Ekici, Muhammet Faruk

Dede Korkut Kitabı’nda yer alan ve Türk edebiyatının en önemli anlatılarından biri olan Bamsı Beyrek Hikâyesi, bireyin varoluşsal yolculuğunu ve içsel dönüşümlerini anlatmasıyla dikkat çekmektedir. Bu makalede, Bamsı Beyrek Hikâyesi fenomenolojik bağlamda ele alınarak kahramanın bilincinde yaşadığı deneyimlerin bir analizinin yapılması amaçlanmaktadır. Fenomenoloji, bireyin yaşadığı olayları nasıl deneyimlediğini ve bu deneyimlerin onun bilincinde nasıl yapılandığını inceleyen bir felsefi yaklaşımdır. Bamsı Beyrek’in hikâyesi, kahramanın kendini ve dünyayı algılama biçimini anlamak açısından zengin bir metin olarak karşımıza çıkmaktadır. Hikâye; kahramanlık ve varoluşsal deneyim, aşk ve bağlılık, ölüm ve varoluş kaygısı, toplumsal yapı ve kimlik, zaman ve bekleyiş, kader ile irade şeklinde altı temel başlık altında incelenmiştir. Kahramanlık ve varoluşsal deneyim bölümünde, Bamsı Beyrek’in zorluklarla karşılaştığı her an, onun varoluşsal farkındalığını artıran bir deneyim olarak ele alınmıştır. Aşk ve bağlılıkla ilgili bölümde, bireyin kendini ve dünyayı anlamlandırma sürecinde aşkın ve sadakatin önemli bir rol oynadığı vurgulanmıştır. Beyrek’in Banu Çiçek’e olan aşkı, onun varoluşsal bütünlüğünü tamamlamasına katkı sağlamıştır. Ölüm ve varoluş kaygısı şeklindeki bölümde, bireyin yaşamını ve yaşamın anlamını sorgulaması yönündeki deneyimleri ele alınmıştır. Toplumsal yapı ve kimlik bölümünde ise, kahramanın toplumsal ilişkileri ve sorumlulukları çerçevesinde onun kimlik kazanma süreci analiz edilmiştir. Zaman ve bekleyiş bölümünde, esaret dönemi ve bu süre zarfında yaşanan bekleyişle birlikte bireyin zamanı nasıl deneyimlediği değerlendirilmiştir. Son olarak kader ve irade ile ilgili bölümde, Beyrek’in tercihlerinin onun yaşamındaki sonuçları nasıl şekillendirdiğine değinilmiştir. Bu çalışmada Bamsı Beyrek’in bireysel ve toplumsal kimliğini nasıl oluşturduğu, fenomenolojik çerçevede aşk, kahramanlık ve ölüm temaları aracılığıyla incelenmiştir.

İncele

Akdemir, Fatma Şen

“Türk Şairi/Milli Şair” olarak tanınan Mehmet Emin (Yurdakul) (1869-1944), özellikle I. Dünya Savaşı yıllarında yazdığı vatan ve kahramanlık konulu şiirleriyle şöhret kazanmış ve edebiyat tarihinde esas olarak bu eserleriyle yer edinmiştir. Şiirlerinde hiçbir zaman bireysel temalara yönelmemiş olan Mehmet Emin’in, milliyetçi ideolojiye bağlı kalarak yazdığı şiirlerine göre ikincil plânda kalan, toplumsal sorunları ele aldığı şiirleri de bulunmaktadır. Bunlar, Mehmet Emin’in Türk milliyetçiliğinin gölgesinde kalan ve üzerinde yeterince durulmayan farklı bir yönünün, 1914 öncesi edebi üretiminin önemli bir unsuru olan halkçılığının ürünleridir. Osmanlı topraklarında yirminci yüzyılın başından itibaren, Rusya’dan gelen Yusuf Akçura, Hüseyinzade Ali gibi Müslüman aydınların etkisiyle yayılmaya başlayan halkçılık ideolojisinden etkilenen Mehmet Emin’in, halkçılık bilinciyle kaleme aldığı ürünleri, Türkçe Şiirler (1898) ve Türk Sazı (1914) başlıklı eserlerinde bulunmaktadır. Dolayısıyla anılan yapıtlar, onun halkçılığının içeriğine dair bilgi edinebildiğimiz en önemli kaynaklar arasında yer almaktadır. Mehmet Emin, bu eserlerdeki şiirlerinde, özellikle sosyoekonomik olarak üst kesim dışında kalan kitlelerin, daha çok köylülerin ve kentli yoksul kesimin, yani “halk”ın yaşadığı zorlukları ve sıkıntıları, yaşam koşullarını, yine halkın anlayacağı bir dille ve hece vezniyle temalaştırmıştır. Zira halkın yaşam koşullarının refaha kavuşturulması, seviyesinin yükseltilmesi bu olumsuzlukların ortadan kaldırılmasına koşut olarak değerlendirilmiş; toplumsal sorunların düzeltilmeden “terakki”nin mümkün olmayacağına inanılmıştır. Ayrıca bu dönem aydınları ve Mehmet Emin, meşhur söylemle “halka doğru” giderken, halka sadece romantik duygularla yaklaşarak onu yüceltmemişler; halkta gördükleri eksiklikleri ve olumsuzlukları çekincesizce dile getirmişlerdir. Bu bağlamda, Mehmet Emin’in Türkçe Şiirler’de ve Türk Sazı’nda yer alan şiirlerinde sosyal eleştirinin önemli yer kapladığı görülmektedir. Şair toplum yapısındaki çarpıklıkları gün yüzüne taşıyarak, bunlara dair farkındalık sağlamada ve çözümüne katkıda bulunmada şiirlerini araç olarak değerlendirmiştir. Bu çalışmada, anılan kitaplardaki sosyal eleştiri unsurları halkçılık bağlamında incelenecektir.

İncele

Yıldız, Sevim Erdem

Eckmann, Çağatay dili için, Karahanlı ve Harezm-Altın Ordu yazı dillerinin devamı olarak Timurlular idaresi altında gelişen ve XI. yüzyıldan XIX. yüzyıl sonuna kadar devam eden Orta Asya İslâm-Türk yazı dilinin gelişmesindeki üçüncü safhayı kastettiğini belirtir. Onun verdiği tasnife göre Çağatay Türkçesi üç döneme ayrılmaktadır: 1. Klasik Öncesi Dönem: (XV. yüzyılın başından, Nevâî’nin ilk eserini verdiği 1465’e kadar devam eden dönem), 2. Klasik Dönem (1465-1600), 3. Klasik Sonrası Dönem (1600-1921). Nevâîʼnin eserleriyle klâsik şeklini alan bu yazı dili XIX. asırdan sonra yerini Özbekçeye bırakmıştır. Burada incelemesini yaptığımız Münâcât-ı Harezm-nâme adlı metin, H. 1308 (1890-91) tarihinde Çağatay Türkçesiyle yazılmıştır. Eckmann’ın yaptığı bu tasnifine göre, bu metin klasik sonrası dönem (1600-1921) metinleri içerisinde yer almaktadır. Dāmollā ʿAbdüʼl-ġaffār ibn Nūr Muḥammed tarafından istinsah edilen eser, St. Petersburg kütüphanesinde İVR RAN koleksiyonunda A 708 koduyla kayıtlı olan Şeyh Necmeddin-i Kübra’nın şehit olup Harezm’in mahvoluşunun anlatıldığı bir yazmanın arkasında, 112b-118b varakları arasında bulunur. Eserin konusu Harezm şehri ve evliyaları hakkında bir şiirdir. Bu çalışmada söz konusu Arap harfli metnin yazı çevrimi yapılarak metin Türkiye Türkçesine aktarılmış, metnin yazım özellikleri ve ses bilgisi özellikleri açıklanarak metnin dizin ve etimolojik sözlüğü ortaya konulmuştur. Çalışmanın sonuna metnin orijinali de eklenerek özellikle araştırmacıların gerektiğinde ana kaynağı kullanmasına imkân tanınmıştır. Böylece Çağatay Türkçesine ait klasik sonrası dönem metinlerinin incelenmesine katkı sağlanmıştır.

İncele

Koç, Ali

In this study, which focuses on two poems by Orhan Veli Kanık, the language and stylistic analysis of the poems is handled with an interdisciplinary approach and how classical methods can be applied together with modern methods is discussed comprehensively. While traditional methods of analysis focus on understanding the formal structure (e.g. rhyme, red rhyme, meter) and thematic features of the poems, the multilayered structure of the poems is examined in more depth by using approaches from different disciplines. These methods aim to analyze the aesthetic dimensions of language as well as its social, mental and emotional effects. Contemporary methods such as psycholinguistics, text linguistics, text mining, neurolinguistics, critical discourse analysis and structuralist approach offer the opportunity to analyze the meaning, structure and stylistic features of poems in depth. The subject of this study is an interdisciplinary analysis of the language and style of poetry. The main aim of the study is to understand the multi-layered structure of poetry more comprehensively and deeply by combining traditional methods with modern linguistic and interdisciplinary approaches in poetry analysis. In this context, the study aims to combine classical poetry analysis techniques with contemporary methods such as psycholinguistics, text linguistics, neurolinguistics, text mining, critical discourse analysis and structuralist approach. This interdisciplinary approach aims to analyze not only the formal and thematic features of poems, but also their linguistic structures, their mental and emotional effects, and their social and ideological layers of meaning. Thus, the ultimate goal of the study is to develop a more holistic, multidimensional and richer understanding of the language and style of poetry. Orhan Veli's poems “Anlatamıyorum” and “Bedava” are analyzed in detail in the light of modern approaches. By expanding the boundaries of classical poetry analysis methods, the study allows for a more in-depth and comprehensive analysis of poetic language and style

İncele

Tosun, Ibrahim

Dil bir toplumu oluşturan bireyler arasında anlaşmayı sağlayan, konuşanın duygu ve düşüncelerini alıcıya ileten, seslerden örülü, kendi içinde bazı kurallar doğrultusunda işleyen sistemli bir araçtır. Bu yönüyle kültürel birikimin taşıyıcısı ve aktarıcısı da olan diller, tarihsel süreç içinde sürekli gelişip değişerek farklı sonuçlara doğru evrilirler. Bu süreçte tamamen birbirinden ayrı kollara bölünebilir, bazı dilleri kendi içinde eritebilir ya da bazı dillerin etkisinde kalarak silinebilirler. Günümüzde etnik yapıları bakımından aynı kökene sahip olan toplulukların geçmişte tek bir dilin sonradan ortaya çıkmış kollarını standart dil haline getirdiklerini ya da bazı etnik yapıların birkaç dil konuştuklarını görmek mümkündür. Fakat bu yeni dillerde eski dilin ip uçlarını veren bazı ses bilgisi (fonetik), biçim bilgisi (morfoloji), cümle bilsgisi (sentaks) ve sözcük bilgisi (leksikoloji) ile ilgili unsurlara rastlanabilmektedir. Anadolu’da da, özellikle Güneydoğu ve Doğu Anadolu’da, yaşayan bazı toplukların en az iki dilli olmaları doğal bir etkileşimin ve farklı kültür tabakalaşmalarının sonucudur. Bu bölgede bulunan Tunceli’nin Pertek ilçesi ve köylerinde yaşayan Pilvenk aşiretine mensup topluluklar da Türkçe ve Kürtçe olarak iki dil konuşmaktadırlar. Bu aşiret mensuplarının ana dilleri Kürtçe olmakla birlikte genellikle Türkçeyi gündelik yaşamlarında daha yaygın kullanmaları ve ağızlarında bazı Türkçe arkaik unsurlara rastlanması oldukça ilgi çekicidir. Bu çalışmada Pilvenk aşiretinin Türkçe ağzında kullanılmakta olan kip kategorisinin çekimlik bağlı biçim birimleri yörede elde edilen örneklerden hareketle incelenmiş, verilerin sunduğu sonuçlar değerlendirilmiştir.

İncele

Akdemir, Fatma Şen

Fatma Aliye, one of the most significant Ottoman-Muslim female writers of the 19th century, perpetually scrutinizes the “woman question” and sets forth the problems women have to go through in a patriarchal society and a traditional family structure as well as occasionally suggesting possible solutions to these problems in all of the six novels she penned over the course of her life, Hayal ve Hakikat, Muhadarat, Refet, Udi, Levayih-i Hayat and Enin. However, upon closer inspection, her first novel Hayal ve Hakikat, which she co-wrote with Ahmet Midhat, appears to stand out from the rest of her work. Ahmet Midhat, who supported Fatma Aliye during the early years of her career as an emerging writer, deemed her as his “honorary daughter” and even stood up for her against those who opposed her and her writership for no other reason than her being a woman. Furthermore, Ahmet Midhat read and edited her work in addition to playing a fundamental role in the publication of her work both in his own newspaper and other media. There is no doubt that the unwavering support of Ahmet Midhat, not only the most popular and most widely-read writer of the period, but also a writer who is in good terms with the prevailing order, was hugely influential in the public acknowledgement of Fatma Aliye’s authorship. In a way, Ahmet Midhat became a father figure to Fatma Aliye, who was born as the daughter of Ahmet Cevdet Pasha, resulting in the formation of a fatherdaughter relationship between the two writers. Neverthless, the same hierarchical relationship that was prevalent in the patriarchal structure applied to the relationship that developed between Ahmet Midhat and Fatma Aliye: While the male author was the one who possessed authority, the female writer was the one who was subjugated to that authority. This hierarchical relationship is mirrored in the novel the two co-wrote, Hayal ve Hakikat, hence the emergence of distinct author attitude, narrator voice, and a female character noticeably different than the ones found in her other novels. The main starting point of this study is that, in her last novel Enin, which bears many similarities to Hayal ve Hakikat in terms of its subject matter, plot and characters’ life stories, Fatma Aliye completely reverses the male-female roles, gender codes and the negative qualities traditionally projected on women that characterize her first novel Hayal ve Hakikat, in which she had to adopt the ideology of a male author as she was writing under the authority of a male author and had no control over the text whatsoever. Fatma Aliye was in need of the support she could get from Ahmet Midhat in order to be included in the public sphere as a woman writer, but she was ultimately set free from this need as she gradually gained power and secured her place as a writer in the literary circle of the period. In this vein, as opposed to the female author and the female character pushed into the background and overshadowed by the male authority in her first novel, we see Fatma Aliye’s powerful exertion of both literary and female authority in Enin, which she wrote many years after Hayal ve Hakikat. Comparing her first novel Hayal ve Hakikat and her last novel Enin, this article will attempt to reveal the differences in Fatma Aliye’s approach to the woman issue in these novels. Structured Abstract: Fatma Aliye, one of the most significant Ottoman-Muslim female writers of the 19th century, perpetually scrutinizes the “woman question” and sets forth the problems women have to go through in a patriarchal society and a traditional family structure as well as occasionally suggesting possible solutions to these problems in all of the six novels she penned over the course of her life, Dream and Truth, Useful Information, Refet, The Lute Player, Scenes from Life and Groaning. However, upon closer inspection, her first novel Dream and Truth (Hayal ve Hakikat), which she co-wrote with Ahmet Midhat, appears to stand out from the rest of her work. Ahmet Midhat, who supported Fatma Aliye during the early years of her career as an emerging writer, deemed her as his “honorary daughter” and even stood up for her against those who opposed her and her writership for no other reason than her being a woman. Furthermore, Ahmet Midhat read and edited her work in addition to playing a fundamental role in the publication of her work both in his own newspaper and other media. There is no doubt that the unwavering support of Ahmet Midhat, not only the most popular and most widely-read writer of the period, but also a writer who is in good terms with the prevailing order, was hugely influential in the public acknowledgement of Fatma Aliye’s authorship. In a way, Ahmet Midhat became a father figure to Fatma Aliye, who was born as the daughter of Ahmet Cevdet Pasha, resulting in the formation of a father-daughter relationship between the two writers. Neverthless, the same hierarchical rel

İncele

Akar, Yeliz

Necip Fazıl Kısakürek, is one of the important writers who influenced both the artists of his time and who came after him. Although he is prominent in the genre of poetry, it is known that he also produced works in different fields of literature. Among these genres, theater takes an important place. In particular, Bir Adam Yaratmak is regarded as a work that proves the success of the author both for its period and beyond. Necip Fazıl Kısakürek, reflects the inner world of Husrev who questions the boundaries of his existence in his play named Bir Adam Yaratmak. Husrev, who emulates God, thinks that he can create new possibilities of existence in his own world based on his artistic identity. This role he assumes, sometimes by envy of God and sometimes by opposing him, is strengthened by his desire for immortality. Husrev, who is mistaken that he can realize this desire by relying on his artistic creativity qualification, goes beyond the boundaries of existence. Because man is mortal; Husrev, who loses his mental and mental health when he realizes the fact that he is mortal, becomes uneasy due to the dead end waiting for him. The fact that he has to wait desperately in the face of this situation that he cannot solve or cope with creates a great uneasiness in his mind. State of restlessness; the violation of the intimate sphere increases due to reasons such as insecurity in social relationships, failure and loneliness syndrome, and it turns into a deep trauma that forces Husrev's limits of endurance. In this study, which we dealt with in the context of Husrev's existential unrest, we evaluated the limits of the human capable of creating, the terror of death in our inner world and the consequences of border violations.

İncele

Ozek, Fatih; Yıldırım, Onur

Ottoman Turkish is the period of Western Turkish that existed from the 16th to the 20th century. In this period besides literary texts, texts that were far from literary concern were written. In the period of Ottoman Empire, the rulings, orders and prohibitions put forward by the sultans in order to find solutions to the problems faced by the society in religion, state and social issues are called code. Codes, which are very rich sources in terms of both Ottoman history and legal system and the historical vocabulary of Turkish, are texts written without any literary concern. In the study, the Âsafnâme written by Lütfi Pasha during the period of Kânûnî, who prepared the most laws among the sultans and therefore had the title of Kânûnî, will be examined. Lütfi Pasha, who was the grand vizier during the period of Kânûnî, is not only a statesman with his works, but also a writer. Âsafnâme, in which he told his experience to others after him due to the fact that Lütfi Pasha found the state organization complicated and the laws were applied differently from the previous periods has not previously been addressed with language features. In terms of language studies, considering that works written for different purposes other than literary works should be scanned and examined and it is a source for different studies to be carried out and how the palace language is formed and thus it was thought that an original study could be done on the work and the subject of the study was determined. The work in question, the texts with Arabic letters in the copy registered in Istanbul University Library TY.No: 786 will written with transcription signs by reading based on Ahmet Akgündüz's work titled Osmanlı Kânûnnâmeleri ve Hukukî Tahlilleri “Kânûnî Devri Kânûnnâmeleri, 1. Kısım Merkezî Ve Umumî Kânûnnâmeler” (4th book). While writing it down, Ahmet Akgündüz's readings will be taken as basis, and after the texts of the study are composed, the phonetic and morphological information of the work will be examined.

İncele

Akar, Yeliz

The changes taking place throughout the world in the 19th century with the advance of the enlightenment movement had its repercussions in the Turkish literature. Westernization efforts were underway ever since the reforms of the Tanzimat of 1839 and had their impact especially on the genre of poetry, which as a result broke with the traditional structure of the Classical period and led the way to a new literature in its thematic dimension. Namık Kemal was among the poets shaping this new intellectual and literary phenomenon. He was a modernist poet who contributed a broad perspective to Turkish poetry in terms of its conceptual content and, giving a new human profile a central place in his poetry, he challenged the traditional assumptions of classical poetry in a thematic context. This new type of human was not the object in a heavenly conversation, but instead was the subject of a life they fought to establish with their own choices, decisions, and work. A human of free will who had the courage and power to self-realization was the main theme of Namık Kemal’s poetry. On the other hand, it directs our perspective to people who are free, face-to-face, who can add meaning and value to the world and what they do, and who have the power to destroy the domination; despite all the conditioning, conditioning and limitations, the life move of this human who will realize the rebirth has an inevitable and unstoppable nature. Namık Kemal, who has the courage and the power of self-realization, to direct worldly relationships and events, not by shallow and customary voices and words, but by making them the main trail of his poems, to realize social awakening want.In this study on the Concept of a Human with Free Will in Namık Kemal’s Poetry, we examine the human who faces life to succeed against all odds with reference to his poems Hürriyet Kasidesi (Ode to Freedom), Vatan Şarkısı (Song for the Motherland), Kıtalar (Continents), Vatan Türküsü (Ballad of Motherland), and Murabba (Quartet).

İncele

Uz, Özkan; Yildiz, Enes

Divan poet used the letters in many literary arts such as muamma, lugaz, mühmel, hayfa, leb degmez not worthy and in many literary arts and in various miscellaneous, metaphors and dreams. A style in which poets demonstrate their skills through letters are elifnames. In Turkish literature, many elifnames were written in every century from the first period to the 19th century. Various classifications were made on the elifnâmes according to the order from the letter elif to the letter ye and where the letters are in the couplets, bend and quatrains, ie according to their shape characteristics and purpose. The elifnames, which have different shape features and can be written in different verse forms such as ghazal, kaside, small mesnevi, murabba, müseddes, are predominantly religious. This article focuses on the Muhyi’s arz-ı hal written by elifname style. Muhyi used an unusual method while writing this arz-ı hal. The poet asks fatwa from müfti to let up. Therfore ,he praise the mufti and he wants the mufti to give a fatwa about love for the pain of love. At the entrance of our study, general information about elifnames and elifname classifications will be given and the elifname is examined in terms of style and content. At the end of the article, the transcribed text of the elifname will be given. Thus, the arz-ı hal which is written by elifname style will be introduced to the literature and contribute to the studies on elifnames will be provided.

AtıfOpenAlex3·TR Dizin2

İncele