Özdemir, Gazi

Koçi Bey's Treatise, one of the fundamental texts reflecting the perception of crisis in 17th-century Ottoman political thought, constructs institutional dissolution through a normative discourse rather than an objective report. Utilizing Cognitive Metaphor Theory (CMT), this study examines how the abstract perception of crisis was built within the political language of the treatise. Through qualitative content analysis, organic and cosmic metaphors such as the "body" (beden), "rose garden" (gülşen), "cover" (libâs), "corpse" (lâşe), and "mirror" (ayna) were categorized into four thematic clusters: state structure, legal status, bureaucratic dissolution, and the restoration of authority (ihya). The findings indicate that these metaphors function not merely as aesthetic rhetorical devices, but as strategic tools that objectify the deterioration of meritocracy as an ontological corruption (fesâd). Consequently, they legitimize the refortification of central authority on Sharia-customary (şer'î-örfî) grounds. The treatise encodes socio-economic upheavals not as an empirical collapse, but as a moral illness requiring healing around the ideal of the classical order (nizâm-ı kadîm). Ultimately, this study aims to provide an interdisciplinary contribution by revealing how historical reality was structured through literary discourse within the Ottoman crisis literature (decline topos).

İncele

Güzel, Ferdi

The verb arka-, whose meaning was only recorded in Old Turkish as “to search, to investigate”, has many unrecorded meanings. Some of these meanings are recorded in later historical and contemporary dialects. Some of them can be identified thanks to the derivatives of the verb. Although the connection between some derivatives of the verb arka- has been mentioned in a few studies, these words have not been associated with each other in most of the studies. According to the data in historical and contemporary dialects, it is understood that the verb arka- has the following meanings: 1. to pass through. 2. to pass between, to extend or place an object between two things. 3. to support, help. 4. to lie diagonally or transversely between two things. 5. to line up in a row. 6. to thread, weave. 7. to send. 8. to follow. 9. to seek, to investigate. The verb arka- is derived from the verb Old Turkish *ar- “to pass through”, with the suffix -kA-, which carries an intensifying function. The core meaning of the verb *ar- and arka- is the same. All meanings of the verb have emerged from the meaning of “to pass through”. It has not been clarified whether the verb ara-, which survives in the Oghuz group Turkish dialects today, and the verb arka- which is recorded as Oghuz in DLT, are the same verb, due to the fact that the *argaintermediate form in the development of arka- > *arga- > ara- has not been detected in any Turkish dialect to date. In addition, in dialects that preserve long vowels, the first vowel of the verb ara- is long, while in derivatives of the verb arka- such as arkış, argaç, the first vowel is short. For these reasons, it does not seem possible to determine with certainty whether the verbs arka- and ara- are the same verb.

İncele

Kabak, Turgay

Bayburt, geographically located on the historical Silk Road that connects the Eastern Black Sea region with the Northeastern Anatolia region, is one of the ancient cities in the region. Throughout history, due to its location on the trade route, this city has been continuously inhabited, and it possesses a rich and deep cultural heritage. This cultural heritage, although constantly evolving in today’s digital world with rapid advancements in transportation and communication, has been largely preserved and passed down to the present day. In this regard, one of the most special cities in our country, Bayburt, has greatly benefited from individuals who both understand and actively preserve its culture. One of these individuals is İmdat Sancar. İmdat Sancar is one of the rare individuals who fit UNESCO’s definition of “culture bearers” with his knowledge of traditional folk songs, the songs he has composed, his participation in folk music events, and the traditional “sağdıç düğünü” (best man’s wedding) ceremonies he organizes. His special quality lies not only in his knowledge of the culture but also in his ability to actively practice and pass it on to others. The subject of this study is the traditional “sağdıç düğünü” (best man’s wedding) ceremonies known by İmdat Sancar. These ceremonies are actually categorized as village performance plays, falling within the realm of theatrical performances. These plays were collected from İmdat Sancar himself using interview methods and were analyzed from the perspective of Functional Theory. Content analysis was also conducted. As a result of the examination, it was determined that these plays serve various functions within the community and encompass a wealth of traditional knowledge and practices that are integral to people’s daily lives.

AtıfScopus1·OpenAlex1

İncele