Relevant bibliographies by topics / Turkish Political poetry

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Academic literature on the topic 'Turkish Political poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 March 2023

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Journal articles on the topic "Turkish Political poetry"

1

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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2

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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3

BALIK, Macit. "A POETIC VIEW OF TURKISH - GREEK POPULATION EXCHANGE: "ISKELE LIGHTS TO GIORGOS SEFERIS" FROM SÜREYYA BERFE." Selçuk Üniversitesi Türkiyat Araştırmaları Dergisi, no. 54 (June 13, 2022): 301–12. http://dx.doi.org/10.21563/sutad.1130526.

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Throughout history, one of the most complex issues encountered between the Turks and the Greek is undoubtedly the population exchange. Although it is viewed with different perspectives in terms of political and historical contexts, it is tragic in its essence. Generally subject to political debates, the forced migration is among the themes portrayed in novels, it is rarely depicted in Turkish poetry. One of the contemporary Turkish poets Süreyya Berfe (b. 1943) depicted the theme of population exchange by dedicating a lengthy poem named "Iskele Lights to Giorgos Seferis" to Giorgos Seferis (1900 - 1971) and to all people who were displaced due to forced migration. In his lengthy poem consisting of thirty-seven parts, with a feeling of kindred spirit, he depicts the history, memories and nostalgia of the people who were forced to migrate just like him. This article will identify the population exchange between the Turks and the Greek in poetry, with its humane and tragic aspects, free from historical, sociological, and political engagements.
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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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Katsigianni, Anna-Marina. "Identities on the Go: Homelands and Languages in Balkan and Turkish–Cypriot Literature." Hiperboreea 6, no. 1 (June 1, 2019): 29–44. http://dx.doi.org/10.5325/hiperboreea.6.1.0029.

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Abstract The present study focuses on tracing the depictions of the poetic subject in the light of lost homelands, linguistic foreignness and multilingualism, in poems about “political ethics”, which all too clearly converse with history—narratives that highlight the geographically and linguistically homeless poetic subject, in poems which are always written under the weight of a specific historical event, in other words articulated “under the heavy footsteps of history”. The transition from stability to instability, the feeling of physical and psychological loss through geographical and cultural change is vividly reflected in both Balkan and Turkish-Cypriot literature. In the present study, poems by Balkan poets are examined alongside poems by Turkish-Cypriot poet Mehmet Yaşin. Despite the self-evident cultural differences between Balkan and Turkish-Cypriot literature, there exist factors that warrant their co-examination; common narrative structures and similar themes—at least in part—require that they be systematically read together. The common historical past and the burden of memory—the construction or reconstruction through these texts of a collective point of reference and the transfer to common memorial sites; internal migration; the survival of common oral forms of poetry; divergent or ‘heretical’ writings; linguistic transitions; the processing of transitional identities: these are just some of the most obvious points of convergence. Balkan poems constitute a distinct category and, as will be shown below, are linked to Turkish-Cypriot ones primarily through their ideology. Some of the themes that persistently recur in Balkan poets' and Yaşin's work are: lost homelands, the reception of alterity, internal migration, shattered identities, the thematisation of orality and multilingualism. Yaşin's poetry registers the multiple transitions of language and the coexistence of foreign languages, while also making use of the Karamanlidika dialect.
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Milosevic-Djordjevic, Nada. "A comparative review of the development of Serbian and Albanian folk epic poetry." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 79 (2013): 19–30. http://dx.doi.org/10.2298/pkjif1379019m.

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The paper discusses the continuity of Serbian folk epic poetry since the Early Middle Ages in relation to the discontinuity of Albanian folk epic poetry, in both cases determined by the historical and cultural setting. The research foregrounds the songs of Kosovo Albanians about the Battle of Kosovo, and a cycle of songs about borderland warriors (krajisniks) as well. In terms of motifs and ideological orientation, the former remained on the crossroads between the Serbian-Christian and Moslem-Turkish conceptions, whereas the latter conformed to the Moslem conception. The greatest similarities to the Serbian ?non-historical? epic poetry were demonstrated by the so-called Italo-Albanian songs, brought from Albania to Italy by the Albanian refugees fleeing the Turks. The paper is also an attempt at using scholarly arguments to refute the non-scholarly interpretations of epic techniques, characters and motifs, constructed for the purposes of political pretensions to the territory of the Serbian province as an exclusively Albanian land.
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Dressler, Markus. "Turkish Alevi Poetry in the Twentieth Century: The Fusion of Political and Religious Identities." Alif: Journal of Comparative Poetics, no. 23 (2003): 109. http://dx.doi.org/10.2307/1350078.

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8

Khodjaeva`, Rano Umarovna. "The Role Of The Central Asians In The Socio-Political And Cultural Life Of Mamluk Egypt." American Journal of Social Science and Education Innovations 02, no. 10 (October 29, 2020): 227–36. http://dx.doi.org/10.37547/tajssei/volume02issue10-38.

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The article considers the strengthening of the Turkic factor in Egypt after the Mamluk Emirs, natives from the Khwarezm, Turkmen and Kipchak tribes, who came to power in the second half of the XIII century. The influence of the Turkic factor affected all aspects of life in Egypt. Under the leadership of the Turkic Emirs, the Egyptians defeated the crusaders who invaded Egypt in 1248. This defeat of the 7th crusade marked the beginning of the General collapse of the Crusades. Another crushing defeat of the Mamluks led by Sultan Kutuz caused the Mongols, stopping their victorious March through the Arab world. As a result of these brilliant victories, Egypt under the first Mamluk Sultans turned into a fairly strong state, which developed agriculture, irrigation, and foreign trade. The article also examines the factors contributing to the transformation of Egypt in the 13-14th centuries in the center of Muslim culture after the fall of the Abbasid Caliphate. Scientists from all over the Muslim world came to Egypt, educational institutions-madrassas were intensively built, and Muslim encyclopedias were created that absorbed the knowledge gained in various Sciences (geography, history, philology, astronomy, mathematics, etc.). Scholars from Khwarezm, the Golden Horde, Azerbaijan, and other Turkic-speaking regions along with Arab scholars taught hadith, logic, oratory, fiqh, and other Muslim Sciences in the famous madrassas of Egypt. In Mamluk Egypt, there was a great interest in the Turkic languages, especially the Oguz-Kipchak dialect. Arabic and Turkic philologists write special works on the vocabulary and grammar of the Turkic languages, and compile Arabic-Turkic dictionaries. In Egypt, a whole layer of artistic Turkic-language literature was created that has survived to the present day. The famous poet Saif Sarayi, who came from the lower reaches of the Syr Darya river in Mawaraunnahr was considered to be its founder. He wrote in Chigatai (old Uzbek) language and is recognized a poet who stands at the origins of Uzbek literature. In addition to his known the names of eight Turkish-speaking poets, most of whom have nisba “al-Khwarizmi”. Notable changes occurred in Arabic literature itself, especially after the decline of Palace Abbasid poetry. There is a convergence of literature with folk art, under the influence of which the poetic genres, such as “zazhal”, “mavval”, “muvashshah”, etc. emerge in the Egyptian poetry. In Mamluk Egypt, the genre of “adaba” is rapidly developing, aimed at bringing up and enlightening the good-natured Muslim in a popular scientific form. The works of “adaba” contained a large amount of poetic and folklore material from rivayats and hikayats, which makes it possible to have a more complete understanding of medieval Arabic literature in general. Unfortunately, the culture, including the fiction of the Mamluk period of Egypt, has been little studied, as well as the influence of the Turkic factor on the cultural and social life of the Egyptians. The Turkic influence is felt in the military and household vocabulary, the introduction of new rituals, court etiquette, changing the criteria for evaluating beauty, in food, clothing, etc. Natives of the Turkic regions, former slaves, historical figures such as the Sultan Shajarat ad-Durr, Mamluk sultans as Kutuz and Beybars became national heroes of the Egyptian people. Folk novels-Sirs were written about their deeds. And in modern times, their names are not forgotten. Prominent Egyptian writers have dedicated their historical novels to them, streets have been named after them, monuments have been erected to them, and series and TV shows dedicated to them are still shown on national television. This article for the first time examines some aspects of the influence of the Turkic factor on the cultural life of Mamluk Egypt and highlights some unknown pages of cultural relations between Egypt and Mawaraunnahr.
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9

Zeka, N. "A Prisoner of Language: The Strange Case of Modern Turkish Poetry." South Atlantic Quarterly 102, no. 2-3 (April 1, 2003): 529–34. http://dx.doi.org/10.1215/00382876-102-2-3-529.

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10

Holbrook, Victoria Rowe. "Philology Went down to the Crossroads of Modernity to Meet Orientalism, Nationalism, and... Ottoman Poetry." New Perspectives on Turkey 11 (1994): 19–41. http://dx.doi.org/10.1017/s0896634600000972.

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Ottoman poetry is an empty sign. It floats, unfettered by the correspondence between words and things conventional to the typically modern signification of historical realities. But the sign (under which many of the other written Ottoman humanities—philosophy, literary-critical writing, fine art literature, and thought in general—tend to be subsumed) is not exactly empty. It carries double, or overdetermined, meaning. Though empty of poetry the term Ottoman poetry does not, for most people, call Ottoman poetry to mind—it is full of other things in so far as the sign is “read” as a rhetorical figure, a symbol, an allegory of the national narrative. And since the middle of our century, at the latest, when the first generation born into the Turkish Republic had come of age, it has continued to be read this way. That is, the allegory continually displaces the reality. Either the poetry is not known and there is no poetry in mind to recall, or, if it is known, the experience of recall is overdetermined in ways that can be connected with the poetry only through an analysis of the history of its modern reception, probably beginning with Young Ottoman polemic c. 1860's-1880's.
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Books on the topic "Turkish Political poetry"

1

Refik, Durbaş, ed. Türk yazınından seçilmiş cezaevi şiirleri. Maslak, İstanbul: Adam Yayınları, 1993.

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1959-, Uzal Fehmi, and Özcan Halil İbrahim, eds. 1980-1990 cezaevi şiir antolojisi. Çemberlitaş, İst. [i.e. İstanbul]: Sorun Yayınları, 1992.

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Edebiyat sosyolojisi açısından: 12 Eylül şiiri. Ankara: Kurgan Edebiyat, 2013.

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Başer, Gülce. Pursuit of new antagonistic discourses: Politics in the poetry of the 1980's. Osmanbey, İstanbul: Libra Kitapçılık ve Yayıncılık Ticaret A.Ş., 2017.

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Özkarcı, Ali Özgür. Cetvelle çizilmiş dağınıklık: (80'lerden 2000'lere şiir ve siyaset). Kadıköy, İstanbul: 160. Kilometre, 2014.

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Fethi, Tevetoğlu, ed. Fethi Tevetoğlu: Hayatı, sanatı ve şairliği. Ankara: Grafiker Yayınları, 2012.

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Medeniyetler beşiği kadim bir Osmanlı ülkesi: Yemen. İstanbul: BKY, 2011.

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Başer, Gülce. Poetry of self-definition: Turkish poetry during the 1980-1983 junta period. İstanbul: Libra Kitapçılık ve Yayıncılık Ticaret A.Ş., 2017.

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İlhan, Attilâ. Bütün kaleler zaptedilmedi: Attilâ İlhan'la birkaç saat. Ankara: Ceviz Kabuğu Yayınları, 2004.

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İsim, şehir, artist. Şişli, İstanbul: Doğan Kitap, 2014.

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Book chapters on the topic "Turkish Political poetry"

1

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

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This chapter examines the emergence of colloquial Arabic poetry as populist-political commentary in Egypt by offering a reading of Mahmud Bayram al-Tunisi's series of texts, which figured political contestation in the thematic-formal mould of the sira shaʻbiyya. It first provides an overview of the sira shaʻbiyya (folk epic, folk romance) before discussing at least four Bayramic sira compositions, all of which narrate the Turkish–Greek conflict over possession of Asia Minor in the context of postwar intra-European negotiations for neocolonial primacy. The texts, labelled ‘Sira Kemaliyya’, chronicle the conflict between Greece and Turkey in 1919–1922, highlighted by the exploits of Turkish ‘epic hero’ and nationalist leader Mustafa Kemal Ataturk. The chapter explains how Bayram manages the duality of heroic posturing as a heavy-handed colonialist tactic versus the effective heroism of Mustafa Kemal.
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Smolyaninova, Marina G. "The poet and educator, Petko R. Slaveykov." In Materials for the virtual Museum of Slavic Cultures. Issue II, 229–32. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/0440-4.40.

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The article is devoted to Petko Rachev Slaveykov (1827–95), the Bulgarian educator, poet, publicist, public figure and fighter for the independence of the Bulgarian church. It is possible to track the development of Bulgarian literature of his time through his creative output. He wrote lives, didactic works, published poetry collections with sentimental themes on love and landscape, and penned some fine poems. He made a major contribution to the creation of the Bulgarian fable. Besides that, he also wrote revolutionary songs which Bulgarians sang throughout the whole country during the periods of national liberation struggle against the Turks. After the liberation of Bulgaria from slavery as a result of Russo-Turkish war of 1877–78 Slaveykov devoted much of his attention to social and political work: he was the Chairman of the National Assembly (Bulgarian Parliament), the Minister of Education, the Minister of Internal Affairs.
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"Turkish/Turkic Books of Poetry, Turkish and Persian Lexicography: The Politics of Language under Bayezid II." In Treasures of Knowledge: An Inventory of the Ottoman Palace Library (1502/3-1503/4) (2 vols), 673–733. BRILL, 2019. http://dx.doi.org/10.1163/9789004402508_023.

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Tepe, Fatma Fulya. "The Politico-Poetic Representation of Turkish Women in Türk Kadını Magazine (1966–1974)." In Advances in Media, Entertainment, and the Arts, 35–58. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-0128-3.ch003.

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This chapter aims to explore the ways women are represented in the context of 20th century Turkey by analyzing four poems, namely “Türk Kadını” (Turkish Woman), “Anadolu Kadını” (Anatolian Woman), “Kadın–Ana” (Woman-Mother), and “Ayşe,” published in the Türk Kadını magazine in the 1960s. Purposive sampling was used in the selection of the poems, which were later interpreted with the strategies of descriptive content analysis. In these poems, the Turkish woman is being represented and celebrated in at least the following four ways: (1) by being celebrated for combining heroism, goodness, and naturalness; (2) by having her struggle with primitive conditions of life celebrated as yet another form of heroism; (3) by being celebrated as a creative mother of the nation, charged with finding solutions to the problems of the country; (4) by being celebrated as a hardworking daughter of the nation to whom the country owes recognition and support.
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Smolyaninova, Marina G. "Dobri Voynikov: the “Father” of the Bulgarian national theatre." In Materials for the virtual Museum of Slavic Cultures. Issue II, 233–36. Institute of Slavic Studies, Russian Academy of Sciences, 2020. http://dx.doi.org/10.31168/0440-4.41.

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The article talks about Dobri Voynikov (1833–78), a Bulgarian playwright, the creator of the Bulgarian theater, a poet. He worked both in Bulgaria enslaved by the Turks and in Romania. While in emigration, Voynikov published Bulgarian newspapers, created the Bulgarian Theater Society, wrote the first significant works of national drama, mainly plays of historical content. They encouraged the Bulgarians to fight against the Turks and filled the audience with a sense of pride in the glorious deeds of their distant ancestors. He also showed himself as a political journalist, literary critic and collector of national folklore.
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