English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

When the written history of Turkish is been examined, it is seen that two important principles are effective in terms of vowel syntagm. Vowels which are located in base and stem are arranged according to these two principles. One of them is the harmony which is called palatal harmony, the harmony which has been made into a rule from the first texts to today’s, the harmony in which the vowels of the words are based on the vowels back or front. The second one is the harmony which is called labial harmony, the harmony which was made into a rule after the period of the Old Anatolian Turkish, the harmony which determines how the first vowels of the word must be in terms of the vowels of the syllable, unrounded or rounded to follow. According to the principle based on vowels, which is generalized in the Western Turkish, if there is an unrounded vowel in the first syllable of a Turkish word, the vowels of the other syllables of the word to follow will be unrounded; if there is a rounded vowel in the first syllable, the vowels to follow will be an unrounded-wide vowel or a narrow-rounded vowel. There are few words which are Turkish, and which do not fit to this principle in Turkish. Consequently, talking about the existence of the labial harmony is possible when some works of Western linguists, written in the 17th century, are examined. In this study, the collection of biographies of Latifi, written in the 16th century, is examined, and we make an attempt to prove that the labial harmony began to appear in the written language of the 16th century, and that this harmony had began to appear in the spoken language earlier, and it was advanced in the period when the text had been written. The text which is examined in terms of the labial harmony is transferred in Latin alphabet by Rıdvan CANIM. CANIM formed this text by comparing and contrasting the five copies of the work, completed by Latifi in 1546. CANIM’s work, named “Latifi Tezkiretü’ş-şu’ara ve Tabsıratü’n-nuzama (İnceleme-Metinler)”, the product of great efffort and careful study, is scanned, and all the morphemes staying out of the labial harmony are found, and also these morphemes that are adapted to this harmony, if any, are found and examined. In the light of this information, we reach some results related to the stage in which the labial harmony took part in this work and in the period in which it was written. Latifi Tezkiresine Göre XVI. Yüzyıl Osmanlı Türkçesinde Düzlük-Yuvarlaklık Uyumu 629