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This study, based on the argument that the literary-aesthetic field is deeply intertwined with social, cultural, and political spheres, examines the societal, cultural, and economic transformations brought about by modernity, alongside the paradoxes these changes create, through a sociological and literary approaches. The rise of the Industrial Revolution and capitalism profoundly impacted not only production processes but also the social roles and identity perceptions of individuals. Drawing on the analyses of Marx, Durkheim, Simmel, and Weber, this study investigates how capitalism reduces individuals to functional entities, alienates them, desensitizes them, and weakens social bonds, rendering them anonymous. The article further explores how the promise of freedom offered by capitalist modernity paradoxically transforms into structures that limit individual autonomy. The paradoxical effects of modern capitalism on both individuals and society are also widely reflected in literary works. Nineteenth and twentieth-century literature extensively addresses the themes of loneliness, alienation, and identity crises brought about by capitalist modernity. In this context, the study explores how authors such as Dickens, Flaubert, Kafka, Camus, Orwell, and Beckett engage with the paradoxes of capitalist modernity in their works. By integrating social, economic, cultural, political, and literary analyses, this article offers a comprehensive perspective on the effects of modern capitalism on human beings, their imagination, and society as a whole. [ABSTRACT FROM AUTHOR]

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.)

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.)

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.)

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.)

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 Mavi Atlas is the property of Mavi Atlas 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 International Journal of Language Academy is the property of Rota Kariyer 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 Faculty of Educational Sciences is the property of Ankara University, Faculty of Educational 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 Artvin Coruh University International Journal of Social Sciences (ACUSBD) is the property of Artvin Coruh University International Journal 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 Kırıkkale University Journal of Social Sciences is the property of Kirikkale University Journal of Social Science (KUJSS) 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.)

Culture is one of the most important foundations for the existence of a separate society and people. Every society in the world has its own cultural characteristics. If you look at the cultural map of the world, you can see the similarities between nearby peoples, but at the same time, each people has its own distinctive nuances that make each of them special. Every nation has been influenced by the culture of the nations with which it has political and economic relations, but has created a new cultural synthesis by melting this influence in its own cultural pot. Turkish communities have also exchanged cultures among themselves and have also been influenced by external cultures, thus the socio-psychological situation of the society has been in constant change and development. This study examines the concept of "betrayal", which we encounter everywhere where human beings exist, his reflections in national culture and literature. And this studt focuses on the struggles, renunciations, and sacrifices that people who survived seventy years of political oppression had to make to achieve free consciousness. While every corner of the betrayal impasse was discussed from different angles, the focus was on how such a heavy concept could be reflected in literature in a patriarchal society, and the effect-reaction situation of this reflection in society. A comparative discussion was made of how complex concepts such as betrayal are perceived in developed societies and how they are perceived in patriarchal societies, thereby exploring the degree of openness to changes in the codes existing in the cultural memory of each people. [ABSTRACT FROM AUTHOR]

In the first half of the 20th century, Abu al-Qasim al-Shabbi emerged as a voice for North Africa under European occupation, taking a strong stance against stagnation in the world of literature and art. Al-Shabbi adopted modern and free forms of expression, using poetry not only as an art form but also as a tool to educate and inspire society. This approach made his poetry carry aesthetic value while also conveying a social and political message. In this study, al-Shabbi’s poem “O Night” will be analyzed in terms of structure and meaning, along with a rhetorical critique. The study will include critical approaches such as structural, rhythmic, morphological, and descriptive, and will focus on identifying certain rhetorical elements. Additionally, the study will address key themes in the poem, the poet’s life, the era he lived in, and the goals he sought to achieve through his poetry. As a result of this study, it will be observed how the poet reflected his thoughts, style, and methods in his works, and the extent to which he used literary elements. [ABSTRACT FROM AUTHOR]

Copyright of Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu 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.)

Copyright of Journal of Young Intellectuals / Genç Mütefekkirler Dergisi is the property of Journal of Young Intellectuals 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 Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (CUIFD) is the property of Cukurova Universitesi Ilahiyat Fakültesi Dergisi (CUIFD) 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.)

Copyright of Erdem is the property of Ataturk Kultur Merkezi 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 International Journal of Language Academy is the property of Rota Kariyer 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 Mersin University School of Medicine Lokman Hekim Journal of History of Medicine & Folk Medicine is the property of Mersin University School of Medicine 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 Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur 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 Danisname Journal of Humanities & Social Sciences is the property of Global Security & Strategy Association 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 Humanitas: International Journal of Social Sciences / Uluslararasi Sosyal Bilimler Dergisi is the property of Humanitas: International Journal 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.)

Yahya Kemal (1884-1958), one of the founding figures of Modern Turkish poetry, played a significant role as a poet and intellectual in the establishment of the Republic of Turkey. In addition to his contributions to literature, he wrote articles during the years of the Turkish War of Independence and later held active positions in the state structure. The period spanning from 1908 to 1958, during which he produced his own works, represents a period in which the newly established Republic of Turkey continued its efforts for development while looking to Western civilization as a model. This article will examine Yahya Kemal's position within the context of the Turkish Music Revolution, which is one aspect of the modernization process in Turkey. Firstly, it will address Yahya Kemal's perspective on the concept of 'modernity' and its relationship with the prevalent understanding of the era. Subsequently, it will discuss the ideas that paved the way for the Turkish Music Revolution and how this revolution was implemented. Furthermore, it will employ a text-focused analysis method to explore the theme of 'music' in Yahya Kemal's poetry. Additionally, reference will be made to his writings related to music and transcribed speeches. The article will demonstrate that Yahya Kemal did not view Classical Turkish music as "Eastern music" but rather embraced it as a national music closely connected to the Turkish homeland and nation. His belief in the necessity of preserving traditional Turkish music within the modernization process will be elucidated through his poetry. [ABSTRACT FROM AUTHOR]

One of the difficulties in academic studies of Turkish literature is that some genre and style names or their equivalents that appear in Western literature do not exist in Turkish literature or are included in other genres. One of them is the genre called “Schwank” in German, which is called a joke or story because there is no Turkish equivalent. It was “Nasrettin Hodja’s jokes or storeys” that made this concept the starting point of the study. When looking through foreign sources, it becomes clear that Nasreddin Hodja storeys can be assigned to the “Schwank” genre. For this reason, the characteristics of the “Schwank” genre were investigated and its distinguishing features from jokes and storeys were examined. Because both types given as Turkish equivalents have very different properties. Examining the general characteristics of these two species shows that they do not overlap with the “Schwank” species. For example, storeys differ in their characteristics, such as the number of characters, the events they cover, the manner in which they begin and end, and the reasons for their creation. A joke, on the other hand, has the shortest and most succinct frame of the event. It is used for laughter, and the unusual is addressed in jokes. However, the “Schwank” genre usually deals with events that can happen in people’s lives. Generally, these narratives involve two people or two groups facing each other. This study particularly examined the concepts of the literary genres “joke” and “Schwank” and presented the Turkish concept of the “cheerful story” as a suggestion for the genre “schwank”. In addition, a dictionary article on the genre of light-hearted storeys is presented at the conclusion of the study. [ABSTRACT FROM AUTHOR]

Widad Sakakini was an important writer in contemporary Lebanese literature and made significant contributions to Lebanese literature not only with her stories but also with her novels and critical articles. Sakakini was first active in the field of writing and publishing through newspapers and is considered one of the pioneers in the field of Lebanese feminist novels. In 1934, she married the poet and doctor Zaki Mahasin and stayed in Cairo for 11 years due to her husband's duty. During her stay in Cairo, she completed her master's and doctoral studies and had the opportunity to meet with well-known writers of Egypt. Upon her return to Lebanon, Sakakini was then able to blend the knowledge and experiences she had gained in Egypt with her experiences in Lebanon. Widad Sakakini's works range from stories, novels, and articles to literary, critical, and historical research. However, the most important point that draws attention is Sakakini's interest in women's literature and history. This study provides information about the life, literary personality, and works of Widad Sakakini as one of the pioneering female writers and critics in contemporary Lebanese literature. The impact of Widad Sakakini's literary talent as a creative writer is evident not only in her stories and novels but also in the numerous strong critical articles she published in newspapers. Lastly, this study emphasizes its points through authors who greatly admire Widad Sakakini by regarding her literary personality and her ability to address women's issues. [ABSTRACT FROM AUTHOR]

Trauma is undoubtedly one of the terms that best describe the experiences of the present and the previous centuries. The term comes to the agenda with the damages occurring in human psychology in parallel with the destructions caused by the modern war concept of the twentieth century. Following its official recognition by the American Psychiatric Association in 1980, trauma has set a new focus in literature, psychology, and history with the studies of theoreticians such as Cathy Caruth, Shoshana Felman, and Dominick LaCapra in the 1990s. From Freud to Caruth, the argument that trauma cannot be directly experienced, therefore, is inexplicable, nevertheless, the necessity of being told for recovery determine the tension at the center of the trauma theory. However, since the beginning of the twenty-first century, contemporary theorists such as Ruth Leys, Steff Craps, and Michelle Balaev criticise the definition and structure of trauma by Caruth and others. Contemporary trauma theories, known as the pluralist model due to the diversity and differences it contains, reject the argument that trauma is unspeakable and assert that traditional trauma theory is Western-centred. Therefore, they offer more inclusive and multicultural trauma models. Thanks to its power to challenge boundaries such as voicing the unspeakable and imagining the unimaginable in real life, literature becomes the most visited platform by trauma theories. Both the traditional trauma theorists pioneered by Caruth and the pluralist model frequently appeal to literature. Based on this interaction, the present study sets out to examine the relationship between trauma and literature in light of traditional and contemporary trauma theories after a brief discussion of the genealogy of trauma. [ABSTRACT FROM AUTHOR]

Vüs'at O. Bener is one of the important figürs of Turkish literature after 1950. Bener has produced works in many fields, especially novels and short stories. Bener's stories are in the focus on modern style and existentialism; loneliness, restlessness, alienation, mental distress, and self-seeking attract attention. The author mostly turned his face to the inner world of the individual in his stories and did not deal with social problems. For this reason, social themes – such as economic problems, class differences, and generational conflicts – are not at the forefront of his stories. Vüs'at O. Bener is a situation storyteller. Therefore, while psychological analyzes and reflections are dominant in his stories, events and places are in the background. In Bener's stories, the space has often remained ambiguous or abstract, and sometimes it has been glossed over with a few sentences. In the author's stories, the design of the place draws attention rather than the description of the place. Autobiographical traces are quite evident in the author's stories. In these stories, large cities and provincial cities, where the narrator is an officer, appear as qualified outdoor spaces. In Bener's stories, the exterior is predominantly unnamed Anatolian cities or towns. The events in the author's stories usually take place indoors. These places are cafeterias, hospitals, hotels, prisons, shops or houses. [ABSTRACT FROM AUTHOR]

يتناول هذا البحث الفكاهةَ في الأدب العربيّ ومظاهرِها في السُّنَّةِ النُّبويَّة في طائفة من أحاديث النبي عليه السلام الذي كان يحرص على إلقاء كلامه على المخاطبين بأسلوب حكيم، ويتعامل مع أصحابه برحمة وشفقة كأخ حميم. وفي هذ الإطار تتناول الدراسة الأدب الفكاهي ومظاهره في السنة النبوية. في البداية نُسلِّط الضَّوءَ على أهميَّة هذا الفنِّ في الأدبِ العربي، وأهمَّ أشكاله وأنواعه في هذا الأدب، كما تتبعنا معنى الفكاهة اللغوي والاصطلاحي وأهميتها، وأثرها في المرء وانعكاساتها على المجتمع الإنساني. ورصد البحث مظاهر الفكاهة في السنة النبوية، مثلما تجلّت في نماذج من أحاديث النبي عليه السلام التي تعبر عن روح الدعابة اللفظية والعملية، كما شرح الجانب الفكاهي ووجه الفكاهة في تلك الأحاديث. اهتمت الدراسة بالبحث، من خلال الأحاديث المختارة، عن بعض الفوائد البشرية والاجتماعية الخفية التي أشار إليها النبي عليه السلام بمثل هذه الفكاهات. وذلك بعد أن شرحت الدراسة الأحاديث ووضحتها. واعتمدت هذه الدراسة على الرصد والتحقيق والتحليل في النماذج المختارة من السنة النبوية الشفهية والعملية ذات الصلة.

1917 yılında Berlin’de faaliyete başlayan Türk Edebiyatını Sevenler Cemiyeti, Türkiye’de şubeleşebilmek amacıyla çeşitli girişimlerde bulunmuş ve netice olarak bu maksadını gerçekleştirmiştir. Bu cemiyetin temel hedefleri; Türk edebiyatı ve dilinin incelenmesi, Türk edebiyatının dünya edebiyatı içersinde hak ettiği yeri alması, İslam dininin Türk ve diğer Ortadoğu ülkeleri üzerindeki tesirinin tespiti ve incelenmesi, İstanbul'da Alman bilim adamlarının da kullanımına sunulabilecek bir Doğu eserleri kütüphanesinin kurulması, Alman oryantalistlerle Türk bilim insanlarının kişisel iletişimlerinin kolaylaştırılması ve işbirliği içerisinde bilimsel çalışmalar yapılabilmesi, gerekirse bu hususlarda Türk ve Alman devletlerinin siyasi ve mali desteklerinin alınması şeklindedir. Cemiyetin İstanbul şubesi, Birinci Dünya Savaşı’nın kaybedilmesine kadar Türkiye’deki faaliyetlerini sürdürmüştür. Bu çalışmada, İstanbul’da şubesi açılan Türk Edebiyatını Sevenler Cemiyeti’nin kuruluş öncesi girişimleri ve kurulduktan sonraki faaliyetleri üzerinde durulmuştur. Bu bağlamda Alman bilim çevrelerinin benzer cemiyetlerle ilgili amaçları, söz konusu cemiyetin Berlin’deki kuruluş süreci ve maksadı, Türk-Alman bilimsel yaşamına katkıları, İstanbul’daki Macar Bilim Enstitüsü ile olan iş birliği gibi hususlar; Türk, Alman, Macar ve diğer yabancı kaynaklardan istifade edilerek ortaya konmuştur.

Ali ibn Abi Talib was a person with so great magnificence that almost all poets, especially those who wrote gnostic works, always tried to show peculiarities of his personality. Among these poets Nasir Khusrow and Sanai Ghaznavi should be mentioned specially. A comprehensive study of the character of Ali in works of Nasir Khusrow and Sanai Ghaznavi is subject to a voluminous research work. Main purpose of the article is particular research of every couplet devoted to Ali by Nasir Khusrow and Sanai Ghaznavi and detection of their sympathy for Ali. One of the poems written by Sanai Ghaznavi and praising Ali is “Adoration for Ali ibn Abi Talib” in the 24th Part of the 3rd Section of “Hadigat al-Haqiqa va Shariat al-Tariqah” (The Garden of Truth and the Path to Trek). The research work includes study of Nasir Khusrow’s couplets in his “Diwan” with similar meaning, while Sanai’s abovementioned poem has been chosen as a basis for comparison. Personality of Ali is visualized while reading Sanai’s poem consisting of 187 couplets. After a brief research on life and works of the Ismaili poet Nasir Khusrow and the gnostic poet Sanai Ghaznavi, historical personalty and moral features of Ali has been subject to research in the article. Ali’s mutual relation with the Prophet, conquest of Khaybar, his valor in the battles of Jamal and Siffin and his Zulfiqar has been subject presented as his historical personality, while his wisdom, watchfulness, piety and generosity has been included in his moral features. Couplets of the poem have been organized systematically and in accordance with the topics. At the same time, the Nasir Khusrow’s relevant couplets also have been presented in this regard. Furthermore, the two poets’ couplets introducing and praising Ali ibn Abi Talib on the basis of Koranic verses and sayings of the Prophet have been subject to the study additionally. As a result of our studies, we can conclude that both Nasir Khusrow and Sanai Ghaznavi not only showed people Ali’s virtues and magnificence in every sphere, but also tried to assume that a close approach to Ali was necessary in order to learn and know Islamic rules, religious law and interpretation of Koran, as columns of the religion after the Prophet’s passing were the Book and his family. Sayings cited from the Prophet, Koranic verses and Nahj al-Balagha can show us that Ali was a person with high virtues. Devoting poems to Ali, Nasir Khusrow and Sanai Ghaznavi actually desired that all people take this perfect person an example for themselves. Only love to a God chosen prophet can pave the way for formation of a personality like Ali – an opinion that can be traced in the poems. As shown in the poems, Ali accumulated so many virtues in himself that the world became smaller and fitted tight for him. Sanai writes that Ali did not tie himself to the world with strong ties and so he was really free and such a free spirit bestowed him the mentioned virtues. Nasir Khusrow, in his turn, goes further, naming Ali “the rope of God” and calling readers to drop the rope of the world and to catch Ali’s rope.

Originating in 18th century France, fantastic literature is the product of fantasy and imagination. In the 20th century, magical realism, popularized in South American literature, is a movement that places fantastic elements on the ground of reality. In modern times, the desire to escape from reality and escape to dreams has produced many literary works. While fantastic literature, which has made its influence felt even more in the last century with popular works such as Game of Thrones, Lord of The Rings, Harry Potter, journeys into the unknown; magical realism, which has made its name with works such as One Hundred Years Of Solitude, Life of Pi, Perfume: The Story of a Murderer, brings the known world together with the unknown. In fantastic literature: John R. R. Tolkien, Joanne K. Rowling, Ursula K. Le Guin, while in magical realism Julio Cortázar, Haruki Murakami, Gabriel García Márquez are wellknown authors. In this study, fantasy and magical realism, which are often confused with each other, will be explained in terms of their similarities and differences. By giving the characteristics of the two genres, it is aimed to contribute to the reader to decide whether a book is fantastic or magical realism while reading a literary work. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters 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 Burdur Theology Journal / Burdur İlahiyat Dergisi is the property of Burdur Mehmet Akif Ersoy Universitesi lahiyat Fakultesi 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 Anadolu University Journal of Art & Design / Sanat & Tasarım is the property of Anadolu 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.)

Copyright of Journal of Young Intellectuals / Genç Mütefekkirler Dergisi is the property of Journal of Young Intellectuals 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.)

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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.)

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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.)

Laughter, which is a subject as old and rooted as the history of mankind, is touched upon in this research. Laughter is one of the most important issues of human existence. In this article, the importance of laughter in literature is investigated in the context of feuilletons. Feuilleton is one of the literary genres with comic elements. Writers take advantage of sharp laughter and satire to highlight the problems of the period. From this point of view, feuilletons are very important. In these articles, the feuilletonists shed light on the current problems of the time they lived in, exposed the problems by exposing them and laughing, but with a sharp and hard laugh. Although the feuilletons first appeared in France, many feuilletons were published in the Azerbaijani press. Especially at the end of the 19th century and the beginning of the 20th century, various newspapers and magazines published the works in the feuilleton genre. In these works written in accordance with the rules of the press and literature, the problems of the period that were sought to be solved were discussed and presented to the readers' liking by using laughter. [ABSTRACT FROM AUTHOR]