RumeliDE Dil ve Edebiyat Araştırmaları Dergisi

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ISSN : 2148-7782
Total articles ≅ 1,378

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Mehmet Özdemir, Nazmiye Bekar
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 200-230;

İn childhood; the most effective stimulus in the processes of listening, reading, writing, thinking and acquiring a critical culture; are children’s books that have language, literature, art and aesthetic value (Şirin, 2007a, p.30). According to Sever (2019a, p.19), one of the most basic functions of children’s literature is to ‘’gaining a love and habit of reading’’ in children. From this point of view, it can be said that qualified children’s books are very important in gaining the love and habit of reading. So much so that every child should encounter a book/establish a bond. However, not every child should encounter every book, but qualified children’s literature products. In this respect, the principles of children’s literature should be taken into account in the determination of qualified children’s literature products. In this direction, the main purpose of this study is to analyze the children’s novel of Behiç Ak, one of our contemporary children’s literature writers, named ‘’Yaşasın Ç Harfi Kardeşliği!’’, according to the principles of children’s literature. The study is important because it is a comprehensive study among the studies that deal with the principles of children’s literature in Behiç Ak’s children’s novel ‘’Yaşasın Ç Harfi Kardeşliği!’’. This study is a descriptive research in the nature of screening, one of the qualitative research methods. In the analysis of the research data, descriptive analysis, one of the qualitative data analysis methods, was used. Document analysis, one of the qualitative data collection tools, was used in the study. As a result of the research, it has been determined that apart from a few issues in the work, the work is in accordance with the principles of children’s literature and the work is among the qualified products that should be benefited from in terms of children’s literature. In line with the findings, some suggestions were made.
Pelin Şulha
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 640-648;

As there are visually impaired individuals among the TV series audience, an additional narrative that fits the gaps between the dialogues should be produced and voiced. The audio description of the TV series is one of the main practices carried out in the field of media accessibility. Just like in feature films, in the audio description process of the TV series the translators who assume the task of the script writer deal with problems such as under which conditions, how, to what extent and when the distinguishing characteristics of different characters that are the basic components of the film narrative should be described. Gert Vercauteren (2014) aims to bring a solution to these problems using a systematic model based on narratology. According to this functional model, if the visually impaired audience sees the film character for the first time the physical, behavioral/communicational and mental characteristics that help recognize him/her are described. However, if the character is known from the previous scenes, it is proposed that the description content is organized regarding the character’s specific situation in the scene, i.e. his/her new characteristic or a change in his/her character and a new dimension in his/her relations with the time, space and actions (Vercauteren, 2016: 12-13). In this study using Vercauteren’s model, the process of audio describing characters is analyzed through the exemplary scenes from the selected episodes in the TV series entitled Payitaht Abdülhamid, which narrates the struggle of the Sultan Abdülhamid II during the last thirteen years of his reign. In conclusion, although the model has been designed for the description of different film genres in general, it is determined that it has also been practical and time-saving in the textual analysis of the TV series, which involves the translator’s identification of the visual elements to be described as regards the needs of the audience, during the production of the fraction of the descriptive text narrating the characters particular to a historical period.
Sevda Pekcoşkun Güner
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 600-621;

Crowdsourced translation can be defined as a localization practice performed by people who voluntarily participate in translating the content of a service or product into many languages simultaneously. Volunteer translators involved in crowdsourcing contribute to the project as translators and/or editors via online platforms. The advantages of crowdsourced translation for companies can be summarized as: source content is translated into many languages at the same time, and translation activities are on a voluntary basis, or participants work at low fees, which results in cost savings. The “Waterfall model” was used in traditional localization projects. In this method, the localization phase is started after the software or application is developed. All text components are combined, and translation activities are carried out shortly before the launch of the product. Today, localization practices are mostly performed with agile software development approaches in which iterative and collaborative methods are prominently used. Translators in the agile localization cycle are constantly involved in the workflow while product development continues. Unlike the traditional waterfall model, in agile localization, the relevant content is translated in accordance with the expectations and needs of the target audience/end users by producing innovative solutions and taking software updates into account. Besides machine translation systems and translation memories, open-source software products such as Mozilla Firefox use crowdsourced translation. In the system, there are more than 200 teams that translate into different languages and dialects. Thousands of text strings are translated into many target languages each day, and necessary editing is done. Within the scope of this study, first of all, the translator's position in software localization processes will be questioned. Then, the tasks of the translator will be explained with examples taken from the Mozilla Pontoon localization management system.
Eylem Aksoy Alp
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 425-436;

Raymond Queneau, one of the pioneers of the Oulipo literary group and the author of Exercises in Style (French version: 1947, English version: 1958), became more widely known with Zazie in the Metro, original version in French published in 1959. Known for his sensitivity to style, in this work, which he wrote mostly in the form of dialogue, the author tries to put forward a new way of writing by approaching the daily spoken language. In order to better reflect his linguistic and stylistic quest as a result of modernity, the author chose Zazie as the lead character, a girl who grew up at an early age and whose childhood was stolen due to the negativities she experienced. The author also made an effort to narrate the events with the purified language of Zazie. In his story, which he built on the character of Zazie, Queneau tries to reveal a new world and a way of perception through Zazie's point of view and frankness. Zazie puts adults in trouble with her disturbing questions, pushes their limits. By refusing to accept the world as it is, she also contributes to the questioning of all topics by characters of the novel as well as its readers. In these respects, the character of Zazie reminds us of the concept of "becoming a girl child", which is the most fundamental of the minoritaire conditions necessary for the realization of the concept of "becoming" put forward by Gilles Deleuze and Félix Guattari, and has a great importance in how the world is perceived. This article will evaluate how "becoming", a philosophical and theoretical concept, is reflected in Raymond Queneau's literary work Zazie in the Metro within the framework of Deleuze and Guattari's philosophical theory, and will try to reveal the different meanings added by the image of girl child.
Yusuf Gökkaplan
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 79-89;

An exclamation is a structure that people often operate in everyday speech. Exclamations are used to effectively express emotions such as anger, sadness, grief, surprise, joy, excitement. Considering the exclamations used in the expression of emotions only as word and sound units is insufficient to reveal the richness of their expressive power. Emphasis, intonation, gestures, mimics, and movements together with exclamations in the spoken language are other features that fill the concept of exclamation together with the exclamation. In written language, however, it is not as easy to detect exclamations as in spoken language. When we look at the studies examining the exclamation groups today, “Ey! Eyvah! Ya!” Exclamation groups established within the framework of certain patterns such as in studies conducted with such a limitation, it is seen that exclamations are not sufficiently detailed and comprehensively addressed. As oral cultural elements are an important source, interjections in the Turkish language should also have a separate and special position. In order to determine this difference, it is necessary to carefully consider the works that form the basis of the Turkish language, edimsöz. In this study, the exclamation groups in the story of Duha Kocaoğlu Deli Dumrul, which is among the Dede Korkut Stories, will be examined in terms of syntactic. In the work in question, Deli Dumrul, who is the hero of the story, calls out to Azrael and God, begs to his parents, bids farewell to his wife and addresses the people around him and has a rich and different content in terms of exclamation. Examining the relationship between the exclamations, which change according to the emotions and situations in the work, with the other words and word groups in the story, is important in determining the functions of the exclamations in the text. With the approach exhibited here, the use of interjections and exclamation groups in the text, which are frequently used in spoken language, will also be revealed.
Seher Özsert
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 513-523;

The narrator protagonist Lucy Snowe in Charlotte Brontë’s novel Villette is an unconventional figure distinct from the Victorian perception of the ideal woman who is assumed to be physically attractive, affectionate, and submissive. Patriarchal monitoring in the novel is observed through Michel Foucault’s interpretation of Panopticon mechanism to control the society, which is based on spying and surveillance. The novel presents Monsieur Paul as a patriarchal figure monitoring the students and the teachers from his room overlooking M. Beck’s school, which recalls Foucault’s symbolic control tower. As a primary observed figure, Lucy is exposed to religious and sexual oppression by the male characters Monsieur Paul, Père Silas, and Dr. John. She is also restrained physically by the male authority keeping her in the attic and at the corner of the museum. M. Paul’s anger against Lucy’s crossing the conventional boundaries of the feminine intellect drives Lucy to be more eager to learn because his unjust attitude makes her more ambitious to crave for knowledge. Lucy’s first reaction against patriarchal oppression is to repress her desires and she prefers to avoid revealing her feelings. She eventually achieves to gain her independence as a triumphant and confident woman governing her own school in the end. The feminist analysis on the text reveals that Brontë intentionally ends the novel before the arrival of any male figure in Lucy’s life to sustain her liberation and to emphasize once more the rejection of the culturally constructed female qualities. This paper concludes that Brontë portrays the powerful female figure in the end through the initially charmless protagonist Lucy who buries her feelings at first by resisting the patriarchal oppression through her intellect and reconstructs her female identity by the destruction of the suppressive male authority.
Gül Mükerrem Öztürk
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 745-755;

Jemal Karchkhadze, one of the most important names of contemporary Georgian literature, is especially known for his historical novels. The author’s novel “ანტონიო და დავითი” (Antonio ve David), which was published in 1987, is one of the author's two masterpieces. The novel takes place in Georgia in the 1600s. It is told by an Italian traveler visiting the country with a group of European missionaries. “ანტონიო და დავითი” (Antonio ve David)is a suspenseful novel about a kind of spiritual struggle against the background of religious and historical discourse. It was translated into Turkish from the Georgian original in 2020 by the translator Parna-Beka Çiladze. Apart from Turkish, the novel has also been translated into Russian, Czech, Arabic, and Swedish. From this point of view, the fact that the novel has translations in different languages provides an opportunity for a versatile research environment. In this context, our study aims to examine the work named “ანტონიო და დავითი” (Antonio ve David) in the light of Gideon Toury's Target- Oriented Translation Approach in terms of theory and strategy. In this context, Jemal Karchkhadze's novel “ანტონიო და დავითი” (Antonio ve David) was examined in terms of “acceptability" and “competence” norms, and the strategies and translation processes were studied. The term “competence” means adherence to the source text, and the term “acceptability” means the conformity of the target language with the principles and rules. According to the findings part of the research, the work named “Antonio da Daviti (ანტონიო და დავითი) was analyzed. As a result of the study, it was determined that the strategies of deletion, insertion, replacement, and borrowing were used in the translation of text.
Tuğba Akman KAPLAN
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 559-575;

This paper examines the colonization of the communities in Yaşar Kemal’s Dağın Öte Yüzü trilogy and Paul Bowles’ The Spider House by their own legal and societal systems through Lucien Goldmann’s genetic structuralist method within postcolonial theory. In Bowles’ piece, the self-colonization process occurs during the community’s decolonization period while the self-colonization in Kemal’s trilogy takes place as a result of the direct consequences of the feudal system in the 1950s Republic period. Most of the researches that have been conducted on these works focus on the character analysis or the independence process. This study aims to highlight the distortion in a community during the independence period as well as inconsistent relations and contradictions in a community that has not been literally colonized. The elements of self-colonization in the communities include discriminatory points of view in power relations, social variables as well as belief and religion perspectives. The early years of both writers coincide with their countries’ transition periods. The intellectuals that they have been inspired by enables Kemal and Bowles to merge in terms of their world-view and ideology they use in literary languages. It is observed that both authors use writing as a means of reaction to mirror their periods’ main issues.
Tawfik Abdo Taher Anaam Al-Sharabi
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 90-108;

With the establishment of the Department of Turkish Language and Literature at the Faculty of Foreign Languages at Sana'a University in Yemen in 2007 and the presence of TIKA in Yemen, teaching Turkish as a foreign language has gained great importance in recent years. So much so that many methods have been used in teaching Turkish to Yemeni students. The environment plays a very important role in teaching a language. It is the environment that puts the final point in the language and in the practice of what is learned. The environment provides the student with at least as much improvement as he or she receives in the course. Of course, the environment has its positive sides as well as its negative sides. In addition, there is cultural transfer in teaching Turkish as a foreign language to Yemeni students. Because language and culture are inseparable. But how much and how this transfer will be transferred is an issue that needs attention. Particular attention should be given to common issues where Yemeni students can compare their own culture with Turkish culture. In this study, how Turkish as a foreign language is taught to Yemeni students studying at the Department of Turkish Language and Literature at the Faculty of Foreign Languages at Sana'a University in Yemen and at what level the students start to have difficulties, the entry grade criteria, the language skills in teaching Turkish as a foreign language (reading and It has been determined that they contribute to the learning of students by using them (understanding, writing, speaking and listening). The general purpose of this study is to evaluate the teaching of Turkish as a foreign language in Yemen Sana'a University. At the same time, during the teaching of Turkish as a foreign language to Yemeni students, it is to successfully bring students to the highest level by using them in an effective and fun way, together with the method suitable for the four skill courses. The aim of this study is to reveal how Yemeni students are taught Turkish in the Department of Turkish Language and Literature at the Faculty of Foreign Languages at Yemen Sana'a University and why Yemeni students learn Turkish. At the same time, the four-year undergraduate curriculum of the Department of Turkish Language and Literature at Yemen Sana'a University will be evaluated.
Neslihan Günaydin Albay
RumeliDE Dil ve Edebiyat Araştırmaları Dergisi pp 548-558;

The great social and cultural changes in the Victorian period had a great impact on gender roles. In both public and private sphere, the divisions in gender roles started to disappear with the emergence of a type of woman willing to be active in every area of life. Along with more frequent appearance and growing numbers of women in the work force through the late nineteenth century Elaine Showalter’s notion of “sexual anarchy” and its different forms were invigorated. How the social status of women started to change along with industrialization by the end of the nineteenth-century was also reflected upon Victorian literature. For instance, in Mrs Warren’s Profession the protagonist Vivie represents the new woman type who is ambitious to get education and to participate in work life as a self-sufficient woman in Victorian drama. When compared with the traditional woman type, she is more free-minded, independent and career-oriented. In D. H. Lawrence’ The Rainbow, Ursula, is another significant prototype for the ‘new woman’, who struggles for more freedom and independence. She is well-educated and it is very difficult for her to come to terms with her pregnancy as she cannot accept the fact that one part of hers belongs to a man. She is unconventional and rebellious. She counters domesticity. In The Story of An African Farm by Olive Schreiner the protagonist Lyndall’s life story on an ostrich farm depicts the limited choices and living conditions of a woman constrained by the rigid conventions of Boer lifestyle. Her main goal in life is to pursue after her own choices. In The Type-Writer Girl by Grant Allen, Juliet Appleton stands out with some infamous characteristics of her identity as a New Woman, such as smoking cigarettes, attending college, travelling on her bicycle, and wearing rational clothing. The purpose of this paper is to demonstrate that working women had an unstable position at the end of the nineteenth century, based on all these trappings of the New Woman, and the intersection of gender with the discourses of class, evolution and technology through a feminist perspective. Social pressure and prejudices restrict the opportunities of the new woman to go beyond her capacity and reach real freedom and happiness. Therefore, the society mostly puts barriers in front of her ideals and her dreams. Through a feminist lens, this study reveals the fact that the new woman expects to live in a more democratic society where she is honoured with equal rights and opportunities with men. She rejects being completely dependent upon men finally, instead she adopts the idea of self-help to gain the respect she deserves as a self-sufficient woman.
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