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Relevant bibliographies by topics / Turkish Mythology

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Journal articles

Academic literature on the topic 'Turkish Mythology'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 June 2025

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Journal articles on the topic "Turkish Mythology"

1

Ucan, Bahadir. "Generation of Character Designs Based on Pre-Islamic Beliefs of Turks." International Journal of Religion 5, no. 5 (2024): 746–57. http://dx.doi.org/10.61707/6w8eck77.

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Turkish communities had lived under the belief system of Turkic mythology, known as Tengriism, in a significant part of their history. It is noteworthy that Turkic mythology elements, which have taken such a place in the cultural life of the Turks, are not sufficiently used as visual design tools. Considering the significance of preserving cultural heritage, Turkic mythology is rarely shown in animations, video games, or movies. The primary gods, goddesses, and supernatural creatures of Turkic mythology are not directly depicted, despite the existence of some animations relating to Turkic cultures such as Keloğlan, Nasreddin Hodja, and Dede Korkut. The main concern of this article is that the elements of Turkic mythology are unable to find enough depiction. Therefore some dominant creatures belonging to Turkic mythology were transformed into character designs. As the method, two-dimensional computer-based modelling techniques were selected to compose character designs of selected Turkic mythology creatures.

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2

Satıcıoğlu, H. "SOME KYRGYZ LEGENDS THAT AROSE THROUGH THE INFLUENCE OF ISLAMIC PARABLES." Herald of KSUCTA n a N Isanov, no. 2-2-2022 (April 30, 2022): 1011–17. http://dx.doi.org/10.35803/1694-5298.2022.2.1011-1017.

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There is a reciprocal relationship between religion and culture. Religion is a social institution that creates societies with elements such as faith, morals and rituals along with their cultures. In the historical process, beliefs such as Buddhism, Manichaeism, Zoroastrianism, Judaism, Christianity have been adopted by various Turkish tribes for various social and political reasons. However, the influence of the belief of Sky God, which is the basis of Turkish mythology and culture, on the Turkish tribes living in Turkestan has always continued. One of the results of the Talas War, which took place in 751, was that the Turkish tribes living in Turkestan began to accept Islam en masse. In the process of almost thirteen centuries that have passed since the arrival of the Turks under the influence of Islam, Mesopotamian mythology, along with Islamic teachings, influenced Turkic culture and folklore. Desiring to know, interpret and comprehend the nature and environment in which they live, the Turks created various toponymic legends based on their beliefs and cultures. While supernatural powers were gods, goddesses, creatures and spirits in Turkiс mythology, with the evolution of this tradition in post-Islamic Kyrgyz society, the concept of God, religious-mystical personalities such as prophet saints, jinns and angels came to the fore. Our study is about legends compiled on the territory of Kyrgyzstan and presumably formed under the influence of the Islamic faith.

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3

AGAYEV, Emin. "Investigations Of Mirali Seyidov About Turkish Mythology." Journal of Turkish Studies Volume 4 Issue 3, no. 4 (2009): 10–19. http://dx.doi.org/10.7827/turkishstudies.669.

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4

Ulus Avcı, Ünzüle, and Hatice ÇETİNKAYA. "Culture Carried from Turkish Mythology to Anatolia." International Journal of Language and Education Research 3, no. 3 (2021): 16–43. http://dx.doi.org/10.29329/ijler.2021.586.2.

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5

UCAN, Bahadir, Ertan TOY, Mehmet Emin KAHRAMAN, and Ismail Erim GULACTI. "REPRESENTATION OF TURKISH MYTHOLOGY IN VIRTUAL REALITY ENVIRONMENT." PEOPLE: International Journal of Social Sciences 6, no. 2 (2020): 362–70. http://dx.doi.org/10.20319/pijss.2020.62.362370.

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6

Bayrak, Bengisu. "Editorial." CINEJ Cinema Journal 6, no. 1 (2017): 1–3. http://dx.doi.org/10.5195/cinej.2017.173.

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This issue of CINEJ focuses on a variety of topics: Animated documentary, political cinema, female sexuality, religion, mythology and culture, orientalism, globalization and action movies, Halit Refiğ and Turkish cinema.

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7

BOZOK, Barış. "GODDESS CYBELE AND UMAY ANA İN CONTEMPORARY TURKİSH ART." IEDSR Association 7, no. 20 (2022): 167–79. http://dx.doi.org/10.46872/pj.579.

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In the past and today, many artists have made artistic productions based on their mythologies and cultures. It is seen that they are trying to convey their mythology and culture with works from all branches of art. In this research, it is studied how the cult of Goddess Cybele, which is considered as a subject in plastic arts, and the cult of Umay Ana, which is included in Turkish Mythology, reflected in Contemporary Turkish Art, from the Anatolian mythology and culture field, which has a very wide structure. In the research, the works of Neslihan Kıyar, one of the artists who reflect the cult of Goddess Cybele to her works, and the works of Can Göknil, who reflects the cult of Umay Ana to her works, are discussed. At the same time, the focus was on the original work of researcher Barış Bozok, "Umay Ana". The data were obtained through literature review and work review, one of the qualitative research methods. As a result of this research, in which the reflections of the Cybele and Umay cult, which continue their existence in today's Anatolian culture, on Contemporary Turkish Art; It is seen that the studies of the cult of Umay are less discussed compared to the cult of Cybele. The main characters of Kibele and Umay, both representing fertility, abundance and strong woman, are the characters who preserve their values in cultural life as goddesses.

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8

SAĞLAM CAN, Esengül. "Mythology as a Literary Source in Ahmet Midhat Efendi's Taaffüf Novel." Edebî Eleştiri Dergisi 6, no. 2 (2022): 116–25. http://dx.doi.org/10.31465/eeder.1073243.

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Ahmet Midhat Efendi, one of the versatile writers of Turkish literature, saw mythology as a spring that feeds literary works and drew attention to the importance of mythology in the series of articles he wrote in periodicals. In his novel Taaffüf, which was published as a book in 1895, the author preferred the method of telling the conflict of the heroine (Sâniha) with ancient representations and tried to exemplify how mythology can be used in the novel genre. In the novel, the heroine's struggle in her married life is told through two characters of Roman mythology. Sâniha's this struggle between being chaste and not being chaste is also considered as a global issue and was associated with the opposition between Venus and Minerva. Sâniha, who obtained knowledge of painting, sculpture and mythology through Râsih, who is the voice of the author, re-established the balance of love and loyalty in marriage, not as dysfunctional decorations in the novel, but as Minerva's victory in the struggle between Venus and Minerva, which gained importance as two opposite points of the fundamental conflict. The study aims to analyse how the author includes mythology in the narrative and the ways of constructing the thought in the novel of Taaffüf, which is a projection of Ahmet Midhat Efendi's views on mythology.

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9

Baitenova, Nagima. "The idea of unity in Turkish mythology and religious worldviews." Azerbaijan Journal of Educational Studies 2, no. 2 (2020): 18–27. http://dx.doi.org/10.29228/edu.351.

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10

Boz, Murat. "Türk Kültüründe ve Alevi-Bektaşi İnancında Kapı-Eşik Kavramı." Edeb Erkan 3 (June 19, 2023): 157–71. http://dx.doi.org/10.59402/ee003202306.

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In Turkish culture, places and some parts of places have been given literal and esoteric meanings. When we look at the Alevi-Bektashi belief and culture, this situation is encountered in the concepts of door and threshold. In this article, the meanings of the concepts of door and threshold in Turkish culture and Alevi-Bektashi belief, the place of these concepts in Turkish mythology, how and how they take place in Islamic literature, their historical and religious origins and the way they are applied in worship are emphasized. At the beginning of the article, it is explained what kind of meanings the concepts of door and threshold contain as words and concepts. Then, the concept of door and threshold in the tradition of "Kamlık (Shaman)" in ancient Turks was discussed. In the article, the Islamic origins of the door and threshold concepts in Alevi-Bektashi belief and culture are also mentioned. The concept of door and threshold in Alevi-Bektashi belief and culture. The Prophet said, “I am the city of knowledge. Ali is his door”. It has also been tried to explain how the concepts of door and threshold, which take place in worship and practices in Alevism-Bektashism, take place in events and contents in Turkish mythology. In the Alevi-Bektashi belief and culture, the door appears as a symbol describing the point at the beginning or end of the road and the gradual transition to another maqam. After discussing all these issues in the article, in the last part, it has been tried to examine how the concepts of door and threshold are included in the ritual of Alevism-Bektashism within the framework of written sources and oral tradition. Keywords: Turkish Culture, Shamanism, Alevism-Bektashism, Gate, Threshold.

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