BURANA - Journal of Turcology Studies

Women Typology in South Azerbaijan Stories: Rukiye Kebiri ‘The Girl in Me’ Example

2025-06-12T09:12:29+03:00

Women have been one of the most important elements of the social structure throughout history. In this aspect, it is the most important building block that shapes society. Women and society are in mutual interaction. This interaction also creates the types of women in society. These emerging types of women are seen in many genres of literature. One of these types is the story. The types of women in the stories show many differences in terms of the responsibilities attributed to women according to the regions they live in and the societies they are in. In some societies, a woman gains value only as a mother or a wife, while in some societies she has a value only in terms of being an individual, apart from these adjectives. The duty of being a mother and wife imposed on women in these societies also brings with it many responsibilities. While these responsibilities are the same in all societies, the reflection of this on women's lives varies. In the formation of these diversities, the socio-cultural aspects of the experienced society are effective. These responsibilities and the accompanying differences in their lives, together with the sociological structure of societies, lead to the formation of different types of women. With the help of these types formed, a lot of information about the society in which women live can be obtained and its reflections on life can be seen. The stories are remarkable in reflecting the life of these types of women, who differ according to societies. In this study, the types of women in the stories of South Azerbaijan living in Iran will be examined. The class status of women in Iran and the rights granted to women also affect women from South Azerbaijan. This situation has prepared the ground for the formation of many different types of South Azerbaijani women with their national selves and the rules of the society in which they live. Rukiye Kebiri is a South Azerbaijani woman living in Iran, and this issue attracted her attention, she wanted to reflect this situation she was in in her works. In the study, the types of women in Rukiye Kebiri's book ‘The Girl in Me’, consisting of 16 stories that draw attention to these issues, will be examined.

Cinematic Representations of Kyrgyz History: Historical and Cultural Context in Kurmanjan Datka

2025-05-30T10:35:13+03:00

From the moment of birth, human beings are exposed to the cultural elements of the society they live in. These elements are gradually internalized through the individual’s interactions, observations, and experiences with their environment. Thus, the individual becomes a part of the social values of the society throughout this process. Culture is not a static and unchanging structure; rather, it is a living and dynamic entity that continuously undergoes transformation. In this respect, culture can be reshaped in every period depending on social, political, and economic changes. The transmission of cultural values from generation to generation primarily takes place through symbols, narratives, rituals, and art. In this transmission process, cinema, as a powerful form of narrative and expression, plays a significant role. Cinema effectively functions in the cultural transmission process by conveying social norms, values, and cultural elements to wide audiences through its visual and auditory language. At the same time, it keeps the collective memory of societies alive and reinforces the awareness of national identity. In Kyrgyz cinema, especially in the post-independence period, the reconstruction of national values, historical narratives, and cultural identity through cinema has attracted attention. This study examines how the 2014 film Kurmanjan Datka represents Kyrgyz culture and history, and how this representation relates to historical reality. While portraying the heroic stories and cultural values of the Kyrgyz people, the film also holds great importance in providing a cinematic reflection of national identity by remaining faithful to historical facts. The research reveals how Kurmanjan Datka reflects historical and cultural realities and presents significant narratives in terms of Kyrgyz identity. The cultural elements and historical representation in the film are also examined in detail.

The Occurrence of Archaic Words in Contemporary Kyrgyz Turkish in Mahmud al-Kashgari’s Dīwān Lughāt al-Turk

2025-06-18T11:44:44+03:00

Since social phenomena are constantly changing and evolving, the vocabulary of a language also undergoes transformation. In order to meet the need for mutual communication among individuals, vocabulary continually expands with new words or synonyms. The obsolescence and eventual disuse of certain words and meanings is recognized as a complex process that unfolds over a long period of linguistic development.

For instance, some archaic words in contemporary Kyrgyz Turkish are found both in Mahmud al-Kashgari’s Dīwān Lughāt al-Turk and in the variant of the Manas epic compiled by Sagımbay Orozbakov. Although some of these words are no longer part of the active vocabulary of modern Kyrgyz Turkish, they continue to live on in the collective memory of the people and are still used in folk literature, geographical place names, literary texts, and other written or oral sources. The language of the Manas epic, with its rich vocabulary and particularly striking artistic expressions, is regarded as a standard model of the Kyrgyz vernacular. Researchers have stated that there is approximately an 80% lexical similarity between modern Kyrgyz Turkish and the language of Dīwān Lughāt al-Turk. Of course, this similarity represents only one aspect of the connection between the two linguistic stages. Another important point is that Kyrgyz Turkish of the last century was even closer to the language of the aforementioned dictionary. This is evidenced by the numerous archaic words that appear both in the Manas epic and in the dictionary compiled by H. Karasaev, and that also exist in Mahmud al-Kashgari’s work. Thus, the deeper one traces back the layers of Kyrgyz Turkish, the closer it appears to the language of Dīwān Lughāt al-Turk. The aim of this article is to compare archaic words in contemporary Kyrgyz Turkish with those found in Dīwān Lughāt al-Turk. During the research process, lexical, morphological, and semantic comparative methods were employed. As a result, it was determined that many archaic words in Kyrgyz Turkish appear in Mahmud al-Kashgari’s work with similar meanings. The findings obtained from this study may be utilized in educational settings and scholarly publications. Moreover, the ideas presented in this article are proposed to the academic community for further consideration.

Farhang-e Amme-ye Komijan

2025-04-23T04:53:13+03:00

Book Review

Kırgız Türkçesiyle Mevlit (Ses Bilgisi, Şekil Bilgisi, Çeviri Yazı, Sözlüklü Dizin, Tıpkıbasım)

2025-05-30T10:52:22+03:00

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