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In this study, it is aimed to determine the awareness level of the elements registered in the name of Turkey in the list created within the scope of the Convention for the Safeguarding of the Intangible Cultural Heritage, in terms of "recognition" and "experience", and to present suggestions for the safeguarding, sustainability and transmission of cultural heritage to next generations based on the awareness level. In this respect, the online survey developed based on the literature was applied to the citizens of Republic of Turkey aged over 20 between January 24 - March 28, 2021. The survey questions only consist of the elements in the Representative List. A total of 1550 people from seven regions of Turkey responded to the survey. Descriptive statistics and Importance-Performance Analysis were used to analyze the data. As a priority, in the list created within the scope of the Convention for the Safeguarding of the Intangible Cultural Heritage, the public awareness and experience levels of nineteen intangible cultural heritage elements registered in the name of Turkey have been determined and the awareness level of each intangible cultural heritage elements has been identified. As a result of the analysis of the data, the intangible cultural heritage elements are located in the Familiarity- Experience matrix. According to the findings obtained as a result of the positioning, 5 intangible cultural heritage elements with a high level of awareness were identified: "Turkish Coffee and Tradition", "Karagöz", "Nevruz", "Flatbread Making and Sharing Tradition: Lavash, Katırma, Jupka, Yufka" and "Spring Festival Hıdırellez". The "familiarity" and "experience" levels of these elements are high and it is important to carry out studies for their safeguarding and sustainability. It has been determined that five intangible cultural heritage elements with high "familiarity" levels and low "experience" levels have a partial awareness level. These elements are; "Kırkpınar Oil Wrestling Festival", "Marbling: Turkish Paper Decoration Art", "Dede Korkut-Korkut Ata Heritage: Culture, Legends and Music", "Mevlevi Sema Ceremonies" and "The Tradition of Minstrelsy". It is important to concentrate on these elements and make an effort to develop them. It has been determined that the remaining 9 intangible cultural heritage elements have very low levels of both "familiarity" and "experience". It is necessary to take serious measures to ensure that these elements are not forgotten and disappeared by the society. These elements with very low awareness in the society are as follows; "Mesir Macunu Festival", "Miniature Art", "Traditional Conversation Meetings (Yaren, Barana, Sira Nights etc.)", "Traditional Tile Art", "Traditional Turkish Archery", "Meddah Tradition", "Alevi-Bektashi Ritual Semah", "Traditional Ceremonial Keskek" and "Traditional Intelligence and Strategy Game: Togyzqumalaq, Toguz Korgool, Mangala/Göçürme". Based on these findings, in order to increase the awareness level of intangible cultural heritage elements and to keep them alive, it is thought that it is necessary to use the media effectively, to raise awareness of the society from childhood, and the state to encourage and support activities in this direction. [ABSTRACT FROM AUTHOR]

Prof. Dr. Umay Türkeş Günay is a well-known folklorist in Turkey and abroad. While writing her doctoral thesis, she applied to Elazig tales the Propp method, which was developed by Russian scientist Vladimir Propp in his work "Morfogija Skazki", published in Leningrad in 1928, which marks the beginning of her scientific works. She is the first scientist to implement the Propp method, which is frequently used by folklorists today, in Türkiye. She started her career at Ankara University, Faculty of Language, History and Geogra- phy, and continued at Hacettepe University, thus creating the Hacettepe University school. She led the establishment of the chair of Turkish Folklore at the same university between 1985-1991. She received the title of "Associate Professor" with her research titled "Aşık Style Poetry Tradition and Dream Motif". She served as a member and consultant in commissions and committees related to culture, folklore and education activities of various institutions such as the Prime Ministry of the Republic of Türkiye, Ministry of Culture, Ministry of National Education, UNESCO and the State Planning Organization. In addition to her 5 books, Prof. Dr. Türkeş Günay has hundreds of publications including articles, papers, introductions-critiques, essays and translations. Prof. Dr. Umay Türkeş Günay, who continues her duty as the Dean of the Faculty of Education at Girne American University, sheds light on young researchers with her scientific articles and speeches. Scientists are people who produce, research, question, present their knowledge to the world of science and train young scientists. Prof. Dr. Umay Türkeş Günay, a scientist who has devoted her life to Turkish cultural studies, is principled, open to different suggestions and extremely objective as an administrator. She is uncompromising in scientific and business disciplines. She never conducts her relations with the people she works with on the subordinate-superior plane. By displaying her respectful style towards identities and personalities to both academic staff and students, she approaches young academics and students both like a mother and a teacher. In this study, information about Prof. Dr. Umay Türkeş Günay's life, her academic and administrative duties, the theses she supervised, and the books, articles and papers she wrote is given. In the study, the following books of Prof. Dr. Türkeş Günay, each a value in itself, were examined in detail: "Elazig Tales and Propp Method", "Aşık Style Poetry Tradition and Dream Motif in Turkey", "Risâlet-i Nushiyye and Yunus Emre", "History of Turks", and "Criticism of Turkish Culture". Based on the works of Turkish culture researcher Prof. Dr. Umay Türkeş Günay, attention was drawn to the messages she conveyed to the Turkish society and the importance of her books was examined. In the study, the views of Prof. Dr. Umay Türkeş Günay about science and the situation of the Turkish world in the historical course were pointed out and her suggestions and solutions were discussed. In addition, the articles written by Prof. Dr. Umay Türkeş Günay on the importance of critical perspective as regards the development and growth of societies are also included within the scope of the study. In addition, the bibliography of Prof. Dr. Umay Türkeş Günay's works is provided. Thus, an attempt has been made to draw a scientific portrait of Prof. Dr. Türkeş Günay based on the works. In the 80th year of her birth, the life path of the professor of the professors, Umay Mother of the Turks, is examined and her contribution to Turkish science is highlighted. [ABSTRACT FROM AUTHOR]

The Dede Korkut stories are considered among the most fundamental works by many researchers studying Turkish culture. The stories are marked by the repercussions of the cultural elements from varying periods in social life, the admittance and refutation by all the strata of the society from heroes to lower classes, and the included motifs, functions and ideological elements. Having achieved a wide popularity especially in a broad geographical area housing the Turkic people, Dede Korkut is a collection of stories that requires a textual analysis and interpretation as well as an examination by various social sciences and cultural studies owing to its multi-dimensional nature providing data to various disciplines. This article aims to analyse the movie Dədə Qorqud filmed in 1975 in Soviet Azerbaijan and screened in Soviet movie theatres after translated into Russian as Свет погасших костров (The Light of Quenched Hearths) in 1977. Adapted and directed by Tofig Taghizade and written by Anar Rızayev, the movie derives from the script, target audience, the actors and the artistic and political inclinations of the period although it inspires from the book Dede Korkut at large. Recently, there has been an increase in the performing arts and, in particular, movies that originate from the Dede Korkut stories. As the main focus of this study, the movie offers new perspectives to researchers with regard to the analysis of an era since it reflects the cultural policy and ideology of the USSR. We are of the opinion that this paper will contribute to the literature for the folklore studies in Turkey mainly focus on textual analyses and the researches on Turkish folk culture and art in the USSR have received limited interest. This article evaluates the publication process of Dede Korkut in the USSR as well as the cultural policy of the USSR and its impact on the development and transformation of cinema. In this sense, the following study endeavours to expand on the reflections of Soviet ideology in movies by discussing the approaches towards the Dede Korkut stories. After all, the script of the movie was devised not as a mere adaptation but to serve the long-lasting propagandistic activities of the Soviets. Indeed, the analyses under this study indicate that the contents altered during the adaptation process or fabricated in the movie script were used with success in the transmission of the ideological messages of the USSR to the society. The adaptation of the Dede Korkut stories bears significance for applied folklore studies. Ideological ends aside, it can be claimed that the movie supports the representation of the cultural codes and motifs inherent to the Dede Korkut stories. In this respect, further studies by varying disciplines will help to reveal the sphere of influence of the movie. [ABSTRACT FROM AUTHOR]

In this article, the acceptance of women as “shaman” in North and Central Asian Shamanism in the Middle Ages and as “witch” in Continental Europe in the Late Middle Ages in healing practices, their causes and consequences are examined. Historical evidence and indicators of the fact that mankind is interested in its environment at every period of the cultural process, is interested in unknown, mysterious and mystical events and wants to be present in them are discussed. Nowadays, more are regarded as superstition, magic, in the historical process mystical, mysterious and society in extraordinary ways “the secret forces”, as most fundamentally treatment (healing) for the purpose of making, carrying, over time, that can not be achieved in known ways to achieve things, to harm someone, or a team to protect from harm and the secret mystical practices using nature and the laws of nature are applied for the purpose of influencing force are discussed with examples. It has been revealed that spells and magicians were called by different names at different times and geographies. It has been determined that shamanism and witchcraft, which are based on magic and healing (healing) and developed within this framework, also exist with opposite perceptions in different geographies and affect societies. On the other hand, it has been seen that the roles, duties and responsibilities assigned to the sexes determine the positions of men and women in society. In line with these roles, women were sometimes seen to be deified, and sometimes they were thought to be the main source of evil. In this direction, the women who applied the healing practices were evaluated as good in the position of shaman and bad in the position of witch. Shamans and Witch as the determination and evaluation of the social position of women in two different locations and two different identity to represent two contrasting phenomenon, the perception of women in society and history, which shows that this difference can vary how much we think it is important for women and contribute to. For this reason, the paper tries to show that women, who exist in all areas of society, are generally representations of two opposite concepts (good-evil) in different societies as shamans and witches. It has been discussed why the woman who heals the sick with the identity of a shaman is considered sacred and represents goodness, while the woman who initially heals is considered cursed with the identity of a witch and represents evil. Thus, the positioning of women in the context of shaman/witch, good /evil has emerged as an example of the opposite roles that they impose on individuals of the same gender in two different cultures. At the same time, the paper aims to determine how and to what extent the perception of women varies from society to society. In short, this study, which affected at different times and societies are shaped with the same basis, despite the fact that the craft barn and different from the properties of the perceived women as shamans and witch contributions to society through representation in a broad historical perspective of the good and evil are examined. [ABSTRACT FROM AUTHOR]

The ontic and epistemic, even ethical and aesthetic existence of human beings acquires meaning with identity. Identity is a paradoxical structure that expresses involvement and integrity as well as marginalizing and revealing differences. Common language, values, attitudes, opinions and beliefs are the causes and effects of identification. The individual or micro is surrounded by the society or macro, and macro has introduced to the micro. The macro world constructs the psychological and cognitive structure of the micro world. But at the same time, the background of this macro world is determined by the identities that it shares with the micro world. The identities that make up the collective identities may differ according to the conjuncture. Thus, identity has been built with understanding that changes according to time and society. Religious hegemony was dominant in most parts of the world during the Middle Age. Thus, religion which essentially means transforming chaos into cosmos, was used as the most important tool to maintain order by the states. It retained its dominant position over political and other decisions by the authority for many years. This situation brought a society based on religious identity. This structure had created an organic bond between the state and society. This link was the only representative of identity. The organic bond between the state and society was likewise built on religion in the Ottoman Empire. It was placed as the unique element that shaped the perception of individual or collective identity. Religious differences in Ottoman Empire constitutes the epistemological essence of identity. Placing religion merely in the semantic domain of the concept of identity was making it decisive of identity. The fact that social identity corresponds only to religious partnership, independent of cultural and linguistic partnership, has caused individual reality to deviate from social reality, in the population known as Karamanlides in the current literature that will be used in this paper as the Turkophone Anatolian Orthodoxes. This deviation would be particularly felt in the following centuries, when religious affiliation would be replaced by tribal belonging. This paper takes issue with cultural identities of two communities that were separated by religion. It seeks to reveal cultural identicalness of two communities when religious identity has not been replaced by tribal one. It is based on the work Ανατολ Τουρκιουλερι that was published in 1896 and was the first folk magazine in the Ottoman Empire, points out the commonality, in other words, integration in the individual existence of social identities separated by the religion. A particular focus is on one of the folk songs in the booklet Ανατολ Τουρκιουλερι, which contains folk songs collected through field research among Orthodox people: “A Girl Being Bride”. The Turkish poet in question has a pseudonym with the other image of his poet: The poet has a marginalised alias named: “Kul Shadi”. In the axis of Kul Shadi and his Turkish folk song with Greek Letters known as Karamanli Turkish in the current literature and named in this article as Turkish with Greek Letters, this article aims to determine language and cultural identities between two communities in the Ottoman Empire that had been separated by religious identities, however, essentially they could not be separated. Consequently, it is proper to say that a single subject as the bearer of social idendity is inadequate. [ABSTRACT FROM AUTHOR]

Yünüm Böğet is one of the many shepherd festivals in Anatolia, like koç katımı, kırkım töreni (wool shearing) which was registered in the National Intangible Cultural Heritage Inventory under the category of seasonal traditional celebrations. This tradition, which essentially aims to wash and clean the sheeps, is an extension of nomadic traditions of Turkish tribes related to the cults about animals such as saya gezme and saya mani. Yünüm böğet is celebrated like a competition in Hasanpaşa Village in Burdur. However, unlike many other animal festivals, it is the shepherds who compete, and the relationship based on trust between the lead sheep (elcik koyunu) and the shepherd determine the winner. It is believed that the lead sheep will not hesitate to leap into cold water behind the shepherd if the shepherd has taken good care of his flock. Washing the sheep in water and confessions of the shepherd for redemption for the harm given to the crops in the fields while grazing the flock when he enters the water forms the core values of this tradition. With this festival, shared memories of Tos Tos ritual, entertainments with local singers and folk dances, folk poems which are read during water crossing ceremony, and rituals of redemption are passed on to the next generations. The festival ends with an award ceremony in which a proverb toprakla koyun, gerisi oyun (land and sheep, the rest is vain) is reminded to express that the entertainments and competitions are only instruments to continue tradition. Traditions guide us in finding solutions to the ecological problems rooted in modern anthropocentrism by embedding and preserving human-nature relationship and our perceptions about this special bond. Traditional practises which embody respect in natural cults, the traces of a holistic view of the universe, and the roots of principles of bio-ethics show us that the main cause of the problem is distancing and alienation of humans from the nature. Passing the message of traditions which make up cultural ecological legacy to future generations is of utmost importance in developing ethical behaviours about the environment and animals. Preservation of these cultural assets not only provide a link between the past and the future of the communities, but also reinforce a feeling of belongingness and identity, and add value and meaning to the lives of local people. Such cultural practices support social integration and solidarity, and protects the diversity of local cultures. Scientific studies help to preserve these cultural assets by registering and exploring authentic natures of cultural heritages. At the same time, these cultural values are unique sources of anonymous data with their embedded information about living conditions, daily lives, world views, and belief systems of communities. Within this context, the aim of this paper is to contribute to raising awareness about sustainability of yünüm böğet, based on an understanding of its function in the relationship between human and nature. [ABSTRACT FROM AUTHOR]

2003 UNESCO Convention for the Safeguarding of Intangible Cultural Heritage reflects a safeguarding approach that aims to ensure the viability of the intangible heritage (ICH) as a whole with the cultural object, within and with the community, integrated with the heritage objects to which it is associated. This holistic safeguarding approach, in addition to research, documentation and archiving processes, also includes the processes of making it livable in wider contexts, transmitting correct knowledge/awareness raising through education and training, and supporting capacity building related to information sharing. It draws attention as an important emphasis in the text of the Convention that teaching activities focusing on the relationship between heritage, space and time will strengthen the transmission of intangible heritage and, hence the success of its safeguarding. The text of the Convention, the Operational Directives and the Code of Ethics have a humanoriented protection perspective in which individuals, groups and communities are centered on a participatory basis. The purpose and content of studies in the fields of history and geography teaching are also human-oriented and both are social sciences that place importance on the concepts of space and time. Therefore, discussing how both subject areas should be reflected in the socio-spatial-based perspective on teaching practices and instructional content designs in curricula will make important contributions in the context of understanding the attention to the evaluation of the intangible cultural heritage without isolating it from its material context with the physical environment and placed in its time dimension position. In this context, in order to explain the historical continuity and shared experiences in the intergenerational transmission of the Turkish Archery Tradition within the framework of the interdisciplinary programming approach, the spatial context in which the collective mentality hidden in the cultural geographic history of the tradition is built is associated with the socio-political context and it made visible in this paper. Then, the importance of the recommended approaches to be followed in order to strengthen the intergenerational transmission of the heritage that has been passed on from the pre-Christ Central Asian cultural circles to the present day, in terms of holistic conservation processes is evaluated in the context of Traditional Turkish Archery which was inscribed on the Representative List of Intangible Cultural Heritage of Humanity in 2019 by Turkey. This article has been structured by taking into account the goal of raising awareness, which considers it important to determine the framework of the knowledge and cognitive process dimensions of the goal-achievements included in the transdisciplinary teaching designs within the formal education system of UNESCO with reference to the past. In addition, this paper also addresses the meaning of the intangible cultural heritage in today's context in the case of Traditional Turkish Archery. Literature research has been carried out within the scope of academic works, geography and history teaching programs, research works prepared by using Chinese, Islamic and Western sources and primary data sources in which the texts produced within the framework of the Convention, which evaluated the intangible cultural heritage as a learning resource have been examined at national and international level. Content analysis, one of the techniques frequently used in research in the field of social sciences is used in the review of the literature document. Following the document review process carried out within the framework of the stated purposes, the 9th grade history lesson includes the Turkic World in the First and Middle Ages and the 11th grade geography lesson Global Environment, Regions and Countries unit, which include steps for the use of thinking and learning contexts that support each other. An interdisciplinary teaching content methodology is presented focusing on the integration of the Turkish archery tradition's living nature which includes the change into the current education programs. [ABSTRACT FROM AUTHOR]

The name of Korkut has long attracted the attention of the world scientific community. In the folklore of many Turkic peoples related to the ancient Oghuz tribes, there are legends and myths about Korkut, which describe the heroic deeds of the Oghuz heroes. The legacy of the legendary Korkut's music and epic has attracted the attention of researchers since the middle of the 19th century. Scholars from Russia, Türkiye, Azerbaijan, Turkmenistan and Kazakhstan have written a wide number of research papers, which highlighted the problems associated with the main epic legacy of Oghuz antiquity -- "The Book of Dede Korkut" or "The Book of Korkut Ata". The literary artifacts associated with the name of the legendary Korkut have gained worldwide fame. Both versions of the Oghuz manuscript "Kitab-ı Dede Korkut Ala Lisan-ı Taife-i Oğuzan" (Dresden) and "Hikâyat-i Oğuznâme-i, Kazan Beğ ve Gayrı" (Vatican), which have come down to us, are now the focus of scientific consideration. The abundance of cognitive information and onomastic names in the epic increasingly attracts the attention of folklorists. It is no secret that in the Kazakh folklore of the early 20th century, the Soviet ideology imposed a ban on the development of the epic heritage of Korkut. Moreover, closer to the middle of the 20th century, the Oghuz heroic epic was evaluated as a creative product of the feudal era. For this reason, some peoples of Oghuz origin openly ignored the folk heritage. Korkut is a representative of the Oghuz tribe. In addition, his name has existed in Kazakh folklore for a very long time. Even before the 1917 Revolution, several legends about the Korkut tombstone were recorded by famous ethnographers. Kazakh scholars began to study folklore materials about Korkut at the turn of the 1970s. This topic was first voiced by Professor Auelbek Konratbayev, who published several articles, then translated V. V. Bartold's edition of "The Book of my grandfather Korkut" into Kazakh. In recent decades, especially after the gaining of independence, folklorists, musicologists, and performing musicians have begun to deal with this problem. It got to the point that some of them started talking about the newly found legacy of the legendary Korkut - musical compositions for the bowed instrument - kylkobyz. Without referring to reliable sources, without arguing the origin of the newly discovered musical compositions attributed to Korkut, individual authors began to publish their rather detailed research in the form of scientific articles and even books. Despite the existing criticism in international publications, the wave of pseudo-researchers is growing. The questions related to the heritage of Korkut are overgrown with all sorts of tall tales of indefinite origin. This article attempts to conduct a scientific analysis of numerous studies published in the recent years on the pages of both foreign and local press. The works of individual novice authors who are engaged in inflating the number of legends associated with the name of Korkut are subjected to special consideration. In this regard, the article emphasizes that the classic version of the Kazakh legend of Korkut was published by V. Velyaminov- Zernov in the second half of the 19th century. Despite the presence of a published text, this legend has been freely interpreted by individual authors. Another legend, once published by A. Zhubanov without reference to the original source, also requires close study. This article is based on scientific problems related to the music and epic heritage of Korkut. It highlights the stages of mastering the musical heritage of Korkut and the legends associated with them. Much attention is paid to detailed, comparative analysis and the study of primary sources. In the process of developing the theme, all the changes that have occurred since the beginning of the development of the musical heritage of Korkut are identified. The legends that allegedly arose in connection with his music are also subjected to scientific analysis. Through the prism of hermeneutical analysis, the musical melodies attributed to Korkut are also studied. A special attention is drawn to the reliability of previ ously unknown primary sources that have begun to enter scientific realm. At the same time, the artistic features and scientific significance of these musical tunes are analyzed. Only in recent years, several articles about Korkut's musical heritage have been published on the pages of foreign scientific publications. They have become the focus of this article. In the recent years previously unknown legends, which have been claimed to be preserved in Kazakh folklore, have appeared in the literature. The admirers of Korkut's name are trying hard to connect these immature plots with the name of the legendary Korkut. Moreover, some researchers started talking about the musical heritage of Korkut, which is not known not only to the Turkic world, but also to the scientific world. As the primary source, they began to refer to the religious and mystical tunes of Nishan Shamenuly, who lived in the second half of the 20th century, from whom the musical tunes "saryn" and "sarnau" were recorded. This article attempts to determine the origin of the music and religious tunes of Nishan, because the aforementioned sweeping statements are circulated without taking into account the centuries-old performing tradition of the kobyz, some of which has not even reached our times. Without much detailed research so-called previously unknown musical heritage of medieval Korkut have been introduced to the whole world. Moreover, these same tunes, which have nothing to do with the legendary Korkut, were included in the UNESCO list as an example of the intangible culture of medieval antiquity. All these questions formed the main problem of the given article. [ABSTRACT FROM AUTHOR]

The opposition between reason and nature has been one of the fundamental criteria that has shaped the dominant conceptions of humanity throughout cultural history. Nietzsche believes that the fundamental fallacy of the West is its fixation with the idea that there is something that dichotomies humanity and nature. This idea, for Nietzsche, originates from the Platonic binary oppositions. For Adorno and Horkheimer, the history of individual has been grounded in its ethical stance in relation to this dichotomy. They argue that Homer's Odysseus is one of the earliest exemplars of the culture-nature dichotomy that represents the aforementioned tradition engrained in the vital codes of the Western civilization. Odysseus's cunningness, his belief that any action will be legitimate if it grants victory and his reductive view of nature based on the absolute benefit for humans is the first exemplar of the Western enlightened individual. For Horkheimer, Nietzsche yearns for an approach to reason that goes beyond the nature-human dialectics, and his hope points to a cultural sphere other than the Homeric culture shaped by 'the established realities of the West'. Such sphere of culture belongs to a different intellectual and social world where reason is not considered as a moment of nature-culture dichotomy. We can find a similar conception in the Thirteenth Epic Story of the Book of Dede Korkut, Salur Kazan Kills the Seven Headed Dragon, which was introduced by Professor Metin Ekici in 2019. This story offers a philosophical position and is in deep opposition to the Platonist tradition dominated the Western Enlightenment thought. This study claims that Salur Kazan can be exempt from the criticism of the enlightened reason and put in opposition to Odysseus. Salur Kazan, the beylerbeyi in the Book of Dede Korkut, is a kind of hero who can be used to reevaluate the chaos-cosmos and nature-appearance dichotomies. Therefore, Salur Kazan makes it possible to imagine a totally different tradition of thought in contrast with the dominant patterns of the Enlightenment thought. In this paper, the theoretical basis of the contrast between Odysseus and Salur Kazan stems from the criticism of the enlightened individual. The findings show that Salur Kazan stands in opposition to Odysseus, through whom Adorno and Horkheimer discuss topics such as labour exploitation, the abuse of nature and cultural corruption. In this story, whilst confronting extraordinary events, Salur Kazan acts virtuously to promote the benefit of community and takes a peculiar stance on the culturenature dichotomy. Thus, Salur Kazan embodies a new possibility to assess the concept of reason. [ABSTRACT FROM AUTHOR]

This paper explains firstly the Qur'anic meaning of the kâfir. Early Turkish-Islamic historical sources, such as The First Interlinear Literal Translation of the Qoran TİEM 73, Dîvânu Lugâti't-Türk and Kutadgu Bilig were the analytical tools of this loan-word for early or Old Turkish and the conceptually religious, sociopolitical and cultural, and metaphoric dimensions of this term. These two masterpieces and TİEM 73 selected from the powerful and rich intellectual and scientific sources of the Turkish medieval world to evaluate the early, pre-thirteenth Turkish-Islamic religious texts translation tradition which contain old Turkish religious and non-religious concepts and terms. The socio-cultural historical and metaphoric cosmos of the Dede Korkut epics represent and mention also that the Early or New Muslims had passed through the ages to interpret the infidel (kafir) in terms of the explicit and implicit meanings. The Early Muslim Turks were engaged and played for the connotative development and socio-cultural semantic attribution of this sharp, heavy and symbolic and imaginative marker of kafir, infidel. Along with this and many other concepts, as a result of Islamization, the Turkish language, civilization, social and cultural historical processes have been attributed to its metaphoric geography of the term. Infidel (Kafir) is a foreign loan-word, one of the important with its equivalent terms (such as munkir, munafık, fasık) from Arabic Qu'ranic religious term for Turkish originally. Infidel (Kafir) is perhaps one of the strongest and sharpest words for the modern languages and their historical vocabularies, or glossaries of the monotheistic nations. Mosaic, Christian and Islamic religions born in the Near East and the actual or historical believers of these monotheistic religions also describe each other as infidels along with their historical politico-religious encounters and conflicts. Especially the 11th-13th centuries should be considered for the Turkish Islamic cognitive mapping and evaluation of infidel (kafir) and other monotheistic and Islamic religious loan-words and concepts to Turkish language. The first interlinear Turkish translations of Qur'an, which emerged in the Eastern Turkish and Western Turkish dating back to the 16th century constitute a fluffy corpus. TİEM 73 presents a dual feature for the word infidel (kafir), rarely in a few verses its original form has been preserved or it has been met with two original Turkish words. The first of these, kėrtgünmägliler for the "non-believers" by deriving the verb "to believe, to believe in something". Another etymologically Turkish word to refer is tanıġlı which is also derived from the verb, as synonymous and equivalent with "infidel". Emphasizing on Jews and Christians TİEM 73 is also the source of the first images of the later historical and layered evolution of the thoughts and feelings of Muslims and Early Muslim Turks toward these biblical nations and others, first image-maker of the infidel referring Qur'anic anecdotes, and even with the influence of the folkloric elements of the Dede Korkut Epics. Competence and proficiency of Old Turkish can be seen both in the preference of the Turkish vocabulary and glossary of the Qur'anic anecdotes in TİEM 73. Early Turkish translators preferred non-copy or loan-words from Arabic or Persian baggage words for these anecdotes' word or conceptual list to construct semantic and cultural space. The Sabbath Breakers (or Companions of Sabbath) (Ashab-ı Sebt) biblical story with Qu'ranic equivalence are such typical examples. The infidel (kafir) has also created his own conceptual space in Dîvânu Lugâti't-Türk and Kutadgu Bilig. [ABSTRACT FROM AUTHOR]

Considering its domain and range, folklore is a discipline suitable for interdisciplinary studies by contributing to many scientific disciplines, especially social sciences and arts, or benefiting from them. In this context, we notice that folklorists benefit from the scientific disciplines such as anthropology, linguistics, music, history, sociology and psychology at both theoretical and practical levels, and occasionally contribute to these disciplines. It is an unquestionable fact that among mentioned disciplines music, in particular, has a very wide and important place in folklore studies. Music has always appeared with its determinative and distinctive functions both in the process that covers the creation, transfer and sustainability of folklore outputs, and in the processes of defining, collecting, classifying, researching and analyzing them. In this context, even though the importance and function of music in folklore studies have been mentioned in many academic publications, musical features have been included in a specific and limited scope in a significant majority of these publications. Contrary to this situation, detailed musical analyses within the context of folklore have appeared in some studies; however, the number of these studies is limited. Considering current situation, this paper, written in the scope of Turkish folklore, has been prepared based on the view and thesis that it is important and necessary for researcher to incline to an interdisciplinary study, in its researches on musical folklore outputs, by obtaining musical knowledge or benefiting from it. In this context, the paper starts from the importance of music in the solution of the genre, form and maqam in the ashik poetry tradition. Then, it tries to explain with examples the determinative and distinctive features of music in the process of creation and transfer within the master-apprentice learning pattern in the context of ashik and Turkish epic narrative traditions; in the development and performance of religious or non-religious rituals and ritual-centred folklore outputs; the performance of folk dances; the process of creation and transfer of verse genres and forms of anonymous folk literature. The paper evaluates in which functions can be used musical items, such as rhythm (method), tune pattern (maqam/style), tempo, passages, strong pitch, increasing melodic interval size etc., within the processes of defining, collecting, researching, classification and analyzing folklore outputs that have musical features. After these evaluations, the paper discusses the necessity and importance of including musical features in studies in the period from finding and collecting to the analyzing folklore outputs within the scope of the text-centred and context-centred folklore theories. In this context, the paper puts forward the contributions which will occur as a result of the functional use of music in folklore studies. [ABSTRACT FROM AUTHOR]

The 950th anniversary of Kutadgu Bilig's writing by Yusuf Has Hacib was included in the UNESCO Commemoration and Celebration Anniversaries program in 2019. Kutadgu Bilig, which is one of the most important works of Turkish literature in Islamic period and which contains information about Turkish culture, politics and literature life, is of great importance in world culture and literature and it is worth investigating in different countries of the world. To date, fourteen chronological bibliography studies have been published on Kutadgu Bilig. According to others, Ramiz Asker's bibliographic study in 2016 included a large part of Kutadgu Bilig research in Kazakhstan. However, there are important bibliographies that are not taken into consideration. In 2016, Kutadgu Bilig Research History published by Gülnisa Jamal and Muhammet Savaç Kafkasyalı mentioned only a part of Kutadgu Bilig works in Kazakhstan. Therefore, it is very important to consider the academic studies conducted in Kazakhstan about Balasagunlu Yusuf and his Kutadgu Bilig work. In this article, Kutadgu Bilig studies conducted in Kazakhstan are examined under four titles based on books, master's and doctoral thesis, articles and papers. The book; book chapters, quotations and reviews. The first studies on Kutadgu Bilig in Kazakhstan were included in the textbooks as a chapter before the special book. In the thesis part, master's and doctoral theses in literature, linguistics, education and philosophy which evaluate Yusuf Has Hacib and his work Kutadgu Bilig are discussed. In the article section, the studies in Belleten and research journals of universities and institutes in Kazakhstan are shown. In addition, Kutadgu Bilig studies, which were presented as papers in scientific conferences held in Kazakhstan and throughout the country, were listed. As a result, twenty-one books, twenty theses, forty-nine articles and one hundred twenty-eight papers were identified. In the study, the sources written in Cyrillic alphabet are transferred to Latin letters. The first publications are shown in the chronological bibliography. In addition, anthological works, reprinted publications and newspaper articles in which Kutadgu Bilig is also a sample of Kazakh transcriptions are not included. [ABSTRACT FROM AUTHOR]

Traditional games have been among the basic elements of culture since the beginning of human history. Games have physical, biological, individual, social, and cultural aspects. At the origin of many games, there are rituals, ceremonies, and practices. Mythic elements can be seen through the verbal textures of the games. These features of the games have been remained in the background over time, and each game action has continued to exist as just a game, especially in the traditional world and socio-cultural structure of children. In addition, in some traditional games, the gameplay exhibits similar qualities with the mythical elements and revives the mythology. With all these features, the game is a cultural phenomenon that located outside of daily life but has functions for daily life. Traditional games embody the mythical accumulation and way of thinking of the community that accepts and plays that game as their own, in a way that is oriented towards real life. The mythical features of a play and functional interpretation of gameplay will show what the play means. These features of the games also stand out in the traditional games of the Turkic World. In this article, "Mor Menekşe, was chosen as the paradigm in terms of showing and exhibiting these features. The verbal texture and gameplay of the game were functionally examined within the context of myth and life. Firstly, the mythological origin and features, and life-related qualities of traditional games are stated. Then, the general features of "Mor Menekşe" were briefly mentioned and information about its verbal texture were given. Later, the features of the verbal texture of the game were specified in accordance with the Turkish mythical thought. In this paper, it is stated that the in-game rhyme of the "Mor Menekşe" game carries the views on nature and the universe of Turkish mythology, and it is stated that "Mor Menekşe" game has a symbolism related to plants and tree cult, and the verbal texture of the game has the symbolism of nature, life, unity, togetherness, abundance and fertility, chaos, and cosmos. Then, information about gameplay were given and examined, and through examination process, the game was handled in the relationship between the individual and the society, and based on the game, the individual's selfproofing, group belonging, cooperation with the group, relations between social groups were examined and a symbolic analysis of chaos and cosmos was conducted. The mythical background of the game's rhyme that function as battle of words in the verbal texture of the play is about life. And the gameplay is a rehearsal for the player's life. For this reason, the mythical meaning in the verbal texture and the interpretation of the real movements in the actions of the play were considered non-separate. The game has been analyzed in two parts, which are verbal texture and gameplay, based on word and action. While determining the features in the verbal texture and gameplay, it has been classified depending on the situations that we can call "micro-cosmos" and "microchaos", which can be defined as the establishment and disruption of order at every stage. These features in the parts of the play depending on the word and movement have been associated with the establishment and disruption of the order, and have also been evaluated in relation to the mythical meaning. As a result, the game, shows the knowledge about life and nature in Turkish mythology both in its verbal texture and in its gameplay, and that the game is a rehearsal that functionally prepares people for life in terms of individual and social integrity with an accumulation that in Turkish culture. [ABSTRACT FROM AUTHOR]

The cult of Saint George, which evolved in the Christian era over an almost 2000 years old tumulus in Edirne, historically known as Adrianople, turned with the Ottoman sovereignty into another cult, which took shape around the Khizr-Elijah belief. This hillock was named the Maqam of Khizr/Hıdırlık due to the belief that Khizr appeared and worshipped on top of it, which later witnessed various miracles with associated motifs. In course of time there emerged many and varied fantastic rumors about the origins of the cult. The rumors circulating from person to person and the historical sources indicate that the intense construction activity of the Ottomans at the Hıdırlık cult centre realized especially in the first part of the 15th century. It is clear that the cult centre, which kept growing in the 16th century, contained various dervish lodges, many mausoleums, annexes and a dense population of Bektashi dervishes. The sources of the period reveal that the Hıdırlık cult centre incurred two subsequent demolition attempts in the 17th century. First demolition occurred following a complaint about the sins committed here in 1642 in the period of Sultan Ibrahim I and the second in 1660s in the period of Sultan Mehmet IV after the decision of a new pavilion construction on top of this spacious and partially idle hillock. On the first and obviously partial demolition, most of the inhabitant dervishes left Hıdırlık and the cult centre lost its old density. On the second demolition, the standing mausoleums and graves were razed and a pavilion with a large garden was built instead, which subsisted until the 19th century. After the construction of the pavilion in Hıdırlık there were only one dervish lodge and two mausoleums left standing. As the construction of the pavilion put the cult centre under state supervision, the last standing dervish lodge in the centre was also demolished in the first half of the 18th century. At the end of the 19th century after the construction of one of the biggest bastions to defense Edirne there was no trace left of the cult centre besides the Hıdır Dede Mausoleum, which was also destroyed in Balkan Wars by the Greek inhabitants of Edirne, causing only the grave of the Hızır Dede to reach to the present day. The destruction of the cult centre was related to the Kadızâdeliler movement, which was utterly against the sufistic approaches and had from the first half of the 17th century onwards many fans in the palace and administrative circles. The Kadızâdeliler movement was a religious movement which requested the demolition of the dervish lodges and the prohibition of grave and mausoleum visits, which led to the destruction of various lodges and mausoleums indeed. One of the fundamental issues, which became a conflict between The Kadızâdeliler movement and the sufis was the nature of Khizr. Whereas the Kadızâdeliler supported the idea that Khizr was dead, sufis believed he was alive. Hıdırlık, which came into existence around the cult of Khizr, was a settlement which was totally against the ideas of the Kadızâdeliler both theorically in terms of the belief that Khizr is not dead and also practically in terms of dervish lodge rituals and mausoleum visits. The reason of the demolition attempts occurred in Hıdırlık in the 17th century and led in time to the utter destruction of the cult centre, was obviously the preaches and pressures of the Kadızâdeliler. This paper aims a historical analysis about the embodiment of Hıdırlık as one of the four holy places in Edirne, where it is believed that the prayers are answered and the gradual annihilation of it. [ABSTRACT FROM AUTHOR]

In the literature, Orthodox Christian communities speaking Turkish are called Karamanlides. These communities had lived mostly in Cappadocia region, Asia Minor until 1924. Karamanlides, like other Rum communities of Asia Minor, were forced to leave their lands and settle in Greece under the Agreement of Population Exchange between Turkey and Greece in 1923. The Karamanli community, the topic of this paper, left the villages of Zile and Karacaören located in Develi--a district of Kayseri, Turkey--and settled in Neokesaria, a village in Ioannina in the Epirus region of Greece. In this paper, this community's cultural practices of birth passage are evaluated in the context of cultural changes and adaptation. The aim of this study is to discuss diachronically the rituals, beliefs and practices of birth passage within those traditions which were, until present, carried from Asia Minor in terms of change and adaptation within the historical and socio-cultural context. In this framework, it is observed that the woman of the village has started to give birth to their babies in the hospitals in early period due to the location of the village. It's understood that the beliefs related to birth started to vanish parallel with the rising modernity. Even though some customs, practices, and beliefs from the past still survive, it is observed that the community adopt the Greek society's customs, practices, and beliefs. This paper is based on two types of sources. The first is research documents from Oral Tradition Archive of the Centre of Asia Minor Studies obtained from first generation settlers of the population exchange. The second is fieldwork conducted in Neokesaria in July 2015. The opportunity to spend plenty of time in the village allowed for the observance of the practices of the community, while also provided the opportunity for semi-structured interviews. Furthermore, a large number of visual records (photographs and videos) of these practices was collected as a part of the field work. [ABSTRACT FROM AUTHOR]

Folk linguistics examines ordinary views of people (folk) whose profession isn’t linguistics and also linguistic subjects such as phonology, syntax and semantics in context of dialectology and sociolinguistics. In this article, linguistics folklore studies have been analyzed in the context of general linguistics, social psychology, quantitative sociolinguistics studies and ethnographic evaluations. In this paper, the contributions of linguistics folklore studies on perceptual dialectology have been presented for many research areas. From the linguistics folklore front, dialect studies have started to be analyzed with Labov and Silverstein from the point of view of language variation. By this means, applied linguistics folklore studies have made progress particularly with Labov and the unusual views of ordinary people on language have started to be explained by tangible data. The contribution of comparative language research is of great importance in the reinterpretation of linguistics and language philosophy with a modern point of view related to social science branches such as psychology, history, anthropology, philosophy, sociology, and folklore. When the common grounds between linguistics, folklore and sociology based on American structuralism, genuine output related to the public’s interpretation of its environment is obtained. In literature, the determinations of Bloomfield related to language and its philosophy and Hoenigswald’s declaration at Sociolinguistics Congress at the University of Los Angeles California in 1964 questioning the relationship between linguistics, sociology and folklore as well as folklore terminology and statements indigenous to the public have been considered as the subject of linguistics folklore. Within this scope, the rapid rise of linguistics folklore in social sciences in the interdisciplinary age and their relations with perceptual dialectology, sociophonetics and sociolinguistics have gained importance. Within the framework of the work of developing this new field by Niedzielski and Dennis Preston who have unique place in modern languages and folklore research has been studied in a systematic manner to be addressed in this paper. And this paper was enriched with a sample. [ABSTRACT FROM AUTHOR]

Cultural heritage, which emerges in the flow of social life and includes the reflections of the collective memory/action which is shaped/transformed within the process, reflects the civilization, beliefs and cultures of people living in the past. Architectural elements of tangible cultural heritage appear as temporary/permanent spaces of intangible cultural heritage. The safeguarding of intangible cultural heritage is as important as the protection of tangible cultural heritage. In this context, the evaluation of tangible and intangible cultural heritage elements together with a holistic approach will increase the awareness of the 'values and the unity of values' and will guide the conservation efforts to be made. In this study, bridges from tangible cultural heritage elements were selected; the value in the unity of tangible and intangible cultural heritage is focused through Dicle (Ten Eyed) Bridge, which is one of the important works in Turkey, and the rituals that continue to be performed on the bridge. As the method of the study, literature review in local and foreign oral and written sources, documentation and photography with on-site observation method was determined. Thus, a theoretical infrastructure was created for the coexistence of tangible and intangible cultural heritage, based on the samples in countries in different continents of the world and in Turkey. Within the scope of the study, Mostar Bridge in Bosnia and Herzegovina; Khaju Bridge in Iran; Charles Bridge in the Czech Republic; London Bridge in the United Kingdom; Rialto and Vecchio Bridges in Italy; Love Bridges in France, Italy, Germany and Finland; and Irgandı and Gelin Bridge in Turkey, where rituals are kept alive effectively in the world, were explained. The strong rituals which have been kept alive on these structures from the past to the present are the subject of the study. In this study, the centuries-old swallow dives from Mostar Bridge; the sounds of the songs rising from the bridge used as a dam in Isfahan; wishes made by touching the statues in Prague; high state officials participating in the parade of sheep and little children dressed in lamb costumes in London; architectural configurations of arasta, which is home to craftsmen in Venice, Florence; the authentic rituals on which padlocks are hung and keys are thrown from love bridges to rivers in Paris, Rome, Cologne and Helsinki; and on which the newlyweds throw stones into the river, which is the subject of a folk song named 'Köprüden Geçti Gelin' in Samsun were described. Dicle (Ten Eyed) Bridge, in Turkey, is located just outside Suriçi region, the first settlement area of Diyarbakır, on the foothills of the Kırklar Mountain which is the subject of legends, located three kilometers south of the Mardin Gate one of the four gates of the city and connects the two banks of Dicle River. Within the scope of the study, the aspects of intangible cultural heritage lived on Dicle Bridge as tangible cultural heritage elements; the role of the bridge in recording traditions, beliefs, cultures, rituals and expressions, social memory, habits and transmitting them to future generations have been provided. Visitors make wishes by throwing papers from the bridge on holy and special days, they play local folk dances (halay) with drums and shrill pipe (zurna) on the bridge, the bridge and its surroundings are used in photography on special days in four seasons, they watch the scenery from the bridge and the sitting areas around the bridge, they go fishing and keep the rituals alive for centuries. The aim of this study is to investigate the contribution of the intangible cultural heritage to the cultural heritage by the more effective using of Diyarbakır historical Dicle Bridge, was closed to traffic after the restoration works and turned into a recreation area for the people of the city and opened to the visit of local people and tourists. It is thought that defining the value added by tangible and intangible elements reflecting this unity and transferring it to future generations will be effective in directing the studies on conservation and social projects and enriching tourism activities. [ABSTRACT FROM AUTHOR]

History of communication was under the domination of voice and oral expressions for a long time. In this period that memorizing and repetition had been important in order to transmit the knowledge to next generations, most elderly person of the society or the person who had the capacity to represent the tradition was greatly respected, and was accepted as the only source for the knowledge by the people. However, because oral period's accumulation of knowledge is hidden in personal memories, the ending of one person's life meant the end of the stored knowledge. In the period following oral one, due to the invention of writing humanity fell under a totally new cultural universe, keeping cultural accumulation and transmitting it to new generations securely became easier. Invention of the printing press provided the knowledge's spread around the world rapidly. Afterwards, Industrial Revolution moved the change created by writing and printing press forward, especially led to digital era within 20th century. In this period which technology and culture intersected, wide crowds introduced with technologies such as photograph, telephone, television, computer have experienced a crucial change and transformation. It is also seen that in this period, the old one was not totally left but oral expression was combined with technology. Television was in the first place to unite oral culture with digital culture. Our country met television in 1968, named as magical box, television has started to take a significant place in society's life in a short time. At first times, the television spectator came across Turkish postsynching foreign TV films and series, they have taken the opportunity to watch programs benefiting from oral culture and literature more frequent and re-discovered oral tradition in which they lived via television since 1990. In this period, one of the cultural elements transferred from oral culture to magical box is, proverbs. However, it draws attention that all of the proverbs heard on television are not in classical proverb form, some of them are produced by scriptwriters. Among produced proverbs for television world, as well as there are ones made up for humor, there are also ones that are very close to classical form, that keep the traditional style alive, and named as produced proverbs by us. At this point, "Hangimiz Sevmedik" TV Series is quite rich in produced proverbs in accordance with classical form by scenarists. In the series, 64 produced proverbs are determined and these were narrated and presented to the spectator by leading role characters Adile and Münir. Here comes the question to the mind necessarily: "Is it correct that calling these expressions as proverbs?" Qualities such as "being based on hundreds of years experience and observation, not having doubts of truthfulness, being anonymous" looked for a classical proverb to have, are not found in these expressions. Because, teller is known and as they have been produced recently, they have not yet gone through a testing process for their generally acceptance. On the other hand, it is seen that they literally reflect qualities such as "pronouncing a judgement, expressing attitudes towards world-view or events/situations, based on eloquence in order to be stuck in the mind easily, being brief expressions designed wisely". At this point, if we focus on misfit forms of attached 64 expressions and remember developmental stages of classical proverbs, the issue will come to a different state: It is known that the teller of oldest proverbs is forgotten in time and they become anonymous; their general acceptance is tested via experience and observation in ensuing years. It could be expected that mentioned 64 expressions might undergo a similar process. Besides, 27 of 64 produced proverbs in the series have remained popular by way of re-shared, liked or commented by social media users mostly without reference; the first step is taken to become anonymous and publicly accepted already now. Moreover, comments on sharing shows that produced proverbs by scenarists arouse a feeling of trueness and adopted publicly as a classical proverb. In this case, it is possible that mentioned 64 expressions are accepted as proverbs, at least produced proverbs and interpret current situation as re-production of oral culture via television. In this paper, semantic world of 64 produced expressions in "Hangimiz Sevmedik" series are discussed, examined as to whether they are appropriate for classical proverb form and questioned whether there is reaction on public via social media sharing. [ABSTRACT FROM AUTHOR]

Soil is one of the main sources of human life with its various uses. One of these uses is pottery making. Pottery, which refers to making vessels from the soil for various purposes, is almost as old as human history. As in various regions of the world, Anatolian people have been making pottery by combining the four basic elements of the Earth, namely the soil, air, water and fire with their creativity for nearly nine thousand years. As commercial activity wheel pottery has continued to live in various places in Turkey, while traditional or primitive pottery have been practiced in Anatolia since the Neolithic period. This type of pottery is one of the main elements of folk culture and is at the center of it. However, recent changes in the socio-economic and cultural structure have rapidly regressed traditional pottery made in Anatolia and today these activities are limited to 16 centers. Therefore, the sustainability of traditional pottery, which is one of the important carrier elements of intangible cultural heritage, has been brought to the agenda of the researchers as an important issue. By revealing the basic character of pottery made in the village Dölek, Gümüşhane, the paper aims to discuss how pottery can be safeguarded within the framework of the principles introduced by the UNESCO's Convention on the Safeguarding of the Intangible Cultural Heritage. The data used in the study were collected first hand by the author through fieldwork. In this context, a field study was conducted in the above-mentioned village for one month in the summers of 2019-2020, and the history and culture of pottery was tried to be understood through in-depth interviews with potters and sellers. Pottery making stages were observed and recorded through participant observation. The results were interpreted in the context of the Convention on the Protection of the Intangible Cultural Heritage. The results of the study show that pottery production in the village was done with a few simple tools, without wheels, entirely by women, and in traditional ways. There has been a decline in pottery especially due to out-migrations and technological developments and modernization efforts planned with top-down approaches have not yielded any tangible results. The findings were interpreted in the context of the Convention. Mistakes such as excessive commercialization and decontextualization were found to be the main reasons of the failure of the attempts to develop pottery in the village. In addition, these activities focused on the resulting tangible products and ignored the intangible elements such as knowledge, skills, culture, memory and space. These attempts tried to banalize the pottery in Dölek village through mass production, assimilating it to other places and this, in turn, threatened environmental sustainability. In order to safeguard pottery in Dölek, as in other countries, this handicraft should be added to the Convention-related lists, and it should be safeguarded with the new paradigm brought by the Convention, with a participatory planning that takes into account the wishes and needs of the society and pottery masters. [ABSTRACT FROM AUTHOR]

The aim of this research to determine the basic dynamics of folklore research and examine general characteristics of discipline with comparing the topics that studied in Turkey and international literature. In this context, growths of scientific knowledge and existing indexing system have been examined by Scientometric point of view. The literature of folklore studies has been evaluated with a hybrid approach that combined, social network analysis and text mining applications, bibliometric data and Scientometric laws which are both similar approach relationship and dynamics of field. Current trends of folklore publications and cultural heritage material classification seen that general framework of publication are closely related to folklore core publication journals. Our findings confirm that scientific cooperation between researchers' that are regularly published in folklore related journals and diversity of sources that are used in folklore. Considering this literature and its applications it seems that the interconnections in folklore between collaboration and multi-authored papers may be more complex than the others. Most of the authors works alone (%93), in other words according to the results of the study, in folklore researches single-authored papers predominate. A number of publications have reflected on the new collaborative possibilities that after the year 2010. However, looking to studies of collaborative publication patterns in folklore studies, it is clear that relatively little has been done on this from a quantitative perspective. The visualization of the network has shown that folklore publication dynamics are based on single authored papers. It can be defined the folklore discipline is closed research area, based on reference sources. [ABSTRACT FROM AUTHOR]

Poetry collections (majmuas) and cönks are among the primary resourcesof Turkish Literature history. Apart from providing rich materials for literary history, these works are productive resources waiting to be worked on in terms of carrying many records related to various areas such as sociology, folklore, cultural history, history of religions, alternative medicine and pharmacology. However, it is hard to say that academic works on these are sufficient both in quality and quantity. Although the number of the works on poetry majmuas has increased in recent years, the ones on cönks are pale in comparison to amount of them available in th eresources in portion. In this study, first, the concept of cönk is defined as a literary term. Secondly, the portion of the diwan, folk and the mystical poets took place in cönks, and which of these poets are high in number are searched in this paper. Based on this data, it will be conclude that the common definition of cönks are not identical with the one came out from this work. Thirdly, some remarks will be added on the poets mostly used in the cönks. Finally, giving sample texts the term of cönk will be redefined, in other words what the cönk really is will be answered according the main sources of Turkish literary history such as diwans, tezkeres and poetry majmuas in here. In addition to this, some evaluations will also be done. Regarding the number of the cönks examined in this paper, it can be said that the data presented via tables for monitoring the concrete results, is not a sampling, but tangible findings contain almost all surveyed cönks. Another issue evaluated in our article is to determine comparative findings on inclinations of majmua and cönk compilers in choosing poets taken to their works. The basic materials -cönks- used for writing the 'diwan poetry in the cönks' part of this work, are the compile of 63 ones from my personal library and the 480 classifed ones out of 571 cönks placed in official website of yazmalar.gov.tr. [ABSTRACT FROM AUTHOR]

Ecofeminism is an approach that reflects on women and nature. According to this approach, which combines the concepts of ecology and feminism, there are parallels in the suppression of women and nature and their instrumentalization. Ecofeminism, which claims that the paradigms of male-dominated culture and economic, scientific, and social structures are at the root of practices that cause ecological problems, argues that these structures also dominate women. According to the ecofeminist approach; these structures and perspectives stem from the dualist intellectual tradition. Ecofeminism, which proposes a holistic and relational alternative thought instead of dichotomies such as men and women, nature-culture, traces ecological problems and oppressive practices against women in the historical and cultural process. Evaluating the perspectives of the periods when women's values were at the forefront is functional in understanding the problems that arise in the context of women and nature and finding solutions to these problems. Ecofeminism, which states that ancient societies where the male-dominated culture was not dominant had practices and approaches towards nature-culture unity, tries to benefit from the intellectual world of these periods. The traces of approaches in this direction will take place in cultural products from mythology to legends. In addition to the positive aspects of judgments about nature and women, the changes and transformations that occur in these judgments can be revealed by interpreting cultural expressions in this direction. In this study, the relationship between home and garbage in Turkish culture has been tried to be evaluated in the light of the approaches of ecofeminist thought. In our study, "garbage" is discussed beyond being just a waste and pollution conceptually. Just like the concepts of "garbage" and "pollution", which are considered as the reflection of ecological problems in the house by expanding its scope, the concept of "house" has also been evaluated in a different context. The main purpose of our study is to try to analyze the themes of women and nature within the scope of these concepts in Turkish culture through the "ecological lens", which is tried to be formed by moving these concepts beyond their daily meanings. In this context, the assumption that the judgment that each being is a value to be respected, such as cults that attribute an intrinsic value to natural beings in the ancient contents of Turkish culture, and the assumption that the holistic structure of the relationship established with ecology in the interaction of culture-nature is encoded in cultural memory as an accumulation is the main determinant for our study. Comparative analysis of past and present perspectives on nature and women makes it possible to interpret how the domination applied to nature and women is revealed in the cultural process. In this study, approaches to nature and women are examined in the Turkish culture by evaluating the cultural codes of a lifestyle in harmony with nature, revealed in practices that are stored in cultural memory and exhibited in certain periods. In this framework, firstly, the approaches of the Ecofeminist theory are described. Then, with the conceptual scheme created by presenting the beliefs and practices of the matriarchal period in Turkish culture, the perspectives towards nature and women, which we think are included in the cultural structure, are interpreted through the views of Ecofeminist thought. With the current examples we have given for this purpose, this paper is an attempt to identify how the symbiotic and animist approaches, which emerged from nature-culture relationality in ancient times determined women's practices and perspectives. [ABSTRACT FROM AUTHOR]

Traditional folk dances- important elements in oral culture- play important role in transmitting cultural values between generations. The dance called “canimen” performed by the Alawi Turkmens in Central Anatolia is also one of the elements of traditional oral culture and has been carried to the present day as a cultural heritage whose source is the community and whose creator is not known. The tradition of using the performing arts dating from the era before Turks’ embracing of Islam as their religion has been preserved in Alawi practices which are based on different belief forms of Turkish culture within the belief system of Alawis. This study reveals the traces of “canimen” from the past. The functions dances fulfil in the transmission of cultural codes from generation to generation are examined within the scope of the study. The field study of the dance “canimen”- which is integrated into the value system of Alawism, which reflects the social structure of the local people, which transmits the cultural features to the present and which is performed for fun- was limited to Elmapınar village of Kalecik district of Ankara. Folk dances assemble people and they prevent them from being individuals and thus play role in turning them into collective elements. The functions of the folk dance have been evaluated not only as the explicit function that is performed in the visible state but also with implicit latent functions including rituals and ceremony elements. The research data were collected through semi-structured interviews. In the study, the play-dance relationship has been emphasized and canimen is considered as a didactic element. It is found in this study that the dance has functions that strengthen the sense of unity and togetherness as an important cultural element of the community, which enable the transmission of cultural codes between generations and which also act as an instrument of socialization. On the other hand, the way folk dances are performed and the functions they fulfil also change in parallel to socio-economic and socio-cultural developments such as globalization, urbanization, and migration. While maintaining its existence in the culture-belief system in the region; it has been observed that the concepts of verbal memory of the folk dance were gradually forgotten, visual memory was beginning to disappear and the didactic function of the dance coming from the past to the present time cannot be fulfilled sufficiently today. Because rituals have significant functions in arranging, maintaining, and establishing social order; they are also open to changes in accordance with social structure. Canimen- which faces the danger of being forgotten today- is an important product of a social culture with its cultural codes and functional properties. It is of vital importance that its current structure should be recorded and transformed into a written source in keeping the cultural values alive so that the folk dance can be transmitted down to next generations by re-synthesizing it in the system of values which develop with changing life conditions. This paper considers the folk dance, canimen, from the sociological perspective. Such an element of oral culture-which is in danger of beginning forgotten- will be preserved through studies to be performed in the future with larger samples in disciplines such as literature, folklore, and performing arts. Besides, it is also thought that studies which describe the historical, cultural, and geographical details of the dance will contribute to the areas of culture and science significantly. [ABSTRACT FROM AUTHOR]

The rapid spread of the virus named Covid-19, which emerged in Wuhan (China) at the end of 2019, caused a global epidemic all over the world. On March 16, 2020, a state of emergency was declared in Kazakhstan and measures were taken in Kazakhstan like the rest of the world. In the meantime, intangible cultural heritage such as aitys, which is a contest on improvised oral poetry, got a great attention in Kazakh society. This article presents the results of an analysis on organizing aitys contests and the poems on COVID-19. The main cause of pandemic is that it changed conventional improvised poetry contest into virtual environment. As a result of the study, it was revealed that four types of aitys contests were held since the state of emergency was declared in Kazakhstan, where three of them were oral and one in written form. The first type of oral aitys contest took place online through video chatting service between two contestants from different places. The second type of the contest was offline at the same place and their contest was streamed via social media. These two contests are streamed on Skype, Instagram, Facebook and the records of the contest are posted on Youtube platform. The third is a radio-talk contest. In an aitys, a man can only listen to his voice to see what he sees in person. Finally, Instagram can be mentioned on paper, as well as on visual and print media such as Facebook. The article states that in the period from March to September 2020, more than one hundred aitys was conducted with the participation of more than one hundred minstrels. Covid-19-themed calls and responses of minstrels were evaluated around Bascom's "Four Functions of Folklore" and Performance Theory. The poems during the aitys proves that the Kazakh people during the outbreak try to safeguard the world's vision and traditions, as well as important advice for oral history. [ABSTRACT FROM AUTHOR]

Along with developing technology, traditional forms of narration that exist are replaced with new forms of them. These new instruments are new cultural areas for the communities using them. These are also from the new environments of performance for both oral culture and written culture with the TV content and audience. The forms get localized along with the contents of the TV broadcasting in every country. Processed topics on TV series broadcasted are created through local materials. This attitude aims to reach audience. We face with the position in which reader/audience gets individualized in both comic magazines and text based Western-style theater technics as the products of written period when people utilized folk theater as a material reflecting oral culture, which is one of traditional forms of narration, in urban life. In electronic age, the listener/audience attitude of the radio-cinema-television culture contains similarities in terms of the conception of audience in folk theater. In this paper, we prove that the audiences of traditional folk theater and ‘Bir Demet Tiyatro’ TV series have a connection. ‘Bir Demet Tiyatro’ as a play was broadcasted with a different name called ‘MTV-Meclis TV’ on Star TV on a New Year’s Eve for the first time. Later it continued to be broadcasted on TV for eight seasons with spaces by getting transformed into TV series. Yılmaz Erdoğan wrote the TV series in which the events Çıtır family and the people around it in the neighborhood have been through are showed and explained. In the paper which aims to show the differences and similarities between traditional folk theater and this TV series in terms of the sense of audience, we share some information about the audience profiles of these two things. We also try to explain the influence of the audience on the play. Finally we try to indicate how this audience as a community gives meaning to the TV series on the internet all over again. [ABSTRACT FROM AUTHOR]

The nineteenth and twentieth centuries took their places in the history as a period in which cultural identities were reestablished for many Turkic communes. After the disintegration of the Soviet Union, Turkmenistan attempted to reconstruct a Turcoman identity. It is also benefitted from history, geography, language, literature and folklore in the construction of nation-identity of Turkmenistan. The Book of Dede Korkut has been the most noteworthy source of material for the construction of national and cultural identity. Thus, The Book of Dede Korkut has not only been studied for the academic researches but also employed for the innumerable art activities such as plays. Additionally, The Book of Dede Korkut has taken its place in "Ruhname", an essay on the specifcation of Turcoman identity. Dede Korkut is represented as a Turcoman noble in The Book of Dede Korkut, which narrated the history, language, literature and tradition of Turcoman; a reader who reads The Book of Dede Korkut is articulated to have experienced the advanced cultural diversity of the Oghuz. It can be alleged that value of the The Book of Dede Korkut has been found remarkably in the sample of "Ruhname" in constructing cultural identity in Turkmenistan. In this paper, The Book of Dede Korkut, which is regarded as a part of cultural identity in both Turkey and Azerbaijan, has been identified and evaluated in terms of its activities in the construction of identity in Turkmenistan. In this paper, the history and problems of Dede Korkut researches in Turkmenistan have also been studied and investigated thoroughly. [ABSTRACT FROM AUTHOR]

Texts of Dede Korkut attract attention with their multilayered structure. Texts which narrate the social, cultural, moral and strategic aspects of Oğuz tribes are full of archaic myth elements which remain between the lines. Therefore, texts need to be read considering their mythical layers for a holistic understanding of these texts. The narrative Bay Büre Oğlu Bamsı Beyrek in Dede Korkut narratives may not be comprehended thoroughly by taking just one layer into consideration. It is possible to see Islamic elements and also pre-Islamic beliefs and customs as well in these texts which are also described as the texts of transitional period. In this paper, Bay Büre Oğlu Bamsı Beyrek of Dede Korkut tribes is tried to be analyzed with an aspect which is overlooked up to today. Beyrek, in this article, is considered as a hero who is impersonated as the symbolic expression of the processes concerning the world as a planet. The journey of Bamsı Beyrek as a hero is read rather becoming the symbolic manifestation of natural events or an individual journey. When the narrative is observed closely, it seen that, motifs are built with a circularity reminding spring myths and rituals. Being the basic motifs of the narrative, many elements such as childlessness, child marriage, meeting of Bamsı Beyrek and Banu Çiçek, depiction of the field on which Banu Çiçek's marquee is located, intense hunt of Dede Korkut and Deli Karçar contain myth particles regarding the coming of spring. Hence, motifs in question are analyzed in the paper and also circular construction in the narrative Bay Büre Oğlu Bamsı Beyrek is revealed by giving examples from Turkish and world mythology. [ABSTRACT FROM AUTHOR]

Cönks, a collection of literary works kept by various people who are not necessarily the composers of those works, are the primary sources used in investigations of Turkish folk literature. Usually kept by literature enthusiasts, cönks are significant as they provide information on the folklore and literature of the period and as they include poems by previous ashiks (minstrels) who were folk poets. As they were not kept in any concerns or expectations, cönks provide clear and sincere information. Therefore, each and every cönk possesses great value when it is uncovered and translated. Because all the cönks currently registered in libraries are not translated so far and some are not registered yet, studies on folk poetry and literature are incomplete. While some cönks display the sect or cult of their keepers, most of them conclude that the poems they harbour appealed to the interest of contemporary readers and audience and that they stood the test of public criticism and became folklore. It is closely related to many elements such as those ashiks' tone, means of expressions and lack of artificiality. Their poems were transcribed down to cönks in following centuries, which means that those poems were recited by later ashiks who imitated them as predecessors. The fact that earlier poems were recited by later generations of ashiks may also result from a master-apprentice relationship. However, the current knowledge on the formation of traditional ashik branches is not clear prior to 19th century. Therefore, it is not currently possible to tie the tradition of recitals to ashik branches with regards to poets before 19th century. On the other hand, cönks function as the source for those literary works outside the master-apprentice relationship. As some ashiks were wanderers, their poetry was known and recorded in many regions. However, some poems were recited centuries after their composer's life in the regions where the ashiks are known not to have visited. In addition to showing that an ashik is appreciated by the public, it is also related to the spread of oral tradition and its role on cultural transfusion. Ashik Omer is one of the few folk poets who can be evaluated for these features. He is regarded among the best practitioners of ashik tradition whose poetry has been known in a vast territory, after Yunus Emre. Many of his poems are found in his divan while some are only registered in cönks. New poems by Ashik Omer are discovered as new cönks are translated. This study focuses on four poems attributed to Ashik Omer which were uncovered in a cönk found in the private library of Hasan Erdem in the province of Tokat. Introductory information is provided about the cönk on which the poems are written. Therefore, the cönk in question is open to the interpretation of other scholars. Afterwards, the studies on Ashik Omer are mentioned. The main argument of the study comprises the comparison of the newly discovered four poems with the previous poems by Ashik Omer published earlier studies. Three of the poems attributed to Ashik Omer display his pseudonym. While the fourth poem lacks it, it is listed with a title as Ashik Omer. One of the four poems was published before in a paper. The remaining poems are published for the first time with this study. [ABSTRACT FROM AUTHOR]

The relation between poetry and philosophy has maintained its importance from ancient ages to this day. In spite of the fact that poet and philosopher are close in respect to the relations with world and life, both have divergent ways for it as well. It is because the philosopher and poet are disturbed with the deep problems of meaning and existence. The fact that the language has gone into division as philosophy and poetry brought along the problem how to deal with the truth. The poetry and philosophy, at this point, might league together in a common study area nevertheless they express the truth in idiosyncratic ways. The fact remains that there are some philosophers feeling uncomfortable about this association while quite the contrary there are some others who affirm it, thinking that it is possible to construct a new language from this point forth in order to maintain the truth. Indeed the first disturbed philosopher about this relation is Plato. Taking up an efficient position in respect to the poet/poetry within the books Republic and Ion, Plato distinctly sides with logos in conflict of philosophy and poetry. On the other side Nietzsche in contrast with Plato, fastened on reinstating the relation network between philosophy, art and science, initiates a new philosophical way by abolishing the antilogy of concept and metaphor, and legitimizing only a degree difference (with less metaphorical metaphor) while this new philosophy is hang by a thread of being confused with poetry and purposely uses the metaphors. Although there are differences between poetry and philosophy, we can see that some of the masterpiece poems have a philosophical aspect. This may make us think that any exact distinction between philosophy and poetry is problematical. Thusly we, in this paper, tried not to deepen those problematical distinctions but maintain a new perspective by intersection of two disciplines. In this context, we think that a new affluence can be counted in our culture by means of new and genuine interpretations on the occasion of rising philosophical attention to especially our folk poetry. At this point, the deep philosophical background of Karacaoğlan's poetry can provide us with that opportunity. The rich philosophical aspect of beauty, love, nature, death and other mystical concepts dealt by Karacaoğlan overruns his era. This is because, in contrary with the lodge and sufism poets, he comprehensively adopts this world and life. We can see that his perspective of love, beloved, nature and God is occurred through affirming the life. It is obvious that he has a conception of actualist woman (as an entity, in person), love and beauty which are "subjected to genesis and corruption" and come true in this real world. This is some love and beauty conception to be searched in reality of world and combined with eroticism from place to place. Nature has a decisive role herein. We see that nature, in view of travelling poet Karacaoğlan, is a realm of authenticity which contains love, beauty and beloved within itself. Besides, the themes like religion or God do not have any decisive role in his poetry, although he has a rich metaphysical insight. Thusly he goes counter to any conception which glorifies the death. [ABSTRACT FROM AUTHOR]

All methods, which are created for keeping something secret or for being kept secret, have been called secret language. When the history of the Turkish language and culture are taken into consideration, then it is observed that many secret languages were used. The Kalaycı (Tinsmith) Language, Dilce (Discourse)/ Erkiletçe/Vartanca (slang spoken by people from Erkilet) and the Islık (Whisled) Languages are the secret languages existing in Turkey today. Whereas, in the Ottoman society, many elements, such as plants, flowers, fruits, vegetables, pieces of fabric and colors were used as a secret language, which provided communication between women and men. As far as it is known, Du Vignau, the secretary of the French Ambassador, mentioned this secret language as the "greeting language" and gave the meanings of 179 elements in the work titled Le Secretaire Turc (The Turkish Secretary), written in 1688. In the subsequent century, in 1718, Lady Mary Wortley Montagu, discussed this subject language by giving 17 examples in a letter. Whereas, in 1809 Joseph von Hammer-Purgstall published a list compiled from the women in the harem and made some additions to this list in 1811. At almost the same time, Johann Wolfgang von Goethe, who started to write the West- Eastern Divan in 1814 and completed it in 1819, stated that the floral motifs woven into the shawls of girls composed a language of love. Whereas, another list dated 1886 was made known in a paper by Zsuzsa Kasuk and Cemil Öztürk. In addition, belonging to the same century was another list with the title of "Der Muammâyı Zen-Pâre Biraderlere Her Bâr Lâzım Olan Ma 'nâlardır Ki Vaktile Her Biri Bin Gurûş Eder" that was published by Gülçin Edith Ambros by comparing it with the lists by Kasuk and von Hammer-Purgstall. Flowers display an important place in these lists. When the twentieth century was reached, Avanzâde Mehmed Süleymân published Lisân-ı Ezhâr (The Language of Flowers) by translating from a French work and Hasan Bahri published similar lists in which flowers were in the forefront with the title ofLehçe-i Ezhâr (The Dialect of Flowers). The Lehçe-i Ezhâr was included as a section in the book Kadınlara Mahsus Pembe Kitap (The Pink Book Especially for Women), which was a book of self-care and rules of etiquette published in 1919 and that was written/translated for women by Hasan Bahri. In the Lehçe-i Ezhâr were included a total of 179 different types, led by flowers, plants, herbs and fruit/fruitless trees. Furthermore, in the Lehçe it was dwelled upon that flowers are "a means of love and communications" and that they provided a secret communication between women and men. Bahari, who gave the meaning of every flower, plant, herb and fruit/fruitless tree types, emphasized with importance that these meanings should be known by women and men. The Lehçe-i Ezhâr is separated from the subject lists due to the previously mentioned elements and the meanings attributed to them. As much as the Lisân-ı Ezhâr and Lehçe-i Ezhâr, the names of the flowers (indicative), the meanings that are equivalent (shown) also finish with rhyming words, such as in the example of gül/kül with the flower names. There is no explanation in this manner in the Lisân-ı Ezhâr and Lehçe-i Ezhâr. In this article, after an introduction related to secret languages, the meaning given to flowers in the lists have been compared and by giving the written translation of the Lehçe-i Ezhâr, evaluations have been made on the secret language of flowers. [ABSTRACT FROM AUTHOR]

The pneumonia cases in Wuhan, China reported by the Chinese authorities foreshadow an outbreak caused by a new type of coronavirus. Shortly afterwards, the World Health Organization decleared the outbreak as a pandemic due to its high infection rate and worldwide prevalence. The first diagnosis of coronavirus in Turkey was announced to the public in March, 2020. After then, several precautional meaures in social, economic, legal, religious and military areas have been adopted. In the period of the pandemic disease, several memes, urban legends, rumors, jokes, and myths concerning both the virus itself and its constrained lifestyle released into the social media. Minstrels who are the significant actors of traditional culture have written poems on the pandemic and its effects. The sensitive approaches of the minstrels to the contemporary social problems is closely related to their social role which is loaded them by the minstrelsy tradition. It is seen that the roles of the minstrels such as leading and guiding the society both affects the reasoning of writing poems and has an influence on the contents of these poems. In the quarantine period, minstrels have shared their poems especially through social media networks and Youtube. In this article, mainly the Youtube videos of the minstrels are discussed based on the motivation that Youtube provides them to reach a set of diversified audience relatively to those of existing ones. When evaluating the public opinion on the minstrelsy tradition, the posted comments of the minstrels' videos are also utilized. The large parts of the minstrels' poems refer to how and why the coronavirus appears, how it affects the daily lives, and helplessness of the mankind against to the virus and the pandemic. The poems that advise the public to stay at home and give supporting messages to the healthcare staff have also written by the minstrels. Minstrels have succeeded to be visible to the public by means of performing their poems in electronic platforms inparticular during the period of quarantine. However, considering the historical progress of minstrelsy tradition, it is quite obvious that the minstrels and their products have relatively depreciated and their roles of leading and guiding the public are becoming restricted to a certain set of audience compared to the past. In the context of social roles of minstrels, this paper also discusses the question of what are the reasons that interrupt the efforts of the minstrels who are dealing with the contemporary problems and using the contemporary technology. The audiences of the minstrels' poems have the opinion that the minstrels' wish of eradication of the cruel persons by the virus and being the virus as a kind of divine retribution contradicts to the role of minstrels as leading and guiding the public. It is inferred that the language and the style of the interpretions as well as sometimes the outlook of the minstrels upon the coronavirus pandemic and its effects are reviewed as obsolete by the audiences. [ABSTRACT FROM AUTHOR]

At present, 'sense of sight' has much shorter and impressive transfer ability compared to 'reading' and 'writing'. This effectiveness stems from the fact that it offers a lot of data rapidly and also at the same time."The person observing" is provided with considerable amount of information regarding the life styles and experiences by "the object observed", which is quite important. Therefore, the existence of visual texts in cultural studies are as important as that of the written and oral texts. In this paper the traditional architecture is studied as visual text. Due to their visible properties and the fact that they are organized according to their social structure context, the traditional buildings have become the common interest of both architecture and folklore disciplines. Considering this common ground, in this paper, the examples of traditional architecture are examined as visual text through visual folklore. The examples were taken from the work titled Living Traditional Architecture at the Turkey in 2003 edited by M. Öcal Oğuz, Ezgi Metin and Fatih Mormenekşe due to the fact that architectural examples examined in the text were the structures recently compiled and that it examined architectural examples from almost all the regions of Turkey. The traditional buildings, without the need for written or spoken texts like in other visual texts, transfer plenty of information about the way of life of the period they existed. This information also provides different perspectives to researchers so that the cultural heritage can be safeguarded and redesigned in agreement with the modern times. [ABSTRACT FROM AUTHOR]

When historical medicine texts of old and middle Turkish periods are examined carefully, it is seen that practices appearing in these texts are maintained among people today. In this paper, attention will be drawn to some components that form the basis of Turkish folk medicine and are located commonly in both old and middle Turkish medicine texts; and some treatment practices of these texts that are presently maintained among people will be focused on. Folk medicine is the method by which human beings have been trying to eliminate pain and promote good health since the beginning of humanity. Folk healers appear in the places where modern medicine services are inaccessible; particularly in rural areas. Folk medicine, which shapes up depending on tradition, experience and environmental conditions, works to remove or reduce physical and mental disorders by balancing the harmony of body. Folk healers can use many different methods to cure their patients. Main treatment practices such as ırvasalama, parpılama, kırık-çıkık and em are used in Anatolian folk mediciıne. It can be asserted that em treatment (folk medicines) is the most common and widely used practice. Folk medicines are made of drugs taken from plants or mixtures taken from animals, minerals or other elements. In this paper, em treatment (folk medicines) will be pointed out and some majistic applications will also be discussed. It is possible that practices of Eastern and partly Western healers of old and middle period which also contain Turkish healers become widespread among people and these practices are passed from one generation to the next; it also seems possible that, some folk medicine practices which are passed from one generation to the next through oral tradition are penned in old and middle Turkish medicine texts. It can be stated that, today's folk medicine is actually the medicine of the past. [ABSTRACT FROM AUTHOR]

Internet is a significant source which provides rich data to folklore besides many disciplines. Accessibility of internet from everywhere and every time results in the need of the users to express themselves in this virtual world. Women especially who are new mothers get the chance to exist in and be a part of this virtual world by means of keeping mother blogs. Writings and comments which are shared in mother blogs give certain clues to analyze the transformation of motherhood. This paper aims to reveal how contemporary mothers describe themselves and unveil their perceptions on the expectations of society as a mother by means of mother blogs. In the scope of this study, past and present mother identity formations are compared; different aspects and reasons of the variations of identity formations are investigated through mother blogs. The mother blogs which blog owners permit sharing the blog content are used in this paper. Permitted blogs are analyzed by means of the netnographic method. It is observed that blogger mothers whose blogs are considered for this study are literate and have careers. Blogger mothers keep online diaries for their babies, take the opportunity to get in touch with other mothers, and benefit from their mutual experiences on child rearing. Sharing experiences through blogs help mothers to handle overwhelming difficulties of looking after their babies. Blogger mothers think that "being a good mother" requires professionalizing on baby care and education. This mentality provokes mothers to take more responsibilities and causes them to feel "inexpert" on child rearing. [ABSTRACT FROM AUTHOR]

René Girard has introduced a new approach to literary criticism with his model of the "triangular desire" (mimetic desire). In order to reveal the mimetic structure of desire, he describes various formations of the triangle comprising of a subject, an object and a mediator. He stresses that in this triple relationship where the spatial metaphor is a triangle, the triangle is permanent although the object may change in each adventure. He, however, by expressing that the novelistic genius he coined for the works that reveal the triangular structure can only be shaped by Christian symbolism, states that Christianity is universal. His statement apparently disregards the novelistic experience shaped by other beliefs and cultures. In this respect, by reducing his theory to a single religion he undermines its universality, which should otherwise be the common denominator of civilizations, i.e. universal. Hence the following questions: Is there any work of literature in Turkish which exemplifies the novelistic genius? Can novelistic experience be shaped by Islamic symbolism? Is it possible to find a common discourse in all religions that shapes novelistic experience? If such a discourse exists how should one interpret it? Without answers, the likelihood of agreeing with or criticizing Girard's statement is improbable. An array of assumptions from the universality of his theory to the characteristics of the novelistic genius shaped by various cultures and civilizations would be scientifically proven, only when one dares to seek answers to those questions. This article analyzes Emine Işınsu's biographic novel based on the Turkish mystic Yunus Emre, Bir Ben Vardır Bende Benden İçeri (There is a Self in Myself Deeper than Myself, 2002) within the framework of the triangular desire model. It is possible to find the novelistic genius in almost every Turkish novel based on a disciple-guide relationship. Among such works, however, the ones written on Yunus Emre occupy a special place. The information regarding Yunus Emre's actual life is scarce, if any; a fact which renders his poems and the hagiography adorned with Islamic symbolism the major sources on the subject. Both sources reveal a remarkable similarity, an affinity between Yunus Emre and the modern man Girard portrays while developing his theory. Contrary to the convention, Yunus's personality reflects the crisis and the dilemmas of the modern man. The paper examines the novel's usage of the Sufi hagiography and terminology to scrutinize Bir Ben Vardır Bende Benden İçeri as an example of the novelistic genius shaped by Islamic symbolism. It identifies the symbols in the hagiography that nourish the novel and examines them. It demonstrates that Işınsu employs Islamic philosophy and the symbolic language as instruments enabling her to interpret the convention instead of merely rewriting it. It also underlines the author's capacity to arrange and conceive the hagiographic narratives. In tandem with it, it argues that a biographical novel which is based on a mystic should display a competence in putting the hagiographic narratives in order and deciphering them as well as carrying an updating attitude instead of a reproducing one, if it is to be considered a novel. In sum, this study reveals the mimetic structure of desire in Bir Ben Vardır Bende Benden İçeri. By doing so, it shows that, despite Girard's statement, the novelistic genius can also be shaped by Islamic symbolism. Therefore, it proves that the triangular desire model, which is supposed to be universal, is not confined to merely Christianity but is structured according to the particular belief and culture to which the novel belongs. [ABSTRACT FROM AUTHOR]

The Republic of Turkey was an ambitious project aimed at creating a new culture and a new society alongside a new political system. This enormous project of transformation brought with it radical changes in all aspects of economic, political, cultural and social life. The preservation of these massive social changes was just important as their introduction. Therefore, Mustafa Kemal, the founding leader of the new nationstate, and his colleagues (who were trying to create a Western and modern country), attached great importance to explaining the transformation they designed in the form of cultural and legal modernization, to their people and the world public opinion. Every aspect of life was directly affected by this process of change and was at the same time utilized to promote further changes. Postage stamps are one of the tools that reflect social change as they can enter every house due to their widespread circulation and collectible quality. Stamps are important for countries as "small representatives" and "paper ambassadors" used to promote cultural heritage. This article deals with how the founding elite of the early Republican period used stamps as tiny representatives in explaining to the public and to the whole world the massive transformation that the country was going through. I analyze the stamps issued in Turkey between 1923 and 1938 using the content analysis method. This research has revealed that the subjects covered in the postage stamps were structured around the following four main themes: the Western, modern and liberating leader figure; a historical consciousness based on the nation's Central Asian Turkish origins and the ancient civilizations in Anatolia; the perspective of the new Turkish state on women and the place of women in social life; and the heavy industry move in the economic field and agricultural modernization. Thus, this fifteen-year process, which had the characteristics of a laboratory with the moments of radical ruptures in the usual flow of life, has gained a new and unique evaluation through a different medium. [ABSTRACT FROM AUTHOR]

Turks, within the historical process, have been affected by the religions they encountered in the wide geography. Various religions such as Buddhism, Manichaeism, Judaism, Christianity, Islam have influenced religious lives of Turks. However, Turks protected their traditional believes, consuetudo in new cultural environment to a certain extent and these values were overlapped by the new belief system. With this respect, some of the effects and trails of traditional Turkish beliefs continued to survive within the culture of Turkish groups, which embraced the mentioned religions. Following combination with any application of the embraced religion, while subject beliefs survive within the view of the subject religion, sometimes it continues its existence in new religious and cultural environment in its authentic form. This study explores the roots and present manifestations and traces of traditional Turkish beliefs among Turks of Iran who for centuries have accepted different religious views of Shiism, Sunnism and Alevism. Along with an examination of related books and papers, a field research in Meshkin Shahr of Erdebil province is done in order to determine the continuing Turkish beliefs and practices in this area. Whenever needed, references are given to beliefs and practices in other Turkish provinces and regions of Iran. In this context, transitional period beliefs and practices are taken under consideration. Hence, Turks of Iran in general, Turks living in Meshkin Shahr in particular are studied regarding their beliefs and practices of birth, after birth, marriage and death, and also nature based beliefs such as cults of sky, earth-water. Then, the ancestor cult is considered in its relation to sacrificial rituals. Finally, newyear ceremonies and related traditions are dealt with and effort is given to understand the effect of political and social changes on ancient traditions through a comparative investigation of contacts with other Turks or other peoples living in Iran. [ABSTRACT FROM AUTHOR]

Englishness seems the least probable identity after the Norman Conquest because there is no sense of a common language or even of a shared culture between the conquerors and the conquered. From 1066 onwards England is a trilingual kingdom: Latin is the language of the Church, as it has been before the Conquest, but the court and a significant portion of the aristocracy now speak French, whereas the majority of England's population is Anglo-Norman speaking. These three languages are officially used when compared to the other languages spoken in the medieval England. Geoffrey of Monmouth's Latin Historia Regum Britanniae, Wace's Anglo-Norman Roman de Brut, Gaimar's French Estoire des Engleis and La'amon's Brut describe the historical background of Britain. However, neither of these twelfth century narratives is written in English, nor do they represent the sense of Englishness. Latin, Old French and Anglo-Norman romances are produced for the sake of nobility, and are recited by jongleurs, and later on such romances are translated and adapted into Middle English to appeal to the tastes of English people in the medieval England. Such a nascent medieval English nationalism establishes new values and identities and such values are of significance with the growing sense of national feelings. It is usually accepted that the idea of Englishness is evident in the romances of fourteenth century Auchinleck Manuscript. However, Havelok the Dane represents Englishness a century earlier than the Auchinleck MS suggests. In this respect, the Middle English Havelok the Dane proves to be a particularly fecund ground for the analysis of the nature of medieval Englishness. The aim of this paper is to explore what Englishness means, and to examine how the national values are shaped and amended and how the hero of Havelok the Dane puts Englishness into practice. [ABSTRACT FROM AUTHOR]

25 World Cultural Heritage Dede Korkut International Symposium Bay was held on 25-27 April 2019 in Bayburt. In the first session Dr. Metin Ekici; “A New Dede Korkut Epic Story: Salur Kazan’s Seven-Headed Dragon Killing” presented his paper. In this statement, Ekici informed the scientific world that there was a third copy of the Book of Dede Korkut, which was previously known as two copies. In this article, the third copy Book of Dede Korkut, introduced by Metin Ekici to the world of science, will be explained how it was discovered. Veli Muhammed Hodja, who bought the book from a bookstore in Tehran, was born in 1949 in Günbed. In addition to public school, he also receives religious education from his father. When the university reaches the age of reading, it is sent to Denmark on a state scholarship. He studied electrical engineering at the university. Upon his return, he worked as a manager for 25 years in various factories in Tehran. He also teaches. When he turns 45-50, his father calls his son one day: “My son has a lot of people in the country to do engineering, there are a lot of people to teach but come on, you go ahead and do what I started. ” What his father wants from him is to find and buy manuscript books. It is to prevent the loss of cultural values by protecting them. He listens to his father and starts collecting manuscript books. In time, it is known that Veli Muhammad Hodja is a manuscript collector. They ask Hodja to find some books from Turkmenistan. In the book market of the Revolution in Tehran, Veli Muhammad Hodja has a Persian friend named S. Rabiî, a bookstore named Hüner. Hodja constantly receives manuscript books from this Persian friend. Veli Muhammed Hodja sends the list sent to him to his friend S. Rabiî from Turkmenistan. Rabiî found most of the books on Hodja’s list. When Hodja realized that he could not carry the books, he told Rabiî to send them by cargo. When he goes out and goes a little, his thirst comes to mind. Let me go back and have a drink of water,he enters the store again. He wants water from Rabiî. When Rabiî comes in to bring water, a person appears at the door with a book in his hand. It is the third copy of the Book of Dede Korkut in the hands of the person who appears at the door. Veli Muhammad Hodja wonders what the nature of the manuscript book he is, on the advice of his bookstore friend Rabiî, is worthwhile. He makes the PDF of the book and gives it to various scientists. Metin Ekici is one of the people he gives. Ekici understands that PDF is a copy Book of Dede Korkut. Make scientific presentation in Bayburt. In this article, the works related to the work are discussed in a wider way. [ABSTRACT FROM AUTHOR]

The new manuscript (named Günbed) of the Book of Dede Korkut was purchased by Veli Muhammed Hoca on December 12, 2018 from a book store in Tehran, Iran. The previous owner of the manuscript has told that he descends from Ağa Muhammed Han, the founder of the dynasty Kaçar whose library kept the book for a long time. However, when the language of the book is examined carefully, it is seen that its language has nothing to do with contemporary Turkmen. Therefore, there must be a mistake with the narrative regarding its relation to Merv. In this article, recently found Günbed manuscript of Dede Korkut has been elaborated and, characteristics and language properties of the new olamanuscript have been addressed. The Günbed manuscript is considered important for these reasons: It contains a new epic story; it is different from other manuscripts of Dede Korkut; various verses indicate that it belongs to a different branch at the roots; this manuscript shows that the narratives and manuscripts of Dede Korkut made its way till 18th century and the language of the book reflects the features of the vernacular of South Azerbaijan, Tabriz. Considering the manuscripts of Vatican and Dresden, one can claim that the Günbed manuscript is mostly different from these two manuscripts but when all Oğuznames are examined together, it is understood that the new manuscript is in harmony with some of the parts of the past manuscripts. The Günbed manuscript isn’t only important for its verses and a new epic story but also in terms of the language. In this respect, it is necessary to elaborate the text with regard to problematic words and phrases. Before three new studies have been published regarding the new manuscript, I wrote that this new manuscript must be from 17 or 18th century, South Azerbaijan by examining the first pictures of the newly found manuscript that appeared on social media. We can say that this manuscript was obviously copied after the year 1759 as its language proves this assertion. In this study, some important issues and criticism has also been raised with regard to the transcriptions presented in recently published papers. [ABSTRACT FROM AUTHOR]

Every society has its own system of cultural products as trite speech units, cliches and proverbs and sayings which have been established during the development of their language. At the same time, they constitute a special system which reflects the society’s life style, reasoning, past situations and dreams. As a result of studying this special system it is possible to explain the cultural bygone of a society and to reveal its peculiarities. Cultural products, traditions and customs, which comprise peculiarities and distinguishing features of every nation are at the same time the medium of physical and spiritual products of culture. Among all these, names for relatives are one of the most important part of this complex system with its rich and deep history, systematic structure, varied descriptions used in international and intercultural relations and with the extremely significant statuses. Names for relatives are units with ethno-linguistic content of deep meaning and revealing spiritual life of a nation and own a conceptually different structure. Meanings of these names which are the basis of our national values are being forgotten and weakened recently. Consequently, there is an urgent task to study the names for relatives which play an important role in preserving such values as family and kin relations from the new and varied ethnolinguistic, cultural and sociolinguistic viewpoint. In this paper, we will explore the reflections and usage characteristics of the concept of family and kinship, which have an important place in protecting the national culture and identity in a rapidly globalizing world, in order to reveal the situation in Kazakhstan more clearly. We also provide some examples of its usage in Turkish culture. Our aim is to examine the classification of kinship names in Kazakh, to consider the important factors playing a role in this classification and provide some examples of kinship names. Alongside this, spiritual peculiarities preserved in the world of names for relatives, specific features of using names for relatives in speech and intercultural relations are discussed and supplemented with examples. Last of all, names for relatives in the Kazakh and sometimes in Turkish languages whose meaning and sphere of use have been narrowing day by day with the weakening of the institution of family and kin relations are evaluated. [ABSTRACT FROM AUTHOR]

The practices of "Folk medicine" or "folk healing" that are comprised of the healing techniques of the traditional culture are divided into two; namely "natural folk medicine" and "religious magical practices". The main characteristic of folk medicine is its holistic point of view. Accordingly, human beings are considered to be within and a part of the cosmos, nature and supernatural. Under this concept, soul and body are envisaged together both under ill- health and well-being. Religious magical practices that embody this approach are featured at the center of this paper. The basic characteristic of the religious magical practices of folk medicine, is the provision that the patient has the belief that he or she will healing his/her health through such practices. This approach predicates initially on the healing of the patient and then the healing of the illness while the patient's belief in the practice itself, functions as a part of the practice. The psychology of the patient towards his/her belief and expectations during this process, forms the basis of healing. Even with modern medicine which has a mechanic approach to human body, there are theories that focus on the psychological processes within healing. Theories of psychosomatic medicine, placebo effect and quantum healing focus on the interaction of psyche and body and examine the potential of patient psychology regarding the inception of physiological change under the healing process. This paper will also comment on the provision of "belief" under the "religious magical" public medicine treatments seen in Anatolia, with a view point of the theories of psychosomatic medicine, placebo effect and quantum healing. [ABSTRACT FROM AUTHOR]

In this paper evaluating the relation between memory and tradition on folklore museums axis, primarily the boundaries of memory and tradition have been determined and their mutual relation has been reviewed. Due to the fact that memory and tradition are misused as substitutes for each other and as this causes incomprehensibility, it has become necessary to determine the boundaries of these two concepts. In addition to this, the relation of cultural memory and tradition with the museum has rendered an in-depth understanding of these two concepts necessary. The fact that "tradition", which enabled the birth of museums as the most important sustainability institutions of modern and postmodern societies and also the birth of folklore museums, in the context of this study, is not present in the exhibitions and collections of these museums constitutes the focus point of this article. No matter how natural it is for folklore products to constitute the collections of folklore museums, these museums are unable to exhibit all products of folklore. In this paper products of folklore are classified as "living", "inter-timed" and "fixed". While "Living" products of folklore are synonymous with tradition, inter-timed folklore products are considered as the dream of the past in the present. In addition to these, fixed folklore products are considered to be matured or dead. When the said products of folklore are considered to be artifacts and/or collections of museums, it has been observed that products of living "folklore" are not a part of museum collections. [ABSTRACT FROM AUTHOR]

Personal experience narratives are the basic expressive forms and processes in which human beings understand and make sense of themselves and the world they live in. Despite their extensive functionality and importance, these narratives have become the focus of academic studies since the 1970s. In this process, thematic, semantic, structural and performative qualities of personal experience narratives have been defined in the frame of characteristics of traditional narrative genres. Early in the process of identification, personal narratives have been defined as a separate genre due to their distinctive content and structure. Text-centered definitions based on the criterion of the fixed content and structure not only excluding most of the narratives but also regarding the context as a frame causing situational changes in the fixed content and structure. Whereas, experiences and memories that determine the content and structure of narratives have been constructued in the frame of the contextual variables before being narrated. Therefore, personal narrative is the meaning and the function itself emerging in the situational and socio-cultural context and is the mechanism of emergence of the specific content, structure and performance compatible with the meaning and function determined by the context. By evaluating the prevailing approaches to defining personal experience narratives, this paper examines the basic and controversial concepts of personal narratives. The objective of this paper is to provide an interpretive and contextual frame to define and analyze the personal experience narratives as strategic reconstructing actions, events and processes which are determined by situational and socio-cultural contexts. [ABSTRACT FROM AUTHOR]

Personal experience narratives are the basic expressive forms and processes in which human beings understand and make sense of themselves and the world they live in. Despite their extensive functionality and importance, these narratives have become the focus of academic studies since the 1970s. In this process, thematic, semantic, structural and performative qualities of personal experience narratives have been defined in the frame of characteristics of traditional narrative genres. Early in the process of identification, personal narratives have been defined as a separate genre due to their distinctive content and structure. Text-centered definitions based on the criterion of the fixed content and structure not only excluding most of the narratives but also regarding the context as a frame causing situational changes in the fixed content and structure. Whereas, experiences and memories that determine the content and structure of narratives have been constructued in the frame of the contextual variables before being narrated. Therefore, personal narrative is the meaning and the function itself emerging in the situational and socio-cultural context and is the mechanism of emergence of the specific content, structure and performance compatible with the meaning and function determined by the context. By evaluating the prevailing approaches to defining personal experience narratives, this paper examines the basic and controversial concepts of personal narratives. The objective of this paper is to provide an interpretive and contextual frame to define and analyze the personal experience narratives as strategic reconstructing actions, events and processes which are determined by situational and socio-cultural contexts. [ABSTRACT FROM AUTHOR]

Classifications of oral narratives in folklore which are done by appeal to certain predetermined literary criteria and generalizations of these criteria for the totality of oral narratives in the related tradition seem to be of the controversial aspects of folklor literature. Discussions focusing on what a "folk narrative" is, mostly tend to rather question the concept of "genre". In this paper, I will take up the problem of genre in narratives that are produced by folk storytelling tradition. First, I present a scheme consisting of "object of narration", "narrator" and "interacting audience", and I focus on how this scheme and the communicative aspect of it becomes functional in questioning what a folk narrative could be taken for. In light of this suggestion, I argue that defining folk narrative as a contextual object of oral culture could provide us with an alternative viewpoint on how to approach the problem of genre in folk narratives. This definition and its implications move from the distinction between "genre" and "genre-related properties", which I discuss in the second part of the paper. Claiming that the contextual characteristics of folk narratives could be better evaluated by appeal to composite structures of genre-related properties underlying a narrative rather than to a transcendental hierarchy of genre, the argument is intended to contribute to the present literature a brief analysis of the key concepts regarding the problem of genre in folk narratives. [ABSTRACT FROM AUTHOR]

In his Seyahatnâme (Book of Travels), Evliya Çelebi tells stories about witches, vampires and wizards. The context and place of these tales should be reviewed with a fictional approach instead of being labelled as mere "exaggerations". Using a close reading technique, this paper focuses on three extraordinary incidents that Evliya Çelebi experienced, and the context of these incidents within different "Books". The element of "fear" will be explored regarding the tales on the war of witches flying on various objects in a Circassian village in the seventh book, a witch who turns into a chicken in a Bulgarian village in the third book and a Kalmuk Tatarian wizard making a weather spell to freeze a river in the eight book. By putting forth the common features between these tales, this paper attempts to demonstrate how, from a fictive point of view, Evliya Çelebi makes use of supernatural narratives in folk tradition and at which points he deviates from them. The fictional style of Evliya Çelebi will be analyzed by mainly focusing on the role of amusement, egzotism and parody in breaking the monotony of narration. [ABSTRACT FROM AUTHOR]

In the introduction of Jalal-ad-Din Khwarizm Shah (Celâleddin Harzemşah) -one of the most substantial and representative examples of Tanzimat's thinking on fictional writing- Namık Kemal's comments on the nature of realistic narration reveals that the perception of the real among Tanzimat intelligentsia was in a stark conflict with the so-called (un)realistic features of traditional Turkish folk narratives. Namık Kemal's approach to the traditional folk narratives indicates that for Tanzimat intellectuals folk narratives were not realistic because of supernatural features which were quite common in these narratives. It is clear that Namık Kemal's view of realism was determined and limited by the ultimate Westernization of narration and narratives. Hence, the realistic account of the real was by no means possible via traditional narration. In this paper, however, it is argued that contrary to the Tanzimat intellectuals' and Namık Kemal's views on realism -as Western-rooted and the only form of realism- there are many forms and dimensions of realism and most of them have consistently been employed in folk narratives. In order to show this, through a discussion that embraces narration tradition from folk tales to the Tanzimat novels, some dimensions, in which the realistic features of a narration can be observed and will be examined. The main aim of this paper is to reveal that traditional folk narratives were as much real and realistic as Tanzimat novels. [ABSTRACT FROM AUTHOR]

The world special to folk tales reflects a cosmic lifestyle ornamented with symbolic motifs. Typology of the characters as well as the mysterious structure of space and time, which are essential elements of this cosmic life too, supports this magic world. However, only in the deep structure of the text does it become clear, that elements of life presented in the text are not at all far from reality. When the issue is viewed from the angle of archaic belief systems, it will not be wrong to suggest, that shamanistic rituals mirror folk tales directly. Examples of these are rites of passage, which entered the literature by means of Arnold van Gennep's work from 1909 titled the same. Therefore, this paper deals with the motif of the trip to Hades from the perspective of rites of passage and their reflection in folk tales. The initiation rituals prepare the child for puberty and the adolescent for grownup life. Likewise, fairy tales prepare the hero as he proceeds from one stage to another. In this transitional phase, the hero is confronted with a lot of problems. At the same time, the hero undergoes also a difficult phase. The paper aims to decipher the hidden messages, which lie in the deep structure of the texts and include reflections of religious and cultural elements from archaic societies. Folk tales of Turkish narrative culture are so analyzed through the hermeneutic-comparative text analysis method. The texts belong to the first edition of the three works - compilations of Turkish folk tales - by Ignácz Kúnos. [ABSTRACT FROM AUTHOR]

In Hurufi literature, the dreams which are interpreted by Fazlullah, the instructor of Hurufism and considered as the owner of interpretation were collected in the books named Hâbnâme and Nevmnâme. Nonetheless, in these manuscripts not only the interpretations of dreams but also those of other subjects can be found. There have not been researches on this literature which is important for the history of culture and Hurufism. In this paper, firstly the oeuvres in which the dream interpretations of Fazlullah cited, like Sayyid Ishaq's Khâbnâma and Abdulmajid b. Firishtah (Firishtaoghlu)'s Tarjama-i Khâbnâme, will be introduced. Secondly, the fact that hurufis consider the dream interpretations as a part of divine science of interpretation, and it's philosophical background will be explained. In the paper, the process of Fazlullah's obtaining this science of interpretation will be given. Fazlullah's dream interpretations will be analyzed separately. These dreams will be classified from the point of view the dreamers, subjects and the way of interpretations. In these hurufi oeuvres which relate to dream interpretations, it can be seen that the writers have an objective to demonstrate Fazlullah's supremacy. Furthermore, Fazlullah's dream interpretations give important information on the social life of that time. [ABSTRACT FROM AUTHOR]