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Copyright of Social Sciences Studies is the property of Social Sciences 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 Yegah Musicology Journal / Yegah Müzikoloji Dergisi is the property of International Yegah Music Journal 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 Mediterranean Journal of Gender & Women's Studies (KTC) / Akdeniz Kadın Çalışmaları ve Toplumsal Cinsiyet Dergisi is the property of Mediterranean Journal of Gender & Women's Studies (KTC) 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.)

Pınar Kür is a Turkish writer who has produced important works in the field of short stories and novels since the 1970s. She has made significant contributions to literature with her novels and short story books. Kür's works are postmodern They are the products of a contemporary and innovative artist. Pınar Kür's literary style is characterized by She stands out with her character analysis and social criticism. Her works are the most important works of women in Turkish literature. He left his mark on a period when he raised his voice. With works that are still read and discussed today, Pınar Kür is remembered as an important figure in Turkish literature. The author describes the characters' experiences in the past. nostalgia through the memories of their experiences, and through this feeling, they are able to understand their inner worlds. in depth. The author often uses the nostalgic feelings experienced by his characters as a It reflects the relationship with the past and individual changing values. Characters in the stories reflect the past not only as a memoir but also as a reckoning with the events and attitudes he experienced. also sees it as such. In this context, the phenomenon of "going back to the past" is frequently seen in Pınar Kür's stories. In Pınar Kür's stories, memories are used in the identity formation of characters, their inner evolution and individual how they shape their experiences. Memories, their symbolic meanings, space and by dealing with their relationships with objects and the characters' emotional ties to their pasts. It aims to analyze the multidimensional structures of memories in Kür's works. to understand how coming to terms with the past is told through the power of literature and to understand how Pınar Kür's stories to explore the deep intellectual experience it offers to the reader. [ABSTRACT FROM AUTHOR]

Copyright of Beytulhikme: An International Journal of Philosophy is the property of Beytulhikme: An International Journal of Philosophy 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.)

Our study is Ahmet Hamdi Tanpınar's work "Saatleri Ayarlama Enstitüsü" in which he realizes social criticism with an ironic style. The work consists of four parts under the titles “Great Hopes, Small Truths, Towards the Morning, Every Season Has an End” and each part is numbered and subdivided into sub-sections. In the work, in which the faulty aspects such as people, institutions or social behaviors that prevent the development of the individual or society are shown and satirized, the author makes social criticism with metaphors, and reveals the differences in the work strikingly with the choice of words and representative objects. While describing the decay in society or institutions, the author pays attention to the relationship between words, ensures that this relationship is transformed into the strongest discourse and makes the irony even stronger by making use of the contrasts between words. In the work, attention is drawn especially to the fact that the work, transactions or behaviors that are wrong within the institution or society later turn into the general acceptance of the society. In our study, after the “Introduction” section, in which information about the event, person, time and place described in each part of the work is given, the author's criticisms that draw our attention and ironically address the faulty aspects of the society in his work are given under headings. Finally, at the end of the study, there is a “Conclusion” section in which the findings obtained about the work are evaluated. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences 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 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.)

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.)

Copyright of Turkey Journal of Theological Studies is the property of Turkey Journal of Theological 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.)

It is observed that when anthropologists approach the historical and conceptual framework of their discipline with a critical evaluation, they begin to discuss the concepts of culture that constructs their disciplines with suspicion and re-read ethnographic texts as text constructions about texts in essence. In particular, the methods and reading practices borrowed from literary theory and the feature of ethnographic texts as authoritative texts supported by field studies have begun to be questioned. Thus, just like literary theorists, anthropologists have also worked on the political nature of representation in cultural criticism. This study traces this paradigm shift in anthropology, based on the works of Clifford Geertz and James Clifford, who have made theoretical attempts to re-examine the discipline by displaying similar approaches to the politicalness of representation in anthropology. In this context, the objections of these two anthropologists to the authoritarian self and naive other discourses, on which the discipline is traditionally based, while rereading classical ethnographies will be discussed. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature 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 HAK İŞ International Journal of Labor & Society is the property of HAK-IS International Joumal of Labour & Society 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.)

Edebiyat her kültür içerisinde şekillenmiş toplumsal yapı ve değerleri doğal olarak yansıtan bir estetik araçtır. Yazarlar kendi toplumlarının içinden çıkan birer fert olarak bu estetik aracı çeşitli nedenlerle kullanarak farklı türlerde eserler verirler. Bu bağlamda bilinçli ya da bilinç dışı süreçler sonucunda eserlerin metninde o topluma ait kültürel ipuçlarına rastlanır. Bu anlayışla bu makale üzerinden toplumsal değerlerden namus algısı bağlamındaki kadın ve erkek rolleri, din olgusu, sosyal statü ve imtiyaz ile suç kavramı üzerinden karşılaştırmalı bir okuma yapılmıştır. Karşılaştırılan eserler Latin Amerika kültürünün önemli yazarlarından Gabriel García Marquez’in Kırmızı Pazartesi adlı kısa romanı ile Türkçe edebiyatın büyük ustalarından Sabahattin Ali’nin Kuyucaklı Yusuf adlı romanıdır. Makalenin teorik alt yapısı Berna Moran’ın Edebiyat Kuramları ve Eleştiri kitabında yer verdiği Toplumcu Gerçekçi ve Sosyolojik Eleştiri yaklaşımları ekseninde şekillenmiştir. Bu iki yaklaşıma göre sanat hayatı doğrudan yansıtan bir araç işlevindedir ve toplumsal dinamikler sosyal, ekonomik ve politik unsurların şekillendirmesiyle oluşur. Her iki romanın kurgusunda işlenmiş toplumsal değerler kitaptan örneklerle karşılaştırmalı olarak ele alınmıştır. Bu çalışma sonucunda her iki toplum modelinde toplumsal değerler bakımından benzerlikler tespit edilmiştir. Her iki toplumda namus anlayışı konusunda sürdürülen çifte standardın varlığı, dinin bireylerin gündelik yaşamı içerisindeki işlevsizliği, zenginlik ve varlıklı olmanın toplumsal dokunulmazlık ve üstünlük sağlayan konumu ve suç kabul edilen eylemlerin yine toplumsal imtiyaz ve çifte standartlı sebepleri nedeniyle bireylerin hayatını olumsuz yönde etkilediği görülmüştür.

Social inequalities, which have increased with the globalization process, show significant differences from previous periods. The deepening of inequalities, their self-producing nature and the expansion of their sphere of influence are at the forefront of these differences. This is one of the important reasons why social inequalities have become a subject of interest for many social scientists, especially sociologists. Bauman also included the subject of social inequality in his works. In this study, it is aimed to reveal the different aspects of Bauman's approach to social inequality. For this purpose, Bauman's works on the subject were examined and his views on social inequality were tried to be understood. At the end of the study, it was concluded that; Bauman based his views on social inequality on the criticism of neoliberalism, global forces eroded the social character of the state, politics and power were separated from each other and individuals became lonely. [ABSTRACT FROM AUTHOR]

Copyright of Black Sea / Karadeniz is the property of Black Sea / Karadeniz 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 Black Sea / Karadeniz is the property of Black Sea / Karadeniz 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.)

Orhan Veli, one of the important figures of Turkish literature who stands out with his poet identity, reveals his success in the prose genre with his stories written in addition to his poems. Orhan Veli has a total of seven stories, one of which is a free translation that is not voluminous but outweighs the qualitative aspect. The author, who brought a new breath to Turkish poetry with the Garip movement, influenced many poets in his period and after him with his understanding of art that he put forward within the framework of this movement. It is possible to see the effect of the Garip movement in the stories of Orhan Veli as well. Subjects such as the passion for the sea, the daily life of ordinary people, nature, love, joy of life, social criticism, and Istanbul are included in his stories. The stance of ordinary people towards life, instantaneous sections from life take their place in stories with a plain and fluent style. His stories that he wrote in Chekhov style, inspired by life, are part of life and give the impression that they were written with an observation when walking among the people. In the study, his contribution to Turkish literature with his storytelling identity as well as the poetry of a simple and clear pen was revealed. [ABSTRACT FROM AUTHOR]

In this study, social criticism in the stories of Celil Mammadkuluzade and Sabahattin Ali, who are important representatives of Azerbaijani and Turkish literature, was analyzed comparatively. At the beginning of the study, the place of social criticism in Azerbaijani and Turkish literature is explained. Afterwards, brief information was given about Celil Memmedkuluzade and Sabahattin Ali. After these briefings were made, the concept of social criticism in the stories of Celil Mammadkuluzade and Sabahattin Ali was examined under the titles of class conflict and the relationship between agha-peasant. As a result of this genetic analysis, the ways in which both authors deal with social criticism issues in their stories were revealed in a comparative way, and the similarities of the stories were tried to be determined. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Turkish Studies - Language & Literature 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.)

The comedy has been one of the most popular genres since the beginning of Turkish Cinema among film producers as well as the audience. Considering the history of Turkish comedy cinema, it is seen that producers prefer using the narrative of lumpen individuals most of the time. Lumpenism, defined by Marx as classless, apolitical individuals lacking class-consciousness, is shaped according to the sociopolitical conditions of Turkey. The aim of this study is to illustrate the changing representation of Lumpenism in Turkish comedy cinema due to the social circumstances through heroes being constructed as lumpens within the narrative. First, by applying the purposive sampling method, the films with at least one lumpen hero have been categorized into one of the four periods (Premise lumpens, After '80s, New Turkish Cinema and Current Turkish comedies) that are determined by social changes occurred around their release dates. Then a narrative analysis is conducted to analyze the lumpen flat characters. The results show that lumpenism in Turkish comedy cinema has been transformed according to the social changes of their time, preserving the essence of the concept. All the while, there is no social criticism of lumpenism and the concept is reproduced. [ABSTRACT FROM AUTHOR]

Copyright of Selcuk University Social Sciences Institute Journal is the property of Selcuk University Social Sciences Institute Journal 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 Sosyologca is the property of Sosyologca 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.)

Ömer Seyfettin started his art career with poetry. However, he had difficulty in distinguishing it as a genre as even a master author Halit Ziya Usakligil did and he has eternalized his name in storytelling which is generally seen as a stage for transition to novel. It is possible to examine the cultural background of Ömer Seyfettin, who gave an independent identity to the Turkish story and whose poet, linguist and philosopher aspects stay in the shadow of his storytelling. Many studies have been done about the intellectual type, social criticism, use of irony, and humorous aspect of the views of the author who wrote more than 200 stories with pseudonyms which were identified. These studies provide data on the ethos of the author. It is possible to find similar criticisms in his prose. In this study, the concept of economy which is also associated with the criticism, irony and ethos mentioned in the writer's texts will be discussed. In this regard, how his stories were established on an economic basis and the change in the perception of economy from historical perspective will be emphasized. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Social Research / Turkiye Sosyal Arastirmalar Dergisi is the property of Turkish Journal of Social Research 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.)

Ayfer Tunç is one of the authors of contemporary Turkish literature who produces both novels and stories. Starting her literature career with the story book of "Saklı" published in 1989, Tunç's story books which are namely as stories Mağara Arkadaşları (1996), Aziz Bey Hadisesi (2000), Taş Kâğıt Makas (2006), Evvelotel/Saklı (2006), Kırmızı Azap (2014) were also published. As a form of a lecture irony, absurd and tragicomic hold an important place in Ayfer Tunç's stories. Author with this method gives the critical view and social criticism from background of text. This criticism is usually given via male/female relationships, family communication/miscommunication, relationship between individual and society and social structure. Within the scope of the study, it will be tried to figure out how absurd and tragicomic and namely irony all of which are the elements of humour are used in the stories written by Tunç and to which purpose they serve and what is the importance of the author in terms of Turkish story writing by means of reviewing their effect on the style and content. [ABSTRACT FROM AUTHOR]

Copyright of Black Sea / Karadeniz is the property of Black Sea / Karadeniz 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 Marmara University Journal of Turkology / Marmara Türkiyat Araştırmaları Dergisi is the property of Marmara 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.)

Before copyright of the sources of classical Arab humor, the Arab literature was remarked for its open and tolerant stance on external influences such as aphorism, parable and wise quotations and fable technique. Due to the strategic position of the geography, the history of ancient Greek sages and philosophers should be a part of such understanding and should be revered with great respect. The narrative of classical sources, including the ungenerous character, which is the topic of our research through the names Diyojens, Aristotle, Socrates, Enûşirvân, should be the result of the success of the Arab humor to adapt the humorous products produced by foreign cultures to its own structure. The inclusion of this character in the Jahiliyya poems and the frequent mention of Arab generosity stems from the fact that pintism, more than nationalism, cannot be attributed to Arab society. Besides, the abundant usage of the sources of the miserly typology, which contain plenty of expressions, are proof that this humorous character is used as a material to fuel tribal support. The mention of this subject among the important themes of classical Arabic literature stems from the strength of its political and social reflections, rather than mentioning the immorality of typology. Thus, when it is thought that the people who are described as ungenerous are mostly powerful in the meaning of economical and political power, it becomes clear that the writers who use the ungenerous character in their works do not have a mere concern of humor, but they also seek a political and social criticism. In addition, writers have taken part in politics from time to time and they had the opportunity to evaluate the issue in the media. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research 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.)

The novel, which is the most powerful literary type in social life, reveals various aspects of society as well as individual life. The novelist of the novel criticizes the deficiencies of society in which it is a witness as a result of value judgments, indirectly or explicitly points to the truth. In this context, the Tanzimat novelist did not ignore the social issues of the Ottoman society and contributed to political and economic and cultural concerns at the intellectual and aesthetic levels. The snob morality, which is one of the individual and social issues of the 19th century Ottoman life, begins to manifest itself in the literary field as well as in social life. The novelist, by deciphering the morality features of the snob type, criticizes the social structure and its deforming attitude. The snob as male and female; European life-loving, imitation, perky, admiration for French, wastefulness, and enthusiast of clothing were the most attention points. In this article, the criticism of this attitude and behavior of the snob will be examined. [ABSTRACT FROM AUTHOR]

The Second New Poetry is a movement which brought into unique trends compared to previous periods in terms of poetry language, technique and content. Specifically, disrupting the structure of the language by an orientation which is from sentence to word and attempting to create new associations with new structures are frequently observed circumstances in The Second New Poetry. The commonality which is mostly formed through the style of language usage by the Second New Poets can be observed through the usage of techniques such as image, irony, and humour in poetry. Cemal Süreya, one of the most prominent poets of The Second New Poetry, uses the irony and humour intensely with their different forms to emphasize the intelligence and ideology in the poetry. Erotism, death, ideology and social criticism are contextual characteristics associated with these techniques. Cemal Süreya reflects concepts such as conduct of life, energy of life, socialist world-view, love and passion in a more striking and effective way in his poems with the help of irony. Both verbal irony and situational irony can be observed in his poems. In this study, the structure created by irony and humour with the content of the poetry, used by Süreya in his poetry was tried to be uncovered. Different types of irony were explained with the examples from Cemal Süreya's poems. [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 Journal of the Cukurova University Institute of Social Sciences is the property of Cukurova University Institute of Social Sciences 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.)

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.)

An Indian born English writer Arundhati Roy's debut novel "The God of Small Things" deals with the social conflicts within Indian society and transgression of ethical boundaries in the context of love theme. Placing the forbidden love of two protagonists from different castes into the centre of novel, a keen social criticism is made. In the novel, with symbols belonging to post-colonial and feminist background, cultural codes that individuals carry and their uncontrollable experience against "desire" are conveyed. This study examines symbolic elements in The God of Small Things in the context of anarchism of human passion and transgression of identities. [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 Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji 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.)

Copyright of Türkoloji Kültürü is the property of International Journal of Turcologia 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 Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji 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.)

The reason that the Prophet was warned is not the reason of being opposite to an holy order or not acting contrary to the basic principles of İslam. But the Prophet behaved by his own choice when there was no decision in the absence of clear provision. This state both does not prejudice the safety of the position of Prophethood ,and not detract from the reliability of the Holy Quran in the shadow. Before giving judgment, the Prophet advises with his companion in detail and this shows how much importance he gives to the freedom of thought and expression. The Prophet serves the criticizing verses which were because of the choices made by the Prophet himself without worrying, hesitating, condemning, taking into account that the notification to the divine shows that the Holy Quran has universal and holy qualities. But these examples are not the material of criticizing the Prophet, but they're important to understand the direction of the humanities and his prophecy. [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.)

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.)