Salur Kazan

A chain of epics has formed around the name of Köroğlu in our cultural history. İlhan Başgöz reports that the number of stories connected to this chain (the narratives depending on the name of Köroğlu or any of his keleşs are called arms) among the story-telling minstrels is expressed as three hundred and sixty-six (366). The compilation of these stories in Turkey began in the 1930s. As of 2016, Doğan Kaya gives the number of stories that we have the text of as one hundred and ninety-six (196), including the entire Turkish world. In this respect, Köroğlu is the only common epic of the Turkish world, which still has the strength to live in the oral tradition.
Köroğlu stories compiled from the Anatolian field are a mixture of prose and poetry (folk song), just like the stories Emrah and Selvi, Kerem and Aslı. Prose passages are narrated by the narrator. The poem (folk song) parts are performed with instrumental accompaniment. The dominant theme in Köroğlu narratives is not love but heroism. Köroğlu and his comrades do not spend their lives for the love of a beautiful woman, although in some stories it is seen that the comrades go on a journey to get married. The main thing for them is to show their bravery. For this reason, the gentlemen who stood out with their cruelty in the Ottoman Empire; They start a struggle with pashas and rich merchants. Thus, they put forward a profile that stands on the side of the oppressed against the oppressor.
The common point of these Köroğlu stories is that in each story, either Köroğlu or one of the comrades (crazy) around him is the hero of the story. Thus, each arm is both a whole in itself and a link in the chain connected by common heroes. Stories that are independent in terms of events are bound together by common heroes. For this reason, these chained stories (narratives) are collectively called "Köroğlu Epic". This structure exactly coincides with the structure of Dedem Korkut.
Although Köroğlu is known in almost every region of Anatolia, we are all aware that the narratives about him are mostly compiled from the minstrel-artist types who lived in the Eastern Anatolian region and transferred to writing. One of the artists of this region is Meddah Behçet Mahir from Erzurum(1919-22.06.1988). Behçet Mahir, who is illiterate and also disturbed by his eyes, spent his whole life in Erzurum, apart from his short trips to Ankara, Bursa, Bolu and Kars. Discovered by Prof. Mehmet Kaplan, Meddah Behçet Mahir's repertoire is quite extensive. “Köroğlu Epic”, which was compiled and written as fifteen (15) stories, has a special place in this repertory.
In this study, the role played by Dede Korkut in the formation of Köroğlu stories told by Meddah Behçet Mahir will be tried to be determined and analyzed.

Dede Korkut Kitabı Türkistan Nüshası: Salur Kazan’ın Yedi Başlı Ejderhayı Öldürmesi Anlatısının Göstergebilimsel Açıdan Çözümlenmesi
Doktora Öğrencisi Kıvılcım POLAT BULMUŞ

Özet

Türk destan geleneğinin en kıymetli eserlerinden ve Türk folklorunun önemli kaynaklarından biri olan Dede Korkut Hikâyeleri geçmişten bugüne üzerine düşünülen ve çalışılan metinlerdir. Çok geniş sınırlara ulaşmış Türk varlığının kadim geleneklerini yansıtması bakımından tarihi anlamlandırmada adeta yol göstericidir. Eser, kültürel bir miras ve değeri asla kaybolmayacak hazine kabul edilmektedir.
2019 yılında bilim dünyasını oldukça heyecanlandıran haber Prof. Dr. Metin EKİCİ’den geldi. İran’ın Türkmen Sahra Bölgesi’ndeki Kümbet-i Kavus şehrinden Kazakistan’daki bir kongreye katılmak üzere gelen Muhammed Veli Hoca, yanında getirdiği üzerinde Arap Harfleriyle “Dede Korkud” yazılmış olan fotokopileri Prof. Dr. Metin EKİCİ’ye göstermiş ve süreç böylece başlamıştı.
Dede Korkut Kitabı Türkistan/Türkmen Sahra Nüshası Soylamalar ve 13. Boy Salur Kazan’ın Yedi Başlı Ejderhayı Öldürmesi (Ekici, 2019) adıyla Prof. Dr. Metin EKİCİ tarafından yayımlanan eser ilk andan bilim dünyasının tüm dikkatini üzerine toplamıştır.
Bu kıymetli eserin anlam dünyasının derinlemesine irdelenmesi, dilsel ve dil dışı anlamlı bütünlerin çözümlenmesi amacıyla göstergebilim ışığında çalışmamızı hazırladık. Anlatı metni bir dil malzemesi hâliyle bir göstergedir. Göstergelerle çevrili olan evreni anlamlandırma gayesiyle devamlı çabalayan insan bu anlam evrenine doğru yürürken yüzey yapıdan derin yapıya doğru bir yol izlemektedir. Özellikle insanın ifade aracı olan dilsel üretimler bu süreçte en dikkate değer dinamiklerdir. Göstergebilim tam da burada devreye girer ve anlamsal katmanları çözümlemede anahtar görevi üstlenir.
Çalışmamızda göstergebilimin tanımını, amacını, araçlarını ve çözümleme yöntemini belirttikten sonra Salur Kazan’ın Yedi Başlı Ejderhayı Öldürmesi anlatısını göstergebilim kuramının metin çözümleme araçlarını kullanarak yüzey yapıdan derin yapıya anlam evrenini irdeleyerek çözümlemeye çalıştık.
Anahtar Kelimeler: Dede Korkut, Salur Kazan, göstergebilim, göstergebilimsel çözümleme

Kültür, toplumların milletleşme ve bir arada yaşayabilme süreçlerinin temelinde yer alan, yine insanlar tarafından tarihî ve içtimâî süreçlerin sonucu olarak ortaya konan, toplumun bütün hususiyet ve kabullerini belirleyen maddî ve manevî değerler silsilesidir. Bu yönüyle kültürel unsurlar, kaynağını toplumun asırlar boyu taşıdığı birikimler, teamüller ve meydana getirdiği maddi-manevi ürünlerden almaktadır. Mit, destan, efsane, masal gibi sözlü anlatımlar, kültürel birikimlerin yansıtılmasına ve nesilden nesile aktarılmasına büyük katkı sağlamaktadır. Tarihî süreçlerden geçerken sırasıyla şifâhî yolla aktarılan bu sözlü kültür unsurları, daha sonra yazının icadıyla kayıt altına alınma imkânına kavuşmuş ve teknolojik gelişmelerle beraber elektronik kültür ortamına taşınmıştır. Dede Korkut Hikâyeleri, sözlü gelenekten yazıya aktarılmış, Türk kültürünün istisnasız en önemli anlatılarından biridir. Bu yönüyle, Türk kültürünün neredeyse bütün yapıtaşlarını barındırmaktadır. Yazıya geçirildiği tarihten bugüne kadar radyo programları, tiyatro, öykü, roman, karikatür gibi birçok sanatsal ürüne metinsel bağlamda kaynaklık etmiş; zamanla çizgi film ve sinema ürünlerine de konu olmuştur. Doğrudan yansıtma, edebî dönüştürüm, yeniden yaratım gibi yollarla kültürel aktarımda önemli bir yer işgal eden Dede Korkut Hikâyeleri, son zamanlarda, farklı sinema ve yazım metotlarıyla, muhataplara sunulmaktadır. Senaryosu ve yönetmenliği Burak Aksak’a ait olan “Salur Kazan: Zoraki Kahraman (2017)” filmi, “Salur Kazan’ın Evinin Yağmalandığı Boy”un bugüne kadar üretilen örneklerden farklı olacak şekilde, Dede Korkut boylarından birinin yeni bir üslup ve teknik anlayışla sinemaya aktarılma örneğidir. Filmde, anakroni, yapı-çözüm, yapı-bozum, destan dilinin günümüze intibakı/adaptasyonu, yeniden kurgulanması ve yaratılması gibi farklı tekniklerin kullanılması, bahsi geçen filmi, diğer örneklerden farklı bir noktaya taşımaktadır. Bu çalışmada, “Salur Kazan: Zoraki Kahraman (2017)” filmi, geleneğin icadı, dilin adaptasyonu ve kurgunun yeniden yaratımı” bağlamında incelenecektir. Boydaki anlatının dil ve metin hususiyeti bakımından filme aktarılış şekli irdelenerek, yazılı kültür ortamından elektronik kültür ortamına geçen bu unsurların, muhtevayı iletme, muhataplarca anlaşılma gibi hususlarda ne derece etkili olduğu tartışılacaktır. ///////// Culture is a set of values that are based on the processes of nationalization and the coexistence of societies. Culture is created by people as a result of historical and social processes and is the sum of material and spiritual elements that determine all the characteristics and acceptances of society. In this respect, cultural elements derive their source from the experiences, practices and material-spiritual products that society has brought about for centuries. Oral narratives such as myth, saga, legend and fairy tale contribute greatly to the reflection of cultural accumulation and its transmission from generation to generation. These elements of oral culture, which are passed through the historical processes in order to be transferred in a literal way, were later recorded with the invention of writing and moved to "electronic culture environment" with technological developments. The stories of Dede Korkut are one of the most important texts of Turkish culture without exception, transferred from oral tradition to writing. In this respect, it contains almost all the building blocks of Turkish culture. From the date it was written to date, it has been the source of many artistic products such as radio programs, Theatre, short stories, novels, cartoons, cartoons and movies. Dede Korkut stories, which occupy an important place in cultural transfer through direct reflection, literary transformation and re-creation, have recently been presented to the interlocutors with different cinema and writing methods. The film “Salur Kazan: Zoraki Kahraman (2017)”, which is written and directed by Burak Aksak, is an example of one of the Dede Korkut stories being transferred to cinema with a new style and technical understanding, in a way that differs from the examples produced to date of “The Story of The House of Salur Kazan Was Looted”. In the film, the use of different techniques such as anachronism, structure-solution, structure-distortion, adaptation/adaptation of epic language to the present day, re-editing and creation takes the film to a different point than the other examples. In this work, the film “Salur Kazan: Zoraki Kahraman (2017)” will be examined in the context of the invention of tradition, the adaptation of language and the re-creation of fiction”. In terms of language and text characteristics of the narrative,
the way it is transferred to the film will be examined and it will be discussed how
effective these elements are in matters such as the transmission of content and
understanding by the interlocutors.

In this study the narrative/epic/story of Salur Kazan killing the dragon is approached through René Girard’s concept of mimetic desire. The narrative, which started with the capture of Aras and Kars Castles, continues with a hunting adventure. Salur Kazan, who goes on a battle together with his governors, wants to hunt alone after a while. He, alone, cannot find a prey until the darkness falls. He prays to God not to return to his homeland without hunting. His prayer is fulfilled, and a dragon appears before him. The story ends with the fight against the dragon and a celebration. The story shows that the journey and adventure of Salur Kazan, who summons the dragon he will encounter with pray, cannot be considered just as an epic prowess. Through mimetic analysis, it is noted that the mimetic power of the dragon is force, leadership, and the spread of fear. Salur Kazan has the desire to have those represented in the dragon with a mimetic desire, in other words, in the representation of Salur Kazan, it is claimed that the story/storytellers wanted to meet the dragon and kill him as a result of mimetic desire. The desire to be tested which caused Salur Kazan to encounter the dragon and the desire to kill him come into existence with an imitation of the dragon. In fact, the desire is to be (like) the dragon, to attain the dragon and the power, force, and dominance possessed by the dragon. It seems like that the stimulus and/or enemy of this imitation relationship which is based on warfare is the dragon. However, it is claimed that the dragon is the natural stimulus of those who construct and transmit the narrative in Salur Kazan or its representation.

The mimetic dimension of Salur Kazan’s encounter and collision with the dragon, which is described together with the hunting adventure, was tried to be interpreted following the folklore, culture, and history acquis. The story of “Salur Kazan killing the seven-headed dragon” is based on the telling in the TTG (Turkmen - Turkmen Sahra - Gonbad) manuscript, which has made a place for itself in the written history of Turkish literature and Book of Dede Korkut a long time ago. It is clear that the narrative of encountering and fighting the dragon in TTG is a famous narrative, from the times of creation to the times when the narrative was snagged and diversified and when it touched transcript, it was enriched, updated, and thus temporalized in every age. In addition to being an indicator of continuity in terms of belonging and representation of the narrative content, it also shows that the consciousness of history continues with observant social and cultural processes. In other words, the Turks did not stop fighting dragons, seeking leaders to fight the dragon, and establishing its narrative.Salur Kazan’s story with the dragon has been analysed based on René Girard’s concept of mimetic relationship. Aristotle has basically given a narrower meaning to mimesis. But René Girard has created an unlimited field of interpretation ethologically and ethnologically. Therefore, it is obvious that the comparison to be made will draw a borderless interpretation field. It will be apparent that he holds their prowess in an infinite bond in terms of ethnological and folkloric analysis. It would be appropriate to concentrate on the imitation-connection level of Salur Kazan’s narrative of killing the dragon.Salur Kazan is one of the most frequently mentioned names as a self-realized hero, as seen in the Dresden and Vatican transcript. Whether mediating or not, the hero seeks its realization. For this, he finds himself endangered, even, or unwillingly. However, the metaphysical relations that allow the mediating hero to realize himself, in other words, mimetic desires are established. This is what makes the narrative of meeting Salur Kazan and the dragon in the TTG transcript special. The strongest mimesis that allows the hero to realize himself is met with the strongest desire; it is the dragon. It is clear that there is an ancient reason why Salur Kazan’s mimetic relationship with the dragon is great. There are five important stages of the narration process that constitutes the mimetic desire of Salur Kazan.

1- Salur Kazan goes on a constant hunt.

2- The separation of Salur Kazan from the continuous hunt.

3- Salur Kazan sees the dragon.

4- Salur Kazan defeats the dragon.

5- The Salur Kazan skinning the dragon to make objects and a tent.It can be stated as a result of the data and analysis that the important thing is that the dragon is an object of desire.

It is clear that the narrative was not written down before the end of the eighteenth century. Looking at this history, it makes sense that this narrative was completed with such a result. The ontological distance between Dragon and Salur Kazan is so obvious that desire is growing. As desire increases, so does violence. While waiting for the hero on the road to awakening or mature, the narrative becomes a pure manifestation of mimetic desire.

War against the dragon is a great mimetic desire. The dragon expresses great power and might. It is the desire to have all the things that the dragon in Salur Kazan has; It is an emulation of the reunion with the power of a dragon to those who were previously lost. When we adapt René Girard’s “mimetic desire” to the narrative, we are faced with an unlimited self-acceptance and appropriation situation of Salur Kazan. In this story in which Salur Kazan killed the dragon, appropriation, self-taking, seisin completes itself with the dragon. Moreover, he took parts from the dragon and made a canopy for his tent. Even though Salur Kazan frequently mentions the repetition of “I did not brag, I did not say” in Book of Dede Korkut, Şeçere-i Türki (Genealogy of the Turks), and in many narratives, it is not plagued by the bravery and collisions that can be modest. It is not possible to have humble desires. Time and place are not mimetic periods that can be a hero in their own right. As mentioned above, mimesis is great, desire is as great. Despite the dimensions of the mimetic desire, aside Salur Kazan, even the narration and the narrator have no intention of narrowing the adventure.

The Book of Dedem Korkut, which forms a whole together with twelve tribes, each of which is independent in itself, is not only a literary example of its kind but also a masterpiece for Turkish culture.
In addition to being a literary work, the Book of Dedem Korkut carries an encyclopedia feature detailing all the lives of Oghuz from birth to death. In the book, from childlessness to wedding traditions; the state protocol of the spouses against each other; dozens of topics from children's education to the status of poets in society. There are also some social norms that are formed within the framework of traditions, religions and manners.  The violation of some of these norms has been dealt with within the framework of the concept of shame in the book of Dedem Korkut.
The attitudes and behaviors of the individual who are contrary to the social rules adopted by the society and lead to their condemnation by the other members of the society are considered as shameful. While a behavior considered as a shame is a violation of the social principles believed to be beneficial and beneficial to society, this person, who does not have a legal sanction, is faced with religious and social sanctions and feels a feeling of shame and regret. A person experiencing this kind of experience feels obliged to correct himself according to the expectations of the society.
The attitudes and behaviors that are accepted as a shame in the Dedem Korkut Book and the behaviors and attitudes accepted by the Oghuz community as a shame are the subject of this paper.

2019’da gün yüzüne çıkan yeni yazmanın en önemli bölümlerinden biri, Kazan dilinden bir anlatım içeren 17. soylamadır. Bulut teşbihiyle başlayan, Kazan’ın ejderhayı yendiği hikâyesine telmihte bulunan ve yuvarlanan taş anlatısına da yer veren bu soylamada Kazan’ın üç hüneri daha anılmaktadır. Bu hünerler Ala Demür Kâfir Han’dan gelen unsurlar olarak anılan kazan, yay ve şiş ile ilgilidir. Oğuzlara karşı bir cephede durduğunu işaretleyen “Kâfir” ön adıyla Ala Demür Han, Dede Korkut Kitabı’ndaki düşman figürlere eklenmekte ve Kazan’ın hüner anlatılarına tekniğiyle, zenginliğiyle bir değer biçme ve kıyas unsuru olarak katılmaktadır.
Zenginlik ve teknik bilgi düşmana ait bir unsurken yiğitlik, kahramanın karşı tarafa bir cevabı olarak ortaya çıkar. Alp ve kâfir, biz ve öteki karşıtlığı içinde bir anlama sahiptir. Çalışmamızda Kazan’ın Ala Demir Kâfir Han’dan gelen malzemelerle gösterdiği üç hüneri değerlendirilmekte; alp’ın kâfir karşısındaki duruşu, kahramanın ve karşı tarafın temsil ettiği değerler bir düşünce konusu olarak ele alınmaktadır.

Öz
Toplumun tesisi aile, ailenin tesisi ise birey ile mümkündür. Birey ve toplumun var olması veya yokluğa mahkûmiyeti, her ikisini de ayakta tutan aile kurumunun dirliğine bağlıdır. Türkün milli ve manevi değerlerinin asırlar boyunca gösterdiği tekâmül, ocak ile doğrudan ilişkilidir. Türk ocağını kadim yapan onun dayandığı esaslar ve toplumun fertlere yüklediği ödevlerdir. Söz konusu ödevlerin geçmişten günümüze dek yaşadığının ispatı olan halk yaratmaları araştırmacılar için değerli kaynaklardır. Türkün, İslam ile tanış olma döneminin kültür köklerini gördüğümüz Vatikan ve Dresden nüshaları ile on iki boydan müteşekkil Dede Korkut adlı destani hikâyeler, zikredilen kurumun ve değerlerinin canlı bir biçimde yaşatıldığı anlatılardır. Makalede, henüz bir yıl önce ilim âlemine on üçüncü boy olarak takdim edilen “Salur Kazan’ın Yedi Başlı Ejderhayı Öldürdüğü Boy” toplumsal cinsiyet rolleri özelinde bireye inilerek sosyolojik manada tetkik edilecek ve aile ekseninde bir milleti var eden değerler aktarılacaktır.
Anahtar Kelimeler: Dede Korkut, aile, Salur Kazan, yedi başlı ejderha, Günbed / Türkistan / Türkmen Sahra Nüshası.

Abstract
The foundation of society rests on the family, and the latter relies on the individual. The existence or demise of both individual and society depends on the sustainability of the family institution. The development of Turkish national and spiritual values over the centuries is directly related to the concept of ‘hearth’. What makes the Turkish hearth immortal are its foundational principles and the duties that society imposes on its individuals. Folkloric elements which prove that these duties have survived till now are valuable resources for researchers. The epic stories named Dede Korkut, consisting of twelve stories combined with The Vatican and Dresden copies, reflect the cultural roots of the period when the Turks became acquainted with Islam, and, are the narratives in which the mentioned institution and its values are kept alive. This article analyses “The Story about How Salur Kazan Killed the Seven-Headed Dragon" which was presented as the thirteenth dimension to the scientific world just a year ago, from a sociological perspective by referring to the gender roles, and, focusing on the family concept, highlights the values that gives a nation its identity.
Keywords: Dede Korkut, family, Salur Kazan, seven-headed dragon, Günbed / Turkistan / Turkmen Sahara Copy.