Shaymaa Neamah Mohammed ALMKHELIF

Orhan Pamuk is considered one of the most important novelists and short story writers in Turkish Literature. The full name is Ferit Orhan Pamuk. He was born in Istanbul in 1952. He is now 69 year old and still alive. He is considered the first Turkish writer who wins Noble Prize for literature for the year 2006. He won several other prizes, one of which is Noble Prize because he has several short stories and novels. The White Castle is one of the most important novels for the author Orhan Pamuk who won the Noble Prize. It is considered a historical novel that belongs to the Ottoman Empire era in the 17th century. The novel revolves on one of the passengers who travels to Napoli through the sea. The Ottoman pirates captivate him and sell him to one of the Turkish people as slave. Both the master and the slave almost share the same features although they are from different geographic areas. The novel deals with the similarities and differences among the people of the and the people of the west in an accurate way. The concept of dream is to wish something favorable in the future. There were several types and ways of daydreams. This concept is different from one person to another. This term cannot be clearly defined because of its subjective nature. It appears in a very wide area, from the ability to maintain the thing dreamt to achieve to the world of dreams of the dreamer. Hence, the reality of daydreams is a wonderful art that is different from one person to another. We start the research by giving inclusive summary. In the Introduction, there is short summary for the life and literary personality of the Turkish author Orhan Pamuk as well as his works. The research introduces information about the novel which is the subject of the research paper. It introduces, through detailed study for the novel The White Castle, a detailed explanation about the art of dreams.

The Literary Geography of İstanbul and the Ahmet Hamdi Tanpınar in the Framework of the Narration and Tourism Relationship

This chapter aims to evaluate the works made under the title “the literary geography of İstanbul” concerning literary tourism in the activities carried out by the Ahmet Hamdi Tanpınar Research and Application Centre regarding Ahmet Hamdi Tanpınar and the novel Huzur. In this framework, the author examines the tourist experiences of literary tourists in actual and fictitious localities, their psycho-aesthetic experiences, the relationships they build with the city, the method used by the research center in these touristic activities, as well as the consequences of these experiences for literary tourism. The potential of Turkish literature in determining the future of cultural tourism and literary tourism will also be evaluated.

РЕЛИГИОЗНИ ЕЛЕМЕНТИ В ТУРСКАТА ПОЕЗИЯ СЛЕД ТАНЗИМАТА

Turkish poets turn to religious topics immediately after converting to Islam. The orientation towards Western literature led to the adoption of the poetic forms. Society's worldview changed. After the Tanzimat, the religious elements continued to be present in Turkish literature, but through the prizm of social relations in Turkish society. The authors found inspiration in the religious images in the holy books. Both their hardships and their personal virtues were described. The poets emphasized their determination and steadfastness in the name of good. They set personal examples of modesty, tolerance, strength and self-sacrifice. Through the religious images, poets sent messages to the modern people.

Husrev u Shirin-Farhad u Shirin Masnavis and Ferhad as the Primary Hero in Turkish Literature

The story of Husrev and Shirin, which was first put into poetry in Firdevsi's Shahname, was later written by many poets. It is undoubtedly NizamiGanjavi who brought the story of Husrev and Şirin to the real fame in Persian literature. Nizami's Husrev u Shirin Masnavi inspired many Persian and Turkish poets who came after him. Each poet has immortalized this story according to his own imagination. In Turkish literature, poets have produced original works by changing the story according to their own traditions and belief cultures instead of translating the story from Persian literature. In this context, Ali Shir Nevayi and Lamii Chelebi's Farhad u Shirin masnavis are two remarkable works. While Hüsrev was the main hero of Husrev u Shirin masnavis in Persian literature, the real hero was Farhad in these two masnavis. In Turkish folk literature, Ferhad stands out as the only hero without mentioning Husrev. This is a result of the efforts of Turkish poets to construct a new story with Farhad. In our study, the subject of why a story whose main hero is Husrev evolved into Farhad in Turkish literature will be examined

Husrev u Shirin-Farhad u Shirin Masnavis and Ferhad as the Primary Hero in Turkish Literature

The story of Husrev and Shirin, which was first put into poetry in Firdevsi's Shahname, was later written by many poets. It is undoubtedly NizamiGanjavi who brought the story of Husrev and Şirin to the real fame in Persian literature. Nizami's Husrev u Shirin Masnavi inspired many Persian and Turkish poets who came after him. Each poet has immortalized this story according to his own imagination. In Turkish literature, poets have produced original works by changing the story according to their own traditions and belief cultures instead of translating the story from Persian literature. In this context, Ali Shir Nevayi and Lamii Chelebi's Farhad u Shirin masnavis are two remarkable works. While Hüsrev was the main hero of Husrev u Shirin masnavis in Persian literature, the real hero was Farhad in these two masnavis. In Turkish folk literature, Ferhad stands out as the only hero without mentioning Husrev. This is a result of the efforts of Turkish poets to construct a new story with Farhad. In our study, the subject of why a story whose main hero is Husrev evolved into Farhad in Turkish literature will be examined.

Book Review: Christine M. Philliou, Turkey: A Past Against History. Oakland: University of California Press, 2021.

This book depicts transformation of the Ottoman and Turkish society between the Second Constitutional Monarchy (1908) of the late Ottoman Empire and the 1960s of modern Turkey with a focus on the life and works of Turkish journalist author Refik Halid Karay (1888-1965). Karay is known with his short stories and novels in Turkish literature. Using excerpts from Karay’s newspaper articles, stories, and novels, Philliou shows how an Ottoman liberal criticized the policies of the Committee of Union and Progress (CUP), the nationalists in Ankara during the Turkish War of Independence and the subsequent regime in the early years of the Turkish Republic. Using the term muhalefet [opposition], Philliou focuses on the transition of Karay from a dissident figure into a discontent patriot. While doing this, Philliou skillfully draws the framework of Turkish modernity between 1908 and 1960.

İSKÂT-I İZÂFÂT TEVHÎDİ-II

“At-tawheedu isqāt al-idhāfāt”, which is a definition of tawheed, that states “tawheed is to deny the attributes” is a concept of tawheed belonging to high mysticism. One of the evaluations made about the tawheed of “isqāt al-idhāfāt” attributed to Junaid Baghdadi, is that it is the tawheed of true tawheed and havâssu'l-havâss. Isqāt al-idhāfāt tawheed is also presented as a benchmark, which is an important criterion of true tawheed in sufi literature. The fact that havâssu'l-havâss is a definition of tawheed is sufficient evidence to express its difficulty. It is for this reason that it is said that “ isqāt al-idhāfāt, which is the perfection of tawheed, is one of the intensified and difficult tasks of arbāb-i tahqīq”. When the isqāt al-idhāfāt tawheed is evaluated within the framework of the Sunni mysticism and unity of existing paradigms, some interpretation differences arise. This definition of tawheed has been mentioned a lot in the verse and prose texts of classical Turkish literature. When isqāt al-idhāfāt tawheed, (which has different interpretations), is used for human beings and other creatures, it does not give a real effect to bad thoughts, causes, and reduces the existence of creatures to the level of imagination and does not give them the rank of real existence (wujud-u-genuki); When used for the divine essence, it is based on the concept of Ahadiyet. As far as it is known, Farid al-Din Attar was the first person to use the term “isqāt al-idhāfāt” in poetry. Attar uses the term isqāt al-idhāfāt in Asrār-nāmeh's tawheed ode with the phrase “که التوحید اسقاط الإضافات / Ki al-tawheedu isqāt al-idhāfāt”. This usage has been quoted by both Persian literature poets and classical Turkish literature poets. The concepts of tajrīd, tefrīd, abandonment and unity of tawheed-i misākī have a very close connection with the concept of isqāt al-idhāfāt. Key Words: Tawheed (Monotheism), Tajrīd, Oneness, Abandoning, Ahadiyet

Literary Analysis of Sharof Boshbekov’s Comedy «The Iron Woman»

Sharof Boshbekov, a unique writer, played an important role in the development of Uzbek drama in the 1980s. It is obvious that realism prevails in his plays. In the writer's works, the flaws of society are implied by humorous descriptions. His dramatic works depict the events and phenomena of that time, and not the depths of history. His works also critically describe the life of villagers and peasants. In this study, we analyzed Sharof Boshbekov's comedy “The Iron Woman” using the modern method of text analysis, which is widely used today in Turkish literature, and tried to determine the literary value of the text and the views of the writer. The analysis of the text covers the political and cultural landscape of Uzbekistan in the 1980-1990, the structure of the text, the relationship between the concepts of character, time and space. In addition, the language features and writing style of the work have been clarified.