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Copyright of Folklor / Edebiyat is the property of Cyprus International 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.)

The novel genre first appeared in Turkish literature in the nineteenth century, following the Westernization movements. Beginning with the “Tanzimat period (1860-1895)” and the subsequent periods of “National Literature (1911-1923)” and “Republican Literature (1923-1940)”, as identified by literary critics, novel became a medium where social and spatial issues and changes in everyday life were revealed. This study examines briefly the spatial changes that occurred in public and private spheres as a result of modernization endeavors during the late Ottoman and early Republican periods by looking at the literature and architecture of the period, and in reference to the three periods mentioned above. The periods of literary historiography mentioned above, correspond to the period under discussion and draw its chronological framework. It is argued in this context that, the interdisciplinary approach makes it possible to see overlapping and differentiating aspects in narratives and architectural practices regarding the perception and use of public and private spaces and corresponding daily life practices. The themes determined by the examination of novels representing the three periods of Turkish literature history are presented together with quotations from the sampled novels and brief architectural discussions, and the prominent aspects are discussed in both contexts.

The novel was accepted as a genre in its own right after going through several stages. In the West, writers who wanted to distinguish the novel from romances and picaresques tried to emphasize that the novel told the "truth" and tried to define the novel's boundaries with "fantastic" products. The fantastic has existed in literature since fairy tales, but the assumption that the fairy tale is only a product of imagination distinguishes it from fantastic fiction. In the beginning, realist novels overtook romantic language, followed by naturalist novels. However, as modernism and postmodernism influenced the novel's language, it became more flexible and could no longer stand up to the "imaginary," that is, the fantastic. The Tanzimat novelists, who sought to tell the "truth" in Turkish literature as well as in the West, opposed fantasy. However, the susceptibility of traditional language to fantasy did not prevent writers from benefiting from it. As a result, the fantastic novel, a genre that had been delayed in Turkish literature, continued in silence. The first examples of this genre were written by Ahmet Mithat Efendi, Giritli Aziz Efendi, and Hüseyin Rahmi Gürpnar. Babil Melikesi, written at the beginning of the 19th century, is also a remarkable novel in terms of its fantastical features and is significant for being one of the first fantasy novels. The fantastic elements in Babil Melikesi, by Selami İzzet Sedes, will be examined in this study, as will the place of the fantastic novel in Turkish literature. [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 Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi DTCF Dergisi is the property of Ankara Universitesi Dil ve Tarih-Cografya Fakultesi (DTCF 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 economy has a dynamic structure that dominates every aspect of life. Although not always the same, the life cycle of all human beings is affected to a certain extent by money-oriented transformations. The economic aspect of the basic motivator behind all the material and immaterial accumulation that humanity has made visible on earth, which is at the center of interest of social and human sciences, constitutes the center of gravity. This stands out as the prominent thesis behind the progress of science, technology and cultural movements. The traces of economy-centered life that exist in all cultures also have an important place in fine arts. Since some literary works, especially novels, are photographs of life in the period in which they were written, they reflect the human being within the network of economic relations to the extent that they are seen in the frame of the artist. Since the beginning of the Turkish novel, Ottoman writers have been dealing with the idea of economic enterprise, which can be seen as a reflection of the program of the Committee of Union and Progress to create a 'national bourgeoisie'. One of them, the Tanzimat period artist Ahmet Mithat Efendi, with the influence of the 19th century romantics, shows his novel characters as models in small-scale economic enterprises that reflect the 'idea of work' of the century. Müşahedat, one of the works reflecting the idea of economic development that the author is closely interested in, emphasizes the idea of production as a valid and important value. This article analyzes the idea of economic entrepreneurship reflected in the aforementioned work of the author. [ABSTRACT FROM AUTHOR]

There are historical events and turning points that deeply affect the lives of nations. The Turkish War of Independence is one of such events. It is difficult to talk about the existence of many permanent literary works in order for new generations to understand the importance of the War of Independence, which was a struggle of existence and extinction for the Turkish nation. There is a need for extensive works of art that will keep alive and remind the Turkish people of this struggle, which is a part of their national identity because it should not be forgotten that there have been activities of trivializing and discrediting the struggle by treacherous groups over time. From today's perspective, there is a widespread perception that the liberation struggle was only against the Greek powers. However, the Turkish nation not only fought against imperialist powers such as British, French, Italian, Greek etc. but also had to deal with internal uprisings and local co-conspirators. In the end, victory was achieved with the sacrifice and determination of the Turkish people. It is important that among the rebels and co-conspirators, there were ordinary people from the broad mass of people as well as those from the intellectuals, as most of them were from the elite class and had a certain influence on society and the state. There were famous high-level government officials, bureaucrats, journalists, and writers among them. The bitter reality is that during the most difficult days when society expected leadership and guidance from them, these individuals did not hesitate to collaborate with the occupying powers. The aim of this study is to reveal the reflections of this subject on the War of Independence novels. For this purpose, the co-conspirator/treacherous types in the position of opposing powers in the War of Independence novels, which provided material for the subject, were identified. Subsequently, these people were subjected to a classification and evaluation. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi 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.)

Considering the closure of fictional narratives from the past to the present, there is a mimetic relationship between the final points of fiction and life. The genre of the novel, which represents human life within the fictional limits, imitates life in terms of the conclusion of the narrative. Therefore, the function and characterisation of death, a convenient metaphor for the end by its nature, becomes particularly significant for narrative closures. In the art of fiction, death is a common theme that authors use for bringing the protagonists' adventures to an absolute conclusion, offering a wide range of expression, and interpreting through the different types and perceptions of death and the identity of the dead. Frank Kermode examines the human's need to associate his existence with a beginning and an end, and then builds his theory on the connections between reality and fiction, time and memory, genesis and apocalypse. The study stands out as a work that offers researchers different perspectives on the analysis of death and fiction. Based on Kermode's analysis of the fiction, time and apocalypse, this study examines the phenomenon of death as an apocalyptic theme in the Turkish novels of the Tanzimat and Servet-i Fünûn periods. The transformation of the death in the process, which takes place at the end of the novel with the functions of providing "the sense of an ending" to the reader and emphasising the individual destruction of the protagonist who experiences a "micro-apocalypse" is explained within the framework of the modernisation of the novel. [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 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.)

İsmayıl Hakkı Baltacıoğlu (1886-1978) pedagojiden sosyolojiye, felsefeden sanata birçok konuda eser neşretmiş fikir ve sanat adamıdır. 1910’da pedagoji araştırmaları için Avrupa’ya gidişi onun hayatında dönüm noktalarındandır. Avrupa’daki tecrübelerinin yeni ufuklar açmasıyla sonraki yaşamını âdeta pedagojiye adayan Baltacıoğlu, 1911’de yurda döner dönmez eğitim sisteminde yapılan yeniliklerin öncüsü olur. Avrupa’nın eğitim kurumlarındaki yöntemleri kendi ülkesine uyarlamaya çalışıp uyguladığı yenilikleri de yazıları ve konferanslarıyla yaymaya çabalar. İçtimaî Mektep adlı pedagoji alanındaki temel eserinde “şahsiyet pedagojisi” anlayışına dayalı yeni bir eğitim modeli kurar. Talim ve Terbiyede İnkılâp, Toplu Tedris, Rüyamdaki Okullar, Pedagojide İhtilâl gibi eserleriyle de pedagoji alanında hizmetler yapar. Düşünceleri ve eserleriyle kendinden sonrakilere kaynaklık eden Baltacıoğlu, uzun yıllar boyunca Yeni Adam dergisini çıkararak ideal bir nesil için çalışır. İdealindeki “Yeni Adam” tipinin oluşması adına birçok konu ve türde eser verir. Eğitimde tiyatronun önemli bir işlevi olduğunu düşünen Baltacıoğlu, tiyatro hakkında teorik eserler yazmanın yanında birçok oyun kaleme alır. Dergiciliği ve tiyatroculuğunun yanı sıra deneme ve hikâyeler yazan Baltacıoğlu’nun tek romanı ise Batak adını taşır. Yazıldığı tarihten bugüne fazla ilgi görmeyen Batak, Baltacıoğlu’nun eğitimci kişiliğini yansıtması ve biyografik unsurlar içermesi açısından önemli bir romandır. Bu çalışmada yazarın hatıralarından ve pedagojik çalışmalarından hareketle hayatının ve eğitimci kişiliğinin Batak romanına nasıl yansıdığı incelenecektir.

İnsana özgü temel duygu durumlarından biri olan “kıskançlık” olgusu, bireyin anne rahmine düşüp oluşumunu tamamladığı andan itibaren hayatın her alanında kendini hissettiren bir algı türüdür. Dolayısıyla “kıskançlık” olgusunu, insanın varoluşundan itibaren incelemeye tabi tutmak mümkündür, denilebilir. Değişen dünya şartları altında yaşamını sürdürmeye çalışan insanoğlu, karşılaştığı olaylar ve kurmuş olduğu ilişkiler sonucunda anlamlandırılan veya anlamlandırılamayan birtakım duygular yaşar. Kıskançlık, ilişki hâlinde olunan; anneye, babaya, arkadaşa veyahut sevgiliye yöneltilen içgüdüsel bir durum olmasıyla beraber; zaman zaman bir tür savunma mekanizması ya da öz benlikte eksikliği hissedilen şeylere karşı duyulan temel bir ihtiyaç arayışı olarak karşımıza çıkmaktadır. Canlı ve cansız tüm varlıklara dair evrende olan ve evreni oluşturan her şey edebiyatın konusu olma özelliğini taşıdığından dolayı; birçok sanat dalına malzeme olma özelliği taşıyan bu algı türü, kendini çeşitli edebî eserlerde de göstermiştir. Dünya ve Türk edebiyatında örneklerine rastlanan, kıskançlık teması çevresinde şekillenen edebî eserler, okuyucunun, eserdeki kahramanların kişilik özelliklerini ve bu kişilik özelliklerinin eserin kurgusunu nasıl ve hangi yönlerden şekillendirdiğini anlaması açısından oldukça önemlidir. Çünkü; kahramanın iç dünyası çözümlenebildiği zaman okuyucunun okumuş olduğu metne de bakış açısı değişir. Çalışmamızın asıl amacını oluşturan kıskançlık olgusu da okunan metinlerdeki kahramanların tek bir duygu durum bozukluğu üzerinden anlaşılmasını kolaylaştıracaktır. Kıskançlık teması üzerine yazılmış çalışmalar olmasına rağmen; Tekirdağ Namık Kemal Üniversitesi’nde Doktora Öğretim Üyesi olan Selda Uygur Gürbüz, 2021 yılında Çizgi Kitabevi’nden çıkan, Türk Romanından Örneklerle Edebiyat ve Kıskançlık adlı kitabında, edebiyat ve psikoloji ilişkisini esas alarak bazı romanlar üzerinden kıskançlık olgusunu psikanalitik açıdan inceleme yoluna gitmiştir.

Copyright of Journal of Duzce University Institute of Social Sciences / Düzce Üniversitesi Sosyal Bilimler Dergisi is the property of Duzce University 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 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 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.)

Postmodernism is a phenomenon that arises against the holistic and systematic structure, normative patterns of classical and modern ways of thinking. It opposes traditional distinctions in both cultural and intellectual terms, conceptual presuppositions and judgments that form a hierarchy within themselves. Postmodernism parses reductive and single-centered class clusters, instead creating a polyphonic, marginal image of society. In the literary sense postmodernism tries to break precise sequences of meaning, fictional patterns that lack connotation. It destroys the god-like fictional dominance of the author, the two-dimensional structure of narrative subjects, the stereotyped narrative status quo. In postmodernism conventional dualities, fiction, and truth, extraordinary and ordinary, fake and truth, basis and margin collide with each other. Postmodernist writing in Western literature is the result of certain aesthetic innovations and processes developed against Modernism. However, in Turkish literature, art of novel reaches its artistic maturity at a later period. For this reason, modernist and postmodernist innovative aesthetic qualities appear together in some works. In Turkish literature, the postmodernist novel reaches its original and radical form in the 1980s and 1990s. Bilge Karasu, in this context, is one of the most important names in Turkish literature that includes the form of postmodernist writing and the dynamic characteristics of postmodern literature. His novels, Gece and the Kılavuz, are distinctive works that contain the postmodern narrative structure and subjects. The aim of this study is to examine the construction of postmodern subjectivity in Gece and Kılavuz, taking into account the qualities of postmodern writing. [ABSTRACT FROM AUTHOR]

Salgın hastalıkların geçmişi, insanlığın ortaya çıkışı kadar eskidir. Toplu ölümler, insanların hastalık karşısındaki çaresizlikleri, ıstırapları edebiyat açısından zengin bir malzeme kaynağıdır. Türk Romanında Salgın Hastalıklar isimli bu çalışmada, Tanzimat’tan günümüze romanlarda salgın hastalıkları konu eden eserler tespit edilmeye çalışmıştır. Tespit edilen eserler içerisinden kronolojik sıralamayla Felâtun Bey ile Râkım Efendi, Taaşşuk-ı Talât ve Fitnat, Aşk-ı Memnu, Hakka Sığındık, Yeşil Gece, Salgın, Hüyükteki Nar Ağacı, 30 Şubat Bir Gülme Salgının Romanı, Sıcak Kafa, Y, Hastalık, Meraklı Adamın On Günü isimli romanlar değerlendirmek üzere seçilmiştir. Bu romanları değerlendirmekteki amaç salgın temasının romanlardaki değişimini gözlemlemektir. Nitekim Tanzimat ve Servet-i Fünûn romanlarında verem hastalığı öne çıkarken, II. Meşrutiyet ve Cumhuriyet Dönemi romanlarında salgın, toplumsal sorunların tespit edilmesinde bir araç halini alır. 2000’li yıllarda kaleme alınan romanlarda ise salgın teması distopik/fantastik unsurlar etrafında şekillenir.

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 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.)

Öz: Kılık değiştirme, tarihî geçmişe sahip önemli bir kavramdır ve genellikle erkeklerin karşı cinsin kıyafetlerini giymesi ve davranışsal özelliklerini sergilemesi olarak tanımlanır. Oysaki tarihî örnekler üzerinden gidildiğinde kılık değiştirmenin sadece tek bir cins ile sınırlandırılamayacak bir eylem olduğu ve çeşitli nedenlerle tercih edildiği ortaya çıkar. Geç dönem Osmanlı metinlerinde de kılık değiştirme, olay örgüsünün önemli bir parçası olarak toplumsal yapının, cinsel kimliğin ve modernleşme süreçlerinin anlaşılmasında bir araçtır. Bu makale de öncelikle kadınların kılık değiştirmelerini T. Abdi’nin Sergüzeşt-i Kalyopi, Ahmet Mithat Efendi’nin Dürdâne Hanım, Namık Kemal’in Vatan Yahut Silistre ve Ömer Seyfettin’in Yalnız Efe adlı eserlerindeki kadın karakterler üzerinden ele alacak ve kadınların, daha da ötesinde anlatıcının bu eyleme yüklediği anlamı çözümlemeye çalışacaktır. Aynı zamanda kılık değiştirme ya da ona yakın değişimler, Samipaşazâde Sezai’nin Taaşşuk-ı Talat ve Fıtnat, Ahmet Mithat Efendi’nin Felâtun Bey ile Râkım Efendi, Recaizâde Mahmut Ekrem’in Araba Sevdası, Hüseyin Rahmi Gürpınar’ın Şık romanlarındaki erkek karakterler üzerinden de örneklendirilecektir. Bu sayede toplumsal cinsiyet kodlarının “nasıl” işlediği ve buna bağlı olarak modernleşmenin cinsiyet üzerinden “ne şekilde” algılandığı ortaya çıkarılacaktır. Son tahlilde kılık değiştirmenin ya da ona yakın değişimlerin toplum, anlatıcılar ve yazar tarafından değerlendirilme süreci “korku”, “ahlâk kaygısı” ve “değişim arzusu” çerçevesinde düşünülecektir. Abstract: Having a historical past, cross-dressing is an important notion and is generally defined as males dressing like opposed sex and expressing their behavioral characteristics. However, considering the historical examples, it is seen that cross-dressing is an act which cannot be limited to a single gender and is preferred for several reasons. In the late Ottoman period texts, cross-dressing as a critical part of the plot is a tool helping to better understand the social structure, sexual identity and modernization processes. The study will first address the female characters cross-dressing through Sergüzeşt-i Kalyopi by T. Abdi, Dürdane Hanım by Ahmet Mithat Efendi, Vatan Yahut Silistre (Homeland or Slistria) by Namık Kemal and Yalnız Efe (Alone Efe) by Ömer Seyfettin, and try to analyze the meaning attributed to this act by females, more importantly, by the narrator. Moreover, cross-dressing or similar changes will also be discussed through male characters in Taaşşuk-ı Talat ve Fitnat by Samipaşazade Sezai, Felatun Bey ile Rakım Efendi by Ahmet Mithat Efendi, Araba Sevdası (The Carriage Affair) by Recaizade Mahmut Ekrem, Şık (Chic) by Hüseyin Rahmi Gürpınar. Thus, “how” the social gender codes are addressed and therefore “how” modernization is perceived upon gender will be revealed. In the final analysis, the process of evaluating cross-dressing or similar changes by society, narrators and the author will be discussed within the framework of “fear”, “moral anxiety” and “desire of change”.