Artykuły w czasopismach na temat „Turkish Prose poems”
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Can Emir, Badegül, i Hanife Saraç. "A Look at Yuri Bondarev in Turkey from Past to Present". Vestnik of Saint Petersburg University. Asian and African Studies 13, nr 2 (2021): 282–92. http://dx.doi.org/10.21638/spbu13.2021.210.
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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.
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Tarik ABDUL JABBAR, Ziyad. "RELIGIOUS EDUCATION IN THE DIVAN OF IBRAHIM HAKKI ERZURUMI". International Journal Of Education And Language Studies 04, nr 02 (1.06.2023): 209–19. http://dx.doi.org/10.47832/2791-9323.2-4.15.
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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.
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Davlatov, Olimjon. "Artistic Improvement of the image of Rind in Classical Literature". Golden scripts 4, nr 2 (1.06.2022): 25–42. http://dx.doi.org/10.52773/tsuull.gold.2022.2/kvrv7271.
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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.
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Lappo-Danilevskii, Konstantin Yu. "Nikolai F. Emin’s Imitations of the Ancients and their French Source". Philologia Classica 16, nr 2 (2021): 322–37. http://dx.doi.org/10.21638/spbu20.2021.212.
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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.
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Mohammadi, Sabriye, i Mohammad Mohammadi. "Abū Manṣūr Al-Thaʿālibī and His Man Ghābe ‘Anhu’l-Muṭrib Named Book". Journal Of The Near East Unıversıty Islamıc Research Center 8, nr 1 (28.06.2022): 91–108. http://dx.doi.org/10.32955/neu.istem.2022.8.1.06.
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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.
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Mamedova, B. H. "HISTORICAL POEMS OF THE PERIOD OF INDEPENDENCE OF AZERBAIJAN". BULLETIN Series of Philological Sciences 75, nr 1 (30.03.2020): 251–57. http://dx.doi.org/10.51889/2021-1.1728-7804.43.
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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.
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Kulibekova, Zh S. "THE IMAGE OF MAGZHAN IN THE WORKS OF FELLOW POETS". Vestnik of M. Kozybayev North Kazakhstan University, nr 1 (57) (19.05.2023): 152–59. http://dx.doi.org/10.54596/2958-0048-2023-1-152-159.
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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.
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Söylemez, İdris. "Lârandali Shânî’s Avâmilin Verse". Journal of The Near East University Faculty of Theology 7, nr 2 (17.12.2021): 333–76. http://dx.doi.org/10.32955/neu.ilaf.2021.7.2.03.
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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.
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Bulut, İhsan, i Elif Derya Özdemir. "İSKÂT-I İZÂFÂT TEVHÎDİ-II". International Journal of Social Sciences 5, nr 23 (4.11.2021): 233–72. http://dx.doi.org/10.52096/usbd.5.23.5.13.
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“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
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Bulut, İhsan, i Elif Derya Özdemir. "The Tawheed of Isqāt al-Idhāfāt-I<br /> A Definition of Monotheism, the Finest, Most Intricate and Relatively Dangerous, Difficult Point of Religion and Sufism". Türk Edebiyatları Araştırma Dergisi 3, nr 1 (15.12.2022): 27–57. http://dx.doi.org/10.47580/tead.313.
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“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.
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Mashakova, A. "PERCEPTION OF THE WORKS OF ABAI KUNANBAYEV IN FOREIGN EASTERN COUNTRIES". Keruen 80, nr 3 (20.09.2023): 73–81. http://dx.doi.org/10.53871/2078-8134.2023.3-06.
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The creative writings of Abai Kunanbayev occupies an important place in the history of Kazakhliterature’s international relations formation and development. In the article, based on the example of thecreativity of the great Kazakh poet Abai Kunanbayev, literary ties of Kazakhstan with such foreign easterncountries as Iran, Pakistan, Turkey, Mongolia, China, India have been analyzed. The process of translating hisworks into Oriental languages is presented. Abai’s poetry collections have been published in Urdu, Persian,Turkish and Mongolian. The prose work “Words of Edification” has been translated into Chinese and Korean.Thanks to these translations, Abai’s creative heritage became available to a wide range of Eastern readers,scientists and literary critics, who evaluated Abai’s creativity in newspapers, journals and introductory articlesto the published books. Important aspects of foreign literary reception include speeches by foreign participantsin the international conferences. The article discusses the reports of the researchers from foreign easterncountries. Most Eastern poets and writers, literary critics and literary historians have made comparisons of theirown literary traditions with the poets. Eastern literary figures, showing respect for the spiritual national leaders,unconditionally raised Abai to the rank of the Teachers of the East. The relevance of the research topic is dueto the fact that the perception of Abai’s creative writings by Eastern literary critics, who recognize the specialrole and place of the Kazakh poet in the life of their people, contributes to the international popularization ofKazakh literature.
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Amineva, Venera R., Elvira F. Nagumanova i Alsu Z. Khabibullina. "The phenomenon of Russian-language literature in modern scientific discourse". Philological Sciences. Scientific Essays of Higher Education, nr 6s (listopad 2023): 140–47. http://dx.doi.org/10.20339/phs.6s-23.140.
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For the first time, the article examines the primary methods employed in the study of Russian literature in the Volga Region (Mari and Tatar) in contemporary scientific discourse. Aim: to reveal the epistemiologic potential of the most significant literary approaches and a new theoretical thesaurus, formed from the experience of studying Russian literature in the Volga Region in the early 21 century. Research material — scientific works of leading specialists and philologists in the field of Russian literature (works of I.P. Karpov, I.A. Yenikeeva, Ya.G. Safiullina, K.K. Sultanova). It is stated that the anthropological approach was first applied in I.P. Karpov’s research on the works of Mari El prose writers and poets, writing in Russian. Russian scientist expands the horizons of Mari literature itself due to the fact that the works of Russian-speaking authors, on the one hand, are inscribed in the national Mari context and, on the other, are part of Russian literature. Compared to I.P. Karpov’s strategy of addressing the text, I.A. Enikeev, a researcher of Russian-language literature in Tatarstan, draws attention to the context and develops a unique methodology based on the interaction of factual and biographical principles in solving the problem of the status of Russian-language works in the modern historical and literary context. The novelty of the presented material lies in the systematization of methodological approaches to the problem of Russian-language literatures of the Finno-Ugric and Turkic peoples of the Volga region in a comparative aspect. The tendencies toward expanding the theoretical thesaurus of concepts characteristic of modern scientific discourse and updating the semantics of existing terms are revealed in the field of research on the Russian-language creativity of poets and prose writers of the Volga region.
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Yerlanova, Ayaulym. "THE POETICS OF MASHHUR ZHUSUP'S POEMS OF THE EDUCATIONAL DIRECTION". Bulletin of the Eurasian Humanities Institute, Philology Series, nr 4 (15.12.2022): 102–9. http://dx.doi.org/10.55808/1999-4214.2022-4.10.
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This article examines the poetics of the poems of the poet, philosopher, folklorist Mashkhur Zhusup Kopeev of the educational direction. The purpose of the article is to study the poetics of the poet's works of an educational direction in accordance with modern requirements, to popularize the educational aspect of the poet. Since the works of Mashkhur Zhusup, who made a significant contribution to Kazakh literature, were classified by genre, a number of scientific works were researched and written, the relevance of a separate consideration of works of educational orientation has not disappeared. The works of this direction were considered together with poems on religious themes, propaganda themes, and social motives. It can be noted that the works of the poet of the enlightenment direction have their own significance in literature. The research has a scientific, practical significance. It can be used in the courses «Mashkhurtanu», literature lessons, local history of the early twentieth century and in general on the theory of literature. Mashhur Zhusup is a poet who wrote in all areas of the genre of literature. Starting with poetry and focusing even on heavy epic works, he left behind major sagas. After all, the works of a scientist who left a twenty-volume legacy are not limited to prose. Although several scientific works on the poet's work have been written, I still cannot say that they have been fully studied. Since the subject matter of the left heritage is very extensive, the genre character is complex, rich in artistic features, deep consonance with Eastern Turkic literature, the activity of collecting samples of oral folk art, the main idea of his works, the study of his work require many years of painstaking work. The work of this rich heir, which is the basis of our current scientific work, is a drop of great work. The picture of the social situation of the early twentieth century formed the basis of the works of representatives of that era. Because literature is a mirror of life. The desire for freedom, liberation, the appeal of the population to reading, education, science, political and social problems have become an urgent problem for every nation. Immediately, as to rid the people of this idiocy, he adhered to the idea that reading is knowledge. I tried to «wake up"» the people. From this point of view, it should be recognized that the literature of the early twentieth century is the literature of the liberation aspiration, the «awakening» of the people. Mashkhur Zhusup did not refrain from these questions either.
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L’vova, Irina V. "The Image of Russia in Beat Culture". Imagologiya i komparativistika, nr 16 (2021): 207–24. http://dx.doi.org/10.17223/24099554/16/13.
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The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.
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Maroshi, Valerij V. "“The Russian Bayonet” in the Russian Literature of the 18th-20th Centuries: The Magic Weapon of the Empire". Imagologiya i komparativistika, nr 16 (2021): 225–43. http://dx.doi.org/10.17223/24099554/16/14.
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The article deals with one of the most important unofficial imperial symbols of Russia - the Russian bayonet. For quite a long historical period, 1790-1945, the bayonet remained a metaphor for military, state, and national power. In the historical perspective, it had three main meanings: 1) the glory of the Russian Army, and then the Red Army; 2) the greatness and strength of the Russian Empire; 3) courage, determination, and the Russian man’s contempt for death. The cult of Suvorov and the myth of the Russian bayonet were formed in Russian poetry at the same time - at the end of the XVIII century, and they supported each other. Suvorov’s bayonet charge training remained relevant in the tactics and military theory of the Russian Army until the end of the 19th century. The idea of the mythical Suvorov’s “bogatyr”, a Russian soldier, was poeticized by the commander himself in The Science of Victory (1795) and was continued primarily in the patriotic poetry of the 1830s. The mythologization of the Russian bayonet in Russian poetry and battle prose reached its apotheosis in the early 1830s, at the time of Russia’s confrontation with Europe over the Polish Uprising. The literary myth of the bayonet is presented in its most complete form in Pyotr Yershov’s poem “The Russian Bayonet”. Patriotic lyrics with their collective lyrical subject and nationwide sublime pathos and the battle prose of the 1830s both played a decisive role in the creation of the myth. The hyperbolization of the Russian hero wielding the bayonet in the prose of the 1830s is usually linked with the motif of national superiority. The ideological imperial myth of the invincible and all-powerful Russian bayonet was used primarily within Russia itself. During the Crimean War, the poetical hope that the bayonet would help to win the war with the most well-armed armies in Europe was in vain. In addition, the destruction of the myth was influenced by the spread of the personal point of view in the psychological prose of Leo Tolstoy and Vsevolod Garshin. In Tolstoy’s battle prose, the war rhetoric and the valorization of war are devalued, this “demythologization” also includes an unusual description of the Russian bayonet charge. This trend continues in the prose of Garshin, who gained the experience of an ordinary volunteer soldier in the Russian-Turkish War. In the last third of the 19th century and before the beginning of the First World War, the bayonet in Russian unofficial literature became a metaphor for the repressive state apparatus. Nevertheless, at the beginning of the war, the suppressed national semantics of the bayonet was actualized again. The same thing happened at the very beginning of the Great Patriotic War when the very existence of Russians as an ethnic group was called into question. Soviet poets once again turned to the myth of the all-conquering Suvorov’s Russian bayonet.
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TEPEBAŞI, Ayşe. "ARIF NIHAT ASYA'S PROSE POEMS". Türkoloji Dergisi, 20.09.2022. http://dx.doi.org/10.53372/turkoloji.1123963.
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Arif Nihat Asya, one of the important names of Turkish literature in the Republican Period, never severed his ties with art and literature in the fifty-five years from the 1920s when he became interested in art. Arif Nihat Asya, who is a versatile artist, has made a lot of mention of his name with his works in the field of poetry, but he has an important place in Turkish literature with his works in the field of prose. The artist, who tried genres such as jokes, mensur poetry, travel writing, letters and short prose in the field of prose, collects his works in this field in ten books.
Although Asya started its artistic life by writing poetry, its interest in prose poetry, which was frequently preferred by Tanzimat, Servet-i Fünûn and national literary artists, which entered our literature through translations from Western literature especially between 1930 and 1945, increased during this time. The artist, who concentrated on prose poetry between these years, managed to attract the attention of many writers and poets of his time with his works in this genre.
In this study, the prose poems written by Arif Nihat Asya throughout his art life will be examined thematically and technically, and explanations will be made by giving examples of prose poems.
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Sharifova, S. Sh. "Scientific debate about the genre of the Orkhon-Yenisei inscriptions". Turkic Studies Journal, 2021, 98–111. http://dx.doi.org/10.32523/2664-5157-2021-4-98-111.
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This paper attempts to define the genre of the Orkhon-Yenisei Old Turkic inscriptions. The Orkhon -Yenisei inscriptions, found in the territory of modern Mongolia, attracted researchers’ attention in two directions. First, the interest was shown in scientific field, and then in the field of fiction. Along with the historiography, the Orkhon-Yenisei inscriptions have been studied from a cultural point of view, as well as from the point of view of literary criticism. Today Azerbaijani, Turkish and Russian scientists still dispute about the genre of the Orkhon-Yenisei written monuments. Different views have been expressed on the genre of the Orkhon-Yenisei written monuments. The researchers emphasize The Old Turkic written monuments emphasized the fact of the presence of researchers in the rhythm of folk poetry and “weighty verses”. Taking into consideration the feature of narrative written in verses and the connection with a folk poetry, a number of researchers define these inscriptions as poems in prose (F.E. Korsh, Amid Abid). Other authors note that the inscriptions are “a small literary work” (Vasfi Mahir Gochatürk). Furthermore, the inscriptions are considered “a small literary work”, “common Turkic historical heroic poems”, “epitaphs”, “graveyard poetry”, “a separate genre”, “prose texts”, “historical legend”, “prose in verses” etc. The Orkhon-Yenisei inscriptions manifest themselves as a mixture of prose and poetry, which is characteristic of the Turkic epic. We find the perfect example of this tradition in the epic Kitabi Dede Gorgud, a common Turkic monument. That is, a combination of prose and poetry. The Yenisei epitaphs, the Orkhon “Bangu stones” attract attention as the direction in which the Orkhon-Yenisei inscriptions will study the poetics of ancient Turkic literature. Although the Orkhon-Yenisei monuments were studied as texts of poems, epitaphs, epics, chronicles, stories, novels, stories, etc. Orkhon-Yenisei monuments should not be considered as an example of epitaphs. The Orkhon-Yenisei Inscriptions is a historical-documentary novel of poetry, combining genre features of different genres. The existence of such novels of poetry as the Orkhon-Yenisei inscriptions created the conditions for the creation of meaningful novels of poetry during the Eastern Renaissance. The creation of a novel of verses by Nizami Ganjavi in the XII century confirms this
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KINACI, Cemile. "THE FUTURE DESCRIPTION OF THE TWO POET FATHERS: ABAY AND ABDİRAHMAN (ABİŞ) - FİKRET AND HALÛK". Çukurova Üniversitesi Türkoloji Araştırmaları Dergisi, 16.08.2022. http://dx.doi.org/10.32321/cutad.1131489.
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Kazakh poet Abay Kunanbay is accepted as the founder of modern Kazakh literature. In terms of poetic art, his poems are poems at a high level. In addition to his poems, Abay also wrote a literary work called Kara Sözder (Prose), which includes his ideas and advice. Although Abay Kunanbay himself undergo an old-style education, he also learned Russian. The Russian he learned opened new doors for him. He became aware of both Russian and Western culture through his Russian language. Thus, he had the opportunity to reason between his society and developed societies. Seeing the backwardness of its people, Abay has become to the forefront with his innovative identity after this date. Abay has called on the Kazakh people to get rid of their ignorance and backwardness, to read, and to have knowledge and art on all occasions. While he lamented that his generation was late in the way of development, he had thought that the youth would save the future of the Kazakh people, and he placed all his hopes on the young people who are growing up.
In this article, the Kazakh youth that the great Kazakh poet Abay Kunanbay, who had an innovative identity, dreamed of raising in the person of his son Abish, was discussed. The article also focuses on Tevfik Fikret, who lived in the Anatolian field and aspires to build a new Turkish youth in the person of his son Haluk who is innovative and open-minded thoughts like Abay, and Haluk, who symbolizes the youth he desired. Despite living in different geographies, the understanding of the "ideal youth" envisioned by two poets who are very similar to each other in the axis of the poems they wrote to their sons was revealed. In the novel The Way of Abay written by Mukhtar Avezov, the main protagonist Abay Kunanbay, the ideal youth description of his son Abdirahim and Abay expressed, has been the source of this article. The two poets and their conception of "innovative youth" were discussed comparatively in the person of Abiş and Haluk, who are the sons of the two poets.
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Yıldız, Ayhan. "Biography, Works and Literary Personality of Mele Telheyê Şerefkî". International Journal of Kurdish Studies, 29.05.2024. http://dx.doi.org/10.21600/ijoks.1468825.
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Mele Telheyê Şerefkî, one of the literary scholars of Kurmanji literature, has not been the subject of an academic research so far with his biography, works and literary personality. Only a few of his poems were in the possession of a few local madrasah teachers. Apart from this, there was no information about him in the literature. Therefore, we identified this situation as a research problem and in order to introduce him with his biography, works and literary personality, we prepared our questions and entered the field of study. During the research process, we saw Şerefki and met him face to face. We asked him our questions and recorded his voice. We collected information several times through interviews, one of the qualitative research techniques. Later, we obtained his manuscript works and studied them. As a result of the research, we found out that this scholar studied in the madrasa environment of Diyarbakır and Batman region since the 1960s under the famous mudarrises of the region and received his madrasa icazet from Mele Mûsa, the scholar of Diyarbakır Cimikan Madrasa. He started to write poems in Turkish, Arabic and Kurmanji from his early youth. Since he was the son-in-law of Şêx Xalidê Zengokî and his family benefited from his religious works in Kurmanji, he was influenced by him in terms of religious literature. However, since he studied in various madrasas in Diyarbakır and Batman, he started to write Kurmanji poetry with the reflex and attitude of Mele Şêxmus (Cegexwîn) and Mele Ebdurrehmanê Muşî (Durre). Şerefkî wrote a poetic mawlid, two divans, a poetic autobiography and a prose biography in Kurmanji, as well as several poems in Arabic and Turkish. Until now, none of these works have been published and researchers of Kurmanji literature have not been aware of him. The theme of his poetry is usually national sentiments, but there are also many poems that deal with the values of Islam.
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DONUK, Suat. "An Advice Book Written in The 18th Century: The Nesâih-i Cündiyye of Kefevizâde Mehmed Âdil". Littera Turca Journal of Turkish Language and Literature, 28.10.2022. http://dx.doi.org/10.20322/littera.1169418.
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One of the text types of classical Turkish literature is advice book. There are many advice books, which are among the famous books of Turkish literature. In addition to these famous books, there are also advice books that have not yet come to light in the manuscript libraries. Recently, many examples of advice book have been identified by researchers and shared with the scientific community. Kefevîzâde Mehmed Âdil Efendi's Nesâih-i Cündiyye is such a work. Nesâih-i Cündiyye is located in the majmua registered at Ankara National Library number 06 Hk 3752. Its writing was completed on the last day of Safar in 1208 (6 October 1793). It falls under the military advice book type. It contains the advice that a member of the army should follow for the safety, security and order of the people. The author used verses, hadiths, stories, poems and kalamikibars to embody his advice and embellish the narrative. Among the kalamikibars, he mostly included Hz. Ali's aphorisms. He translated Arabic and Persian quotations into Turkish as poetry. To the soldiers he gave advice to keep secrets, to love state administrators, to be generous, to have piety, to know his entourage, to employ knowledgeable and intelligent advisors, and to be patient. He also reported the prayers that should be read during the war. The language of Nesâih-i Cündiyya is heavy and its style is ornate. The fact that the language existence is mainly composed of Arabic and Persian words has made the language heavy. Arabic, Persian and Turkish verse and prose quotations, succinct and long sentences made his style grandiose. Nesâih-i Cündiyye provides important data for 18th century Ottoman Turkish language studies as it contains a large number of Turkish archaic words and suffixes. In this article, the results of the form and content analysis of Kefevîzâde Mehmed Âdil's Nesâih-i Cündiyye are given, and the translated text of Nesâih-i Cündiyye is shared with the scientific community.
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KINAY, Nilay. "New Year’s Greetings As a Cultural Element: Tebriknames Presented to Sultan Mahmud I". Akademik Dil ve Edebiyat Dergisi, 26.10.2022. http://dx.doi.org/10.34083/akaded.1168412.
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The nations in the society that make up the social life are a part of the culture. Culture is a concept that encompasses all of the material and moral values that reflect a given society’s way of life. Material values are called as tangible values. Moral values that are abstract in nature refer to such situations as people greeting one other, rejoicing good behavior, and expressing sadness over something negative that has taken place. One example of tangible/material values includes literary texts –in which a writer has composed poetry or prose about a person’s positive qualities or state. Such texts in turn contain the culture of society as material, and adopt it as a guide for themselves. Social life essentially refers to a nation’s life style. It reflects the culture of the people in the society. Also, culture bears the task of internalizing past values and then carrying them into the future, and can conserve itself in many ways. One can find everything that takes place social life in literary texts. The life of a nation gets reflected in these texts. In particular, by examining the date of when a text (in question) was written, one can obtain information about events that took place during that period. Classical Turkish literature is a tradition intertwined with social life; works thereof highlight every moment of life in them. In this old literature, indeed, various genres and styles were used while writing poetry and prose products. For a literary genre, what the text is about is taken into consideration. What distinguishes a literary text from other kinds of texts is how the subject matter is portrayed. Hence, a text about the spring (as in season) - for example - is referred to as a “bahariye” (bahar = spring). A text about winter is called as “şitaiyye” (şita = winter). A work that offers readers advice is called as “hikemî.” One of the genres in which the work's relevance is questioned and which is the proof of social life is tebriknames (lit: letters of congratulations, greetings). These texts are expected to include words such as congratulating (tebrik) someone, to celebrating (tehniye) something or to blessing (mübarek) someone/something. The poet, who wants to celebrate a happy event experienced by the person to whom the literary product is presented, creates her work. Tebriknames, which are considered as a genre in terms of the subject they mention, are written on various occasions. They would have been written on subjects such as weddings, festivals, births, promotions, new-year, and enthronements, and are a genre in every poetry form of classical literature. They are important because they give information about social, cultural, and sometimes military life during the particular period in question. This study mentioned about namely odes and gazelles that were presented to Ottoman Sultan Mahmud I and written to celebrate new-year. These poems were texts determined from an Ottoman archive. Information about the transcripted text of the unpublished poems written by poets, who lived in the same period, for the sultan who reigned in the second quarter of the 18th century, as well as their form and content analysis, and the genre of tebriknâme was presented. A total of eight poems were examined, seven of them were gazelles and one was ode. The similarity of all of them in terms of content, function, and form was determined. This study will contribute to the literature about the genre of tebriknâme.
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YALÇINKAYA, Mehmet Akif. "Münşeât of Zaîfî, one of the 16th century poets". RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, 21.08.2022. http://dx.doi.org/10.29000/rumelide.1164870.
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The actual name of Zaîfî is Pîr Muhammed b. Evrenos b. Nûreddin; he was one of the poets who lived in the era of Sultan Suleiman the Magnificent. He started his training at very early ages; he firstly took education in Üsküp and then continued his training in Sahn-ı Seman Madrasah in İstanbul. After being a lieutenant for seven years, he was promoted to mudarris (professor). Although he was revoked a few times, he continued serving as a mudarris in different madrasahs until he resigned. He wrote thirteen works throughout his life and one of them is his Münşeât. The work of the writer titled Münşeât-ı Mevlânâ Zaîfî is made of a total of 25 letters written by Zaîfî. As 6 of these letters were previously analyzed in different works, the remaining 19 letters, which weren’t researched before, are analyzed in the scope of this study. The general purpose of most of these letters is to generally present the situation to the statesmen. Besides these, there are letters addressed to relatives and friends. The language of letters in Münşeât is Turkish except for a few ones. There are some daily expressions in the letters and some parts of the work are written in plain language. However, it can be said that the overall language used in the letters is heavy; there are numerous Arabic and Persian words and prepositional phrases in letters, which is called artistic prose. There are verses from Qur’an, hadiths, darb-ı mesel, stories, etc. in the work. Additionally, different kinds of verses are placed in the work in line with the flow of the topic. Information about the life and works of Zaîfî is presented in this study. The letters are analyzed in terms of content, language, and manner in this study, and finally, the text of the work is presented to the readers.