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

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

Özet

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

Abstract

The present article aims particularly to expose how color notion is important in Turkish language and to underline cognitive, historical, geografical, social, cultural and intercultural sources of this fact. Colour names are excluvely diversified in Turkish and this is deeply rooted in historical life style considering many areas as the nature especially the sky and the earth, living and non-living natural elements, social and spiritual life, traditions and art. Due to international relations, Turkish colours have been known in balkanic and earopean regions so that their names have been adopted in languages in specific areas. French is one of the languages influenced by this phenomena. French has adopted from Turkish language and culture colour names as Turquoise (Turkish blue-green), Le rouge turc (Turkish red), Le jaune d’or turc (Turkish gold colour), Le jaune émaillé turc (Turkish gold enamelled) and has borrowed Ak (white), Kara (black) for special terminology. The method used in this study is descriptive. In order to see in a general etholinguistic view, the roots of richeness of colour terms in Turkish, first of all, we take a look over the cognitive and social approaches about colour phenomenon in human conception. Relativist and Universalist approaches are both complementary as there are many commun colour perceptions for humans. This reality reveals that colour perception is a cognitive fact. However, there is one more colour name in Turkish than the general categorisation made by Universalist approach’s defenders. Thus, we see that colour perception and linguistic creation of colour names can also be relativist according to cultures. This complementarity provides to Turkish a variety of colour names used in the following areas: Nature elements nominalization, human and animal nominalization, traditional and social life symbolization, clothing symbolization, art and culture symbolization. After situating colour phenomena in Turkish languages by the way of this conceptualization, we examine separetly in two parts its effects in terms of intrasocial influences and intercultural influences. For intercultural influences, we especially look for reflections realized towards French language and culture. We find out that reflections are effectuated from Turkish towards French for colours like blue, green, purple, white, black, red and gold because these colours are historically very important in natural, traditional, cultural and artistic perceptions of Turkish people. For this reason, they are used in an expanded manner. For five different areas, there is no reflected influences between two languages even if these areas show how colour perception is developed in Turkish: Geographic, politic, hierarchic, logistic and metaphysical areas. The findings related to reflections are coming initially from nomadic life style of Turkish societies. There are two principal factors concerning their life style: the relationship with the sky and the earth. In ancient Turkish languages the name of the sky is kök. It is also the name of its colour. In addition, kök defines all concrete and abstract Türkçe’de Renk Olgusu Gelismişliği ve Fransızca’ya Bazı Yansımalar:… 831 Turkish Studies International Periodical For the Languages, Literature and History of Turkish or Turkic Volume 10/2 Winter 2015 elements concerning the plants, fruits, animals, metals and human skin colours. Kazakhs have historically used kök for both blue and green. The nomadic Turkish socities were living in nature’s heart. They were observing natural events and ecosystem. As they were always between the endless sky and the vast steppe territories, their perception of blue and green has been developped. That is why many other colour names signifying the tones of the colours -bleu and green- exist in their language. These colours lived strongly in traditional Turkish cultures. They are applied in objects, garments, fabrics. So that, their identification with Turkish language-culture is well known. For some nuances of blue, French language has adopted names coming from Turkish culture: turquin (dark blue). Besides, the earth is the other element. The animals living on earth are designated with colour names because they naturally have these colours in their physical aspect. For describing horses’ colours, Turkish language uses 50 different colour names. Some of them are known and used in French as horse type names: Akhal-téké (Ak originally means white in Turkish), cheval turkmene, Le Turkoman (formed with the prefix Turk). Regarding dog type names in French like karabache (kara means black), Karakachan, Akbache (Ak means white), they have been barrowed in the concerned terminology. For human aesthetic concepts, the colour name in French, turquoise is the most popular one. The expression des yeux turquoises (turquoise eyes) means in cosmetic industry the make-up style with a special colour production of blue and green. French etymological dictionnaries underline turquoise, turquesse, and turquesque as the names of this special blue. Secondly, Old Turkish traditions play a role in reflecting colour names importance and their symbolization. For example, the most popular colours of clothing are fire red, green, gold and orange. The new married couple is dressed in red clothes. In sipiritual beleives, the red symbolises protective soul but also scary soul. Thirdly, Balkanic and European countries have imported the clothing culture of Turkish societies. The names of the clothes have been placed in French commercial dictionnaires in the same way they were called in Turkish. Some of them are kétché (natıural grey fabric), mindelkovy (towel), uchkur (trousers), burunschuk (kind of cotton fabric), giremesut (kind of cotton fabric), cosaque (pullover) hawlis (cotton colour), pestil (plum colour), limon (lemon yellow), teftik (camel colour), kil (grey) which are originally Turkish colour and object names. They are commercial products and this comme