Bu çalışmada klasik eserlerden modern çalışmalara kadar birçok dilsel araştırmaya konu olan dilsel örüntünün son dönem dil çalışmalarına yansıması olan tedâmm olgusunun Arap dilinde cümlenin anlamsal bütünlüğüne katkısı ele alınmıştır. Bu olgu aslı itibariyle tüm dillerde farklı şekillerde bulunan temel örüntünün nasıllığını gözler önüne seren, şekilsel bir olgudur. Dilde iki unsurun birbirini gerektirmesi (istilzâm) veya kesinlikle yan yana gelmemesi (tenâfî) gibi durumlar tedâmm olgusu bağlamında incelenir. Her fiilin bir fâilinin (merfu bir isminin) olması, ism-i mevsûlün bir sıla cümlesine ihtiyaç (...) duyması, sıfat ile mevsuf, mudâf ile mudâfun ileyh birliktelikleri istilzâm kapsamında değerlendirilirken; mudâf olan kelimenin fiil, zamir veya şart edatı olmaması tenâfî bağlantısı bağlamında ele alınır. İstilzâm ve tenâfî bağlantıları tedâmm olgusunun temel taşlarını oluştururken art arda gelen kelimelerin cümlenin söz diziminde belirli konuma sahip olmalarını gerekli kılan tevârud /tertipsel bağlantı da tedâmm olgusunun ayrılmaz bir bileşenidir. Bu konum göz önüne alınmayıp ihlal edildiğinde, cümlede meydana gelen anlamsal boşluklar sebebiyle cümle, öğrenilmiş dil kalıplarının dışına çıkar. Bu yönüyle cümleyi oluşturan kelimeler arasındaki doğal dizemsel bağlantı ya da cümle içerisinde kelimenin, kendisine eşlik eden diğer kelimelerle uyumlu birlikteliği de tedâmm olgusunun kapsamına girmektedir. Ayrıca bazı dilbilimciler, tertipsel bağlantıyı makam kavramıyla da ilişkilendirerek tedâmm olgusunu nahvî uyumun ötesinde belâğî bir üslup bağlamında değerlendirilmeye müsait hale getirmişlerdir. Bu açıdan bakıldığında tedâmm olgusuna çağdaş dilciler context of situation/ durumun bağlamı olarak nitelenen bir yön kazandırmıştır ki bu yönüyle tedâmm olgusu cümleye, nahvî örüntüden daha fazla anlamsal katkı sağlamaktadır. Bu çalışma, dildeki doğal örüntüye dikkat çekerek tedâmm olgusunun anlaşılmasıyla zihinde netleşen hazif, zikir, istitâr, rütbe ve takdir gibi olguların daha net anlaşılmasına katkı sağlaması açısından önemlidir. Çalışma, tedâmm olgusunun cümlenin anlamsal bütünlüğüne katkısını ortaya koymaya çalışan nitel bir araştırma olup, çalışmada veri toplama araçlarından belge inceleme aracı kullanılmıştır. Veri çözümleme aşamasında ise doküman analizi ve betimsel analiz teknikleri kullanılmıştır. Çalışma neticesinde, tedâmm olgusunun, alt unsurlarıyla birlikte cümlede anlamsal bütünlüğü sağladığı, bu bağlantıya dikkat edilerek oluşturulan cümlelerin anlamsal açıdan daha uyumlu bir bütünlük oluşturduğu görülmektedir. Cümledeki bu uyumu sağlayan tedâmm bağlantısının, alışılagelmiş ve genel kabul görmüş cümle örüntülerinin gramatik kurallara uygun bir şekilde kullanımını içerdiği sonucuna ulaşılmaktadır. Ayrıca bu bağlantı, konuşulan ortamın gereğine uygun söylenmiş lafızların içinde bulunulan makama uygun olarak yorumlanmasını da kapsamaktadır. (shrink)

Varlığa ilk adım attığı andan itibaren hayatı seven insanoğlu, yaşı ilerle-dikçe tanıştığı ve bağlandığı diğer insanların sayısının artmasıyla hayata daha da bağlanmaktadır. Ancak ne var ki anne-baba, evlat-torun, eş-dost yakınlıklarıyla şenlenen hayatın sonunu ve ayrılıkların yakınlaşmakta olduğunu haber veren ihtiyarlık gün içinde ikindiye, yıl içerisinde de sonbahara benzemektedir. Karanlık gece ve soğuk kışların habercisi olan ihtiyarlık dönemi beka arzusuyla coşkun insan tabiatı açısından hüzünlü bir dönemi ifade etmektedir. “Yaşlılık” olgusu, duygusal yoğunluklardan hayatını alan edebiyatın dikkatini çeken temalarından biridir. Hemen her (...) dil edebiyatında kendinden şikâyetle bahsedilen ihtiyarlık, özellikle Arap edebiyatında sıklıkla işlenen konulardandır. Klasik Arap edebiyatının büyük şairlerinden neredeyse tamamı ihtiyarlıktan bahsetmiştir. İhtiyarlık onların gözünde çoğu zaman tatlı hayatın acı yönüdür. Bu makalede klasik Arap şiirinde şairlerin yaşlılık konusunu nasıl ele aldıklarını onların şiirlerinden hareketle inceleyecektir. Girişte yaşlılık hakkında ayet ve hadislerde yer verilen bilgilerle bir sunum yapılacaktır. Sonrasında ise Arap edebiyatında yaşlılık olgusunu farklı şekilde ele alan yaklaşımlar başlıklar halinde tasnif edilecektir. (shrink)

Toplumların sosyal yapısının harcı yahut temeli mesabesinde olan ahlaki erdem ve faziletler, kuşaklar arasında daha çok edebi eserlerle nakledilmektedir. Zira toplumların milli sermayeleri olan edebiyatçılar, yaşadıkları dönemde kendilerine tevarüs eden ahlaki birikimi söz sanatları ile yeniden cazibeli edebi bir kalıba döküp sunmaktadır. Cahiliye dönemi de dâhil olmak üzere Araplar, sosyal ilişkilerinde güzel buldukları davranışları şiir kaydıyla muhafaza etmeye çalışmışlardır. Aile içi iletişimden güçlü bir kabile reisinin huzurunda takınılacak tavra kadar pek çok görgü kuralı şiirde nazmedilmiş ve bu türden şiirler Arapların (...) sosyal yaşam rehberi haline dönüşmüştür. Sadece şiir değil mensur eserlerde de sosyal faziletlere dair ilgi çekici ibretlik hikâyeler ve yaşanmış olaylara dair anlatılar bulunmaktadır. Müslüman Arapların henüz hicri ilk yüzyıldan itibaren tanıştığı servet ve beraberinde gelen şehirleşme, sosyalliğin güçlenmesi ve bundan mütevellit olarak da sosyal erdemlerin daha fazla bir önem kazanması sonucunu doğurmuştur. Bu makalede özellikle Abbasi dönemi edebiyatçılarının söz konusu sosyal erdemler bağlamında dikkat çekmek istedikleri hususlar bir araya getirilmiştir. Çalışma, klasik dönemden günümüze ulaşan edebi malzemenin –makale düzeyinde- önemli konu başlıkları halinde tasnif edilmesini amaçlamıştır. (shrink)

Şiir kadim dönemlerden bu yana Arap kültüründe en önemli sanat dallarından biri belki de birincisi olagelmiştir. Şiirin ve dolayısıyla şairlerin büyük bir itibar gördüğü Arap toplumunda şaire kıymet kazandıran ölçütlerden biri irticalen şiir söyleyebilmesi, muhatabına cevap verebilme yetisi ve hazırcevaplığıdır. Bir şairin başka bir şairin şiirini aynı muhteva, vezin ve kafiyede irticalen devam ettirmesi anlamına gelen icâze de kökleri Câhiliye Dönemi’ne kadar uzanan bir şairlik hüneridir. Çalışma bu nedenle şairlerde kadim dönemlerden bu yana aranan bu hünerin hususiyetlerini konu (...) edinmekte, bir meziyet olarak icâzenin şairlerde niçin bulunmasına önem verildiğini ortaya koymayı amaçlamaktadır. Makalede nitel araştırma yöntemlerinden belge analizi yöntemi kullanılarak icâzenin tanımı, türleri ve yöntemleri üzerinde durulmuş, verilen örneklerle bu türler arasındaki farklılıklar izah edilmiştir. Ayrıca icâzenin yine bedîhî olarak söylenen bir şiir türü olan nakîzadan, irticalen söylenmese de öncesinde söylenmiş bir şiirden daha güzelini orta koyma saikiyle yazılan muʿâraza türü şiirlerden ayrıştığı yönlerine temas edilmiştir. Şairleri icâze istemeye sevk eden sebepler örnekler üzerinden incelemeye tabi tutularak icâze türü şiirlerin bir şairin başka bir şaire meydan okuması, meydan okuma olmaksızın şairliğini sınama isteği, şiirin devamı konusunda yardım talebi veya şairlerin aralarında şaka yollu atışması neticesinde ortaya çıktığı tespit edilmiştir. Şiirinin devamını isteyen şairle (müstecîz) şiiri devam ettiren şair (mücîz) veya şairlerin söylediği beyitlerin muhteva analizi yapılarak aralarındaki farklara işaret edilmiştir. İcâze türü şiirlerde şiire ekleme yapılmasını isteyen şairle şiiri devam ettiren şairin söylediği kesitlerin aynı uzunlukta olmadığı görülmüş, bunun sonucunda muhteva, vezin ve kafiye birliğini gerektiren icâze türü şiirlerin tarafların söylediği kesitler itibariyle esnek bir yapısının olduğu sonucuna varılmıştır. Buna ilaveten bazı icâze örneklerinde vezin ve kafiyeye bağlı kalınmasına rağmen konu değişiminin meydana geldiği de tespit edilen hususlardan biri olmuştur. İki veya daha çok şairin birlikte şiir inşâd etmesi şeklinde temayüz eden icâzelerde genelde edebî bir gayenin ön planda olmadığı müşahede edilirken bazı şairler ise ekleme yaptığı beyitlerde üslup açısından son derece zengin bir anlatım örneği sergilemişlerdir. Araştırmanın vardığı sonuçlar itibariyle vurgulanması gereken bir başka husus öncesinde bir hazırlık yapmaya imkân vermemesi dolayısıyla icâze türü şiirlerin kısa şiirlerden meydana gelmesidir. Şairlerin farklı saiklerle söylemiş olduğu icâze örneklerinde vasıf, hiciv, gazel, şikâyet gibi farklı temaları işlemiş olmaları bu şiirlerle ilgili zikre değer bir başka özelliktir. Netice olarak icâze türü şiirler eskiden beri Arap toplumunda şairin gücünü ve maharetini gösteren, yaşanılan ortamın edebî zevkini yansıtan, toplumun sosyokültürel yapısına dair önemli veriler ihtiva eden bir şiir türü olarak tebarüz etmiştir. (shrink)

In the dictionary, kināya, which means “to say a word and to mean a second meaning with that word”, means “to use a word both in its true meaning and in a second meaning other than this meaning“ as the Arabic rhetoric term. The conceptualization process of kināya as a sub-title of the ilm al-bayān started in the second century hijrī and took its present form in the seventh century hijrī with Abū Yaʿqūb al-Sakkākī (d. 626/1229) and in the eighth (...) century with Khaṭīb al-Qazwīnī (d. 739/1338). The authors of modern Arabic rhetoric, based on the methodological approaches of these two authors in their definitions and classifications of kināya, sometimes adopted the same approach as they were, and sometimes made some additions and criticisms by making original evaluations. For example, Qazvinî's لفظ أريد به لازم معناه مع جواز إرادة معناه حينئذ “(Original) meaning can be meant, but the necessary meaning is the word that is meant by it.” While some contemporary authors have taken the definition of kināya with the same words, some have added the phenomenon of clue to this definition. There is a similar situation in the classification of kināya, and while some authors have taken the categorization made by Sakkākī without making any changes, some authors have made various additions to this division. In the modern period covering the last century, many books have been written on Arabic rhetoric, and some of these books have come to the fore in Arab countries and our country. In this study, in the context of the subject of kināya, twelve of the Arabic rhetoric books written in the modern period were selected and the definitions and classifications of kināya in these books were examined. The aim of this study is to bring together and compare various perspectives on kināya in contemporary Arabic rhetoric books and to identify different approaches to the subject. (shrink)

Klasik Arap edebiyatı eleştirmenleri tasviri kategorize ederken; betimlenen unsurun olduğu gibi nakli ve kendisine sanatsal yorum katılmak suretiyle nakli şeklinde ikiye ayırmışlardır. Modern dönemde Arap edebiyatı bilginleri ise, bu tasvir çeşitlerini kavramsal olarak karşılayacak bir takım ıstılâhî açılımlar getirmişlerdir. Modern dönem Arap edebiyatında edebî tasvir üslubu hissî ve hayâlî tasvir diye ikiye ayrılmıştır. Temel duyu organlarıyla hissedilen dış dünyanın betimlenen unsurlarının herhangi bir ekleme ve yorum katmaksızın olduğu gibi aktarılmasına hissî, teşbih ve istiare gibi söz sanatlarıyla süslenerek (...) aktarılmasına ise hayali tasvir denmiştir. Ayrıca hayali tasvir; naklî, maddî ve vicdânî tasvir şeklinde üç sınıfa da ayrılmıştır. Naklî tasvirde dış dünyadaki iki somut unsur veya sahne arasında benzerlik ilgisi kurulmaktadır. Maddî tasvirde, bir fikir veya bir ruh halinin müşahhas bir öğenin veya fiziksel bir portrenin kendisine veya bir yönüne benzetme durumu söz konusu olmaktadır. Vicdani tasvir üslubunda ise cansız veya akılsız varlıklar insani kişilikler kazanmaktadır. Bu araştırmada hayali tasvir üslubunun Kur’ân kıssalarındaki izdüşümüne ışık tutulmaya çalışılacaktır. Bu bağlamda naklî, maddî ve hayalî tasvir çeşitlerinin Kur’ân retoriğine nasıl yansıdığı noktasında da nispeten bir fikir edinmek amaçlanmıştır. (shrink)

Necip Fazıl Kısakürek, 20. Yüzyılın en önemli Türk şair ve düşünürlerinden biridir. İslami hareketin sembollerinden biri olmasına rağmen, popülaritesi sadece dindar kesimlerle sınırlı kalmamıştır. Ülke genelinde büyük bir üne kavuşmuş, farklı kültürel çevrelerden, değişik fikir akımlarına mensup hayranlara sahip olmuştur. Bu durum şairin ifadelerinin akıcılığı, edebi yeteneğinin gücü ve Türkçeyi hem şiir hem nesirde ustalıkla kullanmasından kaynaklanmaktadır. Onun velûd bir yazar niteliğiyle çok sayıda ürün vermiş olması yazdıklarının edebi değerini düşürmemiştir. Ayrıca gençliğinden beri farklı gazete ve dergilerde makaleler yazmıştır. Otuz (...) yılı aşkın bir süre "Büyük Doğu" mecmuasını yayımlamıştır. Aynı isimle bir yayınevi kurmuş ve yaklaşık yüz kitap neşretmiştir. Şair olarak divanlar yayımlamasının yanı sıra hikayeler, romanlar, piyesler telif etmiş, fikri, ahlaki ve siyasi yazılar yazmıştır. Otuz yaşına kadar “bohem” diye tavsif ettiği bir hayat sürmüş, ruhi boşluktan kurtulamamıştır. Sonrasında bir vesileyle tanıştığı döneminin tanınan medrese alimi ve mutasavvıf Abdülhakim Arvasi’den etkilenmiştir. Böylece köklü bir fikri dönüşüm yaşamış, İslami dünya görüşünü benimsemiştir. Bu merhaleden sonra çok çeşitliliğe sahip edebi ürünlerinin tümünde inanç ve fikirlerini cesaretle savunmayı gaye edinmiştir. Muhalif bir kimlikle döneminin devlet ricaline alenen tenkitler yönetmekten çekinmemiştir. Bu uğurda ortaya koyduğu mücadele sebebiyle resmi kovuşturmalara maruz kalmış, defalarca hapis yatmıştır. Edebi faaliyetlerini, fikir kavgası niteliğinde icra etmiş, vefatına kadar da bu çizgisini sürdürmüştür. Tüm bu özellikleri birçok çevrede saygın bir mevkiye sahip olmasını sağlamıştır. Türk edebiyatındaki bu etkili konumuna rağmen Necip Fazıl, hala Arap okuyucusu tarafından nispeten bilinmemektedir. Arap araştırmacıların şaire dair teşekküre şayan değerli araştırmalar ve makaleler telif etmiş olmalarına rağmen eserleri henüz hak ettiği seviyede Arap okuyucusuna tanıtılabilmiş değildir. Burada Türkçeden Arapçaya tercüme faaliyetlerinin çok güçlü olmamasının etkisi akla gelebilir. Ancak başka Türk edebiyatçıların kitaplarının Arapçaya tercüme edildiği dikkate alındığında Necip Fazıl’ın eserleri özelinde bir eksiklikten bahsetmek yanlış olmaz. Her halükârda edebi eserleri Arapçaya çevirenler için yazarın ürünleri zengin bir servet mahiyetindedir. Biz de bu bağlamda Necip Fazıl’ın “Çile” adlı kitabından bazı şiirleri Arapça tahlil ederek manzum halde bu dile çevirdik. Manzumelerde klasik Arap şiiri kaidelerini dikkate aldık. Aynı şiirleri nesir olarak da çevirdik ve anlaşılmalarını kolaylaştırmak için kısa açıklamalar ekledik. Orijinal olduğunu düşündüğümüz bu çalışmamızla, Türk edebiyatı metinlerini Arapçaya çevirerek alana katkıda bulunanlar arasında yer almayı umuyoruz. (shrink)

Şiir denilen edebi türün can damarı duygulardır ve korku, ümit, neşe, üzüntü gibi pek çok duygunun en yoğun yaşandığı zemin de savaş meydanlarıdır. Bu yüzden yazılı ilk edebi metinler savaş ve kahramanlıkları anlatan destanlar olmuştur. Klasik Arap şiirinin pişdar isimlerinden olan Mütenebbî, pek çok edebi mahareti içerisinde savaşa ait unsurların tasvirlerdeki başarısı ile Arap şiir eleştirmenleri tarafından takdir edilmiştir. Şair çoğu kez övdüğü kimlerin savaşlardaki heybeti, atlarının ihtişamı, kılıç, mızrak ve ok gibi silah araçlarının öldürücülüğü vb. hususlarda tasvirlerde (...) bulunmuştur. Şairin hayal gücüne uyum sağlayan söz sanatlarındaki ustalığı da bir araya gelince, savaş filmi sahnelerini aratmayan olağanüstü şiirler ortaya çıkmıştır. Bu çalışmada Mütenebbî’nin söz konusu şiirlerindeki tasvirleri başlıklar halinde incelenmiştir. Girişte şairin hayatı ve şairliği hakkında kısa bir tanıtım yapılmıştır. Sonrasında ise Onun şiirlerinden kılıç, mızrak, atlar, savaş meydanına gelen leşçillerin nasıl tasvir edildiğine dair ilgi çekici örnekler seçilmiş ve zaman zaman eleştiriye tabi tutulmuştur. Kısacası bu çalışmada Mütenebbî’nin şiirleri, savaş edebiyatı açısından Türk akademisine tanıtılmak istenilmiştir. Sonuç olarak konunun akademik bir tez düzeyinde araştırılması tavsiye edilmiştir. (shrink)

Arap dili ve belâgati Kur’ân’ın doğru anlaşılması ve yorumlanmasında en önemli etkenlerdendir. Apaçık Arapça olarak inen Kur’ân bu dilin en beliğ ve fasih kullanımlarını içerisinde barındırmaktadır. Dili ve kullanımları bilinmeyen bir kitabın doğru anlaşılması mümkün değildir. Bu nedenle Kur’ân’ın doğru anlaşılıp yorumlanması adına birçok çalışma Arap Dili ve Belâgati konularına tahsis edilmiştir. Bu çalışma belâgat ilminin me‛ânî başlığı altında ele alınan fasıl ve vasıl konusunu Kur’ân yorumuna etkisi açısından inceleyecektir. Ardı sıra gelen cümlelerin birbirleriyle ilişkisini konu (...) edinen fasıl ve vasıl, bu cümlelerin hangi durumlarda birbirinden ayrılması, hangi durumlarda bitişik olarak getirilmesi gerektiğini ve bunların sebeplerini ortaya koyar. Bunların üzerine hangi anlamların ortaya çıktığını ifade etmesi yönüyle de Kur’ân yorumu açısından son derece önem arz eder. Özellikle de ayetlerin birbiriyle ilişkisine dair sonuçları olması bakımından ayetler arası münasebet konusunun da ilgi alanına girer. Çalışmada öncelikle fasıl ve vasıl kavramları tarif edilecek, sonrasında da örnek ayetler üzerinden bunların Kur’ân yorumuna etkisi ortaya konulacaktır. (shrink)

Dalālat al-lafẓī al-waḍʿī, is divided into three parts: mutābaqat, taẓam-mun and iltizām. Although there is an agreement among the scholars regar-ding the nature of the mutābaqat, which shows the conformity of the word to its meaning, the indication of taẓammun and iltizām includes certain controversial issues. Among these, some issues related to iltizām, which plays a central role in method and rhetoric, were discussed. Al-Bābertī who wrote al-şurūḥ [commentaries] on the main works that greatly influenced the ones written after him (...) in these two sciences, expressed his opinion on the controversial issues; especially on the issues related to iltizām. These are about whether a mental necessity (al-luzūm al-dhihnī) condition is sought for the rationality and realization of the obligatory indication. In this context, at the beginning of the article, firstly, a general information about dalālat will be given, and in the first part, how the dalālat is handled in works of Bābertī will be explained. Then, in the second part, controversial issues related to dalālat will be discussed; views of Bābertī on these will be revealed after the discussions of scholars are included, especially within the framework of the nature of iltizām. (shrink)

The first poems about the Prophet Muḥammad appeared while he was alive. These first examples, which are panegyrics (madīḥ, i‛tiẕār, fakhr and ris̱ā), largely reflect the characteristics of the pre-Islamic qaṣīda poetry. Due to the developments in the following centuries, the number of poems about the Prophet increased. And thus, a separate literary genre was formed under the name al-madīḥ al-nabawī. Especially the fact that sufi leaning poets contributed to the literary richness in this field. Another factor is the beginning (...) of the tradition of writing mawlid poems in memory of the birth of the Prophet Muḥammad. The thirteenth century was an important period for poems praising the Prophet Muḥammad. Two important poets emerged in this century. One of them is Egyptian poet al-Būṣīrī and the other is Baghdad's famous poet, Yaḥyā al-Ṣarṣarī. Even after his death, Ṣarṣarî’s works with high literary value were read and memorized in the circles of science, literature and Sufism. Due to his competence in the field, al-Ṣarṣarī was known as the poet of the Prophet and Ḥassān b. Thābit of his time. However, it is understood that his poems, which lost their importance in literary circles over time, were not studied as much as they deserved in the modern period. In this article, his life and works are introduced and basic language and stylistic features of his poems are examined. Also, the image of the Prophet in his poems was determined within the framework of the political conditions of the period.Summary: In the field of madīh nabawī, which first appeared in the ‘Asr al-Sa’āda and has continued to the present day, especially two names stand out in the 7th/13th century, when famous poets such as Macduddīn al-Vitrī (d. 662/1264), Ibn al-Muraḥḥal (d. 699/1300) and Ṣafiyyuddīn al-Ḥillī (d. 749/1348) were also raised. One of them is the Egyptian poet al-Būṣīrī (d. 695/1296), who left his mark on the field of madīh nabawī with his many poems, especially Qaṣīda Burda, and the other is the Iraqi poet Yahya al-Ṣarṣarī (d. 656/1258), who was named Shā‘iru Rasūlillāh (The poet of the Prophet) and Ḥassānu Vaḳtihī (Ḥassān of that period) because of the quality of his poems in this field.al-Ṣarṣarī, was born in the village of al-Ṣarṣar, near Baghdad, spent most of his life in the shadow of Baghdad’s political instability and the social collapse that developed in parallel. He was killed in 656/1258 by the Mongolian forces that invaded Baghdad. al-Ṣarṣarī was extremely knowledgeable in fiqh, hadith, language, and ‘ilm al-qirāa. Our poet adopted the views of the Hanbalī law school. In addition, he turned to Sufism and became a murīd (disciple) of Ali ibn Idrīs al-Ya‘kūbī, a student of Abdalqadīr al-Gīlanī who was accepted as the founder of Qādiriyya. He was closely attached to the Sunnah of the Prophet and was fond of reading the Quran. He was chaste and patient and was content with what he had himself. All his works are poetic and they all concern the madīh nabawī or fiqh.Since his poems, almost all of which are about the praise of the Prophet, have a high literary value, they were read, memorized and narrated for a long time in the circles of science, literature and Sufism. In terms of its structure, his poems are based on the traditional forms of Arab qasīda. In the introductory sections of his poems, he often expresses his longing for Madina. The main subject in poems is usually the Prophet and his superior features. In the last part, he usually says salāt for the Prophet and seeks help from him. It can be said that he used simple language in his poems. The vocabulary reflects the characteristics of the urban life in which he lived. The source of inspiration for his poems are the Qur’an and especially the hadith of the Prophet. He uses the potential of literary arts as much as possible while conveying his feelings. But he does not allow the correct information to be lost due to these arts on a serious subject such as depicting the Prophet. We can see a lot of badī‘ (creative) art in some of his poems. But we can immediately understand that these arts do not spoil the beauty of his expression. The poet provides rhythm and harmony in his poetry with the meter and rhyme in accordance with the classical Arabic qasida rules. In addition, he strengthens the musicality in poetry with puns (jinās) and repetition.The influence of the instability of the region where al-Ṣarṣarī lived on his poems is obvious. According to him, the main reason for the terrible situation that Muslims were in was that they were away from the way of the Prophet. He thought that it would be possible to go back to the old peaceful days by following the way of the Prophet. Perhaps as a result of this opinion, he allocated his qasīda to the narration of the Prophet and his Companions. In his poems, he describes the Prophet with his names, superior qualities, physical and moral characteristics. He says that the sentences describing the Prophet are the ornament of poems and believes that praising him is a mean of salvation in the next world. He also hoped that the poems he said in order to achieve spiritual ascension would protect himself against the troubled events of the period.In his poems, especially on the occasion of mawlīd, al-Ṣarṣarī mentions the Prophet’s physical characteristics and likens his smiling face to a bright full moon, his brows to the letter nûn, his teeth to pearls. He describes the Prophet as a man with black eyes, broad shoulders, born with kohl-lined eyes, and who emanates a beautiful scent as a requirement of his creation. The poet, who also touches on the Prophet’s powerful address, states that his speech is more effective than Luqman’s wise words by virtue of his jawami‘ al-kalim (comprehensive speech) and faṣl al-khiṭab (clear speech), and that his soft address, which states nothing other than the truth, is a blessing from Allah. He additionally describes the Prophet’s plain words, easy to understand by all, as more valuable than jewels. al-Ṣarṣarī, who praises the Prophet in terms of morality with basic human virtues such as bashfulness, justice, modesty, and courage, emphasizes that he is, a paragon of patience, perseverance, kindness, and compassion through analogies such as, “his clothes are peace and perseverance”, his “cover is kindness and forgiveness”. In his world of imagery, the Prophet’s benevolence is so abundant like the rain that the clouds cannot compete with him. Also, he does not shame anybody for what he gives. He bestows the most valuable possessions like gold and camels. Even the respectable personalities of the tribe benefit from his grace. He is so generous that he is giving even when the clouds are stingy about giving rain during times of drought. He welcomes with a smile those who approach him with requests. The donations he makes privately are entirely satisfying.The image of prophethood in al-Ṣarṣarī’s poems, is centralized around the thought of nūr Muhammadī (prophetic light) and the miracles of the Prophet. He reminds that the Prophet never gave up despite the calamities he encountered and that he was supported with extraordinary events in various stages of his life since he was born, and reflects the understanding that the prophet is spiritually supporting the community with his nūr, and in the case the community follow his sunnah, overcoming the Mongolian attacks, which seems like a miracle, is possible. The mention of Qattāl (warrior), Māḥī (eliminator of disbelief), Ẓāhir, Ẓāfir, Manṣūr and Muẓaffar (victorious) among the Prophet’s names, especially those that evoke the superiority he gained in his fight against the disbelievers, giving greater prominence to his courage and valor among his virtues are also related to the political and social conditions of the period. The couplets about the Companions of the Prophet following the couplets that describe the Prophet’s valor, the emphasis of their aid to the Prophet, and the particular mention of their fighter spirit may be considered in the same context. Perhaps, in this way, the poet aims to boost the courage of the Muslims who are exposed to Mongolian attacks with respect to protecting their spiritual and holy values against the enemy. (shrink)

The subject of this study is the naḳīḍa (opposing) type of poetry competitions between the Meccan poet Ḍirār b. al-Khaṭṭāb (d. 12/633) and the Muslim poet Kaʿb b. Mālik (d. 50/670) from Medina during the Battle of Badr, when the Muslims and the polytheists confronted for the first time. The problem is the questioning of the approaches reflected in the naḳīḍa poems, which were used as a means of propaganda and psychological superiority by the Muslims and polytheists during the Battle (...) of Badr. Naḳīḍa poems, the subject of the study, are important for getting to know the two opposite understandings closely and forming an opinion about the naḳīḍa poems sung during the era of the Prophet Muhammad. Although there are some recent studies on naḳīḍa poems from the era of the Prophet, these studies lacked details and only mentioned general features. The interesting approaches and fine details reflected in the verses, such as Ḍirār b. al-Khaṭṭāb's claims aiming to distract attention and discredit the Muslims of Medina in the face of the unexpected defeat of the Meccan army at Badr that the Battle of Badr was a tribal war between the Meccans and the Medinans, makes this study prominent. On the other hand, Kaʿb b. Mālik's verses reflect the approaches bearing traces of the Islamic faith and draw attention to the fact that the battle was between faith and unbelief and the Muslims of Medina were proud of their support for the Messenger of Allah. Undoubtedly, Meccan immigrants participated in the Battle of Badr along with the Muslims of Medina. Even so, Kaʿb b. Mālik does not mention Muhājirs (immigrants) in his verses. This suggests that Kaʿb b. Mālik may have concentrated on responding to the allegations made by Ḍirār b. al-Khaṭṭāb. Document analysis, one of the qualitative method techniques, was used in the study. First, a literature review was conducted to better understand the subject, and the studies related to the field were briefly mentioned. Then, summary information about the concept and background of naḳīḍa is provided. Two call-and-response poems between the Jāhiliyyah period poet Imruʾ al-Qays (d. 545) and ʿAbīd b. al-Abraṣ (d. 555) are included as an example for the first phases of naḳīḍa poems. Then, brief information about the Meccan poet Ḍirār b. al-Khaṭṭāb and the Medinan poet Kaʿb b. Mālik are presented. After the background information, two naḳīḍa poems of both poets were examined and analyzed, and the differences in the Battle of Badr were pointed out. Concepts that are common in the eulogies of the Jāhiliyyah period, such as nobility, being a master warrior, and generosity, draw attention in Ḍirār b. al-Khaṭṭāb's verses. On the other hand, in his verses Ka'b b. Mālik uses terms and expressions brought by Islam such as the Messenger of Allah, there is no Lord but Allah, unbelievers, Hell, and hellfire. In the verses of both poets, there are clues about the commonly used battle orders and war equipment of the period. The opinions are summarised in the conclusion part of the study. (shrink)

In the article, the phenomenon of deviation, which is one of the important subjects of stylistics and rhetoric is discussed. The deviation is divided into three categories in terms of phonetic, word and grammar. The study was limited to morphological deviation defined as a transition from form to another. The morphological deviations and their relation with meaning reveal the importance of changes in word level. The linguistic and contextual elements are considered as two complementary parties in contextual linguistics. From phonetic (...) level to text consitency many linguistic elements play an important role in expression. Apart from the linguistic phenomenons that affect the meaning, non-linguistic elements should also be considered. In the research also word selection, meaning transfer and context are indicated. The deviation has expanded the use of Arabic words as well as the rich word derivation potential. In terms of Qur'ānic verses, it is an important criterion relationship of the word formula in the meaning for the Arabic language. The subtleties of this language phenomenon which is detected in Qur'ānic verses and fascinates the reader are explained by examples. Summary: Semantics, that is one of the most important areas of linguistics, initially focused on identifying the meanings of words; however, today it goes beyond that and tries to clarify the other elements of the language field. Linguists emphasize that the main goal of language studies is theme and the efforts made in this context are aimed at capturing the meaning. Metaphor and the ways of other extension of meaning should be considered in this context. As Ibn Jinnī (d. 392/1002) stated, language is generally composed of metaphor. This situation points to the necessity of examining the language with a wider perspective than the formal understanding in the field of linguistics research.In the writings of linguists such as Sībawayhi (d.180/796), Ibn Jinnī and al-Suyūṭī (d. 911/1505) and the works that focus on the superiority of wording of Qur'ān, it is seen that there is no distinction between the structure and function of language. Each sentence style is shaped for a purpose. What directs them to such a method is the thinking of first person, interlocutor and context together. It is possible to find this understanding in linguistic and religious sources such as qirā’āt, rhetoric and exegesis. Today, this relationship between grammar and meaning is one of the basic subjects of linguistics.Besides the grammatical structure, word selection is also significant. It is easy to determine a sentence with a grammatical error. While the use of a word is correct in a sentence, it may not be appropriate elsewhere. The degree of accuracy of the sentence is affected by the word selection, which is also a matter of grammatical tasks. This is the expression of the meaning in the appropriate language structure. Depending on the context of the statement, the appropriate word and phrase style should be chosen. The word choice has a great influence on the superiority of the style of the Qur'ān. When the Qur'ānicverses are examined, it is seen how well the chosen words are used.One of the main factors determining the accuracy of the word is context. The same word can be assumed to be true or false due to the context. In addition to linguistic elements, non-linguistic factors such as psychological status, socio-cultural factors and educational background are a measure of value in language.The factor that determines the function of word is the position of word in the phrase. Missing sentence structures gain new meanings as a result of a number of transformations. In Arabic sentence structures it is possible to see how the language structures affect the meaning. The expression tools should be enriched through sorting, increasing, decreasing and changing which are the factors contributing to the understanding of the superficial and deep structure of the language. In this context, the flexibility in the grammatical rules and the issue of deviation, which provides richness to phrases, are important in terms of revealing the place and value of meaning in the language.The deviation phenomenon is called as language deviation in Turkish sources. Due to a semantic and communicative concern deviation is a new way of expressing by leaving the built-in style in the language in order to strengthen the language, draw attention to the text, give a holistic effect, remove the word out of the ordinary and make the indicators more effective in terms of sound and meaning. The deviation is an important part of the stylistics, which goes beyond the path expressions and increases effect of the word. The development of the stylistics, which was accepted as an extension of the rhetoric in the modern period, raised interest rates for deviation. The deviation is divided into three categories in terms of voice, word and grammar.Morphological deviation, which is defined as the transition from one mold to another, is a phenomenon that gives the power of persuasion, influence and subtlety to the word that is appears in the mold and context of phrase. The context is the most important determinant of the deviationthrough which the literary meanings are gained that is the aim of the rhetoric. The effect of morphological deviationon meaning changes is an important subject of language researches. From this point the meanings which were added to the Qur'ānicwords by morphological deviationwas analyzed in detail in this article. Besides this, numerous verses have been handled with the idea that such a method will contribute to understanding of the subtlety meanings of the verses and transferring of their meanings to non-Arabic languages in the best way.Linguists have pointed to the meaning differences between Arabic patterns by taking into consideration the meaning potential of word molds. The language researches, which reveal the role of the word molds in determining the meanings, reflect that there are no two patterns of which meanings are exactly overlapping in Arabic language that is the views of the linguists. It is seen that the patterns such as active and passive participle, resembling participle, hyperbolic participle and gerund are used interchangeably because of their meaning relationship between each other. Similar uses of the verb should be added to this since time change in verbs is one of the linguistic phenomena in which deviationhas occurred. Types of deviationare the significant stylistic features of theQur'ānand have effects on meaning and expression. The fact that the Qur'ānpossesses an unusual style, but such a quality prevents its addressing from becoming ordinary. It is important to determine these kinds of uses, which are called as morphological deviation, to grasp the meaning of the word. When the language structures related to deviationare examined, it is understood that there is a deeply relationship between deviationand meaning. It is important to solve deviationthat enriches the meaning in the word, as well as other linguistic structures to comprehend the gnomic structure of the style of the Qur'ān. (shrink)

This research aims to show grammatical relations between the elements of the sentence based around the syntactic connection. The phenomenon of syntactic connection is one of the basic concepts for al-Jurjānī’s theory of nazm (construction). This view, which makes more understanding the structure of Arabic sentence, is studied in the light of the ideas of classic and modernists linguists. This attempt to facilitate Arabic grammar has continued routinely from relationships between grammar and meaning. The integration of grammar, which consists of (...) words, is an important property for native speakers and others. This field is open to new developments considering the successive developments in the field of linguistics. It is important to develop the principles that will help in understanding the grammatical structure of a language in which communication pathways are growing. Reinterpretation of prominent approaches appeared in classical sources and updating the concepts that explain the basic structures of language are needed to increase the effectiveness of Arabic.Summary: The linguists, who accept the language structures as a system of expressing thoughts, search out the relationship between meaning and grammar. The rules of grammar, which maintain its importance from the past to the present is one of the basic language areas. In the looking at the researches in the field of Arabic language, it is seen that the grammatical structures of this language is much emphasized. In this context, the grammatical markers theory, which is trying to explain the connection between the sentence elements in the light of different scientific disciplines, such as philosophy and logic is a theory, which the linguists put to explain the Arabic grammar. The grammatical discussions around the grammatical markers have continued for a long time. ‘Abd al-Qāhir al-Jurjānī (d. 471/1078) is one of the most prominent Arabic grammarians whose opinions are widely mentioned in this field. Al-Jurjānī, who found that the discipline of grammar area was limited, established a new method in language studying. In this context, the linguistic researches continue around the views of al-Jurjānī’s theory of construction. The term of construction, which describes the relationship between meaning and grammar, means composition and arrangement. The current linguistic studies have ensured the magnificence and accuracy of this theory. According to this theory, grammar meaning is arising from the choice of word and grammatical elements. The relation between words in the sentence is explained as a construction. According to al-Jurjānī, grammar is the result of various language skills beyond the distinction of truth and error. This comprehensive language understanding, which evaluates the grammar from a different point of view, has started as of Sībawayhi (d. 180/796). The Arabic linguistic studies from the early period are characterized by taking care of both form and meaning, in addition to semantic.Term of the syntactic connection is one of the basic concepts, which al-Jurjānī focuses on while explaining views on grammar. He gives much importance to the method of linking words and to the way they join each other to form sentences. The syntactic connection is an interaction between words and grammatical meanings. In this process, the mechanism of affixation and association occur between the elements of sentence. The term affixation refers to direct connection relations of the elements of sentence, while the term association refers to indirect relations. This term used to describe the grammar structures, is also closely related with the meanings of the words. The basic sentence in classical Arabic consists of the musnad and the musnad ilayhi. In the Arabic language, besides the basic elements of the sentence, other units are important as well. These units work together to express a central idea that may be further developed or refined by other elements. The factor, which determines the function of a word in the sentence, is the place of word. In this context, the linguistic studies carried out within the syntactic connection will make an important contribution to language teaching.The other thing in the context of the syntactic connection is the terms of “deep and surface structure”, which are the basic concepts of the transformational grammar theory developed by Chomsky. While the deep structure consists of simple sentence structures, the surface structure is composed of sentences. According to the transformational grammar theory, the deep structure is an important factor for determining the meaning. They draw attention to the mental side of the language. It is because the language is a phenomenon, which produces unlimited sentences with limited elements. In this form, the language cannot be explained by a mechanical interpretation. The language should be examined in the light of human dynamics. The competence and performance are the cause of the emergence of deep and surface structure terms. The purpose of the word is effective in determining the structure of speech. The target language is to express unlimited meanings with limited words. Classical Arabic grammarians have introduced the idea of transformation to Arabic grammar – though they may not know this term. The Arabic grammarians have talked about preposing, postposing, deletion, increase and interpretation, which used and developed by Chomsky. Transformational grammar theory has produced a new paradigm in grammar. This theory is widely discussed among modern linguists. The term grammatical coherence is a new terminology used by the modern linguists for definition of sentence structure. This term, which shows evidence and relation between both things, is divided into two namely: verbal and semantic coherence. When the definitions of grammatical terms in the classical grammar sources, it is possible to see the emphasis of the grammatical coherences. This language understanding, which tries to substitute the inflection theory, aims to bring innovations in sentence analysis. The linguists point to the importance of this theory, which bring a new perspective in understanding the Arabic grammar. Tammām Ḥassān (1918-2011) attempts to link the grammatical coherences with ‘Abd al-Qāhir al-Jurjānī’s theory of semantic formation and its relationship to linguistic analysis. Tammām Ḥassān, likened to Sībawayhi, is regarded as one of the most important representatives of the innovative language understanding with his theory. According to him, the system of language, which provides a framework to shape man's thinking, is constituted by three subsystems: phonetics, vocabulary and grammar. Grammar may be defined as a system of word changing and other means of expressing relations of words in the sentence. In this context, the concepts of syntagmatic and paradigmatic structure are important to understand the general structure of languages. According to linguistics, grammar should study both paradigmatic and syntagmatic relations of sentences. The syntagmatic structure refers to the relationship between language units depending on the language system in the language. The relationship network between words that belong to the same semantic field is called paradigmatic structure. The paradigmatic structure provides similar criteria for all languages. Such approaches that introduced by linguistics, provides significant contributions to language learning. The modern linguistic studies have made the sentence a starting point to clarify the linguistic structures and relations to achieve the sound linguistic communication. A sentence is the largest unit in a language described by grammar. (shrink)

The subject of this study is Poetry in Arabs: Cultural Characteristics and Financial Supporters of the Ancient Literary Genre. The problem of this study is to question whether poetry can be evaluated from a cultural point of view in Arabs and a cute lifestyle, aesthetic, symbolic and semantic dimension. In this article, not only Arabic poetry is evaluated in terms of culture; the cultural dynamics that enable the development of poetry are also emphasized. There have been great developments in social (...) studies in the modern period. New sciences such as sociology, anthropology, archeology and cultural history were formed. Among these sciences, sociology primarily focused on Western societies, while anthropology investigated non-Western societies. These sciences have studied human diversity in ancient societies and peoples. As a result of these studies, a lot of data has been collected about the cultures of existing and ancient societies; The history of humanity has been tried to be understood and its future has been tried to be predicted. However, the poetry of the Arabs, one of the ancient societies, is known by everyone, and while the Arabs are an advanced society in poetry, the cultural aspect of poetry has not been adequately evaluated. Recent studies in this field are a repetition of the past as a method. These studies are certainly important, but as in the past, Arabic poetry is discussed in the context of history, content, form, subject and poets with the beginning date of poetry and the fairs where poetry is performed are emphasized. However, it is time to consider Arabic poetry around the cultural corpus, which is considered important today, with the dynamics of culture and cultural perspective. Therefore, in this study, ancient Arabic poetry has been evaluated in terms of culture. In this study, document analysis, one of the qualitative method techniques, was used; In addition to the works related to Arabic literature, some cultural and cultural history books were consulted. (shrink)

One of the most rooted topics in Arabic poetry is the dirge. It shows that during the Jāhiliyya period, people lamented the dead at the graves and remembered their beautiful qualities. A similar situation continued in terms of content in the dirges that were said in the following periods. However, with the change of social, political and cultural conditions in time, there have been partial changes in the writing styles and purposes of the dirges. For example, the effects of political (...) and sectarian factors were felt more in the process that started with the Umayyad period and continued in the following centuries. On the other hand, it has been observed that poets wrote dirges not only for the people they love but also for themselves, the animals they owned and the cities they lived in. In Arabic literature, dirges written for cities became famous and widespread, especially during the Andalusian period. However, considering that the poets of the Jahiliyya period lament the lands abandoned by the beloved, especially in the first part of the ode, it can be said that the tradition of writing elegies for cities dates back to much earlier times. On the other hand, the destruction of cities during the Abbasid period due to many wars, especially the Mongol invasion, caused many poets to recite dirges for these destroyed cities. One of the cities damaged during this period is Baghdad, one of the most important cities of Islamic culture and civilization. As it is known, Baghdad was occupied by the Mongols in 1258. As a result of this occupation, also known as the Baghdad disaster, many of the material and spiritual wealth of the city were destroyed. For this reason, the event had great repercussions in Arabic poetry, and many poets who could not remain unresponsive to what happened elegized for Baghdad. One of these poets is Shamsaddīn al-Kūfī (d. 675/1256), whose al-Kasīda al-Nūniya is the subject of our study. Shamsaddīn al-Kūfī, who was born in 623/1226 in Kufa, is one of the leading literary scholars and poets of his period. Due to the fact that the Baghdad disaster affected his poems to a great extent, he was given the title of Poet of Baghdad Disaster. When his poems are examined in general, it can be said that the dirges he sang for family members, friends, children of his friends and the city of Baghdad, which was destroyed by the Mongolian invasion, are at the forefront. The poet, who uses verbal arts such as tibāq and rad al ajuz alā al sadr intensively, places more importance on the meaning dimension of the issue in his dirges and uses arts related to meaning skillfully. al-Kasīda al-Nūniya, written by Shamsaddīn al-Kūfī in the Kamil bahr for Baghdad, is composed of 27 couplets. The theme of complaint about separation is addressed in the introduction part of the kasīda. Then, the main subject of the kasīda was put forward with the themes of the effects of the Mongolian occupation in Baghdad, the poet's feelings about this occupation, and the longing for the beautiful days in Baghdad. In the conclusion part, by returning to the theme of complaint about separation, a different internal structure from the contents of traditional Arabic poetry is displayed. This organization, while in keeping with the spirit of the type of city dirge that reflects the disaster experienced in a city, also provides fluency. While words that are easy to pronounce and suitable for morphology rules are preferred in general, attention has been paid to the rules of eloquence. On the other hand, the poet mostly preferred informative sentences in which he conveyed the Baghdad disaster to the reader with all its truth. However, in the sections where he felt the need to express his emotional intensity in a more striking way, he enriched his expression with sentence types such as wonder, interrogation, oath and interjection. Shamsaddīn al-Kūfī frequently used jinās in his poems. In addition, the art of tibāk, which is one of the arts related to meaning, is one of the badī (creative) arts in its couplets. As a result, it was seen that the Mongol invasion had a considerable effect on Arab poetry within the framework of this city dirge, which Shamsaddīn al-Kūfī had recited, and that historical facts were transferred to the next periods with a poignant style in these poems. (shrink)

Novel, as a literary genre, is described as the expression of events and emotions by using unconventional methods and techniques; beyond this, novek is also a subject of sociology. For this reason, writers have used the art of the novel as a way of expressing the pain experienced by the individual and its social dimensions. One of these writers is Mourid Barghouti (d. 2021), who was born in Palestine in 1944 and studied English Language and Literature at Cairo University. Banned (...) from entering Palestine in 1967 when he graduated from the university, and exiled from Egypt for criticizing Anwar al-Sādāt's (d. 1981) visit to Israel, Barghouti lived in exile for 17 years in various Arab and European countries away from his wife and child. Barghouti, who returned to Palestine 30 years after his departure, wrote a novel called I Saw Ramallah. This novel was first published in 1997, and he expressed his homesickness and the experiences of the Palestinian people after the occupation. Divided into nine chapters, consisting of 220 pages and translated into many languages, the novel shows the drama of many Palestinians who entered the British mandate after World War I, whose lands were occupied with the establishment of Israel in 1948, and who was forced to leave their homeland. In this sense, the novel I Saw Ramallah reflects both the expatriation of Palestine and the author. In this study, the work named I Saw Ramallah was elaborated in terms of technique in order to determine to what extent the author used the rules of the art of the novel, and thematically which subjects were handled in the novel. It is understood that the name of the novel was chosen to reflect the content by making use of the symbolic value of the place. This novel is seen as an autobiographical novel type, due to the author’s narrator technique used and the author tells his own life. The author's entry into Palestine is used as the objective tense of the novel; the author, with recollections and connotations in objective time, conveyed his experiences by using the flashback method. Events that contain enough sadness have been tried to be conveyed as they happened by mentioning time, place and individuals in order to awake the reader's feelings. Although the events in the novel are listed non-chronologically, when the whole novel is examined, it is seen that the author writes his experiences within the framework of the days he spent in Ramallah and the memories that they remind him of, and in the order in which they come to mind. In almost all of the novel, classical Arabic is preferred. The novel has avoided as much forced expressions and literary expressions that enlarge or reduce events as possible. Although it is impossible to claim that he is completely impartial as a Palestinian, it is seen that the author describes the events with the simplicity of a Palestinian citizen, away from political conflicts as much as possible and in a natural language. It is possible to say that the dominant use of critical style in the novel as the experiences of a writer suffered living abroad throughout his life, shaped his perspective on life and its reflection on the novel. The main topic of the novel is the absence from home. In addition, those killed far away from their homeland, Jewish settlement, the effect of Jewish occupation on the social life, the Oslo Agreement and the role of the phone in the life of the expat are handled as sub-themes. Although the novel named I Saw Ramallah is mostly close to daily or commemorative works and does not fully fit in the definitions of novel art as it emerged in the West, it includes the style of novel art at a certain level. It is seen that the novel has an important place in terms of raising awareness on the Palestinian issue in the Arab and Islamic world. The novel I Saw Ramallah, which was awarded The Naguib Mahfouz Medal for Literature by the American University in Cairo in 1997, is likely to have received this award because of its thematic aspect rather than its stylistic aspect. Considering this award that the novel won against its peers and the considerations we mentioned during the technical and stylistic analysis we made about the novel, it is seen that the art of the novel in Arabic literature is still in the development stage. (shrink)

The first eulogies (Qaṣāīd) about the Prophet Muḥammad (pbuh) appeared when he was still alive. Ḥassān ibn Thābit (d. 60/680 [?]), ʿAbd Allāh b. Rawāḥa (d. 8/629) and Kaʿb b. Mālik (d. 50/670), important Muslim poets of the period, praised the Prophet and inspired future generations of poets. Depending on the developments in the following centuries, there had been a great increase in the number of poems sung to express enthusiastic feelings towards the Prophet and to defend him and his (...) Prophethood. Andalusia is one of the places where this genre increased the most. The first examples of the praise of the Prophet appeared in Andalusia during the Mulūk al-Ṭawāʾif period (1031-1090). The praises of the Prophet, which were processed in the poems of asceticism, dirge and elegy until the end of the 5th/11th century, became an independent genre called al-Madāʾiḥ al-Nabawiyyah/Nabawiyyāt thanks to the ever-increasing Ṣūfī thoughts penetrating literary circles. The turning point of the praise of the Prophet in Andalusia, as in the East, is the period of the The Almohads (1147-1238), which coincides with the 7th/13th century. The mawlid celebrations, which were first initiated by the Fāṭimids in the 4th/10th century to give legitimacy to their rule, and held every year in North Africa on the twelfth of the month of Rabi'ulawwal, moved to Andalusia at the end of the The Almohad period and gradually became one of the largest official and religious holidays in Andalusia. Giving awards to high-quality poems read on the mawlid festival and celebrations made all over Andalusia has greatly contributed to the literary richness in this field. In praise of the Prophet, talented poets such as Abū Zayd al-Fāzāzī (d. 627/ 1230), Ibn al-Jannān al-Anṣārī (d. 650/1252), Ibn Jābir (d. 780/1378) and Ibn Zumruk (d. 797/1395) emerged. Abū Zayd al-Fāzāzī, one of the most distinguished Prophetic ode poets of the Almohad period is said to have first pioneered the spread of Prophetic praises in Andalusia before the Iraqi poet Yaḥyā al-Ṣarṣarī (d. 656/1258) and the Egyptian poet Būṣīrī (d. 695/1296). He has a dīvān called al-Wasā’il al-mutaqabbalah, which he wrote in alphabetical order and dedicated to the praise of the Prophet. The fame of the odes he uttered about the Prophet spread as far as North Africa, and it has become a tradition to read his odes on special days. Because of the abundance and quality of Prophetic odes, Ibn al-Jannān, who witnessed the glorious days and the collapse of the The Almohad state, also commemorated the poet Ḥassān ibn Thābit, The Prophet’s Odic Poet. Ibn Jābir al-Andalusī, on the other hand, wrote the second ode in this field after Ṣafī al-Dīn al-Ḥilli (d. 749/1348), the inventor of the axiomatic odes, and became the pioneer of axiomatic odes in Andalusia. The effect of political instability on Prophetic odes in Andalusia, which entered its collapse with the end of the Almohad state, is obvious. According to many poets, salvation from this plight of Muslims in Andalusia is possible by once again adhering to the Sunnah of the Prophet. Probably as a reflection of this idea, many poets from 7th/13th centuries onwards devoted their odes to narrating the Prophet and his Sunnah. Poets who describe the Prophet elaborately in their poems hope to be saved from the troubles they have fallen into and to reach the highest rank in heaven. Poets who touched upon the physical characteristics of the Prophet often likened his smiling face to a bright sun and a full moon. In terms of oratory, they stated that he had a fluent language and never uttered bad words. Andalusian poets, who praised the Prophet with moral virtues such as tolerance, justice and courage, stated that there was nobody more merciful and generous than him due to the abundance of his blessings resembling torrential rain. Andalusian Prophetic ode poets adhered to the traditional forms of Arabic poetry in terms of the structure of eulogy. In the introductory parts of odes, they generally express longing for the Prophet and the holy places. The main theme is mostly the Prophet and his outstanding virtues, and they usually end their eulogies with salutation to the Prophet. Save a few Sufi poets, it can be said that they used simple and understandable language in their poems. The sources of inspiration for their poems are the Qur'an and hadiths. Andalusian poets used non-material axiomatic arts in their poems without disturbing the structure of eulogy. In addition to the art of pun, they provided musicality in the poem with the ‘tent-frame’ meter and rhyme scheme, sometimes supporting it through repetition. It is possible to see all kinds of repetitions in, Ibn al-Jannān's odes. In this study, the place of the Prophet in Andalusia and odes, which are reflections of the love for him, will be examined. In addition, the concept of the Prophet in Andalusia will be explained within the political, social and cultural framework of the period. (shrink)

Deixis is the thing referred to by linguistic units outside the text or the discourse. The act of demonstrating or indicating the elements of a state through gestures or linguistic units is called deixis. Deictic is the name given to the linguistic elements such as pronouns, demonstrative nouns and adverbs which refer to the personal, spatial or temporal aspects of a speech act and which are, therefore, all directly related to the context surrounding its act of communication. Since the references (...) of the deixis expressions can only be identified within the context of actual communication, the subject is considered as a part of the pragmatics. This study aims to analyse the demonstrative nouns used in Qur’anic verses within the context of deixis and types of deixis, which are research areas of pragmatics, and to identify the types of deixis used in Qur’an. This study also aims to provide insight about how to present the references of demonstrative nouns especially in Qur’anic translations to be understood correctly by the readers. This is because the translations of Qur’an are presented in written form and the references of the deictic units are not expressed clearly in some of them. In this case, it is assumed that the reader might have difficulty understanding the meanings of the deixis such as “this, to this, these”. This study, firstly by studying deixis and types of deixis from the modern linguistics and pragmatics resources, aims to form a conceptual framework. After the first chapter, upon which the main problem of the study will be built, is completed, the demonstrative nouns are analysed in terms of their structural and referential aspects within balâg̲h̲a and tafsîr sources, classical Arabic language nahw sources being in the first place. After the obtained data is analysed, by associating the demonstrative nouns in Qur’anic verses to types of deixis, anaphora and cataphora, their references are determined. In this direction, firstly the demonstrative nouns in Qur’an will be identified and the type of deixis is tried to be explained by providing one example for each one of the demonstrative nouns in terms of their referential variety. For this purpose, this study highlights the demonstrative nouns which cannot be directly understood but only can be identified by checking the context. That is, the demonstrative nouns which take adjectives or which are adjectives themselves will not be included in the scope. The references of these nouns existing in the verses will be specifically analysed within the classical tafsîr works. This study is significant as it reveals the references of the demonstrative nouns by analysing the types of deixis in order to understand Qur’an more accurately. Though there are various studies regarding the demonstrative nouns, there are no studies found analysing the references of these nouns according to their types of deixis. With this study, it is understood that classical tafsîrs mention the deixis, types of deixis, and the references anaphora and cataphora for demonstrative nouns. As the demonstrative nouns, which are deictic elements, are used to point to all types of living and non-living creatures, they are considered as indefinite things. It is understood that for the other interpreters, the vagueness can only be eliminated by taking pragmatic factors such as the speaker, listener and the context of communication into consideration. 20 types of demonstrative nouns were used for a total of 1047 times in 89 different surahs. These demonstrative nouns are as following: “ذا، هذا، هذان، هاتين، هؤلاء، ذلك، ذانك، ذلكما، ذلكم، تلك، ذلكن، هذه، أولئك، أولئكم، أولاء، كذلك، كذلكم، هاهنا هنالك، ثم”. The fact that demonstrative nouns are used so often in Qur’an prove that these nouns are quite important in understanding the Qur’an. This study addresses the verses with demonstrative nouns in terms of types of deixis, as part of pragmatics, by referring to classical tafsîr and linguistic sources. It has been determined that demonstrative nouns in Qur’an make personal, spatial or temporal references, discourse deixis, anaphora and cataphora, however they do not perform as social deixis. It has been concluded that identifying the references of demonstrative nouns is quite important in understanding and interpreting Qur’an correctly. It is also understood that the methods to determine the references of demonstrative nouns by the sources used in the study have pragmatic characteristics. It is observed that the references of the demonstrative nouns are not presented in certain Qur’an translations. In this context, it has been concluded that stating the references of these nouns in written form for the translation of Qur’an into different languages is vital for these references to be understood correctly. It has also been concluded that it is a requirement in terms of pragmatics to take the references of the deictic elements mentioned especially in the primary sources into consideration. (shrink)

Some of the works written on the i’jaaz as an independent research field are pioneers in that they are among the firsts. Two of them belong to Hattâbî and Rummânî. In Arabic, there are many closely related words that are in a pattern with each other. Choosing the most appropriate of these words according to the addressee and context is an important criterion that determines the quality of the literature. This virtue is at the miracle level in the Quran. Hattâbî (...) and Rummâni examined the words of the Quran in terms of the literary virtue in question. Hattâbî did not stay within the framework of a particular literary art, but researched his word preferences in general and made comments about why that word was used in the Quran among other words with similar meaning. In this study, the two authors' approaches to the subject are examined. (shrink)

Some of the human needs are more important than others in order to be inevitable. One of these needs which cannot be avoided is the need for belonging to any authority. Whatever the name, religion, nation, homeland, flag etc. all these concepts are the reflections of the sense of belonging that comes with human existence. This article will discuss how Kuwaiti novelist Saud Alsanousi reflects the crisis of a child who is born from a secret relationship with a Filipino woman's (...) son who came to Kuwait as a housekeeper in Kuwait. When he returned to Kuwait, where he carried his passport and felt himself unfamiliar in the Philippines because of his physical structure and the Arabs, he was again excluded by his relatives because of his Filipino mother. The novel tries to draw attention to the socio-economic problems of workers coming from South East Asia to the Gulf countries, especially from the character of Jose, who has a nauseous mood due to the uncertainty between Philippine-Kuwait and Christian-Muslim affiliations. The introduction of foreign workers who constitute more than half of the population in the Gulf countries will be reviewed. Afterwards, a short summary of the novel will be given and the main theme of the lack of disability will be analyzed. Summary: In 1973, Syria and Egypt started a air strike against Israel in order to recover their lost territory in the previous wars and their reputation in the international area. Some Western countries -especially the United States- have shown all kinds of military aid to Israel in the face of this attack. Thanks to these aids the Syrian and Egyptian armies have not achieved their intended goals. This attitude of Western countries to Israel has attracted the reaction of other Gulf countries -especially the Saudi administration- which has a large amount of oil reserves. Gulf countries -which have not gotten a strong military option- tried to use the oil in their hands for the first time as a political trump card. These oil-exporting countries have reduced oil production in response. As a result, the economies of Western countries which were industrialized and dependent on oil have been negatively affected by this decision. In contrast, Gulf States have gained a sudden and massive fortune due to oil prices rising three or four times. The Gulf States, which have led this wealth to development in many areas like education, health, urbanism, etc. The need for qualified staff in these fields was supplied by other Arab countries such as Egypt, Syria, and Sudan. However, as the years passed oil prices decreased and so oil revenues decreased. This reduction led the Gulf States -which have only oil-based economies- to look for cheaper labor. While the foreign employment provided from the Arab countries previously later this need has begun to supply from far East Asian countries which are economically very weak. Vast number of employees emigrated to the Gulf countries to work in the labor service sector with very low wages especially from the Philippines, Indonesia, Bangladesh, and Malaysia. This segment -which has employed with very low wages- has been subjected to injustice and discrimination. The injustices faced by the Far East Asian foreign labor force deprived of social rights have been the subject of many painful stories over time. The modern novel -which aims to reflect the life and the human being with all its details- has reflected the stories of the victims of that employers. Saq al-Bamboo (Bamboo Bar) is one of these novels which has published by Kuwaiti writer Saud Alsanousi in 2012. Within a short time after the publication of the work the novel was interested in the Arab world and in 2013 he was awarded the International Arabic Novelist Prize. The novel is consisting of five chapters and each chapter is divided into three sections 1,2,3... The author conveys the crisis of unetnicity from Jose’s chracter who was born from a Filipino mother and a Kuwaiti father. A translator named Ibrahim Selâm -which is a translation of the souvenirs and diaries belonging to Jose from the Philippine language to Arabic is intended to increase the realism of the work. Josephine -who came to Kuwait to work from the Philippines- was settled in 1985 in one of the country's most reputable families. The old woman who owns the house has a son named Rasheed. Rasheed was interested in Josephine who worked as a servant in their house and he married her with a secret marriage. Because the marriage of a Kuwaiti man and a foreign woman who was working as a housekeeper in Kuwait is accepted as a great shame that will cast a shadow on the dignity and honor of the family the marriage which was concealed by the couple inside and outside of the house, which could only come together with privacy has appeared after months. Rasheed -who was expelled from the house with Josephine- has temporarily found another house. Rasheed and his wife, who thought that his mother's attitude would change as their children were born have disappointed. Rasheed after realizing that his mother would never be satisfied, finally lost his ability to resist this crisis and sent his wife back to. With this development the problem of-identity crisis of Jose’s chracter is dealt with in a multi-faceted way. Jose, who left his age with his mother from Kuwait, had suffered from familial negativities that had passed through Kuwait years later in his twenties, and “familial negativities through his return to Kuwait and depressions caused by the sense of belonging. In an interesting coincidence when he met Gassân, one of the closest friends of Jose’s father in the Philippines, he returned to his dream Paradise ’Kuwait”. The journey from Jesus who has known as “Arabo to “Jesus” started with great hope because he was born from a Kuwaiti father in his own near the Philippines and likened to Arabs alike. But perhaps more of the crisis in the Philippines is waiting for him in Kuwait. Because his father was killed during the years when the Iraqi army occupied Kuwait. Although his father's mother welcomed Jose at first, exclusionary attitude towards foreigners in Kuwait caused her to take a negative attitude towards here grandson. The work is a continuation of the tradition of novels of criticism of the Arab society that has been going on for almost a century. The fact that novel was able to make deep psychological analyzes with his comprehensible language and simple style without being ambiguous and to keep the tension alive by leaving the problems at the end of the episodes and thus to provide immersion in this way reinforced the fictional soundness of the work. The novel also presents fictional material within the Arab society for the researchers in the field of religion psychology and sociology of religion, in order to show how a non-Muslim feels amoung the Muslim society. (shrink)

There are many moral values that the Arab writers have written about either in prose or poetry. This emphasis on morality in classical Arabic literature has also been the subject of many academic studies. The abundance of the literary material in this field has attracted the attention of researchers. One of these is the emphasis on "naturalness" which we have seen in classical Arabic literature. In the Arab society which social ties are very strong the moral values have been summarized (...) with the concept of al-murūah/chivalry over time. In these sources that is including poems, parables and anecdotes about morality allthings on the moral values are brought together. Hereunder the main thing in the moral maturity is the naturality. Criticism of ostensible behaviors has taken place in an important part of these works. For example, ancient perception of morality is a predestination that comes from creation has found its response in Arabic poetry. Many Arab poets have stated that one's innate character will beat and the reason will be defeated. On the other hand, some poets tried to establish a balance between character and wisdom. Accordingly, it has been stated that people are innately inclined to falses but they also have the potential to restrain their innate evil tendencies with the ability of mind given to them. These poets liked to explain this balance through the simile stating he ambitious horse that wants to run at full speed is restrained with a bit. According to this simile the man is like a person on the back of a raging horse with the evil inclinations cultivated in his nature. The soul he carries wants to take him wherever it wishes. However, he has a mind that is like a bridle in return for the soul inside him. On the other hand, when we look at the encyclopedic sources of Arabic proverbs we see that there are proverbs comparing many moral attributes with animals. In Turkish proverbs, cunning is identified with the fox and industriousness with the ant, and in Arabic proverbs a very rich human character-animal pairings stand out. These proverbs are based on the idea that people's character is the product of nature. Because each animal species has appreciated characteristics and these features occur without learning and education. In addition, the issue of the naturalness of morality was also used for the purpose of praise and satire in the classical Arabic poets. The poet makes his reproach or anger towards someone through his character. When describing his lover he states that the beauties that adorn him come from creation. Therefore, it can be said that the emphasises of character/nature/temperament in the poems in which these and similar emotions are aroused, are the motifs that serve the purpose of the poet. Finally Arab writers have offered many recommendations in literary form on issues such as brotherhood, solidarity and cooperation for the healthy continuity of social relations in the Muslim society, and they have included anecdotes and poems within the framework of the subject. The study is mainly based on the descriptive method, however, the way the authors handled the subject is analysed when it is deemed to be appropriate. Considering that there is no specific study in Turkish and Arabic literature within the framework of the present study, it is aimed to investigate the literary material in the subject in question. (shrink)

Bu çalışma, teşbihin beyan ilmi içerisindeki yerini klasik belagat çalışmaları üzerinden araştırmayı amaçlamaktadır. Klasik kabulde beyan ilminin; teşbih, mecaz ve kinaye olmak üzere üç temel konusu bulunmakta ve söz sanatları bu konuların altında ele alınmaktadır. Beyan ilmi içerisinde mütalaa edilen söz sanatları, ekseriyetle, anlamına çıkarım yoluyla ulaşılan ifade biçimleridir. Şu var ki teşbihte anlama ulaşmak için çıkarıma gerek duyulmaz. Öte yandan teşbihin beyan ilmi içerisindeki konumuna ilişkin mevcut kabulü nakzeden ifadeler bulunmaktadır. Çalışmamız, belagat literatüründe tartışılan hakikat-mecaz ayrımının beyan ilminin konularını (...) belirleyen bir kıstas olduğunu savunmakta ve bu savı gerekçelendirmek üzere üç hususu dikkate almaktadır. Bunlar: klasik çalışmaların belagati alt dallara ayırmada esas aldığı belirleyici özellikler, teşbihi tanımlamada kullandığı parametreler ve son olarak hakikat-mecaz ayrımında kullandığı parametrelerdir. Araştırmamızın başlıca sonucu: klasik yaklaşımın teşbihi, söze kattığı güzellik ve ikna edicilik açısından özel bir ifade türü kabul ettiği ancak beyan ilminde yer alan diğer söz sanatları gibi çıkarıma dayalı anlatım biçimlerinden kabul etmediğidir. Klasik belagat literatürü, teşbihin istiarenin zeminini oluşturan bir konu olduğunu açıkça ifade ederken aynı açıklığı teşbihin doğrudan anlatım olduğunu ifade etme konusunda göstermemiştir. (shrink)

The spread of Islam to a wide geography in a short time had an effect on the activities of notification and invitation rather than military success. While Muslims invite communities that have not yet converted to Islam, on the other hand, they have taken care to keep the Muslim community alive with sermons and guidance by not neglecting their own internal reforms. They encouraged people who are well-equipped in terms of religious knowledge and inclined to oratory to bring religious love (...) and enthusiasm to the new generations, especially to the new generations. This sermon expectation of society has encouraged the growth of powerful preachers throughout history in the Islamic community. One of the factors that make the sermon effective is the reinforcement of the speech content with the literary language. Human nature, which is inclined towards beauty by nature, values the word being spoken by considering aesthetic concerns. The way to make speeches that are concise in words, deep in meaning, declaratively clear and intelligible depends on the proper use of literary arts. Literary writers try to make the most of the possibilities of literature and make their works permanent. In this study, the work al-Mudhish of Ibn al-Jawzī, who is one of the preachers who made his sermons effective by taking advantage of the rich possibilities of Arabic literature, was examined within the framework of the relationship between literature and preaching. The prominent literary elements in the work were examined in titles, striking examples were selected and critiqued. As a result, it has been revealed what Ibn al-Jawzī’s bringing together his sermon language and his literary work has brought to the sermon text. (shrink)

Some research is too risky to be conducted on anyone whose life expectancy is more than a few hours. Yet sometimes, the research can still be carried out using subjects who are brain dead or are soon to undergo a terminal wean, and who have articulated values that inclusion in the study can honor. So argues a team of ethicists and researchers at M.D. Anderson Cancer Center, where such research was recently undertaken.

Here we review and discuss the link between regeneration capacity and tumor suppression comparing mammals (embryos versus adults) with highly regenerative vertebrates. Similar to mammal embryo morphogenesis, in amphibians (essentially newts and salamanders) the reparative process relies on a precise molecular and cellular machinery capable of sensing abnormal signals and actively reprograming or eliminating them. As the embryo's evil twin, tumor also retains common functional attributes. The immune system plays a pivotal role in maintaining a physiological balance to provide surveillance (...) against tumor initiation or to support its initiation and progression. We speculate that susceptibility to cancer development in adult mammals may be determined by the loss of an advanced regenerative capability during evolution and believe that gaining mechanistic insights into how regenerative capacity linked to tumor suppression is postnatally lost in mammals might illuminate an as yet unrecognized route to cancer treatment. (shrink)

Research involving recently deceased humans that are physiologically maintained following declaration of death by neurologic criteria—or ‘research involving the recently deceased’—can fill a translational research gap while reducing harm to animals and living human subjects. It also creates new challenges for honouring the donor’s legacy, respecting the rights of donor loved ones, resource allocation and public health. As this research model gains traction, new empirical ethics questions must be answered to preserve public trust in all forms of tissue donation and (...) in the practice of medicine while respecting the legacy of the deceased and the rights of donor loved ones. This article suggests several topics for immediate investigation to understand the attitudes and experiences of researchers, clinical collaborators, donor loved ones and the public to ensure research involving the recently deceased advances ethically. (shrink)

Eski Arap şiiri, Atlâl göç edilen yurt veya sevgiliden geride kalan kalıntılar olarak adlandırılan sanatsal bir olgu ile belirginleşmiş olup Arap edebiyatı alanlarındaki yazarlar ve eleştirmenlerin ilgisini çekecek kadar çarpıcı bir şekilde yayılmıştır. Bu olgu, Batı Afrika şairleri tarafından yazılan Arap şiirlerde de bariz olmuştur. Zira Afrikalı şair, geçmişte yaşadığı değerli hatıra ve anıları hatırlatarak ağlayıp sevgilisinin atlâlleri ve onun evlerinin kalıntılarının üzerinde durmuştur. Bu itibarla çalışmam, bu bölgenin şiirinde yer alan emsal kaside mukaddimeleri, örnekler sunarak bu (...) şiirdeki özelliklerini, tezahürlerini ve anlamlarını öğrenmeyi amaçlamaktadır. Aynı şekilde bölge şairlerinin ilkel tanıtımlarına yansıyan duygusal deneyimlerinde özetledikleri psikolojik ve sosyal nedenlerin açıklamaya hedeflemektedir. Bu araştırmanın önemi, Batı Afrika edebiyatçılarını tanımaya yardımcı olan çalışmalardan biri olması, Arap dili ve ilimlerine, özellikle şiir sanatına ne ölçüde ilgili olduklarını göstermektedir. Bununla birlikte, klasik Arapça şiir yazma becerilerini ve kabiliyetlerini de ortaya koymaktadır. Araştırmanın sınırlarına gelince, mekânsal olarak Batı Afrika bölgesiyle (Mali, Gine, Senegal, Nijerya, Gambiya) ve zamansal olarak ise on dokuzuncu yüzyılın şairleriyle sınırlıdır. Araştırmada Batı Afrika Arap şiirindeki atlâl konusuyla ilgili kasideleri toplamak, önemini ve özelliklerini açıklayıp tahlil etmek için betimsel analitik yöntemini kullanıldı. Yapılan bu araştırma sonucunda bir takım bilimsel sonuçlara ve bulgulara ulaşılmıştır. Bunların en önemlileri ve öne çıkanları şu şekilde sıralayabiliriz: Afrika Arap şiirinden seçmiş olduğumuz şiir örneklerinin değerlendirilmesi sonucunda, Batı Afrika Arap şiirleri, klasik edebiyatında bilinen “قفوا ”, “عوجوا”, “ لمن الظعن” ve “ لمن الطلول” gibi geleneksel atlâl şiir kalıplarını içerdiği de tespit edilmiştir. Batı Afrika şairlerinin klasik Arap kasidesinin girizgâhı ve usule bağlı kalmalarının yanı sıra, bazıları onun yerine konunun özüne girmeden önce besmele ile, Allah'ı övme ve peygamberimize salavat getirme gibi dini nitelikli kalıpları kullanmak suretiyle kasidelerinin girizgâhını oluşturduklarını saplanmıştır. Batı Afrika şairleri, sevgilinin terk ettiği diyardaki kalıntılar üzerinde durmak yerine; kültürlerine uygun türbe ve deniz gibi yerleri üzerinde durmayı tercih etmişlerdir. Ayrıca Câhiliye dönemindeki şiirinde geçen Suad, Hind, Mayya, Leyla vb. gibi isimleri de bırakarak yerlerine; Zeynep, Meryem ve Havva gibi kendi sosyal çevrelerinde öne çıkan bayan isimlerini kullanmayı uygun görmüşlerdir. Böylece şiirlerinde bu anlamda yenilikler yaşandığı söylemek mümkündür. el-Âmidî gibi Edebiyat eleştirmenlerin bahsettiği mukaddime talaliyye’nin farklı anlamları, sevgilinin terk ettiği diyardaki kalıntılar üzerinde durmak, hakkında soru sormak, sevgilinin adı, oturduğu diyarı ve onu çevreleyen yerler, şairin durduğu vakti, terkedilen yeri hayvanalar, yağmur ve rüzgâr tarafından tahrip edilmesi, şair terkedilen eve hitap edip onunla konuşmak ve ona soru sorup sorguya çekmek, ona selam vermek ve dua etmek ve benzer anlamlar Batı Afrika şairlerinin Atlâl şiirlerinde de bulunmaktadır. Bahsi geçen bu mukaddimeler beyit sayısı bakımından farklılık gösterebileceği, ancak bu beyitler genellikle az sayıda olduğu bu çalışmadan anlaşılmaktadır. Şairler, amaçlarına ulaşmak için bu mukaddimeler vazgeçilmez bir giriş olarak görmektedirler. Ayrıca, atlâl şiiri söyleyen bölge şairleri durumu yaşadıklarını ya da sevdikleri tarafından terk edilmeleri şart değil, ancak atlâl şiiri birçok şair arasında kabul görmüş bir sanat geleneğidir. Bu çalışma aracılığıyla Batı Afrika Arap şiirindeki mukaddime talaliye, şairlerin yaratıcılık ihtiyacına bir yanıt ve onların şiirsel yeteneklerini geliştirmek için bir gerekçe temsil ettiği da açıkça görülmektedir. Son olarak mukaddime talaliye şairlerin şiirsel malzemeleri için gerekli bir sanatsal üslubu olduğunu da söylenebilir. (shrink)

17. yy. da Osmanlıların bir eyaleti olan Trablusgarb’da doğup büyüyen Ahmed b. Huseyn el-Behlûl, Mısır’ın önemli ilim adamlarından eğitim almış sonra memleketine dönmüştür. Osmanlı dönemi şairi Ahmed el-Behlûl, şairlik yönünün yanı sıra Akâid sahasında Durretu’l-‘Akâi’d, Fıkıh sahasında el-Mu‘ayyene ve el-‘Izziyye ve Arap Dili ve Edebiyatı sahasında el-Makâmetu’l-Vitriyye gibi eserleri telif ederek çeşitli sahalarla ilgilenmiş bir âlimdir. Behlûl, ed-Durru’l-Asfâ ve’z-Zebercedu’l-Musaffâ fî Medhi’l-Mustafâ ismiyle meşhur divânını tamamıyla Hz. Muhammed’i medhe tahsis etmiştir. Başta Libya olmak üzere Kuzey Afrika’da meşhur olan Divan, Kâdî (...) ‘İyâz’ın el-‘Iyâdiyye isimli manzumesine yazılmış bir tahmis olup Arap alfabesinin 29 harfinin her biriyle başlayıp beşlemelerin sonlarını da yine aynı harfle bitirdiği 29 kasideden oluşur. Şair, divanında Hz. Peygamber’in doğumu, nesebi, güzel ahlakı ve şemâili, mucizeleri, şirkin onunla ortadan kalktığı, şefaati, peygamberler arasındaki üstünlüğü, yaşadığı kutsal mekânlar, O’na duyulan özlem, O’na, Ehli Beytine ve Ashabına salavât getirmenin önemi, O’nun günah ve hatadan kurtarıcı olması ve ümmeti olmanın ayrıcalığı konularına değinmiştir. (shrink)

The purpose of this article is to examine the concept of ummu'l-bâb and its philosophy in Arabic grammar. The study consists of titles such as conceptual framework, ummu'l-bâb in Arabic grammar and its philosophy, words considered ummu’l-bâb and their properties. Although the concept of Ummu'l-bâb is one of the noteworthy concepts in Arabic grammar, it is a concept that has not been studied much, it is a concept that is mostly used in classical works. This concept refers to the words (...) that meet at a common denominator with their peers under the same roof and mold at some basic points and differ from them with some specific features. Especially, the main characteristics of them are that they are widely used in Arabic and that their usage areas are wider and more inclusive than similar ones. Have some features that are not found in words similar to them, and that they have the most important element and central position in their own mold constitute the logic of their being called ummu'l-bâb. (shrink)

Anlatımda yoğunluk, özne ile yüklem arasına bir takım unsurların ek-lenmesiyle başlar. Yüklemin anlamı çeşitli açılardan bütünlenir, belirgin kılı-nır ya da pekiştirilir. Bunun için sözcüklere ya da sözcelere başvurulur. Türkçe cümlede, yüklemcil öğeyi çeşitli açılardan tamamlama görevi üstlenmiş cümle öğesi olarak tarif edilen tümleç, eylemin gösterdiği iş, oluş vb.’lerini tamamlama işlevi nedeniyle böyle adlandırılmıştır. Arapçada cümledeki bütün öğeleri içeren iki temel kavram vardır: ıtlâk ve takyîd. Itlak kavramı, özne ve yüklemi ifâde eden temel öğelerdir. Takyîd ise, cümlenin müsned ve müsnedün ileyh (...) ile tamamlanmayıp mefuller, tâbiler, fasl zamiri, nevâsıh, şart edatları, nefy edatları, hâl ve temyiz gibi diğer öğelere de duruma göre ihtiyaç duymasıdır. Türkçe cümlede tümlece karşılık olarak geldiği düşünülen meful çeşitlerini ve karşılıklarının incelendiği makalede mef‘ûlu bih, mef‘ûlu mutlak, mef‘ûlu lieclih, mef‘ûlu me‘ah, mef‘ûlu fih olmak üzere beş meful çeşidi ele alınmıştır. Arapça cümledeki mef‘ûlu bihe karşılık olarak Türkçe cümlede nesne ve düz tümleç, Arapça cümledeki mef‘ûlu mutlaka karşılık olarak Türkçe cümlede kökteş tümleç, Arapça cümledeki mef‘ûlu lieclihe karşılık olarak Türkçe cümlede sebep tümleci, Arapça cümledeki mef‘ûlu me‘aha karşılık olarak Türkçe cümlede beraberlik tümleci, Arapça cümledeki mef‘ûlu fihe karşılık olarak Türkçe cümlede zarf tümlecinin bulunduğu ifade edilebilir. (shrink)

It is known that the text of the Qur'an is artistic prose that has reached an unprecedented level in terms of its unique style, superiority, and robustness. Likewise, it can be said for hadith texts reach the peak of eloquence and beauty. Scholars have paid attention to the Qur'an and Hadith texts for centuries in their scientific studies. There are also poets among those who care. Inspired by both texts, they tried to use their style in their odes and literary (...) products through quotation, reference, compensation, and similar arts. From this point of view, our research aims to examine the phenomenon of religious intertextuality in African Arabic poetry -on the condition that the study is limited to the West African region- and to explain its places. In addition to learning to what extent the African poet was influenced by the style, language structure, and methods of the Qur'an and hadith texts, it also explores the relationship adopted between his literary references. What gives this study important is that it attempts to apply one of the modern critical theories to Arabic poetry from West Africa, which many researchers do not know about. This research will prove the rooting of the art of Arabic poetry in West Africa through its intertextuality with the ancient Arab heritage, as well as the validity of its use as a scientific material for contemporary theories. During the research, it was determined that various religious intertextuality was used in the poems of African poets. The poets did not adhere to a certain form in their poems, on the contrary, they used different methods at every stage of their poems. This revealed their culture and knowledge of Arabic literature and poets and showed the extent of their devotion to the Qur'an and Sunnah. Likewise, by referring to historical events and religious people with a religious dimension, they revealed creativity in their poems. For this reason, they were able to paint the most beautiful artistic paintings, which impressed both the reader and the listener. (shrink)