DÜNYA GÜZELİ MASALINDA SÖZLÜ KÜLTÜRÜN İZLERİ: TEKRARLI YAPILAR VE DÖNGÜSEL ZAMANLAR.

It is noteworthy that some of the studies on Turkish tales are related to motifs, symbols, images or themes used in tales, while the other part is based on the comparison of tales from different cultures. For this reason, it has been observed that the studies that will reveal the interaction between the structure of the narrative and the power relations in the analysis of the tales remain in the background, so the connection of the structure of the fairy tale with the cultural environment is one of the less studied issues by the researchers. However, the interaction in question is evident in the fairy tale of Dünya Güzeli. The oral culture's way of thinking based on certain patterns and circularity and the repetitive language of the narrative at the level of words and actions reveal this interaction. In the tale, as in oral culture, cyclical movements are at the forefront. It has been determined that the heroes who return home after repeating the same action in the same symbolic time and many times, reveal these unchanging laws of oral culture both in small temporal movements and in the whole text. The tale covers the struggles to catch eternity and stay there. The similarity between the movements of the celestial bodies returning to the beginning every time and the desire of the human to return to the beginning has been evaluated as a result of the cultural environment, and it has been tried to explain how the official power determines the narrative at the point of time, based on the fairy tale of Dünya Güzeli. Theorists/researchers such as J. Walter Ong, Paul Ricoeur, Mircea Eliade and Nortrope Frye were used to explain the repetitive structures in the tale of Dünya Güzeli. Dünya Güzeli is composed of words, actions or numbers that are repeated at regular intervals, and this rhythm has created a rhythm specific to a fairy tale: a cyclical narrative time created with cyclical structures. Here, the heroes are the types that reflect the socio-historical structure of the oral culture. The places and the plot are expressed with cyclical codes bearing the general characteristics of the period. In the tale, which consists of two intertwined stories, the plot is based on the repetition of a pattern: separation, struggle and return. While the plot flows forward in the tale, a cyclical narrative rhythm is achieved with repetitive structures in this flow. The basic tense of the cyclical plot is now. Now, in the tale, it does not mean extinction, it means continuity. The heroes' reaching the same point each time is associated with the continuity of the present and the desire to capture eternity. The singularity of the spaces and the zig-zag structure of the plot came to the fore both in the main narrative and the attached narrative, and the spaces drew attention with their symbolic aspects rather than functional ones. In the article, these cyclical codes, which attract attention with their fixed and unchanging nature, are determined and the background of the repetitive discourse that determines the temporal rhythm of the narrative is examined. In the research, the interaction between the narrative and the socio-cultural ground was handled in an "eclectic" way, and the relationship between the official power and time was tried to be analyzed by making use of the tale. It has been determined that the unity between the narrative and the cultural context reveals typical characters, repetitive actions or a cyclical time. [ABSTRACT FROM AUTHOR]