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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]

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 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.)

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]

Copyright of Filosofija, Sociologija is the property of Lithuanian Academy of Sciences Publishers 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 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]

Copyright of Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci 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 Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic 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 Croatica et Slavica Iadertina is the property of University of Zadar, Department of Croatian & Slavic 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 Church in the World / Crkva u Svijetu is the property of University of Split, Catholic Faculty of Theology 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.)

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]

The article takes a poetological approach to the thematising of everyday life and its connections with the poetics of the "effect of the real". Methodologically, it is part of the research concept of the new poetics. On the material of a canonical text of Slovak literary realism -- the novella "Neprebudený" ([The unawakened] 1886) by Martin Kukučín (1860 -- 1928) --, it identifies poetological characteristics of the novella, reveals its existential parameters, and points to the place of M. Kukučín in the ironic-polemical line of modern Slovak prose. This innovative approach allows for identification in the structure of the text the tradition of the poetics of grotesque realism as conceptualised by M. M. Bakhtin on the folk culture of the Middle Ages and the literature of the European Renaissance. The identification of elements of the poetics of the grotesque in the text of the novella is based on the emphasis of this poetics on the shape/surface of the phenomena of the life world, especially the human body. Therefore, the starting point of the interpretation of the novella as outlined here is description as the basic stylistic procedure of realistic texts -- the description of the character in this case. The description and subsequent interpretation of the image of the grotesque body makes it possible to identify the presence of the poetics of discrete irony as a key strategy of authorial narration in the text of the novella. [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 Fluminensia is the property of Fluminensia 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 HUM: Journal of the Faculty of Arts at the University of Mostar is the property of University of Mostar, Faculty of Arts 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 paper is drafted as an analysis and interpretation of a specific French travelogue of the 19th century. The main aim is to analyse work in the first part at the level of genre poetics and clarify its expressive qualities and their origin, in the second part the interpretation will focus on specific content in the form of representation of the Danube landscape and of sailing on the Danube. In the study, we focus on images of topographic objects, such as the town of Komárno, the town of Pressbourg and the Danube and the landscape in its catchment area between the towns of Pest and Pressbourg. In conclusion, we summarize the author's poetics at the divide of the Enlightenment and Romanticism and the most important topographic images involved in the creation of stereotypes. The findings presented in the paper form part of the dissertation research in the field of comparative literature. [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 Art of Words / Umjetnost Riječi is the property of Umjetnost Rijeci 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 Lituanistica is the property of Lithuanian Academy of Sciences Publishers 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.)

Previous research into the presence and impact of end of 19th -century positivist science on the non-fictional work and prose of Janko Polić Kamov has shown that the positivist teaching of Cesare Lombroso, an Italian criminologist and anthropologist, is not only profoundly present, both directly and indirectly, but that it has also had a far-reaching impact on Kamov’s choice of topics and relationship towards them. This paper explores the impact of positivist science on the novel Isušena kaljuža by Janko Polić Kamov by reviewing the previous views on Lombroso’s influence, from Vladimir Čerina to our day. By comparing Lombroso’s conclusions on the qualities that may be shared by brilliant people and lunatics with the qualities of the protagonist of the novel Isušena kaljuža, it was concluded that they coincide to a great extent. Kamov’s protagonist uses Lombroso’s conclusions in his lengthy auto-analysis as an object of comparison for his psyche. For the protagonist, the abandonment of auto-analysis and reaching irony as an attitude towards all life and reality also signifies the abandonment of previous poetics. The aim of the research was to examine the previous conclusions on the presence and impact of the teaching of Cesare Lombroso in Kamov’s novel Isušena kaljuža. The analysis of the presence of Lombroso’s ideas, those directly implemented and concealed, on the relationship between genius and madness in the novel to be published posthumously, will show that the influence of the famous founder of criminology as a science, but also the influence of his followers, was encouraging, but did not diminish the aesthetic value of the work. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literary Studies / Folia Linguistica & Litteraria is the property of Journal of Language & Literary Studies / Folia Linguistica & Litteraria 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.)

Although it is generally believed that the central contribution Lumír made to original literary work consisted in verse, it is fair to say that this literary magazine also became the elite publication for Czech prose fiction. In the 1870s, when several distinguished editors alternated at its helm, Lumír was able to assemble a body of prose writers who suitably represented several literary groups, generations and styles. This study aims mainly to point out prose fiction tending to various styles and to present an analysis of their share in forming both the existing and the newly emerging literary canon. It thus demonstrates that the prose published in Lumír was a good representation not only of Parnassianism, but also of various Realist poetics and, particularly in historicizing prose, still valid relicts of Romanticism, like the works of Václav Beneš Třebízský (1849--1884). Also connected to this is the diverse spectrum of genres, ranging from the novel and short story to the 'romanetto', scenes from life, the arabesque and the sketch. [ABSTRACT FROM AUTHOR]

Copyright of Early Lithuanian Literature / Senoji Lietuvos literatūra is the property of Institute of Lithuanian Literature & Folklore 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.)

Ḥasan ibn Muṣṭafā al-Būsnawī al-Madanī, Hasan Bošnjak, was born in Medina in the last decade of the 12th century AH, and he wrote in the first half of the 13th century (the end of the 18th and the first half of the 19th century). With regards to the year of Hasan Bošnjak's death, we might assume that he died in the mid13th century AH. Analyzing his Divan, we come to the conclusion that he wrote tarihs in different periods of life from 1215/ 1800 to 1247/1831 - approximately in the period of thirty years. We do not come across any tarih written after the year of 1247 H, so based on that we assume that the author died in 1247 H/ 1831 or a year or two after. As a famous muhaddith (an expert on hadith, the tradition of the Prophet) he sang, among other things, about Buhari and Muslim, saying that the Mufti of Medina and later Shaykh al-Islam Ahmed Arif Hikmet commented on the works. The most significant source, after the Qur'an, is the Prophet's tradition (al-sunnah) based on the Prophet's words, acts, and tacit approval. From the time of the Prophet s.a.w.s. the writing down of the al-sunnah began, and in the 2nd century AH the intensive work on the codification (al-tadwin) of the Prophet's tradition based on written and oral sources began. It was the time of flourishing the hadith sciences and in the first half of the 3rd century the greatest hadith experts lived and worked. Hundreds of works were written, among which the best-known are two hadith collections called ṣaḥīḥim. The authors are Abū 'Abd Allāh Muḥammad ibn Ismā'īl al-Buẖārī (194 / 810-256 / 870) and Abū al-Ḥusayn Muslim ibn alḤağğāğ ibn Muslim al-Qušayrī al-Naysābūrī (- - 261/875). In Divan by Hasan Bošnjak there are, among other things, four songs, one dedicated to Buhari and three to Muslim. [ABSTRACT FROM AUTHOR]

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]

In this article the authors offer an elaboration of the lyric collection "Carminum libri octo," written by theologist Joseph Schneider, with particular reference to the theme of death, an essential component of his poetic oeuvre. The collection is analyzed both from the aspect of versification and from the aspect of theme; the image of death, as refigured by the poet. The resulting article demonstrates that this, death, is the key to decoding his vision of the world and his poetic identit y. [ABSTRACT FROM AUTHOR]

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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]

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]

Starting from the assumption of the significance of verbal omission in the artistic literature this paper is based on the study of interpretative function of ellipsis, allusion and irony in lyrical poetry. Relying on relevant theoretical sources (C. Brooks, K. Guillen, L. Hutcheon, A. William, P. de Man, S. Newstok, H. Van Tress etc.) the paper considers these concepts both as rhetorical figures and structural procedures. Ellipsis is here theoretically considered as intrinsic deficiency, allusion as extrinsic deficinecy, and irony as intrinsic-extrinsic deficiency of possible verbal content. Special attention is paid to (non)verbal context and it's semantic influence as a widespread discursive tool in modern literature and art. As explicative examples the autor took poems of several promminent modern Serbian poets (M. Nastasijevic, S. Raickovic, A. Ristovic). At the end of the paper, the author exposes the theoretical and metodological cosequences of his study. [ABSTRACT FROM AUTHOR]

Copyright of PISMO: Journal for Linguistics & Literary Studies / Zeitschrift für Sprach- und Literaturwissenschaft is the property of Bosnian Philological Society 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 for the Critique of Science, Imagination & New Anthropology / Časopis za Kritko Znanosti, Domišljijo in Novo Antropologijo is the property of Institute for the Critique of 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 Croatica: Magazine for Croatian Language, Literature & Culture is the property of University of Zagreb, Faculty of Humanities & Social Sciences 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.)

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]