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Journal articles on the topic 'Mevlevism'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Haştemoğlu, Hasan Şehmuz, and Engin Kepenek. "The Architecture of Mevlevi Buildings, One of the Dervish Houses in the Ottoman Geography." Academic Research Community publication 2, no. 4 (2019): 307. http://dx.doi.org/10.21625/archive.v2i4.368.

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The Mevlevism order was established in the Seljuk period in Anatolia in the thirteenth century. After the death of Mevlana Celaleddin-i Rumi, his son Sultan Veled systemized his father's thoughts and created his own rules and brought the rituals to a ceremony in the form of sema ceremonies. Sultan Veled gave the name “Mevlevism” to his sect and was called “Mevlevihan” to his Dervish Houses. Nearly 140 Mevlevihane building was established in a wide geography which its east is in Tabriz (Iran), west is in Pecu (Hungary), north is in Gözleve (Ukraine), South is in Cairo (Egypt) and Mecca in

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2

SUTEKİN, Ayşegül. "Mevlana And The Effects Of Mevlevism On The West World." SOCIAL MENTALITY AND RESEARCHER THINKERS JOURNAL 6, no. 29 (2020): 270–78. http://dx.doi.org/10.31576/smryj.449.

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3

Gür, Hande. "Spiritual but not Religious?" Journal of Empirical Theology 33, no. 1 (2020): 122–48. http://dx.doi.org/10.1163/15709256-12341408.

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Abstract Mevleviye as an Islamic religious order is established in Anatolia after the passing of Mevlana Celaleddin-i Rumi in the 13th century. Based on bigger ethnographic research, this paper tries to delve into the distinction between spiritual and religious from the perspective of new Mevlevis of contemporary Mevleviye in Turkey. The authenticity of new Mevlevis’ standpoint while defining themselves as spiritual but not religious reflects the effects of modernization and individualization in Turkey as well as Mevleviye’s particular approach to spirituality. This reflection seems to reveal

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4

Gençer, Salih. "SÜLEYMANİYE KÜTÜPHANESİ GALATA MEVLEVİHA." International Language, Literature and Folklore Researchers Journal 1, no. 6 (2016): 293. http://dx.doi.org/10.12992/turuk223.

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5

ADAR, ÇAĞHAN. "MEVLEVİ AYİNLERİNDE KULLANILAN MAKAMLARIN DÖNEMSEL DEĞİŞİKLİKLERİ ÜZERİNE BİR İNCELEME: "HİCAZ MEVLEVİ AYİNİ ÖRNEĞİ"." Journal of International Social Research 8, no. 41 (2015): 1394. http://dx.doi.org/10.17719/jisr.20154115121.

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6

CEYLAN, Firuze, and Melek YAMAN. "Ritüele Dönüşen Mutfak: Mevlevi Mutfağı." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 7, no. 3 (2018): 2172–79. http://dx.doi.org/10.15869/itobiad.432811.

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7

Doğruöz, Muattar Demet. "Mevlevi Âyinlerinin Yüzyıllara Göre Dağılımı." İnönü Üniversitesi Sanat ve Tasarım Dergisi 6, no. 14 (2016): 1–13. http://dx.doi.org/10.16950/iujad.323509.

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8

Tourage, Mahdi. "Fundamentals of Rumi’s Thought." American Journal of Islam and Society 22, no. 2 (2005): 119–21. http://dx.doi.org/10.35632/ajis.v22i2.1717.

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Is there room on the shelf for another book about Jalal al-Din Rumi, thethirteenth-century mystic of Persia? Considering the great depth of hisgenius, the answer has to be yes. Sefik Can’s Fundamentals of Rumi’sThought is one of the latest books on the subject, and is distinguished fromothers in that its author is the current head of the Mevlevi order, the Sufiorder established after Rumi’s death and based on his teachings. In his biography,the author is introduced as “the most authoritative spiritual figure ofthe Order” and “the latest living Mesnevihan (Mesnevi reciter) whoreceived his ijaza

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9

DEREKÖY, Sefa. "COPERNİCUS, ALİ KUŞÇU VE MEVLEVİ SEMASI." Journal of International Social Research 10, no. 51 (2017): 367–75. http://dx.doi.org/10.17719/jisr.2017.1773.

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10

AKMAZ, Abdullah. "MEVLEVİLİK ve MEVLEVİ MUTFAĞINDAKİ BAZI RİTÜELLER." JOURNAL OF ACADEMIC SOCIAL RESOURCES 6, no. 28 (2021): 1202–7. http://dx.doi.org/10.31569/asrjournal.290.

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11

KARADENİZ GÜNEY, Şirin. "FARKLI YÜZYILLARDA BESTELENEN 4 MEVLEVİ AYİNİNİN FORM ANALİZİ." Journal of International Social Research 11, no. 61 (2018): 489–505. http://dx.doi.org/10.17719/jisr.2018.2939.

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12

Grierson, Roderick. "Cover Illustration: A Mevlevi Neyzen by Jean Brindesi." Mawlana Rumi Review 5, no. 1 (2014): 7–13. http://dx.doi.org/10.1163/25898566-00501002.

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13

AKMAZ, Abdullah. "SOMUT OLMAYAN KÜLTÜREL MİRAS KAPSAMINDA MEVLEVİ SEMA TÖRENLERİ." Journal of Academic Social Sciences 84, no. 84 (2018): 425–31. http://dx.doi.org/10.16992/asos.14391.

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14

Barber, X. Theodore. "Four interpretations of Mevlevi Dervish dance, 1920–1929." Dance Chronicle 9, no. 3 (1985): 328–55. http://dx.doi.org/10.1080/01472528508568930.

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15

Erguner, Kudsi. "Refections of a Vanished World: Mevlevi Tradition after 1925." Mawlana Rumi Review 6, no. 1 (2015): 26–35. http://dx.doi.org/10.1163/25898566-00601004.

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16

Kemâl TAVUKÇU, O. "14. Yüzyıl Mevlevi Şâirlerinden Eflâkî Dedenin Bilinmeyen İki Şiir." Journal of Turkish Research Institute, no. 19 (January 1, 2002): 95. http://dx.doi.org/10.14222/turkiyat331.

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17

Sormaz, Ümit. "Spices used in Mevlevi cuisine and their functional features." International Journal of Gastronomy and Food Science 22 (December 2020): 100261. http://dx.doi.org/10.1016/j.ijgfs.2020.100261.

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18

Laschinger, Verena. "Whirls of Faith and Fancy." Journal of World Literature 5, no. 1 (2020): 1–24. http://dx.doi.org/10.1163/24056480-00403100.

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Abstract Elif Shafak’s The Flea Palace (2004) exposes secularized Istanbul as a grotesque world. By establishing the apartment building as a synecdoche for the city and negotiating the characters’ trajectories within the historical context of modernizing Istanbul, the novel presents their alienation as the sine qua non of the modern individual which is best confronted playfully or rather in the Sufi way. The argument is supported by the novel’s complex employment of circles and lines as thematic and formal patterns which refer to Islamic ritual practice of the Mevlevi Sufis in numerous ways.

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19

ÇANAKLI, Levent Ali. "BİR SUFİNİN ROMANI: TAHİRÜ L-MEVLEVİ VE TEŞEBBÜS-İ ŞAHSİ." Journal of International Social Research 13, no. 69 (2020): 61–76. http://dx.doi.org/10.17719/jisr.2020.3940.

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20

Grierson, Roderick. "‘All the Invisible Kingdoms’: Resuhi Baykara and the Mevlevi Mukabele." Mawlana Rumi Review 5, no. 1 (2014): 107–35. http://dx.doi.org/10.1163/25898566-00501008.

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21

Arslan, İlknur. "KEÇECİZADE İZZET MOLLANIN BAHÂR-I EFKÂR ADLI DİVANINDA MEVLEVİ MUSİKİSİ." International Language, Literature and Folklore Researchers Journal 1, no. 16 (2019): 1. http://dx.doi.org/10.12992/turuk691.

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22

Rozina, Olga Vladimirovna. "Bektashi and Mevlevi Sufi Orders: the Founders and Contemporary Abodes." Islamovedenie 10, no. 3 (2019): 117–28. http://dx.doi.org/10.21779/2077-8155-2019-10-3-117-128.

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23

Öksüzoğlu, Osman. "Music and Ritual in Trebbus Mevlevi Tekke (Lodge) in Germany." Musicologist 3, no. 1 (2019): 77–102. http://dx.doi.org/10.33906/musicologist.551058.

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24

GÜLER, Gül. "Mevlevi ve Bektaşi Tarikatlarına Ait Bir Grup Bayrak ve Sancak Alemi." Journal of Turkish Studies 13, Volume 13 Issue 10 (2018): 353–70. http://dx.doi.org/10.7827/turkishstudies.13389.

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25

Küçük, Hülya. "Sulṭān Walad’s Role in the Foundation of the Mevlevi Sufi Order". Mawlana Rumi Review 3, № 1 (2012): 22–50. http://dx.doi.org/10.1163/25898566-00301004.

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26

Lewis, Franklin. "Mawlānā Rūmī, the Early Mevlevis and the Gendered Gaze: Prolegomenon to an Analysis of Rūmī’s View of Women." Mawlana Rumi Review 8, no. 1 (2017): 43–71. http://dx.doi.org/10.1163/25898566-00801003.

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27

UZUN, Hülya. ""MEVLEVI WHIRLING CEREMONY" AND "WHIRLING DERVISH" IN THE CONTEXT OF POPULAR CULTURE." INTERNATIONAL REFEREED JOURNAL OF MUSIC RESEARCHES 01, no. 02 (2014): 29. http://dx.doi.org/10.17370/uhmad.2014028945.

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28

KARADENİZ, Şirin. "İSMAİL DEDE'NİN FERAHFEZA VE SABA MEVLEVİ AYİN-İ ŞERİFLERİNİN KARŞILAŞTIRMALI BİÇİM ANALİZİ." Journal of International Social Research 13, no. 71 (2020): 405–12. http://dx.doi.org/10.17719/jisr.10665.

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29

SEÇİM, Yılmaz. "ŞEB-İ ARUS ETKİNLİĞİNE KATILAN TURİSTLERİN MEVLEVİ MUTFAĞI YEMEK TALEPLERİNİN TESPİT EDİLMESİ." Adıyaman Üniversitesi Sosyal Bilimler Enstitüsü Dergisi, no. 35 (August 30, 2020): 778–96. http://dx.doi.org/10.14520/adyusbd.518010.

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30

Pietrobruno, Sheenagh. "YouTube flow and the transmission of heritage: The interplay of users, content, and algorithms." Convergence: The International Journal of Research into New Media Technologies 24, no. 6 (2016): 523–37. http://dx.doi.org/10.1177/1354856516680339.

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YouTube’s increasing convergence with television extends to the notion of flow. The platform’s revising and reshaping of television flow theorized by Raymond Williams ((1974) Television. London: Routledge.), which is produced through the combined work of users and algorithms, enables diverse cultural representations to come into contact. This diversity creates relational juxtapositions that become meaningful through human interpretation. The algorithms that are entrenched in YouTube’s business models and designed to monetize the work of users may also circulate divergent versions of a cultural

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31

Ilić, Slobodan. "Prolegomenon to the story of Bosnian Mevlevi literature in Arabic, Persian and Turkish." Middle Eastern Literatures 21, no. 1 (2018): 76–99. http://dx.doi.org/10.1080/1475262x.2018.1492193.

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32

Hosta, Nilay, and Birsen Limon. "Changing features of the concept of pilgrimage: the example of the Mevlana's museum in Konya." Scripta Instituti Donneriani Aboensis 22 (January 1, 2010): 196–210. http://dx.doi.org/10.30674/scripta.67367.

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Mevlana Celaleddin Rumi was a philosopher who influenced our era with his ‘humanist’ thoughts, his invitation towards everybody to friendship and brotherhood and his ideas about love and humanism. The museum, opened in his name in 1926 in Konya, Turkey, has been converted into a special place, describing Mevlevi’s way of life, telling the history of the Mevlana Dervish lodge and exhibiting related works with religious historical values. This important Museum, attracting many visitors from all over the world, including Turkey, represents unique examples both in architecture and genuine works of

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33

Güçlü, Yücel. "Teşkilat-ı Mahsusa (Umur-ı Şarkıyye Dairesi)." Belleten 79, no. 286 (2015): 1139–44. http://dx.doi.org/10.37879/belleten.2015.1139.

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Ahmet Tetik meslekten tarihçi olmayıp Türk dili ve edebiyatı uzmanıdır. Lisans eğitimini Atatürk Üniversitesinde görmüş; doktorasını Marmara Üniversitesi Türkiyat Araştırmaları Enstitüsünde yapmıştır. Genelkurmay Askeri Tarih ve Stratejik Etüt Başkanlığında (ATASE) arşiv şube müdürlüğünde bulunmuştur. Adıgeçenin, Balkan Savaşları (1912-1913), Birinci Dünya Savaşı (1914-1918) ve Kurtuluş Savaşı (1919-1922) dönemleri hakkında yayına hazırladığı ATASE arşiv derleme kitap ve makaleleri mevcuttur. XII + 500 sayfa uzunluğundaki çalışma; sunuş, kuruluş ve kapatılış, İspanya-Fas 1914- 1916, Trablusgar

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34

Kunduroğlu Erat, Zeynep, and Alper Akdeniz. "Examination of Zeki Atkoşar's Sazkâr Mevlevi Ritual in terms of pattern and aruz prosody." Journal of Human Sciences 17, no. 4 (2020): 999–1013. http://dx.doi.org/10.14687/jhs.v17i4.6006.

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Mevlevi Ceremony has an important place among Turkish Music and Turkish Religious Music forms in terms of Turkish Music theory and pattern. The examination of the works in this form written in a rich composition technique and having a comprehensive and wide functioning is very important for Turkish Religious Music. In this study, it has been aimed to explain in detail the whole of the Sazkar Mevlevî Âyîni, which were composed by Zeki Atkosar, one of the composers of today's Mevlevî rituals, in terms of relation with pattern and Aruz prosody and in the methods used in rituals, the relationship

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35

During, Jean. "Pour une déconstruction des corpus musicaux canoniques d’Asie intérieure." Anthropologie et Sociétés 38, no. 1 (2014): 63–84. http://dx.doi.org/10.7202/1025809ar.

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Du Maghreb à l’Asie centrale ont été édifiés des monuments musicaux comme les nuba-s arabo-andalouses, les ayin-s mevlevi, le radif persan ou mugam azerbaïdjanais, le maqom boukharien ou khorazmien, l’onikki muqam ouïgour, et bien d’autres. Afin de mieux comprendre leur genèse et donc leur organisation, au-delà de la façade qu’ils présentent, on se propose de déconstruire quelques-uns de ces répertoires, de retracer les étapes de leur canonisation et d’en évaluer les conséquences. Cette démarche se justifie d’autant plus que la plupart d’entre eux sont actuellement promus à une reconnaissance

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36

Hillenbrand, Carole. "The Whirling Dervishes: Being an Account of the Sufi Order Known as the Mevlevis and Its Founder the Poet and Mystic Meviana Jalalu'ddin Rumi: Shems Friedlander." Digest of Middle East Studies 1, no. 3 (1992): 27–30. http://dx.doi.org/10.1111/j.1949-3606.1992.tb00367.x.

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37

Irden, Suhan. "THE EFFECTS OF MODAL AND FORM CONCEPT OF HAMMAMIZADE ISMAIL DEDE EFENDI MEVLEVI RITUALS ON THE TURKISH RELIGIOUS MUSIC." Idil Journal of Art and Language 1, no. 4 (2012): 60–83. http://dx.doi.org/10.7816/idil-01-04-05.

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38

TAŞKIN, Okyay, and Burcu AVCI AKBEL. "Mevlevi Ayini Geleneğinde Hoca Hafız Mehmed Zekai Dede’nin Üç Ayininin (Süzidil, Süznak, Saba Zemzeme) Makam Ve Usül Analizi Bakımından İncelenmesi." Anadolu Üniversitesi Sanat & Tasarım Dergisi 7, no. 1 (2017): 58–91. http://dx.doi.org/10.20488/sanattasarim.562759.

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39

Grierson, Roderick. "Dünya Mevlevîhâneleri Fotoğraf Albumu/The Mevlevi Lodges of the World Photo Album, Haşim Karpuz, Feyzi Şimşek, Ahmet Kuş and İbrahim Dıvarcı." Mawlana Rumi Review 1, no. 1 (2010): 147–52. http://dx.doi.org/10.1163/25898566-00101019.

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40

TUNÇ, Semra. "SÜLEYMANİYE KÜTÜPHANESİ GALATA MEVLEVİHANESİ BÖLÜMÜ 161 NUMARALI ŞİİR MECMUASI / THE POETRY JOURNAL NUMBERED 161 AT THE SÜLEYMANİYE LIBRARY, SECTION OF GALATA MEVLEVİ LODGE." Selçuk Üniversitesi Edebiyat Fakültesi Dergisi, no. 35 (June 20, 2016): 259. http://dx.doi.org/10.21497/sefad.42526.

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41

Öztürk, Assoc Prof Dr Emine. "The Human as the Actor of Love in Mevlana Who is the Bridge of Culture Between East and West." European Journal of Multidisciplinary Studies 5, no. 1 (2017): 492. http://dx.doi.org/10.26417/ejms.v5i1.p492-492.

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In universe, there are hidden steps rising up to the sky.Each community has its own step. Each path has its own sky.Each is unaware of another.Skies are a vast, immense country. They are so vast, so infinite that they neither have a beginning or ending.In the first volume of the annotation Tahirü’l-Mevlevi wrote on Mesnevi, he annotates the lines of 10th couplet of Mevlana on love as such “The fire in reed flute and the heave in wine is all the work of love”. There is a well-known hadith among sufis as “I was a hidden treasure, desired to be known and created people.” According to what is indi

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42

Ertek Morkoç, Yasemin. "Religion and mysticism in poems of Şeref HanımŞeref Hanım’ın şiirlerinde din ve tasavvuf." Journal of Human Sciences 13, no. 3 (2016): 5304. http://dx.doi.org/10.14687/jhs.v13i3.4279.

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Şeref Hanım (Lady Seref) (1809-1861) lived at the first half of the 19th century during when Tanzimat Literature had started to outmaneuver Divan Literature and had made its weight felt. She is an exceptional female divan poet who managed to make a distinguished name for her within the tradition of Classical Turkish Literature. She has a large-scale divan in which she added up all her poems written in almost all styles and types of verse. Religious – mystical components at the major parts of her poems attract the attention. Divan of the poetess, who was a maulawi in essence and had sympathy in

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43

Atesok, Ebru, and Fatma Nur Basaran. "MANIFACTORING OF “KULAH-I MEVLEVI” (SIKKE) IN AFYONKARAHISAR." Idil Journal of Art and Language 6, no. 34 (2017). http://dx.doi.org/10.7816/idil-06-34-07.

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44

AVCI AKBEL, Burcu, and Sercan SAHİL. "Nayi Osman Dede'nin Mevlevi Ayinlerinde Makam ve Usul Yapıları." Anadolu Üniversitesi Sanat & Tasarım Dergisi 5, no. 9 (2016). http://dx.doi.org/10.20488/austd.50424.

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45

MACİT, Mustafa. "TÜRK MÛSİKİ TARİHİNDE MEVLEVİ MUSİKİSİNİN YERİ, ÖNEMİ VE ETKİ ALANLARI HAKKINDA GENEL BİR DEĞERLENDİRME." Balkan Müzik ve Sanat Dergisi, April 16, 2021. http://dx.doi.org/10.47956/bmsd.883391.

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46

Datta Chaudhuri, Dr Indrani. "“Dance in Your Blood”: From the Anthropocentric to Organic in Rumi’s Poems." SMART MOVES JOURNAL IJELLH, August 26, 2020, 80–93. http://dx.doi.org/10.24113/ijellh.v8i8.10717.

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Almost about two centuries prior to the European Renaissance and preceding the Euro-centric assertion of an anthropocentric world-order, illustrated in the ideas of Humanism and the ‘homo universalis’, the view of a diversified earth where each sentient creature exists on the same plane and status as that of the human species was adopted by the falasifas (philosophers) of the Near East. In order to assess this prior emphasis on each living being and not only on the Anthropocene ? the ‘paragon of all animals’ and the supreme being created by the Almighty ? it is relevant that we re-read the wor

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47

Kaim, Agnieszka Aysen. "Kręte drogi sufich. Turecko-bałkańskie wątki sufickiej koncepcji „drogi” we współczesnej odsłonie (na wybranych przykładach literackich)." Slavia Meridionalis 17 (October 12, 2017). http://dx.doi.org/10.11649/sm.1437.

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The twisting paths of the sufis – the Turkic-Balkan motifs in the sufi ‘tariqa’ concept in selected examples of contemporary literary works The first part of this paper summarises how Sufi brotherhoods formed in the Balkans with some references to their Turkic-Ottoman sources. Islamic mystical movements constituted part of the Islamisation initiatives in the territories occupied by the Ottoman Empire: mystical teaching was apparently more successful among the local people than conservative Islam. Crypto-Christianism was a typical phenomenon among converted Slavs. Orders using the language of s

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48

"The Oxford encyclopedia of the Islamic world: v.1: Aa gym-Cosmology; v.2: Creeds-Intercession; v.3: Interest-Metalwork; v.4: Mevlevi-Russia; v.5: Sacrifice-Women's Action Forum; v.6: Women's Movements-Zurkhana, index." Choice Reviews Online 47, no. 01 (2009): 47–0052. http://dx.doi.org/10.5860/choice.47-0052.

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