolical connotations like loneliness, homelessness, statelessness, temporariness, rootlessness, state of disidentification. In the place typology of the times after modernisation, the hotels which take part in the list of absent places become the places of consumption and pleasure besides being the symbol of the values which are mentioned. In this work, heading from the information mentioned, Yusuf Atılgan’s work “Anayurt Oteli” (1973) and Ayfer Tunç’s work named “Dünya Ağrısı” (2014) are examined around the symbol and image of “hotel” with analysis and comparison method. The hotels in the works are tried to be analysed under the titles of “hero of the novel”, “land of the landlessness”, “the one making preventer” and “compulsory shelter”. As a conclusion, in both works, “hotel” doesn’t take part just as a scene element. It becomes an important part of the fiction with its various functions.
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Gazi Zahîrü’d-dîn Muhammed Bâbur is the most important personage who wrote in the classical Chagatai period. His famous work Bâbur-nâme is well known Vekâyi. The name of the work has written with the names Vekâyi’nâme-i Pâdişâhî and Bâburiyye, Vâkıât-ı Bâburî, Vâkıanâme, Tüzük-i Bâburî such as this work has shed light on many historical events. And this work geography to botanic, zoology gets too much to literature, it is extremely important to include the relevant information. In this work many terms related to military service, pass the concepts and object names. Here Gazi Zahîrü’d-din Muhammad Babur’s life in this article will focus on some of the objects related to the military service. Offensive in the war, protection and shelter used for this object names, making analysis of the status of historical and modern Turkish language, examples of words in the Vekâyi be given in the text and the said object names will be examined.
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While Ahmet Hamdi Tanpınar sees the men of letters’ taking the Western Literature as an example inevitable in the process of choosing a new lifestyle in the path to the Westernization with the Tanzimat, he opposes to the poets’ falling to the position of being follower and imitator of French Poetry with losing their ties with their own poetical roots. Tanpınar suggests that the Turkish poetry should head back to its roots that comprise divan and folk poetry. Tanpınar states that Turkish people and their language lived in the divan poetry until the works of Yahya Kemal despite its all deficiency. And also it was given importance not only because of it supplied an habitat to Turks and their languages but also literary works that can be labelled as Turkish classics are produced in this genre. He credits many poets, being in the lead Fuzuli, Baki, Galip, Nef’i and Neşati, or divan poems as the Turkish classics. Though Tanpınar sees folk poetry as one of the sources, he also underlines the restrictive and delimitative sides of it. He defends that Turkish poetry should change in accordance with the continuity. Actually Tanpınar’s idea of “continuity in poetry and culture” is a continuation of Yahya Kemal’s idea of “imtidâd.” Tanpınar’s idea of continuation with change and change with continuation proceeds in Hilmi Yavuz’s writing as finding the changeless among the changing, the essence among the signs and conveying it to today. Though Ahmet Hamdi Tanpınar does not object the idea of being open to the Western poetry, thinks the Turkish poetry that does not maintain ties with its own poetic tradition cannot keep its, in Henry Bergson’s words, “élan vital or creative evolution.” Ahmet Hamdi Tanpınar thinks that the poets should maintain their tie with their own poetic tradition without leaving themselves by escaping the imitation of the West through selection and sorting out.
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In our history of literature, folk poetry has a more deep-rooted tradition than poetry. Contrary to common belief, although poetry and folk poetry were inspired by quite different sources and followed quite different paths from each other they are not completely disconnected from each other. For example: in Yunus Emre’s Divan syllabic meter and aruz prosody have been used side by side in addition to the use of literature’s poetic themes and concepts. Some intellectuals and poets despised and blamed wandering minstrels for simplicity at a time when these two literary movements moved ahead in their own natural styles. Under these unfavourable conditions some wandering minstrels tended to write/recite elaborate poems with lexiphanicism in order to prove themselves, which distanced them from the simplicity of folk literature. The effort of trying to prove themselves sometimes led them to use some poetry forms and even aruz prosody. The wandering minstrel tradition of folk literature evolved to âşıklık ( turkish popular poet-singer) tradition in sixteeenth century and started to be inspired more apperently by poetry. During this period the popular poet-singers not only practised upon poetry prosody and styles but also poetry contents. The popular poet-singers using poetry poetic themes and concepts peculiar to poetry also used them in poems with syllabic meter. In this work, we will study 17th, 18th and 19th centuries poetry poetic themes and concepts (two basic characteristcs of poetry) in poems by folk poets raised as traditional Turkish popular poet-singers and we will draw attention to common traits and concepts between two poetry traditions.
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Folksongs that are one of the richest products of anonymous Turkish literature have articulated our people’s feelings since old times. Every folksong comes up for a certain reason. This part which may be called as the tale has disappeared in some folksongs, but it is still alive in some of them. This section can be a few sentences in the form of prose. Other than that a short story character may. If the community interest in folk songs and liked some of the parable, folk tale each transmission can be a great new semantic. Therefore, some of the parable, many folk songs formed the basis of the story. In the folk songs with story, digression structures are benefited in Çukurova region. These digression structures include explainatory, instructory, commentary, criticizer and reprimandory structures. They can be used with some of these structures, too. This provides a chance for explanation as well as a kind of attention drawer via giving a break for performer. In the structures that define comment, view and critic, the performer may also state his personal opinion and comments. Digressions identified in the conclusion of the texts were evaluated.
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The purpose of study is to discuss the role of the tales to make feel the expression possibilities of our language to the child reader by determining the formulaic expressions (proverb, idiom, reiterative, mold) in fairy tale books compiled and written by Oğuz Tansel who significantly gave labor to Turkish literature with his works. The examination is a descriptive study base on a screening model on a fictive/produced structure. In this approach aiming to describe an existing situation in a format as it exists, formulaic expressions of vocabulary present in language unity of fairy tales by conducting a relational type of screening. In this study the formulaic expressions in 44 fairy tales present in 6 fairy tale books compiled and written by Oğuz Tansel (Red and Ruffle Volume 1, Red and Ruffle Volume 2, Three Girls, Six Brothers, Seven Giants, Blue Bride) were calculated in frequency and percentage; also formulaic expression usages in fairy tale books were classified separately and processed in record charts. At the end of the study, it was determined that a total of 625 formulaic expressions were used in 6 fairy tale books compiled and written by Oğuz Tansel. Of the formulaic expressions present in fairy tales, 399 (63.8 %) were reiteravites, 112 (17.9 %) were idioms, 93 (14.9 %) were molds, 21 (3.4 %) were proverbs. In this context, it is observed that Tansel’s tales are quite wealthy in hosting formulaic expressions which are vocabulary elements of our language. According to this it can be concluded that fairy tales compiled and written by Oğuz Tansel could be successful in making feel the subtleties and possibilities of expression of Turkish language to the child reader.
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In this article, the chapter in Mevlana’s Mesnevi called “Sineğin Gevşek Tevilinin Değersizliği” and the chapter in Filibeli Ahmet Hilmi’s A’mak-ı Hayâl called “Zeyl-i A’mak-ı Hayal” will be evaluated with an intertextual approach. Firstly, by considering Mevlana’s work, visual images formed by using double contrasts in order to criticize those who radically interpret Quran will be mentioned. In this context, it will be evaluated why Mevlana has chosen extreme examples of double contrasts such as “fly-phoenix” and “urine-sea” by considering their meanings and functions. Secondly, the work of Filibeli Ahmet Hilmi will be evaluated so as to demonstrate how he used similar visual images with Mevlana by using Mesnevi in order to criticize an interpreter of natural sciences. In the “Zeyl-i A’mak-ı Hayal” chapter of his book A’mak-ı Hayâl, Filibeli Ahmet Hilmi focuses on the discussions during the Second Constitutional Era concerning materialism and metaphysical thought by using the novel’s central character Raci. The character defends the metaphysical thought and criticizes the understanding that seeks solutions of all problems in science and defines metaphysics as “quackery”. Thus Mevlana’s metaphor of fly on urine to criticize those who radically interpret Quran, this time, is used by Filibeli Ahmet Hilmi to criticize the defender of natural sciences. However Mevlana’s fly metaphor about arrogant people is transformed to an ant metaphor by Filibeli Ahmet Hilmi.
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Celil Oker is one of the important authors of crime fiction which has been leapt forward after 1990s in Turkey. Oker is the great contributor to development of domestic crime fiction with his eight novels and a story book published until today, he cut a wide swath as being an author by understanding the importance of details and space in crime novels beyond fullfiling of all conditions which are required by the fiction. The top place of his novels is İstanbul where bears the stamp of the time with its neighbourhood, streets and people. The author managed to interline the details special to Istanbul along with the physical beauties of the city, the chaos of modern life and the changing aspect of the city in parallel with social changes without disrupting the plot of the detective story. Detective story has come forward as a leading genre which reflects the modern city life by means of the observations made by wandering detectives who are reminiscent of contemporary ‘flaneur’ type. While his audience walks through İstanbul with Detective Remzi Ünal who is Oker’s ”a man of action “ on the one hand they read realistic novels which composed of spirited space descriptions, on the other hand they enjoy the tramping of İstanbul with a sense of awareness which has developed against the problems of the metropolis. The author has perceived indoors as an follow-up of İstanbul streets and either he has created the required atmosphere and could send his social critics through oppositions in his pieces that he has brought together the rich and poor communities from various environments by those spaces that he diversified. Celil Oker has prompted to a new and lasting way in field of crime fiction among the authors who tell İstanbul with Ahmet Ümit.
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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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No texts can be evaluated without the impact from the previous ones. Every text is relevant to the others directly or indirectly. Artists, writers and poets are affected by the other works consciously or unconsciously and they work them from the different points of view. In this way, they give the opportunity of intertextuality and give the opportunity of pleasure to the readers who have a certain knowledge. Intertextuality that is occured in the 20th century takes place in all the branches of arts, especially in literature and popular culture. Oral culture with its infinite materials has always affected the written culture. One of the fields we observe the intertextuality is the folk literature. Because the folk poems are the part of it, we should study the folk poems from the point of intertextuality. Rusatî the most distinguished representative of the 19th century folk poems, has poems over 400. He tells a lot of elements such as “love, nature, homesick, advice, satire, complaint, mysticism” in these poem. While he is working these components, he considers these elements from the point of intertextuality. Love is the main theme in Ruhsatî’s poems. While he is working these themes, he often mentions the famous folk storys in “love” is the main theme such as “Kerem and Aslı, Ferhat and Şirin, Leyla and Mecnun, Arzu and Kamber, Yusuf and Züleyha.” This is the indicator of “a text in a text” concretely from the point of intertextuality. “Allusion” is a term that is seen especially in poems. It makes a reference indirectly to famous people, folk stories, legends, verses of the Koran and hadiths. In the text, the poems of Aşık Ruhsatî will be evaluated from the point of intertextuality in which allusion is the based.
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This study analyses the book named “Beyoğlu Rapsodisi” of Ahmet Ümit, who is one of the successful Contemporary Turkish Literature in the light of main assumptions of three theories of criminology. Here a literary critique is not made nor does it criticize the book. The aim is to examine the rich content of the book in the light of theories and to create a reference to theories. As a matter of the fact that assuming what was underlined in the text as the representation of the field and explaining with theories somehow identifying the real with literary construct. This process that contains problems is tried to be enlightened under the light of the “social disorder” and “anomy” and the concepts of the Developmental Criminology so as the events in the book are explained with these theories. Of these theories the first is called social disorder. This theory accepts the city as an ecosystem and explains the social pattern of the city with Darwin’s notion of “wild life”. Migration, poverty, marginalization and crime are the phenomena of the city. Neighborhood of Beyoğlu and the life going on there are tried to be explained with the conceptual sets of this approach. And our second theory is that of the developmental criminology. This theory asserts that there is a sessional relationship between the life practice of a culprit and the moment of taking part in crime. This claimed relationship between life variable and crime and the types of crime is adapted to the novel to try to understand the life sequence of a murderer. Lastly, I make use of the theory of anomy to explain crime and deviation. The theory of anomy tries to understand that how as a result of prevention, tension and oppression individuals lean toward crime and deviation to achieve a goal
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Comparative literature is a science which compares the literary studies of different nations or the texts of the same nation in many ways like period, space, volume, subject, action-interaction, imagology, translation, mythology, reception, stylistic, etc.. The aim of this science is to look at its own literature in terms of quality and quantity to enrich it with the cultures of other nations, promote and disseminate its culture and literature to the other nations.While the texts are being written, they interact with the texts which were written before them and they carry their traces. A subject, a character, a sentence, which was written in the old text, can appear with a new meaning and new review in a new text. In this study,‘Dumrul ile Azrail’, a story in the book called ‘Yedi Kapılı Kırk Oda’ of Murathan Mungan, who is one of the postmodernist author of Turkish literature, will be examined with the method of intertextuality in the point of existence problem and in this context; the meaning and function of comparative literature will be studied. The reason of choosing Murathan Mungan’s story as a study work is author’s giving a place in his book to a story called ‘Dumrul ile Azrail’ which was rewritten for many times but this time with his new interpretation and point of view. Beside, the existence problem and its reason that the author wants to show to his readers will be tried to enlighten with the help of intertextual relationships set up by Mungan. Murathan Mungan, uses all the possibilities of postmodern novel, shows how to enrich literary texts as he gives a place to other authors’ texts in his story like all postmodernist novelists do. In this study; the richness and the new meaning of old text will be tried to find out in Murathan Mungan’s story with the help of method of intertextuality.
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Poetry encompasses a significant part of literary works in TRNC. The history of the Island has experienced many different kinds of changes and challenges from past to present, which has been an inspiration resource for the literary men and artists. Fikret Demirağ, as one of the most famous poets of the TRNC has always attempted to reflect these experiences in his poems. The quality of language in poetry is very important. Thus, in order to perceive and understand the language of poetry we should be aware of its language. Stylistics is the study of the language of literary texts and has many devices to analyze the language of poetry. Repetitions are numerous in Fikret Demirağ’s poetry, as one of the distinguished poets in TRNC. The study uses scanning technique to determine the kinds of repetitions in Demirağ’s peoms. This study uses Unsanl Ozunlu’s repetition categorization written in his book titled The Language of Literature. Fikret Demirağ, who formed his first poems under the influence of the second new poetry movement which affected a major community of poets in Turkey and who had remarkable progress then in creating his own poetics, began to bring forth products in the sphere of Mediterranean sensitivities starting from 1980s. Repetitions in Fikret Demirağ’s poetry encourage the reader to read the poems with enthusiasm and excitement. The stylistic devices enrich his poetry. The poet has used many stylistic devices which make his text valuable to be studied.
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