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The story Kerem and Asli is a folk story which is very popular either in Anatolia or in other Turkish tires, can spread from mouth to mouth, from heart to heart to very wide geography. In this study, the changes and transformations in Kerem and Aslı story will be tried to be explained within the context of intertextual relations in the context of selected subtext and main texts. The writing text bearing the title of Âşık Kerem Hikâyesi, at the Ankara National Library No: 398.21, H. dated 1269-1272 cönk (poet's private notebook) pages 27b-61a, in the work Kerem ile Asli Hikayesi Uzerinde Mukayeseli Bir Arastirma prepared by Ali Duymaz as the sub-text will be studied. As the main texts, Kerem and Aslı's story, which was published by Nilüfer Publishing in 2010, Kerem and Aslı story which published by Akvaryum Publishing House in 2009, and Kerem and Aslı movie that directed by Orhan Elmas in 1971 and starring Fatma Girik and Kadir İnanır were chosen. [ABSTRACT FROM AUTHOR]

Folk and fairy tales are like cultural gene maps for human communities. The codes of these genetic maps are transmitted from one generation to the next both orally and in black and white. Setting off from this metaphor, this article studies the evaluation of literary fairy tales in Eastern and Western cultures comparatively. It examines the process of transmission of literary fairy tale from one generation to another and questions the place of "Brothers Grimm" in this chain. It brings to the fore the relationship of French fairy tale traditions and the stories of Perrault. It also discusses whether the Brothers Grimm are a turning point in folk and fairy tale research or whether they produced fakelore. Additionally, the literary fairy tale tradition of Eastern cultures and its weakening after the 19th century are examined. It is concluded that the Grimm Brothers did not actually create fakelore but rather followed the story traditions both prior and contemporary to their time. Therefore, it stresses that there is no need to either applaud or criticize them. It is also concluded that the Grimm Brothers and the evaluation of folk and fairy tales as products of written culture should be examined from the point of applied folklore sciences. In addition, the issues of neglecting the need to rewrite Turkish fairy tale culture or reproduce the old stories in different ways are highlighted. The need to care for these stories and the need to change the current neglecting situation are underlined. [ABSTRACT FROM AUTHOR]

Ferhat and Şirin, Kerem and Aslı, Leyla and Mecnun, which are the folk tales existing in the verbal culture, imply some traditions which have been motif like love, marriage, adventure, heroism and altruism. Thanks to this implying, the concept of "holy love" has been settled in the memory of society. The movie named Evlidir Ne Yapsa Yeridir (he is married and he can do whatever he wishes), which transforms these images existing in memory to a parody in order to criticize them and also to entertain the audience, will be analyzed in this article on the focus of parody as a method of intertextuality. [ABSTRACT FROM AUTHOR]