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Haji Bayram Veli is one of the undeniable figures of Anatolian Sufi tradition. Having different reflections on Sufi institutions and schools, he influenced different cultural instruments produced by Turks. His poems on land and city in the context of human, is a clear example of this aspect. It can be said that his knowledge is the manifestation of enlightenment overflowing from a cosmic consciousness when he brings together the time and space with people. While presenting the message of tawhid with correct information to people he shares the same geography, he engraves wisdom into hearts with simple expressions. Also, while addressing the hearts of human, he draws attention to their enemy which is the soul (nafs). His skillful use of the relationship between the soul and, the stone and soil, the main elements of the earth, in a metaphorical sense, shows that he is well-versed in the context of cosmology and metaphysic. For, man's struggle with stone and soil isn't independent from the world. The stonesoil connection of human being was established with the vitality of the big realm. He discovered these secrets and benefitted from the structural similarities of both realms so that people know and realize themselves. In this study, human dualism will be evaluated along with this relation in his poems. [ABSTRACT FROM AUTHOR]

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This contribution focuses on the materialization of cults of the Anatolian goddess in her various guises. It offers a preliminary investigation of Late Bronze Age roots of later ritual practice in the major sanctuaries of the great goddess of western Anatolia and the Aegean Islands. Thus, it is an exploration of what Walter Burkert has called "eastern contexts of Greek culture, and Greek contexts of Anatolian culture"- in essence, a field study of the nature and transmission of cult tradition and the conservative power of ritual. [ABSTRACT FROM AUTHOR]

The so-called "Beylik" (Turkmen principalities) period of Anatolian history (roughly, the late thirteenth to early fifteenth centuries) has long interested Turkish scholars, particularly in relation to the ascendance of the Ottoman beylik in the second half of the fourteenth century. Much existing scholarship emphasises the apparently inherent "Turkishness" of the beyliks, at the expense of more nuanced analyses. Some recent exceptions, however, reassess the character of some of these beyliks, thereby highlighting the deficiencies in existing scholarship and providing new ways of understanding this period. This article contributes to this ongoing discourse by discussing the artistic patronage of three Qarāmānid princes. Based on three illuminated and illustrated manuscripts, one of which is relatively unknown to scholarship, the article demonstrates that the cultural activities of these princes complicate simple understandings of "beylik" identity and emphasises the need to consider this context with a more critical, and inclusive, eye. [ABSTRACT FROM AUTHOR]

Gender is, as distinct from sexuality, identified by society and culture that individual was born in. Just as people congenitally have some roles depending on their biological differences, they also have some other roles given by society and behaviour patterns expected to exhibit. It has diversely appeared in all periods of time and societies that to express of such roles, statuses and behaviour patterns. Throughout history, one of the most significant demonstrations of woman's gender was to be veiling. Veiling is a socio-cultural practice that can be traced back to the earliest times in human history. In ancient societies, people, especially women, have differentiated each other through various forms of covering, which symbolize the status and roles they are placed in society. In the historical process, due to various social, economic, religious, cultural and political transformations experienced, the differentiation that took place in the social status of women led to some changes in the practices of covering. In archaeological finds belonging to ancient Anatolian societies, such as in the tombstones, women are sometimes depicted as a noble wife, sometimes a temple official, sometimes as a servant. In fact, some Anatolian societies have portrayed their master goddesses in an implicit way, including their heads. It is known that the depictions of the mother goddess cult (Magna Mater, Kybele, Artemis, Hera and Mary cults) are depicted as garnished in Old Anatolian societies in the later stages due to the interaction of eastern and western civilizations. It is known that the depictions of Mother goddess cult without clothes are depicted as garmented in Old Anatolian societies due to the interaction of eastern and western civilizations in later stages. In this article, some sociological determinations and evaluations are made about the practice of veiling in the light of some archaeological findings related with ancient Anatolian civilizations. [ABSTRACT FROM AUTHOR]

Between 1852 and 1868, the architect and amateur naturalist Pierre Trémaux (1818–1895) produced three groups of plates and accompanying texts on the geography, architecture, and people of African and Anatolian regions. These luxe publications, produced with the support of the French government, exploit an array of graphic techniques; they combine salted paper prints, engravings, tinted and colour lithographs, photolithographs, and texts in ways never previously attempted. Their examination provides insights into the ways these media interacted, and how comfortably photography in fact sat amongst its predecessors within the long-established context of the travel narrative. This paper will probe the implications of photography for Trémaux’s project through an investigation of his first book,Voyages au Soudan oriental et dans l’Afrique septentrionale. To what extent did the new, mechanical medium clarify or confound his effort to “explain” parts of Africa still hardly known to Europeans? What does this reveal about the role of photographic authenticity in familiarizing imperial audiences with distant places, during a transitional moment in visual culture? [ABSTRACT FROM AUTHOR]

The Anatolian Hieroglyphic script is a mixed writing system which contains both phonetic and semantographic signs. The latter may be used in the function of logogram and/or determinative. A dedicated study of the script's determinatives has so far not been undertaken but promises insight into structures of mental organization and script development. Because of its pictorial character, individual signs can occasionally be shown to act in a dual capacity, as icons and signs of writing. This article forms part one of a diachronic study of the determinative system, and adresses the period 13th-10th century BC. [ABSTRACT FROM AUTHOR]

The present article seeks to provide an overview of aims, problems, and possible lines of inquiry as suggested by the thorough investigation of one of the Anatolian hieroglyphic signs *439 (wa/i), one of the most frequent signs, and one characterized by paleographic variants. The paper defines the chronological and geographic distribution of the variants, thus offering it as a new criterion for the dating and provenience of Anatolian hieroglyphic texts. It also offers an interpretation to the development of this sign in the context of the general development of the writing system from the twelfth to the end of the eighth centuries BCE. [ABSTRACT FROM AUTHOR]

The purpose of this study was to describe the surface structure of the lingual papillae in Anatolian Water Buffaloes using SEM. Six male Anatolian Water Buffaloes were used. Filiform, lentiform and conical papillae were determined three types as mechanical papillae. Fungiform and vallate papillae were observed two types as gustatory papillae on the tongue in Anatolian Water Buffalo. The filiform papillae were observed on the apex and body of the tongue, besides randomly identified lateral surface of the body. The conical papillae differed from the filiform papillae with its larger size and non existence of the secondary papillae. The fungiform papillae was round in shape and mushroom-like, scattering among the filiform papillae on the dorsal surface of the apex, body and the root of the tongue. The fungiform papillae's taste pores and creter-like structure were determined. The lentiform papillae were determined in two types. The borders of the cells and the micro-pitted appearance were defined at the lentiform papillae. In the vallate papillae bud fosse and a thick annular pad was found. These differences on the morphological structures of the lingual papillae were considered to be related to genetic diversity. [ABSTRACT FROM AUTHOR]