When comparing both GDP loss and mortality across countries, it appears that countries that have managed to save more lives during the Covid-19 pandemic have also managed to save their economies better. What accounts for these stark differences in country performances? In this article, we argue that a salient feature of economic and health performance is the degree of trust populations have in their governments. We set up a heuristic analytical framework that models this relation, under particular assumptions about what (...) drives government and individual behavior, in order to better understand the mechanisms that may be at work. We identify three key roles that trust in government may play in enforcing social distancing policies, conveying credible information for individual decision-making, and shaping government attitudes towards risk. We argue that these implications are consistent with the empirical evidence. We also discuss the relevance of other forms of trust, namely, interpersonal trust and trust in science. (shrink)

continent. 2.2 (2012): 148–151 When things get complex, as they may indeed be getting, the distinction between tools and the things that can be made with them begins to dissolve. The medium is not only also a message, it is an essential counter-valence to our own impulses towards the creation of meaning, beauty and knowledge. The tools we think we are using also use us: They push us around, make us think new things, do new things, even be new things. (...) Language is no different, of course, although in its supremacy and ubiquity, it is even more elusive, difficult to perceive. The very words you are looking at right now are like compact little cryptograms—a written convention, talking back at you in codes. Poetry is language speaking for itself. It is, at its best, where what is being told is coincident with the telling. The words written, or uttered, pop out at us, while in the same moment, constellations of meaning emerge; the components and its composition resonate, vacillate, on the page and in the air. Many of the constraints and styles of poetry we know have developed in order to allow words to express themselves, or show themselves as the mediation of a mental image. Programming languages for computer hardware, no matter how “high level” or abstract they are, are by necessity far less elaborate than traditional forms of writing and speech. But the structure and function of these new languages give them special advantage in clarity: These languages (syntax, sequence) and the results they produce (ideas, ‘executables’) are absolutely inseparable. By design, computing languages are created in order to express specific ideas, creating certain kinds of action or manipulation of other codes (data). In this sense perhaps, software is always, and already, poetic. It is precise description, and pure syntax—the signifier and signified—clearly coincident in the machine. Ishac Bertran ’s code {poems} is an edited book project that exposes the materiality of computer programming languages. Here are presented a small sampling from a compiled book of poetry written by software engineers, artists and other code writers, “exploring the potential of code to communicate at the level of poetry.” ( code-poems.com ) The project solicited for online, public submissions from code-writers in response to the notion of a poem, written in a software language which is semantically valid (i.e.: it compiles ). This solicitation winds up revealing the inner workings, constitutive elements, and styles of both a particular software and its authors. From a large number of submissions, a selection of poems will be printed as a bound volume in the Autumn of 2012. - Jamie Allen __________________________________________________ DAILYGRIND import java.util.Date; public class DailyGrind { public static final void main(String[] args) { boolean its_time_to_go_home = false; boolean away_the_hours = true; while (away_the_hours) { boolean away_the_hours = true; Date now = new Date(); its_time_to_go_home = now.getHours() > 17 && now.getMinutes() > 30; if (its_time_to_go_home) { break; } try { Thread.sleep(60000); } catch (InterruptedException e) { // ignore } } } } Paul Illingworth // Java __________________________________________________ UNHANDLED LOVE class love {}; void main() { throw love(); } Daniel Bezerra // C++ __________________________________________________ TWOFACED public class TwoFaced { public String greet() { return "Hi! So great to see you!"; } private String think() { return "Fucking bitch."; } } Jason Kopylec // Java __________________________________________________ DANCING WITHIN using System; public class PoemCode { private bool dancing_within() { Boolean me = true; while (dancing_within()) { var iables_of_light = ""; try { int elligently_to; object ify_the_world_apart; } catch (Exception s) { int o_the_broken_parts; throw; int o_the_seed_of_life; } Random ashes_of = new Random(); float ing_devices; short age_of; char acter_will_never_let_you = 'b'; } return me; } } Álvaro Matías Wong Díaz // C#  . (shrink)

The US neutrino community gathered at the Workshop on the Intermediate Neutrino Program at Brookhaven National Laboratory February 4-6, 2015 to explore opportunities in neutrino physics over the next five to ten years. Scientists from particle, astroparticle and nuclear physics participated in the workshop. The workshop examined promising opportunities for neutrino physics in the intermediate term, including possible new small to mid-scale experiments, US contributions to large experiments, upgrades to existing experiments, R&D plans and theory. The workshop was organized into (...) two sets of parallel working group sessions, divided by physics topics and technology. Physics working groups covered topics on Sterile Neutrinos, Neutrino Mixing, Neutrino Interactions, Neutrino Properties and Astrophysical Neutrinos. Technology sessions were organized into Theory, Short-Baseline Accelerator Neutrinos, Reactor Neutrinos, Detector R&D and Source, Cyclotron and Meson Decay at Rest sessions.This report summarizes discussion and conclusions from the workshop. (shrink)

The tradition of Lughz and muʿammā in Arab poetry has an important place. Ibn al-Fāriḍ (d. 632/1235) is a divine love poet that lived in the Ayyubids period. He is an important point in the process of change and transformation of Arabic poetry language. This research aims to carry out a theoretical and anecdotal examination of the Lughzes in Ibn al-Fāriḍ’s Dīwān. The work explains, firstly, the concept of Lughz in terms of conceptual content and theoretical structure and summarizes its (...) own method to be applied in solving and evaluating Lughzes in ten articles. The paper indicates whether the Lughzes in Dīwānhave a theoretical structure or not. In this context, it distinguishes the Lughzes from the number of layers, simple and compound structure maintenance. It examines the theoretical and functional contributions of the tahsīl, takmīl, tashīland tazyīlmethods, the stages of the establishment and the solution of the Lughzes.Abstract: Abū Hafs Sharafuddīn Omar b. Ali al-Hamavī al-Mısrī (d. 632/1235) known as the king of lovers, and called Ibn al-Fārid, is a divine love poet that lived in Egypt during the Ayyubids period (1171-1462). He is an important figure in the process of change and transformation of poetry language in Arabic literature. The lughz and muʿammā (enigma, enigmetic speech, allusion, inversion riddle, poetry puzzle, synecdoche and metaphoric language) means a word pointing to a name or something by symbol and sign. Numerous books have been written about lughzes. These include Arabic poetry, Persian poetry, Classical Turkish poetry, Arabic grammar, Islamic law, hadith, mathematics and inheritance law. The lughz and muʿammā have some linguistic features related to phonetics, statistical linguistics, morphology, lexicology, grammar, syntax, semantics and prosody. This tradition has an important place in Arabic poetry. The research aims to carry out a theoretical and anecdotal examination of the lughzes and muʿammās in Ibn al-Fārız’s Dīwān. The paper explains, firstly, the concept of lughz in terms of conceptual content and theoretical structure. The article summarizes its own method to be applied in analyzing and evaluating lughzes within ten items. The research examines the series of lughzes in Dīwānand divides them into parts according to the original question in the riddles. This work examines the secondary lughzes given in the details of poems in solution parts. The paper indicates whether the lughzes in Dīwānhave a theoretical structure or not. In this context, the research examines lughzes in terms of language and structure, especially in terms of the processes of establishment and solution. This paper categorizes the lughzes according to the number of layers and to whether they have a simple or compound structure. This paper examines the theoretical and functional contributions of the amal al-tahsīlī, amal al-takmīlī, amal al-tashīlī and amal al-tazyīlī methods in the stages of the establishment and the solution of the lughzes. The work applies the theoretical perspectives of these methods to each lughz. The research also examines the contribution of these four methods to the lughzes.There are many lughzes in Ibn al-Fārid’s poems. In Ibn al-Fārid’s Dīwān, in general, fifty-four things are asked. Fifty-one of them are words. Three of them are verbs. One of the verbs is in the order structure and two in the past tense. His lughzes have a theoretical and methodical structure. In terms of organizational structure, lughzes are generally multi-layered, intricate, compound and integrated. Composite lughzes are multi-layered, simple poems are single-layered. Approximately twenty words are asked in the lughzes. These words are always in the first layer of lughz, whether simple or compound. Thirty-seven words in the lughz are secondary lughz with an auxiliary and complementary nature. They are located between the second and sixth layers. Seventeen of the lughzes asked in the auxiliary nature are located in the second layer, thirteen in the third layer, five in the fourth layer, one in the fifth layer and one in the sixth layer. One of the lughzes is six-layered, one of them are five-layered, four of them are four-layered, eight are three-layered, four are double-layered and three are single-layered. According to this, the majority of lughzes in Ibn al-Fārid’s poems are in the unified form and multilayered.The lughzes are formed in terms of word, composition, phrase, grammar and meaning levels. The lughzes have both lexical and semantic characteristics. Ibn al-Fārid uses the configuration (amal al-tahsīlī), completion (amal al-takmīlī), facilitation (amal al-tashīlī) and addition (amal al-tazyīlī) methods to design the lughzes. The structure in the lughzes is shaped by these methods. The words in his lughzes constitute eleven categories, consisting of names, acts and noun verbs. The answers of the questions asked in the poems consist in general of prophet names, surah names, tribal names, administrator’s surnames, letters, cities, animals, food and drink names, attributes and actions. Verbs are in the past time or order form. Some of the lughzes in Ibn al-Fārid’s poems are built in an extraordinary style beyond being interesting. Not all the sentences used in couplets are part of the lughzes. These elements are mentioned in order to complete the lughzes in terms of rhythm and meaning. To be able to solve the lughzes of Ibn al-Fārid, one must be knowledgeable about the language and narrative features of Arabic and Islamic culture, as well as subjects such as the Quran, Sufism, abjad calculation, mathematics, geometry, geography, biology, botany and zoology. His poems contributes to the development and transformation of Arabic poetry. (shrink)

Studies on the contributions made to the Arabic language and literature during the Ottoman period generally focused on the Arabic language grammar and rhetoric education given by the Ottomans in the madrasahs. However, it is seen that Ottoman scholars also produced some works in the field of Arabic poetry. In the mentioned period, the studies in the field of Arabic poetry and literature have been increasing in recent years. In this study, a poet, a recitation scholar and an Ottoman Pasha, (...) Köprülü Abdullah Pasha, who was a member of the Köprülü family, who made his mark on the Ottoman administration and served both the science and the state, and who wrote an Arabic divan, and the content of his poetry divan were examined. The poet's divan is in manuscript form in various libraries. There is no study on Abdullah Pasha's poetry and his manuscript. Due to Abdullah Pasha's family, he received a good education, served in the geographies where the Arabs lived, especially when he was the governor in Egypt, he benefited from the al-Azhar scholars and wrote poems about the subjects discussed in classical Arabic literature. It is thought that such studies will also contribute to the studies against the claims that Arabic collapsed during the Ottoman period. (shrink)

Basado enteramente en pruebas internas, este estudio se propone mostrar que el manuscrito único del Dīwān de Ibn Quzmān, publicado en edición facsímil por David de Gunzburg en 1896, es una copia dictada. Se indica también que el copista, a quien con frecuencia se ha culpado de introducir en el texto popular andaluz correcciones o clasicismos, no estaba bien equipado para desempeñar tal papel. Si bien era un calígrafo de primera categoría, se aducen pruebas de que su conocimiento del árabe (...) no estaba a la altura de la calidad de su caligrafía. El estudio muestra que él fue el responsable de una amplia gama de problemas textuales que ha dejado perplejos a sucesivos editores del Dīwān. En marcado contraste, se muestra que Ibn Quzmān poseía un dominio magistral de la lengua árabe y de las tradiciones-árabes clásicas. Al parecer también había adquirido un alto grado de 'aculturación' en la lengua romance. Además de ofrecer las pruebas en que se basan estos asertos, el estudio constituye un ejemplo ilustrativo de cómo estas pruebas pueden ayudar a una mejor lectura e interpretación del Dīwān de Ibn Quzmān. (shrink)

[fr] La présente étude a pour but de contribuer, par l´examen des textes du dīwān du plus ancien poète populaire mauritanien connu, Saddūm Wuld Nd̆aṛtu, à identifier le vocabulaire ancien et à en expliquer la signification. Nous interrogeons ce dīwān en tant qu´ unique témoin conservé de l´époque de l´auteur (18ème siècle) pour qu´il nous aide à identifier dans ses poèmes les mots anciens qui sont depuis longtemps tombés en désuétude et sont aujourd´hui considérés comme des archaïsmes, des termes étranges (...) ou peu familiers à la plupart des locuteurs ou à tous. L´étude comprend, d´une part une description du contexte historique dans lequel vivait le poète et, d´autre part, une brève présentation du contenu du dīwān, avant d´aborder le sujet principal, à savoir le vocabulaire ancien du ḥassāniyya contenu dans l´ouvrage. Quant aux caractéristiques communes de ce vocabulaire, il convient de noter l´abondance de termes issus du champ lexical de la guerre (batailles, armes, chevaux, etc.). (shrink)

al-Zuhd, one of the most prominent themes in the Arab poetry in the Abbasid period, came to the summit by the poets like Abū l-ʻAtāhiyya and Abū Nuwās. Another important poem known with his poems on al-Zuhd is Mahmud al-Warraq. Warrak, after a youth life in pleasure, understood the s of life and apply himself to poetry on zuhd. Warrak produced a number of different works in verse form. He was distinguished by the sincerity in his statements and the simple (...) language he used. He had thought that he was deceived by worldly gifts and pleasures in his youth and thus tried in his poems to guide young people with a sense of responsibility not to fall in same mistakes. This paper will examine Warraq emphasis on “youth un in his Diwan. Poems will be discussed in the context of the nature and the fate of youth. In the introduction, the development of poetry tradition on al-zuhd in the period of Umayyads and Abbasids will be mentioned briefly. Afterwards, poems About youth in his diwan will be researched. (shrink)

One of the most important poets of the Almoravid period, al-Tutili wrote poems on many subjects such as praise, elegy, depiction of nature, love and wine. In his poems, it can be stated that the poet, who is seen to have deficiencies in terms of description and imagination due to the effect of his blindness, is at a culturally advanced level. In addition to his poems in the classical ode form, the poet also praised many muwashshahs. al-Tutili is one of (...) the few most important poets in the field of muwashshahs, originating from Andalusia and being a genre different from the classical ode form. These poems of the poet, who have many muwashshahs in his divan, will also be examined, and the differences between muwashshahs and odes will be mentioned. The fact that muwashshah poems were basically based on entertainment caused their content to differ. In this study, biography of the poet will be given as far as it is included in classical and modern sources, and his view of life, his character and literary tendency will be tried to be determined through his poems. For this reason, almost all the poems in his diwan have been reviewed.The place of poet who was also known as al-Maarri of Andalusia and not studied in Tur-key in detail in Andalusian poetry tradition will be determined. (shrink)

Two contrasting approaches to the genesis of the Luzūmiyya rhymed in Ṭasmu serve as entry points into Abū l-ʿAlāʾ al-Maʿarrī’s double-rhymed diwan, Luzūm mā lā yalzam. The first takes the seventh/thirteenth-century litterateur Ibn al-Qifṭī’s account of the Umayyad caliph al-Walīd’s Mosque of Damascus excavations, which was read before al-Maʿarrī, as the inspiration for the poem. This reading elicits the metaphorical connection, through the ubi sunt topos of the Arabic nasīb, between the extinct Arab tribe Ṭasm and the long-lost civilization (...) unearthed in Damascus, and, further, the high irony with which the poem predicts the ineluctable annihilation of Islam itself. The second reading interprets the poem as the product of the extreme double-rhyme strictures al-Maʿarrī has imposed on himself—here the rhyme in -smu. The use of Ṭasm/ṭasm inexorably drives the poem from the lore of tribal extermination to the lexical and motival world of the nasīb. (shrink)

El poeta andalusí Ibrāhīm ibn Sahl (609/1212-649/1251), que se convirtió del judaísmo al islam, escribió poemas pertenecientes al subgénero de la poesía amorosa conocida como al-ġazal al-ʿuḏrī sobre los amados Moisés, y con menor frecuencia Mahoma. Las investigaciones sobre Ibn Sahl se han centrado, tradicionalmente, en la cuestión acerca de si la conversión histórica al islam fue sincera o si sus poemas sobre Moisés reflejan un anhelo oculto por el judaísmo. Este artículo problematiza esta cuestión, prestando atención a lo que (...) se sabe de las circunstancias históricas en las que vivió Ibn Sahl y por medio de una discusión crítica del fenómeno de la conversión. Luego redirijo la conversación sobre la poesía de Ibn Sahl: en lugar de tratar de comprender la sinceridad de la conversión de Ibn Sahl a través de su poesía este artículo lee sus poemas como textos literarios, con atención a sus juegos de palabras, imágenes e intertextualidad. El análisis de la poesía de Ibn Sahl, que presta mucha atención a esta significativa intertextualidad, ilumina la red de referencias religiosas que hay en ella y las formas en las que funcionan dentro de la poesía. La conclusión, tras la lectura atenta de poemas seleccionados del dīwān de Ibn Sahl, es que el mérito de estos poemas y las características que los han hecho atractivos para el público proceden de las formas en que mantienen la posibilidad de diferentes interpretaciones, por lo que continuamente avivan la curiosidad del público, así como su uso, que induce a los portentos del lenguaje figurativo, la intertextualidad y los juegos de palabras. (shrink)

En este artículo se inquiere acerca de las razones que llevaron a Ḥ. Naṣṣār, en su edición del dīwān de Ŷamīl b. Ma‛mar al-‛Uḏrī, a unir en un solo poema lo que en las fuentes árabes se presentaba como dos poemas independientes, aunque con el mismo verso inicial. Sin embargo, esa coincidencia se explica fácilmente si se tienen en cuenta las técnicas de composición oral, con su uso de fórmulas y expresiones formulaicas, que se detectan en la poesía árabe antigua, (...) modo de composición que siguió vigente a lo largo de casi todo el período omeya, mientras no se generalizó el uso de la escritura. (shrink)

Anatolia is a very colorful geography in terms of history and culture, which has hosted many civilizations. He also has a very rich accumulation in terms of religion and Sufism. With the spread of Islam in Anatolia, the dervish lodges, which added a different color to social life besides mosques and madrasas, left permanent traces in the fields of art and literatüre as well as morality and spirituality with the efforts of mytics. Diwans, especially written in the field of Sufi (...) literatüre, are the most obvious fruits of this effort. Turkish and Kurdish Diwans were added to the Sufi Divans, which were generally written in Persian and Arabic. In the first quarter of the twentieth century, Sheikh Mustafa al-Abrî, who was a sheikh in the Sayyid Ayn al-Malak Lodge in Abri willage of Bulanık district of Muş, is one of the mystics who wrote Diwan in Kurdish. Sayyid Mustafa al-Abrî, who is the Qadirî sheikh, included important social and political events of his time and some influential personalities in his Diwan, besides mystical themes. In this article, his life and his Kurdish Diwan, will be examined. (shrink)

Los soberanos de la dinastía Naṣrí de Granada se intitulan sultanes o Amīr al-Muslimīn en su abundante correspondencia exterior con otros príncipes musulmanes o cristianos. Sin embargo, a partir de la segunda dinastía, comienzan a utilizar también el título califal aunque parece que de forma privada, dentro del entorno familiar o el cortesano, tal como prueban determinados documentos emanados del Dīwān al-Inšā’ naṣrí. El califato ostentado por los Naṣríes no es el mismo que el de los Omeyas o los Almohades (...) que llevaba emparejado el título de Amīr al-Mu’minīn y Jalīfat Rasūl Allāh, sino que lo acompañan del título de Jalīfat al-Raḥmān o Jalīfat Allāh, como otros soberanos musulmanes de la baja Edad Media. Su legitimidad está basada en una genealogía que les hace entroncar con los Jazārŷ, es decir con los Anṣār de Sa‘d b. ‘Ubāda, que pretendió proclamarse Califa a la muerte de Muḥammad. (shrink)

Suyolcu-zāde Nahrī Aḥmad (d.1182/1768-1769) was an important sûfî poet being a member of Ismā‘īl Rūmī branch, the sect of Qādiriyya. He carried out the duty of spiritual and ethical guidance at Qādiriyya Lodge in Tekirdağ. Besides his sûfî character, he was a poet having an extensive knowledge about the theoretical and aesthetical bases of Dīwān literature. The only original copy of Nahrī’s Dīwānçe including his poems registered in the Vatican Library, Turkish Manuscripts, nr. 235. There are forty-five Turkish, twelve Arabic (...) and three Persian poems by Nahrī in this copy. The goal of this article is to present the formal and contextual features of Nahrī’s poems in Dīwānçe in the light of the analysis on some poems that we chose. Any study was not found about the poet’s life and poems in the literature review we made. In this study, poems are classified according to the verse form and the language, and the number of couplets, type of prosody, form, style and content of the chosen poems are evaluated accordingly. This study has importance in terms of providing insight about the Religious-Sûfîstic belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī and inform the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century.Summary: Suyolcu-zâde Nahrī Aḥmad (d.1182/1768-1769) was a member of Qādiriyya Dervish Convent in Tekirdag where he was born. He became the head sheikh of this convent following his father Sheikh Muḥammad Efendi and worked for the convent in several ways. Nahrī Aḥmad moved back to his hometown in 1182/1768-1769 after completing his Hajj duty and died soon after that. Nahrī had two works according to Osmanlı Müellifleri (Ottoman Authors) and it is stated that the first one of these two works is about “unity of existence”. It should be mentioned that we haven’t found a copy of this work yet. The other work of Nahrī is his Dīwānçe, which includes his poems. The only copy of this significant work is registered in Vatican Library, Turkish Manuscripts, nr. 235. In this study, we had the chance to determine a third work of Nahrī which has never been mentioned in the related literature. This third work that we determined is based on the information in an Arabic poem on the page 21a of the poet’s Dīwānçe. This book that we determined is an interpretation book completed in 1166/1752-53 but Nahrī Aḥmad didn’t mention the name of the work. Nahrī Aḥmad was a spiritual guide and sufi, and he was assigned to the duty of showing the true path in dervish lodge following his madrassa education, learning Qādiriyya lodge’s morals and methods and completing his “spiritual journey”. Besides these, he was a significant poet who could write poems in Arabic, Persian and Turkish languages and he was literary competent who knew the theoretical and aesthetic rules of Dīwān literature and used these features professionally in his works. When Nahrī’s poems are analyzed, it can be seen that he adopted the understanding of existence, knowledge and belief based on Islamic Sufism. Besides, it can be seen that he internalized the significant Religious-Sufi Turkish literature figures including especially Yūnus Emre.In the copy of his Dīwānçe, registered in Vatican Library, there are forty-five Turkish, twelve Arabic and three Persian poems. There are two other poems that weren’t written by Nahrī in the same work. These poems were written by a poet with penname of ‘Ᾱrif in the period when Nahrī’s son Muḥammad Muṣlih al-Dīn was the head sheikh in the same Dervish convent. These historical poems are significant as they describe the re-building of ruined Tekirdag Qādiriyya convent after Nahrī’s period. The goal of this article is to present the formal and contextual features of poems in Nahrī’s Dīwānçe on the basis of chosen poems. As far as we could determine, there is no other study on Nahrī’s works. Nahrī’s Dīwānçe wasn’t a kind of rearranged work of collected poems. Therefore, we classified the poems in terms of the form and language and evaluated the number of couplets, aruz prosody, shape, type and content. Poems of Nahrī in Dīwānçe in terms of verse style are: Four Turkish, three Arabic, one Persian ode, one Turkish compounded stanza, seventeen Turkish, nine Arabic and one Persian major stanza, three Turkish five-line stanzas, two Turkish pentastichs, eighteen Turkish and one Persian lyric.Nahrī Aḥmad wrote five-line stanzas for three of Niyāzī-i Miṣrī’s lyrics and one of Bāqī’s lyrics. He wrote parallel poems about one pentastich, one lyric and one other poem written in a specific style of blank verse of Niyāzī-i Miṣrī. Besides, there is also an original poem that is quite unique in the work. Nahrī wrote five couplets before each verse in Niyāzī-i Miṣrī’s ode which resulted in the creation of a common ode. Poems in Dīwānçe are contextually religious-Sufi based. ‘Abd al-Qādir al-Jīlānī, Ismā‘īl Rūmī who was the founder of the order of Rūmiyya branch and other sheikhs of Qādiriyya dervish order are the main names mentioned in the poems. One other significant point in Nahrī’s poems is that he had a deep love and respect for Niyāzī-i Miṣrī. There are praises, quintets and parallel poems about Miṣrī in Dīwānçe which shows Niyāzī-i Miṣrī’s effect on his work. This effect is so great that it covered not only the content but also there are the signs of the effect in terms of metaphoric language, words and verses. It can be said that ‘Abd al-Qādir al-Jīlānī and Niyāzī-i Miṣrī, a member of Khalwatī order, were two significant names that surrounded the mental world of Nahrī, located in the texture of his poems and gave characteristic features to his works. There is a great number of historical poems in Nahrī’s Dīwānçe. He wrote twenty-six historical verses about various historical issues such as birth and death, construction of mosque, dervish monastery, zawiya, pavilion, repairing of mansion, renovation of dervish convent, enthronement of Sultan and appointment of Grand Vizier. Also, there are some other important parts in Nahrī’s Dīwānçe such as invocation, praise and self-adulation.Although there are not many poems in the previously mentioned copy in Vatican Library, there are various names mentioned in these poems. When these poems are analyzed, it can be seen that there are the names of some prophets, some companions of Prophet Muḥammad such as ‘Alī, Ja‘far al-Sādiq, some Persian legendary characters such as Afrāsiyāb, Rustem and Anūshirwān, some Sufi names such as Manṣūr al-Hallaj, Jalāl al-Dīn Rūmī, Shams al-Dīn of Tabrīz, Ḥācī Bektash Velī, Ibn al-‘Arabī and Bāyazīd al-Bisṭāmī, philosopher Galen and famous love heroes Laylā and Majnūn. That is to say, the poet has a rich world of references. On the other hand, there are the names of some works mentioned in Dīwānçe. Epistle of Niyāzī-i Miṣrī named Devre-i ‘Arshiyya, and Ibn al-‘Arabī’s al-Futūhāt al-Makkiyya are the other names mentioned in the work. Name of the places included in Nahrī’s poems are: Aden, Aqmescit, Baghdad, Baghcesaray, Baṭḥā, Balkh, Dimashq, Ḥijāz, Iraq, Iran, Cairo, Ken‘ān, Karbalā, Qılburun, Crimea, Kirmān, Egypt, Nemce, Rūm, Sanaa, Shām, Yemen. This study has importance in terms of providing insight about the religious-sûfî belief in the region and period of Nahrī Aḥmad who was a sûfî poet and a member of Qādiriyya sect. In addition, the study gives information about many important influencers of the period, particularly Niyāzī-i Miṣrī. Moreover, it informs the readers about these influencers’ and sûfîs’ effects on Nahrī’s poems and ideas. The study also makes contribution to determining literary-sûfistic terminology of 18th century. (shrink)

The philosophy of Sir Muhammad Iqbal affords a notable case in point. In the world of modern Muslim thought he stands alone. His Reconstruction of Religious Thought in Islam aspires to a place akin to that occupied by Al Ghazzali's Revivification of the Religious Sciences. His philosophical poetry is regarded by many Muslim scholars as a worthy postscript to the Diwan and Mathnavi of Jalal-ud-Din Rumi. In his Pakistani homeland, and throughout the world of Islam, he is accorded a (...) respect verging at times on reverence. And yet you will seek in vain through the pages of most modern European and American philosophy for a mention of his name. He is unknown--even to the compilers of philosophical dictionaries and encyclopedias. (shrink)

Chelebi (Çelebi) Sulṭān is a Ṣūfī poet. Due to poor and limited sources, there is a hardness in finding accurate and sufficient information about him. Abdülbaki Gölpınarlı claimed that this anonymous poet could be Oğlan Sheikh İsmāʿil-i Maʿşūḳī (d. 1539) from Bayramī-Melāmī by relying on the unanimous ghazal recorded in Ḥālet Efendi 800 in Suleymaniye Library. However, the fact that the aforementioned ghazal with simple copy variations published in Eşrefoğlu Rūmī Diwan weakens the credibility of his argument that Chelebi (...) Sulṭān could be Oğlan Sheikh İsmāʿil-i Maʿşūḳī. Though the acknowledgment of this data, Gölpınarlı still insisted on the credibility of his claim that the ghazal belongs to Oğlan Sheikh. Moreover he argued that the claims suggesting that the ghazal belongs to Eşrefoğlu Rūmī (d. 1469) should be questioned. Other than this ghazal, there is one more qasida (ḳasīde) with having gizlidir word after the rhyme associate to Chelebi Sulṭān, and an annotation to this qasida by Āyīne-zāde Meḥmed Şemseddīn-i Sirozī (d. 1688/89). However, neither the qasida and ghazal attributed Chelebi Sulṭān nor the Āyīne-zāde’s annotation provide satisfying information to identify the identity of the poet. Therefore, it can be claimed that Chelebi Sulṭān’s identification is based on weak arguments. No more evidence can develop these estimations into evidence-based arguments. This article tries to provide a virtual framework for the identity of Chelebi Sulṭān. In this context, the article firstly discusses Chelebi Sulṭān’s disposition and popularity on Ṣūfī groups by considering the contents of the manuscripts mentioning him. Then, it analyzes whether Chelebi Sulṭān is associated with Ḥurūfīs or not by focusing on the ism-musemmā subject in the two first couplets of the qasida attributed to the Ṣūfī poet. Finally, the article speculates whether the poet called Chelebi Sulṭān in literature could be Misālī (d. 1577), or not, who is one of the Ḥurūfī poets. The subject of Chelebi Sulṭān's connection with Ḥurūfīsm is examined under two titles in the article. The possibility of Chelebi Sulṭān to be Misālī, one of the Ḥurūfī poets, was discussed based on the qasida with nedür rhyme. In this regard, there are two assumptions. The first one is that the pseudonym Misālī is mentioned in the qasida, and the second evidence is that there is a qasida with nedür word after rhyme belonging to Chelebi Sulṭān in the two copies of the Misālī Diwan. However, although the mentioned qasida exists in the recent copies, this qasida is not found in the oldest copies of the diwan. Therefore it is possible to conclude that this lack weakens the possibility that Chelebi Sulṭān could be Misālī, one of the Ḥurūfī poets. The second title is related to the issue of the ism-musemmā in the first two couplets of the qasida with nedür word after rhyme. Through this analysis, it was discussed whether Chelebi Sulṭān could be Ḥurūfī or not. At this point, it is revealed that there is a similarity between the two couplets of Chelebi Sulṭān in the qasida with nedür word after rhyme on the issue of ism-musemmā and some other couplets of Ḥurūfī poets (Nesīmī / Ḫalîlî, Misālī, et al.) on the same issue. Besides, the views of a few groups, apart from the Ḥurūfī Poets, that discussed ism-musemmā issue in their poetry, were evaluated. The article refers to the Ṣūfī poet's qasida with nedür word after rhyme while discussing the issue of which groups favored Chelebi Sulṭān more and it also tried to determine which groups read this qasida at that period. To discuss the general content of the manuscript, the manuscript registered in Suleymaniye Library Mihrisah Sultan number 185, the corpus cataloged in Suleymaniye Library, Galata Mevlevihanesi 233, and the manuscript cataloged in Millet Library Ali Emiri Collection (AEArb) 4341, were examined. Thus it can be claimed both Chelebi Sulṭān and his qasida were popular among heterodox groups, as it was observed that the qasida also exists in the works of Ḥurūfī, Alevi-Bektashi, and Bayramī-Melāmī groups. Despite all this, there is no clear conclusion regarding the identity of Chelebi Sulṭān. Nevertheless, it is possible to say that Chelebi Sulṭān was popular among heterodox Ṣūfī groups and that some Ḥurūfī views influenced him. (shrink)

The aim of this paper is to evaluate on how good traditional house design is able to give residential satisfaction levels and could contribute towards habitability in Shibam, Yemen. House design in this study is a subject dealing with efficient space-function design of the house layout which shows cultural aspects of the community. Houses in Shibam typify the traditional architecture which reflects to the structure of family, and social and cultural realms. The houses comprises mid and high-rise mud brick house (...) types, considered as one of the earliest high-rise house type built in the world. Today, the city of Shibam with mid and high-rises mud brick house types is recognized as one of the heritage sites under UNESCO’s World Heritage Lists. The literature study is conducted to understand the definitions of the title, which is important to identify the measurable factors for the research analysis. The study finds that diwan, dining area, bedrooms, bathrooms, corridor and storage, courtyard and balcony, and the composition of the rooms’ layout are important measurable checklist’s factors under category of space planning and function. There are two types of the research analyses which are qualitative and quantitative analysis. The qualitative analysis is a study by the researcher based on the researcher’s observation on the house design during the site visit while the quantitative analysis is from the respondents’ answers (300 respondents) on their satisfaction level from the research questionnaires. With high average scores of 94% in qualitative and 90% in quantitative analysis on satisfactory level, it shows that both results of qualitative and quantitative analysis support the research assumption. In that light, within the ambit of this study, the house design in Shibam can and does serve as a reference. (shrink)

Turkish-Islamic literature contains numerous religious literar writings. In the existing literature, it can be seen that many kinds such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, and al-asmā al-ḥusnā were written. Al-Asmā al-ḥusnā, written in the form of poetry and prose, were mostly sharḥ or their khawaṣṣ were explained. Çihil-nām al-Manẓūm, which is mentioned in the study, was written as khawaṣṣ al-asmā al-ḥusnā. The work is a poet entitled as Fażāyī. Manuscript was written in the (...) last quarter of the fifteenth century, and thus, it is presumed that the poet lived in the same century. This work has been identified in a manuscript. In addition, the poet’s Hadiyyat al-aḥbāb, der-Bayān al-maqāmāt al-darwīshān, Kitāb al-sharʿiyyat al-arbāb, and Ghazaliyyāt al-Darwīsh Fażāyī four other works have been identified. In the writings of the asmā al-ḥusnās, the names of ninety-nine were emphasized. In this study, the forty names of God are expressed. The text presented is a continuation of the tradition of writing some prose works written in Arabic and Persian. Çihil-nām al-Manẓūm, written in Arabic prose and known as Asmā al-Idrīsiyya it can be seen as a free stsyle translation of the prophet Idrīs. Forty names in the content of the work, their proper-ties, when, how much and how to read is explained. In this study, firstly the information about the subject of Qurʾān, hadith, Arabic, Persian and Turkish literature in the beautiful names of God is provided. Then, the information about the poet Fażāyī was given. Çihil-nām al-Manẓūm was introduced and the transcriptional form of the text was given.SummaryOne of the reasons that deeply affect a nation is the change of religion. This change did not only affect the individual but also influenced the society in which he was born and grew. One of the nations with strong influence is the Turks. Turks, after Islamization, have estab-lished a new civilization. One of the areas where this Islamic civilization reflects is the literary aspect of society. In this literature, which has begun to be formed, religious genres such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, have been revealed. One of them is about God. Religious literary writings about God were written in the form of tawhīd and munājāts, which consist of one or more prophets found at the head of the dīwāns, or as the annotations of asmā al-ḥusnā or as khawaṣṣ asmā al-ḥusnā.In time, the need for some Turkish literary and scientific works to be translated into a different language were born. It can be seen that with some changes such as subtraction and addition, texts are rewritten or poetic works are translated into prose. The original of our research subject Çihil-nām al- Manẓūm’s is written in Arabic and prose. Çihil-nām al-Manẓūm, it is a munājāt of the work known as Asmā al-Idrīsiyya, which describes the call of prophet Idrīs.Asmā al-ḥusnā is a religious term used mostly to describe the attributes and names of God. In the Qurʾān, there is no information about the number of asmā al-ḥusnā mentioned as a concept. However, the number of the names of God in the Qurʾān is 155. This number is differ-ent in ḥadīths. It is widely accepted that the number of asmā al-ḥusnā is 99. Some Islamic schol-ars have argued against such restricting statements, arguing that ninety-nine names, such as the hiding of the Night of Qadr, were hidden in all Divine names during the month of ramaḍān, while others suggested that the number of ninety-nine was large number of asmās (names).The first examples of asmā al-ḥusnā were written in Arabic literature. Some of them are not detached: Abū Manṣūr al-Māturidī (d. 333/944) Kitāb al-Tawḥīd, Abū ʿAbdullāh al-Ḥalīmī (d. 403/1012) al-Minhāj fī shuʿabiʾl īmān, Taḳī al-Dīn Ibn Taymiyya (d. 728/1328) al-Īmān. A part of asmā al-ḥusnās is also a single work: Abū Isḥāq al-Zajjaj (d. 311/923) Tafsīr al-asmāi’llāh al-ḥusnā, Aḥmad b. Husayin al-Bayhaḳī (d. 458/1066) al-Asmā al-ṣifāt and ʿAbd al-karīm b. Havāzin al-Quşayrī (d. 465/1072) Sharḥ al-asmāi’llāh. In addition to Arabic, it is useful to talk about some of the asmā al-ḥusnās which is written in Persian. Muḥammed al-Shrāzī al-Nishāburī (d. 904/1498) al-Risāla der-asmā al-ḥusnā, Çarkhī Yaʿḳūb b. ʿOthmān (d. 851/1447) Sharḥ al-asmāi’llāh and ʿAbd al-Raḥmān Aḥmad al-Jāmī (d. 898/1492) Muʿammā al-Jāmī.Islamic nations have created an enormous collection of literature about God. Among them, asmā al-ḥusnās has a special importance. Many asmā al-ḥusnā were written in Turkish literature. The most famous among the verses of Ibn Isa b. Majduddīn ʿĪsā Saruḥanī (d. 967/559) is Sharḥ al-asmā al-ḥusnā. Other than that, Ḥusayin b. Aḥmad Sirozī (d. 1000/1401) Sharḥ asmā al-ḥusnā, Aḥmad Shākir Pasha (d. 1234/1818) Rawḍ-ı Ward, Ibrahim Mahdī (d. 1345/1926) al-Kanz al-asmā fī sharḥ al-asmā al-ḥusnā and Bijaqji-zāda Ismā‘īl Haqqi b. ʿOthmān (ö.1352/1933) Asmā al-ḥusnā’s naẓman tafsīr this work is shown among the major works written in this field. Again, the works of the late Sheykh-oghlu Muṣṭafā (d. 817/1414) Khawaṣṣ al-asmā al-ḥusnā, Ṣubḥī al-Bursawī (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Ḥākim Sayyid Maḥmad Afandi (d. 1184/1770) Sharḥ manẓūm al-asmā al-ḥusnā, Lāmiʿ Jelebi (d. 938/1532) Sharḥ al-muʿammayāt ʿalā asmā al-ḥusnā, Ḥamdī Afandi (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Naḥīfī (d. 1151/1738) Manẓūm al-asmā al-ḥusnā, ʿAbd al-Majīd b. Naṣūḥ Ṭosyavī (d. 996/1588) Sharḥ al-asmā al-ḥusnā can be listed among other notable works.In this study, a khawaṣṣ al-asmā al-ḥusnā is examined. Khawaṣṣ; khāṣṣ and khāṣṣa are the plural of the words khawaṣṣ al-wukalā, khawaṣṣa al-balda, the properties of some drugs, khawaṣṣa al-Qurʾān al-karīm, khawaṣṣa al-ism al-aʿẓam; a force that is found in something and not from others means special case. The verses of the Qurʾān, the rings, the hours of the days, some prayers, the names of God have some of the accents. It is believed that the desire of the person who reads them in certain conditions, in a certain amount, or in any manner, in specific hours, will occur. The fact that the concept of khawaṣṣ met these meanings allowed him to acquire scientific knowledge and to call it “khawaṣṣ science” characteristic in the literature.The works that deal with the Qurʾān and the asmā al-ḥuṣnā are written. Some of these works written in Arabic and Turkish literature are: Risāle fī khawaṣṣ al-asmā al-ḥusnā: Zunnūn al-Miṣrī, Khawaṣṣ al-Qurʾān: Ghazālī, ʿIḳdu al-manẓūm fī khawaṣṣ al-ḥurūf: Muḥyī al-Dīn al-ʿArabī, Asmā al-Idrīsiyya: Shāb al-Dīn al-Suhrawardī, Khawaṣṣ al-asmā al-ḥusnā: Shakh-oghlu Muṣṭafā, Sharḥ al-manẓūm al-asmā al-ḥusnā: Ṣubḥī al-Bursawī, Sharḥ al-asmā al-ḥusnā: Ibn ʿIsā b. Majd al-Dīn Ṣaruhanī, Manẓūm al-asmā al-ḥusnā sharḥ: Ḥākim Sayyid Maḥmad Afandi, Manẓūm al-asmā al-ḥusnā: Naḥīfī, Sharḥ al-asmā al-ḥusnā and khawaṣṣuhā: Imām Shabrāwī.One of the works in which asmā al-ḥusnā was described is attributed to prophet Idrīs. Among the miracles of prophet Idrīs, there have been intresting miracoulus performances such as possessing the knowledge of astronomy, fortune, mathematics, plants, writing, sew-ing, using the scales and strange art. The mysterious secrets were revaled to him in 30 ṣuḥuf. His major miracles are governing spiritual beings, knowing the properties of the beings and possessing the knowledge of various unknown things. Again, he wrote a book about the char-acteristics of letters. Aristotle later wrote a commentary using the majority of the information found in this book. Some of the works are written to narrate the Prophet Idrīs’s praising God with forty names:Muḥammad al-Tunisian, al-Ravḍatu al-Sundusiyya fī asmā al-ḥusnā al-Idrīsiyya al-Suhrawardiyya; Shāb al-Dīn Yaḥya b. Ḥabash al-Suhrawardī, Çihil-nām. Among these, the most famous is the work called Asmā al-Idrīsiyyā, written by Suhrawardī. Here, in addition to the asmā al-ḥusnā (forty names), prayers, prayers, conquests, their meanings, and the merits of reading them are explained. The book is written in Arabic. Many copies of this work have been identi-fied. Here are a few of these: Sulaymāniyya Hagia Sophia, K. 1870; Sulaymāniyya, Hagia Sophia, 377; Bāyazıd State Library 1314; National Library A005133-03 23b-33a; Adana Public Library 140; National Library, 06 Mil Yz A 9084/6.The works describing Asmā al-Idrīsiyya were written as prose. The work examined in this study was written as a manuscript. Çihil-nām-ı Manẓūm is distinguished from the others in this respect. Another point that makes the study important is the fact that Çihil-nām-ı Manẓūm has a very old period, this is written in the fifteenth century. (shrink)

Yūsuf al-Nabhānī (d. 1932) became famous in the world of science with many works he wrote in the fields of Hadith and Kalam. On the other hand, he is a person who has proven himself with his works and poems in the field of madīh nabawī. For this reason, he was also referred to as Hassān and Busīrī of the period in which he lived. His diwan named al-Sābiqātu'l-jiyād fī madhi seyyidi'l-'ibād is an important work that contains the poems (...) he sang in the type of prophetic madīh nabawī. The divan in question consists of ten couplet odes in which each letter of the alphabet is determined as a rhyme. In these odes, which he wrote to express his love for the Prophet and for some other religious reasons, the influence of classical Arabic poetry and especially Būsīrī can be found. Mystical thought also has a great influence on the poems of Yūsuf al-Nabhānī. As a matter of fact, the narration of the Prophet in his poems is generally shaped in line with the concept of al-Haqīqa al-Muhammedī/al-Nūr al-Muhammedî. In this study, Yūsuf al-Nabhānī will be discussed as a madīh nabawī poet within the framework of his divan. In this context, the content and stylistic structure of his poems will be examined in the axis of literary criteria, and the effect of mystical thought on his poems will be tried to be explained in general terms. (shrink)

Grown up as versatile people, Ottoman intellectuals had holistic views towards science, art and literature, and wrote in a variety of disciplines. It was not uncommon for a mathematician to write in philosophy, for a ḥadīth (report of the words and deeds of the Prophet) scholar to write history books, for a statesman to be busy with calligraphy or for a Shaykh al-Islām (the highest ranking Islamic legal authority) to have a “Dīwān” (a collection of poems). However, possibly due to (...) specialization-based scientific understanding of modern researchers, one side of these people generally came to the fore and some capabilities of them remained unknown. Grown up in Istanbul, capital town of Ottoman Empire, in late 16th and early 17th centuries, Okchuzāde Mehmed Shāhī was also one of these personalities called “hezār-fan” (polymath). Mehmed Shāhī served in top level offices of the State, was busy with art and literature, and became known for inshāʾ (composition) kind of works written with elaborate prose. Mehmed Shāhī earned a deserved fame with these capabilities and he was also a poet. Indeed, due to poems he wrote in his early ages, he was noticed by some biography writers about poets and his poems were mentioned in some anthologies. In addition to poetry anthologies, he had some classical works, and some couplets, quatrains and verses included in his prose works. In the present study, a collection and evaluation of poems by Mehmed Shāhī were presented.Summary: Ottoman statesman Okchuzāde Mehmed Shāhī was born in 1562 AD (970 AH) in Istanbul. He was son of Okchuzāde Mehmed Pasha (d. 995 AH/1587 AD) and served as Kātib (scribe), Defterdār (treasurer), Reīs-ul-kuttāb (chief of the scribes), Governor General of Cyprus and Aleppo. His real name was Mehmed, but he was mentioned in different sources by names such as Mehmed Bey, Mehmed Shāh, Mehmed Shāhī, Mir Mehmed Shāhī and Okchuzāde Mehmed Shāhī. Starting at a young age, he was well educated in madrasah (college). With his vibrant character and superior genius, he came to the forefront among his peers. He was educated under the supervision of Māʿlūlzāde Nakīb Efendi (d. 993 AH/1585 AD) and graduated in 988 AH/1580 AD at the age of 18. When Nakīb Efendi became Shaykh al-Islām in the same year, he started his official duty as Dīwān-ı Humāyūn (imperial council) secretary. With the duty of Executive Assistant, he became the secretary of Damad İbrahim Pasha who started to his office in 1004 AH/1596 AD. He worked under the patronage of the Pasha until Pasha’s death in 1010 AH/1601 AD. Mehmed Shāhī succeeded Musa Chelebi as Reīs-ul-kuttāb and Basdefterdar (chief treasurer) in 1005 AH/1596 AD, and was appointed as title deed and cadastre director in 1006 AH/1597 AD. However, he was dismissed from this duty and was included among the officials to join military campaign. He was prosecuted and tried for imprisonment for the accusation of coming to Istanbul without permission. He succeeded Hamza Pasha as Nishanci (high-ranking bureaucrat) in 1007 AH/1599 AD and was assigned to military campaign. Mehmed Shāhī was dismissed from his duty in 1008 AH/1600 AD. Although he was reappointed to his duty in the same year, he was dismissed again in 1010 AH/1601 AD. While Hamza Pasha was reappointed to his office, Mehmed Shāhī was not assigned to any duty. He succeeded Murad Efendi as the Defterdar of Egypt in 1013 AH/1605 AD. After this duty, one of the vassal Sanjak (administrative district) Beyliks (principalities) in Egypt was given to him. When vassal Sanjak Beyliks were abolished by Kara Mehmed Pasha, Beylerbeyi (governor) of Egypt, in 1016 AH/1608 AD, he returned to Istanbul. He was not appointed to an office for a long time. In 1029 AH/1620 AD, he was appointed as title deed and cadastre director in 1029 AH/1620 AD, and became Nishanci again in 1030 AH/1621 AD. He served in military campaign to Poland, but was dismissed from this duty during the campaign. He was appointed as Nishanci for the fifth time during the second reign of Sultan Mustafa (1622-1623). He was dismissed in 1033 AH/1624 AD and retired. In early 1039 AH/1630 AD, he died at the age of 69 in Istanbul. His tomb is near Ekmekchioghlu tomb in the vicinity of Sunbul Efendi.What is known about his family is limited to his son named Vakʿi Ahmed Efendi (d. 1060 AH/1650 AD). Ahmet Efendi learned Naskh, Thuluth and tevkīʿi types of calligraphy styles from his father. He served as anthology writer for Shaykh al-Islām Bahāī Efendi. He died in 1060 AH/1650 AD when he was serving as teacher in Sulaymaniyah Madrasah. His tomb is around Shaykh Vefa tomb.In addition to his administrative duties, Mehmed Shāhī was also interested in poetry, prose, calligraphy, mysticism, ḥadīth and tafsīr (exegesis). Possibly also due to his dismissal of duties many times in his life, he produced many works. Among them are Aḥsan al-ḥadīth, an-Naẓm al-mubīn fī āyāt al-erbaʿīn, al-Maqām al-Maḥmūd, Tarjuma-i Tuḥfa as-ṣalavāt, Jāmiʿ al-ghāyāt, Mukhtār al-akhyār, Qānūn-i Jadīd-i Arāḍi, Munsheat ve Dīwān. Famed for his prose works, the author was also a poet. With his couplets which he wrote under pseudonym of Zaynī, he managed to get on the anthology of Kınalızāde at his twenties. He was celebrated with the expression of “Arrow of word from his bow of soul has reached the target of approval from masters; he is at a young age (at his twenties)”. Subsequently adopting pseudonym of Shāhī, the poet had some poems published within the works of Beyānī, Nevʿizāde and Mustaqimzāde as well as within his own prose works. Mustaqimzāde even mentioned that Mehmed Shāhī had a dīwān. Nevertheless, this work of him has not been found yet. A total of 30 poetry works of Mehmed Shāhī were found in various sources, except for his translations of 40 ḥadīth and 40 Qur’ān verses written in poetry. Of his 30 poetry works, 26 were written in Turkish and 4 in Persian. Various sections of ʿarūḍ (meter) were used in these works written as couplets, quatrains and verses. It could be stated that his poems rich in Persian and Arabic words had a rich rhyme frame. In his poetry works in which religious, literary, historical, legendary and mysticism themes were worked, concepts and figures such as Allah, the Lord, Messiah, Messenger, Risālet (messengership), intercession, Kāfūr al-Ikhshīdī (966-968), Mustaʿsim (d. 656 AH/1258 AD), Ibn Alkamī (d. 656 AH/1258 AD), Naṣīr-i Tūsī (d. 672 AH/1274 AD), Jamshīd, Keyumars, Uftade, Hudāyī, Majūsī, Kizilbash, Bayramī and muftī (jurist capable of giving a formal legal opinion). His poems were about intercession demand from the Messenger (PBUH), sin of serving to Persian, importance of an invention, praise of Uftade Sultan (d. 988 AH/1580 AD), effect of prayer, fate of administrator favoring his relatives, futility of envying the rich, importance of fighting with Zoroastrian, benefits of exhibition of sorrow, value of skillful people, resembling of the world to a bride with a thousand grooms, beauty of eloquence, ignominy of leaving chastity for lust, asking for forgiveness for sins, talent of understanding the words, not giving quarter to enemies, praise of Hz.ʿUmar, humbleness, value of lack of worldly things, sufferance due to the beauty of the beautiful, needing not to wonder why the beloved one is far away, evil of protecting the snot, richness of Arabic language, deeds of Anatolian fāḍils (virtuous), importance of endeavor in succeeding the closeness to God and respectability of ʿAzīz Maḥmūd Hudāyī (d. 1038 AH/1628 AD). Okchuzāde Mehmed Shāhī was an Ottoman statesman who also earned a well-deserved fame for his works written in inshāʾ (composition) genre of elaborate prose. In addition, he also had poetry works. Praised for the poems which he wrote in his early ages by anthology writers who included his poems in their anthologies, the poet also had some couplets and quatrains scattered among his own prose works. His poems in the form of couplets and quatrains within abovementioned works mostly were about religious, literary, legendary, historical and mysticism themes.Mehmed Shāhī was knowledgeable in tafsīr, ḥadīth, mysticism and calligraphy, and had good levels of Arabic and Persian. Writing poems in Persian, Mehmed Shāhī was decorated his prose works with Arabic expressions such as Qur’ān verses, ḥadīths and proverbs. It could be stated that such decorations made the language of his poems more difficult. Nevertheless, his poems are plainer and easier compared to his prose works. The poet who also had lyrical poems generally preferred ḥikamī (sapiential) style and wrote genres such as munacaat (prayer to God), shafaatnāme (intercession epistles), historical quatrain, medhiye (panegyric) and hicviye (epigram). His poems in anthologies were lyrical, those in Aḥsan al-ḥadīth and an-Naẓm al-mubīn were didactical and those in Munsheat were epic. Based on an evaluation of these poems, it could be stated that he was a poet with a style, though not a poet of first class. (shrink)

Muslims are fundamentally interested in the practice of writing especially for scribing the copies of the Qur’ān. Later, the practice of scribing ḥadīths texts and writing diplomatic correspondence increased the demand for developing this practice. It is because the writing is based on a religious reference in Islamic societies; over time, the interest in writing and writing materials has also turned into an art form. Thus, writing and writing materials have been named with the selected words from the Qur’ān. Pencil, (...) book, pages (ṣuḥuf), line, stone tablet (alwāḥ) are some of the examples of those words. The writing constituted a series of professions. Calligraphers and warrāqs (book dealers/booksellers) are some examples in Islamic societies. Until the printing press became widespread, the books were written and reproduced by hand which is called istinsākh. Nowadays, these manuscripts are protected in libraries and digital archives. Codicology examines the external elements of these manuscripts such as ink, binding and paper. In addition, the critical edition method was used to bring out manuscripts to the surface. Critical edition of manuscripts is not only transferring the text to the computer. The critical edition is to compare manuscripts of work to reach the original text of the author. While doing this, the evaluation of the text has been held to reveal the historical value of it. In this article, the place of manuscripts in Islamic culture has been discussed and the basic principles of the critical edition, how to create the editing (dirāsa) and text (naṣṣ) sections of the critical edition are explained with examples. The examples were selected from the previous critical editions conducted by the author. This study aims to give an introduction to a very wide field of codicology and critical edition. This article is intended to provide basic information for researchers interested in codicology and critical edition.Summary: Classical Islamic writing culture has its method. For centuries, Muslims have written manuscripts according to this method. This method has been applied from writing the knowledge on paper to collecting and binding the fascicles.The adventure of creating a manuscript is a long process. A lot of people come around to contribute this process initiating from the writing of the first sentence. Producer of the knowledge: scientists, paper-producer: werrâq, the calligrapher: khaṭṭāṭ, bookseller, bookbinder, expert in the ink, naqqāsh who marbles the papers, sponsors of the project, collection and the librarian are some of the contributors. Today, this adventure continues with the participation of enthusiasts which are: the author who re-writes the manuscript to revive it, the restorer who repairs the damage of the manuscript, the expert who creates the digital copy and institutions which publishes the facsimile.Nowadays manuscripts are accepted as important scientific data and are examined in many ways other than their contents thus new specialities have been occurred. At universities, the institutes which examine manuscripts have been established and academic journals have been published. Moreover, the critical edition of manuscripts is the main subject of some of the M.A. and Ph.D. theses.The studies on critical edition, which initiated earlier in some of the western countries, have made a rapid development and created its method. In Turkey, there are many critical editions of works which are based on various manuscripts from Theology to Literature fields. However, there is no significant mutual method among the studies yet. Also, their understanding of critical edition differentiates. In those studies, it has to be examined that basic parameters such as the selection of convenient copy, access to all copies of manuscript or priority of copies are applied to critical edition process. Most of the time it is observed that the advisor’s way of the critical edition has shadows on studies. However, fundamentally critical edition process needs expert contribution itself. Difference between studies is related to the fact that the critical edition is relatively a new field of study in Turkey. Therefore, specific studies in the field of critical edition and codicology are still needed to be developed. On the other hand, there are various publications to establish an objective methodology of the critical edition. Significant studies are being held by the Center for Islamic Studies (ISAM) to establish a mutual language and method for critical edition studies. The factor that led to the emergence of this article is the effort to contribute to the realization of this method. The article discusses the principles to be followed during a critical edition process. Moreover, topics are explained practically with examples selected from manuscripts. Those examples have been chosen from the author’s previous critical edition works. The article would be considered as an “Introduction to Critical Edition” for the researchers who are new at this field. In this respect, the article aims to make a methodological contribution to the critical edition studies.There are many parts of a manuscript –something more than the written text on the page– which makes it a whole. These parts can be divided into internal and external elements of the manuscript. All of these are parts have different levels of contribution to the examination of the critical edition of the work and the interpretation of the texts.Some external elements of manuscript are: ink production and color, inkwell, production of paper, foliation, rule-borders, and frames, ruling board (misṭara), sewing of quires, gilt and gilding, bookbinding, stamping and tooling, frontispiece, cases and pouches, storage boxes and cabinets, flap, tabula ansata, the history of manuscript.The internal elements of the manuscript are: text of the manuscript, script, subject, authenticity, historical value and importance, proprietor, literary features, number of copies and textual variants, scribes and copyists, whether it has been falsified or not, sources used or referenced by the author, abbreviations, records of marginalia, colophon, glosses and scholia, ownership statements, seals and seal impressions, word transposition or transposition of words/letters, waqf-statements, correction signs and corrections, countermarks.While the internal elements of manuscript are the work of critical edition, the external elements of the text fall within the field of codicology. Although critical edition and codicology are considered as separate sciences, there are points where they can contribute to each other. For instance, the ink tone or binding style of a manuscript may help to determine the writing date range of it. The references used by the manuscript can give us an idea about the name or the subject of another manuscript. The literary characteristics of the manuscript may reflect the author's success in language and literature fields. Thus, we are able to inform that the critical edition process of a manuscript requires the evaluation of substantial information at the same time which is no different from an archaeologist carefully examining an arrowhead. Therefore, whatever is the relation between History and Archeology has; Islamic sciences have the same relationship with critical edition. They are both individual sciences with methods of their own and two inseparable common sciences. Thus, without the contribution of codicology or other sciences, rewriting a manuscript on a computer does not mean making a critical edition of it. According to this information, we can define the critical edition as follows, “Critical Edition is the process of reviving of any manuscript -which belongs to Islamic civilization- with comparison of all available copies to create a single text which is closest to the text of the author and to determine the sources which this main text is based, citations such as verses, hadiths and poetry.”For studies on critical edition, the priority should be given to the texts which will contribute to this science. Before initiating critical edition, the authenticity of the author of the manuscript should be determined precisely. Of course, having a person's name on the page is not enough for determination. All copies of the manuscript must be identified. From those copies, critical edition should be based on the text that the author has personally written or prepared as a draft and other copies should be compared with this. In the absence of the author’s authentic copy, new criteria will apply. For instance, the copy written by the closest student of the author or the copy with the closest writing date takes precedence over the copies with no date. After comparison of all copies, the differences are shown in the citation.Critical Edition consists of two sections entitled as Edition (Editing/Dirāsa) and Text (Naṣṣ):The Edition section includes: the author’s name, lineage, place and date of birth, scientific life of the author and his/her prominent students, works, the authentication document which is proven that the text is belong to the author, the place of the work in the history of science, studies about the work, bibliography, literary characteristic, terms in the text, the amount and characteristics of the copies, the characteristic of the main copy which is determined as the fundamental text for the research, the rules and principles applied during the critical edition, the digital images of the first and last pages of the copies used. The Edition section is the part that demonstrates the reliability of the study. All external elements of writing are being introduced here. The importance of the text is confirmed by this edition process. Thus, the final shape of the edition section must be shaped by reading and understanding the text.In the text section, the main aim is to reach the very first text which has been written originally by the author. In this section, principles of morality and objectivity are followed. The text is preserved; additions or subtractions are not made. Cited sources at the manuscript are being found. Verses and ḥadīths are written with their sources. Poems are found in Dīwāns. Text is made legible with punctuation and pilcrow. Proper names, dates of death are written together. Page numbers in the manuscript are shown in square brackets. Some simple grammatical errors are corrected without interfering with the main text. Mostly the reason for this is the letters used for men or women. At the end of the study, a bibliography with all the resources used during the critical edition process is added. The Islamic codicology and manuscripts appear to receiving interest especially in academic studies. Considering that many manuscripts from the Ottoman Era are still waiting to be revived thus, we may come across profound critical edition works in the near future. Therefore, it is understood that individual studies related to the manuscript itself and the method of the critical edition will guide the researchers. (shrink)

Commentaries were written for master texts of Turkish Classical Literature (including Turkish Ṣūfī poetry) with various forms and genres such as Mat̲hnawī and Qaṣīda-i Burda, Arabic and Persian poetry with styles of ghazal, qaṣīda, mathnawī and other poetic forms, lughzes, especially Dīwāns of Persian poets such as Ḥāfiẓ, Shevket-i Bukhārī, ‘Orfì-i Shirāzī. In addition, the problems and contested aspects of the genre of commentary especially in the 19th century and afterwards are scientifically examined. In this context, the literary work with (...) its author’s unique language and style examined in this article sheds light on the predominant actor, the commentator and his/her style by using al-Būṣīrī’s na‘at titled Qaṣīda-i Burda that was repeatedly commented and translated. (shrink)