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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.

The article focuses on the poems of the German poet Friedrich Hölderlin which he wrote after his release from the clinic, i.e. between 1807 and 1820. The author attempts to show that the texts which he places in the first period of Hölderlin’s tower production, differ in form and content both from the work produced before his hospitalization and from the poems written later in the tower. While the external conditions of the poet’s life did not change, his texts did, but this fact has not been satisfactorily elucidated yet.

This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his lifetime, starting with the writer’s first short story collections and finishing with his Obrazy z dějin národa českého (‘Images from the history of the Czech nation’). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the ‘name of the author’ in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura’s literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura’s reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura’s persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author’s image in this context all through his life as it assumed countless ‘faces’, subverting the traditional assumption of coherence in Vančura’s literary output that the concept of the author was meant to guarantee, and thus demonstrating — given the failure of this concept to bring about such coherence — how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura’s reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined.

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]

The article focuses on the poems of the German poet Friedrich Hölderlin which he wrote after his release from the clinic, i.e. between 1807 and 1820. The author attempts to show that the texts which he places in the first period of Hölderlin's tower production, differ in form and content both from the work produced before his hospitalization and from the poems written later in the tower. While the external conditions of the poet's life did not change, his texts did, but this fact has not been satisfactorily elucidated yet. [ABSTRACT FROM AUTHOR]

Copyright of Folklor / Edebiyat is the property of Cyprus International 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.)

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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.)

Knižná recenzia.

This study aims to better understand the authorial figure of Vladislav Vančura by reconstructing the critical and literary-historical image conveyed to us by the reception of the writer during his lifetime, starting with the writer's first short story collections and finishing with his Obrazy z dějin národa českého ('Images from the history of the Czech nation'). Loosely following on the theoretical bases of previous discussions, which in various ways conceptualize the effect of the 'name of the author' in relation to his work (Foucault, Bourdieu, Russian formalism, Mukařovský), this study examines Vančura's literary output through the lens of its author (as a constructed figure and category), especially in terms of the author function as it serves to form this output into a unified whole. It deals with changes in the name of the author mainly in relation to Vančura's reception. During the interwar period the critical reception captured the creative phenomenon of the writer in the course of his development, at a moment when his extreme style and language caused numerous controversies which grew into open polemics. While these revolved primarily around the issue of aesthetics (in the case of Pole orná a válečná and Poslední soud), they involved broader worldview and ideological issues (as with the novel Tři řeky). Vančura's persistent search for a narrative form repeatedly compelled critics and interpreters of his time to reassess the criteria and critical standards for literature. This study traces the transformations of the author's image in this context all through his life as it assumed countless 'faces', subverting the traditional assumption of coherence in Vančura's literary output that the concept of the author was meant to guarantee, and thus demonstrating -- given the failure of this concept to bring about such coherence -- how it is necessary to look instead for those places of incoherence, contradiction, and disparity. To this end, the study does not seek to cover the history of Vančura's reception in all its facets but to trace those significant moments when the image of the author and his work was transformed, challenging unequivocal interpretations and defying the interpretative stereotypes and schemes into which it has so often been confined. [ABSTRACT FROM AUTHOR]

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]

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Copyright of Prohuman is the property of Business Intelligence Club, o.z. 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.)