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Deli Dumrul

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Deli Dumrul

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In dieser Geschichte um Deli Dumrul verliebt sich Dumrul in Günçiçek. Leider hat diese ihre Seele an Azrail verkauft und so beginnt für Dumrul ein verrücktes. Deli Dumrul | Mehmet Alperen | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. Büyük Türk Destanları - Deli Dumrul. Yazar: Suat Karadağ. Yayınevi: Damla Yayınevi. ISBN: Boyut: 13,5 x 19,5 cm. Deli Dumrul is an epic character in Turkish literature. Dumrul fell in love with "​Guncicek", one day Dumrul heard the Reaper took her soul. Dumrul wondered. Neues Konto erstellen. Deli Dumrul, profile picture. Deli Dumrul ist bei Facebook. Melde dich an oder erstelle ein Konto, um dich mit Deli Dumrul zu verbinden. Deli Dumrul, Behrengi, Samed. Buch - Buchzentrum: Der starke Partner für Handel und Verlage ○ Umfassendes Sortiment mit Büchern, Spielen, Kalendern,​. Deli Dumrul jetzt legal online anschauen. Der Film ist aktuell bei Pantaflix, Turk on Video verfügbar. In dieser Geschichte um Deli Dumrul verliebt sich Dumrul in​.

Deli Dumrul

Deli Dumrul, (DVD). Turkish Neu MoviE, Kurtlar Kuslar aleminde. Yapim Yili, Yönetmen, Oguz Yalcin. Sanaryo, Farih Yildiz. Oyuncular, emir Benderlioglu. - In dieser Geschichte um Deli Dumrul verliebt sich Dumrul in Günçiçek. Leider hat diese ihre Seele an Azrail verkauft und so beginnt für Dumrul ein. Deli Dumrul'un hikayesini anlatan filmde Dumrul, aşkı uğruna Azrail'e ve deniz korsanlarına kafa tutuyor, işler giderek sarpa sarıyor ama kahkaha bir an bile hız​. Deli Dumrul

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Deli Dumrul - Issız Oğlan Bize Ters Deli Dumrul, (DVD). Turkish Neu MoviE, Kurtlar Kuslar aleminde. Yapim Yili, Yönetmen, Oguz Yalcin. Sanaryo, Farih Yildiz. Oyuncular, emir Benderlioglu. - In dieser Geschichte um Deli Dumrul verliebt sich Dumrul in Günçiçek. Leider hat diese ihre Seele an Azrail verkauft und so beginnt für Dumrul ein. Deli Dumrul'un hikayesini anlatan filmde Dumrul, aşkı uğruna Azrail'e ve deniz korsanlarına kafa tutuyor, işler giderek sarpa sarıyor ama kahkaha bir an bile hız​. Berufserfahrung, Kontaktdaten, Portfolio und weitere Infos: Erfahr mehr – oder kontaktier Deli Dumrul direkt bei XING. Deli Dumrul: Kurtlar Kuşlar Aleminde ein Film mit Mustafa Üstündağ, Arzu Yanardağ. Inhaltsangabe: Durul ist ein junger Mann, der über traditionelle Werte​.

However, the learned situation the death of young man while visiting the nomad community forms the initial condition of Deli Dumrul narrative. While Deli Dumrul is getting paid, one day, he has encountered a different situation and learns new information which is, in fact, the transformative force of the narrative.

One day, Deli Dumrul receives news of the death of a young nomad man. Here, there is an interesting situation in terms of the narrative programme.

The sender makes an action to the subject in different ways by requesting, ordering, offering, or even by begging. The sender begs the subject to take action.

When we focus on the request of the sender from the subject, it can be seen that there is ignorance here, because the sender does not have enough knowledge about Islam.

As a result, it can be deduced that Deli Dumrul narrative coincides with the period of meeting Islamic religion of the Turks. At this point, Saydam states that it is most likely, the difficulties of adopting the foreign values and set of rules of Turks, who have recently met with Islam and the Islamic belief system, have been expressed in the person of Deli Dumrul In this respect, Deli Dumrul is presented as a folk hero who does not have a comprehensive knowledge of all the doctrines of a new religion.

Then he gained self-confidence. However, the second time, Azrael explains that he is one of the angels of Allah, and he is a subject who has been charged with by Allah.

Then Deli Dumrul learns the truth about Azrael. In this narrative schema, abstract religious aspects of the narrative predominate.

From the religious point of view, Almighty Allah is pleased to see the regret of Deli Dumrul and fulfills his desire when he begs him honestly.

Perhaps this is the only positive narrative programme which has been realized in the narrative. However, it is the most tragic one at the same time.

More than one adverse situations will arise in the future depending on the development of the programme. In the first place, Azrael shows that he is sacred and the messenger of Allah.

Azrael says that he is tasked with taking the life of Deli Dumrul by Allah. However, Deli Dumrul is not aware of the fact of who Azrael is as he does not have enough religious knowledge.

Although Deli Dumrul lives in a Muslim community, he is not aware of the fact the existence of the angel of death who has to carry out the orders of Allah.

Also, the ignorance of him poses a huge problem for Deli Dumrul. Since he thinks that he will succeed in everything by using his physical power, he asks Allah to allow him to meet Azrael.

The power being able to do which is not based on the knowledge knowing can cause many problems for the subject.

Therefore, it is said that Almighty Allah gives human wisdom and the ability of thinking and reasoning for all situations in life.

This is not the case for Azrael who is a religious concept because the angels like Azrael have to carry out the orders of Allah by not thinking or reasoning anything.

In this circumstances, Allah is an authoritative sender who gives a duty to Azrael subject. And, because of his authoritative status, Azrael has to take action to fulfill the given mission by Allah.

Let him swagger and vaunt himself in My great court! Allah sender asks Azrael subject to get the life receiver of Deli Dumrul object which is compulsory for the subject.

His knowledge is so weak that he does not know to whom he cries for help even at this stage. I was full of wine; I was out of my mind; I did not know what I said.

Do not take my soul, Azrael, mercy! The subject has to discharge the task given by the sender. However, since the belief is in question here, this time the object appeals for help from the sender properly.

Deli Dumrul begs Allah and asks for his forgiveness. As it can be seen, Allah commands Azrael. Here, there is an absolute authority in the relation between the sender Allah and the subject Azrael , and there is no way for the subject not to perform the orders of the sender in a religious sense.

In this respect, it is also possible to evaluate the situation of Azrael in the presence of Allah in terms of religion.

NP Azrael and Deli Dumrul: The second schema in the third segment is the continuation of the previous actantial schema. The angel of Allah sender desires to take the life object of Deli Dumrul subject.

In the schema, the helpers of Deli Dumrul are seen as his parents. However, after a while, Deli Dumrul will be disappointed despite all his efforts.

First, he believes and trusts his parents, but then he will understand that these feelings are of no importance to his parents.

So it can be said that, in this narrative, the condition of belief and trust will always take place. In fact, all these situations arise from the ignorance of Deli Dumrul.

First, he has risen against Azrael as he trusts his power and courage. Later, the situation reverses. This time, Allah decides to take the life of Deli Dumrul.

Deli Dumrul witnessed that the life of a young man has been taken in his neighborhood. After some tests and pleas, Deli Dumrul is forgiven under a certain conditional agreement by Allah.

Now, he needs to find another life to be sacrificed for Allah to be forgiven. Deli Dumrul first, trusts his parents, but they do not give their lives for their son.

As it is seen, the story continues by the articulation of the various narrative programmes here. Because of his ignorance, Deli Dumrul disobeyed Almighty Allah unintentionally, and he is deeply occupied with saving his life.

In a narrative programme, there are two types of situations between the subject and the object as possession or renunciation. The possession or renunciation can not only valid for objects but also conditions belong to the subject in the narratives.

For example, the subject may have to give up one of his organs. The critical thing to know about it is that both possession or giving up the possession can also be reflexive.

For instance, Allah wants Deli Dumrul to give his life. In terms of the narrative programme, the subject Deli Dumrul is with its object life for now.

However, Allah wants him to leave his object that he has in the end. The contract between the sender Allah and the subject Deli Dumrul is on the renunciation.

As Günay asserted, a subject is both a subject of doing and a subject of state who has the object at the beginning of the narrative, but at the end, the subject separates from it.

This kind of reflexive operation is at stake, and this operation is called as renunciation That is, the sender wants the subject to give up his object life which means it is the death of the subject.

For this reason, Allah charged Azrael with taking the life of Deli Dumrul. The angel is often symbolized as winged. The wings are either white or black.

In religious narratives, the angel is generally described in this form. However, in the story, it is proposed as a red-winged angel because, here, it is intended to create a religious aspect and a dominant status for the angel.

So, the red color is used for the wings of Azrael to show that he has higher status than Deli Dumrul in the narrative.

Moreover, red color can also be used for stating the social position of the angel as the messenger and officer of Almighty Allah. First, he takes place as a tyrant at the beginning.

He has had a bridge built along a dry river, then forces people to cross over the bridge. Deli Dumrul gets money from the individuals who use the bridge by this way.

These acts make Deli Dumrul as a despot and negative character. Later, as his religious knowledge is weak, he is not able to recognize who Azrael is, and thereby, he opposes to Allah and his orders.

Considering these qualities of Deli Dumrul, it is impossible to name him as the right person, at least, at the beginning of the narrative.

When Deli Dumrul sees the messenger of Allah, Azrael, he is frightened. At this point, his courage has come under question.

However, this is a mistake. Meanwhile, the state of claiming lives is still ongoing. This time Deli Dumrul sender , who is in the state of horror instead of being brave, begs Allah subject to be pardon receiver his life object.

At first, he desires an encounter with Azrael. He hopes to fight with him and defeats him. The second, Deli Dumrul begs Allah to be forgiven.

Allah accepts it conditionally. However, Deli Dumrul cannot find a spare life to be excused by Allah. That is, his second attempt also failed.

But Allah accepts her proposal. A compelling structure is seen here İn terms of the narrative programme.

The part of the receiver in the schema directly concerns the part of the sender. According to this compelling situation in the schema above, on the one hand, Deli Dumrul is a sender, on the other hand, he is the subjected one.

The success of the subject of doing will save the sender. Considering the next narrative programmes, the status of the subject of doing Allah is stronger than the others.

NP Deli Dumrul and his parents: In the fifth segment, Deli Dumrul has gone to his parents and asked them to give a spare life to save his life.

But the action has fallen through. Allah sender asks the subject of doing Deli Dumrul to find another life object instead of his life object. Here, it is also possible to form a new narrative programme.

But this time, the agreement in this programme is the substitution between the objects life. The subject of doing is asked to find another life instead of his own.

In other words, the sender offers a new option to the subject so as to have his life forgiven. Günay stated that the subject of doing of the transformation is different from the subject of the state which has the object at the beginning of the narrative.

This is transitive transformation and defined as the renunciation of the object In this case, another subject is asked to give up his object of value for Deli Dumrul.

In this circumstances, the subject of doing parents needs to give up their object of value life for another one son : But unfortunately, the same thing does not happen in transitive transformations, and the parents do not want to give their lives for their son.

The situation of the sender contradicts with the previous situation of Allah and Azrael as senders in the former schemata NP In these schemata, Allah and Azrael represent the power and authority just as Deli Dumrul, as a sender in the first schema NP He was strong and commanding one, whereas he is, now, a weak and suppliant one here NP He has no power to command and act as he wishes, and Deli Dumrul, as a sender here, is in the position of suppliant one.

However, for both subjects life is sweet, and the world is good, and therefore, the desire of living S2 predominates.

In fact, it is possible to put forward the main aim of Deli Dumrul as the desire of living while he has been asking another life from his parents at this stage.

The request of Deli Dumrul went down in flames because he had only his father and mother to trust. However, they did not accept to give their lives for their son.

The word is sweet and life is dear; I can not give up my life; this you must know. Dearer than I, fonder than I, is your mother.

Son, go to your mother. Deli Dumrul subject of doing has to give up his object of value life. However, the narrative programme in this segment is not completed successfully.

It is a family structure that gives particular importance to their lives and possessions rather than their son.

Moreover, what his parents did is not acceptable in Turkish society. This stage is the most pessimistic stage of the narrative because Deli Dumrul struggles to get rid of a terrible situation that he caused as a result of his ignorance.

However, henceforth, the narrative programme seems to be over here for Deli Dumrul since there is no one left to ask for life to save his own.

Then the new narrative programme after this point is a coincident one which changes the fate of Deli Dumrul. NP Deli Dumrul and his wife: There is no longer a chance to find an extra life.

So, there is only one thing to do for Deli Dumrul, thereafter, which is to stick to the agreement with Allah.

He needs to go to Allah and gives his life. However, his last wish before actualizing the agreement is to visit his wife and children for the last time.

After Azrael let Deli Dumrul see his wife and children, the course of the narrative changes. It is the love that has the power to change everything.

When his wife S1 learns the situations that Deli Dumrul has experienced, she suddenly gives up R her life O for her husband because of her love and loyalty Sn.

The most important fact that drives the subject to sacrifice her life is the importance of love and family ties H. The subject of doing wife gives up her object of value life.

This way, she brings the other one her husband in the object of value. In fact, there are two different subjects in terms of the narrative programme, and the second subject contributes to the first one to get the object of value.

Therefore, according to Günay, there is transitive transformation. Obtaining the object of values in this way is attribution This is a kind of dedication and commitment.

It is clear that the self-giving manner of the woman will have an enormous impact on readers. And, also in the case of showing protective effort to protect the marriage for her husband, the reader will never comply with this situation in the narrative.

But that monster of a man, Deli Dumrul, could not spare his companion. He pleaded with Almighty Allah. If you spare, spare both our lives.

Most honoured, mighty God! She ignores herself and even does not think for a moment to sacrifice her life for her husband because of her love and attachment.

It is the proof of the importance of being family and standing out against all difficulties together in life. Allah also never desires to disrupt this holy love between husband and wife.

In addition, as Allah knows about the real love of the couple, he has granted more life for them. The concepts of family ties, love, and faithfulness are canonized in terms of social situation.

This situation-the desire of wife to sacrifice her life for her husband-falls through in this actantial schema. Allah and his angel Azrael frown upon the act of dying for both lovers.

Deveci evaluates the situation of taking leave of Deli Dumrul with his wife and the death of his parents as a loss of authority in Dede Korkut The authority in Deli Dumrul, who has a bridge built along the dry river and forcing people to use it with money and even stands up to Azrael, is at the highest level at the beginning of the narrative.

However, towards the end of the narrative, he takes place as an ordinary identity who cannot make even his parents listen to him and quivers with fear from Azrael.

In terms of the narrative programme in this section, the attitude of an ignorant subject is punished by an authoritarian sender.

However, this punishment turns into different forms during the narrative. For example, first, it is decided to take the life of Deli Dumrul, but Deli Dumrul learns the power of Allah and his messenger.

Thus he begs Allah to be forgiven. The narrative programmes that we created for the tale are different from a fictional novel or short story as they have both social and religious aspects.

So, it is possible to encounter some counterintuitive conditions when analyzing some situations in the narrative.

However, the main narrative person Deli Dumrul does not know the religious facts which mainly puts him into trouble. On the other hand, it is also worth noting that parents do not want to give their lives for their child which is unacceptable in the same society.

The seven segments and actantial schemata in each segment determined have taken us to the basic and sub-structures of the narrative.

This process represents the transformation journey of the main narrative person. Also, the narrative schemata in the segments represent the sub-narrative programmes that accompany the journey and contribute the transition process of Deli Dumrul.

Along the analysis of the narrative, we find the opportunity to observe the transition process- personal growth process- of Deli Dumrul such as his attitudes towards society, family, parents, and his belief in Almighty Allah.

Therefore, Allah orders Azrael to take his soul NP Almighty Allah forgives Deli Dumrul under the condition that he has to find another soul instead of him.

As it can be understood from the main incident, the square represents the struggle of Deli Dumrul to find a soul in place of his own so that he can survive.

In the square, positive transition represents the point that Deli Dumrul desires to get rid of the unwanted situation. He needs to follow the path a2 to a1 to actualize it.

Then he accepts the reality and gets ready to die. Before he dies, his last wish is to see his wife and children to inform them. Meanwhile, an unexpected development is revealed NP As a result, Almighty Allah admires their respect and love with each other and forgives them.

Conclusion Dede Korkut stories, which are one of the cornerstones of Turkish Oral Literature, reveal the social and cultural characteristics of Turkish society.

Le Texte Narratif. Auirre, M. Retrieved from www. Barthes, R. Göstergebilimsel Serüven [Semiotic Challenge]. Barthold, W.

İslam Medeniyeti Tarihi. Benveniste, E. Problems in General Linguistics. Bertrand, D. Chandler, D. Semiotics: The Basics.

De Saussure, F. Course in General Linguistics. Deely, J. Basics of Semiotics. Bloomington and Indianapolis: Indiana University Press.

Deveci, Ü. Ankara: Atatürk Kültür Merkezi Publishing. Duvall, N. College Literature 9, Journal of Turkish World Studies, 15 2 , Eco, U.

A Theory of Semiotics. Ergin, M. Geoffery, L. The book of Dede Korkut. Greimas, Algirdas J. Günay, V. İstanbul: Multilingual.

Metin Bilgisi [Text Knowledge]. İstanbul: Papatya Publishing. New York: Syracuse University Press. Köprülü, Mehmet F.

Martin, B. Dictionary of Semiotics. Propp, V. Theory and History of Folklore. Martin, Richard P. Minneapolis: University of Minnesota Press.

Morphology of the Folktale. Edited: Louis A. The Russian Folktale. Detroit: Wayne State University Press. Reich, K. Medieval Turkish Epic and Popular Narrative.

Saydam, M. İzmir: Ege University, unpublished doctoral dissertation. Walker, S. Symposium Turkish Oral Tradition in Texas. The Archive of Turkish Oral Narrative, 7, Milli Folklor, 25 98 , Yücel, T.

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Download Free PDF. Dogan Gunay. Within this cultural wealth, one of the most significant works of art is Dede Korkut narratives accepted as the oldest epic tales belonging to Turks which are the stories that can be shown as the earlier examples of oral literature in Turkish culture.

The common point of the tales is to have fantastic expressions. The heroes are Turks, and they usually fight against different actants which can be real or abstract.

Among the tales, one of the most outstanding tales of Dede Korkut is The Story of Delu Dumrul that is read and interpreted in the sense of semiotics.

It is a fact that folk tales have some special features such as good is always rewarded while bad is punished.

By adhering to the literary semiotics perspective of the school, it is the point of departure of this research to reveal if the situation is valid for this epic tale.

At the end of the research, the validity of the general fact belongs to the folk tales stated above is partly actualized in Deli Dumrul narrative.

The state of the result in the narrative is solved by taking the support of the supernatural forces and religious values.

In this case, the positive ending of the narrative depends on fulfilling the function of both belief and religion positively in the society.

We go into the effort of understanding and generating new meanings thanks to the signifying practices of those signs that take place on both signifier and signified planes.

The attempt makes us meaning-hunter who is able to perform the act of signification facultatively. In a semiotic sense, meaning-hunters are the semioticians who investigate the meaning production process within the borders of specific systems.

Semiotics is a critical signification theory that those experts apply to interpret and analyze the facts and incidents that take place within the system.

Each system has a unique frame that represents the semantic universe of a meaningful whole. It is possible to unfold this mysterious universe, which is formed due to the systematic articulation of both linguistic and non-linguistic signs with each other, with the help of the semiotic approach and its analysis tools.

As the main focus of the theory is to analyze the organization of meaningful structures created by signs, it is regarded as a metascience-science of signs.

Because of this characteristic feature of the theory, it can be said that semiotics is a metadiscipline which includes all other main and sub- disciplines of sciences such as natural sciences, applied sciences, social sciences, humanities, and art.

Literature is a sub-branch as one of those disciplines which has an intimate relationship with this study since the basic aim is to the analysis of the semantic universe of the literary text Duha Koca Oglu Deli Dumrul.

As a result of the combination of semiotics and literature, the stated narrative is analyzed within the scope of literary semiotic approach.

The primary aim of this study is to reveal the semantic organization of Duha Koca Oglu Deli Dumrul narrative within the framework of literary semiotic approach.

Dede Korkut narratives are accepted as the oldest epic tales which belong to Turks. The stories are significantly valuable as they represent the earlier examples of oral literature in Turkish culture.

In this paper, firstly, we tackle the struggles and testings of Deli Dumrul as an actant within the context of A.

In this respect, it is a fact that folk tales have some special features such as good is always rewarded while bad is punished.

By adhering to the literary semiotics perspective of Greimas, it is the point of departure of this research to reveal if the situation is valid for this epic tale.

Each of the stages is evaluated in terms of their narrative programmes, and we encounter seven narrative programmes that help the formation of the meaning universe of the text.

NP Allah Azrael Positive 4. NP Love Wife Positive The identified narrative programmes and actantial schemata have taken us to the basic and sub-structures of the narrative.

The basic narrative programme emerges the differences of Deli Dumrul between initial and final stages of the narrative. This process represents the transformation process of Deli Dumrul In addition, the stated narrative schemata represent the sub-narrative programmes that contribute the transition process of Deli Dumrul.

Each of the programme and schema created according to the context of the programme serves for the formation of the main narrative programme. Along the analysis of the narrative, we find the opportunity to observe the personal growth process of Deli Dumrul.

As a result of the deep structure analysis at this level we emerge the underlying conflict among the actants in the narrative.

At the end of the research, we encounter that the incidents, struggles, and testings of Deli Dumrul in the narrative help the formation of the semantic universe of the tale.

Moreover, the validity of the general fact belongs to the folk tales stated above is partly actualized in Deli Dumrul narrative.

Dede Korkut stories, which are one of the cornerstones of Turkish Oral Literature, reveal the social and cultural characteristics of Turkish society.

There are significant points exhibited in the narrative that has been analyzed within the framework of the aim of this study.

The main narrative person of the story is Deli Dumrul whom we are confronted with as a stalwart and daredevil sender.

At the same time, he is the one who is selfish, inconsiderate, ignorant, weak in religious knowledge, and busy with earthly affairs by the influence of the era.

However, Deli Dumrul realized that there would be stronger ones other than himself, and he turned into a tolerant and loyal person, returning thanks to Allah by internalizing the might and unity of Almighty Allah as a result of the incidents he experienced in the narrative programmes.

Moreover, after he has witnessed the self-devotion of his wife for him, his family ties becomes more powerful, and he realizes the value of being a family with unconditional and endless love.

In other words, it can be said that Deli Dumrul has been educated and become mature as an individual through the narration process.

From a psychological point of view, the identity of Deli Dumrul is not a healthy identity because of the modalities he has.

In the end, Almighty Allah does not want to separate Deli Dumrul and his wife when he sees their pure love and commitment to each other.

Instead, he gives each of them forty more years to live together. Based on the decision of Almighty Allah, the family structure, the significance of it, and the concept of love within the family in Turkish society have been handled and evaluated in the narrative.

However, according to Allah, the ones who should be punished in the narrative are the father and mother of Deli Dumrul as they have not fulfilled their parental duties as it should be.

As a result, Almighty Allah punishes them with death because they have not performed their parental duties during the development stage of their son that also proves the importance of being parents in Turkish community as well as in Islam.

For instance, the underlying reason for talking about the literature of various societies today is the significant epic works of early literature coming from the past.

Every society has its epics, such as Alper Tunga, Nibelüngen, Rama Yana, and Manas, which are the basis of societies in a way.

So, at present, if it is possible to talk about rich Turkish literature, it is rational to link it to the vernacular literary genres of Turkish communities living in various geographies in the past.

Dede Korkut Tales are the premises of Turkish oral tradition and become more of an issue in literature.

As Fuad Koprulu stated, when you put the whole Turkish literature in one scale, and Dede Korkut in the other, then Dede Korkut is still far overweighed cited by Ergin, 5.

Therefore, the depth of Dede Korkut narratives in a cultural and linguistic sense reached up to the present day by conserving its value.

These narratives involve the usual problems and solutions of everyday life. Life can sometimes look different from the eyes of experienced and wise people as in Dede Korkut which is a national epic tale.

According to Ergin, these national epics always occupy an exceptional place in their language and literary territories due to their qualities 3.

The book contains twelve stories that refer to both internal and external wars, the heroism of the Turks, mythological elements, and love.

Among these twelve stories, the fifth one-Duha Kocaoglu Deli Dumrul- will be analyzed within the literary semiotic approach in this paper.

The primary objective of the approach is to examine the texts regarding their discursive, narrative, and thematic meaning levels. As a result of the examination, the levels of meaning and the relations among these levels in the text will be revealed which enables the text to become a meaningful whole.

Before the analysis process, first, brief information about Turkish Oral Literature and Dede Korkut, then information about general semiotics and literary semiotics will be provided to make the subject clearer.

Finally, Deli Dumrul narrative will be analyzed within the context of literary semiotics, and a conclusion will be stated based on the gained data.

The events in these epic stories take place between the ninth and eleventh centuries. Ergin stated that Dede Korkut was the wise man as well as being the master of the Oghuzs and miracle worker 6 that all Oghuz Turks venerated him.

The tales forming the basis of Western Turkish society are a considerable national epic belonging to Turks exhibiting the way of the life of Oghuz Turks and culture.

The epic has not been produced by an individual. However, it is the product of the collective genius of a nation. As the creator of it is a common genius, its evaluation has passed through the mutual social pleasure.

Thus, Dede Korkut is the work of the shared dexterity and pleasure of Turkish nation Ergin, 3. Therefore, the producer of the tales is the Turkish community itself that makes them reach today.

The narratives are representative of Turkish identity, though, lifestyle, and belief. It is possible to learn about the life, struggles, morality, unity and solidarity, tradition, steady characters, and prowess of Oghuz Turks at that time thanks to them.

Although the martial spirit dominates The Book of Dede Korkut, it also has eloquent passages that express a yearning for peace and tranquility Halman, 8.

So, these epic tales have the quality of being tangible evidence, a documentary, that sheds light on the social and cultural life of the period.

Dede Korkut stories include fantastic narratives and have featured extraordinary characters, facts, and events.

The protagonists are Turk, and they are at war with different antagonists. However, the antagonists may not always be human as they can be seen in various ways and shapes, such as animals, objects or as religious or abstract identities.

One of the essential characteristics of the stories is the spread of it with a clear language among Turks.

These epic stories, which reflect the relationship of human, language, and culture devastatingly, were collected in a book called Dede Korkut in the period of Akkoyunlus in the fifteenth century.

It is the unique work of art in Turkish literature that has been transferred from verbal to written material. There are two editions of the book at present.

Today, Dede Korkut stories, which involve precious phenomena belong to Turkish society, continue to be the center of interest of many researchers all over the world.

Literary Semiotics People have generated signs at every stage of their lives to communicate with each other. However, signs are not only used in interpersonal communication because human, as a social being, stimulates culture through language, protects it, and transfers it to the next generations as in the Dede Korkut Tales.

Günay asserts that signs are also used as an essential instrument for transferring all cultural values belong to societies The values are determined by the help of shared codes and signs within each culture.

So, culture, just as language, is also full of semiotical phenomena. In this respect, cultural codes, concepts, and signs in Dede Korkut narratives are relevant evidence in transferring the values of society.

The signs used in Dede Korkut stories provide an understanding of the features of Turkish identity, societal values, philosophy of life, beliefs, nature, and many other characteristics dating back today.

People at that time produced signs to create a universal life awareness and used them as a tool to communicate with each other so that they could establish cultural partnerships with other communities.

This is a transfer of cultural sense through language and signs. The realization of the transfer depends on the facts of signification and communication.

In either case, codes, symbols, and signs are the critical phenomena for the formation and transfer of meaning. The signification of messages, created with signs, and evaluation of them in unity is the work of people other than the ones who produced them.

Günay states that man is in the midst of a network of signification of the created signs by the community All signs are interpreted and decided to be used one way or the other by man.

Every sign is a unit that people produce to explain themselves to others and understand them. It is the study of semiotics which analyzes both linguistic and nonlinguistic signs and reveals different meaning structures in a meaningful whole.

Semiotics is the art of studying signs by which both surface and deep meaning structures are brought to light.

These signs, as the representations of the facts, can belong to different domains of knowledge. In this case, semiotics, whose main starting point is the signification of those signs, has become a multidisciplinary study field.

The theory is divided into many subdisciplines because of this characteristic feature of the theory. Semiotics also influences the studies on language and literature which causes to emerge the field of literary semiotics.

The first works in the field have been carried out on Russian folk tales by Vladimir Propp who considers oral literature as a part of literature.

Accordingly, Propp found the study of the folk tales valuable. As a result of his studies, Propp brings a systematic analysis method to the field.

He proves that although the contents of the tales are different from each other, the structural basis of the tales is the same.

He asserts thirty-one functions which form the plot in tales. These functions are distributed to seven different action areas according to the characters in the stories.

Accordingly, Propp examines the narrative characters as actants with their actions. His approach to the characters is a kind of step for subsequent researchers in the literary semiotic field.

At this point, it is necessary to mention the work of Algirdas Julien Greimas, which led to the development of the field and influenced further studies to a great extent.

Visualizing these features, which belong to the actants, is possible with the actantial schema. There are also critical formative elements in the structure of the narrative that should be taken into consideration through the semiotic analysis.

The first is the discursive structures in which narrative elements are analyzed. The next is the narrative structures where canonical, actantial and modal narrative profiles are examined.

The last one is the deep structures in which the implicit and elementary meaning of the narrative is studied Bertrand, It is possible to study Duha Kocaoglu Deli Dumrul narrative in many ways with the help of the methodological apparatus of literary semiotics.

A three-step analysis can be done by penetrating each layer of meaning at a time. However, the main aim of this study is to emerge the relation of Deli Dumrul, as an actant, with other actants, and their actantial functions in the narrative.

In this context, many contracts made are invalid in the tale. Analysis First of all, the narrative should be divided into segments because according to Barthes, segmenting is a sort of sectioning of the text.

Thus, the parts of the utterances on which we will work are obtained that will help us to make the analysis more detailed.

Each of the actantial schemata corresponds to a segment in the narrative. Depending on the length of the narrative with too many actions, the segments include paragraphs or even single sentences.

The situational and operational changes in the narrative are called sub-narrative programmes that support the formation of basic narrative programmes.

The interesting situation is that the narrative has successive events, and it is an advantageous case for segmentation process. According to Günay, the order of the paragraph of the text will be helpful for segmentation in short narratives Thanks to the segmentation, recognizing the facts such as changing situations and spaces, appearance and disappearance of actants from one paragraph to another will be easier during the analysis process.

People and their characters are affected by the social and natural conditions in which societies live. The conditions of nomadic society, in which people struggle to lead their life with animal husbandry and hunting, necessitate a strong and stalwart human type because at any time they may confront the enemy unexpectedly.

Therefore, children are grown brave and strong in such communities. Accordingly, the individualization and having good reputation never come suddenly and unexpectedly, instead, it is a must to be experienced and deserved.

The main characters who are the symbol of courageousness and heroism are the mediator in the presentation of the ideals such as power, greatness, and invincibility just as the character of Deli Dumrul in Dede Korkut tales Eliüz, The main hero is Deli Dumrul-a person-who will be the subject in different actantial schemata, whereas another narrative person is Azrael-an angel-,which is abstract, is also possible to be evaluated in the actantial schema.

In this case, Deli Dumrul will sometimes be anti-subject opponent , and sometimes be an object object of value in different schemata.

Azrael subject has to fulfill the will of Almighty Allah sender. Azrael is the figure who reflects that all servants of Almighty Allah have to fulfill the commands of him without question.

Here, there is not a form of suggestion or motivation, but a form of the direct command. The relationship between Allah and the angels lasts in this way.

Duha Koca Oglu Deli Dumrul narrative has religious figures of a nomadic society belong to the Islamic culture. The main narrative person Deli Dumrul appears as a stalwart Turkish hero at the start of the narrative.

However, something will change in his life as a result of his ignorance. Here is the summary of the tale: One day, Deli Dumrul learned the death of a young man from an encamped nomadic community next to the bridge he had built.

The life of this young man was taken by the angel of death, Azrael. Deli Dumrul did not know that Azrael was one of the angels of Almighty Allah who was responsible for performing the given tasks by Allah.

This lack of knowledge of Deli Dumrul seemed to be headed for a fall. If Deli Dumrul were able to find someone to die instead of him with different agreements, then Almighty Allah would spare the life of Deli Dumrul.

Narratives consist of three stages such as initial situation, transformations, and final situation. This is the specific feature that can be seen in most narratives as in the Deli Dumrul story.

As usual, the longest part of the narrative is the stage of transformations, whereas the initial and final stages are the shortest ones, and these two steps are shaped by the help of the transformations in the narrative.

Wild Dumrul lived a hundred and forty years more, together with his companion Lewis, The situations in the initial and final stages do not take much place because every kind of development and changes in the narrative occurs between the initial and final stages that represent the transformation stage.

Structurally, there is more than one cross-sectional narrative that is articulated with another in the tale. A narrative begins, and another narrative joins to complete the first one positively where successive transformations come into question.

That is, if a narrative programme is not realized positively, another narrative programme appears for the completion of the previous narrative assertively.

However, there is a short and discrete part related to the situation of Deli Dumrul at the beginning of the story: He had a bridge built, over a dried-up stream.

He took thirty-three silver pieces from all who crossed Although the stated part is a discrete one, it is also associated with the other parts. For example, a group of nomad people camped near the bridge, and a young man felt sick and died.

The articulation of these lines makes the first discrete line as the conjoint one which is strongly associated with each other.

According to the narrative programme, here are the five basic steps of a narrative Adam, 59 : 1. Initial stage 2. Complication or transformative force 3.

Dynamism or transformations 4. In the narrative, the initial stage is the visit of Deli Dumrul to the nomad community that they have settled along the bridge.

Now one day a portion of a tribe encamped on the slope of the bridge. Some mourned their son, some mourned their brother.

Great was the black lamentation over that warrion. What is this uproar by my bridge? Why are you wailling? The initial stage does not make much contribution to the formation of the next part of the narrative.

A young valiant of the nomad community has died. This basic information leads to the generation of the actual narrative programme.

Then, Deli Dumrul learns that Azrael has taken the life of young man. This information will foreshadow the future events in the narrative that can be defined as the transformative force.

Every incident is a narrative programme, and the previous narrative programme causes to form the latter one. In a way, as soon as a narrative programme aims at ending negatively, a new narrative programme comes in sight to complete the previous one positively.

Accordingly, here are the representations of the interrelated narrative programmes NP within seven segments. If anyone does not want to use the bridge, first, he or she is beaten and charged more money by Deli Dumrul.

In this respect, the general narrative programme including actants and their roles in the society as follows. Deli Dumrul a powerful actantial subject who is a sender asks the public subject to pass over the river from the bridge object by paying money receiver to Deli Dumrul.

When the goods are rewarded, the villains are generally punished. But there is a bit of an adverse condition here because both the goods who accept to pass through the bridge and the villains, who do not use the bridge, are punished.

So, the subject always loses here. In this respect, the ones who need to use the bridge in public have to pay for it. However, some of them do not desire to pass over the bridge.

In this case, the public is both helper and opponent of the subject. For this reason, he pressures his own people to cross the bridge. In a way, may use or may not use, Deli Dumrul forces people to pay money for him.

This is the agreement between the sender and the subject. According to the agreement, Deli Dumrul always wins, whereas the public always loses.

The purpose of Deli Dumrul is the desire of proving his power to the whole world. He had a bridge built, over a dried-up stream. He took thirty-three silver pieces from all who crossed; those who did not cross he beat soundly and took from them forty silver pieces.

Why did he do so? Let world of my manliness, my heroism, my courage, my gallantry, spread abroad as far as the land of the Greeks, the land of the Syrians.

There is a relationship between the sender and the subject by a brutal force rather than a volunteer agreement.

That is, the subject is oppressed to actualize the desire of the sender. According to the agreement which has the power of sanction, all people who live in that area and happen to pass there have to pay money to Deli Dumrul.

When we re-organize it in respect to the nomadic community, Deli Dumrul will be the opponent; the nomad people will be both subject and helper of their own.

It is necessary to mention that though the situation of the public does not take place too much in the narrative, we can analyze it according to the manners of Deli Dumrul.

In this case, the people in the society desire to lead a peaceful life sender and maintain it in harmony with nature object , and when needed, they want to use the bridge without any problems.

However, there is a disquieting person, Deli Dumrul opponent , who breaks the peace and harmony in the society.

The schema is significant to show the place of Deli Dumrul in the community. At this point, what makes the narrative interesting is an incident just after the initial state.

Again, the hero is Deli Dumrul, and we can see that he performs all his work with his physical force. What is interesting is that at the end of this segment, there is no negative ending of the narrative programme.

Under any circumstances, the people subject will be the loser, whereas Deli Dumrul opponent will be the winner.

That is, the people have to pay money to cross over the bridge. However, when we generalize the idea of Propp to the whole narrative, Deli Dumrul, who has persecuted people in the community, is desired to punish by Allah.

Eventually, as an actant, he understands his evil acts, and another actant-his wife- undertakes the punishment. However, in this case, Allah forgives Deli Dumrul as he thinks that Deli Dumrul has been purified from his unethical behaviors.

At last, the punishment of the bads in the narratives becomes real. Crossing over the bridge or not is an independent narrative programme.

However, the learned situation the death of young man while visiting the nomad community forms the initial condition of Deli Dumrul narrative.

While Deli Dumrul is getting paid, one day, he has encountered a different situation and learns new information which is, in fact, the transformative force of the narrative.

One day, Deli Dumrul receives news of the death of a young nomad man. Here, there is an interesting situation in terms of the narrative programme.

The sender makes an action to the subject in different ways by requesting, ordering, offering, or even by begging. The sender begs the subject to take action.

When we focus on the request of the sender from the subject, it can be seen that there is ignorance here, because the sender does not have enough knowledge about Islam.

As a result, it can be deduced that Deli Dumrul narrative coincides with the period of meeting Islamic religion of the Turks. At this point, Saydam states that it is most likely, the difficulties of adopting the foreign values and set of rules of Turks, who have recently met with Islam and the Islamic belief system, have been expressed in the person of Deli Dumrul In this respect, Deli Dumrul is presented as a folk hero who does not have a comprehensive knowledge of all the doctrines of a new religion.

Then he gained self-confidence. However, the second time, Azrael explains that he is one of the angels of Allah, and he is a subject who has been charged with by Allah.

Then Deli Dumrul learns the truth about Azrael. Return to Book Page. Preview — Deli Dumrul by Anonymous. Deli Dumrul by Anonymous ,. Orhan Dündar.

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1 comments

die Unvergleichliche Mitteilung, ist mir interessant:)

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