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Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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.)

Critical / social realist writers of Turkish literature must have read the writers who had predecessors in Russian literature. In this article, which was written with this thought in mind, a comparative study will be made on the thematic structures and protagonists of Nikolai Vasilyevich Gogol's Overcoat and Orhan Kemal's Kirli Pardösü. Nikolai Vasilyevich Gogol is among the leading critical realist writers of Russian literature and Orhan Kemal is among the leading critical realists of Turkish literature. In his work, Gogol's Overcoat, he generally reflected the situation of a low-ranking official in 19th century Russia, and Orhan Kemal reflected the situation of a low-ranking official in Turkey at the beginning of the first half of the 20th century. It is known that there are autobiographical reflections from the lives of the authors in both works. In this study, it has been tried to explain the common aspects that have been determined to exist in the works, one of which was written in the genre of novalla, and the other, which was written in the type of story, called Kirli Pardösü. Determining the common and different aspects between the predecessor and the successor works, both of which were written to reflect the financial difficulties of the petty civil servant, was determined as the main issue of this study. [ABSTRACT FROM AUTHOR]

The aim of this study is to analyze Gogol's Palto and Kafka's Dönüşüm in a comparative way in the context of interlinking. The analysis will be based on the “motive” from the comperative studies. The common motive of Palto and Dönüşüm were identified as the main heroes. Therefore, the similarities and differences of the messages that these two works are trying to convey through the heroes will be compared. In spite of all cultural, historical and literary differences, similarities between the two heroes will be emphasized. Both Akakiy Akakiyyevich and Gregor Samsa have shown that both works have a rich content for a comparative review of the national and universal culture from which the works originate. [ABSTRACT FROM AUTHOR]

Lifeless objects enter literary work in relation to human or in proportion to human interest. In this context, the coat is an object which is sometimes located at the center of the fiction of the story in the form of a vehicle that reflects the mood of the hero, a symbol sometimes used in giving the message of the story, sometimes makes a transition from concrete context to abstract or sometimes a "desirable" or "feared" object. In the study, the five stories in which the coat object was located were examined through close reading by taking the coat object into the center. In this context, Halid Ziya's Kar Yağarken, Oğuz Atay's Beyaz Mantolu Adam, Gogol's Palto ve Bahaddin Özkişi's Palto and Asıl Sebep are the stories studied. As a lifeless object in the stories studied, the coat has many functions. The coat is processed by color, by gender, or even by entrustment. The coat is handled with color, shape, gender, even entrustment. Also, in all stories, the coat is linked to human psychology. The reason for the violent desire for the coat is not to wear it after you get it, not to protect it from the cold. It is the kind of thinking that people have put on him, such as strength, nobility, wealth, respect. It is a fact that after the confrontation of the coat, the heroes move as if they have the character of the palton on their backs. [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.)