Rhetoric is a deep-rooted discipline which involves the rules that identify the condition, trueness and beauty of an addressee and its relevance with space and time. Consisting of various units such as sense, statement and aesthetic, rhetoric also contains many rules of speech that form sub-units. This discipline which, in general, is applied to as a figure of speech in verse refers to the whole body of rules that regulate the order of expressions in a general sense. Distinguished as an area of research of the classical Turkish Literature, rhetoric also serves as a discipline which concerns linguistics as a result of its interaction with language based on terminology and expression. Its quality as a discipline of rules leads rhetoric to be a question of debate due to certain deficiencies and flaws which appear due to different approaches in application, and this gives rise to certain discussions as regards to the application of rhetoric rules in the works from Turkish Literature. Among these, one example is the tract “Notes to the Rhetoric of the Ottomans” (Ta’lîkât-ı Belâgat-ı Osmâniyye), a book written by Abdurrahman Sureyya as a critique of the rhetorical work by Ahmed Cevdet Pasha titled “The Rhetoric of the Ottomans” (Belâgat-ı Osmâniyye). Identifying the deficiencies in and making the critique of the “The Rhetoric of the Ottomans” of Ahmet Cevdet Pasha, “Notes to the Rhetoric of the Ottomans” is a work featuring linguistic and literary terminologies. This study provides the linguistic and literary terms found in “Notes to the Rhetoric of the Ottomans” (Ta’lîkât-ı Belâgat-ı Osmâniyye) by Abdurrahman Sureyya in alphabetical order together with their meanings and reveals the linguistic and literary terminology data in the work.
修辞学是一门根深蒂固的学科，它涉及到识别收件人的状态、真善美及其与空间和时间的相关性的规则。修辞学由意义、语句和美学等不同的单位组成，同时还包含许多构成子单位的言语规则。这一学科，通常被应用于诗歌中的修辞格，指的是在一般意义上调节表达顺序的整个规则体系。作为古典土耳其文学的一个研究领域，修辞学也是一门涉及语言学的学科，因为它与基于术语和表达的语言相互作用。修辞学作为一门规则学科的性质使得修辞学在运用的方法上存在着一定的不足和缺陷，从而引发了关于修辞学规则在土耳其文学作品中的运用的一些讨论。其中一个例子是《奥斯曼人的修辞学笔记》(Ta ' lk t- yi bel gat- yi osm niyye)，这是一本由阿卜杜拉赫曼·苏雷亚(Abdurrahman Sureyya)撰写的书，作为对艾哈迈德·塞夫代·帕夏(Ahmed Cevdet Pasha)题为《奥斯曼人的修辞学》(bel gat- yi osm niyye)的修辞学作品的批评。《奥斯曼人修辞学笔记》是一部以语言学和文学术语为特色的著作，通过对艾哈迈德·塞夫代·帕夏《奥斯曼人修辞学》中的不足之处进行分析和批判。本研究提供了Abdurrahman Sureyya在《奥斯曼人修辞学笔记》(Ta ' lkk t- yi bel gat- yi osm niyye)中发现的语言学和文学术语的字母顺序及其含义，并揭示了作品中的语言学和文学术语数据。
{"title":"Linguistic and Literary Terminologies in “Notes to the Rhetoric of the Ottomans” (Ta’lîkât-ı Belâgat-I Osmâniyye) by Abdurrahman Sureyya","authors":"Bahadır Güneş","doi":"10.21497/sefad.1128569","DOIUrl":"https://doi.org/10.21497/sefad.1128569","url":null,"abstract":"Rhetoric is a deep-rooted discipline which involves the rules that identify the condition, trueness and beauty of an addressee and its relevance with space and time. Consisting of various units such as sense, statement and aesthetic, rhetoric also contains many rules of speech that form sub-units. This discipline which, in general, is applied to as a figure of speech in verse refers to the whole body of rules that regulate the order of expressions in a general sense. Distinguished as an area of research of the classical Turkish Literature, rhetoric also serves as a discipline which concerns linguistics as a result of its interaction with language based on terminology and expression. Its quality as a discipline of rules leads rhetoric to be a question of debate due to certain deficiencies and flaws which appear due to different approaches in application, and this gives rise to certain discussions as regards to the application of rhetoric rules in the works from Turkish Literature. Among these, one example is the tract “Notes to the Rhetoric of the Ottomans” (Ta’lîkât-ı Belâgat-ı Osmâniyye), a book written by Abdurrahman Sureyya as a critique of the rhetorical work by Ahmed Cevdet Pasha titled “The Rhetoric of the Ottomans” (Belâgat-ı Osmâniyye). Identifying the deficiencies in and making the critique of the “The Rhetoric of the Ottomans” of Ahmet Cevdet Pasha, “Notes to the Rhetoric of the Ottomans” is a work featuring linguistic and literary terminologies. This study provides the linguistic and literary terms found in “Notes to the Rhetoric of the Ottomans” (Ta’lîkât-ı Belâgat-ı Osmâniyye) by Abdurrahman Sureyya in alphabetical order together with their meanings and reveals the linguistic and literary terminology data in the work.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68710795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Gravestones, which are one of the important reflections of Turkish-Islamic art, are a part of cultural heritage and provide information about the periods they belonged to with their forms, text contents, ornaments and headgear. Each information obtained reveals the burial tradition, culture, style, writing character and interaction of that period. The 16 grave heads that are the subject of the study and exhibited in the Istanbul Naval Museum Command today were evaluated. First of all, after giving a brief information about the history of the museum, which was founded in 1897 during the reign of II. Abdulhamid and which was the most important Naval Museum in Anatolia, the tombstones in the museum inventory were examined. It was observed that 12 of the gravestones belonged to janissaries, and the stones were completed with a headgear of “börk”, “dardağan” and “serdengeçti”. In addition, the symbols of the troops to which the janissaries belong were also identified. One of the other 4 tombstones has a turmeric cone used by those from Has Oda or Enderun, while three do not have a title. In the last part, the gravestones and their symbols were evaluated and compared with similar examples in Anatolia and their place in gravestones was tried to be revealed.
{"title":"Grave Stones in the Naval Museum Command","authors":"Muhammed Dogan, Burak Muhammet Gökler","doi":"10.21497/sefad.1128575","DOIUrl":"https://doi.org/10.21497/sefad.1128575","url":null,"abstract":"Gravestones, which are one of the important reflections of Turkish-Islamic art, are a part of cultural heritage and provide information about the periods they belonged to with their forms, text contents, ornaments and headgear. Each information obtained reveals the burial tradition, culture, style, writing character and interaction of that period. The 16 grave heads that are the subject of the study and exhibited in the Istanbul Naval Museum Command today were evaluated. First of all, after giving a brief information about the history of the museum, which was founded in 1897 during the reign of II. Abdulhamid and which was the most important Naval Museum in Anatolia, the tombstones in the museum inventory were examined. It was observed that 12 of the gravestones belonged to janissaries, and the stones were completed with a headgear of “börk”, “dardağan” and “serdengeçti”. In addition, the symbols of the troops to which the janissaries belong were also identified. One of the other 4 tombstones has a turmeric cone used by those from Has Oda or Enderun, while three do not have a title. In the last part, the gravestones and their symbols were evaluated and compared with similar examples in Anatolia and their place in gravestones was tried to be revealed.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68710887","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Transtextual relations are the whole of literary or artistic interests that make it possible to read a literary text together with narratives other than itself, emerge largely due to synchronous reading and are determined depending on this reading experience. These interests, especially with the manifestation of medieval carnival culture in literature, are followed together with the phenomena of dialogue and polyphony in literature. It is determined that with the postmodernist texts, the transtextual relations have become an aesthetic element. Transtextuality forms, referential-oriented association relations such as citation, allusion, epigraph, internal narrative. It consists of derivative relations such as pastiche, parody, travesty and transtextual interests realized within the framework of rewriting. Orhan Pamuk's novels are evaluated in the line of avantgarde and experimental novels. In the foundation of this novel, the transtextuality and transaestheticality forms, as well as being an aesthetic element, constitute the stylistic frames of the novels as a theoretical basis. Transtextual relations in Orhan Pamuk's novels, which are handled on the basis of Gérard Genette's classification of transtextual relations, seem to have been fictionalized on the axis of architextuality, metatextuality, hypertextuality and referentiality relationship, and these works from a semantic whole with other canonized works. It is understood that each interest that constitutes the text and beyond the text is established in a way that constitutes a thematic or theoretical meaning. Pamuk, who provides the theoretical direction in his novel with his architextuality and metatextuality frames, forms the thematic framework of his own novel theory with the applications of referentiality and hypertextuality. With its transctextuality forms, Pamuk seems to emphasize the phenomena of “identity” and “selfness” around the East-West, double-goer or double-walker (German: Doppelgänger), and father-son themes that form the basic themes of his novels.
{"title":"In the Context of Transtextuality Relations Thematic Frame in Orhan Pamuk's Novels","authors":"Gizem Kunduraci","doi":"10.21497/sefad.1128339","DOIUrl":"https://doi.org/10.21497/sefad.1128339","url":null,"abstract":"Transtextual relations are the whole of literary or artistic interests that make it possible to read a literary text together with narratives other than itself, emerge largely due to synchronous reading and are determined depending on this reading experience. These interests, especially with the manifestation of medieval carnival culture in literature, are followed together with the phenomena of dialogue and polyphony in literature. It is determined that with the postmodernist texts, the transtextual relations have become an aesthetic element. Transtextuality forms, referential-oriented association relations such as citation, allusion, epigraph, internal narrative. It consists of derivative relations such as pastiche, parody, travesty and transtextual interests realized within the framework of rewriting. Orhan Pamuk's novels are evaluated in the line of avantgarde and experimental novels. In the foundation of this novel, the transtextuality and transaestheticality forms, as well as being an aesthetic element, constitute the stylistic frames of the novels as a theoretical basis. Transtextual relations in Orhan Pamuk's novels, which are handled on the basis of Gérard Genette's classification of transtextual relations, seem to have been fictionalized on the axis of architextuality, metatextuality, hypertextuality and referentiality relationship, and these works from a semantic whole with other canonized works. It is understood that each interest that constitutes the text and beyond the text is established in a way that constitutes a thematic or theoretical meaning. Pamuk, who provides the theoretical direction in his novel with his architextuality and metatextuality frames, forms the thematic framework of his own novel theory with the applications of referentiality and hypertextuality. With its transctextuality forms, Pamuk seems to emphasize the phenomena of “identity” and “selfness” around the East-West, double-goer or double-walker (German: Doppelgänger), and father-son themes that form the basic themes of his novels.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68710110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the architecture of the Anatolian Seljuk period and its innovative successor, the Principalities, front facade establishments; It consists of elements such as crown doors, windows, niches, moldings, buttresses, corner towers, gargoyles and minarets. Crown doors, which are located on the front facades of the buildings, which are given more importance than the other facades, become more prominent than other facade elements with their unique differences. In this study, our focus is the niches placed inside the side walls that delimit the main niche of the portals. Side niches resembling a portal or an mihrab in terms of form create a depth effect in the main niche. Recently, studies on special elemental subjects in addition to general structural subjects within the field of art history also reveal the artistic richness of Turkish-Islamic architecture. In this context, our study aims to reveal the general and distinctive features of the side niches, which are a special element in the portals, which are the structural elements of the Karamanoğlu Principality Madrasahs.
{"title":"The Crown Gate Side Niches in Karamanoğlu Madrasahs","authors":"Mevlüt Anıl Fi̇dan, A. Baş","doi":"10.21497/sefad.1128576","DOIUrl":"https://doi.org/10.21497/sefad.1128576","url":null,"abstract":"In the architecture of the Anatolian Seljuk period and its innovative successor, the Principalities, front facade establishments; It consists of elements such as crown doors, windows, niches, moldings, buttresses, corner towers, gargoyles and minarets. Crown doors, which are located on the front facades of the buildings, which are given more importance than the other facades, become more prominent than other facade elements with their unique differences. In this study, our focus is the niches placed inside the side walls that delimit the main niche of the portals. Side niches resembling a portal or an mihrab in terms of form create a depth effect in the main niche. Recently, studies on special elemental subjects in addition to general structural subjects within the field of art history also reveal the artistic richness of Turkish-Islamic architecture. In this context, our study aims to reveal the general and distinctive features of the side niches, which are a special element in the portals, which are the structural elements of the Karamanoğlu Principality Madrasahs.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48539340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cosmopolitanism which is one of the main ideals of Ancient and Enlightenment thought, is still one of the controversial topics of contemporary philosophy and political debates. Today, some of the thinkers who emphasize the tension/reconciliation between universal and local, philanthropy and patriotism, re-express this ancient ideal by adapting it to contemporary conditions; while others think of it as a historical moment, a nostalgia that must be left behind. However, the history of this concept or ideal is rather complex; the subjects filling the position of citizenship have differentiated over the centuries and the meaning of the homeland has changed from one period to another. While cosmopolitanism, rooted in Cynic philosophers, is an ideal first at length established by the Stoics, it has no single meaning even in the thought of this school. This ancient ideal was differentiated throughout the Stoic periods and gained its current meaning only with the late Stoic philosophers. Therefore, this article, which aims to analyze the history of a still-discussed concept by limiting it to a certain period, focuses on the Stoic concept of cosmopolitanism and examines how world it has changed and how it has been grounded as an ideal during the periods of Stoicism.
{"title":"The Construction of the Ideal: Stoic Cosmopolitanism","authors":"Melike Molaci","doi":"10.21497/sefad.1128598","DOIUrl":"https://doi.org/10.21497/sefad.1128598","url":null,"abstract":"Cosmopolitanism which is one of the main ideals of Ancient and Enlightenment thought, is still one of the controversial topics of contemporary philosophy and political debates. Today, some of the thinkers who emphasize the tension/reconciliation between universal and local, philanthropy and patriotism, re-express this ancient ideal by adapting it to contemporary conditions; while others think of it as a historical moment, a nostalgia that must be left behind. However, the history of this concept or ideal is rather complex; the subjects filling the position of citizenship have differentiated over the centuries and the meaning of the homeland has changed from one period to \u0000another. While cosmopolitanism, rooted in Cynic philosophers, is an ideal first at length established by the Stoics, it has no single meaning even in the thought of this school. This ancient ideal was differentiated throughout the Stoic periods and gained its current meaning only with the late Stoic philosophers. Therefore, this article, which aims to analyze the history of a still-discussed concept by limiting it to a certain period, focuses on the Stoic concept of cosmopolitanism and examines how world it has changed and how it has been grounded as an ideal during the periods of Stoicism.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48479700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article focused on the activities of Islah-ı Nesl-i Feres Cemiyeti established in 11 April 1912 under the patronage of the sultan for breeding thoroughbred horse, organizing horse races, and improving riding, following the Second Constitutional Era. In the Ottoman State, pulling force and carrying capacity of a horse had vital importance in terms of agricultural economics and defence. However, there were some problems about breeding and reproducing the horse lineage according to the needs starting from the first half of the XIXth century. Collapse of the timar system and abolition of the Janissaries caused a loss in horse breeding. Despite the establishment of modern studfarms in order to fulfil the military and agricultural needs, this effort was not sufficient. The supply problem and the arrangements for purchasing reached a level that threatened the logistics of the Ottoman army. For this reason, the Ottoman Government started to develop policies for forming a domestic market on qualified horses like the once in European countries. The Government established Islah-ı Nesl-i Feres Cemiyeti in order to organize horse races that were one of the ways enabling breeding the horse lineage in 1912.
{"title":"Organization for Breeding the Horse Lineage during the Second Constitutional Era: The Case of Islah-ı Nesl-i Feres Cemiyeti","authors":"Feyza KURNAZ ŞAHİN","doi":"10.21497/sefad.1128835","DOIUrl":"https://doi.org/10.21497/sefad.1128835","url":null,"abstract":"This article focused on the activities of Islah-ı Nesl-i Feres Cemiyeti established in 11 April 1912 under the patronage of the sultan for breeding thoroughbred horse, organizing horse races, and improving riding, following the Second Constitutional Era. In the Ottoman State, pulling force and carrying capacity of a horse had vital importance in terms of agricultural economics and defence. However, there were some problems about breeding and reproducing the horse lineage according to the needs starting from the first half of the XIXth century. Collapse of the timar system and abolition of the Janissaries caused a loss in horse breeding. Despite the establishment of modern studfarms in order to fulfil the military and agricultural needs, this effort was not sufficient. The supply problem and the arrangements for purchasing reached a level that threatened the logistics of the Ottoman army. For this reason, the Ottoman Government started to develop policies for forming a domestic market on qualified horses like the once in European countries. The Government established Islah-ı Nesl-i Feres Cemiyeti in order to organize horse races that were one of the ways enabling breeding the horse lineage in 1912.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49616975","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this study, the unnamed narrator of Ariel Dorfman’s Mascara, who has a congenital facial peculiarity, is examined through Jacques Lacan’s critical ideas on the formation of the subject. Lacan gives an extensive account of the process of the individual’s becoming a subject and the positions this subject takes in relation to the social structures. The subject’s tendency to conform to the norms of society is closely intertwined with a continuous “desire” that arises in relation to an existential lack. For someone having an atypical appearance, just like the protagonist in Mascara, the burden on this lack is doubled because he lacks both in being and in the face, the most critical body part in an assigning identity to an individual. Due to his featureless face, the unnamed narrator in Dorfman’s novel is conferred a devalued status offered by the wider society as the Other. Highly aware of his status as an outsider, the narrator believes that it is possible for him to become visible and ordinary through someone’s love. Although his “desire” to be recognized by a woman costs him his life, neither his death nor the absence of a physical face prevents the unnamed narrator in Mascara from getting what he demands, which is remembrance. Drawing on the theoretical framework by Lacan, this article offers that the occurrence of facial stigma as a subordinate social category is due to a set of social expectations that are transformed into “ideal” and “standard.”
{"title":"Ariel Dorfman’ın Maskara Romanında Yüz ve Kimliğe Lacancı Bir Bakış","authors":"F. Eren","doi":"10.21497/sefad.1128334","DOIUrl":"https://doi.org/10.21497/sefad.1128334","url":null,"abstract":"In this study, the unnamed narrator of Ariel Dorfman’s Mascara, who has a congenital facial peculiarity, is examined through Jacques Lacan’s critical ideas on the formation of the subject. Lacan gives an extensive account of the process of the individual’s becoming a subject and the positions this subject takes in relation to the social structures. The subject’s tendency to conform to the norms of society is closely intertwined with a continuous “desire” that arises in relation to an existential lack. For someone having an atypical appearance, just like the protagonist in Mascara, the burden on this lack is doubled because he lacks both in being and in the face, the most critical body part in an assigning identity to an individual. Due to his featureless face, the unnamed narrator in Dorfman’s novel is conferred a devalued status offered by the wider society as the Other. Highly aware of his status as an outsider, the narrator believes that it is possible for him to become visible and ordinary through someone’s love. Although his “desire” to be recognized by a woman costs him his life, neither his death nor the absence of a physical face prevents the unnamed narrator in Mascara from getting what he demands, which is remembrance. Drawing on the theoretical framework by Lacan, this article offers that the occurrence of facial stigma as a subordinate social category is due to a set of social expectations that are transformed into “ideal” and “standard.”","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":"7 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68710023","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Three pieces of embossed ceramic pieces from the oinophoros group unearthed during the excavations in the Port Buildings and ornamentation repertoire of these vessels, which are generally produced using two or more female molds, there are many scenes such as different mythological events, daily life, pastoral and still life expressions, chariot races and gladiator fights. It was determined that the oinophoros were first produced in Knidos during the Augustus Period. Apart from Knidos, it was understood that they were produced in Pergamon in the middle of the 1st century AD and in Iasos in the second half of the 2nd century AD. The oinophoros group ceramics found in Andriake belong to two different forms as phiale/patera and skyphos. As decoration, there are still life depictions with Eros in vintage associated with the Dionysus cult. Andriake samples are dated to the 1-2 century AD according to the typological analogy. It is seen that the Andriake oinophoros group ceramics are in close relationship with the Knidos samples in terms of similar examples, decoration style, clay and lining features. This situation provides important information about the distribution of oinophoros ceramics on the Lycian coasts and commercial connections between cities. It also contains clues as to the centuries and the extent of Myra's commercial connection with Knidos through the port of Andriake.
{"title":"Oinophoros Type Two Embossed Ceramic from Andriake and Some Thoughts on Them","authors":"Cüneyt Öz","doi":"10.21497/sefad.1128581","DOIUrl":"https://doi.org/10.21497/sefad.1128581","url":null,"abstract":"Three pieces of embossed ceramic pieces from the oinophoros group unearthed during the excavations in the Port Buildings and ornamentation repertoire of these vessels, which are generally produced using two or more female molds, there are many scenes such as different mythological events, daily life, pastoral and still life expressions, chariot races and gladiator fights. It was determined that the oinophoros were first produced in Knidos during the Augustus Period. Apart from Knidos, it was understood that they were produced in Pergamon in the middle of the 1st century AD and in Iasos in the second half of the 2nd century AD. The oinophoros group ceramics found in Andriake belong to two different forms as phiale/patera and skyphos. As decoration, there are still life depictions with Eros in vintage associated with the Dionysus cult. Andriake samples are dated to the 1-2 century AD according to the typological analogy. It is seen that the Andriake oinophoros group ceramics are in close relationship with the Knidos samples in terms of similar examples, decoration style, clay and lining features. This situation provides important information about the distribution of oinophoros ceramics on the Lycian coasts and commercial connections between cities. It also contains clues as to the centuries and the extent of Myra's commercial connection with Knidos through the port of Andriake.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68710506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The main purpose of this study is to reveal clearly and distinctly how the relationship between religion and science is established in Pythagorean doctrine. Religion and science are two important disciplines that provide people to understand and explain themselves and those around them in their life journey. Therefore, these two disciplines have been always in a mutual interaction throughout the historical process. While some thinkers argue that the interaction between religion and science supports and nurtures each other, the dominant opinion is that these disciplines are opposed to each other and that they are subsequently accepted at the same time create a contradiction. Thus, for those who defend the second view, religion and science are distinct fields, as well as disciplines that do not agree with each other in any way. On the other hand, Pythagoras and his followers, in a sense, challenged their predecessors (philosophers of Miletus) and presented religion and science under one roof. And they have thus shown that religion is not opposed to science, on the contrary, religion is based on science, and even these two disciplines are a single instrument that serves the same purpose. Pythagorean achieved this purpose by discovering the concept of "harmonia", which combines the studies of religion, music and mathematics.
{"title":"Religion and Science in the Pythagorean Doctrine","authors":"Ercan Salğar","doi":"10.21497/sefad.1128596","DOIUrl":"https://doi.org/10.21497/sefad.1128596","url":null,"abstract":"The main purpose of this study is to reveal clearly and distinctly how the relationship between religion and science is established in Pythagorean doctrine. Religion and science are two important disciplines that provide people to understand and explain themselves and those around them in their life journey. Therefore, these two disciplines have been always in a mutual interaction throughout the historical process. While some thinkers argue that the interaction between religion and science supports and nurtures each other, the dominant opinion is that these disciplines are opposed to each other and that they are subsequently accepted at the same time \u0000create a contradiction. Thus, for those who defend the second view, religion and science are distinct fields, as well as disciplines that do not agree with each other in any way. On the other hand, Pythagoras and his followers, in a sense, challenged their predecessors (philosophers of Miletus) and presented religion and science under one roof. And they have thus shown that religion is not opposed to science, on the contrary, religion is based on science, and even these two disciplines are a single instrument that serves the same purpose. Pythagorean achieved this purpose by discovering the concept of \"harmonia\", which combines the studies of religion, music and mathematics.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68710606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Originally written in Japanese by Ichiro Kishimi and Fumitake Koga, The Courage to Be Disliked is a book that talks about perennial life questions and the liberation of the mind. Incorporating concepts from Adlerian psychology, this is done through a Socratic dialogue in which the philosopher converses with the youth. Divided into five “conversations,” this book is filled with wise gems, in a non-complicated and very accessible manner, that can be utilized in personal and professional areas. This non-fiction book has sold over three million copies and has been translated into many languages. Because of its very relatable and universal values, it is becoming a modern classic. Many readers even describe the book as transformative and paradigm-shifting. This book is highly recommended to young people and professionals in the arena of counseling, teaching, and social work.
{"title":"The Courage to be Disliked","authors":"L. Giray","doi":"10.21497/sefad.1128742","DOIUrl":"https://doi.org/10.21497/sefad.1128742","url":null,"abstract":"Originally written in Japanese by Ichiro Kishimi and Fumitake Koga, The Courage to Be Disliked is a book that talks about perennial life questions and the liberation of the mind. Incorporating concepts from Adlerian psychology, this is done through a Socratic dialogue in which the philosopher converses with the youth. Divided into five “conversations,” this book is filled with wise gems, in a non-complicated and very accessible manner, that can be utilized in personal and professional areas. This non-fiction book has sold over three million copies and has been translated into many languages. Because of its very relatable and universal values, it is becoming a modern classic. Many readers even describe the book as transformative and paradigm-shifting. This book is highly recommended to young people and professionals in the arena of counseling, teaching, and social work.","PeriodicalId":40468,"journal":{"name":"Selcuk Universitesi Edebiyat Fakultesi Dergisi-Selcuk University Journal of Faculty of Letters","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68710691","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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