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Academic literature on the topic 'Epic poetry, Turkish'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Epic poetry, Turkish"

1

Milosevic-Djordjevic, Nada. "A comparative review of the development of Serbian and Albanian folk epic poetry." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 79 (2013): 19–30. http://dx.doi.org/10.2298/pkjif1379019m.

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The paper discusses the continuity of Serbian folk epic poetry since the Early Middle Ages in relation to the discontinuity of Albanian folk epic poetry, in both cases determined by the historical and cultural setting. The research foregrounds the songs of Kosovo Albanians about the Battle of Kosovo, and a cycle of songs about borderland warriors (krajisniks) as well. In terms of motifs and ideological orientation, the former remained on the crossroads between the Serbian-Christian and Moslem-Turkish conceptions, whereas the latter conformed to the Moslem conception. The greatest similarities to the Serbian ?non-historical? epic poetry were demonstrated by the so-called Italo-Albanian songs, brought from Albania to Italy by the Albanian refugees fleeing the Turks. The paper is also an attempt at using scholarly arguments to refute the non-scholarly interpretations of epic techniques, characters and motifs, constructed for the purposes of political pretensions to the territory of the Serbian province as an exclusively Albanian land.

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Mosusova, Nadezda. "The wedding and death of Milos Obilic: From The Fairy’s veil to The Fatherland." Muzikologija, no. 25 (2018): 119–31. http://dx.doi.org/10.2298/muz1825119m.

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The prominent Serbian and Yugoslav composer Petar Konjovic (1883-1970) wrote five operas between 1900 and 1960. Konjovic?s operatic opus represents his homeland and his spiritual spectrum: in the first place, indelible memories of his childhood and youth focused on the Serbian National Theatre in Novi Sad, in particular its heroic repertoire of Serbian literature. Consequently, three out of five of Konjovic?s music dramas are derived from Serbian epic and theatre plays. In addition to Ivo Vojnovic?s Death of the Jugovic Mother, these are Dragutin Ilic?s Wedding ofMilos Obilic and Laza Kostic?s Maksim Crnojevic. Therefore three of Konjovic?s operas can be conditionally brought together as being in many ways related, not only by their content but also by music and the scope of time they were created: The Fairy?s Veil (based on Wedding of Milos Obilic)during World War I, The Fatherland (based on Death of the Jugovic Mother)during World War II, and between them The Prince of Zeta (based on Maksim Crnojevic). The last of them, subtitled ?A sacred festival drama? (following with its subtitle the idea of Wagner?s Parsifal) had its gala performance in Belgrade National Theatre on 19 October 1983. The structure of the musical composition was inspired by the ?Kosovo mystery play? by Vojnovic (1857-1929), an outstanding dramatist from Dubrovnik. In this case, the playwright was a narrator of the historical-legendary past of the Serbs. Drawing on Serbian national epic poetry which deals with the downfall of the Serbian medieval empire caused by the Turkish invasion, Vojnovic constructed his play on the basis of the central poem of the epic cycle about Kosovo, The Death of the Jugovic Mother. Both the epic and Vojnovic?s play present the tragedy of Serbian people in the figure of the Mother. She dies with a broken heart after the loss of her heroic husband, Jug-Bogdan, and her nine sons, the Jugovici, in the decisive battle against the Turks in the Kosovo field in 1389. Vojnovic?s play was performed in Belgrade and Zagreb in 1906 and 1907 respectively, as well as in Trieste (1911) and Prague (1926); and several Serbian and Croatian composers wrote incidental music for it. Slovenian composer Mirko Polic was also inspired by it and his work was performed in Ljubljana in 1947, while Konjovic?s ?festival drama? finished in 1960 was staged much later. Its premiere in 1983 was scrupulously prepared by the father-son duo, Dusan Miladinovic (conductor) and Dejan Miladinovic (director), who paid special attention to the visual aspect of the performance. The director, together with the scenographer Aleksandar Zlatovic created for The Fatherland a semi-permanent set of symbolical characters, with an enormous raven, made of jute, replacing the backdrop. The costume designer was influenced by medieval frescoes from Serbian monasteries in Kosovo. The director himself conceived a ?mute? and motionless appearance of figures of Serbian warriors in ?tableaux vivants? by placing them in attitudes of combat on the edge of the revolving stage during the curtain music between the acts. What the composer Konjovic aimed for with his last music drama was to eternalize in music the beautiful Serbian epic, depicting the tragic history of his people and thus reminding Serbs of their roots. In this sense The Fatherland was Konjovic?s Ninth Symphony and his oath of Kosovo.

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Reichl, Karl. "The search for origins." Journal of Historical Pragmatics 4, no. 2 (June 6, 2003): 249–67. http://dx.doi.org/10.1075/jhp.4.2.06rei.

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Although in some traditions (notably in India) oral epics are performed as part of a religious ritual, there is no overt ritual function of the epic in most oral traditions known today. However, even in a purely secular and seemingly non-ritual context, the performance of oral epics can have ritual dimensions. This is discussed with reference to the oral epic poetry of the Turkic peoples of Central Asia. It is argued that the performance of oral epics is a particular type of communicative event, of which the comparatively rigid act sequence can be seen as being on a par with the patterning of ritual. A second important aspect linking epic performance to ritual is that both events are meaningful in a similar way. It can be shown that in the performance of heroic epics tribal and cultural origins are explored and that hence the primary function of epic is not entertainment but the search for ethnic and cultural identity.

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Reichl, Karl. "The varieties of formulaic diction in Turkic oral epics." Balcanica, no. 44 (2013): 79–91. http://dx.doi.org/10.2298/balc1344079r.

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This article tries to show that the formulaic diction on the level of verse line and formulaic patterning in the composition of scenes are closely related and must be studied together. The analysis is done on the example of Turkic epics. Of the formulaic patterns the most prominent one is the variety of use of the attribute ak (white), which appears to be one of the most common epithets in Turkic epic poetry. It is usually connected with cloth (e.g. caftan, yurt), different parts of body (face, bosom), antelope, the lumps of gold given as bride-price and various kinds of arms (sword, spear) etc. It is usually denoted evaluatively as purity and beauty. In this matter Turkic epics share its position with many national epics of the middle ages including Serbian, Old English, Old German etc. The same role is analyzed for the opposite pattern ?dust of earth?, and for the two themes: preparation of the hero for his journey and council scenes which are also mutual to many medieval epic traditions such as aforementioned Serbian and others.

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Ajdinović Mehović, Amina. "Verbs and Grammatical Idioms of Turkish Origin in the Epic Song the Wedding of Smailagić Meho by Avdo Međedović." Društvene i humanističke studije (Online) 6, no. 3(16) (July 27, 2021): 247–62. http://dx.doi.org/10.51558/2490-3647.2021.6.3.247.

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This paper examines Turcisms, specifically verbs and grammatical idioms, in the epic “The wedding of Smailagić Meho” by Avdo Međedović. The analysis is aimed at identifying and exploring Turkish loan verbs and grammatical idioms in the epic, as well as establishing whether there are some examples of these Turcisms characteristics of the poetic voice-poet Međedović himself to be noted. In this paper, the analytic-synthetic and comparative methods of analysis were employed as the analytic tools. The verbs were categorized into two categories, based on their formation. The first group comprises the verbs with a Turkish infinitival or perfective root and the suffix -isati, while the second group comprises the verbs formed from Turkish nouns and the suffix -ati, -ovati, -iti. The structures treated as grammatical idioms in this paper contain either a Turkish noun or (rarely) an adjective and some Bosnian verb. Based on their formation, these structures correspond to Turkish complex verbs. The analysis results indicate that there is an abundance of grammatical idioms in the examined epic, many of which, however, are characteristics of the author himself.

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Vasileva, Akulina, and Tatiana Petrovna Egorova. "Translation of epic literature of the cognate linguocultures (on the example of Yakut translation of the Altai epos “Maadai-Kara”)." Филология: научные исследования, no. 12 (December 2020): 22–33. http://dx.doi.org/10.7256/2454-0749.2020.12.34501.

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  The subject of this research is translation techniques of the epic literature of cognate linguocultures – Altai and Yakut. The relevance of this work is substantiated by the fact that mutual translation of epic texts is continued within the framework of international translation project for releasing a series of bilingual editions “Epic monuments of the Peoples of the World” initiated in Yakutia in 2014. The team translators and editors requires theoretically grounded recommendations for translation into cognate languages using the intermediary language, which in this case is Russian. The difficulties of translation consists in the fact that both epic texts have common origin, similar literary-poetic characteristics and plots. In the course of this research, the author applied the analysis of lexical translation techniques and methods of reconstruction of syntactic peculiarities of the original; compares the similarities and differences between the literary techniques of both epics texts; describes the essence of translation transformations conducted by the creative team in translation of Altai epos into the Yakut language Conducted in the Soviet time academic translations of epic texts of the peoples of the USSR into the Russian language are of high quality and conveyed national identity of the original. Russian language as an intermediary language gives fullest possible comprehension of the content of the original. If the language is of third linguistic culture and incapable of accurately conveying the national realias and poetic beauty of the original, the translators can refer to the original in the language unfamiliar to them. In order to adequately convey a particular realia, the translators should understand the similarity of common Turkic realias in both linguocultures and resist the temptation to replace the Altai realia with the analogous of their native linguoculture; as well as be able to shape a new word or phrase so that they would sound organically in the target language, but at the same time look non-native, alien, and foreign.  

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Schaffenrath, Florian. "Neulateinische Epik zum Dreißigjährigen Krieg, oder: Wer ist der Feind?" Scientia Poetica 22, no. 1 (December 1, 2018): 245–56. http://dx.doi.org/10.1515/scipo-2018-011.

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Abstract In contrast to the literary production in certain vernacular languages like French or German, the period of the Thirty Years’ War was a very productive period for Neo-Latin epic poetry. Two examples discussed in this article elucidate the different purposes of these poems: With his Turcias (Paris 1625) Francois Le Clerc Du Tremblay tried to unite the European Christian rulers and to convince them of a common and united war against the Turks. On the other hand, the Jesuit Jacques d’Amiens published in Douai in 1648 his Bellum Germanicum, the first (and only) part of an epic poem that supports the Catholic part in the Thirty Years’ War. A comparison of the depiction of the enemies in particular in these two poems makes the differences visible.

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Haskell, Yasmin. "The Tristia of a Greek refugee: Michael Marullus and the politics of Latin subjectivity after the fall of Constantinople (1453)." Proceedings of the Cambridge Philological Society 44 (1999): 110–36. http://dx.doi.org/10.1017/s0068673500002236.

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Almost everything we know of Michael Marullus – Greek exile, Neoplatonist, mercenary soldier – is mediated by his poetry, much of which seems positively to invite biographical decoding. The poet tells us he was conceived in the year Constantinople fell to the Turks (1453), after which his family fled, via Ragusa (modern Dubrovnik), to Italy. Here he grew up under the Iliadae … tecta Remi (Siena?), received an excellent education, and from an early age was frequenting the humanist academy of Giovanni Pontano at Naples. Marullus reports that when just seventeen, fate tore him away from his studies and plunged him into a military career (Epig. 2.32.71–3). Between wars, both abroad and within Italy, he composed Latin poetry – including four books of controversial ‘pagan’ hymns –, edited Lucretius, and fraternised with such prominent figures in the literary and intellectual culture of the day as Jacopo Sannazaro and Giovanni Pico della Mirandola. Severed from an eventful life by a fittingly dramatic death, Marullus drowned in an attempt to cross the river Cecina in full flood. His poetic talents were much appreciated in his own time, for example by Leonardo Da Vinci and Thomas More. The love lyrics to ‘Neaera’, though perhaps stiff and conventional to modern taste, inspired Ronsard. His untimely death drew Latin epitaphs from all over Italy.

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Rajabova, Marifat Bakoyevna. "EXPRESSION OF IM EXPRESSION OF IMAGES REL GES RELATED TO NATIONAL TRADI AL TRADITIONS IN A.NAVOI'S WORK." Scientific Reports of Bukhara State University 4, no. 5 (October 27, 2020): 141–46. http://dx.doi.org/10.52297/2181-1466/2020/4/5/10.

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Background. It is known that the customs, traditions, material and spiritual riches of the Turkic peoples belong to the great poet A. Thanks to Navoi's sharp intellect and artistic thinking; it has become an immortal property of our spirituality. Therefore, the creative heritage of the great poet is important not only as a work of art, but also as a unique historical and ethnographic source of culture of life of the Turkic peoples, including the Uzbek nation. This article examines the works of Alisher Navoi, depicting the way of life, culture, socio-political, theological and mystical worldview of the Turkic peoples, and even the ancient mythological ideas and some of the customs and rituals associated with them. The traditions of the poet's lyrical, lyre-epic works are an important source for studying the history and spiritual world of the Turkic peoples. Methods. In the article A. In order to clarify the place of folk traditions in Navoi's lyrical heritage, comparative-typological, analytical methods were used. Results. In the works of Alisher Navoi, a special place is given to the depiction and interpretation of plates related to the way of life, culture, socio-political, divine and mystical worldview of the Turkic peoples, and even ancient mythological notions and some customs and rituals associated with them. Such works of art, which are recorded as "ethnographic folklorisms", have played an important role in enhancing the national and realistic spirit of the poet's works, their artistic impact. Conclusion. Navoi's works contain valuable artistic details related to the way of life and customs of the people, which can provide important information in the study of the history of life of the people of that period.

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Zhanabayev, К., A. Sh Turgenbayeva, and U. A. Islyamova. "CH.CH. VALIKHANOV ABOUT THE LANGUAGE AND STYLE OF THE TURKIC EPIC." BULLETIN Series Historical and socio-political sciences 69, no. 2 (June 25, 2021). http://dx.doi.org/10.51889/2021-2.1728-5461.16.

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In this article consider about the scientific contribution of Ch.Ch. Valikhanov to the Turkic epic studies, about his study of the epic culture of the Turks of Central Asia, Southern Siberia and the North Caucasus. The main place in it is devoted to the language, style and genre of the epic of the Turkic peoples, their poetic forms and their art of speech. The purpose of the article is to reveal the views and methodological approaches of the scientist in the light of the current oral theory of Parry-Lord, to identify their prospects and productivity. The practical value of the article comes from the scientific effectiveness of the works and ideas of the scientist in his analysis of oral poetic forms of folklore, stylistics and aesthetics. The main method of Ch.Ch. Valikhanov is holistic, that is, a view "from within the tradition itself" in its living process. This method did not exclude the comparative-historical, typological, systematic method, the method of analysis and revealed great prospects in the scientific study of the oral epic of the Turkic nations. The main conclusion of this article is that the first professional orientalist, ethnographer, historian, linguist Ch.Ch. Valikhanov is the founder of classical Turkic epic studies, the first collector and original commentator of its best samples. He brilliantly foresaw many directions of modern topical oral theory and world folklore and deeply understood the unique nature of the ancient Steppe knowledge, the mighty oral epic of the Turks of the North Caucasus, Southern Siberia, Central and Central Asia. For the first time, this integral epic Turkic tradition is described by him in all the genre and species richness. The historical and ethnographic approach of the scientist to the analysis of the epic art of the Turkic peoples is of valuable practical importance for oral theory and the humanities. Keywords: poetic form, oral Parry-Lord theory, tradition, formula style, Turkic epic, Steppe knowledge, initial foundations.

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Books on the topic "Epic poetry, Turkish"

1

Sözlük destanlar. Sivas: Vilayet Yayınevi, 2011.

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Mattei, Jean-Louis. XVIII. ve XIX. yüzyıllara ait defterlere göre Hz. Ali cenknâmeleri. Cağaloğlu, İstanbul: Kitabevi, 2004.

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3

Ebā Müslīm-nāme. Ankara: Destan Yayınları, 2007.

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4

Maraş ağzı Köroğlu. Kahramanmaraş: UKDE, 2009.

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Hamzanâme. Cağaloğlu, İstanbul: Kriter, 2009.

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6

Hikmet, Nâzım. Human landscapes from my country: An epic novel in verse. New York: Persea Books, 2002.

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Güzel, Ahmet. Battal Gâzî: Tarihî, edebî, menkıbevî kişiliği. Konya: Kitap Dünyası Yayınları, 2012.

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8

Une épopée d'Eba Muslim lue dans les cafés d'Istanbul aux environs de 1850. Istanbul: Les Éditions Isis, 2013.

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9

Karadavut, Zekeriya. Köroğlu'nun ortaya çıkışı: Türk dünyasındaki varyantlar üzerine karşılaştırmalı bir araştırma. Bişkek: Kırgızistan-Türkiye Manas Üniversitesi, 2002.

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Ekici, Metin. Türk dünyasında Köroğlu. Ankara: Akçağ, 2004.

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Book chapters on the topic "Epic poetry, Turkish"

1

"Between Lyric and Epic: The Great Turkish War in German, Italian and Hungarian Ereignisliedern." In Controversial Poetry 1400–1625, 61–86. BRILL, 2020. http://dx.doi.org/10.1163/9789004291911_005.

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Booth, Marilyn. "Ataturk Becomes ͑Antar: Nationalist-vernacular Politics and Epic Heroism in 1920s Egypt." In Studying Modern Arabic Literature. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748696628.003.0009.

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This chapter examines the emergence of colloquial Arabic poetry as populist-political commentary in Egypt by offering a reading of Mahmud Bayram al-Tunisi's series of texts, which figured political contestation in the thematic-formal mould of the sira shaʻbiyya. It first provides an overview of the sira shaʻbiyya (folk epic, folk romance) before discussing at least four Bayramic sira compositions, all of which narrate the Turkish–Greek conflict over possession of Asia Minor in the context of postwar intra-European negotiations for neocolonial primacy. The texts, labelled ‘Sira Kemaliyya’, chronicle the conflict between Greece and Turkey in 1919–1922, highlighted by the exploits of Turkish ‘epic hero’ and nationalist leader Mustafa Kemal Ataturk. The chapter explains how Bayram manages the duality of heroic posturing as a heavy-handed colonialist tactic versus the effective heroism of Mustafa Kemal.

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"Turkic Epic Poetry: The Earliest Documents." In Routledge Revivals: Turkic Oral Epic Poetry (1992), 49–72. Routledge, 2018. http://dx.doi.org/10.4324/9781351123785-10.

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"The Turkic Peoples: Backgrounds and Contexts." In Routledge Revivals: Turkic Oral Epic Poetry (1992), 29–48. Routledge, 2018. http://dx.doi.org/10.4324/9781351123785-9.

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"Rhetoric, Style, Narrative Technique." In Routledge Revivals: Turkic Oral Epic Poetry (1992), 287–332. Routledge, 2018. http://dx.doi.org/10.4324/9781351123785-17.

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"Story-Patterns." In Routledge Revivals: Turkic Oral Epic Poetry (1992), 159–86. Routledge, 2018. http://dx.doi.org/10.4324/9781351123785-14.

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"Transformations in Space and Time." In Routledge Revivals: Turkic Oral Epic Poetry (1992), 333–70. Routledge, 2018. http://dx.doi.org/10.4324/9781351123785-18.

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"Introduction." In Routledge Revivals: Turkic Oral Epic Poetry (1992), 17–28. Routledge, 2018. http://dx.doi.org/10.4324/9781351123785-8.

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"The Varieties of Formulaic Diction." In Routledge Revivals: Turkic Oral Epic Poetry (1992), 187–234. Routledge, 2018. http://dx.doi.org/10.4324/9781351123785-15.

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"Genre." In Routledge Revivals: Turkic Oral Epic Poetry (1992), 135–58. Routledge, 2018. http://dx.doi.org/10.4324/9781351123785-13.

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