344 10 3494 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 1025 Title A name given to the resource World Englishes and Applied Linguistics Author Author Kaul, Vineet Abstract A summary of the resource. The paper discusses World Englishes (WEs) in the applied linguistics profession for the most part accepts multiple varieties of English as legitimate and worthy of study even if legitimacy remains the object of inquiry. Consistent with the value applied linguistics place on WE, English is taught and learned in many countries because it is an international language. English is seen as a means to open doors to parts of the world that are not accessible to them otherwise and learners are fascinated by the increased international opportunities they believe the knowledge of English will bring to them. The international scope of learners’ English learning agenda should logically be matched by pedagogical approaches that teach EIL in part through inclusion of varieties of WEs. However, examinations of ELT practices reveal that English is still being taught as an inner-circle language, based almost with characters and cultural topics from the English speaking countries of the inner-circle. Issues associated with teaching English as an inner-circle language versus EIL need to be clarified if concrete changes are to be brought about in the way English is portrayed, valued, and taught in expanding ciecle countries where it is not the native language of the majority or an official language. Taking into account an interesting but at the same time controversial debate about the status of English in its varieties, which are commonly called WEs and the opposing ideas, it is aimed to present an overview of these discussions, together with some examples. Three concentric circles, the Interlanguage theory, Standard English and English as a Lingua France (ELF) were paid special attention while touching upon the controversial debates on World Englishes. Moreover, following these discussions on WEs, EIL and Applied Linguistics, some answers were provided regarding the questions on teaching and teacher education, seeing that the uses of English internationally are not just related to the Expanding Circle, but also they include native speakers as well as members of the Outer Circle. Date A point or period of time associated with an event in the lifecycle of the resource 2012-05 Keywords Keywords. Conference or Workshop Item PeerReviewed P Philology. Linguistics https://omeka.ibu.edu.ba/files/original/0e85ce500dcb22a4ca7f79715e7844ab.pdf e5f5e4524a760b633b6880a1774b673b PDF Text Text Writing the Proper Story: The Importance of Personal Experience and Inadequacy of Fiction in Alice Munro’s Story “The Ottawa Valley” Demir Alihodžić University of Tuzla Bosnia and Herzegovina Abstract The tendency among contemporary women writers to look inside themselves for material for fiction is particularly evident in the work of Alice Munro. Munro’s practice of utilizing personal experience in her stories is central to her work, and is therefore identified as an essential element of her fictional aesthetic. In “The Ottawa Valley,” the parallels between Munro’s experiences with her own terminally-ill mother and those of the narrator whose mother has Parkinson’s Disease, are immediately recognizable. Other stories also contain bits and pieces gathered from Munro’s memories; however, she is adamant that her stories should not be seen as strictly autobiographical. Her refusal to allow her work to be described as autobiographical serves as a protective shell into which the author may retreat, and as a reminder that Munro’s stories operate on many levels of reality. In the postscript added to the story, Munro, in the guise of the narrator, deals with the inadequacy of fiction. In several stories the reader is left wondering whether certain events actually occurred or if they were imagined by the teller. This ambiguity between fiction and reality is evident in stories where Munro and/or the characters seem to be second-guessing themselves. For example, the narrator in “The Ottawa Valley” wonders at the end if she has really told a “proper story.” This paper examines the importance of personal experience and inadequacy of fiction in writing by Alice Munro in general, and particularly in reference to her short story “The Ottawa Valley.” The parallels between the narrator’s experiences in “The Ottawa Valley” and Munro’s own experiences with her mother demonstrate that Munro frequently utilizes material from her own life in her stories. Key words: Alice Munro, Postcolonial literature, personal experience, fiction, short story 1. Introduction The tendency among contemporary women writers to look inside themselves for material for fiction is particularly evident in the work of Alice Munro. In an essay entitled “The Colonel’s Hash Resettled,” Munro (1972) states that she writes stories that come from inside and outside (p. 183). However, when she begins to analyze this comment, she determines that it is far from being that simple. She says: “When I get something from outside…I have to see it in my own terms, at once, or it isn’t going to be a story” (p. 183). However, Munro is quick to warn others about viewing her stories as autobiography. She concedes that she does use “bits of what is real” (Munro, 1982, p. 223), but this is done in order to strengthen the truth of the experience that she is attempting to convey. Whether Munro is writing about a real or imagined event, it is her personal experience which shapes the final product. It is impossible for Munro to step outside her life as woman, writer, mother, wife, and daughter and write about something which has little immediate meaning for her. �Munro’s practice of utilizing personal experience in her stories is central to her work, and is therefore identified as an essential element of her fictional aesthetic. In “The Ottawa Valley,” the parallels between Munro’s experiences with her own terminally-ill mother and those of the narrator whose mother has Parkinson’s Disease, are immediately recognizable. Other stories also contain bits and pieces gathered from Munro’s memories; however, she is adamant that her stories should not be seen as strictly autobiographical. Her refusal to allow her work to be described as autobiographical serves as a protective shell into which the author may retreat, and as a reminder that Munro’s stories operate on many levels of reality. In the postscript added to the story, Munro, in the guise of the narrator, deals with the inadequacy of fiction. In several stories the reader is left wondering whether certain events actually occurred or if they were imagined by the teller. For example, the narrator in “The Ottawa Valley” wonders at the end if she has really told a “proper story” (p. 246). This paper examines the importance of personal experience and inadequacy of fiction in writing by Alice Munro in general, and particularly in reference to her short story “The Ottawa Valley.” The parallels between the narrator’s experiences in “The Ottawa Valley” and Munro’s own experiences with her mother demonstrate that Munro frequently utilizes material from her own life in her stories. 2. Turning inward: Features of Alice Munro’s aesthetic and writing style Beverly Rasporich (1990) believes personal experience and, more specifically, her experiences as a woman, to be integral to Munro’s work (p. 14). In an interview cited by Rasporich, Munro discusses the idea of using personal experience, which first came to her when writing “The Peace of Utrecht.” She claims that if she had not arrived at that point when she knew that she needed to call on her own experiences for material for her fiction, she “would not have had enough power to work as a writer” (Rasporich, 1990, p. 14). This practice of using personal experience as material for stories has caused much dissension among critics of Munro’s work. There are those who would argue that Munro’s use of real events and experiences is a negative aspect of her work (Blodgett, 1988, p. 6). These critics seem to feel that making too much of the autobiographical links in her work reduces it to the level of the documentary (Blodgett, 1988, p. 1). Blodgett prefers not to view Munro as a realist, because he finds her “photographic or documentary realism” to be the “negative aspect of art, that against which her writing has struggled in the three and a half decades of her engagement with her craft” (p. 6). In contrast to this position, critics such as Beverly Rasporich (1990) and Michelle Gadpaille (1998) believe that it is her very personal closeness to her work that makes it strong. It is interesting to note a possible gender split in these assessments of Munro’s work. The dichotomy which appears to exist between female and male critics with regard to Munro’s autobiographical tendencies may be at least partially explained by recent trends in feminist criticism toward viewing a woman’s body as the origin of her art, with the result being an intense closeness between the woman and her writing (Gubar, 1981, p. 248). In light of these theories, feminist critics may find accepting autobiography as a positive aspect of writing fiction to be easier than their male counterparts. The setting of Munro’s stories is another important element of her craft, as it provides a connection to her “real life.” The majority of the stories are set in small-town southwestern Ontario. These towns bear a striking resemblance to the Huron County area where Munro was raised and currently resides. This rather ordinary setting provides the backdrop for Munro to explore deeper levels of a seemingly simple existence. She “uses ‘normal’ surroundings-farms, middle-class living rooms, kitchen tables--as the flat paper on which her sensitive pen registers sudden alarms and shuddering shocks to the social bedrock” (Ross, 1994, p. C1). The world of her experience is food for the world created by her imagination. �Another matter which is present consistently in Munro’s work is the tension between fiction and reality. In several stories the reader is left wondering whether certain events actually occurred or if they were imagined by the teller. This ambiguity between fiction and reality is evident in stories where Munro and/or the characters seem to be second-guessing themselves. For example, the narrator in “The Ottawa Valley” wonders at the end if she has really told a “proper story” (p. 246). The final ingredient in an Alice Munro story is the women. Overwhelmingly, her stories are populated by females; children, adolescents, young wives and mothers, middleaged women, and spinsters dominate these stories. While men are present in the stories, they are usually in the background as someone’s father, brother, lover, or husband. Speaking in reference to her story “A Wilderness Station” (Open Secrets, 1994), Munro explains that the plot centers around two brothers, yet she found herself needing to include a woman. She admits that she “can’t make a story without a woman” (Ross, 1994, p. C1). The reasons for Munro’s inability to write stories without women are not completely clear; however, her habit of drawing on her experiences may be a possible explanation. In addition, Munro’s well-documented preference for the role of observer may also offer insight into this matter, for the world with which we are presented in the stories is seen through women’s eyes. The fact that Munro’s protagonists are mainly female does not mean that the stories appeal strictly to women. The relationships explored in the stories, the themes of love, power, and truth versus reality have universal appeal. Munro’s characters are sincere and believable because they are closely linked to their creator. 3. Elements of personal experience and inadequacy of fiction in “The Ottawa Valley” “The Ottawa Valley,” the last story in the collection Something I’ve Been Meaning To Tell You (1974), marks a turning point in Munro’s career. After writing this piece, she agonized over the possibility of ceasing to write fiction. Her dissatisfaction with the limitations of art made her feel “tormented by the inadequacy and impossibility and feel that maybe this is quite a mistaken way in which to spend one’s life” (Struthers, 1983, p. 28). Not only did she begin to question her ability to represent personal material and real lives, but she also began to doubt her “right to represent them at all” (Struthers, 1983, p. 28). This self-doubt, which is evident from the beginning of her published career with such stories as “The Office” and “The Peace of Utrecht,” becomes increasingly important in Munro’s third volume of stories. In “Material” and “Winter Wind” Munro explores the issue of using personal material for artistic purposes. It is in “The Ottawa Valley,” the story which concludes the collection, that she finally admits her failure to represent real lives accurately. From the outset of the story, it is clear that the narrator is obsessed with her late mother. The recollections of her mother which form the framework of the story occur when the narrator is in her early forties, approximately the same age at which her mother developed Parkinson’s Disease. This connection is important, for the narrator’s identity is closely tied to that of her mother. In the opening paragraph, she states that she frequently thinks of her mother when she looks in the mirror (p. 227). The plot centers around the narrator’s memories of a trip which she took with her sister and mother to the Ottawa Valley during wartime. Returning to her birthplace, it seems as if the mother is attempting to reclaim her past in an effort to form some semblance of identity. Similarly, the narrator’s remembered version of this journey represents her attempt to “mark off” her mother, to “describe, to illuminate, to celebrate, to get rid of her” (p. 246). �By her own admission, “The Ottawa Valley” is the most autobiographical of Munro’s stories (Hancock, 1983, p. 104). It is impossible to ignore the fact that Munro’s own mother suffered from Parkinson’s Disease, and that her illness had a tremendous impact on Munro (Hancock, 1983, p. 104). Magdalene Redekop (1992) even goes so far as to say that the story “could be said to be about referentiality” (p. 106), for there is no doubt that the “I” in “The “Ottawa Valley” is Alice Munro (p. 106). The whole object of the narrator’s journey, according to Blodgett (1988), is to come to terms with the mother in the story and with Munro’s real-life mother (p. 72). The parallels between the narrator’s experiments in “The Ottawa Valley” and Munro’s own experiences with her mother demonstrate that Munro frequently utilizes material from her own life in her stories. The narrator’s attempt to reconcile her feelings about her mother is presented through what Blodgett refers to as a series of snapshots (p. 78). Attempting to freeze the memory of her mother in time, the narrator relates bits and pieces of the trip to the Ottawa Valley. The difficulty with these snapshots is that they do not represent the entire picture; they are merely fragments of reality which have been distorted by the trickery inherent in memories. The unreliability of memory is particularly evident in the scene in which Aunt Dodie tells the story of the practical joke which she and the narrator’s mother had played on Allen Durrand, the hired man, many years earlier. Both ladies agree on the details of what had happened up to a certain point. After sewing up the fly on Durrand’s pants, they mixed up two pails full of lemonade, one of which Durrand thirstily consumed. Later, when the lemonade took effect and he needed to relieve himself, he was unable to open his zipper. Aunt Dodie and the narrator’s mother disagree on just what they saw when Durrand finally ripped down his overalls in desperation. According to Dodie, they “had the full view;” however, the narrator’s mother insisted that he had his back to them (p. 236). This amusing anecdote illustrates the subjectivity involved in telling stories of remembered people and events. In her search for identities for both her mother and herself, the narrator wrestles with the inadequacy of fiction. By attempting to mark off her mother through a series of remembered incidents, the narrator succeeds in doing little more than assembling a collage of memories. Realizing that such snapshots are subject to personal interpretation and are often colored by time, she eventually understands the futility of her task. The facts of these remembered incidents are much easier to gather than the emotions associated with them. Without the feelings, the facts have little significance and then their authenticity is called into question. Viewing these images of the past in hindsight, Munro’s pain and possibly even regret blur the line between fantasy and reality. In the postscript added to the story, Munro, in the guise of the narrator, deals with the inadequacy of fiction. This self-conscious analysis of the method used by the narrator in trying to define her mother seems almost an apology. The narrator feels a need to explain why she has been unable to write a “proper story” (p. 246). The intensely personal nature of her quest for her mother has rendered her unable, and even perhaps unwilling, to end the story without a final attempt to reach her mother. Blodgett (1988) considers the narrator’s inability to tell the proper story to be an abandonment of method for the sake of truth (p. 9). The ultimate truth is that she cannot adequately represent her mother because she [the mother] “…is so much a part of the narrating ‘I’” (p. 9). What the narrator means by the phrase “proper story” is problematic. Is she referring to the accurate version of the story, or is she hoping to provide herself with a suitable story in which her mother fits neatly into place? The latter of these explanations seems the most plausible in view of the narrator’s final comments about needing to “mark her off, to describe, to illumine, to celebrate, to get rid of her” (p. 246). The narrator will never be able to detach herself sufficiently from her mother to write the “proper story” because their identities have become intertwined. The proper story would ostensibly be comprised of an introduction, the �body of the story, a climax, and some form of resolution. The lack of resolution is what troubles both the narrator and Munro. If resolution is impossible, what is the point of writing at all? This admission of failure to write the proper story is extremely significant. Redekop (1992) sees this story as a “courageous confrontation with failure” (p. 114). She feels that “The Ottawa Valley” has special power because “a community of readers is formed by this process and the mutual vulnerability, the risk of exposing subjectivity is crucial to that experience” (Redekop, 1992, p. 104). The pain which Munro clearly feels in attempting to depict her mother and their relationship truthfully, and her inability to do so properly, creates a feeling of empathy for the writer. That the narrator, and by extension Munro, is only human is a gratifying realization which serves to increase the closeness between the reader and the story. In spite of her inability to reach the truth about her mother, Munro continues to use personal material in her stories. She does concede, however, that she will not likely write any more stories about her mother and her childhood (Hancock, 1983, p. 104). The distance which Munro requires to write a “proper story” about her mother is impossible to achieve. 4. Conclusion Clearly, the quest undertaken by the narrator of “The Ottawa Valley” has been about more than defining her mother, it has also been a search for a balance between real life and fiction. W. R. Martin (1987) believes that this balance is indeed achieved. He says of Munro: [W]hat she shows is simply that an artist can fail--through lack of skill or application, or perhaps because she is a daughter and too close to her subject, her mother--but also that the artist sometimes succeeds. If art were always a betrayal, what point would there be in devoting one’s life to writing short stories? (Martin, 1987, p. 91) Fascinated by ordinary life, Munro is certain that she will never run out of material for fiction (Hancock, 1983, p. 82). She finds that “even totally commonplace things like a shopping centre and a supermarket and things like that are just sort of endlessly interesting in their physical reality” (Hancock, 1983, p. 101). Because of the accuracy with which she depicts everyday life, and the fact that she so often draws upon her own experience of growing up in a rural area of Southwestern Ontario, Munro is frequently dubbed a realist. This label is most unfortunate, for it seems to imply a somewhat limited range of imagination, which is certainly not the case with Alice Munro. Instead, Munro’s abilities of keen observation and detailed description should be viewed as skills which are essential to any writer. The result of putting these skills to use is a body of fiction which encourages us to identify with characters, places, and events. References 1. Blodgett, E. D. (1988). Alice Munro. Boston: G.K. Hall and Company. 2. Gadpaille, Michelle. (1998). The Canadian Short Story. Toronto: Oxford University Press. 3. Gubar, Susan. (1981). ‘The Blank Page’ and the Issues of Female Creativity. Critical Inquiry, 8, 243-64. �4. Hancock. Geoff. (1983). An Interview With Alice Munro. Canadian Fiction Magazine, 43, 74-114. 5. Martin, W. R. (1987) Alice Munro: Paradox and Parallel. Edmonton: University of Alberta Press. 6. Munro, Alice. (1972). The Colonel’s Hash Resettled. In John Metcalf (ed.), The Narrative Voice (pp. 181-183), Toronto: McGraw-Hill Ryerson Limited. 7. Munro, Alice. (1982). What is Real?. In John Metcalf (ed.), Making It New (pp. 223-226), Toronto: Methuen. 8. Munro, Alice. (1990). Something I’ve Been Meaning to Tell You. Toronto: Penguin Books. 9. Rasporich, Beverly. (1990). Dance of the Sexes: Art and Gender in the Fiction of Alice Munro. Edmonton, University of Alberta Press. 10. Redekop, Magdalene. (1992). Mothers and Other Clowns: The Stories of Alice Munro. London: Routledge. 11. Ross, Val. (1994, October 1). A Writer Called Alice. The Globe and Mail, p. C1. 12. Struthers, J.R. (1983). The Real Material: An Interview with Alice Munro. In L.K. MacKendrick (ed.), Probable Fictions: Alice Munro’s Narrative Acts. (pp. 5-36), Toronto: ECW. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 3274 Title A name given to the resource Writing the Proper Story: The Importance of Personal Experience and Inadequacy of Fiction in Alice Munro’s Story “The Ottawa Valley” Author Author Alihodžić, Demir Abstract A summary of the resource. The tendency among contemporary women writers to look inside themselves for material for fiction is particularly evident in the work of Alice Munro. Munro’s practice of utilizing personal experience in her stories is central to her work, and is therefore identified as an essential element of her fictional aesthetic. In “The Ottawa Valley,” the parallels between Munro’s experiences with her own terminally-ill mother and those of the narrator whose mother has Parkinson’s Disease, are immediately recognizable. Other stories also contain bits and pieces gathered from Munro’s memories; however, she is adamant that her stories should not be seen as strictly autobiographical. Her refusal to allow her work to be described as autobiographical serves as a protective shell into which the author may retreat, and as a reminder that Munro’s stories operate on many levels of reality. In the postscript added to the story, Munro, in the guise of the narrator, deals with the inadequacy of fiction. In several stories the reader is left wondering whether certain events actually occurred or if they were imagined by the teller. This ambiguity between fiction and reality is evident in stories where Munro and/or the characters seem to be second-guessing themselves. For example, the narrator in “The Ottawa Valley” wonders at the end if she has really told a “proper story.” This paper examines the importance of personal experience and inadequacy of fiction in writing by Alice Munro in general, and particularly in reference to her short story “The Ottawa Valley.” The parallels between the narrator’s experiences in “The Ottawa Valley” and Munro’s own experiences with her mother demonstrate that Munro frequently utilizes material from her own life in her stories. Key words: Alice Munro, Postcolonial literature, personal experience, fiction, short story Publisher An entity responsible for making the resource available International Burch University Date A point or period of time associated with an event in the lifecycle of the resource 2016-05-12 Keywords Keywords. Article PeerReviewed PE English https://omeka.ibu.edu.ba/files/original/23016481231e3dff7eddaba2d6021888.pdf 034a85d18f1ec405b1b2f4237f9044fc PDF Text Text 1st International Conference on Foreign Language Teaching and Applied Linguistics May 5-7 2011 Sarajevo Writing War and Feminine Discourse Alisa Mesihovic International University of Sarajevo Bosnia and Herzegovina alisamesihovic@gmail.com Abstract The main aim of this paper is to prove that feministic discourse related to war, is the best example that there is still enough space for debates whether it is necessary to separate feminine writing from ―traditional/masculine style― and that the feminist critique of a language is absolutely necessary segment of contemporary discourse analysis. Feminine writing is the term presented by French philosopher and writer, Helene Cixous who claims that women write/rewrite signs inscribed in their bodies, but she also explains that this style is not reserved exclusively for women, that men can also write feminine. Following above mentioned theory, this paper is using writing styles of two Bosnian artists, one writer and one film director, who both described the most painful and violent stories using non-violent language, and who managed to show the reality of war perceived by woman without using any aggressive or offensive discourse. Even though I do believe that there is no such thing as essential womanhood, common to all women repressed by patriarchy, the aim of this paper is show that feministic war discourse is exactly the place where class, origin, race and all other differences, are utterly minimized among all women around the world. Introduction - Feminist Critique of a Language Ever since Simone DE Beauvoir‘s ―Second Sex‖ appeared, nothing remained the same in this world, especially not the prism of understanding feminine voices. The ink became white or no! It has finally been perceived as white, since it‘s obvious that for example V. Woolf lived long before 1949. as well as many other great female writers. The milestone in understanding feminine writing came with the new generation of poststructuralist philosophers and theoreticians like Lucy Irigary, Julia Cristeva and Helene Cixous. For Cixous, the heart of écriture féminine is a relinquishing of the (masculine) self, and an acceptance and inclusion of the other in ways which will necessarily call into question the prevailing ideology and its mode of perception and expression, and hence create a new 'order' to replace the patriarchal and capitalist hegemony. In order to understand why and how feminine writing emerged, it is essential to have the knowledge of the patriarchal language system and its hegemonic power. One has to have a clear idea of the use of language as a weapon for political aims, particularly for domination. Therefore, it is necessary first to take a look at Lacan's theories on entering the symbolic order, that is, the entrance into the discourse affected by gender. Because in the patriarchal culture the most privileged symbol of signifier is phallus, the order of language is masculine order dominated by phallus; hence those who do not possess the phallus – women – remain marginal to language. It is from these ideas where Irigary‘s isomorphism with masculine sex gain its significance. (Cameron, 1990) After realizing how this phallocentric structure works, how it dominates and controls all aspects of human life, then it would be easier to find means to deconstruct it because then women would know where to turn to in order to base their own language on. After acquiring that knowledge, women would realize that they should go back to the presymbolic stage, step outside the realm of language and start anew. Thus, it would be useful to see what Kristeva says about this preoedipal stage which she calls the semiotic, and also Cixous' revolutionary argument on writing the body.(Peksen, 2005) To start from the beginning, I must explain the stage Lacan calls Real. This is a stage that infant goes through before he/she enters the language. The Real is important since this is the stage where no law exists i.e. no domination, no patriarchal is present. In terms of the language this phase is important since it is the phase where woman should go back to find her language. Real is also important since it is the phase where there is no language. In this case there is no luck, no absence. (Klages, 2001) Helene Cixous takes up where Lacan left off, in noting that women and men enter into the Symbolic Order, into language as structure, in different ways or through different doors and that the subject position open to either sex within the symbolic orders are also different. She understands that Lacan‘s naming the 1400 �1st International Conference on Foreign Language Teaching and Applied Linguistics May 5-7 2011 Sarajevo center of the Symbolic as the Phallus highlights what a patriarchal System language is – or more specifically, what phallo(go)centric system is. (Klages, 1997) This word phallocentric is a coin word stemming from the idea that the structure of language is centred by the phallus. Later Jacques Derrida came with the idea that spoken words are privileged over written ones and he coined the term ―logocentric‖. Cixous and Irigary combine two ideas to describe Western cultural systems and structures as ―phallogocentric‖ (Klages, 1997) based on the primacy of certain terms in an array of binary oppositions. Thus phallogocentric culture is one which is structured by binary oppositions – male/female, order/chaos, language/science, presence/absence, speech/writing, light/dark, etc and in which the term is valuated over the second term (cf De Saussure) Cixous follows Lacan‘s psychoanalytical paradigm which argues that a child must separate from its mother‘s body (the Real) in order to enter the symbolic. Because of this, Cixous says, the female body in general becomes unrepresentable in language; it‘s what cannot be spoken or written in phallogocentric Symbolic order. Cixous makes a leap from maternal body to female body. Rewriting Freud via Lacan, Cixous conceded that there is no such thing as female sexuality in and of itself in this phallogocentric system – it‘s always sexuality defined by the presence of a penis, and not by anything intrinsic to the female body (Klages, 1997). Cixous and other poststructuralist theoretical feminists are both outraged and intrigued by these possibilities for relation between gender and writing (or language use in general) that Lacan‘s paradigm opens up. Position of men and women in the Symbolic Lacan‘s description of the Symbolic (two doors) places women and men in different positions within the Symbolic in relation to the Phallus; men more easily misperceive themselves as having the Phallus, as being closer to it, whereas women (because they have no penises) are further from that center. Because of that distance from phallus, the poststructuralist theoretical feminists argue, women are closer to margins of the symbolic order; they are not as firmly anchored or fixed in a place as men are; they are closer to Imaginary, to images and fantasies, and further from the idea of absolute fixed and stable meaning than men are. (Klages, 1997) Because women are less fixed in the Symbolic than men, women- and their language- are more fluid, more flowing, and more unstable than men. It is important here to note that when Cixous talks about women and woman here, sometimes she means it literally, as the physical beings with vaginas and breasts etc. and sometimes she means it as a linguistic structural position ―woman‖ is a signifier in the chain of signifiers within the symbolic just as ―man‖ is; both have stable meaning because both are locked in place; anchored, by the Phallus as center of the symbolic order. When Cixous says that woman is more slippery, less fixed than men, she means both the literal woman and, the person, and the ―signifier‖ woman. (Klages, 1997). Again when she says ―woman must write herself‖ she is explaining this on two levels. One meaning is that woman must write her own stories her own experience, signs inscribed in her body, i.e. she must retell her experience, but she also must have a (new) way to be connected to the signifier ―I‖ to write the signifier of selfhood/subjecthood offered within the Symbolic order (Klages, 1997) Cixous argues that most women do write and speak but that they do so ―from the masculine position‖. In order to speak women have assumed they needed a stable, fixed system of meaning, and thus aligned themselves with the Phallus. Cixous further argues that there has been little or no ―feminine‖ writing (The Laugh of Medusa p. 311) Further on, Cixous notes that writing is always marked with a Symbolic order that is structured through binary opposites including ―masculine/feminine‖, in which feminine is always repressed. So she argues that only women can produce feminine writing because it must come from their bodies but she is also arguing that men could occupy a structural position from which they can produce feminine writing. Feminine writing will show the structure of the Symbolic as a structure not as inevitable order and thus will allow us to deconstruct that order. (Klages,1997). On the second level, when women speak/write their own bodies, the structure of the language itself will change, as women become active subjects not just being passively acted upon, their position in language will shift. Women who write, if they do not merely reproduce phallogocentric system of stable ordered meaning which already exists (and which excludes them) – will be creating a new signifying system; this system that may have built into it fare more play, more fluidity, then the existing phallogocentric symbolic order. (The laugh of Medusa p. 319) Cixous is comparing écriture feminine with mother‘s milk, with rhythm and song, with pulse but not with representational language. To define something is to pin it down, to anchor it, to limit it, to put it in its place within a stable system or structure- and Cixous says that feminine writing is too fluid for that. (Klages, 1997). Feminine writing, than, is outside of the structure but to different degrees depending on which theorist we read. Irigary speaks of a language in which the masculine structure has entirely broke down; another writer in the psychoanalytic tradition, Julia Kristeva, talks about pre-symbolic features ‗disrupting‘ discourse, producing the oddness and fragmentation typical for modernist and symbolist poetry. Some women, including Woolf are 1401 �1st International Conference on Foreign Language Teaching and Applied Linguistics May 5-7 2011 Sarajevo particularly concerned with expressing in their language a less linear conception of time and space. (Cameron, 1990) Space is important here in terms of ‗nations‘, imagined communities that always imply ‗common spaceterritory‘ they share (cf Nira Yuval Davis). But feminine writing done by either sex is progressive because it challenges certain myths (rationality, unity) that are essentially patriarchal. And this very challenge of the patriarchal discourse is so important characteristic of Bazdulj‘s novel ―Kad je bio juli‖ where she has, in the most direct way ‗undermined‘ (challenged) myths of nation, unity, revenge, history etc. Nation – The myth of nation called into question We should keep in mind that the nature of all wars has drastically changed recently. For example during the 1st world war although civilians were suffering, still the main battlefield were not close to civilian‘s homes. The stereotype of that war was a male figure fighting under a flag for the honour of nation for womenandchildren (Yuval-Davis). With the 2nd world war the situation has already started to change, while on the example of wars in Balkans, Ruanda, Iraq, Ireland..., we can see that civilians are at the first front lines and the most directly involved in wars. Women are asked to preserve the society in which they usually have no voice. But in Bosnian/Serbian /Croatian language it is especially interesting to analize a word Rod which has the meanings like: gender, family, production... It is a stem of words: Porod and further on Narod that is a kind of synonym for Nation. This relationship reflects the importance of women‘s procreative roles , especially emphasised during wars since this is the time of great repatriarchalization. In this circumstances women are being glorified all the time but not as subjects who perceive wars from their perspectives but rather as objects, symbols of nation, imagined community that is difficult even to define, since as Nira Yuval-Davis wrote, some of these defining characteristic sometimes look like a shopping list. So while women‘s writing on war is still not so abundant in Balkans, more and more writers and film directors occupy female position in their writings, escaping phallogocentric, anchored stories as a part of their efforts to present the whole absurdity of wars.368 Despite the obvious differences in their fictional representations of women‘s wartime experience, works of Zbanic and Bazdulj reveal almost uncanny resemblance, resemblance that seems to set them apart from the wartime memories and perspectives of ―mankind‖. Both authoresses‘ works concentrate on the moments of suffering and both of them question the purpose of war through the examples of what is so often called ―collateral damage‖ . This might serve to distinguish them from masculine war memories, which tend to emphasize actions that led to the ultimate victory. My greatest inspiration for this study was a fact that Ms. Zbanic made a film about rape without a single scene of sexual intercourse. She managed to hold spectators awareness of the whole horror of the war and rape, to represent trauma using completely unaggressive language, free of hatred and heavy myths of past, which represent the trigger of all wars at this planet. Grbavica consciously ignores the past, choosing to show Esma moving through her everyday life rather than examining her time in a prisoner of war camp or depicting the multiple gang rapes she suffered. Instead of constantly retelling the past, Zbanic focuses on ―Esma‘s struggle to exist in the present.‖ Rather than being a personal, narrative account of something completed in the past, this ―memory-knowledge‖ is not locatable in time or easily narrated. Instead, it is felt as a constant presence that shapes current events and how the survivor experiences them. (Gold, 2010. )As Cixous suggested, there are signs that are inscribed and must be retold but the language used in the whole film suggests that Esma tells her story without full agency in her expression. There is a certain dose of pain and trouble which shows that behind all these painful realities, that produced many victimized identities, there is still a woman, the final winner of all wars and battles, still ready to carry on in non-aggressive way without seeking for revenge. Through the idea of accepting a child of her rapper and looking to the future Esma is denying the importance of blood relationship, so often mentioned as a basic myth in building nations and one of the most common motives for starting and conducting wars or aggressions. Once again mother‘s love is the absolute winner. At the same time Bazdulj-Hubijar is writing about the biggest genocide in Europe after the 2nd WW from a perspective of ten-years old boy who lost his parents and baby sister but still believes that his father is somewhere alive. At the first glance it is obvious that the language of this novel is different . Bazdulj is using minor, vernacular language, that introduces one new dimension and separates this novel from classic novels written in established language of literature . Her writing style also implies a certain political dimension, also and as Cixous explains women who write, if they do not merely reproduce phallogocentric system of stable ordered meaning which already exists (and which excludes them) – will be creating a new signifying system; this system that may have built into it fare more play, more fluidity, then the existing phallogocentric symbolic order. So the narrator of ―Juli‖369 is Mirza, who has lost everything in the war and the only worthy possession he still owns, and 368 369 Ex. „Trench as a trench they are all the same― a famous end sentence from No Man's Land; oscar-winner film by Danis Tanovic The novel Kad je bio juli soon became famous as Juli 1402 �1st International Conference on Foreign Language Teaching and Applied Linguistics May 5-7 2011 Sarajevo which nobody can take away from him is his enormous honesty that remains his biggest fortune gained in his parent‘s home. By the end of the novel Mirzas‘ honesty serves as a light motive to oppose all other human evils like greed, lies, selfishness... There is also hope that Mirza will, one day, go back to his parent‘s house, their own Citadel370 At the end of novel Mirza realizes that all his family is dead and he stops hoping, but they still live in his memories. By this time Mirza is already young man and authoress sooths his pain by introducing a girl Biljana that Mirza fells in love with since she is very carrying young woman. It is interesting that Biljana is Serbian,(Bosnian?) who had spent the war at the territory under control of aggressor‘s forces but who has also lost her brother in Bosnian army. The whole novel has this dimension of absurdity, and in character of Biljana, Bazdulj reflects famous sentence of Virginia Woolf ―As a woman I have no country...‖ since Biljana cannot be identified as a person who has only one national identity. Through the whole novel authoress does not question the role of aggressor neither she is neutral. "U ovom ratu su četnici bili morebit još gori od onije onda. Da su samo uradili ono što su moje oči viĎele to je da bog sačuva i zakloni a njiha babo u bosni i dan danile ima i ne srame se i ne stide neg se diče tijem i vazda na vas avaz govore mi smo četnici i borimo se za svoju otadţbinu majku srbiju i vas srpski narod. I na vrh vlasti ima jedan predsjednik pa da vidiš kako mu se oči zacakle kad na televizoru priča da mu je ćaća bijo četnik u onome ratu, a bezbeli je i on u ovom (...) I još ne znam babo kako je nekome ono što je za vas bijeli svijet bruka i sramota za nekoga dika i ne znam više ništa pa više ništa"371 In this war chetniks are even worse than in he previous one (2nd ww)… That is why it surprises even more, when in the end of her novel Bazdulj celebrates the idea if fraternity and unity that was crucial during fifty years of communism in Balkans. But this is not the only part of the novel that questions the myth of nation. There is another part where authoress explicitly writes that human suffering has no nation, because now, after the war three similar things happened to three persons of different nationalities; just in May 2005. Three men poured gas on themselves and burned themselves to the death and what is even more strange: "jedan se spalio u Sarajevu bio musliman jedan u Banjoj Luci bio Srbin, a treći u Mostaru bio Hrvat. A more biti da su sve dok se nijesu polili jedan na drugog poprijeko gledali, a mučile ih iste muke" One of them was a Muslim and had lived and burned himself in Sarajevo, one had lived in Banja Luka and was Serb and one had lived in Mostar and was Croatian. And it is possible that they were looking at each other as enemies but they had shared the same sufferings . I had read Bazdulj‘s novels before and I always had the impression that she intentionally levels some dilemmas for reader, but this time I was shocked. At first I could not understand what was the authoress trying to suggest. But the answer to this question I have found in the interview that Kathleen O'Grady made with Helene Cixous. Even in this way, cut out from the context, this sentence explains why only woman could write a novel like Kad je bio Juli and why the novel ends up this way: Literature is a transnational country. The authors we read have always been the citizens of the other world, border-crossers and out-laws372 Both authoresses, Zbanic and Bazdulj showed that there is no the ultimate victory as well as there is no unique definition of the war purpose. Conclusion Feminine writing and feminine war discourse is the best example that one text cannot be essentialized, that a text has not only one meaning and that there are so many messages one text can comply. It has been clear for a long time that there is a ‗gendered‘ side of reading and inseparable writing. Examination method of sexual difference in the literary text is deconstruction by Jacques Derrida. Deconstruction, of course, is not destruction. The act of deconstruction is going on in two directions simultaneously, certain entities are decomposed in order to create/compose new ones. Deconstruction is not ruining author‘s ideas but rather enabling a reader to escape rough meaning of binary oppositions (that are hierarchized in its nature) and is providing a new, enriched way of reading. Binary opposition male/female is structruralistic and essencialistic one in its nature since it assumes an 370 Citadel by Mesha Selimovic is a novel that symbolizes unity and protection that a human finds within its family, marriage, love... 372 GUARDIAN OF LANGUAGE: An Interview with Hélène Cixous (March 1996)by Kathleen O'Grady Trinity College, University of Cambridge 1403 �1st International Conference on Foreign Language Teaching and Applied Linguistics May 5-7 2011 Sarajevo option that between these two terms, among which one is always privileged in relation to another, and where a signifier is always superior to a signified, there are terms that cannot be expressed through these two signs. Escaping to both essenialistic and structuralistic nature of language, Bazdulj and Zbanic showed that under a rough surface of war aggressive discourse, there is endless richness of language, stories still to be told and heard, signs inscribed to be rewritten... that are common to all people all over the world regardless of colour, nation, race, place etc. Feminine war discourse might actually be the closest point where we should search for essential womanhood and the meaning of patriarchal oppression. References 1. Bazdulj-Hubijar, Nura Kad je bio juli; Zagreb : V.B.Z., 2005 2. Cixous, Hélène. Three Steps on the Ladder of Writing. The Wellek Library Lectures at the University of California, Irvine. New York: Columbia University Press, 1993. 3.Klages , Mary. Helene Cixous ―The laugh of Medusa‖ 1997 available at : http://www.colorado.edu/English/ENGL2012Klages/cixous.html, May 2001 4. http://www.engl.niu.edu/wac/cixous_intro.html (Introduction To Cixous) March 2009. 5. http://www.vanderbilt.edu/AnS/english/English295/albright/conquer.htm (The Laugh of Medusa), March 2009. 6. de Sausseure Ferdinand,Course in General Linguistics, translation: Wade Baskin London Fontana(1974) 7. Gold, A. Michael, Memory and Trauma, Recovering from rape in Jasmila Zbanic‘s Grbavica http://www.studentpulse.com/articles/211/embodied-memory-and-trauma-recovering-from-rape-in-jasmilazbanics-grbavic 8. Lacan, Jacques. ―The Mirror Stage as Formative of the Function of the I as Revealed in Psycholoantic Experience‖. 1949. Literary Theory: An Anthology. Eds. Julie Rivkin and Michael Ryan. Malden: ―The Symbolic Order‖. 1956. Literary Theory: An Anthology. Eds. Julie Rivkin and Michael Ryan Blackwell Publishing Ltd., 1998. 9. Peksen, Seda MP: Feminine Writing as an Alternative to the Patriarchal Language An Online Feminist Journal March 21, 2005 available at: http://academinist.org/wp-content/uploads/2005/03/010201Peksen_Feminine.pdf 10. Yuval-Davis, Nir: Gender nad Nation; translated by Mirjana Pajic- Jurinic Ņenska infoteka, Zagreb 2004. 1404 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 694 Title A name given to the resource Writing War and Feminine Discourse Author Author Mesihovic, Alisa Abstract A summary of the resource. The main aim of this paper is to prove that feministic discourse related to war, is the best example that there is still enough space for debates whether it is necessary to separate feminine writing from ―traditional/masculine style― and that the feminist critique of a language is absolutely necessary segment of contemporary discourse analysis. Feminine writing is the term presented by French philosopher and writer, Helene Cixous who claims that women write/rewrite signs inscribed in their bodies, but she also explains that this style is not reserved exclusively for women, that men can also write feminine. Following above mentioned theory, this paper is using writing styles of two Bosnian artists, one writer and one film director, who both described the most painful and violent stories using non-violent language, and who managed to show the reality of war perceived by woman without using any aggressive or offensive discourse. Even though I do believe that there is no such thing as essential womanhood, common to all women repressed by patriarchy, the aim of this paper is show that feministic war discourse is exactly the place where class, origin, race and all other differences, are utterly minimized among all women around the world. Date A point or period of time associated with an event in the lifecycle of the resource 2011-05 Keywords Keywords. Conference or Workshop Item PeerReviewed P Philology. Linguistics https://omeka.ibu.edu.ba/files/original/538a4bf674dae1b536134c68426ab601.docx 5bf229f9a7fe1a4c231fe023c16de37a https://omeka.ibu.edu.ba/files/original/de857f7df0b061063c006e1a5f804695.pdf 968627d5780cf27b1da930e9b50e74ff PDF Text Text XIX ASIR AZERBAYCAN ŞAİRİ MİRZA MUHSİN HAYALİ Naile MUSTAFAYEVA Azerbaycan Milli İlimler Akademisi, M. Fuzuli Adına Elyazmalar Enstitüsü, Fars Dili ve Edebiyatı, Bakü / Azerbaycan Anahtar Kelimeler: Hayali, poetika, gazel, elyazma, lirika. ÖZET Mirza Muhsin Hayali Azerbaycanın Guba ilinde dünyaya gelmiş, şiirsel yaratıcılığı burada faaliyet gösteren “Gülistan” edebi meclisinin son dönemine rastlayan şairlerimizdendir. Bilindiği gibi, XIX yüzyılın birinci yarısında düzenlenmiş ilk edebî meclislerden olan “Gülistan”ın faaliyetleri, üyeleri hakkında bilgimiz çok azdır. Bildiğimiz odu ki, “Gülistan”ın temelini görkemli âlim ve şair Abbaskulu ağa Bakıhanov Kudsî koymuş, meclisin oluşturulmasında dostu Gubalı Ahunt Abdullah ona yakından yardım etmiştir. “Gülistan” ebedi meclisinin 1819, 1835 yıllarında düzenlendiğini söyleyen tetkikatcılarımız olmuştur. Mirza Muhsin Hayali’nin hayat ve yaratıcılığına dair elimizde yeterli bilgi yoktur. Görkemli edebiyyatşinas Salman Mümtaz şairin eserlerini topladığı elyazmada onun h.1263 yılında (m.1846-1847) Guba'da doğduğunu, Molla Ali Ahundun oğlu olduğu için soyadının Ahundov olduğunu göstermiştir. Araştırmacı MirzaMöhsünün hayatı hakkında yazıyor: “Hayali Türkçe, Farsça, Rusça savada sahipti, bir süre Guba'da mektebdarlık etmiştir.” Mirza Muhsin Hayalinin edebi mirasına dair 3 elyazma Azerbaycan Milli İlimler Akademisi Elyazmaları Enstitüsü'nde saklanmaktadır. Bunlardan B-514 şifresi altında korunan gazel nastalik hattı ile aktarılmış yazma şairin eksik Dîvânıdır. 189 sayfadan oluşan toplunun her sayfasında bir gazel aktarılmıştır. Buradaki gazeller divanlar için geleneksel olan harf sıralanması ile dizilmemiştir. Nüshanın göçürülme tarihi ve katibin adı kayıt edilmemiştir. B-1523 şifreli, aktarılma tarihi ve katibi belirsiz diğer bir el yazmada şairin 36 şiiri toplanmıştır. Kayd ettiğimiz gibi, klasik poeziyanın geleneklerine sadıkkalan, eserlerini sade, açık dilde yazan Mirza Möhsin’in şiirlerinde sevgi lirikası yer alıyor. Bu şiirlerde sevgi, hicrandan şikayet, vuslat özlemi, vefasız güzellerden sitemgüzar, bazı vesilelerle devirden, şairin kendi durumundan hoşnutsuzluk içtenlikle kaleme alınmıştır. Şair klasik Şark poetikasının sanatsal ifade araçlarından, poetik figürlerden kullanımlara özellikle önem vermiş, klasik türk şiirinin sahib olduğu tüm sembolik imgelerden ustadane bir şekilde istifade etmiştir. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 2253 Title A name given to the resource XIX ASIR AZERBAYCAN ŞAİRİ MİRZA MUHSİN HAYALİ Author Author MUSTAFAYEVA, Naile Abstract A summary of the resource. Anahtar Kelimeler: Hayali, poetika, gazel, elyazma, lirika. ÖZET Mirza Muhsin Hayali Azerbaycanın Guba ilinde dünyaya gelmiş, şiirsel yaratıcılığı burada faaliyet gösteren “Gülistan” edebi meclisinin son dönemine rastlayan şairlerimizdendir. Bilindiği gibi, XIX yüzyılın birinci yarısında düzenlenmiş ilk edebî meclislerden olan “Gülistan”ın faaliyetleri, üyeleri hakkında bilgimiz çok azdır. Bildiğimiz odu ki, “Gülistan”ın temelini görkemli âlim ve şair Abbaskulu ağa Bakıhanov Kudsî koymuş, meclisin oluşturulmasında dostu Gubalı Ahunt Abdullah ona yakından yardım etmiştir. “Gülistan” ebedi meclisinin 1819, 1835 yıllarında düzenlendiğini söyleyen tetkikatcılarımız olmuştur. Mirza Muhsin Hayali’nin hayat ve yaratıcılığına dair elimizde yeterli bilgi yoktur. Görkemli edebiyyatşinas Salman Mümtaz şairin eserlerini topladığı elyazmada onun h.1263 yılında (m.1846-1847) Guba'da doğduğunu, Molla Ali Ahundun oğlu olduğu için soyadının Ahundov olduğunu göstermiştir. Araştırmacı MirzaMöhsünün hayatı hakkında yazıyor: “Hayali Türkçe, Farsça, Rusça savada sahipti, bir süre Guba'da mektebdarlık etmiştir.” Mirza Muhsin Hayalinin edebi mirasına dair 3 elyazma Azerbaycan Milli İlimler Akademisi Elyazmaları Enstitüsü'nde saklanmaktadır. Bunlardan B-514 şifresi altında korunan gazel nastalik hattı ile aktarılmış yazma şairin eksik Dîvânıdır. 189 sayfadan oluşan toplunun her sayfasında bir gazel aktarılmıştır. Buradaki gazeller divanlar için geleneksel olan harf sıralanması ile dizilmemiştir. Nüshanın göçürülme tarihi ve katibin adı kayıt edilmemiştir. B-1523 şifreli, aktarılma tarihi ve katibi belirsiz diğer bir el yazmada şairin 36 şiiri toplanmıştır. Kayd ettiğimiz gibi, klasik poeziyanın geleneklerine sadıkkalan, eserlerini sade, açık dilde yazan Mirza Möhsin’in şiirlerinde sevgi lirikası yer alıyor. Bu şiirlerde sevgi, hicrandan şikayet, vuslat özlemi, vefasız güzellerden sitem- güzar, bazı vesilelerle devirden, şairin kendi durumundan hoşnutsuzluk içtenlikle kaleme alınmıştır. Şair klasik Şark poetikasının sanatsal ifade araçlarından, poetik figürlerden kullanımlara özellikle önem vermiş, klasik türk şiirinin sahib olduğu tüm sembolik imgelerden ustadane bir şekilde istifade etmiştir. Publisher An entity responsible for making the resource available International Burch University Date A point or period of time associated with an event in the lifecycle of the resource 2013-05-17 Keywords Keywords. Article PeerReviewed Identifier An unambiguous reference to the resource within a given context ISSN 2203-4548 https://omeka.ibu.edu.ba/files/original/e89cadd35112b610dee8ca31992dc2d5.docx bd6a5551a997032ad9df885ffe834181 https://omeka.ibu.edu.ba/files/original/c2c40c3ca25d220e2ab11f648802394a.pdf 355910c5d7ec13dbd0e03e562678928e PDF Text Text XV-XVI. YÜZYILDA PİRLEPE’DE İSKÂN VE NÜFUS Nurullah KARTA Yüzüncü Yıl Üniversitesi, Tarih Öğretmenliği Bölümü, Van / Türkiye Anahtar Kelimeler: Pirlepe, Tahrir defterleri, mahalle, Balkanlar, nüfus. ÖZET Antik dönemlere kadar gidebilen tarihi ile Pirlepe, bugün Makedonya’ya bağlı bir şehir olup eski Osmanlı kasabalarından biridir. Vukaşin tarafından prenslik olarak ilan edilen kasaba Vukaşin’den sonra oğlu Marko’nun Osmanlı hâkimiyetini tanımasıyla beraber 1382 tarihinde Osmanlı egemenliğine dâhil olmuştur. Babuna dağının eteğinde Vardar’a tabi olan karasuya dökülen bir küçük çayın kenarında kurulmuş bir kale konumunda olan Pirlepe Osmanlı idari yapısı içerisinde Rumeli Eyaleti’nin Paşa livası sağ kol kasabaları arasında yer almaktadır. II. Mehmet’in saltanatı döneminden itibaren kasaba ciddi bir şekilde gelişme göstermiştir. Başlangıçta bir Balkan devleti olarak doğan Osmanlı İmparatorluğu Türklerin Balkanlar’a gönüllü göçünü sürekli teşvik etmiştir. Nüfus iskânının yanı sıra askeri ve mali şartlar da bu politikayı zorunlu kılmıştır. Bu bölgelere Anadolu’dan gelen dervişler, gaziler ve diğer unsurlar memleket açma ve fütuhat yapıp, civar köylere veya tamamen boş ve tenha yerlere yerleşerek ziraat ve hayvancılıkla meşgul olmuşlardır. Ayrıca, şehirde dini hayır kurumları inşa etmişlerdir. Pirlepe Kasabası özellikle 1478 yılarından sonra fiziki ve nüfus yapısı değişerek tipik Osmanlı şehri haline dönüşmüştür. İnceleme konumuzun temel kaynakları Türkiye Cumhuriyeti Başbakanlık Devlet Arşivlerinde bulunan l6. Yüzyıla ait tahrir defterleri olacaktır. Bu çalışmada, Osmanlı yönetiminde yaklaşık beş asır kalan Pirlepe’nin iktisadi ve sosyal özellikleri, merkez mahalleleri, kır iskân yerleşim bölgelerindeki Müslüman - gayrimüslim nüfus, içtimai yapı, üretim birimleri, meslek grupları, yetiştirilen ürünler ve tahsil edilen vergiler tespit edilmiştir. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 2024 Title A name given to the resource XV-XVI. YÜZYILDA PİRLEPE’DE İSKÂN VE NÜFUS Author Author KARTA, Nurullah Abstract A summary of the resource. Anahtar Kelimeler: Pirlepe, Tahrir defterleri, mahalle, Balkanlar, nüfus. ÖZET Antik dönemlere kadar gidebilen tarihi ile Pirlepe, bugün Makedonya’ya bağlı bir şehir olup eski Osmanlı kasabalarından biridir. Vukaşin tarafından prenslik olarak ilan edilen kasaba Vukaşin’den sonra oğlu Marko’nun Osmanlı hâkimiyetini tanımasıyla beraber 1382 tarihinde Osmanlı egemenliğine dâhil olmuştur. Babuna dağının eteğinde Vardar’a tabi olan karasuya dökülen bir küçük çayın kenarında kurulmuş bir kale konumunda olan Pirlepe Osmanlı idari yapısı içerisinde Rumeli Eyaleti’nin Paşa livası sağ kol kasabaları arasında yer almaktadır. II. Mehmet’in saltanatı döneminden itibaren kasaba ciddi bir şekilde gelişme göstermiştir. Başlangıçta bir Balkan devleti olarak doğan Osmanlı İmparatorluğu Türklerin Balkanlar’a gönüllü göçünü sürekli teşvik etmiştir. Nüfus iskânının yanı sıra askeri ve mali şartlar da bu politikayı zorunlu kılmıştır. Bu bölgelere Anadolu’dan gelen dervişler, gaziler ve diğer unsurlar memleket açma ve fütuhat yapıp, civar köylere veya tamamen boş ve tenha yerlere yerleşerek ziraat ve hayvancılıkla meşgul olmuşlardır. Ayrıca, şehirde dini hayır kurumları inşa etmişlerdir. Pirlepe Kasabası özellikle 1478 yılarından sonra fiziki ve nüfus yapısı değişerek tipik Osmanlı şehri haline dönüşmüştür. İnceleme konumuzun temel kaynakları Türkiye Cumhuriyeti Başbakanlık Devlet Arşivlerinde bulunan l6. Yüzyıla ait tahrir defterleri olacaktır. Bu çalışmada, Osmanlı yönetiminde yaklaşık beş asır kalan Pirlepe’nin iktisadi ve sosyal özellikleri, merkez mahalleleri, kır iskân yerleşim bölgelerindeki Müslüman - gayrimüslim nüfus, içtimai yapı, üretim birimleri, meslek grupları, yetiştirilen ürünler ve tahsil edilen vergiler tespit edilmiştir. Publisher An entity responsible for making the resource available International Burch University Date A point or period of time associated with an event in the lifecycle of the resource 2013-05-17 Keywords Keywords. Article PeerReviewed Identifier An unambiguous reference to the resource within a given context ISSN 2203-4548 https://omeka.ibu.edu.ba/files/original/707e4c13003bb7d3286c2454bf6229be.docx 412132b0c1284156c323028abb46f6bc https://omeka.ibu.edu.ba/files/original/7150da86edd07ed9853e1f5b896df202.pdf d9c2b9d6620ba80b3908aceb73682368 PDF Text Text XVI. YÜZYILDA BOSNA VE AHISKA’DA SOSYAL VE EKONOMİK YAŞAM Shota BEKADZE Ankara Üniversitesi, Sosyal Bilimler Enstitüsü, Siyaset Bilimi ve Kamu Yönetimi Anabilim Dalı, Ankata / Türkiye Anahtar Kelimeler: Osmanlı Devleti, Bosna Sancağı, Saraybosna, Gürcistan Cumhuriyeti, Ahıska Sancağı. ÖZET XVI. Yüzyılın sonlarında Osmanlı Devleti için büyük stratejik önem taşıyan iki bölge vardı. Birincisi, devletin batısındaki Bosna, ikincisi devletin doğusundaki Ahıska. Bosna Adriatik Denizi‟ne, ordan da Akdeniz‟e, Ahıska ise Kafkaslara ve daha sonra Hazar Denizi‟ne Osmanlıların yolunu açıyordu. Bosna ve Ahıska Sancakları arasında şu benzerlikleri görmekteyiz; Her iki sancak önemli stratejik konuma sahip olup; biri Batı‟da, diğeri Doğu‟da uç sancağı idi. Bosna‟nın fethi Osmanlı‟yı Adriatik Denizi‟ne kavuşturarak Akdeniz‟de hakimiyetini, Ahıska‟nın fethi de Osmanlı Devleti‟nin Kafkaslar yolunu açarak Hazar Deniz‟i kıyılarını kontrol altına alınmasını sağlıyordu. Bosna Avrupa ve Asya, Ahıska ise Anadolu ve Kafkasya arasında bir köprü idi. - Her iki sancak Osmanlı medeniyetinin yerleşim alanı olmakla aynı kaderi paylaşmışlardır. Bosna Doğu ve Batı, Ahıska ise Doğu ve Kafkasya dilleri ve medeniyetlerinin en önemli birleştiği noktalar idi. - Her iki sancağın başkentleri olan Saraybosna ve Ahıska‟da Müslüman, Ortadoks, Katolik, Musevi dinlerinden oluşan halk, huzur içerisinde yaşamakta idi. Bu yüzden Saraybosna Avrupa‟nın Kudüs‟ü, Ahıska ise Kafkasların Kudüs‟ü idi. Çalışmamızda Bosna, Saraybosna ve Ahıska‟nın etimoloji verilmiş ve tarihi şahsiyetlerden Bosnalı Gazi Hüsrev Bey, Ferhad Paşa ve Ahıskalı Hızır Paşa, Menüçöhr ve ünlü kadın siyasetçi Dedisimedi Debora hakkında bilgiler, Mençöhr ve ailesine Sultan IV. Murad‟ın verdiğü 1593 tarihli fermanı da yer almaktadır. Çalışmamızda XVII. Yüzyıl Osmanlı bilim adamlarından Evliya Çelebi‟nin „„Seyahatnamesi‟‟ ve Katip Çelebi‟nin „„Cihannüma‟‟sına göre Saraybosna ve Ahıska hakkındaki bilgiler verilmiştir. Çalışmamızda Saraybosna ve Ahıska‟nın kısa tarihini verdikten sonra bölgelerin sosyal- ekonomik durumu, vergi kalemleri, miktarları, ölçü ve tartı birimlerini incelemeye çalışılmıştır. Ahıska ile ilgili bilgiler, 1595 tarihli “Defter-i Mufassal Vilayet-i Gürcistan” tahrir defterine dayanarak „„Ahıska Sancağı Güney Nahiyesi‟‟ ışığında açıklığa kavuşturulmuştur. „„Defter-i Mufassal Vilayet-i Gürcistan‟‟ tahrir defterinin „„Ahıska Sancağı Güney Nahiyesi‟‟ bölümünün ilk defa olarak günümüz Türkçesine çevrilmesi çalışmamızın en önemli hususlarındandır. Bu çevirinin ve yapılan araştırmanın hem Türkiye, hem Gürcistan, hem de Kafkasya tarihçiliği için önemli olduğunu düşünülmektedir. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 2279 Title A name given to the resource XVI. YÜZYILDA BOSNA VE AHISKA’DA SOSYAL VE EKONOMİK YAŞAM Author Author BEKADZE, Shota Abstract A summary of the resource. Anahtar Kelimeler: Osmanlı Devleti, Bosna Sancağı, Saraybosna, Gürcistan Cumhuriyeti, Ahıska Sancağı. ÖZET XVI. Yüzyılın sonlarında Osmanlı Devleti için büyük stratejik önem taşıyan iki bölge vardı. Birincisi, devletin batısındaki Bosna, ikincisi devletin doğusundaki Ahıska. Bosna Adriatik Denizi‟ne, ordan da Akdeniz‟e, Ahıska ise Kafkaslara ve daha sonra Hazar Denizi‟ne Osmanlıların yolunu açıyordu. Bosna ve Ahıska Sancakları arasında şu benzerlikleri görmekteyiz; Her iki sancak önemli stratejik konuma sahip olup; biri Batı‟da, diğeri Doğu‟da uç sancağı idi. Bosna‟nın fethi Osmanlı‟yı Adriatik Denizi‟ne kavuşturarak Akdeniz‟de hakimiyetini, Ahıska‟nın fethi de Osmanlı Devleti‟nin Kafkaslar yolunu açarak Hazar Deniz‟i kıyılarını kontrol altına alınmasını sağlıyordu. Bosna Avrupa ve Asya, Ahıska ise Anadolu ve Kafkasya arasında bir köprü idi. - Her iki sancak Osmanlı medeniyetinin yerleşim alanı olmakla aynı kaderi paylaşmışlardır. Bosna Doğu ve Batı, Ahıska ise Doğu ve Kafkasya dilleri ve medeniyetlerinin en önemli birleştiği noktalar idi. - Her iki sancağın başkentleri olan Saraybosna ve Ahıska‟da Müslüman, Ortadoks, Katolik, Musevi dinlerinden oluşan halk, huzur içerisinde yaşamakta idi. Bu yüzden Saraybosna Avrupa‟nın Kudüs‟ü, Ahıska ise Kafkasların Kudüs‟ü idi. Çalışmamızda Bosna, Saraybosna ve Ahıska‟nın etimoloji verilmiş ve tarihi şahsiyetlerden Bosnalı Gazi Hüsrev Bey, Ferhad Paşa ve Ahıskalı Hızır Paşa, Menüçöhr ve ünlü kadın siyasetçi Dedisimedi Debora hakkında bilgiler, Mençöhr ve ailesine Sultan IV. Murad‟ın verdiğü 1593 tarihli fermanı da yer almaktadır. Çalışmamızda XVII. Yüzyıl Osmanlı bilim adamlarından Evliya Çelebi‟nin „„Seyahatnamesi‟‟ ve Katip Çelebi‟nin „„Cihannüma‟‟sına göre Saraybosna ve Ahıska hakkındaki bilgiler verilmiştir. Çalışmamızda Saraybosna ve Ahıska‟nın kısa tarihini verdikten sonra bölgelerin sosyal- ekonomik durumu, vergi kalemleri, miktarları, ölçü ve tartı birimlerini incelemeye çalışılmıştır. Ahıska ile ilgili bilgiler, 1595 tarihli “Defter-i Mufassal Vilayet-i Gürcistan” tahrir defterine dayanarak „„Ahıska Sancağı Güney Nahiyesi‟‟ ışığında açıklığa kavuşturulmuştur. „„Defter-i Mufassal Vilayet-i Gürcistan‟‟ tahrir defterinin „„Ahıska Sancağı Güney Nahiyesi‟‟ bölümünün ilk defa olarak günümüz Türkçesine çevrilmesi çalışmamızın en önemli hususlarındandır. Bu çevirinin ve yapılan araştırmanın hem Türkiye, hem Gürcistan, hem de Kafkasya tarihçiliği için önemli olduğunu düşünülmektedir. Publisher An entity responsible for making the resource available International Burch University Date A point or period of time associated with an event in the lifecycle of the resource 2013-05-17 Keywords Keywords. Article PeerReviewed Identifier An unambiguous reference to the resource within a given context ISSN 2203-4548 https://omeka.ibu.edu.ba/files/original/d1590671c95df057b6206a7b8f45a69c.pdf c745af323c057775d59abe74e94c9fdb PDF Text Text BİLDİRİ ÖZETLERİ - UTEK 2014 sentyabrın 30-da Azerbaycan aşık sanatını YUNESKO-nun keyri maddi medeni irsi sırasına dahil etmişdir.Takdim olunmuş tebliğde saz-söz sanatının Türkiye ve Azerbaaycan türklerinin kültürel kimliyinde mühüm rolu şerh edilir, bu sanatın hər iki türk boyunun milli manevi aleminde kültürel kimliyinin kaynaklarından olduğu izah edilir. Key words: saz, soz, culture, personality, national, art. Art of saz in the cultural personality of Azerbaijani turks Kopuz which is the elementary form of modern saz, is the document of cultural personality of Azerbaijani turks. Saz and word expresses the cultural personality of spiritual matter of the Azerbaijani turks. Music and folklore investigators have been proved that the art of saz stayes on the root of national culture. The ancient forms of saz kopuz, baghlama improved and overturned to cure and later tavar saz, later ustad saz, so turned from three-stringed saz to twelve-stringed. On this culturel instrument have been played about 200 ashik melodies. In accompaniment of saz have cropped the arts of dancing, acting, singing. This peculiarity of the art of saz-soz firstly has been applicated on the opera“Koroghlu” of Uzeyir Hacibeyov, Azerbaijani composer. This tradition has been continued on the activities of Kara Karayev and other composers. In 30 september of 2009 UNESCO included art of ashiq of Azerbaijan to the amaterial heritage of UNESCO. In this article have been explained the role of art of ashiq on the cultural personality of Azerbaijani turks. XVII YÜZYIL AZERBAYCAN ŞAİRİ VAHİD GAZVİNİ Paşa KERİMOV Azerbaycan Milli İlimler Akademisi Elyazmalar Enstitüsü / Azerbaycan Anahtar Kelimeler:Vahid Gazvini, divan, Türkçe, mesnevi, gazel. ÖZET İmaddüdövle Mirza Muhammed Tahir Vahid Gazvini XVII yüzyılın seçkin devlet adamı, şair ve tarihçisi olmuştur. O, doksan beş yıla kadar ömür 17 �BİLDİRİ ÖZETLERİ - UTEK 2014 sürmüş, beş Safevi şahının hakimiyeti döneminde hükümet idaresinde çalışmış, muhasebe ve vikayenevişlik (saray tarihçisi) görevinden vezirlik ve Sadr-ı Azamiliye dek yükselmiştir. Tahir Vahid Gazvini, siyasi faaliyetinin son dönemlerinde «İmaddüdövle» lakabı ile Safevi hükümdarı Şah Süleyman'ın (1666-1694) Baş Vezir-Sadri-ı Azam olarak görev yapmıştır.Azerbaycan alimi Muhammed Terbiyyetin verdiği bilgiye göre, Vahidin yüz bin beytten fazla Farsça şiirleri, II Şah Abbas (1642-1666) döneminin tarihine adanmış “Abbasname”si ve münşeatı vardır. Vahid`in “Halvet-i Raz”, “Nazü niyaz”, “Gülzari-Abbasi”, “Der vasfı Humayım tepe”, “Der tarifi-nerd”, “Fethnameyi-Kandahar”, “Der zikri ve masrefi edevati-ceng” isimli poemaları bulunmaktadır. Bunların yanısıra AMEA Elyazmaları Enstitüsü'nde Muhammed Tahir'in hesap ilmi hakkında 2 bölüm içeren Farsça dersliyinin elyazması tespit edildi. Son devirlerde Vahid`in Berlin Devlet Kütüphanesi'nde kayıtlı olan Külliyatı'nda şairin Azerbaycan Türkçesinde yazdığı Divanı bulunmuştur. Türkçe Divan 487 yapraktan oluşan Külliyatı'n ilk 30 yaprağına (1b-30a) nastalik hattı ile Baburi hükümdarı Bahadur Şah'ın zamanında aktarılmıştır. V.Gazvin'in Tebriz Merkezi Kütüphanesi'nde saklanan 192 yapraktan oluşan Farsça Divan`ının 4 yaprağına (115a-119a) şairin Türkçe şiirleri aktarılmıştır ki, bunlar toplam 117 Beyttir. Vahidin Azerbaycan Türkçesindeki Divanı 140 beytten oluşan mesnevi (1b-13b) ile başlıyor. Yaprak 4b-nin sonlarından divanın sonuna kadar (30B) şairin gazel, kıta, nazım ve tekbeytleri ayrı ayrı değil, alfabetik sıraya göre aktarılmıştır. Şairin Türkçe şiirlerinin üslubundan anlaşılmaktadır ki, Fuzuli edebi ekolünün en görkemli temsilcilerindendir, Divanı`nda Fuzuli'nin gazellerine yazılmış nazireleri vardır. Vahid Gazvininin Türkçe şiirleri XVII yüzyıl Azerbaycan edebiyatının en güzel poetik örneklerinden kabul edilebilir. Şiirlerini okurken onun kapsamlı mütalâa alanına sahip, seleflerinin eserlerini derinlemesine bilen sanatkar olduğunu görmekteyiz. 18 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 2632 Title A name given to the resource XVII YÜZYIL AZERBAYCAN ŞAİRİ VAHİD GAZVİNİ Author Author KERİMOV, Paşa Abstract A summary of the resource. İmaddüdövle Mirza Muhammed Tahir Vahid Gazvini XVII yüzyılın seçkin devlet adamı, şair ve tarihçisi olmuştur. O, doksan beş yıla kadar ömür sürmüş, beş Safevi şahının hakimiyeti döneminde hükümet idaresinde çalışmış, muhasebe ve vikayenevişlik (saray tarihçisi) görevinden vezirlik ve Sadr-ı Azamiliye dek yükselmiştir. Tahir Vahid Gazvini, siyasi faaliyetinin son dönemlerinde «İmaddüdövle» lakabı ile Safevi hükümdarı Şah Süleyman'ın (1666-1694) Baş Vezir-Sadri-ı Azam olarak görev yapmıştır.Azerbaycan alimi Muhammed Terbiyyetin verdiği bilgiye göre, Vahidin yüz bin beytten fazla Farsça şiirleri, II Şah Abbas (1642-1666) döneminin tarihine adanmış “Abbasname”si ve münşeatı vardır. Vahid`in “Halvet-i Raz”, “Nazü niyaz”, “Gülzari-Abbasi”, “Der vasfı Humayım tepe”, “Der tarifi-nerd”, “Fethnameyi-Kandahar”, “Der zikri ve masrefi edevati-ceng” isimli poemaları bulunmaktadır. Bunların yanısıra AMEA Elyazmaları Enstitüsü'nde Muhammed Tahir'in hesap ilmi hakkında 2 bölüm içeren Farsça dersliyinin elyazması tespit edildi. Son devirlerde Vahid`in Berlin Devlet Kütüphanesi'nde kayıtlı olan Külliyatı'nda şairin Azerbaycan Türkçesinde yazdığı Divanı bulunmuştur. Türkçe Divan 487 yapraktan oluşan Külliyatı'n ilk 30 yaprağına (1b-30a) nastalik hattı ile Baburi hükümdarı Bahadur Şah'ın zamanında aktarılmıştır. V.Gazvin'in Tebriz Merkezi Kütüphanesi'nde saklanan 192 yapraktan oluşan Farsça Divan`ının 4 yaprağına (115a-119a) şairin Türkçe şiirleri aktarılmıştır ki, bunlar toplam 117 Beyttir. Vahidin Azerbaycan Türkçesindeki Divanı 140 beytten oluşan mesnevi (1b-13b) ile başlıyor. Yaprak 4b-nin sonlarından divanın sonuna kadar (30B) şairin gazel, kıta, nazım ve tekbeytleri ayrı ayrı değil, alfabetik sıraya göre aktarılmıştır. Şairin Türkçe şiirlerinin üslubundan anlaşılmaktadır ki, Fuzuli edebi ekolünün en görkemli temsilcilerindendir, Divanı`nda Fuzuli'nin gazellerine yazılmış nazireleri vardır. Vahid Gazvininin Türkçe şiirleri XVII yüzyıl Azerbaycan edebiyatının en güzel poetik örneklerinden kabul edilebilir. Şiirlerini okurken onun kapsamlı mütalâa alanına sahip, seleflerinin eserlerini derinlemesine bilen sanatkar olduğunu görmekteyiz. Publisher An entity responsible for making the resource available International Burch University Date A point or period of time associated with an event in the lifecycle of the resource 2014-05-23 Keywords Keywords. Article PeerReviewed Identifier An unambiguous reference to the resource within a given context ISSN 2303-582X P Philology. Linguistics,PA Classical philology,PI Oriental languages and literatures,PN Literature (General) https://omeka.ibu.edu.ba/files/original/3f6f8e3a1dd783dcdb32b1e320821329.pdf 6b73fac813a1143e401bbe83ac6ba212 PDF Text Text BİLDİRİ ÖZETLERİ - UTEK 2014 BOSNA HERSEK’TE BAĞIMSIZLIK SONRASI MİLLİ KİMLİĞİN İNŞASINDA FOLKLORUN İŞLEVİ VE ÖNEMİ ÜZERİNE Zülfikar BAYRAKTAR Gediz Üniversitesi, İzmir / Türkiye Anahtar Kelimeler: Folklor,Milli Kimlik, Bosna Hersek ÖZET Kültürel tarzlar, kalıplar ve yapıların oluşturduğu ve oluşturmaya devam ettiği bilgi olarak tanımlanması mümkün olan folklor kavramının başta eğlendirme ve hoşça vakit geçirme, toplumsal kurumlara ve törelere destek verme, eğitim ve kültürün genç kuşaklara aktarılması, toplumsal ve kişisel baskılardan kurtulma ve de başkaldırı gibi temel işlevlere sahip olduğu söylenebilir. Bunun yanında, folklorun en önemli işlevlerinden birinin de kimlik tanımlamasında önemli bir gösterge olduğu gerçeğidir. Folklorun bu yönü, özellikle yeni kurulan devletlerin milli kimliklerini yapılandırmalarında önemli bir işleve sahiptir. Folklor, bağımsızlığına yakın zamanda kavuşan Bosna Hersek devletinin kendi milli kimliğini tanımlamasında ve bu kimlik üzerinden kendini tanıtmasında önemli bir işlevi yerine getirmektedir. Dolayısıyla, Bosna Hersek’te bağımsızlık sonrası milli kimliğin inşasında folklorun önemli bir işleve sahip olduğunu söylemek mümkündür. Makalede bu bağlamda, Bosna Hersek’te bağımsızlık sonrası milli kimliğin inşasında folklorun işlevi ve önemi meselesi üzerinde durulacaktır. 19 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 2633 Title A name given to the resource XVII YÜZYIL AZERBAYCAN ŞAİRİ VBOSNA HERSEK’TE BAĞIMSIZLIK SONRASI MİLLİ KİMLİĞİN İNŞASINDA FOLKLORUN İŞLEVİ VE ÖNEMİ ÜZERİNEAHİD GAZVİNİ Author Author BAYRAKTAR, Zülfikar Abstract A summary of the resource. Kültürel tarzlar, kalıplar ve yapıların oluşturduğu ve oluşturmaya devam ettiği bilgi olarak tanımlanması mümkün olan folklor kavramının başta eğlendirme ve hoşça vakit geçirme, toplumsal kurumlara ve törelere destek verme, eğitim ve kültürün genç kuşaklara aktarılması, toplumsal ve kişisel baskılardan kurtulma ve de başkaldırı gibi temel işlevlere sahip olduğu söylenebilir. Bunun yanında, folklorun en önemli işlevlerinden birinin de kimlik tanımlamasında önemli bir gösterge olduğu gerçeğidir. Folklorun bu yönü, özellikle yeni kurulan devletlerin milli kimliklerini yapılandırmalarında önemli bir işleve sahiptir. Folklor, bağımsızlığına yakın zamanda kavuşan Bosna Hersek devletinin kendi milli kimliğini tanımlamasında ve bu kimlik üzerinden kendini tanıtmasında önemli bir işlevi yerine getirmektedir. Dolayısıyla, Bosna Hersek’te bağımsızlık sonrası milli kimliğin inşasında folklorun önemli bir işleve sahip olduğunu söylemek mümkündür. Makalede bu bağlamda, Bosna Hersek’te bağımsızlık sonrası milli kimliğin inşasında folklorun işlevi ve önemi meselesi üzerinde durulacaktır. Publisher An entity responsible for making the resource available International Burch University Date A point or period of time associated with an event in the lifecycle of the resource 2014-05-23 Keywords Keywords. Article PeerReviewed Identifier An unambiguous reference to the resource within a given context ISSN 2303-582X P Philology. Linguistics,PA Classical philology,PI Oriental languages and literatures,PN Literature (General) https://omeka.ibu.edu.ba/files/original/b915bde5a828276ba92619d2c91b34d8.pdf ea4643e9df8736fb888e4f63ede81d13 PDF Text Text BİLDİRİ ÖZETLERİ - UTEK 2014 okuma yapılarak, alt katında Doğulu ve azgelişmiş yanlarımızın gizlenip üst katında Cumhuriyet değerlerini temsil eden emekli bir askerin hizaya getirmeye çalıştığı benliğin arada kalarak parçalanışı ve bilinçle delilik arasındaki çıkışsızlıkları incelenecektir. OGUZ ATAY’S EULOGY TO INSANITY: TEHLIKELI OYUNLAR Keywords: Tehlikeli Oyunlar, id-ego-superego, insanity, shanty house. ABSTRACT When 18th century Enlightenment that elevated the human mind release its roots on Ottoman territory with Edict of Reformation in its move towards East, where positivism and rationalism were wrongly perceived as a developmentalist move, this also heralded scientific and idealistic fundamentals of the Republic. However, in newborn Turkey where an intensive modernization and social construction program were implemented, it turned out that positivist and humanist values that would be followed in the light of science were being abandoned one by one, and all were being replaced by superficialities in the onset of 70s. Atay, who was raised in the hands of founding fathers of The Republic, and who became a machine architect to the most major need of the country and started to write his works exactly in this period, painfully was forced to accept this shallow corrupt mind, and hence took shelter in games as a defense mechanism. Game which evokes childhood and children's games, as stated in Atay's Günlük (Diary), is not only a state of purity and innocence. It is, at the same time, irrationality and madness that come to the surface. In Tehlikeli Oyunlar (Dangerous Games) the shanty house, where Hikmet Benol plays different games on each floor of its three storeys exhibiting different consciousness, is shaped as a playground where Atay applied Freudian techniques. This study examines disintegration and impasses of the self between consciousness and insanity with its Eastern and underdeveloped sides hidden in the lower floor and republican and modern values represented by a retired colonel living in the upper floor, and makes a psychoanalytic reading by interpreting each floor of the shanty house, where Hikmet Benol writes, 22 �BİLDİRİ ÖZETLERİ - UTEK 2014 and read aloud plays and perform them with his penpal Hüsamettin Tambay, as a level of id, ego and superego. XX ƏSR AZERBAYCAN MUHACİRET EDEBİYYATI Nezaket İSMAYİLOVA Naxcivan Dövlət Universiteti / Azerbaycan Anahtar Kelimeler: Vətən, mühacirət, həsrət, yaradıcılıq, ədəbiyyat. ÖZET 1920-1950 yılları arasında manevi-ahlaki deyerlerimiz total rejmin kazabına uğrar oldu. Bu nedenlerden vatandaşlarımızın bir kısmı Azerbaycan’a yakın olsun diye Türkiyeye göç etmiş kendi yaratıcılık faaliyyetleri ile çalışmalar yapmışlar. Bunlardan tanınmış bilim adamı Ehmed Ceferoğlu, Ehmed Cavad, Emin Abid, Mirze Bala Memmedzade, Alazan Baycan, Mirze Albay Dağlı, Elibey Hüseynzade, Ehmedbey Ağayev ve daha nicelerinin isimlerinide söylene biliriz. Bu şekilde göç hayatı yaşayan ünlü alimlerin zengin yaratıcılğının yalnız bir kısmı konfrans konusuna uykun olan bilgilere bağlı araşdırmalar yapmışlardır. Türk dünyasında tanınmış alim Ehmed Ceferoğlunun eserleri çok önemlidir. Onun bir kısım eserleri 1942 yılında neşr ettirdiyi “Şimal ellerimiz Azerbaycan’dan toplamalar “Adlı kitabında Karsta yaşayan azeri ve terekeme folklorundan örnekler onların geçmiş yaşam tarzları ve gelişmiş konuşma dilinden karşılıklı bir şekilde yeterli olunmuşdur. Türkiyenin Kars, ığdır, Sivas, Tokat, Amasya ve Van vilayetlerinde yaşayan azeri ve terekemelerden alınan metinler 350-400 yıl önce Afyonun Emirdağında konuşulmaktadır. Özellikle E.Ceferoğlu Türkiye Türkologiyasına özenle yanaşmış deyerli eserlerini ortaya koymuştur Onun esas amaçı Türkü Türke tanıtdırmak ve Türk dünyasını dünyaya beyan etmekdir. Bu şairlerden biri de Ehmed Cavaddır. Azerbaycan ve Türkiye edebiyatşünaslığın da şairin yaratıcılığı ile meşkul olan bir çok tedqiqatçılar var. Şair kuzey Qafqaz, Dağıstan, Kars, Ardahan ve siyerlerde olmuş türk halkına olan muhaebbet hissini 1914-te ekimde meşhur “Kara deniz” şirinde bu şekilde tercüme etmişdir. 23 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 2637 Title A name given to the resource XX ƏSR AZERBAYCAN MUHACİRET EDEBİYYATI Author Author ISMAYILOVA, Nezaket Abstract A summary of the resource. 1920-1950 yılları arasında manevi-ahlaki deyerlerimiz total rejmin kazabına uğrar oldu. Bu nedenlerden vatandaşlarımızın bir kısmı Azerbaycan’a yakın olsun diye Türkiyeye göç etmiş kendi yaratıcılık faaliyyetleri ile çalışmalar yapmışlar. Bunlardan tanınmış bilim adamı Ehmed Ceferoğlu, Ehmed Cavad, Emin Abid, Mirze Bala Memmedzade, Alazan Baycan, Mirze Albay Dağlı, Elibey Hüseynzade, Ehmedbey Ağayev ve daha nicelerinin isimlerinide söylene biliriz. Bu şekilde göç hayatı yaşayan ünlü alimlerin zengin yaratıcılğının yalnız bir kısmı konfrans konusuna uykun olan bilgilere bağlı araşdırmalar yapmışlardır. Türk dünyasında tanınmış alim Ehmed Ceferoğlunun eserleri çok önemlidir. Onun bir kısım eserleri 1942 yılında neşr ettirdiyi “Şimal ellerimiz Azerbaycan’dan toplamalar “Adlı kitabında Karsta yaşayan azeri ve terekeme folklorundan örnekler onların geçmiş yaşam tarzları ve gelişmiş konuşma dilinden karşılıklı bir şekilde yeterli olunmuşdur. Türkiyenin Kars, ığdır, Sivas, Tokat, Amasya ve Van vilayetlerinde yaşayan azeri ve terekemelerden alınan metinler 350-400 yıl önce Afyonun Emirdağında konuşulmaktadır. Özellikle E.Ceferoğlu Türkiye Türkologiyasına özenle yanaşmış deyerli eserlerini ortaya koymuştur Onun esas amaçı Türkü Türke tanıtdırmak ve Türk dünyasını dünyaya beyan etmekdir. Bu şairlerden biri de Ehmed Cavaddır. Azerbaycan ve Türkiye edebiyatşünaslığın da şairin yaratıcılığı ile meşkul olan bir çok tedqiqatçılar var. Şair kuzey Qafqaz, Dağıstan, Kars, Ardahan ve siyerlerde olmuş türk halkına olan muhaebbet hissini 1914-te ekimde meşhur “Kara deniz” şirinde bu şekilde tercüme etmişdir. Publisher An entity responsible for making the resource available International Burch University Date A point or period of time associated with an event in the lifecycle of the resource 2014-05-23 Keywords Keywords. Article PeerReviewed Identifier An unambiguous reference to the resource within a given context ISSN 2303-582X P Philology. Linguistics,PA Classical philology,PI Oriental languages and literatures,PN Literature (General) https://omeka.ibu.edu.ba/files/original/f5ff7233b5b75346446402e97023705e.pdf 7f3867d72b725939ee49043bd86bba29 PDF Text Text BİLDİRİ ÖZETLERİ - UTEK 2014 arzusunun görsel dille dönüşümünü temsil etmektedir. Filmsel mekanlarda Bosna Hersek vatandaşları, şehirlerine yönelik olarak sivil toplumun kentsel aidiyet ve bütünleşme çabalarını sergilemektedir. Öte yandan, filmlerin senaryoları yazınsal bir ürün olarak drama olgusundan yola çıkmakta, böylelikle Bosna Hersek sinemasının dili dramatik-trajik anlatılara dayanmaktadır. Bu anlatıların temellerinden birisi ise Türk kültürüyle ve inanç sistemiyle olan bağlantılardır. Özellikle Osmanlı’nın dörtyüzelli yıllık izlerini taşıyan Saraybosna’nın sinemasal mekan olarak kullanımı, bu sinemanın görsel dilinin Türk kültüründen ayrışık olamayacağını göstermekte ve bu bölgedeki Osmanlı izleri sinema diline önemli ölçüde katkı sağlamaktadır. Bu anlamda Bosna Hersek sineması hem dramanın aktarılış biçimi hem de mekanın yansıtılması anlamında Türk kültürün derin izlerini taşımaktadır. Tüm bu olguların ışığında bu çalışmada Bosna’lı farklı yönetmenlerin filmleri anlatısal ve görsel unsurlar bağlamında ele alınarak sinemasal dilleri kültürel bir çözümlemeye tabi tutulacaktır. XX YÜZYIL AZERBAYCAN EDEBİYATINDA TAHMİS TARZININ ÜSTADI NOVBERİ Naile MUSTAFAYEVA Azerbaycan Milli Bilimler Akademisi M.Fuzuli Adlı Elyazmalar Enstitüsü Anahtar Kelimeler: Toplu, tahmis, klasik, Novberi, Fuzuli. ÖZET Yirminci yüzyılda, özellikle de eski Sovyetler döneminde Azerbaycan edebiyatı yeni görevler üstlenmiş, şiire yeni konular gelmiş, birtakım klasik şiir türlerinden vazgeçilmiştir. “Novberi” mahlasıyla şiirler yazan Kerbelayi Gara Meşedi Suleyman oğlu Garayev böyle bir dönemde yaşayarak klasik edebi geleneği yaşatmaya çalışan, Nevai ve Fuzuli şiirlerine tahmisler yazan şairlerden olmuştur. O, 1885 yılında Şuşa'da, tüccar ailesinde doğmuş, eğitimini de burada almış, Arap, Fars ve Rus dillerini öğrenmiştir. 1920 yılında Azerbaycan'da Sovyet hakimiyeti kuruluncaya kadar şair ticaretle uğraşmış, İran, Suriye, İrak ve Suudi Arabistan'a seyahat etmiştir. Novberi XX 13 �BİLDİRİ ÖZETLERİ - UTEK 2014 yüzyılın ilk yıllarında Fuzuli geleneklerinin takipçisi olarak tanınmış kendisiyle hemfikir olan Aliağa Vahid, Ali Nazmi, Salman Mümtaz gibi şahsiyetlerle defalarca görüşmüştür. Novberi Füzuli yaratıcılığına o kadar hayran olmuş ki, şiirlerinden birinde kendisiyle aynı dönemde yaşamak, hatta onun kalemi, mürekkebi olmak istediğini belirtmiştir. Fuzuli şiirlerine yazılan tahmisler şairin yaratıcılığında önemli yer tutmaktadır. Onun Fuzuli'nin “Ya Rab”, “Gül”, “Beni”, “Aşk”, “Bak”, “Çare”, “Sabah” ve başka redifli gazellerine yazdığı tahmisleri özellikle dikkat çekicidir Azerbaycan Milli Bilimler Akademisi Elyazmaları Enstitüsü'nde S-464 ve S-465 şifresile Növberinin avtografı olan 2 ciltten oluşan tahmisler toplusu korunmaktadır. AZERBAYCANIN GEDEBEY YÖRESİNİN TÜRK MENŞELİ ETNOTOPONİMLERİ Mehebbet PAŞAYEVA Azebaycan Devlet İktisat Universitesi / Azerbaycan Anahtar Kelimeler: Etnotoponim, kabile, halk, tarih, söykökü. ÖZET Malumdur ki, etnotoponimler halkın tarihini, etnogenezini, onun yayılma önem kesb edir. areallarını öğrenmek açısından son derece büyük Etnotoponimlerin müeyyen qrupu halqın teşekkülünde hansı kabile, tayfaların iştirak etdiyini, bu prosesin özünün ne zaman baş verdiyini müeyyenleşdirmeye imkan verir ve halkın tarih boyu yaşadığı ve yayıldığı arazini müeyyenleşdirmek için tutarlı kaynakdır. Her bir yer adı ait olduğu halkın dili, tarihi, etnoqrafiyası, dünya görüşleri, teşeklülû, etnogenetik yapısı, medeniyeti gibi özellikier hakkında çokyönlü bilgi verir. Yer adları sadece belirli bir yerin adını bildirmekle yanısıra, o yerlerde yaşayan halkın etnik yapısı gibi çeşitli özellikleri de bildirmektedir. Türk dünyasının ayrılmaz bir parçasi olan Azerbeycan insanların yerlesmiş olduklan en eski yerlerden biridir. Azerbaycan'ın tarihi geçmişi, cografi konumu ve halkların etnik menşeyi hakkrnda bilgi veren yer adları (toponimler) zaman zaman parçalanarak bir birinden ayrı kalmış Türk dünyasının büyük geçmisinin ögrenilmesi için degerli bir kaynaktır. Azerbaycanda tarihin eski devirlerinden 14 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Extent The size or duration of the resource. 2628 Title A name given to the resource XX YÜZYIL AZERBAYCAN EDEBİYATINDA TAHMİS TARZININ ÜSTADI NOVBERİ Author Author MUSTAFAYEVA, Naile Abstract A summary of the resource. Yirminci yüzyılda, özellikle de eski Sovyetler döneminde Azerbaycan edebiyatı yeni görevler üstlenmiş, şiire yeni konular gelmiş, birtakım klasik şiir türlerinden vazgeçilmiştir. “Novberi” mahlasıyla şiirler yazan Kerbelayi Gara Meşedi Suleyman oğlu Garayev böyle bir dönemde yaşayarak klasik edebi geleneği yaşatmaya çalışan, Nevai ve Fuzuli şiirlerine tahmisler yazan şairlerden olmuştur. O, 1885 yılında Şuşa'da, tüccar ailesinde doğmuş, eğitimini de burada almış, Arap, Fars ve Rus dillerini öğrenmiştir. 1920 yılında Azerbaycan'da Sovyet hakimiyeti kuruluncaya kadar şair ticaretle uğraşmış, İran, Suriye, İrak ve Suudi Arabistan'a seyahat etmiştir. Novberi XX yüzyılın ilk yıllarında Fuzuli geleneklerinin takipçisi olarak tanınmış kendisiyle hemfikir olan Aliağa Vahid, Ali Nazmi, Salman Mümtaz gibi şahsiyetlerle defalarca görüşmüştür. Novberi Füzuli yaratıcılığına o kadar hayran olmuş ki, şiirlerinden birinde kendisiyle aynı dönemde yaşamak, hatta onun kalemi, mürekkebi olmak istediğini belirtmiştir. Fuzuli şiirlerine yazılan tahmisler şairin yaratıcılığında önemli yer tutmaktadır. Onun Fuzuli'nin “Ya Rab”, “Gül”, “Beni”, “Aşk”, “Bak”, “Çare”, “Sabah” ve başka redifli gazellerine yazdığı tahmisleri özellikle dikkat çekicidir Azerbaycan Milli Bilimler Akademisi Elyazmaları Enstitüsü'nde S-464 ve S-465 şifresile Növberinin avtografı olan 2 ciltten oluşan tahmisler toplusu korunmaktadır. Publisher An entity responsible for making the resource available International Burch University Date A point or period of time associated with an event in the lifecycle of the resource 2014-05-23 Keywords Keywords. Article PeerReviewed Identifier An unambiguous reference to the resource within a given context ISSN 2303-582X P Philology. Linguistics,PA Classical philology,PI Oriental languages and literatures,PN Literature (General)