Yahya Kemal Research Articles

“Ethereal Journeys” of a Wanderer in William Cowper and Yahya Kemal Beyatlı

“Ethereal Journeys” of a Wanderer in William Cowper and Yahya Kemal Beyatlı

Quatrains of Many Receptions: A Survey of Perceptions of ‘Omar Khayyām in Ottoman and Turkish Translations

AbstractThis article explores the wide range of responses to Persian polymath and poet ‘Omar Khayyām (d. ca. 526/1132) in Ottoman and Turkish literary sources. A great number of intellectuals, past and present, translated Khayyām's famed quatrains into Turkish, albeit with differing motivations regarding subject, style, message, and literary reception. Social critics like Abdullah Cevdet employed Khayyām's quatrains as a vehicle for proving that liberal and progressive mindsets were accommodated in classical Islam. On the other hand, literary scholars like Rıza Tevfik [Bölükbaşı], Ḥüseyin Dāniş, and Abdülbaki Gölpınarlı chose to focus on the intellectual origins of Khayyām's thought, as well as on his connections to Islamic philosophical traditions. In the first decades of the Turkish Republic, there was another wave of interest in Khayyām's quatrains related to prosody, message, and what his legacy and poetic disposition represented with regard to the Islamic past. Whereas poets like Yahya Kemal and Âsaf Hâlet Çelebi regarded him as a paragon of libertine lyrics and Sufi mysticism, Turkish leftist intellectuals such as Nâzım Hikmet, Sabahattin Eyuboğlu, and A. Kadir set him as a socialist or materialist humanist who was a staunch critic of religious bigotry and fanaticism.

Visualisation of Some Poems of Yahya Kemal with Artificial Intelligence Technology

We think that addressing the view of artificial intelligence, which is used in almost every field today, from literary genres to poetry will fill a gap in the literature. In this context, in this study, we examined how to visualise poems from literary products with artificial intelligence and whether the visuals created will be related to poetry. For this purpose, we selected Yahya Kemal's poems titled Gurbet, Bir Yıldız Aktı, Uçuş, Ziyaret, Siliz Gemi, Maltepe, Akşam Musikisi, Gece, Mevsimler, which have an important place in Turkish literature. We obtained visuals for the poems using Dall. E and Artbreeder applications. In the study, we examined how compatible the visuals were with the poems by using the content analysis method. As a result; artificial intelligence produced visuals suitable for the words, themes and emotions in the poems. We determined that the visuals produced by artificial intelligence were reminiscent of poems in terms of colour and shape.

OUR SUCCESS IS OUR VALUES: A QUANTITATIVE STUDY ON OUR ROOT VALUES

Does possessing core values lead to success? To what extent can possessing core values make us successful? To answer these questions, a study was conducted to determine whether there was an increase in the success of high school students who received core values education. The study utilized a quantitative research method with a pre-test post-test control group design. An survey was used as the data collection tool and the data was analyzed using SPSS 26. The research sample was selected using the convenience sampling method and consisted of students from Elazig Yahya Kemal Beyatli Anatolian High School. If an increase in success is observed based on the obtained data, the necessary actions will be taken to disseminate core values education by sharing the results with the school's Values Commission. If a relationship between academic achievement and core values is identified, further research can be conducted to promote the dissemination of core values education. Additionally, not only academic success, but also students' affective skills related to core values such as attitudes, beliefs, and thoughts can be measured. Future research can examine the effects of core values at different school levels and draw conclusions based on different variables.

Literary Istanbul

Literary Istanbul Buket Uzuner (bio), Erkut Tokman (bio), and Matt A. Hanson (bio) Click for larger view View full resolution A City of Two Continents by Buket Uzuner There are few cities in the world for which countless novels, monographs, poems, and memoirs have been written. Istanbul has always been one of those few cities that has changed human history with its multicultural self (entity) and geostrategical position. Istanbul is unique in being the only city in the world to be set on two continents with a sea passing through it by a natural strait. I chose Orhan Pamuk's Istanbul: Memories and the City, as he paints the poetic images of the city through his personal memories and emotions in a brave and literary living autobiogra phy. He talks about the Istanbul of his childhood in the back streets and waterways as if he were a fairytale teller; Pamuk tells the tales of both Istanbulian writers Tanpınar and Yahya Kemal, as well as those who've lived in Istanbul like Flaubert, Nerval, Lord Byron, Amicis, and Cavafy with the sadness (hüzün) of a paradise lost. The reader immediately understands that Istanbul is both Pamuk's home and the heart of his imagination. [End Page 36] I've many favorite bookstores in Istanbul. As you know, Istanbul is set on two continents, therefore I chose two bookstores, one from each. Minoa bookstore (Şişli, on the European side) is an independent bookstore with a wide range of books both in English and Turkish. Its café has lovely cakes and good coffee. Penguen bookstore (Suadiye, on the Asian side) is a five-story bookstore offering different books on each floor along with a cozy café. The City as an Unwritten Novel by Erkut Tokman As it is located at the very end of Istiklal Street (La Grand Rue de Pera) in the Tünel (Tunnel) district of Beyoğlu-İstanbul and considered the third oldest bookshop of the city, whenever I pass by Cohen Sisters Bookshop, it has always been a passageway of memories for me. It is in an old, historical, shady passage with charming cafés facing the Galata-Tunnel Funicular Station—considered the second oldest funicular underground system (after London)—through which one can travel between the Beyoğlu and Karaköy districts climbing up to the hill. Immediately exiting the station, you face the huge and splendid iron door of the passage and last stop of the old tram. The bookshop's owners were two sisters, Sephardic Jews: Mazalto Kohen and Elisa Kohen Benzimra. They established it in the garden of the Swedish Consulate to sell books on nursing and fashion; later, however, when the bookshop moved to Narmanlı Han and eventually to the Tunnel Passage, they sold a wide range of old and new books from different genres and subjects as well as gravures. I have met the owner from the third generation of their family, their cousin's son, Albert Sapan, who inherited the bookshop recently from Samuel Sapan. Although the bookshop's tattered wood frames give the impression of negligence, it reflects the epitome of Istanbul's derelict soul of minorities. With few customers inside, especially today, the shop resists the modern new bookshops near the tram stop, as if it was left alone at the end of a passage smelling of old books. Two old, round tables with a pair of facing chairs are often empty whenever I am there. They face the stairs to the suspended floor of the bookshop that stores books in abundance above the kitchen area. I've searched here for old books and some new, always wondering about the protagonists of other eras who would visit the bookshop as if they had come out of an unwritten novel on Istanbul. Over Orhan Pamuk's The Museum of Innocence or Ahmet Hamdi Tanpınar's A Mind at Peace, I'd choose Peyami Safa's Fatih-Harbiye, set near the same old tram stop of the bookshop's Tünel district. Fatih depicts the "Eastern sprit and tradition of Istanbul"; Harbiye, the "Western sprit and tradition." The main protagonist, Neriman, faces an engagement dilemma between the...

DERGÂH MECMUASI’NDA ROMANTİZMİN İZDÜŞÜMÜ: YAHYA KEMAL’İN MUSÂHABELERİ (1921-1923)

Bu çalışmada Dergâh Mecmuası’nda Romantizm akımının izdüşümü, Yahya Kemal (Beyatlı)’in Mecmua’da neşredilen yazıları bağlamında incelenmiştir. Romantizmin “kayıp cennet” metaforu ile aynı zamanda Dergâh’ın kelime anlamlarından birini ihtiva eden “zaman kapısı” kavramı arasında zamanın muhasebesini içeren bir analoji kurulmaya çalışılmıştır. Bu analojinin mecmuanın hem isim koyucusu hem de baş yazarı olan Yahya Kemal’in yazılarındaki izdüşümlerinin ne olduğu, hangi noktalarda ve ne şekilde ortaya çıktığı çalışmanın temel sorunsalını teşkil etmektedir. Bu bağlamda içerik analizi yöntemi çalışmanın metodolojik çerçevesini oluşturmaktadır. Bu yöntemle Yahya Kemal’in musâhabelerinde Romantizme dair gömülü anlamın ortaya çıkarılması amaçlanmıştır. Çalışmada edinilen sonuçlar ise; Yahya Kemal’in yazılarında edebiyatçı kimliğinin daha fazla ön plana çıkmış; edebiyat ve tarih üzerine musâhabeleri, Siyasî Romantizmden ziyade sosyal ve kültürel alanlarda Romantizmin izlerini barındırmıştır. Yahya Kemal, yaşadığı dönemde Batılılaşma çerçevesinde gerçekleşen sosyal ve kültürel değişimleri eleştiriye tabi tutarken, Anadolu’da başlayan Millî Mücadele’yi geleceğin gelenek üzerinden restorasyonu bağlamında bir fırsat olarak değerlendirmiştir. Bu bağlamda köklere olan bağlılığı ve değişime olan tedrici tutumu, Onarıcı (restorasyoncu) Romantizm olarak değerlendirilebilir.

Turkish Language Teaching and Acquisition of Reading Culture in Our Schools

At the bottom of our reading and conversation tradition, “oral” culture before the acceptance of Islam has great influence. For this reason, even our reading culture has been established on the logic of listening and conversation. Turkish people met with written works only after the Tanzimat (Edith of Reorganization). With the guidance of Tanzimat poets and writers, we see that a serious readership has formed especially in Istanbul since the 1890s. The Second Constitutional Period was when the press and reading culture were at their peak. In one of his writings, Yahya Kemal Beyatlı said that a children’s magazine sold 5,000 copies in Istanbul. The intellectuals who founded and kept the Republic alive were also raised in the productive environment of these years. Our reading habits continued after the establishment of the Republic. After the Alphabet Revolution in 1928, there was a short transition period. However, we see that the first generation of the Republic created a good audience when we look at the number, variety, and circulation of books published with new letters in the 1930s and later. The basis of this development is the importance given by the state to the reading culture, and the 1928 curriculum prepared with this understanding. The aims of this curriculum must have been well understood that a serious reading campaign began throughout the country, and schools, village chambers, and gathering places became reading halls. In order to meet the expectations of the readers in the villages and to gain new readers, the books were delivered to the readers in boxes (book borrowing crates) strapped to the backs of donkeys. After the 1980 coup d'état, our enthusiasm for reading, discussing, and thinking suddenly stopped. Today, we are at a point where we do not desire in terms of the culture of reading and discussion. We need to work quickly to build a society that reads and thinks again. Curriculums should be re-prepared with the spirit of the 1928 curriculum, and expert-certified people should prepare all materials and course tools produced according to this curriculum.

Yahya Kemal’in ‘Sessiz Gemi’ Şiirinin Bilişsel Poetik Çözümlemesi

This study is a cognitive stylistic/poetic analysis of one of Turkish literature’s best-known poems ‘Sessiz Gemi’ (Silent Ship) by Yahya Kemal Beyatlı. More specifically, based on the premises of Conceptual Metaphor Theory (Lakoff & Johnson, 1980) and Conceptual Blending Theory (Fauconnier & Turner, 1998, 2002), the study aims to identify the conceptual devices and strategies used in the construction and interpretation of the poem. The analysis reveals that the poem is rich in conceptual projections and symbols, which make the whole poem an allegory for the concept of ‘death’. Within the frame of JOURNEY, a blend is constructed between the sea voyage and the abstract concept of death, which entails several conceptualizations that match with the metaphors CHANGE OF STATE IS CHANGE OF LOCATION, DEATH IS GOING TO A FINAL DESTINATION and DEATH IS REST proposed by Lakoff and Turner (1989). The study reveals that a cognitive poetic approach to literary texts is significant in disclosing the conceptual processes the human mind undergoes to sort out the composition of the text by the writer and decomposition by the readers.

THE CONCEPT OF NATURE IN THE POETRY OF YAHYA KEMAL BEYATLI

Yahya Kemal Beyatlı is one of the greatest Turkish poets in the 20th century. He left deep influence in Turkish literature by his powerful style and his famous lyrics in addition to his literary personality that he formed in authentic and natural framework faraway from artificiality. He was a man of culture as well as ideology. Our great poet skillfully made use of Ottoman language in addition to modern Turkish language. He elaborated his concept of poetry throughout his own ideas, style and his use of metrics in poetry. The poet wrote his poems in unique subjects that portray immortality, love, nature, and history adding passion to them so that they become poems of high value. Hence all people in the society read them giving the poet success as well as leaving traces that cannot be deleted from the hearts and minds. His poems were moving from one language to another. Some of them are classics and some are romantic which made them read in councils. He was described as a unique poet in his age because he spoke Arabic and Persian languages fluently which was clear in his poetry. I decided to write about the concept of Nature in my research paper because of its active role in his poetry in addition to what attracted me about his own understanding to it. The poet dealt with the aspects of Nature skillfully and passionately in his poems in addition to his extended imagination to write poems about the sea, the sky, the sun, the mountains, and the horizon. This is what I analyzed and studied in my research paper. It was clear in my conclusion of the research paper that the poet Yahya Kemal Beyatlı is a poet of senses and passions and rarely we can find such talent among poets. He wrote about love and passion. Some of his poems, were written in the moony nights which added romantic atmosphere on the imagination of the poet which showed harmony with nature. He wrote also some of his poems on the beach of Istanbul. It is clear through a deep study of his poems on nature that there are wonderful poems. By the end of my research paper, I hope the readers get benefit from it.

Urfa Milletvekili Yahya Kemal Beyatlı’nın TBMM’deki Faaliyetleri

Cumhuriyet Dönemi Türk Edebiyatı’nda iz bırakmış yazarlardan birisi olan Yahya Kemal Beyatlı, Osmanlı Devleti’nin yıkılma döneminde dünyaya gelmiş ve Cumhuriyetin ilk elli sekiz yılında yaşamıştır. Trablusgarp Savaşı, Balkan Savaşları, I. Dünya Savaşı gibi Türk tarihinin önemli dönemlerine tanıklık eden Beyatlı, Kurtuluş Savaşı döneminde İleri, Tevhid-i Efkâr, Hâkimiyet-i Milliye, gazeteleriyle Dergâh Mecmuasında Milli Mücadeleye destek veren yazılar yayınlanmıştır. 1922 yılında kısa bir süre içinde olsa Ankara’ya bulunan Beyatlı, yine aynı yıl Lozan Heyet-i Murahhasası’na Müşavir olarak atanmış ve 1923 tarihinde TBMM’nin oluşturulması için yapılan seçimlerde, Urfa milletvekili seçilmiştir. Çalışmada; Türk Edebiyatı’nın önemli isimlerinden Yahya Kemal Beyatlı’nın yazarlığının yanı sıra TBMM’nde Urfa milletvekili olarak seçilmesi ve mecliste bulunduğu dönem yapmış olduğu çalışmalar literatür taraması yapılarak akademik çerçevede aktarılmaya çalışılıp, ”Tarama Modeli” ile incelendi. Araştırmanın sonucunda; Beyatlı, Mecliste; İrşad, Maarif, Kütüphane ve Hariciye Komisyonlarında görev almıştır. 1925’te Fransızlarla yapılan “Türkiye Suriye arasındaki sınırların düzeltilmesi” görüşmelerine delege olarak gönderilmiş, görüşmelerdeki başarılısı nedeniyle 1926 tarihinde Varşova Elçiliğine atanınca, Şanlıurfa Milletvekilliğinden 23 Mayıs 1926 tarihinde ayrılmıştır.

Alfred de Vigny’den Yahya Kemal Beyatlı’ya: “Kurdun Ölümü” Şiiri Üzerine Bir İnceleme

Alfred de Vigny's "La Mort du loup" (1938) is a leading representative of French romantic poetry. "The Death of the Wolf" is one of the first poems that comes to mind when considering both the romantic period and Vigny's poetic work. This study presents Alfred de Vigny's poem in terms of the romantic trends of the time and attempts to analyze it. After giving basic information on Romanticism and Vigny’s poetry, we describe the historical and literary context in which he worked. As the poem deals with a hunting story, observations were made both in terms of romantic aesthetics and narrative logic. For the purposes of writing this article we tried to translate this poem – without being too ambitious - , as it had not yet been translated into Turkish. In so doing, we were able to focus on the transfer of meaning The main objective is based on an analysis that addresses the basic semantic and thematic structure of poetry. In addition, the study gives an evaluation of the writing bond between Yahya Kemal Beyatlı and Alfred de Vigny. As Yahya Kemal used the wolf metaphor in reference to Vigny's poem in his article on "The Female Wolf and The Cubs", the relationship with this image in the text as well as the intertext horizon between the two poets will be treated. 

Painting Theme in “Dergâh Magazine”

Mütareke ve Millî Mücadele döneminin önemli yayın organlarından biri olan Dergâh mecmuası, Türk kültür ve sanatına bütüncül bir bakış açısıyla bakar. Edebî faaliyetlerin yanında resim, heykel ve sinema ile ilgili eleştirel değerlendirmelere yer verir. İşgal döneminin en buhranlı günlerinde İstanbul’da resim sergileri açılır. Bu sergilerde, ressamlarla beraber Galatasaray ve Sanayi-i Nefise Mektebi öğrencilerinin sergileri de dikkati çeker. Dergâh, bu sergilerle ilgili her on beş günde haber ve yorumlar yayımlar. Yahya Kemal, nesrimizin istenilen düzeyde olmamasını resme bağlar. Mecmuada, sanata estetik açıdan bakan Ahmet Haşim poetik anlayışını resmi ele alış ve değerlendirişinde de gösterir. Haşim, Dergâh’ta ressamların resimlerini yorumlarken sanatın sıradanlaşmaması üzerinde durur. Ona göre sanat, bir nevi üst yapıdır. Mecmuada, Fevzi Lütfi yazılarında Türk ressamlarını gelişim göstermemeleri nedeniyle eleştirir. Mustafa Şekip ise, Türk resmini metafizik açıdan değerlendirir.

The horses taking wings towards the seventh heaven: the concept of martyrdom in Yahya Kemal Beyatli

Türk edebiyatının önemli simalarından biri olan Yahya Kemal Beyatlı, şiirlerini büyük ölçüde Kendi Gök Kubbemiz ve Eski Şiirin Rüzgârıyle adlı kitaplarında toplanmıştır. Bu şiirlerde hayat, yaşlılık, ölüm, sonsuzluk, özlem, ruh, musiki, mimari, İstanbul, Türklük, Osmanlı tarihi, fetih ve şehitlik gibi kavram ve mevzular öne çıkmaktadır. Onun şiirlerinde, temelleri Üsküp’te çocukluğunun geçtiği yıllarda atılmış, İstanbul’un eski semt ve mekânlarında olgunlaşmış tecrübe ve dikkatlerle teşekkül eden bir medeniyet tasavvuru görülmektedir. Bu tasavvur, onun Fransız düşünürlerinden aldığı tarih ve vatan telakkisiyle beslenmiş, kendi mimari, musiki ve şiir zevkiyle de estetik bir görünüm kazanmıştır. Dolayısıyla Yahya Kemal’in şiir sanatının önemli bir cephesini milli ve romantik bir duyuşla kaleme aldığı şiirleri oluşturmaktadır. Şairin yukarıda ismini zikrettiğimiz kitaplarında yer alan şiirlerinde, bilhassa Akıncı ve Mohaç Türküsü gibi destan-şiirlerinde, 26 Ağustos 1922 başlığı altındaki ebedîleşmiş dizelerinde şehit, şehitlik ve şehadet gibi manevi değeri yüksek kavramlar işlenmiştir. Bu şiirlerin yanı sıra Süleymaniye’de Bir Bayram Sabahı, İstanbul’un Fethini Gören Üsküdar, Koca Mustafapaşa, O Rüzgâr, Bir Tepeden, Ok, 1918, Akıncı ve Mohaç Türküsü, Kaybolan Şehir, İstanbul’u Fetheden Yeniçeriye Gazel, İstanbul’un Fethini Gören Üsküdar, Mihriyâr, Rubai ve Gedik Ahmet Paşa’ya Gazel ve Selimnâme’deki manzumelerinde de kahramanlık duygusu ile birlikte şehitlik kavramı işlenmiştir. Bu çalışmada yukarıda ismini zikrettiğimiz şiirlerden hareketle şairin şiir evreninde şehadet temasının nasıl teşekkül ettiği ortaya konulmaya çalışılacak, öncesinde Yahya Kemal’de milli romantizmin oluşmasıyla ilgili tetkiklerimiz olacaktır.

THE TRADITION OF SENDING OFF TO MILITARY IN CULTURAL MEMORY: EXAMPLE OF BASKIL (ELAZIĞ) AND ITS SURROUNDINGS

Baskil, kültürel değerlerin canlı bir şekilde yaşatıldığı Elazığ’ın önemli ilçelerinden birisidir. Halkın geleneksel değerlerine sahip çıkması, bölge kültürünün uzun yıllar canlı kalmasını sağlamıştır. Yahya Kemâl “Ne harâbî ne harâbâtîyim / Kökü mazide olan âtîyim.” diyor. Ata kültüne, tarihe ve kültürel değerlere olan bu köklü bağlılık, kimlik bilincine sahip bireyler yetiştirme açısından oldukça önemlidir. Gelenek, bir toplumda kutsal kabul edilen kültürel değerlerin, nesilden nesile aktarılarak süreklilik arz etmesidir. Her birey, ait olduğu milletin toplumsal mirasından taşıdığı değerlerle kolektif bilinçte ölümsüz kodlar oluşturur. Askere gitme de kutsal bir vatan görevi olup halk arasında geleneksel değerler ile kutsanmaktadır. Askerlik, baba ocağından ayrılan her gencin hayatında, değişim ve dönüşüm yaratan, bilinç oluşturma açısından önemli bir geçiş dönemidir. Halk arasında askere gitmeyen gence kız verilmemesi, askerliğin erginlenme mekânı olarak önemine işaret etmektedir. Çalışmada, Baskil ve çevresinde askere yollama geleneğine bağlı ritüeller (genci üç defa yukarı fırlatma, simit ısırtma, askerin mektuplarında yumurta pişirip ona yedirme vb.) kültürel bellekteki önemi açısından ele alınarak sembolik olarak tahlil edilmiştir. Böylece geleneklerin oluşumunda mitolojinin ve inanışların önemi vurgulanmıştır.

WORD GROUPS CONTAINING TITLE AND WORD GROUPS WITH A COMPOUND PERSONAL NAME IN TURKISH AND THEIR EQUIVALENCE IN MACEDONIAN LANGUAGE

A word group with a title (unvan grubu) is formed from a noun word and from a title, for ex. Yahya Bey / господин Јахја / Mister Jaxja. A word group with a compound personal name (birleşik isim grubu) is formed from at least two personal names. Ex. Yahya Kemal Beyatlı / Јахја Кемал Бејатл’ / Jaxja Kemal Bejatli. This paper analyzes word groups with a title and word groups with a compound personal name in Turkish language and their equivalence in Macedonian language. Keywords: word group, title, compound personal name, Turkish, Macedonian.

Invention of the Poet of the Nation-Building Era: Ahmet Hamdi Tanpınar’s Yahya Kemal Monograph

This study aims to discuss Ahmet Hamdi Tanpinar’s monograph Yahya Kemal, published shortly after the poet Yahya Kemal’s death. It focuses on Tanpinar's attempt to examine Yahya Kemal’s personality, character, worldview, poetic aesthetics, and position him in the history of Turkish literature. In addition, this study discusses the cultural, political and literary implications of this attempt. Using the discussions on the concept of the monograph, it investigates Tanpinar's evaluation of Yahya Kemal's ideas by comparing them with modern trends in the history of Western European modern thought. It also considers his poetic production in relation to world literatures, in order to show the singularity and uniqueness of Yahya Kemal’s personality and literary productions in relation to other Turkish authors from both his own and the previous generation. It argues that in directly placing Yahya Kemal at the center of the Turkish nation-building process and modern Turkish poetry, Tanpinar underlines the poet’s skillfulness in the nationalization and domestication of Western European cultural and literary traditions, in which he interacts according to the needs of the modern Turkish nation. The article thus demonstrates that Tanpinar transforms his monograph into a narrative that invents Yahya Kemal as the poet of the nation-building process by reconnecting the current literature of the Turkish nation through his creative dialogue with classical Ottoman poetry.

Some Memoirs and Notes of Yahya Kemal Previously Unrevealed on Recent Turkish Politics and Literature

Yahya Kemal, one of the founding writers of 20th-century Turkish poetry, soon established his ideas, taste and aesthetics with his conversations, lectures, poems and articles which he published shortly after his return from Paris to Istanbul in 1912. Although he passed away at the age of 74, which meant he had had a long life, he did not publish a book when he was alive. Yahya Kemal, who experienced the years of the occupation, the National Struggle and the Republican period, focused on newspaper articles during those years. His books, handwritten manuscripts, poems and articles published in the newspapers of that time, and also the documents and letters he sent to his friends, form the corpus of his writing. As is well known, Yahya Kemal did not publish a book while he was alive. These poems, writings or notes were published by the Yahya Kemal Institute, which was established within the Istanbul Conquest Society, after the death of the poet, and the same Istitute signed an agreement with his heirs. However, this collection of 12 books has been enriched and expanded by several researchers at various times since new research, studies and archives have continued to reveal the writings and verses belonging to Yahya Kemal. This article contains the transcriptions of 18 articles and memoirs of Yahya Kemal in the Taha Toros Archive, which has recently been accessed and shared by Istanbul Şehir University.  

Yahya Kemal’s Membership of the Comission to Define Turkey-Syria Border in 1925 and His Reports Sent to Ankara Related to This Duty

1902’de memleketi olan Üsküp’ten tahsil maksadıyla İstanbul’a gelen fakat çeşitli
 sebepler yüzünden herhangi bir okula kaydolamayan Yahya Kemal hemen bir yıl sonra
 Paris’e gider. Burada bir sene devam ettiği ve Fransızcasını geliştirdiği Collége de Meaux
 ve Ecole Libre des Sciences Politiques’in “Dış Siyaset” bölümlerinde okur. Bu iki okuldan
 da mezun olamamasına, özellikle Paris’teki son yıllarda daha çok edebiyatla ilgilenmesine
 rağmen aldığı bazı dersler, sohbetlerinde bulunduğu, konferanslarına gittiği bazı
 büyük âlimler, hepsinden önemlisi derin ve dikkatli okumaları sayesinde Yahya Kemal
 sağlam bir tarih, felsefe, kültür ve medeniyet perspektifi edinmiştir. 1912’de Türkiye’ye
 döndükten çok kısa bir süre sonra da dersleri, sohbetleri ve yazılarıyla bu donamımı açığa
 vurur. Mütareke döneminde, işgal İstanbul’unun zor şartları altında da olsa Kuva-yı
 Milliye lehinde neşrettiği yazılar ise Yahya Kemal’in sadece tarih değil, sağlam bir diplomasi
 bilgisine de sahip olduğunu gösterir. Mustafa Kemal Paşa başta olmak üzere, Millî
 Mücadele döneminde Anadolu cephesi tarafından okunan bu yazıların da tesiriyle Yahya
 Kemal Cumhuriyet’in ilânından sonra Urfa Mebusluğuna getirilir ve bu ilk mebusluğu
 zamanında Türkiye-Suriye Tahdid-i Hudut Komisyonu’na önce âzâ, sonra başkan olur.
 Bu çalışmada, Yahya Kemal’in bu komisyon üyeliği zamanında, sınırın nereden çizileceği,
 çizilmesi gerektiği konularında Hariciye Vekâleti’ne gönderdiği ve daha önce herhangi
 bir çalışmada yayımlanmayan raporlar incelenecek ve yayımlanacaktır.

Being Evaluated the Works of Yahya Kemal Beyatlı in Terms of Educational Values

Bu araştırma ile Yahya Kemal Beyatlı’nın eserlerindeki eğitsel değerlerin incelenmesi amaçlanmaktadır. Nitel araştırma desenlerinden olan durum çalışması şeklinde hazırlanan bu araştırmada veriler doküman incelemesi yöntemiyle toplanmıştır. Verilerin değerlendirilmesinde nitel analiz tekniklerinden içerik analizi kullanılmıştır ve içerik analizi söz konusu sınıflandırmaya göre yapılmıştır. Araştırmanın bulguları Şahin (2018) tarafından yapılan araştırmada toplanan verilerden yola çıkılarak oluşturulmuştur. Yahya Kemal Beyatlı’nın eserleri incelendiğinde, birçok değer unsurunu barındırdığı görülmektedir. Yahya Kemal Beyatlı’nın eserlerinde evrensel değerlerden kişilerarası ilişki değerleri kapsamında ele alınabilecek ve en fazla karşılaşılan iki değer “sevgi” ile “vatan ve millet sevgisi” olarak belirlenmiştir. Ulusal değerlerden kişilerarası ilişki değerleri kapsamında ise iki değer tespit edilmiştir. Bu kapsamda araştırmada “birlik olma” ve “misafirperverlik” değerlerine ulaşılmıştır.

Osmanlı Döneminde Diyarbakır’da mûsikî kültürü ve mûsikîşinaslar

Extended Abstract The existence of Turkish Music foundations can be traced to the Seljuk period in Anatolia. Many researchers state that it reached to peak level under the Ottoman rule. Especially, during the 16th and 17th centuries, the composition and performance of Turkish music immensely progressed. Hundreds of composers who contributed to this field’s development were born and raised in Anatolia. Istanbul (capital of the State) and Diyarbakir that can be considered as miniature Istanbul, were very important due to their contribution in the field of music in this period. Apart from Istanbul, Diyarbakir was one of the centres that cultivated a conspicuous amount of musicians. The city of Diyarbakir is an important centre of knowledge, wisdom, and music. Besides the holding a central position the Seljuk period, Diyarbakir also functioned as an administrative centre during the Ottoman period due to its distance from the capital and its speciality of being the cultural centre of Mesopotamia. More specifically, it was the standard bearer not only in economics and politics for surrounding cities but also in culture and the arts. Some researches show that there were music and poet circles as Sufi organisations in Diyarbakir on the 16 and 17th centuries. Gulseni tariqat; that was established by Diyarbakiri Ibrahim Gulseni, also used music in its rituals and with this aspect, it made a significant contribution to Diyarbakir’s musical culture. Yusuf Nâbi who had travelled occasionally to Diyarbakir while he was living in Urfa during his youth and then later in Aleppo, would attend music and poetry circles and gained a great deal of experience from them. This situation shows how important Diyarbakir’s music accumulation was. This study endeavours to introduce the musical culture of the region’s ancient city of Diyarbakir and the musicians who helped to develop this musical culture. The fact that Yahya Kemal Beyatli mentioned Seyyid Nuh, a famous composer originally from Diyarbakir, in his poem entitled Eski Musikimiz where he describes Turkish music, illustrates just how important this study is. This study begins by presenting information about the musical culture of Diyarbakir. It then subsequently highlights the biographies of 16th and 17th-century musicians originating from Diyarbakir. The primary sources benefited from in the literature review are, in chronological order: (i) Evliya Celebi’s Seyahatnâme, (ii) Hâfiz Post’s Gufte Mecmuasi, (iii) Mehmed Es’ad Efendi’s Atrâbu’l-Âsâr, and (iv) Ali Emiri Efendi’s Tezkire-I Suara-yi Âmid. In regard to information about musicians themselves, Atrâbu’l-Âsâr was taken as the primary source of reference from which partially simplified passages were used in tandem with other supporting sources to pen this information. During the last quarter of the 17th and first half of the 18th century, in particular, a large number of songsters, saz players, and composers were raised. The most important quality of these musicians as they were only not famous for performing local types of music but also they were famous Turkish (Ottoman) Classical Music. The names of some of these reputed Musicians who were lived during the reigns of the two Ottoman Sultans Mehmed V (1648-1688) and Ahmed III (1703-1730) as follows: (i) Ahmed Verdi Celebi, (ii) Ali (Karaoglu, Âhu), (iii) Cemen-zâde Mehmed Celebi, (iv) Cuvaldiz-zâde Ismail Celebi, (v) Emir Celebi, (vi) Mahmud Celebi, (vii) Seyyid Nuh Celebi, (viii) Sehlâ Mustafa Celebi, (ix) Seyh-zâde Ahmed Efendi, and (x) Yahya Celebi. All of the aforementioned musicians were born in Diyarbakir. Some of them continued to live there until their death whereas others relocated to Istanbul. these musicians who belonged different occupational groups became renowned in the fields of theory, composition, and singing in Diyarbakir during the Ottoman period. This knowledge is important when considering its reflection on the musical knowledge base and the success observed in musical education. Although a foreign (TR: acemâne) influence is observed in a portion of the musicians from Diyarbakir, an underlying Turkish Classical Music style is apparent. Despite, being distant from the centre of Turkish Classical Music, this mutual mix of musical styles in both places is important due to it expresses harmony with the capital.