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Couple(t): A Poetics of Love extends the theoretical apparatus of coupling (Luhmann, Sloterdijk) to the form of the poetic couplet (original poems) in order to elucidate how mimesis happens in the social and in excess of symbol as a production of relational difference. By thinking love untethered from the absolute truth value assigned it as societal ideal or literary trope, I activate coupling to posit affect and affection as mutually constituted and spread through connection; this connection can be read as a network of bodies, or a social body. If love is a technology of communication practiced materially as well as semiotically, the dynamic couplings formed in love can illuminate our relationships with ulterior agencies, including language. Couple(t) centers a poetics of love uniquely concerned with both form and feeling to enter directly into the media ecology of a functionally differentiated artistic social system: the Museum of Broken Relationships in Zagreb, Croatia. My sensory ethnographic fieldwork in this vernacular museum reenters love as ekphrastic ratios of description by intervening upon visual taxonomies and submitting my own testimonial relic to the collection. In evidencing and amplifying couplings between personal artifacts and public encounters, I participate in love’s orientation against the grain of totalization by attaching to multiple vectors like lines of verse. Coupling with this critical framework, my artistic practice summons desire as a generative apparatus. My poetry manuscript, Money with You, wields couplets as platforms of relationality: two lines toggling across their border and between their modular unit and the remaining poem to defamiliarize the ordinary. This distinctive vibration, engineered through juxtaposition and enjambment, renders the couplet a contact zone of subjectification and knowledge production. Money with You is part sensory autoethnography, part epistle to former and speculative lovers, part municipal ecopoetics, and 100 percent queer heuristics orientating love via the couple(t). By embodying both conceptual and formal architectures, Money with You forges new pathways through perceived binaries including personal/political, humor/despair, nostalgia/futurity, digital/actual, vulgarity/constraint, and creative/critical. Together, the creative and critical axes of my dissertation project open outwardly like arms, like a book, to embrace a media poetics of love. By honoring allocentric modes of being and interpretation that hold otherness in tension, the dyadic structure of Couple(t) aims to renew signification via transversals faithful only to the location and vacillation of difference.

Couplet is a unique art form in Chinese traditional culture. The development of deep neural network (DNN) technology makes it possible for computers to automatically generate couplets. Especially, Transformer is a DNN-based ``Encoder-Decoder'' framework, and widely used in natural language processing (NLP). However, the existed Transformer mechanism cannot fully exploit the essential linguistic knowledge in Chinese, including the special format and requirements of Chinese couplets. Therefore, this article adapts the Transformer mechanism to generate meaningful Chinese couplets. Specifically, the contributions of our work are threefold. First, considering the fact that the words in the corresponding positions of the antecedent clause and the subsequent clause in a Chinese couplet always have same part-of-speech (pos, i.e., word class), pos information is intentionally added into the Transformer to improve the accuracy of the conceived couplet. Second, to deal with the large number of unregistered and low-frequency words in Chinese couplet, a specific unregistered/low-frequency word processing mechanism (UWP) is designed and combined with the Transformer model. Third, to further improve the coherence of couplets, we incorporate the polish mechanisms (PMs) into Transformer model. In terms of three evaluation criteria including bilingual evaluation understudy (BLEU), perplexity, and human evaluation, the experimental results demonstrate the effectiveness of our designed Chinese couplet generation system.

The articles reflects how reduplication matters in the process of transferring meaning from the source language into the closest equivalent meaning in the target language. Indonesian reduplications are varied in their types and meaning that cover reduplications of verbs, nouns and adjectives and each has its own function such to indicate plurality in reduplicated noun, to indicate repeated action, to convey intensity, to emphasise or to form other meaning from the root. This study aims at investigating the types of Indonesian reduplication and the types of translation procedures applied in retaining the meaning of Indonesian reduplication into English as the target language. Descriptive translation study is applied as it provides a method for the description of language use in translation in the form of parallel corpora. The results show that the types of Indonesian reduplication are: full reduplication, partial reduplication and reduplication (stem and affix), and the translation procedures found are couplet, equivalent, modulation, and synonymy. This study gives the implication that in translating Indonesian reduplication into English; the translator should fully comprehend the meaning of the reduplicated word in the source language before defining its equivalent in the target language in order not to distort the meaning being expressed in the source language when it is transferred into the target language

The article deals with matla‘ (first she‘r – two-line couplet – in a ghazal) of the first ghazal in the Divan by Mirza Asadulla-khan Ghalib (1792–1869) written in Urdu. One of the items usually commented there is the garment made of paper (kāġhażī peirahan). It used to be worn in ancient times by the complainers who appealed to the ruler. The range of complaints in the poetry of Ghalib as well as by other Urdu and Persian poets was wide, however, stable. “Wearing paper clothes”, the petitioner complained about the Almighty, the ill fate, a cruel girl, a lack of understanding of the petitioner’s poetry and the poor remuneration, and finally, about the poet himself, who “dressed” his poems in the paper. Тhese diverse situations form the elements of the literary motif as well as its context and are common in the Persian verses by the predecessors of Ghalib and also himself. Its analysis helps to understand all levels of meaning inherent in one of the most difficult-to-interpret texts by Ghalib.

Hadis ilmi içerisinde hadis ıstılahları önemli bir yer tutmaktadır. İlim talebesinin kendi alanı ile ilgili usûl/kâide ve ıstılahları mutlaka bilmelidir. Böylece hadislerin sahihini, hasenini ve zayıfını birbirinden ayırabilir ve râviler hakkında bilgi sahibi olabilir. el-Manzûmetü’l-Beykûniyye hadis usûlü ve hadis ıstılahları alanında yazılmış yararlı eserlerden birisidir. Manzum olması ve kolay ezberlenmesi sebebiyle çok sayıda âlim tarafından ezberlenmiştir. Bu eser otuz dört beyitten oluşur. Eser üzerine çok sayıda şerh ve hâşiye yazılmıştır. el-Manzûmetü’l-Beykûniyye adlı eser üzerine yazılmış olan şerhlerden biri de Ahmed Hayran el-Hasenî’nin yazmış olduğu Faruk Uslu tarafından çevrilen bu eserdir. Ahmed Hayrân el-Hasenî eserin önsöz kısmında ilim yolcusunun hadis ıstılahlarını kavrayabilmesi ve bu ilmin genel kural ve kaidelerini anlayabilmesi amacıyla hem anlaması kolay hem de ezberlenmesi kolay olan el-Manzûmetü’l-Beykûniyye adlı bu eseri şerh ettiğini belirtmiştir, Ḥadīth terms have an important place in the science of ḥadīth. A researcher interested in ḥadīth must know the methods/rules and terms related to this field. Thus, s/he can distinguish the authentic, good and weak ḥadīths from each other and have information about the narrators. “al-Manḍūmatu’l- Bayḳūniyyah” is a pamphlet written in a poetic style and has been analysed with reference to other works on ḥadīth methodology and ḥadīth terms. Being in verse and easy to memorize, it has been memorized by many scholars. This pamphlet consists of thirty-four couplets with annotations written in the margins. One of the commentaries on this pamphlet has been translated into Turkish by Faruk Uslu. Aḥmad Ḥayrān al-Ḥasanī stated in the preface of his book that “al-Manḍūmatu’l- Bayḳūniyyah” is easy to understand and to memorize, so that the anyone interested in this field science can comprehend the terminology of ḥadīth and understand the general rules and principles of this science., تحتل مصطلحات الحديث مكانة مهمة في علم الحديث يجب أن يعرف طالب العلوم الأساليب القواعد والمصطلحات المتعلقة بمجال تخصصه وبذلك يستطيع تمييز الأحاديث الصحيحة والجيدة والضعيفة عن بعضها البعض والحصول على معلومات عن الرواة “منظومة البيقوني "هو أحد الأعمال المفيدة المكتوبة في مجال منهجية الحديث ومصطلحاتهوقد حفظه كثير من أهل العلم لآياته وسهولة حفظه يتكون هذا العمل من أربعة وثلاثين مقطعًا.تمت كتابة العديد من التعليقات التوضيحية والشروح على العمل أحد التعليقات المكتوبة على العمل المسمى " منظومة البيقوني" هو هذا العمل الذي ترجمه فاروق أوسلو ، بقلم أحمد حيران الحسني. ذكر أحمد حيران الحسني في مقدمة العمل أنه علق على هذا العمل المسمى " منظومة البيقوني" وهو سهل الفهم والحفظ ، حتى يتمكن الباحث من فهم مصطلحات الحدي وفهم القواعد والمبادئ العامة لهذا العلم.

Since the publication of my article "Network monarchy and crises of legitimacy in Thailand" (Pacific Review, 2005), network monarchy has become an influential concept in the analysis of Thailand's politics. Though widely adopted, the argument has also spawned rival or complementary coinings, ranging from "autonomous political networks" (Joseph Harris) to "working towards the monarchy" (Serhat Uenaldi), and the "deep state" (Eugenie Mérieau), as well as the "parallel state" and the "monarchized military" (Paul Chambers and Napisa Waitoolkiat ). This article revisits the argument, elaborates on the meanings of the original term, and makes a case for network monarchy's continuing salience in the Tenth Reign.

The previously undeciphered manuscript inv. No. 5875 preserved at the Institute of Oriental Manuscripts, Russian Academy of Sciences, proves to be a Tangut version of a primary reader. Its Chinese original is an inconsistently miscellaneous compilation of ancient literary allusions and contemporary folk maxims. The text combines the two distinct literary styles of antithetical couplet and ordinary prose and has no easily defined subject. Although its Chinese original has not been found yet, and the whole text has not been thoroughly deciphered so far, the present article offers a tentative translation of some of its stories in order to lay a foundation for further studies.

A mnemonic couplet to help students learn the names of the cranial nerves has been in use in the United States since the mid-nineteenthth century. The original in iambic tetrameter is attributed to Oliver Wendell Holmes, Sr. Using a systematic search, more than 40 variants have been identified and, where possible, ordered in time. Variations depended in part on evolving preferred names for individual cranial nerves, regional geographic features, and idiosyncratic choices. Some inferior variants ignored critical features of the original (e.g., meter, number of poetic feet, or even the rhyme). Others strove to have a memorable couplet with the basic features of the original but without resorting to disparaging phrases. However, with the modern names for the cranial nerves, few of the extant versions of the mnemonic make sense, or preserve iambic tetrameter and rhyme, while avoiding derogatory or lewd expressions. Two new versions are suggested that meet these constraints.

In this research, the data obtained from a total of 3995 eulogies, which were determined in the researches on the form and content of the qasida from the 13th to the 19th century, were examined in a comprehensive way with all centuries. In the study, firstly, data covering the 13th, 15th, 16th, 17th and 19th centuries were reached. Then, the data determined in these studies were compiled and compared with the data obtained from the 18th century eulogies for the first time, and a new determination was made about the shape and content of the eulogy. This study consists of introduction, three chapters and sub-titles of these chapters. In the first part of the study, the rate of use of the eulogy by poets in Classical Turkish literature according to centuries is given. In the second part, 3995 eulogies were first examined in terms of couplet numbers. Then, these eulogies were examined in terms of meter, rhyme and repeated voice, based on the data obtained, the couplet length of the eulogies written in the historical process, the density of the couplet spacing, the shortest and longest couplet numbers of the eulogies, the most used meters in eulogies, the most preferred rhyme in poems. information about sounds, rhyme types, repeated voices and repeated voice groups are given. In the third part, the eulogies were examined in terms of content. In this process, the eulogies were examined in accordance with the classical eulogy order, according to their sections such as nesib, girîzgah, medhiye, tegazzül, fahriye, dua and taç beyit. In this section, firstly, the couplet interval length of the nesib section in the qasidas, the use of the nesib section in genres and the name of the most discussed topic in the nesib section are given. In the study, after the nesib section, the information obtained about the usage rate of the girîzgah couplets in the eulogies, the number of couplets of the girîzgahs used, and the lastly the number of the girîzgahs used are shared. Then, the data about the number of couplets of the eulogies in the eulogies, which genres they are used in the most, which sultan and grand vizier the medhiye eulogies were presented to the most, which names the memduhs were mentioned with the most, and the place of the medhiye section in the eulogy were compiled and transferred. In the other part, the lengths of the tegazzül, fahriye, dua and taç beyit, the number of lower and upper couplets, the part after which they take place in the odes, the types of the fahriye part used the most, and the names with which the poets compare themselves the most, and finally the pseudonyms of the poets in which section they mentioned were compared and shared., Bu çalışmada XIII. yüzyıldan XIX. yüzyıla kadar kasidenin şekil ve muhtevasına dair olan araştırmalarda tespit edilen, toplam 3995 kasideden elde edilen veriler, bütün yüzyıllarla birlikte kapsamlı bir şekilde mukayese edilerek incelenmiştir. Çalışmada ilk olarak XIII-XV, XVI, XVII ve XIX. yüzyılları kapsayan verilere ulaşılmıştır. Daha sonra da bu çalışmalarda tespit edilen veriler derlenerek, ilk kez XVIII. yüzyıldaki kasidelerden elde edilen verilerle birlikte karşılaştırılıp, kasidenin şekil ve muhtevasına dair yeni bir tespit ortaya konulmuştur. Bu çalışma giriş, üç bölüm ve bu bölümlerin alt başlıklarından meydana gelmektedir. Çalışmanın birinci bölümünde Klasik Türk edebiyatında kasidenin yüzyıllara göre kullanım oranı verilmiştir. İkinci bölümde 3995 kaside ilk olarak beyit sayıları bakımından incelenmiştir. Daha sonra ise bu kasideler vezin, kafiye ve redif bakımından incelenerek elde edilen verilerden hareketle tarihi süreçte yazılan kasidelerin beyit uzunluğu, beyit aralığı yoğunluğu, kasidelerin en kısa ve en uzun beyit sayısı, kasidelerde en çok kullanılan vezinler, bahirler, manzumelerde en çok tercih edilen kafiye sesleri, kafiye türleri, redifler ve redif grupları hakkında elde edilen bilgiler verilmiştir. Üçüncü bölümde de kasideler muhteva bakımından incelemeye tabiî tutulmuştur. Bu süreçte kasideler, klasik kaside tertibine uyularak sırasıyla nesib, girîzgâh, medhiye, tegazzül, fahriye, dua ve taç beyit gibi bölümlerine göre incelenmiştir. Bu bölümde ilk olarak kasidelerdeki nesib bölümünün beyit aralığı uzunluğu, nesib bölümünün türlerdeki kullanımı ve nesib bölümünde en fazla işlenen konunun adı verilmiştir. Çalışmada nesib bölümünden sonra kasidelerdeki girîzgâh beyitlerinin kullanım oranı, bu beyitlerin en çok hangi bölümden hangi bölüme geçiş içinkullanıldığı ve son olarak da kullanılan girîzgâhların beyit sayısı hakkında elde edilen bilgiler paylaşılmıştır. Daha sonra ise kasidelerdeki medhiyelerin beyit sayısı aralığı, en çok hangi türlerde kullanıldıkları, medhiye kasidelerinin en çok hangi padişaha ve sadrazama sunulduğu, memduhların en çok hangi isimlerle birlikte zikredildikleri ve medhiye bölümünün kasidedeki yeri hakkında veriler derlenip aktarılmıştır. Devamında da tegazzül, fahriye, dua ve taç beyitlerinin, uzunlukları, alt ve üst beyit sayıları, kasidelerde hangi bölümden sonra yer aldıkları, fahriye bölümünün en çok hangi türlerde kullanıldığı ve fahriye bölümünde şairlerin kendilerini en çok hangi isimle mukayese ettiği ve son olarak da şairlerin mahlaslarını genelde hangi bölümde zikrettikleri hakkında elde edilen veriler mukayese edilerek paylaşılmıştır.

Zechariah 1:1-6 summarizes a speech to the people that reports the failure of the previous generations to heed the message of the prophets who God has sent while successfully challenging the current generation to turn to YHWH. The eight visions of the second block (1:7-6:15) share common compositional elements, but they also show evidence of later reworking. The third block, Zechariah 7-8, constitutes a collection of short sayings dated approximately two years after temple construction began. Zechariah 6:1-8 could be divided into two sections. First is disclosure of the vision (6:1-4) and the last one is the disclosure and explanation of the vision (6:5-8). Particularly, in this first subparagraph, Zechariah seems to present his thoughts in chiasmus. This chiasmus has a structural function which often a chiastic couplet is used to both open and close a stanza or poem. Zechariah introduced his eighth vision with four verbs, which are thematic words.

The Discursive Skills of Conditional Constructions in the Libro de los exenplos por A.B.C.: The Rhyming Couplet The drift of syntax towards new approaches and manners of analysing is both the reflection and the consequence of the evolution of linguistics generally and, more specifically, of text linguistics. After years focused on the system, its components and their relations, linguistics has opened up to its realisation and to the construction of discourse. Texts, on the other hand, are no longer seen as mere providers of data or as isolated objects. They have become the result of a communication act and refer to classes, templates, or schemas which conventionalise the manner in which content and the choice of resources are used and organized. The use of these premises to approach conditionality, that is, to any expression that denotes such value, seeks to look at its informative operativity and to commit its contribution to thematic progression (coherence) and to the connection of its components (cohesion). It is actually a demand imposed by the particularities of the Libro de los exenplos por A.B.C., whose didactic nature presides over and mediates everything, from its purpose to its discursive configuration, to the units that make it up, the selection of the linguistic techniques it actualises and the interlocutors it is addressed to. The study of the rhyming couplet confirms these aspects. It uses conditional structures other than those documented in the conclusions and in the body of the exemplo and, when this is not the case, it uses them with very different functions.

The effect of mythology on classical Turkish literature is an undeniable fact. Mythology has been one of the main sources of our literature that has been shaped under the influence of beliefs, traditions and customs for centuries. In Turkish literature the effects of Sehname, which comes out of Persian literature, are seen very much. In this study, how the personalities mentioned in the Sehname written by Firdevsi, one of the 10th century poets, were used in the Divan of Seyh Galib, one of the important poets of the 18th century, was examined. The aim of this study is to reveal the effects of the sebk-i Hindi, which constitutes the trend of the period. Within the scope of the study, firstly, brief information about individuals was given using various sources. Then, how and to what extent, how often and in what meanings the relevant mythological element was used in the Divan of Seyh Galib was tried to be explained with couplet examples.

Wāridāt (mystical inspiration) is a term that signifies the sudden inspiration and state that comes to heart from the unknown. Many works in wāridāt genre have been produced by Ṣūfīs. One of these works is Ismāʻīl Ḥaḳḳī Brusawī’s Ayyuh al-Bulbul, which is a handwritten treatise in Arabic. In this treatise which means O Nightingale, the word nightingale refers to heart. The small volume work which contains the leaves 84b-110a was written in AH. 1115/GC. 1704. Even though it is a short treatise, the mystical information in it are of great value. In this work Brūseawī writes about the mystical inspirations he had in different times and situations. Wāridāt sometimes appear as revelations and sometimes in the form of a couplet or rubāʻī (quatrain) in Turkish, Arabic or Persian. The author annotated these wāridāt with several different instruments such as verses and ahadith along with other prophets’ sayings, the opinions of ṣūfīs and their poems. The purpose of this article is to introduce and analyze this small treatise among other manuscripts to the readers and also to present the mystical opinions and explanations in it. Our study is a research based on manuscript examination. Since we had access to the first edition of this manuscript in good condition (without the need of a copy comparison) the author’s copy is used as the source. Ayyuh al-Bulbul is firstly read very carefully and translated into Turkish. Later, in accordance with the limits of the article, the text is examined and analyzed via text analysis method. In this context, along with physical elements such as individuals and events, the actual expressions and ideas that are the basis of the text are evaluated and commented on. Another method used in this article to define and explain these elements that the author tackled in his work, is descriptive research method. To have a better grasp of the text, along with the aforementioned methods, other works of the author and the views of some ṣūfīs were also used. Thus, the basic idea of the text was revealed. The theme of this treatise is the wāridāt that are experienced in the heart. Throughout the treatise the addressing is to heart which is named as nightingale of heart. Brūsawī explained a wārid in detail which he thought that came from Allah. While annotating the wāridāt, he talks about the essence of the heart, how it came to be, its duties and different states as they are related to the topic. He explained the heart’s substance, importance and roles by using some metaphors and similes. According to Brūsawī, the heart is the child that is born out of the soul and the body’s marriage. The state of the heart that turned away from anything but Allah, the important times for the heart and the advices for the heart are also among the matters discussed frequently in the treatise. One of the unique features of Ayyuh al-Bulbul is that the annotations of the wāridāt that came in as revelations are accepted as Ishārī tafsīr. Therefore, it is understood that this treatise can also be seen as a ṣūfī tafsīr. Brūsawī is an author who in his time appeared to be a representative of Ibn al-ʻArabī. Hence, his ideas on heart, his comments and explanations on revelations that came as wāridāt and his choice of terms are all under the effect of Waḥdat al-wudjūd (the unity of existence) thought. There is no doubt that there are a great many works that examines the heart’s spiritual side and states. Since the earliest times, purification and melioration of the heart is one of the topics that is a lot of work is focused on by ṣūfīs. For, they believe that both in the world and hereafter the salvation will come with a pure heart, based on the suggestions of the Qur’ān and Sunnah. As one of those ṣūfīs, Brūsawī reminds us in his books the important points one need to remember and follow in order for his heart to turn back into its original pure state in which the faith in Allah is absolute. Thanks to this attitude, his heart gave him protective advice from harmful diseases and disasters. The author from time to time, also made some psychological analyzes on the human being and some states of his spiritual heart. As a result, this article aims to contribute to the studies in this field by bringing out a manuscript in Arabic which belongs to wāridāt genre, analyze it and introduce it to the reader. But since the limits of the article didn’t allow to a complete translation of the work, we must say that the parts of the book which are deemed more important and necessary to mention are prioritized. There is no doubt that the investigation of other works of similar type and subject, which have not been discovered in manuscripts, by researchers will contribute to the Ṣūfī/Taṣawwuf literature.