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This article introduces a unified factor overnight GARCH-Itô model for large volatility matrix estimation and prediction. To account for whole-day market dynamics, the proposed model has two different instantaneous factor volatility processes for the open-to-close and close-to-open periods, while each embeds the discrete-time multivariate GARCH model structure. To estimate latent factor volatility, we assume the low rank plus sparse structure and employ nonparametric estimation procedures. Then, based on the connection between the discrete-time model structure and the continuous-time diffusion process, we propose a weighted least squares estimation procedure with the non-parametric factor volatility estimator and establish its asymptotic theorems. [ABSTRACT FROM AUTHOR]

Past opportunities for developing an environmental sociology were passed up. Now the need is both intellectually and politically urgent to move forward. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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 Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Adab Al-Basrah is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 aim of this study is to determine the frequency of the use of Republican period poets and authors in school names in Turkey. The data set of the research, which was conducted with the descriptive survey model, consists of "primary", "secondary" and "high schools" affiliated to the "Ministry of National Education" in 81 provinces. Among these educational institutions, 957 schools bearing the names of 69 different poets and/or authors who lived/performed in the Republican period were analyzed by content analysis technique. According to the findings obtained in the research, the distribution of the number of schools bearing the names of poets and authors according to geographical regions is "Marmara Region" (f=255), "Central Anatolia Region" (f=155), "The Southeastern Anatolia Region" (f=137) and "Eastern Anatolia Region" (f=132) ranked first, while İstanbul (f=148), Ankara (f=52), Diyarbakır (f=32), Van (f=30), Konya (f=27), Kocaeli (f=26), Bursa (f=25) and İzmir (f=25) stood out in the distribution by city. The ranking of the schools with the names of poets and authors according to their educational level was secondary school (f=379), primary school (f=359) and high school (f=219). According to the evaluation of four different periods based on the death dates of the authors, eighteen each in the 1950-1974, 1975-1999 and 2000-2023 periods; It was determined that 15 authors in the 1923-1949 period were preferred in school names. Mehmet Akif Ersoy (f=459), Necip Fazıl Kısakürek (f=96), Ziya Gökalp (f=48), Yahya Kemal Beyatlı (f=41), Mehmet Akif İnan (f=36), Cahit Zarifoğlu (f=33), Cemil Meriç (f=30), Arif Nihat Asya (f=24) and Sezai Karakoç (f=22) were identified as the authors whose names were most frequently given to schools. [ABSTRACT FROM AUTHOR]

The 19th century was the beginning of a period in the history of Azerbaijan in which new views, different approaches, and judgments emerged. The upheavals in social life as a matter, of course, led to the awakening of literary and artistic thoughts, and enlightenment, and elucidated the development of public, ethnic, and national identity. In the 19th century, the poetic assemblies functioning in Karabakh contributed to the development of literature, especially poetry, and the inclusion of poetry in social life and its impact on it. Thanks to the "Meclis-i Uns" and "Meclis-i Feramushan" literary assemblies, poets living in Karabakh came together and depicted the problems of the period, social life, and nature in their poems. Referring to these literary samples, it is feasible to see the view of 19th-century Karabakh. Aghabeyim Agha, Khurshidbanu Natavan, Fatma Khanim Kamina, and Ashuq Peri were female poets grown up in the Karabakh literary environment in the 19th century. Research related to the life, art, and literary personality of women poets who grew up in Karabakh was thoroughly scrutinized and investigated based on the qualitative method in the article. As a result of our research, we have come to the following conclusions; There is a need to prepare coherent comparative texts from the work of female poets. The works of these poets were published due to the permission of Soviet censorship. Poems with religious content were not included in these books, and Sufi works were presented as secular and divine poems. [ABSTRACT FROM AUTHOR]

Copyright of Agora (0211-6642) is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones 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 Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa 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 TURKAV Institute of Public Adminsitration Journal of Social Sciences / TÜRKAV Kamu Yönetimi Enstitüsü Sosyal Bilimler Dergisi is the property of TURKAV Institute of Public Adminsitration Journal of 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.)

The article talks about artistic works dedicated to our female poets who have great merits in Azerbaijani literature. Our women poets made important contributions to literature not only in terms of poetry and poetic language, but also in ideological, social and cultural terms. In the article, the research and analysis of literary works dedicated to women poets in Azerbaijani literature is carried out, and the issues of the role of women in society are also touched upon. Starting with Mahsati Ganjavi, Khurshidbanu Netavan, Aghabeyim Agha and others have been dedicated to many works and their image has been created. In these works, artistic and poetic approaches to the life of women poets are widely analyzed. [ABSTRACT FROM AUTHOR]

The concept of “meşreb” (disposition), which expresses the temperament, character and nature of a person, is an important issue that influences the style and content of their poetry when it comes to poets. At this point, the ghazel with “meşreb” redif (repeated voice after the rhyme) written by Fehîm-i Kadîm is a remarkable poem in terms of the comments that a poet brings to his disposition in a narration of imagination, around the concept of “meşreb” (disposition). In the 18th century Esrâr Dede and in the 19th century Gâlib Bey from Leskofça wrote nazire (parallel poetry with the same rhythm and rhyme) to the ghazel with “meşreb” redif of Fehîm-i Kadîm who lived in the 17th century. The disposition (meşreb), which dominates the poetry of Fehîm-i Kadîm, can be summarized as a crazy lover full of love getting ecstatic, burning like a moth and being intoxicated with sipping the love wine with a delirious enthusiasm in the world of love. It can be said that this disposition (meşreb), which dominates Fehîm's poetry, also influenced Esrâr Dede and Leskofçalı Gâlib and specified the content and style of the poems in question. However, Esrâr Dede and Gâlib Bey have put their disposition's stamp on their words by reflecting their unique feeling and style in their poems. In Esrâr Dede's poetry, the images of Sufism and especially the Mevlevi sect and also the surprising use of some contrasting elements in harmony added a different depth to the word. Gâlib Bey, on the other hand, put a deep understanding of love and existence behind his seemingly plain style. In the dispositions of all three poets, enthusiastic states such as love and love-related craziness, ecstasy, and burning come to the fore. [ABSTRACT FROM AUTHOR]

Copyright of Tasavvur: Tekirdag Theology Journal / Tekirdag Ilahiyat Dergisi is the property of Namik Kemal University, 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.)

This article studies the poet as a key figure in Roberto Bolaño's narrative. Throughout his fiction, the poet will be constantly displaced from their time and turned into a subject akin to Nietzsche's untimely and Agamben's contemporary. Cast aside from history, he will be able to recognize and understand the presence of an absolute evil, recurring ad eternum throughout history. If the newly reinstated democracies in Latin America blindly embraced neoliberalism, putting an end to any utopic discourses, and thus rendering those who once chose the path of militancy obsolete, Bolaño will at least redeem the poet, by placing him above all and any historical contingencies. He will not be able to modify the course of history, but he will serve as a witness, if not a moral compass. [ABSTRACT FROM AUTHOR]

Copyright of Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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 Nisar: Journal of Religious Studies / Dini Tetkikler Dergisi is the property of NISAR 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 Nazariyat: Journal for the History of Islamic Philosophy & Sciences / Nazariyat Islam Felsefe Bilim Tarihi Arastirmalari Dergisi is the property of Ilmi Etudler Dernegi (ILEM) 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.)

For Edmond Rostand, dramatic writing is a medium ensuring communion between the author and the spectator, a bond questioned by Plato. This article studies how Edmond Rostand's poetic plays illustrate the quest for the public's understanding of the poet and how the characters thrive for their lost social recognition. His works shed light on the poet at work, each of the characters being an accomplished or budding versifier to reveal that poetry is legitimate work, which requires skills. Edmond Rostand's poetic style deconstructs literary and social norms that have led to his contemporaries' loss of authenticity. Misunderstood by theater goers and critics, disappointment led the playwright to improvisation and to pantomime, in which gestures could not alter the fragile and fleeting idea, making poetry easier to comprehend and bridging the gap between the author and his audience, establishing the poet as a worthy citizen again. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature 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.)

This paper aims at investigating dramatic monologue in Frank Bidart‟s poems. It discusses the way Bidart was affected by certain poets in terms of the implication of the dramatic monologue device and the power that affected his implementation and his application of this particular genre. Bidart proposes that a poet has a lot of inner consciousness. He receives various voices so he can visualize how to begin from varied places and keep a certain distance from the voice that expresses out of its sense, agony, or annoyance. Bidart has to examine the reasons for definite feelings at a particular point in time because one‟s emotional state should not be considered for granted. However, a poet should keep some distance from the characters in the poem as well as keep a sort of skepticism concerning oneself. This study suggests that Bidart‟s dramatic monologue is a contemporary genre that is significantly established at the last stage of his script with the release of his poetic work “Half Light”. The study analyzed two poems of Bidart‟s work including Old and Young, and Thirst. Results of the study showed that Bidart‟s poetic forms and themes relate to many issues including the point of time in which the poet published his poems, the setting and situations, and the poet‟s psychological state of mind. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Anbar University for Languages & Literature / Magallat Gami'at Al-Anbar Li-Lugat Wa-al-Adabl is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Muhip Dıranas's many works such as “A Train Journey”, “Once Upon a Time”, “Fahriye Sister”, “Truth”, “Memory”, “Foam”, “Olvido”, “Portrait”, “Hello” and “Say” His poetry is based on memory. In this respect, the poems “Memory”, “Olvido”, “Say” were analyzed through memories. In the article, the connection between the memories of the poet and these poems has been revealed in the context of remembering, memory and forgetting by taking the memory to the center. For This, Martin Heidegger's What It Means to Think; Mircea Eliade's books entitled Characteristics of Myths; Nativity and Rebirth: Religious Meanings of Initiation in Human Cultures were used. Goddess Mnemosyne, the personified form of memory in “Memory”, is the mother of the Muses and the poet, inspired by the Muses reaches knowledge and poetry about beginnings through Mnemosyne. “Olvido” begins with remembering and ends with forgetting. The poet remembers his emotional moments of the past and youth. Remembrance means the awakening of the memory, its rebirth as poetry. In "Say", the place in the shadow of Mount Ağrı, where he once lived, comes to life in the poet's memory. For him, this place means deprivation on the one hand, poverty on the other, a young, beautiful woman. The woman is the memory that carries the memory to the poem. The common denominator of the three poems and the woman representing the memory; The muse of the poet is the source of his poems. [ABSTRACT FROM AUTHOR]

The study reviews the personal friendship and literary connection between the Valencian writers Joan Fuster and Vicent Andrés Estellés. From the 1950's onwards, it studies their acquaintance and friendship, the cultural relationships between them, their shared projects, and also all the production they wrote about each other until the eighties. It is also analyzed how Fuster became a literary critic, disseminator and promoter of Estellés' poetry in different publications and how, reciprocally, the poet incorporated in his poems the figure of the essayist and intellectual, making him even a literary character. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature 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 Journal of College of Education / Wasit is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico 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 Cumhuriyet Ilahiyat Dergisi / Cumhuriyet Theology Journal is the property of Cumhuriyet Universitesi, Ilahiyat Fakultesi / Cumhuriyet University, 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.)

Copyright of bilig: Journal of Social Sciences of the Turkish World is the property of bilig: Journal of Social Sciences of the Turkish World 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 Al-Frahids Arts is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Associated with renewed begetting, the phallus is a highly relevant concept with regard to the dying and resurgent god Dionysus. Percy Bysshe Shelley's writings are filled with Dionysian images that may suggest the archetypal concept of death-rebirth. Shelley's Alastor, or The Spirit of Solitude (1815) presents a young visionary poet who becomes a Dionysian phallic symbol at the end of the poem only to rise himself anew in a posthumous transcendent garden sometime in a far future. Fleeing from the cold and cruel human society that denies him truth, Shelley's hero undergoes a quest for finding truth, which appears to him in the form of female bodies of the veiled maiden and the earth mother. Whereas the former, dissolving his male subjectivity, catches him sexually and delusively, the latter devours him in order to provide him with the charmed circle of the mother. This article attempts to explore the modality of this quest and the hero's transformation into a worm-like phallus in the light of the Jungian archetypes of anima and phallus. [ABSTRACT FROM AUTHOR]

The article attempts to set out evidence for various forms of Greek high culture in Bithynia from the fifth century BC to the middle of the third century AD, taking as a cut-off point the tetrarchic period in which Diocletian's choice of Nicomedia as a capital had a marked impact on its and other Bithynian cities' cultural life. The preliminary prosopography lists representatives of Greek culture by city, subdividing into the categories doctor, grammaticus , historian, philosopher, poet, rhetor or sophist, and scholar (with a sprinkling of other performers). Only Nicaea, with 30 names, makes a strong and persistent showing; of other cities only Nicomedia musters more than 10 names, though Prusa and Prusias ad mare produce several doctors. Prusias ad Hypium , by contrast, can boast only a single philosopher, perhaps a rhetor who moved to Nicaea, and a visiting tragic performer. [ABSTRACT FROM AUTHOR]

Copyright of Al-Mustansiriya Journal of Arts is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)

From the time he was alive, Heinrich Heine became famous in many countries outside Germany. In these countries, relatively early and quite different from what was happening in his homeland, the position he had secured in the field of national literature, and later in the field of world literature, was called indisputable. Heine’s work began to be translated, interpreted and commented, to be admired and imitated more and more, becoming, within a short time, amongst the best of the world’s poets. His reception and influence on poets of other countries has been researched and proven through countless scientific studies. Even today, his influence continues to be researched everywhere, both in the past and in the present, and Heine himself is valued and honoured as a great German poet. This paper deals with the echo of the work of Heinrich Heine outside Germany. According to the well-known German researcher Wandel, among the Anglo-Saxons and amongst Americans, as well as among Slavic and Scandinavian people, Heine is valued, and not just Goethe or Schiller, as a powerful representative of German culture. His influence extends even wider and deeper into EuropeanLatin countries, especially in France, where his spirit is just as alive as it is in Germany. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

"Aphrase "Paravi-e-Maghrabi" is occured in one of the Hali's maqta (the last couplet of ghazal). It opened a new door of debate among our critics. One group says that Hali is inviting us to follow Ahl-e-Maghrib western civilization while second is of the view that this is nom de plume of an ancient Persian poet of second rank. Even the critics of second group did not give any detail about the poet. Fortunatily, the author had found a rare manu script of dewan-e-Maghrabi. In this article an analytical study of Dewan-e-Maghrabi along with a brief account the poet is presented". [ABSTRACT FROM AUTHOR]

In both "Answering for Sense" and "Sharing Voices," Jean-Luc Nancy offers an account of the poet as an interpreter of the gods. The voice of the poet in both Homer's Iliad and Plato's Ion is intrinsically and originally doubled. Although there is no divine voice outside of the poet's voice, the divine voice speaks in the poet's voice and the poetic voice gives a voice to that of the goddess or the muse. What exactly is at stake in this phenomenon that we encounter here in the poet, namely that of gods making us speak? How is it related to the threshold of speech and communication that Nancy invokes in Adoration, when he also mentions the gods that make us speak? In this essay, I want to think with Nancy to see what is at stake in the figure of a voice on the threshold of speech and communication. I consider how the figure of the gods that make us speak is brought into play to elucidate the threshold of language and how this figure, as that which makes us speak, somehow offers the crossing of this threshold. To this end, I want to discuss three different figures or scenes in which the gods make us speak. In the first part of this article, I explore in more detail Nancy's own account of the poet as interpreter of the divine voice. What does it mean for the poet to give a voice to the goddess and to desire this giving a voice? What is the demand or call to which the poet in giving a voice answers? To further the analysis of this divine interpreter, I want to compare this interpreter with two other ones which arise in two other basic scenes in which the gods make an interpreter speak. The first concerns the scene of the calling of the prophet Jeremiah in the book of the same name. The second concerns Saint Paul's reflections on the glossolalist in the First Letter to the Corinthians. By exploring the differences between these three divine interpreters, I aim to further elucidate and assess the phenomenon of the interpreter and the double voice that characterizes Nancy's poet. [ABSTRACT FROM AUTHOR]

Copyright of Basic Education College Magazine For Educational & Humanities Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Turkey Journal of Theological Studies is the property of Turkey Journal of Theological 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.)

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]

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly 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 paper considers poetry, poets and the transpersonal. It first considers the creation of poetry in relation to the transpersonal with the focus on the poet, in particular the role of altered states of consciousness for the poet in the act of creation; the focus then shifts to the reader of poetry to consider if poetry reading can lead to transpersonal states, finding at least that poetry has effects that go beyond the meaning of the words. [ABSTRACT FROM AUTHOR]

One of the prominent of 16th century poets, Bâkî composed poetry during a period when the Ottoman Empire was at its peak, and when culture, art, and literature were in their golden age-- to the point that he had earned the honourable title "sultanü'ş-şuarâ" (the poet of the sultan). While an author of four works of prose, including Me'âlimü'l-Yakîn Fî-Sîreti Seyyidi'l-Mürselîn (Siyer-i Nebi), Fezâ'ilü'l-Cihâd, Fezâ'il-i Mekke and Hadîs-i Erba'în (Kırk Hadis) Tercümesi, his true claim to fame in fact was his Dîvân. Published three times (Dvorak 1908, Ergun 1935, Küçük 1995), the book contains some 636 poems, including 27 kasides, 9 musammats, 548 gazels, 21 kıt'as, and 31 matla's. This number only increases upon including his other poetry as they appear in various magazines alongside studies concentrating on his Dîvân. The present study will introduce a gazel as well as two beyits composed under his pseudonym identified in magazine number 89, housed at the Research Institute Library of Istanbul. [ABSTRACT FROM AUTHOR]

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]

In her analysis of the impersonal in the writings of Ralph Waldo Emerson, not only does Sharon Cameron identify Emerson's poet as a 'practitioner of the impersonal', she also notes that a double voice is at work throughout 'The Poet'. This article intends to take on the exploration of the links between the impersonal and Emerson's poet, to argue that the impersonal voice of the essays may refer back to the ideal poet. Doing so, I suggest that the poet can be conceived of as Emerson's heteronym. [ABSTRACT FROM AUTHOR]