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Copyright of Turcology Research is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Kazak edebiyatı XIX. yüzyılın ikinci yarısı itibariyle modern bir başlangıç yapar. Zira siyaset, ekonomi ve hayat tarzının ortaya çıkardığı yeni ihtiyaçlar yeni ifade kalıplarını dayatır. Kazakların göçebe yaşam tarzını kısmen de olsa yitirmesi, Rusların coğrafyaya iyice yayılıp yerleşmesi, sanayi üretimine dayalı modern hayatın çıktıları Kazak edebiyatını da diğer tüm coğrafyalar gibi değişime zorlar. Kazak edebiyatının esaslı türü olan şiir bu değişimden çok etkilenir. Çünkü şahsi şöhretlerin ve menfaatlerin aracı olarak kullanılan şiirin toplum için ürettiği bir şey yok gibidir. Bu da sosyal hayattaki insicamı bozmakta, toplum bilincindeki travmayı derinleştirmektedir. Bunu babasının işi dolayısıyla yakından gözleme imkânı bulan Abay Kunanbayulı, çözüm arayışına girer. Ciddi bir zihnî hazırlık sürecinin ardından türe dönük örnek ve öncü uygulamaları ile eski şiir anlayışını tüm unsurları bakımından yeniden ele alır. Kunanbayulı, eski şiir ve yeni şiir arasında tahrip edici bir mücadele başlatmaz. O, itidal içerisinde bir yenilenme arayışındadır. Kendisi de gelenekten beslenerek yetişen Abay Kunanbayulı, eldeki mevcudu çağın ihtiyaçlarının gerektirdiği şekilde güncellemek ister. Başka şiirlerinde de yer almakla birlikte poetik ilkelerin yoğun olarak yer aldığı altı şiirinde eski ve yeni şiire bakışını ortaya koyar. Çalışma, Abay Kunanbayulı’nın poetik içerikli şiirlerinden hareketle Kazak edebiyatının eski ve yeni şiir anlayışına dönük tespitlerini ortaya koymayı amaçlamaktadır. Metin inceleme yöntemi ile ele elde edilen bulgular çalışmanın temelini oluşturmaktadır.

In this study, similes related to poetic elements such as poetry, poet, rhetoric, meaning and idea in Bursalı Rahmî's Divan were identified and the contributions of these similes to the poet's poetics were tried to be shown. With this study, based on the example of Bursalı Rahmî Divan, it is aimed to draw attention to the importance of poetic similes in divans in terms of poet poetics. As a result of the Divan examination, it was seen that Rahmî's poetic similes were mostly included in the fahriye section of the odes and the pseudonym couplets of the ghazals. Among Rahmî's similes regarding his poems, he sees elements such as "stream, sea, garden, rose, pearl, jewel, sound, sugar, country", while regarding his poetry, "gardener, diver, swimmer, magician, nightingale, falcon, parrot, sultan" it is possible to see elements such as. He also included the similes of "country, sea, rose, glass, bird" regarding the meaning features of his poems, while he included the similes of "garden, rose" regarding rhetoric. The similes made by Bursalı Rahmî in the context of poetic elements provide important data for studies on his poetics and the poetics of classical poetry. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of International Journal of Social Sciences (IJSS) / Uluslararasi Sosyal Bilimler Dergisi is the property of International Journal of Social Science and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Despite the scattered poetic data in their works, the works of Eastern Islamic literature artists have received little analysis, if any, in terms of their understanding and creation methods. Mevlana Celaleddin-i Rumi is one of the artists who have received little attention in this regard. There are numerous poetic couplets in both his Masnavi and Dīwān-e Kabīr. Some studies have explored the book of Masnavi on this subject before; however, this book has not been emphasized, despite many poetic couplets in Dīwān-e Kabīr. However, evaluating classical period works from this perspective is important not only for contemporary readers, but also for their authors. Today, as new ways of approaching works of art emerge around the world, we cannot convey our classical works to today's people, particularly children, by repeating the perspective of our literature and artists from the classical period. Thinking about the subject and exploring new approaches is critical to our integration with our literary tradition. Despite his high regard for the word, Mevlana tends to transcend sound and words, breaking the shell and removing boundaries to express his feelings and thoughts. One of the most important and exciting topics to discuss is the collect into a book (bookization) processes of the Masnavi and Dīwān-e Kabīr, the impact of the period's political and sociocultural structure on work production, and the similarities and differences between these two works regarding poetic art. The poetic couplets of Mevlana's ghazals, particularly the maqta couplets, convey a special message to us readers. [ABSTRACT FROM AUTHOR]

Copyright of Nesir: Journal of Literary Studies / Edebiyat Araştırmaları Dergisi is the property of Nesir: Journal of Literary Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Ahmet Hamdi Tanpınar (1901-1962), an important name of modern Turkish literature, is one of the artists who wrote works in almost every genre of literature as well as being an academic. A novelist, short story writer, poet, essayist and literary historian, Tanpınar was, according to his own words, influenced by Paul Valery on the art of poetry. Paul Valery (1871-1945) influenced many poets not only with his poems but also with his views on poetry. Ahmet Hamdi Tanpınar read Paul Valery's Monsieur Teste in 1926 in Ankara. Saying that Monsieur Teste influenced him a lot, Tanpınar decided to translate the work into Turkish as soon as possible. But he died before completing the translation. Tanpınar's admiration for Paul Valery's art and ideas did not end there. During his years in France, he visits the city where Valery was born and his grave. Ahmet Hamdi Tanpınar often refers to Paul Valery's views, especially in his articles on poetry, but his main goal is to prepare a study on Paul Valery. The notes of this study, which we think he would have included in the introduction of Paul Valery's Monsieur Teste had he been able to complete the translation, are among the manuscripts left by Tanpınar. These manuscripts, in the form of scattered, disorganized notes, are, as one might expect, in old writing. We have gathered Tanpınar's handwritten manuscripts and transcribed them into new writing. We have also benefited from Tanpınar's letters and articles while interpreting his thoughts on Paul Valery, whom Tanpınar called his master. We have previously published Tanpınar's notes on Gerard de Nerval, which were also among his manuscripts. Undoubtedly, knowing the thoughts of artists on the sources of their influences will enable us to gain new perspectives on his art. In conclusion, Gerard de Nerval and Paul Valery are two important figures representing the technical and thematic sources of Tanpınar's poetry. [ABSTRACT FROM AUTHOR]

It is a fact that many people can find something from different aspects in Yunus Emre, one of the most important values of Turkish Culture. While Yunus Emre is like everyone else, he is also an example to many with his wisdom. What removes him from being an ordinary historical personality is that he has the ability to reflect the individual and society thanks to his accumulation. Yunus Emre, on the one hand, reveals the human and the things about human beings with his discourse, on the other hand, mirrors the society and the state of the society. Human and the material-spiritual basic elements around him are included in Yunus Emre's discourse. His style is both noticeably sharp and equally sensitive. The solidity of the literary background in his expressions makes itself felt clearly. His intellectual background and justifications also prove the solidity of his idea base. His view of the world and faith has not only carried him beyond his time to the present, but also continues to carry him to the future. In this study, the main literary and intellectual studies on Yunus Emre were focused, new interpretations were brought to these evaluations and common reference points were determined. It was stated that the determined issues could be evaluated in terms of new perspectives and different fields, and the necessity of considering Yunus Emre from various disciplines of social sciences was pointed out. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Formed on the axis of pure poetry, containing symbols and impressionist elements, Ahmet Hâşim poetics, which forms an aesthetic composition from the relation of arts such as painting, sculpture, and poetry, especially music, includes the form and content, which are considered among the characteristics of the poetry genre up to itself, such as the composition of the arts in poetry, poetic style, rhythm, rhyme and a special language. It exhibits a significant transtextuality with Orhan Veli’s poetics in the Garip style, which rejects all the features of Ahmet Hâşim’s poems, which were rewritten with poetic poems in the Garip style, are important in terms of forming the framework of the Garip poetics. Poems produced from hypo-texts by Garip poets, especially Orhan Veli Kanık, and which are mostly rewriting products in the form of parody in terms of derivative relations, are poetic poems because they contain opinions on what elements should be included in poetry and what should be excluded. The poetic poems in question are examples of rewriting, which was created with an understanding that rejects the old poetry, especially the poetics of Ahmet Hâşim, but incorporating these poems on the axis of transtextuality. Palimpsests and hypo-texts are included in the hyper-texts with referential methods such as citation and allusion as well as rewriting. Texts processed by methods such as rewriting, citation, allusion to a text require a certain amount of knowledge and reading experience in terms of ecoleenvisages of poetry. The hypotexts, which are rewritten and parodied, are in a way the mainstay of Garip poetics. From this aspect, Garip, which was established as a realistic and society-oriented poetic aesthetic, imagines that the society should have a certain aesthetic consciousness and taste, especially in their poetic poems. Based on the “Carnation” poems of Ahmet Hâşim and Orhan Veli, the aim of this study is to reveal the effect and importance of these relations in the poetics of Orhan Veli and Garip, based on the determination of the transtextual relations and the methods used to create these relations. [ABSTRACT FROM AUTHOR]

Although realism is a broad concept and somewhat ambiguous in terms of its uses, it basically refers to a new state of consciousness that developed in the 19th century. This state of consciousness suggests that all phenomena of the universe can only be explained by physical laws. This new state of consciousness has also manifested itself in literature. Theorists such as Wellek, Suchkov, Auerbach, and Jakobson who write on realism generally focus on the relationship of the concept to this new state of consciousness that emerged in the 19th century. These theorists say that realist literature reflects what is the "modern" and the "ordinary" with an unadorned language. When we look at Mehmed Âkif's poems in line with the views of these theorists, we see that the fundamental principle of his poetics is realism. In his poems, realism emerges as objectivity, ordinariness, modernity, didacticism and unadornedness. Besides, Âkif finds some patterns within the tradition that are suitable for this realism. These patterns are hikemi poetry and the ancient Arabic poetry that are overshadowed by mysticism and later poetic rhetoric. In realism, which is the fundamental principle of his poetics, Akif develops an eclectic attitude between what he brought from the tradition and those who came from the West. Thus, he builds a special understanding of realism in his poetry. [ABSTRACT FROM AUTHOR]

Copyright of Mecmua is the property of MECMUA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Yedi is the property of YEDI (Dokuz Eylul Universitesi Guzel Sanatlar Fakultesi Yayini) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Karabük Türkoloji Dergisi is the property of Karabuk University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitig Journal of Turkology Research is the property of Bitig Journal of Turkology Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Avicenna's (d. 428/1037) most prominent philosophical work is undoubtedly his corpus of The Healing, which consists of the main parts of logic, natural sciences, mathematics, and theology. It is possible to find Avicenna's views on poetry-poetics only in his book Fann al-shi'r (On the Art of Poetry), which is at the end of the logic part of this corpus. In this article, first of all, it was justified that Fann al-shi'r is the main text in the context of Avicenna's understanding of poetry-poetics, and general determinations were made about the nature of his work. The poetry section of al-ikma al-'arūiyya, written by Ibn Sīnā at a young age, is based on Fārābī's (d. 339/950) al-Risāla fī qawānīn al-shu'arā' and is almost completely repeated literally in the first chapter of Fann al-shi'r. Avicenna begins to follow Aristotle's (d. 322 B.C.) Poetics, both in terms of arrangement and content, start from the second chapter of his work, which consists of eight chapters in total. Therefore, although it cannot be said for the other books of The Healing, it is claimed in this article that Fann al-shi'r is the middle commentary (talkhī) of Aristotle's Poetics. As a matter of fact, Avicenna himself states at the end of his work that what he did was 'talkhī'; he promises to write a detailed study of both absolute poetry and the poetry of his time, but it turns out that he couldn't do it. In this 'talkhī' work, Avicenna comprehensively reveals his reading of the text of the Poetics, his own original interpretation, point of view, adaptations, evaluations, and contributions, which are identified and evaluated one by one in our article. Avicenna clearly states that Aristotle's Poetics actually consists of two books, but the second book devoted to comedy is missing, which is the case today. Therefore, Avicenna also deals with the Greek understanding of poetry, and mainly tragedy from the two most famous genres of this poem, tragedy, and comedy. In the hands of Avicenna, there is Abū Bishr Mattā b. Yūnus' (d. 328/940) translation, which is the only surviving classical Arabic translation of Aristotle's Poetics, and probably there is also Yayā b. 'Adī's (d. 364/975) corrected translation. Avicenna, with his philosopher competence, overcame the problems of the translation of Mattā and stated his preferences in terms of different translations. Therefore, Avicenna's Fann al-shi'r is the first commentary in which Aristotle's Poetics is fully interpreted and transferred to the Islamic world, and it is a source after Avicenna. For Avicenna as a philosopher and logician, the important thing in poetry is takhyīl, that is, the feature of imagining, being imaginative. Imaginary words cause the soul to be positively or negatively motivated, get emotional, and affected by some thoughts, meanings, affirmations-assents (tadīq), and judgments. The mind is more inclined and yielded to the poetic words that appeal to the imagination and emotions. While verification is in question in tadīq, it is not obligatory to have verification in takhyīl. The literal content of the word is important in tadīq; however, in poetics, the word should be imaginary rather than content. Therefore, according to Avicenna, the mere presence of a meter in a phrase does not make it poetic. For example, Kalīla wa Dimna cannot be accepted by Avicenna as a poetic text although it is in meter. In the context of the word mukhayyil-imaginary, we come across the concept of imitation- muākāt, which is used as the equivalent of the Greek word mimesis. Avicenna adds the concepts of "tashbīh-simile" and "isti'āra- metaphor" to this. According to Avicenna, imitation is natural for man; it is indispensable for education from childhood. In Greek poetry, actions, states, behaviors, characters are imitated and thus, it is aimed to encourage a certain action and to avoid a certain action, while in Arabic poetry, rather, persons are the subject of imitation. According to Avicenna, the basic elements that reveal poetry are the natural ability of imitation and the pleasure one gets from it, as well as melody and rhythm. In his work, Avicenna gives information about the kinds of Greek poetry and goes on to a detailed analysis of the most prominent tragedy. According to him, tragedy is an imitation of an action complete and noble, and elevated in rank; in very appropriate speech, not devoted to every particular virtue; affecting the particular virtues, using a perfectly appropriate language, not through narrative but through action -imitation which moves the soul to mercy (pity) and piety (fear). In this article, the details of this definition given by Avicenna are examined in comparison with today's Poetics and Mattā's translation of Poetics. Despite the problem in the translation of Mattā, Avicenna wanted to reveal the universal aim of the tragedy and put the emphasis on the action itself. Again, Mattā translated the tragedy as "inā'at al-mad", and although Averroes (d. 595/1198) followed it, it is seen that Avicenna consciously preferred the Arabic pronunciation of the word as it is and he worked on its terminological meaning. According to Avicenna, tragedy imitates a perfectly virtuous act without being confined to individual particular virtues. In this sense, tragedy needs to be competent in the imitation activity and to elevate and highlight the meanings it aims. Because the meanings can also be said with an ordinary, simply formed word. The point that separates tragedy from them; is to make these meanings imagined by glorifying them and showing them magnificence. And the most important element of tragedy is the imaginable, grandiose respectable meanings intended. Avicenna states that a complete work of tragedy like Aristotle consists of the following six elements: Fiction, meanings promoted through character, meter-measure, judgment or opinion propagandized, research-reasoning, and melody-music. Avicenna explains these six elements, how to create each of them perfectly; examines issues such as the reversal (return of luck) and recognition, the unity of the story that constitutes the fiction; He argues that the reversal is similar to the Arabic term "muabaqa". In the sixth chapter titled "the parts of the tragedy in terms of its sequencing and performance", he actually deals with the staging of the tragedy in detail. Using the words "al-akhdh bi al-wujūh" and "nifāq" for acting and role-playing, Avicenna transformed the word "munāfiqīn", derived from "nifāq", from being a religious concept into a purely poetic and rhetorical form. While doing this, he probably took into account the semantic field of the Greek words "hypokritoi-hypokrisis", which literally means hypocrite, pretentious, and in time means acting and playing on stage. One of the most important claims of this article is that the theatrical aspect of the Greeks' Poetics is not understood, misunderstood, or not fully understood in the Islamic world and that the claim that the Syriac translation is misleading at this point is not true, at least in the case of Avicenna. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the Turkish Poetry of the Republican Period, there were poets such as Namık Kemal, Tevfik Fikret and Nâzım Hikmet who were criticized for their understanding of poetry and claimed to have composed narrative poems rather than poetry. Mehmet Âkif Ersoy also can be situated among these poets. Those mentioned poets are appreciated very much by the community in spite of those criticisms. It is thought-provoking that there is not so much significant aesthetic evaluation, except a few critical writings, on the poems of those poets who have been the important names in Turkish literature by shattering literary clichés. By specifically focusing on Mehmet Âkif Ersoy's poems and poetics, we aim to study the reasons of why these artists are appreciated and read by the society in spite of all criticisms. Thus, it is considered to clarify the above-mentioned poets' using and motive sources in their poems. [ABSTRACT FROM AUTHOR]

The poets of Diwan poetry tell their views about their own poems and poesy or the perspectives they adopt about poetry and poets in general, not via their independent works but via diwan preambles or the poems in their own diwan. It is likely to find the thoughts of poets about their own poems especially in the pseudonym couplets of their poems. This study, through which we would like to make a contribution to the studies conducted to introduce the poetica of diwan poetry, aims at presenting Azmizâde Hâletî's poetry perception. Hâletî, who expresses his poetry through rhetoric, verse, dîwan, ode, words, opinion, meaning, proposition, line, verse, expression, poem and phrase, presents the characteristics of his own poetry through various similes, metaphors and figures of speech. The poet draws analogies between his poems and such notions as river, adam's wine, sea of rhetoric, pearl drop, Holy Mary, Prophet Joseph, agarwood and white pine. While Hâletî describes his poems, he tells about some of their characteristics such as making the arrow of destiny jealous, making stop other poets writing and being affectionate. Azmizâde Hâletî, who has a rather sizable diwan, grew up in the 17th century poetry environment with his contemporaries such as Nef'i, Şeyhülislam Yahya, Nâbi, Naîli, Neşâti and we are of the opinion that establishing his thoughts on poetry would be important to make the poetica of Diwan poetry understandable. [ABSTRACT FROM AUTHOR]

Gülten Akın, one of the first female artists of modern Turkish poetry, is a poet who flourished under the shadow of a mentality based on masculine domination. Influx; it constitutes the poetics of the period in the context of the damage caused by the negative events, facts and understanding on women's conscience. Object to traditional female perceptions and roles, the poet aims to shout out his objections echoing in his inner realm through poetry. In his early poems, Akın deals with individual issues such as maiden crisis, loneliness, alienation and hope. Social polarization and themes related to the universal human being are added to the poetry universe of the artist, who also turned to social problems in the 1960s. The 1980s is the period when Gülten Akın's poetry focuses on the individual again. Influx; In this last phase of his poetics, he sometimes takes the subject in a metaphysical context, but takes the "I"and the associated old age, loneliness, and death to the center of his poetry. Gülten Akın shapes her language and style by feeding on folk poetry throughout her poetics. HE IS; He creates his poems within the framework of the sensitivities of the human being who leave a mark on the inner realm of the universal individual in general and Anatolian women in particular. The subject appearing in Akın's poem does not match the period he lived in. Poetry subject; it is lonely, fragile, sensitive and objectionable. The movements in the spiritual world of the subject, which is experiencing distress and translation from the society, the current order and the age, constitute the focus of Gülten Akın's poem. This study was created in line with Gülten Akın's explanations and interviews in his book Poetry Düzde Kuşatmak and their reflections in his poems. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Aristotle's Poetics was translated into Syriac by the late ninth or early tenth century and, within a few decades, was translated again from Syriac into Arabic by Abū Bišr Mattā ibn Yūnus (d. 940). The Arabic translation survives almost intact in the codex Parisinus Ar. 23463, but only a passage of about thirty lines survives from the Syriac translation (this passage is quoted in Jacob bar Šakko's Book of Dialogues). This article gives information about the first translations of Poetics from Syriac into Arabic and compares the definition of tragedy in Šakkō's Syriac fragment and Abū Bišr's translation of Poetics against Aristotle's definition of tragedy. It qualitatively and quantitatively analyzes the genre described as the art of madīḥ in Abū Bišr and Ibn Rushd (d. 520/1126) and as tragedy in al-Fārābī (d. 339/950) and Ibn Sīnā (d. 428/1037). In its qualitative analysis of tragedy, it discusses six elements of tragedy in Aristotle's Poetics: muthos (myth), ethos (character), lexis (measure), dionoia (thought), opsis (spectacle), and harmonia (harmony). In its quantitative analysis, it examines the elements of prologue, episode, exodos, and choral song, as well as how qualitative and quantitative elements were transmitted to and interpreted in the works of Abū Bišr, Ibn Sīnā, and Ibn Rushd. [ABSTRACT FROM AUTHOR]

There is a direct relationship between the biography and the work. While examining the language and subject of the works, it is also necessary to know the life of the author. Today, novelists and poets leave a lot of material about their biographies. As it is known, Ahmet Hamdi Tanpınar passed away on January 25, 1962. Among the manuscripts left by Tanpınar, there are new documents that will increase our current knowledge about his artistic understanding and biography. You will find some of this information and documents in the article below. As can be expected, the manuscripts we have were written in old writing. Tanpınar made a number of changes on the manuscripts in question. Sometimes sentences, sometimes words were canceled, new sentences or words were added. If we consider the wear and tear of the documents due to the years passed, it will be understood how difficult it is to read the existing manuscripts. While transferring the manuscripts to the new article, today's orthography is taken into consideration. Sentences, phrases or words crossed out by Tanpınar have been largely removed from the text. However, we did not remove some sentences that we found important in terms of the information they carried, although they were crossed out by Tanpınar. In the biography of Tanpınar, cities such as Kirkuk, Mosul, Ergani, Sinop, Siirt, Antalya where he was due to his father's duty and Erzurum, Konya and Ankara where he worked as a teacher have a special place. In addition, Istanbul and Bursa are two important cities in Tanpınar's life. In the following article, there is information about the cities where Tanpinar passed his childhood or where he was due to his duty. There are also several sources of Ahmet Hamdi Tanpınar poetics. The first of these is the ideas coming from Yahya Kemal. The second is his interest in Ahmet Haşim's poetry. There is information on both subjects in the drafts below. But the major influence on his poetics comes from the well-known poets of nineteenth-century French literature. Gerard de Nerval, Charles Baudelaire, Stephane Mallarme, Paul Verlaine, Arthur Rimbaud and Paul Valery are the names influenced by Tanpınar's views on art and poetry. Almost all of the artists we mentioned are names with whom we can find relationships between their lives and their works. Tanpınar is one of the names with whom we can find connections between his life and works, just like the artists he was influenced by. In the following manuscripts you will find information about both his own life and his understanding of art, as well as the lives and understanding of the artists he has read and influenced. [ABSTRACT FROM AUTHOR]

In this study, which we have done in order to contribute to the determination of the poetics and poetic terms of classical Turkish poetry, it is tried to determine how the concept of "thought" is handled in a poetic framework in classical Turkish poetry. When the works determined within the scope of the study were examined, it was seen that the poets mostly used the words "idea and concern" in response to the concept of thought. Although these evaluation lines of poets who deal with thought in a poetic framework and touch on different aspects of the subject are scattered in their works, the compliment (fahriye) sections of odes (kaside) and pseudonym (mahlas) couplets (beyit) of lyrics (gazel) are seen as the sections where evaluations are made more frequently. Some of the determinations and evaluations made by the poets regarding thought are as follows: "It is very important for the poet to have an original thought. Beautiful, admired and valuable poems can be written with an original thought. It is possible to create valuable and beautiful meanings and to write poems in new styles, thanks to a strong thought. Poetry is primarily shaped and formed in the world of thought of the poet. Poetry is the product of thought." Poets also touched on different poetic aspects of thought by likening thought to many elements such as "bird, sea, pearl, magician, messenger, candle, rose" in their evaluations. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Studies - Language & Literature is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Şinasi (1826-1871) and Ziya Pasha (1829-1880), acknowledged as the pioneers of the modernization of Turkish literature and intellectual life, are poets with two different poetics. The purpose of this study is to show how poetic thinking can be achieved through the usage of proverbs as an element of interdiscursivity in the poems of two artists in Tanzimat Era, one of them known for his innovative aspect and the other for his wisdom. It is assumed that Şinasi, one of the preliminary representatives of the Enlightenment philosophy in Turkey, uses proverbs in his poems as a result of his efforts to utilize public cultural resources and simplify the language. It is articulated that Ziya Pasha, who is contingent upon the impression of divan literature in the field of poetry, frequently uses proverbs to create a wording style of hikemî (wisdom), hiciv (satire) and sehl-i mümteni (an expression that seems easy to articulate but rare). Şinasi, who handled poetry with a rational manner, was using the proverbs in didactic and humble wording style; whereas, Ziya Pasha, who was a distinguished poet, embraced a wise and laconic expression style. The paper reached the conclusion that proverbs in the poems of both two poets enable the manifestation of ideas, speech syntax and similar semantics function while they are a functional language unit in the determination of poetic views, as well as a distinctive element in the comparison of their poetics. [ABSTRACT FROM AUTHOR]

Copyright of Felsefe ve Sosyal Bilimler Dergisi (FLSF) is the property of Felsefe ve Sosyal Bilimler Dergisi (FLSF) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The poetics of classical Turkish poetry are tried to be determined by the poems in the works of poets. These works include words and pronouncements used in exchange for a poet/poem, what should be in a poet, and elements of analogy made in relation to poethood. In addition, it is possible to see the poet’s view of the art environment of the period in which they lived, and the views about other poets. Karamanlı Nizami, one of the most important poets of the XVth century, expressed his views and thoughts about the poet and his understanding of poetry in the fahriye sections of his eulogies in his Divan, the makta/mahlas couplets of his ghazals, and other couplets or bends of poetic quality. Karamanlı Nizamî, after expressing his views on the poet and poetry, made use of poetic texts (couplet, verse, bend), and included parables about poet and poetry. In this context he also establisheda similarity relationship with concepts such as daffodil and nightingale for poet and poetry, gold, ore, musk/la'l, muciz, sugar, tent/canopy, rose and trap for poems. This work consists of three parts: the first part gives information about the life and literary personality of Karamanlı Nizami. In the second section, general views about the understanding of the poet from the Nizami Divan, parables about the understanding of the poet and the names of the poets who influenced him and mentioned by him are given. In the third part, Karamanlı Nizami's views on the understanding of poetry and the parables related to poetry are addressed. [ABSTRACT FROM AUTHOR]

Considered to be one of the most powerful representatives of all Turkish literature, Sheikh Gâlib already authored the Hüsn ü Aşk mesnevi in six months when he was barely twenty six years old. Widely regarded as the 'standard of excellence' and 'turning point' of our classical poetry, Hüsn ü Aşk is hailed as being one of the finest and the most original mesnevi of classical Turkish literature. Indeed, many scientific publications and academic studies have been published on this important work. While some of these studies focus on the publication and interlanguage translation / explanation of the Hüsn ü Aşk text with the Latin alphabet, others examine the content, linguistic features and formal characteristics of the work as well as its artistic aspects. However, when all of these studies are examined, it is clear that it was the copy of the author's manuscript found at Süleymaniye Library, Halet Efendi Department, No: 171, which was used for the transcription of the text into the Latin alphabet. But, this copy is a draft of Hüsn ü Aşk and it is very important for showing to what extent Sheikh Gâlib worked on the mesnevi while writing his work. The aim of this study, is to show how Sheikh Gâlib wrote Hüsn ü Aşk, what phases he used while writing the work, and what changes he made when he was nearing completion of the work with reference to the draft of Hüsn ü Aşk found at the Süleymaniye Library. [ABSTRACT FROM AUTHOR]

In this study, it is aimed to define how and where Taşlıcalı Yahya, who was an important figure of 16th century in Divan Literature, sees his poetry, what he feels and thinks about the poetry and what the perceptives of the poetry in this era are. He mentioned about his poetic thoughts in the fahriye parts of the odes, pseudonym parts of the gazelles and preamble parts of his work of art. He made some evalutions about the fundamental elements for poetry and the specialities which should be in a good poem. For instance, according to the poet, a poem should include aphorism phrases, give relief to a reader's heart, be brief and to the point, reflect unthought ideas and unspoken dreams. It is stated by the poet that, poetry is a tool to reach the lover and it becomes valuable when it verbalizes the beauty of the lover and because of this, it should never be transported to the illitrate, ignorant and ill-intentioned people. This poetry evaluation, critism and explanation of Taşlıcalı Yahya who got the denotation of "sahib-i seyf ü kalem", contribute the studies about defining Turkish poetry as a whole. [ABSTRACT FROM AUTHOR]

Bu makalede tasavvufun şiir poetikası tasavvuf dışı şiir anlayışlarıyla karşılaştırmalı olarakele alınmaktadır. Aynı şekilde bu çalışmada tasavvuf şiiri ile tasavvuf dışı şiirin poetikasının bellibaşlı özellikleri ortaya konulmaktadır. Öncelikle diğer şiirin poetikası genel hatlarıyla irdelediktensonra tasavvuf şiirin sanat anlayışı detaylı bir şekilde incelenmektedir. Daha sonra Sûfilerinşiirlerini hangi gayeyle ve nasıl icra ettikleri açıklanarak tasavvufî şiirin Türk edebiyatına etkisi veyeri üzerinde durmaktadır. Bundan sonra da tasavvufî şiirin kullandığı sembolik dil ele alınmaktave tasavvufla diğer şiirin poetik farkını anlatan tasavvufî bir şiir örneği verilmektedir. Tasavvuftaşiir, Allah’la hemhâl olup bütünleşen kişinin, O’nu benliğiyle yaşamaya çalışırken aldığı bu zevktendolayı Allah’a olan bağlılığını dışarıya yansıtmasıdır. Bu bütüncül yaşayış, ya sevinçle, ya huşuduyarak ya da teslimiyetin vermiş olduğu tevâzuyla “hiç”liğini anlamak suretiyle olur. Şiir, kişinin,kalp dünyasında bu hatırlayış türlerinden hangisiyle etki yaparsa, Allah insanı, Hakk’ı bu hâlüzere hatırlar. Bu yüzden sûfîlerin şiir poetikası, hangi inançtan ve felsefeden olursa olsun diğerbütün şâirlerin şiir anlayışlarının tamamen ötesinde bir hakikattir.

In this study, it is aimed to determine the words and phrases used in exchange for the poet, the poetical features he wants to be in a poet, his metaphors about the poet and his views of the society he lives in, based on the poetic strings in Enderunlu Vâsıf's Divan. Vâsıf mentions his opinions and thoughts about the poet in the Divan, mainly in the compliment (fahriye) sections of his odes (kaside) and pseudonym (mahlas) couplets (beyit) of his lyrics (gazel). When the relevant verses are examined within the scope of the subject, it is seen that Vâsıf tries to draw a portrait of a poet based on his own poetical features. According to his poetics, some of the characteristics that a poet should have are: his ability to be a poet, to have reason and comprehension, to have original and miraculous discourse, to grasp quickly, to be a master in poetry, to have skill, wisdom and say with inspiration and inspiration. Vâsıf likened his poetry to elements such as "scholar, merchant, rose garden, wrestler, sultan, nightingale, Bihzad, Rüstem" He also expressed some of the features of the poet, such as "fluent, beautiful and harmonious utterance, sweet language" through these elements. Vâsıf made evaluations about some poets who lived in their own period and in the previous period, such as "Nef'î, Nedim, Münîf, Es'ad, Râsih, Sırrî" and made important determinations about the society's view of art. These determinations and evaluations of Vâsıf provide important data for the studies which will be done for the determination of similar and different aspects of the poetical view of classical poetry. [ABSTRACT FROM AUTHOR]

Necip Fazıl Kısakürek who has a unique place in republican era Turkish literature is well known with his poetry and poets, but he has also produced works in the fields of theatre, short story, novel, screenplay and memoir. The genre, which Necip Fazıl considered the most important and explained as 'a zenith among the fine arts' after poetry, is theatre. Therefore he put an exceptional effort in his theatre works. Fifteen of his theatre works has been published as books. Necip Fazıl choose themes of these works from historical, social and contemporary events of his time. In Ahşap Konak, Siyah Pelerinli Adam, Yunus Emre and Püf Noktası Necip Fazıl presented his views on poet and poem and criticized the new poetry through a poet main character. His poetic style surfaces in his theatre writings as well. In this article his views on poetry and poet and these views will be compared with his poetics. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Poetic is a term that contains the rules of the poetry school to which poets belong while they write their poems. The studies which have executed concerning their conception of poetry by examining the poetry tradition of each poet is important in order to reveal mental infrastructure of poets. When the Diwan poetry take into consideration, the subject of poetic is able to be analysed through some poems in which contain poetical elements such as tezkîres, introduction of diwan, parts of fahriye in odes, pseudonymous couplet of the ghazals. Poets have referred to various arts and a large number of mazmûn in their diwan in order to emphasize beauty and effectiveness of their poems, thus they have reflected to their views on poetry and poetry in their works. The works which reflect the life vision of the Ottoman poet and therefore his mystical viewpoint that dominates his poetry present mental infrastructure of the Ottoman society. Sufi poets, they stated first of all that it should be meanings in poetry, and they write their works by acting on this axis. Poets expressed that their poems can not be understood by moving from words, will have just comprehended by Erudits who look through the heart eye. In this case; The view about poetry and poet of each Sufi poet should be exam the poetics of Ottoman mystic poetry should be introduced by aid of inductive approach ined and the poetics of Ottoman mystic poetry must be put forward by aid of inductive approach. In this work; ideas about comprehension of poet and poetry of Yusuf Hakiki Baba, sufi poet and representative of Bayrami-Melamism in Aksaray, were tried to be revealed. As a result of the analyse of the diwan of poet, last couplets of ghazals, parts of fahriye in odes and poetic couplet or bents have shed light on us during research. The aim of this work concerning comprehension of poet and poetry of Yusuf Hakiki Baba, representative of Bayrami-Melamism in Aksaray, is to explain how the poet defined both terms. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Turkish Research Institute / Atatürk Üniversitesi Türkiyat Arastirmalari Enstitüsü Dergisi is the property of Ataturk University Coordinatorship of Scientific Journals and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Akbar Ryskul best known as one of the important representatives of the modern Kyrgyz poetry is different from others both his literal aspect and his statesmanship. The poet is assigned in many stages at state. On the other hand, he is interested in lliteral studies. This study was handled with the help of the lexico-stylistic analysis and interpreted from obtaining data. Introduction, conclusion, Akbar Ryskul and his works, lexico-stylistic analysis, words used in the poems are showed with main topics. Common words, neutral words, oral language specific words and standart language specific words are examined with under titles. Political, social and diplomatic words, words related to nature and natural sciences, words related to technology, literature and related words, words related to animals and husbandary, words about standart language constitute substances of its under title. Data obtained from the poems were interpreted and then embodied the help of graphics and tables. The template is tried to compose for data studyings with giving place to terminology proposals. [ABSTRACT FROM AUTHOR]

Copyright of Asia Minor Studies is the property of Asia Minor Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)