“Bir an sözlüklerin hiç var olmadığı bir dünya düşünelim. Duyduğunuz ya da gördüğünüz ses ya da ses dizilerini danışabileceğiniz ya da sizlere açıklayabilecek bir kaynağın olmadığı bir dünya… Sizce nasıl olurdu? Farklı kültürlerde bulunduğunuzda birilerine sorsanız dahi ne dediğini anlayabilir miydiniz?”

A.A. KOLUKISA

Halen gelişmekte olan ve son yıllarda oldukça yoğun bir kitlenin ilgi odağı haline gelen sözlük çalışmaları dünyanın pek çok yerinde çeşitli branşlardan araştırmacının dikkatini çekmektedir. Ülkemizdeki mevcut çalışmalara bakıldığında, henüz emekleme aşamasında olduğu söylenebilen bu disiplinin gelişimine katkı sağlamak amacıyla hazırlanan bu eser, öncelikle Sözlükbilimin ne olduğu sorusuna yanıt aramakta ve devamında Uzak Doğu’nun incisi olan Japonya’da hazırlanan sözlükleri mercek altına almaktadır. Japon sözlük yazım geleneğini irdeleyen eser ülkemizde bu alanda hazırlanan ilk çalışmalardandır.

Eserde, tıpkı bir Japon savaşçısı gibi belinde kuşağı ve kendine özel kutusuyla karşımıza gelen Japon sözlükleri sayı ve çeşitliliğinin fazlalığı ile bizlerin hayal gücünü zorlamaktadır…

Drawing on recent posthumanist theories that promote a non-anthropocentric perspective, this study examines the works of contemporary British poets Mario Petrucci and Alice Oswald. It is argued that their poetry can be described as posthuman poetry, which envisions posthuman spaces of becoming where human and nonhuman worlds coexist on a non-hierarchical basis. Petrucci’s engagement with ecocritical crises in the Anthropocene underscores the limits of human agency, and it foregrounds destructive impact of human actions on the ecosystem. In a posthuman context, therefore, Petrucci problematises the human/nonhuman binary by representing the erosion of the anthropocentric worldview in the face of environmental crises such as deforestation, global warming, and the Chernobyl nuclear disaster in Bosco (1999), Heavy Water: A Poem for Chernobyl (2004) and Half Life: Poems for Chernobyl (2004). In these collections, challenging the perception of nonhuman matter as passive, Petrucci emphasises the agency of trees and radioactive particles. Similarly, Alice Oswald moves the reader beyond the human-centred treatment of the natural world. Rejecting human exceptionalism, Oswald’s Dart (2002) presents a polyphonic meshwork where the voices of alternating human speakers and the River Dart interweave within a posthuman space. Representing the intersubjective and dialogic exchanges between the human and nonhuman inhabitants of the Severn Estuary and the lunar cycle, Oswald’s A Sleepwalk on the Severn (2009) further problematises the subject/object binary by creating a posthuman space of becoming grounded in a communicative framework. Hence, bringing Petrucci and Oswald together, this study draws attention to trans-corporeal and polyphonic entanglements of human-nonhuman, subject-object and self-other non-binaries, and it aims to show how poetry, as a literary medium, can contribute to questioning and transforming the anthropocentric vision of humankind in the contemporary world.

At the beginning of the 20^th century, a significant mystery for researchers in fields such as archaeology, history, linguistics, and theology began to unravel with the discovery of Manichean written records in Central Asia and Upper Egypt. While Manichean texts were composed in various languages, the largest body of religious writings was primarily in Middle Iranian languages. Following Bögü Kagan’s conversion, many of these texts in Central Asia were translated into Old Uyghur, predominantly from Middle Iranian sources. This study explores the origins of the Manichean script and provides a comparative analysis of its development and paleographic characteristics across Parthian, Middle Persian, Sogdian, and Old Uyghur. Additionally, evaluations of certain paleographic features in the Manichean script have been incorporated into the study.