Auswahl der wissenschaftlichen Literatur zum Thema „Turkish Prose poems“

Yuri Vasilyevich Bondarev is one of the well-known names of 20th century Russian literature, and he is one Russian writer familiar to Turkish readers. A successful author of war prose, Bondarev attracted the attention of the Turkish audience with a wide range of literary works which includes novels, novellas, short stories, poems, articles, essays, interviews, etc. In this respect, the years in which he produced writings on the universal theme of war have an important place in Turkish politics. Bondarev began to be published in Turkey during the politization process following the military coup (1980) and he continued to be present in Turkey until the day he died. Especially in the 80’s when he was adopted as a war prose writer he was a guide for left-wing people in the struggle after the events of September 12. It is worth noting that the recent significant increase of interest in Bondarev’s work among Turkish linguists and philologists indicates that he is popular with the Turkish reader no less than the recognized classics of Russian literature. In this article, Bondarev’s position in Turkey from past to present will be analyzed in view of the studies on him in Turkish press and literature, and it will be emphasized that the author engrossed the Turkish reader with his artistic expertise and the ideology relayed through his works.

Ibrahim Hakkı Erzurumi is an important historical personality in Turkish literature and Sufi‟s History. The Sufi writer was born in Erzurum in 1703 in the beginning of the 18th century. He died in Siirt in 1780 about 80 years old. He was buried in Tillo that belongs to Siirt town in Turkey. Although his writings in poetry and prose around 15, he was often known by his writings entitled the Divan and Marifetname (Book of Gnosis). Because he was a Sufi, he grew up with a Sufi upbringing and wrote most of his works in this context. A great part of his poems were considered an important source to be sung in the religious and Sufi festivals. The Divan is a work of poems written by Ġbrahim Hakkı Erzurumi in 1755. Then, he continued writing about 366 poems with a religious and Sufi content. This volume has the title “Ilahi Nameh” Then, there are poems have the titles like vocabulary, Quatrains, Wasil Nameh, Band Nameh and Shukur Nameh. His poems that included in the Divan about 500 poems. The Divan, which dealt with several Sufi and religious instruction, focused on the form of religious education. Religious Education is transforming the religious subjects into the followers of that religion specially children. This can be applied also on adults. This method of teaching which can be made among teachers and students, teaches the basic principles of the religion which include worshipping, obedience, morality, and rituals. Every teacher and school have their own techniques and special concentration. The Islamic Sufi Shaykhs (Old men or Imams) in the first position among people who study the Sufi Interpretation to religion. Ġbrahim Hakkı Erzurumi depended on a religious Sufi teaching method in his poetic work entitled The Divan. This research paper starts with this detailed abstract. It is followed by a brief summary about the life of the great Turkish poet Ġbrahim Hakkı Erzurumi and his literary carrier alongside with the religious and Sufi aspect. There will be a detailed explanation for his work entitled The Divan. Then, there will be a study for the form of religious education in details. Finally, this research paper will be concluded with a study of the concept of religious Education in The Divan of Ġbrahim Hakkı Erzurumi.

The article discusses the gradual and artistic development of the image of Rind in classical oriental literature, in particular in Persian and Turkish literature. The author of the article first pays attention to the lexical and terminological meanings of this word, noting that in the sources the word rind is used in the meanings of a hooligan, troublemaker and drunkard. He also points out that in Persian classical poetry the word was first used in its original meaning and then used in a mystical sense. The article examines the image of Rind in Persian literature based on the works of Sanoi Gaznevi, Nizomi Ganjavi, Fariduddin Attor, Saadi Sherozi, Hafiz Sherozi, in Turkic literature in the works of Alisher Navoi.According to the author of the article, thanks to Hafiz Shirazi, the rind symbol became one of the central images of Persian classical poetry. In the poetry of Hafiz, the rind acts only as the main character of lyrical works, while Alisher Navoi managed to fully express the lexical, artistic, aesthetic, historical, epistemological and terminological meanings of this image in his works. In the article this issue is considered on the example of lyrics, poems and prose works of Navoi.

The article establishes the source of Imitations of the Ancients, published in 1795 in Saint Petersburg. The translator and compiler of this book was Nikolai F. Emin (1767–1814), son of Fedor A. Emin (1735–1770), the famous Russian writer and adventurer of Turkish origin who died when his son was only three years old. Emin junior did not know ancient languages and therefore used a French anthology by Julien-Jacques Moutonnet de Clairfons (1740–1813), which was printed many times in the 18th century. For his book Emin choose poems by Sappho, Anacreon (to be precise, Anacreontic poetry), Theocritus, Bion, Moschus, Horace and Catullus. Emin also used the biographical preambles to their poems, which he shortened significantly. In the preface to his book, Emin expounded upon the theory of “imitation,” denying the possibility of precision in poetic translation. He also defended the necessity of rhyme in “imitations” of ancient Greek and Latin poetry. Despite these declarations, Emin generally followed quite closely Moutonnet de Clairfons’ French prose. Only once did Emin make fundamental changes. This was in his “imitation” of Theocritus’ eleventh idyll. In this case, he explained his logic in an extensive footnote. Emin changed the ugly cyclops Polyphemes into the gallant and handsome shepherd Menalk, substantiating his decision with the declaration that such a hero better suited “our present age.” In other cases, deviations from ancient texts can be explained not by Emin’s arbitrariness, but by changes made by Moutonnet de Clairfons in the French translation. For example, it was he who combined two poems by Catullus (XCII и LXXXV), a decision that Emin followed. To the famous lament for a sparrow, Moutonnet de Clairfons added an appeal to “sensitive lovers” which is also found in Emin’s text.

Anthologies are the selections created by other representatives of their fields, in line with different purposes such as informing, educating, collecting, and storage authors or artists. As a matter of fact, this term has been associated with literature and especially poetry. Authors from both Turkish and Arabic literature have created poetry anthologies. The word "mecmua" also means the same, both of which mean to gather or to be gathered. The word mecmua is used in Arabic literature for anthologies. Abū Manṣūr al-Thaʿālibī appears before us as a man of letters in Arabic literature who produced works of this type. Thaʿālibī has a very important place in the Arabic language literature. As a matter of fact, even during his lifetime, his importance was noticed and his fame spread both in the East and in the West. Sealibi lived in a period that is accepted as the golden age of Islam. The period in which he lived exactly corresponds to the middle of the 4th century and the first quarter of the 5th century. This age, in which he grew up, made quite positive contributions to his scientific and literary personality. Due to the large number of the works, he wrote, the efficiency of the content and the comprehensiveness of the subjects, Thaʿālibī managed to attract the attention of scholars after his death, and he has made a name for himself especially in the field of Arabic language. As a matter of fact, Thaʿālibī was not only interested in the Arabic language and had a deep knowledge of it; He also came to the fore with his dominance in fields such as the science of criticism and the science of history. He has also accommodated works in these fields. It is possible to count Thaʿālibī's works named Yatimatu'd-Dahr, Fiqh al-luġa and Sirru'l-'Arabiyyah and Adab al-mulūk among the most famous of his works. However, despite all the positive circumstances, there is no satisfactory amount of information about Thaʿālibī's life, and the existing information is also self-repetitive. In this study, it is aimed to analyze Thaʿālibī's work named Man Ghābe ‘anhu’l-Muṭrib, which is an addendum to his poetry anthology called Ahsanu mā Sam‘itu, also known as Ahsanu'l-Mahāsin. In this work, Thaʿālibī writes from Ibn al-Muʿtazz (d. 296/908) to al-Mutanabbī (d. 354/965), from Abu ’l-Fatḥ al-Bustī (d. 400/1010), to al-Maʾmūn (d. 218/833) from Ṣāḥib b. ʿAbbād (d. 385/995) to al-Kindī (d. 252/866 [?]) he compiled the poems he collected from hundreds of poets. As he stated in the introduction of the work, while doing this, he aimed to choose the most beautiful and superior poems in terms of wording and meaning. As a matter of fact, this is a reference to the critic of Thaʿālibī. In addition, although the work is considered as a poetry anthology, it also contains quotations about prose. Five of the sixty or so titles he allocated are only about prose. Research; It consists of two parts, excluding the introduction and conclusion parts. In the first part, Thaʿālibī's life and works, in the second part, his work named Man Ghābe ‘anhu’l-Muṭrib, which is the main subject of the study, has been examined in terms of form and content, and the poems handled by him in the work have been evaluated in terms of their literary arts.

The article analyzes the poems of the popular Azerbaijani poets Sabir Rustamkhanly and Nurangiz Gyun, who occupy a special place in modern Azerbaijani literature. The poem “Meeting with Orhan” by Sabir Rustamkhanly reflects the historical period of the formation of the Turkic ethnos. The work presented in fiction prose historical facts about the heroic pages of the formation of the great Turkic world, their genealogy, roots, and historical realities of Turkism. The work "Firefly" is dedicated to Mahmudali Chiraganly from South Azerbaijan, his fight against lawlessness and social injustice. Poems Nurangiz Gyun shows the course of the war and its impact on human life. The article also assesses the research of scientists who have determined their views on these works. An analysis of these works suggests that Azerbaijani writers and poets have always sought to embody the basic needs of people in artistic expression in their work. In the period of becoming independent, the first plan included issues of the integrity of the motherland and the problem of independence.

In modern Kazakh literary studies, one of the main directions of research work is the relationship between biographies and the creative laboratory of local poets and writers, a significant role is assigned to the reflection of life situations in works of art. The main purpose of the article is to reveal the poetic and civic personality of M. Zhumabayev, an outstanding representative of Alash literature, his best works of poetry and prose, journalism, in the field of pedagogy, translation – through the poetic works of local poets. Poets of the North Kazakhstan region K. Salykov, M. Kangozhin, E. Zikibaev, E. Shaimerdenov, Z. Akimzhanov, K. Musyrman, B. Kozhakhmetov with great gratitude dedicated their poems to Magzhan. Based on the poetic works of these authors, one can see the civil personality of Magzhan from among the figures of Alash, his place in the Turkic world and the spiritual culture of the Kazakh people, his contribution to the development of national literature.

With the spread of Islam among communities belonging to different languages and cultures, it has become essential for Muslims to learn the language of Islamic sources. Some scholars, who were aware of this situation, have tried to close the gap in the field by producing works on the language and grammar of Arabic since the first period of their conversion to Islam. One of these works is al-Avamilu'l-Mi'e, which was written by ‘Abd al-Kâhir al-Jurjânî (d. 471/1078), an Iranian-origin Arabic language scholar. Since the first period, a lot of work has been done on this work in prose or verse in the form of translation and commentary in different languages, especially Arabic, Persian and Turkish. The first of these works awâmil, written by Muhammad b. Hishâm Hirawî (d. 737/1337). It is composed in a Persian verse in 30 couplets. Since the 10th century in the Anatolian, many studies have been carried out, especially in prose, in the field where Turkish is spoken. Especially, studies on different subjects and forms carried out in the Anatolian field since the 19th century attract attention. One of the poets who continued this verse tradition, which started with Birgiwi (d.981/1573), was one of the poets of the 19th century, LârandaliShânî. This work was aconcise translation of Awamil-I Jurjaniby Shâni. I also examine the way in which Shanî deals with the awamil in it and introduce the work in terms of its form and content as well as present the work’s transcription.

“At-tawheedu isqāt al-idhāfāt”, which is a definition of tawheed, that states “tawheed is to deny the attributes” is a concept of tawheed belonging to high mysticism. One of the evaluations made about the tawheed of “isqāt al-idhāfāt” attributed to Junaid Baghdadi, is that it is the tawheed of true tawheed and havâssu'l-havâss. Isqāt al-idhāfāt tawheed is also presented as a benchmark, which is an important criterion of true tawheed in sufi literature. The fact that havâssu'l-havâss is a definition of tawheed is sufficient evidence to express its difficulty. It is for this reason that it is said that “ isqāt al-idhāfāt, which is the perfection of tawheed, is one of the intensified and difficult tasks of arbāb-i tahqīq”. When the isqāt al-idhāfāt tawheed is evaluated within the framework of the Sunni mysticism and unity of existing paradigms, some interpretation differences arise. This definition of tawheed has been mentioned a lot in the verse and prose texts of classical Turkish literature. When isqāt al-idhāfāt tawheed, (which has different interpretations), is used for human beings and other creatures, it does not give a real effect to bad thoughts, causes, and reduces the existence of creatures to the level of imagination and does not give them the rank of real existence (wujud-u-genuki); When used for the divine essence, it is based on the concept of Ahadiyet. As far as it is known, Farid al-Din Attar was the first person to use the term “isqāt al-idhāfāt” in poetry. Attar uses the term isqāt al-idhāfāt in Asrār-nāmeh's tawheed ode with the phrase “که التوحید اسقاط الإضافات / Ki al-tawheedu isqāt al-idhāfāt”. This usage has been quoted by both Persian literature poets and classical Turkish literature poets. The concepts of tajrīd, tefrīd, abandonment and unity of tawheed-i misākī have a very close connection with the concept of isqāt al-idhāfāt. Key Words: Tawheed (Monotheism), Tajrīd, Oneness, Abandoning, Ahadiyet

“At-tawheedu isqāt al-idhāfāt”, which is a definition of tawheed, that states “tawheed is to deny the attributes” is a concept of tawheed belonging to high mysticism. One of the evaluations made about the tawheed of “isqāt al-idhāfāt” attributed to Junaid Baghdadi, is that it is the tawheed of true tawheed and havâssu'l-havâss. Isqāt al-idhāfāt tawheed is also presented as a benchmark, which is an important criterion of true tawheed in sufi literature. The fact that havâssu'l-havâss is a definition of tawheed is sufficient evidence to express its difficulty. It is for this reason that it is said that “isqāt al-idhāfāt, which is the perfection of tawheed, is one of the intensified and difficult tasks of arbāb-i tahqīq”. When the isqāt al-idhāfāt tawheed is evaluated within the framework of the Sunni mysticism and unity of existing paradigms, some interpretation differences arise. This definition of tawheed has been mentioned a lot in the verse and prose texts of classical Turkish literature. When isqāt al-idhāfāt tawheed, (which has different interpretations), is used for human beings and other creatures, it does not give a real effect to bad thoughts, causes, and reduces the existence of creatures to the level of imagination and does not give them the rank of real existence (wujud-u-genuki); When used for the divine essence, it is based on the concept of Ahadiyet. As far as it is known, Farid al-Din Attar was the first person to use the term “isqāt al-idhāfāt” in poetry. Attar uses the term isqāt al-idhāfāt in Asrār-nāmeh's tawheed ode with the phrase “که التوحید اسقاط الإضافات / Ki al-tawheedu isqāt al-idhāfāt”. This usage has been quoted by both Persian literature poets and classical Turkish literature poets. The concepts of tajrīd, tefrīd, abandonment and unity of tawheed-i misākī have a very close connection with the concept of isqāt al-idhāfāt.

This paper focuses on a book list that was recorded by Ṣaḥḥāflarşeyḫizāde Esʿad Efendi, who occupied an important place as a scholar and as a chronicler in both cultural and political life of the Ottoman Empire in the nineteenth century, in one of his personal manuscript notebooks. This type of personal manuscript notebook was called mecmūʿa in Turkish and consisted of a variety of selected texts (e.g. poems, lines of prose, chronograms, correspondence, calculations, prayers). Generally, a compiler or several compilers selected texts and gathered their own mecmūʿa with these texts – this was a very common habit among Ottoman scholars. Esʿad Efendi started to compile his own at the beginning of his official career, collecting parts of the various books he had read and copying them into his mecmūʿa. In addition, Esʿad Efendi’s mecmūʿa contains uncompleted first drafts of his works and a list of books that he used during his researches. Considering together the book list and the works written by Esʿad Efendi in the following years, it is possible to see the relationship between the texts compiled into his mecmūʿa, the readings he made and his career trajectory. Thus, this paper aims to uncover the details of these relations through an examination of Esʿad Efendi’s reading practices.

Mustafa Lutfi al-Manfalouti (1876–1924) is one of Egypt’s greatest modern prose writers and poets. He was born in the Upper Egyptian city of Manfalout to an Egyptian father and Turkish mother. He belonged to a noble family and his father and forefathers served as Sharia judges and heads of the Sufi Syndicates. He followed the steps of his fathers and memorized the entire Quran at a young age, and joined al-Azhar University in Cairo where he was taught by renowned scholars such as Sheikh Muhammad Abduh. His love of literature made him always inclined to reading literary works, especially those of al-Jahiz, al-Mutanabi and Abu al-`Ala’ al-Ma`arri.