Literatura académica sobre el tema "Turkish literature (Collections)"

A checklist of the species of Turkish Diplura and their zoogeographical distribution are presented in this study. This checklist is based on studies from the literature, various museums, and private collections. This study is the first checklist about Diplura from Turkey.

The article deals with manuscript and printed books written in the Arabic graphic, revealed by the author in private collections of particular people living in flat and submontane areas of the Republic of Dagestan. During summer months of 2015 and 2016, the author visited Nogaysky, Karabudakhkentsky, Buynaksky, Khasavyurtovsky and Kizlyarsky districts, where he recorded old printed (lithographic) books and manuscript materials stored in fifteen private collections and in the museum of the village of Terekli-Mekteb and in the Jame Mosque of the village of Ullubiyaul as well. The author draws attention mainly to the materials written in the Turkic languages in Arabic graphic both in Dagestan and outside it - in Turkey, Central Asia, the Volga Region (Kazan, Ufa, Orenburg), in the Crimea, and in St. Petersburg. Books of this origin existed and were used by Dagestan readers of the 19th - early 20th centuries. The revealed materials are subjected to an archeographic description according to the generally accepted scheme. They allow us to assess the situation related to the subject, degree of use, the prevalence of Muslim literature in various districts of Dagestan. Among the written objects found in various collections, the author recorded many texts written not only in the Arabic, but also in the Kumyk, Azerbaijani, Tatar, Ottoman Turkish languages and in the common Turki language.

In this study, by investigating the subject of Turkish folk songs accompanied by symphony; In the literature review, it was revealed that there is no previous academic study on this subject. It is clear that there should be a written source in addition to the performance regarding this subject, so this article is important in terms of contributing to the literature. Before we talk about symphonic arrangements, we need to have information about the first compilation and recording of Turkish folk songs. Symphonic arrangement of folk songs in Turkey started with the music revolution movement initiated by Atatürk after the foundation of the Republic. For the first time, the arrangements of our folk songs written by Turkish Fives were performed by symphony orchestras. Unfortunately, the symphonic arrangement works, which started to be made thanks to the Turkish Fives, had a long pause. Since the beginning of the 1990s, symphonic Turkish folk song arrangements; It has been reworked and continued by composers such as Turgay Erdener, Oğuzhan Balcı, Yusuf Yalçın, Murat Çelebi and Musa Göçmen. Since the arrangements in the Republican period had a complex harmonic structure, they did not attract much attention from the public. In addition, since the copyrights of many symphonically arranged Turkish folk songs belong to Western countries, the folk songs included in the concert programs remained very limited. Symphonic arrangements of our folk songs; It is of great importance in terms of being performed, announced and promoted both in national and international arenas. Keywords: Turkish Folk Song Collections, Symphonic Folk Songs, Polyphonic Turkish Folk Songs

AbstractThe Kevserî Mecmûası is an eighteenth-century Turkish manuscript, which includes, in addition to a variety of music-related contents, a fairly large collection of notations. Given the scarcity of notational sources, it offers invaluable material for understanding the performance practice and compositional style of Ottoman music before the nineteenth century. Having studied a hitherto unknown microfilm copy of this manuscript, the original of which has remained up to now in a private library and closed to our access, the author aims in this article to introduce this source and discuss its potential contribution to the knowledge of Ottoman music. The article is organised roughly in two parts. First, it will present briefly the contents of the manuscript, integrating new evidence and clues about its date, author and purpose into existing knowledge. Second, it will focus on the collection of notations in the manuscript, and by comparing it with the earlier collections will argue that, contrary to the prevailing views expressed in the literature, no large-scale transformation in the style of Ottoman music took place in the early eighteenth century.

The adoption of western notation (which is an example of graphic notation) as the “official system” in Turkey dates from after 1828. Sultan Mahmud II (reigned 1808–1839) abolished the Janissary force in 1826 and with it the musical unit of that army, it was a band for wind and percussion instruments (Mehterhâne-i Hümâyûn). He then organised his new army on western lines and thus introduced an institution of western origin, the military band, as the musical unit of his modern army. This new institution, which was European in its music system, instruments, repertoire and first and foremost its methods of education, was formed under the name Muzika-i Hümâyûn (the royal military band). Professional musicians were invited from Europe to participate and, with the foundation of Muzika-i Hümâyûn in 1827, the most far-reaching change in Turkish musical history took place. It was an outstanding manifestation of westernisation which necessarily made a deep impact on both the Turkish makam (modal) music system and the existence and the behaviour of the musicians who produced and performed it. The domination of makam music and its masters in court circles and their claim to be the sole and absolute system of taste was undermined, although the appreciation and respect of certain sultans and bureaucrats continued on a personal level. From that date on, a duality, an East-West dichotomy (the effects of which can still be seen), overtook the cultural sphere of which music was a part. Within this dichotomy, tonal polyphonic music of the West began to make its influence felt at least as much as, if not more than, makam based Turkish music both within the state framework and in the society at large. These dual concepts were referred to as Alla Turca and Alla Franga. While Alla Franga (alafranga in common parlance) came to symbolise modernity, change and the new life style, Alla Turca (alaturka in common parlance) became a manifestation of being archaic and conservative and of having a blind commitment to tradition and an under-developed taste (even no taste at all). Within this series of dichotomies, which took hold of every area of life (from literature to fashion also, eating habits, systems of beliefs, and education as well as government) makam based Turkish music received a large share of “cultural negation” with the judgement that it did not even have a decent notation system. It became marginalised and restricted to a narrow social group deeply and passionately devoted to it. Even during this process, makam music developed a dynamic of self-protection against “cultural negation” with its composers, theorists, publishers, performers and listening public. Makam music composers and performers learnt western notation, they wrote pieces down and deciphered music from that notation; a system of education based on modern methods developed while still preserving meşk (the traditional oral teaching method of Turkish music). These efforts were driven by the ‘ideal’ of transforming makam music, which was claimed to be archaic due to its monodic structure, into a polyphonic music. The musicians who knew western notation (such as Melekzet Efendi, Leon [Hancıyan] Efendi, etc.) were paid great amounts of money in order to record the works of the old masters in western notation and compile them, along with new compositions, into extensive note-collections (such as Muzika-i Hümâyûn Kumandanı [the commander of the royal military band] Necîp Paşa Collection and the Pertev Paşa Collection, etc.). Works were also published in note editions (such as Mâlûmat [literally meaning knowledge], Müntehâbât [literally meaning selections], Ûdî [lute-player] Arşak editions, etc.). Moreover, educational guides devoted to teaching makam theory and solmisation (such as Tanbûrî Cemîl Bey's Rehber-i Mûsikî [The Music Guide], Muallim [teacher] İsmail Hakkı Bey's Mahzen-i Esrâr-ı Mûsikî [The Cellar of the Secrets of Music], Muallim Kâzım Bey's Mûsikî Nazariyâtı [Music Theory], etc.) and the first methods for learning the instruments of makam music (such as Ûdî Salâhî Bey's Ud metodu [Lute Method], Seyyid Abdülkaadir Bey's Usûl-i Ta'lîm-i Keman [Method for Practising Violin, etc.], modelled on their European counterparts, were beginning to be published.

Women of the Kresy. The Female in the Works of Józef Antoni Rolle – from History to Literature and MythThe article offers an analysis of depictions of women in Józef Apolinary Rolle’s literary output. The source material are Rolle’s numerous short stories published in a number of collections and series in 1872-1894, including a collection entitled Women of the Kresy. In his works Rolle created the myth of woman of the eastern territories of interwar Poland (Kresy Wschodnie), a courageous amazon, a female warrior, by sketching portraits of historical €gures of the 16th and 17th centuries. In the short story entitled Women in Kamianets under Turkish Siege (1672) the author expressed this myth in a collective portrait of women of different nationalities and faiths who defended the fortress of Kamianets Podil’skij against the Turks. In other works Rolle depicted women engaged in politics and struggling to strengthen their family’s position. The latter attitude became dominant in the 18th century, when women were no longer directly engaged in warfare. The women described by Rolle enjoy considerable individual freedom, which provides thems with more opportunities (including the freedom to choose a husband and the freedom to divorce) compared to their compatriots in the Polish west. Women who lived in partitioned Poland in the 19th century were depicted by Rolle as ones who were responsible for the family, and for the transmission of family traditions, which €fits in with the myth of the Polish Mother. More broadly, the image of women of the Kresy €fits in with the myth of the region itself. This tradition was continued and developed in the early 20th century by the author’s son, the historian and publicist, Michał Rolle, among others.

The article explores the period of reviving the art of calligraphy and handwritten book art in the Tatar culture, which falls on the end of the XIX century and is associated with the names of A. Makhmudov and Sh. Tagirov. The authors of the article presented the genesis and revealed the stages of calligraphy and hand-written book art formation in the culture of the Tatars. The article provides an art criticism analysis of the manuscript book art works included in the creative heritage of A. Makhmudov and Sh. Tagirov. A contrastive-comparative analysis led to a conclusion that the traditions of Iranian, Turkish and Dagestanian handwritten book art which were processed by Kazan calligraphers. That allowed them to develop local traditions of handwritten art. The study is based on the analysis of collections of manuscript monuments, including paperwork (khan labels) and books (of religious, scientific, literary and artistic content) from the collections of the Department of Manuscript and Rare Books of Kazan Federal University’s N.I. Lobachevsky Scientific Library, the Center for Written and Musical Heritage of G. Ibragimov Institute of the Language, Literature and Arts of the Republic of Tatarstan Academy of Sciences, the Department of Rare Books and Manuscripts of the Republic of Tatarstan National Library, the National Museum of the Republic of Tatarstan, the National Archives of the Republic of Tatarstan, the Graphics Department of the Republic of Tatarstan State Museum of Fine Arts. The article is based on a comprehensive study of the material; to conduct the analysis, analytical methods of research have been applied. The priority is given to the classical comparative-historical method which includes synchronous and diachronous analysis. In addition, general scientific art and cultural studies methods and approaches were implemented: the genetic one, for instance, allows making a diachronous section and tracing the process of book art formation.

Turkish world geography is a vast geography. In its broadest sense, it expands from Balkans in the west to the Pacific Ocean in the east; from the Arctic Ocean in the North to Tibet in the South. The subject of our study is Azerbaijan which is one of the independent states in this geography. In the study, similarities and differences of Turkish and Azerbaijan education system, language-literature education, curriculum, course books were analysed. Azerbaijan was chosen for the study since it is akin to Turkey in the sense of language and geography and it also takes the head in Turkish world in education and culture. In the collection of data, document review method was used and in the light of information acquired, positive aspects of both countries were used.

Turkish language went into effect along with the arrival of the Ottomans to the Island in 1571. Since then the Turkish Cypriots have been using Turkish in expressing their customs and traditions and activities. Currently 400.000 people Turkish people on the Island speak, write and broadcast in Turkish. Soon after adapting the use of Latin alphabet by Atatürk in Turkey, the Turkish Cypriots began to use the new alphabet as their official language. At present, besides the Atatürk Teacher Academy, training primary education teachers, there are eight universities in North Cyprus. In all these institutions there are Turkish Language and Literature, Turkish Teaching departments and Turkish Preparatory Schools for overseas students. In this respect, our aim is to determine the primary school teachers’ (ATA graduates) criterion principles in selecting children’s books. The subject question will be dealt with in four sections. The first section includes introduction, under which the problem, aims, significance, numerical data, limitations, and definitions are dealt with. The second section discusses methodology, research model and stages through examples, data collection, analysis, and interpretation. Findings and interpretation will be presented in the third section. The summary, discussion and suggestions will be the scope of the fourth section.
 
 Keywords: Children Books, Turkish Education, Primary Education, Traditional Literature, North Cyprus

The aim of this research is to determine the views of Syrian students who learn Turkish as a foreign language about the Turkish learning process and communicating in Turkish. In the research conducted according to the qualitative approach, the semi-structured interview form created by the researchers was used as the data collection tool. Criterion sampling method, one of the purposeful sampling methods, was used in determining the participants. The participants of the study who lived in Turkey for at least five years and constitute a Syrian students who have learned Turkish in Turkish Language Teaching Research and Application Center. The collected data was analyzed with content analysis and made thematic. As a result of the research, while the views of students who learn Turkish as a foreign language about the learning process of Turkish were explained with the themes of different language characteristics and educational deficiencies, their views on communicating in Turkish were explained with the themes of different cultural structures and difficult conditions. The research data were interpreted by comparing them with other research findings about teaching Turkish as a foreign language in the literature and suggestions were made. Keywords: Syrian students, Teaching Turkish as a foreign language, Turkish.