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11.SINIF EDEBİYAT 1.DÖNEM 1.YAZILI FULL TEKRAR MARİF MODEL OYSS — Transcript

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0:0811. Grade Literature 1. Term 1. Full
0:10review for the written exam, your Maarif
0:13model full review is here, my youngsters
0:15. As you know, I had filmed one already
0:17, but I wanted to film another full
0:18review for you with new notes, slightly
0:21different explanations, and questions
0:22included. Also, if you want, I’d like to
0:25film another full review where we solve
0:27your school textbook questions as well.
0:28Because since the Ministry of Education
0:30will be preparing your exams, they will
0:32also be based on your school textbooks.
0:34So, if you want a review like that,
0:35please write it in the comments section
0:37. By the way, I will provide the PDF as
0:39well. You will be able to see it in the
0:41description section again. So, what are
0:42we doing then, my youngsters? Today, we
0:45are covering Traditional Turkish Theater
0:47, Letters, Petitions, E-mails, and
0:49Verbals with all their details.
0:53This full review will ensure the subject
0:54is firmly understood.
0:57The important point here is that you
0:59will understand the subject, reinforce
1:00it, and engrave it in your minds with
1:02the questions.
1:03You will get a 100 in literature. Look,
1:06you’ve known me since the 9th grade. I
1:08took you under the Maarif model, brought
1:10you here since the 9th grade, and by the
1:12way, I have surprises for 2028 too. We
1:14will talk about those as well. But the
1:16Maarif model is our specialty. We say,
1:18why not maintain the same consistency in
1:20the 11th grade that we had in catching
1:22questions in the 9th and 10th grades? We
1:24will proceed consistently because we
1:25love being determined, as you know.
1:27As I said, my youngsters, we will do our
1:29lesson explanation here, and we will
1:31also solve questions in this video so
1:33that it really sinks in. So, which
1:35materials will we be using? You ask in
1:37the comments, you ask in the DMs. Let me
1:39clarify that here. All my books are
1:41compatible with the Maarif model.
1:43For literature, you must finish this 30
1:45-day camp.
1:46I want you to start and finish it
1:48immediately. Besides that, of course,
1:50literature means coding, and coding is
1:52our job. Not just literature; we also
1:54coded geography, as you know, with "
1:56Maps in Pocket." So, make sure you have
1:58our literature coding cards and "Maps in
2:00Pocket."
2:01You will use them next year too. As I
2:03said, we will cover verbals here as well
2:05. So, you won't have any gaps in grammar
2:08either. And we have this book and this
2:10camp for the 21 days, right?
2:12I mean, we don't memorize grammar in 21
2:14days. We learn by doing, experiencing,
2:16and using context-based teaching with
2:18the materials in our hands. When I first
2:20opened this channel in 2019, I was
2:21already the one talking about context
2:23and teaching based on context; if you
2:24look at the past, you'll see. That's why
2:26you are in the right place, my loves. So
2:28, are we ready? I have one more favor to
2:30ask of you. If it’s okay with you, we
2:32are on a journey toward 1 million.
2:35If you want to contribute to this
2:36journey, could you subscribe to the
2:38channel?
2:39Could you please like it? Could you
2:41please share our video?
2:43Thank you. Let’s get started then. Let’s
2:45shine and make things shine. Let’s
2:47overcome this fear of literature once
2:49and for all. Did you know that
2:50literature is very enjoyable?
2:52Literature is love, and you will enjoy
2:54it so much that you won't be able to
2:55give up on learning it.
2:58Yes, my screen is here now. I’m saying
3:00Traditional Turkish Theater. You can
3:02also follow along by looking at the PDFs
3:04in front of you, my youngsters. You will
3:06also be able to follow by writing it
3:08down. So, how did it all begin? I mean,
3:10we have Karagöz, yes, we see it a lot,
3:13especially during Ramadan. Orta oyunu,
3:15meddah, yes, we see them plenty, but how
3:18did it start? It started with
3:19pre-Islamic Turkic communities, didn't
3:21it? Well, such questions might come up.
3:23That's why we should delve into the past
3:25. We need to look into the history of
3:27this matter.
3:28We will say that in pre-Islamic Turkic
3:31communities, there were instruments
3:33called 'kopuz' used by shamans during
3:35religious rites like 'yuğ'(funeral
3:37ceremonies), 'sığır'(hunting expeditions
3:39), and 'şölen'(post-hunt feasts), right
3:41?
3:42And what do you see with this instrument
3:44? You see epics, elegies, and poems
3:46being recited, my young friends.
3:49You also see them performing certain
3:51physical movements, and that is how the
3:53theater genre was born.
3:55So, that is how you say theater began.
3:57Then, you see that almost all texts in
3:59traditional Turkish theater are based on
4:01'tuluat'. What does 'tuluat' mean,
4:03teacher? It's improvisation, right? So
4:05you see it is based on improvisation.
4:07And these plays are already created
4:09without sticking to a script. It is
4:11carried out through a master-apprentice
4:12relationship. You observe it from your
4:14master. The apprentice takes it and
4:15develops it further. That is how it
4:17progresses.
4:19And in these plays, dances, music, and
4:21songs are all intertwined, my young
4:23friends.
4:25You see that the plays actually exhibit
4:27'type' characteristics.
4:28You know that types are fixed. They are
4:30not like modern characters. Therefore,
4:32we see this 'type' feature in our plays
4:35.
4:35Stage, decor, and costumes are almost
4:38non-existent.
4:39You could say we don't use them much
4:41here.
4:42So, let's start with our Karagöz. We
4:44call Karagöz a shadow play, as you know
4:46.
4:50It is a shadow play based on
4:51improvisation, performed by projecting
4:53cut-out leather puppets, called 'tasvir
4:55', behind a white screen illuminated by
4:57a light.
5:01Who sings the songs and folk tunes in
5:03the play? The 'yardak' sings them. Look
5:05, it can be expressed in this way.
5:07So it is actually an assistant. That is
5:10their role.
5:11But is there an assistant who sings the
5:12songs and tunes in the main play? There
5:14is an assistant called a 'yardak'. See,
5:16'yardak' means assistant. Even though
5:18this term is used in slang sometimes, we
5:20should know it means an assistant.
5:22We say there is an assistant named '
5:24yardak' who performs the songs and tunes
5:26in the play, my young friends. All
5:28characters in the Karagöz play exhibit '
5:31type' characteristics. We already
5:32mentioned that.
5:33We said they show 'type' characteristics
5:35in this traditional Turkish theater. And
5:38we said that some types are as follows.
5:40We need to know, which type is Çelebi?
5:42Which type is Zenne? Which type is
5:44Beberuhi? I want us to know these.
5:46When we say Çelebi, it is a
5:48pleasure-seeker, a flirtatious
5:50spendthrift. It existed in the past too
5:52, like Evliya Çelebi; 'Çelebi' is
5:54actually a title. But when we come to
5:57Karagöz, what happens?
5:58You see that he is very much a
6:00pleasure-seeker.
6:01What else do you see him as?
6:04You see that he is a flirtatious young
6:06man, a spendthrift type. So, teacher,
6:08what does Zenne mean? By the way, '
6:10Zenne' is also used a lot in Anatolia.
6:12It is the name given to the female roles
6:13in the play, right? Uh, speaking of
6:15Anatolia, which provinces of Anatolia
6:16are you watching me from? I always mean
6:18to ask that, but I keep forgetting. I
6:20really wonder which provinces you are
6:21watching from. Which schools, which
6:23provinces? Uh, which provinces of Turkey
6:25are you from, my youngsters? I would
6:26like for us to talk about this in the
6:28comments, of course. I read all of them
6:29.
6:30We said that when we say "zenne," it is
6:33used a lot in Anatolia, even men wear
6:35skirts.
6:37You see it as the name given to the
6:38women in the play.
6:41I mean, actually there, uh, you say it
6:43is the name given to women, but a man
6:45who dresses up as a woman now appears
6:47before me as a zenne.
6:50So, who is Bebe Ruhi, teacher? Bebe Ruhi
6:53. You see a dwarf-like character here.
6:55We used to see this in Keloğlan as well
6:57. Uh, he is old in age but small in mind
6:59. You will see a dwarf-like character. A
7:01dwarf character who is old in age but
7:03small in mind. So, what about Tuzsuz
7:05Deli Bekir, teacher? Isn't he a bully
7:07who drinks alcohol? He's crazy, just
7:09crazy. You will see a bully.
7:12Tiryaki? You know, they say, "He is a
7:14sleep addict now." He is constantly
7:16sleeping.
7:17He appears before you as a character who
7:19is constantly sleeping.
7:21When you see Himmet, you see a rough,
7:23unrefined character with an axe in his
7:25hand. A rough, unrefined character with
7:27an axe in his hand. Himmet appears
7:28before us, my youngsters. So, we said
7:31Karagöz. We had encoded Karagöz like
7:33this. Do you remember? The eyes of the
7:35ignorant are blind. The ignorant are
7:37blind.
7:38While Karagöz symbolizes an ignorant
7:40character, Hacivat will appear before us
7:42as a more educated, schooled character.
7:46So you are saying that Karagöz appears
7:48as an uneducated man of the people.
7:51He is a character who acts as he is and
7:53seems as he is, uneducated, whatever
7:55that is. You know, there are characters
7:57who are the same inside and out. That is
7:59why he is a character who seems as he is
8:01and acts as he is. So, my youngsters, we
8:03will see Karagöz as an uneducated
8:05character. Now, when you say Hacivat, he
8:08has received a madrasa education. We
8:10said Karagöz, the eyes of the ignorant
8:12are blind. That is an ignorant character
8:14, but when we say Hacivat, you see a
8:16character who has received a madrasa
8:18education and is learned.
8:20Do you know, he is a character who can
8:21get along with everyone and acts as it
8:23suits him? I mean, he can act according
8:25to everyone's disposition.
8:28You see Hacivat as a character who acts
8:30in whatever way is best for his own
8:31interests, my youngsters.
8:34Well, there is an important point here.
8:36An artist called "Hayali" or "Hayalbaz"
8:39performs this alone, both Karagöz and
8:41Hacivat.
8:43We call this artist "Hayali" or "
8:45Hayalbaz," and the person who created
8:47the play is Şeyh Küşteri.
8:50In fact, the screen where the play is
8:52reflected and that stage are also called
8:54the Küşteri Square.
8:55It comes from there.
8:57So if they ask who the person who
8:59created the play is—they love
9:00fill-in-the-blank questions—you will
9:02know it is Şeyh Küşteri.
9:06And as we said, the screen where the
9:08play is reflected, we call that stage or
9:10the screen where the play is reflected
9:12the Küşteri Square.
9:14So you can say it comes from there, from
9:16Şeyh Küşteri, my youngsters. Now, the
9:19sections are important. I’ve even
9:20prepared a practice exam for you, and
9:22I’ll prepare more, but here’s the thing
9:24. We will, of course, first learn the
9:26parts of the Karagöz play right here. We
9:28can’t learn them without starting here,
9:30right? It wouldn't work. By the way,
9:31before you got here, you finished a full
9:33review, and then the other full review.
9:35You finished our 11 th-grade playlist.
9:37independently. Then you came here. Then
9:39you came to the practice sessions, right
9:40? There is a specific order. So, what is
9:42our logic here? Now, if I don't know
9:44these parts—like what’s in the prologue
9:46or the main act—when I’m given a script
9:49, I won't be able to tell if it's a
9:50prologue, a main act, a finale, or a
9:52dialogue. That’s why knowing the subject
9:54is very important. Now, the parts of the
9:56Karagöz play. Do you know what "
9:57mukaddime" means, my young friends? The
9:59literal meaning is already this. It
10:01means introduction. You’ve entered
10:02somewhere. First, background music is
10:04played.
10:05And on the screen, props called "
10:07göstermelik" are projected as decor.
10:10Our Hacivat hasn't arrived yet.
10:13Then this section ends with Hacivat
10:15being projected onto the screen while
10:17saying, "Oh, hay, hak!"
10:21So, you will actually hear Hacivat's "
10:23hay, hak" sounds in the prologue, okay?
10:26And what does "muhavere" mean? By the
10:28way, that is its literal meaning as well
10:30. Muhavere means conversation.
10:33It’s a dialogue; Karagöz and Hacivat
10:35will converse so that a play, an
10:37improvisation can emerge, right?
10:40That’s what we want.
10:43So you can say this is our dialogue
10:45section, and it’s generally a section
10:47based on misunderstandings between
10:49Hacivat and Karagöz.
10:53I mean, Karagöz is always
10:54misunderstanding Hacivat.
10:58So, if someone asks which section
11:00prioritizes humor, or gives you a text
11:02where they are talking back and forth.
11:05You take one look and see there is a lot
11:07of humor.
11:09If asked which it is, you’d immediately
11:11label it as "muhavere," because that’s
11:13the part where they talk to each other
11:14and humor is heavily featured, my young
11:16friends, okay?
11:19Also, we include tongue twisters in the
11:21"muhavere" section.
11:24Let’s keep that in mind. We will see the
11:26tongue twisters, too. Now, for the "
11:28fasıl"—let's use that to remember it,
11:30shall we? "Fasıl," sounds like "asıl"(
11:32main/real), which is the other name for
11:34the play. The main part of the Karagöz
11:36and Hacivat play. So, the play has
11:38finally begun. Fasıl, asıl—that’s how
11:40you’ll remember it. We’ll say "fasıl" is
11:43the "asıl"(main) part of the Karagöz and
11:46Hacivat play, okay?
11:48We have arrived at the main section.
11:50Characters other than this duo can also
11:52appear on stage in this section, but you
11:54should know this is the main part.
11:57The play gets its name from this section
11:59. Like I said, the "fasıl" is where the
12:02play actually starts.
12:03Events take place and conclude within
12:05this section. So, we see all the events
12:07in this part. Events happen. And then we
12:10get to see the processes of them coming
12:11to an end, my young friends. Well,
12:13teacher, how does the finale work? It
12:15ends like this.
12:17It will say, "Please forgive us if we
12:19have slipped in our speech."
12:21So, you will see an apology here.
12:25After apologizing for any slips of the
12:27tongue, the time and place of the next
12:29play will be announced.
12:32I mean, people should know when the next
12:34play will start, right?
12:36We will know this too, and the moral of
12:38the story will be revealed in the play,
12:40my young friends.
12:42This will be conveyed in this section,
12:44and the play will come to an end.
12:46You will see this through the moral of
12:48the story. So, as I said, these sections
12:50are very important and might be tested,
12:52which is why they are so valuable to us
12:54. Well then, let's move on to where, do
12:56you know? To the Orta Oyunu. We have
12:58arrived at the Orta Oyunu. Now, I want
13:00to make a comparison with you.
13:03Our characters here are Kavuklu and
13:04Pişekar.
13:06Think of it like when people eat a lot
13:08of sugar, their insulin spikes suddenly
13:10, and sometimes unexpected thoughts
13:12might come to mind.
13:14I don't really recommend it. By the way
13:15, I have given up sugar for a long time
13:17now. I do recommend this, but I have
13:19given up sugar and gluten. Excellent, my
13:21life is going much better right now.
13:24Let me tell you this.
13:26Let's think of Pişekar as the one who
13:28ate sugar, the smart one. Let's code it
13:30this way. Let's think about it, actually
13:32, when you eat sweets, it rises
13:33instantly but then drops anyway.
13:35Therefore, he will portray a smart
13:37character here. Kavuklu, on the other
13:40hand, will represent Karagöz.
13:42So we will be seeing an ignorant type.
13:45So I say, Orta Oyunu is now a
13:47traditional play performed through
13:48improvisation.
13:50So I see improvisation.
13:52Our logic here was always improvisation
13:55, based on Tulûat, anyway.
13:57We said it is now a traditional play. It
13:59also has names like Kol Oyunu, Meydan
14:01Oyunu, and Zuhuri. Look, we need to know
14:03its other names. When you take the exam
14:05in 2028, we will need to know these
14:07names for the AYT section.
14:10We must know names like Kol Oyunu,
14:12Meydan Oyunu, and Zuhuri, my young
14:14friends.
14:16You will also see that it consists of
14:18elements like music, dance, and mimicry
14:20. Because this exists in both Karagöz
14:22and Orta Oyunu.
14:24And where is it performed, teacher?
14:27It is performed in a circular area
14:29surrounded by the audience called a
14:30palanga.
14:33So when they ask you where the Orta
14:35Oyunu is performed, I want you to
14:36immediately think of the palanga, my
14:38young friends.
14:41Let's repeat, it is performed in a
14:43circular area surrounded by the audience
14:45called a palanga.
14:46Okay, you said it will be performed in a
14:48circular area called a palanga. We also
14:51have our "new world" used as a house or
14:53a bathhouse.
14:54So when we say "new world," you should
14:56think of a house or a bathhouse.
14:59You will also see the set piece called
15:01the "dükkan," which is used as a
15:03workplace.
15:05Now let's take a look at our characters
15:06.
15:07You mentioned Pişekar. We said he is a
15:09semi-intellectual type, right? We also
15:11talked about how he corresponds to the
15:13character Hacivat. He has a clapper
15:15called "şakşak" in his hand. For example
15:16, whose hand is the clapper in?
15:18Pişekar's. What does Pişekar do? Clap.
15:20Actually, something like that happens
15:22too.
15:23There is even rhyme in it.
15:25He takes part in the play with a wooden
15:27tool called a shakshaq. So when you see
15:29that shakshaq, Pişekar comes to mind. We
15:32called him a semi-intellectual type. We
15:34also said he corresponds to the
15:36character Hacivat.
15:38So when we said Kavuklu, we said K.
15:40Kavuklu will correspond to Karagöz.
15:44It will represent the same traits and
15:46the common people.
15:47So, when I say Kavuklu, I should think
15:49of the common people, right?
15:51I will see him as a person who
15:53represents the public.
15:54Now let's look at the features of our
15:56orta oyunu. Then let’s proceed by
15:58discussing our sections, my young
15:59friends. What are we saying? It shows
16:01anonymous characteristics. Because in
16:03improv, we don't have any written script
16:05here.
16:06It's also unclear who wrote it. That's
16:08why we said it shows anonymous features
16:10.
16:10And we mentioned it doesn't rely on any
16:12written text, my young friends.
16:15Well, in this genre, where music plays
16:17an important role, there is almost no
16:20decor.
16:21I mean, we don't really see much of a
16:23set.
16:25While it is based on dialogue and
16:27imitations of dialects, you can also say
16:29the play is built upon misunderstandings
16:31.
16:32You see those misunderstandings very
16:34clearly here.
16:35You also get to see people from
16:36different nations with their local
16:38traits and costumes in the orta oyunu,
16:40my young friends.
16:41So, let's look at the sections of the
16:43orta oyunu. And naturally, we will call
16:45it the mukaddime, and there will be an
16:47introduction section here. The zurna
16:49player will first play the Pişekar theme
16:51, and Pişekar will arrive on the scene
16:53with his clapper, the one he holds in
16:54his hand.
16:56Look, what did the zurna player do?
16:59He played the Pişekar theme. Pişekar
17:01appeared on the scene with the clapper
17:03in his hand.
17:04What did he do by talking to the
17:05audience?
17:07He opened his play quite nicely.
17:09Then we moved on to the muhavere.
17:11Conversation, or dialogue now.
17:14Pişekar and Kavuklu met. Because they
17:16are going to converse now. Just like in
17:18the dialogue section in Karagöz and
17:20Hacivat.
17:24Pişekar and Kavuklu met, realized they
17:26knew each other, and this section,
17:28formed by a humor element called arz bar
17:30—don't forget this, mind you—is entirely
17:33built on misunderstandings.
17:37For instance, what is arz bar? You need
17:39to know these definitions. Entirely
17:41misunderstandings. It gives you a
17:43segment. This is what the education
17:44model means. In that segment, Kavuklu
17:46and Pişekar misunderstand each other
17:47like that. What is the name of this
17:49section? State it with its reasons. Well
17:50, what will you say? You will say arz
17:52bar. What is the reason for it being arz
17:54bar? There is a humor element.
17:56Because they are misunderstanding each
17:58other. Meaning they don't understand
18:00what the other is saying. It is as
18:01simple as that. They do it on purpose,
18:03of course, but you will see that it is
18:05structured on misunderstandings, my
18:07young friends. Well, of course,
18:09tongue-twisters are also included in
18:10this section. You say that in this
18:12section, which also includes
18:14tongue-twisters, Kavuklu also tells
18:15Pişekar about a dream he had. So, what
18:18did we call the fasıl? Let the mnemonic
18:20come, let the mnemonic come.
18:22Fasıl is the main part; the main plot
18:24appears here now.
18:26It will appear to us as the section
18:28where the main plot is processed and all
18:30characters take a role, my young friends
18:32.
18:33You say the main plot is processed, all
18:35characters are taking roles, and Pişekar
18:38is finding Kavuklu a job now.
18:42Look, when Kavuklu opens the shop, other
18:44characters also come to shop.
18:48And the finale, well, it was the same in
18:50Karagöz and Hacivat, they will say "
18:52forgive us if we have slipped in speech
18:54."
18:56Then the play will be concluded with the
18:58apology for the slip of the tongue
18:59expressed by Pişekar, and when is the
19:01next play, where is the venue?
19:04These will also appear in the finale
19:06section, my young friends.
19:08Well, I am continuing.
19:10I say Meddah. Do you know what should
19:12come to mind when I say "meddah"?
19:14Think of today's stand-up comedians.
19:17Whatever Cem Yılmaz or Ata Demirer do in
19:19today's stand-up shows is the same thing
19:21happening in meddah; in fact, they
19:23developed stand-up by being inspired by
19:25it.
19:27Meddah means "to praise" in its literal
19:29sense, and it appears as a one-person
19:31folk theater.
19:34A meddah is an actor who embodies all
19:36the traits of the characters in a play;
19:38he is alone, with just a handkerchief
19:40and a cane. As we said, there are no
19:42decorative elements. Isn't it the same
19:44with Cem Yılmaz?
19:46He has a leather chair, or when you look
19:47at Ata Demirer, there's a cabin-like
19:49structure in the background.
19:52So, our meddah also has just one
19:54handkerchief and one cane.
19:59So, the meddah emerges as an actor
20:00embodying the traits of all characters
20:03in a play, performed in places where
20:04people gather, like coffeehouses or town
20:07squares.
20:10The audience would come and have a good
20:12time while laughing.
20:15They would also ensure that stories from
20:17written texts or improvised events
20:19reached the present day, my young
20:20friends.
20:22That, in fact, is the meddah's main duty
20:25. You will see many accent imitations in
20:27meddah performances. You will see many
20:29gestures and facial expressions. He
20:30makes us laugh, but he also makes us
20:32think while laughing.
20:35So, the basis is to entertain while
20:37laughing, and you can say that
20:38meddahship essentially appears as the
20:40art of storytelling.
20:43Now, let's take a look at village
20:45theater games, as they have an important
20:47place in our traditional Turkish theater
20:49.
20:51They cover themes from local life and
20:53represent the sum of the community's
20:55experiences, often played by villagers
20:57at weddings, circumcisions, holidays, or
20:59long winter nights.
21:03The villagers play these parts
21:04themselves. What are they going to do on
21:06long winter nights? There is no
21:07television.
21:10Radio has only just arrived, so they
21:11need entertainment, and you will see
21:13that these are also improvised.
21:17You will see a few stereotyped
21:19expressions, but you will mostly see
21:20improvisation, and these plays differ
21:22from region to region.
21:24I repeat, what are the subjects of
21:26village theater games?
21:28Local life.
21:30So, we say they take their subjects from
21:32local life and appear as the sum of the
21:34community's experiences.
21:38They are performed by villagers at
21:40weddings, circumcisions, holidays, and
21:42long winter nights.
21:44As we said, these plays, which are
21:46improvised except for some stereotyped
21:48expressions, will vary from region to
21:50region, my young friends.
21:52Now, they might ask us about the common
21:54features of some plays.
21:56Karagöz and the medium of "orta oyunu"
21:58are very similar to each other.
22:00I want to talk about these similarities
22:02.
22:03Let's number or list them so they stick
22:05more clearly in our minds.
22:07Let's take a look, my young friends.
22:09Common features of Karagöz and orta
22:11oyunu.
22:13You say both are based on improvisation
22:15, that is, "tuluat".
22:17Yes.
22:19They are not prepared in advance; they
22:20just flow naturally as they feel them.
22:23So, they are based on improvisation, or
22:25tuluat. Now, in orta oyunu, we see
22:28Kavuklu and Pişekar, right? Pişekar was
22:30the intelligent character.
22:33Kavuklu, the one who is more ignorant,
22:35was portraying a character even more
22:37ignorant than the one who is bold.
22:40In shadow plays, the characters Karagöz
22:42and Hacivat will resemble each other.
22:46They will appear before us in an area
22:48surrounded by spectators, and both will
22:50consist of prologue, dialogue, play, and
22:52conclusion sections.
22:55So, we see these sections in both of
22:57them. In both, there are
22:58misunderstandings that lead to confusion
23:00. Meaning, there are structured sections
23:02.
23:03And here, we see that comedy is at the
23:05forefront, young people.
23:08Well, that was all for our traditional
23:10Turkish theater, but I would like to ask
23:12a question at the end of each topic.
23:15I mean, I want to get some instant
23:16feedback from you on how much we
23:18remember from the parts I explained.
23:20What did "arz bar" mean? Or which
23:22section was the "arz bar"? Let me take
23:24that first.
23:26Then let's move on to our letters.
23:29Then let's move on to our petitions and
23:30go through the sections like this. What
23:32was the "arz bar"? Try to remember. You
23:35are wonderful. You wrote it down below.
23:36If you write it wrong, I will intervene
23:39anyway, no problem. Alright, let's move
23:41on to our letter, my young friends.
23:44Now, when we say letter, what is a
23:46letter? What are the writing stages of a
23:48letter?
23:48What are personal letters, literary
23:50letters, official letters, and open
23:52letters? Let's talk about this together
23:54. Letters are writings composed for
23:56communication between individuals,
23:58institutions, and organizations. In fact
24:01, as I always say when explaining
24:02letters, there is a verse I really like
24:04. "Write me a letter, don't leave it
24:06blank."
24:07"If I don't grow old, Middle-earth is
24:09ours," says the poet. How nice it would
24:11be if you wrote me a letter too. If you
24:13wrote me a letter below, how would you
24:15start it? I'm actually curious about
24:16that. I wish I could get letters from
24:18all of you, or if I could send you
24:19letters, that would be wonderful.
24:21Well, the letter is one of the oldest
24:23communication tools that started to be
24:25used with the invention of writing; it
24:27is used along with writing, and when we
24:28look at the oldest examples of letters
24:30found, we see they belong to the
24:32Egyptian pharaohs and the Hittites.
24:34You know this from history, my young
24:36friends. To spread Islam, Hz. The
24:39letters sent by Muhammad to the rulers
24:41of Egypt, Abyssinia, and Byzantium are
24:43the first known examples of the genre,
24:45right?
24:46So, it was actually used even to spread
24:48religion; how important a role the
24:49letter has then.
24:51Then we say that Hz. The letters sent by
24:54Muhammad to the rulers of Egypt,
24:55Abyssinia, and Byzantium are among the
24:57known examples of the genre.
24:59Also, after the Renaissance, the letter
25:01genre showed great development in Europe
25:03. So we see this development after the
25:05Renaissance as well. How do we see it,
25:07teacher? Writers like Jean-Jacques
25:09Rousseau and Voltaire produce works in
25:11this genre, my young friends.
25:13You especially see this in Jean-Jacques
25:15Rousseau and Voltaire.
25:18It is not known exactly when the letter
25:20appeared in Turkish history, but you
25:21know that Turks were using the letter
25:23genre even before they came to Anatolia
25:25.
25:25Letters written by Uyghur princes are
25:27the first examples of this genre in
25:29Turkish history.
25:30Of course, what do we give as an example
25:32for the first literary letter?
25:34I explained and asked this in our
25:36previous video, but I will go over it
25:38one more time here.
25:39Fuzuli's "Şikayetname".
25:42What will Fuzuli say? He will say, "I
25:44gave my greeting, but they didn't accept
25:46it because it wasn't a bribe." Then
25:48Fuzuli's "Shikayetname" will appear
25:49before us as a well-known example of the
25:52letter genre, my young friends.
25:54Let's even encode our Fuzuli one by one
25:56. Naturally, he appears in literature
25:58every single year. He appears with his
26:00couplets, he appears with his works. We
26:01will also encode him in our "literature
26:03pocket." As we said, his work called
26:05Shikayetname is among the well-known
26:06examples of the letter genre. With the
26:08Tanzimat era, you see that letter
26:10translations were actually made from the
26:12West, and in the Republic period, isn't
26:13there the literary letter? Cahit Sıtkı
26:15Tarancı's letters to Ziya Osman Saba, "
26:18Letters to Ziya," are also quite
26:19significant.
26:21Let's quickly encode our Fuzuli as well
26:23. Then let's move on to the stages of
26:25letter writing, my young friends. Let a
26:27Fuzuli come along.
26:28Fuzuli is a passionate lover; ask the
26:31people around, what kind of passion is
26:33this? Will he not grow weary of this
26:35passion? he says.
26:37Well, exactly, his Shikayetname is very
26:39, very important, but apart from that,
26:41besides his significance in the letter
26:43genre, his ghazals are also very
26:45precious.
26:47Let me tell you a bit more about Fuzuli
26:49. Of course, we have many authors to
26:50cover, so you also see whom we are
26:52covering. When we say Fuzuli, my young
26:54friends, the poet of suffering, Fuzuli.
26:57You see this very clearly in his "Leyla
26:59and Mecnun" masnavi.
27:02Mecnun, who reaches Leyla, doesn't want
27:04her after a while, and his human love
27:06turns into divine love, which is
27:08intensely the case with Fuzuli as well.
27:12You see human love turn into divine love
27:14.
27:15What happened again? One second.
27:18Fuzuli says it like this.
27:21Has the beloved not tired of wearying me
27:23with torment?
27:24Have the heavens not burned from my
27:26sighs, has the candle of my desire not
27:28yet lit? Do you know what he means? The
27:30beloved has tired me of my very soul.
27:32Won't she tire of tormenting me?
27:35I heaved a sigh.
27:36The heavens burned with the sighs I
27:38heaved.
27:39Yet the candle of my desire is still not
27:41lit. Why does the beloved not respond to
27:43me? he says, my young friends. That is
27:46the kind of artist Fuzuli is.
27:48Well, let's encode it.
27:50Then let's move on to the stages of our
27:52letter. Now what do you see on the
27:53screen? An award has been given to
27:55Fuzuli on the screen. He has received
27:57the 16th century ghazal poet award,
27:59Fuzuli. Everyone in the back is
28:01applauding him.
28:02Because Fuzuli received this award and
28:04says this.
28:06I fell in love and wrote a ghazal. I
28:08drank wine with Bengü. I was deceived by
28:10the cupbearers too much. My health
28:12became diseased.
28:14My faith is no longer certain.
28:16I am now a mystery. He is saying this,
28:19you see. Lovers write ghazals, right?
28:22I also fell in love and wrote a ghazal
28:24upon it.
28:25I drank wine with Bengü. In "Bengü ü
28:27Bade," he compares hashish to wine and
28:30explains the superiority of wine over
28:32hashish. "Sakilere çok"-the cupbearer is
28:35the one who distributes wine, but the
28:36wine here is not the wine we know. It is
28:39more of an intoxication felt from the
28:41love of God. "Sıhhatüm Marazlandı," with
28:43his work titled "Sıhhat ü Maraz," he
28:45explains illnesses, and "sıhhat" means
28:48health. He explains illnesses. "My faith
28:50is not certain, I am now a mystery," he
28:52says. His "Muamma Risalesi"(Treatise on
28:54Mysteries) is also quite valuable. Then
28:56let's look at his works. Fuzuli, 16th
28:58century, let's say. Let's list Bengü ü
29:01Bade, Sakiname, Sıhhat ü Maraz. Muamma
29:04Risalesi, just as he said, "I am a
29:06mystery." He also has "Matla'ul-İtikad.
29:09" He wrote the "Water Qasida" for the
29:11Prophet Muhammad, the Water Qasida, my
29:13young friends. It was written for our
29:14Prophet. It begins as follows.
29:17Water, quench the fires in my heart from
29:19the tears of my eyes.
29:21For how could water fix fires that burn
29:23so fiercely. "Od" means fire. As you
29:25know, in qasidas with "water" as a
29:27refrain, refrains are standard.
29:29Therefore, the Water Qasida is also
29:31significant. We just talked about our
29:32literary letter genre. The Complaint
29:34Letter (Şikayetname). Fuzuli once said,
29:36"I offered a greeting, but they didn't
29:38accept it, saying it wasn't a bribe."
29:40That is his Complaint Letter.
29:42"Enisül Kalb" and "Hadikatüs Süeda" are
29:44also important, my darlings. Yes, we are
29:47doing very well, it's truly perfect. I
29:50am a literature enthusiast, as you
29:52already know. I love teaching this
29:54literature very, very much. You ask, I
29:56record, and I teach. If there is
29:58anything else you want, write it down.
30:00Well, after talking about Fuzuli’s
30:01Complaint Letter, I want us to look at
30:03the stages of writing a letter. First,
30:05we determine our purpose and our
30:07recipient. What is my purpose? Why am I
30:09writing a letter to you? And who are you
30:11, right? Are you my friend? Is this a
30:12business letter or not? So, we have
30:14determined this. Then, we determine the
30:16content. Meaning, what is our topic?
30:18What is it about? Am I writing this
30:20letter for a chat, or is it for
30:22something more serious?
30:23I mean, is this an official business
30:25letter?
30:26Then write an address expression.
30:28For instance, you say "Dear Deniz" or "
30:31my precious friend," it doesn't matter.
30:33Or "dear director." One doesn't say "
30:35dear" to a director, but "esteemed
30:37director." Because when writing for
30:39business, formality is at the forefront
30:40. You will introduce yourself. Then you
30:42will write the content. You will use
30:44expressions of greeting, love, and
30:46respect, my youngsters. Afterwards, you
30:48will write your name, surname, date,
30:50signature, and an address, and look at
30:52the top right corner of the letter. We
30:54need to know where to write things,
30:55right?
30:57You will have written the date in the
30:59top right corner and the address in the
31:00bottom left corner.
31:03The name, surname, and signature will be
31:05placed in the bottom right corner. Again
31:07, we will definitely check for language
31:09, spelling, and punctuation errors.
31:10Because there shouldn't be any mistakes
31:12.
31:13Well, let's look at the letter in
31:15Turkish literature, my youngsters. In
31:17old literature, letters are called "
31:18münşeat," as you know, and the language
31:20of these "münşeat" is very ornate and
31:22heavy. Let’s keep this in mind. I mean,
31:24when we use it in literature, we use a
31:26much denser expression.
31:30Starting from the Tanzimat period, you
31:32see open letters being published in
31:34newspapers.
31:36Whose are the first examples of letters
31:38in the Tanzimat period? We must know
31:39these facts too. They belong to Akif
31:41Pasha. I mean, when we study the
31:43Tanzimat period, "tanzimat" means order
31:46—a new order.
31:47You say the first letters of the
31:49Tanzimat period belong to Akif Pasha, my
31:51youngsters. Also, Namık Kemal's private
31:54letters, Abdülhak Hamit Tarhan's letters
31:56, and Muallim Naci's "Muhaberat ve
31:58Muhaverat" are examples that can be
32:00given for the letter genre.
32:02Well, let's also look at the types of
32:04letters now.
32:05Let's see what happens in a private
32:07letter and what happens in a literary
32:08letter. A private letter is, as the name
32:11suggests, very personal. It is a letter
32:13written by a person to their relatives,
32:15acquaintances, spouse, or friends. I
32:17mean, there will be sincerity here.
32:20What is told only concerns the sender
32:21and the receiver.
32:23No one else is a party here.
32:25They are not concerned with this matter
32:27. Emotions and thoughts are expressed
32:29here with a sincere tone, aren't they?
32:31So, you can see a very intimate language
32:33, and the purpose of writing the letter
32:35is stated in the introduction.
32:37I mean, you have written this letter?
32:39You will be able to see this. The main
32:41points intended to be conveyed in a
32:43letter are in the body section. Like, I
32:45mentioned the purpose first.
32:47Then I continued. So, I moved on to the
32:49part that actually needed to be
32:51explained. When I come to the conclusion
32:53, there is affection, respect, and good
32:55wishes, right? I will have touched upon
32:56these a little bit. I am saying it again
32:59.
33:00My young friends, you write the place
33:02and date in the top right corner of the
33:04paper, and the letter starts with a
33:06salutation.
33:08For instance, you said, "My dear friend
33:10Büşra."
33:12It will start like this, and in the
33:14bottom right corner of the letter, here
33:16, there is the sender's name and surname
33:18, right?
33:19First a name and a signature. Of course
33:21, you can also write the surname. The
33:23address will be written in the bottom
33:25left corner.
33:26So, what is the situation when we come
33:28to literary letters, teacher?
33:30These are now letters written by artists
33:32and thinkers, carrying artistic and
33:34intellectual depth.
33:36We will move on to this intellectual and
33:38artistic depth here.
33:39Literary letters that possess artistic
33:41value in terms of language and
33:43expression will also shed light on the
33:44artistic and intellectual life of the
33:46period in which they were written, my
33:48young friends.
33:49In these letters, you will see the
33:51literary, artistic, and intellectual
33:52debates of the era, and in this respect
33:54, literary letters serve as documents of
33:56the period they were written in.
33:59Meaning, we say they become a record of
34:01that era.
34:02So, when we look at official letters, we
34:05have moved on to public institutions and
34:07organizations. Between public
34:08institutions and organizations, or
34:10individuals—for example, you write to
34:12your school, the Galatasaray High School
34:14Directorate or the Kabataş Boys 'High
34:16School Directorate—so, what will happen
34:18between the public and public
34:20institutions?
34:21These will be the letters written.
34:23When we look at business letters, well,
34:25this is about trade, isn't it?
34:28They appear as letters written in areas
34:30like industry or between individuals and
34:32workplaces, my young friends.
34:35What does an open letter mean?
34:39It appears as letters published by a
34:41person or a board through newspapers and
34:43magazines, addressed to a public
34:45official or the public in order to
34:46explain any thought or view, or to
34:48defend a thesis.
34:53So, our open letters concern not only
34:55the writer but also broad masses.
34:58Now, my young friends, in our literature
35:00, there are of course literary works
35:02written in the letter format. Let's take
35:04a look at them. Let's even code them;
35:06when we say Halide Edip Adıvar, let's go
35:08to*Handan*. I want us to look at these
35:10as well. When we say Halide Edip Adıvar
35:13, we must know the novel*Handan*. So, we
35:15won't just know this here. We have to
35:17know everything about Halide Edip. If it
35:19was given here, we must know it. This
35:21will appear in the 2028 education
35:23literature exams. That's why we will
35:24know it. I said Halide Edip Adıvar, I
35:26said the novel*Handan*. I know it's in a
35:29letter style, 2, 2, 4. Hüseyin Rahmi
35:32Gürpınar's*Sevda Peşinde*and*Mutallaka*
35:34. Look, that*Mutallaka*is very important
35:36.
35:37These guys love asking about authors and
35:39works, and they will ask about it now.
35:42They asked about Reşat Nuri Güntekin
35:44this year, and we caught it with our
35:45literature pocket coding cards. *
35:47Balıkesir Muhasebecisi*, and it was a
35:49work that no one cared about. In fact,
35:51students are always writing stuff, sir.
35:53Everyone is like, "Oh, Resat Nuri
35:55Guntekin, oh, Calikusu, oh, Yaprak
35:57Dokumu," and then you suggested "
35:58Balikesir Accountant," and it came out—
36:01well, that's our whole point.
36:03So, as I said, we should also know that
36:05, for instance, a novel by a misogynist
36:08is fine, but it is written in the form
36:10of letters. Yakup Kadri Karaosmanoglu is
36:12also an important artist of the National
36:14Literature Period. My young friends, we
36:16must know that he used the letter style
36:18in his short story titled Bir Serencam.
36:20Also, Cenap Sahabettin's Hac Yolunda and
36:22Avrupa Mektuplari—these are travelogues
36:24, and we must know that they are also
36:26written in the letter genre. Ahmet
36:28Rasim's Romanya Mektuplari and Sehir
36:30Mektuplari are very important and quite
36:32beautiful. Again, Nurullah Atac's
36:34Okuruma Mektuplar, which is, as the name
36:37suggests, self-explanatory. We say that
36:39Okuruma Mektuplari is also important, my
36:42young friends. Now, I am going to encode
36:44Halide Edip Adivar. Then I will move on
36:46to e-mail. I won't stop without encoding
36:48.
36:49I won't let you leave without getting a
36:51100. Look, uh, school grades are very
36:53important now. You've noticed. I mean,
36:55to remove the gap between public schools
36:58and private schools, to eliminate the
37:00injustice in secondary education success
37:02scores, you know that the OYSSS system
37:04has arrived, and this OYSSS system will
37:06really eliminate that injustice. I
37:09believe it will eliminate it. Therefore
37:11, everyone should take the same exam.
37:13None of that "easy for private schools,
37:15hard for public high schools." Some—
37:17well, not every private school, but we
37:19used to hear this about some private
37:20schools. Uh, this will be eliminated.
37:24Uh, that's why, as we said, these will
37:26be useful for us and will be asked. So
37:28let's take a look at Halide Edip Adivar
37:30. Let's talk a little bit about Halide
37:32Edip Adivar, too. Halide Edip Adivar
37:33always features female characters in her
37:35works. What is the reason, sir? The
37:37reason is this. Uh, generally, in fact,
37:39she herself is a character who fought in
37:41the War of Independence with the rank of
37:43corporal, representing the role of women
37:45in the national struggle.
37:47Uh, we see this in the novel Ates Gömlek
37:50.
37:50And for this reason, uh, the character
37:53Ayse is herself. That is why she gives
37:54so much space to female characters.
37:56Let's know this. Of course, in the
37:58beginning, she wasn't exactly a
37:59supporter of the national struggle. Uh,
38:01she even made suggestions like, "Let's
38:03enter under an American mandate."
38:04Because she is a graduate of Uskudar
38:06American Academy. Uh, but later, after
38:08meeting Ataturk, her ideas changed. She
38:10publishes the famous Sultanahmet rally,
38:12and what does she do now?
38:14She says, yes, she rouses the public and
38:16says we will fight shoulder to shoulder
38:18in the national struggle, and she
38:20accomplishes this very successfully. Now
38:22, apart from that, let's look at Halide
38:24Edip Adivar within the general framework
38:26, my young friends. So, what do you see
38:29? That is already the main logic of our
38:31cards. Meaning, it doesn't make you
38:32memorize literature; it teaches it.
38:34Let's look at how it settles into your
38:35mind along with the visuals.
38:37We see Halide Teacher. She is looking at
38:40us very angrily. Students around her are
38:42sad. She has made the students wear "
38:44Shirts of Fire"(Ates Gömlek), and we see
38:46a fly on one student's head. Because the
38:48reason the students are angry is this.
38:49They went to Sinekli Bakkal and bought
38:51chocolates. That's how students are,
38:53right? We even had something like that,
38:54too. We were just talking about it
38:56yesterday. Did every school you went to
38:57have that, too? There used to be a
38:59pickle juice seller after school. You
39:00know? We would always go and drink
39:02pickle juice from that seller.
39:04Then there was the debate about whether
39:06pickles are made with lemon or vinegar.
39:09Normally my mom makes them very well,
39:11but the guy's place wasn't exactly clean
39:13.
39:14Yet, everyone would line up to drink
39:15pickle juice there. I mean, it was just
39:17a thing after school. Teachers and such
39:19would get annoyed. Ah, just like Halide
39:21Edip Adıvar. Now that we’ve transitioned
39:23to Halide Edip Adıvar, it’s just like
39:25her. That’s why Halide Edip Adıvar makes
39:26the kids buying chocolate from the "
39:28Sinekli Bakkal" wear the "Ateşten Gömlek
39:30." She’s saying, as if to say "even if
39:32love is a shirt of fire, I will wear it
39:34anyway," the kids wear it too. Well,
39:36this is what helps us pin down these
39:37literary works, click, click, click.
39:40Halide Edip Adıvar made the kids buying
39:42chocolate from "Sinekli Bakkal" wear "
39:44Ateşten Gömlek." We said "Ateşten Gömlek
39:47" and "Handan" were written in a letter
39:49format, right? She depicts the National
39:51Struggle very successfully in "Yeni
39:53Turan,""Sinekli Bakkal," and "Vurun
39:55Kahpe." Let’s talk about her mother, too
39:56, the Turkish mother. She’ll call it the
39:58"Trial by Fire." She’ll mention "From
40:00Izmir to Bursa," and her story "The Wolf
40:02That Climbed the Mountain" is also quite
40:04important. When these cards first came
40:06out, they stayed on the Trendyol
40:08bestsellers list for 45 days. You should
40:09even check the reviews. And once we
40:11started flipping through them, teacher.
40:13It was etched in our minds instantly.
40:14Teachers wrote such lovely comments; I
40:17can say these cards are my masterpiece,
40:19"Edebiyat Cepte Coding Cards." It really
40:21is.
40:22I love all my books and works, but this
40:24one has no equal.
40:26You won’t see this on the market.
40:28Later, they tried to imitate them, but
40:30the imitations couldn't even keep the
40:32original's spirit alive. Afterward, they
40:34gave up.
40:36Because it’s not easy to make these, and
40:38the blending process is very demanding,
40:40but students love them, and literature,
40:42which was once a source of fear,
40:44suddenly turns into fun, into cards they
40:46keep flipping through, and the students
40:48enjoy it so much.
40:51This really makes me happy, my young
40:53ones.
40:54Well, shall we move on to e-mail? Are we
40:56ready, everyone?
40:58Let’s call it e-mail.
41:00Let’s move right along.
41:02Electronic communication between
41:04computers or specific transmission
41:06centers within a network. Right? We
41:08actually use e-mail a lot.
41:11E-mail is similar to a letter, and the
41:13difference between e-mail and a letter
41:15is that you can attach all sorts of
41:17files like pictures, music, and videos
41:18to e-mails, right?
41:21And it can be sent directly to the
41:23recipient's computer.
41:26Electronic mail is more common than
41:28letters, my young ones, and you could
41:29say it reaches the recipient much faster
41:31.
41:33With the spread of the internet, e-mail
41:35is increasingly replacing letters.
41:38So, in a way, letters have been pushed
41:40to the background, and we mostly see
41:42e-mail.
41:44To use e-mail services, you obviously
41:46open an e-mail account.
41:49There are sites that provide this
41:51service for free or for a fee.
41:54Email addresses consist of the user's
41:56name, the "at" sign, the email
41:58provider's name, a dot, and the site
42:00extension.
42:03We always say that personal information
42:04must also be kept secure when writing an
42:06email.
42:07Well, what about petitions? We use
42:10petitions a lot, too, very much indeed.
42:12A petition is actually a document
42:14submitted to official authorities by
42:16individuals to state a situation for the
42:18purpose of expressing a request or
42:19filing a complaint.
42:21Isn't it? Yes, it appears before us as a
42:24document stating a situation.
42:27A petition should be written on plain
42:29white paper, either via computer,
42:30typewriter, or in legible handwriting
42:32with an indelible pen.
42:34We do not use lead pencils in petitions
42:37.
42:37We need to state our request, complaint
42:40, or whatever the case may be, in a very
42:42clear manner. So, please avoid
42:44unnecessary details in the petition,
42:46otherwise, it is considered invalid, my
42:48young friends. It happened especially
42:50this year.
42:51You know there were a lot of mistakes in
42:53such questions. Many petitions were
42:55written to ÖSYM, and if you don't
42:57provide too many details in the
42:58petitions you write, it is actually
43:00clearer.
43:03They can understand what you are trying
43:05to explain.
43:06Use plain language and use formal
43:08language. Again, it is necessary to pay
43:10attention to spelling and punctuation
43:12rules. It is also mandatory for the
43:13petition to include the name, surname,
43:15signature, and work or residential
43:17address of the petitioner, my young
43:19friends. Now, let's look at the elements
43:21that make up a petition. The addressee,
43:23meaning there must be an institution. An
43:25official authority, right? So, the name
43:27of the institution or authority that is
43:29the addressee of the petition should be
43:30written centered on the line. For
43:32example, you said, "To the Directorate
43:34of Kadıköy Anatolian High School." You
43:36wrote it in a way that it is centered.
43:38Then you must introduce yourself, right
43:39?
43:40I mean, who are you?
43:42The person writing the petition must
43:44briefly introduce themselves in a way
43:45that states their connection to the
43:47institution to which it is submitted.
43:49Again, the issue and the request,
43:51meaning the problem, complaint, or
43:53request you want to convey to the
43:55institution must be stated, and there
43:57will be an expression of respect, right
43:58?
44:00So, you will end your petition with an
44:02expression of respect, such as "I kindly
44:04request that the necessary action be
44:06taken," my young friends.
44:10When you look at the date, you will
44:11write it to the right of the writing
44:13area after the body text, in the order
44:15of day, month, and year.
44:18Again, when you look at the signature,
44:19it must be on the right of the writing
44:21area, below the date.
44:23So you wrote the date, then you signed
44:25it.
44:26The name and surname will be on the
44:27right of the writing area and below the
44:29signature.
44:30Contact information will be placed on
44:32the left side of the writing area.
44:33Contact information regarding the work
44:35or residential address will be written.
44:38If you want to include an attachment, if
44:40there is a document that must be
44:41submitted with the petition, on the left
44:43side—which I showed you in my previous
44:45video or in the video where I explained
44:47the petition separately.
44:49You will write it as an attachment on
44:51the left side.
44:52So, under this heading, you will say
44:54that there is also this attachment page
44:56. So, what about a report? When is a
44:58report written? When we were in high
45:00school, it was written a lot for those
45:02who misbehaved. Is it still around?
45:03Teachers used to say, "I'm going to
45:05write a report," and so on. I never
45:06wrote a report for anyone while I was
45:08working at school. The students usually
45:10liked me a lot. We even became friends.
45:13Since I started very early, there wasn't
45:15much of an age gap between us anyway
45:16when I started. There were even people
45:18older than me in my class during my
45:20early years, just imagine.
45:23I started life as such a tiny little
45:24teacher. I mean, I never really filed
45:26any reports on anyone. I loved every
45:28single one of my students. By the way, I
45:30also worked in some very difficult
45:31schools. Oh, the things I've seen, the
45:33things I've seen. Let's not get into
45:34that now; we'll talk about it sometime.
45:36Now, when we say "report," it usually
45:37refers to things that need documentation
45:39, like in traffic accidents, right? I
45:40mean, a situation arises that requires
45:42documentation.
45:45It appears as a document formed by
45:47writing down exactly what was said in
45:49places like assemblies, boards, or
45:50courts, or by being signed by those who
45:52witnessed the event.
45:55So, these things are put into writing,
45:57my young friends. In a report, any
45:59incorrectly written statement is crossed
46:01out with a single line and the
46:03correction is initialed.
46:05You cannot erase, scrape, or add
46:07anything to the report afterward. I mean
46:09, you have to do whatever you're going
46:10to do in that moment. If more than one
46:13page is used, each page must be numbered
46:15and initialed.
46:16This is very important.
46:18If a report is prepared in multiple
46:20copies, each copy must have a wet
46:22signature.
46:26Although reports are basically grouped
46:28as meeting or incident reports, we see
46:29that they can be named according to the
46:31content of the meeting or the event.
46:35It could be a search report, a trial
46:37transcript, a work accident report, an
46:39absenteeism report, or an accident
46:41assessment report, right?
46:45In meeting reports, such as incident or
46:47fire reports, you first write down the
46:49agenda of the meeting.
46:51The topics discussed, the words spoken,
46:53and the decisions taken, right?
46:57Or rather, after it's written, the
46:58report is read and signed by those who
47:00actually attended the meeting.
47:03In incident reports, the time, place,
47:05and nature of the event, along with the
47:07details of those involved and the
47:09findings, will be included, my young
47:11friends.
47:12Events must be told in chronological
47:14order.
47:15The report is read and signed by those
47:17who prepared it and by any witnesses
47:19present. You know how people say, "
47:20Let's write a report quickly" when an
47:22incident happens. You see this more
47:24often in meetings.
47:25A meeting report is prepared from the
47:27moment the meeting starts, while an
47:29incident report is prepared immediately
47:30after the event.
47:33What is said and seen in reports must be
47:35written clearly and exactly as it
47:37occurred, with no room for
47:38interpretation, my young friends.
47:42Well, I had prepared some questions for
47:44you, but I want to do those in a
47:45separate video.
47:47I mean, let’s cover the letter genre,
47:49traditional Turkish theater, and then
47:51our verbals.
47:54After that, we can finish this lecture
47:56and do a section that includes verbals,
47:58letters, and traditional Turkish theater
48:00.
48:01But as I said, I will leave these in the
48:03description for you. You can solve the
48:05PDFs beforehand, but it would be much
48:06better if you solved them with me, my
48:08young friends. Okay, okay, okay, here
48:11comes the question.
48:13Whom did the novel "Handan" belong to
48:15and what were its characteristics? Let
48:17the answers come in.
48:18Let's see those answers.
48:20I just explained "Handan." I even coded
48:22it for you. You know it. Go ahead and
48:24write it down. And let me open up what
48:26for you? Let me open up the verbals, my
48:28young friends. Now, here is what we are
48:30going to do with our verbals.
48:33First, I will explain the verbals to you
48:35in a table format.
48:36Then, with these "must-know" segments,
48:38we will have fully reinforced the
48:40content. We will do it like this for
48:42verbals (fiilimsiler). There is actually
48:44only one logic for verbals.
48:46You need to find an action.
48:48Look, do you know what it means to add "
48:50-imsi" to something? It's not exactly
48:52that, but close to it. For example, I
48:54tell you "whitish pen."
48:57I mean it’s not exactly white. Close to
48:59white. Or, say, I say "bluish wall." I
49:02mean it’s not exactly blue, it's close
49:04to blue.
49:06That is exactly the logic of our verbals
49:08.
49:09So, we will find an action, okay?
49:12And if actions take tense and person
49:14suffixes, do you know what we call them
49:16? We call them verbs, my young friends.
49:18Because "H K Ş" is my "H K Ş" tactic. H
49:21K Ş means verb. For instance, in
49:23questions, they ask if there is a
49:25conjugated verb or not. It will come up
49:27a lot, especially in the Maarif model,
49:29in the TYT section. Our logic here is "
49:32H K Ş"—verb, action, tense, person.
49:36Actually, a verb means to do something.
49:38Meaning it took a person suffix and a
49:40tense suffix. Well, what does "verbal"
49:42mean, teacher? Pure action. So, an
49:44expression that only indicates action is
49:46a verbal. Look, it only indicates action
49:49, okay?
49:50Only action. What do you mean by "only
49:52action," teacher? It no longer takes
49:54person and tense suffixes; it has its
49:56own unique suffixes. What are they,
49:57teacher? Participle (adjective-verb). Of
50:00course, you memorized them like this,
50:01but let's burn that memorization. "
50:02Anası mezar dikecekmiş." You don't need
50:05to do that. All participles already
50:07affect nouns. Look, it never fails. I
50:09will show you the examples now. Or
50:11verbal nouns (infinitive). "Mayışmak.""
50:13Mayıştım kaldım." But there is no need
50:16to memorize like that.
50:18Because "mayışmak" can be a negation
50:20suffix or a frozen noun. Context,
50:22context, context. If you lose the
50:25context, you're lost. We need to see the
50:27context here. That’s why we will decide
50:29by paying attention to the context. As
50:30we said, participles will affect nouns,
50:32or when I look at gerunds, they will
50:34affect the action, meaning they will be
50:36adverbs. It will never fail. Let's
50:37reinforce it with an example immediately
50:39. For instance, let's reinforce
50:41participles. "Sana dar gelmeyecek
50:42makberi kimler kazsın?" Look, "gelmek"
50:44is the action. What kind of grave (
50:46makber)? Is "makber" a noun? Yes. What
50:49kind of grave? "Dar gelmeyecek" grave.
50:51If the word affecting the noun in its
50:52entirety is an adjective, we say this
50:54suffix is a participle. This never fails
50:56. Okay, it never fails. Or, for example
50:58, as we said, pay attention to this in
51:01verbal nouns. Like, it could be a frozen
51:03noun. What is it, for example? "Ekmek"(
51:05bread). What is it, for example? "
51:06Dondurma"(ice cream). Can you go and
51:08call these verbal nouns just because
51:09they have these suffixes? You cannot.
51:12This has now become my frozen noun,
51:14right?
51:14Frozen noun. But look at this sentence,
51:17for example. "Gülmek yakışıyor güzel
51:19yüzüne." Now, since I explained all of
51:21this in my previous full review, I am
51:23not going into too much detail here. I
51:25am coming to the "Must-Know" now.
51:27And you watched that too, because we
51:29explained it there with completely
51:31different sentences and expressions.
51:32Laughing suits your beautiful face. Now
51:34look, is laughing an action? Yes. Is it
51:36clear who is laughing? I am laughing,
51:38you are laughing. No. You say there is
51:40no person suffix. If there's no person
51:41suffix, there's no tense suffix either.
51:42Well, it’s just an action. That's a
51:43verbal noun, a gerund. That’s it. It’s
51:45the same for the adverbial participle.
51:47All adverbial participles must already
51:49modify an action. There is no other
51:51possibility. Let's look now. Her voice
51:53trembled while speaking. I was going
51:55step by step while finding verbals.
51:56First I find the action, and that action
51:58does not take person or tense suffixes.
52:00Now, when I say "while speaking," my
52:02young friends, you said "to speak" is an
52:03action. Is it clear who is speaking? I
52:05am while-speaking, you are
52:06while-speaking. No. There is no person
52:08suffix. I said if there is no person
52:09suffix, there is no tense suffix either
52:11. I understood from the pure action that
52:12it is a verbal suffix. Now I am looking
52:14at what it modifies. Look.
52:16Is trembling an action? Yes. When did it
52:18tremble? While speaking. Well, it
52:21modified the action. Then you say this
52:23is an adverbial participle. Because the
52:25word modifying the action was an adverb
52:27. Okay? That’s our logic. Now let's look
52:29at our "Must Know" segments about
52:31verbals.
52:32First of all, there are as many
52:33subordinate clauses as there are verbals
52:35in a sentence. Sometimes the questions
52:37ask you, how many subordinate clauses
52:39are there? You will now find the verbal
52:41, look. It's impossible without a verbal
52:43. Also, words that are participial
52:45adjectives can become nominalized
52:46adjectives. Because what was the
52:48condition for it to be a participial
52:49adjective? Either it would modify a noun
52:51, or the noun would drop and the
52:52adjective would become nominalized. For
52:54example, he who waits for the pot drinks
52:56the soup. Let me do my example right
52:57away. If the verbal asks me to find a
52:59verbal, I first find the action and
53:01check if that action takes person and
53:03tense suffixes, and I proceed by looking
53:05at what it modifies. Now, to wait is an
53:07action, right? To drink is an action,
53:09okay. Is it clear who is waiting? I am
53:11waiting, you are waiting. No. Then I say
53:13there is no person suffix. If there is
53:15no person suffix, there is no tense
53:16suffix either. I understood from the
53:17pure action that this suffix is a verbal
53:19suffix.
53:20And I didn't memorize it, or let's say I
53:22forgot it.
53:23Because memorizing is not knowing. It is
53:25hiding something you entrusted to your
53:27memory. You forget if you memorize.
53:29Look how.
53:31Who is the one waiting for the pot? Can
53:32you say this, my young friends? The
53:34person waiting for the pot.
53:36Can you say the man waiting for the pot
53:38?
53:39You can. Look, the noun dropped. If the
53:41noun dropped, see, the adjective became
53:43nominalized. There you have your
53:44nominalized participial adjective. Now,
53:46"drinks"—is drinking an action? Yes. Who
53:48drinks? I can say he drinks. There is a
53:50person suffix. If there is a person
53:52suffix, there is a tense suffix too.
53:53Look, I wrote it under the tense suffix
53:54. Er-re-ar-er, tense-person-suffix. From
53:57the tense-person-suffix, this became a
53:59conjugated verb. Okay?
54:01Alright.
54:02I will pay close attention to this as
54:04well. The "ken" adverbial participle
54:06must be used with a verb conjugated
54:08suffix before it.
54:10But not when it comes to the copula,
54:12okay? It is an exception when it comes
54:14to the copula, because when it comes to
54:16the copula, it becomes "iken." Now look
54:18. He wanted everyone to listen to him
54:19with great attention while he was
54:21speaking. Now, if you want me to find a
54:22verbal noun or participle, I'll first
54:24find the action. That will be my key
54:26point. Now, I'm saying that "talking" is
54:28an action. Is it clear who is talking? I
54:30am talking, you are talking—no. No.
54:32There is no person suffix. You said if
54:34there's no person suffix, there's no
54:35tense suffix either. You realized it's a
54:37verbal suffix purely from the action
54:38itself. Which verbal is this suffix,
54:40teacher? I don't know. I didn't memorize
54:42it, I just did what is correct. I look
54:44at what it modifies. When did he want it
54:46? Look, is "to want" an action? Yes.
54:48When did he want it? While talking.
54:51If the word modifying the action is an
54:53adverb, you say this suffix is an
54:55adverbial participle.
54:57That's it. Isn't it? That's it. Okay.
55:00I say, let's do another one right away.
55:04I say that verbal nouns and
55:05substantivized participles can take noun
55:07case suffixes.
55:09Of course they can. There is no problem
55:11at all. He couldn't bear to look at her
55:13. I was asked for a verbal. First, I
55:15find the action. I say "looking" is an
55:17action. I say "bearing/daring" is an
55:19action. Uh, let's see, is it clear who
55:21is looking? I am looking, you are
55:23looking—see, there is no person suffix.
55:24If there is no person suffix, there is
55:26no tense suffix. I understood it's a
55:27verbal suffix purely from the action.
55:29You immediately said "-mayışmak" is a
55:31verbal noun. And it can take a suffix,
55:33look, "bakmaya" takes the dative suffix
55:35, that's no problem, my young friends.
55:37When saying "couldn't bear,""to bear" is
55:38the action, you can say "he couldn't
55:40bear it." There is a person suffix. So
55:41that means this suffix is a tense suffix
55:43, right? When you say "couldn't bear,"
55:45you say it became a verb through the
55:47person suffix. Those who were talking
55:48were called to the manager's office.
55:49Look, "talking" is an action, "being
55:51called" is an action. Is it clear who
55:53the "talking ones" are? I am the talking
55:55one, you are the talking one—no. Then I
55:56say there is no person suffix. If there
55:58is no person suffix, there is no tense
55:59suffix. Look, what is this "-an" suffix
56:01now? I mean the students who are talking
56:03, right? Yes, the talking student. Look
56:05, the noun dropped, the adjective became
56:08a noun. So this is my substantivized
56:10participle. Well, for "was called," can
56:12I say "he was called"? I can. There is a
56:15person, so this is a tense suffix; "-dı
56:17" is the past tense suffix.
56:19So, we say it became a conjugated verb
56:21through the person suffix. Okay. Words
56:24taking verbal noun suffixes can lose
56:26their verbal meaning and become
56:28fossilized words. We already talked
56:30about this. That's why we always say
56:32context, we always pay attention to
56:33context. They lose their verbal noun
56:35property in this case. For example, when
56:37we say "view"(görüş), it now means an
56:39opinion here. So it became a name for an
56:41entity. So what did this become now?
56:43It's a fossilized noun because it became
56:44a name for an entity. When I say "
56:46meeting"(buluş), you can't just go and
56:48write "verbal noun" there. If you write
56:49it, it would be wrong. Or when I say "
56:51bread"(ekmek), it's a food, right? I
56:53don't go and say what? I don't call it a
56:55verbal noun.
56:57We say it has become a name for a food
56:59here.
57:00Okay. Let's continue. These notes are
57:03very important. We say that if the "-
57:05madan/-meden" suffix answers the
57:07question "when" or "how," it becomes a
57:09conjunctive participle. -meden, -madan.
57:11He doesn't end the day without reading
57:1320 pages of a book every day. Look, when
57:15or how, look, how does it not finish or
57:18when does it not finish? Without reading
57:20. Because it answers this question, this
57:22is an adverbial participle, my dear
57:23youngsters. But if you say "no harm
57:25comes to a person without reading books
57:26," look, that's a distractor; so, not
57:28every "-meden/-madan" suffix you see
57:29becomes an adverbial participle. We pay
57:31attention to the context. Here, it has
57:33become a verbal noun.
57:35If we lose the context, we're in trouble
57:37. We don't lose it. Alright. Moving on.
57:40Words that take the adjectival
57:42participle suffix can also be permanent
57:44nouns. We pay attention to this as well
57:45. Meaning, they can lose these meanings
57:47. For instance, I will eat "döner"(
57:49doner kebab) in the evening. We love it
57:50very much. "Döner" has now become a food
57:52. I am stating the sentence with its
57:54context now. So, because it is now a
57:55name for an entity, this became a food,
57:57right? A lexicalized noun. Or "keser"(a
57:59hoe/pickaxe), for example, you dug the
58:01soil, you shoveled it. It has become a
58:03tool now. This is also a lexicalized
58:04noun. I got on the "dolmuş"(minibus) and
58:06I'm going, meaning a vehicle. Again, a
58:08lexicalized noun. We pay attention to
58:10this. Again, words that remain as "diye
58:12" or "nöbetleşe" are adverbial
58:13participles on their own because they
58:15end in "-e/-a," but let's look at the
58:17context. I've been nagging forever,
58:18saying "don't waste the summer months."
58:20Look, "diye" comes from "demek," an
58:23action. How, when did it end? Meaning,
58:25by saying "don't waste," look, it
58:27affected the action of finishing. The
58:29word affecting the action here became my
58:31adverbial participle. Suffixes like "-
58:33ınca,""-ken," or "-casına" attached to
58:35nouns do not form adverbial participles
58:37. Don't. Look, don't. We are proceeding
58:39step by step, what was the step for
58:40adverbial participles? Find an action.
58:42If there is no action, how can it be one
58:44? He solved questions all day long ("
58:46boyunca"). Are you going to go there and
58:47say, "Oh, there is'-ınca, 'let me call
58:48it an adverbial participle"? No. Look,
58:50don't fall for that in the written exam
58:52. This "boyunca" is now just a noun for
58:54you, my youngsters. Alright? This is a
58:56noun now. Well, "yol yakınken"(while the
58:57path is near/while there is still time)
58:59start working—that doesn't work. Meaning
59:00, just because you see "-ken," it
59:02doesn't work. When saying "yakınken," we
59:04say that this is also a noun again. The
59:06"-ken" attached to a noun that takes the
59:07copula ("ek fiil") forms an adverbial
59:09participle; naturally, let's pay
59:10attention to this. I say pay attention.
59:12We don't confuse the adverbial
59:13participle "-dığında/-diğinde" with the
59:15adjectival participle "-dığı/-diği" used
59:17with the "-da/-de" case suffix, because
59:19I gave a very simple technique. If it is
59:21an adjectival participle, it had to
59:23affect a noun, right? Let's go from
59:24there, let's make our job easier. When
59:26he studies, he forgets everything. Look
59:28, is "forgetting" an action? Yes. When
59:31does he forget? "Ders çalıştığında"(
59:33when he studies). Meaning, at the time
59:35he studies.
59:37Isn't that meaning there? At the time he
59:38studies. Yes. "-dığında/-diğinde," so
59:41this is an adverbial participle. But if
59:43I say to you, "There are beautiful poems
59:45in what he reads."
59:46Can you say it like this now?
59:48You'd say, "in the book he reads."
59:51So what happened? The noun was dropped.
59:53You'd say, "So this is a substantivized
59:55adjectival participle." Alright? That's
59:57the logic. If the noun drops, the
59:59adjective becomes a noun. That's why if
1:00:01you always proceed with this logic, you
1:00:02won't miss even a single question.
1:00:04Neither in the written exam nor in the
1:00:06Maarif model you will enter a year later
1:00:08.
1:00:09Turkey's first Maarif model
1:00:12camp will also start. Let's mention that
1:00:14here too.
1:00:15In the Maarif model exam, my youngsters
1:00:17.
1:00:18Okay? So, any problems? Can I see those
1:00:21who understand? You’re wonderful. You’re
1:00:24super. Shall we do this one?
1:00:26Let me ask you the question of the day.
1:00:29And then we’ll wrap up our lesson, but
1:00:31I’m waiting for the answers below.
1:00:33Is that okay?
1:00:35Eee, here is a nice sentence. Please
1:00:38write the sentence down, too. My
1:00:39sentences are famous. Students love them
1:00:41.
1:00:42When I say "books are like women, and
1:00:44women are like cities," find the verbal
1:00:46noun (fiilimsi) here for me.
1:00:49Find this one.
1:00:50And do you know what else to find?
1:00:53I’ll tell you one more right away.
1:00:56You are writing it below right now.
1:00:59Eee, I want to choose such nice
1:01:01sentences. Yes, this one is also
1:01:04delicious.
1:01:05The judge who pardons the guilty
1:01:06condemns himself.
1:01:08Let’s see you write this one, too. Is
1:01:10there a verbal noun or not? What is in
1:01:12these two sentences?
1:01:13I want us to see it together below, my
1:01:15young ones.
1:01:17Yes. That was all for our lesson today.
1:01:19We’ve been together for an hour. It was
1:01:21very enjoyable for me. It was truly very
1:01:23enjoyable.
1:01:25I mean, I don’t even know how the time
1:01:27flowed by or how it passed so quickly.
1:01:31Like I said, if you want, I’ve solved
1:01:33your school textbook line by line
1:01:34because the Ministry will prepare it, so
1:01:36shall we scan through the textbook
1:01:38together?
1:01:39If you say so, another full review can
1:01:41come, and as I said earlier, I’ve
1:01:43prepared test questions.
1:01:45Would you like me to make a separate
1:01:47video for those as a test?
1:01:49If you want, of course, the 9th graders
1:01:51are here saying "Teacher, we are here
1:01:53too." They want it a lot too.
1:01:57That’s why subscribing to the channel,
1:01:59sharing the video in groups, your
1:02:01support is so valuable because as I get
1:02:03support, my energy levels go up even
1:02:05more.
1:02:09As more of my students arrive, as I see
1:02:11more likes here and there, does my video
1:02:13get hyped?
1:02:16Your big brother Erdinç told me that.
1:02:18I don’t know how that happens. He said "
1:02:21ask your students to hype it up," but
1:02:23you know best. I don’t know, but if you
1:02:25do, feel free to hype it up. I would be
1:02:27grateful, my young ones. That was all
1:02:29for our lesson today. Until we meet in
1:02:31the next lesson, as it always has been
1:02:33and always will be, my heart is with you
1:02:35.
1:02:36Power to 11th. Grade literature,
1:02:38education model literature, first
1:02:39semester, first exam; you’ll get a 100
1:02:42with us because as you see, my coding,
1:02:44memory techniques, non-rote explanations
1:02:46, and context and skill-based teaching
1:02:48are only and exclusively on our channel
1:02:50. You are in the right place, my dears.
1:02:52I say I won’t let you leave without
1:02:54getting a 100. Let’s meet in the next
1:02:55video. I love you.

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This page contains the full transcript of 11.SINIF EDEBİYAT 1.DÖNEM 1.YAZILI FULL TEKRAR MARİF MODEL OYSS by Türkçenin Matematiği, generated from the public captions YouTube serves with the video. The transcript has 11,921 words across 1,909 segments, with the original timestamps preserved so you can click any line to jump to that moment in the embedded player.

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