Gülden SAĞOL YÜKSEKKAYA

Article | 2016 | Milli Folklor: Uluslararası Kültür Araştırmaları Dergisi ( 110 )

WOS:000379885500004

Ali ÜNAL

Article | 2021 | Milli Folklor: Uluslararası Kültür Araştırmaları Dergisi ( 131 )

The custom of giving the ‘kalyn’ (bride price), existing as one of the forms of cultural traditions and obtaining an important function within starting a new family unit, can be found in almost all communities and ethnic groups in the world. In the institution of the family, which is created to ensure the bloodline, a bride price is one of the symbols of marriage. Bride price aims to acknowledge and protect the economic value of a woman and her human dignity at the time of marriage of two persons of different sexes belonging to two different groups or families. Associated with the dynamics of social structure, bride price usually ma . . .intains this relationship. Sometimes this situation has compulsory and violent nature, but at the same time it can be culturally appropriate and is able to earn new social identity and belonging. It can be observed that in culturally and religiously conservative communities, money, property or other form of wealth is paid by groom or his family to bride's side. Thus, this practice entails different legal and social consequences. In communities and societies, where bride price is considered as valid action, there are various interpretations of this ritual's practice and notion. In Ancient Rome and Athens, any form of wealth paid by the groom's side had a real sale price, thus, we can understand that groom was literally purchasing a woman, paying a certain price to bride's parents, or her personally. At the same time, it could be found that bride's father pays dowry (drahoma) to his son-in-law, in order to secure his daughter's status in new family. According to Jewish and Canon law, a certificate of marriage was considered as same as a sales agreement, it can easily be found in written sources, that groom's family made payments known as a tamirtu: tirhatu, m'aru or mohar, which was given to the bride's family. In Pre-Islamic Arab communities, bride price payment existed and was known as mahr, sadak, sidak or saduka. A tradition of giving the bride price, usually known as kalyn among Turkic-speaking peoples is one of the most important parts of the marriage ritual. This tradition, appeared and mentioned in a number of foreign written sources, and even in ancient Orkhon-Yenisey runic inscriptions, is still alive among Kyrgyz people and forms one of the important phases in the marriage process. In this research, studies have been conducted on a phenomenon of kalyn, one of the traditional rituals, its historic development and transformation processes, ways of its perception in Kyrgyz family, and its current position in the society. Furthermore, for the purpose of clarifying the topic and revealing historical process, information is provided about how Turkic-speaking ethnic groups used a term ‘bride price – kalyn’ and its meaning. Speaking of history of bride price giving practice in Kyrgyz society, attempts have been made to put historical approach on the basis of ethnographical and folklore sources about Kyrgyz family. Efforts were made to provide information about how a tradition of giving bride price is used and well-preserved among modern Kyrgyz society More less

Cengiz BUYAR

Article | 2016 | Milli Folklor: Uluslararası Kültür Araştırmaları Dergisi14 ( 109 )

Cangar Destanı, Batı Moğolları arasında ortaya çıkıp yayılmış bir destan olarak günümüze kadar ulaşmıştır. Destan, Orta Asya sözlü geleneğinin en güzel manzum örneklerinden biridir. Girişi takiben muhtelif kahramanlıkların anlatıldığı 12 bölümden oluşur. Destan, Bumba adlı ülkenin hanı Cangar’ın ülkesini düşmanlardan korumasını, yanındaki bahadırların kahramanlıklarını, evlenmelerini ve halkının hayat sürecini konu alır. Batı Moğollarının yaşadıkları ve dağıldıkları Doğu Türkistan, Moğolistan, Altay, Kalmuk Özerk Cumhuriyeti gibi coğrafyalardaki halklar arasında yayılmıştır. Destanla ilgili ilk araştırmalar 19. yüzyılın başlarında b . . .aşlamıştır. Yapılan araştırmalar, destanın tarihî bir arka planının bulunduğunu tespit ederek 15. yüzyıldan itibaren şekillendiğini ortaya konmuştur. Ayrıca destanda geçen olay motiflerinden bazılarının arkaik dönemlere ait olduğu da tespit edilmiştir. Destan, başta Türk halklarının destanları olmak üzere, diğer klasik dünya destanlarıyla da ortak noktalar taşır. Destanın günümüze ulaşmasını cangarçi olarak adlandırılan destan söyleyiciler sağlamıştır. Zamanla cangarçiler arasında belirli gelenekler ortaya çıkmış ve ön plana çıkan cangarçilerin kendi ekolleri oluşmuştur. Bilhassa son on yılda, yayıldığı bölgelerde destana olan ilginin ve incelemelerin de hayli arttığı görülmektedir. Bu çalışmada Cangar Destanı’nın araştırılma süreci, tarihî arka planı, konu örgüsü, kahramanları ve cangarçiler gibi meseleler üzerinde durulacak ve değerlendirmeler yapılacaktır. Anahtar Kelimeler: Cangar, destan, Kalmuk, Orta Asya, Moğol . - Jangar epic emerged and spread among the Mongol speaking Western Mongolian peoples and it has been transmitted till today. The epic is one of the most poetic examples of the traditional Central Asian oral culture. As other epics of Central Asia, it was developed and transferred through orators. It consists of an introduction and various sections on heroic episodes. The epic is about the protection of the land called Bumba by its khan, Jangar, the heroisms of his companions, their marriages and the life of the people. The epic has spread to wide areas, such as Eastern Turkistan, Mongolia, Altay and Kalmyk Autonomous Republic of Russian Federation, where Western Mongolians live. The studies on the epic started at the beginning of 19th century. It was verified that the epic has a historical background and was being shaped since the 15th century. It has also been revealed that some event motives have ancient origins. The epic has common characteristics with other classical, world epics, but especially with Turkic epics. In the oral transmission of the epic, jangarchis had a very essential role as orators. In time, some variations of traditions had emerged among the jangarchis, and the jangarchis developed their own styles. Especially in the last decade, the interest and the study on the epic are significantly increasing. In this study the research process of the epic, its plot of the story, historical background, theme, main characters and issues such as jangarchis will be explained and evaluated More less

Tolga GÖK

Article | 2021 | Milli Folklor: Uluslararası Kültür Araştırmaları Dergisi ( 132 )

WOS:000733147600002

Abdulselam ARVAS

Book review | 2010 | Milli Folklor: Uluslararası Kültür Araştırmaları Dergisi ( 85 )

Vefa TAŞDELEN

Article | 2019 | Milli Folklor: Uluslararası Kültür Araştırmaları Dergisi ( 124 )

Kutadgu Bilig is one of the first works of the history of Turkish culture which shows the possibilities of Turkish in a wide area. It is a work that has not only literary but also conceptual richness and intellectual connotations that will create a philosophical context. In the answer to the question of what is philosophical text, we can say rationality, posing problems, consistency, producing new concepts, discursive approach, deep and thorough thinking, having a philosophical attitude and forming context within the history of philosophy. Many of these features can be seen in Kutadgu Bilig. First of all, is there any way to make go . . .od fortune permanent for the life of the state, society and individual; what might be the contribution of reason and knowledge about that? And raises many sub questions around that basic question. There are many terms in it that constitute the conceptual structure of the work, such as good fortune, knowledge, reason, virtue, state, justice, merit, administration, happiness, language, truth, life and death, that have a specific place in the history of philosophy. It is not difficult to say that in the history of philosophy, Kutadgu Bilig forms a context before and after itself and takes place in a tradition with the subjects and concepts it dealt with, although it is not the philosophers to whom it is explicitly referred to. Philosophical ideas, including the modem era, have emerged not only in conceptual and speculative works, but also in literary works through a story. The descriptive and imaginary literary language of these works can be translated into the conceptual language of philosophy. As for Kutadgu Bilig, he had a conceptual structure around a certain problem, which he deserved to qualify as philosophical text through a story, at a philosophical and pedagogical level, sometimes in a conceptual, sometimes descriptive and imaginary language. This conceptualization emerges in a wide range from the subject of being and knowledge to the philosophical context to the question of belief and death which is also on the agenda of modern philosophy. With this feature, Kutadgu Bilig, through Plato, Aristotle, Farabi, Ibn Khaldun, Kinalizade Ali, Locke, Rousseau, Kant, Wittgenstein, Heidegger reach the present day, can be expanded if desired on a philosophical context. Kutadgu Bilig's philosophical texture, which includes political, legal, moral, educational, religious, and other existential issues necessitates its evaluation in a philosophical context. This article, which is based on the concept of philosophical context, aims to investigate the place of Kutadgu Bilig in the history of philosophy with its basic concepts and views before and after its and to provide examples on this subject. The parallelism between philosophers and philosophies can be seen as the fact that truth manifests itself in different aspects in different cultures, places and times. In this respect, they may be called comrade thoughts or twin thoughts More less

Venera NARINOVA | Yunus Emre GÜRBÜZ

Article | 2019 | Milli Folklor: Uluslararası Kültür Araştırmaları Dergisi ( 123 )

WOS:000493213700006

Anvarbek MOKEEV | Kayrat BELEK

Article | 2021 | Milli Folklor: Uluslararası Kültür Araştırmaları Dergisi ( 129 )

WOS:000644206600007