To see the other types of publications on this topic, follow the link: Turkish Political poetry.
Journal articles on the topic 'Turkish Political poetry'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Turkish Political poetry.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
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.
Full textAbstract:
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
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.
Full textAbstract:
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.’
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.
Full textAbstract:
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.
4
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.
Full textAbstract:
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.
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full text
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.
Full textAbstract:
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.
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.
Full text
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.
Full textAbstract:
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.
11
Kocak, O. ""Our Master, the Novice": On the Catastrophic Births of Modern Turkish Poetry." South Atlantic Quarterly 102, no. 2-3 (April 1, 2003): 567–98. http://dx.doi.org/10.1215/00382876-102-2-3-567.
Full text
12
Sibgatullina, Alfina T. "TURKISH CONTINGENT AT THE COMMUNIST UNIVERSITY OF WORKERS OF THE EAST. PART II." Journal of the Institute of Oriental Studies RAS, no. 4 (14) (2020): 109–15. http://dx.doi.org/10.31696/2618-7302-2020-4-109-115.
Full textAbstract:
Turkish students could attend courses at the Communist University of Workers of the East (Kommunisticheskii Universitet Trudiashchikhsia Vostoka, KUTV) since its opening in 1921. Nazim Hikmet (1902–1963), who would later emerge as the first Turkish futurist poet, arrived at KUTV with his friends in 1922. It was during his studies in Moscow that he began experimenting with free verse and reformation of the traditional language of Turkish poetry. The intellectual stimulation of Turkish students occurred through communication with other foreign students, regular excursions to museums and trips to different cities, work practice in Soviet factories, close acquaintance with the culture and life of Soviet people. According to the published memoirs of Zehra Kosova (1910–2001) who studied at KUTV in the mid-1930s, one can clearly imagine the learning process and everyday life of students who had their families with them in Moscow. Like many other foreign university graduates she was forced to leave her child in the USSR, in order to ‘build socialism in the East’ and conduct underground work in her homeland. For the period 1921–1938, about four hundred members of the Turkish Communist Party (TCP) and leaders of the political left were educated at the KUTV. Particularly in the TCP, the most productive groups of students were those, who studied in Moscow between 1926 and 1939. During this period, the foreign sector of the KUTV was under the direct control of the Comintern. Many of the graduates from this period were illegally employed in leading positions of the Turkish Communist Party.
13
Siedlecka, Sylwia. "The Labyrinth of Genealogy: Poetry of Mehmet Karahüseyinov (1980-1990)." Balkanistic Forum 28, no. 3 (November 16, 2019): 34–45. http://dx.doi.org/10.37708/bf.swu.v28i3.3.
Full textAbstract:
The article analyzes poems written by Mehmet Karahüseyinov (1945-1990) in the context of socio-political phenomena in Bulgaria of the 19980s and 1990s. In Karahüseyinov’s poetry, echoes are found of both the “Revival Process” and the “Big Excursion”, as well as of the fall of communism in Bulgaria as a point in history. Autobiographical perspective is of equal importance in the poems: in 1985, in the wake of the last stage of the “Revival Process”, the poet attempted self-immolation. This liminal experience, set in a wider context of what it means to be a representative of the Turkish minority in Bulgaria in the late socialist period, permeates all of Karahüseyinov’s poetry at the time. The article’s methodological axis is a genealogical approach as formulated by Michel Foucault, who, informed by Nietzsche’s thought, wrote of an image of the body utterly marked by history. The body is thus an area which – also in the non-figurative, material dimension – enters the gears of history and where history leaves its marks, and the scarred bodily area becomes a map of a personal and entangled genealogy.
14
Cakir, Burcin, and Berkan Ulu. "“Sons of Two Empires”: The Idea of Nationhood in Anzac and Turkish Poems of the Gallipoli Campaign." Revista Alicantina de Estudios Ingleses, no. 31 (December 15, 2018): 83. http://dx.doi.org/10.14198/raei.2018.31.06.
Full textAbstract:
An unexpected failure of the Allied forces and a monumental victory for the Turks, the Gallipoli Campaign (1915) is thought to be the first notable experience for Australians and New Zealanders on their way to identify themselves as nations free from the British Empire. For the war-weary Turks, too, the victory in Gallipoli was the beginning of their transformation from a wreck of an empire to a modern republic. Despite the existence of a substantial body of research on the military, political, and historical aspects of the campaign, studies on the literature of Gallipoli are very few and often deal with canonised poets such as Rupert Brooke or national concerns through a single perspective. Aiming to bring to light underappreciated poets from Gallipoli, this paper is a comparative study of less known poems in English and Turkish from Gallipoli. While doing this, the study traces the signs of the nation-building processes of Australia, New Zealand, and Turkey with emphasis on national identity. To this end, the paper examines a number of Gallipoli poems in English and Turkish that were composed by combatant or non-combatant poets by using close reading analysis in search of shifts in discourse and tone. The study also underlines how poets from the two sides identified themselves and the ways the campaign is reflected in these poems. At length, the study shows that Gallipoli poems display similar attitudes towards the idea of belonging to an empire although they differ in the way warfare is perceived. With emphasis on less known poems and as one of the very few comparative studies of the poetry of the Gallipoli Campaign, this paper will contribute to the current research into the legacy and literature of the First World War.
15
Büyükokutan, Barış. "In pursuit of non-Western deep secularities: selfhood and the “Westphalia moment” in Turkish literary milieux." New Perspectives on Turkey 56 (April 21, 2017): 3–32. http://dx.doi.org/10.1017/npt.2017.3.
Full textAbstract:
AbstractThis article traces Charles Taylor’s “secularity three” outside the West, finding that it was present among poets but not among novelists in twentieth-century Turkey. It explains this contrast between these two very similar groups by using network analysis, highlighting the greater availability, in poetry networks, of nonpious gatekeepers to aspiring pious actors, following an initial long period of religious conflict. In order to benefit from association with these gatekeepers, pious actors learned to split their selves into two, committing themselves simultaneously to their absolutist faith and to its practical impossibility in a secular age. If and when the prospect of cross-fertilization waned, however, they would effortlessly switch back to their earlier subjectivity. Pious novelists, by contrast, underwent no such learning process. Based on these findings, I argue, first, that the study of the secular must pay greater attention to religious conflict and the ways in which it is resolved, and second, that it must consider balancing itslongue-duréeapproach with an eventful focus.
16
SULEYMANOV, Salman. "OUR FIRST POET AND THE ARABIC LEXICAL UNITS." EUROASIA JOURNAL OF SOCIAL SCIENCES & HUMANITIES 9, no. 2 (April 25, 2022): 45–53. http://dx.doi.org/10.38064/eurssh.337.
Full textAbstract:
In the article, the Arabic word units in the works of our poet Gazi Burhaneddin (1344-1398), who created the first Divan in the history of Turkish dialects literature are investigated. It is stated that these dictionary units are widely reflected in the works of Gazi Burhaneddin for the first time in the literature of Turkish dialects. Thus, Gazi Burhanaddin tried to ensure the eruza compatibility of his own language by using these dictionary units. Generally, the interrelationships between eruz and the Azerbaijani language are explored in the article. Gazi Burhaneddin is the first poet to write "Divan" in our mother tongue. In the third volume of the history of literature of Azerbaijan the article of Gazi Burhanaddin (1344-1398) begins with the following sentences: “Azerbaijani literature in the XIII-XIV centuries is entering a new stage of development. The most important event of the period is the emergence of mother tongue poetry. For centuries due to historical-socio-political reasons, Arabic (VII-X centuries) and Persian (XI-XII centuries) were in high positions in the literature of written Azerbaijan, as well as in the literature of some Near and Middle Eastern countries. The well-known literary theorist and critic Hatib Tabrizi wrote his works in Arabic, the world-famous Hagani, Nizami wrote in Persian... Raising the flag of poetry in its own language in the XIV century, Gazi Burhaneddin is one of the poets who created hundreds of works in the Azerbaijani language. It is clear from the sources that Gazi Burhaneddin was a well-known generation of his time, received an excellent education and he lived in Arab countries for a long time. Therefore, he knew Arabic very well. Yet according to literary history, “he... if he's holding a sword in one hand, he held a pen in his other hand, “Tercihit-tozih” (predominance of explanations), "İksirus-seadet fi esraril-ibadet" (The gem of happiness is in the secrets of worship) as. He wrote scientific works in Arabic and he has created precious melodies that touch the hearts…” "Although the sources indicate that the poet has poems in Arabic and Persian, its famous "Divan" is in the Azerbaijani language.
17
KAMAL, Aysel, and Sinem ATIS. "Comparative Analysis of Ahmet Hamdi Tanpinar’s Travels to European Countries." European Journal of Multidisciplinary Studies 5, no. 1 (May 19, 2017): 78. http://dx.doi.org/10.26417/ejms.v5i1.p78-84.
Full textAbstract:
Ahmet Hamdi Tanpinar (1901-1962) is one of the most controversial authors in the 20th century Turkish literature. Literature critics find it difficult to place him in a school of literature and thought. There are many reasons that they have caused Tanpinar to give the impression of ambiguity in his thoughts through his literary works. One of them is that he is always open to (even admires) the "other" thought to a certain age, and he considers synthesis thinking at later ages. Tanpinar states in the letter that he wrote to a young lady from Antalya that he composed the foundations of his first period aesthetics due to the contributions from western (French) writers. The influence of the western writers on him has also inspired his interest in the materialist culture of the West. In 1953 and 1959 he organized two tours to Europe in order to see places where Western thought and culture were produced. He shared his impressions that he gained in European countries in his literary works. In the literary works of Tanpinar, Europe comes out as an aesthetic object. The most dominant facts of this aesthetic are music, painting, etc. In this work, in the writings of Tanpinar about the countries that he travelled in Europe, some factors were detected like European culture, lifestyle, socio-cultural relations, art and architecture, political and social history and so on. And the effects of European countries were compared with Tanpinar’s thought and aesthetics. Keywords: Ahmet Hamdi Tanpinar, Europe, poetry, music, painting, culture, life
18
Stanovcic, Vojislav. "Contribution of historical and literary works to the understanding of political phenomena." Zbornik Matice srpske za drustvene nauke, no. 118-119 (2005): 93–124. http://dx.doi.org/10.2298/zmsdn0519093s.
Full textAbstract:
The paper presents a series of arguments which indicate that significant historiographic works describing and analyzing bygone political phenomena as well the literary works which picturesquely depict political situations and human destinies - with their specific approaches and methods - contribute to the better insight and understanding of the phenomena in the political life which philosophy and social sciences express by notions. Social and political life have their bright and dark sides. It is less arguable that political sciences - in the study of phenomena included in their topic -find great help in history, if it is - as Leopold von Ranke advised - oriented only to "show what really happened". Historical studies, specially the ones of the socalled great historians, present to us the images of the situation in a certain period or event with all significant details and contribute to the understanding of that phenomenon, helping to clarify its essence. Thus for example, Appian's Roman Civil Wars or Tacitus' descriptions in The Annals of the suffering of the innocent victims in the power struggle during civil wars and during the ferocious persecution of Christians -innocent, but accused of all possible crimes. What astonishes the reader is the grea similarity between the phenomena, processes, actions happening two millennia ago and in the 20th century. Philosopher and political thinkers (like Aristotle), but also some historians (like Thucydides) offer explanations why some patterns repeat and why they would "keep repeating". In Khalil Inalcik's work, we find detailed descriptions of brutal mutual killings among the sons of the majority of the Turkish sultans in the power struggle after their fathers' death. Generalizing on the basis of the material provided by history, we reach an entire string of general notions in political and social sciences. Great thinkers and writers, from the oldest Eastern and the greatest antique philosophers till the ones from the 20th century, used found inspiration and drew ideas and incentives or material from the sources with which they supplemented their theoretical categories, notions and explanations, including the images of political life. These sources are represented in the great literary works. Contradictory opinions about the character and significance of ail and literature are found in Plato's and Aristotle's writings. Aristotle, who analyzed this problem, presented arguments why literary insights - precisely because of the character of insights they offer - deserve to stand in the same pedestal with philosophy. He used the expression he himself introduced to mark one aspect of the effect of art and literature - and that is catharsis. Psychology facilitates our insights into the motives and consequences of the participants' behavior social psychology being particularly important, but also ethics. The means used to convey a certain truth is less important, its essence is more important. Several Greek philosophers (Parmenides, Empedocles, Xenophon) even the Roman ones (for example, Lucretius Cains) wrote their philosophical treatises in verse. Kant's famous words Sapere aude! with which he asks people to have courage to use their own mind and thus become enlightened originate from the Roman poet Horace, and Michel de Montaigne also used them. Plato and Aristotle referred not only to the available sources about preceding philosophical ideas and political systems, including the first Greek historians, but also to the tragedians, primarily Aeschylus, Sophocles and Euripides, to the comedy writers (like Aristophanes), to the lyricists (Solon, Simonides, Archilochus). When Aristotle expounds one of the key categories of his political theory about man as a political animal (zoon politikon), he refers to Homer to confirm what he himself believes. Anica Savic-Rebac quotes Strabo's formulations about poetry as "the first philosophy", as well as about Homer's work as "poetic philosophy" and as a source of every kind of wisdom, even every kind of knowledge. With his ideas and images he presented in his literary works, Dostoyevsky influenced several philosophers (Nietzsche, Camus and others) and scientists (Freud, Adler and others). "The philosophy of existence" and its ethical orientation were presented not only in the philosophical, but also in the literary works (Kierkegaard, Sartre, Camus). The so called philosophy of the absurd and "the literature of the absurd" mutually merge and supplement. Not even the best 20th century theoretical treatise about the nature of power - like those by Charles Merriam, Bertrand Russell, Bertrand de Jouvenel or Harold Lass well can depict what man gets to know through the tragedies of Marlowe Shakespeare, Goethe, in which main participants are driven and urged by the yearning to achieve absolute power. "The Great Inquisitor", "The Iron Heel" "Dark at Noon", but also the personalities like Raskolnikov or Verhovensky from the novel The Possessed help us to understand many things. "Gulag" became a political notion because of the title of the novel Gulag. Literature-antiutopia pointed to the dangers of the closed mind and of the technological society before scientific studies had done that.
19
Knutson, Jesse Ross. "The Political Poetic of the Sena Court." Journal of Asian Studies 69, no. 2 (March 12, 2010): 371–401. http://dx.doi.org/10.1017/s0021911810000033.
Full textAbstract:
Through a study of the corpus of contemporary literary depictions of the early medieval/medieval king of Bengal, Lakṣmaṇasena, in the works of the royal literary salon, this essay defines a cluster of poetic elements inseparable from the monarch. It suggests that this official poetic projects its proximity to the contemporary Turkish invasion (ca. 1205 ce), and the attendant crisis and restructuring of the Sena state. Some idiosyncratic poems, however, evince a historical dynamic that is both distinct and inseparable from the official poetic: the proud assertion of a Sanskrit literary provincialism in the context of a shrinking and threatened state. By correlating a pattern of poetic representation with a discrete period and locality, the present inquiry brings into focus the mutually constitutive relationship between literary interpretation and political historical interpretation for the study of early South Asia. And by tracing what was relatively peculiar and singular to this literary world, it strives to erode established scholarly visions of the endless uniformity of premodern literary-political life.
20
Kochukova, Olga, and Sergey Kochukov. "The image of Constantinople in poems on the pages of the Russian press during the Russian-Turkish war of 1877-1878." Slavianovedenie, no. 5 (2021): 79–90. http://dx.doi.org/10.31857/s0869544x0016720-5.
Full textAbstract:
The article examines the role of poetic journalism in the construction of the image of Constantinople in the Russian press during the Russian-Turkish war of 1877–1878. The authors examine the ideological, political and cultural origins of the «Constantinople myth», reveal the characteristic features of the symbolic opposition «Istanbul – Constantinople». The article compares the image of Constantinople in poems, journalistic and memoir sources.
21
Seyhan, Azade. "From Istanbul to Berlin: Stations on the Road to a Transcultural/Translational Literature." German Politics and Society 23, no. 1 (March 1, 2005): 152–70. http://dx.doi.org/10.3167/104503005780889228.
Full textAbstract:
In this article, I read selected texts of two of the most prominent Turkish born authors of Berlin, Aras Ören and Emine Sevgi Özdamar, as poetic projects of confronting and grasping the vicissitudes of modernity's troubled path both in their homeland and in their experience of German history and culture. My reasons for the emphasis on the work of these writers derives from their various positions between two languages and literary traditions and their ability to negotiate various nuances of "German" and "Turk" and the lived experience of these contested categories. "A poet is a member of that minority that refuses to be part of any official minority, because a poet knows what it is to belong among those walking in broad daylight, as well as those hiding behind closed shutters," writes Charles Simic, Pulitzer Prize-winning poet from the former Yugoslavia. Ören, a Wahlberliner (a Berliner by choice), is arguably the keenest observer and chronicler of cultural clashes and shared destinies between the Turkish and German residents of Berlin's Kreuzberg area. The streets of Ören's Kreuzberg become stages where the competing errors of Turkish and German pasts are reenacted in the present.
22
Subert, Gabrijela. "When Goethe met Vuk...: Views on selected pages of Serbian-German relations." Zbornik Matice srpske za drustvene nauke, no. 129 (2009): 7–22. http://dx.doi.org/10.2298/zmsdn0929007s.
Full textAbstract:
Serbian-German relations were viewed within a specific social and cultural-historical development of both nations, and were also interpreted from the standpoint of cognitive and semiotic theory of culture. The first part of the paper deals with the dominant trends and spiritual tendencies in German culture, from the transformation of the humanist interest in 'exotics' into Herderian romantic understanding of nation and into Grimm's equalization of the poetic and the folk quality, thanks to which in the first half of the nineteenth century, as well as during the Serbian liberation wars against the Turks, the Serbian way of life gained the position of an ideal cultural model. Therefore, special attention is dedicated to Vuk's relations with the most important German minds of the so-called golden age. The paper particularly underlines the contribution of Talfj, who adjusted her translations of Serbian poetry to German sensibility, as well as to the entire contemporary European taste. The second part of the paper follows the changes in the Serbian-German relations from the second half of the nineteenth century till our days, conditioned by unhappy historical-political occurrences. Illustrated both from the German and Serbian standpoint with works, experiences, thoughts and feelings of statesmen and warriors scientists and writers, as well as ordinary people - these relations are presented as ambivalent, but never broken.
23
Meserve, Margaret. "News from Negroponte: Politics, Popular Opinion, and Information Exchange in the First Decade of the Italian Press?*." Renaissance Quarterly 59, no. 2 (2006): 440–80. http://dx.doi.org/10.1353/ren.2008.0312.
Full textAbstract:
The fall of Negroponte to the Turks in 1470 was one of the first events in European history to be recorded in print. This article examines a little-known cluster of more than a dozen texts published in the months after the colony’s fall by some of the earliest printers to work in Italy. These editions did not “break” the news to the Italian public but rather offered analysis and commentary to an already well-informed readership. Some catered to contemporary demands for vernacular political poetry, while others now reveal the extent to which Italian humanists attached themselves to the printing industry in its earliest years, often with ambiguous results”
24
Dzhusupov, Mahanbet. "Linguistic, poetic, historical and philosophical eminence of an outstanding personality and manysidedness of a talent." Neophilology, no. 22 (2020): 346–61. http://dx.doi.org/10.20310/2587-6953-2020-6-22-346-361.
Full textAbstract:
We consider the problem of mutual relationships between Rus and a Polovtsian Plain, poetry, science and politics in the aspect of universal comprehension and in the aspect of Soviet ideology in comparison with the features of well-developed capitalism, revolutionary (dogmatic) socialism and evolutionary socialism, based on the content of two books with the same title “Olzhas and I”, which were published in Moscow in 2016 and in 2018 in the publishing house “Khudozhetvennaya literatura”. The books are devoted to the investigation of multi aspect creative activity of a poet, linguist, historian, philosopher, diplomat, public and state figure Olzhas Omarovich Suleymenov. The books consist of 167 articles (96 articles in the first book and 71 articles in the second). The authors of works express their points of view on many issues, which were investigated by O.O. Suleymenov, as in the book “Az and I”; on investigation in the field of language history (the study of Turkic languages, Slavic studies, etc.), which were also showed in his other books; on poetry; on diplomatic and political activities, that are characterized with universal orientation, concern for environment and human beings; on anti-nuclear activity in closing the nuclear test site near Semipalatinsk in Kazakhstan. Authors of articles are citizens from different regions of the world: from Asia, Europe, America. In all the articles mentioned above Olzhas Suleymenov is regarded as an outstanding person, a great poet and a scientist, who with the help of contents of his book “Az and I” and content of his performances at the meetings of the Supreme Soviet of the USSR and other state and public forums promoted regeneration of human consciousness towards dogmatism in science and politics of the USSR, which led to its collapse, although wasn’t O.O. Suleymenov’s intention. Linguistic, poetic, historical and philosophical way of thinking, brilliant talent, bilingualism and multilingualism, courage of mind and actions, universal inferences mark out Olzhas Suleymenov as a great poet, scientist and philosopher in the modern world, and a Pro-Human, who is able to predict the future.
25
Rajabova, Marifat Bakoyevna. "EXPRESSION OF IM EXPRESSION OF IMAGES REL GES RELATED TO NATIONAL TRADI AL TRADITIONS IN A.NAVOI'S WORK." Scientific Reports of Bukhara State University 4, no. 5 (October 27, 2020): 141–46. http://dx.doi.org/10.52297/2181-1466/2020/4/5/10.
Full textAbstract:
Background. It is known that the customs, traditions, material and spiritual riches of the Turkic peoples belong to the great poet A. Thanks to Navoi's sharp intellect and artistic thinking; it has become an immortal property of our spirituality. Therefore, the creative heritage of the great poet is important not only as a work of art, but also as a unique historical and ethnographic source of culture of life of the Turkic peoples, including the Uzbek nation. This article examines the works of Alisher Navoi, depicting the way of life, culture, socio-political, theological and mystical worldview of the Turkic peoples, and even the ancient mythological ideas and some of the customs and rituals associated with them. The traditions of the poet's lyrical, lyre-epic works are an important source for studying the history and spiritual world of the Turkic peoples. Methods. In the article A. In order to clarify the place of folk traditions in Navoi's lyrical heritage, comparative-typological, analytical methods were used. Results. In the works of Alisher Navoi, a special place is given to the depiction and interpretation of plates related to the way of life, culture, socio-political, divine and mystical worldview of the Turkic peoples, and even ancient mythological notions and some customs and rituals associated with them. Such works of art, which are recorded as "ethnographic folklorisms", have played an important role in enhancing the national and realistic spirit of the poet's works, their artistic impact. Conclusion. Navoi's works contain valuable artistic details related to the way of life and customs of the people, which can provide important information in the study of the history of life of the people of that period.
26
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.
Full textAbstract:
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.
27
Zagrebin, Aleksei Ye. "Mongolia In Finno-Ugric Academic And Political Discourse (1840s – 1910s)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 6 (2022): 243. http://dx.doi.org/10.31857/s086919080023386-1.
Full textAbstract:
Mongolia, as one of the geographical and semantic centerpieces of Central Asia, has remained in focus of Finno-Ugric, Altaic and Turkic studies for several generations. Expeditions and academic publications in the 1840s-1910s were given special attention due to growing political tension in a strategically important region, where the interests of the "Great Powers", Japan and China, converged. The search for Oriental rarities and negotiations with the leaders and religious figures of Mongolia, Tibet and Xinjiang took place against the backdrop of tense social situation in a multiethnic and multiconfessional land. Mongolia, the Mongolian language and ethnoculture have gained prominence in the scholarly discourse of Finno-Ugric studies. By looking into Mongolian materials, Finnish and Hungarian researchers have tried either to confirm or to disprove the linguistic and ethnogenetic closeness of their own ethnicities to the Central Asian cultures of the past. M.A. Castrén and A. Csoma de Kőrös had paved the first roads of research to the East, after which the expeditions of J.R. Aspelin, H. Vámbéry, A.O. Heikel, K.G. Mannerheim, G.J. Ramstedt and J.G. Granö followed. A leading role in the organization of field research in Southern Siberia, Altai and Mongolia was played by the Finnish-Ugric Society, established in 1883, and its longstanding Chairman, Professor O. Donner. Studying the oral poetry, literary and monumental heritage of Mongolia, scholars have directly or indirectly touched upon the issues of ethnic identity and self-representation of contemporary Finno-Ugric peoples. In this case, the scholarly dialogue was combined with discussions on domestic politics and international affairs at the same expedition tent.
28
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.
Full textAbstract:
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.
29
Kushev, Vladimir. "Areal Lexical Contacts of the Afghan (Pashto) Language." Iran and the Caucasus 1, no. 1 (1997): 159–66. http://dx.doi.org/10.1163/157338497x00085.
Full textAbstract:
AbstractThe continual political, commercial and economic relations and frequent military conflicts and clashes of the Pashtuns with neighbouring states or tribal formations or with similar structures to which Pashtuns were in a subordinate status were constantly resulting in intensive cultural and linguistic contacts. This article pays a modest tribute to the studies, insufficient for the present, concerning interrelations of the written Pashto with the Persian, Turkic and Indian languages in the sphere of their vocabularies during the period from the earliest literary monuments in Pashto (i.e. from the middle of the XVI century) up to the beginning of the XIX c., for which purpose texts of Afghan classic poetry, prose treaties and chronicles have been used That was a period of large-scale borrowing of foreign words through the channels of the written language and colloquial speech. Arab-Persian loanwords which had no tangible bounds as to their entry into the literary Pashto were very numerous (about a half of the Pashto vocabulary) in comparison with Indian loanwords and have been rnore organically included into the Pashto vocabulary, though at the same time all the borrowings, irrespective of their source-language, have been more or less equally adapted phonetically and morphologically. On this account the aspects of their presentation in this article are different: borrowings from Persian have been given only general characteristics, while concrete ancl detailed lists of Indian and Turkic loanwords are given because their quantity in the analysed texts was limited to such an extent that we have consinered it relevant to publish them almost completely.
30
Yerlanova, Ayaulym. "THE POETICS OF MASHHUR ZHUSUP'S POEMS OF THE EDUCATIONAL DIRECTION." Bulletin of the Eurasian Humanities Institute, Philology Series, no. 4 (December 15, 2022): 102–9. http://dx.doi.org/10.55808/1999-4214.2022-4.10.
Full textAbstract:
This article examines the poetics of the poems of the poet, philosopher, folklorist Mashkhur Zhusup Kopeev of the educational direction. The purpose of the article is to study the poetics of the poet's works of an educational direction in accordance with modern requirements, to popularize the educational aspect of the poet. Since the works of Mashkhur Zhusup, who made a significant contribution to Kazakh literature, were classified by genre, a number of scientific works were researched and written, the relevance of a separate consideration of works of educational orientation has not disappeared. The works of this direction were considered together with poems on religious themes, propaganda themes, and social motives. It can be noted that the works of the poet of the enlightenment direction have their own significance in literature. The research has a scientific, practical significance. It can be used in the courses «Mashkhurtanu», literature lessons, local history of the early twentieth century and in general on the theory of literature. Mashhur Zhusup is a poet who wrote in all areas of the genre of literature. Starting with poetry and focusing even on heavy epic works, he left behind major sagas. After all, the works of a scientist who left a twenty-volume legacy are not limited to prose. Although several scientific works on the poet's work have been written, I still cannot say that they have been fully studied. Since the subject matter of the left heritage is very extensive, the genre character is complex, rich in artistic features, deep consonance with Eastern Turkic literature, the activity of collecting samples of oral folk art, the main idea of his works, the study of his work require many years of painstaking work. The work of this rich heir, which is the basis of our current scientific work, is a drop of great work. The picture of the social situation of the early twentieth century formed the basis of the works of representatives of that era. Because literature is a mirror of life. The desire for freedom, liberation, the appeal of the population to reading, education, science, political and social problems have become an urgent problem for every nation. Immediately, as to rid the people of this idiocy, he adhered to the idea that reading is knowledge. I tried to «wake up"» the people. From this point of view, it should be recognized that the literature of the early twentieth century is the literature of the liberation aspiration, the «awakening» of the people. Mashkhur Zhusup did not refrain from these questions either.
31
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.
Full textAbstract:
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
32
Hudyma, А. О. "THE IMAGE OF CHYGYRYN IN THE POETRY OF T. SHEVCHENKO AND IN «HISTORY OF RUS PEOPLE»." Shevchenko Studies, no. 1(23) (2020): 84–97. http://dx.doi.org/10.17721/2410-4094.2020.1(23).84-97.
Full textAbstract:
In «History of Rus People» Chygyryn is shown as a city of strong hetman power, where the fate of Ukraine is decided, and at the same time a city of strife, internal conflicts, political disorientation, which ends up with the destruction of the city in 1678 under pressure of the Turks. If the author of «History of Rus People» unfolds before us the history of Chygyryn over about 180 years, then the history of Shevchenko’s Chygyryn dates back more than 240 years. According to T. Shevchenko Chygyryn undergoes three stages of development – Cossack, Haydamaky and the period of decline and oblivion, contemporary to T. Shevchenko. The image of Chygyryn in T. Shevchenko's works usually does not acquire specific external features. The poet mostly represents the image of Chygyryn through an action or an event that takes place in it. For T. Shevchenko, Chygyryn serves as a starting point for certain national-scale actions and processes: the Cossack march («Headscarf»), the election of a hetman («On Holy Sunday»), the Haydamaky movement («Haydamaky»). It is obvious that the fate of Chyhyryn disturbed T. Shevchenko, since, as he clearly saw it, together with the hetman's capital, burned in quite remote for T. Shevchenko year of 1678 and transformed into a regular township, the memory of the role of Chygyryn in the history of Ukraine in its statesmanship period had been forgotten. T. Shevchenko expresses his reflections in this regard in the poetry «Chygyryn, Chygyryn ...». Chygyryn is spiritually related to T. Shevchenko. Ukraine and Chygyryn are in a strong connection in T. Shevchenko’s mind. At the same time, the author of «History of Rus People» refers to Chygyryn and its fate rather distantly, notably, using no epithets regarding Chygyryn. In T. Shevchenko’s works, Chygyryn is associated with the concepts of glory and holiness and becomes symbolic. This is not only the real Chygyryn, whose history has reached both heyday and decline, – for T. Shevchenko – it is a symbol of Cossack glory, statehood, spiritual unity of the people.
33
Taylor, Paul Michael. "Turkic poetic heritage as symbol and spectacle of identity: observations on Turkmenistan's Year of Magtymguly celebrations." Nationalities Papers 45, no. 2 (March 2017): 321–36. http://dx.doi.org/10.1080/00905992.2016.1260536.
Full textAbstract:
This paper presents one case study of state-sponsored cultural activities that occurred throughout 2014, Turkmenistan's Year of Magtymguly, the 290th anniversary of this Turkmen poet's birth. Such activities constitute examples of public culture; they can organize representations of a society's past and present to reaffirm for participants the values and power structure of their society and revalidate its philosophical underpinnings. After examining this Turkic poet's iconicity, this paper compiles 2014's celebratory events from disparate sources, complementing broader general literature on Central Asia's spectacles of public culture and their role in nation-building and identity-formation. Rather than merely resulting from any top-down decision specifying required activities nationwide, the year's events involved numerous synergies as artists, museum and theater administrators, composers, and other cultural-sector workers benefited by responding to the potential of aligning their work with a theme as broad, as widely appreciated, and as eligible for various forms of support as this one. In addition, Turkmenistan's strong central leadership benefited from this widely shared and highly visible celebration, especially emphasizing one element within Magtymguly's eighteenth-century vision, an end to his people's tribal conflicts within a unified Turkmenistan under one leader.
34
Anikeeva, Tatiana A. "About Manuscripts, Lithographs and Early Printed Books of the Karakalpak Institute of Humanities." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 4 (2021): 195. http://dx.doi.org/10.31857/s086919080016226-5.
Full textAbstract:
In the course of work in the manuscript collection of the Karakalpak Institute of Humanities (Branch of the Academy of Sciences of the Republic of Uzbekistan), a collection of manuscripts, lithographs and old-printed books was identified. It consists mainly of new arrivals (the so-called “Chimbay collection” at the place of origin of most of the manuscripts, from the city of Chimbay, formerly Shakhtemir, now in the Republic of Karakalpakstan). According to the information of the Institute's employees, Uzak Rakhmatullayev (born in 1920 in the territory of the modern Chimbay district of Karakalpakstan) collected more than 300 manuscripts and printed publications in Arabic, Persian and Turkic languages and subsequently transferred the collection to the Institute. We started its scientific description. A preliminary list of manuscripts, lithographs, and old-printed books was compiled, and they were distributed by language, chronology and subject. Among these manuscripts are works on Muslim dogmatics, Korans, poetic works (poems by Ajiniyaz, Berdakh, Suleyman Bakyrghani, Ahmad Yasavi, various destans, etc.), treatises on the grammar of the Arabic language (“Tarkib al-Awamil”), historical works, samples of calligraphy on separate folios, etc., in Arabic, Persian and Turkic languages (Chagatai, Tatar, Karakalpak). Together, they represent the area of reading of a Muslim of that era (19-first half of the 20th century) and are one of the illustrations of the close literary and cultural ties between the Aral Sea region (then the Khanate of Khiva), the Volga region, and the Ottoman Empire (where a number of manuscripts were copied).
35
Suleymanov, S. S. "Арабские лексические единицы в средневековом литературном азербайджанском языке." Эпосоведение, no. 3(23) (October 27, 2021): 110–23. http://dx.doi.org/10.25587/j2046-8439-9136-r.
Full textAbstract:
The article reviews the period of the Literary Azerbaijani language beginning from the epics ofDede Korkut to the 16th century. It indicates that Arabic has infl uenced Azerbaijani since the most ancient times,i. e. beginning from the time when the Arabs occupied Azerbaijan approximately in the second half of the 7thcentury, and since that period, Arabic lexical units have been used in Azerbaijani. This infl uence was fi rst atthe level of oral language, but when the written form of Literary Azerbaijani began to be established in the 13thcentury, Arabic infl uenced our written literary language too, and since that time has manifested itself brightlyin the works of Hasanoghlu, Gazi Burhan Uddin, Nasimi and our other poets. While in Gazi Burhan Uddin’sworks the Arabic lexical units manifested themselves massively for the fi rst time in our literary language, inNasimi’s poetry the Arabic lexical units served somewhat to make Nasimi’s language philosophic and scholarly.However, already in the 16th century in Fuzuli’s works the frequency of the use of the Arabic lexical units inLiterary Azerbaijani reached its peak from both the quantitative and qualitative points of view. In Fuzuli’s worksthe essence and semantic features of the Arabic lexical units were revealed, at the same time, these lexical unitsfacilitated the promotion of Fuzuli’s language which, consequently, was admired not only in the Western group ofthe Turkic languages, but also in their Eastern group.The main purpose of the research was to study Arabic lexical units existing in Literary Azerbaijani. Theresearch had the following objectives: to identify some Arabic lexical units in the works of the 14th–16th-centuryAzerbaijani classical authors; to study the peculiarities of these Arabic lexical units in the Arabic language; to fi ndout what new shades of meaning they acquired in the environment of the Azerbaijani language; to fi nd out whatnew phonetic and morphological features these words acquired in the Azerbaijani language; to study the qualitiesacquired by the Arabic lexical units used in the Classical Literary Azerbaijani when they established syntacticrelations in the environment of the Azerbaijani language; to study what stylistic variations were created by theArabic lexical units used in our classical literary language, in our classical linguistic environment; to study ourclassical authors’ attitude towards the Arabic lexical units.Naturally, the panorama is extremely broad and comprehensive. Not because the theme of the research coversseveral centuries and the creative activities of tens of poets, but also due to the fact that it brings the mutualinterrelations of two thinkers, two cultures, and fi nally, the two languages onto one uniform plane of research.In this sense, the theme is actually essential. It is true that although our scholars have touched upon this themein their works now and then, yet despite its topicality, it has not been the topic of a separate investigation so far.A cursory look at our language is suffi cient to see which language has infl uenced it more, from which languageit has borrowed more lexical units all through its development (naturally, here we consider, fi rst of all, the languageof the written monuments to which we have an access). Certainly, Arabic is the language that has infl uenced ourvernacular most and from which we have borrowed more lexical units. It is true that our mother tongue has hadinterrelations with many languages all through its development, borrowed tens, hundreds of lexical units fromeither Persian, or Russian or some other languages in different periods of history, and have been exposed to theimpact of these languages. However, the Arabic language ranks fi rst among them. Arabic had been the language ofthe state ruling the socio-political state in the East for a long time; consequently, it turned into the state languagein which the scientifi c and cultural works were written, and along with all this, it is also the language of Islam, thelast heavenly religion, which has always upraised the status of this language; and hence, the strong infl uence ofthis language on Azerbaijani Turkish, like its infl uence on other languages of the East. In this sense, in terms of animpact on our vernacular, the fi rst place of the Arabic language is an undeniable fact. And while investigating thepeculiarities of the impact of Arabic on our language, the study of the frequency of the usage of the Arabic lexicalunits in our language as one of the first features of this impact is of utmost importance. Данная статья посвящена проблеме становления азербайджанского литературного язы-ка, начиная со времен эпоса «Деде-Горгуд» вплоть до XV в. Обосновывается мысль о том, что влияниеарабского языка на азербайджанский происходило с древних времен, начиная с того периода, когда арабыво второй половине VII в. захватили Азербайджан, и именно с этого времени азербайджанский язык на-чал пополняться арабскими лексическими единицами. Изначально, влияние было только на уровне уст-ной речи, в дальнейшем, в VIII в. к моменту формирования письменного литературного языка, оно пере-шло и на письменную речь. Ярким примером тому служат произведения Гасаноглу, Гази Бурхан Уддина,Насими и др. Однако, если в произведениях Гази Бурхан Уддина эти лексические единицы впервые былиширокомасштабно продемонстрированы в литературном языке, то на языке Насими они служили чем-товроде философским и научным. Тем не менее, уже в XVI в. частота использования арабских лексическихединиц в литературном азербайджанском достигла своего апогея, как качественно, так и количественно.Произведения Физули раскрыли сущность и семантические особенности арабских лексических единиц,тем самым способствовали развитию языка Физули, который полюбился не только Западной, но и Вос-точной группе тюркских языков.Основная цель исследования состоит в изучении арабских лексических единиц, существующих в ли-тературном азербайджанском языке. Поставлены следующие задачи: выявить некоторые арабские лекси-ческие единицы из произведений азербайджанских классиков XIV–XV вв.; исследовать их особенностив арабском языке; выявить новые оттенки значений, которые они приобрели в азербайджанском языке;выяснить, какие новые фонетические и морфологические особенности проявились у этих слов в азербайд-жанском языке; установить, какие качества приобретают арабские лексические единицы, используемые вклассическом литературном азербайджанском языке, вступая в синтаксическую связь в азербайджанскомязыке; изучить, какие стилистические оттенки приобретают арабские лексические единицы в классиче-ском литературном азербайджанском языке; исследовать отношение наших классиков к арабским лекси-ческим единицам.Действительно, картина достаточно широкая и всеобъемлющая. Не только потому, что тема исследо-вания охватывает несколько веков и творчество десятков поэтов, а также потому, что приводит на однуплоскость исследования два образа мышления, две культуры и, наконец, взаимоотношения двух языков.В этом смысле данная тема действительно очень актуальна. Конечно, наши ученые время от временикасались этой тематики в своих произведениях, однако, несмотря на свою актуальность, она до сих пор небыла темой отдельного самостоятельного исследования.Достаточно просто взглянуть на наш язык, чтобы увидеть, под влиянием какого языка больше на-ходился наш язык на протяжении всей истории своего развития (естественно, здесь в первую очередьимеются в виду дошедшие до нас письменные памятники), из какого языка больше всего заимствован-ных лексических единиц. Конечно, языком, под чьим влиянием больше всего находился и откуда большевсего лексических единиц заимствовал, является арабский язык. Правда, на протяжении своего развитиянаш язык был подвержен взаимодействию со многими языками, в различные исторические периоды за-имствовал сотни лексических единиц из фарси, русского и др. языков. Однако в этом ряду арабский языкзанимает первое место. Таким образом, арабский язык, являясь языком государства, долгое время управ-ляющего общественно-политическим положением на Востоке, в результате чего ставшего государствен-ным языком, на котором писались научные, культурные произведения, а также, будучи языком последнейнебесной религии ислам, что сильнее укрепляло его статус, наряду с воздействием на другие языки, такжеимел сильное влияние на тюркский азербайджанский язык. В этом смысле факт первенства с точки зрениявлияния арабского языка на наш язык неоспорим. При исследовании очень важно изучение частотностииспользования арабских лексических единиц как одного из первых признаков особенностей влияния араб-ского языка на наш родной язык.
36
Uryupin, Igor S. "You are here Home » Archive » 2020 Issue No4(July) Добавить статью GENERAL AND APPLIED LINGUISTICS The interpretation of a literary text as a discursive event in the context of a multidisciplinary theory of cognitive-pragmatic programs D.I. Ivanov, D.L. Lakerbai Pages: 3..10 DOI: 10.20339/PhS.4-20.003 3 Правка Formation of a bilingual personality (experience of early ontogenesis) L. Anipkina, N. Schennikova Pages: 11..20 DOI: 10.20339/PhS.4-20.011 Правка LANGUAGE. CULTURE. SOCIETY The word in the context and in the field of functioning (based on Russian and Armenian political vocabulary) V.V. Madoyan, S.Z. Sheyranyan Pages: 21..27 DOI: 10.20339/PhS.4-20.021 Правка The role of Turkish linguistic society in the formation of Modern Turkish Genish Eyup, K. Furat, I. Batanova Pages: 28..35 DOI: 10.20339/PhS.4-20.028 Правка Max Fasmer and Oljas Suleymenov in search of etymon M. Dzhusupov Pages: 36..47 DOI: 10.20339/PhS.4-20.036 Правка LITERATURE STUDIES Deviation as a dominant feature of the сhapter “The last one” (N.A. Nekrasov’s poem “Who in Russia lives well”) O.V. Bogdanova, S. Nekrasov Pages: 48..55 DOI: 10.20339/PhS.4-20.048 Правка The problem of modal status in Gogol’s writings M. Weisskopf Pages: 56..63 DOI: 10.20339/PhS.4-20.056 Правка ‘It was me who walked past myself': subject uncertainty in Oleg Grigoryev’s poetry A. Bokarev Pages: 64..70 DOI: 10.20339/PhS.4-20.064 Правка Наследие и современность. К 120-летию Артёма Весёлого The role of A.K. Voronsky in the fate of Artyom Vesyoly N.M. Malygina Pages: 71..81 DOI: 10.20339/PhS.4-20.071 Правка “Using the similar outlines of events”: events of June 1918 in the image of Artyom Vesyoly, P. Dorokhov and A. Tolstoy M. Perepelkin Pages: 82..88 DOI: 10.20339/PhS.4-20.082 Правка “Songs and tears” in the story of A. Vesyoly “Outlaws”: the image of “simple revolution”." Philological Sciences. Scientific Essays of Higher Education, no. 4 (July 2020): 89–94. http://dx.doi.org/10.20339/phs.4-20.089.
Full text
37
UYAN, Ömer. "Expression of Death with the Metaphor of Migration in Classical Turkish Poetry." Mecmua, August 15, 2022. http://dx.doi.org/10.32579/mecmua.1153641.
Full textAbstract:
Almost every subject that is human or touches human life has found a place for itself in classical Turkish poetry, which ruled for about six centuries. However, these issues came to the fore after they were handled in the poet's imagination within the framework of classical poetry poetics or mystical symbolism. The phenomenon of migration also appears as both a subject and a metaphor in this poem. The social, political and historical aspects of migration are mostly handled in genres such as epics and legends. In some poetic siyer-i Nebi's and masnavis, the incident of migration has been handled based on narrative (tahkiye) and relatively in harmony with historical data. The concept of "migration", which emerges in the context of the lover-beloved relationship in general in classical poetry, especially in the type of ghazal, is also in the position of the mushabbahun bih (which is likened to itself) of "death". This concept; along with caravan, wrapped food for travels, ceres (caravan bell, bell, rattle), migration drum (kûs-ı rahîl), bandit, camel etc. By bringing many different words to the mind of the poet, it was used as a metaphor rather than a simple simile, and as a result, the fact of "death", which everyone knows and is inevitable, was expressed in a more artistic and literary way. In the study, the metaphor of migration was handled together with this rich usage and connotation field and the examples were tried to be analyzed in detail in terms of content and style.
38
Sunarto, Sunarto, and Robby Habiba Abror. "From Ottoman to Indonesia: Aesthetic Acculturation in Musical Tradition." ESENSIA: Jurnal Ilmu-Ilmu Ushuluddin 23, no. 1 (June 3, 2022). http://dx.doi.org/10.14421/esensia.v23i1.3141.
Full textAbstract:
This article provides an understanding of the aesthetic relationship between the Ottoman and Indonesia. Turkey was instrumental in Islamization and political support for Indonesia. Islam came to Indonesia in the 13th century which was brought by merchants of the Middle East and Ottoman Turks. They used several dawah mediums, such as economics, politics, social, and arts. Many sources write about the central role of traders from the Middle East in Islamization in Indonesia, yet few resources give explanations of the role of Turkish traders and preachers. Using the descriptive analysis method, this article argues that Turkey has given a strong influence on Sufism in Indonesia. The main instrument in this research is library observation. This study found that the Ottoman Turks influences aesthetic-Sufistic interactions in Indonesia. Ottoman Turkey with Sufism from Mevlana Jalāl ad-Dīn Rūmī has introduced music to Indonesia, which includes recitative poetry sung, Turkish musical instruments, and Sufistic Whirling Darvish dance of Tarekat Mevlevi Rūmī. The influence of Turkey spread to Javanese and Malay-speaking Sumatran people.
39
Fedai, Celal. "İsmet Özel’in Şiirlerinde 1965-1975 Dönemi Siyasî Olayları ve Halka Bakış." Istanbul University Faculty of Letters Journal of Turkish Language and Literature, December 26, 2018, 375–97. http://dx.doi.org/10.26650/tuded478092.
Full text
40
Hammond, Andrew. "Muslim Modernism in Turkish: Assessing the Thought of Late Ottoman Intellectual Mehmed Akif." Die Welt des Islams, November 2, 2021, 1–32. http://dx.doi.org/10.1163/15700607-61040012.
Full textAbstract:
Abstract Late Ottoman intellectual Mehmed Akif (1873–1936) was for decades depicted in Turkish public discourse in generic terms as an Islamist radical opposed to the secular nation state. Through Akif’s poetry, articles, translations, correspondence from his exile in Egypt, and biographical detail revealed in the scattered memoirs of students and colleagues, this article offers a reappraisal of his thought as a leading Muslim modernist who adapted the thinking of Egyptian religious scholar Muḥammad ʿAbduh (1849–1905) to an Ottoman and then Turkish audience in the formulation of an early, prescient compromise between religion and nationalism. The article also notes remarkable similarities between Akif and Indian thinker Muḥammad Iqbāl (1877–1938), whom Akif was instrumental in introducing to Arab audiences, and suggests that, once political Islam had later gained currency across all fields of public life, Akif became an alternative to nationalist icon Ziya Gökalp (1876–1924) as an intellectual symbol of the republic.
41
YUSIFOV, TOFIG. "Methods of Analysis of Lyrical Texts in Foreign Literature Classes in Higher Educational Institutions (Based on the Works of Nazim Hikmet)." Scientific Bulletin of Mukachevo State University Series “Pedagogy and Psychology” 8, no. 3 (October 14, 2022). http://dx.doi.org/10.52534/msu-pp.8(2).2022.81-88.
Full textAbstract:
The relevance of the study is conditioned by the importance of investigating the methodological foundations of teaching foreign literature at the university, introducing innovative ways to understand textual reality, fostering a moral position through the author’s strategy, forming aesthetic literary tastes in modern students and skills for effective reading of a literary work. The purpose of the study is a detailed and comprehensive analysis of the creativity of the Turkish modernist poet, the key foundations of the development of the author’s personality, his political position, the definition of the artistic, problem and thematic vector of the development of modern Turkish poetry, key themes, tropics, stylistic characteristics, features of the genre, rhythmic structure of the poetic text. The methodological basis of this study is a theoretical understanding of these aspects and a consistent artistic analysis of the author’s creative concept based on the material of one of the artistic samples made in his stylistic manner. This paper reveals systematic and conceptual approaches to the investigation of foreign poetic texts, highlights the main points and difficulties that arise during the study of translated works, tells about the main approaches to the analysis of foreign authors and new methodologies used by literary critics and elements of which will be used in the future in the classroom. The materials presented in this paper can be used to further investigate various artistic parameters, in particular, rhythm, poetic means of expression, structural components, and semantic content of a particular text, to develop new mechanisms for building communication between the author and the reader, teacher and student in foreign literature classes, and the reception of works of a particular author.
42
Field, Garrett. "Poetry for linguistic description: The Maldives inside and outside the Arabic cosmopolis in 1890." Modern Asian Studies, March 11, 2022, 1–32. http://dx.doi.org/10.1017/s0026749x21000603.
Full textAbstract:
Abstract In 1890, the Maldivian judge and poet Sheikh Muhammad Jamaluddin connected poetry with linguistic description in two ways. First, when he described features of the Dhivehi language with the aid of Arabic linguistic theory, he used Dhivehi poetry as linguistic evidence for correct usage. Second, he authored Dhivehi-language poetry about Arabic linguistic theory. Cosmopolis scholarship relates a narrative of how the wide circulation of Sanskrit, Arabic, and/or Persian fostered a vast network of writers who authored texts in major vernacular languages like Bengali, Burmese, Javanese, Kannada, Khmer, Malay, Sinhala, Tamil, Telugu, Thai, Tibetan, Turkish, and Urdu. This scholarship suggests that authors living within a particular cosmopolis wrote in divergent vernacular languages yet were, in some sense, connected because they translated and responded creatively to the same widely circulated source texts written in Sanskrit, Arabic, and/or Persian. Yet in cosmopolis scholarship's effort to reveal understudied connections, various degrees of disconnection among writers of vernacular languages within a cosmopolis tend to be missed. One problem of overlooking disconnection among writers of vernacular languages is that readers could mistakenly conflate superculture-subculture interaction with intercultural interaction. In this article, I argue that Dhivehi-language poetry and linguistic description was inside the Arabic cosmopolis but simultaneously outside, because in circa 1890 non-Maldivians in the Arabic cosmopolis of South and Southeast Asia could not even read the Thaana script of the Dhivehi language.
43
TOOMAJNIA, Jamaleddin, and Zeynep KUBAN TOKGÖZ. "A Comparative Research on Two Art Associations: “Helikon Association” in Turkey And “Khorus Jangi Association” in Iran." Fırat Üniversitesi Sosyal Bilimler Dergisi, September 8, 2022. http://dx.doi.org/10.18069/firatsbed.1129881.
Full textAbstract:
In this article, the ideas and activities of the Helikon Association in Turkey and the Khorus Jangi Association in Iran, which had a strong impact on the modern art of the neighboring countries Iran and Turkey, will be compared and their impact on the tendency of Turkish and Iranian artists to avant-garde art will be discussed. These two art associations were established in the 1950s by like-minded friends from various branches of art and literature. Specialists from the plastic arts, poetry and literature, music, cinema, and theater came together in these associations to share and discuss the new movements and ideas emerging in these branches around the world. Since most of the members of the Helikon Association are musicians, this association is mostly known for music, whereas painting and poetry predominate in the Khorus Jangi Association. The aims of these associations are presented by their founders as introducing the art of the day to the public and to increase their knowledge on this subject. They were short-lived, and both were closed down by the state because of the political conditions of that time due to false reports and conflicts.
44
ŞAHİN, Selin, and Enes ŞAHİN. "The Concept of Ideology and the Struggle between Capitalism and Communism in Sezai Karakoç’s Political Thought." Cumhuriyet Üniversitesi İktisadi ve İdari Bilimler Dergisi, November 8, 2022. http://dx.doi.org/10.37880/cumuiibf.1173450.
Full textAbstract:
Considering the political culture of the 20th century, it can be said that one of the essential elements shaping political mentality and activities is the concept of ideology. Especially after the Second World War, the world system was shaped around capitalism and communism, the dominant ideologies of the period. This situation has been determinant in political processes and international relations in this period, known as the Cold War period, and it has also brought intellectuals to produce ideas by being influenced by the concept of ideology. In this direction, it is important to examine the world of thought of Sezai Karakoç -one of the most influential intellectuals of Turkey and influenced Turkish thought with his literary and intellectual writings- in the context of ideology during the Cold War period. In this context, it is aimed to examine themes such as the concept of ideology, the characteristics of capitalism and communism, and the struggle between them in Sezai Karakoç’s works other than poetry. The method of discourse analysis was used in the study, and the result was that Sezai Karakoç’s world of thought was significantly influenced by the political and intellectual context of the Cold War period, and the concept of ideology and the idea of a struggle between ideologies had a decisive effect on his mentality. It has become clear that Karakoç’s works are one of the most important examples of intellectual pursuits and struggles that directly reflect the context of Islamist thought in Turkey during the Cold War period.
45
Yussupov, R. К. "MEDIEVAL PERSIAN AND TURKIC LITERATURES IN THE CONTEXT OF ISLAMIC RENAISSANCE." Keruen 72, no. 3 (September 15, 2021). http://dx.doi.org/10.53871/2078-8134.2021.3-04.
Full textAbstract:
Comparative study of traditions formed within the Turkic and the Persian literatures in the context of Islamic renaissance is of great importance due to the fact that the Turkic and Persian peoples for a long time have been living together in a single political and economic area. Because of that they have more in common, rather than differences in the literature. Traditions laid by brilliant representatives of the literatures of the Turkic and Persian peoples such as Firdowsi, Nizami, Yusuf Balasaghuni, Akhmad Yugnaki, who contributed to development of the world culture, were developed by their followers in the latest periods. New generations of poets introduced new genres and themes into the literature, new trends and artistic approaches and thus enriched it. Classical Persian-Tajik poetry played an important part in emergence and development of the written poetic genre forms. Persian traditions were adopted and developed based on Turkic poetry by such authors as Lutfi, Sakkaki, Ata’i, Navoi, Babur etc. Many of them used the experience and learned from well-known poets not only of the Turkic world , but also those authors who wrote in Farsi.
46
ALBAYRAK, Hakan. "A STUDY OF OZANTÜRK'S EPIC OF "TURNALAR" IN TERMS OF NATIONALISM THEORIES." Karadeniz Uluslararası Bilimsel Dergi, December 15, 2022. http://dx.doi.org/10.17498/kdeniz.1190167.
Full textAbstract:
Various theories have emerged as a result of evaluations and studies on nationalism. Among these theories, "primordial theory", "modernist theory" and "ethno-symbolist theory" came to the fore. Primordial theory argues that nations come from the same lineage and share a common religion, language, culture and history. In this theory, there are “naturalistic”, “biological” and “cultural” perspectives. According to modernist theory, nationalism is a social necessity of that period. In this theory, nationalism is evaluated together with the modernization process, which affects social, political and economic developments and changes. In the ethno-symbolist theory, nationalism, ethnic origin and cultural characteristics of nations are emphasized. National symbols are frequently encountered in Turkish oral and written cultural products. Symbols reflecting Turkish nationalism are widely used, especially in Minstrel Literature, a product of Turkish Folk Literature. These symbols appeal to the subconscious of the Turks with their deep meanings. Each symbol has its own semantic national value. The "Turnalar" epic of Ozantürk emphasizes the shared cultural heritage of the Turkish people. In the epic of Turnalar, which consists of three separate works connected to each other, the Turkish communities that make up the Turkish World are described. In the first of these texts, the Turks of Azerbaijan, Kazakhstan, Kyrgyzstan, the Turkish Republic of Northern Cyprus, Uzbekistan, Turkey and of Turkmenistan are mentioned. In the second text, Turkish tribes living in a wide geography including countries such as Iraq, Iran, East Turkestan, Crimea, Tatarstan, Bashkortostan, Yakutia / Sakha, Chuvashia, Altai Republic, Tuva Republic, Khakas Republic are presented. In the third text, the Turks living in countries such as Greece / Western Thrace, Bulgaria, Romania, Moldova / Gagauzeli, Serbia, Montenegro, Bosnia-Herzegovina, Kosovo, Albania, Croatia, Macedonia, Hungary, and Turks who struggle for existence" along with the Turkish presence in Europe are spoken of. The epic of "Turnalar" is a work of Bayram Durbilmez, who also wrote poems in minstrel manner under the pseudonym Ozantürk. Durbilmez is a scholar known for his works in the fields of minstrel literature, tekke-sufi literature and folklore of the Turkish World. This scholar is also known as a Turkist, nationalist intellectual who has served as a member of the board of directors, chairman of the board of directors and a delegate to the headquarters in various non-governmental organizations, foundations and associations that defend Turkish nationalism. The fact that he usually uses the pseudonym Ozantürk in his poems shows that Durbilmez has a nationalist attitude also in the world of art. In this article numerous national symbols that occurs in Ozantürk / Bayram Durbilmez's epic "Turnalar" about the Turkish World and that are shared by Turkish states and communities that exist across many geographical areas will be analysed. The national symbols in question are evaluated within the framework of nationalist theories, some of which through the primordial theory which states there are natural nations, some of which through modernist theory that emerged with the effect of modernization, and some of which through the ethno-symbolist theory that adopts ethnic cultural values. There are also symbols that are evaluated within these three theories. While determining the nationalist attitude in the epic, the scientific foundations of nationalism will also be tried to be shown through the mentions of the poet's academic studies on the Turkish World.
47
Gökberk, Ülker. "Beyond Secularism: Orhan Pamuk's Snow, and the Contestation of 'Turkish Identity' in the Borderland." Konturen 1, no. 1 (December 14, 2008). http://dx.doi.org/10.5399/uo/konturen.1.1.1286.
Full textAbstract:
This paper explores the multifaceted discourse on Islam in present-day Turkish society, as reflected upon in Orhan Pamuk’s 2002 novel Snow. The revival of Islam in Turkish politics and its manifestation as a lifestyle that increasingly permeates urban environments, thus challenging the secular establishment, has occasioned a crisis of ‘Turkish identity’. At the core of this vehemently contested issue stands women’s veiling, represented by its more moderate version of the headscarf. The headscarf has not only become a cultural marker of the new Islamist trend, it has also altered the meanings previously attached to socio-cultural signifiers. Thus, the old binaries of ‘tradition’ and ‘modernity,’ ‘backwardness’ and ‘progress,’ applied to Islamic versus Western modes of living and employed primarily by the secularist elites and by theorists of modernization, prove insufficient to explain the novel phenomenon of Islamist identity politics. New directions in social and cultural theory on Turkey have launched a critique of modernization theory and its vocabulary based on binary oppositions. I argue that Pamuk participates, albeit from the angle of poetic imagination, in such a critique. In Snow the author explores the complexities pertaining to the cultural symbolism circulating in Turkey. The ambiguity surrounding the headscarf as a new cultural marker constitutes a major theme in the novel. I demonstrate that Snow employs multiple perspectives pertaining to the meaning of cultural symbols, thus complicating any easy assessment of the rise of Islam in Turkey. By withholding from the reader a clear guide to unequivocal judgment of right and wrong, the author transcends the parameters of Turkish modernist ideology.
Pamuk situates his story in Kars, a border city in North-Eastern Turkey. This location at the geographical and cultural margins of Turkey emerges in the novel as a complex site of contested ideological, political, and metaphysical positions pertaining to the question of Turkish identity. It represents a space where Islamic faith in its esoteric and exoteric forms is carried out over against state-imposed laicism. I argue that it is the other-worldliness of the locale that instigates such a reflection. The protagonist Ka, a Turkish poet who has briefly returned to his hometown, Istanbul, after twelve years of exile in Germany, embarks on a journey to Kars. A member of the secular Istanbul bourgeoisie, Ka seems to be afflicted by an ailment common to his social stratum, a vacuum of spiritual values. Even though Ka travels to Kars with a journalistic mission, he soon becomes entrapped in this alien world of Sheiks, head-scarved girls, and former communists turned political Islamists. The novel oscillates between the Ka’s perspective as a detached observer and his personal quest to find transcendence. By employing multiple perspectives, Pamuk complicates any easy assessment of the rise of Islam in today’s Turkish society. I complement this reading of Snow with a brief excursus to Pamuk’s recent memoir, Istanbul: Memories and the City, permeated by the author’s critique of the modernist ideology of the Republican era. This critique sheds light on Pamuk’s opaque discourse on faith in Snow. These two books by the Nobel-prize winner have been his most disputed ones among the Turkish secular intelligentsia. I conclude with a reference to these critical commentaries.
48
"HERMENEUTIC ANALYSIS OF THE TEXT IN UZBEK CLASSIC LYRICS." Mental Enlightenment Scientific-Methodological Journal, May 13, 2021, 55–63. http://dx.doi.org/10.51348/tziuj2021s25.
Full textAbstract:
“Our generation should be more knowledgeable, healthier and of course happier than us”. These words of the president of Uzbekistan Shavkat Mirziyayev nowadays became the motto of our republic. Today in our country there are a lot of opportunities for young generation to accomplish the aim which was stated by our president. Using these opportunities and support by our country young generation is also trying to discover the unlimited world of different subjects and sciences. Among these subjects the Art occupies a great position too. Especially, the literature has always been the first and foremost subject which impressed our nation all the time. The article analyzes the principles of social and political factors in the creation of art poetic language and hermeneutic analysis of the text in Uzbek classic lyrics. Unique masterpieces of Uzbek Literature have been translated into a number of foreign languages for centuries. For instance, the works of Ahmad Yassaviy (11-century), Yusuf Hos Hojib’s “Kutadgu Bilig”(12-century), “Muhabbatnoma” written by Khorazmiy (14-century), literary works of Lutfiy, Navoiy (15-century), Babur (16-century), Mashrab, Turdi, “Temur Tuzuklari” revealing Tamerlane’s life and his conquests and many others are translated into English, Russian, French, German and many other languages. Numerous scientific researches devoted to these works intrigue any audience, indeed. It should be emphasized with delight that a number of ancient Turkish-Uzbek literary essays were founded, reviewed and printed with initiatives of some European researches.
49
ALİYEVA, Tamilla. "On the historical tipologi of the caucasus captive in Russian literature." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, August 21, 2022. http://dx.doi.org/10.29000/rumelide.1164908.
Full textAbstract:
In this paper, it is focused on the reflections of the wars in the Caucasus on art in Russian literature. The concept of “Caucasian captive”, which is an integral part of the Caucasus war theme, has been studied in the context of its historical and literary sources. The understanding of “Caucasian captive”, which expresses the historical destiny of Russia in the Eurasian geography as a whole, has been reviewed within the framework of its historical formation, symbolic and literary expressions in classical and contemporary Russian literature. One of the traditional themes that has an important place in Russian literature is the “Caucasian captive” theme. This theme has been handled by Russian authors and poets such as A. Pushkin, A. Griboyedov, M. Lermontov, A. Bestujev-Marlinsky, L. N. Tolstoy, V. Velichko, N. Tikhonov, V. Makanin and more in terms of its political, social and philosophical aspects. It can be said that the historical and literary significance of the Caucasian captive subject comes from the analysis of Russia's view of the Eurasian geography and the Russian relations with the Caucasus. The interest of Russian authors in Muslims and Turks living in the Caucasus is due to their being influenced by the characters, lifestyles, traditions and warriors of these peoples. The concept of “Caucasian captive”, which is at the center of our study, was introduced in 1815 by the French author Xavier de Mestr, who visited the Caucasus in 1810-1811. The author’s notes on the war, which he wrote in a romantic-emotional spirit, vivid observations, events and characters he describes are distinguished by realistic features and contain historical significance as well as literary values. Another French author, Frederica Freiggang, whose wife served in the Russian army, touches on the same subject in the novel “Letters on the Caucasus and Georgia” published one year after the novel “Ksavie de Mestrin”. However, it can be said that from the beginning of the 19th century, including the 21st century, this theme has been handled in a broad, versatile and highly poetic interpretation in the works of Russian authors. A deep and sincere interest in the character, morality and lifestyle of the Caucasians has found wide coverage in the artistic works, letters and memoirs of many Russian authors. Even the Russian authors who fought in the Caucasus remember the representatives of the Caucasian-Muslim peoples with sincere respect and affection in their works. Particular attention should be paid to the works devoted to this subject by classical Russian poets and authors such as A. Pushkin, M. Lermontov, A. Bestujev-Marlinsky, L. N. Tolstoy. Consequently, the subject of Caucasian captive in Russian literature attracts attention as an up-to-date scientific subject in terms of its literary, philosophical, aesthetic, historical-ideological aspects and Russian-Caucasian and Russian-Turkish relations. In this study, the above mentioned issues, the artistic description of the wars in the Caucasus in Russian literature, the issue of the Caucasian war, the historical and literary sources of the “Caucasian captive” content, which is an integral part of this theme, and the concept of “Caucasian captive” expressing the historical destiny of Russia in Eurasia and its symbolic meanings, artistic nature and historical evolution will be examined as a traditional image and content of classical and modern Russian literature.
50
Kuliieva, Antonina. "«Italian in Аlgeria» J. Rossini in the context of the evolutionary ways of the development of the Italian music theater of the early XIX century." NATIONAL ACADEMY OF MANAGERIAL STAFF OF CULTURE AND ARTS HERALD, no. 2 (August 4, 2022). http://dx.doi.org/10.32461/2226-3209.2.2022.262270.
Full textAbstract:
The purpose of the study is to identify the poetic and intonational features of the opera «Italian in Algeria» by G. Rossini in the context of general evolutionary paths of development of the genre of Italian comic opera. The methodology is based on a combination of culturological, historical and musicological, hermeneutic and art studies, which together significantly deepens the study of genre and style specifics of opera by G. Rossini, in particular, «Italians in Algeria» as a new stage in the development of opera-buffa. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the manifestations of aesthetic and stylistic guidelines of Rossini's opera «Italian in Algeria» and its genre specificity, adjusted to the Italian cultural and historical tradition of the early nineteenth century. Conclusions. The plot-semantic indicators of G. Rossini's «Italians in Algeria», on the one hand, show contact with the typology of the «classic» opera-buffa, as evidenced by the traditional comedy plot; the correlation of most of the heroes of the play with the types of Italian comedy masks; appeal to oriental (Turkish) themes, interpreted in the spirit of the ideas of the Enlightenment, as well as analogies with the Mozart Musical Theater and the comedies of JB Moliere. On the other hand, the opera demonstrates the innovative approach of its author, as evidenced by the final rondo of Isabella with the choir, which both in text and in intonation language appeals to the ideas of Italian culture on the eve of Risorgimento. Generalization of the intonation specificity of «Italian in Algeria» by G. Rossini demonstrates the originality of the relationship between traditions and innovations. The poetics of opera-buffa is manifested here in G. Rossini's masterful mastery of the art of opera ensemble; in the wide use of timbre-performance capabilities of buffoon bass, patter techniques, etc. The novelty of the work is manifested in the complexity of the images of the main characters, the richness of their intonation characteristics, which were based on the traditions of belcanto. This is primarily related to the image of Isabella, who ultimately gravitates to the ideas of national patriotism and thus greatly expands the expressive possibilities of the typology of opera-buffa in line with the socio-political and cultural realities of Italy in the early XIX century.
Key words: opera-buffa, G. Rossini Musical Theater, «Italian in Algeria», Risorgimento, Italian Musical Theater.