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With the Republic, the new Turkish state encouraged the collection and research of Turkish folklore materials from Anatolia. Periodicals became an organ where these researches were published and discussed. Published in 1933 by Yaşar Nabi Nayır, Varlık was a magazine in which intellectuals wrote and discussed their observations of Anatolia. Between 1958 and 1962, Yahya Benekay published a series of articles titled "On the Roads of the Southeast" in this magazine. In 1963, this series was awarded the "Turkish Language Association Interview Award". The series included both the rituals and beliefs of the local people and the legends believed/remembered by the civil servants traveling to those regions. Despite this, Benekay's series of articles have not been analyzed in terms of folklore before. In our study, the legends and myths in the series are classified, and the perspectives of the local people and civil servants on the narratives are tried to be conveyed with an unbiased eye. [ABSTRACT FROM AUTHOR]

It is possible to express the individual's journey to the sacred space with the trio of "illness, recovery, return". These three stages contain some extraordinary events and rituals within themselves. Wells located in sacred places, each of which is fed by the life story of a charismatic personality, draws a remarkable image in this context. The reason why the ordinary individual tends to these special places is nothing but the desire to be strong and to survive the difficult tests of life. Like other holy places, the "well" functions as a springboard in the individual's effort to reach the "desired self". Wells, located in the perspective of holy places in the Southeastern Anatolia Region, come to the fore with their aspects that are fed by the narratives and beliefs of charismatic religious figures. Wells are resorted to with the intentions of realizing the desire for a child, facilitating birth, increasing breast milk, treating paralysis and itching, and opening the mind. It is seen that the visits of Sunni, Alevi and Assyrian communities in the region with a focus on "sacred place and well" take place in the axis of similar purposes and rituals. Located in holy places such as mosques, tombs, churches؛ It is used by drinking the water of the wells that refer to the miraculous life stories of religious people such as prophets, saints, sheikhs and eren, or by taking a bath with its water. At the same time, rituals such as lighting candles, stacking stones, and leaving votive objects are also encountered in the wells. The "first case study" is repeated with the well visits made in connection with the holy place and it is hoped to reach healing. [ABSTRACT FROM AUTHOR]

Metamorphism is a motif that depends on transformations. One of the narrative genres in which this motif is seen is legends. In this study, metamorphism motif in the legends is discussed in the context of wars, is presented with the help of the sample texts selected from the Turkish legends of the Anatolian area. This study aims to reveal how the phenomenon of war, which determines the destiny of humanity contributes to the shaping of the metamorphism motif. The scope of this study was limited to the wars that took place in Anatolia (Turkish War of Independence etc.) during the disintegration of the Ottoman Empire before and after the First World War (Ottoman-Russian Wars, etc.) [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.)

Minstrels as primary sources for the root of the Turkish music are like living memories of the culture and they witness and transmit the social, cultural and historical aspects of their era within the frames of oral tradition. It has been accepted by many researchers that products such as folksongs, legends, agits which are found in the stringed instrument wires and words of minstrels have been transferred to now and are sources of history. They transmit the historical aspects with legends. The historical aspect that found in legends reaches us with minstrel music and lyrics. In this article the legends about the invasion and liberation of Kars, which is told by Minstrel Şeref Taşhova, will be analysed as an oral history text. Legends, which are the secondary historical sources, will be examined regarding the importance of its words, rhythm, music and pattern. The historian uses religious beliefs, legends, myths, saint legends and hadiths along with historical resources in order to clarify the topic at hand. Legends have been the sources of social history in terms of reflecting the social structure, psychology of the public, their thinking, lifestyle, beliefs and feelings. Legends about such topics as immigration, earthquake, war and bravery that have deeply affected a society have got the function of linking the old and new culture. Historical traces found in the meaning world of legends have been taken to now as words and melodies in the stringed instruments and wordings of minstrels. Texts that are formed and continued through memory within verbal environment have been transmitted by minstrels who have creative, transmitter and performer features via patterns in the context of word and melody: and word, melody and rhythm organization whole are found in the basis of memory that has the quality of being a source of history. It is very important that Minstrel Kahraman, who personally witnessed the occupation and liberation of Kars, transmitted the legends. In this study, the legends that Minstrel Şeref Taşlıova transmitted from Minstrel Kahraman regarding witnessed the occupation and liberation of Kars will be analysed in the context of oral history text. Legends transmitted as the supplementary sources of history will be examined by considering memory, its formation within oral environment and the importance of wording, rhythm and patterns included. [ABSTRACT FROM AUTHOR]

In Turkish mythology some animal species are considered as sacred symbols. Some of the animals, which have remarkable characteristics and encountered by the Turk tribes in their surroundings, are included in their mythical thoughts and imaginations. They have shaped a cult about these animals over time and let them exist in their verbal literary works such as legend. While the wolf, horse and eagle usually have positive characteristics, the bear has either positive or negative characteristics. The bear is commonly considered with positive sides in myths of the Turk tribes living in Siberia, when it comes to those living in Islamic-influenced areas such as Central Asia and Middle East the animal is mostly considered with negative sides. In this article it has been examined that, how the bear was included in myths gathered from different areas inhabited by Turk tribes. First you are going to be informed that how the animal has been included in myths from different cultures and how it has become a cult in Turkish mythology. Afterwards you are going to be acquaint with its positive and negative characteristics in published Turkish legends. At the conclusion, there will be a detailed evaluation on its change, transformation and its place and meaning in our old and new thought system by associating determinations from legends with information from Turkish mythical thougts. [ABSTRACT FROM AUTHOR]

Copyright of Türk Dünyası Araştırmaları is the property of Turk Dunyasi Arastirmalari Vakfi 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 Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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.)

Sari Saltik is a legendary hero who had showed great successes in the conquest and islamization of Anatolia and Rumelia. There have been many legends/religious anecdotes in making regarding the life and battles of this hero. There is a work consisting of three volumes subject of which is the life and religious anecdotes of Sari Saltik. The work was prepared by Abu'l-Khayr-ı Rumi, upon the request of Cem Sultan. The information -the life, epic, and legend of Sari Saltik- included in the work has been obtained through collections compiled in seven years out of the Turkish lands of the era. The collections reflect the lively character of the religious anecdotes narrated in relation to the life of Sari Saltik in the oral culture environment of the era. Similar anecdotes of the religious stories related to Sari Saltik can also be encountered in the contemporary oral culture. This fact reflects the significance of the myths/religious stories in the oral culture of the Anatolian people throughout five centuries. This feature must be also evaluated with regard to the persistence of the culture. There have been three important works on Saltukname, one of which is related to the history, folk literature and the other is on the language. However, the content has barely been a subject of any assessment. In this article, the religious anecdotes found out in Saltukname have been reviewed with regard to the persistence of the culture. These religious anecdotes have been evaluated in comparison to the similar contemporary anecdotes in various aspects and the alterations in the texts have been determined. This article of ours is a text-centered examination prepared as to determine the similarities and differences between the texts. For this reason, the context of the texts and the narrators thereof have not been taken into consideration [ABSTRACT FROM AUTHOR]

The Tomb of "Elif Ana" is respected and considered a holy visiting site in Village of Akdemir in Pazarcık district of Kahraman Maraş. This study is an attempt to analyze the cultish visitations of people living in this area. I take this study to be important because of the scarcity of holy shrines related to women. Although the Tomb of Elif Ana does not have any special characteristic people visit this place for all wishes and troubles. In this study ten legends which are related to Elif Ana are selected and the motifs of these legends are examined. This study is based upon Elif Ana cult in Pazarcık; as such we shall examine the functions attributed to the Tomb and the legends which are told as folktale of Elif Ana. The significant issue is that Elif Ana is in fact Alevi. In this place memorial ceremony and the well know Alevi religious "Cem" ceremonies are organized every year. However, the visitors of this Alevi shrine are from both the Alevi and Sunni segments of the Muslims. [ABSTRACT FROM AUTHOR]

Ezo Gelin is the subject of a tragic life, which is being passed both Turkey and Syria. Likewise those territories of two countries has become witnessing in various stages of the unhappy lady's life. In this work, the real and legendary life of Ezo Gelin who had an unhappy life in Turkey and Syria is examined. Her difficult and sad life has been the subject of different narrations after her death among people. The ballads are song about Ezo Gelin's legendary life; some parts of it are penetrated into performance arts. Many artists, from famous ones of that age till recently, have sung ballads with the name of Ezo Gelin locally and superficially. The spread of singing these songs has started when Ezo Gelin was still alive. The legendary life story of hers resulting from the ballad which is based on her name has been processed in theatre, cinema and televisions respectively. Ezo Gelin which takes place in a range of Turkish folk culture from the cuisine to the narration, from music to theatre, from cinema to television has still been kept as a phenomenon. On the other hand, there has been no exact research Ezo Gelin's reputation and publicity though she has been known at a certain rate in Syria. It is also suggested that Ezo Gelin can be used as a shared part of Turkey-Syria's cultural relationship. In the work, the cultural reflections about Ezo Gelin are examined with a holistic view. [ABSTRACT FROM AUTHOR]

Divan (Ottoman) poet Nâbî (1642-1712) of the seventeenth century was an artist who succeeded to emphasize a distinctive poetic understanding in search of newthemes, meanings and style in Turkish poetry developed after the classical period. Nâbî reflected the socio-culturalstructure, economic problems and humanrelations of the century in his poems cleverly and developed a new poeticstyleusingterms, imagination and meaning that had not been previously employed to a greatextent in the poet'slanguage, but had beenused in social life which moved the well-worn imaginative world of classical poetryto a more realistic platform. This style resembled such movements as Sebk-i Hindî (Indian Style), Hikemî Tarz (Didactic Poetry) and Localization which were influences of Iranian poetry but had an original character shaped by the personal qualifications of Nâbî and his poetic talent. This poetic style had a more concrete and realistic expression which may be experienced in real life compared to the mythological factors and legends which had been used up to the seventeenth century. More realistic themeswere at the core of this new style unlike the imagery meanings that had been used frequently and therepeated expressions. Such terms as market, arcade, bazaar, scales, shop and even "policy" were among these concrete constituents and enabled the poettoreact in a sensitive manner to what was happening around himself. Nâbî has been the fore runner of modern Turkish poetry which is based in reality and wast of lourish basically in the later centuries with the use of new vocabulary, comparisons, metaphorsand imaginaries undertheinfluence of the social depressions of his age instead of using classical comparisons. The poet has been one of the pioneers of the "new image world" where more concrete and plausible experiences shall be seen instead of the extraordinary cases of classical poetry legendry and mythological love stories of which he had becometired of and suggested to tell about the real love of "Nâbî and that stunninglady". This characteristic differentiates Nâbî from his contemporaries and sowe mustassess his Works within the scope of the "spirit of the century". [ABSTRACT FROM AUTHOR]

Besides the fact that Legends are regarded as literary text, the issues that they contain as subject matter can also considered as texts of morality or faith. The Gerdek Pınarı legend in Gaziantep Sof forest is a story about a a cave and a spring. The spring in this forest gets its name from an event of rape and the nuptial related with this rape. This narrative seems as the legend of naming related to a simple raping and nuptial but, in fact, more than explaining the name of a place, it is very important in terms of mythological themes it has. This study explains the cave, water, marrying after raping and nuptial themes in Gerdek Pınarı legend and so it illuminates the roots of this legend [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 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 Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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.)

This informs in detail about the legends, historical individuals, their struggles, family and the personality structures that Saha Turks named "the historical legend." This sort that researchers interested especially for writing prior to the detection of historical periods and the analysis is used as the main source. In the historical legends of Saha Turks, it reveals that some characters that passing name give way to Tsarist Russia in their archives, this type of expression and its party staff connects with reality one to one. Tıgın that takes place among the ancestors passing name and with legends motion relevant to it. The article in the Russian archives will try to analyze Tıgın's character and to determine the place within its historical period. [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 problems of definition and classification of prose genres in Turkish folk literature studies are still on going. In general, common classifications are used in present studies. However these classifications always cannot serve the need. We also came across with this problem while doing our field research about saint cult and classifying and analyzing narratives about shrines. As a result we determined three prose narrative genres related with religious personages: hagiography, legend and memorate. In this study criteria for distinguishing aforementioned these three genres will be examined under the titles of heroes being alive, intensity of belief, experience, period and subject of the narrative. It will be examined how these criteria structurally enough to fit to distinguish those genres. From these criteria while the hero being alive and the structure of narrative separate hagiography from the other two, intensity of belief, experience and period provide a basis to distinguish between memorate and legend. Moreover, close relations of these narratives which shares holiness of religious personages in common and their depending features to narrator which gives them to be classified under different genres will also be emphasized in our study. [ABSTRACT FROM AUTHOR]

Evliya Çelebi devoted the first "Book" of Seyahatname (Book of Travels) to İstanbul. The period from the founding of İstanbul till the 17th century is narrated through visual images and tales. In the sixth chapter of Book 1, Evliya Çelebi as a skilled story teller presents the talismans of İstanbul with a polyphonic and multicolored text where imagination and reality mingle closely. In this paper, how Evliya Çelebi narrates the legends of 17 talismans and its close relation with İstanbul's foundation epic fictionalized by Evliya will be analyzed. [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 Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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.)