Arap Edebiyatında Hayalî Tasvir Üslubu ve Kur’ân Kıssalarındaki İzdüşümü.

The critics of classical Arabic literature have attached particular importance to the description style in poetry or any literary genre. They considered the style of description, which they regarded as "painting with writing" in general, among the sine qua non of poetry. They even accepted that most of the poetry, except for a few, consisted of description. On the one hand, while the critics of Arabic literature dwell on the nature of the description, its importance, and the basic criteria to be sought in a successful description, on the other hand, the literati have brought the most beautiful examples of description to the Arabic literature by adapting the description to literary genres with all its colors and varieties. In this sense, they have made undeniable contributions to Arabic literature. While categorizing the depiction, they divided it into two as the transfer of the depicted element as it is and the transfer by adding artistic interpretation to it. In addition to all these, historians and critics of Arabic literature in the modern period have also brought some conceptual expansions to meet the types of depictions. For example, Ömer Ferruh, one of the well-known Arabic literature historians of the modern period, divided the depiction style into emotional (sensory) and imaginary depiction. He called the transfer of the described elements of the external world felt by the basic sense organs as they are without adding any additions or interpretations, emotional depiction, and the transfer of them by embellishing them with rhetoric such as simile and metaphor, imaginary depiction. According to this, while the starting point of the emotional (sensorial) description is only the perceived physical environment itself, the elements of the physical environment are also included in the imaginary description which the starting point of it is the memory and imagination of the human beings. Therefore, in the imaginary description, the imagination of the poet or the literary person who performs the depiction style plays a leading role. Iliyya al-Havî, on the other hand, divided the depiction into three classes as narration (sensory), material, and conscientious (diagnosis) description. In the narration description, a relationship of similarity is established between two concrete elements or scenes of the outside world. In this type of depiction, the basic elements of the depiction are the concrete objects in the outside world. However, since these objects are not depicted as they are, but are conveyed by establishing a relationship of similarity, the imagination comes into play and even comes to the fore. In the material description, the similarity between two concrete scenes is not the subject of the description as in the narrative description, but there is a situation where an idea or a mood is compared to an aspect of a concrete item or a physical portrait. Therefore, while both sides of the simile phenomenon are concrete in the narration description, one side remains abstract and the other concrete in the material description. In the conscientious depiction style, the boundaries of the current phenomenon and environment are exceeded. It is generally accepted that the scientific content of it is ignored, and new poetic and emotional meanings are attributed to it. In other words, inanimate or mindless beings acquire perfect human personalities. This style of description is also called nafsî description or taşhîs. This partition of Îliyya al-Havî corresponds to ‘Umar Farrūkh’s description of imaginary description. In classical Arabic rhetoric, this method generally takes part within the boundaries of the science of declaration, which is a sub-discipline of the science of rhetoric. In every period of Arabic literature, there are examples of beautiful poetry that vividly reflect each of these types of descriptions. Especially in the Arabic literature of the Ignorance (Jahiliyyah) and Abbasid period, the quality of the literary depiction style rose to the occasion. As for the projection of the imaginary style of depiction in the Qur'anic anecdotes, the method of depiction has clearly emerged in his literary style. Besides the visible events, objects or scenes, the Qur'an is quite successful in describing purely mental notions, spiritual states or the nature of things in a tableau with a relationship of similarity. In particular, it is one of the secrets that proves the îjaz of the Qur'an. Sometimes he described the truth as it is; sometimes, he described it by adding artistic interpretation. The second of these meets the imaginary description. In this research, the expression of the imaginary depiction style in the rhetoric of the Qur'an and especially its projection in the stories will be touched upon, and it will be tried to shed light on the style in question, within the framework of the triple distinction in the form of narrative, material, and imaginary description. [ABSTRACT FROM AUTHOR]