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Journal articles on the topic 'Turkish 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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Firuz Sadigova, Nigar. "Katran Tabrizi and the Turkish spirit." SCIENTIFIC WORK 60, no. 11 (November 6, 2020): 38–41. http://dx.doi.org/10.36719/2663-4619/60/38-41.
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Katran Tabrizi is an Azerbaijani poet of the 11th century. In his work, he reflected the political history of Azerbaijan. These are known as "history verses". Tabrizi wrote poetry on various topics. If you look closely at his work, you can see that he retained the Turkish spirit, way of thinking, Turkish culture in his works, retained the patriotic spirit that we see in Nizami, Fizuli, Khagani. The poetic ideas expressed in "Dada-Gorgud", "Divani-lugati-Turk", "Gutadgu-bilik" are very similar. Turkish culture here is very close to Katran Tabrizi; purity, courage, loyalty. Like many medieval poets, Katran Tabrizi wrote in Persian for socio-political reasons. Key words: Gatran Tabrizi, poet, poetry, Azerbaijan, turkic peoples
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Alıyeva, Saltanat. "GAZI BURHANADDIN’S “DIVAN” AND ITS RESOURCES." Scientific Journal of Polonia University 58, no. 3 (September 1, 2023): 15–22. http://dx.doi.org/10.23856/5802.
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The sources of the XIV century Azerbaijani poet Qazi Burhanaddin's creativity are diverse and rich. These resources are mainly: 1. Oral folklore 2. Written all-Turkic poetry 3. Religious sources, Quran motifs 4. Sufistic philosophy Oral folk literature is defined as the main and primary source for the poet's creativity. As we investigate, it becomes clear that the work of Yunus Amre, one of the representatives of Turkish-language poetry, had a serious impact on the worldview of the poet. The reason for this is primarily Yunus Emre's creativity, including It is shown that the Sufism poetry of XIII,XIV centuries became widespread. The influence of the poet by Nizami Ganjavi's poetry was also emphasized. As well as his excellent religious education and the demands of the time, the motifs of the Qur'an also acted as a source for the poet's creativity. The question of reflection of the Sufism philosophy, which became the object of controversy in the artist's poetry for a long time, was also clarified. As a result, it has been proved by facts that Sufism philosophy plays the role of a source for the poet's creativity.
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AYDIN, DILARA. "KLASİK TÜRK ŞİİRİNDE DÜVÂZ-DEHLER." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 103 (September 20, 2022): 261–81. http://dx.doi.org/10.34189/hbv.103.013.
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Düvâz-dehs is the name given to the poems, which are also called düvâz, düvâz-nâme and düvâzimâm and mentioned in relation to the subject of twelve Imams. It is considered as a genre belonging to Alevi and Bektashi literature. It is known that they are read during the semah, when slaughtering sacrifices, and in various rituals during the month of Muharram. The focus of the researchers on the düvâz-dehs, which was studied by Turkish folk literature researchers, is the breaths spoken about the Twelve Imams in the Alevi and Bektashi tradition. Although the researchers mentioned the existence of the düvâz-dehs sung in the forms of classical Turkish poetry, they stated that they are closer to folk poetry in terms of language, style and shape, and that folk literature was dominant in the measurements. In the studies carried out throughout Turkish literature, three poets who sang düvâz-dehs were identified in the classical poetry tradition. In the classical Turkish poetry, no examination and definition of the genre has been made on düvâz-dehs. They are examined under the names as “Twelve Imams praise” and “Twelve Imams elegy”, thus a comprehensive düvâz-dehs literature cannot be put forward in the classical Turkish poetry. As far as we can determine, they are sung by poets who comes from different sects and they have many different forms of writing from the first half of the 15th century to the last quarter of the 19th century. In this study, first, the researches on the düvâz-dehs are summarized and the current information about the düvâz-dehs is presented to the attention of the researchers. Then, the düvâz-dehs sung in the tradition of classical Turkish poetry are examined in terms of their scope, structure, relationship with public life and contribution to text critique by considering the century they were written, the form of the poems and the known affiliations of the poets.
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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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Kayman, Faruk, and Veysel Elkatmis. "Middle School Students’ Metaphorical Perceptions of the Concept of Poetry." International Journal of Education and Literacy Studies 11, no. 3 (July 31, 2023): 126–35. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.126.
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According to the Turkish Language Teaching Program prepared by the Ministry of National Education in Turkey, poetry texts should be included in Turkish textbooks taught in primary and secondary schools. Students encounter poetry texts in reading and writing activities in Turkish textbooks. It is thought that determining how students perceive the type of poetry they encounter in Turkish textbooks is important for Turkish education. The aim of this study is to determine the perceptions of secondary school students about the concept of poetry through metaphors. Since the study aims to determine the perceptions of secondary school students towards the concept of “poetry” and the meanings they attribute to these perceptions, phenomenology design, one of the qualitative research designs, was preferred. The study group consisted of 148 secondary school students studying in a public school. In order to determine the metaphorical perceptions of the participants about the concept of “poetry”, they completed the sentence, “Poetry is like … because …”. The data obtained were analyzed by content analysis method. At this stage, firstly, the invalid ones were eliminated from the data obtained and then these data were coded and divided into eight different categories. Afterwards, the information was presented descriptively in tables. As a result, it was determined that secondary school students’ metaphors related to the concept of “poetry” did not change and differentiate according to the grade level, and it was determined that all of the students attributed positive meanings to poetry. In addition, it was observed that the majority of the students tried to explain the concept of “poetry” with concrete metaphors and attributed very different meanings to “poetry” based on reasoned metaphors. In addition, it has been determined that most of the students see poetry as the interpreter of emotions and the source of life.
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MUMCU AY, Yasemin. "Garip Movement In Turkish Poetry." Journal of Turkish Studies Volume 4 Issue 1-2, no. 4 (2009): 1227–76. http://dx.doi.org/10.7827/turkishstudies.584.
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PRUSHKOVSKA, I. ""Aesthetic" and "content" of modern Turkish literature: visual poetry of Y. Bal." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 27 (2021): 45–49. http://dx.doi.org/10.17721/1728-242x.2021.27.45-49.
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The literary-critical study is devoted to the work of the master of Turkish visual poetry, Yusuf Bal, and contains a short excursion into the history of the development of Turkish literature in the late 20th – early 21st centuries and discussions about the visual literary works of this period. The main direction in the Turkish literature of the mentioned period is determined – postmodernism, represented by various modifications and its inherent specifics. In this context, the state of visual poetry in modern Turkish literature is considered; special attention is paid to the poetry of Y. Bal. The main features of the poetic heritage of Y. Bal are determined, a classification of his visual poems is proposed, the inner content and the outer shell of his works are analysed, the weighted "aesthetic" and "substantial" of the poetry of the Turkish author. Considering that in Turkey, modern visual poetry is presented in two types: 1) poetry, full of meaning and aesthetic design; 2) works in which visualization prevails, and the text core is either absent or only partially present, the work of Y. Bal is attributed to the first type, after all, the analysis of the works themselves, and the acquaintance with the interview given by the author, is evidence of the depth of the poetic word with its no less profound and talented visual framing. The theme of Yusuf Bal's works is as social and close to people as possible, the author's speech is not distinguished by excessive pretentiousness, rhythm and partial rhyme are inherent in his poetry, which makes his style even more relaxed and easy to understand. As a conclusion, the work of Y. Bal is a postmodern continuation of the centuries-old tradition of creating visual poetry, demonstrates the author's ability to combine content with an image, sometimes creating intrigue, a riddle, and can be an example to follow.
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Yahya, Shaymaa Imad. "The poem “Idhhar Amwaj” by Al-Nabi, A Linguistic Study." JOURNAL OF LANGUAGE STUDIES 5, no. 4, 1 (August 31, 2022): 139–53. http://dx.doi.org/10.25130/jls.5.4.1.12.
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Nabi is one of the greatest Turkish poets in the poetry of Nudhum. He was born ın Urfa in 1642 and died ‘n Istanbul in 1712. He is one of the Divan poets and is famous for this style of poetry. Nab’ has vast imaginations in the field of Turkish poetry, for this pen used to write profusely. Most of his poems were based on the principle of poetry for the people. His poetry was in the shape of a rhyming couplets. Nabi was also capable of popular proverbs and aphorisms. He is the one who established a poetic style for himself along with his contemporaries, that is the style of poetry of Nudhum.
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Karabacak, Esra. "Cyprus in Turkish Poetry İbrahim Zeki Burdurlu and Arif Nihat Asya the Impact of Cyprus." SHS Web of Conferences 66 (2019): 01030. http://dx.doi.org/10.1051/shsconf/20196601030.
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Ibrahim Zeki Burdurlu and Arif Nihat Asya, who worked as teachers in Cyprus, expressed their impressions of Cyprus and shared the problems faced by the Turkish Cypriots. Ibrahim Zeki Burdurlu has a very soft expression. When history and Cyprus come together, the values of a literature teacher extending from Namık Kemal to Gazi Kemal are expressed. Arif Nihat Asya was a teacher in Cyprus and wrote poems similar to that of İbrahim Zeki Burdurlu. Probably the indifference of the measure and the occasional immeasurability, which are among the elements of Burdurlu's poetry, have aroused influence in Turkish Cypriot poetry. In the meantime, although the understanding of populist poetry nurtured the understanding of easy-to-write poetry, it was effective in Burdurlu's poems. In this study, Cyprus, Ibrahim Zeki Burdurlu and Arif Nihat Asya's poems in post-Republic Turkish poetry will be examined comparatively with example poems by completing them especially in terms of using language. [1–4].
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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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TÜRKMENOĞLU, Sevgül. "Istanbul Fountains of the Turkish Poetry." Journal of Turkish Studies Volume 7 Issue 2, no. 7 (2012): 1093–102. http://dx.doi.org/10.7827/turkishstudies.3333.
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GÜLENDAM, Ramazan. "Fruit Image In Modern Turkish Poetry." Journal of Turkish Studies Volume 3 Issue 5, no. 3 (2008): 475–502. http://dx.doi.org/10.7827/turkishstudies.435.
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Leontik, Marija. "AN OVERVIEW OF CONTEMPORARY TURKISH POETRY." PALIMPSEST/ ПАЛИМПСЕСТ 6, no. 12 (2021): 149–63. http://dx.doi.org/10.46763/palim21612149l.
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Gandjeï, Tourkhan. "Turkish in pre-Mongol Persian poetry." Bulletin of the School of Oriental and African Studies 49, no. 1 (February 1986): 67–75. http://dx.doi.org/10.1017/s0041977x0004249x.
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The rise and development of Persian poetry in Transoxiana and Khurāsān coincided with the growth in influence of the Turkish element in the Sãmãnid state. Although Turks had alredy been living in these regions at the time of the Arab conquest, it was under the Sāmānids especially that emerged into political and military prominence, having risen form the status of slaves to the highest ranks of power. In the fragmentary survivals of the Persian poetry of this period we not only find mention of Turks but even the occasional word of Turkish origin:‘This cloud is like a crazed Turk, shooting arrows; the lightning his shafts, and the rainbow his bow.’
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Nemet-Nejat, Murat. "Turkey's Mysterious Motions and Turkish Poetry." Translation Review 68, no. 1 (September 2004): 77–79. http://dx.doi.org/10.1080/07374836.2004.10523886.
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Öznur, Şevket, and Ahmet Uçar. "Traces of Cyprus culture in contemporary Cyprus Turkish poetry." SHS Web of Conferences 150 (2022): 01004. http://dx.doi.org/10.1051/shsconf/202215001004.
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The parallelism between language and culture emerges as a reality accepted by everyone. The individual living in a certain society carries the cultural elements of the society in his own life. The poet, who is in the society in question, reflects the cultural characteristics of the society to his poetry through language. When we look at the formation of Cypriot identity in Turkish Cypriot poetry, it appears as a result of the movement initiated against Turkish nationalism by the 1974 Generation or the Red Belt. In the poems of Fikret Demirağ, Feriha Altıok, Fatma Akilhoca, Saygın Akanyeti, Gür Genç (Gürgenç Korkmazel), Tamer Öncül, M. Kansu, Osman Türkay, Altay Burağan, Orbay Deliceırmak and Faize Özdemirciler, which are considered to have begun in 1943, Contemporary Turkish Cypriot poetry is included. There are many elements to Cypriot culture. In this study, many determinations about the Cypriot dialect, Cypriot life, Cypriot plants and Cypriot food and beverage culture are presented in the poetry books of the above-mentioned poets.
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Zhiyenbayev, Ye, and K. Semiz. "Comparison of the theme of national romanticism in the poems of Magzhan Zhumabayev with the works of Turkish poets." Keruen 74, no. 1 (March 15, 2022): 190–206. http://dx.doi.org/10.53871/2078-8134.2022.1-15.
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Studies of M.Zhumabayev’s creativity are carried out in various fields of science. It is known that in recent years “Magzhan tanu” as a separate branch of science has achieved a lot and began to take shape. The complexity of M.Zhumabayev’s life and the versatility of his heritage attracted the attention of foreign scientists. That is, the work of the poet is not limited to poetry. The need for a systematic and comprehensive study of philosophical and historical sources and pedagogical views in his works can be considered the imperative of the times. M.Zhumabayev, one of the prominent representatives of Kazakh literature, is one of the poets who sang the theme of Turkism in his poetry at the beginning of the 20th century, and is a unique figure for the Turkic peoples. In his poems, expressing his views and attitude towards society, it is stated that “the name of the nation is Turkic, the name of the homeland is Turan.” Obviously, the word “Türik” does not refer to one people in the works of this poet. He called the entire Turkic world to unity and solidarity, and for the rest of his life longed for the independence of the Kazakh people. In addition to depicting inner experiences, his poems widely discuss social issues written in the spirit of critical realism. It is known that the struggle for national liberation and ideological unity of the Turkic peoples of the early twentieth century was reflected in the poetry of M.Zhumabayev. Thanks to this feature, the name of M.Zhumabayev is one of the first to be mentioned when talking about Kazakh literature in Turkey, which is the leading country of the Turkic world. Although M.Zhumabayev did not travel to Turkey, his literary personality and views are widely known in Anatolia. In this context, the analysis of his poetic works by the method of analyzing the texts of Turkish literary critics and comparing the Turkic ideology of the poet with the works of poets who support the Turkic movement in Turkey shows the relevance of our topic. If we look at the principles of M.Zhumabayev and the poets of the national period of Anatolian literature, we will see that their subject matter is close, and their goals are the same. In this regard, the purpose of our study is to compare the poems of M.Zhumabayev with the works of poets who sang the Turkish direction in terms of national romanticism. In addition, the results of the study were differentiated on the basis of the methods of complex, systematic, comparative, objective-analytical, historical-systematic analysis, generalization, and generalization inherent in the science of literary criticism. The collected data were compared by topic. The main methodological and theoretical basis of our research is the enrichment of the conclusions of domestic and Turkish literary criticism, the nature of poetry, epic genres, epics, genre-stylistic, artistic and aesthetic features of poems.
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TANIK, Hilal. "Enderunlu Hasan Yâver'in Şiir Anlayışı." International Journal of Social Sciences 8, no. 34 (May 22, 2024): 241–55. http://dx.doi.org/10.52096/usbd.8.34.14.
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Poetics includes a poet's individual views on poetry or poetry, as well as a scientific field. In Dîvân literature, the poetics of the poet are not expressed in a precise language. The poet usually deals with information about his poetry and understanding of poetry in his poetry. In this study, the 18th century, which has an important place in classical Turkish literature. The poetics of the poet of the century, Hasan Yâver of Enderun, was tried to be explained by processing it based on ten couplets. First of all, the elements related to the understanding of poetry in Dîvân were identified, and the relevant couplets were registered. The plugged couplets are listed under the relevant items and examined and explained respectively under sub-headings. In each title, first of all, information about the article is given, what the substance means in terms of poetics and how it is the subject of poetry is explained. Finally, the couplet about the article is given with the translation into prose. Keyword: Dîvân Literature, Poetics, Understanding of Poetry, Enderunlu Hasan Yâver
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GÜLENDAM, Ramazan. "Living in Politics in Poetry: Socialist Poetry in Modern Turkish Literature." Journal of Turkish Studies Volume 5 Issue 2, no. 5 (2010): 212–80. http://dx.doi.org/10.7827/turkishstudies.1122.
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KEKLİK, Murat. "THE MOTIF OF “SECCADEYİ SUYA SERMEK” AND ITS REFLECTIONS IN CLASSICAL TURKISH POETRY." Akademik Dil ve Edebiyat Dergisi 6, no. 2 (August 30, 2022): 0. http://dx.doi.org/10.34083/akaded.1081869.
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The motif of "seccadeyi suya sermek" is a motif encountered in epics and folk tales, Alevi-Bektashi legends and Dede Korkut stories. Over time, it has turned into a metaphor that takes place in modern Turkish poetry, albeit a little, in classical Turkish poetry texts. Motif; It has a depth of meaning in beliefs and cultures such as Sumer, India, China, Christianity, which goes back to mythological ages and points to the pre-Islamic beliefs of the Turks. The reconciliation of the concepts and metaphors of "prayer rug" and "water" in the structure of the motif is the embodiment of the intertwinedness, cohesion and syncretism in beliefs and cultures. The term used as "seccâde ber-âb efkend" in some Persian texts is more common in Turkish texts. Different meanings have been attributed to the phrase in legends, mystical texts and non-religious poems. It has also been seen that the motif is especially associated with Hızır in classical Turkish poetry. The meaning and content of the term has not been mentioned in historical sources and dictionaries. The meanings given to the term encountered in two of today's dictionaries are wrong. In the study, due to the syncretic nature of the motif, the concepts and metaphors of prayer rug, water, Hızır are emphasized in order to better draw the meaning of the phrase. By investigating the traces in mythologies and legends, the meaning frame of the phrase in classical Turkish poetry has been tried to be drawn through couplet examples.
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KILIÇ, Zülküf. "Şi'r-i İntikâdî" In Classical Turkish Poetry." Journal of Turkish Studies Volume 7 Issue 2, no. 7 (2012): 717–30. http://dx.doi.org/10.7827/turkishstudies.3334.
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YILDIZ, Ali. "After Period Tanzimat,Sufism in Turkish Poetry." Journal of Turkish Studies Volume 5 Issue 2, no. 5 (2010): 526–72. http://dx.doi.org/10.7827/turkishstudies.1112.
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Fa, Stefan. "Azeri-Turkish poetry and song in Georgia." Heritage Turkey 9 (December 20, 2019): 8–9. http://dx.doi.org/10.18866/biaa2019.05.
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BIÇAK, Nihat. "Transubstantiation and Reincarnation in Classical Turkish Poetry." Journal of International Civilization Studies 8, no. 1 (May 30, 2023): 78–90. http://dx.doi.org/10.58648/inciss.1284892.
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Ölüm karşısında çaresiz kalan ve ölüm acısını hafifletmek için uğraşan insan, farklı düşünceler, inançlar geliştirmiştir. Eski inanışlarda yaygın olan spiritüel düşünceler bu bağlamda giderek önem kazanır. Bunlardan en önemlileri tenasüh ve reenkarnasyondur. Çünkü bu anlayışlar, semavî dinlerle beraber bağımsız olarak yayılma alanı bulmuştur. Dolayısıyla göz ardı edilmemesi gereken bir konu olarak karşımıza çıkar. Dünya geneli ve özellikle Hindu inanışlar göz önünde bulundurulursa milyarlarca insanın bu anlayışı inanç olarak gördüğü söylenebilir. Bu konu, doğrudan veya dolaylı, klasik edebiyat şairleri tarafından sıklıkla işlenir. Reenkarnasyon anlayışı, Heterodoks İslam anlayışına yakın şairlerde belirgindir. Tenasüh ise her kesimden şair tarafından daha çok sanat amaçlı kullanılır ve ölüm karşındaki beklenti dile getirilir. Fakat buna rağmen edebî alanda bu konuyla ilgili tatmin edici çalışmaların olduğu söylenemez. Yapılan çalışmaların çoğu ilahiyat alanında olup Kur’an’ın bu konuya yaklaşımıyla ilgilidir. Dolayısıyla bu çalışmada; biraz göz ardı edildiğini düşündüğümüz bu konu ele alınacaktır. Öncelikle tenasüh ve reenkarnasyon hakkında kısa bilgi verilerek şiir örneklerine geçilecektir.
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Gasimova, Aida. "The Hair on My Head Is Shining: Qur'anic Imagery of the Curl in Classical Azeri-Turkish Ṣūfī Poetry." Journal of Qur'anic Studies 15, no. 1 (February 2013): 69–101. http://dx.doi.org/10.3366/jqs.2013.0078.
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Two main tendencies can be observed in the intertextual use of the Qur'anic text in the depiction of facial features in classical Azeri-Turkish Ṣūfī poetry: first, features of divine beauty are compared with the writing of the Qur'an, its suras and ayas, and second, these features are juxtaposed with images drawn from Qur'anic narratives such as the account of Moses' encounter with the sorcerers or the story of Joseph. Research on the impact of the Qur'an on Azeri-Turkish Ṣūfī poetry has until now mainly focused on the first tendency, particularly on revealing the secret meanings of symbols by using the numerical abjad system, whereas the second aspect – that of symbolic images derived from Qur'anic stories – remains relatively unexplored. With this in mind, this article will examine Qur'anic images utilised in the depiction of the face, specifically the influence of Qur'anic narratives upon the variations of Ṣūfī symbolism of the curl in medieval Turkish Ṣūfī poetry, with special reference to poetry in the Azeri vernacular. Although attention will be restricted mainly to Qur'anic stories, some consideration will also be given to pure Ḥurūfī trends.
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Khujanova, Gulchehra Uralovna. "THE IMAGE OF A PERFECT MAN IN ANCIENT TURKISH POETRY." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 09 (September 30, 2021): 69–75. http://dx.doi.org/10.37547/pedagogics-crjp-02-09-15.
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Man, being primarily a spiritual being, has always tried to comprehend the natural and social processes taking place around him. Observation of them, direct participation in these processes of the person himself, evaluation from the point of view of certain moral, aesthetic and other social values lead to the emergence of a holistic image of the world. Mythology mainly reflected the ideological foundations of the existence of ancient man, which gave rise to the main question of the worldview, the question of the relationship between "it" and "we". It can be concretized in understanding the relationship between man and the cosmos, man and nature, man and society. Of course, we are not talking about the theoretical research of the ancients. But already within the framework of mythological consciousness, on the basis of the corresponding way of thinking, the idea of supernatural existence arises.
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Khujanova, Gulchehra Uralovna. "THE IMAGE OF A PERFECT MAN IN ANCIENT TURKISH POETRY." CURRENT RESEARCH JOURNAL OF PEDAGOGICS 02, no. 09 (September 30, 2021): 69–75. http://dx.doi.org/10.37547/pedagogics-crjp-02-09-15.
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Man, being primarily a spiritual being, has always tried to comprehend the natural and social processes taking place around him. Observation of them, direct participation in these processes of the person himself, evaluation from the point of view of certain moral, aesthetic and other social values lead to the emergence of a holistic image of the world. Mythology mainly reflected the ideological foundations of the existence of ancient man, which gave rise to the main question of the worldview, the question of the relationship between "it" and "we". It can be concretized in understanding the relationship between man and the cosmos, man and nature, man and society. Of course, we are not talking about the theoretical research of the ancients. But already within the framework of mythological consciousness, on the basis of the corresponding way of thinking, the idea of supernatural existence arises.
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AYVA, AZİZ, and MERAL DOĞRU. "TÜRK SAZ ŞİİRİNDE ESNAF DESTANLARI VE AHİLİK KÜLTÜRÜNE KATKILARI." Türk Kültürü ve HACI BEKTAŞ VELİ Araştırma Dergisi 104 (December 3, 2022): 153–66. http://dx.doi.org/10.34189/hbv.104.009.
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Turkish instrumental poetry is a deep-rooted tradition that has survived to the present day by gaining a unique style and shape by being fed from the minstrel-art environments in Anatolia, rooted in the pre-Muslim poet-baksı tradition, developed over the centuries by feeding from different cultural environments and artistic circles of the Turkestan geography, and followed systematically since the 16th century after the first examples were identified in Anatolia from the 14th century. The epic genre, which is performed in an epic style based on the principle of syllabic meter, long volume and storytelling, in which the minstrels show great popularity and perform their art is also an important genre in this tradition. The epics, in which the first examples of a historical event in the past are dealt with, have started to be told around various topics such as economic and social life, flood, fire, drought, disaster, famine, animals, daily life, etc., thus expanding its field. One of the types of epics that emerged in this context is the Artisan Epics. These are poetic products in which certain professions and tradesmen groups and their masters are discussed, often based on a story that the minstrels go through on their own. Artisan Epics, which can sometimes only be told around a profession (craftsman), are often told around many tradesmen and professional groups. In these epics, problems related to a certain profession and its master, the story of the lover's inability to get a job in life and his failure in every job is often the subject while the satire and humour style is seen. In the tradesman epics, socio-cultural characteristics, the place of tradesmen and professional groups in social life, principles of tradesmen and professionals, duties of tradesmen, the importance given to tradesmen by the era, what is expected of traders, the place of professions in the eyes of the public, tragic-comic events that are instrumental in telling the epic; advice, satire, humour, etc. are dealt with using explanation. Based on the fact that the Akhism organization is a tradesman organization, we can say that the minstrels are not indifferent to this type of poetry, and they are especially in demand. In this context, many Artisan Epics have been identified in Turkish instrumental poetry. In this study, characteristics of the epic genre, varieties, the place of Artisan Epics in Turkish instrumental poetry, the characteristics of the Artisan Epics identified in Turkish instrumental poetry, tags, samples, occupations and occupations covered in these epics, and their place in community life will be shown. Keywords: Akhi-Order, Turkish Saz Poetry, Epics, Artisan Epics, Jobs.
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Maghdid Beg Zade, Kosret Bapir. "A STATISTICAL STYLISTIC STUDY IN SAFI HIRANI'S TURKISH POEMS." JOURNAL OF LANGUAGE STUDIES 8, no. 4 (April 30, 2024): 305–30. http://dx.doi.org/10.25130/lang.8.4.17.
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This study entitled (A statistical stylistic study in Safi Hirani's Turkish Poems) has been accomplished. Initially, it focused on concepts, terms, and their definitions of style and stylistics in the literary text. Which means that style is the (linguistic, intellectual, and literary) characteristics that became common in a certain period and followed by poets. Then, the subject was explained with the poet's Turkish poems and statistical stylistics was applied on it. The aim of the study: to show and reveal statistical stylistics in the poet's Turkish poems in order to determine the number and type of sentences in these texts. Because by examining the poetry of any poet in the field of statistical stylistics, you will find out the style of his works in terms of language materials (quantity). This is of particular importance in literary texts and scientific research. The method of the study: statistical stylistics based on the concepts and materials of stylistics.
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Virnyk, Olga. "FIVE SYLLABIC POETS: ARCHITECTS OF A NEW COUNTRY." Scientific Journal of Polonia University 63, no. 2 (July 8, 2024): 107–11. http://dx.doi.org/10.23856/6313.
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The study is devoted to the Five Syllabic Poets who were active in the early twentieth century, during the transformation of the Ottoman Empire into the Turkish Republic. This period was marked not only by important political and social changes, but also by dramatic transformations in the cultural sphere, including literature. The Five Syllabic Poets, also known as the “Five Silabists”, aimed to create a new, authentic Turkish poetry that reflected the spirit and needs of modern Turkish society. They made a significant contribution to Turkish literature, noting their approach to poetry and their desire to make it accessible to a wide audience. The Five Syllabic Poets sometimes made use of the materials of folk literature, which were used in a decorative style. The beauties of the country, the realities of Anatolia with its people and landscapes, their personal feelings, especially the national and historical. The fact that all five poets express a number of folk literature motifs in the treatment of these subjects shows their sensitivity to this issue. The poetry of these poets also reflects the impact of Mustafa Kemal Ataturk’s reforms on the literary process, indicating important changes in the consciousness of Turkish society during the period of transformation. The analysis of the works of the Five Syllabic Poets allows us to better understand and evaluate the historical context and cultural transformations in Turkey at the turn of the century.
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Abdullayeva, Ulviyya. "TURKISHNESS AND TURANISM IN THE CREATIVITY OF MUHAMMAD HADI." Scientific Journal of Polonia University 59, no. 4 (November 16, 2023): 140–45. http://dx.doi.org/10.23856/5919.
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The article examines the problem of Turkism and Turanism in the poetry of one of the Azerbaijani romantics, Muhammad Hadi. It is shown that his work in the magazine "Füyuzat" and being a representative of the "Füyuzat" literary school increased the opinion of Turks from the beginning of his work. The idea of homeland, nation, and people described in his articles, his attitude to the issue of literary language, and his poems were also related to Turkism. Like A. Huseynzadeh, I. Gaspıralı, H.S. Ayvazov, M. Hadi not only defended the all-Turkish literary language, but even considered it necessary to adopt the Ottoman dialect of this language. The processes that took place around Turkey during the First World War, his presence in the war, strengthened the position of Turkism and Turanism in his work, and the ideology of Turkism, which appeared in the language of his poems and articles at the beginning of his work, deepened and gained new content. In his poems written during the republic, he calls for Turkish unity. In many of his poems written during this period, the poet calls to protect the independence won by the Turkish nation and to protect the motherland from the enemy. Although the idea of Turan and Turanism are not clearly emphasized in M. Hadi's poems, the spiritual map and ideology of the image of Turan are drawn in the poetic understanding of the ideology of Turkism.
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HOCAOĞLU ALAGÖZ, Kadriye. "Entertaining Characters in Classical Turkish Literature: Dancers, Musicians and Dancing Boys." Akademik Dil ve Edebiyat Dergisi 6, no. 3 (October 30, 2022): 146–55. http://dx.doi.org/10.34083/akaded.1160802.
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It is a known that all societies have had a relationship with dance throughout history. In Turkish society, the origin of the dance dates back to the Shamans, independent of gender. In the Ottoman era, non-religious dancers were called çengi, köçek, tavşan/tavşanoğlanı, kasebâz, curcunabâz, cin askeri, beççegân, çeganebâz and çârpârezen. Among these nomenclatures, the most common literary terms were çengi (dancer/musician) and köçek (dancing boy). People who dance extravagantly to music were called çengi or köçek. While all dancers were called çengi, regardless of their gender in the old texts, later on, women were called çengi and men were called köçek. There is no clear date for this transformation on record. Information on dancers in general, and çengi and köçek in particular, could be found in travel books, surnâmes or the works of the authors of the period. The current paper aims to discuss the terms köçek and çengi, theatrical plays that became common with the encouragement and support of the Ottoman palace, including the reflections of these performing arts in classical Turkish poetry. Furthermore, “Köçek Süleyman”, mentioned in the Divan of Rodoscuklu Kömürkayâzâde Fennî, a poet of the 19th century, and a new name in the history of köçek at the time, was addressed. Thus, the study aims to emphasize to the poet's employment of the social approach to entertainment in his poetry and classical Turkish literature.
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Kurbanmuradovna, Gaylieva Ogulbay. "Literary Traditions of Mahtimkuli in Modern Turkish Poetry." Psychology and Education Journal 58, no. 2 (February 9, 2021): 390–93. http://dx.doi.org/10.17762/pae.v58i2.1853.
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This article examines the problems of the literary impact of the works of a Turkmen poet of the XVIII century Maktymkuly Pyragy on the work of subsequent Turkic writers, and at the same time on the works of modern Uzbek, Karakalpak and Turkmen writers. Literary traditions and the development of Maktymkuly’s work are also comparatively studied, especially in the lyrics of the Karakalpak poet I. Yusupov, the Uzbek poet H. Askarov and the Turkmen poet G. Gurbannepesov.
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Bill Hickman. "On Editing Ottoman Turkish tekke Poetry." Journal of the American Oriental Society 137, no. 3 (2017): 567. http://dx.doi.org/10.7817/jameroriesoci.137.3.0567.
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Çakmakcı, Selami. "The “Lie and Truth” Relationship in Turkish Poetry." Gaziantep University Journal of Social Sciences 18, no. 4 (October 18, 2019): 1266–86. http://dx.doi.org/10.21547/jss.533949.
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ÖRGEN, Ertan. "Resources In New Turkish Poetry And Tradıtion Relation." Journal of Turkish Studies Volume 4 Issue 1-2, no. 4 (2009): 2157–78. http://dx.doi.org/10.7827/turkishstudies.612.
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Aktas, Hasan. "CHILD THEME IN CLASSICAL AND MODERN TURKISH POETRY." Idil Journal of Art and Language 1, no. 4 (October 30, 2012): 126–44. http://dx.doi.org/10.7816/idil-01-04-09.
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Erkal, Abdulkadir. "Metaphorizing Places in Classical Turkish Poetry: Idol Houses." International Journal of Literature and Arts 10, no. 3 (2022): 147. http://dx.doi.org/10.11648/j.ijla.20221003.11.
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YENİASIR, Mustafa. "Suleyman Uluçamgil’s Place In The Turkish Cypriot Poetry." Journal of Turkish Studies Volume 4 Issue 3, no. 4 (2009): 2286–99. http://dx.doi.org/10.7827/turkishstudies.781.
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Öztekin, Özge. "Foregrounding in Turkish Poetry as a Stylistic Expression." Procedia - Social and Behavioral Sciences 70 (January 2013): 110–19. http://dx.doi.org/10.1016/j.sbspro.2013.01.046.
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Askerzade, Lutviya. "ABOUT EUROPEAN POETRY TRADITIONS OF THE TURKISH LITERATURE." Theoretical & Applied Science 35, no. 03 (March 30, 2016): 40–44. http://dx.doi.org/10.15863/tas.2016.03.35.7.
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Suleymonov, Muminjon Yusubjonovich. "THE ROLE OF HAFIZ KHOREZMI IN TURKISH POETRY." Theoretical & Applied Science 73, no. 05 (May 30, 2019): 527–30. http://dx.doi.org/10.15863/tas.2019.05.73.80.
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DOĞAN, Hüseyin. "Ortaçağ Türk Şiirinde “Sünbül” İmgesi Üzerine Bir Değerlendirme." International Journal of Social Sciences 6, no. 26 (September 17, 2022): 170–87. http://dx.doi.org/10.52096/usbd.6.26.11.
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In the literature of medieval Turkish civilization, the concept of "sünbül" has a very rich variety of usage. This diversity has manifested itself in the humanities as well as in the natural and applied sciences, especially in Turkish poetry, where the concept of sünbül is widely used. How does the concept of sünbül differ between texts of natural and applied sciences and literature? In literary texts, it is necessary to investigate what is meant by the use of sünbül. In this study, we discussed what is meant by the use of sünbül in poetry by comparing the works created using Turkish in the Middle Ages in natural and applied sciences with the medieval Turkish poetry. In the literature of medieval Turkish civilization, the concept of "sünbül" is a concept used in the disciplines of botany, astrology and semiotics, as well as its use as a poetic image. In our study, a general viewpoint has been created to cover the definition and usage areas of the use of sünbül in the works of the Old Anatolian Turkish period, and in the conclusion part, all these uses and the values that the concept expresses. According to our findings, the use of "sünbül" in Turkish poetry is related to its terminology in the three disciplines. As a botanical term, a relation was established between the sünbül and the ideal woman's hair, and the pleasant scents of the plants known as sünbül in the Middle Ages, the filamentous structures seen in the root systems of these plants or, possibly, the inflorescence. As the term of astronomy, sünbül is meant by establishing a visual similarity with the concept of sünbül, which is used as a botanical term, and the modern sign of Virgo, called "sünbüle". As a semiotic term, the sünbül was used to indicate the perfect hair of the ideal woman, as well as the scent of this hair, it has also been mentioned among the elements that complement the beauty of a unique and celestial garden from time to time. This study also argues that in addition to the aforementioned forms of use, the establishment of the relationship between “sünbül” and “zülüf” is an evolved manifestation of the feeling of gratitude towards the goddesses of agriculture in Antiquity. Keywords: History of plants, Medieval astronomy, Medieval botany, Medieval semiology, spikenard.
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Bulut, Ayhan. "A section of Turkish poetry in the meaning maps: Yusufcuk Journal's poetry poetics." International Journal of Social Sciences and Education Research 3, no. 5 S (October 5, 2017): 1494–506. http://dx.doi.org/10.24289/ijsser.321881.
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ALDULAIMI, Ihsan Hadi Ahmed. "DEATH AND POST-DEATH IN THE POETRY OF AHMED ARIF." Rimak International Journal of Humanities and Social Sciences 4, no. 1 (January 1, 2022): 320–28. http://dx.doi.org/10.47832/2717-8293.15.24.
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The great Turkish poet Ahmed Arif is considered one of the important poets in Turkish literature in the 20th century. He was born in Diyar Bakr on 23rd of April 1923 and died on 2nd of June 1991 in Ankara. Through his life that lasted for 68 years, he published one book about poetry. It was considered the best book to be published in Turkey which makes him different from any other poet. Death as a fact and part of our nature is considered the end of life. The separation of the soul from the body is inevitable. It is impossible that a man can be born again after his death. Hence, there was a great discussion about the nature of our life and the existence of death throughout the whole history of human beings. Specifically, the scientists, philosophers, and thinkers, made scientific activities over humanity and death and what would happen after it. The poets are among the groups who express their opinion concerning this subject arousing different new point of views in their comments and thoughts. The nature of the poem is to think differently and explain it differently too resorting to symbolic language. Hence, the exposition of the beliefs difficult to be understood through poetry and literature create a genuine overflow of thoughts. Ahmed Arif is one of the well-known poets by his valuable thoughts in this subject. I decide to introduce a detailed explanation about life of the great Turkish poet Ahmed Arif as well as his literary orientation and poem. Among his poems, we introduce some information about death and life after death through which I browse all the poems by Ahmed Arif who is considered one of the important poets in Turkish literature in the 20th century. Key words: Ahmed Arif, Turkish Literature, Death, Death and Beyond.
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KALYON, Abuzer. "KLASİK TÜRK EDEBİYATINDA ARUZ KALIPLARININ İSİMLERİYLE BİRLİKTE VERİLMESİ KONUSUNDA METALİ’ÜN NEZA’İR’İN II. CİLDİNDEN HAREKETLE BİR DEĞERLENDİRME." IEDSR Association 6, no. 12 (March 29, 2021): 68–76. http://dx.doi.org/10.46872/pj.269.
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Peşteli Hüseyin Hisali is known as Budinli or Peşteli Hisâlî. Little is known about his life in the sources. His most important contribution to Ottoman literature is the magazine called Metâli'ü'n-nezâ'ir, which he composed in two volumes with his own handwriting. It is an inevitable neces-sity to make use of magazines in order to make the history of Turkish literature fully formed. The divan or divançes of many poets who made significant contributions to the classical Turkish literature were either not created or survived. In order to reach the poets of these poets and to make evaluations about them, it is necessary to examine the magazines. In the last ten years, academic studies and publications have been made on classical Turkish literature poems or ma-gazines containing only couplets or mufra. This situation is undoubtedly gratifying. We believe that both volumes of Metâli'ü'n-nezâ'ir are noteworthy in terms of containing the poetry examp-les of hundreds of poets of classical Turkish literature. In this two-volume magazine, there are matla examples of Turkish poetry, of poets of Turkish literature that developed in the Ottoman geography and outside the Ottoman geography. There are a total of 27,310 couplets with matte in both volumes of the magazine. This is important in terms of exemplifying and exhibiting an important accumulation. They adopted the Arab and Persian culture-literature styles, which the Turks recognized immediately after their acceptance of Islam, and adapted them to their own literatures. One of these common features of Islamic literatures is the measure of prosody. Metâli'ü'n-nezâ gives important clues about what the full-fledged names of the measure of aruz used in classical Turkish poetry are. In 2011, at Gazi University Institute of Social Sciences, Prof. Dr. Peşteli Hisâlî Metâliü'n-nezâ'ir (Second - Volume) Examination - Text, which we pre-pared under the consultancy of Ahmet Mermer, is included in the full-fledged names of the pro-sody patterns in our doctoral thesis. In this study, which we prepared by making use of our the-sis and other sources, the prosody patterns used in Classical Turkish literature were given toget-her with their names.
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AKGÜL, Ahmet. "Effect of Classical Turkish Poetry in Asik Gamguder’s Style." Journal of Turkish Studies Volume 6 Issue 4, no. 6 (2011): 1–13. http://dx.doi.org/10.7827/turkishstudies.2848.
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ÇONOĞLU, Salim. "The Return To Folklore In Turkish Poetry With Fruit." Journal of Turkish Studies Volume 3 Issue 5, no. 3 (2008): 455–74. http://dx.doi.org/10.7827/turkishstudies.434.
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ORHANOĞLU, Hayrettin. "Nature and World Perception in Turkish Poetry After 1950." Journal of Turkish Studies Volume 5 Issue 3, no. 5 (2010): 1712–53. http://dx.doi.org/10.7827/turkishstudies.1266.
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