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Weddings in various cultures mark both a beginning and an end, similar to birth and death. This ceremony is a stage of life and has created unique practices and oral literary texts in every culture. Bashkirs also have bridal ballads called senglevs, that tell about the bride’s sadness at being separated from her family and are sung on the wedding day. These folk songs have been preserved in the archive of Bashkir State University and were compiled from four regions of Bashkortostan (Burzyanzky, Khaybullinsky, Kugarchinsky-ZianchurinskyBaymaksky, and Salavatsky) between 1957-1969. Nine of the 18 bridal ballads had been compiled from the Salavatsky district. These bridal ballads have talk about the bride’s pain at leaving her family, longing for her childhood, and complaining to her father. This study explains the features of the Bashkir bridal ballads and shares etymological opinions regarding the word senglev. Basically, the article thematically studies the vocabulary of the bridal song lyrics and identified 15 themes: topography/geography/time, family, colors, animals, food, body, numbers, goods, clothes, abstract/concept, onomastics, plants, religion, society, metals/minerals, and home. The study also presents opinions, comments, and analyses regarding the words from these themes. The bride ballads are created and performed by women and reflect the world of Bashkir women in terms of vocabulary. The themes of geography/time, family, and animals occur more frequently than other themes, with the themes of minerals, foods, and religions occurring the least. The Bashkir bridal ballads consist of about 286 words, including some words and morphemes that are not found in dialectical dictionaries or monographies. Transcriptions and Turkish translations of the bridal texts are added at the end of the study [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Muharrem and Neşet Ertaş have a special place in Abdal tradition. In this regard, while Muharrem Ertaş is accepted as one of the most important names of bozlak, a type of folk song, Neşet Ertaş is seen as the last great representative of Abdal tradition by being called as "the Plectrum of the Steppe" (Bozkırın Tezenesi). The fact that these two great names have both father-son and master-apprentice relationships creates the necessity for analyzing the two bards in terms of effect, being affected and originality. Exactly because of the mentioned reasons, it becomes possible to analyze the two bards through the concept of the anxiety of influence put forward by Harold Bloom in 1973. Bloom discusses the anxiety of influence and the struggle to be original between the successor poet, namely the son, and the predecessor poet, namely the father, under this concept which he uses to interpret all the literature history. According to this, the successor, the young poet in the position of son, feels anxious because of being affected by the predecessor, the father, for whom he has admiration and gratitude at the beginning and attempts to create an original poetry. As a child who wants to become a free person and an alternative power by getting rid of the father's authority, the young poet aims to 'give birth to his own father'. The only way for the young poet to get out of his father's shadow and give birth to his own is misreading. In this article, the conceptual frame that Bloom developed out of poetry is taken to an artistic dimension and the relationship between Muharrem Ertaş and Neşet Ertaş is attempted to be interpreted. The remarkable side of the article is that the metaphorical father-son relationship Bloom assumes to occur between the successor and the predecessor exists between Muharrem and Neşet Ertaş in the real sense. In other words, Muharrem Ertaş is Neşet Ertaş's father both in the real and the artistic sense. Neşet Ertaş starts his artistic life in the shadow of a powerful father figure who influences not only himself but also lots of people around him. He endeavours to reach an artistic position by going beyond the influence of father figure both metaphorically and literally with the anxiety of influence. Neşet Ertaş, who states that he refrained from playing saz (a stringed instrument), especially singing bozlak, in front of his artist father even at his mature times, goes into the effort of originality embodied with his saying 'The one under the shadow does not have his own' in this article. In this framework, the points that differentiate Neşet Ertaş, who always mentions the gratitude that he feels for his father in terms of art, on the way to originality are dealt with. First of all, it is emphasized that Neşet Ertaş is known as a great master of türkü (ballad) whereas Muharrem Ertaş is tightly connected to bozlak tradition and is in the representative position of it. It is claimed that this means creating an authority place apart from his artistic father besides finding a style for Neşet Ertaş's nature, who refrains from singing bozlak in front of his father. Additionally, it is highlighted that, unlike his artistic father figure, Neşet Ertaş not only sings the already existing ballads but also creates original ones instead. On the other hand, the article problematizes the innovations on musical instruments made by Neşet Ertaş who says 'I searched on my own, I found myself.' and the place of this on his originality effort. [ABSTRACT FROM AUTHOR]

In addition to its artistic value in terms of structure and content, texts formed in an oral culture environment are also to record individual and social events. Particularly verse types are one of the forms of recording of verbal memory. In this framework, folk literature texts in the tradition of minstrelsy in Turkish cultural history reveal important data in order to understand and interpret the past. One of them is the type of ballad. In the minstrel tradition of poetry, the ballad is a genre created around an event or subject that concerns society and performed with traditional melodies. The ballads, which are generally sung in the form of kosma verse, are the longest genre of minstrel poetry and are shaped around an event. These texts can also be read as oral history text. In this context, the text of the folk song entitled “The Enemy Cannon Explode in Karadağ” is a ballad that was said to increase the motivation of the soldier by Bardızlı Âşık Nihanî, a minstrel who participated in the National Struggle. After the 93 War (1877-1878), Kars was left to the Russians with Ardahan and Batumi and remained in the hands of the Russians and the Armenian gangs they placed for more than forty years. The troops led by Deli Halit Pasha turned to Kars, which was left to the Armenian gangs by the Russians after the Bolshevik Revolution after Erzurum and Artvin were cleared of the gangs. This epical folk poem, also known as Nihanî's “Vurun Aslanlarım”, “Vurun Evlatlarım”, was sung at the closing of the minstrel chapters, entered in the repertory records, became folk song over time and started to be sung in radio television programs. In the becoming folk song process, different interventions such as changing the words, removing some names, especially shortening are observed. In this study, the determined variants of the work will be compared, the reasons for changing will be discussed, and contextual interpretations based on oral history will be made. In addition, the effect of interventions on the text will be evaluated by addressing the verbal memory of people and places such as Kars and its affiliated places, Âşık Nihanî, Deli Halit Pasha, enemy gangsters / commanders and ensuring memory transfer via folk songs. [ABSTRACT FROM AUTHOR]

Copyright of Itobiad: Journal of the Human & Social Science Researches / İnsan ve Toplum Bilimleri Araştırmaları Dergisi is the property of Itobiad: Journal of the Human & Social Science Researches and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study, Ahmet Necati Cumalı's play Yaralı Geyik has been analysed in accordance with "The Transtextual Relations Theory" put forward by Gérard Genette in order to reveal intertextual relations in literary texts. In his theory, Genette has regarded intertextuality as one of the five transtextuality relations including hypertextuality, paratextuality, architextuality and metatextuality. In this new respect that is put into practice by text-centered close reading, the hypotexts of Yaralı Geyik and the fact that these texts have been chosen by the author deliberately, have been effective. In the work, in accordance with the traditional forms, texts of oral tradition (folk ballad and story) have been the basis for a text of written tradition (the art of drama) and the hypertextuality relation has been put into practice in a way that many intertextuality theorists agree on. In the study, Yaralı Geyik is regarded as the hypertext and the folk ballad and story as the hypotext. Furthermore, the process in which the author gives his own thematic meaning to the work that he rewrites with a transposition homodiegetic and the intertextual formal and thematic variations have been emphasized in the study. The work has been analysed in terms of not only the hypertextuality relation but also other transtextual relations. In paratextuality, other texts that the author interrelates by means of the title he's chosen for his work have been determined; in architextuality the literary form of the work has been stated and in metatextuality the evaluations of the author that he made about Yaralı Geyik and its hypotexts in other texts, have been stressed. Formal transformations also brought along semantic transformations and the author has transformed the hypotexts that are about "the ill luck of deer hunt" to a hypertext that is about "the pleasure of the dedication to an ideal". [ABSTRACT FROM AUTHOR]

Most of the ballads in TRT repertoire have own story on their origins. However, numbers of the ones, the stories of which are known, are too limited. The ballad of Zeynep, which is registered in TRT repertoire with number 331, is one of such ballads. Although there are different types of narrations about this ballad, there are very few common points between them.It is needed to find out some factors related to the identity of a ballad. In concern with the ballad in this study, it is required to put forward some results about Zeynep's birth date and death date, her hometown and family, whom she got married, singing the elegy, collecting the ballad, deploy places. Has this elegy been sung upon the killing of Zeynep or sung by someone who fell in love her but could not attain his desire? The folk have embraced the ballad, the lyrics and melody of it have also been liked, and over time it has been accepted that the story told in ballad has came true in its own region. Besides the ballad of Zeynep, with similar or different lyrics, is seen in some regions such as Elazığ, Kirkuk, even Macedonia. In this study, it has been tried to clarify these issues by utilizing both from narrations and the lyrics of ballad and the findings and thoughts have been given by evaluating the data. [ABSTRACT FROM AUTHOR]

The paper presents unique collection of printed market songs (or broadside ballads) deposited in Library of the National Museum in Prague. It surveys origins and history of the collection and ways of its cataloging and presentation in the past and at present. Special attention is given to this unique historical genre of popular literature as a primary source for research in a number of different fields of science. Two important projects are discussed in connection with the collection National retrospective bibliography of 19th century prints and ,,Špalicček" an ongoing digitization project of internet library of the small prints (mostly song prints) that can be found in the collection. [ABSTRACT FROM AUTHOR]

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)