Pub Date : 2020-06-19DOI: 10.26650/iuturkiyat.710570
Tekin Tuncer
Eastern Turkestan is an area that has witnessed a lot of occupations and rebellions from large to small scale throughout history. In 1911, the Qing Dynasty was overthrown as a consequence of domestic struggles in China, and Eastern Turkestan was impacted by this situation. After thisevent, the people in Eastern Turkestan were governed by a governor-general, and exposed to arbitrary changes since it was not controlled by a central authority. The Kumul rebellion, which started in 1931 during the period of Chin She-jen, began as a consequence of these changes by the governor-general who had seized power. Although the initial trigger of the rebellion was provoked by a Muslim girl’s seduction from a Chinese official, the rebellion over time, turned into a power struggle between a lot of groups that wanted to establish dominion over the region. These power struggles were not limited to the Kumul Region but spread to the Uighurs who were living in the southern regions, and resulted in the establishment of an Islamic state in Eastern Turkestan although it was called by an another name. For this reason, the Kumul Rebellion is an important example in terms of the balance of power which emerged in the region and from seeing what the mistakes in administrative practices could cause.
{"title":"Doğu Türkistan’da Güçler Savaşı: 1931 Kumul Ayaklanması","authors":"Tekin Tuncer","doi":"10.26650/iuturkiyat.710570","DOIUrl":"https://doi.org/10.26650/iuturkiyat.710570","url":null,"abstract":"Eastern Turkestan is an area that has witnessed a lot of occupations and rebellions from large to small scale throughout history. In 1911, the Qing Dynasty was overthrown as a consequence of domestic struggles in China, and Eastern Turkestan was impacted by this situation. After thisevent, the people in Eastern Turkestan were governed by a governor-general, and exposed to arbitrary changes since it was not controlled by a central authority. The Kumul rebellion, which started in 1931 during the period of Chin She-jen, began as a consequence of these changes by the governor-general who had seized power. Although the initial trigger of the rebellion was provoked by a Muslim girl’s seduction from a Chinese official, the rebellion over time, turned into a power struggle between a lot of groups that wanted to establish dominion over the region. These power struggles were not limited to the Kumul Region but spread to the Uighurs who were living in the southern regions, and resulted in the establishment of an Islamic state in Eastern Turkestan although it was called by an another name. For this reason, the Kumul Rebellion is an important example in terms of the balance of power which emerged in the region and from seeing what the mistakes in administrative practices could cause.","PeriodicalId":447450,"journal":{"name":"Türkiyat Mecmuası","volume":"558 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123515498","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-06-19DOI: 10.26650/iuturkiyat.687895
Handan Gürbüz, Hüsrev Akin
Elif Şafak is a novel writer whose name is frequently mentioned among contemporary novelists. Before Ask, she published her works Pinhan, Şehrin Aynalari, Mahrem, Bit Palas, Araf, Baba ve Pic, Siyah Sut respectively. Each of these contributed to her recognition. However, it is Ask that is profound in both being deemed worthy of international success awards and making her the author of the best-selling book in the Turkish publishing world in a short time. Ask, first published abroad in the name The Forty Rules of Love, is published in Turkey in the name Ask. Elif Şafak handles the love of Ella-Zahara on the one hand and Mevlana-Şems on the other. No study has been carried out up to today as to whether this sufistic work is popular or aesthetic. In the introduction part of the study, the topic of the popular and aesthetic novel is mentioned. Then, Elif Şafak’s Ask novel has been evaluated in terms of both content and form based on popular and aesthetic novel elements. This evaluation has been done by comparison and document analysis methods. Thus, it has been attempted to determine the original place of Elif Şafak’s Ask novel in the literary world.
Elif Şafak是一位在当代小说家中经常被提及的小说作家。在此之前，她分别出版了她的作品Pinhan， Şehrin Aynalari, Mahrem, Bit Palas, Araf, Baba ve Pic, Siyah Sut。这些都为她赢得了认可。然而，她不仅被认为配得上国际成功奖，而且在短时间内成为土耳其出版界最畅销的书的作者，这一点意义深远。《爱的四十法则》一书最初在国外以《爱的四十法则》的名字出版，现在在土耳其以《爱的四十法则》的名字出版。Elif Şafak一方面处理Ella-Zahara的爱情，另一方面处理Mevlana-Şems的爱情。直到今天，还没有人研究这种唯心主义的作品是流行的还是审美的。在本研究的导论部分，提出了通俗审美小说的主题。然后，从通俗小说和审美小说两个方面对Elif Şafak的《问》小说进行了内容和形式的评价。本文通过对比分析和文献分析等方法进行了评价。因此，本文试图确定Elif Şafak的《问》小说在文坛的原始位置。
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Pub Date : 2020-06-19DOI: 10.26650/iuturkiyat.699234
Elvin Yildirim
The Kurykan people were seen for the first time in the mourning ceremony of the Turk kagan and were recorded in the Orkhun Inscriptions. They were one of the nomadic tribes spread on the west side of Baikal Lake and they were known as both enemy and friend. It is very interesting that runic texts of the Kurykan were found in Lena and Angara. The Kurykan people were recorded as Gulikan or Ku-li-kan by the Chinese which is one of primary sources for early Turkic history. They were identified as Furi or Kuri people from Islamic sources. Historical sources recorded that they were renowned for their beautiful horses. There are three main opinions about them: They are accepted as ancestors of the Yakut, Buriat, or Mongolian Khor tribe. In this article, we recognize them as ancestors of the Yakuts. They lived in Baikal and its surrounding area, practiced animal husbandry and were horse breeders. They were also good blacksmiths. They had an army of five thousand soldiers to show their strength and power. They created the Kurumchi Culture and left behind especially important cultural materials. These topics will be examined according to material cultural elements and their importance in Turkic history will be emphasized.
{"title":"Kurıkanların Türk Tarihindeki Yeri ve Önemi","authors":"Elvin Yildirim","doi":"10.26650/iuturkiyat.699234","DOIUrl":"https://doi.org/10.26650/iuturkiyat.699234","url":null,"abstract":"The Kurykan people were seen for the first time in the mourning ceremony of the Turk kagan and were recorded in the Orkhun Inscriptions. They were one of the nomadic tribes spread on the west side of Baikal Lake and they were known as both enemy and friend. It is very interesting that runic texts of the Kurykan were found in Lena and Angara. The Kurykan people were recorded as Gulikan or Ku-li-kan by the Chinese which is one of primary sources for early Turkic history. They were identified as Furi or Kuri people from Islamic sources. Historical sources recorded that they were renowned for their beautiful horses. There are three main opinions about them: They are accepted as ancestors of the Yakut, Buriat, or Mongolian Khor tribe. In this article, we recognize them as ancestors of the Yakuts. They lived in Baikal and its surrounding area, practiced animal husbandry and were horse breeders. They were also good blacksmiths. They had an army of five thousand soldiers to show their strength and power. They created the Kurumchi Culture and left behind especially important cultural materials. These topics will be examined according to material cultural elements and their importance in Turkic history will be emphasized.","PeriodicalId":447450,"journal":{"name":"Türkiyat Mecmuası","volume":"227 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131447374","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.26650/iuturkiyat.660581
Mehmet Ölmez, Simge Sevim
Ikilemeler, Turkcenin her doneminde oldugu gibi Eski Uygurca doneminde de gorulen onemli bir anlatim ozelligidir. Arastirmacilar tarafindan bircok calismada farkli yonleri ile ele alinan ikilemeler, Turkoloji sahasinda hâlâ calisilmasi ve aydinlatilmasi gereken konularindan biridir. Eski Uygurcada cok sik kullanilan ikilemelerin tespiti ise bu metinlerin anlasilabilirligi ve tamiri acisindan fazlasiyla onem teskil etmektedir. Bu calismada Ksanti Kilguluk Nom Bitig adli eserde gorulen fakat diger Uygurca ikileme calismalarinda yer almayan ornekler tespit edilmistir. Ikilemeler bakimindan zengin bir malzemeye sahip olan bu eser, Budist Uygur edebiyatina ait bir tovbe metnidir. Makalenin giris bolumunde; bu eser uzerine yapilan calismalar hakkinda kisa bir bilgi verilmis, ayrica ikileme ornekleri hakkinda bazi ozelliklere deginilmistir. Ornekler Turkce ve Almanca karsiliklari verilerek liste halinde duzenlenmistir. Bundan baska ikilemelerin gectigi baglama yer verilmis, kullanim sikligi gosterilmistir.
{"title":"Kşanti Kılguluk Nom Bitig’e Özgü İkilemeler","authors":"Mehmet Ölmez, Simge Sevim","doi":"10.26650/iuturkiyat.660581","DOIUrl":"https://doi.org/10.26650/iuturkiyat.660581","url":null,"abstract":"Ikilemeler, Turkcenin her doneminde oldugu gibi Eski Uygurca doneminde de gorulen onemli bir anlatim ozelligidir. Arastirmacilar tarafindan bircok calismada farkli yonleri ile ele alinan ikilemeler, Turkoloji sahasinda hâlâ calisilmasi ve aydinlatilmasi gereken konularindan biridir. Eski Uygurcada cok sik kullanilan ikilemelerin tespiti ise bu metinlerin anlasilabilirligi ve tamiri acisindan fazlasiyla onem teskil etmektedir. Bu calismada Ksanti Kilguluk Nom Bitig adli eserde gorulen fakat diger Uygurca ikileme calismalarinda yer almayan ornekler tespit edilmistir. Ikilemeler bakimindan zengin bir malzemeye sahip olan bu eser, Budist Uygur edebiyatina ait bir tovbe metnidir. Makalenin giris bolumunde; bu eser uzerine yapilan calismalar hakkinda kisa bir bilgi verilmis, ayrica ikileme ornekleri hakkinda bazi ozelliklere deginilmistir. Ornekler Turkce ve Almanca karsiliklari verilerek liste halinde duzenlenmistir. Bundan baska ikilemelerin gectigi baglama yer verilmis, kullanim sikligi gosterilmistir.","PeriodicalId":447450,"journal":{"name":"Türkiyat Mecmuası","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115444262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.26650/iuturkiyat.651063
Esra Kürüm
Mizanci Murad, Tanzimat Donemi’nin en onemli fikir, devlet adamlarindan biridir. Ulkenin icinde bulundugu durum devrin butun aydinlari gibi onu da careler dusunmeye ve onermeye toplum icin cabalamaya itmistir. Bunun icin iktidarin engellemelerine ragmen uzun bir sure Mizan gazetesini cikarmis, burada yazilarini nesretmistir. Bu yazilarda ozellikle siyasi goruslerini dile getirmistir. Edebi goruslerini dile getirdigi seri makalelerinde ise eser tenkidi yapmistir. Edebiyatimizin dunu ve bugunu hakkindaki goruslerini siralamistir. Bununla birlikte edebiyatin nasil olmasi gerektigini de Bati’dan ornekler vererek aciklamistir. Ona gore edebiyat milli bir karakter tasimalidir. Edebiyat-i ahlâkiye adini verdigi bu anlayisa gore yazarlar toplumu iyiye yoneltecek ideal rol modeller yaratmalidir. Mizanci Murad’in edebiyat anlayisinin uygulamasi olmak uzere kaleme aldigi tek telif tiyatro eseri bugune kadar gunumuz alfabesine uyarlanmamis ve uzerine neredeyse hic calisilmamis bir eser olan Tencere Yuvarlandi Kapagini Buldu adli eseridir. Dort perdelik bir komedi olan bu eser, toplumsal bir konu olan evlilik konusunu ele almaktadir. Murad Bey, eserde kurguladigi ideal ve karsit karakterler vasitasiyla dogru ve yanlis denklemi uzerinden mesajini topluma ulastirmaya calisir.
{"title":"Mizancı Murad’ın Unutulmuş Bir Eseri ve Edebiyat-ı Ahlâkiye Anlayışı Üzerine","authors":"Esra Kürüm","doi":"10.26650/iuturkiyat.651063","DOIUrl":"https://doi.org/10.26650/iuturkiyat.651063","url":null,"abstract":"Mizanci Murad, Tanzimat Donemi’nin en onemli fikir, devlet adamlarindan biridir. Ulkenin icinde bulundugu durum devrin butun aydinlari gibi onu da careler dusunmeye ve onermeye toplum icin cabalamaya itmistir. Bunun icin iktidarin engellemelerine ragmen uzun bir sure Mizan gazetesini cikarmis, burada yazilarini nesretmistir. Bu yazilarda ozellikle siyasi goruslerini dile getirmistir. Edebi goruslerini dile getirdigi seri makalelerinde ise eser tenkidi yapmistir. Edebiyatimizin dunu ve bugunu hakkindaki goruslerini siralamistir. Bununla birlikte edebiyatin nasil olmasi gerektigini de Bati’dan ornekler vererek aciklamistir. Ona gore edebiyat milli bir karakter tasimalidir. Edebiyat-i ahlâkiye adini verdigi bu anlayisa gore yazarlar toplumu iyiye yoneltecek ideal rol modeller yaratmalidir. Mizanci Murad’in edebiyat anlayisinin uygulamasi olmak uzere kaleme aldigi tek telif tiyatro eseri bugune kadar gunumuz alfabesine uyarlanmamis ve uzerine neredeyse hic calisilmamis bir eser olan Tencere Yuvarlandi Kapagini Buldu adli eseridir. Dort perdelik bir komedi olan bu eser, toplumsal bir konu olan evlilik konusunu ele almaktadir. Murad Bey, eserde kurguladigi ideal ve karsit karakterler vasitasiyla dogru ve yanlis denklemi uzerinden mesajini topluma ulastirmaya calisir.","PeriodicalId":447450,"journal":{"name":"Türkiyat Mecmuası","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127562773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.26650/iuturkiyat.651042
Mustafa Temizsu
Turk oykuculugunun onemli isimlerinden Haldun Taner’in Şishane’ye Yagmur Yagiyordu adli kitabi 1953 yilinda yayimlanmistir. Bu yazida, kitapta yer alan “Fasarya” adli oyku, icerik ve yontem acisindan incelenecektir. Genel bir ifadeyle, oykunun anlamsal duzlemini olusturan konu, tema ve icerik gibi unsurlarin metnin anlatisal stratejisinde “karsitliklar” uzerine insa edildigi gozlemlenmektedir. Ayni durum yontem basligi altinda inceleyecegimiz anlatici ve zaman gibi problemlerde de kendini gostermektedir. Anlatisal karsitlik ifadesiyle kast edilen, salt edebiyatin temel enstrumanlarindan olan tezat sanatinin oykude oynadigi rol degildir. Burada ayni zamanda, anlaticinin oykunun icindeki konumu ve bakis acisi sonucu olusan anlatisal bir strateji soz konusudur. Bu strateji ise yapmis oldugumuz inceleme sonucunda iki sekilde ortaya cikmaktadir. Bunlardan ilki Fasarya’yla anlatici arasindaki iliskiye, ikincisi ise yine onun toplum ve toplumsal olaylar karsisindaki konumuna dayalidir. Dolaysiyla bu yazida, “Fasarya”nin icerik ve yontemini belirleyen temel unsur oldugunu dusundugumuz “anlatisal karsitlik” durumunun oykunun kurgusalliginda ne olcude rol oynadigi sorunsali uzerinde durulacaktir. Şuphesiz bu durum ayni zamanda, Haldun Taner’in oykuculugunde benzer oyku tekniklerinin kullanilip kullanilmadigi hususunda yeni calismalarin yapilmasini saglayacaktir.
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Pub Date : 2019-12-31DOI: 10.26650/iuturkiyat.646475
M. Ak
Osmanli Devletinin hâkim oldugu topraklar hemen hemen her donem Batili gezginlerin dikkatini cekti. Turk topraklarina cesitli amaclarla gelen gezginler, gezdikleri yerlerde gordukleri ve ilgilerini ceken bircok seyi kaleme aldilar. Gezileri sirasinda ozellikle Turk toplumunun onemli unsurlarindan birisi olan Yoruk veya Turkmen olarak adlandirilan konargocerler ile ilgili gozlemlerini de kayda gecirdiler. Bunlarin kislak, yaylak ve guzlek arasinda mevsim farkina bagli olarak surdurdukleri hareketli yapilari nedeni ile oturduklari cadirlar ve diger mesken turlerini bazen ayrintili bir sekilde bazen de genel olarak ele aldilar. Cadirlarin donanim, kurulum ve ic mekân ozelliklerine degindiler. Bu cadirlardan, karacadir ismini sikca verirlerken topak ev, alacik, hug ve diger mesken turlerinin adlarindan bahsetmediler ancak cogunlukla seklen tanitip cesitli ozellikleri veya genel gorunumlerini betimlediler. Gozlemler sonucunda gezginler, var olan ortami cogu zaman oldugu gibi anlatmaya calistilar ancak romantik bir bakis acisi sergileyenler yaninda zaman zaman oryantalist bakis acisindan kurtulamayanlar da oldu. Gezginler, verdikleri bilgiler ile cadir turleri ve kullanilan meskenlerin cesitliliginden bahsedip bunlarin yore ve bolge dagilimini ortaya koyduklari gibi hem farkli cadir turlerinin, hem de cadirlar ile birlikte farkli meskenlerin ayni ortamda kullanildigini gozler onune serdiler.
{"title":"Batılı Gezginlerin Gözlemlerinde Yörük/Türkmen Çadırları","authors":"M. Ak","doi":"10.26650/iuturkiyat.646475","DOIUrl":"https://doi.org/10.26650/iuturkiyat.646475","url":null,"abstract":"Osmanli Devletinin hâkim oldugu topraklar hemen hemen her donem Batili gezginlerin dikkatini cekti. Turk topraklarina cesitli amaclarla gelen gezginler, gezdikleri yerlerde gordukleri ve ilgilerini ceken bircok seyi kaleme aldilar. Gezileri sirasinda ozellikle Turk toplumunun onemli unsurlarindan birisi olan Yoruk veya Turkmen olarak adlandirilan konargocerler ile ilgili gozlemlerini de kayda gecirdiler. Bunlarin kislak, yaylak ve guzlek arasinda mevsim farkina bagli olarak surdurdukleri hareketli yapilari nedeni ile oturduklari cadirlar ve diger mesken turlerini bazen ayrintili bir sekilde bazen de genel olarak ele aldilar. Cadirlarin donanim, kurulum ve ic mekân ozelliklerine degindiler. Bu cadirlardan, karacadir ismini sikca verirlerken topak ev, alacik, hug ve diger mesken turlerinin adlarindan bahsetmediler ancak cogunlukla seklen tanitip cesitli ozellikleri veya genel gorunumlerini betimlediler. Gozlemler sonucunda gezginler, var olan ortami cogu zaman oldugu gibi anlatmaya calistilar ancak romantik bir bakis acisi sergileyenler yaninda zaman zaman oryantalist bakis acisindan kurtulamayanlar da oldu. Gezginler, verdikleri bilgiler ile cadir turleri ve kullanilan meskenlerin cesitliliginden bahsedip bunlarin yore ve bolge dagilimini ortaya koyduklari gibi hem farkli cadir turlerinin, hem de cadirlar ile birlikte farkli meskenlerin ayni ortamda kullanildigini gozler onune serdiler.","PeriodicalId":447450,"journal":{"name":"Türkiyat Mecmuası","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114697152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.26650/iuturkiyat.651192
Gökhan Yalçin, Abdulkadir Ide
During the Ottoman period in the time of Mahmud II (1826), the education of Western music started to be given formally alongside Turkish music by doing away with the janissary band, through the establishment of the military band, Muzika-i Humâyun and by the commissioning of the Italian composer Giuseppe Donizetti . Donizetti trained many students until his death in 1856. After that another Italian composer, Callisto Guatelli, was commissioned by Abdulhamid II until his death in 1899. The Spanish composer D'Arenda helped Guatelli in Muzika-yi Humâyun and replaced him later.Turkish students have published many books or translations of Western music theory and solfege education. One of the first and most important works among these publications is "Solfej Yahud Nazariyat-i Musiki (Solfege or Music Theory) (1888/1889)" by the flautist Mustafa Safvet [Atabinen] Bey, who is an educator of the Muzika-i Humâyun (The Imperial Band of the Ottoman Empire) and the other is "Kutubhane-i Musikiden Talim-i Kiraat-i Musiki (Teaching and Reading of Music From Library of Music) (1899/1900)" by theviolinist Mehmed Zati [Arca] Bey, who is also an educator of the Muzika-i Humâyun. These works are the first printed Turkish solfege books of the Ottoman period. The aim of this study is firstly to examine the extant terms used by converting these two books from old letters to new letters and then to investigate the usability of the solfege samples included in the books in today's professional music education and to bring them into today's solfege education. The titles of the works which were prepared for practice are determined as follows: "ta'limler", "temrin", "kirâat", "vazifeler", "tenbihler", "mulâhâzat", "mesk" and "imlâ". These titles are determined according to the purposes of consolidating, performing, printing and evaluating the theoretical knowledge. Moreover, in this book, twenty five "two voice solfege" examples are also included. Some of these solfeges are vocal works. Turkish music works are used for teaching syncopated rhythms which occur frequently in the book. Moreover it can be said that two voice solfege examples are also crucial in terms of polyphonic hearing. It is seen that the books Solfej Yahud Nazariyat-i Musiki and Kutubhâne-i Musikiden Talim-i Kirâat-i Musiki play an important part in comprising the terminology of Turkish Western music.
在马哈茂德二世(1826年)的奥斯曼帝国时期，西方音乐教育开始与土耳其音乐一起正式进行，通过建立军乐队Muzika-i hum，并委托意大利作曲家朱塞佩·多尼采蒂(Giuseppe Donizetti)，取消了卫兵乐队。多尼采蒂在1856年去世前培养了许多学生。在那之后，另一位意大利作曲家卡利斯托·瓜泰利受阿卜杜勒哈米德二世委托，直到1899年他去世。西班牙作曲家达伦达在《Muzika-yi hum yun》中帮助瓜泰利，后来又取代了他。土耳其学生出版了许多西方音乐理论和视唱教育的书籍或译本。这些出版物中最早和最重要的作品之一是长笛演奏家Mustafa Safvet [Atabinen] Bey的“Solfej Yahud nazariyat i Musiki(视唱或音乐理论)(1888/1889)”，他是Muzika-i hum(奥斯曼帝国的帝国乐队)的教育家，另一个是小提琴家Mehmed Zati [Arca] Bey的“Kutubhane-i Musikiden talim - Kiraat-i Musiki(音乐图书馆的音乐教学和阅读)(1899/1900)”，他也是Muzika-i hum的教育家。这些作品是奥斯曼帝国时期第一批印刷的土耳其视唱书。本研究的目的首先是通过将这两本书从旧字母转换为新字母来检查现有的术语，然后调查书中包含的视唱样本在当今专业音乐教育中的可用性，并将其纳入今天的视唱教育。为练习准备的作品的标题确定如下:“ta'limler”，“temrin”，“kir”，“vazifeler”，“tenbihler”，“mul h zat”，“mesk”和“iml”。这些职称是根据巩固、执行、印刷和评价理论知识的目的而确定的。此外，本书还收录了25个“二声视唱”实例。有些视唱是声乐作品。土耳其音乐作品被用来教授切分节奏，这在书中经常出现。此外，可以说两个声音的视唱例子在复音听力方面也是至关重要的。可以看出，Solfej Yahud Nazariyat-i Musiki和kutubhne -i Musikiden Talim-i kir -i Musiki在组成土耳其西方音乐术语方面发挥了重要作用。
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Pub Date : 2019-12-31DOI: 10.26650/iuturkiyat.649574
Özlem Kutkan
Bu makale, Amerikan Dogu Akdeniz Ticaret Odasi tarafindan yayinlanan Dogu Akdeniz Ticaret Odasi Dergisi (1911-1931) uzerinden Osmanli Amerikan ekonomik iliskilerine iliskin yurutulen kapsamli bir arastirma surecinde derginin sehir tarihi yazimina yapabilecegi katkilarin gorulmesiyle ortaya cikmistir. Bu baglamda, ticaret odasi yetkilileri, konsoloslar, egitimciler gibi yetkili ve donanimli kisilerce kaleme alinan gozlem ve raporlarin ozellikle ticaret merkezi olan kentlerin sosyal ekonomik yapilarini bir surec uzerinden okuma imkânina yaklastirdigi gorulmustur. Bu yazida soz konusu birikim ise derginin kurulus tarihinden itibaren Trablusgarp ve Balkan Savaslari donemini kapsayacak olcude Izmir uzerinden degerlendirilmeye calisilmistir. Nitekim Osmanli Devleti’nin uc buyuk ekonomi merkezinden biri olan Izmir’in XX. yuzyilin ilk ceyreginde dunya ekonomisinde guclu ve saglam bir konuma oturmus olan Amerika Birlesik Devletleri’ne ait bir ticari kurulus faaliyetleri uzerinden incelenmesi donem ekonomi dinamiklerinin kavranmasi acisindan kayda deger bulunmustur. Bu nedenle Izmir’de iktisadi donem sartlarinin neler oldugu sorusuna verilen yanitlar, Dogu Akdeniz Ticaret Dergisi temelinde tematik basliklar altinda ve agirlikli olarak donem sartlarinin okunabilir kilinmasi yontemi ile kaleme alinmistir.
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Pub Date : 2019-12-31DOI: 10.26650/iuturkiyat.640768
Fatma Yaşar
Bilimsel verilere ve modern standartlara dayali ev idaresi dusuncesi on dokuzuncu yuzyilda gundeme gelmis ve yuzyilin ortalarindan itibaren ev idaresi bagimsiz bir ders olarak kiz okullarinin mufredat programlarinda yer almaya baslamistir. Ev idaresi bilimsel bir alan olarak evin duzeni, fiziksel kosullari, temizlik, evde saglik, isinma, giyim, cocuklarin bakimi ve terbiyesi, yemek, sofra duzeni ve âdâb-i muâseret gibi ev ile ilgili pek cok konuda bilimsel ve pedagojik standartlar belirlemekte ve bu sekilde evde profesyonelligi ve verimliligi artirmayi hedeflemektedir. Modernlesme oncesi Osmanli dunyasinda, ahlakin konusu olan ve ahlak kitaplarinin bir bolumunu olusturan ev idaresi, on dokuzuncu yuzyilin ikinci yarisindan itibaren kitaplar ve sureli yayinlarda mustakil bir alan olarak ele alinmakta ve kiz mekteplerinde ders olarak okutulmaktadir. Standart, disiplin, duzen, rasyonellik, pragmatizm ve hijyen bu yeni ev idaresinin ana prensiplerini olusturmaktadir. Bu makale, devletin egitim politikasi olarak ev idaresinin gec donem Osmanli kiz mekteplerinde fenne dayali bir ders olarak okutulmasini ele almakta ve bu baglamda ders kitaplarini, talimatnameleri, nizamnameleri ve sureli yayinlari incelemektedir. Makale, kiz mekteplerinin mufredat programinda ev idaresi derslerinin yerini ve agirligini irdelemekte ve ilgili mufredat programlarinin ve ders kitaplarinin gundemi ile muhtevasini, Osmanli modernlesmesi ve kadinlarin egitimi meselesi cercevesinde tartismaktadir.
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