Ottoman-Turkish Online Periodicals

Anadolu Mecmuası

The Ottoman journal Anadolu Mecmuası (“Anatolia“) was published between 1924 and 1925 in Istanbul in a total of 11 issues. It was edited by Hilmi Ziya Ülken (1901-1974), a philosopher and professor for sociology at the University of Istanbul and by the historian Mükrimin Halil Yinanç (1898-1961). The idea of the journal was born by an intellectual movement of professors and students of different disciplines (“Anadoluculuk“), with Yinanç as their main representative. The journal served the spreading of their ideas and as literary platform for Anatolian topics such as folklore, history, philosophy and geography. The term “anatolian homeland“ should demonstrate that it defines the nation and the history of the Turkish Republic should be considered as the history of Anatolia.

cf. Dirican, Rabia (2014): "Anadolu Mecmuasi’nin Türk Düşünce Hayati Açisindan Değerlendirilmesi", in: International Journal of Social Science, No. 25-I, p. 387-398.
cf. Dressler, Markus (2013): Writing Religion: The Making of Turkish Alevi Islam. Oxford University Press.
cf. Gürpınar, Doğan (2013): Ottoman/Turkish Visions of the Nation, 1860-1950. Palgrave Macmillan.

Atsız Mecmua

The Turkish-language magazine Atsız Mecmua, named after its founder and editor Nihal Atsız (1905-1975), was published in Istanbul between 1931 and 1932 every four weeks in a total of 17 issues. The additional title was Aylık fikir mecmuası ("A Monthly Magazine of Ideas“). The articles in the magazine dealt with topics about literature, history, nationalism, Turkic folk literature, social issues, as well as Uzbek and Turkmen music and folk songs of the Turkmen population residing in Kirkuk. The central topics of the magazine were reflected in anti-communist and nationalist articles based on Atsız's understanding of a shared Turkic identity. Atsızs is considered to be one of the leading ideologues of pan-Turkism, as evidenced by the identifying mark of the Gray Wolves (bozkurtlar) on the journal's cover. This was one of the similarities to other pan-Turkish journals such as Bozkurt, Orkun, and Otuken.
In addition to Nihal Atsız, who wrote most of the articles, Mehmet Fuad Köprülü (1888-1966) and Zeki Velidi Togan (1890-1970) were among the most important authors of Atsız Mecmua. The publication of one of Atsız's articles, which criticized the new dean of Dar-ül Fünun (later Istanbul University) led to his dismissal and the banning of Atsız Mecmua in 1932.

cf. Altun, Murat (2005): Extracting Nation out from History: The Racism of Nihal Atsiz. In: Journal of Historical Studies,3, p. 33-44.
cf. Burris, Gregory A. Burris (2007): The Other from Within: Pan-Turkist Mythmaking and the Expulsion of the Turkish Left. In: Middle Eastern Studies 43, 4, p. 611-624.
cf. Landau, Jacob M. (1995): Pan-Turkism: From irredentism to cooperation. London: Hurst.

Âyine

Âyine ("Mirror") was an Ottoman satirical magazine published between 1921 and 1922 in Istanbul. Each of the 72 issues consisted of four pages and were published once a week.
The owner of the magazine was the businessman Semih Lütfi, the owner of the Suhulet Library, while Eşref Nesib was the director of the magazine. From the 9th issue of the journal, it can be seen that Yusuf Ziya, who published his writings and poems under his own name and under his pseudonym, was the journal's most influential author.[1] The content of the journal focuses on political and social topics, which are mainly satirically treated, as well as poetry, stories and humorous depictions such as cartoons.

Davul

The Ottoman periodical Davul ("Drum") was published in Istanbul weekly in 1908 and 1909 in a total of 24 issues. The satirical magazine was edited by Hasan Vasıf (1889-1944), an Ottoman politician and physician. The numerous satirical illustrations and caricatures deal with the Ottoman and European politics of that time.
In their humorous articles the authors criticize i.a. Abdülhamid II, the whole Ottoman policies and the European way of life. In addition, excerpts of the French magazine „Fantasie“ in French language are published in some issues.

cf. Davulcu, Ebru und Temal, Mustafa (2017): The Annexation Of Bosnia And Herzegovina And Representation Of Austrian Boycott On Humor Press During Ii. Constitutionalist Period. In: Arslan, Hasan, Icbay, Ali Mehmet, Tomescu, Madalina (Eds.) : Communication and Digital Media. International Association of Social Science Research. p. 61-70.
cf. Wiesenthal, Arlen (2017): The Sultan-Caliph and the Heroes of Liberty: Heroism, Revolution, and the Contestation of Public Persona in the late Ottoman Empire, c. 1900-1918. Simon Fraser University.

Diyojen

Diyojen (“Diogenes“) was the first Ottoman satirical magazine of the Ottoman Empire. The first issue was published in Istanbul on 24th November 1870 by the satirist Teodor Kasap (1835-1905). It came out weekly in three year’s issues and was banned for good in 1873 after 183 numbers. Apart from satirical pieces, the magazine became known for its caricatures and the translation of French literature. Kasap, who also worked as journalist and playwright, published other satirical magazines after the ban. In Haylal (“Fantasy” or “Illusion“), which existed from 1873 until 1877, he among other things used caricatures and satirical articles to criticize the arbitrary press law.

cf. Çeviker, Turgut (1986): Gelişim Sürecinde Türk Karikatür 1. Tanzimat Dönemi ve İstibdat Dönemi (1867-1878 / 1878-1908), Istanbul.
cf. Heinzelmann, Tobias (1999): Die Balkankrise in der osmanischen Karikatur: Die Satirezeitschriften Karagöz, Kalem und Cem 1908-1914, Stuttgart: Steiner.

Ešref

The Ottoman journal Ešref was published in Istanbul weekly from 1909 to 1910 in a total of 26 issues. The content focused on literary topics as well as satirical works and texts.

Hamiyet

The Ottoman journal Hamiyet („patriotism“) was published in Istanbul in 1886 in a total of 17 issues.

Her Ay

The Turkish magazine Her Ay („Every month“) was published monthly in Istanbul between March 1937 and March 1938. Founders of the magazine were Orhan Seyfi Orhon (1890-1972) and Yusuf Ziya Ortaç (1895-1967). A total of seven issues featured contributions from major Turkish writers, such as Mustafa Şekip Tunç (1886-1958), Hasan Ali Yücel (1879-1961) and Sabahattin Ali (1907-1948). Due to its content, the periodical is one of the most important of its time.

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Kadınlık

The Ottoman women's magazine Kadınlık ("Womanhood" or "Femininity") was published by Hacı Cemal and Nigar Cemal in Istanbul between March 1914 and July 1914. The magazine's editor-in-chief was Nigar Hanım. A total of twelve issues were published, consisting primarily of news, articles, short stories, pictures, and photographs. In addition, articles were printed that focus on the role of women in social life and topics such as education, fashion, tailoring, and hair care, as well as articles written by female intellectuals who were part of the Ottoman women's movement.
The self-proclaimed aim of Kadınlık was to change the way the women’s world was viewed, to illuminate the horizons of womanhood, and to prepare a ground for their progress. It aimed at supporting women and proving knowledge so that they could attain the position to which they were entitled. The subtitle of the journal also states: "It defends the existence of womanhood and her position in the country."
Kadınlık forms an important source for understanding the women's movements of the time, which also occupies an important place among the women's publications of the constitutional era with its discourse on the social position of women and various socioeconomic aspects.

cf. Akagündüz, Ümüt (2016): Yayın Kritiği: II. Meşrutiyet döneminde kadın hareketi ve Şukufe Nihal’in Bugünün Genç Kadınına adlı yazısı. In: Fe Dergi 8, 1.
cf. Seyhan, Salih ve Yildirim, Besimi, (2015): 1914 Yılında Yayınlanan Kadın. Gazetelerinde 'kadınlık' a Göre Kadın. In: İletişim Dergisi 23.

Karagöz

The Ottoman satirical magazine Karagöz (“Black Eye”) was published from 1908 to 1951 twice a week in Istanbul. Its title has its origin in one of the protagonists of the traditional Ottoman shadow theater, who acted together with his friend Hacivat. Karagöz was a common person, well known for his sharp tongue and clear criticism of politics and society. Both of them appear on each front page of the magazine. Among the numerous humorous journals published since the pioneer “Diyojen” (1869), Karagöz was prominent with its more than 40 years publication period. The scope of their historical and chronological documentation - from the Second Ottoman Constitutional Period, the First World War, the Turkish Independence War up to the founding of the Turkish Republic - is unique. Ali Fuad Bey, the founder of the magazine, is considered to be the first Turkish cartoonist and was the publisher of numerous other magazines. In the first years' editions, all the cartoons were designed by Fuad Bey himself, Mehmed Baha and Halil Naci. After Ali Fuad Bey's death in 1919, the well-known journalist Mahmud Sadık became editor-in-chief. Fuad's sister and heiress Fatima sold the magazine in 1935 to the Cumhuriyet Halk Partisi (“Republican People's Party”).
The articles of the magazine were written in a popular, easy to understand and humorous language. The numerous colored and black and white cartoons also offered a clear understanding of the political, social, economic and cultural events of the time. An issue consisted of four pages, the first of which was reserved for the dialogues between Karagöz and Hacivat (Muhavere) and was devoted to daily politics and everyday problems. The popular editorial "Karagözs Monologues" deals with the relationship between man and woman, with the lifestyle and the social conditions of women of Istanbul and generally with women debates. Later, the publication of poems and lyrics was added.

cf. Heinzelmann, Tobias (1999): Die Balkankrise in der Osmanischen Karikatur. Stuttgart: Steiner.
cf. Türe, D. Fatma (2015): Facts and Fantasies: Images of Istanbul Women in the 1920s. Cambridge Scholars Publishing. S. xviii-xx.

Muharrir

The Ottoman journal Muharrir (“Author“) was published in Istanbul in 8 issues from 1876 to 1878. The editor was Ebüzziya Tevfik (1848-1913), a member of the Young Ottomans (a predecessor movement of Young Turks) to which also the journalists and authors İbrahim Şinasi, Namık Kemal and Ziya Paşa belonged. Ebüzziya published among others the political newspapers İbret (1872), Hadika (1872) and Sirac (1873) as well as the literary journals Cüzdan and Mecmua-i Ebüzziya (1880-1912).
Muharrir was also more a literary than a political journal. Because of his journalistic and political activities Ebüzziya fled for some years to exile to Rhodes and Konya. During this time he handed over the management of the journal to Şemsettin Sami (1850-1904). He returned to Istanbul after the death of Sultan Abdülaziz and founded a publishing house which published the products of well-known authors like Namık Kemal, Ziya Paşa, İbrahim Şinasi, Ahmet Rasim, Recaizade Ekrem and Muallim Naci.

cf. Leila Tarazi Fawaz, C. A. Bayly (2002): Modernity and Culture. From the Mediterranean to the Indian Ocean, Columbia University Press.
cf. Hacisalihoglu, Mehmet (2003): Die Jungtürken und die Mazedonische Frage (1890-1918), Oldenbourg Verlag.
cf. Duygu Köksal, Anastasia Falierou (2013): A Social History of Late Ottoman Women: New Perspectives, Leiden.

Resimli Ay

The Ottoman-Turkish magazine Resimli Ay ("Illustrated moon") was published in Istanbul between 1924 and 1938. Seven volumes with a total of 72 issues were edited. The magazine was founded by the journalist couple Zekeriya and Sabiha Sertel who studied in the USA and wanted to contribute to improving the political and economic living conditions - especially of Turkish women - and to the intellectual education of the Turkish population. The magazine was thus a publication organ for the socialist and avant-garde requirements of the 1920s.
In addition to Sabiha and Zekeriya Sertel, the latter general director of the new republic and co-founder of the Istanbul daily Cumhuriyet, influential intellectuals such as Sabahattin Ali and Suat Derviş, as well as the Marxist-influenced poet Nazim Hikmet were among the authors. Zekeriya Sertel's critical attitude towards the Turkish state within the framework of the republican movement led to his arrest in May 1925, which resulted in the takeover of the financial and editorial management as well as the production of the magazine by his wife Sabiha Sertel. In 1926 the journal was censored by state and was published under the new title Sevimli Ay for the following two years. Between 1927 and 1938 the publication of the journal continued under its original title Resimli Ay - from now on in Latin scripture- with some interruptions.
At the beginning the magazine was published monthly. It contained around forty large-format pages per issue and costed 25 Kurus which made it five times more expensive than an average daily newspaper. Despite its high price, Resimli Ay became a popular publication among the Turkish population and dealt with social issues in the form of editorials, opinion surveys, reader's letters, short stories and poems as well as self-help articles. In addition to dealing with contrasting aspects such as child poverty and factory work versus nightclubs and dance trends, the role of the modern Turkish woman played a major role. Glamorous illustrations in the style of Vanity Fair or Vogue were intended to draw a cosmopolitan picture of women in public sphere and reflected the urban elite of Istanbul. Thus the first edition under the title "Bügünkü Türk Kadınlar" ("Turkish Women Today") was dedicated to the cosmopolitan woman of post-war period in Istanbul.

cf. Procházka-Eisl, Gisela (2008): The Lower End of the Economy: The Portrayal of Poverty in the Ottoman MagazinPress. In: Procházka-Eisl, Gisela und Martin Strohmeier (Eds.): The Economy as an Issue in the Middle Eastern Press. Neue Beihefte zur Wiener Zeitschrift für die Kunde des Morgenlandes. Wien: LIT Verlag, p. 151-71.
cf. Shissler, A. Holly (2008): Womanhood Is Not For Sale: Sabiha Zekeriya Sertel Against Prostitution and For Women's Employment. In: Journal of Middle East Women's Studies 4, 3, Special Issue: Innovative Women: Unsung Pioneers of Social Change, S. 12-30.

Sevimli Ay

The Ottoman-Turkish magazine Sevimli Ay („Lovely Moon“) was published in Istanbul from 1926 to 1927 and was the temporary title of the magazine Resimli Ay (1924-1938). The editorial management consisted of the journalists Sabiha Sertel and her husband Zekeriya Sertel, also general director for press of the new republic and founders of the predecessor Resimli Ay. Influenced by their study visit to the USA, together with other influential intellectuals they wanted to contribute to improving of the political and economic living conditions -especially of Turkish woman- and to the intellectual education of the Turkish population. The magazine was thus a publication organ for the socialist and avant-garde requirements of the 1920s.
In addition to Sabiha and Zekeriya Sertel, the latter general director of the new republic and co-founder of the Istanbul daily Cumhuriyet, influential intellectuals such as Sabahattin Ali and Suat Derviş, as well as the Marxist-influenced poet Nazim Hikmet were among the authors. Zekeriya Sertel's critical attitude towards the Turkish state within the framework of the republican movement led to his arrest in May 1925, which resulted in the takeover of the financial and editorial management as well as the production of the magazine by his wife Sabiha Sertel. In 1926 the journal was censored by state and was published under the new title Sevimli Ay for the following two years. Between 1927 and 1938 the publication of the journal continued under its original title Resimli Ay - from now on in Latin scripture- with some interruptions.
At the beginning the magazine was published monthly. It contained around forty large-format pages per issue and costed 25 Kurus which made it five times more expensive than an average daily newspaper. Despite its high price, Resimli Ay became a popular publication among the Turkish population and dealt with social issues in the form of editorials, opinion surveys, reader's letters, short stories and poems as well as self-help articles. In addition to dealing with contrasting aspects such as child poverty and factory work versus nightclubs and dance trends, the role of the modern Turkish woman played a major role. Glamorous illustrations in the style of Vanity Fair or Vogue were intended to draw a cosmopolitan picture of women in public sphere and reflected the urban elite of Istanbul. Thus the first edition under the title "Bügünkü Türk Kadınlar" ("Turkish Women Today") was dedicated to the cosmopolitan woman of post-war period in Istanbul.

cf. Procházka-Eisl, Gisela (2008): The Lower End of the Economy: The Portrayal of Poverty in the Ottoman MagazinPress. In: Procházka-Eisl, Gisela and Martin Strohmeier (Eds.): The Economy as an Issue in the Middle Eastern Press. Neue Beihefte zur Wiener Zeitschrift für die Kunde des Morgenlandes. Wien: LIT Verlag, S. 151-71.
cf. Ryan, James (2013): The Glamor of the New Turkish Woman in "Resimli Ay". In: stambouline. http://www.stambouline.com/2013/07/the-glamor-of-new-turkish-woman-in.html
cf. Shissler, A. Holly (2008): Womanhood Is Not For Sale: Sabiha Zekeriya Sertel Against Prostitution and For Women's Employment. In: Journal of Middle East Women's Studies 4, 3, Special Issue: Innovative Women: Unsung Pioneers of Social Change, S. 12-30.