We kindly inform you that, as long as the subject affiliation of our 300.000+ articles is in progress, you might get unsufficient or no results on your third level or second level search. In this case, please broaden your search criteria.
The fairy tale is an ancient folklore genre born with the early human societies which accounts for a large part of folk prose. In the heroic epics there are often common plots, themes and motifs from the fairy tale, and elements of the so called ‘realistic tale’. This also applies to the different versions of the heroic Koroglu epic, in which reminiscences of pre-religious beliefs, elements and fairy tale characters are often borrowed and modernised. One of the most interesting fairy-tale characters in the epic is Keloglan (Bald Hamza), a character manifesting both features of everyday life and mythological origin. Keloglan, although he evokes some sympathy due to his wit, ingenuity and cunning, has generally a number of negative traits, and can even be evil. He is the twin brother of the hero, which predetermines his role as a trickster. As in most Turkic tales, the Bald Man in the epic is the object of contempt and disgust, outwitting the miller, and later Kioroglu himself, and manages to escape with his horse Garat to get his reward from the Pasha. The story of the bald Hamza outwitting Kyoroglu at the mill reveals ancient carnival motifs that recreate actions typical of ‘the other world’: the characters' disguise dressing when taking on a different social role, followed by a series of destructive actions.
More...
The Koroglu Saga Destans are created by different Turkic peoples and largely reflect their specific picture of the world, formed under the influence of common archetypal mechanisms of knowledge. The article presents parallels between important elements of alchemical symbolism with some pre-religious and religious beliefs and key points in the Koroglu Saga Destans.Their common main views are the visions on the Creation of the world (whose stages the alchemists try to model in the laboratory), as well as the simultaneous elevation of the adept‘s spirit. In connection with the doctrine of the alchemists on the liberation of the spirit from the matter, K. G. Jung‘s conception of individuation and of the Self (germ. das Selbst) is presented. It is concluded that as elements of Shamanism, Sufism, Manichaeism, Islam (mystical currents) and Alchemy exist in the territory of Asia simultaneously, such elements are reflected in the collective consciousness of the peoples inhabiting them and in their work, as is the case with the Koroglu Saga Destans.
More...
One of the important representatives of minimal story and existentialist philosophy, Ferit Edgü is a writer, poet and artist who has produced many literary works. Before his literary career, the painting, ceramics and art education he received influenced him and his literary life in a different direction and gave direction at once. He studied painting at the Academy of Fine Arts in France and returned home in 1964. The writer travels to Pirkanis village of Hakkâri to fulfil his military service, where he spends the biggest change of his life. What he lives and sees in this small village return to him as a great experience. The events he witnessed and experienced here not only inspired his private and literary life, but also changed all the balances of his thought system. Hakkâri is literally a point of change in the writer’s private and literary life. This adds a new perspective to the urban style. The author, who takes the individual into his focus, combines the problem of existence with the dimension of nonconformity to describe it with a different understanding. In this respect, the primary purpose of this study is to explain the deep meaning of the author’s connection with Hakkâri, as he do not tell or explain. It is evident that this city, which gives a name to the work and inspires it even when the novel O/Hakkâri’de Bir Mevsim is considered, has left deep and lasting traces in the world of the author. The novel is the best example of how much Edgü’s pre-and post-Hakkâri works have changed. The novel is a touchstone, especially in terms of narrative structure, style and perspective, reinforced by images. The effects of this city, in which the author recreates not only himself but also his literary aspects, have been tried to be explained by descriptive content analysis. With this, it was concluded that this city was the main factor that brought the author closer to existentialism and the shrinking story genre. With this study, it was found that Edgü’s literary career was separated before and after Hakkâri. Because there are quite striking differences between the works he wrote in the pre-Hakkâri period and the ones in the following in terms of subject and style. O/Hakkâri’de Bir Mevsim has added a new perspective to his universe of thought. This determination was reached by the link between the author’s autobiography and the novel.
More...
Mehmet Rauf (1875-1931) is a writer in Turkish literature whose name is best known for his novel, Eylül. However, he is considered one of the most important representatives of the prose of Servet-i Fünun period after Halit Ziya. The author generally wrote works that included types of love, frustrations, and male-female problems. In his first works, he does not worry about the disrupted aspects of society. However, the writer's literary understanding changes with his latest novels, Halas and Define. The author has designed his work to strengthen national awareness and resistance within the framework of another character by focusing on the love of homeland as a theme in Halas. For this reason, it is among the novels describing the national struggle in Turkish literature. In this study, a brief information about the author’s writing has been made and “Halas” has been examined in the context of Turkism from the idea movements.
More...
The trilogy of Konstantiniyye, written by the twenty-first-century Turkish writer Ali Teoman and composed of three books named Infantile Deaths in Sleep, Blackhole Dairy and The Horses of the Night, has been completed in 2011. As they appear to be related more in a complementary way than by a state of continuity, the three novels demonstrate characteristics and particularities which can be considered in the context of postmodernist narrative and science fiction subgenre. In this paper, the three novels that have been mentioned above will be examined, through concrete evidence, regarding their stylistic and expressive elements that might be associated with postmodernist narrative. Furthermore, this paper, by taking into consideration the notion of time as it is represented in the work of Teoman, will show in what manner the latter possesses the traits of the subgenre of science fiction, by underscoring, at this stage, the anachronistic character of that temporal aspect.
More...
The word “intellectual” has various meanings due to its flexibility and universality. This concept, which is not easy to put in a certain category, is a comprehensive subject that almost every discipline deals with and sets its own criteria and even creates its own types of intellectual. In the field of literature, it is possible to see types of intellectuals as those who are the representatives of periods, artists, ideologies and movements. It is a critical issue whether intellectuals, which are shaped according to the perspective of the artists, can be evaluated in the category of real intellectuals. The purpose of this study is to discuss the concept of intellectuals around the main character Adnan of Mithat Cemal Kuntay’s Three Istanbul (1938) novel and to determine the limits and characteristics of intellectual identity. To this aim, the concept of intellectual is described within its general framework. Loyalty to intellectual values against money and power; an understanding that does not prioritize personal interests; view of power, opposition and the public; the qualities of artistic and mental productions have been accepted as the main criteria for determining the intellectual identity. Despite his intellectual accumulation, Adnan differs from his intellectual identity by being influenced by materialism and succumbing to his weaknesses. On the basis of the character of Adnan, it is concluded that not every person trained, accumulated and specialized in certain areas can be considered as an authentic intellectual.
More...
Alaturka Münzevi, whose main profession is the district governor; However, it is a novel written by Şenol Turan, who seems to be mentioned among the last period writers of our literature with the stories and novels he wrote. Turan's second book and his first novel, Alaturka Münzevi, who welcomed literature with his story-style work titled Deli Adamlar Ülkesi in 2015, is a remarkable work in that it was written with a "I narrator and singular perspective", which the authors do not appreciate much due to their limitations in expression. The self-narrator, who has a narrower perspective than the observant narrator, usually appears in autobiographical works or diary-type texts. Despite the absence of these features mentioned in Alaturka Münzevi, some applications made to eliminate the limitations of the narrator in question through the use of the self-narrator and singular point of view have made the work worth studying.
More...
Sonsuzluğa Nokta is Hasan Ali Toptaş's first novel. In this novel, the world of Bedran, tired of living in the shadow of his father and leaving the town where he was born and raised, goes to the city, intertwined with loneliness. Bedran's father shows the interest and love he does not show for his children to the cars he constantly buys. Bedran, who started working as a driver in the rescue vehicles office, realizes that he has gradually turned into his father and wants to put an end to it. Bedran becomes paralyzed after this development, which is extremely doubtful whether it was an accident or a suicide attempt, and he is forced to live in bed. The plot in the work proceeds on two interconnected lines. The important event that divides Bedran's life into two is his traffic accident. In the first series of events, Bedran's life is told until the accident, and in the second series of events after the accident. Bedran has become unable to meet even his basic needs while he is tied to the bed. In time, this situation shook his relationship with his wife, his love for Bedran decreased and he started to fill the gap in him in different ways. Bedran ran away from living in the shadow of his father, but was condemned to live in the shadow of his wife. The fact that Bedran was left with a gun at the end of the work while it was doubtful about what the traffic accident happened makes us think that he attempted suicide -again- maybe he died. As of the period he was in, in an environment where political unrest and polarization peaked, Bedran turned only to his own existence. In the novel, Bedran's uneasiness as an individual, his inability to express himself, and his peak internal tension are covered.
More...
This study is about symbolic dimension of snob type characterization in the novel Şık by Hüseyin Rahmi Gürpınar. It was claimed that Satırzade Şöhret Bey, who is one of the first examples of the snob type in Turkish novel, was fictionalized in parallel with Drol in position of a dog which is object of Westernization in the text. Within the scope of this assumption, we aimed to open a different area of interpretation for one of basic types of early period Turkish novel. The study consists of three chapters. The first chapter was separated into investigation of place of Şık in history of Turkish literature. It was discussed that the novel has been evaluated around its writer’s and Ahmet Mithat’s comments since it was published and that, for this reason, its place in literature history should be repositioned. In the second chapter, parellelism between Şöhret and Drol, who are protagonists of the novel, was addressed and reasons for such fiction were discussed. Later, the concept monstrosity was referred to so that the said symbolic dimension could be enlightened. As a result of examination, it was seen that story of Şöhret would be evaluated as a kind of identity narration. Also parellelism of snob with the dog displays the “We” identity’s view of the other. Such fiction was evaluated together with the writer’s intra-textual messages and it was discussed that the novel presented a monstrosity narration, as well. Fictionalizing Şöhret as a monster was evaluated in the way of a reflection of fears and anxieties along which process of social transformation in 19th century brought and it was shown that the fiction has a politic feature as well as literary. Thus, in the study, we presented that the novel Şık was a constitutive text that reflects the established perceptions for wrong westernization of Ottoman-Turkish society.
More...
In this study, one of Sabit Yusuf's stories, “Kötü Yürekli Olan Kimdir?”, has been examined in terms of the importance of family members knowing each other better. In the introductory part of the story the author introduces some people talking ill of others and gossip. In the main part, the child’s struggle to know more about his father is depicted. In the conclusion the happiness within the family is expressed. The story consists of gossip made in daily life. The main lesson in the story is the evil of careless talking and gossiping. The author tells us the results of the words that are spoken without thinking. He warns us that you cannot say everything everywhere. The story also describes the evil in speaking badly about the families we don’t know about, and how this will bring bad results. Because after exploring it may be concluded that those that we might consider evil might actually be good people.
More...
Ömer Seyfettin, one of the leading names of Turkish national literature, has unique storytelling in terms of fiction technique as well as story language and style. His storytelling is accepted as an important milestone in the Western modern understanding of the story that entered our literature during the Tanzimat period. Indeed, together with Ömer Seyfettin, the story has gained the qualification of being a separate genre on its own. In this study, Ömer Seyfettin's story "Caftan with Pink Pearl" was tried to be read based on the works of Campbell and Vogler. While the text was handled according to the stages of departure-initiation and return determined in the Hero’s Endless Journey; the storytelling based on narrating an event, which constitutes the characteristic aspects of Ömer Seyfettin's storytelling, and the fiction formed in the context of creating a single impression on the reader, were shown and analyzed together with the journey pattern. The journey in the story was made in the name of the state, not for an individual desire or purpose, and he completed his adventure with the help of other archetypes that he carried in his heroic identity throughout the journey and returned to home. The fact that the hero encountered the archetypes of the collective unconscious during the journey necessitated the evaluation of the text in this respect as well. As a matter of fact, the archetypes that formed the character of the hero enabled him to be an ideal person or mentor who is also a role model for the reader. Therefore, this situation, which is an important part of the hero's ego, was also included in the study.
More...
Black humor, is a criticism tool againts the concepts such as social life, values, politics, belief, morality. In particular, the brutality, deaths and disappearances caused by the two world wars dragged the artists to a dead end. This chaotic process, which will accelerate with the industrial revolution and reach its peak with the world wars, has destroyed many values that artists and men of letters believed in. At this point, black humor has turned into a tool to criticize social situations that are not considered rational. In this process, the work of Andre Breton, the founder of Surrealism, named Black Humor Anthology, which was first published in 1940, brought this old humor technique back to the agenda, which goes back to Ancient Greece. Breton drew its theoretical framework and tried to define its principles. Sulhi Dölek, who wrote works in many genres of literature, started his literary life in the 1970s. Finding its essence in Mark Twain's phrase "the source of humor is pain", Dölek's unique sense of humor has permeated the climate of all his works. He criticizes the desperation, moral collapse and corruption experienced by people in societies that experience major political, economic or cultural ruptures and the fact that these are shown as if they do not exist despite everything. He makes his criticism mostly through humor. He humiliates the exploitation of the ruled by the ruler for the sake of profit, the deceptions of people's neighbors and colleagues, and the destruction of values by hollowing them out. He shows itself to the society through humor and holds a mirror to it. In this study, which characteristics of Dölek's stories are described as black humor will be evaluated through humor techniques and the place of the artist in our world of humor and literature will be tried to be determined.
More...
The novel consists of various building elements. There is an ambiguous relationship between one of these elements, the author and the narrator. The correspondence of the relationship mentioned earlier between the author and the narrator manifests in revealing a particular type of lexicon through the characters in a text. One of the works that can be evaluated in this context is Nezihe Araz's novel Dertli Dolap. In this novel, which has both historical and biographical features, the author took place as a writer- narrator with a divine point of view and made clear her relationship with her protagonist, Yunus Emre. The writer who identifies Yunus Emre's life story with her own experiences feels that her life matched Yunus Emre's awakening through Tapduk Emre when she met Kenan Rıfai, which changed her life. Therefore, the author also spoke about herself while telling the life of Yunus Emre.
More...
The term ecophobia, which was introduced by Simon, points out the fear from or hate of nature without any logical basis. Ecophobia is deeply cultivated in the Turkish culture, so it is easy to see its traces even in the works of writers who have a certain level of nature awareness. For instance, Faruk Duman, a contemporary Turkish writer, specifically mentions a fear of the forest in his works, which can be considered as an ecofiction. This situation creates a contradiction. Faruk Duman is one of the authors with an awareness for nature. Nature is definitely not a background in his novels; however, nature has its own personality and directs the fiction. Moreover, Duman builds his novels on the unity of nature and humans. The fear of nature can be seen quite clearly in his works, where the forest stands against the reader with all of its frightening characteristics. Fictional characters are filled with apprehension regarding the forest, for which they entered for some reason. In this study, complicated characteristics regarding the relationship between nature and human will be revealed, even in ecofiction.
More...
Ashik Murat Çobanoğlu of Kars, one of the significant representatives of the “Anatolian Ashik (Minstrel) Tradition” in the last era, is the subject of this study. The position of Ashik Murat Çobanoğlu in the ashik tradition was revealed, and a review was made within the framework of ashik literature. When considering ashiks who are an important voice and representative of the society, it is necessary to make evaluations about the society in question. In this context, Goldman's structural constructivist method, which focuses on the relationship between society and artifacts, was preferred in this study. Within the framework of this method, first of all, the structural elements in Çobanoğlu's poems were emphasized in the heading of “understanding stage”. Under the heading of “Disclosure stage”, important information about the Kars region was interpreted by associating it with the ashik tradition. In this section, information about Çobanoğlu's life is introduced, and a general picture is drawn about the sphere in which the ashik grew up. When it comes to the ashik tradition of the Kars region, the first element that comes to mind is “Çobanoğlu Ashiks Coffee”. Information about Ashik Murat Çobanoğlu and the “Çobanoğlu Ashiks Coffee”, which has a significant impact on the ashik tradition in the region, was introduced, and evaluations were made. Later, the topics that Çobanoğlu covered in his poems were determined, and examples of these topics were introduced. It was determined that topics such as economics, agriculture, nature, and living things, history, and geography were usually covered in the poems. National issues and social criticism also attract attention in Çobanoğlu's poems. As a result of the review, a number of features belonging to the Kars region and traces of its culture were found in the poems. Historical issues, geographical and physical characteristics, reflections of the social structure are seen in the poems of Çobanoğlu. Ashik Murat Çobanoğlu of Kars is brought to the attention of the scientific world once again by using the structural constructivist method, and the main purpose of this study is to suggest a new interpretation about the ashik and to make a contribution to the studies of poetries of the ashik.
More...
In Classical Turkish (Divan) Literature, most of the poets used pseudonyms. The pseudonym can play a distinctive role within the scope of difference and originality in the poet(s) or the work(s) written. However, despite the concerns of being different and original and the efforts to be recognized, works, poems and life stories can be mixed with each other. There are many reasons for this. The first of these is to use the same pseudonym. This situation brings with it a number of confusions. However, it is seen that many poets and their works are mixed both in tazkeerahs, magazines/compilations and other texts. Even poetry books or other works of poets can be attributed to someone else. There are poems with the same pseudonym in biographical works, as in tazkeerahs, in magazines with a selection of combined works and/or poems. Although the existence of the poems is positive, it also causes confusion at the point of to whom it belongs. As stated in the sources, there are poets in Classical Turkish poetry, from the 15th or 16th century to the 18th century, who used the pseudonym Fasihi in their works and poems. One of them has a Turkish Divan (poetry book) found in libraries. Although some of the other poets have poetry books, they have not been identified yet. Unless it has a distinctive feature, it is difficult to determine which poet belongs to Fasihi's poems in magazines/compilations. However, as a result of a comparative analysis, some results can be reached as much as possible. In our study, poets with the pseudonym Fasihi introduced in the sources and academic studies will be emphasized, and their classification will be made as much as possible. It will be evaluated the integrity of the poets and their poems in their relations and with each other. Information and determinations, that is, the similarity, inconsistency or the reality of the predicted situations, deviations and relationships between the relevant data will also be tried to be investigated in the context of analytical analysis.
More...