Praising and bragging are both elements of the nature of man and of his writing. It is one of the prominent issues in the Divan (Ottoman) poetry to praise the Sultan of the era and the leading figures. Complimentary poems written particularly in the form of ode verses were the primary ones. It is seen that they were utilized in different verse forms and types, especially in odes. Culusiyyes (its singular form is Cülûsiyye in Turkish), on which no research has been done until today, were attempted to be examined by us. Although Culusiyyes were written mainly in the form of ode verses when the Ottoman princes inherited the throne, and are described as poetical and prosaic examples praising the sultan, we found, based on our studies, that there were two more poems titled culusiyye, one written for the Valide Sultan (a term that defined the "legal mother" of a reigning Sultan of the Ottoman Empire) and the other for Vizier Mehmet Pasha. In our examinations, 22 poets of the 16th century poets were reviewed. Poems were examined in terms of their structural features (verse form, the rhyme, redif -repeated voice/word after the rhyme-, prosody) and content (for whom it was written, metaphor elements, different usage patterns, the way the subjects were handled etc.), and the culusiyyes in the divans were identified and tried to be examined.

Halide Edib is an author who had thought about and produced numerous works on her era’s civilization and its problems. The questions and issues about which civilization Ottoman Empire, which is the on the verge of a new civilization, should join and what kind of civilization should be established is one of the topics that Halide Edib –like many intellectuals- often dwelled on. As a female author, Halide Edip gave the female heroes important roles in the civilization and tried to express the new civilization through them. Halide Edip narrates a civilization crisis in her novel “Seviyye Talip” published in 1910. In this novel, search of the Fahir who tries to find his western education in local culture and his searching is conveyed through female characters in his life. At the same time, these searches move parallel with search of a new civilization of the state whose old civilization is about to end. Led by Fahir, Halide Edib examines possibilities of old and new civilizations through three female characters of the novel. Local, westernized and western women are seen as both the source and the solution of the social crisis. In this study, as an intellectual who looks for solutions for civilization issues, Halide Edib’s novel Seviyye Talip is analysed based on the connection between women and civilization and by doing so, the clarification of the relation of civilization issues and the suggestions for the solution with the female heroes is aimed.

When literary works are studied, unless worldview of its civilization, the frame of value, concept and meaning world are considered, it is indispensable that the poet and his period will be misunderstood. When the world of the poem shaped by phrase “Adem” in Adem Pasa’s (1787-1845) Adem Kaside is re-read with the concept of “fena” (absence) and its associations in accordance to its spirit, the condition of fena (absence, to be absent) in which the entity covers, conceals and hides and the causes and reasons and results of the distresses will be seen (without the revolt against the creator). In the first stanza, poet draws attention to that “the thought of absence gives life to humans “and “the essence of absence wine is the core of soul”. Then, as he emphasizes that the blessings of Eden cannot be compared with “Absence”, he pays attention to the features of the case of “fena”. In the last stanza, when the poet tells that “he disappeared for the sake of the king of the kings”. In a way he emphasizes the situation of “fenâ-fi’rresûl”. Therefore, it will be more beneficial If Adem Kaside is re-read by the language of the civilization it belongs.

The subject of this study is the journal of Yansima and literary activities carried out on Sabahattin Ali and Nâzim Hikmet. Yansima is an art and culture magazine which had monthly 45 releases between January 1972 and September 1975 under the leadership of Tekin Sönmez. During the nearly four years of its publishing life, many important works had been produced in the magazine. One of them is “Sabahattin Ali Special Number on the 25th Death Anniversary” issued on behalf of Sabahattin Ali on March 1973, and the other one is “Special Number of Nâzim Hikmet” issued on behalf of Nâzim Hikmet on June 1974. In our work, first a general introduction of the journal of Yansima will be made and then the writings about Nazim Hikmet and Sabahattin Ali in the special releases mentioned above and other releases will be analysed.

Köl Tigin yazitinin güney cephesinin 9. satiri ile Bilge Kagan yazitinin kuzey cephesinin 7. satirinda RLTG seklinde yazilan bir kelime mevcuttur. Kelimenin yaziçevrimi erken dönem nesirlerinden itibaren her zaman ayni sekilde yapilmistir: RLTG (a)r(i)lt(i)g. Ancak kelimenin kaynagi ve anlamlandirilmasi konusunda ihtilaflar vardir. Yazitlarin erken dönem nesirlerinde aril- için ‘güçsüz düsmek, zayiflamak’ anlami verilmistir ve verilen anlam günümüze kadar birçok nesirde kabul edilmistir. Bu anlamlandirma, ilk kez Talat TEKIN tarafindan ‘yok olmak, mahvolmak’ seklinde degistirilmis ve yakin dönem bazi nesirlerde bu anlamlandirma kabul edilmistir. Makalede, fiilin anlami baglama göre tekrar degerlendirilecektir

Fuzulí characterizes his poetry as Karbala soil in his Persian Dívan’s preamble. ¤Asik Çelebi, in Fuzulí biography of his tadhkira, uses the expression hak-sar-i kuy-i fena which means ‘mixed with earth, covered with dust; base, mean, low-born, abject’. The soil has two sides: first it describes indulgence, misery, worthlessness but on the other hand it has a intengible value. Fuzulí’s pen name has two meanig like the soil. It means ‘needless, unnecessary; worthless’ but it has also ‘virtuous; wholesome; moral’. Therefore, the soil is an expression which depicts Fuzulí’s poetry well. Fuzulí, whose penname has both negative and positive meanings, assign spiritual meaning to the soil which is materially worthless so the soil has become bivious in his poetry just like his pen name. When we examine his works, we realised that his poetic imagery related to soil is original and idioms, expressions related to soil are frequently used in his poetry. Thus, we can say that the soil is an important key word in Fuzulí’s poetry. In this work, we discussed the poetic images, dreams and idioms about the soil in the Fuzulí’s poetry. There are some expressions that we have not encountered in other poets, such as šoprahdan götür-, hak çek-, hakden bas çek-. Our work consists of two parts. In the first part, images related to the soil have been determined by scanning poet’s works such as Turkish and Persian Dívans, Leyla vü Mecnun, Gadíkatü’ssüe¤da and these images have been evaluated. In the second part, idioms and expressions related to the soil are explained by showing examples from couplets