TÜRKÇE’DE RENK OLGUSU GELİŞMİŞLİĞİ VE FRANSIZCA’YA BAZI YANSIMALAR: KÜLTÜRLERARASI GENEL BİR BAKIŞ

Bu araştırmada, Türk dünyasının tarihsel dil-kültür sisteminin köklü ve yaygın bir öğesi olan renk olgusunun derinliğinin hangi kaynaklardan ileri geldiği ve hangi alanları etkilediği genel olarak incelenmiştir. Orta Asya Türklerinin, göçebelik nedeniyle çeşitlenen renk olgusunun alanları, insan-hayvan adları, coğrafya-doğa olayları, mitoloji, metafizik, barınma, giyim-kuşam, gelenek-görenek, hiyerarşitoplumsal düzen, kültür-sanat ve düşünce temsil sistemleridir. Bunların ayrıntılaştırılmasından doğan dilsel-kültürel zenginlik, bazı alanlarda batı toplumlarının giyim-kuşam, sanat-kültür anlayışlarını etkilemiş, diller-kültürler arası katkı sağlamıştır. Bu çalışmada, Türk dili-kültüründeki renk olgusu gelişmişliğinin kaynakları ve bunların Türk dilinin sürekliliğini sağlamadaki rolü incelenirken, Fransız dilikültürüne bazı alanlarda nasıl yansıdığı saptanmıştır. Tarih boyunca, doğayla iç içe göçebe yaşam kültürünün, somut olarak insan bilişselliğinin farklı yönlerini geliştirdiği, soyut anlamda düşünce dünyasını etkilediği ve toplumsal yaşantıyı şekillendirdiği görülmüştür. Bu yaşantılar yoluyla renk olgusu Türk dilllerinde ve kültürlerinde önemli temsil sistemleri oluşturmuştur. Bireylerin, toplulukların, coğrafi yönlerin adlandırılmasında, aile ve toplum hiyerarşisinin simgelenmesinde, kültür ve sanatta, soyut düşünce sisteminde renklerin varlığı sabittir ve dil-kültür aracılığıyla önemi açıkça sergilenmektedir. Batı'ya farklı gelen renk tonları ve bu renklerdeki maddeler, gezginler ve bilim adamlarının gözlemleri ve tanıtımları, uluslararası geziler, ticari, diplomatik ve toplumsal ilişkiler kanalıyla Batı'da tanınmıştır. Bu etkileşimler yoluyla, Türk kırmızısı, Türk mavisi-yeşili ve Türk altın sarısı renk betimlemeleri Fransızca'ya renk ismi olarak girmiştir. Ayrıca, Ak ve Kara renk isimleri özel terminolojik alanlarda Fransızca'da anılmaktadır. Çalışmada betimsel yöntem izlenmiştir

COLOUR PHENOMENA IN TURKISH LANGUAGE AND SOME REFLECTIONS ON FRENCH LANGUAGE-CULTURE: AN INTERCULTURAL GENERAL OVERVIEW

The present article aims particularly to expose how color notion is important in Turkish language and to underline cognitive, historical, geografical, social, cultural and intercultural sources of this fact. Colour names are excluvely diversified in Turkish and this is deeply rooted in historical life style considering many areas as the nature especially the sky and the earth, living and non-living natural elements, social and spiritual life, traditions and art. Due to international relations, Turkish colours have been known in balkanic and earopean regions so that their names have been adopted in languages in specific areas. French is one of the languages influenced by this phenomena. French has adopted from Turkish language and culture colour names as Turquoise (Turkish blue-green), Le rouge turc (Turkish red), Le jaune d’or turc (Turkish gold colour), Le jaune émaillé turc (Turkish gold enamelled) and has borrowed Ak (white), Kara (black) for special terminology. The method used in this study is descriptive. In order to see in a general etholinguistic view, the roots of richeness of colour terms in Turkish, first of all, we take a look over the cognitive and social approaches about colour phenomenon in human conception. Relativist and Universalist approaches are both complementary as there are many commun colour perceptions for humans. This reality reveals that colour perception is a cognitive fact. However, there is one more colour name in Turkish than the general categorisation made by Universalist approach’s defenders. Thus, we see that colour perception and linguistic creation of colour names can also be relativist according to cultures. This complementarity provides to Turkish a variety of colour names used in the following areas: Nature elements nominalization, human and animal nominalization, traditional and social life symbolization, clothing symbolization, art and culture symbolization. After situating colour phenomena in Turkish languages by the way of this conceptualization, we examine separetly in two parts its effects in terms of intrasocial influences and intercultural influences. For intercultural influences, we especially look for reflections realized towards French language and culture. We find out that reflections are effectuated from Turkish towards French for colours like blue, green, purple, white, black, red and gold because these colours are historically very important in natural, traditional, cultural and artistic perceptions of Turkish people. For this reason, they are used in an expanded manner. For five different areas, there is no reflected influences between two languages even if these areas show how colour perception is developed in Turkish: Geographic, politic, hierarchic, logistic and metaphysical areas. The findings related to reflections are coming initially from nomadic life style of Turkish societies. There are two principal factors concerning their life style: the relationship with the sky and the earth. In ancient Turkish languages the name of the sky is kök. It is also the name of its colour. In addition, kök defines all concrete and abstract Türkçe’de Renk Olgusu Gelismişliği ve Fransızca’ya Bazı Yansımalar:… 831 Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 10/2 Winter 2015 elements concerning the plants, fruits, animals, metals and human skin colours. Kazakhs have historically used kök for both blue and green. The nomadic Turkish socities were living in nature’s heart. They were observing natural events and ecosystem. As they were always between the endless sky and the vast steppe territories, their perception of blue and green has been developped. That is why many other colour names signifying the tones of the colours -bleu and green- exist in their language. These colours lived strongly in traditional Turkish cultures. They are applied in objects, garments, fabrics. So that, their identification with Turkish language-culture is well known. For some nuances of blue, French language has adopted names coming from Turkish culture: turquin (dark blue). Besides, the earth is the other element. The animals living on earth are designated with colour names because they naturally have these colours in their physical aspect. For describing horses’ colours, Turkish language uses 50 different colour names. Some of them are known and used in French as horse type names: Akhal-téké (Ak originally means white in Turkish), cheval turkmene, Le Turkoman (formed with the prefix Turk). Regarding dog type names in French like karabache (kara means black), Karakachan, Akbache (Ak means white), they have been barrowed in the concerned terminology. For human aesthetic concepts, the colour name in French, turquoise is the most popular one. The expression des yeux turquoises (turquoise eyes) means in cosmetic industry the make-up style with a special colour production of blue and green. French etymological dictionnaries underline turquoise, turquesse, and turquesque as the names of this special blue. Secondly, Old Turkish traditions play a role in reflecting colour names importance and their symbolization. For example, the most popular colours of clothing are fire red, green, gold and orange. The new married couple is dressed in red clothes. In sipiritual beleives, the red symbolises protective soul but also scary soul. Thirdly, Balkanic and European countries have imported the clothing culture of Turkish societies. The names of the clothes have been placed in French commercial dictionnaires in the same way they were called in Turkish. Some of them are kétché (natıural grey fabric), mindelkovy (towel), uchkur (trousers), burunschuk (kind of cotton fabric), giremesut (kind of cotton fabric), cosaque (pullover) hawlis (cotton colour), pestil (plum colour), limon (lemon yellow), teftik (camel colour), kil (grey) which are originally Turkish colour and object names. They are commercial products and this commercial relation has provided the introduction of Turkish colours and their names in Balkanic and French languages and cultures. Finally, art is an important aspect. The red and its tones of Turkish carpets produced by nomadic tribes are world-wide famous. In historical Turkish tribe life, the dark red symbolizes the nomadic tribe called Tekeler, the brown-red symbolizes another tribe called Yomutlar, the green-red symbolizes the tribe called Salur-Sarıklar. In French, Le rouge turc (Turkish red), mostly known because of Turkish carpets, is a colour name known by fashion designers and textile producers. In French technological dictionaries, the Turkish red is described as the colour of sun and fire. Geographic, politic, hierarchic, logistic and metaphysical matters do not reflect Turkish influence on French language-culture in the 832 Tilda SAYDI Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 10/2 Winter 2015 limits of the present study. Nevertheless, these subjects show the profundity of colour phenomenon for Turkish language. For geographic concern, colour names inform about directions: Kök (blue) indicates east; kızıl (red) indicates south; ak (white) indicates west; kara (black) indicates north. This nominalization has a relation with the sun, the daytime and the nighttime. Another topic is political and hierarchic details. Ozbeks, Mongols and Kazakhs were making distinction betwen important political persons and the ordinary people via colour names. For example, ak (white) was used for noble and rich persons but kara (black) for ordinary people. In that sense, we can see that colour names as kara (black), sarı (blond), kök (blue) can be associated to the big Turkish tribes’ names as Karahanlılar; Karakalpaklar, Sarıuygurlar, Sarıturgecler, Mavi(kök=blue)moğollar. As family members names, Sarı (blond), Ak (white), Kara (black) are associated to brother names. Some examples are: Akbura, Baysarı, Karakesek. Human names were as well formed by colour names: Akbatu, Akboğa, Alcan, Alkün, Aksarı, Alatay, Altınçeç, Gökbey, Gökben, Alabegim, Bozdeniz, Bozer, Bozbala, Karaalp, Karabay, Karahan, Kızılpars, Sarıalp, Sarıbay, Saruhan, Sarıçiçek, Yağızalp, Yağızhan, Yaşıl. The creation of human names with colours does not generally exist in French. In opposition, in French, white has negative meanings: une nuit blanche (a white night: a night without sleep); un mariage blanc (a white marriage: a false marriage, a marriage which is not real in practical life); except Blanche (white) as woman name. Researches demonstrate that the Yurt, traditional nomadic Turkish home, is made of ak (white) fabric material and of al (red) fabric for noble families. Ordinary peoples’ yurts colour is grey. Bayındır Han has constructed ak (white) yurts for the families who have got boys; kızıl (red) yurts for those who have got girls and kara yurts (black) for those who have no child. Inside the yurts, the family members have special places. The area near the door, covered by black carpet was for those who were sick, poor, lonely and/or without family. The area of alaşa (multicolour) in left side was for the men and the right side was for the women of the family. Light coloured areas were preserved for important and respectable social position. Dark coloured areas were for socially insignificant people. Colours have implicated this hierarchy. Therefore, in Turkish, many habitats are called by colour names. A reaserch shows that in 1970’s in Turkey, 2500 villages include names made by kara (black), 800 villages ared called using ak (white), 400 villages involve in their names gök (kök=blue), 400 villages’ names include the word sarı (yellow), 400 villages have names with the word kızıl (red) and 200 villages’names contain the word boz (brown-grey). For metaphysical issues, shamans, dealing with religious affairs, where called as Ak shamans and Kara shamans. Mythological sources prove as well that colours like kök, sarı, altın, al, yasıl, yağız are important. Gökturks’ flag has the colour of the sky. Kazakhistan’s flag contains mostly gök (sky’s colour) and gold (sun’s colour). In Turkish mythology, the name of the son of the god Ulgen was yasıl (green) and he was providing seasonal productivity in the nature. As a conclusion, colour names and concepts are born from pastoral way of life of nomadic Turkish societies and they strongly identified Turkish culture. They come from both cognitive and social experiences realized in a natural environment. They symbolize concret and abstract facts. Colours are so important in Turkish culture that the Türkçe’de Renk Olgusu Gelismişliği ve Fransızca’ya Bazı Yansımalar:… 833 Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 10/2 Winter 2015 language contains lots of colour names which have interacted with French language and culture. Dark blue is historically called in French as turquin. Blue-green is designated as turquoise. Fire red is called as Le rouge turc. One of gold colour description in French is couleur or turc as well as couleur or émaillé turc. Akbache, Karabache, Karakachan, Le Turcoman, cheval Turkmène are animal names produced with Turkish colour names and adjectives incorporated in French terminology. In XIXth century, French people who have been into mourning have worn purple coloured clothes, as a result of diplomatic, commercial and cultural relations with Turkey. The presentation of Turkish colours is mostly realized via orientalists, visitors, politicians, traders, artists and culture. Civilizations have their own cognitive and sociocultural perceptions; they load different senses to colours in favour of allegoric and symbolic dimensions. Languages and cultures do not come from coincidences; they always have been in interaction even they have no parental relation. Intercultural interactions produce richness and supply the continuity of the languages-cultures. Especially for this reason, cultural facts should be integrated in educational disciplines like foreign language, literature and history teaching,

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