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Ahmet Muhip Diranas is one of the distinguished poets of modern Turkish literature. Very precious and unforgettable poets were won to Turkish poets by Ahmet Muhip Diranas. One of his important poems is Olvido. „Frameworks in terms of the meaning Olvido“ titled in this study Olvido poet will be analysed in two different respect: content and presentation.
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In this article, the meaning referred by the symbol of mustache, which takes part in the title of Biyik Söylencesi of Tahsin Yücel and occupies an important place in the novel, will be determined. By doing so, mustache's relations with the concept of "phallus" and power will be revealed.
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Orphaned at the early age, to Abdullah Tukay spent his childhood with one family after another. In his writing, regardless of the subject matter, Tukay always aimed to serve the Tartar nation and their improvement. The letter, written by Sagit Ramiev in 1918, five years after Tukay's death, tells about the horrible changes that happened in Russia and the Soviet rule. Ramirev's words become a friend's cry of disappointment after having high hopes for the future. Sagit Ramiev displays poet's divine intuition in foreseeing the end of the events happening in the city even though they have begun not more then a year ago.
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The book review: Nilgün Çiblak: Âşik Şiirinde Taşlamalar / Stones in poetry (2008); Ankara; Ürün Yayinlari; XI+283 s.
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This article studies the treatise titled as al-Kavākib al-Mużī’a fī at-Ṭarīqat al-Muḥammadiyya by Khalvatī poet and sufi Shāh Walī ʿAynṭābī. The treatise is about a mystical interpretation of three hadiths that the writer claims these hadiths were written in the letter delivered to him by the Prophet when he was in the state of consciousness (yaqaẓa). The mentioned hadiths respectively are directly related to Uways al-Qaranī, Hażrat Abū Bakr and Hażrat ʿAlī, there are also many mystical principles and notions dealt with in the treatise. The introduction gives precise information on the writer and his works. The first part of the article discusses the reasons why the treatise was written, its subject and content and then there is an mystical analysis of the treatise in this part. The second part of the article includes the transliterated text.Shāh Walī ʿAynṭābī, who was a member of Jamaliyya branch of Khalwatiyya order accepted as one of the most common order not just in Anatolia but also in Islamic geography, is a sufi poet. Shāh Walī ʿAynṭābī is also a Khalwatī sheikh who had a positive influence on the social life of Gaziantep in XVI. century and after. He experienced most of his academic and mystical activities in Gaziantep where he lived besides he had opportunities to spread his mystical ideas in Halab (Aleppo), and he also lived in Damascus and Jerussalem where were the significant centers for a short period of time. Shāh Walī ʿAynṭābī produced six religious and mystical works besides his academic and guidance activities.One of the mystical prose works that Shāh Walī ʿAynṭābī wrote according to Khalwatiyya principles is a treatise titled as al-Kavākib al-Mużī’a fī at-Ṭarīqat al-Muḥammadiyya. This article studies this treatise. The treatise is about a mystical interpretation of three hadiths which the writer claims that these hadiths were written in the letter delivered to him by the Prophet Muhammed when he was in the state of conciousness. The work has fourteen folios and it is written in Turkish and partly in Arabic. As far as is known there is no study on this treatise which is in the same manuscript together with Risālatu’l-Badriyya and “Gelsün” ode (with rhyme). There is only one manuscript of the treatise and there is no other recorded or known copy of this until now. Language, style, expression, characteristics and mystical symbols used in the work show the characteristic features of sufi literature.It is known that the writers of Khalwatiyya order produced some of their works based on the dreams they had. As Shāh Walī ʿAynṭābī was a member of Khalwatiyya order he produced the mentioned treatise when he was in the state of conciousness. In this state he dreamed three hadiths and the treatise is related to the interpretation of these hadiths. The three hadiths mentioned in the treatise point out mystical truths and these were grouped into three different parts by the writer. Thus the work we refer as three hadiths three truths titled as al-Kavākib al-Mużī’a fī at-Ṭarīqat al-Muḥammadiyya includes the detailed interpretation of these hadiths in three different chapters. The chapters in the work are “al-bişārat al-ûlā”, “al-bişārat al-sānîyetu” and “al-bişārat al-sālisetu”. The mentioned hadiths respectively are directly related to Uwais al-Qaranī, Abū Bakr, and ʿAlī. There are also many mystical principles and notions dealt with in the treatise. The first chapter of the treatise is related to Uwais al-Qaranī, who is one of the personalities of sufism, and his spiritual superiorities. In this chapter the writer gives information on Uwais al-Qaranī’s patience and submission by emphasizing his devotion to the Prophet Muḥammed according to mystical principles. One of the possible reasons why he mentions Uwais in this chapter is that when he dreamed the Prophet Muḥammed in conscious, he was thought that he appears before the Prophet Muhammed by favor of him (Uwais). It can be better understood that the reason why Uwais is mentioned in this kind of mystical work is that it is believed that Uwais is educated the Prophet Muḥammed through dreams and other ways. That the the Prophet Muḥammad sent his hirka (the dervish coat) to him by favor of ʿUmar and ʿAlī, shows the value of Uwais in the sight of the Prophet Muḥammad. The second chapter of the treatise tells that Abū Bakr spent all of his wealth for Islam and how he becomes one of the member of mukarrab (these will be those nearest to Allah) by his model behavior. In the second chapter comparing the two terms benefactor and closeness also it is also stated that Abū Bakr preferred poverty in terms of both spiritually and materiality. In sufism the term faqr expressed as abandoning the property and ego for pleasing Allah is identified with Abū Bakr and this is presented as a model behavior. The third chapter is based on the hadith related to ʿAlī. This chapter is about that ʿAlī had no objection to the election of caliphate and he did not support the dissents on this issue by conducting paternity suit. In this chapter the writer compares the prophethood and walāya (friendship) positions and then he tries to inform the superiority of ʿAlī in terms of his closeness to Allah according to mystical principles.In the introduction part of our study which is about Shāh Walī ʿAynṭābī’s treatise interpreting the three hadiths by referring to different perspectives on the basis of sufism, the life of the writer, his works and his order are explained shortly. The first chapter includes the mystical analysis of the treatise and it gives information on why was the treatise written, its subject and content. The second chapter has the transliterated text. Some of the order chains are based on the Prophet Muḥammad through Abū Bakr or ʿAlī. Shāh Walī like other writers presented Abū Bakr and ʿAlī as good examples for their spiritual positions and being models for others. Again, the treatise mentions that Uwais al-Qaranī had a distinguished place as he was educated by the Prophet Muḥammad through spiritual ways and dreams. Thus, spiritual superiorities such as faith, loyalty, and submission are told by making use of Uwais al-Qaranī’s example as he did not see the Prophet Muḥammad in person but he showed his submission and devotion to the Prophet Muḥammad by trying to live according to the Prophet Muḥammad’s teaching. This is significant in terms of showing the role of Uwais al-Qaranī in sufi education. One of the significant issue in the treatise is that ʿAlī did not object to the caliphate election and he obeyed the ordering. It is possible to argue that the writer discusses the caliphate disputes in a different way according to mystical principles by repeating that ʿAlī did not create a problem over caliphate. By emphasizing that ʿAlī did not participate the caliphate discussions by not arguing ancestry rights and he obeyed the legitimate caliphate, the writer argued that sheikh or murshids cannot be determined according to ancestry. In this context by addressing the murshids of the order in the final part of his treatise, the writer suggests that the sheikhs and murshids must follow virtue and abandon ancestry discussions. In the treatise it is explained that prominence and superiority do not depend on ancestry but it depends on taqwā (piety). This ideal is supported by hadiths and verses from the Qurʾān in the treatise. The treatise features XVI. century Turkish characteristics and includes many mystical terms such as risālāt, walāyāt, abrār, mukarrab, fakr thus this may help researchers who would like to do detailed study on these issues.
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The language mirrors the culture that constructs it and gender perspective in linguistic researches of Turkish language is a very interesting subject and represents a special challenge, primarily because Turkish language does not recognise gender category, which confirms the fact that gender is a social category firmly grounded in sex. The primary goal of the work is to shortly present the representation of woman in Turkish language on the examples from the short stories written by Erendiz Atasü i Füruzan. Given that the turkish society is conceived on the male model of power, in which the political regimes enabled and are still enabling predominance of one (male) gender over another (female) gender, the work tries to expose this dominance that could give a significant contribution to the destruction of stereotypes in gender roles. Cultural patterns about the (in)equality between genders, that we acquire through socialisation in the process of learning a language, define woman through stereotypical gender roles and patterns of behavior. By analysing the examples from the short stories of the mentioned Turkish authors, the work tries to point out the fact that there is a discrimination against woman in the society, culture, language... Also, the work represents a kind of an attempt of awakening that should result in the use of gender-sensitive language.
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Ordu, is one of the most important cities of our country in terms of culture and art movements. At the beginning, city was fed by Trabzon in terms of cultural and literary environments, after the Republic city found its own identity and grew important poets. This study, will be focused on the development of literary environments and the poets grown in those environments after the Republic in Ordu. It will be discussed also the history of poetry in Ordu after the Republic.
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Tales, legends, jokes, folk tale, and etc. are the types thought to be in the scope of folk narrative. These works which constitute the folk literature of the folklore in the general sense can also be found in the out-of-field works. In this context, it is observed that the samples of folk narratives and special characteristics of these texts are treated in the some texts of classical Turkish literature. The mesnevi called Hüsn ü Aşk by Şeyh Galib is also one of these works. In this paper, examples of the folk narrative in Hüsn ü Aşk have been studied in terms of folk tales and tales. No characteristics related to the other narrative genres is found, therefore they are not emphasized. As a result of this study, the characteristics of folk tales and tales in Hüsn ü Aşk have been determined.
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The purpose of this article is to introduce the changing identity according to the birth and the spirit of the novel as a kind of social time. The novel shows a changing social time, depending on the shape through which emerged as a literary genre with the modern period. In different periods of the Renaissance shaped the identity of the industrial age, the impact of the social atmosphere that carries you through. Epic’s classic novel, which evolved universal human values of idealism, while carrying the colors of the nineteenth century industrial age, the characteristics of the information age fast and fragmented soul can see in the post-modern novel.
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As it known, pronunciational attractive of Ottoman poetry belongs to rhyme/redif, as well. The repeated word (redif), found out by the poet, must be impressive, remarkable and enough attractive to be the pivot of meaning of the poetry. In Hayâlî’s Divân there are two ghazals versed with the rhyme/redif “tapshurdum”, which is considered as an archaic word. As one more ghazal with repeated word “tapshurdum” edded among the poems belong to Hayâlî, founded out from a Majmua of Poetry, in total there are three ghazals with thise redif written by the poet. There is a ghazal written by Bâkî, a contemporary poet with Hayâlî. Bâkî and Hayâlî are important poets of Classical Turkish Literature, lived in XVIth century. Both of them in addition to their poetry, are two important poets, who impressed on the other Turkish poets. In this paper, three ghazals with redif “tapshurdum” of Hayâlî and one ghazal with the same redif of Bâkî are trying to examined in aspect of rhyme, vocabulary, theme and the elements, which consider attractive of meaning and voice of poetry. The similarities and differences between those ghazals, versed in the same redif, rhyme, meter and theme; and from thise point the characteristic way of saying of both poets is trying to be shown.
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There are studies about comparative literature in Turkish literature. When the studies examined; there are notable works in the context of Diwan poetry, also. In our study; “alem bu ya” ghazals with redif written by Leyla Hanım who lived in the first half of 19th century and Bahâr-zâde Ferîde Hânım from Kastamonu who lived in the second half of 19th century will be examined and compared. Bahâr-zâde Ferîde Hânım from Kastamonu had a talk about poem with poets who visited Kastamonu in her time. Especially, Bahâr-zâde Ferîde Hânım had a talk about poem with Leyla Hanım who was wife of governor Sırrı Pasha, they wrote “nazire” to each other’s poems. In addition this, both of the poets had touched on the sects which they joined in their works and they had approved the founder of this sects as “dest- gîr” for herself. While Leyla Hanım had joined the sect of Mevlevi, Bahâr-zâde Ferîde Hânım from Kastamonu had joined Şabân Baba that formed Şabaniyye branch of Halveti. In this study; the impact that they had made to each other will be revealed with regards to “âlem bu yâ” ghazals which are “nazire” to each other.
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The use of language, which plays an important role in designing the fiction of literary texts, comes into prominence with its characteristics of the distortion of perception in postmodern fiction. Linguistic indications hold the abstractive function in the presentation of literary texts to spatial fiction and reader's perception in postmodern novel. The abstraction is provided with simulacrum, not referring to a common signifier and intended to be perceived as a reality. The space appearing in the structure which designs the plotline in Siyah Hatıralar Denizi (Black Memories Sea) is presented by simulacrumed indications. Simulacrums, product of the postmodern culture and serving for individual world perception, serve for the spatial fiction to be in a structure with ability of being fictionalised perpetually, with indications meeting the signification. When the analysis of a literary text is attempted , undoubtedly the first starting point is the linguistic indications. From the linguistic indications, the effort of analysing a literary text and bringing the images presented by indications into the forefront rather than associations is a method drawing language and literature together as a result of an interdisciplinary study. In this study aiming to identify and analyze how the space in a postmodern novel is created through linguistic elements, the simulacrum stages will be attempted to evaluate by making use of methods and techniques of linguistics, semantics , and semiotics. Examining the use of simulacrumed language will also enable the analysis of the new world perception.
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Hamamî-zâde İhsan (1885-1948) who lived in the late 19th and early 20th centuries was one of the last poets of our literature that poetized via the style of classical Ottoman poetry, on top of having collected poems. Criticism committed to paper about his literary work both during his era and post mortem stated that he was among important humorists of the era mentioned.He was specially praised for being intelligent, elegant and having humor-prone personality. In this article, his poems specially collected under the title of ‘Humorous Poems’are going to be analyzed to demonstrate the poet’s sense of humor.
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Affecting human life in all areas, Modernism, which is a human product, also shapes literature, itself a product of modernism, in both content and form. Speed, production and progress come into prominence with modern life. Short short stories are very short stories emerging as an instant burst of emotion. One of the most significant representatives of this type in Turkish literature is Ferit Edgü. The writer of “What”, works on the painful process of modern human’s becoming an individual, loneliness, alienation to society, escape and refuge stages, rootlessness, lack of communication, efforts to exist with one’s own values. The tragedy of modern man, remaining between “you” and “them”, is reflected by means of a protagonist on the summit of a mountain.
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The loss of communication, which modern man takes for granted, is the loss of one of the most basic human properties. Although this is not a literal case modern man experiences, such a possibility might mean the loss of socialisation, the ability to live in a community and co-existence forms in a symbolic level. The short-short story titled “Strange Family” by Ferit Edgü deals with man’s problem of communication with others in a symbolic way and focuses on how, for this reason, this lack of communication turns into primitive co-existence.
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The aim of this study is to trace the main values of Turkish culture through a reasearch on Köroğlu’s – who is an anonimous poet and hero – poems, and to compare those values with aspects put forward by modern cultural research. In order to do this, Hofstede’s approach, which is tested and re-tested in many countries including Turkey, and gave grades to those dimensions in each specific country, has been adopted. Hofstede uses basic dimensions in his cultural studies which has a 5-dimension framework, namely power distance, individualism, uncertainity avoidance, masculinity, and long-term orientation. Using those dimensions and matching Köroğlu’s poems within this frame, poems have been analysed and an attempt has been made to construct a valid correlation with those dimensions. Thus, those cultural values stemming from traditional experiences, crystallizing into current times and reflecting our social culture, enable us to interpret cultural values in context. In modern times, those traditional values have an impact upon quality of life, and by comparing values in terms of those dimensions, an attempt is made to better understand our cultural values. Accordingly, Turkish cultural values emphasized in Köroğlu’s poems are consistent with tendencies identified by Hofstede’s findings: high power distance index, collectivism, high level of uncertainity avoidance, femininity characteristics are forefronted. Although there is no measured value in the dimension of long-term orientation, there are clues suggesting its existence in Köroğlu’s poems.
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Kemal Tahir, who regards himself a responsible intellectual in his literary life, acts with a clear conscious so as to contribute to the solution of social problems through his literary works. In addition to creating an ideal writer, he also bases his literary works and intellectual potential on a scientific structure in line with his personal aims. Therefore, while examining his works, focusing only upon his texts will be inadequate in attaining the essence of his themes. The strong bonds between the writer and his work are so apparent in the context of Kemal Tahir’s life and art. In the “Tired Warrior” by Kemal Tahir, the beginnings of National Struggle are dealt with through the hidden facts based on the adventures of the members of İttihat and Terakki party. In the novel, the rootless idealism of the members, who were active in those years, as well as the hard conditions of the struggle have been narrated. In this article, how the techniques in the novel contribute to the themes in this regard will be examined with a view to novel techniques.
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In this article, we aimed to study the subject of “Meskhetia and Meskhetians” in the light of “Mazur Gör Cüretimi” published in 2013 and written by a young author, Tinatin (Nergis) Bekadze. The main source of our study was “Ahıskaname” poem, which takes place at the first pages of the book. This poem, which mentions 230 villages of Meskhetia, is one of the most comprehensive written work that gives information about Meskhetia, its villages and properties, some customs, and historical people. In our study, we also made use of poems written about Meskhetia and its villages in the literature of Ahıskaname. Methods used in the study are as follows; initially, the full text in Ahıska magazine and in the book “Mazur Gör Cüretimi” was obtained. Then, additional data about anthroponyms, toponyms, and hydronyms whose names are mentioned in the poem were collected, and the subject was explained. In addition, individual interviews were conducted to get information about customs, and scientific resources were also referred. Studying the poem “Ahıskaname” including information such as History, Geography, Culture, Onomastic is important for the geography of Meskhetia and its culture.
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