2010 Cilt 11 Sayı 18

Permanent URI for this collectionhttps://hdl.handle.net/11452/13798

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    From the 19th century up to present day the scriveners parallel to orientalist paintings: Its historical and sociological background
    (Uludağ Üniversitesi, 2010-01-06) Topallı, Elvan; Uludağ Üniversitesi/Fen-Edebiyat Fakültesi/Sanat Tarihi Bölümü.
    The paper written by a single person or a group of people to the government bodies about declarations, demands, complaints is called “arzuhal” (petition). For illiterate people or the ones who don’t know the proper style of a petition, these are written by an “arzuhalci” (scrivener) who makes his living by this way. So they are supposed to know law and rules, legible in writings, have a fluent, correct and strong expression, and also be honest and reliable as a person. Besides, personal letters to the parents, spouses, brothers and sisters, friends and lovers are also written by scriveners. Looking at the scriveners in orientalist paintings, we observe that they are especially visualised with their women clients in most cases. By pointing at these paintings I will be trying to reach to the conclusion that the reason for these painters interests in the subject is attributable not only to their interest in showing men and women together in the same painting but also their wishes to point out the low literacy rate in the community, the women’s role in public and their desires to have their private letters scribed. Even though the scriveners are observed a lot in the Turkish stories, novels, poems, and songs, their appearance in Turkish paintings are not very many. After the declaration of Turkish Republic, with the acceptance of Latin alphabet in 1928 and the great advances in education of the people, the works and the importance of the scriveners are started to decline.
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    Physician in Divan poetry in the light of physicianpatient relations: Reflections from the Shari'a Court Records of Bursa
    (Uludağ Üniversitesi, 2010-01-06) Ercan, Özlem; Düzbakar, Ömer; Uludağ Üniversitesi/Fen-Edebiyat Fakültesi/Türk Dili ve Edebiyatı Bölümü.; Uludağ Üniversitesi/Eğitim Fakültesi/İlköğretim Bölümü.
    In Divan Poetry which is the subject of our article, physician as a model takes part in two ways: In the first one, he is a physician attempting to find a cure to problems of lover but failing in all circumstances; in the second one, he comes forth as a physician who will make the lover experience the beauty of getting together and cure his disease in other words as a lover. In poetry, it is what items like physician, fortune, and river are likened. However, since there was no social reflection of the physician model in these couplets, these examples are left outside the scope of subject. Besides, exemplary couplets in question are focused largely on complaints regarding physicians. In this study, the view that divan poetry is a literature distant from society is put aside, but traces of the model of physician in real life is being searched. Couplets obtained regarding physicians with the scanning of Divan (It is the name given to books in which Divan poets collect their poems.) of thirteen poets of miscellaneous centuries are supported with examples based on real life obtained from Bursa Shari’a Court Records and Bursa Registers which a large part of contents are made up of Bursa Shari’a Court Records. Hence, physician-patient relations in Divan Poetry will be considered from a different perspective. Shari’a court records are a reflection of life beyond being simple lawsuit records and they are among irreplaceable resources of Ottoman historical researches. Almost in all spheres relating society like education, health, culture, economy, agriculture, commerce, it has become possible to benefit from shari’a court records. In the texts the numerous which are given in the parentheses; the first one is poem, the second one is couplet.
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    The relationship between the Anatolian Seljuks and the Ottoman Emirate: A look at interactions in Amasya
    (Uludağ Üniversitesi, 2010-01-06) Gündüz, Sema; Uludağ Üniversitesi/Fen-Edebiyat Fakültesi/Sanat Tarihi Bölümü.
    14th century, the period during which the Emirates arose following the political collapse of the Anatolian Seljuks, manifests the formation of an architectural expressive language of the Ottoman Emirate. When the regional diversities and the period in which the resumption of the Seljuk existence are taken into consideration, the distinction between the Seljuks and the Ottoman Emirate became prominent. An important Danişmendid (1071-1178) centre during the Byzantine period, Amasya, different from several cities in Anatolia, namely Ankara, Tokat, Antalya and Sivas, conquered by Ottoman emirate during the last decades of the 14th century, succeeded in carrying (surviving) the architectural examples of the Seljuks (1071-1308/1318) and Ottomans (1300-1453) till nowadays. Hence, Amasya was the only city witnessing both the architectural activities of the Seljuks and the Ottoman Emirate. As a result of the uninterrupted Seljuk and Ottoman Emirate periods, the traditional reflections of the Seljuks can be surprisingly or rather naturally encountered on the Ottoman architectural monuments of Amasya.