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Rai Mikisaburou was a Chinese patriot and a poet who lived during the end of the Edo period. Rai Sanyou was a historian and Chinese poet in the late Edo period and is famous as the author of “Japanese Foreign History. ” Rai Mikisaburou is Rai Sanyou’s third son. Rai Mikisaburou is not as famous as his father. This research clarifies the current state of research by organizing Chinese poems, writings, letters, brief biographies, and related previous studies on Rai Mikisaburou. The Chinese poems of Rai Mikisaburou were worthy of literary appreciation, but except for “Hundred Poems and Hundred Seals, ” there was almost no research on his other Chinese poems. This research also clarifies the process of the establishment of Rai Mikisaburou’s poetry manuscript “ougaishu,” which was not in the researchers’ field of view. Furthermore, as a patriot, Rai Mikisaburou was greatly influenced by Rai Sanyou in terms of thoughts. Additionally, in terms of Chinese poetry, the literary similarities between Rai Mikisaburou and Rai Sanyou were also clarified.

Cet article s’intéresse au Journal de guerre en Chine écrit conjointement par W. H. Auden et Christopher Isherwood en 1938. Ne parvenant jamais totalement à être des témoins privilégiés des combats entre les troupes japonaises et les armées chinoises, les deux écrivains développent une esthétique du porte-à-faux qui peu à peu « déréalise » la guerre et dessine également une figure rhétorique du poète comme porte-parole « déplacé ». Recourant à l’ironie et à la parodie, le texte expose la posture inconfortable de deux auteurs dans une Histoire qu’ils ne parviennent pas à saisir tout à fait. This article focuses on Journey to a War, written by W. H. Auden and Christopher Isherwood in 1938. Never fully succeeding in being privileged witnesses to the fighting between the Japanese and Chinese armies, the two writers developed an aesthetics of unbalance that gradually “de-realised” the war and drew a rhetorical figure of the poet as a "displaced" mediator. Employing irony and parody, the text exposes the uncomfortable position of two authors in a History they cannot quite grasp.

The article traces the tendency of correlation between the preservation of a stable cultural tradition and the process of popularization of the literary heritage of the Omsk region through creation of a website, creation of new excursions, and systematization of literary content. The analysis of the conducted research allowed us to make a conclusion about the importance of information promotion. The project “OmskLiteraTur” allowed to draw attention to the problem of preservation and promotion of cultural heritage. In the course of the study, an entrance test was conducted for knowledge of the Omsk literary heritage, a register of literary excursion objects was compiled, scenarios of literary video tours were developed, interviews were taken, etc. The main emphasis in the research project was placed on young people as participants of the project, as a promising audience for broadcasting cultural traditions of a literary nature. Based on the study of the literary creativity of the Omsk region, conclusions were dawn about the process of the relationship between translation and preservation., В статье прослежено соотношение тенденции сохранения устойчивой культурной традиции с процессом популяризации литературного наследия Омского региона посредством создания сайта, подготовки новых экскурсий, систематизации литературного контента. Проект «ОмскЛитераТур» позволил обратить внимание на проблему сохранения и продвижения культурного наследия. В ходе исследования было проведено входное тестирование на знание омского литературного наследия, был составлен реестр литературных экскурсионных объектов, разработаны сценарии литературных видеоэкскурсий, взяты интервью и т. д. Основное внимание в исследовании­проекте было уделено молодежи как перспективной аудитории для трансляции культурных традиций. На основе изуче­ния литературного творчества Омского региона сделаны выводы о взаимосвязи трансляции и сохранения культурных ценностей как элементе сохранения культурного наследия в целом.

Children with attention-deficit/hyperactivity disorder (ADHD) struggle with executive delays while managing their daily tasks. This is a secondary analysis of existing data from open-label research examining the efficacy of Parental Occupational Executive Training (POET). It further examines POET’s efficacy in increasing young children’s (3.83 to 7.08 years) executive control over daily routines, and in decreasing their ADHD symptoms. Additionally, the second analysis investigates which of the children’s increased capabilities is better associated with the change in their daily routine management following the intervention. Parents of children with ADHD symptomatology (N = 72, 55 boys) received eight POET sessions. They completed standardised ADHD symptomatology, executive management of daily routines, and executive functions (EF) questionnaires at pretest, post-test, and 3-month follow-up. Children’s ADHD symptoms and their management of daily routines significantly improved following the POET intervention. The children’s score changes in EF accounted for 37% of the variance in their improved routine management. These findings suggest that interventions aiming to increase children’s executive control over their daily routines should improve their broader array of EF besides decreasing core ADHD symptoms.

Ana Luna Alonso es miembro de BITRAGA, grupo integrado en BiFeGa, financiado por la Consellería de Cultura, Educación e Universidade de la Xunta de Galicia en el marco del Programa de Grupos de Referencia Competitiva GRC (2020-2023) con referencia: ED431C 2020/04 (Uvigo), (DOGA 06/10/2020). La autora está integrada en el proyecto «Nuevas estrategias de promoción cultural. Las ferias internacionales del libro y la condición de invitado de honor», grupo CULTURFIL, financiado por FEDER/Ministerio de Ciencia, Innovación y Universidades-Agencia Estatal de Investigación con referencia: FFI2017-85760-P. Xela Arias (1962-2003) se inició muy joven en la traducción en la recién creada Edicións Xerais de Galicia (1979), donde trabajó como correctora de estilo y editora. Xerais será la editorial de cabecera donde publicará sus poemarios y también la empresa en la que vieron la luz muchas de sus traducciones, en su mayoría dirigidas a un público juvenil que se iniciaba en un proceso de alfabetización en lengua gallega. Arias tradujo una veintena de obras al tiempo que escribía, pero su temprano fallecimiento truncó una brillante carrera literaria. En este trabajo damos cuenta del interés que tiene su labor profesional para los Estudios de Traducción e investigamos sobre el impacto exterior que ha tenido su obra en los espacios en los que ha sido acogida, como traducción propia o ajena. Estas son dos de las facetas menos conocidas por la crítica académica, que se ha ocupado de analizar la producción cultural de la autora. Xela Arias (1962-2003) started in the world of translation at a very young age at the recently created Edicións Xerais de Galicia (1979), where she worked as a proofreader and editor. She published collections of poems in this same publishing company, as well as many of the texts she translated. These translations were mainly addressed to young readers, who at that time were starting a literacy process in Galician language. Arias translated over twenty works while writing books of her own, but her early death cut short a brilliant literary career. This work aims to show two of the facets less known by academic criticism, who has mainly analyzed the author's cultural production: the interest that Arias' professional work has for Translation Studies and the impact of her poetry in the spaces where it has been translated (by herself or other translators).

Dans cet article, nous entendons examiner la figure du poète-historien antique dans les textes de H. Arendt. Voyant une filiation entre l’épopée d’Homère et l’historiographie d’Hérodote et de Thucydide, Arendt oppose leurs récits, qui mettent au centre les actions humaines, au concept moderne de processus, porté à son paroxysme par le totalitarisme, qui annihile, de fait, toute possibilité de penser l’action, nécessairement imprévisible. Nous soutenons qu’elle adopte cette parole narrative du poète-historien quand elle pratique elle-même le récit de vie dans Men in Dark Times (Vies politiques), narrant des vies singulières de héros, au sens d’acteurs politiques. In this essay, I intend to explore the figure of the ancient poet-historian in H. Arendt’s works. Seeing a connection between Homer’s epic and Herodotus’s and Thucydides’s historiography, Arendt opposes their stories, which put the emphasis on human actions, to the modern concept of process, brought to a fever pitch by totalitarianism, and de facto annihilating any possibility of conceiving action, which is necessarily unpredictable. I argue that she adopts the poet-historian’s narrative speech when telling herself stories of lives in Men in Dark Times, narrating the unique lives of heroes, in the sense of political actors.

This thesis investigates one of Iran’s grand narratives, the myth of victimisation, as a tool of the Iranian political elite to achieve foreign policy goals. It studies the leadership of Shah Mohammad Reza Pahlavi (1941-1979), Prime Minister Mohammad Mosaddeq (1951-1953), Ayatollah Ruhollah Khomeini (1979-1989), and President Mahmood Ahmadinejad (2005-2013) to argue that the sense of grievance of justice denied has had a cultural provenance, rooted in historical, literary and religious references spanning centuries. Accordingly Iranian leaders have been able to pursue and perpetuate narratives that have served to cast Iranians as victims of foreign intrigue, thus relieving themselves from accountability and inaction. The narrative of grievance has had a resurgence with the rise of populism around the world, but as an ideational catalyst in Iranian politics, where it has been at play for decades, it has received scant attention. The leaders studied in this thesis have each employed this narrative to varying degrees and effects, to cast the world as a battleground between victim and victimizer. This process was most evident in the lead up to and in the aftermath of the Islamic Revolution, when Ayatollah Khomeini and President Ahmadinejad repurposed the myth of victimisation to launch and export the revolution. While the Shah and Prime Minister Mosaddeq disseminated such myths to extract favourable concessions from foreign powers, mainly the United States and Great Britain. As a result, the grounding of Iran’s most exigent foreign policy issues in myths and populist narratives has led to an incongruity between its potential and its current standing in the community of nations.

This study aims to analyze the message of two poems about the Coronavirus pandemic, namely "Bubarnya Agama" and "Syukrān Kurūnā," and reveal the similarities and differences between them the two poems based on their intrinsic and extrinsic elements. This study uses a qualitative method that uses a comparative literature approach. The data collection technique used is the reading, and note-taking technique, namely the author reads carefully and deeply and then notes the important things from the two poems. Meanwhile, the data analysis technique is descriptive-comparative, which describes the intrinsic and extrinsic elements of the two poems and then compares them. The messages contained in the two poems are generated from the results of the meaning and comparison of the elements of the two poems. This study indicates that the poem "Bubarnya Agama" by Said Muniruddin from Indonesia and the poem "Syukrān Kurūnā" by Jabeer Ali Ba'adany from Yemen are two poems that have their characteristics in terms of their intrinsic and extrinsic elements. The two poems are a response from two poets from different countries to the Coronavirus pandemic hitting all parts of the world. Both poets have their perspectives in interpreting the coronavirus pandemic. However, the two poets both see Corona as something that brings wisdom and major changes to humanity's living and religious order.

In this essay we present a possible reading and interpretation of some poems from the book Entre Ficar e ir: renascer, by the poet and university professor, Walace Rodrigues. Such reading and interpretation, start from our perceptions about life and the world and also our experiences, and also considering the theoretical contributions of some authors who are dedicated to the investigation and problematization of the poetic doing in the guise of understanding and explanation of life and the world., Neste ensaio apresentamos uma possível leitura e interpretação de alguns poemas do livro Entre Ficar e ir: renascer, do poeta e professor universitário, Walace Rodrigues. Tal leitura e interpretação, partem de nossas percepções acerca da vida e do mundo e também nossas vivências, e ainda considerando as contribuições teóricas de alguns autores que se dedicam à investigação e problematização do fazer poético à guisa de compreensão e explicação da vida e do mundo.

Статья поступила в редакцию 27.03.2023 г. В статье прослежено соотношение тенденции сохранения устойчивой культурной традиции с процессом популяризации литературного наследия Омского региона посредством создания сайта, подготовки новых экскурсий, систематизации литературного контента. Проект «ОмскЛитераТур» позволил обратить внимание на проблему сохранения и продвижения культурного наследия. В ходе исследования было проведено входное тестирование на знание омского литературного наследия, был составлен реестр литературных экскурсионных объектов, разработаны сценарии литературных видеоэкскурсий, взяты интервью и т. д. Основное внимание в исследовании-проекте было уделено молодежи как перспективной аудитории для трансляции культурных традиций. На основе изучения литературного творчества Омского региона сделаны выводы о взаимосвязи трансляции и сохранения культурных ценностей как элементе сохранения культурного наследия в целом. The article traces the tendency of correlation between the preservation of a stable cultural tradition and the process of popularization of the literary heritage of he Omsk region through creation of a website, creation of new excursions, and systematization of literary content. The analysis of the conducted research allowed us to make a conclusion about the importance of information promotion. The project “OmskLiteraTur” allowed to draw attention to the problem of preservation and promotion of cultural heritage. In the course of the study, an entrance test was conducted for knowledge of the Omsk literary heritage, a register of literary excursion objects was compiled, scenarios of literary video tours were developed, interviews were taken, etc. The main emphasis in the research project was placed on young people as participants of the project, as a promising audience for broadcasting cultural traditions of a literary nature. Based on the study of the literary creativity of the Omsk region, conclusions were dawn about the process of the relationship between translation and preservation. Проект «ОмскЛитераТур» получил грантовую поддержку Омского нефтеперерабатывающего завода в рамках программы социальных инвестиций «Родные города» компании «Газпром нефть» и был реализован на базе Омского государственного технического университета. The OmskLiteraTur project received grant support from the Omsk Oil Refinery as part of the Gazprom Neft’s Hometowns social investment program, and was implemented on the basis of the Omsk State Technical University.

В представленной статье исследуется поэзия Гирихана Гагиева, оценивается вклад поэта в развитие ингушской литературы. Дается краткая характеристика стихам, созданным лириком с любовью к Родине и природе. Основное содержание исследования составляет анализ поэзии, посвященной данной тематике. Исследуется, как через разнообразные краски и звуки поэт олицетворяет родную природу. Силой своего художественного дарования, исследуя возможности характера человека, его скрытый душевный потенциал, писатели показывают, что в человеке по природе своей изначально заложено как положительное, так и негативное, т. е. в нем есть как доброе, так и злое, низкое и высокое, ничтожное и великое. И то, и другое начало может развиться в зависимости от того, какие условия будут наиболее благоприятными для их проявления. Стремление осмыслить настоящее как этап единого исторического процесса является отличительной особенностью материалистического мышления поэта, обращавшегося к прошлому Родины, чтобы найти в нем ключ к бурным событиям. И это явление закономерно в период исторических катаклизмов. С помощью метафор, олицетворений, сравнений и других средств языка Гирихану Гагиеву удалось высветить особенности быта, нравов, традиций и обычаев ингушей и воспеть красоту своей Родины., The article examines poetry of Girikhan Gagiev, assesses the poet’s contribution to the development of Ingush literature. A brief description of poems created by the lyricist with love for the Motherland and nature is given. The main content of the study is the analysis of poetry devoted to this topic. It explores how, through a variety of colors and sounds, the poet personifies nature. By the power of their artistic talent, exploring possibilities of a person’s character, his hidden spiritual potential, the writers show that both positive and negative are inherent in a person by nature, i.e. there is both good and evil in him, low and high, insignificant and great. Both of these beginnings can develop depending on what conditions will be most favorable for their manifestation. The desire to comprehend the present as a stage of a single historical process is a distinctive feature of the poet’s materialistic thinking, which turned to the past of the Motherland in order to find in it the key to turbulent events. This phenomenon is natural during the period of historical cataclysms. With the help of metaphors, personifications, comparisons and other means of language, Girikhan Gagiev managed to highlight peculiarities of life, customs, traditions and customs of the Ingush and to sing the beauty of his Homeland.

В данной статье автор анализирует поэму Салмана Озиева «Кхо чурт» («Три надгробных камня»), посвященную ингушскому народу, его традициям и обычаям. В поэме особое место занимают образы легендарных героев-ингушей, автором статьи отмечается, описывая их духовный мир, как затрагивает поэт жизненно важные проблемы реальной действительности того времени. Мотивы устного народного творчества можно найти почти во всех произведениях Салмана Озиева. Одним из таких ярких произведений, в котором рассказывается о духовных ценностях, образе жизни горцев, является поэма «Кхо чурт» («Три надгробных камня»). Сюжетная линия поэмы пересекается с древней народной легендой. До сих пор в предгорном селе Галашки сохранились три обелиска, которые, как говорится в народной легенде и описывается в поэме Салмана Озиева «Кхо чурт» («Три надгробных камня»), воздвигли в честь двух юношей и одной девушки. В поэме Салмана Озиева фольклорное наследие играет значимую роль в эволюции художественной мысли. Расширение тематического диапазона, связанного с отражением изменений в жизни народа, приводит поэта к новым и новым художественным поискам. Поэтическая огранка придает произведению свежесть, выверенность строк. Обилие изобразительно-выразительных средств, свойственных фольклору делает и поэму Салмана Озиева «народной», а благодаря поэтическому языку она очень легко читается., In this article, the author analyzes Salman Oziev’s poem “Kho Churt”, dedicated to the Ingush people, their traditions and customs. Images of legendary Ingush heroes occupy a special place in the poem, the author of the article notes, describing their spiritual world, how the poet touches on vital problems of the reality of that time. The motives of oral folk art can be found in almost all the works of Salman Oziev. One of such vivid works, which tells about the spiritual values, the way of life of the highlanders, is the poem. The storyline intersects with an ancient folk legend. Until now, three obelisks have been preserved in the foothill village of Galashki, which, as they say in folk legend and described in Salman Oziev’s poem, were erected in honor of two young men and one girl. In the poem, the folklore heritage of folklore plays a significant role in the evolution of artistic thought. The expansion of the thematic range associated with the reflection of changes in the life of the people leads the poet to new and new artistic searches. The poetic cut gives the work freshness, precision of the lines. The abundance of visual and expressive means peculiar to folklore also makes the poem “folk”, and thanks to the poetic language, it is very easy to read.

В статье рассматривается басенное творчество Ивана Васильевича Капчигашева. Подробно проанализированы три басни – «Тағ ӱстӱнде сарып» («На горе кустарник»), «Ала Саасхан» («Сорока»), «Аба паза Тӱлгӱ» («Медведь и Лиса»), написанные в конце 50-х годов ХХ века, в контексте сюжетного, тематического, художественно-изобразительного своеобразия. Басни его до сих пор не переведены на русский язык. Выделив главных героев басен (это звери и растения), становится понятно, что большое воздействие имеет здесь устное народное творчество хакасов, с одной стороны, и влияние в форме заимствования русской басенной традиции, с другой стороны. Басни И. Капчигашева представляют эпизоды из жизни людей в образе животных или растений с диалогической народной речью, в конце которой обязательно наличествует мораль. Тематика басен имеет несколько направлений – социальное, нравственно-духовное, отражающие современную действительность. Все басни написаны в стихотворной форме., The article deals with the fables of Ivan Vasilievich Kapchigashev. Three fables “Tag üstünde saryp” (A bush on the mountain), “Ala saaskhan” (A magpie), “Aba paza Tülgü” (The Bear and the Fox), written in the late 50-ies of XX century in the context of the plot, thematic, artistic and pictorial originality are analyzed in detail. His fables are still not translated into Russian. Having allocated the main heroes of his fables (they are animals and plants), it becomes clear that a great influence has here the oral folklore of Khakasses, on the one hand, and influence in the form of borrowing of the Russian fable tradition, on the other hand. I. Kapchigashev’s fables present episodes from the life of people in the image of animals or plants with dialogic folk speech, at the end of which a moral is obligatory. The subjects of the fables have several directions – they are social, moral and spiritual, reflecting the modern reality. All the fables of the writer are written in verse form.

Hicrî ikinci yüzyılda Arap yarımadasında dil hatalarının hızlı bir şekilde yayılması üzerine, İslâm dininin kutsal metinlerinin dili olan Arapçayı koruma altına alma çalışmaları başlatılmıştır. Bu bağlamda dil âlimleri, doğruluğundan emin olunan bir Arap sözünün şahit olarak kullanılmasından ibaret olan istişhâd yöntemini etkin bir şekilde kullanmışlardır. Kur’ân, hadis, nesir ve şiirin şahit olarak kullanıldığı istişhâd yönteminde şiir, şahit olarak en fazla kullanılan unsur olmuştur. Şiiri ile istişhâd edilecek şairlerin tespiti için fesâhat ölçü alınarak şairler, belirli ölçütlere göre tasnif edilmiştir. Şairlerin mensup olduğu kabileler de istişhâd açısından yapılan tasnifler arasındadır. Kabileler yabancı etkisine maruz kalma açısından tasnif edilmiş, dillerinde bozulma meydana gelen kabileler istişhâd sınırları dışında kabul edilmiştir. Bu çalışmada belirlenen örneklem gramer eserlerindeki gerçekleşen istişhâd, teorideki kabile bağlamında çizilen istişhâd sınırları ile karşılaştırılmıştır. Mezkûr konuya, istişhâd ile ilgili çalışmalarda değinilmiş olsa da konunun, ayrı bir çalışma olarak ele alındığına şahit olunmamıştır., Upon the rapid spread of language errors in the Arabian Peninsula in the second century of the Hijri, studies to protect Arabic, the language of the sacred texts of the Islamic religion, were started. In this context, language scholars have effectively used the istishhad method, which consists of using an Arabic word that is sure of its accuracy as a witness. In the istishhad method, where the Qur'an, hadith, prose and poetry are used as witnesses, poetry has been the most used element as a witness. In order to determine the poets to be istishhad with their poetry, the poets were classified according to certain criteria by taking the measure of fluency. The tribes to which the poets belong are also among the classifications made in terms of istishhad. The tribes were classified in terms of exposure to foreign influence, and the tribes whose language was corrupted were considered outside the borders of istishhad. The actual istishhad in the sample grammatical works determined in this study were compared with the istishhad boundaries drawn in the context of the tribe in theory. Although the aforementioned subject has been mentioned in studies on istishhad, it has not been witnessed that the subject has been handled as a separate study.

В статье рассматриваются образная система и тематическое многообразие поэзии ингушского поэта Г. Гагиева. Даётся краткий анализ его поэтическим произведениям, которые отличаются песенностью и звучностью. Также рассматривается поэтический язык и характер лирических стихов, посвященных любимой Родине и её прекрасной природе, человеку-патриоту и всему народу. Отмечается, что одной из основных проблем его поэзии является проблема восприятия его героями прекрасного, и соответственно, данная тема там занимает большое место. К торжеству справедливости и чистоты во взаимоотношениях между людьми устремлены все его помыслы. И некоторая наивность в выражении этих устремлений отнюдь не умаляет достоинства его стихов, в которых отражается чистота и первородность мотивов. Его творчество, начиная от двустиший и кончая поэмой, притягивает интерес читателей. Она наполнена любовью к людям, к красоте родной земли; проникнута душевностью, добротой, чувством постоянного беспокойства за судьбу не только своих соотечественников, но и народов других стран и наций. Проникнутая любовью к Родине и ко всему прекрасному поэзия Гирихана Гагиева живет и будет жить всегда. Свободолюбивое поэтическое слово его доходит до сердец читателей, пробуждая все лучшие человеческие чувства, объединяя их нравственно и духовно, помогая познавать и открывать для себя полнее любимую Родину., The article examines the figurative system and thematic diversity of the poetry of the Ingush poet G. Gagiev. A brief analysis of his poetic works, which differ in song and sonority, is given. The poetic language and character of lyrical poems dedicated to the beloved Motherland and its beautiful nature, the patriot man and the whole people are considered. It is noted that one of the main problems of his poetry is the problem of his characters’ perception of the attitude to the beautiful, and accordingly, this topic occupies a large place there. All his thoughts are directed to the triumph of justice and purity in the relationship between people. Some naivety in the expression of these aspirations does not detract from the dignity of his poems, but expresses the purity and primordial motives. His work, starting from couplets and ending with a poem, attracts the interest of readers. It is filled with love for people, the beauty of the native land; imbued with sincerity, kindness, a sense of constant concern for the fate of not only his compatriots, but also the peoples of other countries and nations. The poetry of Girikhan Gagiev, imbued with love for the Motherland and for everything beautiful, lives and acts today, and will always live and act. His freedom-loving poetic word reaches the hearts of readers, awakening all the best human feelings, uniting them morally and spiritually, helping to know and discover their beloved Homeland more fully.

В статье проанализирована одна рецензия на поэтический сборник, изданный в 1926 г., а сама рецензия появилась в печати спустя пять лет, в сентябре 1931 г., то есть после насильственной смерти поэта-автора. Показана несостоятельность политических обвинений, предъявляемых поэту со стороны рецензента., The article analyzes one review of a collection of poetry published in 1926, and the review itself appeared in print five years later, in September 1931, that is, after the violent death of the poet-author. The insolvency of the political accusations against the poet by the reviewer has been proved.

Şiir, kendine has bir ritimle tarih boyunca insanların hayal dünyasındaki aşk, sevgi, nefret, hüzün ve intikam gibi düşünceleri dışarıya ahenkle yansıtma ve insanları etki altına alma aracı olmuştur. Sürekli bir değişim, gelişim ve yenilik diyalektiği içinde varlığını sürdüren şiir, Cahiliye'den itibaren Arap toplumunda insanların en çok değer verdiği edebiyat unsuru haline gelmiştir. Zamanla toplumun dinamikleri ve hassasiyetleri değişirken şiir, ehemmiyetini ve etki sahasını daima koruma altında tutmuş ve bir şekilde gelişimini sürdürmeye devam etmiştir. Cahiliye dönemi başta olmak üzere hemen her Arap edebiyatı döneminde şiirde yeni türler varlık göstermiş, şiiri teşvik edici ve geliştirici unsurlar ön plana çıkmıştır. Cahiliye döneminde Arapların yaptığı savaşları ifade etmek için kullanılan Eyyâmu'l-'Arab, şiiri geliştiren bu unsurlardan biridir. Yapılan savaşlarda ölenleri yad etme, kahramanlıklarını övme veya karşı kabileyi yermek için şiir ve şair ihtiyacı hasıl olmuş ve bu vesileyle şiirde gelişmeler vuku bulmuştur. Sadru'l-İslam Döneminde başta şiir olmak üzere değişen edebiyat çehresi, şairleri dini merkeziyetçilik ile medih, hiciv, mersiye gibi temalarla şiir nazmetmeye itmiştir. Bu dönemde savaş içerikli şiir atışmaları, Cahiliye'den beri var olan temaların daha sağlam bir zemine oturmasını sağlayarak sonraki dönemlere intikalini sağlamıştır. İnsanların mezhepsel olarak gruplaştığı, birbirleriyle savaştığı ve kendi içinden bir halife ilan ettiği Emeviler döneminde her grup şaire ve kendi haklılığını ifade edecek şiirlere ihtiyaç duymuştur. Bu dönemde yapılan savaşlar eski şiir türlerinin gelişimine katkıda bulunmuş, yeni şiir türlerinin ortaya çıkmasına zemin hazırlamıştır. Bu çalışmada Cahiliye başta olmak üzere Sadru'l-İslam ve Emevi dönemlerinde meydana gelen savaşların, şiire yansımaları, gelişimine katkıları ve bu şiirlerde işlenen temalar ele alınmıştır. Poetry, with its unique rhythm, has been a means of reflecting the thoughts such as love, hate, sadness and revenge in the imagination of people throughout history and influencing people in harmony. Poetry, which continues to exist in a dialectic of continuous change, development and innovation, has become the most valued literary element of people in Arab society since Jahiliyya. While the dynamics and sensitivities of the society changed over time, poetry has always kept its importance and sphere of influence under protection and has continued to develop in some way. In almost every period of Arabic literature, especially in the Jahiliyya Period, new genres have existed in poetry and elements that encourage and develop poetry have come to the forefront. Eyyâmu'l-'Arab, which was used to express the wars fought by the Arabs during the Jahiliyya Period, is one of these elements that developed poetry. There was a need for poetry and poets to remember those who died in wars, to praise their heroism or to vilify the opposing tribe. On this occasion, developments in poetry have taken place. The changing literary face, especially poetry, in the Sadru'l-İslam Period, pushed poets to write poetry with themes such as praise (medih), satire (hiciv), elegy (mersiye) with religious centralism. In this period, the war content poetry exchanges ensured that the themes that had existed since the Jahiliyya Period were placed on a more solid ground and transferred to the later periods. During the Umayyad Period, when people grouped sectarianly, fought each other and declared a caliph from within, each group needed poets and poems to express their own rightfulness. Inter-sectarian wars contributed to the development of old poetry genres and paved the way for the emergence of new poetry genres. In this study, the reflections of the wars that took place in the Sadru'l-İslam and Umayyad Periods, especially in the Jahiliyya, on the poems, their contributions to its development and the themes dealt with in these poems were discussed.

When the revelation of the Qur'an was revealed, the Arabs accused the Prophet of being a poet and a priest. The reasons underlying the Arabs for accusing the Prophet of being poetic and prophetic, of course, stem from the profile of the poet and soothsayer in their minds. Poetry and prophecy, which had the power to start and end wars, had an extremely important place in the life of the Arabs. Arab society, dominated by oral culture, gave great value to poetry and poets. According to them, the poet received his knowledge not by his own personal opinion, but by establishing internal relations with unseen beings. The poet does not say his poetry himself, but the jinn and so on. He believed that he was compelled to say it by beings. According to the Arabs, the situation of the soothsayer is not different from the situation of the poet. While the oracle was prophesying, harmonious words were poured out of his tongue. The soothsayer used to express that he did not own these harmonious words he conveyed, on the contrary, he took them from the unseen. Because of these and other factors, When the Prophet Mohammad started to convey the revelation of the Qur'an to people, the perception of poet and soothsayer in the minds of the Arab society was awakened. Hz. The fact that the Prophet received revelation through Gabriel, and Gabriel's being an unseen entity, led them to this accusation. The Qur'an strongly rejected these accusations of the Arabs, and repeatedly emphasized that the Prophet Mohammad neither was a poet nor a prophet. These accusations were mostly voiced by the Meccan community, who were not people of the Book. When the Medina period came, similar accusations began to decrease and were replaced by the people of the book, the prophet and so on. left to accusations. In this study, the Arabs' view of poetry and prophecy and when the Qur'an was revealed, The reasons for accusing the Prophet Mohammad of being poetic and prophetic were investigated. In order to better understand the place of the poet and the oracle in the Arab society and to support the fact that the poet and the oracle have the same value and function not only in the Arabs, but in all societies, the Ancient Greek's view of poetry and prophecy has been examined and their similarities have been revealed., Kur’ân vahyi nazil olunca Araplar, Hz. Peygamberi şairlik ve kâhinlikle suçlamışlardır. Arapların Hz. Peygamberi şairlik ve kâhinlikle suçlamasının altında yatan nedenler elbette onların zihinlerindeki şair ve kâhin profilinden kaynaklanmaktadır. Savaşları başlatmaya ve bitirmeye yön verecek derecede bir güce sahip olan şiir ve kehânet, Arapların hayatında son derece önemli yer tutuyordu. Sözlü kültürün hâkim olduğu Arap toplumu şiire ve şaire büyük değer veriyordu. Onlara göre şair, Bilgiyi kendi kişisel görüşünden değil, görünmeyen varlıklarla içsel bir ilişki kurarak edinmiştir. Şair şiirini kendisinin söylediğine değil cin vb. varlıklar tarafından söylemeye mecbur edildiğine inanırdı. Araplara göre kâhinin durumu şairin durumundan farklı değildir. Kâhin de kehânette bulunduğu esnada dilinden ahenkli sözler dökülürdü. Kâhin, aktardığı bu ahenkli sözlerin sahibi olmadığını bilakis gaybî varlıklardan aldığını ifade ederdi. Bu ve benzeri bazı etkenler sebebiyle Hz. Peygamber Kur’ân vahyini insanlara tebliğ etmeye başladığında Arap toplumu zihnindeki şair ve kâhin algısı uyanmıştır. Hz. Peygamberin Cebrail vasıtasıyla vahiy alması Cebrail’in gaybî bir varlık olması onları bu suçlamaya sevk etmiştir. Kur’ân da Arapların bu suçlamalarını şiddetle reddetmiş, Hz. Peygamberin ne şair ne de kâhin olduğunu defalarca vurgulamıştır. Bu suçlamalar daha ziyade kitap ehli olmayan Mekke toplumu tarafından dile getirilmiştir. Medine dönemine gelindiğinde buna benzer suçlamalar azalmaya başlamış yerini oranın kitap ehli tarafından daha çok türedi peygamber vb. suçlamalara bırakmıştır. Bu çalışmada, Arapların şiir ve kehânete bakışları ve Kur’an nazil olunca, Hz. Peygamberi şairlik ve kâhinlikle suçlamalarının nedenleri araştırılmıştır. Arap toplumunda şairin ve kâhinin yerinin daha net anlaşılması ve sadece Araplarda değil bütün toplumlarda aslında şair ve kâhinin aynı değere ve işleve sahip olduğunu desteklemek için Antik Yunan’ın şiir ve kehânete bakışı incelenmiş, benzerlikleri ortaya konulmuştur.

Nevroz, bireyin aşırı hisli yaşantısının üstesinden gelmesindeki acizliğinden kaynaklanır. Psikanalizin özü olan nevroz diğer sanatlar gibi şiirde de görülür. Tanzimat sonrası edebiyatımızda nevrotik şiir izlerini genellikle totaliter rejimlerin yaşandığı dönemlerde, şairlerin bunalım hâlleri gibi durumlarla belli başlı şairlerde görürüz. Bu şairlerin şiirlerinde yer alan nevrozlarda psikonevrotik ve psikobiyografik durumlar tespit edilmiştir. Analitik incelemelerle aranan nevrotik şiir izleri hem kuramsal hem de tematik kapsamda temellendirilmiştir. “Psikanalitik”te öncü Sigmund Freud yanında konuyla ilgili değerlendirmeleri bulunan Carl Gustav Jung, Karen Horney’den de istifade edilerek yirmi yedi şairde nevrotik durumlar tespit edilmeye çalışılmıştır. Nevroz ve nevroz çeşitleri yanında nevrozla ilişkili kavramlarla da şairlerin psikobiyografisi ve şiirleri nevrotik açıdan çözümlenmeye çalışılmıştır. Psikobiyografik ve psikonevroz çerçevesinde tespit edilen yirmi yedi şair ve şiirleri korku, histeri, bunaltı, depresyon, saplantı ve dismorfik(Anoreksiya) özellikleriyle incelenmiştir., Neurosis arises from the inability of the individual to cope with her emotional life. Neurosis, which is the essence of psychoanalysis, is seen in poetry as in other arts. In our post-Tanzimat literature, the traces of neurotic poetry are generally observed in the periods of totalitarian regimes, in the depression of poets, as we see it in certain poets with situations. Psychoneurotic and psychobiographical conditions have been identified in the neuroses in the poems of the poems of these poets. Traces of neurotic poetry sought by analytical studies are based on both theoretical and thematic based. In addition to Sigmund Freud, a pioneer in psychoanalysis, Carl Gustav Jung and Karen Horney, who have made evaluations on the subject, have been used to determine the neurotic situations in twenty seven poets. In addition to neurosis and neurosis types, the psychobiography of poets and their poems with the concepts related to neurosis has been tried to be analyzed from a neurotic point of view. In this respect, twenty seven poets and their poems identified within the framework of psychobiographical and psychoneurosis were examined with their fear, hystreria, anxiety, depression, obsession and dysmorphic (anorexia) features.

In this study, information about the tradition of writing ramazaniye in divan literature is given, ramadaniyes of İzzet Osman were emphasized. The aim of the study is to examine İzzet Osman's two ramazaniyes form, content, language and style and to compare the ramazaniyes. Ramazaniyes were read and transcribed from the existing copy of the texts; after the text repair, correction and analysis were made, evaluations were made. The study was created using three main chapter titles. In the introduction, general information about ramadaniyes is given. In the first and second parts, the ramadaniyes number 28 and 29 in the Divan of İzzet Osman the form, content, language and style were analyzed. In the third chapter, the comparison of ramazaniyes is given. He preferred the verse form of the eulogy and the rhyme müreddef in the ramazaniyes he wrote using the same patterns of aruz prosody. He wrote its to praise Sultan III. Selim. It is important for the poet to reveal his thoughts on prohibition and the social landscape. Types such as preachers, sheikhs, ehl-i riyâ, ramadan sufi and ehl-i keyf were criticized in a harsh way, and sometimes warnings were given to them. The poems discussed in this study are important in terms of being a source for the type of ramazaniye., Bu çalışmada divan edebiyatında ramazaniye yazma geleneği ile ilgili bilgiler verilmiş, XVIII. asır divan şairlerinden İzzet Osman’ın ramazaniyeleri üzerinde durulmuştur. Çalışmanın amacı İzzet Osman’ın iki adet ramazaniyesini şekil, muhteva, dil ve üslup açısından incelemek ve ramazaniyelerin karşılaştırmasını yapmaktır. Ramazaniyeler, metinlerin mevcut nüshasından okunup transkribe edilmiş; metin tamiri, tashih ve tahlil yapıldıktan sonra metinle ilgili değerlendirmelerde bulunulmuştur. Çalışma üç ana bölüm başlığı kullanılarak oluşturulmuştur. Giriş kısmında ramazaniyelerle ilgili genel bilgiler verilmiştir. Birinci bölümde İzzet Osman Divanı’ndaki 28 numaralı ramazaniyenin; ikinci bölümde ise 29 numaralı ramazaniyenin şekil, muhteva, dil ve üslup incelemesi yapılmıştır. Üçüncü bölümde ramazaniyelerin karşılaştırılmasına yer verilmiştir. İzzet Osman ramazaniye türünün en çok kaleme alındığı XVIII. yüzyıl divan şairlerindendir. Aruzun aynı kalıplarını kullanarak yazmış olduğu ramazaniyelerde, kaside nazım şeklini ve müreddef kafiyeyi tercih etmiştir. Ramazaniyelerini Sultan III. Selim’i methetmek amacıyla yazmıştır. Şairin, içki yasağıyla ilgili düşüncelerini ve sosyal manzarayı ortaya koyması önemlidir. Vaiz, şeyh, ehl-i riyâ, ramazan sûfîsi ve ehl-i keyf gibi tipler genelde sert bir üslupla eleştirilmiş, bazen de onlara uyarılarda bulunulmuştur. Bu çalışmada ele alınan şiirler ramazaniye türüne kaynak oluşturması bakımından önemlidir.

Edebiyat dünyasında iz bırakanlar, kendilerini tanımak isteyenler tarafından her zaman merak edilir. İnsanların bu meraklarına cevap veren eserlerin başında biyografiler gelir. Klasik Türk edebiyatında biyografinin karşılığı tezkiredir. XVI. yüzyıldan XX. yüzyılın başlarına kadar Türk edebiyatında otuz altı tezkire yazılmıştır. Tezkireler, bilim camiası için dönemin şairlerinin hayatları, edebî kişilikleri ve eserleri hakkında bilgi ihtiva etmeleri açısından önemli kaynaklardır. Tezkirecilerin ele aldıkları konulardan biri de şairlerin nereli olduğudur. Altı yüz yıllık bir edebî geçmişi olan ve günümüzde hâlâ etkisini sürdüren klasik Türk edebiyatının hangi coğrafyalarda icra edildiğini öğrenmek açısından şairlerin nereli olduğu sorusuna verilen cevap elbette önemlidir.Bu çalışmada divan şairlerinin günümüzde Yunanistan sınırları içinde yer alan memleketleri tespit edilmeye çalışılmıştır. Bunun, Osmanlı kültürünün Yunanistan coğrafyasındaki yansımalarının öğrenilmesine katkı sunması beklenmektedir., Those who leave their marks in the world of literature are always wondered about by those who want to know about themselves. Biographies come at the beginning of the works that respond to people's curiosity. The equivalent of biography in Classical Turkish Literature is tezkire. From 16th to the early 20th century, thirty-six tezkires have been written in Turkish literature. Tezkires are important sources for the scientific community in terms of containing information about poets' lives, literary personalities, and works. One of the issues that Tezkireciler deals with is where poets are from. The answer to the question of where the poets are from is important to learn which geographies Classical Turkish Literature, has a literary history of six hundred years and continues to influence today.This study is aimed to determine the hometown of divan poets which are on the borders of Greece today. This study is expected to contribute to the learning of the reflections of Ottoman culture on Greek geography.

Emevî Devleti siyasî yaşam şartlarının ve yaşam şekillerinin değişikliğe uğradığı, Arap’ın Arap olanla mücadelesi sonucu kurulan Sahâbe ve Tâbiîn’in daha hayatta olduğu kısa ömürlü hanedan devleti dönemidir. İslâm tarihinin en önemli aşamasını oluşturan bu dönemin en belirgin ve ayırıcı özelliği yaşanan siyasî, fikrî ve askerî olaylarıdır. Câhiliye Dönemi’nde olduğu gibi bu dönemde de kabilelerle ve soyla övünme “asabiyet” zirveye ulaşmıştır. Kabilelerle övünmenin öncü kuvveti kabilesinin lideri konumunda olan kabile şairidir. Bu dönemde şiir hizip mücadelelerine hizmet ederek şairler arasındaki şiir atışmaları “nekâiz” grup taassubunun zirvesine ulaşmıştır. Bu dönem şairleri ya kendi kabilesinin ya desteklediği siyasî grubunun ya da mensubu olduğu mezhebinin resmi sözcüsü, yandaş medyası konumundadır. Ümeyyeoğulları şiirden hoşlanırlar, şiirin önemini ve şairin toplum nezdindeki konumunun farkında idiler. Bundan dolayı şairlere önemli miktarda hediyeler vererek hanedanlıklarını destekleyen taraftarlar toplamışlardır. Çünkü ortaya çıkan her yeni muhalif grubu destekleyen kendi şairleri, sözcüleri vardır. Yönetimi destekleyen şairler adeta yandaş medya muhalif grupları destekleyen şairler de muhalif medya gibiydiler. Siyasî şiir tarih boyunca Arap edebiyatında birçok farklı aşamalardan geçmiş ve her dönemde geçmiş dönemlerden farklı ve ayırıcı özellikleri olmuştur. Şiir, Emevî Dönemi’nde ise daha net bir siyasî yapı kazanıp zirveye yerleşmiştir. Bu çalışmada “Emevî Dönemi siyasî yaşamı, hanedan taraftarı ve Alevî şairlerin şiirlerinin edebiyata siyasî etkisi ile sadece halifelere yaptıkları övgüleri” ele alınacaktır. Emevî hanedanının profesyonel meddahları olan Cerîr, el-Ahtal ve muhalif grupların şairlerinin inşâd ettiği şiirlerden örneklere yer verilmeyecektir., The Umayyad Dynasty is the short-lived dynasty state period during which the political life conditions and lifestyles had changed, and Companion and Followers generation, which are established after the struggles between Arabs, are still present. The most explicit and distinctive features of this period, which makes up the most important part of Islamic history, are the political, intellectual, and military events. During this period, nationalism and Asabiyyah had reached its peak, as it did in Jahiliyyah Period. The pioneers of nationalism were Tribe poets who were also the leaders of their tribes. Poetry had been a tool for faction struggles and the quarrels between poets reached their peak. The poets of this period are partisan press members of either their tribes’ or the political group or sect that they are supporting. The Umayyads had loved poetry. They were aware of the importance of poems and poets in the public eye. Thus, they had gathered supporters for their dynasty by giving substantial amounts of presents to poets. Every emergent opposing party had their own supporters and poets. Those poets who supported the dynasty were like some partisan media, whereas poets who supported the opposing parties were like some opposing media. Political poetry had been in various stages throughout Arabic history and in every stage, it had distinctive and different features from the previous stages. However, with the Umayyad Dynasty, it had gained a more political structure and had taken its place at the top. In this paper, “the political life during Umayyad Dynasty, the political effects of the poems of supporter poets and the Alâwi poets to the literature and the praises devoted to the khalifates” will be inspected. The poem examples of Jarir and al-Akhtal, who were professional encomiasts of Umayyad Dynasty, and the poems of opposing parties will not be included.

There are many names of wives of writers, poets, scientists and politicians in the world’s history. They were assistants, who inspired their husbands contributed to their success. Dominica Ohiienko (1882-1937) is one of these wives. Thirty years of Ivan Ohiienko’s life she was his faithful friend, mother of his children and inspiration in his job. The paper observes the underestimated and unknown in the research literature relationships in the family of the famous ukrainian statesman, religious fi gure, scientist, interpreter and publisher Ivan Ohiienko. His wife Dominica Ohiienko was always onhis side, but very modest, stayed in the shadow.The scientistic novelty of the paper is the fi rst attempt to study the creation of the prominent scientist through the prism of family, devoted wife and great mother.The aim of the paper is to research and to study the epistolary developments of Ivan Ohiienko, to elucidate the little-known details of the Dominica Ohiienko’s biography, to investigate her role as rewrites, critic, co-author in Ivan Ohiienko’s constructive and research process and to investigate the peculiarities of the Ohiienko’s creation. The correspondence, literary works, little-known unexplored details of biography,which help to defi ne the unknown facts of life and developments of the couple are introduced in the literary usage for the fi rst time.Scientist signifi cance of the paper is the fact, that Dominica Ohiienko had a huge role in the developments and works of her husband Ivan Ohiienko. As soon as Suche understood that the creation of her husband are the great gift for Ukraine and the wholeukrainian nation, Dominica Ohiienko became indispensable helper of Ivan Ohiienko.Her contribution in the creative work of her husband is underestimated. There were written and published over the thirty textbooks, manuals, dictionaries, tables for studying Ukrainian language for each stratum of society during their matrimony. Despite of the huge amount of obligatios as rector and minister, Ivan and Dominica Ohiienko transferred the speech of Taras Shevchenko literary works to the 200 thousands cardswith comments and explanations in Kamianets-Podilskyi. Moreover they investigated the ukrainian typography, published the magazine «Ridna Mowa», scientifi c-literary magazine «Nasha Kultura» and many more., У світовій історії відомо багато імен дружин письменників, поетів, науковців, державних діячів – помічниць, що надихали своїх чоловіків на творчість та сприяли їхньому успіху. Домініка Огієнко (1882-1937) посідає не останнє місце в цій низці. Тридцять років життя Івана Огієнка вона була його вірною дружиною, матір’ю дітей та помічницею в роботі. У статті розглядаються недооціненні та зовсім нерозкриті в дослідницькій літературі взаємостосунки в сім’ї видатного українського державного і релігійного діяча, науковця, перекладача, видавця Івана Огієнка. Його дружина, Домініка Огієнко, завжди знаходилась поряд до самої своєї смерті, але скромно і в тіні.

The article deals with the artistic creativity and literary studies work of writers who at different times were students or teachers of the University of Kamianets-Podilskyi. In particular, the literary and literature studies heritage of Ivan Prokofiev is outlined, some aspects of his creative evolution are highlighted, the specifics of poetic and scientific research, some details of their interactions are revealed, psychological factors of their mutual intensifications are analyzed. Prokofiev’s poetic works are full-fledged, artistic and informative. The author’s own poetic practice significantly helped him to penetrate into the deep layers of other writers’ poetics form and content, which provided the scientific novelty of his research. The possession of the ability of creating images activated the intuition of the scientist in the comprehension of complicated associative complexes. The study of Leonid Talalai’s poetics performed by I. Prokofiev is analyzed separately. It is about the influence of I. Prokofiev’s poetic abilities on his comprehension of the form and content peculiarities of L. Talalai’s works, in particular the intuitive foundations of the latter’s poetry. The methods of psychological refreshment of reception and comprehension of poetic works used by I. Prokofi ev are analyzed. As one of the most important facets of L. Talalai’s poetics, I. Prokofiev considers the historiosophical motives of his lyrics, traces the evolution of the writer’s understanding of the Ukraine’s historical role from ancient times to the present. The experience of I. Prokofiev’s implementation of the slow, hypersensitive reading method of poetic texts, the reception in the state of proposed by him «literary clairvoyance» of author’s individual methods of creating images and integration of deep poetic meanings is noteworthy. The article can be useful for researchers of individual poetics and other literary critics. In our opinion, the scientific practice of poets who deal with literary studies, including I. Prokofiev, has certain prospects for the more profound study of fiction., У статті йдеться про мистецьку творчість і літературознавчу працю письменників, які в різний час були студентами або викладачами університету у Кам’янці-Подільському. Зокрема, окреслено літературний і літературознавчий набуток Івана Прокоф’єва, висвітлено окремі аспекти його творчої еволюції, проявлено специфіку поетичних і наукових шукань, окремі деталі їх взаємовпливів, аналізуються психологічні чинники їх взаємоінтенсифікацій.

Jafar Ramzi Ismailzadeh’s lyrical poems have been involved in research in the article. The poems were analyzed in general, and examples from the different poems were given. The creation of literary critic, scientist, translator, poet Jafar Ismailzade Balaamin, has a special place in Azerbaijani literature. Although literary critic, scientist Jafar Ramzi Ismailzadeh began his career at a young age, since 1935 (in hıs 30 years) as he has spent more than 22 years in prison and exile, until the 1960s it is difficult to learn more about his creativity. As the life, the creativity of Jafar Ramzi is rich and varied. Jafar Ramzi is the author of 12 books. One of these books is a monograph, two of them are tazkira, four poetry books («Poems», 1974; «I count days», 1982; “Sounds from the Heart”, 1986; «Delad Wishes», 1990); two dictionaries («Dictionary of Arabic and Persian words used in Azerbaijani classical literature», 1966; «Dictionary of Arabic and Persian words used in Azerbaijani classical literature», 1981); and four of them are books collected with humor and anecdotes from various peoples («Foreign humor», 1964; «The pomegranates of heaven», 1966; «Let’s laugh together», 1970; “The world peoples’s humorous”, 1976). Scientific innovation: the life, activity and creation of poet, translator Jafar Ramiz is researched for the fist time by researcher. Article is based on unike materials which attracted by the author. Importance of application: this research can be used in lectures, seminars at high education institutions and secondary schools.

It began shortly after William Shakespeare’s death, "Is he really the author of great works?" The debate continues to this day. There are so many libraries out there. Even special societies have been set up to solve this puzzle. In general, why is the authorship of rare tragedies and dramas, unique sonnets and other masterpieces, which are among the golden treasures of world literature, questioned? The more than four hundred different, often contradictory, opinions about Shakespeare’s life and work are explained by the fact that the more famous his works are, the less information about him is preserved. You can get information about his works and personality through this article.

The article talks about the pseudo-artistic analysis of Muhammad Yusuf's work and the poet's great contribution to the development of Uzbek poetry, the content and essence of his poems, as well as their important place in human spiritual maturity.

The article is devoted to the life and creative activity of the thinker, poet, artist Maximilian Alexandrovich Voloshin, whose anniversary and death are celebrated this year. His biographical pages are revealed, the versatility and brightness of his talent are shown. M. Voloshin played a significant role in the development of Ukrainian cultural and artistic life of the late XIX – early decades of XX century. He was a highly educated man: poet, publicist, literary and art critic, artist, philosopher and had a paradoxical mindset. It was in Crimea, in Koktebel, that M. Voloshin felt inspired, here he discovered his artistic talent and became a talented watercolorist and painted most of his artworks, which reflect his connection with the peninsula. He wrote Cimmeria not from nature, but from his own method of the finished image. Due to this, his favorite Crimean landscapes with poetic inscriptions were published. As a representative of symbolism and Acmeism, in poetry and painting he displayed the history and nature of Crimea. The artist wanted a person to desire to walk on this earth and breathe in the full chest of air while looking at the picture. Maximilian Alexandrovich denied the Russianness of Crimea and condemned its conquest by the Russian Empire and the practice of Russian rule in it.The artist's work has not been adequately evaluated for a long time, so we must objectively continue to study it in order to clarify the importance of his creative heritage in contemporary public life and to learn experiences and lessons for future generations of Ukrainians and Russians., Стаття присвячена життю і творчій діяльності мислителя, поета, художника Максиміліана Олександровича Волошина, річниці з дня народження й дня смерті якого виповнюються в цьому році. Розкрито біографічні сторінки, показано різнобічність і яскравість його таланту. М. Волошин відіграв значну роль у розвитку українського культурно-мистецького життя кінця XIX – перших десятиліть XX ст. Він був високоосвіченою людиною: поет, публіцист, літературний і мистецький критик, художник, філософ, мав парадоксальне мислення. Саме у Криму, в Коктебелі, до М. Волошина приходило натхнення, тут він розкрив у собі художній дар і став талановитим акварелістом, написав більшість своїх творінь, які відбивають його зв’язок з півостровом. Він написав Кіммерію не з натури, а своїм власним методом закінченого зображення. Завдяки цьому побачили світ його улюблені кримські пейзажі з віршованими написами. Будучи представником символізму й акмеїзму, в поезії та малярстві він відображав історію та природу Криму. Художник хотів, щоб, дивлячись на картину, людина хотіла пройти по цій землі і вдихнути повітря на повні груди. Максиміліан Олександрович заперечував російськість Криму і засуджував його завоювання Російською імперією та практику російського панування в ньому.Творчість митця довгий час не була адекватно оцінена, тому маємо об’єктивно продовжити її вивчення з метою з’ясування значення його творчої спадщини в тогочасному суспільному житті та винесення досвіду й уроків для майбутніх поколінь українців і росіян.

İsmail Hakkî Bursevî, Osmanlı tarihinin en velûd müelliflerinden olup, birçok alanda eser telif etmiştir. Mutasavvıf bir şair olması yönüyle de vâridât türünde pek çok eser kaleme almıştır. Vârid kelimesinin çoğulu olan vâridât, kulun çabası ve kastı olmaksızın gaybdan kalbine gelen manalar anlamına gelmektedir. Hazırlanan bu çalışma, İsmail Hakkî Bursevî'nin 1133/1721 - 1134/1722 yıllarında vâridât türünde kaleme aldığı Nakdü'l-Hâl adlı eserinin 225a-298a varaklarının transkripsiyonlu metin çevirisidir. Eserin müellif nüshası bulunmamaktadır. Çalışmada esas alınan nüsha, İstanbul Üniversitesi Nadir Eserler Kütüphanesi Türkçe Yazmalar 2153 numarada kayıtlı olan nüshadır. Metne tam ve doğru olarak ulaşabilmek amacıyla İstanbul Üniversitesi Nadir Eserler Kütüphanesi Türkça Yazmalar 2161 numaralı nüsha ile Süleymaniye Yazma Eser Kütüphanesi Âtıf Efendi Bölümü 1515 numaralı nüsha esas nüsha ile mukayese edilmiştir. Nakdü'l-Hâl eserinin transkripsiyonlu metnini edebiyat sahasına kazandırmak amacıyla hazırlanan bu çalışmada; genel hatlarıyla Bursevî'nin yaşadığı dönem ve hayatı hakkında bilgi verilmiş, akabinde metne dair mana ve mefhum bölümü oluşturulup eserdeki tasavvufî terimler hakkında bilgi verilmiştir. En son olarak eserin transkripsiyonlu metin çevirisi, ardından orijinal sayfalar verilerek çalışma sonlandırılmıştır. Ismail Hakkî Bursevî is one of the most prosperous authors of Ottoman history and has written works in many fields. In terms of being a mystic poet, he wrote many works in the genre of varidat. Varidat, which is the plural of the word varid, means the meanings that come to the heart from the unseen without the effort or intent of the servant. This prepared work is the transcriptioned text translation of the 225a-298a leaflets of Nakdü'l-Hâl, which was written by İsmail Hakkî Bursevî in the type of vâridât between 1133/1721 - 1134/1722. There is no author copy of the work. The copy based on the study is the copy registered in Istanbul University Rare Works Library Turkish Manuscripts number 2153. In order to reach the text completely and accurately, Istanbul University Rare Works Library Turkish Manuscripts copy numbered 2161 and Süleymaniye Manuscript Library Atıf Efendi Department copy numbered 1515 were compared with the original copy. In this study, which was prepared in order to bring the transcriptional text of Nakdü'l-Hâl to the field of literature; in general, information about the period and life of Bursevî was given, then the meaning and notion section of the text was created and information was given about the mystical terms in the work. Finally, the work was concluded by giving the transcription of the text, followed by the original pages.

Man’s tendency towards crime and murder with his appearance in history, after it was centred on city and problems brought by the city, led to the birth of the detective novel in literature which puts forward couriosity and mystery. Detective novel which is comprised of murder, murderer and police (detective), has been regarded as a popular form of novel because it is read widely and quickly with the sense of curiosity these factors cause and because esthetic language is pushed into the background. Within this context many writers of detective novel have narrowed the borders of this form of novel through certain patterns with no concern about art. However, detective novel, with the use of modern novel tecniques, has achieved a richness in terms of both language and theme by renewing itself recently. Murathan Mungan who produces works of different literary genres and implements a multi- layer narrative tecnique, fictionalized his novel named The Poet’s Novel as a fantastic detective novel and went out of the stereotypical structure of the detective novel by adding fantastic elements to detective novel. In his novel he fictionalized in two periods being present and past, Mungan, inside a life giving meaning to life through poetry in an unknown time and place, has told the murder of many poets and the process of solving these murders through investigation or journey. The writer, in his novel he has enriched with various themes, by revealing that he cares about fantastic elements rather than mind in the process of solving the murder, has shown that he is in a different place from other detective novel writers who make the mind the principal element. In this article, the terms detective novel and fantastic will be explained briefly, then how these elements are positioned inside murder, murderers and the police character who is trying to solve the murder in the mentioned novel will be examined. By emphasizing the fact that the writer especially distorts classical detective fiction, it is also intended to examine the change he has brought.

This research examines how modern poets use various creative media strategies as a means of promotion of their poetry as well as personal brands in the Internet and beyond. Promotional actions in their various forms used by XXI century Russian poets allow one to achieve new results both in offline and online events, so a cross-platform effect is at work here. The discourse analysis method, the content analysis method and the participant observation method were used to obtain analytical data. Such actions of art PR as gamification, hype, charity event, closed fan club and many others can increase the public capital of a modern poet through the interactive involvement of a potential reader.. The work is of practical importance for poets of the 21st century who want to increase the level of recognition of their personal brand and achieve higher quantitative and qualitative indicators of their target audience.

We present Rafko Mihael Vodeb (July 26, 1922, Dolenja vas pri Artičah – July 5, 2002, Maribor), a priest, art historian, poet, translator and editor who was a man of many gifts and a multiculturalist. He attended primary school in Artiče, grammar school in Maribor, accomplished master's degree in philosophy and theology (licentiate) at the Pontifical Urbanian University in Rome (1941–1948), studied (1958–1962) art history and archeology and in 1962 graduated at the Universite catholique in Louvain (Leuvna). In Rome, he was a deputy director at the Pontificio collegio Urbano (1949–1958), a lecturer in missionary art and archeology at the University of Urbaniana (1962–1971), participated in the Slovenian broadcasts of Vatican Radio (1948–1958), and hosted broadcasts in 1964–1971. In 1971 he returned to Slovenia and became a lecturer in art history, missiology and apologetics at the Maribor Unit of the Faculty of Theology in Ljubljana, in the 1980s he lectured only on art history and the protection of sacral heritage. In 1973–1974 he was the editor of the family magazine Nova mladika, in 1974–1986 the editor-in-chief of the magazine Znamenje, in 1976–1982 the secretary and editor of the Mohorjeva družba in Celje. In 1988 he joined the Catholic Charismatic Renewal or the spiritual stream Renewal in the Spirit and engaged in pastoral work there primarily as a priest until his death, and in 1996–1997 also as the editor of the paper Prenova.

Akşemseddin is an eminent figure, who has become famous for his role in the conquest of Istanbul, which is the beginning of a new age. As the head teacher of Fatih Sultan Mehmet, Akşemseddin surely has a lasting impression on his student and the conquering of Istanbul. He almost conditioned him for the conquest of Istanbul since his early ages. He encouraged and created solutions in the event of trouble and pessimism that occurred during the conquest. Yet, Akşemseddin, beyond his role mentioned above, is a kind of ocean with his many unknown characteristics. He wrote nineteen works throughout his life. His works are Risaletü’n- Nuriyye, Def’u Metaini’s-Sûfiyye, Risale-i Zikrullah, Risale-i Şerh-i Akval-i Hacı Bayram-ı Velî, Telhisu Def’î Metain, Makâmâtü’l- Evliyâ, Mâddetü’l-Hayat, Risâletü’d-Dua, Fâ’il-i Mushaf-ı Kerim, Nasihatnâme-i Akşemseddin, Kimyâ-yı Sa’âdet Tercümesi, Risâle Fi’t-Tasavvuf, Risâle-i Fi’d-Devrâni’s-Sûfiyye ve Raksihim, Mücerrebât, Mektûbât, Vakıf-Nâme, Risâle Fî İstilâhâti’s-Sufiyye, Cevapnâme ve Tabirnâme. Most of his books are on Sufism and religion. His work “Maddetü’l-Hayat” is on medicine and pharmacy. In this work, he makes a detailed description of “microbe”. French microbiologist Pasteur is accepted to be the first man who described the “microbe”. However, Akşemseddin comprehensively described the microbe and explained how infectious diseases passes from person to person in his mentioned work about five hundred years earlier than Pasteur. In this work, I will also dwell on eighty-three poems which are found about fifty years ago by Müjgan Jumbur, the manager of Ankara National Library, and definitely known to be written by Akşemseddin. These eighty-three poems can be accepted as his twentieth work “Akşemseddin Poetry” in addition to his previously mentioned works. We aim to put some of these poems into service of science world after we latinised them in this work. I will add original manuscript images of these poems that we obtained from National Library to the end of this work. Our ultimate aim is to publish “Akşemseddin Poetry” as a book, which was discovered fifty years ago and not published yet.

This study, which covers the women poets, as the representatives of Alawi-Bektashi Literature, which dates back to very old years and finds its source in Yunus Emre, and continues with Kaygusuz Abdal, Hatayi and Pir Sultan Abdal and reaches today, aims to give information on women poets about whom there are disputes arising from the problems in resources classified according to their centuries. In this study, in which forty-eight publications were examined, except the basic works and anthologies of the field, from the beginning to the end in all chapters, information is given about eighty-two different people three of which are from 16th century, four from 18th century, twenty-nine from the 19th century and forty-one from the 20th century, also there are four poets whose century is not known and one more poet who is revealed to be a man in fact. In the conducted research, it was determined that the first poet known to have lived is from the 16th century. The poet who lived in the 18th century was not found in the resources. The cases of twelve women poets, about whom there are problems beginning from those especially on gender such as whether the poet was a man or a woman, varying up to the confusion on the dates of birth and death and name resemblances resulting in confusing these women poets with the poets of other literatures, are addressed to and discussed in the chapter called “Some Disputes” It has been determined that the women poets especially used the name “Bacı (Sister)”, and that the usage of this name decreased towards the later centuries and also that when their poems are analyzed, they mostly wrote poems about the love of Hazrat Ali, Ahl al-Bayt, Haji Bektashi Veli and the person to whom they are connected. As distinct from the other studies on the same subject, in this study a higher number of women poets as the representatives of Alawi-Bektashii Literature were found and the inadvertently made mistakes in references to previous studies in these resources are tried to be minimized.

The article is elucidating relations of Ivan Ogienko (professor-philolog, editor, theolog) for thirtieth years of XX century with his younger contemporary — talented west-Ukrainian poet Bogdan-Igor Antonych, roll-call of their creative, ideological views., Стаття висвітлює взаємини Івана Огієнка (професора-філолога, видавця, богослова) у тридцяті роки XX століття з його молодшим сучасником - талановитим західноукраїнським поетом Богданом-Ігорем Антоничем, перегук їхніх творчо-ідеологічних поглядів.

The article deals with the way of life and activity of well-known teacher, writer, poet and a translator of the Bible into Ukrainian language, P.S.Morachevskoho (1806-1879), a senior teacher of Russian literature (1835-1840) and inspector (1840-1849) Kamenets-Podolsky mail’s gymnasium., У статті висвітлено життєвий шлях і діяльність знаного педагога, письменника, поета та одного із перекладачів Святого Письма на українську мову, Пилипа Семеновича Морачевського (1806-1879), старшого вчителя російської словесності (1835-1840) та інспектора (1840-1849) Кам'янець-Подільської чоловічої гімназії.

George Sand, née Aurore Dupin (1804-1876), est une des écrivaines les plus prolifiques de la monarchie de Juillet (1830-1848). Son œuvre monumentale s’intéresse à une myriade de sujets, qui sont souvent étudiés dans la perspective de l’idéal. Sand s’intéresse entre autres à la notion de poète-artiste, qui désigne un artiste idéal. Cette notion, propre à cette période, se distingue de celle du poète, qui est écrivain. Alors que la signification de la notion de poète-écrivain est arrêtée, le poète-artiste fait l’objet d’une définition vague et subjective. Pour sa part, Sand considère que le poète-artiste désigne à la fois un artiste et un philosophe. Cette proposition, qui est clairement émise, constitue un axe central à toute la pensée artistique qu’elle développe. C’est ce qui est exploré dans le présent travail, à travers trois thématiques de la pensée artistique de George Sand. Ces thématiques feront chacune l’objet d’un chapitre. La notion de la fraternité des arts sera d’abord étudiée. Cette thématique typiquement romantique, omniprésente dans les écrits de Sand, perçoit les différentes disciplines comme formant un tout. Ensuite, il sera question de la hiérarchie des arts : George Sand considère que la musique est la discipline supérieure, comparativement à certains de ses contemporains qui accordent plutôt ce titre à la poésie. Enfin, George Sand perçoit une figure de génie à travers ses écrits, qui s’approche de l’artiste idéal. Toutes ces thématiques sont étudiées en étroite relation avec les visions habituelles de l’époque, soit la monarchie de Juillet., George Sand, born Aurore Dupin (1804-1876), was one of the most prolific writers of the July Monarchy (1830-1848). Her monumental work focuses on a myriad of subjects, which are often studied from the perspective of the ideal. Among other things, Sand was interested in the notion of the poet-artist, which refers to an ideal artist. This notion, specific to this period, is distinguished from the other poet, which is a writer. While the meaning of the notion of poet-writer is well determined, that of poet-artist is subject to a vague and subjective definition. For her part, Sand considers that the poet-artist designates both an artist and a philosopher. This proposition, which is clearly stated, constitutes a central axis to all the artistic thought that she develops. This is what is explored in the present work, through three themes of George Sand's artistic thought. Each chapter is devoted to one of these themes, with an attempt to organize the artistic thought of Sand. The theme of the brotherhood of the arts will be studied first. This typically romantic theme, omnipresent in Sand's writings, perceives the different disciplines as forming a whole. Then, the hierarchy of arts will be reviewed: George Sand considers that music is the superior discipline, compared to some of her contemporaries who believe that poetry is the superior discipline. Finally, George Sand perceives a figure of genius in her writings, which comes close to the ideal artist. All these themes are studied in close relation to the usual visions found under the July Monarchy.

Klasik Arap edebiyatının önde gelen mizah şairlerinden Ebû Dülâme Zend b. Cevn el-Esedî el-Eşca‘î el-Ezdî (ö.161), Emevî Hilafetinin son dönemiyle Abbasi hilafetinin kuruluş dönemlerine şahitlik eden “muhadram şairler” kadrosunun en seçkin üyelerinden biridir. Abbasi hanedanının üç kudretli halifesi es-Seffâh, el-Mehdi ve el- Mansûr’un, her daim meclislerinde görmeyi arzuladığı, anekdot ve şiirlerini dinlemekten zevk aldığı muzip bir nüktedandır. Özel menfaati için kurguladığı hikâyeleri, uydurduğu rüyaları sayesinde bahsi geçen halifelerin iltifat ve teveccühlerine mazhar olmuş; hayatı boyunca da menfaat temini için izlediği türlü entrika ve stratejilerin meyvelerini toplamıştır. Çevresinde cereyan eden her hadiseyi, akıl almaz taktiklerle kendi lehine çevirebilen Ebû Dülâme sıradan bir “tufeylî” olmayıp, mizah yeteneği ile şiir dehasını başarıyla harmanlayan usta bir şair ve birinci sınıf bir nüktedandır. İşte bu tezde, klasik edeb kaynaklarında azımsanamayacak nüktesi bulunan; birinci el teracim ve tabakat eserlerinde, klasik Arap tarihi kaynaklarında dağınık da olsa hakkında epeyce bir malumat bulunan Şair Ebû Dülâme’nin sosyo-kültürel bir portresi sunulmaya çalışılmıştır. Abo Dolama Zand b. Cawn al-Asadi al-Ashcai al-Azdi (died 161) is one of the most distinguished members of the "muhadram poets" cadre, who witnessed the last period of the Umayyad Caliphate and the establishment periods of the Abbasid Caliphate. He is a mischievous humorist that the three mighty caliphs of the Abbasid dynasty, es-Seffah, al- Mahdi and al-Mansur, always wanted to see him in their assemblies and enjoyed listening to his anecdotes and poems. By means of the stories and dreams he made up for his private benefit, he received the compliments and favors of the aforementioned caliphs and throughout his life reaped the fruits of his intrigues and strategies he followed for the sake of gaining benefits. Abo Dolama, who can turn every situation in his favor through unbelievable tactics, is not an ordinary "tufayli", but rather a master poet and first-class humorist who successfully mixes his jokes and wits with his poetic genius. In this thesis, a socio-cultural portrait of the poet Abo Dolama will be tried to be presented, and the distinctive lines of the poet and his witty identity will be highlighted.

After the division of the Turkmen lands and the people between the two countries with the border agreement signed by Tsarist Russia and Iran in 1881, the Turkmens who remained in the Iranian lands went through a process that differed from the Turkmens in Turkmenistan in the development of oral and written literature. Although Turkmen Turkish does not have the status of an official language in Iran, it has preserved its existence as a working language that produces works with Arabic letters under the leadership of the intellectuals there. Today, we can talk about astrong Iranian Turkmen literature, especially in the field of poetry, starting from the Qajar period. The periods of Iranian Turkmen literature include the Qajar period (1881-1925), the Pahlavi period (1925-1979), the Islamic Republic of Iran period (the period from 1979 to the present), and the Islamic Republic of Iran period can be divided within itself to the period of the Turkmensahra national movement (1979-1980), the Iran-Iraq War and the post-war reconstruction period (1980-1995) and the period from 1997 to the present. In the Qajar period, prominent poets such as Dövletmämmet Balgızıl, Misgingılıç; during the Pahlavi period, Meret Törrük, Muhammet Tumaç, Muhammet İşan, Berdi Köse, Sähet İşan, Arazmuhammet Şairi (Aram), Arazdurdı Tevekküli, Tagangılıç Hacayi, Habibullah Subhani; during the Turkmensahra national movement, Arazmuhammet Arazniyazi, Annamuhammet Sade, Gurbangeldi Ahunber; during the Iran-Iraq War and the post-war reconstruction period, Settar Sokı; in the period from 1997 to the present, Abdulkahhar Sufirad, Hacımırat Ak, Baymuhammet Gılıçi, Recep Mahtum led their contemporaries to develop IranianTurkmen literature., 1881 yılında Çarlık Rusya ve İran arasında imzalanan sınır anlaşması ile Türkmen toprakları ve halkının iki ülke arasında bölünmesinin ardından İran topraklarında kalan Türkmenler, sözlü ve yazılı edebiyatın gelişiminde Türkmenistan’daki Türkmenlerden farklılaşan bir sürece girmişlerdir. İran’da Türkmen Türkçesi resmî dil statüsünde bulunmamasına karşın buradaki aydınların öncülüğünde Arap harfleri esasında eserler veren işlek bir dil olarak varlığını korumuştur. Bugün özellikle şiir alanında Kaçar döneminden başlayarak gelişen güçlü bir İran Türkmen edebiyatından söz edebiliriz.İran sahası Türkmen edebiyatının dönemlerini Kaçar dönemi (1881- 1925 yılları arası), Pehlevi dönemi (1925-1979 yılları arası), İran İslam Cumhuriyeti dönemi (1979’dan günümüze kadar olan dönem) ve İran İslam Cumhuriyeti dönemini de kendi içinde Türkmensahra millî hareketi dönemi (1979-1980 yılları arası), İran-Irak Savaşı ve savaş sonrası yeniden imar dönemi (1980-1995 yılları arası), 1997’den günümüze kadar olan dönem olmak üzere bölümlendirebiliriz. Kaçar döneminde Dövletmämmet Balgızıl, Misgingılıç; Pehlevi döneminde Meret Törrük, Muhammet Tumaç, Muhammet İşan, Berdi Köse, Sähet İşan, Arazmuhammet Şairi (Aram), Arazdurdı Tevekküli, Tagangılıç Hacayi, Habibullah Subhani; Türkmensahra millî hareketi döneminde Arazmuhammet Arazniyazi, Annamuhammet Sade, Gurbangeldi Ahunber; İran-Irak Savaşı ve savaş sonrası yeniden imar döneminden Settar Sokı; 1997’den günümüze kadar olan dönemde ise Abdulkahhar Sufirad, Hacımırat Ak, Baymuhammet Gılıçi, Recep Mahtum gibi ileri gelen şairler İran Türkmen edebiyatının gelişiminin mimarları olarak çağdaşlarına öncülük etmişlerdir

One of the first names that comes to mind when it comes to the Islamist poets of modern Turkish literature is undoubtedly Cahit Zarifoğlu. Zarifoğlu, who is a good example in terms of reflecting the poet’s world of belief in his art, also touched on social issues in his poems, but mainly focused on his inner world. In the construction of this internal comparison as a discourse, the poet sometimes expresses the munacat of a calmed soul, and sometimes is kneaded in the agony of regret. Sultan poetry is an example of this munacat and sathiye. The poem is a brief comparison of life that has passed, and a petition of regret for a time wasted as a believer. When the poem, which is a sincere response of the servant with his Lord, is read in terms of expression, it first brings to mind the types of argumentation and sathiye. It is noteworthy that these two genres are used together with the discourse of a modern poet. The fact that a pen like Zarifoğlu wrote a poem in a discourse that would fit these two styles is the most important factor in our handling of the subject., Modern Türk edebiyatının İslamcı şairlerinden biri de şüphesiz Cahit Zarifoğlu’dur. Şiirlerinde İslami geleneğe ait imgeleri sıklıkla kullanan şairin tem olarak işlediği konuların seçiminde de İslami ögelerin ağırlığı hissedilir. Şairin inanç dünyasını sanatına yansıtması bakımından belirgin bir örnek olan Zarifoğlu, şiirlerinde toplumsal meselelere de değinmiş olmakla birlikte ağırlıklı olarak iç dünyasına yönelmiştir. Bu yönelişte, inanan bir insan olarak çeşitli duyguları dile getirmiştir. Bunu yaparken de imgelerle örülmüş, anlamı derinlere indiren bir şiir anlayışı benimsemiştir. Şair kimi zaman teskin olmuş bir ruhun yakarışını dile getirirken kimi zaman da bir pişmanlığın ıstırabında yoğrulmaktadır. Sultan şiiri bu yakarışın ve ıstırabın bir örneğidir. Şiir geçip giden hayatın kısa bir mukayesesidir ve inanan bir insan olarak boşa harcanmış bir zamanın pişmanlık dilekçesidir. Muhteva olarak kulun rabbi ile samimi bir mukabelesi olan şiir söyleyiş açısından okunduğunda akıllara ilk olarak münacat ve şathiye türlerini getirmektedir. Münacat, Divan şairlerince sıklıkla kullanılan bir türdür. Şathiye ise genellikle tekke edebiyatı geleneğine bağlı halk şairleri içerisinde görülen bir şiir türüdür. Bu iki türün de modern bir şairin söylemi ile iç içe kullanılması dikkate değerdir. Özellikle de Müslüman şair kimliğini hemen her mecrada ve kaleme aldığı her tarz eserinde açıkça vurgulayan Zarifoğlu gibi bir kalemin bu iki tarza uygun düşecek söylemde bir şiir yazması da konuyu ele alışımızdaki en önemli etkendir. Teslim ve tevekkülün, havf ve recanın “Korku ve Yakarış” olarak tezahür ettiği şairin Sultan’daki kullandığı dil, şiiri hem bir münacat hem de bir şathiye olarak okumaya imkân tanımaktadır. Çalışmamızda şiirin modern bir söyleyiş içinde münacat ve şathiye geleneği bağlamında incelenerek tahliline çalışılmıştır.

Nous allons discuter la place du corps métis féminin dans la société brésilienne au début du xxe siècle. Nous nous intéressons ici à présenter l’histoire de Leda Rios et à mener les premières enquêtes sur les barrières que cette poète métisse a rencontrées lorsqu’ elle a commencé sa carrière. Leda Rios a travaillé dans la presse brésilienne au cours des deux premières décennies du xxe siècle. Après avoir publié plusieurs articles et chroniques, ainsi que deux livres de poésie et aussi des pièces de théâtre, l’écrivaine – jeune talent qui a débuté comme poète à l’âge de seize ans – abandonne l’écriture, au plus fort de sa production, à trente ans. Malgré la reconnaissance de son œuvre à l'époque de sa vie d’écrivaine, Leda Rios a été effacée de l'histoire littéraire brésilienne. On ne trouve que des traces de sa vie littéraire à la Bibliothèque Nationale de Rio. Nous désirons enquêter à propos des obstacles rencontrés au cours de la période de la Belle Époque brésilienne, tels que le racisme qui a émergé avec force à ce moment-là, cherchant à définir des rôles sociaux. We will discuss the place of the female metis body in Brazilian society at the beginning of the 20th century. Here we are interested in presenting the story of Leda Rios and in carrying out the first investigations into the barriers that this poet encountered when she began her career. Leda Rios worked in the Brazilian press during the first two decades of the 20th century. After having published several articles and chronicles, as well as two books of poetry and also plays, the writer –a young talent who began as a poet at the age of sixteen– gives up writing, at its height of her production, at thirty. Despite the recognition of her work during her time as a writer, Leda Rios has been erased from Brazilian literary history. Only traces of his literary life can be found at the National Library of Rio. We wish to investigate obstacles encountered during the Brazilian Belle Époque period, such as the racism that emerged forcefully at that time, seeking to define social roles.

Поэзия Батырая – великого гуманиста прошлого столетия – итог достижений даргинской лирики, венец даргинской поэзии. Героям ранних песен Батырая присущи романтическая возвышенность чувств и физическая сила, позволяющая им, как и героям волшебных сказок, совершать невероятные действия и героические поступки. Женщина в изображении Батырая необычайно красива – агатовые брови, яхонтовые глаза, бумажно-белый лоб, тонкий стан. Но величие Батырая как поэта состоит не только в том, что он сумел постичь народно-поэтические традиции в создании образа горца. На основе анализа социальной структуры даргинского села он создал реалистические образцы представителей разных слоев тогдашнего общества, выразил любовь к крестьянину-труженику и заклеймил позором богачей и представителей духовенства. Автор делает вывод о том, что в песнях Батырая лирический конфликт создается с помощью фольклорных символических образов. Некоторые из них могут быть употреблены одинаково по отношению к женщине и мужчине. В даргинской народной лирике процесс складывания народно-песенной символики продолжался в эпоху выделения певцов-импровизаторов из среды носителей фольклора., The heroes of Batyray’s early songs are characterized by a romantic loftiness of feelings and physical strength, which allows them, like the heroes of fairy tales, to perform incredible actions and heroic deeds. The woman in the image of Batyray is unusually beautiful – agate eyebrows, yakhon eyes, a paper-white forehead, a thin figure. But the greatness of Batyray as a poet lies not only in the fact that he was able to comprehend the folk poetic traditions in creating the image of the highlanders. Based on the analysis of the social structure of the Dargin village, he created realistic examples of representatives of different strata of the then society, expressed love for the hardworking peasant and branded the rich and the clergy with shame. The author concludes that in Batyray’s songs the lyrical conflict is created with the help of folklore symbolic images. Some of them can be used in the same way in relation to a woman and a man. In the Dargin folk lyrics, the process of folding folk song symbolism continued in the era of the separation of singers-improvisers as a group from the larger group of singers.

Lutfî Dîvânı (İnceleme-Metin) adlı çalışma, İstanbul Süleymaniye Kütüphanesi Hüseyin Şemsi-Fatih Güneren Koleksiyonu 69 numarada kayıtlı olup Luṭfí mahlaslı bir şairin Divan’ını ihtiva etmektedir. Çalışmamız, 19. yüzyılda yaşamış olan Luṭfí’nin, Divan’ından edinilebildiğimiz bilgiler kadarıyla hayatını, edebî kişiliğine dair incelemelerimizi ve de Divan’ının metnini içermektedir.52 varaklık Divan’da, 184 şiir bulunur ve bunların büyük bir kısmı gazellerden oluşmaktadır. Tezimiz iki bölümden oluşmaktadır. Birinci bölümde, şairin hayatı ve edebî kişiliği; ikinci bölümde, Divan’ın biçim açısından incelenmesi; üçüncü bölümde ise yazma nüshanın tanıtılması, metin kurulurken tutulan yol başlıkları incelenmiştir. Son olarak eserin transkripsiyonlu metni ve Divan’ın tıpkıbaskısı eklenmiştir. The study called Divan of Lutfî (Analysis-Text) is registered in the Hüseyin Şemsi - Fatih Güneren Collection of Süleymaniye Library, number 69 and includes the Divan of a poet whose pen name is Luṭfí. Our study includes the life of Luṭfí, who lived in the 19th century, as far as we can get from his divan, our investigations on his literary personality, and the text of the Dívān.In the Divan composed of 52 folios there are 184 poems Divan, and most of them are ghazals. Our study has two parts. In the first part, the poet's life and literary personality; in the second part, the examination of Divan in terms of form; In the third part, the introduction of the manuscript and the titles of the paths that were kept while the text was set up were examined. Finally, the transcripted text of the work and the facsimile of Divan were added.

Çalışma, Millet Kütüphanesi Ali Emiri Manzum 717 Numarada kayıtlı bulunan Mecmû’a-yı Eş’âr isimli şiir mecmuasının 25b-50a varaklarının çeviri yazıya aktarılması, nesre çevirisi ve incelemesini kapsamaktadır. Çalışma üç bölümden oluşmaktadır. Giriş bölümünde mecmua kavramı hakkında bilgi verilmiş, inceleme bölümünde evvela söz konusu mecmuanın fiziksel özellikleri ile çalışmanın konusunu oluşturan 25b-50a varaklarındaki şairler, bu şairlere ait şiir sayısı, şiirlerin vezinleri, kafiye ve redifleri, divanlarda yer alıp almamaları tablolar hâlinde gösterilmiştir. Mecmuanın imla özellikleri ile mecmuada karşılaşılan problemler hakkında bilgi verilip metnin tesisinde takip edilen yol izah edilmiştir. Metin bölümünde 25b-50a varakları çeviri yazı ile verildikten sonra metin nesre çevrilmiştir. Divanı çalışılan şairlere ait şiirler divandaki hâlleriyle karşılaştırılarak farklar dipnotta gösterilmiştir. Sonuç bölümünden sonra açıklanmaya muhtaç kavramlar ile ilgili “Açıklamalar” başlığı altında bilgi verilip “Açıklamalar Dizini” eklenmiştir. Metnin tıpkıbaskısı da eklenerek çalışma sonlandırılmıştır. The research includes that 25b-50a leaves of a poem journal named for Mecmua-yı Eş’ar which is recorded as 717 number Ali Emiri Manzum in Millet Library are analysed and interpretation to a prose, adapted to a translation writing.The research is to consist of theree parts. It is informed about the concept of journal in an introductory chapter, shown that the poets in 25b-50a leaves which constitute of the topic of research and firstly the physical characteristics of relevant journal in an analysis section, a number of poems which belong to these poets, the rhythm, rhyme and repeated voice/word of the poems, if these poems take part in divans as tables or not. It is presented the way which is followed in a text composition and given information about the problems encountered in the journal and spelling rules of the journal. The text is translated to a prose after 25b-50a leaves are given with a translation writing in the text section. It is demonsrated the differences in an apostille that poems which belong to poets who are studied their divans are compared with their situations in divan. It is added ‘The Defınements List’ and detailed under the title of ‘The Definements’ related to conceptions needed to explain after a conclusion section. The research is put an end by also adjecting a real copy of the text.

Статья посвящена анализу самоидентификации И. Бродского на материале его эпистолярной лирики. В работе рассмотрено соотношение самоидентификации поэта с адресатами посланий, исследовано лирическое «я» адресанта, а также проанализированы механизмы функционирования самоидентификации поэта в жанре письма-послания. The article is devoted to the analysis of I. Brodsky's self-identification on the material of his epistolary lyrics. The paper considers the correlation of the poet's self-identification with the recipients of messages, examines the lyrical "I" of the addressee, and also analyzes the mechanisms of functioning of self-identification in the genre of the letter-message by I. Brodsky.

Diego Sandoval de Castro, a poet of Spanish origins, published his “Petrarchian rhymes” in Naples in 1542, but these were not his only writings. The poet, in fact, offered the poetess Isabella Morra, imprisoned in a tower due to the oppressive and cruel attitude of her brothers, a disinterested and curious friendship concerning her art and her poetics, leaving testimony of this in the letters he addressed to her. Diego Sandoval de Castro represented for Isabella Morra the only contact with the outside world, the only intellectual chemistry comparable to a functional human relationship. Although the social system of the time ruthlessly crushed their relationship, collection of their letters remains as an example of a phylogenical approach to suffering and female condition. Diego Sandoval de Castro, poeta di origini spagnole, pubblicò a Napoli le sue “Rime petrarchesche” nel 1542, ma non furono i suoi unici scritti. Il poeta, infatti, offrì alla poetessa Isabella Morra, reclusa in una torre a causa dell’atteggiamento oppressore e crudele dei fratelli, un’amicizia disinteressata e curiosa verso la sua arte e la sua poetica, lasciando testimonianza di questo nelle lettere a lei indirizzate. Diego Sandoval de Castro rappresentò per Isabella Morra l’unico contatto con il mondo esteriore, l’unica intesa intellettuale paragonabile a una relazione umana funzionale. Nonostante il sistema sociale dell’epoca abbia schiacciato in modo spietato la loro relazione, lo scambio epistolare rimane un esempio di approccio filogino alla sofferenza e alla condizione femminile.

М.Х. Мокаев – один из ярких и самобытных поэтов-шестидесятников, который внес неоценимый вклад в развитие карачаево-балкарской литературы. В связи с этим, в статье впервые делается попытка рассмотрения ключевых образов и мотивов, сопровождающих тему творчества в художественном мире М. Мокаева. Для достоверности результатов исследования, мы стремились охватить все периоды наследия писателя, связанные с обозначенной проблематикой. Подобный подход позволяет выявить специфику мокаевской интерпретации темы «поэт/творчество». Внимание сфокусировано на следующих уровнях исследования: восприятие художником самого себя как поэта и осознание своего творчества; общее восприятие искусства в целом, а также его рассуждения о коллегах. Цель – исследовать такие понятия, как поэт, поэзия, творческий дар в художественной картине мира М. Мокаева. В результате, определены основные образы и мотивы, сопряженные с данной проблематикой, выявлена степень влияния архетипов, мифологем, номинологических элементов, орнитогенных образов (обусловленных идеями восхождения) на семантическое поле концептов «поэт/творчество». Центральное место среди мотивов, сопровождающих тему творчества, занимает мотив избранничества (пророчества). Также, творчество ассоциируется с тяжелым трудом, долгом. Для решения поставленных задач в работе использовался комплексный подход, комбинирующий элементы сравнительно-типологического, сопоставительно-типологического, системно-целостного и историко-литературного анализа., Poet, poetry and gift of creative in the individual author's picture of the world M. Mokaeva The article examines such concepts as poet, poetry, gift of creative in the individual author's picture of the world of M. Mokayev. The semantic field of the concepts "poet / creativity" is key in the poetry of M. Mokaev. The analysis made it possible to identify the main images and motives with which this issue is associated. As a result of the research, the specificity of Mokaev's interpretation of the theme “poet / creativity” was revealed, the key point for which is the motive of being chosen (prophecy). The creative gift is associated with hard work, duty; accompanied by the development of such metaphors as poetry-mountain, poet-wounded tour, wounded bird, etc. The conceptual and semantic core of the words "poet / creativity" is bestowed by heavenly forces (the image of the sun, light). For the reliability of the research results, we tried to cover all the periods of M. Mokaev's creative heritage associated with the designated problems.

Arapça bir kelime olan mecmûa “cem“ kökünden türeyerek “toplanıp biriktirilmiş, tertip ve tanzim edilmiş şeylerin bütünü” anlamına gelmektedir. Edebî terim olarak ise “Nazım ya da nesir hüviyetindeki aynı veya farklı kişilerin metinlerinin düzenli ya da düzensiz olarak bir araya getirildiği eserler” olarak tanımlanmaktadır. Bu çalışma Ankara Milli Kütüphane ’de 06 Mil Yz A2631 numaraya “MecmûǾâ-i Letâif-i İlâhî” adıyla kayıtlı mecmûa çalışmasıdır. Çalışmamızın başlığı “06 Mil Yz A2631 Numaralı Eserin MESTAP Projesine Göre Hazırlanması (İnceleme-Metin)”dir. Çalışmamız giriş bölümü haricinde inceleme ve metin olmak üzere iki bölümden oluşmaktadır. İnceleme bölümünde mecmûanın içeriğine, şairlere ve şairlerin divanlarında olmayan şiirlere yer verilmiştir. Metin bölümünde ise mecmûanın transkripsiyon harfleriyle çevirisi yapılarak MESTAP tablosu oluşturulmuştur. Sonuç kısmında ise mecmûanın edebiyat tarihimize katkılarına yer verilmiştir. The Arabic Word mecmûa derives from the root “cem”and means “the whole of things that have been collected, arranged.” As a literary term, it is defined as “the works in which the texts of the same or diffirent persons in verse or prose are brought together regularly or irregularly” This work is a journal work registered to Ankara National Library under the name of “Mecmû’ā-i Letāif-i İlāhî” at 06 Mil Yz A2631. The title of our study is “Preparation of the Work No. 06 Mil Yz A2631 According to the MESTAP Project (Review-Text)”. Our study, apart from the introduction, consist of two parts, a review and a text. In the analysis section, the content of the journal, the poets and the poems that are not in the poets’divans are included. In the text part, the MESTAP table was created by translating the journal wiht transcription letters. In the conclusion part, the contributions of the journal to our literary history are given.

Данная статья посвящена исследованию поэтического мира Саида Чахкиева. В процессе анализа отмечается, что в лирике поэта, характеризующейся широтой жанрово-тематического диапазона, значительное место занимает тема любви. Осмысление темы строится на основе мотивов чистых, светлых, радостных чувств, которые откликаются на взаимность, а также на основе мотивов ожидания возлюбленной, тоски, разлуки, неразделенных чувств и одиночества. Любовь в поэзии Саида Чахкиева разная: спокойная, ласковая, нежная, хрупкая, безмятежная, взаимная и неразделенная. Многие стихотворения написаны в форме обращений, диалога, монолога. Установлено, что поэт опирается на традиции национального фольклора и русской классической поэзии. Это говорит о том, что каждый поэт, создавая то или иное поэтическое произведение, вкладывает в него частичку себя; пережитые собственные эмоции: любовь, ненависть, счастье, разочарование, боль разлуки. Наверное, невозможно выразить в лирике все эти эмоции, не пережив их лично, не пропустив их через себя. Возможно, и Саид Чахкиев, создавая шедевры ингушской поэзии, выразил в художественной форме свои личные переживания., The article studies the poetic world of Said Chakhkiev. In the process of analysis, it is noted that in the poet’s lyrics, characterized by the breadth of the genre-thematic range, the theme of love occupies a significant place. The understanding of the topic is based on the motives of pure, bright, joyful feelings that respond to reciprocity, as well as on the motives of waiting for a beloved, longing, separation, unrequited feelings and loneliness. Love in the poetry of Said Chakhkiev is different: calm, affectionate, tender, fragile, serene, mutual and unrequited. Many poems are written in the form of addresses, dialogue, monologue. It is established that the poet relies on the traditions of national folklore and Russian classical poetry. This suggests that every poet, when creating this or that poetic work, puts a piece of himself into it; his own experienced emotions – love, hate, happiness, disappointment, pain of separation. It is probably impossible to express all these emotions in lyrics without experiencing them personally, without passing them through yourself. It is possible that Said Chakhkiev, creating masterpieces of Ingush poetry, expressed his personal experiences in an artistic form.