Emotional expression styles in Ottoman first person love mesnevis

First-person love mesnevis are classified mostly under the name of "sergüzeşt-name" by the researchers. Because of this classification, the researches which are done on these texts are restricted with a narrow examing field. Also, when the researches, done on the love theme in Ottoman poetry, are examined, the fact that love is perceived in its ideal form and the two dimensioned methods (mecazi-ilahi) make this field quite restricted. Enlarging the borders of researching Ottoman poetry is possible by using the point of view in World poetry which is still controversial. Based on this perspective in this thesis, the first-person Ottoman love mesnevis, some of which are Heves-name by Tacizade Cafer Çelebi, Hecr-name by Celili, Nevhatü'l-Uşşak by Dai Mehmed Efendi, and Defter-i Aşk by Endurunlu Fazıl are classified as self-narratives. In the research created by the influence of the arguments that one member of the Berlin research group-Gabriele Jancke created on self-narratives, it is claimed that the poets have a connection with the communities they belong to via the feelings they outstood in their first-hand written mesnevis. As a result of the researches, it is concluded that their emotional expression styles gained the function of an emotional script by serving as a norm/code. Via these scripts, the poets have a connection with their relational networks. On the contrary, the fact that the poets outstood the norms defined by the community they belong to instead of giving place to their feelings showed that their emotional expression styles are constructed through their social relational networks. The differentiation observed in the expression styles revealed that love is contemplated differently than its ideal standard. The collectivity of the emotional expressions with different poets that the poets outstood shows that the poets create an emotional communities around this jointed style.