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Journal articles on the topic 'Turkish Love poetry'
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Yilmaz, Arif, and Mustafa Çiçek. "A Classification Essay on Islamic Poetry in New Turkish Literature." Revista de Gestão Social e Ambiental 18, no. 9 (April 26, 2024): e06445. http://dx.doi.org/10.24857/rgsa.v18n9-008.
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Objectives: The objectives of this study are to define Islamic poetry, explore its analytical methodology, and provide examples that illustrate its thematic concepts within modern Turkish poetry. Methods: To achieve these objectives, the study employs the document analysis method, which is a qualitative research approach. The analysis focuses on modern Turkish poetry, examining examples across eight distinct categories of Islamic poetry. Results: The analysis of Islamic poetry within modern Turkish literature reveals its diverse manifestations across various thematic categories. These include Islamist Poetry, Turkish-Islamic Poetry, Sufi Poetry, Islamic Mystical Poetry, Islamic Metaphysical Poetry, Islamic Cultural Poetry, Religious Poetry, and Islamic Romantic Love Poetry. Each category is exemplified with a poem, showcasing the rich tapestry of Islamic sensibility, motivation, and thematic concepts present in modern Turkish poetry. Conclusion: In conclusion, this study highlights the enduring influence of Islam on Turkish poetry, both historically and in contemporary times. Through the exploration of Islamic poetry across different thematic categories, the study illustrates the depth and breadth of Islamic sensibility within modern Turkish literature. The researchers' conclusions drawn from the analysis further contribute to our understanding of the role of Islamic poetry in shaping cultural and literary discourse in Turkey.
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Juraev, Zuhriddin, and Young Jin Ahn. "Illumination of Divine Love: Rediscovering the Hikmats of Sufi Ahmad Yasawi." Jurnal Akidah & Pemikiran Islam 25, no. 2 (December 28, 2023): 193–224. http://dx.doi.org/10.22452/afkar.vol25no2.6.
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Divine love, rooted in religious and spiritual traditions, remains relevant today as it represents unconditional, selfless love and fosters empathy, compassion, and understanding among individuals. Embracing the principles of divine love can promote unity, tolerance, and interdependence, fostering global harmony and peace. This study uses a philosophical framework to examine the complex concept of divine love, specifically looking at the historical development and subtle meanings of love-related terms in Islamic Sufi literature. Special attention is given to Sufi poetry, specifically the works of the renowned mystic Shaykh Ahmad Yasawi and his 12th-century collection, Devon-i Hikmat or Hikmats, which are highly respected in Turkish culture. The research explores the stages of love and offers philosophical interpretations to understand the complex implications and profound nature of this concept. This study enhances our understanding of Sufi literature’s perspective on divine love by emphasizing its enduring significance as a universal and timeless facet of human experience that transcends temporal and cultural boundaries. Consequently, it fosters a profound understanding and appreciation for the enduring themes and cultural heritage found in Turkic Sufi poetry. The research highlights the lasting significance of divine love and the cultivation of deep respect for the timeless themes and rich cultural heritage found in Turkic Sufi poetry.
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ZAFER, Zeynep. "REVIVED FROM THE ASHES (THE POETRY OF MEFKURE MOLLOVA)." Ezikov Svyat volume 20 issue 3, ezs.swu.v20i3 (October 20, 2022): 427–36. http://dx.doi.org/10.37708/ezs.swu.bg.v20i3.14.
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Mefkure Mollova, known as a scholar in Turkology, was the first poetess to publish poems in the periodic print in Turkish language in Bulgaria and the only woman who was fortunate to issue a solo poetic collection (1964). She emerges as the most sensitive of the time, whose work boldly touches on the intimate corners of the Turk's mentality and emotionality, to questions and problems close to all women. The sophistication of her work excites young women and crumbles the walls of the traditional taboo. Her contemporaries are delighted with the talent of the beautiful poetess and the "freedom" of her speech, she is perceived as the Turkish Bagryana, almost all young Turkish intelligents were in love with her. Suffocated by the repression of the socialist dictatorship, she was forced to give up poetry. Her work is not known outside the circles of the Turkish readership of the 1950s and 1960s, and like most Turks-poets she remains unknown to the Bulgarian readership. The article also presents the first translations of her poems in Bulgarian.
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Sabir qızı Abdullayeva, Gülər. "Fuzuli and Galib poetry in similar genres." SCIENTIFIC WORK 80, no. 7 (July 17, 2022): 62–66. http://dx.doi.org/10.36719/2663-4619/80/62-66.
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XVIII əsr Türk sufi şairi Şeyx Qalib Fizuli ənənələri davam və inkişaf etdirən şairlərdən biri olmuşdur. Bu iki sənətkarı birləşdirən ortaq xüsusiyyət onların eyni mövzu və janrlarda şeirlər yazmasıdır. Qalibin qəzəl janrında yazdığı şeirlər Füzulinin qəzəllərini xatırladır. Şeyx Qalib divanında Füzuliyə həsr olunmuş şeirlər arasında təxmislərlər xüsusi yer tutur. Bu onu göstərir ki, hər iki şairin əsərlərində forma və məzmun baxımından ortaq xüsusiyyətlər vardır. Mövzu baxımından hər iki şairin yaradıcılığında məhəbbət mövzusu öndə gedən yerlərdən birini tutur. İlahi eşqi sonsuz məhəbbətlə tərənnüm edən bu şairlər dünya eşqinin əzabını yaşamış və tale yüklü bir ömür yaşayaraq ilahi eşq yaşantılarını şeirə çevirə bilmişlər. Məqalədə hər iki şairin qəzəl janrında yazdığı şeirlər müqayisəli şəkildə təhlil olunur. Açar sözlər:Məhəmməd Füzuli,Türk ədəbiyyatı, Şeyx Qalib, qəzəl, ilahi eşq Gular Sabir Abdullayeva Fuzuli and Galib poetry in similar genres Abstract The eighteenth-century Turkish Sufi poet Sheikh Galib Fuzuli is one of the poets who continued and developed the traditions. The common denominator that unites these two artists is their theme in terms of both theme and genre. His poems in the ghazal genre are reminiscent of Fuzuli's ghazals. Among the poems dedicated to Fizuli in Sheikh Galib's divan, takhmis have a special place. This shows that both poets have common features in their work in terms of form and content. From the point of view of the theme, the theme of love occupies a leading place in the works of both poets. These poets, who sang of divine love with infinite love, experienced the sufferings of worldly love and were able to turn their emotional turmoil into poetry by living a life full of destiny. The article describes in detail the subject matter of the ghazals of both poets. Key words: Turkish literature, Sheikh Galib, Muhammad Fuzuli, divine love, ghazal
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Mohammed Hussein AL-JUBOURI, Hazim. "A LITERARY ANALYSIS OF LOVE POEMS BY ÖZDEMIR ASAF." RIMAK International Journal of Humanities and Social Sciences 05, no. 04 (July 1, 2023): 257–71. http://dx.doi.org/10.47832/2717-8293.24.16.
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Özdemir Asaf is considered one of the most important poets in the Turkish Literature in the twentieth century. He was born on 11th of June, 1923 in Ankara and died on 28th of January 1981 after a life lasted for 57 years. His grave is in AĢiyan Asri in Istanbul. He was famous in the Turkish literature during the republic period especially in National Literature. Although her published several short stories, he was well-known by his poetry that won several prizes and left a great influence among Turkish Nation. One of the best works among Özdemir Asaf’s poetry is Love poems published under the title Lafinia which includes 70 short poems. These poems collected some of his literary works and published them in a book by Paynar Akenci after several years after his death. Lafinia or Love Poems express its scope of importance in a way that reflects its title according to what has been written. The collection of poems were considered of high importance and one of the most well-read and published poems which makes them more brilliant. Literature is an attempt of writing including all discourses that must use a literary diction. In addition, literature has several types such as poetry, novel, short story, and drama. What makes the writings of the poet distinctive is his use of a high level of literary diction. The poetry of the poet is divided into several types like poetry, novel, short story, and drama. The common and unique point of all of his literary writings, as mentioned above, is that they have been written carefully both literary and technical in that period. The poet was considered a simple productive writer by his close use of ordinary daily life language faraway from the difficult academic language. Moreover, he uses the common aesthetic side. By nature, man hives a two-dimensional life. He has two different sides in his life, materialistic and spiritual. Man is materialistic by supporting his life, and spiritual by feelings and emotions. In addition, the psychological aspects that deal with the internal side of man like sadness, happiness, dejection, reproach, ecstasy, anger and surprise are concepts that cannot be completely described and difficult to interpret. Although there were different courses to understand such feelings, the literary interpretation is one of the most essential methods. In fact, poetry is spiritual shows the spiritual effect and it is a deep and sensitive expression of these effects. It is clear in the poetry of our poet by transforming the spiritual air into words through the diction of poetry. Özdemir Asaf is one of professors of poetry which expresses feeling and emotions. The basis of the subject of the research is a literary analysis of the love poems by the poet Özdemir Asaf. He is one of the poets whom we can see their literary style in its powerful meaning in all of the poems. The main subject of our research paper is this concept. We introduce the life of the poet Özdemir Asaf and his literary personality as well as his writings as he is considered one of the important poets in the twentieth century. We will give a detailed interpretation of the book of Love poems – Lafinia in its literary concept by introducing a literary analysis for Love poems of Özdemir Asaf.
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Mohammed QANBAR, Rana. "ASSERTIVE ADJECTIVES IN THE FORBIDDEN LOVE (AŞK-I MEMNU) BY HALID ZIYA UŞAKLIGIL." RIMAK International Journal of Humanities and Social Sciences 3, no. 4 (May 1, 2021): 312–19. http://dx.doi.org/10.47832/2717-8293.4-3.31.
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Despite the fact that it has been over seven decades since the passing of the famous Turkish writer Halid Ziya Uşaklıgil (1865-1945), his fame has continued till now due to the writer's unique and remarkable literary works in poetry as well as in novel, storytelling as he was familiar with European literature, particularly French, cultural and intellectual movements. Halid Ziya is considered one of the first writers who adopts European style in his writings and his novel The Forbidden Love 1900 (Aşk-ı Memnu in the original) often considered his masterpiece. It is the first and greatest novel in the history of Turkish literature through which the writer shows his good linguistic knowledge proficiently concerning the configuration and vocabularies of Turkish language and its accurate details. The Forbidden Love has been numerously studied and filmed as a TV-series. And originally written and first published in Turkish. In brief, words in Turkish are formed through a system of affixes attached to word stems. The writer frequently uses assertive adjectives in his novel in order to give a meaningful sense of the word. The aim of this paper is to study the assertive adjectives in The Forbidden Love by Halid Ziya Uşaklıgil
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John Taylor. "Poetry Today: A Panorama of Turkish Love Poetry: Birhan Keskin and Other Contemporary Women Poets." Antioch Review 72, no. 1 (2014): 184. http://dx.doi.org/10.7723/antiochreview.72.1.0184.
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Toltay, F. "Protest Scenes in the Poetry of Muhammed Salih." Iasaýı ýnıversıtetіnіń habarshysy 126, no. 4 (December 15, 2022): 118–32. http://dx.doi.org/10.47526/2022-4/2664-0686.10.
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This article examines the appearance of protest elements in the poetry of Muhammed Salih, an Uzbek poet, a representative of the «Metaphorist school» in Soviet Uzbek literature and the founder of protest and emigration poetry. In order to clarify this issue from all angles, the poet's protest poems were classified into two macrogroups: Soviet Union period (anti-Sovietism) and post-Soviet period protest (post-anti-Sovietism). The protest motif in the poet Salih's poetry can be noted as a new facet of the research work in the context of this article for the first time in the literature of Kazakhstan. In the first part of the article, the problem of nationalism (Turkism) and anti-Sovietism, which have become the main theme in M. Salih's work in the last forty years, was comprehensively analyzed. By using several literary methods, the characteristics of anti-Soviet protest, longing for independence and the achievement of sovereignty in the poet's poems were determined. The object and subject of the leitmotif «awakening» were studied in such poems as «Mother's Word», «Mouse in the Cage», «Awakening» written in this period. Focusing on the physics and metaphysics of the poems, the influence of the literature of the modernists before him was discussed. Special attention was paid to the beauty of allegory and metaphor in his poems and the peculiarity of writing, the meaning hidden in the surface of his poetry. The use of symbols and motifs characteristic of the classicist literature in the poet's poems was studied. In the second part of the article, the feature of protest poetry in the post-Soviet Republic of Uzbekistan was studied. On the basis of M. Salih's poetry, the expression of critical ideas and values such as independence, civil society, freedom of speech, and human rights were analyzed. The process of development of emigration literature in modern Uzbek literature was differentiated based on the poet's poems such as «Strange tree», «Love of the enemy of the people for the homeland», «Prayer of the exiled exile». The characteristics of Salih's poetic nature were comprehensively demonstrated. The influence of the poet's political and literary life in emigration was analyzed in a comparative and synergistic aspect. In M. Salih's protest poetry, the themes of Turkish unity and independence of Turkestan, which are of special importance, are partially connected with his nationalist (Turkish) poems. In the framework of such studies, an analytical forecast was made for the development of protest literature in modern Uzbek literature, the topics and issues raised, poetic power, and influence in the formation of civil society. The article focuses on the manifestations of protests during the Soviet Union and the post-Soviet period in M. Salih's works, and his poems are studied from several angles. His struggle for justice and his contribution to world knowledge were also taken into consideration.
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Mohammed HUSSEIN, Hazim, and Wafaa Jabbar SALMAN. "WESTERN PORTRAYAL IN “FORBIDDEN LOVE” BY HALID ZIYAUŞAKLIGIL JOINT RESEARCH PAPER." International Journal of Education and Language Studies 04, no. 03 (September 1, 2023): 24–35. http://dx.doi.org/10.47832/2791-9323.3-4.4.
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The great Turkish writer Halid Ziya Uşaklıgil, who lived between 1865 to 1945, kept his literary fame for decades after his death. This came as a result of his contribution in the modern Turkish Literature. The reason behind this fame is due to his unique works. HalidZiya is considered one of the most important Turkish writers in the twentieth century. He enriched the Turkish literature with several literary works. He is considered in the first position among writers and authors because of the variety of his writing in addition to poetry, especially in the field of writing novels, and short stories. This variety came, in the first place, as a result of his passion toward French literature and the impact of it on him. He had a good knowledge of the western literature. He is considered on of the first Turkish novelists who wrote in the European (Western) style. He wrote literary works that bear the western literature concept. Halid Ziya occupied a high position in the field of prose. He became famous after publishing his novel “Aşk-ı Memnû” or “Forbidden Love”. It is considered one of the most important work among his novels in the history of modern Turkish Literature. Halid Ziya owned a good knowledge in the structure of the Turkish literature and its directions. The novel “Forbidden Love” is considered the best example in the field of literature because it showed his wide scope of knowledge successfully. He explored in this novel a detailed and analytical study of the Turkish grammar. We depend mainly in our research paper on this novel. It studies the different changes in time in the novel which is clear in the field of prose and the artistic work in the TV series nowadays. The novel “Forbidden Love” embodied main characters who are Nihal, Bahlool, Bihter, Adnan, and Basheer. The novel revolved on
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Hijran Valiyeva, Farida. "BINARY MODEL OF LOVE IN TURKISH POETRY OF 13-15-TH CENTURY." Azerbaijan Journal of Educational Studies 2, no. 2 (2020): 181–88. http://dx.doi.org/10.29228/edu.313.
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KÜÇÜKYILDIZ GÖZELCE, DAMLANUR. "ALI ILHAMI, A BEKTASHI FOLK POET AND HIS DIVAN." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 105 (March 29, 2023): 175–213. http://dx.doi.org/10.34189/hbv.105.008.
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Bektashi order has a deep-rooted tradition, and a long history. This situation was reflected in the Bektashi literature and led to the emergence of rich Bektashi literature. Bektashi poets reflected their cultural background, beliefs, traditions and lives in their poems. Ali İlhami, who was a member of the Bektashi order and who had been a Shaikh for the Seyyid Battal Gazi Lodge for many years, was one of the folk poets who successfully used the methods and principles, subtleties, beliefs and traditions of this order in his poems. It is seen that his poems focus on the love of Allah, Hz. Ali, Hz. Hasan, Hz. Hüseyin, Twelve Imams, Haci Bektashi Veli, Battal Gazi, the Karbala incident, and devotion to the founders of the order and mentors. The topics such as nature, the transience of the world and human love are also handled in his poems. He shaped his poetry with advices such as not following the soul, not seeing the fault of anyone, and abandoning the love of the world. Considering Ali İlhami’s poems, it is seen that these are the poems that overlap with the principles of Bektashi order and support the rites of this path. Ali İlhami's poems were collected by Şükrü Efendi, the grandson of the poet, and arranged as Dîvân-ı Şeyh İlhâmî and Seyyid Battal Gazi. In this study, it is aimed to add a new and rich source to the Turkish folk poetry treasury by transferring 49 poems in the in the printed copy of Ali İlhami’s Divan, one of the 19th century folk poets, written in Ottoman Turkish to Latin letters. In addition, based on the poems in the Divan, how the Bektashi doctrine was handled in İlhami's poetry and how it was expressed was also emphasized. Keywords: Tasawwuf, Bektashi Order, Ali Ilhami, Divan, Poem.
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Çetin, H. "Investigation on Moral Understanding and Religious Motives in Karacaoğlan's Poems." Turkology 4, no. 102 (October 15, 2020): 91–104. http://dx.doi.org/10.47526/2020/2664-3162.006.
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The Turkish oral tradition has lived in the memory of the people for generations. This cultural memory has been brought up to day by means of bards and minstrels who convey the feelings and thoughts of the people with their own way of expression. One of the important names in this oral tradition is Karacaoğlan. In his poems, love, longing, depictions of nature have taken place in the heart of the people with the impressiveness of his poetry and voice. Their poems were sung by the people and some of their poems were sung. Karacaoğlan, known as a love poet, has influential poems which show both mysticism and religious features behind these poems. Looking at these poems, we can see that spiritual sentimental poems are loved by the people as well as the strength of the language. In this work, we will examine how Karacaoğlan reflects his understanding of morality and religious motifs in his poems and the function and role of oral culture in terms of the period in which these reflections lived.
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Mohammed HUSSEYIN, Hazim. "THE CONCEPT OF NATURE IN THE POETRY OF YAHYA KEMAL BEYATLI." RIMAK International Journal of Humanities and Social Sciences 3, no. 4 (May 1, 2021): 376–87. http://dx.doi.org/10.47832/2717-8293.4-3.36.
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Yahya Kemal Beyatlı is one of the greatest Turkish poets in the 20th century. He left deep influence in Turkish literature by his powerful style and his famous lyrics in addition to his literary personality that he formed in authentic and natural framework faraway from artificiality. He was a man of culture as well as ideology. Our great poet skillfully made use of Ottoman language in addition to modern Turkish language. He elaborated his concept of poetry throughout his own ideas, style and his use of metrics in poetry. The poet wrote his poems in unique subjects that portray immortality, love, nature, and history adding passion to them so that they become poems of high value. Hence all people in the society read them giving the poet success as well as leaving traces that cannot be deleted from the hearts and minds. His poems were moving from one language to another. Some of them are classics and some are romantic which made them read in councils. He was described as a unique poet in his age because he spoke Arabic and Persian languages fluently which was clear in his poetry. I decided to write about the concept of Nature in my research paper because of its active role in his poetry in addition to what attracted me about his own understanding to it. The poet dealt with the aspects of Nature skillfully and passionately in his poems in addition to his extended imagination to write poems about the sea, the sky, the sun, the mountains, and the horizon. This is what I analyzed and studied in my research paper. It was clear in my conclusion of the research paper that the poet Yahya Kemal Beyatlı is a poet of senses and passions and rarely we can find such talent among poets. He wrote about love and passion. Some of his poems, were written in the moony nights which added romantic atmosphere on the imagination of the poet which showed harmony with nature. He wrote also some of his poems on the beach of Istanbul. It is clear through a deep study of his poems on nature that there are wonderful poems. By the end of my research paper, I hope the readers get benefit from it.
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Muhammad Saeed Ahmad and Dr. Saeed Ahmad. "A Comprehensive Review of Abdul Aziz Khalid's Works." Tasdiqتصدیق۔ 3, no. 01 (December 14, 2021): 53–71. http://dx.doi.org/10.56276/tasdiq.v3i01.58.
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Abdul Aziz Khalid is one of the most renowned Pakistani poets of Urdu literature. He adorned his poetry bouquet with multiple languages such as Arabic, Persian, Turkish, Hindi, and Hebrew. He wrote almost forty books on different types of literature, especially on Naat, Ghazal, Poem, quatrains, translation, and criticism. His knowledge & vision about Islamic history and literature of different languages is above board. The names of his books are very unique and earned immense popularity particularly Farquleet, MaazMaaz, TaabTaab, Manhamanna, Lehun-e-sareer, Abu Turab, Sani lasani, Kaf e Darya, Kilk e Mouj, Kharoosh e Khum, etc. The reader can enhance his awareness about religions, love tails, historic sense, idioms, phrases, Quranic Verses, Hadith, traditions of Islamic culture & life of Prophet Muhammad (SAAW)and his companions. His poetry is a beautiful blend of classic and modernism.
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Hamli MUARICH, Ammar. "THE APPROACH OF LINGING IN BAHATTİN KARAKOCC'S POEMS." RIMAK International Journal of Humanities and Social Sciences 05, no. 02 (March 1, 2023): 651–63. http://dx.doi.org/10.47832/2717-8293.22.38.
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The poet (Bahaeddin Karakoc) is considered one of the leading poets in Turkish poetry and literature in the twentieth century. He was born on March 5, 1930 in the town of Al-Bustan in KahramanmaraĢ Governorate, southeastern Turkey. He has poet brothers, the famous poets Abd al-Rahim Karakoc and Ertugrul Karakog. Bahauddin Karakoc wrote a lot of works in his 88-year-old life. Teacher-poet Bahauddin Karakoc died on October 16, 2018. He was buried in Cihadil Cemetery in his hometown, Kahramanmaras. The poet wrote many important books of poetry, such as Siran and the Voice of the Deaf, A Pair of White Eagles, Layla and the Love of the Day. He deftly dealt with themes such as blame, grief, separation, reunion, and longing in his poems. He deserved many awards, and his works were especially embraced by the Turkish people. The poet emphasizes longing, which he means in the same sense as longing. Since longing, as a psychological concept, is in fact a phenomenon that sometimes drives a person into depression, While it is possible to achieve some compatibility in this concept with the impossible. For example, accidents such as impossible love and death leave nothing but longing in man. Where his longing continues until he dies, that is, the separation that cannot be met. This impossible aspect of the concept of longing, as it particularly affects the person. The journey of longing, continuing with hopes and dreams until the day of reunion, takes on an emotional structure with the language of poets. Longing, as a concept emotionally charged from head to toe, found its place in the poems of the poet Bahauddin Karakoc, who wrote very emotional and touching longing poems, He explained this concept in Poems. We begin our work with this comprehensive summary. Then, after introducing the life and literary personality and the works of Bahaeddin Karakoc, one of the most important poets of Turkish literature in the twentieth century, the concept of longing will be emphasized. Finally, we will deal with the understanding of longing in the immortal poems of Bahauddin Karakoc.
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Nigmatullina, Alsu M., and Anastasiya O. Vdovina. "Sufi Worldview of Jalal al-Din Rumi as Reflected in Modern Turkish Literature: the Case of Elif Shafak’s ‘Love’." Вестник Пермского университета. Российская и зарубежная филология 15, no. 3 (2023): 115–25. http://dx.doi.org/10.17072/2073-6681-2023-3-115-125.
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Jalal al-Din Rumi is one of the most controversial figures of medieval Sufi poetry. Thesystem of his ideas, which originate from the legacy of earlier Sufi scholars, can be traced in many mod-ern pop-cultural elements. The article examines Sufi motifs presented in Jalal al-Din Rumi’s writings as they appear in the novel Love(Aşk) written by the modern English writer of Turkish origin Elif Shafak. Turning to religious and philosophical motifs in modern literature is associated with the ambiguous popularity of Rumi in the Western media space. The purpose of this study is to identify the features of the domestication provided by Shafak as an example of cosmopolitan combination of Eastern mysticism and current socio-cultural problems. The article analyzes the novel with the aim of revealing intertextual characteristics in the text and also aims toestablish the feasibility of their use. To this end, the article proposes an analysis ofseveral provisions of Jalal al-Din Rumi’s worldview system, which he developed in his works in the context of the Arab-Muslim picture of the world and Sufi poetry: the concept of Love, dialectical understanding of the Unity of Existence, Sufi ethics, and tolerance of views. The transfer of elements of Sufi philosophy and ethics, present in the works of Jalal al-Din Rumi, into the novel serves as an ideological basis for the prob-lems that arise in Shafak’s narrative. The analysis reveals formal and substantive correlations between Sufi narrative, especially the narrative found in Rumi’s Masnavi-ye-Ma’navi, and the novel Loveby Shafak. Thearticle concludes that the writer successfully attempted to transfer Sufi philosophy to modern realities through addingthe idea that can be considered as a call for transcending inner barriers and following ideolo-gy of tolerance in order to overcome current social and individual crises.
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Koteva, Ivana, Mahmut Celik, and Vesna Ivanova. "POETIC CREATION OF ILHAMI EMIN PUBLISHED IN MACEDONIAN LANGUAGE." Knowledge International Journal 28, no. 7 (December 10, 2018): 2309–18. http://dx.doi.org/10.35120/kij28072309i.
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The purpose of our research was to find out the literary path of Ilhammi Emin, as well as his poetic work published in Macedonian language. For that purpose, we started the research from literary sources that provide us with data on its beginning and the developmental path of the literary scene. We then approached his first book, "Life Sings and cry’s" published in 1955, then moving forward, to the collection of poetry "Gultepe" (2010), we noted the motives that fulfill these works. Each subsequent work, continuation of the previous one, each with the title and smell of the rose, which symbolizes love, smell and respect. And the motives in them are constantly complementing and intertwining. To find out why Emin created concurrently in both Turkish and Macedonian, with a style characteristic of him only.
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Koteva, Ivana, Mahmut Celik, and Vesna Ivanova. "POETIC CREATION OF ILHAMI EMIN PUBLISHED IN MACEDONIAN LANGUAGE." Knowledge International Journal 28, no. 7 (December 10, 2018): 2309–18. http://dx.doi.org/10.35120/kij29082309i.
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The purpose of our research was to find out the literary path of Ilhammi Emin, as well as his poetic work published in Macedonian language. For that purpose, we started the research from literary sources that provide us with data on its beginning and the developmental path of the literary scene. We then approached his first book, "Life Sings and cry’s" published in 1955, then moving forward, to the collection of poetry "Gultepe" (2010), we noted the motives that fulfill these works. Each subsequent work, continuation of the previous one, each with the title and smell of the rose, which symbolizes love, smell and respect. And the motives in them are constantly complementing and intertwining. To find out why Emin created concurrently in both Turkish and Macedonian, with a style characteristic of him only.
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Tarik ABDULJABBAR, Ziyad. "LOVE OF HUMAN BEING IN THE DIVAN OF AZIZ MAHMUD HUDAI." International Journal of Humanities and Educational Research 05, no. 03 (June 1, 2023): 512–24. http://dx.doi.org/10.47832/2757-5403.20.31.
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Aziz Mahmud Hudai is one of Sufi poets who grew in the Anadolu land in Turkey in the 16th century. He was born in 1541 in ġereflikoçhisar town to the south of Ankara. Aziz Mahmud Hudai founded of the branch of the method of going from outside to the hermitage. He died in Istanbul in 1628 about 87 years old. He wrote about 30 books in Arabic and Turkish to educate Muslims and guiding them according to Sunni’s doctrine. In addition to be a Sufi, He is also considered a Divan Poet. His grave is in a graveyard in Istanbul. The poetic work of Aziz Mahmud Hudai is known by the Collection of Divine Poetry. It consists of 255 hymns and several poems written in stanzas and quatrains. It is an important work that all Turkish and Islamic worlds respect. The diction of the Divan or the collection is simple, fluent, and sometimes didactic. The subjects that the collection of poems or Divan deals with are the Sufi’s causes and focuses generally on aspects like acknowledging God and Monism. Tasawwuf is a branch of the basic Islamic Sciences in the Islamic tradition. Sufism, which emphasizes the moral education and upbringing like chastisement and purification, pays a great deal of importance on the love of human being. Causes like the origin of mankind comes from Prophet Adam and the fact that every human being has the ability to be a Muslim and that this human being if the most precious among all the creatures created by God, these causes, or subjects represent the basis of the Human love in Sufism. Aziz Mahmud Hudai spent his life in tasawwuf and led a group of people whom he founded himself. In this context, we find in his Divan or collection of poems, how to deal with the human love in different and creative perspectives. This study introduces information about the life of Aziz Mahmud Hudai and his religious and Sufi personality in addition to his literary works. After introducing a detailed analysis of the Divan of Aziz Mahmud Hudai, the research paper focuses on the main subject of the paper which love of human being. The last section of this study deals with human love in the Divan of Aziz Mahmud Hudai which represents the end of the study
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Uysal, Bilal. "Analysis of Hasan Latif Sarıyüce's children's poems in terms of children's literature and Turkish language teaching." African Educational Research Journal 11, no. 4 (October 18, 2023): 565–70. http://dx.doi.org/10.30918/aerj.114.23.094.
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Language serves as a paramount instrument in facilitating interpersonal communication. Beyond its communicative function, language plays a pivotal role in facilitating the transmission of cultural and societal experiences to subsequent generations. Consequently, the realm of language education has assumed a position of paramount importance. Educational curricula have been meticulously designed to impart instruction in various facets, including the teaching of the Turkish language, the conveyance of cultural heritage, the cultivation of values, and the development of literary sensibilities. Turkish and literature support each other in these programs. Children's literature, which has an outstanding contribution to teaching Turkish, is aimed at children and is performed for children's education. Children's literature has various text types, such as fables, fairy tales, and poems. Poetry, one of the most influential text types, is essential in form and emotion sharing. Hasan Latif Sarıyüce is a prolific writer who works in many text types, such as essays, fairy tales, memoirs, and poems. This study analyzed 36 poems by Hasan Latif Sarıyüce for children regarding Turkish teaching and children's literature. The poems were grouped according to their topics: mother's love, family and kinship, children's world, environment, nature, and animals. Poems were analyzed regarding verse, harmony, meter, title, topic, theme, language and expression, values, and literary arts. Accordingly, it was determined that 19 poems used syllabic meter, and 17 poems were written in free verse. The titles of 33 poems reflect the content, the themes of the 36 poems are compatible with the 2019 Turkish Lesson Teaching Program, the topics of the 36 poems are suitable for children, 35 poems are understandable for children in terms of language and expression, 17 poems have values, and 25 poems have literary arts. Accordingly, it has been seen that Hasan Latif Sarıyüce's poems written for children are exemplary in adopting literary values, giving literary pleasure, and transferring the common culture of the society. For this reason, it is recommended for Turkish teachers and students.
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Valiyeva, F. "DEGREES OF SEIR SULUK AND SALIK ON THE WAY TO DIVINE LOVE IN TURKISH POETRY OF THE XIII–XV CENTURIES." International Humanitarian University Herald. Philology 1, no. 42 (2019): 99–102. http://dx.doi.org/10.32841/2409-1154.2019.42.1.23.
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Hussein, Hazim Mohammed. "The concept of reproach in the Poetry of Necati Cumalı Necati Cumali'nin Şiirlerinde Sitem Anlayişi." Journal of the College of languages, no. 45 (January 2, 2022): 305–23. http://dx.doi.org/10.36586/jcl.2.2022.0.45.0305.
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Necati Cumalı, the Turkish writer and poet, was born on the 13th of January 1921. The Origin of his name coincides with the same Friday where an airplane crush accident happened inside the borders of Greece where he used to live. He was one of the 20th century most prominent writers whose fame lasted for 80 years until his death on the 10th of January 2002. Although Necati Cumalı worked in various literary fields such as short stories, novel, drama, and critical analysis, he was often known as a poet. His poetry celebrates highly elevated emotions to love and nature in unique lifestyle that displays his delightful diction. The present study discusses Reproach as the main concept mirrored in his poetry. Necati Cumalı’s poetry expresses woes of love and a yearning to freedom in an unflinching style that shows no fear or reluctance. Such poetic traits are crystal clear in the extracts adopted in the present study. Hence, the study discusses the literary as well as the personal life of the poet Necati Cumalı shedding lights on his protuberant literary career. The study is divided into an introduction that discusses the most important stages of the poet’s life. The discussion debates his procedural creed associated with closely related extracts. ÖZET Necati CUMALI, Türk yazar ve şair. 13 Ocak 1921 tarihinde, Yunanistan sınırları içerisinde kalan Cuma kazasında doğdu. Soyadının kaynağı buradan gelmektedir. 20. Yüzyılın en özgün, en kıymetli yazarlarındandır. 10 Ocak 2001 yılında vefatına kadar, 80 yıllık yaşamına birçok hatırı sayılır eser sığdırmıştır. Necati CUMALI, her ne kadar öykü, roman, tiyatro, inceleme gibi çeşitli edebiyat sahalarında eserler verse de, biz onu daha çok şair kimliğiyle tanıyoruz. Şiirlerinde oldukça yoğun duygular barındıran, insanı hayrete düşüren bir üslupla karşımıza çıkmaktadır. Aşkı ve doğayı oldukça yoğun bir şekilde şiirlerinde işlemiştir. Özgürlüğüne düşkün, bu sebepten dolayı serkeş denilebilecek bir yaşam tarzını benimsediği açıkça görülen Necati CUMALI, kendine has orijinal bir dil yapısını şiirlerinde başarılı bir şekilde sunmuştur. Tüm bu duygular içerisinde, çalışmamızın ana teması olan sitemi, şiirlerinin ayrılmaz bir parçası olarak görmekteyiz. Şiirlerinde en ufak bir aşk kırılmasında veya özgürlüğünün kısıtlanması durumunda, şiddetli bir sitem sezilmektedir. Şairler, duygularını gizleyemez çünkü şiire olan bağlılıkları, onları korkusuz yapar. Bu cesareti iliklerine kadar hisseden şair, yapacağımız alıntılarda da görüleceği üzere elinden geldiği kadar sitem etmiştir. Çalışmamıza bu kapsamlı özetle başlıyoruz. Ardından çalışmamızın öznesi olan Necati CUMALI'nın kısaca hayatı, edebi kişiliği ve eserlerine değindikten sonra kapsamlı bir sitem tanımı yapacağız. Konu bütünlüğü sağlanmış ve açık/anlaşılır bir girişten sonra, Necati CUMALI'nın şiirlerinde sitem anlayışını, ilgili referans kitabından hareketle, gereği kadar alıntılarla izah etmeye çalışacağız.
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Musayeva, E. "Issues of Physical Perfection and Physical Education of Women in the Poetry by Nizami Ganjevi." Bulletin of Science and Practice 7, no. 9 (September 15, 2021): 650–54. http://dx.doi.org/10.33619/2414-2948/70/67.
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After gaining independence, the Republic of Azerbaijan, one might say, has always honored all our writers and poets from our classical heritage. Our President Ilham Aliyev has declared this year the Year of the classic poet Nizami Ganjavi. The main goal is the desire to lead our nation forward, to protect it, to preserve the legacy left to us by our great leader, world politician Heydar Alirza oglu Aliyev. He also pointed out the importance of preserving our classical poets such as Nizami Ganjavi and passing on their works to the younger generation. Female images play a key role in the works of Nizami Ganjavi. In his works, he highlighted the place of a woman, depicting a woman as a mother, an ornament of life. In Sultan Sanjar and the Old Woman Beit from Treasury of Secrets, the first poem in the five-verse Hamsa, Nizami Ganjavi describes a woman as the leading force of society, defending her rights. In the second poem — Khosrov and Shirin, Nizami Ganjavi always wanted to see women free and made it clear that a society without women would become an orphan. In his third poem, Layli and Majnun, he described in detail the image of Layli as a selfless oriental woman, attached to her family and devoted to her love. In fact, Nizami Ganjavi foresaw the role of women in society thousands of years ago. The fourth poem Seven Beauties shows the customs and traditions of Chinese, Russian, Persian, Indian, Arab and Turkish women. The poem describes in detail the maternal care of a woman, regardless of her nationality. In his works, Nizami Ganjavi called for an end to all forms of violence against women and wanted to see women free.
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Nabieva, Vusala F. "Peculiarity of Historical Themes in Azerbaijan and English Literature in the Second Half of the 20th Century (on the Example of the Works by Aziza Jafarzade and Mary Stewart)." Alfred Nobel University Journal of Philology 1, no. 21 (2021): 19–28. http://dx.doi.org/10.32342/2523-4463-2021-1-21-2.
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The main purpose of this article is to consider the conceptual approach of the patriotic attitude to the historical roots and individuality of nations in works of fiction on historical themes by outstanding writers who lived in different countries in the same century. In their works, Mary Stewart and Aziza Jafarzade wrote about the historical environment, human relations, religion, the struggle for their beliefs, and other issues. One thing that unites writers is that their appeals to historical works coincide with their age of wisdom. Writers created their works, feeling the spirit of the historical realities of their countries, and skillfully used the artistic imagination to depict events of the long past. This article mainly compared Mary Steward�s �Arthur pentalogy� and Aziza Jafarzade�s �Baku-1501� historical novel and �Hun Mountain� story. The real historical person living in the 16th century AD. Shah Ismail Khatai is the protagonist of �Baku-1501� written by Aziza Jafarzade. Shah Ismail�s name is connected with the flourishing of the Azerbaijani language as both poetry and a diplomatic language. He has a special place in our history and his name is written with golden letters in the history of Azerbaijan. Of course, the appeal to this period is a manifestation of love for Azerbaijan. The same motive is clearly seen in Mary Stewart�s �Arthur pentalogy�. The love for her country aroused interest in the historical subject. Thanks to the legendary king Arthur writer decodes the real identity of the nation. The heroes of these two novels struggle for their convictions and during their reign, they become masters of the ruling. Although the exact period is not indicated in the story about the Turkic-speaking tribe �Hun Mountain�, it is possible to define the era based on historical realities. The Huns� migration to Azerbaijan falls approximately to the 4th century AD. At the same time, Aziza Jafarzade makes special stresses in the story of �Hun Mountain� to our ancient Turkish words. The period of �Arthur pentalogy� is the 5-6th centuries AD. The parallels between Mary Stewart�s pentalogy and Aziza Jafarzade�s �Hun Mountain� are that they describe the far periods of our age and the main feature of that period is that the elements of legendary motifs are inevitable.
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Sabir qızı Abdullayeva, Gülər. "From the genius of Sheikh Ghalib and the history of his study." ANCIENT LAND 13, no. 7 (July 26, 2022): 25–32. http://dx.doi.org/10.36719/2706-6185/13/25-32.
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XVIII əsr Türk təsəvvüf ədəbiyyatının son nümayəndələrindən olan Şeyx Qalib klassik ədəbiyyatın zənginləşməsində əvəzsiz rol oynamışdır. Onun sonrakı nəsillərə qoyub getdiyi gözəl nümunələr mənəvi dəyərlərin inkişafında tükənməz rola malikdir. Şairin atası mövləvi şeiyxlərindən olmuş, Mövlanaya olan sonsuz məhəbbəti atası vasitəsilə şairə siraət etmişdir. Qalib divanında o da məlum olur ki, şair Mövlananın “Məsnəvi”sini on bir dəfə oxuyub. Həyatını o ibrətamiz hekayətlər əsasında yaşamağı əsas tutub. Bir müddət III Səlimin sarayında yaşayan şair ona olan sonsuz hörmətini divanında lirik boyalarla əks etdirmişdir. Divanda III Səlimə həsr olunmuş xeyli şeirlər var. Şeyx Qalib yaradıcılığının tədqiqinə Türkiyədə hələ əsrin əvvəllərində müraciət olunub. Şairin yaradıcılığı haqqında ilk məlumat verənlərdən biri F. Köprülü olmuşdur. Sonra H.Ayan, M.Nurdoğan ,N.Okcu və başqalarını göstərə bilərik. Azərbaycanda isə ilk dəfə şair haqqında söz açanlardan biri M. Quluzadə, A.Abi, X.Hümmətovanı göstərmək olar. Açar sözlər: Şeyx Qalib, poeziya, mövləvi, III Səlim, F.Köprülü, H.Ayan, M.Quluzadə,A.Abi Guler Sabir Abdullayeva From the genius of Sheikh Ghalib and the history of his study Abstract Sheikh Ghalib, one of the last representatives of Turkish Sufi literature of the 18th century, played an invaluable role in enriching classical literature. The excellent examples that he left for the next generations play an inexhaustible role in the development of moral values. The poet's father was one of the Mavlavi sheikhs, and his endless love for Mavlana was passed on to the poet through his father. It is also known that on the divan of Ghalib the poet read Maulana's "Masnavi" eleven times. He built his life on these cautionary tales. The poet, who lived for some time in the palace of Selim III, reflected in lyrical colors on the sofa his infinite respect for him. The Divan has many poems dedicated to Selim III. The study of the work of Sheikh Ghalib was addressed in Turkey at the beginning of the century. F. Köprül was one of the first to inform about the poet's work. Then we can show H. Ayan, M. Nurdogan, N. Okcha and others. Among those who spoke about the poet for the first time in Azerbaijan, we can name M. Guluzade, A. Abi, H. Hummatova. Keywords: Sheikh Ghalib, poetry, Mevlevi, Selim III, F. Köprülü, H. Ayan, M.Kuluzade, A. Abi
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KOÇAK, AYNUR, and SÜMEYYE KÜBRA GÜNDOĞDU. "BEN-ÖTESİ PSİKOLOJİNİN İZİNDE YÛNUS EMRE’Yİ ANLAMA." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (December 3, 2022): 15–28. http://dx.doi.org/10.34189/hbv.104.002.
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As a poet-hero who was raised by Turkish culture and left his mark on centuries, every step taken to fully grasp Yūnus Emre is an effort to understand people. The aim of the study is to analyse the psychological dynamics and experiences of Yūnus Emre and to reveal a "special" human model. In this direction, the peak experiences in Yūnus Emre's poetry are discussed in the context of the theories of Abraham Maslow, who is accepted as the founder of the transpersonal psychology school. The reason why Maslow is suitable for the subject is that he is one of the founders of "modern health psychology" developed in the West. In relation to this, when evaluating a ṣūfī-poet like Yūnus Emre who left his mark on the ages, it was deemed appropriate to choose a psychology school that focuses on the potential of human, not on the weaknesses. In the study, it has been determined that the moods described by Maslow are very similar to the “states” that Yūnus lived in depending on ṣūfism. These links are grouped under two main headings. In the first part of the study, the motivations needed to reach the transcendent or peak experiences and their equivalents in Yūnus Emre's poems were evaluated. It has been observed that deep feelings such as love, pain, devotion and anxiety have turned into purposeful motivational tools in Yūnus’s poetry. In the second part, the appearance of certain characteristics of transcendental experiences in Yūnus Emre's poems is given. The basic features of these transcendent experiences have been identified as unity of consciousness, self-cognition and admiration. As a result of the study, it has been seen that a new breath can be brought to the analysis of Yūnus Emre's poems by utilizing the accumulation of different disciplines. However, it was seen that although Maslow discovered the subject of peak experience and meta-motivations with his own efforts, he could not put forward a systematic definition, and ṣūfism is at a much more advanced point in this regard. Keywords: Trans-personal Psychology, Yūnus Emre, Abraham Maslow, Peak Experience.
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Özmen, Ali Timurtaş, Şahin Orbay Daldal, and Nurhazal Bilgi. "Mahirî Dede Hayatı ve Şiirleri: Mehmet Mahir Özkolaçık [d. 1887-ö. 1952]." Edeb Erkan 2 (November 20, 2022): 39–54. http://dx.doi.org/10.59402/ee002202203.
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This study deals with the life and poems of Mehmet Mahir Özkolaçık, one of the last period pir’s of the Koluaçık Hacım Sultan ocak. Mehmet Mahir Özkolaçık was born in Malatya Yazıhan Karaca Village in 1887 and died in 1952. He lived in the last period of the Ottoman Empire and the first years of the Turkish Republic. Since he was a member of the Hacım Sultan ocak, he tried to carry out the service of the ocak. The Hacım Sultan ocak is connected to the Hacı Bektaş Veli Lodge. For this reason, Mehmet Mahir Özkolaçik has had close work and friendship with the children of Hacı Bektaş Veli. Mehmet Mahir Özkolaçık used the pseudonyms Mahir, Mahirî and Kul Mahir in his poems. His poems, read by him and his entourage, have been preserved in scattered form in many places. Every day, Mehmet Mahir Özkolaçık's poems are disappearing. However, most of his poems are recorded in the notebooks held by the members of the Hacım Sultan ocak. The notebooks are written down by Mehmet Mahir Özkolaçık and are the copy of the author. His poems, which are included in this study, have been selected from these three notebooks. All the poems are written in syllabic meter. Among the subjects of the poems, the love of Ehlibeyt was intensely processed. In addition, Mehmet Mahir Özkolaçık, especially the Çelebis, with whom he is in contact, has been the subject of his poems. He also talked about the period in which he lived and the difficulties he faced. With this study, besides giving brief information about Mehmet Mahir Özkolaçık's life some of his poems were published for the first time. Keywords: Mehmet Mahir, Hacım Sultan Ocak, Hacı Bektaş Veli, Poetry, Conk.
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Nabieva, Almara V. "POETICS OF AZERBAIJANI LOVE DASTANS." Alfred Nobel University Journal of Philology 2, no. 26/1 (December 20, 2023): 179–93. http://dx.doi.org/10.32342/2523-4463-2023-2-26/1-13.
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The article aims to study the peculiarities of the content and structure of the love dastan genre as a product of the artistic thinking of the Azerbaijani people, to determine its poetic originality as well as the impact on the development of Azerbaijani literature and spiritual values of the next generations. The article traces the causes and origins of the similarities and differences between the ancient Turkic epic as a product of folk poetry and the subsequent medieval classical love epics created by Ashuga poets. In order to achieve the goal, historical-literary, cultural-historical, comparative, and hermeneutic research methods were used. Poetological originality of love dastans is conditioned by cultural-historical and literary aspects. On the one hand, love dastans contain the ancient culture of composing epics, which is characteristic of the Turks, and on the other hand, they combine features of the artistic outlook specific to medieval Sufism. Thus, the features of Turkic folklore and Sufi consciousness are synthesized in the Azerbaijani love dastans, which is reflected in the level of structure and content specificity of the love epic. In contrast to the works of the heroic epic, which often consisted of separate songs and legends united by a single plot line in a complete work (“Keroglu”, “Kitabi-Dede Gorgud”, etc.), the structure of love dastan tends to the structure of fairy tale genre, where the original plot is built into a universal structure. Love dastans are mainly characterized by a five-level structure, which includes the introductory part (ustadname) and the main one, where the following stages are distinguished: the wonderful birth of the hero, the stage of obtaining “buta”, the stage of overcoming obstacles, and the stage of winning in competitions. The specificity of the content of love dastans is determined by the dominance of the love theme, the understanding of the problems of morality, family values, cognition and mentoring, and a special type of hero – a young man with a pure heart, worthy of receiving a higher gift, which contributes to the spiritual growth of the character and success in achieving the goal (conquest of the beloved). It should be noted that unlike the heroic epic, which focuses on patriotic issues, social values, the main of which is devotion to the Motherland and its people, in love dastans the theme of individual love is understood in the context of the general national values of the Azerbaijani people. In this regard, love dastan as a work of folklore already has the features of an author’s literary work, marking the stage of transition from traditionalist to individual creative poetics.
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Seitbekova, A. A. "THE USE OF BORROWED EMOTIVE VOCABULARY IN TEXTS OF MEDIEVAL ARTISTIC POETIC WRITTEN MONUMENTS." Tiltanym 87, no. 3 (September 30, 2022): 69–80. http://dx.doi.org/10.55491/2411-6076-2022-3-69-80.
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Many abstract concepts in modern Turkic languages are borrowed from Arabic and Persian and have free use in the language system of the Turkic peoples. The use of some emotive lexical concepts that are absent in the Turkic languages, including Kazakh, can be traced in the texts of medieval written monuments. Emotive vocabulary is widely used in the fiction of the modern Kazakh language, and in colloquial speech. Since then, emotive lexical units have become the richest lexical means of language, firmly entrenched in our vocabulary. In this regard, this article in the XIII-XIV centuries examines the features of the use of emotive vocabulary in the texts of written monuments borrowed from Arabic and Persian languages, continuity with the modern Kazakh language. In the language of monuments of artistic poetic writing that have come down to our era, the special use of emotive lexical units was used by Turkic poets to glorify Allah, preach Islam, describe the beauty of a girl and glorify relationships between people. The article classifies Arabic, Persian emotive lexical units in the texts of written monuments of the Golden Horde era within the framework of the functional and semantic field, analyzes the continuity with the modern Kazakh language. As a result of the research, the main emotive concepts on the content of written monuments are revealed. That is, the emotive concept of "love" is systematized into microconceptual models of "love", "joy", "regret".
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Zhunissova, M., and Y. Kasenov. "PAREMIOLOGICAL UNITS ABOUT EDUCATION IN THE LITERARY HERITAGE OF THE ISLAMIC AGE." BULLETIN Series of Philological Sciences 75, no. 1 (April 12, 2021): 61–66. http://dx.doi.org/10.51889/2021-1.1728-7804.10.
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The article is about the use of proverbs related to education in the Islamic heritage. The article focuses on the stylistic features of paremiological units in poetry of the Islamic Age and their influence on the upbringing of today's generation. It also discusses the vitality of paremiological units dedicated to the upbringing of children and the education of mankindin the heritage of the Turkic people especially in the worksof Yūsuf Balasaguni, Mahmud al-Kashgari, Akhmet Yugineki, Akhmet Yassawi and Suleyman Bakyrgani. It is also stated that today's upbringingshould always be guided bythe principles of upbringing of people living in the Islamic Age. It is said that medieval thinkers such as Yūsuf Balasaguni, Mahmud al-Kashgari, Akhmet Yugineki, Akhmet Yassawi and Suleyman Bakyrganipaid special attention to the education of humanity, which confirms the importance of education at any time and in any society. This work analyzes the wisdom of education in the ancient Turkic written monuments, translated by the scientist Abzhan Kuryshzhanovich. The role and significance of paremiological units in education in the modern country is also confirmed in the article. The work also discusses the need for education through the introduction of the wise ideas of the Turkic world into today's educational areas. The article clearly describes the significance of instilling love for the country and the motherland in the Kazakh youth.
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Makhamatov, T. M. "The Philosophy of Man in the Poetry of Sеid Nasimi Imadeddin." Humanities and Social Sciences. Bulletin of the Financial University 10, no. 4 (November 3, 2020): 99–103. http://dx.doi.org/10.26794/2226-7867-2020-10-4-99-103.
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In the article, the author substantiates the position about the relevance of Nasimi’s thoughts about the unity of God, that all people are children, that everyone should enlighten his mind. The poet’s lines about ignorance as to the cause of evil and cruelty because it is the essence of Shaytan remain relevant. Nasimi’s work, which is pantheistic, anthropocentric and humanistic, developing the language of the Azerbaijani people, contributed to the unification of Azerbaijanis into a single people, the formation of self-consciousness and national identity. The beauty of a syllable, depth of thoughts, melodiousness of lines of poetry of the poet and the philosopher, attracting love to itself and admiring such poets and thinkers of related Turkic nationalities as Alisher Navoi, Lutfi, Babur, Mashrab, etc. , promoted understanding by them of the relatedness with each other. Nasimi’s thoughts, based on the profound progressive humanistic and democratic provisions of the Qur’an, were ahead of his time and did not fit the socio-political conditions of the Islamic world of those times. It is so because he wrote that he does not fit into this world. The author concluded that the provisions of Nasimi about man as the highest value of existence are relevant today. Nasimi revealed the basis of the civilisational unity of humankind, which is also achieved by the legal “frame” of the value of human life, its freedom, and equality.
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Fidan, Alizade. "XVIII CENTURY AZERBAIJAN HISTORICAL REALITY AND LITERATURE." Scientific Journal of Polonia University 62, no. 1 (July 8, 2024): 20–27. http://dx.doi.org/10.23856/6202.
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Throughout the entire history of mankind, literature has been a fact of the time of its creation. When we look at the issue both in a universal context and in a local one, we see approximately the same picture. Just as Homer is a fact of ancient Greece, the work of the genius Azerbaijani poet Nizami Ganjavi of the 12th century is considered to be the fact of the mighty Seljuk Empire, the state of the Atabays of Azerbaijan. Khagani Shirvani's literary heritage, dominated by rebellious and grievous motives, was a literary phenomenon caused by the state of the Shirvanshahs, the Akhsitan dynasty. The invasion of the Mongols, the invasion of Emir Timur, the period-specific manifestations of discontent against oppression and slavery, the spread of philanthropy and the phenomenon of Imadaddin Nasimi.. The work of Alishir Navai, the Uzbek-Chagatai poet and statesman of the 15th century, the author of the first “Khamsa” in Turkic, and the great Turkic culture, which was called the Timurid renaissance, were echoes of Huseyn Baygara's rule which lasted 37 years, in culture, science and literature. The establishment of the Safavid state of Azerbaijan in the XVI century and the fact that Azerbaijan remained the “metropolis and central province of the state” (Efendiyev, 2007: 11) throughout the century, the domestic and foreign policy has had a direct impact on the change of the direction of literature. The biggest event was the stabilization of the tradition of writing in the Azerbaijani language, the preference for the folk language, and the rapid development of ashug poetry. If in the literature of three centuries ago there was a palace splendor, then in the poetry of this period there is already a roar of battlefields, heroic motives surpass love poems, ashug poetry, which is closer to the people, and therefore has a lot of influence and propaganda power. The 18th century Azerbaijani literature is also a “mirror that shows the straight and the crooked” of its time. The article examines the most important events in the history of Azerbaijan of the XVIII century, their influence on the development of literature and features of their reflection in artistic works.
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Weng, Jiatong. "The word pearl in Russian poetry and its Chinese roots." Neophilology, no. 27 (2021): 536–44. http://dx.doi.org/10.20310/2587-6953-2021-7-27-536-544.
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The object of the analysis is the word pearl in the Russian language. The subject of the study is to consider the functioning of this lexeme in Russian poetry. The analysis uses descriptive, comparative, and stylistic methods. The word pearl was borrowed by the Russian language from Chinese through the Turkic mediation in the 12th century. The Chinese word 珍珠 [zhēnzhū] con-sists of two syllable morphemes 珍 ‘rare, expensive, valuable’ and 珠 ‘glob, bead’. We examine the appearance history of this lexeme in the Russian language, reveal the original and figurative meanings of the word and its word-forming and combinative activity. Lexeme pearl is entered the active vocabulary of the Russian language, became widely used in the speech of Russian people, acquired a large number of derivatives and stable phrases with them. We analyze the functioning of the word pearl, the lexemes formed from it, and the stable phrases containing these units in Russian poetry. Pearls have become a favorite means of expressing ideas about beauty, value, love, and emotions among Russian poets. The word pearl, its derivatives and phrases with it are found in the works of most Russian poets, they are noted in the poems of A.S. Pushkin, M.Y. Lermontov, M.I. Tsvetaeva, V.Y. Bryusov, K.D. Balmont and many others. We found that in the works of poets of the 18–19th centuries, the word pearl is regularly found in the singular with an oxytonic accent, and in the twentieth century, the accentuation becomes penultimative, transferred one syllable forward. The perspective of this research is to study the use of the pearl token in translations into Russian of works by foreign authors, including Chinese ones.
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Temirgazina, Zifa Kakbaevna. "ANASTASIA AND EUGENIA IN THE ANTHROPONYMICON BY PAVEL VASILIEV." Language and Literature: Theory and Practice, no. 3 (June 26, 2023): 55–62. http://dx.doi.org/10.52301/2957-5567-2023-3-55-62.
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Abstract. The article examines the features of the use of anthroponyms in the literary texts of Pavel Vasiliev, which perform an identifying and often artistic and stylistic functions. Anthroponyms are one of the most common groups in Vasiliev's onomasticon. Particular attention is paid to the use of two female names: Anastasia and Eugenia. The onim Anastasia is the most common female name in Vasiliev's poetry. There is a version that it was the girl’s name who was the first love of the poet. This name is given by a variety of characters in seven works by Vasiliev. It often takes the syntactic position of address, in which the emotional-subjective attitude towards the heroine is actualized. The second name, Eugenia Stanman, has a real prototype - a girl who studied with the poet in the same class in Pavlodar. The anthroponym is used as a symbol of childhood, youth ("Eugenia Stanman") and as a symbol of the construction of a new life ("Turksib"), thus performing an artistic and stylistic function in Vasiliev's poetic picture of the world.Key words: anthroponym, Pavel Vasiliev, artistic and stylistic function, onomasticon, prototype.
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Akhmetova, Elmira, Gumar F. Dautov, and Alfira S. Hajrullina. "The Concepts of Statehood and the Ideal Ruler in the Golden Horde Literature: The Husraw and Shirin of Qutb." Journal of Islamic Thought and Civilization 12, no. 2 (October 11, 2022): 01–13. http://dx.doi.org/10.32350/jitc.122.01.
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This paper studies the concepts of statehood, governance and the ideal ruler in the Golden Horde literature through a synthesis of political thought, philosophy, religious ethics and poetry presented in a poem by Qutb named Husraw and Shirin (written in 1342). The first part of the paper provides an overview of the Golden Horde civilization and suggests that its intellectual culture accumulated the all-inclusive scholarly, literary and scientific achievements of that time with the most advanced scholarly and educational centers. The following parts provide a general idea about Qutb and his Husraw and Shirin, including its plot and main ideas. The last part analyses the concepts of statehood and an ideal ruler that are depicted in the poem within the framework of governance in Islam. The paper finds that, by referring to a famous love story between Husraw and Shirin, Qutb was able to address the needs of his era and society, and created an original composition through an intense creative processing of literary material that was available to him. Given the fact that the Golden Horde is among the less studied periods of Islamic history and intellectual thought, this paper is expected to contribute to the field positively.
Keywords: Golden Horde, Governance in Islam, Husraw and Shirin, Justice, Qutb, The concept of ideal ruler in Islam, Statehood, Turkic literature, Women as rulers
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Reichl, Karl. "L’épopée orale turque d’Asie centrale. Inspiration religieuse et interprétation séculière." Études mongoles et sibériennes 32, no. 1 (2001): 7–162. http://dx.doi.org/10.3406/emong.2001.1141.
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The first chapter provides a short introduction to the Turkic oral epic of Central Asia (Bref aperçu de l’épopée orale turque d’Asie centrale). Among the various traditions of Turkic oral poetry, this and the following chapters focus on the epics of what is termed the « central traditions », i.e. the oral poetry of the Uzbeks, Uighurs, Kazakhs, Karakalpaks and Kirghiz. In these traditions different types of singers can be distinguished: baxši, aqïn, žïraw, manasči and others; these singers are in general professionals who have acquired their art and their repertoire in the course of a more or less formal training with one or more master singers. Although there are many similarities between these traditions, there is also a fair amount of variety as to the form, the genre and the manner of performance of the epics. Epics can be in verse, they can be in a mixture of verse and prose; the verse can be in octosyllabic lines, often alliterating, or in lines of eleven/twelve syllables, often rhyming; in the singers’ repertoire there are both heroic epics and lyrical love romances (dastans); the singer might perform the epic in chanting without the accompaniment of an instrument (as the Kirghiz manasči), he might accompany himself on a plucked or bowed instrument, and he might be further accompanied by another musician or even a small ensemble. In the second chapter the influence of Islam on the Central Asian oral epics is discussed (Le héros et le saint: l’influence islamique sur l’épopée turque d’Asie centrale). Islamic influence is found in epics and oral narratives of an overtly religious persuasion as well as in secular heroic epics and romances. The former (called džañnāma in Uzbek) celebrate the deeds of the Prophet and his followers and successors, their wars against the infidels and their achievements as Moslem leaders. These narratives have also influenced non-religious epics such as for instance the Uzbek dastan of Yusuf and Ahmad. An important role in these and other epics is given to various helper saints, in particular to ‘Alī, the Forty Saints, the Twelve Imams, and various pirs and holy men. In discussing the heterodoxy in the invocations of these saints it is argued that the most important source of religious inspiration in the epics must be sought in the popular Islam of Central Asia, which incorporates many pre-Islamic elements. In the third chapter the pre-Islamic strata as found in the Central Asian epics are further examined (Le héros et le chamane: les strates archaïques de l’épopée turque). It is shown that there is an intimate connection between epic singer and shaman. This emerges from the use of terms like baxši for both the bard and the shaman, from the symbolism of the singer’s instrument, comparable to that of the shaman, and from initiation visions and sicknesses found both among bards and shamans. A closer view at two Altaian epics (Kögütey and Altay Buučay) shows that in this tradition the world of the pre-Islamic Turks is well preserved, but similar archaic strata can also be detected in the epics of the central traditions, among them the transformations of the hero and his horse, heroic adventures in the underworld, various mythological figures and the reanimation of the hero. The fourth chapter is concerned with questions of interpretation (“Sens” et “conjointure”: problèmes d’interprétation). With reference to the distinction between sens and conjointure as made in the introduction to Chrétien de Troyes’ Érec et Énide it is argued that an oral epic such as Qoblan or Manas should not only be interpreted on the textual level but must also be interpreted from a pragmatic point of view. While a close reading of the epic as a work of verbal art (plot, characterisation, style, narrative structure and narrative technique) is indispensable for its analysis, a fuller understanding presupposes a knowledge of the function an epic performance has in an oral (or partially oral) society and the place an epic occupies in its value system. Heroic epics like Qoblan or Manas are felt to be historical (by singer and audience) and they play an important role in identifying the roots of an ethnic group and in re-inforcing its identity. While these heroic epics are believed to reflect historical truth, they have nevertheless undergone considerable transformation in the course of their transmission, thus conforming in the plot and motif structure to mythic patterns as described by M. Eliade. The final chapter examines the actual performance of Central Asian oral epics (La voix vive: aspects de la performance). With the help of the terminological apparatus of the ethnography of communication the various constituents of an epic peformance are described and the event character of oral epic poetry is underlined. By the same token, the comments on the musical aspects of performance in the first chapter are elaborated, with examples from the various central traditions of Turkic epic poetry. While the recitation of epic contains many dramatic elements, the performance of Turkic epic poetry does not cross the borderline to drama as in some African or Asian traditions. It is stressed in concluding that as an oral art the performance aspects of Turkic epic are of the utmost importance for its full appreciation.
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GEDİK, Nusret. "Lotus in Classical Turkish Poetry." Akademik Dil ve Edebiyat Dergisi, October 22, 2022. http://dx.doi.org/10.34083/akaded.1169028.
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Although not as much as roses and tulips in classical Turkish poetry, the lotus comes first among the flowers that are the subject of couplets. it usually appears as the lover's yellow face, which has faded from the suffering of love. While in the imagination of the classical poet, the lotus is sometimes a sign of the lover himself who is captured in the tears of love ,it can also represent the loved one . Some ornaments on the lover are similar to the lotus in this context, for example, the hil‘at, the zerrîn buttons, the cheesecloth he wears. The relationship of the blue or purple lotus with the sky has also been instrumental in numerous couplets in the imaginations of the poets in terms of shape and color. The lotus, which is also made as a sherbet as a medicinal herb, is dealt with in this aspect in some couplets. The most common type of lotus, which is the subject of many comparisons in the imagination of classical poets, is the nymphaea, that is, the yellow lotus, which also bears the name of the flower in Latin. While the yellow lotus is followed by the blue/purple lotus, the white lotus and red lotus are also reflected in the literary texts in different couplets. In this study, the status of the lotus in classical Turkish poetry, which is a tradition literature, will be discussed and it will be tried to examine how this precious flower takes place in the imagination of poets.
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Kaçmaz, Ercan. "Restful Souls: The Representative Men (Yunus Emre and Ralph Waldo Emerson)." SÖYLEM Filoloji Dergisi, April 17, 2024. http://dx.doi.org/10.29110/soylemdergi.1439343.
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Abstract
Yunus Emre, the prominent Turkish poet who left his mark on the 13th century, stands out as the most significant folk poet producing poetry in vernacular Turkish. On the other hand, Ralph Waldo Emerson, the American essayist, is recognized as one of the most influential thinkers of the 19th century. Despite living in different centuries, the commonality between these two representative figures is love, more precisely Divine love. This article offers a comprehensive analysis of the intellectual realms of Turkish Sufi poet Emre and American thinker Emerson through their profound exploration of love. Focusing on Emre's impact in Turkish Islamic culture and Emerson's role in American Transcendentalism, both are examined as representative men of their eras. The article introduces the similarities of Divine love in the teachings and worldviews of these influential thinkers, and illustrates their contributions to humanity's cultural and intellectual development. Emre and Emerson’s intellectual legacy forms the primary focus of the article and offers a perspective on how their understanding of love significantly shaped humanity's collective consciousness.
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AGHAYEV, Murad. "BELIEF IN GOD AND LOVE OF THE PROPHET IN NIZAMI GENCEVI'S "KHAMSA"." Erciyes Akademi, October 11, 2022. http://dx.doi.org/10.48070/erciyesakademi.1171896.
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Poetry works of the classical period have their own aspects. These works, which were written in a certain style, differ from the previous and later period poetry works with their internal and external integrity. Classical period literature examples of Allah and it starts with the praise of the Prophet (pbuh) and continues with the praise of the sultan to whom the work is dedicated. In classical works, especially belief in God is of great importance. This section consists of sub-titles such as “The One of God” and “Asma al-Husna”. At the same time, the love of the Prophet is an indispensable part of classical literature. “Miraj of the Prophet”, titles such as “Glamor for Muhammad” are parts of the love of the Prophet, which is very common in classical Azerbaijani poetry. In these chapters, God and under the titles of the praise of the Prophet (pbuh), the poet reveals his world of thought. He states that belief in God is superior to other beliefs, based on philosophical and logical evidence, and that he tries to prove that Muhammad (pbuh) is the last prophet of truth.
One of the greatest representatives of the classical period poetry movement is undoubtedly Nizami Ganjavi. He is one of the great poets of not only Azerbaijani literature, but also world literature. One of the features that makes Nizami Ganjavi different from other Turkish poets is that he brought the “Khamsa” (meaning quintet) poetry format to Azerbaijani-Turkish literature for the first time. At the same time, “Khamsa” is of great importance in terms of belief in Allah and the love of the Prophet. In this context, Nizami Ganjavi’s “Khamsa” will be evaluated in many ways, and his original ideas declaring his love for God and the prophet will be determined and subjected to research.
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Demir, Yasin Murat. "SEZAİ KARAKOÇ IN WORLD POETRY: AN EVALUATION OF MONA ROSA POETRY TRANSLATIONS." European Journal of Applied Linguistics Studies 5, no. 2 (December 24, 2022). http://dx.doi.org/10.46827/ejals.v5i2.397.
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Sezai Karakoç, who is one of the most important intellectuals who grew up in our country, is an important person who influenced large masses with his views on art and literature. Karakoç wrote works in many fields such as literature, philosophy, economy, politics, and education. Sezai Karakoç has nine poetry books; in the following periods, he compiled and published all of his poems in his book called "Gün Doğmadan". The most well-known of his poems is the poem "Mona Rosa". This poem, which he wrote during his university years, was greatly appreciated by all his readers. While defining human love in this poem, the poet tries to express the impossibility of meeting the spiritual, mystical, and platonic aspects of love. In this study, the Turkish and English translations of Sezai Karakoç's "Mona Rosa" will be evaluated in the context of equivalence. While interpreting the translation equivalence; formal elements will be discussed in detail in terms of linguistic, semantic, and stylistic aspects, in terms of adequacy and acceptability.<p> </p><p><strong> Article visualizations:</strong></p><p><img src="/-counters-/edu_01/0220/a.php" alt="Hit counter" /></p>
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SODIQOV, Qosimjon, and Govhar RAHMATOVA. "SEMANTICS OF POEM IN «DIV TICS OF POEM IN «DIVANI LUGATI-T-TURK»." Light of Islam, August 6, 2021, 36–45. http://dx.doi.org/10.47980/iiau/2021/2/7.
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Lyric songs depict how rich is the aesthetic taste of the Turkic peoples and their special love for verbal art for a long period, and the fact that they possessed artistic resources capable of competing with the most agile peoples of their time. Moreover, these songs illustrate the artistic views of the Turks. Pure lyrical experiences, with their novelty, the richness of images, and unique pathos, have always engaged the reader. The poetry of the Turkic peoples is studied as a separate phenomenon in the history of world literature. Mahmud Kashgari’s Divani lugat at-Turk provides extensive information about the foundations of Turkish poetry and its scope. We can see the first paradigms of lyric poetry in the oral poetry of the Turkic peoples in the Divani lugat at-Turk. As a great linguist of his time and an advanced thinker – Kashgari proves each word with its specific expression or a piece of poetry. Each poem in his work is unique regarding its artistic value and semantics. We can see this, especially in these lyrical poems. Even simple episodes in lyrical songs demonstrate the ability of our ancestors to express thoughts beautifully. The lyrical passages in the Divani lugat at-Turk consist of the description of the mistress, the sad moments of the separation of beloved ones, and the poems addressed to his beloved one. The issue of fine art and its location is noteworthy in them. The devices used in them play an essential role as the initial version in the context of the literature of the Turkic peoples. The author cites some examples of such poetic art: tashbih, oxymoron, metaphor, tajnis, repetition, hyperbole (mubalaga), irsali masal, etc. These devices were actively reflected in all types of poetry of the later period. This article discusses the semantics of lyrical poems in the Divani lugat at-Turk and reveals their fine art.
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YILMAZ, Emrah. "EPIC CULTURE IN TURKMEN LITERATURE." Uludağ Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi, September 14, 2022. http://dx.doi.org/10.21550/sosbilder.1167120.
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Turkmens; With its rich oral cultural products, strong national ties and dynamic lifestyle, it forms an important part of the Turkish cultural circle. In various sources, there is information that the epic is composed of poetry or parable genres, with the mention that it is based on the literary reworking of prose genres such as tales, legends, and narrations, and that it is written as a mixture of verse and prose in literatures based on the Turkish language. In this respect, the concept of epic is considered as an important part of the literary heritage, social memory, written and oral tradition, although it is considered within the category of “parable” in folk literature in Turkmen culture. In this tradition, under the title of “dessan”, the concept of the term is quite broad compared to other traditions and Turkish literature, since many topics related to social life are covered besides the themes of heroism, love, religion, history and music.
In this study, the nature of the concept of epic, which has an important place in the literary tradition of Turkmenistan, the performers, the musical instruments used, the schools of bahshilik and the ways of epic are emphasized.
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Aneer, Gudmar. "Unity and diversity: intentional multidimensionality in Persian Sufi language and the method of decoding it." Scripta Instituti Donneriani Aboensis 17, no. 2 (February 1, 1999). http://dx.doi.org/10.30674/scripta.67261.
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Jalal al-Din Rumi and Muhammad Hafez Shirazi are two of the great mystics, Sufis, writing in Persian in the 13th and 14th century. Their poetry is still an essential part of the Turkish and the Persian religious and cultural settings. The objectives of this article are to suggest a method for analyzing the poetry of Rumi and Hafez within the discipline of History of religions. The various combinations of symbols, symbolic clusters, together create a totality from which parts are taken and combined in various ways in the poems. Seldom all of them are there together, but reading some poems with various themes gives the whole combination of symbols, which has been used by the poet. It gives the picture of a Sufi setting, where the essential thing is the path to the unity with God. With it goes the Persian identity indicated in the garden of roses symbolizing paradise, kingship, justice, prosperity, the love of nature etc. Only in combination do these symbols point to the complex situation of the Persian Sufis.
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Güven, Ahmet Zeki, and Gökmen Arslan. "Suffering and happiness in Turkish folk poetry in the context of positive psychology: The examples of Asik Mahzuni Serif and Neset Ertas." Frontiers in Psychology 13 (January 17, 2023). http://dx.doi.org/10.3389/fpsyg.2022.1104611.
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The widespread adoption of positive psychology at the beginning of the century has fortified the scholarly foundations of “happiness.” Thus, researchers have focused on “happiness” rather than “suffering” in boosting the joy of life within positive psychology, aiming for individuals to achieve peace with themselves and society. With the developments in positive psychology, over recent years, the idea of integrating both positive and negative aspects of human nature to build a better life for oneself and others has contributed to the rise of second-wave positive psychology (PP 2.0). The present study aimed to explore suffering and happiness in Turkish folk culture through a sample of poems by Asik Mahzuni Serif and Neset Ertas. The study results indicated that suffering-themed concepts were mentioned more than happiness-themed concepts. Within the theme of suffering, the world was the most frequently mentioned concept in Mahzuni’s works. He emphasizes in his works that the world is the source of many sufferings. In Ertas’s poems, moreover, love was found to be the most frequently mentioned suffering-themed concept. Ertas considers love to be the most significant source of suffering. It was also determined that while separation is the least used concept in the theme of suffering in Mahzuni’s verses, it is never mentioned in Ertas’s poems. Other concepts pointing to the theme of suffering are poverty, ignorance, longing, death, and slavery. We found that the theme of happiness is mentioned much less frequently than the theme of suffering. While the most used happiness-themed concept is misery/remedy, in Mahzuni’s words, love is cited in Ertas’s poems. Expressing the view that suffering can be an opportunity for people, Mahzuni emphasizes in his poems that people can grow by learning lessons from their suffering. Ertas, moreover, sees love as the most important source of happiness. The other concepts referencing happiness in the poems were friend, mother, soft answer, and spring. Overall, the results suggest that suffering is an important source of building resilience, which, in turn, can produce happiness. People can grow with the help of the experience of suffering so that this experience can contribute to their flourishing.
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Aliyeva, T. "Presentation of the turkish divan poetry in the novel “Death in Babylon Love in Istanbul” of Iskender Pala." British journal for social and economic research, August 31, 2017, 37–42. http://dx.doi.org/10.22406/bjser-17-2.4-37-42.
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DONUK, Suat. "An Advice Book Written in The 18th Century: The Nesâih-i Cündiyye of Kefevizâde Mehmed Âdil." Littera Turca Journal of Turkish Language and Literature, October 28, 2022. http://dx.doi.org/10.20322/littera.1169418.
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One of the text types of classical Turkish literature is advice book. There are many advice books, which are among the famous books of Turkish literature. In addition to these famous books, there are also advice books that have not yet come to light in the manuscript libraries. Recently, many examples of advice book have been identified by researchers and shared with the scientific community. Kefevîzâde Mehmed Âdil Efendi's Nesâih-i Cündiyye is such a work. Nesâih-i Cündiyye is located in the majmua registered at Ankara National Library number 06 Hk 3752. Its writing was completed on the last day of Safar in 1208 (6 October 1793). It falls under the military advice book type. It contains the advice that a member of the army should follow for the safety, security and order of the people. The author used verses, hadiths, stories, poems and kalamikibars to embody his advice and embellish the narrative. Among the kalamikibars, he mostly included Hz. Ali's aphorisms. He translated Arabic and Persian quotations into Turkish as poetry. To the soldiers he gave advice to keep secrets, to love state administrators, to be generous, to have piety, to know his entourage, to employ knowledgeable and intelligent advisors, and to be patient. He also reported the prayers that should be read during the war. The language of Nesâih-i Cündiyya is heavy and its style is ornate. The fact that the language existence is mainly composed of Arabic and Persian words has made the language heavy. Arabic, Persian and Turkish verse and prose quotations, succinct and long sentences made his style grandiose. Nesâih-i Cündiyye provides important data for 18th century Ottoman Turkish language studies as it contains a large number of Turkish archaic words and suffixes. In this article, the results of the form and content analysis of Kefevîzâde Mehmed Âdil's Nesâih-i Cündiyye are given, and the translated text of Nesâih-i Cündiyye is shared with the scientific community.
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QEDİMBEYLİ, Mehcebin. "Aesthetic beauty, patriotism and labor education in Ashug Veysal’s creativity." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, July 21, 2022. http://dx.doi.org/10.29000/rumelide.1146793.
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The article deals with the interpretation of the aesthetic beauty, patriotism and labor education issues in the works of the prominent representative of Turkish literature Ashig Veysal. It gives a brief overview of the life and fate of Ashik Veysal, provides brief information about the parents of the great master, and analyzes examples of biographical poems. Such issues as the personal life of Ashig Veysal, loss of vision in childhood, longing for the day light, and the unsuccessful family fate have also been highlighted in the article. The main attention is paid to the scientific interpretation of the issues of aesthetic beauty, patriotism and labor education in the article, which occupies a special place in the works of Ashug Veysal. Commenting these issues, the author names Azerbaijani and Russian theorists of aesthetic education such as F.B.Sadigov, Z.I.Mammadov, T.S.Akbarov, A.N.Akbarov, Z.I.Valiyeva, V.T.Likhachev, N.A.Kushayeva, Y.F.Smolyaninov, A.B.Sherbo, D.N.Djola, N.G.Kalashnik, G.B.Nezdemkovskaya, who dealt with the education of aesthetic beauty in thehistory of pedagogical thought, and their views on the education of aesthetic beauty are cited. It is substantiated that the education of aesthetic beauty occupies a central place in the poems of Ashig Veysal as a representative of folk art. Examples from the poems of Ashig Veysal are represented in the interpretation of aesthetic beauty education, the poetic mastery of the aesthetic description and characterization of the great ashug-poet are given. The scientific analysis of Ashig Veysal's creativity about love for motherland and patriotic education is also studied in the article. The study cites the views of one of the Azerbaijani scientists Z.I. Valiyeva on fostering love for the Motherland, and it is noted that this feature is also characteristic for Ashug Veysal’s poetry. The views of Doctor of philological sciences, professor Asgar Gadimov about Ashuq Veysel's creativity have also been used and it has been concluded that love of motherland and patriotic education themes prevail in Ashuq Veysal's creative activity.
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KARAKUŞ, Ahmet. "FEATURED ELEMENTS IN THE POET OF NEVZAT YALÇIN FROM HISAR POETS." Karadeniz Uluslararası Bilimsel Dergi, September 15, 2022, 31–46. http://dx.doi.org/10.17498/kdeniz.1145104.
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There are many literary societies in the field of New Turkish poetry. One of them is the literate community gathered around the magazine called Hisar, which is more commonly remarkable for Mehmet Çınarlı. Nevzat Yalçın is a Cypriot poet and belongs to this group. He is a Hisar poet who studied Turkish Language and Literature in Ankara and has poetry books called "A' Street" and "Sun and Man." When the poems of this Hisar poet are read collectively, it is seen that some elements come to the fore. These elements are "Highlighting Some Colors," "Foreign Places and Longing for Lover," "Tradition," "Politics and Criticism," "Detracting the West," "Mythology," "Some Common Uses among the Community", "Grammar Errors," and "Prominence of Hand Use" were examined under nine headings in this study. When Nevzat Yalçın's poetry is examined, it is seen that the poet wrote poems on numerous subjects. In order to be able to analyze these poems, the reader must have a certain knowledge and be aware of the media of the period. In the poet's poetry, especially blue and yellow are prominent colors drawing attention to the longing for a lover abroad. It is also seen that there are poems reflecting the past at a time when the tradition is criticized by many poets. It is also stated that the poet wrote some poems with a critical attitude towards some of the Turkish politicians and the West. Another theme of the poet's poetry is mythology. Another point is that Nevzat Yalçın does not deny the expressions used among the people. Another prominent element in Yalçın's poetry is grammatical elements. The processing of the hand limb draws attention to the poet's poems.
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KAS, Bilal. "AN OVERVIEW OF MARRIAGE AND FEMALE-MALE RELATIONS IN THE THEATER ARTISTS IN THE ASK DA GEZER NOVEL BY SOCIALIST REALISTIC NECATI CUMALI." Erciyes Akademi, July 7, 2022. http://dx.doi.org/10.48070/erciyesakademi.1131204.
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Known for his poetry, novel, story and theater works, Necati Cumalı, in his novel Aşk da Gezer, instead of Anatolian people by moving away from the usual themes that permeate his personality, the theater actors around him oriented towards relationships. The Turkish intellectual, who has been trying to become westernized in every field since the Tanzimat, through the theater environment Necati Cumalı, who criticizes from a socialist point of view, his artists are in the conflict between tradition and modernity evaluates. In the novel, where the narrator tries to balance between the modern and the tradition, the period of the 1960s the relations in the art environment, as much as it gets its reality from the work that the author has closely established with the theater genre,he is also indebted to his realistic observations.
Continuing his socialist sensibility in this work, Necati Cumalı, without interfering with the flow of the novel,puts forward his ideas on the concept of the artist, the limits of art and the reflection of love on the relations in the art world. In the study, the situation of male-female relations in a theater company that came to İzmir in the 1960s while making comments, the ideal artist and ideal relationship understanding of the socialist writer was determined .Also the author’s this work, which moved away from Anatolian realism, was developed with the theme of Westernization, and the tuluat groups of the period, by examining the characteristics of the elements of modern art gatherings such as the relationship between men and women, another contribution to the literary personality of Necati Cumalı is made.
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Kozikoğlu, Merve. "Kemterî Mahlaslı Bir Şairin Şiirlerinde Alevi-Bektaşi Unsurları." TSBS Bildiriler Dergisi, no. 3 (August 12, 2023). http://dx.doi.org/10.55709/tsbsbildirilerdergisi.537.
Full textAbstract:
Bektashism emerged in the 13th century and was associated with Alevism in Anatolia. Looking at the foundations and influences that make up Bektashism, it is seen that there are Hurufism, Shiism, and Sufism. The thoughts of Bektashi poets and their styles peculiar to their sects also affected their works. Although Bektashism mostly affected dervish lodge literature, divan poetry was also influenced by Bektashism. In this paper, we examined the poems of the poet with the pseudonym Kemterī in the manuscript number OE_Yz_0723 that we found in the İBB Atatürk Library. The work was recorded as a journal in the library. There are poems by other poets at the beginning and end of the work. At the beginning of the work, there is a section consisting of 4 leaves, which is thought to belong to another work. After this section, there is a section titled as “Divān-ı Perākende”. This section contains poems belonging to two poets with Zekāyī and Nizami pseudonyms. Apart from these, some poems do not have pseudonyms. Considering the content of the poems, Alevi-Bektashi elements are noticed. The section in which these poems are included consists of 10 leaves. At the end of the work, the poems belong to a poet named Kazım. The section in which Kemterī's poems are included in the manuscript starts from the 12th leaf. 70 leaves of the work, which has 108 leaves in total, belong to Kemterī. His poems are so many that they can form a divan. The first poem belonging to him in work was written in Nefes verse under the title “Nefes”. The Nefes’ are one of the most frequently used verse forms by Alevi Bektashi poets. Based on this and other poems that follow, we understand that he is a poet who adheres to the Alevi-Bektashi tradition. He mentioned Alevi-Bektashi poets other than himself in his poems. He mentioned about Haji Bektash Veli, Molla Jami, Nesīmī, many sect sheiks, and Alevi-Bektashi poets and gave examples of their poems. He included breaths, stanzas, and elegies in his poems. He used Aruz's prosody in his poems without any mistakes. Although he used different meters, he usually wrote with "fāilātun fāilātun fāilātun fāilun" meter of remel bahri, "mefāilun mefāīlun mefāīlun mefāilun" meter of hecez bahri and wrote poems with "mefāilun mefāīlun feûlun" meter in his Nefes. Besides the meter, he also used the language successfully. The content of his poems constitutes Hazrat Muhammed, Hazrat Ali, Hazrat Hassan, Hazrat Hussein, Hazrat Fatima and the love of Ahl al-Bayt, the Karbala incident, the pain felt from what happened, and the Twelve Imams. There are elegies to Hazrat Hassan and Hussein, dirges containing the Karbala event, the Nefes’, poems with Ali Redif, and poems of advice that he wrote for those who entered the sect. One verse of a dirge he wrote is “Kerbela narıyla dağ-ı sineni dağla bugün (Turkish in origin)” and another verse is “Şah Hüseynin matemidir karalar bağla bugün (Turkish in origin)”. These verses are a small sample of his poems and his commitment to this tradition. We examined Kemterī's poems in terms of the content, verse forms, meter, language, and other elements that make up the work by benefiting from the sources of Alevi Bektashi literature. Kemterī's poems have an important place in terms of Alevi-Bektashi literature and Turkish literature.