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The results from the POET (Partial Oral Treatment of left-sided Endocarditis) trial were published in August 2018 and established noninferiority of oral step-down antibiotic treatment in stabilized patients with infective endocarditis (IE). Data on length of hospital stay (LOS) and safety following the POET trial are warranted. The goal of this study was to examine changes in LOS and safety (mortality and relapse of bacteremia) before and after POET publication. Using Danish nationwide registries, patients with first-time IE caused by Streptococcus spp., Enterococcus faecalis , Staphylococcus aureus , or coagulase-negative staphylococci from 2012 to 2021 were identified. Median LOS was examined according to publication date (before and after September 2018). Mortality and relapse of bacteremia at 180 days of follow-up were examined. We identified 3,008 patients before POET publication (median age 72.8 years) and 1,740 after publication (median age 75.2 years) (P < 0.0001). The median LOS decreased by 8 days: 41 days (Q1-Q3: 29-49 days) before POET publication and 33 days (Q1-Q3: 21-44 days) after POET publication (P < 0.0001). Similar reductions in LOS were seen across microbiological etiologies and age groups. Reduction in LOS was most pronounced in nonsurgically treated patients. Mortality from IE admission to a maximum of 180 days' follow-up was 27.5% before POET publication and 28.3% after publication (P = 0.41). The bacteremia relapse rate within 180 days was 3.5% before POET publication and 1.6% after publication (P = 0.0002). Following the POET trial, we found a reduction in median LOS of 8 days with no change in mortality and an associated lower rate of relapse of bacteremia. [Display omitted] [ABSTRACT FROM AUTHOR]

Ahmad ibn Abdullah al-Ishbili al-Andalusi is regarded as one of the prominent literary figures of the Almoravid era (495/555–1101 AD/1160 AD). Scholars have noted the scarcity and incompleteness of information about him in primary sources, and his literary works are considered a reflection of his cultural life and the turbulent circumstances surrounding his death. This study focuses on the culture of Ahmad ibn Abdullah (the blind Tatili), a poet of the Almoravid era in Andalusia, as well as the circumstances of his death and their impact on his poetic and emotional experiences. The study adopts critical approaches grounded in psychological, emotional, descriptive, and inductive methods to interpret his poetry as a genuine reflection of his emotional and subconscious states, using both artistic and objective criteria in its evaluations. It also examines his personality in light of the surrounding conditions related to his cultural background and the influence of his death on his poetic and emotional journey. The study concludes that al-Ishbili's cultural identity was characterized by comprehensiveness, diversity, and fluid transitions between various cultures. His work represents a rich encyclopedia of the sciences prevalent during his era, encompassing religious, linguistic, literary, rhetorical, grammatical, critical, musical, historical, geographical, astronomical, and mathematical cultures, along with an imitative Eastern culture and a dynamic Andalusian culture. [ABSTRACT FROM AUTHOR]

Klasik Türk şiirinde âşığın içinde bulunduğu çaresizliği, üzüntüyü, en iyi anlatan kavramlardan biri de âh kavramıdır. Âh kavramı sözlükte “sesin tonuna göre pişmanlık, öfke, özlem, beğenme, sevgi vb. duyguları anlatan bir ifade; ağrı, acı duyulduğunda söylenen bir söz olarak geçmektedir. Divan şairlerini âh ettiren birçok farklı durum bulunmaktadır. Bunların başında elbette ki sevgilinin ilgisizliği, âşığına kötü davranması gelmektedir. Âşık çoğu zaman sevgilisini gördüğünde hatta onu andığında dahi âh etmektedir. Ayrıca sevgilinin yüzü, boyu, saçları, yanakları, dudağı, kirpikleri, gözleri de âşığa âh ettiren unsurlardır. Bununla beraber âşık; vefâsızlıktan, rakibin davranışlarından, yaşadığı zamandan, ayrılıktan ve talihsizlikten dolayı da daima şikâyet etmektedir. Hatta şair çoğu zaman kendi gönlünden bile şikâyette bulunarak âh etmektedir. Âşığın âhının bütün insanları rahatsız etmesi ve göğe ulaşması da karşımıza çıkan mübalağalı anlatımlardandır. Aynı zamanda şairlerin âh kavramını; ateş, ok, duman, mum, haberci, sancak, dost, ney, nişancı, rüzgâr gibi unsurlara benzettiğini de görmekteyiz. Bunun dışında şiirlerde âh almak, âhı yerde kalmamak, âhı tutmak gibi deyimlere rastlamak da mümkündür. Tüm bunlar, âh kavramının dilimizde ve Klasik Türk şiirinde çok geniş bir kullanıma sahip olduğunu göstermektedir. Bu çalışmada amaç XVI. yüzyıl klasik Türk edebiyatı şairlerinden olan Revânî’nin şiirlerinde âh kavramının hangi sebeplerle kullanıldığını tespit etmek ve bu kavramın hangi unsurlara benzetildiğini göstermektir.

This article examines the mechanisms of communication between the poet and the audience, focusing on how poetic imagery conveys sensory experiences. It explores techniques that enhance emotional connections and the harmony between the poet’s objectives and the audience's perceptions. Using analytical and psychological methods, the study highlights the psychological, sound, and semantic aspects that influence the effectiveness of poetry. The findings show that poetic composition impacts emotional engagement, evoking both explicit and implicit meanings, creating a shared experience of pleasure and aesthetic harmony, while emphasizing the need for coherence and depth in poetic elements.

The art of poetry, in which emotions and thoughts are expressed by giving different meanings to words, has been practiced almost from the birth of humanity to the present day. It is possible to see all the features of the language and culture of the societies practicing this art in the poems of the societies in question. In the history of Turkish culture, there have been personalities with different sacred characteristics who practiced this art, and these personalities were called bards. The bards performed their poems by playing the kopuzu, the most primitive form of today’s instrument. Their poems spread within the oral tradition, and the social and cultural characteristics of the period they lived in were passed on to the following periods in this way. Among the minstrels known as performers of folk poetry, those who belong to the AleviBektashi faith have mostly prioritized love and affection, the trinity of Hak-Muhammad-Ali and human love. These minstrels, who can be considered within Alevi-Bektashi literature, also criticised the rude puritan, bigot, ignorance and people who prefer to be deprived of the blessings of education, mostly in a humorous language in their satirical poems emphasising the faulty aspects of society and individuals. Folk minstrel Ahmet Yurt Grandfather, who lived in the Hozat district of Tunceli and was one of the religious leaders of the Alevi-Bektashi faith, also wrote satirical poems. In these poems, he criticised the deterioration of Islamic and moral values, lack of education, ignorance, insatiable people, hypocrites, injustice and other faulty aspects of society. In this study, after giving brief information about the life, grandfatherhood and literary direction of Ahmet Yurt Grandfather, who was a descendant of Sarı Saltık and wrote about five hundred poems, his poems on satire will be evaluated by subjecting them to a certain classification.

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

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

The poets of divan poetry, which is an important poetry tradition in terms of conveying the culture of the society in which it is located, were nourished by the culture in which they were raised and included this culture in their poems. In this respect, it is possible to see the cultural elements of the society, folk beliefs and beliefs hidden among their artistic styles in their works. One of these folk beliefs and beliefs seen in poems is about supernatural beings. Supernatural beings are generally associated with the unknown in society. In this respect, these beings, which are the subject of poets’ poems, can also be considered as curiosity towards the unknown. This study, examines how folk beliefs and beliefs about supernatural beings are reflected in divan poetry through selecting poets living in the 14th and 19th centuries and determining how these beliefs and beliefs were reflected in divan poetry. The reason why the poets were selected without adhering to any particular century or name is due to the desire to look at divan poetry from a holistic perspective. Instead of examining the poems of the same century or a name, examining the poems of poets who lived in various centuries; It is important to see to what extent folk beliefs and beliefs about supernatural beings are reflected in divan poetry. As a result of the study, it was seen that folk beliefs and beliefs about supernatural beings influenced poets in all centuries, and poets included these beings in their poems. The important point here is that poets processed these entities in parallel with the beliefs in folk culture. In this context, it can be said that divan poetry was nourished by folk beliefs and beliefs in every period. Considering that the subject of folk beliefs is within the research circle of folklore, it will be seen that divan poetry is not far from folk culture. However, the fact that divan poetry is nourished by folk culture is also an indication that it is not disconnected from social life. [ABSTRACT FROM AUTHOR]

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

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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

The article aims to give an overview of the whole range of literary, journalistic and political activities of Adrian Păunescu. Our endeavor is structured in five sections and constitutes a presentation of the poet’s life and literary activity, his publicizing and social-political involvement in the Romanian landscape, with a focus on the problematic and thematic of his poems. The article attempts a delimitation of the poetic work under the incidence of two great political periods, marked in its literary direction by the turning point represented by the 1989 Revolution, a decisive moment in terms of freedom of expression. In the first period we can distinguish a first stage, that of youthful creation, and a second, from which a new vision of poetry and the world emerges. We therefore examine the development of poetry, in two stages, in the period from the 1960s to the 1980s and that after the 1990s, from the perspective of censorship, the political influences of the communist regime and freedom of expression. We devote a separate section to the period marked by the emergence of the “Cenacl Flacăra”, a young and nonconformist cultural movement created by Adrian Păunescu as an ideal space to promote poetry on national and patriotic themes. We will highlight some information on Adrian Păunescu’s political activity and how his political objectives evolved in relation to the regime change.

A.Teeuw stated that human being have at least four paths to understanding reality and truth: religion, science, philosophy, and art. Literature is distinct from three other truths as art. Literature can go beyond dogma, science, and philosophy. Poets can continue to be creative and imaginative, offering unrestricted thinking as long as their language moves the reader's emotions in accordance with truth fiction. This article attempted moderation with the four indicators of religious moderation developed by the Ministry of Religious Affairs of the Republic of Indonesia which based on Abu al-'Atahiyyah perspective about religious moderation which were extracted from his poetry anthology with the note-taking technique. Afterwards, it was analyzed with a pragmatic approach in literary studies. The findings of this study indicated that Abu al-‘Atahiyyah also discussed the religious moderation in terms of tolerance, nonviolence, and accommodating local culture. As a result, this article demonstrated that the concepts of truth can also be found in literary works.

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Adab Al-Basrah is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Qualitative researchers employ poetry to construct meaning out of painful life circumstances, including the grieving process surrounding death. A motive for utilizing poetic inquiry, i.e. the use of poetry in research, is its ability to express emotion and convey complexity. As grieving is a decidedly emotional and complex experience, poetry seems well-suited to represent data in this situation. In this article, I deliberate on grieving, including the identity shifts and struggle for meaning that can occur, and on how it can interact with writing poetry and the research process. Further, I describe my own grieving surrounding the death of my mother and how this process interacted with my ability to write poetry and my identity as a researcher-poet. I explore my search for meaning that led to recontextualizing my grief poetry into a research framework. This article features excerpts of autoethnographic poems and offers further deliberations on poetry and grief. [ABSTRACT FROM AUTHOR]

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

This paper sets forth to investigate biographical data in the Gheorghe Grigurcu written confessions. Considering elements of his most revealing interviews conducted by the writers such as Flori Bălănescu and Dora Pavel, the profile of a contemporary writer engaged in the negotiation of his own identity is outlined. The autobiographical references drawn from the writer’s confessions will help us understand his individuality and creative spirit. Gheorghe Grigurcu’s hypersensitive personality projects empathy towards the oppressed and the helpless. He feels an acute but repressed nostalgia for his homeland. The “Bessarabianness” was also revealed in his attitude towards the work of B.P. Hasdeu and Paul Goma. Disappointments resulting from friendship and love relationships amplify the feeling of inadaptability. The feeling of marginalisation is balanced by agape love, which creates the compensatory universe indispensable to the writer. Trained in the process of negotiating his own identity, Gheorghe Grigurcu finds that human harmony can all be easily disturbed by the temptation to compare himself with those around him, by the obsessive Other.

Infective endocarditis (IE) is a rare disease with a potentially high mortality rate. The patient "portrait" is changing, there is an increase in the proportion of elderly people with concomitant diseases and degenerative defects, prosthetic valves and minimally invasive cardiac operations, implanted intracardiac devices, and hemodialysis. An additional significant negative contribution is made by the transformation of the etiological picture — an increase in the species diversity of pathogens, a decrease in the proportion of streptococci, a steady increase in the staphylococcal and enterococcal etiology of IE. The IE treatment success depends on the competent administration of antibacterial therapy. Clinicians are guided by two main documents: the national clinical guidelines "Infective endocarditis and infection of intracardiac devices" of 2021 and the European clinical guidelines "ESC Guidelines for the management of endocarditis" of 2023. The article summarizes updated data on the optimal prescription of antibacterial therapy, presented in a convenient and understandable format for the practicing physicians. Schemes for prescribing intravenous antibiotic therapy in a hospital are presented not only for traditional pathogens (Staphylococcus sp., Streptococcus sp. and Enterococcus sp.), but also for rare pathogens that cause significant difficulties (pathogens of the HACEK and non-HACEK group, Coxiella burnetii, Bartonella sp., Brucella sp., Tropheryma whipplei, Mycobacterium sp., fungi). Separately, the principles of empirical antibacterial therapy with the most effective treatment regimens not only for left-sided IE, but also for different variants of right-sided IE are presented in detail. New modern possibilities of outpatient oral antibiotic therapy for IE are presented. In conclusion, prospects for the development of conservative IE treatment are proposed.

James Gray was for most of his professional life a school master in Dumfries and Edinburgh. He was also a poet in touch with the major talents of his day. Of humble Scottish origins, in later life he was ordained as an Anglican priest and was for three years a chaplain in the East India Company, serving in the remote post of Bhuj in Cutch. His short ministry was remarkable as he translated the Gospels into Hindustani and the local language of Kachchi, founded a school, and was private tutor to the local ruler or Rao. In many ways he was far ahead of his time. He died in Bhuj after only three years of service there. [ABSTRACT FROM AUTHOR]

This study, which covers the laments of Elbistan as an example of the lamentations of people, especially women, reflecting their sorrow due to death, separation, and natural disasters, which date back to ancient times, aims to introduce the lamenting women of Elbistan. Laments are people's past, experiences, and feelings they cannot get rid of. In this study, literary meanings, and the existence of an oral tradition, which has maintained its importance until our recent past, are presented especially through the example of Elbistan. Although the lament has been discussed by many people, its relationship with women who are used to and perhaps forced to live their pain within themselves has not been sufficiently analyzed. Feeling the responsibility of giving women the attention they deserve, we wanted to close this gap. Since Elbistan, which has an important place in the world of literature with its poets and poems, has sufficient resources on this subject, we believe that the lament culture of Elbistan will bring a new perspective to the literature. In this study, examples of the laments of the female poets of Elbistan who sang poems in the genre of lament are given and the subjects of their laments are emphasized. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Scientific Development for Studies & Research (JSD) is the property of Journal of Scientific Development for Studies & Research (JSD) 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 Young Intellectuals / Genç Mütefekkirler Dergisi is the property of Journal of Young Intellectuals 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.)

Gheorghe Grigurcu is known as a literary critic of poetry, while the position of poet was the writer’s first vocation. We identify the marginalization of the poet both geographically, being isolated in “Amarul Târg” (Târgu Jiu), and literary, by imposing some malicious restrictions: all this placing him under the badge of suspicion. Regarding the exegesis of Gheorghe Grigurcu, it is appropriate to selectively inventory some opinions belonging to contemporary literary critics or writers who have asserted themselves and capitalized on the status of a literary critic, but also a poet, as the writer Grigurcu himself wanted to be received. The dual nature of the writer, critic and poet, makes it impossible to analyze the two vocations separately, a fact that requires their twin research. Nonconformist, awkward, atypical, formidable polemicist, judicial spirit, corrosive is just some of the defining attributes that highlight the personality legitimized by the book universe. For the literary critic, poet, polemicist and author of aphorisms of the same name, to give up writing is to deny oneself

In this article, a parable (which will be called as the Poet’s Parable from now on due to its subject) in the fourth volume of Mawlānā Muhammad Jalāl al-dīn Rūmī’s (d. 672/1273) Mathnawī, which consists of approximately twenty-five thousand seven hundred couplets will be discussed in terms of patronage. While reading and evaluating the story in terms of patronage, the commentary of Ahmed Avni Konuk (1868-1938), who annotated the entire Mathnawī will be used. The poet we encounter in the Poet’s Parable is a person who keeps his hopes for the world high, and therefore he faces with sadness and grief. However, Allah is the one who bestows freely. Narrowing hope down to worldly goods is not in accordance with Allah’s consent. Complying with the desires of not only the patrimonial ruler and but also the royal court and always being in expectation can harm the poet. It is a known fact that some poets yearn to achieve a worldly desire, such as obtaining better positions and make efforts to achieve this goal. When the desires do not come true, sadness will follow it. In this article, we will try to examine “the Story of the Poet” both in terms of patronage and Sufism. The proposition arisen during this study is as follows: “There is always a contradiction between our desires and the reality. This contradiction usually ends up with sadness. The one (“the poet” in this case) who cannot control his/her desires is doomed to blame his/her superior (“the vizier” according to the story) and be unhappy.” When the story is read, it will be seen that as long as the poet is willing to wait for blessings from man instead of God, he eventually will become disappointed.

William Soutar (1898–1943) was a Scottish poet, but many are unaware of his scholarly work which includes his famous "brain-rhymes". He was born in Perth Scotland in 1898. He was educated at Perth Primary School and Perth Academy and proved to be adept at sport and academics. In 1916, he joined the Royal Navy. In 1918, he had "food poisoning" after which he was hospitalized and developed severe joint pain which became a chronic illness. He had a brief attempt at medical studies at Edinburgh University, but soon switched to the Arts Faculty to study English. Despite various treatments, the joint pain was chronic and disabling. He developed tuberculous lung disease in 1929, and again despite treatments, the problem persisted, and he died in 1943. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the College Of Basic Education is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This is a lecture on translation given by the writer and poet Fabio Morábito. Unpublished, even in its original written language, the lecture was delivered in December 2022 at the Institute of Filological Research of the Universidad Nacional Autónoma de México. With great lyricism, Morábito scrutinizes the place occupied by the translator, in his links and contrasts with theater, literary writing, memory, language acquisition, poetry and poetic emotion. The author connects seemingly distant subjects, such as an actor's histrionics, the reading of a business letter manual, the irrepressible laughter at a successful imitation, the path of betrayal and stones, the warm smile of a woman, a young military man on the rise, a copyist monk, the ambush of a propitiatory dance, the deepest part of the jungle, and recent translations from ancient Greek. [ABSTRACT FROM AUTHOR]

The article examines the poem "Lyubimaya -- zhut! Kogda lyubit poet" ("O terrible, beloved! A poet's loving...") included in B. Pasternak's book Sestra moya -- zhizn (My Sister -- Life). It is included in the "Afterword" section and occupies a special place in the structure of the poetry collection. In it, Pasternak presents the position, model of behavior and creative philosophy of the lover as the position of the "Other". This "Other" turns out to be V. Mayakovsky in Pasternak's poetic consciousness. The article traces the path of refusal, the process of Pasternak tabooing the nomination "poet", shows the connection of the poem with Okhrannaya gramota (Safety Protection Certificate), examines in detail the connection of Pasternak's text with Mayakovsky's shocking poem "Ko vsemu!" ("To All and Everything!"). [ABSTRACT FROM AUTHOR]

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

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

Copyright of Agora (0211-6642) is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The replacement of the cult of nature as a result of historical conditions and development actually brought up interest and attention to real events in the epic mind, achieving the expression of the happening events and human relations along the dynamic plot line as a necessary creative task prompted the writers to think in this direction. The periods of formation, development and creativity of the epic poem as a whole are systematically involved in the study, while the existing ideas and conclusions formed around the epic poem are summarized and considered from a principled point of view, conclusions are reached that do not lose their significance even today. [ABSTRACT FROM AUTHOR]

Fifty years ago a famous poet Mustafa Zaidi receives his lover and muse Shahnaz Gul in his apartment in Karachi. The next day he is found dead; she is unconscious. Gul is charged with murder and her trial becomes a main distraction from an impending war. Tooba Masood and Saba Imtiaz tried to piece together a social history of seventies Pakistan in what is now the country's first true crime podcast. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages 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.)

Literary creativity of Ustad Seyid Muhammadhuseyn Shahriyar (1906--1988), who is considered one of the most powerful figures of Azerbaijani literature, who managed to rise to the eternal peak of literature with the pearls of art he created, deserves the name of a merchant of words. M. Shahriyar's poetry in his native language is a picture of the people's life, its pains, joys and sorrows, as if painted with words, a poetic tableau of the national spirit. The main goal of our research in the article "The main problems of Muhammadhuseyn Shahriyar's native language poetry" is to reveal the importance, educational role, human essence, artistic and national value, meaning load of the artistic heritage of the immortal master of words for all time, and to direct the modern reader to benefit from this rich treasure. Methods: The source of the research is the native language poetry-poems and poems of Muhammadhuseyn Shahriyar. The research work was developed on the basis of the general principles revealed by the historical-comparative, literary typological method. Conceptual analysis approaches of the structural method were also referred to for clarification of the essence. Systematization of research-related facts and materials, systematic analysis and analysis of the collected facts were carried out in the research, scientific results were obtained from a different point of view of the author by using the generalization method. [ABSTRACT FROM AUTHOR]

The aim of this paper is to explore the extent to which the work of the German dialect poet Samuel Pellionis (1870–1953) from the language enclave region Spiš (Ger. Zips) in Eastern Slovakia fits into or corrects the traditional view of dialect literature. In the first half of the 20th century, German dialect literature was dominated by an effort to depict the ideal rural homeland. However, it was mainly written by academically educated poets who often lived in cities. Samuel Pellionis was a shoemaker without a higher academic education who did not adhere to the standards of traditional dialect literature. Instead of only using the dialect to depict a stereotypical rural environment (parallelism), Pellionis wrote about topics such as the two world wars, politics, or a desire to flee his homeland, which is a deviation from the norm. The article furthermore questions the criteria that poets and literary scholars of the past used to determine whether someone could be considered a poet (instead of being regarded just as an uneducated “rhymer”) [ABSTRACT FROM AUTHOR]

Non-Muslims are generally categorized into three classes in terms of their relations with the Muslim administration: Non-Muslims who are citizens of a state with which Muslims are at war, Non-Muslims who are citizens of another state but are in the Islamic society for a while through security, Non-Muslims who live as citizens of a Muslim state and are called dhimmis. It is possible to summarize the principle that emerged regarding relations with non-Muslims in the direction of the practices during the period of the Prophet Mohammad and the Rashidun Caliphs as the greatness of Islam and world peace. Accordingly, the method to be followed by a Muslim administration in social relations should be to carry out activities aimed at ensuring peace and tranquility in the world in a balanced manner, without compromising the dignity of Islam. As a matter of fact, although the Prophet Mohammad paid attention to the freedom of Christians in the field of worship, he did not tolerate their activities that were contrary to Islamic principles and aimed at disrupting the social order. The Rashidun Caliphs also closely adhered to the practices of the Prophet Mohammad. The Umayyad period was a breaking point in terms of relations with the dhimmis. Because the Umayyad administration, which had great problems in terms of legitimacy and social support in the process that developed after the caliphate struggle against ʿAlī b. Abī Ṭālib, chose to benefit from Christian elements as support against the opposition. However, it is necessary to exclude ʿUmar b. ʿAbd al-ʿAzīz, who was sensitive about Islamic principles. In general, during the Umayyad period, nonMuslims living in the status of dhimmis in the Islamic society showed an important presence in the field of literature as well as in many areas of life. The poets of the Umayyad period originally belonged to Arab tribes. Among these, it is seen that Christian-Arab poets were especially more active in the field of politics and worked as propaganda officers of the Umayyad dynasty. The poetry of the Umayyad period was predominantly about factional politics based on kinship. In this context, political poetry expresses the conflicts between the poets of the groups opposed to the Umayyad dynasty and their rivals. The Umayyads needed and watched over the propaganda of Christian poets who praised them for their system of oppression. Therefore, the Umayyad caliphs greatly valued and favored the poets in order to incline the opposing groups towards them and sometimes to make them respond on their behalf. Christian poets did not always sing poetry for political purposes. Because greed for profit and position was also one of the reasons for writing poetry. A third group of Christian poets wrote poems only to express their feelings. The theme of their poems was usually alcohol. Although there were Christian poets from different tribes during the Umayyad period, it is noteworthy that the Banū Taghlib tribe was at the forefront in this regard. Because the majority of Christian poets belong to this tribe. Other prominent poets belonging to the Benî Tağlib tribe are Aʿshā Taghlibī and Shemʻal al-Taghlibī. Additionally, among the Christian poets belonging to other tribes of the Umayyad period, there are names such as Abū Zubayd al-Ṭāʾī, Ebû Qābūs, Hunayn al-Hīrī, Al-Qāsim b al-Tavīl al-ʻIbādī and Jawwās b. Kaʻtal. There were also poets during the Umayyad period whose Christianity is doubtful. The leading poets of these group are Mūsā b. Jābir, Qutāmī, Kāʻb b. Cuʻayl, Nābighat Banī Shaybān, Al-ʿAjjāj b. Ruʻba, Udayl b. al-Farh and Hudbah b. al-Khashram al-‘Udhrî. However, the prevailing opinion is that these poets were generally Christians before but later became Muslims. As a result, it is possible to summarize the Christian poets of the Umayyad period in three groups in terms of their aims: Those who propagandize the Umayyad dynasty by writing politically themed poems for their benefit, those who sing poetry to gain the satisfaction of the Umayyad dynasty in order to gain personal benefits, and those who sing poetry only for literary pleasure to express their feelings. [ABSTRACT FROM AUTHOR]

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

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.)