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Die Übersetzung, insbesondere die literarische, ist vor allem eine Art Kulturübertragung. Neben der Beherrschung der Sprachen setzt sie die Kenntnis des Allgemeinen und Besonderen des Landes wie Kultur, Tradition, Glauben, geschichtliche und gesellschaftliche Begebenheiten und auch soziale Strukturen voraus. Wenn die Sprachen und Kulturen tiefgreifend wahrgenommen werden, können die übersetzten Texte die Adressaten erreichen, d.h., dass die Ausgangssprache und -kultur für die Zielrezipienten verständlich sein können. So wird der Übersetzer als Kulturträger angenommen. Cornelius Bischoff ist beispielsweise ein wohlbekannter Name für den deutschen und türkischen Literaturkreis. Er ist vor allem bekannt als „der deutscheste Türke und der türkischste Deutsche“ sowie als eine Brücke zwischen Deutschland und der Türkei. Das Ziel der vorliegenden Arbeit ist es, Cornelius Bischoff, einen Kulturträger zwischen der deutschen und türkischen Übersetzung, zu behandeln. Als ein „Haymatloser“ fand er in der Türkei die Möglichkeit, die türkische Sprache und Kultur wesentlich kennenzulernen und viele türkische Werke ins Deutsche zu übersetzen. Als ein Übersetzer trug er zuallererst dazu bei, die türkische Literatur, die bedeutenden türkischen Schriftsteller, die türkische Kultur und Tradition sowie den türkischen Sprachgebrauch in Deutschland bekannt zu machen. In der vorliegenden Arbeit wird die Besonderheit Bischoffs in der Übersetzungswelt im Hinblick auf drei Aspekte diskutiert: zuerst im Hinblick auf den Zusammenhang seiner Wurzeln in der Türkei und im Türkischen -schon in seinen Wurzeln, besonders mütterlicherseits, wurde das Türkische verinnerlicht-, dann auf die in der Türkei verbrachten Jahre -die Jahre, in denen er „haymatlos“ genannt wurde- und zuletzt auf die Wahrnehmung und Aneignung der türkischen Sprache, Kultur und Gesellschaft – was auf ihn lebenslang einwirkte-. In diesem Kontext wird versucht, sein Leben, seine Werke und seine Wirkung im Rahmen der übersetzerischen Tätigkeit zu analysieren., The translation, especially the literary translation, is above all a kind of cultural transfer. In addition to knowing languages, it requires knowledge of the general and in the particular, of the languages, its culture, tradition, and belief, history and also social structure. Only then the translated text can reach the recipients, enable the source language and culture. So, it is understandable for the target language and culture, and by doing so, the translator can be accepted as a cultural carrier if both language and culture are deeply perceived. The German and Turkish literary circles know such a translator: Cornelius Bischoff. He is first of all famous as “the most German of the Turks and the most Turk of the Germans” and as a bridge between Germany and Turkey.The aim of the present work is to treat Cornelius Bischoff as culture-bearer between the German and Turkish translation. As a "haymatlos" in Turkey, he had the opportunity to get to know the Turkish language and culture substantially and then transfers so many important Turkish works to German. As a translator, he contributed to making Turkish literature, the important Turkish writers, Turkish culture and tradition as well as the Turkish usage known in Germany. In the present work, the speciality of Bischoff in the field of translation is discussed with regard to the following three aspects: first with the connection between his roots in Turkey and in Turkish - Turkish was already internalized in its roots, especially on his mother's side -, then with regard to years in Turkey - the years in which he was called "haymatlos" - and finally with regard to the perception of the Turkish language, culture and society - which lasted for a lifetime for him. In this context, an attempt is made to analyze his life, work and effect in the context of the field of translation.

WOS: 000411111000021, This paper is intended to introduce Nana Rademacher, one of the contemporary female science fiction writers in Germany, and to study her work Wir Waren Hier (We Were Here, 2016) which has been seen as an anti-utopian fiction by different critics. In this study, the focus is on anti-utopia which has become a popular literary genre as a result of social, economic and political disappointment experienced in the 20th and 21st centuries. The protagonist, fifteen-year-old Anna, lives in a devastated Berlin which lies in ruins following several years of inter-state conflict which has now been under the hegemony of civil war and military rule. Self-preservation and lawlessness has become the order of the day. Anna's perspective on her broken world is passionate, strange, harsh and desperate, but also full of hope. This is the story of a girl searching for a way forward in spite of all the obstacles, and who is fighting for life, love and freedom. The struggle for existence/survival in an authoritarian-totalitarian system, as an important characteristic of an anti-utopian society, is one of the basic topics which is fictionalized by Rademacher and narrated by Anna within the work. Extremities, hopelessness, violence, war and the end of the mankind as a result of technology take place in this work. This study aims to determine whether and to what extent the work of Rademacher occurs as an anti-utopian book and how it makes Berlin a part of anti-utopian world.

Bu calisma, Almanya’nin cagdas bayan yazarlarindan Nana Rademacher ve onun bircok acidan “karsi-utopya” olarak degerlendirilebilecek olan Wir Waren Hier adli eserini irdelemeyi amaclamaktadir. Calismanin merkezinde, 20. ve 21. yuzyillarda sosyal, ekonomik ve politik acidan yasanan hayal kirikliklarinin ortaya cikardigi edebi bir tur olan “karsi-utopyalar” vardir. 15 yasindaki roman kahramani Anna, yasamini, uzun yillar suren devletlerarasi anlasmazliklar sonucunda tahrip edilmis, yikik dokuk, savas ve askeri hâkimiyet altindaki Berlin’de surdurmektedir. Bu parcalanmis dunyaya Anna, sabir ve tecrubesizlik, acimasizlik ve hayal kirikligina ugramisligin icerisinde yine de umut dolu yaklasir. Onun hikâyesi, tum olumsuzluklara ragmen tam bir distopik roman kahramani gibi ask, yasam ver ozgurluk icin mucadele eden ve gelecege umutla bakan bir kizin hikâyesidir. Otoriter/Totaliter bir sistem icerisindeki var olma mucadelesi, karsi utopya toplumlarinin karakteristik bir ozelligi olarak Rademacher tarafindan kurgulanan ve eser icerisinde Anna tarafindan anlatilastirilan temel konulardandir. Ayrica, asiriliklar, umutsuzluk, siddet, savas, teknolojinin insanligin sonunu getirmesi gibi karsi utopik izlekler de eser icerisinde yer almaktadir. Bu calisma, Rademacher’in soz konusu eserinin ne olcude karsi utopya olarak nitelendirilebilecegini ve eserin Berlin’i nasil karsi utopik dunyanin bir parcasi haline getirdigini ortaya koymayi amaclar.

Since antiquity, it has been trying to find out about the character based on the physiognomy of a person. Here it is accepted that the external forms a unity with the interior of person. Thus, the external appearance could point to the typical characteristics. In the context of such an inside-outside dialectic, the individual is interpreted in almost every field. Every scientific and artistic field in the West and in the East deals with this dialectical relationship according to its main focus. Parallel to this, the terms "physiognomy" and "physiognomics" gained different meanings and scopes in the languages. The aim of this work is to compare the meaning of the terms "physiognomy" and "physiognomy" in the German and Turkish languages and to determine the similarities and differences. Thus, some German and Turkish dictionaries can be used to determine their meanings. Thereupon it will be found out that in the modern writings written in Turkish there is no clear distinction between the terms mentioned as in German, but the terms borrowed from Persian and Arabic in texts written in Old Turkic language clearly show the so-called distinction. In the German context, the terms were researched deeper, which affects the scope of the concepts