Bulut, Hüseyin

Anlam bakımından Hâkimiyet ile Egemenlik benzer kelimelerdir. Önceleri daha çok hâkimiyet kelimesi kullanılırken, günümüzde egemenlik kelimesi tercih edilmektedir. “Hâkimiyet” kelimesi 1921 ve 1924 anayasalarında kullanılırken, 1961 ve 1982 anayasalarında “Egemenlik” kavramı tercih edilmiştir. Millî egemenlik Türk inkılâbının ana ilkesidir. Yeni Türk Devleti’nin kuruluş aşamasında hem düşünce ve hem de uygulama açısından oluşan ve gelişen bu ilke Amasya Genelgesi, Erzurum ve Sivas Kongrelerinde olgunlaşmıştır. Bu tarihten sonra Millî egemenlik ilkesi tam anlamıyla benimsenmiş ve egemenlik yetkisinin sadece millete ait olduğu esası kabul edilmiştir.

Uludağ, Erdoğan

Fuzûlî is one of the first poets that come to mind when it comes to Dîvân poetry. There are many works of Fuzûlî, who is known as the poet of love and suffering and is considered the greatest poet of the 16th century. The Turkish Dîvân is his most important work. Inspired by the functionality and rich connotations of the concepts of Type and Personality in Dîvân poetry, Fuzûlî’s Dîvân, which is a very rich work in terms of Type and Personality, has been preferred in this paper, and it has been aimed to determine the types and personalities in Dîvân and classify them, with what features and how they are used. The "Type and Personalities" in Fuzûlî's Dîvân have been examined under the heading of "Imaginary/Visionary Types (Story-Epic-Fairy-Tale Heroes, Characters)" with types such as lover, beloved, rival, devotee, prayerful, then they have been clustered under the headings of "Story Heroes, Occupation Types, Representative Types, Religious Mystical Types, Social Types, Group Types". Types with similar characteristics are considered as subtitles of representative types. In this classification, the types are matched not by their general appearance, but by considering the meaning and equivalents in Fuzûlî's poems. Personalities have been grouped under the titles "Religious Personalities (four caliphs, twelve imams, prophets), Other religious personalities, Historical, Legendary (Epic-Mythological) Personalities, Sufi Personalities, Scholar Personalities, Literary Personalities". The types and personalities in the groups have been listed alphabetically. There are elements representing a total of 307 people, 227 of whom are types and 80 people, in Fuzuli's Dîvân. Instead of giving detailed information about the types and personalities in the Dîvân, the usage patterns in Dîvân Literature, the names and adjectives that correspond to the same concept, and the elements of reference have been tried to be provided.

Lokmacı, Süleyman

Mir'ât ad-Dawlah is a work of report (lâyiha) written by İbrahim Nihâlî ibn-i Süleyman Halife in order to reveal the reasons of the 1768-1774 OttomanRussian War and the deficiencies in state services. In the introduction of the work, the reasons underlying the 1768 -1774 Ottoman-Russian War are focused on. In the first chapter, the changes in the traditional clothes by the influence of the western countries are criticized. It is also stated in this section that unnecessary expenses caused many problems such as the transfer of the sources of the state to foreign countries and disorder in the country. In the second chapter of the report, the reasons of high amount of public expenses and its negative effects are presented. The 1768-1774 War is reported to be the main reason of increase in public expenses. In the third chapter, the excessive number of the officials and their inefficiency are dealt with. In the first part of the fourth chapter, the reasons and drawbacks of the cruelty by the great viziers towards the citizens and some suggestions for the solution of this problem are introduced. The second part of the fourth chapter is about the oppression of the judges and vice judges over people and solutions for this case. The third part is, likewise, about the oppression and cruelty of taxmen over the people and how this problem can be prevented. In this part, also, the status of the incomes and lands which were hired out and the problems caused by this system is analyzed. As for the fourth part of the fourth chapter, it reports the oppression of the bailiffs and emphasizes that these behaviors should be prevented and people should be protected against such attitudes. Accordingly, the reasons why people left their hometowns and settled in İstanbul or its neighborhood and the problems caused by this case are mentioned and some solutions are suggested. In this study, in brief, the report (lâyiha) mentioned is introduced and analyzed in different aspects.

Arslan, Mahmut Abdullah; Kanagatova, Akbota

The purpose of this research was to determine the values conveyed by the texts in Ministry of National Education’s Turkish course book and Kazakh Literature and Russian Language and Literature course books lectured at the 5th grade as being approved by Kazakhstan Education and Science Ministry, to reveal what type of a person was required to be trained, and to specify the deficiencies and most importantly, to offer suggestions related to the solutions of these deficiencies. In the study, all the texts in the course books were analyzed, and sample quotations related to the sentences indicating the values were included. 33 values were obtained from the Related course books. from At the end of the research, different values possible to be collected under four main titles in the course books were obtained. These values were gathered under four main titles including the individual, national, universal and religious values. Qualitative research method was used in the research. Although there were studies carried out on investigating the course books in terms of values in the literature, investigating the course books at Kazakhstan secondary education grade and comparing these with the same Turkish course books in Turkey was not previously carried out. In this respect, this study was remarkable.

Uludağ, Erdoğan

Fuzûlî, Divân şiiri denildiğinde ilk akla gelenşairlerden birisidir. Şiirindeki kudret, kendindensonraki şâirleri etkilemiştir ve etkilemeye devametmektedir.Aşk ve ıztırap şairi olan Fuzûlî’nin çok genişbir hayal dünyası vardır. Duygu, düşünce vehayallerini anlatırken hemen hemen bütünrenklerden yararlanmıştır; ancak bazı renkleridiğerlerinden daha fazla kullanmıştır. FuzûlîDivanı’nda kırmızı, siyah ve yeşil renkler diğerrenklere göre daha fazla ön plana çıkar. Fakat buüç renk arasından “siyah” rengin en fazlakullanılmış olması dikkat çekicidir. Şair bazensevgilinin cefalarıyla kararan bahtına seslenir,bazen çektiği acılarla yanan ciğerinden çıkan karadumanlardan dem vurur. Aşığın çektiği eza vecefalar sonucunda içinde bulunduğu kötü durumuanlattığı beyitlerde daima siyah rengin hâkimolduğunu görülür. Şairin doğup büyüdüğüçevrenin de etkisiyle acılarla dolu bir hayatıolmuştur. Hak ettiği değeri ve itibarı görmediğiiçin zor bir hayat yaşamıştır. Şiirlerini bu halet-iruhiye ile yazan Fuzûlî’nin dünyaya bakış açısı dakaramsarlık ve umutsuzluk doludur. Bu ruh halionun şiirlerinde işlediği konulara ve seçtiğirenklere de yansımıştır. Fuzûlî’nin şiirlerinde aşkve ıztırabın rengi olan kırmızının ve özelliklekaramsar bir ruh halinin rengi olan siyah rengidiğer renklere oranla daha fazla kullanmasınınsebebi bu şekilde izah edilebilir.Bu çalışmada Fuzûlî Divanı taranmış veşiirlerinde kullandığı siyah ve siyaha yakıntondaki renkli unsurlar tespit edilmiştir. Fuzûlî’ninsiyah renkli unsurları hangi özellikleriyle ve nasılkullandığı ortaya konmuş ve üzerlerindedeğerlendirmeler yapılmıştır.

Kılıç, Fikret

Mehmet Emin Yurdakul is known as a Turkist, nationalist, populist and social poet in our literature history. He makes a breakthrough in Turkish literature based on liberty and authority of Turkish language with his work named “Türkçe Şiirler” published in 1898. Regardless of the aesthetic value of these poems, he narrates the life of community with the folk speech. This is welcomed as an offer of a radical change, as a literary case. Yurdakul gives place to wide range of people from all classes in his poems where he narrates both epic themes and scenes from social life. In this article; the poems about the children he wrote for children will be discoursed, the mentioned poems will be analyzed in point of individual and social values.

Tozlu, Necdet

Aglar Baba whose original name was Irsadi, had lived between 1879 and 1958. As a folk poet he had written poems in sophism literature. He was born in Orucbeyli (Siptoros) village of Bayburt, had got a traditional education and then had started to tell poems as a consequence of the effect of a dream (drinking full). Our minstrel style poem which was built by using national matter and the folk language, in the frame of pre-Islamic Turkish poem tradition, was conveyed to a philosophic field by the thought of sophism in the post Islamization period. As a poet, he was originally coming from a poet and a sophism family. His grandfather was Gerat İrsadi Baba, a notorious sophism poet of his suburb, had affected Aglar Baba though his written works. As a poet, he had written poems mostly on religion, sophism and moral subject. He had got four written works called as Divan, Kısas-ı Enbiya (Zeyl), Innaenzelna Tefsiri and Şamun Gazi Mesnevisi and Tasavvuf Mesnevisi. Aglar Baba who had told didactic poems in national matter, with a simple Turkish, is a continuity of this steel at our era; with his steel that resembles Hoca Ahmet Yesevi’s divine wisdom’s and Yunus Emre’s heavenly

Daşdemir, Özkan

The story of the forbidden tree tasted by Adam and Eve in paradise is recorded in the Torah and the Qur'an with various similarities and differences. According to the Qur'an, the fall of Adam and his wife to the earth is due to a tree (fruit) that Allah forbids but was tasted by them by the devil's deceit. In the Torah version, the snake was presented as the tempter of the woman. The woman deceived by the snake ate from the forbidden fruit both herself and had the man eat it as well. At the end of the story, the snake, the man and the woman were punished. A relatively new version of the forbidden tree story in the Torah and the Qur'an was covered in an incident experienced by a prince who embarked on various adventures in search of the source of Nile River. In the narrative, although there are parallels to the version of the Qur'an, the motif of creation, which is the starting point in both old versions (Torah and Qur'an), was replaced by a mysterious journey. In this paper, a relatively new version of the "forbidden tree" story recorded in the Qur'an and the Torah will be introduced, and in this context, the relationship of the narrative in question with the holy books will be emphasized. Thus, a way of thinking about the trends of the archaic narratives tracing to these days and the continuity of the motifs in the narratives will be attempted to be formed.

Karabulut, Asuman; Tercan, Hatice

Osmanlı Devleti’nde Tanzimat sonrasıgerçekleşen reformlardan biri de mülki sistemintaşra idaresinde yeniden yapılanmasıdır. Özellikle1871 Vilayet Nizamnamesi ile vilayet, sancak vekaza idaresinde köklü değişiklikler gerçekleşmiştir.Nizamnamelere göre kurulan meclisler,mahkemeler, kalemler ve kurulların gayesi devletmerkezine uzak bölgelerin Tanzimat’a uygun birşekilde işlerliğini ölçmeye yönelik olmuştur. 1871Vilayet Nizamnamesi’nin Osmanlı taşrasınagetirmiş olduğu düzenin yansımalarınıngörülebileceği en iyi kaynakları ise vilayetsalnameleri oluşturmaktadır. Bu salnamelerinhazırlanması ve yayımlanması noktasında bazıvilayetlerin nizamnamelerde belirtildiği şekildetitizlik gösterdiği bilinmektedir. Kimi vilayet idaresihemen her yıl salname yayımlarken, bazıları birkaçsalname ile yetinmiştir. Çalışma konusunuilgilendiren Erzurum Vilayet Salnameleri de ilk kez1870 tarihinde yayımlanmaya başlamış ve belliaralıklarla 1900 tarihine kadar 15 defayayımlanmıştır. Taşra idaresi üzerine detaylı bilgilersunan bu salnamelerden yakın dönem Erzurumbölgesi tarihinin sosyal, iktisadi, idari, ekonomik veaskeri yapısına ilişkin bilgiler edinmek mümkündür.Lokal çalışmalar noktasında ihtiyaca cevap verenvilayet salnameleri, çalışmanın ana kaynağınıoluşturmaktadır. Bu çalışmada, Erzincan Sancağıidaresi yıllara göre Erzurum Vilayet Salnameleriışığında incelenmiştir. Ayrıca sancağın idaritaksimatında görülen değişim ve gelişmelerdeğerlendirilerek 19. yüzyıl Osmanlı taşra idaresialanındaki çalışmalara katkı sağlanmayaçalışılmıştır.

Can, Adem

Word is different from meaning. Literary word belongs to the person speaking. Poetry exists as a word. In Classical Turkish poetry concise word is more acceptable. Therefore sahl-i mumtani has always got attraction in literature. The aesthetic form of the word in Turkish is sehl-i mümteni. The features that aesthetically show the postures and movements of beings are simplicity, balance, adaptation, harmony, integrity, elegance, and so on. The human behaviors accepted as elegant are the ones made so easily that the effort behind it is unseen besides these features. Likewise, it is also aesthetically important that the phrase carries meaning attributed to it quite easily. In classical Turkish literature, this is called latâfat. Letafet is a minimal requirement for sahl-i mumtani. At the same time, the sahl-i mumtani is the phrase that has been purified. In rhetoric, the most advanced way to purify a phrase is called hazf. The more aesthetic art of phrase, in which the number of words is reduced the most, is called icaz. According to this in order to strengthen an idea, intent, feeling or meaning, the number of words should be minimized. Another condition of sahl-i mumtani is tabiilik. The nature of language of poetry comes from its sincerity. Sincerity in literature is that the artist’s core and his phrase should be coherent with each other and that the phrase is purified from artificiality. The poets who own the sahl-i mumtani are intelligent and genius ones, with a rich inner world, who describe the extraordinary situations they experience. As soon as they sense the meaning, they find an expression which suits to it best. This is that the meaning coming from heart is expressed with words, the meaning and expression are integrated, the language finds its ultimate form.