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Abstract


ON THE HOCA DEHHANİ'S DİVAN'S GRAMATİCAL FEATURES
It is known that Oghuzs have existed since the Old Turkish Period. It is coincides a 13th century that the language of the Oguz, who was known to be on the stage of history since the Old Turkish Period, becamed a written language.Their assets; has shown in both in the state (the Köktürk and Uighur State) and in the language itself. This situation is success of Turkish of Oghuz against Arabic and Persian. The Principalities Period, which is in Old Anatolian Turkish which is the first step of Oghuz Turkish, is a period in which there is an abundance of Turkish works. The artists of this period displayed a conscious attitude in terms of using Turkish. It is understood from his works that they try to prove that literary works can be written with Turkish. One of the artists of this period is Hoca Dehhânî. Hoca Dehhânî, who had different opinions about the century in which he had lived until the time of his Divan, his name had been mentioned with the poems wrote on non-religious subjects. It is certain that with the discovery of his Divan he was Şeyhoğlu and Ahmadî was contemporary and he lived in the 14th century. It is understood from his poems that he also used religious-mystical expressions. The fact that he has almost never used Arabic and Persian phares and makes his narration rich and powerful by expressions, proverb and mold words means that he consciously uses Turkish. The topic width of his work and the conscious attitude in his language and wording coincide with the Seigniory Period. This is the starting point of our work. The work will be evaluated in terms of sound and shape. In this study, it will be tried to determine how much the linguistic features of the Divan overlap with the Seigniory Period. Its similarities and differences with the Seigniory Period will be appeared.

Keywords
Seigniory Period, Hoca Dehhânî, Divan, phonology, morphology.


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