Şehnaz Şişmanoğlu Şimşek

Şişmanoğlu Şimşek, Şehnaz

Name Variants

Şişmanoğlu Şimşek, ŞEHNAZ
Şişmanoğlu Şimşek Ş.
Şişmanoğlu Şimşek, Şehnaz
ŞIŞMANOĞLU ŞIMŞEK, ŞEHNAZ
Sişmanoğlu Simşek, Sehnaz
Ş. Şişmanoğlu Şimşek
Sismanoglu Simsek,Sehnaz
Şişmanoğlu Şimşek Ü.
Sehnaz Sişmanoğlu Simşek
Şimşek Ş.
Şehnaz Şişmanoğlu Şimşek
S.,Sehnaz
Şehnaz ŞIŞMANOĞLU ŞIMŞEK
Ş., Şehnaz
Şişmanoǧlu Ş.
Sehnaz, Sismanoglu Simsek
S. Sişmanoğlu Simşek
Sismanoglu Simsek, Sehnaz
ŞEHNAZ ŞIŞMANOĞLU ŞIMŞEK
Şişmanoğlu Şimşek, Ş.
Sismanoglu Simsek,S.
S., Sehnaz
ŞIŞMANOĞLU ŞIMŞEK, Şehnaz
Sişmanoğlu Simşek, S.
Sismanoglu Simsek,Ş.
Şişmanoğlu Şimşek,Ş.
Şişmanoğlu Şimşek,Ü.Ş.
Şişmanoğlu, Şehnaz
Simsek, Sehnaz Sismanoglu
Şişmanoğlu, Şehnaz
Simsek, Sehnaz Sismanoglu

Job Title

Dr. Öğr. Üyesi

Email Address

sehnaz.sismanoglu@khas.edu.tr

ORCID ID

0000-0001-8489-6964

Scopus Author ID

57191504512

Full item page

Scholarly Output

18

Articles

15

Citation Count

5

Supervised Theses

0 Scholarly Output Search Results

Now showing 1 - 10 of 18

Sersem Kocanın Kurnaz Karısı ya da Yorgaki Dandini’den Himmet Ağa’ya Bir Dönüşüm Hikayesi
(Hrant Dink Vakfı, 2022-10) Şişmanoğlu Şimşek, Şehnaz
Kayseri ve çevresi, Cumhuriyet’in kuruluşunun öncesi ve sonrasındaki demografik, iktisadi, siyasi ve kültürel kırılmaları derinden yaşayan bir bölge. Kayseri’nin 1850–1950 yılları arasındaki hikâyesi, aynı zamanda ülkemizin yaşadığı toplumsal değişimin özeti olarak da ele alınabilir. Bu kitapta, ‘Kayseri ve Çevresi Toplumsal, Kültürel ve Ekonomik Tarihi’ başlıklı konferansta sunulmak üzere hazırlanan ancak konferansın yapılması engellendiği için sunulamayan bildirilerden bir seçki yer alıyor. Disiplinler arası niteliği ağır basan bu çalışmaların, Kayseri ve çevresinin yaşadığı travmatik dönüşümlerin kapsamlı ve eleştirel bir perspektifle ele alınmasına dönük çabalara katkıda bulunmasını umuyoruz.
Citation Count: 1
Traditional folklore forms in temaşa-i dünya ve cefakâr u cefakeş;
(Milli Folklor Dergisi, 2016) Şişmanoğlu Şimşek, Şehnaz
Temaşa-i Dünya ve Cefakâr u Cefakeş, written by Evangelinos Misailidis in 1871-1872, has widely been considered to be an adaptation of the Greek novel, O Polipathis (1839) and its originality has not been adequately emphasized in past studies. This article suggests that Temaşa-i Dünya should be considered an original novel since it incorporates traditional folklore forms peculiar to Ottoman literature which are absent in Polipathis. This study, first of all, describes the variety and the origins of the traditional folklore forms in Temaşa-i Dünya and delineates the literary tools by the help of which they were included in the text. Furthermore, it analyzes how these elements affect the narrative discourse and the author’s purposes in employing them. The analysis demonstrates that in Temaşa-i Dünya oral and print culture materials of both Muslim and non-Muslim origins are embedded in the text primarily in the form of narrative digressions and digressions from the frame story. These digressions carry the marks of the traditional story teller both in terms of functionality and at the discursive level. In other words, Misailidis’ narrator, being an active subject, similar to the story teller in the oral culture, chooses and manipulates the appropriate traditional story in accordance with the messages he conveys to the Karamanli readership. It can also be said that, unrealistic features of traditional stories are eliminated and the stories are presented in a realistic style and content. Moreover, the aforementioned narratives help to overcome the limited perspective of the first person narrative and to portray a variety of experiences. Temaşa-i Dünya also presents a folkloric panorama of 19th century Istanbul through numerous idioms and proverbs. © 2016, Milli Folklor Dergisi. All rights reserved.
Citation Count: 0
Shared Secrets: (Re)writing Urban Mysteries in Nineteenth-century Istanbul
(Edinburgh Univ Press, 2023) Şişmanoğlu Şimşek, Şehnaz; Charriere, Etienne
[Abstract Not Available]
Citation Count: 2
Traditional Folklore Forms in Temasa-i Dunya ve Cefakar u Cefakes
(Milli Folklor Dergisi, 2016) Şişmanoğlu Şimşek, Şehnaz
Temasa-i Dunya ve Cefakar u Cefakes written by Evangelinos Misailidis in 1871-1872 has widely been considered to be an adaptation of the Greek novel O Polipathis (1839) and its originality has not been adequately emphasized in past studies. This article suggests that Temasa-i Dunya should be considered an original novel since it incorporates traditional folklore forms peculiar to Ottoman literature which are absent in Polipathis. This study first of all describes the variety and the origins of the traditional folklore forms in Temasa-i Dunya and delineates the literary tools by the help of which they were included in the text. Furthermore it analyzes how these elements affect the narrative discourse and the author's purposes in employing them. The analysis demonstrates that in Temasa-i Dunya oral and print culture materials of both Muslim and non-Muslim origins are embedded in the text primarily in the form of narrative digressions and digressions from the frame story. These digressions carry the marks of the traditional story teller both in terms of functionality and at the discursive level. In other words Misailidis' narrator being an active subject similar to the story teller in the oral culture chooses and manipulates the appropriate traditional story in accordance with the messages he conveys to the Karamanli readership. It can also be said that unrealistic features of traditional stories are eliminated and the stories are presented in a realistic style and content. Moreover the aforementioned narratives help to overcome the limited perspective of the first person narrative and to portray a variety of experiences. Temasa-i Dunya also presents a folkloric panorama of 19th century Istanbul through numerous idioms and proverbs.
Citation Count: 0
HALİT ZİYA ÖYKÜLERİNDE YAZMA EDİMİ
(Cengiz Alyılmaz, 2019) Şişmanoğlu Şimşek, Şehnaz
Halit Ziya Uşaklıgil, yazdığı yüz elliye yakın öyküsüyle, modern Türkçe öykünün önemli isimlerinden biri olmasına rağmen büyük ölçüde romanları ile öne çıkarılan bir yazar olagelmiştir. Bu çalışmanın amacı Halit Ziya öykülerinde ―modern birey olma hali‖nin ―yazma edimi‖ üzerinden nasıl temsil edildiği, özellikle ben-anlatıcının günlük, mektup ve anı defterlerini kullanarak iç dünyasını okura nasıl aktardığı, bu aktarmayı, temsili nasıl sorunsallaştırdığı ve bütün bunların geleneksel hikâye anlatıcılığından nasıl ayrıştığını çözümlemektir. İncelenen öykülerde bazı anlatısal özellikler tekrar eden bir yapıya sahiptir. Bu yapının şu üç temel özelliği mevcuttur: a) Birçok öykü, günlük-mektup ya da anı biçiminde ben-anlatıcı kullanılarak yazılmıştır, b) bu anlatıların genelinde çerçeve hikâye kullanılarak bir başka ben-anlatıcı anlatılanları nakletme işlevini yüklenir 3) anlatı içerisindeki çoğu ―yazma edimi‖ eksik ve tamamlanmamış olmalarıyla dikkat çeker. İncelemede ortaya konan bu üç noktanın Halit Ziya yazınında geleneksel hikâye anlatıcısının dönüşüme uğratılmasına, anlatmanın, yazmanın ve temsilin sorunsallaştırılmasına karşılık geldiği öne sürülmektedir.
TÜRKÇE VE YUNANCA KAYNAKLARDA KARAKONCOLOS / KALİKANCAROS İNANCI
(Geleneksel Yayıncılık Eğitim San. Tic. Ltd. Şti., 2018) Şişmanoğlu Şimşek, Şehnaz
Karakoncolos/kalikancaros inancı Türkiye’de başta İç Anadolu ve Karadeniz bölgesi olmak üzere, Yunanistan, Bulgaristan ve Sırbistan’a kadar Balkanlar’da geniş bir coğrafyada görülmektedir. Türkçede yapılan derlemelerde kimi zaman farklı isimlerle anılsa da karakoncolosun görüldüğü dönem ve özellikleri benzerlik gösterir. Buna göre, yılın en soğuk günlerinde yeryüzüne çıktığına inanılan karakoncolos, çoğu zaman tüylü, hayvana benzeyen, insanlara musallat olan ve onları tedirgin eden bir yaratık olarak betimlenmektedir. Karakoncolos inancına yer veren Türkçedeki ilk yazılı kaynaklardan biri ise Evliya Çelebi’nin Seyahatnâmesi’dir. Bugün özellikle Doğu Karadeniz’de “karakoncilo” gibi oyunlarda bir gelenek ya da Türkçe edebiyat ve sinemada nadiren de olsa bir imge olarak varlığını devam ettirse de çoğunluk tarafından unutulmuş hatta hiç bilinmeyen bir inanıştır. Öte yandan, Yunancada çoğunlukla kalikancaros adıyla anılan bu inanışa dair anlatılar, oldukça erken bir tarihte halk bilimci Nikolaos Politis tarafından derlenmiştir (1904). Bu çalışmada öncelikle söz konusu derlemede yer alan anlatılardan söz edilerek bu anlatıların bugünkü Yunanca çocuk edebiyatında Filippos Mandilaras tarafından yeniden yazımlarına değinilecektir. Bugünkü Yunanistan’da özellikle Noel döneminde gerek okullardaki müzikli gösterilerle gerekse yayımlanan çocuk kitaplarının popüler bir figürü olarak varlıklarını devam ettirdikleri ortaya konacaktır. Geniş bir coğrafyaya yayılmış olan bu inancın Türkçe ve Yunanca kaynaklardaki aktarımlarına genel olarak bakıldığında incelenen Türkçe kaynakların daha çok Doğu Karadeniz bölgesinden derlendiğini ve unutulmaya yüz tutmuş bir gelenek olarak nadiren yaşatıldığını görebiliriz. Bugünkü Yunanistan’da ise Velloudios’un hâlâ dolaşımda olan çizimlerinin de etkisiyle kalikancaros inancının çocuk edebiyatının “millî” ve popüler bir unsuru olarak varlığını devam ettirdiği görülmektedir.
Citation Count: 0
The “karakoncolos/kalikancaros” belief in Turkish and Greek sources [Türkçe ve yunanca kaynaklarda karakoncolos/kalikancaros inancı]
(Milli Folklor Dergisi, 2018) Şişmanoğlu Şimşek, Şehnaz
The belief in “karakoncolos/kalikancaros” is seen in a wide geography spreading from Central Anatolia and Black Sea region in Turkey to Balkan Peninsula including Greece Bulgaria and Serbia. Though karakoncolos is defined under different names in Turkish sources the period it is depicted and its features are almost similar. According to this the karakoncolos believed to have emerged on the coldest days of the year is depicted as a creature that is often hairy resembling animal haunting people and disturbing them. One of the first written sources in Turkish that included the belief in karakoncolos is Evliya Çelebi’s Seyahatnâme. Today it is rarely a tradition in games such as “karakoncilo” in the Eastern Black Sea or a belief that has been almost forgotten or even unknown by the majority even though it continues to exist as a trivial image in Turkish literature and cinema. On the other hand this belief often referred to as kalikancaros in Greek was compiled by the folklorist Nikolaos Politis at an early date (1904). In this study first of all referring to the various beliefs concerning kalikancaros in the mentioned compilations of Politis the rewritings of them in the present Greek children’s literature by Filippos Mandilaras will be introduced. In today’s Greece it will be revealed that especially during the Christmas period it continues to exist as a popular figure of the musical performances in schools and in children’s books. When we have a look at the Turkish and Greek compilations of this belief in general which is spread over a wide geographical area we can see that the reviewed Turkish sources are mostly collected from the Eastern Black Sea region and rarely lived as an almost forgotten tradition. Today in Greece also due to the Velloudios’ paintings which still circulate today the mentioned belief continues to exist as a “national” and a popular element of the childrens’ literature. © 2019 Milli Folklor Dergisi. All rights reserved.
Citation Count: 0
The "Karakoncolos / Kalikancaros" Belief in Turkish and Greek Sources
(Milli Folklor Dergisi, 2018) Şişmanoğlu Şimşek, Şehnaz
The belief in "karakoncolos / kalikancaros" is seen in a wide geography spreading from Central Anatolia and Black Sea region in Turkey to Balkan Peninsula including Greece, Bulgaria and Serbia. Though karakoncolos is defined under different names in Turkish sources, the period it is depicted and its features are almost similar. According to this, the karakoncolos, believed to have emerged on the coldest days of the year, is depicted as a creature that is often hairy, resembling animal, haunting people and disturbing them. One of the first written sources in Turkish that included the belief in karakoncolos is Evliya Celebi's Seyahatname. Today, it is rarely a tradition in games such as "karakoncilo" in the Eastern Black Sea, or a belief that has been almost forgotten or even unknown by the majority, even though it continues to exist as a trivial image in Turkish literature and cinema. On the other hand, this belief, often referred to as kalikancaros in Greek, was compiled by the folklorist Nikolaos Politis at an early date (1904). In this study, first of all, referring to the various beliefs concerning kalikancaros in the mentioned compilations of Politis, the rewritings of them in the present Greek children's literature by Filippos Mandilaras will be introduced. In today's Greece, it will be revealed that especially during the Christmas period, it continues to exist as a popular figure of the musical performances in schools and in children's books. When we have a look at the Turkish and Greek compilations of this belief in general, which is spread over a wide geographical area, we can see that the reviewed Turkish sources are mostly collected from the Eastern Black Sea region and rarely lived as an almost forgotten tradition. Today in Greece, also due to the Velloudios' paintings, which still circulate today, the mentioned belief continues to exist as a "national" and a popular element of the childrens' literature.
Citation Count: 1
The “karakoncolos/kalikancaros” belief in Turkish and Greek sources;
(Milli Folklor Dergisi, 2018) Şişmanoğlu Şimşek, Şehnaz
The belief in “karakoncolos/kalikancaros” is seen in a wide geography spreading from Central Anatolia and Black Sea region in Turkey to Balkan Peninsula including Greece, Bulgaria and Serbia. Though karakoncolos is defined under different names in Turkish sources, the period it is depicted and its features are almost similar. According to this, the karakoncolos, believed to have emerged on the coldest days of the year, is depicted as a creature that is often hairy, resembling animal, haunting people and disturbing them. One of the first written sources in Turkish that included the belief in karakoncolos is Evliya Çelebi’s Seyahatnâme. Today, it is rarely a tradition in games such as “karakoncilo” in the Eastern Black Sea, or a belief that has been almost forgotten or even unknown by the majority, even though it continues to exist as a trivial image in Turkish literature and cinema. On the other hand, this belief, often referred to as kalikancaros in Greek, was compiled by the folklorist Nikolaos Politis at an early date (1904). In this study, first of all, referring to the various beliefs concerning kalikancaros in the mentioned compilations of Politis, the rewritings of them in the present Greek children’s literature by Filippos Mandilaras will be introduced. In today’s Greece, it will be revealed that especially during the Christmas period, it continues to exist as a popular figure of the musical performances in schools and in children’s books. When we have a look at the Turkish and Greek compilations of this belief in general, which is spread over a wide geographical area, we can see that the reviewed Turkish sources are mostly collected from the Eastern Black Sea region and rarely lived as an almost forgotten tradition. Today in Greece, also due to the Velloudios’ paintings, which still circulate today, the mentioned belief continues to exist as a “national” and a popular element of the childrens’ literature. © 2019, Milli Folklor Dergisi. All rights reserved.
Citation Count: 0
Traditional Folklore Forms in Temaşa-i Dünya ve Cefakar-u Cefakeş [Temaşa-i Dünya ve Cefakar-u Cefakeş´te Geleneksel Folklor Biçimleri]
(Milli Folklor Dergisi, 2016) Şişmanoğlu Şimşek, Şehnaz
Temaşa-i Dünya ve Cefakâr u Cefakeş written by Evangelinos Misailidis in 1871-1872 has widely been considered to be an adaptation of the Greek novel O Polipathis (1839) and its originality has not been adequately emphasized in past studies. This article suggests that Temaşa-i Dünya should be considered an original novel since it incorporates traditional folklore forms peculiar to Ottoman literature which are absent in Polipathis. This study first of all describes the variety and the origins of the traditional folklore forms in Temaşa-i Dünya and delineates the literary tools by the help of which they were included in the text. Furthermore it analyzes how these elements affect the narrative discourse and the author’s purposes in employing them. The analysis demonstrates that in Temaşa-i Dünya oral and print culture materials of both Muslim and non-Muslim origins are embedded in the text primarily in the form of narrative digressions and digressions from the frame story. These digressions carry the marks of the traditional story teller both in terms of functionality and at the discursive level. In other words Misailidis’ narrator being an active subject similar to the story teller in the oral culture chooses and manipulates the appropriate traditional story in accordance with the messages he conveys to the Karamanli readership. It can also be said that unrealistic features of traditional stories are eliminated and the stories are presented in a realistic style and content. Moreover the aforementioned narratives help to overcome the limited perspective of the first person narrative and to portray a variety of experiences. Temaşa-i Dünya also presents a folkloric panorama of 19th century Istanbul through numerous idioms and proverbs.