An Example of Struggle in the Turkish Semiosphere: Ali Cengiz Game

Abstract

Semiosphere, which is theorized by Yuri Lotman and is a new concept in cultural sciences, is the coun-terpart of a field of meaning constructed with the unity of symbols and symbols that surround individuals, reconcile their lives as a text, and give meaning to their existence processes. Reffering to the layer of the biosp-here that surrounds the world and provides the life of living things, the semiosphere is also an area of meaning that surrounds people all over the world. The semiosphere, which is also accepted as a field of cultural meaning, is a structure formed by the smallest signs with certain characteristics and functions. The structural paradigm of this structure is evident even in the smallest object. Human makes sense of the world thanks to the signs pre-sented to him by the semiosphere, which permeates everything, makes social life possible, and contains many elements such as codes and symbols. The construction process and continuity of the semiosphere, which is the mental sphere of the individual and to which the textual meaning of the universe is associated, is provided by memory. Remembrance, which is provided by the coding of individual, social and cultural memory, is the pro-duct of the semiosphere that provides the textual coherence that surrounds people. According to Yuri Lotman, the semiosphere is text-oriented, as tradition, which is the product of memory, is always evident as a text. Lite-rary texts perform the function of constructing and transferring memory by accommodating semes in the const-ruction of the semiosphere. Tales also create space in the semiosphere as a support for the historical continuity of memory. This created area is related to the mental coding and symbolization properties of tales related to cultural memory. All three of the common memory, continuity and symbolization ability in fairy tales are pro-vided by motifs, which are the smallest unit of the tale and undertake the encoding of the tales in the cultural memory. One of these motifs, the struggle motif by metamorphose, in which the hero prevails by using her ability to metamoprhose and her mind, becomes evident as a symbol in the mythical consciousness, mystical understandings and literary texts in the Turkish semiosphere. In order for the metamorphose to turn into a motif and from here contribute to the construction of the semiosphere, it must be remembered, repeated with historical continuity, become evident in different areas with common experience. Ali Cengiz Game can be shown as one of the most beautiful examples of the meaning area created by the Turkish semiosphere. In the tale, it is told that Keloglan, who wanted to marry the sultan's daughter, learned the Ali Cengiz Game, which is considered a trick, from Kose. This trick is the ability to metamorphose. Keloglan combines this skill with reason, defeats all his rivals and marries the sultan's daughter. Ali Cengiz Game has two meanings in the semiosphere of the Turks. The first area of meaning is the use of metamorphose, which becomes evident as a mythical-mystical-religious power in the tale, to defeat the opponent by combining with the mind. The second area of meaning is related to Genghis Khan and her descendant, the Crimean Khanate. Ali Cengiz, which means a game arranged with cun-ning and deceit, the mind coding of metamorphose existing in Turkish mythology, mystical movements, narra-tive genres, verse products and many areas of the semiosphere, the tactical disguise tricks of Genghis Khan in the war and the Crimean Khanate's leaving the Ottomans alone in the wars.