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Ali Ahmed Bakatheer, a Yemeni author born in 1910 in Indonesia, received his initial education in Yemen at his uncle’s madrasa, which provided classical education, and later assumed the position of a teacher at the same institution. Marrying in 1927, Bakatheer lost his wife and child four years later, prompting him to leave Yemen. He subsequently traveled to Aden, Somalia, and Saudi Arabia before finally settling in Egypt for university education. Feeling proficient in Arabic, Bakatheer pursued studies in English Language and Literature at Cairo University. After completing his training, he served as a teacher for a total of 15 years in Mansura and Cairo. While residing in Mansura in 1943, Bakatheer married a woman named Hacer for the second time and shared a room with the literary figure Naguib Mahfouz at the Maslahat al-funun Institution affiliated with the Ministry of Culture and Guidance. Bakatheer participated in numerous literary commissions at the institution where he worked and received various awards such as the Arts, Literature, and Social Sciences High Council award and the State Incentive award for his plays. Towards the end of his life, Bakatheer intended to write a historical play based on the conquest of Istanbul but passed away due to a heart attack in 1969. Ali Ahmed Bakatheer engaged in various literary fields such as poetry and novels. His most famous novels include Sallamat al-Kays, Wa İslamah!, Laylat al-nahr, eth-thaar’er al-Ahmer, SiratShuja, and al-Fâris al-Jamil. Bakatheer’s interest in theater dates back to his university years. When his English teacher stated in a class that the structure of the Arabic language was unsuitable for opera (poetic theater), Bakatheer translated Shakespeare’s immortal work “Romeo and Juliet” into Arabic using a writing style specific to English called Running Blank Verse (free verse). Bakatheer, who always considered the Islamic creed in his poetry, novels, and plays, fought against a segment of writers aiming to distance Egyptian society from Islam or Arabism through his works. Therefore, he often chose the plots of his works from Islamic history to lift the dead weight off the Muslims of his time. In his plays based on Ancient Egyptian history, characters are portrayed with a proto-Muslim perspective. Continuing his theater writing with the play “Humam fi Bilad al-Ahqaf” in 1933, Ali Ahmad, inspired by Ahmad Shawqi, the most important representative of poetic theater in the Arab world, wrote this play. In the following years, Bakatheer reinterpreted some literary works of Western origin, particularly those of William Shakespeare, from an Eastern perspective. Anticipating the establishment of a Zionist state in Palestinian territories, the author drew attention to this issue about three years before the establishment of the state of Israel (1945) with his play “Shayluk al-Jadid”, inspired by Shakespeare’s play “The Merchant of Venice”. This play is the first theater written about the Palestine issue in the Arab world. The author, aiming to raise awareness in Western public opinion, translated his highly acclaimed play into English. Addressing daily societal issues such as family, gender inequality, communism, and Zionism in his works, he frequently wielded his pen on these matters. Particularly, he has presented a total of eight plays directly or indirectly against Zionism. Considering the almost identical form and intended messages between his first prose work, “Shayluk al-Jadid” and his later plays such as “at-Tawrāh al-daʼiʻah” it can be argued that there is no inconsistency in his theatrical endeavors. Some critics, like Sayyid Qutb, find the author’s solutions against Zionism romantic, attributing his intention to draw attention to the oppressed Palestinian people in Western public opinion. However, as a literary figure, Ali Ahmed Bakatheer is considered one of the boldest author of his time due to his foresight, courage, and rationality. [ABSTRACT FROM AUTHOR]

This research paper initially examines in detail the story of prophet Moses suffering from a knot in his tongue, since childhood, hindering his ability to speak fluently. This story is transmitted by many tafsīr (exegetical) sources in the context of certain Qur'ānic verses revolving around the tales of the previous nations. Being unable to interpret such passages accurately, commentators of the Qur'ān either give references form the external external sources or related such stories on the accounts of newly converted Muslims such as Abdullāh b. Salām, Wahb bin Munabbih and others. This is, exactly, the challenge that this paper intends to tackle. To do so, it deals with the lofty qualities of prophets the likes of presevertion from repulsive diseases and congenital and moral defects. Then this study moves on to the core of the research investigating the flaws attributed to Moses, peace be upon him, including the speech impediment. Then it covers the story of the knot mentioned in the Book of Exodus, followed by the same topic approached in both Qur'ān and Sunnah. The method of this research includes both critical and analytical subjects. The significance of the paper lies in the substantially devient impact the issue of knot left on the religious culture of Muslim umma, diverting it from the reality of the matter and making many outsiders view the Islamic religion as a religion of naivety and backwardness. One of the most significant results of this research is the fact that Moses's tounge was perfectly flawless and defects free. In fact, his linguistic talent was never burned by coal in the first place; not to mention that, subsequent to receiving the mission of prophethood, he turned to his Lord for the elimination of the speech imediment. Not only was he rewarded by the removal of the knot but he was also endowed with extraordinary eloquence. [ABSTRACT FROM AUTHOR]

The influence of Turkish culture on Egyptian literature, especially modern literature, cannot be overlooked. With the collapse of the Mamluk state, Egypt remained a part of the Ottoman Empire for three centuries until the modern era. While Turkish literature draws inspiration from ancient Oghuz, Islamic, and Western cultures, Egyptian literature has been nourished by ancient Pharaonic, Arab, and Islamic cultures to demonstrate its cultural and Eastern identity in the fields of science and literature. Developing under the influence of the West and evolving into various literary forms, modern Egyptian and Turkish literature are almost parallel in terms of their development of literary forms. However, this similarity at the beginning of modern literature found it difficult to influence and be affected for several reasons. This study examines the relationship between Turks and Arabs in general, and specifically with Egypt. It investigates the impact of Turkish-Egyptian political relations on literature, as well as their manifestation in academic works and their influence on basic educational curricula. Subsequently, factors that bring Turkish and Egyptian literature closer or drive them apart are discussed, along with the transmission of Turkish literature to Egypt, the presence of Turkish publications in Egypt, and the interaction between these two communities through travel, journeys, and education. [ABSTRACT FROM AUTHOR]

This article examines the enduring influence of Ancient Egyptian civilization in contemporary Arabic poetry, focusing on the ways poets incorporate elements of Egypt's ancient past into their literary works to preserve its memory for future generations. The subject, scope, and importance of this study lie in the exploration of the engagement with Ancient Egypt in various aspects, such as celebrating architectural marvels and acknowledging the wisdom and achievements of the civilization that once thrived along the Nile. The purpose of this research is to underscore the significance of the past in shaping present-day literary and cultural expressions, as well as the role of art in the construction of collective identity. The methodological framework involves a close analysis of selected poetic works, paying particular attention to the interplay between different cultural and historical influences, and demonstrating the vitality and adaptability of the Arab poetic tradition. In addition, this study highlights the implications of Ancient Egyptian civilization in contemporary Arabic poetry beyond the realm of literature, emphasizing the necessity of reevaluating the relationship between past and present and fostering a sense of continuity and connection with a shared history. [ABSTRACT FROM AUTHOR]

The words and terms used in the Qur'an are reflected in everyone's understanding and comprehensioning in different forms and appering. In other words, a person attributes different meanings to these purports and gives them different dimensions with his practices, which are a result of his faith and character. Taqwa is one of them. Taqwa is a versatile and comprehensive concept that Allah (swt) mentions in many verses in the Qur'an when describing a believer, promising that he will give the good news of Paradise and save their owners from Hell, and that he describes it as the best garment and says "I will welcome them as distinguished guests in the apocalypse". Taqwa, which is mentioned over and over in the Qur'an as a qualification that every Muslim should have, is a phenomenon that all Islamic scholars emphasize in their works and even write separate works about. Taqwa, which is the subject of not only Islamic sciences but also literary works of verse and prose, has been the most sensitive of the scales of faith, the single and strongest criterion for loyalty to Allah (swt) and for the order of honor, generosity and virtue among believers. Poems, which we can call the most obvious and strongest manifestation of Arabic literature, also have a very rich content on taqwa. Poems containing asceticism and piety, examples of which we have come across since the period of ignorance, especially the emergence of Islam, political and social events, conquests, cultural interaction and so on has become an important theme in poetry by becoming widespread over time with the changes and developments in people's mind and mood and social life. Contrary to popular belief, poems on asceticism and taqwa have not only become widespread among Sunni sects, but have also been popular with representatives of Mu'tezilî, Hârîcî, Shiite and Râfizi sects. In Arabic dictionaries, the word taqwa means to be afraid, to avoid, to stay away from some suspicious actions (in case of harm to oneself) and to be worried, to protect, to show respect, to be religious, to obey, to abstain, to be aware of responsibility towards Allah it means to be cautious and careful (against risks), to protect and shield (something) and to hand over the right to its owner. In terms of terminology, taqwa is generally accepted as obeying Allah's orders and abandoning His prohibitions. Among the Mu'tazila members, who generally adopt a religious understanding based on the Qur'an and the authentic Sunnah, individual morality, and reason it is possible to find many scholars and intellectuals who appear with their extremely ascetic ideas and practices. In our opinion, one of them is Zamakhshari. Zamakhshari, who wrote valuable works in almost every field of Islamic sciences, also distinguished himself with his poems, and wrote many odes in a unique style with the subjects he dealt with and the way he handled these subjects. Besides being a top figure in the fields of rhetoric and syntax, he approached some concepts differently from all other scholars, due to his being a deep Mu'tazilite and his devotion to Usul al-Hamsa, and evaluated them differently with his unique understanding and perspective. When all of his works are examined, it will be seen that he attributed a special importance to some concepts, emphasized the concepts such as tawhid, justice, reason, piety and knowledge, and not only worked on these concepts in his works but also adopted their meanings and contents as his own life motto. [ABSTRACT FROM AUTHOR]

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In the scholarly examination titled “al-Marrār b. Munqidh’s Life and Poetry”, a focused lens is turned towards the somewhat elusive figure of al-Marrār b. Munqidh, shedding light on his life and, more notably, his poetic contributions during the Umayyad era. The article’s methodological approach centers on a twofold analysis, first drawing from the limited biographical data available about al-Marrār to paint a picture of the poet and his socio-cultural environment, and then engaging in a meticulous exploration of his poetic oeuvre to discern the thematic and stylistic choices that characterized his work. Subject-wise, the research emphasizes the importance of studying lesser-acknowledged poets like al-Marrār b. Munqidh to fill gaps in the collective understanding of the Umayyad poetic landscape. His verses, although not dominantly featured in current literary circles, are intricate tapestries weaving the sentiments, intellect, and cultural motifs of his age. Thus, through his poetry, readers and scholars can glean nuanced insights into the multifaceted world of the Umayyad era, making his works indispensable for anyone seeking a comprehensive grasp of the period’s literary milieu. Regarding scope, while the article does delve into al-Marrār b. Munqidh’s biography, it primarily emphasizes the exploration of his poetry. Given the paucity of detailed records about his life, the emphasis on his poetic works is not just a choice but a necessity. This, in turn, allows the article to cast a wide net over the expanse of Umayyad poetry, positioning al-Marrār's contributions within this broader framework. By juxtaposing his poetic techniques and themes with those of his contemporaries, the research offers a holistic perspective on the dynamics and divergences that marked the Umayyad poetic tradition. The article underscores the importance of al-Marrār b. Munqidh not just as a poet, but as a key to unlocking the subtleties of his age. His poetry, with its distinctive thematic concerns and stylistic elements, becomes a mirror reflecting the broader societal, cultural, and intellectual shifts of his time. By studying his works, the research asserts that one can gain a deeper understanding of the underlying currents that shaped the artistic expressions of the Umayyad poets. As for the research’s purpose, it is manifold. Firstly, it aims to bring to the fore the life and works of a poet who might otherwise remain on the periphery of Arabic literary studies. In doing so, it not only champions the cause of al-Marrār b. Munqidh but also underscores the need to continually revisit and reassess historical literary figures, thereby preventing them from fading into obscurity. Furthermore, by anchoring its analysis in the broader context of Umayyad poetry, the research endeavors to enrich our understanding of the epoch, drawing attention to the intricacies and innovations that defined it. Methodologically, the research adopts a blended approach. It employs historical analysis to piece together the scant details of al-Marrār b. Munqidh’s life, cross-referencing various sources to ensure accuracy and reliability. Simultaneously, for the exploration of his poetry, a close textual analysis is employed.

In the scholarly examination titled “al-Marrār b. Munqidh’s Life and Poetry”, a focused lens is turned towards the somewhat elusive figure of al-Marrār b. Munqidh, shedding light on his life and, more notably, his poetic contributions during the Umayyad era. The article’s methodological approach centers on a twofold analysis, first drawing from the limited biographical data available about al-Marrār to paint a picture of the poet and his socio-cultural environment, and then engaging in a meticulous exploration of his poetic oeuvre to discern the thematic and stylistic choices that characterized his work. Subject-wise, the research emphasizes the importance of studying lesser-acknowledged poets like al-Marrār b. Munqidh to fill gaps in the collective understanding of the Umayyad poetic landscape. His verses, although not dominantly featured in current literary circles, are intricate tapestries weaving the sentiments, intellect, and cultural motifs of his age. Thus, through his poetry, readers and scholars can glean nuanced insights into the multifaceted world of the Umayyad era, making his works indispensable for anyone seeking a comprehensive grasp of the period’s literary milieu. Regarding scope, while the article does delve into al-Marrār b. Munqidh’s biography, it primarily emphasizes the exploration of his poetry. Given the paucity of detailed records about his life, the emphasis on his poetic works is not just a choice but a necessity. This, in turn, allows the article to cast a wide net over the expanse of Umayyad poetry, positioning al-Marrār's contributions within this broader framework. By juxtaposing his poetic techniques and themes with those of his contemporaries, the research offers a holistic perspective on the dynamics and divergences that marked the Umayyad poetic tradition. The article underscores the importance of al-Marrār b. Munqidh not just as a poet, but as a key to unlocking the subtleties of his age. His poetry, with its distinctive thematic concerns and stylistic elements, becomes a mirror reflecting the broader societal, cultural, and intellectual shifts of his time. By studying his works, the research asserts that one can gain a deeper understanding of the underlying currents that shaped the artistic expressions of the Umayyad poets. As for the research’s purpose, it is manifold. Firstly, it aims to bring to the fore the life and works of a poet who might otherwise remain on the periphery of Arabic literary studies. In doing so, it not only champions the cause of al-Marrār b. Munqidh but also underscores the need to continually revisit and reassess historical literary figures, thereby preventing them from fading into obscurity. Furthermore, by anchoring its analysis in the broader context of Umayyad poetry, the research endeavors to enrich our understanding of the epoch, drawing attention to the intricacies and innovations that defined it. Methodologically, the research adopts a blended approach. It employs historical analysis to piece together the scant details of al-Marrār b. Munqidh’s life, cross-referencing various sources to ensure accuracy and reliability. Simultaneously, for the exploration of his poetry, a close textual analysis is employed. [ABSTRACT FROM AUTHOR]

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

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

Copyright of 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.)

Mamluks are a state founded in Egypt in (648/1250). During this period, scholars were educated who wrote works in many fields, especially in the field of history, hadith, fiqh, tafsir, dictionary, encyclopaedia, tabaqat and translation. Al-Qalqashandî (d. 821/1418) is one of the leading scholars and diwan clerks of this period. In Arabic literature, the type of prose used by council clerks in official and private correspondence is called insha. These types of works were compiled to assist the diwan clerks, who needed to have advanced knowledge and culture in various fields, especially in Arabic, while performing their duties. Based on this purpose, encyclopaedic works covering many subjects emerged. One of them is Al-Qalqashandî 's work named Subhu'l-A'shâ. He became famous with his voluminous work titled Subhu'l-A'shâ, which he wrote based on the experience he gained while working as a diwan clerk. In this book, he brought together and examined the information in detail in many scientific fields that a diwan clerk should know. In particular, he included the issues with examples that diwan clerks should know about the Arabic language and rhetoric in his work. He was considered one of the first among scholars to prefer prose to poetry. Since his work is original, various parts of the work have been translated into different languages, especially German. As a result, the importance of the abovementioned author with scientific qualifications and the relevant work he produced attracts great attention. This study is of particular importance in terms of revealing the views of a practitioner who is intertwined with these sciences as a divan clerk, on subjects such as the necessity of knowing the Arabic language, its virtue, its comparison with other languages, syntax (nahiv), grammar (sarf), poetry, and rhetoric. It was also determined that the author made a significant contribution to the Arabic language and literature with his views and practical applications. In the article, first, the Mamluk period in which al-Qalqashandî lived and briefly, his life and scientific aspects will be mentioned. Then, the author's attention will be drawn to the necessity and virtue of knowing the Arabic language and its comparison with other languages. His views and approach on Arabic language and literature, especially on subjects such as syntax, grammar, rhetoric, prose and poetry, will be presented for the benefit of the scientific and literary world. [ABSTRACT FROM AUTHOR]

Plagiarism is one of the oldest defects that appeared in poetry, and this phenomenon of plagiarism was not limited to an era or a nation; this research examines Arabic poetry in Vehbi's collection (deceased 1224 AH/1809 AD) to determine its originality and free from plagiarism. The Arabic poetry contained in Vehbi's collection is mostly attributed to contemporary poets, namely doctor Naṣīr al-Dīn al-Iṣfahānī (deceased 1191 AH/1777 AD), the poet Hātef al-Isfahānī (deceased 1198 AH/1784 AD), and the Iraqi poet Kāzim al-Uzrī (1143-1213 AH/ 1730-1798 AD). These poems shared by Vehbi and the doctor Naṣīr al-Dīn al-Iṣfahānī, the poet Hātef al-Isfahānī and the ethnic poet Kāzim al-Uzrī formed most of his Arabic poetry. The number of common verses that we have been able to identify between Vehbi and the mentioned Poets has reached about 248 verses. Some of these verses are completely identical, and some are quite similar. The poems attributed to both Vehbi and Naṣīr al-Dīn al-Iṣfahānī constitute most of these poems, as the number of verses shared between them reached 214 verses, which means more than two-thirds of Vehbi's Arabic poetry. There is a strong possibility that during his embassy to Sultan Karīm Khān Zand, Vehbi met with his doctor Naṣīr al-Dīn al-Iṣfahānī, or saw the doctor's poems and correspondence with the poet Hātef al-Isfahānī, because Vehbi was sent to Sultan Karīm Khān as a messenger from the Ottoman Sultan and stayed in Shiraz for a while. It is natural that he met with senior state dignitaries and palace officials there, including the Sultan's doctor Naṣīr al-Dīn al-Iṣfahānī, who was close to the sultan or saw his poetry. It is also possible that in Baghdad, which he visited after returning from Shiraz, he met the Iraqi poet Kāzim al-Uzrī or got acquainted with his poetry. Especially that Kāzim al-Uzrī was connected with the Wali of Baghdad and its senior statesmen, and he organized praises for them. There is no doubt that plagiarism has occurred in the poems shared between Vehbi and other poets, which constitute almost 83% of Vehbi's Arabic poetry. These shared poems must have been written by Vehbi and plagiarized by the rest of the poets, or they must have been composed by other poets and plagiarized by Vehbi. It is most likely that Vehbi was the one who plagiarized these poems, changed some of them and made poems from them that he presented to senior statesmen for the following reasons: 1-Vehbi presented his collection to Sultan Selim III after he sat on the throne in 1203 AH/ 1789 AD. Twelve years before this date, the doctor Naṣīr al-Dīn al-Iṣfahānī had died. Also, five years before this date, the poet Hātef al-Isfahānī had died. If we assume that most of his Arabic poems were published for the first time at that time, it is impossible that they were plagiarized by Naṣīr al-Dīn al-Iṣfahānī and an Hātef al-Isfahānī. On the other hand, there is nothing to confirm that he composed these poems before his trip to Iran and Iraq, but it is definitely proven that Vehbi composed a section of his Arabic poems after returning from his embassy so that he could return to his work in the judiciary after he was removed from it, and we mention an example of the poem in which he praised Sheikh al-Islam Muhammad Sharif Effendi, who became Sheikh of Islam in the year (1192 AH/1778 AD), that is in the period after Vehbi returned from his embassy. Therefore, Naṣīr al-Dīn al-Iṣfahānī could not have plagiarized the poems of Vehbi contained in the mentioned poem because he died in (1191 AH/1777 AD), which was a year before Vehbi presented his poem to Shaykh al-Islām. 2-the poems contained in Vehbi's collection are disjointed, confused, full of errors and lack thematic unity and logical order of the verses, which often leads to the absence of meaning. As for the poems of the rest of the poets, they are interconnected and consistent with the purposes or occasions for which they were written, and their verses are arranged in a logical order that does not disturb the meaning. 3- The poems attributed to both Vehbi and Naṣīr al-Dīn al-Iṣfahānī include many vocabulary related to medicine and philosophy, and there is no doubt that the doctor and the one who works in philosophy is more capable than others of employing and using these terms in his poetry. After referring to the important dates in this regard and studying the common poetry, the research showed that Vehbi had plagiarized the poems of these poets, and made some amendments to them. The research also showed that the amendments made by Vehbi to the poetry of the poets whose poems he plagiarized led to errors and the absence of meaning in some cases. [ABSTRACT FROM AUTHOR]

Sufism is a system of thought that beautifies the morality of man and guides him in his aim of understanding the truth. The most prominent feature of Sufi thought, which brings a different dimension and depth to the relationship between God and life, is the aim of spiritual maturation. Sufism is an understanding based on purification of the heart, giving true love only to Allah and purification of the soul. The Sufi approach, which focuses on the changes and developments of human beings on the way to reach the truth, has been one of the main themes in literature. Najīb Mahfūz is known for his closeness to Sufism in the field of literature, and he skillfully uses Sufi themes in many of his works. Mahfûz, who places Sufi elements in his works, adds a philosophical dimension to his novels by making Sufi figures speak with deep meanings as the story progresses. The author also conveys various religious messages by using the mysterious and symbolic language of Sufism interspersed between the dialogues. This study focuses on the Sufi views and Sufi personality of Najīb Mahfūz, one of the important figures of modern Arabic literature, and discusses the Sufi images in his novel Leyālī Elf Layla, which he wrote inspired by the Thousand and One Nights. In addition, the paper conveys Mahfûz’s Sufi thoughts and his way of understanding of Sufism. Mahfûz’s interpretation of Sufism and his deep mystical images in the novel are analysed based on his narrations through Sufi characters in the novel. [ABSTRACT FROM AUTHOR]

Copyright of Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (CUIFD) is the property of Cukurova Universitesi Ilahiyat Fakültesi Dergisi (CUIFD) 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 examine the rich tradition of panegyric odes composed by Arab poets in honor of Ottoman sovereigns, highlighting the historical, cultural, and political context that gave rise to this distinctive form of literary expression. The paper seeks to explore the reciprocal relationship between Arab poets and the Ottoman Empire, shedding light on how these poets paid tribute to the imperial majesty, conveyed the sultans’ might, and helped to legitimize their rule. By focusing on a diverse range of panegyric odes from the later periods of the Ottoman Empire, the research encompasses the evolving dynamics of power, patronage, and poetic expression that underpinned this unique interaction between Arab poets and the Ottoman court. The primary purpose of the study is to offer a comprehensive analysis of the thematic and stylistic features of these panegyric odes, elucidating the creative strategies employed by Arab poets to extol the virtues of the Ottoman sultans and to articulate their own political, social, and religious allegiances. The paper utilizes historical, literary, and textual analysis, to examine panegyric poetry’s role in fostering cultural exchange and diplomatic communication between the Arab and Ottoman worlds, and its function in bolstering imperial ideology and projecting the Ottoman state’s image. This paper further delves into the critical intersections of politics, religion, and artistic expression within these odes, illuminating how the poets navigated these spheres to construct a nuanced portrait of Ottoman rule. By interpreting the subtexts, allegories, and metaphors employed within these poems, the research uncovers the profound philosophical, spiritual, and cultural paradigms that underscored the political landscapes of the time. Through this lens, the panegyric odes emerge as invaluable literary artifacts that bear testimony to the grandeur of the Ottoman Empire and the intricate socio-political relationships that existed between the Arab poets and the Ottoman court.

Şuayb Arnavut (1928-2016), gerek ülkemizde gerekse dünya çapında özellikle hadis alanındaki eserlere yaptığı tahkiklerle bilinen bir ilim adamıdır. Suriye’de doğmuş olmasına rağmen isminden de anlaşılacağı üzere aslen Arnavut olan bu ilim adamının, çoğunluğu hadis alanında olmak üzere çeşitli ilim dallarına ait birçok eserin tahkikinde dolaylı ya da direk olarak katkısı bulunmaktadır. Bunların içinde tek başına yaptığı tahkikler olmakla beraber ekip olarak yaptığı ya da yapılan tahkike danışmalık ettiği eserler de bulunmaktadır. Bir eserin tahkik edilmesinin ilim, muhakkikinin de alim sayılıp sayılmaması tartışmalarının gölgesinde o, ele aldığı eserlerde salt tahkik faaliyetini aşan bir metot takip etmiştir. Örneğin onun tahkiklerinde hadislerin tahrici ve hükmünün verilmesi yanında bir alimin/ravinin bibliyografisine rastlamak mümkünken; kelimelerin semantik ve fonetik olarak incelenmesi, Arap dili ve Edebiyatına dair açıklamalar ve Arap şiirlerinden istişhâtlar da bulunmaktadır. Tahkik ettiği eserleri bu şekilde kapsamlı olarak ele alması, onun eserlerinin klasik tahkik tanımının dışına çıkmasına ve temel eserin hacminin aşırı derecede artmasına sebep olmuştur. Örneğin yalın bir şekilde tahkik edilerek altı cilt olarak basılan Ahmed b. Hanbel’in el-Müsned isimli eseri, onun tahkikiyle elli cilt olmuştur. Aslen Arap olmayan birinin bu denli açıklamalarla yaptığı geniş hacimli tahkikler birtakım eleştirilere sebep olmuştur. Bazı eserleri grup halinde tahkik etme faktörünün de eklenmesiyle eleştirinin dozajı daha da artmıştır. Bu çalışmada onun Arap dili ve Edebiyatına dair yaptığı açıklamalar incelenip verdiği örnekler üzerinde durulacaktır.

Klasik Arap kaynaklarına göre, ‘Uleyye bt. el-Mehdî b. el-Mansûr, Abbâsî döneminde yaşamış bir kadın şair ve müzisyendir. Abbâsî hanedanlığına mensup olan ‘Uleyye hakkında günümüze fazla bilgi ulaşmış değildir. Ne var ki klasik kaynaklarda onun hayatına ilişkin bazı detaylardan bahsedilmektedir ve onun bazı şiirleri bu eserler sayesinde günümüze ulaşmayı başarmış durumdadır. ‘Uleyye, Abbâsî Halifesi Mehdî-Billâh’ın kızı ve onun halefi olan Hârûnürreşîd’in üvey kardeşidir. Özellikle Hârûnürreşîd’in onun eğitimiyle bizzat ilgilendiği ve kız kardeşini teşvik ettiği söylenmektedir. ‘Uleyye bt. el-Mehdî, Arap edebiyatında daha ziyade aşk şiirleriyle ve bu şiirleri için bestelediği şarkılarıyla tanınan bir sanatkârdır. Klasik kaynaklarda, ‘Uleyye’nin çok yetenekli bir sanatçı olduğu öne sürülmekte, hatta kendisi gibi musikişinas olan erkek kardeşi İbrahim b. Mehdî’yi geçmeyi başardığı iddia edilmektedir. ‘Uleyye bt. el-Mehdî’nin önemi, aşk ve şarap gibi genellikle erkek şairlerle ilişkilendirilen şiir temalarıyla iştigal eden bir kadın olmasından ileri gelmektedir. Bu çalışma kapsamında benimsenen yöntem, ‘Uleyye’nin aşk şiirlerine ilişkin ortaya atılan görüşlerin kendi dizeleri üzerinden ispatlanmasını ön görmektedir. ‘Uleyye’nin hayatının ele alındığı birinci kısımda ise genel itibariyle klasik kaynakların rivayetlerine bağlı kalınmakta; ancak bu eserlerdeki bazı çelişkilere de değinilmektedir. ‘Uleyye’yi bizlere tanıtan kadim edebiyat tarihçileri, ‘Uleyye’nin son derece dindar bir kadın olduğunu iddia etmektedir. Ancak onun aşk şiirlerine bakıldığında, evli olmadığı insanlara aşk şiirleri nazmettiği tespit edilmektedir. Bu durum, çok mütedeyyin birisi olduğu öne sürülen ‘Uleyye’nin farazi yaşam tarzıyla çelişen bir tezat olarak karşımıza çıkmaktadır. ‘Uleyye’nin bir beyanında, söylediği şiirlerin esasen boş laflardan ibaret olduğunu belirttiği gözlemlenmektedir. Bu durum söz konusu şiirlerin edebî kaygılarla nazmedilmiş gerçeği yansıtmayan ürünler olduğunu düşündürmektedir. Ancak bahsi geçen aşk şiirlerinin gerçeklikle belirli bir dereceye kadar ilişkili olabileceğini gösteren verilere de rastlanmaktadır. Örneğin; ‘Uleyye’nin saray hadimleriyle gönül ilişkisi yaşadığını haber alan Hârûnürreşîd’in kız kardeşini bu kişilerle görüşmekten men ettiği, daha sonra bu yasak nedeniyle onun duyduğu üzüntüyü gidermek maksadıyla kardeşinin ilgi duyduğu hadimi ona armağan ettiği rivayet edilmektedir. ‘Uleyye şiirlerinde kimi zaman aşk olgusu hakkındaki düşüncelerini nakletmektedir. Söylemlerinden, aşkın esasen mantıksız bir eylem olduğunu düşündüğü, aşkın tek eşliliği gerektirdiğini savunduğu, zor aşkları yeğlediği ve aşkın çözümsüz olduğu kanaatini taşıdığı anlaşılmaktadır. ‘Uleyye’nin aşk şiirlerinde çoğu zaman benzer motiflerden istifade ettiği gözlemlenmektedir. Bu bağlamda bilhassa dinî motiflerden yararlanmakta, sevgililerinin isimlerini şifrelemekte, aşkın sebebiyet verdiği zafiyet ve hüznü konu edinmekte ve aşkına sevgililerinin karşılık vermemesinden dem vurmaktadır. ‘Uleyye aşk şiirlerinde ayrıca duçar olduğu vaziyetten sıklıkla şikâyetçi olmakta, bazen şiirlerini sevgiliye ulaştırılacak bir mesaj şekilde nazmetmekte ve hissettiği büyük umutsuzlukları anlatmaktadır. Bu makale kapsamında, klasik Arap edebiyatında karşımıza çıkan bu sıra dışı kadın şairin hayatının ve aşk şiirlerinin araştırılması planlanmaktadır. ‘Uleyye’nin şiirsel üretkenliğinin tetkik edilmesinin ve onun şairliğinin modern dünyaya tanıtılmasının, kadim Arap kadınının edebiyat tarihinde bıraktığı izlerin daha iyi idrak edilmesine imkân tanıyacağı düşünülmektedir. Bu bağlamda özellikle ‘Uleyye, şiir sanatında işlediği konular sebebiyle hayli uygun bir misaldir. ‘Uleyye’nin şiirsel mirasının bilimsel şekilde incelenmesinin, klasik Arap şiirindeki kadınsal temayüllerin daha iyi anlaşılmasına katkı sağlaması amaçlanmaktadır.

Cerîr b. Atıyye et-Temîmî (öl. 110/728 [?]), Emevî Döneminin en tanınmış Arap şairleri arasında yer almaktadır. Arap edebiyatında, daha ziyade övgü ve yergi temalarıyla tanınan Cerîr’in ardında bıraktığı hacimli şiir mirası ve elde ettiği geniş tanınırlık göz önünde bulundurulduğunda, onun İslami Dönemin en önemli şairlerinden olduğunu söylemek mümkündür. Bu akademik çalışmanın, Cerîr b. Atıyye’nin yalnızca nakîzalarının incelenmesine hasredilmesi amaçlanmaktadır. Dolayısıyla makalenin sınırlılığı sebebiyle, şairin kapsamlı biyografisi veya diğer şiir temalarındaki faaliyetleri hakkında, giriş kısmında yapılan kısa tanıtımın haricinde detaylı bir bilgi verilmemesi ön görülmektedir. Çalışmada benimsenen metot, ortaya atılan savların şairin bizzat kendi kasideleri aracılığıyla temellendirilmesini hedeflemektedir. Bu nedenle makale kapsamında Cerîr’e ait iki nakîza kasidesinin tam haliyle Türkçeye tercüme edilmesi ve incelenmesi planlanmaktadır. Cerîr’in nakîzaları, klasik Arap edebiyatında son derece önemli bir yer işgal etmektedir. Dolayısıyla bu şiirlerin somut örneklemler üzerinden tetkik edilmesi, son derece önem arz etmektedir. Bu araştırmanın birincil kaynağı, Cerîr’in rakipleri ile giriştiği atışmaları kaydeden klasik eserler ve şairin kendi divanıdır. Bununla birlikte konuyla ilgili modern akademik çalışmalardan da istifade edilmiştir. Bu çalışmada örneklem, birisi Ferezdak’ı diğeri Ahtal’ı hedef alan Cerîr’in iki nakîzası üzerinden seçilmiştir.

حكاية كاوه الحدّاد مع الملك الضحّاك إحدى أهم الحكايات الإيرانية التي تنتمي في الأصل إلى الحقبة الأسطورية، وتحمل كثيراً من الخصائص والرموز البطولية، وقد ذكرتها معظم المصادر العربية والفارسية الإسلامية التي تحدّثت عن تاريخ ملوك فارس قبل الإسلام. ولعلّ تلك المصادر تتشابه كثيراً في عرض حكاية كاوه مع وجود اختلافات بسيطة لا تؤثر في بنيتها وسرديتها الأساسية، والسبب هو أنها استقت التاريخ القديم لملوك فارس وأبطالهم، ومن جملة هؤلاء حكاية البطل كاوه، من مصدر واحد يُرجَّح أنه كتاب "خداينامة" الذي دوِّن في العصر الساساني باللغة الفارسية البهلوية، ثمّ تُرجم إلى العربية ومنها إلى الفارسية الجديدة، وأضحى مصدراً للتاريخ الفارسي وسير ملوكه. تعرض هذه المقالة صورة هذا البطل الحماسي في مصادر التاريخ والأدب العربية والفارسية، وتركّز على روايتَي غُرَر أخبار ملوك الفُرس للثعالبي، والشاهنامة للفردوسي، كما تناولت المقالة راية الدِّرَفْس الكاوياني، منذ صنعها على يد كاوه حتى سقوطها بيد العرب المسلمين. كما تناولت حكاية عيد المهرجان وارتباطه بسقوط الضحّاك. وأخيراً تتناول صورة .البطل كاوه وحكايته في نماذج من الأدب الفارسي الحديث

Although the work Futuh al-Sham written by al-Waqidi is mostly famous for its historical aspect because it covers the conquests to Byzantium and Iran during the time of Omar (d. 644). However, the work also has a literary aspect with the poems it contains. The work contains many poems sung by the heroes during the conquests. The analysis of the poetry collection here is important in order to observe the content changes and developments seen in the Islamic religion and literature, and poetry in particular. Just as Islam has caused changes in all areas of life, it has also caused some changes in Arabic poetry in terms of content. For example, while poets in the pre-ignorant period attributed themselves only to their tribes, the sense of belonging to the Islamic religion was not limited to the tribe only, but also included Islam and the Prophet. Again, the poems in the work perform an important cultural function in the literary transmission of the war environment. The poems contain descriptions of the enemy, war equipment and the war environment. In this study, the content of the heroic poems showing the different face of the war uttered by the heroes during the conquests were analyzed in terms of content and style. [ABSTRACT FROM AUTHOR]

The subject of this research is to determine the approach of Arabic preparatory class students at the faculty of theology to Arabic at the beginning of the academic year. Their approach to Arabic is discussed in the categories of thought, goal and expectation. The purpose of determining the students' approach to Arabic, especially at the beginning of the year, is to reveal the motivation of the students before they have received this education. It is hoped that the results to be obtained at the end of the research will provide data on the field to the instructors who teach this course in order to improve the education and teaching of Arabic. Survey design, one of the quantitative research methods, is used in the study. The sample of the research consists of 126 students who received Arabic preparatory education in the 2020-2021 academic year at Tekirdağ Namık Kemal University Faculty of Theology. The data are collected with a Likert-type structured interview form consisting of a total of 18 questions in the three categories specified above. SPSS program is used in the analysis of the data. At the end of the research, it is determined that the students responded more positively to their approach to the Arabic course at the beginning of the year in the thoughts and expectations category than in the goals category. This situation was interpreted as the students coming to the Arabic preparatory class at the beginning of the year with high motivation. [ABSTRACT FROM AUTHOR]

This study aims to examine the rich tradition of panegyric odes composed by Arab poets in honor of Ottoman sovereigns, highlighting the historical, cultural, and political context that gave rise to this distinctive form of literary expression. The paper seeks to explore the reciprocal relationship between Arab poets and the Ottoman Empire, shedding light on how these poets paid tribute to the imperial majesty, conveyed the sultans' might, and helped to legitimize their rule. By focusing on a diverse range of panegyric odes fromthe later periods of the Ottoman Empire, the research encompasses the evolving dynamics of power, patronage, and poetic expression that underpinned this unique interaction between Arab poets and the Ottoman court. The primary purpose of the study is to offer a comprehensive analysis of the thematic and stylistic features of these panegyric odes, elucidating the creative strategies employed by Arab poets to extol the virtues of the Ottoman sultans and to articulate their own political, social, and religious allegiances. The paper utilizes historical, literary, and textual analysis, to examine panegyric poetry's role in fostering cultural exchange and diplomatic communication between the Arab and Ottoman worlds, and its function in bolstering imperial ideology and projecting the Ottoman state's image. This paper further delves into the critical intersections of politics, religion, and artistic expressionwithin these odes, illuminating how the poets navigated these spheres to construct a nuanced portrait of Ottoman rule. By interpreting the subtexts, allegories, and metaphors employed within these poems, the research uncovers the profound philosophical, spiritual, and cultural paradigms that underscored the political landscapes of the time. Through this lens, the panegyric odes emerge as invaluable literary artifacts that bear testimony to the grandeur of the Ottoman Empire and the intricate socio-political relationships that existed between the Arab poets and the Ottoman court. [ABSTRACT FROM AUTHOR]

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Aşk ve sevgi dili, geniş çöl ortamında ve engin fezasında, kadına sevgi duyan Arap insanının varlığına sirayet etmiş olan gazel (aşk şiiri) türü ile bağlantılıdır. Bahsedilen ortam, Arap insanının sahip olduğu hayal gücünün dizginlerini serbest bırakmış; onu saflığın, temizliğin ve duru bir zihnin dünyasına uçurmuştur. Bunun sonucunda onun kalbi, kadın aşkı ve sevgisi ile dolmuş ve o da bu aşkı, ince/zarif bir dil ile ve güzel hayalî tasvirlerle ifade etmiştir. Bu araştırma, eski Arap şairlerinin aşk ve sevgi dilini tetkik etmek suretiyle, bu dilin özelliklerini, biçimlerini, anlamlarını ve aşkı ifade etmek için geliştirdiği araçlarını açıkça tespit etmeye çalışmaktadır. Şairlerin hepsinin sevgiyi ve aşkı ifade etme biçimi aynı değildir. Şiir dili, gerçek ve kurgu olma açısından, açıklık ve kapalılık açısından; tasvir, teşbih ve sembol (mecaz) kullanma gibi diğer ifade araçları açısından farklı farklı olmuştur. Araştırma, aşka ve sevgiye dair bir ön söz ile başlamaktadır. Bunun ardından ise önce cahiliye dönemi, sonra İslamî dönem, sonra Emevî dönemi ve peşinden de Abbasi dönemi olmak üzere dört önemli tarihsel odak işlenmekte ve çalışma, ulaşılan önemli sonuçları içeren bir son söz ile bitirilmektedir. Araştırma, eski şiir devirlerini tetkik etme hususunda tarihsel yöntemi ve buna ilaveten, çalışmanın konusu ile ilgili olması dolayısıyla analistik betimleme yöntemini esas almaktadır.

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

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

Copyright of Dinbilimleri Journal is the property of Dinbilimleri Journal 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 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.)

Copyright of Journal of the Faculty of Theology / Kilis 7 Aralik Universitesi Ilahiyat Fakultesi Dergisi is the property of Kilis 7 Aralik Universitesi Ilahiyat Fakultesi 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 Islamic Review / İslam Tetkikleri Dergisi is the property of Journal of Islamic Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Copyright of Bozok University Journal of Faculty of Theology / Bozok Üniversitesi Ilahiyat Fakültesi Dergisi is the property of Bozok 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.)

According to the classical Arabic sources ‘Ulayya bt. al-Mahdī b. al-Mansūr was a female poet and musician who lived during the Abbasid period. Not much information has survived about ‘Ulayya, who belonged to the Abbasid dynasty. However, some details of her life can be found in classical sources and some of her poems have survived thanks to these works. ‘Ulayya was the daughter of the Abbasid Caliph Mahdī-Billāh, and the half-sister of his successor, Hārūn al-Rashīd. It is said that Hārūn al-Rashīd was particularly interested in her education and encouraged his sister. ‘Ulayya bt. al-Mahdī was an artist known in Arabic literature mostly for her love poems and the songs she composed for them. In classical sources, it was claimed that ‘Ulayya was a very talented artist and even managed to surpass her brother Ibrāhīm b. al-Mahdī, who was a musician like her. ‘Ulayya bt. al-Mahdī’s importance stems from the fact that she was a woman who dealt with poetic themes usually associated with male poets, such as love and wine. The methodology adopted in this study aims to prove the theories on ‘Ulayya’s love poems through her verses. In the first chapter of this article on ‘Ulayya’s life, we have generally relied on the narrations of classical sources, but we have pointed out some contradictions in these works. The ancient literary historians who introduced ‘Ulayya to us claim that she was an extremely pious woman. However, an examination of her love poetry reveals that she composed love poems for people to whom she was not married. This contradicts the portrayed lifestyle of ‘Ulayya, who was supposed to be a very pious woman. ‘Ulayya once stated that her poems were essentially absurd words. This suggests that these poems were composed with literary concerns and did not reflect reality. However, there is also evidence to suggest that these love poems may be related to reality to a certain extent. For example, upon learning that ‘Ulayya was having an affair with palace attendants, Hārūn al-Rashīd forbade his sister from seeing them. Later, to alleviate ‘Ulayya’s sorrow over this prohibition, he presented her with the attendant she liked. In her poems, ‘Ulayya sometimes expresses her thoughts on the phenomenon of love. She thinks that love is essentially an irrational act, argues that love requires monogamy, glorifies unattainable loves, and believes that love is unsolvable. This article aims to reveal the life and love poetry of this extraordinary female poet in classical Arabic literature. It is believed that the examination of ‘Ulayya’s poetic productivity and the introduction of her poetry to the modern world will enable a better understanding of the traces left by the ancient Arab woman in the history of literature. In this context, ‘Ulayya in particular is an ideal example because of the subjects she dealt with in her poetry. A scholarly study of ‘Ulayya’s poetic legacy is intended to contribute to a better understanding of the feminine aspect of classical Arabic poetry. [ABSTRACT FROM AUTHOR]

Shuaib Arnaout (1928-2016) is a scientist known both in our country and in the world of his text criticism, especially for hadith books. Although he was born in Syria, as his name suggests, this scientist, who was originally Albanian, has contributed directly or indirectly to the textual criticism belonging to various branches of science, mostly in the field of hadith. Among these, there are studies that he made alone as well as works that he textually criticized as a group or in which he was a consultant of books. In the shadow of the debates over whether the textual criticism of a book is considered a science and its critic is considered a scholar, he followed a method that exceeded the mere textual criticism activity in the works he dealt with. For example, while it is possible to come across the interpretation and judgment of hadiths in his investigations in addition to a bibliography of a scholar/narrator, there are also semantic and phonetic analysis of words, explanations of Arabic language and literature, and istishhats from Arabic poems. The fact that he dealt with the works he did textual criticism comprehensively in this way caused his works to go beyond the definition of classical textual criticism and increased the volume of the basic work excessively. For example, Ahmed b. Hanbal's work named al-Musnad, which was previously printed in six volumes as no comment critic textual, has become fifty volumes with his critic textual. The large-scale criticism textual made by a non-Arab person with such explanations has caused some criticism. With the addition of the factor of making textual criticism of some works as a group; the dosage of critique has increased even more. In this study, his explanations on Arabic and literature will be examined and the examples he gave will be emphasized. [ABSTRACT FROM AUTHOR]

Jarīr ibn ʿAṭiyya al-Tamīmī (d. 110/728 [?]) was among the most well-known Arab poets of the Umayyad Period. It is possible to say that Jarīr, who is known for his praise and satire poems in Arabic literature, was among the few greatest poets of the Islamic Period, considering the voluminous poetic legacy he left behind and the wide recognition he has achieved. This academic study aims to focus only on the analysis of Jarīr’s naqāʾiḍ (flytings). Therefore, due to the limitations of the article, it is planned not to give any detailed information about the poet’s comprehensive biography or his activities in other poetic themes, apart from the brief information given in the introduction. The method adopted in the study aims to prove the arguments through the poet’s odes. For this reason, within the scope of this paper, it is planned to translate and analyze two naqīḍas of Jarīr in their full form. Jarīr’s naqāʾiḍ occupy an extremely important place in classical Arabic literature. Therefore, it is extremely important to examine these poems through concrete examples. The primary source of this research is the classical works recording Jarīr’s naqāʾiḍ with his rivals and the poet’s dīwān. In addition, modern academic studies on the subject will also be used. In this study, it is planned to select the samples based on Jarīr’s two naqīḍas, one targeting al-Farazdaq and the other al-Akhṭal. [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.)

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Modern Arap edebiyatı ile ilgili çalışmalarda Mısır, Suriye ve Irak edebi canlılığa ve ilmi kalkınmaya sahne olurken Fas edebiyatı yeni fikri akımlardan uzakta kalarak klasik Arap edebiyatına bağlı kalmıştır. Modern Fas edebiyatında Arap Edebiyatında ortaya çıkan ve gelişen yeni edebî türlerin geç başladığı görülür. Bunun sonucunda da yazarlar hata ve tecrübesizlik dolu bir süreçten geçerek, gerçek bir hikâye sanatına ulaşana kadar uzun zaman harcamalarına ve büyük mücadele vermelerine neden olmuştur. Fas’ta yeni hikâye 20. yüzyılın başlarında Ebû Şuayb ed-Dükâlî, İbn Şakrûn, Muhammed Gırrîd ve Muhammed Mûsâ gibi şahsiyetlerin makâme taklidi eserleriyle başlamıştır. Fas kısa öyküsünün gecikmesinde etken olarak birtakım faktörler bulunmaktadır. Fransız işgalinin, öykünün geç ortaya çıkmasında ve gelişmesinde büyük etkisi vardır. Faslı öykü yazarı Muhammed Said er-Reyhânî çeviri, iletişim ve gazetecilik alanında yüksek lisans derecesi, yazarlık alanında yüksek lisans derecesi ve İngiliz Edebiyatı alanında lisans derecesi almıştır. 2008'den beri "Fas Yazarlar Birliği" üyesidir. Reyhânî, Edebiyat konularında araştırmacı olmasının yanı sıra, yazarlık alanında da çalışmalar yapmıştır. Yazarın Ölümü adlı eseri daha önce kaleme almış olduğu Sabahı Beklerken ve Herhangi bir Yere Göç Mevsimi adlı öykü koleksiyonunun üçüncüsüdür. Eser 2010 yılında yayımlanmıştır. Yazar öykülerini oluştururken tek tek metinler olarak değil, bir hikâye grubu olarak yazmıştır. Diğer öykü koleksiyonunda bütün temaların aynı olduğu gibi bu koleksiyonundaki bütün hikâyelerinde tema aynıdır ve o da ölümdür. Reyhânî’nin Mevtü’l Müellif (Yazarın Ölümü) adlı bu eseri ölüm temasının farklı şekillerde ele alındığı on hikâye koleksiyonundan oluşan bir öykü kitabıdır. İlk olarak öykü koleksiyonu için bir başlık düşünen Reyhânî; bir çalışma alanı içinde yeniden üretilen tüm metinlerin bu başlıklarının etrafında toplandığı merkezi bir konu olduğunu ifade eder. Diğer koleksiyonlarında benimsediği bu tarz Yazarın Ölümü adlı bu öyküde de ana tema "son, ölüm ve kurtuluş" gibi başlıklar olarak görülmektedir. Yazar, Bir Umursamazlık Hâli öyküsünde güvenliğin ve dayanışmanın olmadığı toplumlarda ölümün istediğini, istediği zaman ve şekilde seçeceğini anlatır. Bütün Hayatımız Rahat İçin ve Bütün Ölümümüz Endişe İçin öyküsünde yaşam ve ölüm kavramlarını tersine çevirmiştir. Bir Zehirlenme Durumu zehirlenme ve ölümle cezalandırma hakkında kaleme aldığı öyküsüdür. Ölülerinizi Hayırla Anın öyküsünde zalim rejimde hükümdarın cenaze törenini anlatmıştır. Ölüm Döşeğinde öyküsünde ölümün son anlarını betimlemiştir. En Kötü Esirin En Kötü Sonu öyküsünde şerefli bir ölüm dersine ihtiyacı olan bir esirin, bütün onurunu kaybetmiş halde ölümü isteyecek kadar ölümün kendisi için yavaş olduğu durumu ele almıştır. Hayat Ölülerin İstediği Gibi, yazar bu öyküsünde insan yaşamındaki onurun eksenine ölümü koyar. İmparatorların Tarzında Ölüm öyküsünü intihar anındaki bir kişinin ölümünün hangi yolla olacağını seçimindeki düşünceleri ile oluşturmuştur. Beni Öldüren, Ben Hâlâ Hayattayım öyküsünde gerçekte yaşanmış bir olaydan hareketle siyâsî süikastın imkânsızlığını ortaya koymuştur. Yazarın Ölümü adlı öyküsünde Fransız yazar Barthes’in öykü anlayışından etkilenmiş olmasının sonucu olarak öyküden yazarı çekip okuyucuyu öykü ile baş başa bıraktığı bu son öyküsünde yazar gerçekten de ölmüştür ve yalnızca okur vardır.

Arap toplumunda önemli bir yeri olan şiir, kökü İslâm öncesine dayanan bir edebiyat türüdür. İslâmiyet’ten sonra da şiir önemini korumaya devam etmiştir. Arap şiirinin bu öneminden olsa gerek, dil âlimleri Arap dili gramerini kurallaştırma yolunda ilk sırada Kur’an’ı esas almakla beraber; ikinci sırada yer alan Arap şiirini referans gösterme konusunda Kur’an’dan daha fazla şiire başvurmuşlardır. Arap edebiyatında fahr teması Câhiliye döneminden itibaren şiirlerde işlenen temalar arasında yer almıştır. Câhiliye döneminin yetiştirdiği en önemli şairler şüphesiz ki muallakâ şairleridir. Bu çalışmada dördüncü muallakâ sahibi olan Lebîd b. Rebiâ el- Âmirî’nin hayatı ve yalnızca muallakâsında işlediği fahr temalı beyitler ele alınacaktır. Muallakâ sahipleri arasında İslâm’ı kabul eden tek şahsiyet olması hasebiyle de Muhadram şairler arasındaki yerini almıştır. Lebîd, Câhiliye döneminde var olan şiir temalarının tamamını yazdığı beyitlerinde işlemiş, özelliklede tasvir ve fahr temaları konusunda temayüz etmiştir. Şair fahr temasını işlerken dönemin bazı şairlerinde olduğu gibi başkalarının beğenisini kazanmak ya da övdüğü şahsiyetlerden maddi kazanç elde etmek gibi bir yola başvurmamıştır. Onun yazdığı fahr şiirleri kabilesinin veya kabile fertlerinin bahse konu olan özelliklerini anlatmak olmuştur. Lebîd’in bu özelliği onu sadece kendi kavminin nezdinde değil diğer Arap kabileleri arasında da saygın kılmıştır.

Dil insanlarla iletişimi sağlayan en önemli ögedir. Muhataba mesaj iletilirken tek tip bir üslup kullanılmayabilir. Çünkü hedef kitlenin muktezayı hali farklılık arz edebilir. Kur’ân-ı Kerîm de insana hitap eden bir kitap olması nedeniyle hedef kitleye mesajını ulaştırırken tek tip bir anlatım tarzı kullanmamıştır. Yerine göre mesajını istifham, kasem, nida tasvir ve hıvâr (diyalog) üsluplarıyla ulaştırmıştır. Kıyamet ve âhirete dair konularda da Kur’ân’ın farklı üsluplar kullandığı görülmektedir. Sık kullanılan bu üsluplardan biri de hıvâr üslubudur. Diyaloglar kimi yerde cennetlikler arasında kimi yerde suçlular arasında bazen de iki grup arasında ya da bunlarla melekler arasında geçmektedir. Yine hıvârlar ikili diyalog veya tek taraflı monolog şeklinde karşımıza çıkmaktadır. Bu çalışmayla şu sorulara cevap bulunmaya çalışılmıştır: 1-Hıvâr üslubu Kur’ân-ı Kerîm’de niçin çokça kullanılmıştır? 2-Hangi tür hıvâr çeşidi kullanılmış ve kullanılan hıvâr üslubunun özellikleri nelerdir?

Osmanlılar Dönemi’nde Arap dili ve edebiyatına yapılan katkılar üzerine yapılan çalışmalar genelde Osmanlıların medreselerde verdikleri Arap dili grameri ve belagati eğitimi üzerine yoğunlaşmıştır. Ancak Osmanlı ilim adamlarının Arap şiiri alanında da bazı eserler ortaya koydukları görülmektedir. Söz konusu dönemde Arap şiiri ve edebiyatı alanında yapılan çalışmaların gün yüzüne çıkarılması son yıllarda artarak devam etmektedir. Bu çalışmada, bir dönem Osmanlı idaresine damgasını vurmuş hem ilme hem de devlete hizmet eden Köprülüler sülalesine mensup, Arapça bir divan telif etmiş bir şair, bir kıraat âlimi ve bir Osmanlı Paşası olan Köprülü Abdullah Paşa(öl. 1148/1735) ve onun şiir divanının muhteviyatı incelenmiştir. Şairin divanı çeşitli kütüphanelerde yazma halinde bulunmaktadır. Abdullah Paşa’nın şiiri ve yazma halindeki divanı üzerine yapılmış bir çalışmaya rastlanılmamıştır. Şair, ailesi sebebiyle iyi bir eğitim almış, Arapların yaşadığı coğrafyalarda görev yapmış özellikle de Mısır’da vali olduğu dönemde Ezher ulemasından yararlanmış ve klasik Arap edebiyatında ele alınan konular hakkında şiirler söylemiştir. Bu tür araştırmaların Osmanlılar döneminde Arapçanın çöküş yaşadığı iddialarına karşı yapılan çalışmalara da bir katkı sağlayacağı düşünülmektedir.

The story of Kāwa al-Haddād with King al-Dahhāk is one of the most important Iranian tales that originally belongs to the legendary era and bears many heroic characteristics and symbols and was mentioned by most of the Arab and Persian Islamic sources that talked about the history of the kings of Persia before Islam. Perhaps these sources are very similar in presenting the story of Kawa, with minor differences that do not affect its basic structure and narrative, and the reason is that they drew on the ancient history of the kings of Persia and their heroes, among them is the story of the hero Kawa, from one source likely to be the book "Khadaynamah", which was written in the Sassanid era in the Pahlavi Persian language, then translated into Arabic and from there into New Persian, and became a source of Persian history and the biographies of its kings. This article presents the imagination of this enthusiastic hero in the Arabic and Persian sources of history and literature and focuses on the two narrations of Gharar Akhbar al-Kuluk al-Persian by al-Thaalibi and the Shahnameh of al-Firdawsi. We also dealt with the story of the festival and its connection with the fall of al-Dahhak, and finally, we dealt with the imagination of the hero Kawa and his story in examples of modern Persian literature. [ABSTRACT FROM AUTHOR]

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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.)

Nizār b. Tawfīq Qabbānī was among the most famous poets of modern Arabic literature. The reason why he gained such a great reputation in Arabic literature is that he was very active in expressing the problems of Palestine. Especially for the last century, the fate of Palestine and the holy city of these holy lands, Jerusalem, has occupied the minds of many intellectuals from many nations. One of these intellectuals was Else Lasker-Schüler, who wrote her poems in German. Jerusalem, a holy city for all monotheistic religions, is a motif that appears in the poems of both Nizār Qabbānī and Else Lasker-Schüler. Two different poems by these poets have the same name, Jerusalem. Nizār Qabbānī's al-Quds and Else Lasker-Schüler's Jerusalem are similar to each other in certain respects and differ from each other in some points. In this study, it is aimed to make a comparative analysis of two poems, one in Arabic and the other in German. Qabbānī's poem was translated word for word in this study in order to make a more accurate comparison, rather than a literary and artistic translation. Similarly, Else Lasker-Schüler's poem has been translated literally from German to Turkish with the same method. The difference that distinguishes this study from previous respected academic publications and makes this research unique is that a comparative analysis will be made between the poems in question. The importance of this study is that a comparative analysis will be made between these poems. Therefore, the scope of this study is limited only to the comparison of the two poems in question. For this purpose, it is planned to make a scientific comparison. [ABSTRACT FROM AUTHOR]

Bu araştırmamızda başta Tâhâ sûresi bağlamında "Allah (cc) ile Mûsâ (as) Arasında geçen diyalogda emir üslûbu" başlıklı konunun izahı olmak üzere birçok noktadan bahsettik. Sonra İlgili sûrenin bazı âyetlerinde Allah'ın özellikle Firavun'a Risâletini ulaştırması için Hz. Mûsâ ile birlikte Hârûn (as) muhatap olduğunu, daha sonra emir üslûbundan bahsettik ve bunun inşâ'i talebin üslûplarından olduğunu ifade ettikten sonra emir üslûbunun önemine değinip insanlar arasında günlük hayatta cereyan bu üslûbun çokluğundan bahsettik. Akabinde klasik ve modern Arapça sözlüklerden yararlanarak emrin sözlük ve terim anlamını ele aldık. Daha sonra âlimlerin zikrettiği meşhur emir kalıpları ve bunların belâgat açısından delaletinden bahsettik. Sonra Tâhâ sûresi ve bu sûrenin bazı ayırt edici özelliklerini anlattık. Devamında bu diyaloglar bağlamında meydan gelen emir sayısını tespit ettik. Şöyle ki On sekiz âyette toplam yirmi iki yerde emir geçmektedir. Zira bazı âyetler de birden fazla emir barındırmaktadır. Söz konusu emir fiilleri hem hakiki hem de mecâzî emre delalet etmektedirler. Dolayısıyla emir barındıran âyetleri ele alıp onlardaki emirleri belirlemeye çalıştık. Arapça kamus ve sözlükler bağlamında bu fiillerin anlamlarını ortaya koyduk. Daha sonra klasik ve çağdaş tefsirlerden yararlanarak söz konusu âyetlerin önceden geçen âyetlerle irtibatını ortaya koymaya çalışarak fikir ve olayların bağdaşması açısından kısa bir analiz yaptık. Çalışmanın sonunda âyetler de kastedilen emir fiilini belirterek onlardaki belâgat maksadını ortaya koymaya çalıştık. [ABSTRACT FROM AUTHOR]

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İnsanoğlunun, hislerini, duygularını ve fikirlerini aktarmada kullandığı ve yaşanmış veya kurgulanmış olayları anlatan bir nesir türü olan öykünün tarihi, günümüze çeşitli evreler geçirerek ulaşmış olsa da Antik Yunan’daki fabl ve kısa romanslara dayanmaktadır. Ancak bu tür, 19. yüzyılda Amerikan, Fransız ve Rus yazarların eserleriyle modern anlamda bir tür olabilmiştir. Bu yazarlar arasında Edgar Allen Poe (1809-1869), Guy de Maupassant (1850-1893), Nikolay Vaselyoviç Gogol (1809-1852) ve Anton Pavloviç Çehov (1860-1904) gibi yazarlar yer almaktadır. Giovanni Boccacci’nin (1313-1375) kaleme almış olduğu ‘Decamero Hikayeleri’ dünya edebiyatındaki ilk öykü olarak kabul edilmektedir. Alpphonse Daudet’in ‘Değirmenden Mektuplar’ isimli öyküsü de bu türün önemli örnekleri arasında yer almaktadır. Türk edebiyatında ise Ahmet Mithat Efendi’nin ‘Lataif-i Rivayat’ı, Samipaşazade Sezai’nin ‘Küçük Şeyler’ adlı eserleri ile Ömer Seyfettin’in ve Halit Ziya Uşaklıgil’in eserleri ilkler arasında bulunmaktadır. Arap coğrafyasında ise öykü ve diğer edebi türler gerek siyasi gerek sosyal sebeplerden ötürü 19. yüzyılın ilk çeyreğinde ortaya çıkmıştır. Bu türde kaleme alınmış olan ilk Arapça kısa öykü Mısırlı yazar Muhammed Teymur’un kaleme almış olduğu ‘Fi’l Kıtâr’ isimli kısa öyküsüdür. İlk olarak Mısır’da başlayan edebi hareketlilik Mehmet Ali Paşa’nın Batıya göndermiş olduğu öğrenciler sayesinde olmuştur. Daha sonra Mısırda başlayan bu edebi hareketlilik, Lübnan, Suriye ve Cezayir gibi Arap ülkelerinde de görülmüştür. Cezayir’de ortaya çıkan edebi türlerin ilklerinden kabul edilen kısa öykünün, tam olarak ne za-man ortaya çıktığı bilinmemekle beraber yaygın olan görüşe göre birinci dünya savaşından son-rası ile 1930 yılları arasında bu türdeki denemelerin yayımlandığı kabul edilmektedir. Cezayir bu zaman diliminde adeta bir kültürel buhranın içerisindedir. Ülkede yer alan sömürge güçleri de ülkede var olan kültürel ve siyasi çıkmazdan istifade etmiştir. Öyle ki sömürge güçleri Cezayir’i iş-gal etmelerinin ve bu ülkede bulunmalarının üzerinden yüz yıl kadar bir süre geçmiş olması hase-biyle Cezayir ulusal ve kültürel kimliğinin kaybolmasını kutlamaktaydı. Ülkenin tüm kademele-rinde nüfuzunu arttıran sömürge güçleri oluşturdukları kanunlarla ülke genelinde Fransızcayı yaygınlaştırma çabası içerisindeydi. Bu çabalar Fransızcanın daha çok konuşulmasına katkı sağ-lamıştır. Ancak bu durum ülkedeki edebi türlerin özellikle de öykü türünün geç bir vakitte doğ-masına neden olmuş ve gerek edebi anlamda gerek konuşma anlamında bir ikililik söz konusu olmuştur. Hal böyleyken ülkede öykü türünde Arapçılık ve Batıcılık akımları ortaya çıkmıştır. Bu akımlardan Arapçılık akımı “Bu milletin geleceği ancak geçmişinin ihya olduğu şeyle ihya olur” sloganını benimseyen ve birinci dünya savaşı sırasında halkın İslami ve ulusal duygularını hareke-te geçiren Müslüman Âlimler Cemiyeti’nin tesisiyle ortaya çıkmıştır. Bu akımın öncüleri Arapça-nın tüm Cezayir kültürüne tam anlamıyla sirayet etmesi için birçok kültürel faaliyetler icra etmiş-lerdir. Batıcılık akımı ise kültürel gelişme anlamında daha çok Fransızca dilini tercih eden kişile-rin bulunduğu ve ülkede Fransızcanın yaygın olmasından dolayı çok hızlı bir şekilde yayılmış olan bir akımdır. Modern Cezayir’de sömürge güçlerinin faaliyetleri ve çeşitli sebeplerden ötürü öykü ve roman gibi edebi türler diğer Arap ülkelerine kıyasla geç bir vakitte ortaya çıkmıştır. Bu iki türün önde gelen temsilcilerinden biri olarak kabul edilen Abdulhamid b. Hadduka 9 Ocak 1925 tarihinde Cezayir’de doğmuş ve 1996 yılında aynı yerde vefat etmiştir. Abdulhamid b. Hadduka eserlerinde kullanmış olduğu kendisine has üslubuyla son derece başarılı bir öykü ve roman yazarı olmuştur. Genellikle göç, sevgi, evlilik, intihar ve boşanma gibi içtimai konuları işleyerek Fransız sömürgesinin Cezayir toplumu üzerinde bıraktığı sosyal ve psikolojik sıkıntıları eserlerinde sıklıkla yer vermiştir. Bu makalede ele alınan “Göçmen” isimli öyküde de yazar Cezayir’ den Fransa’ya bir lokanta açma hayaliyle giden Mevlüt adlı ana karakterin başından geçen olayları ve uğramış olduğu haksızlıkları gerçekçi bir üslupla dile getirmiştir. Birçok edebi anlatım tekniğinin bir arada kullanıldığı bu öyküde anlatım dili, olay örgüsünün kuruluşu ve yer yer betimlemelere ve şiirsel ifadelere yer vermiş olmasıyla usta bir öykücü olduğunu kanıtlamıştır. Çalışmanın konusunu bu bakımdan esas olarak Cezayir öykücülüğü, Abdulhamid b. Hadduka’nın hayatı, eserleri, edebi kişiliği ve “Göçmen” isimli öyküsünün tahlili oluşturmaktadır.