Studien zur Sprache, Geschichte und Kultur der Turkvölker
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Herausgegeben von:
Benedek Péri
, Günhan Börekçi , Hülya Çelik , Cemal Kafadar , László Károly und Julian Rentzsch -
Begründet von:
György Hazai
Die Reihe SSGKT wurde 1980 vom ungarischen Turkologen György Hazai im Klaus Schwarz Verlag gegründet und widmet sich der Sprache, Kultur und Geschichte der Turkvölker. Geographisch nehmen die einzelnen Bände sowohl Zentral-, Nord-, West- und Ostasien als auch Teile Europas in den Blick. Dabei wird der zeitliche Bogen von den ersten Zeugnissen im 6. Jahrhundert bis in Moderne und Gegenwart gespannt.
Reihenherausgeber:
Benedek Péri, Günhan Börekçi, Hülya Çelik, Cemal Kafadar, László Károly, Julian Rentzsch
Anfragen und Einreichungen schicken Sie bitte an den Acquisitions Editor Torsten Wollina: torsten.wollina@degruyter.com
This volume contains Crimean Tatar folklore texts that had been collected by the noted Hungarian Turkologist Ignác Kúnos during World War I, specifically from Russian Muslim prisoners of war in Hungarian camps. The collection consists of 38 fairy tales and a partial version of the Chora-batir epic. The tales featuring padishahs, their sons, and naive boys, exhibit the enchanting diversity of Crimean Tatar folk imagination. The introductory study delves into linguistic aspects, then the next chapter explicates the transcription system’s phonetic nuances. It is followed by an English translation, which reflects Kúnos’ Hungarian translation in a much ameliorated and revised form. A sizable trilingual (Crimean Tatar–English–Russian) glossary follows covering the entire Crimean Tatar material collected by Kúnos. It becomes evident that dialectal features cannot be sharply separated across the tales since the Crimean dialects are highly mixed in character, distinguished only by the different proportions of northern (Kipchak) and southern (Oghuz) elements. The present volume, while preserving valuable pieces of Crimean Tatar folklore and offering linguistic insights, also opens a unique window into a distant time and culture.
The status of Crimean Karaim, an extinct eastern dialect of Karaim, has long been a subject of debate among scholars. Some have labeled it a "ghost dialect," while others argue it assimilated into Crimean Tatar over time. The oldest written records of this dialect predominantly appear in Bible translations. The language of the corpus in this volume, specifically the Book of Leviticus from the so-called Gözleve Bible printed in 1841, is also identified as Crimean Karaim. Past research primarily analyzed the edition based on short fragments, often describing it as showing signs of Tatarization, and sometimes as being created based on Western Karaim manuscripts.
This volume offers a comprehensive examination of the linguistic features of an understudied biblical book from this translation to address these claims, providing a transcription, translation, and a facsimile of the original text. The linguistic examinations, delving into phonology, morphology, morphophonology, syntax, morphosyntax, and lexicon, suggest that while the translation embodies the oldest traditions of Karaim Bible translations, it also reflects specific linguistic trends of its time, illustrating the nature of a mixed variant of Crimean Karaim.
As the core theme of Early Modern Ottoman poetry, love inspired a plethora of Turkish research, the most enlightening of which explored questions of terminology, semantics, and mystic dimensions. Internationally, however, there have been few publications on this subject.
This book closes this gap by investigating ʿışḳ in different genres and contexts. Whereas the terms ḥubb and maḥabbet point to comfort and care, the term ʿışḳ denotes passionate love; often laced with mystical connotations. Through this lens we show that Ottoman lyrical realities transgressed the rules, burgeoning beyond conventional settings and giving voice to vivid creativity. Large parts of urban society indulged in poetry and thereby challenged certain norms.
This volume builds on the work of Ilse Laude-Cirtautas (1926–2019), a pioneering Turkologist who introduced the field of comparative Turkic studies to the US in the 1960s. It presents an ongoing dialogue whereby scholars from central and inner Asia and the West engage on issues of Turkic heritage, identity, language and literature. The discussions enrich scholarship in Central and Inner Asian Studies and explore the question "Who are the Turks?"
This collection of papers explores the facets of gender and sex in history, language and society of Altaic cultures, reflecting the unique interdisciplinary approach of the PIAC. It examines the position of women in contemporary Central Asia at large, the expression of gender in linguistic terms in Mongolian, Manju, Tibetan and Turkic languages, and gender aspects presented in historical literary monuments as well as in contemporary sources.
This collection of papers presented at the 62nd Annual Meeting of the Permanent International Altaistic Conference explores the complex relations of religion and state in history, language and society of Altaic cultures, reflecting the unique interdisciplinary approach of the PIAC. It examines aspects of shamanism, religious belief, totemism and religious influences on contracts in historical literary monuments as well as in contemporary sources.
Molino, born Armenus Turcicus Yovhannēs of Ankara, was exposed to the Turkish language from childhood, unlike other authors of the known ‘texts in transcription”. In Armenian cultural history, he is remembered as a man of letters, a publisher and the translator of religious texts, whose services to the history of the Turkish language and the corresponding contribution to Ottoman Turkish culture were to this date unknown.
The editor has reversed and reorganised the material of the lexicon from Italian-Turkish to Turkish-Italian. The lexical entries of Molino’s dictionary are presented according to morphological and phonological principles, with their orthographic variants side by side, revealing information on the morpho-phonological patterns of Ottoman-Turkish at that time. The language Molino recorded sounds almost like contemporary Turkish and can be considered a bridge to the modern Turkish language.