Türük Uluslararası Dil, Edebiyat ve Halkbilimi Araştırmaları Dergisi

37-52

Authors: Nedim Bakırcı

Mythology is the science of symbols. There is a secret treasure behind every mythological words. There are lots of mythological words in folk narrations. Folk narrations are rich treasures that reflect the thoughts, emotions and all features of the people they belong to. The roots of these treasures are based on the beliefs formed long time ago. These beliefs have been able to survive in the narrations to date, living in the memory of folks. However, some mythical elements living in the narrations have been above water and some of them are in the shape of symbol. It is no doubht that tales are the narrations where many mythological elements can be found. In this paper, mythological factors in the texts of the book “Masallar” are detected and interpreted. Key Words: Mythology, Tale, Eflatun Cem Güney.

118-138

Authors: Vüsale Musalı

There has been an indestructible relationship and two-sided effect between Turkish and Azerbaijani literatures from Medieval Ages until today. Effect between individuals who live different eras and create literary examples, are investigated from different perspectives by comparative literature researchers. It is why Azerbaijani tazkiras were not analyzed systematically; the tazkiras which were written by Azerbaijani and Ottoman writers were not regarded comparatively. We can see just one example which is belong to Assistant Professor Ö.Bayram. In related part of his PhD Dissertation, he compares from some aspects Seyyid Azim Shirvani’s tazkira with Ottoman tazkiras. Literary relations, two-sided effects and differences between Ottoman and Azerbaijani literatures were not the research issue very well according to comparative literature. Firstly, Azerbaijani tazkiras was worked comprehensively by myself and printed as monograph namely “The History of Azerbaijani Tazkiras”. After than we can see the comparative studies between Azerbaijani and Ottoman tazkiras which were birth and grown from 16-th century. The comparison between Ottoman and Azerbaijani tazkiras is regarded in 5 subtitles in the article. Azerbaijani writers of Tazkiras wrote 46 and Ottoman writers wrote 32 tazkiras. In Azerbaijani field, we can see the layer (tabaka), alphabetic, geographic and chronologic principles. On the other hand, Ottoman tazkira writers were used just layer and alphabetic principles. Firstly, Ottoman writer Ashiq Chelebi putted poets in order based on “abjad” letters. Gufti who is the writer of 17-th century was famous with the only tazkira written in verse. Mass of the tazkiras was written in Persian by Azerbaijani authors. But in Ottoman field, tazkiras were written only in Turkish. Ottoman tazkiras are important sources of Azerbaijani literature, just because they include information about more than 60 Azerbaijani poets. Key words: Azerbaijan, Ottoman, tazkira, comparison, similarity, difference

161-170

Authors: Ertuğrul Karakuş

Yahya Kemal Beyatli was born in Skopje and is a poet whose character and world view was shaped in a spiritual atmosphere. The most important factor in developing his character, as he mentions in his memories, is his mother Nakiye Hanim. Having suffered too much, Nakiye Hanim died in 1897 in her early ages and was buried in the compound of Isa Bey Mosque in Skopje. Her tombstone disappeared in 1960s with an unknown reason and way and the original tombstone hadn’t been found despite some actions taken. In March 2014, with the initiative of turcologists who are in duty in Macedonia, a new tombstone was prepared and put in the graveyard so that her grave place is not forgotten. At the backyard of Isa Bey Mosque, a tombstone thrown randomly in the bunch of other stones was noticed. It was a tombstone of a woman. The upper and lower parts of the tombstone were damaged. Although the date and the name of the tombstone are not visible, the other written data has strong evidence that it is the tombstone of Nakiye Hanim. Keywords: Yahya Kemal, Nâkıye Hanim, Skopje

197-218

Authors: Reshide Adzhumerova & Ayşe Aydın

In this Work, the folk songs which are song in Crimea-Tatar Turkish and have different dialect specialities, were evaluated according to marked phonetics specialties and then we tried to produce dialect differences. The folk songs called with “halk yırı” in Crimea-Tatar Turkish. The folk songs are one of the oldest and most wide spread type field of the Cirimea Turkish oral literature . According to Crimea-Tatar folk songs, Crimea-Tatar Turkish distinct sound of the main differences between the three dialects of the region, places of mouth influence each other is discussed and the influence of Turkish Oguz. 16 South mouth, 11 Central Pathway mouth, 10 North mouth , including of the total 37 folk songs of have been classified in a way that represents the phonetic characteristics of the mouth . Kipchak group of Turkish “Crimea-Tatar dialect”, particularly in the area of South dialect were studied to determine the traces of Turkish Oguz, so We taked in hand Marks of Oğuz Turkish that are on Crimea dialects. Keywords:The folk song, Crimea-Tatar Turkish, sound event, sound changing, Oğuz Turkish.

242-265

Authors: Osman Özer

Terekeme Turks are a national treasury in terms of folk culture. Their treasuries of language and culture need to be identified to make a comparison between such huge set of materials and the cultures of other Turkish folks. Lands within the Kars, Tbilisi, Baku triangle and the surrounding area are the natural homelands of the Terekemes. They migrated from Georgia and Kars to Muş-Bulanık between 1926-1932 and settled there. Terekemes speak an idiosyncratic dialect of Turkish. In fact, this dialect has seemingly undergone assimilation and merged into the dialects of East Anatolia. Interactions between the significant phonological and morphological features found in the dialects of Terekemes living in Turkey and those of the regional dialects were evaluated in this study. Distinctive phonological and morphological features identified in the dialects of Terekemes living in Muş have been specified. Key words: Dialect, dialects of Turkey Turkish, dialect of Muş-Terekemes

287-295

Authors: Ali Osman Yalkın

Period that covers late 16th century and first decades of 18th century of Ottoman Turkish Period, continuing Old Anatolian Turkish Period in very early times, is a transition period between Old Anatolian Turkish and Turkey Turkish. In Classic Ottoman Turkish Period, which lasted from 16th century to mid-19th century, the linguistic extremism with Arabic and Persian components entering in the language in 16th, 17th, and 18th century reached to its peak. Text studies related with this period falls far behind the studies in relation with Old Anatolian Turkish Period. Thus, in this study, the book titled Tafśįl-i Ŧarįķ-i Muķarrebįn ve Sebįli’l-MüttebiǾįn by ǾAbdu’r-raĥmān-i Đarįr, written in 1156 / 1743, and registered in National Library Manuscripts Collection 06 Mil Yz A 8891, is introduced. This book, written in mid-18th century for preaching religious issues to people, belongs to the transition period between Old Anatolian Turkish and Turkey Turkish. Style of the book is rather simple compared to its contemporaries. The book is also significant for reflecting the linguistic features of its time. Key Words: ‘Abdu’r-rahmân-i Darîr, ‘Abdu’r-rahmâni’d-Darîr, Tafsîl-i Tarîk-i Mukarrebîn ve Sebîli’l-Müttebi‘în, XVIII Century, Classical Ottoman Turkish

308-321

Authors: Bünyamin Çeri

Join leading novelist of Turkish literature, Mustafa Necati Sepetçioğlu'nun mansions novel penned in 1974, is the subject of the Ottoman Empire Establishment Era. The main characters of the novel the Auburn grandfather, came to Anatolia from Yesica would build a mansion, the establishment of the Ottoman Empire, these hosts are described matched discloses. The book consists of four sections, Auburn grandfather starts with Yesica leaving to go to Konya. This division, Rahman, one of the novel's main characters was bring out the foreground. Father looking for Rahman, Auburn Dede would comrades. The other main characters of the novel Osman Bey makes the accounts to be permanent in Anatolia. Kay took over from his father Ertuğrul Gazi make the tribal government is her greatest dream. The Byzantine struggle to achieve this ideal throughout the novel with the senior. Sepetçioğlu'nun mansion that included a lot of indoor and outdoor spaces enclosed spaces in the novel comes to the fore. The most striking and remarkable indoor space is the Auburn grandfather's mansion. Acting on the events in the novel, and the novel in which direction the events in this article that attempted to examine the spaces with symbolic value; The symbolic value of space and place emphasis on the evaluation be done in space was tried to the events. Key words: Mustafa Necati Sepetcioglu, Establishment, Space, Historical Fiction, Space Element

6-31

Authors: Uluhan Özalan

There are many examples in Turkish Language, which has a rich agglutination system, showing that a specific morphological function can be performed by many morphemes. This situation can be both an inter-dialectal issue and a dialect-specific. For example, the morpheme that shows the event which will happen in the future occurs in many forms in historical and modern Turkish dialects. Another category which can be represented in different forms because of agglutination conditions, morphophonetic/morphophonemic processes, dialectal properties etc. in the paradigms is the copula. Accordingly, trying to analyze the morphological structure of Turkish language on the basis of the form causes different evaluations about which morphemes are included in this category. The function of +(B)O(l)- as a copula can be ignored or the examples given under the title of copula cannot perform this function. In the present study, the function of copula is dealt and under which conditions +(B)O(l)- performs this function is clarified with the examples form modern Turkish dialects. Key Words: Copula, +(B)O(l)-, function, agglutination, form

46-53

Authors: Leniza Veliyeva, Trans.Ahmet Turan Türk

Among the modern linguistics studies, analysing the certain aspects of meaning relations amongst syntax units is one of the most attractive topics recently. This means increasing interest in the field of relationships based on views of language to uncover connections allow explained by. In this respect, the relationship between units of word meaning differences syntax and is considered important to investigate comprehensively specified properties . In Turkish dialects syntax relationship between units of different types of similar meaning are in close relations with the relationships. Meaning comparatively examine the meaning of their relationship to a deeper understanding connections, which are common to the Turkish dialects writing language to explain the way of any means to determine the grants to reflect the specific situation. Syntax relationships between units of different types of similar meaning in connection with relationships is tight. Frequently similar formal indicators used to report various relationships and the associated difficulties arise as to distinguish them. This article Tatar language and some other causes and effect in Turkish dialects, so the purpose of motivation relations and connections with the relationships must have been examined. Key words: Syntax Units, Turkish Dialects, reason-result, motivation

84-98

Authors: Armağan Zöhre

Love is reason for the creation of humanity and love consists of real and figurative on Islamic mystical idea. In both cases – whether real or figurative- love is valuable for poetry. In this respect, love is one of the most important themes of the Dîvân poetry. In cases where it comes to love and beloved the poet appears to be lover type which one of the most prominent types of Dîvân poetry. In this study, we discussed similes and concepts on love and lover in Muhibbî’s Dîvân which one of the most comprehensive dîvâns of the classical Turkish literature. In this work, these similes and concepts that we think they have meaning of proximity to each other were analyzed by categorizing. As a result, it can be considered that despite being the great Sultan, Muhibbî expressed his feelings of despair towards the beloved and love with his cultural background knowledge of Dîvân poetry and within intense emotions. Key Words: Muhibbî, Magnificent Süleyman, Love, Lover, Dîvân Poetry

112-122

Authors: Merve Mutlu

In terms of Turkish literature, poetry journals are among the highly important literary works. Thanks to these works, we can both reach poems of some famous poets which don’t take place in their dîvâns and poets whose names are unknown in our literature history. In addition to these, poetry journals are highly important not only Turkish literature but also Turkish culture and history because they reflect both literary preference and several sociocultural features of the time they written. The article contains the presentation of the poetry journal listed as Mecmû‘atü’l-Eş‘âr recorded on number 263 in the Nuri Arlasez Collection in Süleymaniye Library in terms of shape, content and some linguistic features. The poetry journal which is composed of 72 foils generally contains the poems of 16th century poets. Together with these poets and poem forms that they used, the metrical frameworks of the poems and sort of them also are given though tables. Then, representing a significant part of our study, the poems which belong to Firâkî are given place. These poems are given in order of their foil numbers in the poetry journal together with their metrical frameworks. Foil and poem numbers of the poems are given in brackets under the related poems. The purpose of this study is to emphasize importance of poetry journals in terms of literature history and shed light on new studies that will be done in the future, in the hope that valuable poems of lots of valuable poets can be unearted. Keywords: Turkish Literature History, Süleymaniye Library, Poetry Journal, Poem, Firâkî.

135-157

Authors: Ertuğrul Karakuş, Rabia Uçkun

After Ottoman Empire had to retreat from the Balkans, a significant Turkish population remained in the states founded. Majority and dominant before, the Turkish population became minority then. Not only the heart breaking incidents occurred during the immigration which started in the 19th century and proceeded tragically but also the pressure and intimidation policies of the newly founded governments caused various traumas in the Balkan Turks’ mind and soul. Nevertheless, centennially cultural accumulation through the Ottoman times and efforts to form and preserve a contemporary literature continued among the Turkish people of the Balkans. It is an important duty to reciprocate the efforts of the Balkan Turks, in general for Turkey and specifically for the universities. Undoubtedly, contributing with organisations like conferences, symposiums and panels is a part of this duty to preserve the Turkish culture and literature in the region. However, it is believed that the culture and contemporary literature productions’ introduction and education tried to be preserved by the Balkan Turks are crucial as an deficiency is noticed especially in the education that is taught prominently in Turkish literature and Turkish Language Teaching departments of the social domains of the Turkish universities. In this study, fundamental periods, representatives and essential productions of the Balkan Turks literature along with how the Balkan Turks’ culture finds a place in Turkish university education will be examined with references. Considering that the newly graduated teacher candidates and young Turkologists are not fully informed about the Balkan Turks literature and culture, introducing and teaching the Turkish presence in the Balkans and literary activities of the region is important as it shows the language, culture and history unity of the Turkish people, proves that the Balkans are Turkish land and connects the ties between Balkan Turks and Turks of Turkey. Keywords: Balkans, Balkan Turks, culture, language and literature

179-192

Authors: Vüsale Musalı

The term “Azerbaijanian tazkira writing” means tazkiras of Azerbaijanian authors in Turkish and Persian languages. Like the Ottoman tazkira writing, Azerbaijan tazkira writing also has been formed and developed under the influence of Herat tazkiras since the 16-th century. Azerbaijan tazkira writing, which crossed the way of rich development, remained outside from the systematic and theoretical studies. From 46 tazkiras, which were written by Azerbaijanian authors, only 8 tazkiras were published in Azerbaijanian Turkish language. When we systematized Azerbaijanian tazkiras in writing epoch and place, we found that Azerbaijanian authors had completed 4 tazkiras in XVI century, 2 tazkiras in XVII century, 5 tazkiras in XVIII century, 22 tazkiras in XIX century, 12 tazkiras in XX century and 1 tazkira in XXI century. They wrote these tazkiras in different geographical regions, such as Ardabil, Tabriz, Isfahan, Shamakhi, Lankaran, Shusha, Kutahya, Haydarabad, Mecca, Baku etc. Azerbaijanian tazkiras are from points of views of linguistic peculiarities and the preparation methods and contents are original. If we estimate these tazkiras from linguistic point of view, we may classify them into 5 groups: a) tazkiras with prose and poetry parts written in Turkish; b) tazkiras with prose parts written in Turkish and poetry examples in Turkish and Persian; c) tazkiras which have both prose and poetry parts written in 2 languages (Turkish and Persian); d) tazkiras with prose parts in Persian, but poetry examples in 2 languages (Turkish and Persian); e) tazkiras with both prose and poetry parts written in Persian. According to geographical coverage, Azerbaijan tazkiras may be classified into 3 types: generally Eastern, generally Azerbaijanian and local tazkiras. According to time, Azerbaijanian tazkiras consisted of limited and unlimited works. Azerbaijanian tazkira writers introduced poets based on their social status, alphabetical system of pan-names, geographical regions and chronological principle. Also, a few of our tazkira writers completed their works according to genres of literary examples. We also found unsystematic tazkiras in our literature. Authors of some Azerbaijanian tazkiras were Princes. So, a number of tazkiras were completed by Qajar Princes, sons and grand-sons of Fath Ali Shah. Qajars are from Azerbaijanian Turks by origin and for nearly 130 years they ruled in Iran as “Shahs”. As the result of our research we can say that in other Turkish people we did not find a rich tradition of tazkira-writing written by a huge number of writers originated from a dynasty. Nine (9) Qajar Princes (Mahmud Mirza, Sayfuddawla, Sultan Muhammad Taghi, Bahman Mirza, Hulagu Mirza, Khudaverdi Khan, Muhammad Baghir Khan, Haydarkulu Mirza, Muhammadkulu Mirza and Ali Riza Mirza) wrote 11 tazkiras in Persian and therefore enriched the history of tazkira-writing. In this current article we present information on their tazkiras in chronological order. Key words: tazkira, Gajars, Azerbaijanian Turks, Persian, XIX century.

207-218

Authors: Mehmet Mustafa Örücü

Fire is related with reason as it is an enlightening element. In the myth of Prometheus, the fire that has been stolen from Gods by Prometheus symbolizes the reason and wisdom which is essential for human being to build their civilisation on the world. With the beginning of enlightenment age the West has considered reason and wisdom as rationality. Therefore, ration which is dimension of reason and wisdom to perceive practical and objective realities of the world has been important in the life of western communities. The dimension of reason and wisdom which is able to comprehend the truth has ignored. The West, thereafter, denied the truth from the perspective of rationality. After the declaration of Tanzimat, ottoman poets who are interested in social problems, and are in touch with western ideas, started to bring social and religious issues into their poems in order to raise awareness about the socio- political condition of Ottoman society. They tried to evaluate this condition of society from the perspective of reason and wisdom. In this research, it is intended to figure out how ottoman poets percept those concepts, “ration” and “reason”, in their poems throughout Tanzimat period. It is, also, aimed to analyze how they handle those concepts through the images about fire. Key Words: Tanzimat, poem, fire, Prometheus, image, reason, ration

231-238

Authors: Furkan Balategin Eroğlu

With the expression of Turkish folk music, we refer to the music based on the tradition of a great society living in a very wide range of areas and generating a civilization because the Turks have lived not only within the boundaries of Turkey but also in variety of areas as large groups. Even when only the Central Asia called as Uluğ Turkestan is considered, it points out a Turkish population of 250 million people. Besides, except for Uluğ Turkestan, The Turks have been living in regions like Balkans, Europe, America and Australia. This study is limited to Turkey. Therefore, with the expression of Turkish folk music, we refer to the folk music of the Turks from Turkey. There has not been reached a consensus about the definitions of some basic concepts of Turkish folk music of Turkey. Some issues such as Region, Style, Attitude, Type, Authenticity, Anonymity, Local Plectrum and etc. are still being discussed. When the region is mentioned, today’s administrative division is taken as a basis and it is limited to regions, provinces and even counties. When it comes to the region of a folksong; it can be expressed with the names of some cities such as Denizli, Eskişehir, Erzurum or with some province names such as Silifke, Eğin and Safranbolu and on the other hand, it can also be expressed with some region names such as Central Anatolia, Aegean or Eastern Anatolia. Apart from the fact that whether these nomenclatures are scientific or not, this can also lead to some discussions between the districts for reasons like this folksong has been stolen from our region or that folksong was taken from us. Of course, the folksongs have been born and composed in a certain vicinity (district, region, location). It should not be forgotten that the majority of today’s folksongs were born in the old times and they have reached as an hereditary for today. Also when the region characteristic is mentioned, the expression of ‘’attitude’’ is used, but it is ignored that the attitude can be both personal and social. And the style issue is never mentioned. The purpose of this study is to give some suggestions and analyze the concepts of Region, Style and Attitude in the Turkish Folk Music of Turkey through the ways based on our experience in the field and the literature review method. Key words: Folk Culture, Folk Music, Folk Song, Song, Music

261-271

Authors: Yavuz Köktan

Until now mythological researches have been in the center of mythologist’s attention , such as a series of problem like; mythology and religion, mythology and philosophy, mythology and history, mythology and literature ,mythology and fine arts. Also, the connection of mythology with dance and music in the relationship of Mythology and Fine Arts can be seen. It’s known that gods, goddesses and heroes that are related with dance and music, exist in many different cultures. Statements such as “The God of Dance”, “The God of Music” take part in the mythologies of the world. In this research, the concepts about dance and music will be identified and about them ,will be given some information by examining the mythologies of the world from main source books. Especially, the aspect of religions to dance and music will be examined in the relationship of mythology and religion between the encountered concepts in the mythologies of Greek , Far East and Indian mythology. Keywords: Mythology, Dance, Music, God, Goddess