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Academic literature on the topic 'Turkish Women poets'
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Journal articles on the topic "Turkish Women poets"
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Zhiyenbayev, Y., and Z. Asanova. "Comparison of the Structure, Themes and Style of Gulten Akin’s Poems “Yaşlanmayan Bir Kadına Türkü” and Fariza Ungarsynova’s “Ayel”." Iasaýı ýnıversıtetіnіń habarshysy 121, no. 3 (September 30, 2021): 68–79. http://dx.doi.org/10.47526/habarshy.v3i121.735.
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Well-known are the poetic works of famous women poets of Turkic literature Gulten Akyn and Fariza Ungarsynova. However, these two poets tried to be harbingers of flaws in society, and not to become famous. Although she dealt with personal themes in the early stages of Gulten Akin's poetry, in her later poems she always dealt with social issues. In this regard, Fariza Ungarsynova also described the position of the masses in her poems. The image of a woman occupies a special place in the work of these poets, who lived simultaneously in Kazakh and Turkish literature and touching upon common themes. The aim of the research is to compare the image of a woman in the verses of two poets. In this study, the method of analyzing the text of Professor Sherif Aktash was used. The first part of article, which consists of two parts, tells about the life and literary personality of Gulten Akyn and Fariza Ungarsynova. The second part analyzes the poems of Gulten Akyn “Yaşlanmayan Bir Kadına Türkü” (“Folk Song for an Ageless Woman”) and Fariza Ungarsynova “Ayel” (“Woman”). The article reflects the ideology, structure (personality, time, space), subject matter, language and stylistic features of the poems, compares the similarities and differences of the two poems.
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ZAFER, Zeynep. "REVIVED FROM THE ASHES (THE POETRY OF MEFKURE MOLLOVA)." Ezikov Svyat volume 20 issue 3, ezs.swu.v20i3 (October 20, 2022): 427–36. http://dx.doi.org/10.37708/ezs.swu.bg.v20i3.14.
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Mefkure Mollova, known as a scholar in Turkology, was the first poetess to publish poems in the periodic print in Turkish language in Bulgaria and the only woman who was fortunate to issue a solo poetic collection (1964). She emerges as the most sensitive of the time, whose work boldly touches on the intimate corners of the Turk's mentality and emotionality, to questions and problems close to all women. The sophistication of her work excites young women and crumbles the walls of the traditional taboo. Her contemporaries are delighted with the talent of the beautiful poetess and the "freedom" of her speech, she is perceived as the Turkish Bagryana, almost all young Turkish intelligents were in love with her. Suffocated by the repression of the socialist dictatorship, she was forced to give up poetry. Her work is not known outside the circles of the Turkish readership of the 1950s and 1960s, and like most Turks-poets she remains unknown to the Bulgarian readership. The article also presents the first translations of her poems in Bulgarian.
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Karadeniz Yağmur, Sibel. "The Laments of Women Minstrels in Türkiye." International Journal of Arts, Humanities & Social Science 04, no. 04 (April 14, 2023): 40–54. http://dx.doi.org/10.56734/ijahss.v4n4a5.
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The tradition of “lamentation” seen in poets and minstrels is as old as the history of the Turkish nation. This article aims to explain the tradition of lamentation and focus on the situations in which laments are performed by our female minstrels. Our minstrels and poets evaluated in the article are respectively Makbule Leman, Yasar Nezihe (Bukulmez), Nigar Hanim, Ihsan Raif Hanim, Şukufe Nihal, Emine Hanim, Hasibe Ramazanoglu, Hasibe Hatun, Dudu Karabıyık, Minstrel Derdimend (Fatma Oflaz), Fatma Behice Batur, Minstrel Şah Turna, Asik Surmelican (Kaya) , Gulhanim Yildirim, Hatce Ana (Hatice Şahinoğlu), Dikmenli Emine Şener, Kamanli Minstrel Emine Baci, Minstrel Fatma Inan , Pîr Sultan's daughter Sanem, Minstrel Kevser Ezgili, Minstrel Ayse Çağlayan, Minstrel Yeter Yıldırım, Minstrel Gülhanım Yıldırım, Minstrel Nurşah (Dursen Mert). Female minstrels, who lived and are living in Türkiye in the last century, contributed to the survival of this tradition by lamenting painful events that affected them very much.
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Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (September 15, 2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.
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After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.
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John Taylor. "Poetry Today: A Panorama of Turkish Love Poetry: Birhan Keskin and Other Contemporary Women Poets." Antioch Review 72, no. 1 (2014): 184. http://dx.doi.org/10.7723/antiochreview.72.1.0184.
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Güçtekin, Nuri, and Muzaffer Fehmi Şakar. "Bir Varmış Bir Yokmuş: Fazıl Yenisey (1905-1967)." Edeb Erkan 3 (June 19, 2023): 101–14. http://dx.doi.org/10.59402/ee003202303.
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This study is about the life of Fazıl Yenisey. Fazıl Yenisey is especially known for his work called Bektashi Women Poets among his works, and his published works are also introduced here. Fazıl Yenisey worked as an educator and administrator for 39 years, 3 months and 18 days in public and private education institutions in Balıkesir, Bandırma, Malatya, Denizli, İzmir, Bursa and Istanbul between 1927-1967. The bibliography of Fazıl Yenisey, who has made important and pioneering studies on Turkish Culture, Turkish Literature, Bektashism and Bursa Folklore, has been discussed by including data in many accessible sources, especially archives. Despite all this, very limited is known about Fazıl Yenisey's life, works and public service. In the applications and examinations, it has been determined that the registry file has not been transferred to the present day. From the archive of Kandilli Girls' High School, the service schedule, and from the archive of Fatih Girls' High School, information about her last civil service was obtained. Although he does not express his identity as a poet, writer, novelist and educator, it is understood from his works and his close circle that he is a Bektashi-meshrep. In our study compiled in the light of the service schedule and information obtained from other sources; Fazıl Yenisey's importance in the history of Turkish Culture, his professional life and his contribution to the History of Turkish Literature were revealed for the first time and contributed to the publication to be made in the future. As a result, such an extensive and first biography has been prepared for the first time about Fazıl Yenisey, who remained in publication life for a long time with many of his works and reached many readers. Keywords: Turkish Culture, Turkish Literature, Bektashism, Bursa, Fazıl Yenisey.
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Sarıyüce, Aysel. "An Evaluation of Farīd al-Dīn ʿAttār’s Symbolic Approach to the Concept of ‘Er/Eren’ in Mantiq al-Tayr." TSBS Bildiriler Dergisi, no. 1 (August 21, 2021): 141–44. http://dx.doi.org/10.55709/tsbsbildirilerdergisi.1.32.
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The word “er (man)” in daily use in Turkish refers to “a male person,” but without reference to gender, it is often used to express a person who performs his/her job perfectly well. In Sufism, the concept of “er” is used to refer to al-insān al-kāmil (the perfect human being), who possesses the quality of being an exemplary servant. Although “er” denotes masculinity in its dictionary form, in mystical terms without reference to gender, the word includes all men and women who have the qualifications of a perfect human being and who gain Allah’s approval. Such Sufis as Aḥmad Yasawī (d. 562/1166), Mawlānā (d. 672/1273) and Yunus Emre (d. 720/1320) also used the concept of “er” in their works. In Sufism, this concept indicates maturity in religious and moral life. Farīd al-Dīn ʿAttār (d. 618/1221) is one of the leading mystics and poets of Persian and Classical Turkish Literature. He often used the concept of er in a symbolic way in his work Mantiq al-Tayr. The aim of the present study is to unearth and analyze what mystical concepts ʿAttār emphasizes through the symbolic meanings that he attributes to the concept of er. ʿAttār often uses the notion of er to mean al-murshid al-kāmil, al-insān al-kāmil, a saint, holy person or devotee. Furthermore, he uses the concept of er not only as a characteristic of humans but also that of some inanimate beings and animals. In his works, ʿAttār addresses this notion within Allah-servant relationships. He also uses the term for the Prophet, who is the master of every business and the goal of every human being in being a er. When considering the notion of er within the concepts of disciple/devotee, ʿAttār uses it to define people who are determined and patient on the way to the truth and who show a strong will in the face of the difficulties encountered. While emphasizing the importance of knowledge of marifāt, which is a special knowledge that Allah gives His servants so that they know themselves in their journey to wuslat, he emphasizes that the devotee should be a er of knowledge. In line with the intention to which people are attached and in which they put effort, ʿAttār uses metaphors, such as a man of path, a man of truth, a man of knowledge, a soldier of God, a man of journey; when they are attached to worldly things and serve for them, he uses the metaphor of "the man of the self". By using the concept of man, as used in daily life, ʿAttār tries to simplify meaning of the terms that are difficult to understand in Sufism, such as unity, abundance, non-existence, marifāt, al-sayr al-sulūk, fana, nafs for the reader so that they could comprehend them with ease. From this point of view, the concept of man in ʿAttār’s usage is far from a gender-specific meaning that denotes masculinity but has a usage that refers to a virtuous person.
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Karadeniz Yagmur, Sibel. "Women’s Rights, Education And The Appearance Of Women In The Field Of Literature During The Tanzimat And Second Constitutional Period Of Ottoman Empire." International Journal of Arts, Humanities & Social Science 04, no. 03 (March 11, 2023): 54–62. http://dx.doi.org/10.56734/ijahss.v4n3a7.
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This article uncovers women’s rights, education, and the appearance of women in the field of literature during the Tanzimat and Second Constitutional Period of Ottoman Empire in Turkiye and the contribution of several writers and women poets. Working with correspondence, institutional and Social Science Index, and Google scholar publications, I show how women were provided with educational opportunities, and what legal and social regulations were done for women to be seen in the field of literature during the Tanzimat and Second Constitutional periods. I argue the activities of Poets and writers like Namik Kemal, and Semsettin Sami and Women poets Makbule Lem’an Hanim, Yasar Nezihe Bukulmez, Nigar Hanim, Ihsan Raif Hanim, and Sukufe Nihal for women to be seen in the field of literature. This article concludes that during the Tanzimat and Second Constitutional periods, women’s liberation was experienced in all aspects of life. Women poets pioneered the beginning of women’s poetry.
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DİNÇER, Figun. "IN RESPONSE TO THE WESTERN IMAGE OF THE OPPRESSED TURKISH WOMAN: VOICES OF TURKISH POETS." Journal of International Social Research 10, no. 53 (December 20, 2017): 53–73. http://dx.doi.org/10.17719/jisr.20175334101.
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Angelova, Milena. "The Biography of the Repressed Turkology in Bulgaria." Balkanistic Forum 32, no. 1 (January 15, 2023): 230–43. http://dx.doi.org/10.37708/bf.swu.v32i1.14.
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This article is a review of the book “Turkology in Exile: Mefküre Mollova. A Biographical Study”, authored by Zeynep Zafer and Murie Muratova. Mefküre Mollova (1927–2009) was the first Turkish woman and university professor in Bulgaria, who gained international fame with her research in the field of Turkology. She devoted herself to unexplored issues of Turkish dialectology, related to the Turkish dialects in Bulgaria and other linguistic questions. Mefküre Mollova was among the founders of the Turkish Philology at the University of Sofia. She had worked for only about 7 years (1953–1961), when she and her husband were dismissed from their academic positions. Although unemployed and persecuted in communist Bulgaria, Mefküre Mollova continued to publish her work both in the country and abroad. She published her research in four languages – French, Turkish, Bulgarian, and Russian, but mostly in French. Mefküre Mollova was also the first Turkish poet to publish poems in Turkish periodicals and the only woman who managed to publish an independent collection of poems in Turkish in Bulgaria. In addition, she is the first author of several well-written travelogues. Having gained fame and recognition around the world, in her homeland she and her husband Riza Mollov are forgotten and neglected. Their refusal to collaborate with the communist authorities and to falsify academic research stigmatized them for decades and the autors hope that this book will contribute to correcting this injustice.
Books on the topic "Turkish Women poets"
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author, Çeşm-i. Âfet 1907, ed. Kahire sarayında bir hanım şair: Çeşm-i Âfet ve divânı (Levha-i Dil). Konya: Palet Yayınları, 2012.
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Ölümünün 100. yılında Sultan II. Mahmud'un kızı Âdile Sultan: Hayatı, vakıfları ve hayratı. Eyüp, İstanbul: Çamlıca Kültür ve Yardım Vakfı, 2000.
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Tarihsel süreçte-- Kıbrıs Türk edebiyatı'nda kadın şair ve yazarlar. [Nicosia, Cyprus?]: Mavi Basım Yayın, 2007.
Find full textBook chapters on the topic "Turkish Women poets"
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Taylor, John. "A Panorama of Turkish Love Poetry: Birhan Keskin and Other Contemporary Women Poets." In A Little Tour through European Poetry, 139–46. Routledge, 2017. http://dx.doi.org/10.4324/9781315083391-19.
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Fant, Clyde E., and Mitchell G. Reddish. "Mitylene." In A Guide to Biblical Sites in Greece and Turkey. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195139174.003.0016.
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The beautiful island of Mitylene, known also as Lesvos or Lesbos, serves only as a footnote in the biblical account of the journeys of the Apostle Paul, but its fine museums and splendid scenery make it well worth including in visits to the Greek islands. Noted since antiquity as a place of unusual warmth and sunshine, even in winter, this third largest of the Greek islands produces the finest olive oil in all of Greece. The interior of the island is mountainous and forested, and the northern side of the island, around picturesque Methymna, provides excellent beaches. Mitylene (also the name of the capital city) lies less than 10 miles off the Turkish coast. It can be reached by flights from Athens and Thessaloniki (approximately one hour); ferries also run from these ports, but the crossing time is 9–12 hours. There is a ferry that connects the island to Ayvalik, Turkey; Pergamum is only 35 miles inland. Until the 6th century B.C.E., when Pitticus, one of the Seven Sages of Greece, served as sole ruler of the island (r. 589–579 B.C.E.), the towns of Mitylene and Methymna struggled for dominance of the island. During this time Mitylene developed a strong maritime fleet, extended its commerce as far as Egypt, and achieved fame for its notable poets, Alcaeus and Sappho (6th century B.C.E.). The poetry of Sappho was greatly admired by both Solon and Plato, who called her the tenth Muse. An aristocrat who established a school for women at Mitylene, Sappho became world-famous, or infamous, because of her love poetry concerning women. Much of the ridicule directed toward her came from the Athenian comic poets, who lampooned the greater freedom given to women on Mitylene. In the 4th century B.C.E., the famous philosophers Aristotle and Epicurus both taught on Mitylene. Julius Caesar first won distinction as a military commander when the Romans invaded the island in the 1st century B.C.E. Over the following centuries the island suffered repeated invasions by one world power after another until 1462, when it was taken by the Turks, who retained possession of it until 1912.
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Büyüktolu, Recep. "Millî Mücadele Döneminde Çankırı." In "Millî Mücadelenin Yerel Tarihi 1918-1923 (Cilt 5): Aksaray - Kırıkkale - Çorum - Sivas - Çankırı Karaman - Kayseri - Kırşehir - Konya - Niğde Nevşehir - Yozgat - Tokat - Amasya", 133–56. Türkiye Bilimler Akademisi, 2023. http://dx.doi.org/10.53478/tuba.978-625-8352-67-2.ch05.
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"After the defeat of the Ottoman Empire in World War I and its surrender by signing the Armistice of Mudros, its lands began to be occupied. The Turkish nation, which opposed these invasions, started the War of Independence, also called the Turkish War of Independence, under the leadership of Mustafa Kemal Pasha. The Resistance that meant either life or death was centred in city of Ankara and the Turkish Grand National Assembly was established there. Çankırı, which is the subject of our study, is a city located just north of Ankara. It was occupied neither during World War I nor during the Turkish War of Independence. However, Çankırı felt the pains of the war and all kinds of problems, especially social and economic problems, quite intensely. While the men who were able to fight rushed to the front, the children, the elders, the disabled men and women had to bear the brunt the entire burden of war and life. The people of Çankırı, who showed that they were against the occupation from the first moment, expressed their loyalty to Mustafa Kemal Pasha, who led the resistance, especially after the occupation of İzmir, with the telegrams they sent to Istanbul and the events they organized. Çankırı has a special importance due to its geographical location. It is on an important road that provides the transportation of weapons, ammunition and other materials sent from Soviet Russia as aid from the East by sea, along with those who were abducted to be taken to Anatolia from Istanbul. Those who wanted to join the resistance or reach Ankara used the same route. There are many important statesmen, soldiers, writers, poets and diplomats among these people. This road, which starts from İnebolu and reaches Ankara by passing through Kastamonu and Çankırı, has been the only gateway of the GNAT government to the world. The people of Çankırı, located on this road, which is also called the Independence Road, showed great devotion and sacrifices in the transportation of weapons, ammunition and other materials needed by the Turkish soldiers. The events which happened in this period have been the subject of many sad stories and poems. The people of Çankırı were represented by 7 deputies in the First Grand National Assembly of Türkiye. They always sided with the Grand National Assembly of Türkiye, Mustafa Kemal Pasha and they supported the national resistance, without getting provoked against the Assembly and did not support the rebellions. Çankırı was under the responsibility of the First and Second Kastamonu Independence Courts at the time when extraordinarily competent courts were established to prevent desertions and resolve public order problems and suppress riots. It became an important point in the treatment of soldiers injured at the front and the Homeland Hospital, which was established in this place, increased to 500 bed capacities."
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Tepe, Fatma Fulya. "The Politico-Poetic Representation of Turkish Women in Türk Kadını Magazine (1966–1974)." In Advances in Media, Entertainment, and the Arts, 35–58. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0128-3.ch003.
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This chapter aims to explore the ways women are represented in the context of 20th century Turkey by analyzing four poems, namely “Türk Kadını” (Turkish Woman), “Anadolu Kadını” (Anatolian Woman), “Kadın–Ana” (Woman-Mother), and “Ayşe,” published in the Türk Kadını magazine in the 1960s. Purposive sampling was used in the selection of the poems, which were later interpreted with the strategies of descriptive content analysis. In these poems, the Turkish woman is being represented and celebrated in at least the following four ways: (1) by being celebrated for combining heroism, goodness, and naturalness; (2) by having her struggle with primitive conditions of life celebrated as yet another form of heroism; (3) by being celebrated as a creative mother of the nation, charged with finding solutions to the problems of the country; (4) by being celebrated as a hardworking daughter of the nation to whom the country owes recognition and support.
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Davis, Richard L. "The Prodigal Son." In Fire and Ice. Hong Kong University Press, 2016. http://dx.doi.org/10.5790/hongkong/9789888208975.003.0001.
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Footing in two cultures proved a mixed blessing for Li Cunxu (885–926), the object of much envy in his day. Through paternal ties to the Shatuo-Turks of Inner Asia, he projected the martial panache reminiscent of his father, Li Keyong (856–908). Equally impressive was Cunxu’s comfort with the culture of his Chinese mother, Woman Cao, who drew upon a dedicated group of local mentors to prepare the youth for his destiny with history. Cunxu made frequent boast of his facility in the literary language and classical traditions of China. He also made much of his creativity as poet and musician, having composed by his own hand the marching songs for his armies. Conscious of his role as model for future Shatuo emperors, Cunxu needed to strike the right balance in negotiating his two identities. But sadly, fifteen years of almost ceaseless warfare in search of realizing other people’s dreams left little time for second thoughts about the cost of dynasty to own individuality. Would he force change upon the institution of monarchy or would the institution humble him? Tragically, so much constructive energy in his short yet historic reign were consumed by this epic contest of wills.