In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective (...) to speculative poetics which, I argue, can be of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement. (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 (intertextuality) 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)

In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective (...) to speculative poetics which, I argue, can be of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement. (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)

The issue of textual criticism/matn criticism in the Islamic world has started to be discussed, especially in modern times, when the issue of criticism of the holy books came to the fore in the West. However, when the history of Islamic sciences literature is examined, it is seen that the subject of criticism of hadith texts has been on the agenda of Muslims, even though it is not as central as isnad. One of the important pillars of the text-centered (...) approach as a method of hadith criticism is the Arabic language. In our study, it is aimed to determine the effect and the limits of the Arabic language in hadith criticism based on the text. While doing this, first of all, the discussions about the link between the language and criticism of the holy scriptures in the West will be discussed, and then the relationship between the hadith and the Arabic language will be revealed, especially in the context of istishhād and literature. Then, the place where the Arabic language stands as a method in the criticism of hadith texts will be determined and an evaluation will be made about its limits and possibilities. The evaluations about the limits and possibilities of the Arabic language will be discussed in terms of the narration of hadiths with meaning, the different approaches of linguists and schools, the conflicts between tribes, and the reliability of poetry as an istishhād method. In this study, particular examples obtained by examining Ibn Dureyd’s (d. 321/933) Jamhara al-luga ve Muhammad ibn Ahmad al-Azherī’s (d. 370/980) Tahzīb al-Luga Abū Aḥmad al-ʿAskarī’s (d. 382/992) Taṣḥīfāt al-muḥaddiṯīn and al-Ḫaṭṭābī's (d. 388/998) Iṣlāḥ ġalaṭ al-muḥaddiṯīn and Ṣafadī’s (d. 764/1363) Taṣḥīḥ al-taṣḥīf wa-taḥrīr al-taḥrīf. In addition, the subject has been examined by taking into account other linguistic sources, basic hadith texts and hadith commenta-ries. In this way, the reflection of the subject in the hadith literature will be revealed and it will be tried to determine the place where the Arabic language stands in hadith criticism, taking into account the problems of the language itself. (shrink)

Language‟s definition varies in the literature. One of the most accurate definitions of language is that the language is the voice through which people express their purpose, it is a tool for communication, understanding and interaction between people, and this is a phenomenon that reflects human knowledge and culture. At the same time, it is a powerful factor that animates people and helps them to develop and thrive. The beauty of the language is reflected in examples of poetry and (...) prose of folk literature. It is one of the most famous and widely spoken languages in the world. Arabic is the language of science and culture and helps to transmit religious, scientific and literary knowledge throughout history. There is no doubt that Arabic literature emphasizes the beauty of the Arabic language from preIslamic times to the present day. Arabic literature attracts the attention of the whole world, both ancient and modern. One of the countries where the Arabic language and its literature is taught is Azerbaijan. There are universities and institutes that contain faculties of Arabic literature and its departments. One of the scientific institutions that study the Arabic literature is the Institute of Oriental Studies named after Ziya Bunyadov of the National Academy of Sciences of Azerbaijan. It should be noted that the most important results of scientific research and books of the Institute are used in educational institutions within the country and abroad. (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)

[Holbrook's] is one of the keenest and deepest critical minds in the field of Islamic literature. She provides for the reader (scholar and lay persona alike) fascinating insights into the genre, poetic functions, mystical allegory, narrative technique, audience response, etc. Many of her analyses are scintillating.... The Holbrook volume is a landmark in Ottoman literary scholarship. --MESA Bulletin... a major contribution to Ottoman and Turkish literary study--I frankly am at a loss to describe how major.... Dr. Holbrook's book will make (...) its own category and subsequent publication in the field will be judged in relation to it. --Walter G. Andrews, professor of Near Eastern Languages and Civilization, University of Washington When the Ottoman Turkish Empire was divided into modern states after World War I, in Turkey a change of alphabet and radical linguistic reform aimed to free modern Turkish literature from intellectual ties to the East. Holbrook recuperates Ottoman debates on the existential status of language and social value of art with a poetics of Beauty and Love, the philosophical fairy tale in verse by Seyh Galib. Where does language come from? How does a poet conceive imagery? What rights to interpretive authority does Muslim law accord the individual when God's word is law? Holbrook's lively analysis ranges an intertext of genres in Arabic and Persian as well as Turkish. The romance of separated lovers is a paradigm of journeys that lead beyond discourse. A poet's quest for originality reveals an archaeology of modernism. Holbrook traces the revolutionary polemic and Orientalist philology that de-aestheticized Ottoman poetry, bringing the critique of Orientalismto bear upon the Ottoman center Orientalism suppressed. (shrink)

Turkish poet Sünbülzade Vehbi (d. 1224/1809) is one of the most important Turkish poets who wrote poetry in Turkish, Arabic, and Persian during the Ottoman era, and included these poems in his divan. This article deals with plagiarism of Arabic poetry contained in the collection of the Vehbi. The Arabic poetry contained in the collection of Vehbi, which he presented to Sultan Selim III (d. 1223 Ah/1807 ad) is mostly attributed to contemporary poets, namely (...) the doctor Naṣīr al-Dīn al-Iṣfahānī (d.1191 Ah/1777 ad), the poet Hātef al-Isfahānī (d. 1198 Ah/1784 ad), and the Iraqi poet Kāzim al-Uzrī al-Baghdādī al-Tamimī (1143-1213 Ah/ 1730-1798 ad). This article introduces the poet Sünbülzade Vehbi and the poets mentioned above. The Arabic poetry in his collection is also introduced. It shows the similarity that sometimes reaches the point of congruence between his poetry and the poems of his contemporaries mentioned above. The research identifies the common verses between Vehbi and the aforementioned poets, which constitute approximately 83% of Vehbi's Arabic poetry. This research, which takes the quantitative descriptive approach as its approach, suggests that most of the Arabic poetry contained in Vehbi's collection is plagiarized from the poetry of those poets whose poetry he familiarized himself with and may have met during his embassy to mediate between the governor of Baghdad and the Sultan of Iran. (shrink)

Notable examples of macaronics, the insertion of foreign vocabulary into poetry, are attributed to the well-known eighth-century poet, Abū Nuwās, who experimented with mixing Persian in his Arabic poetry but whose motivation remains unclear. This article looks at a selection of his and other macaronic verses ranging from the seventh to tenth centuries and argues that Persian was inserted deliberately as a marker of a Persian identity, standing for the “foreign Other.” Far from being a sign of (...) a pro-Persian shuʿūbī sentiment, the employment of Persian only reinforces the established hierarchy of the two identities in that period. By the tenth century, however, this hierarchy is cleverly flipped on its head in a macaronic poem by the popular Iraqi poet, Ibn al-Ḥajjāj. While many of the examples are comic and even obscene in character, this article shows that the employment of Persian in Arabic poetry was a deliberate practice with serious and meaningful implications. (shrink)

This article presents an edition of, and commentary on, a fragment of papyrus preserved in the collection of the J. Willard Marriott Library at the University of Utah (P.Utah 280). This well-preserved piece is a rare example of Arabic papyrus with lines of poetry. The text of the verses and their attribution in the papyrus will be studied in detail and traced through later sources, leading to a discussion on textual variation and authorship as well as on the (...) value of papyrological evidence vis-à-vis the corpus of classical Arabic literature. It will be shown that lineages of text and attribution can be highly complex and therefore do not lend themselves to linear representation, e.g., in book form or simple HTML format. The article outlines the requirements for alternative means of representation for textual layers and points to existing tools in Arabic studies and other disciplines. (shrink)

Sound and Sense in Classical Arabic Poetry. By Geert Jan van Gelder. Arabische Studien, vol. 10. Wiesbaden: Harrassowitz, 2013. Pp. xv + 399. €78.

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)

This work deals with concepts of time in pre-Islamic Arabic poetry and in the Koran, placing them in relation to Hellenistic conceptions of time in Late Antique poetry. The analysis shows that just as in the much earlier field of Greek poetry, so too in Old Arabic verse time is seen as an inescapable power. The Arabic concept for endless time, dahr, is revealed to be the Arabic equivalent of the Greek concept aión. (...) In the Koran the power of time is denied completely and replaced by the absolute power of God, which is described with the help of Hellenistic conceptions of time. The research suggests the existence of an Arabic Hellenism, in the context of which Islam came into being. (shrink)

Yemeni writer Ahmed Qāsim al-Arīqī, in addition to his profession as a pharmacist, is a writer who has made a name for himself in the country's literary field, especially in the last fifteen years. A prolific writer, al-Arīqī is the author of poetry collections as well as stories and novels that emphasise awareness of the traditional issues of the Yemeni people. He has published "Maḳāmāt al-'Arīḳī" (2006), "Ġalṭṭetu Ḳalem" (2012), "Qurāt al-S̱-S̱elj" (2017), "Ta'riyya" (2018), "Zurbet al-Yumnā" (2018), "Da'wat al-Ḥuḳūl" (...) (2019), "Zuhr al-Ġarām" and "Sīret al-Kūbī" (2022). His novel "Yawma Māta al-Shaytan" (The Day Satan Died) was published electronically by Hindāwī Publishing House in 2022. The novel, which is approximately 120 pages, is written in six chapters. There are eleven passages in the first and fourth chapters, thirteen in the second and sixth chapters, twelve in the third chapter, and eight in the fifth chapter. The novel is about the adventures of a member of the army named Marwan Naji, who was wounded in the war between the Houthi militia and the Yemeni army, and after nine months in a coma, opens his eyes in a perfect world dominated by biological and technological advances. Symbolising the treatment of selfishness and various narcissisms with advanced vaccines through the death of Satan, the author describes Marwan's adventures in his world, which he sometimes describes as the realm of the jinn, in a very simple language, while not failing to criticise reality in its various political, social and religious dimensions. In fact, Marwan's world of imagination and fantasy is the main story of the novel, but not the only one. The author also includes the stories of family members in Marwan's world of turmoil, destruction, massacre, war and victory, giving the reader the opportunity to compare both worlds. While his mother Gusoun, his wife Hamide and his daughter Fatma, who later got engaged in time after being widowed, are the female characters of his real world, Professor Mari and Mariana, one of his seven wives, are the other important characters of his imaginary world. Gusûn is a devoted mother who does not leave the bedside of her comatose son, prays for him day and night and tries to do everything she can for his recovery. Gusûn, who is listened to at home to a certain extent, scolds her grandchildren to prevent the breakup of her son's home because of inheritance, defends that the existing wealth still belongs to her son and reminds them that she will not hesitate to spend money for his recovery. Gusûn's daughter-in-law Hamide also takes care of her husband, who shows no signs of recovery. Hamide, who is not as patient as her mother-in-law, is also a jealous woman. On the other hand, although both of them display false religious tendencies that have no relation with real life, Gusûn is more prone to the superstitious approaches put forward and adopted in the name of religion. Fatma is also a widow who, although she has the will to take care of her children and live her life alone, has been engaged for a long time to her uncle's son Münir, who, like her, took part in anti-regime demonstrations and whose love she believes in. Fatma, who is more conscious than her grandmother and mother, is not alien to the issues that society complains about and often participates in women's movements organised against the government. Professor Mari, one of the two important characters belonging to Marwan's imaginary world, is a psychologist and the chief physician of a large hospital who treats jealousy, anger, lying and selfishness, which are considered dangerous viruses, with vaccines developed by scientists. Professor Mari, who is personally involved in Marwan's treatment, also chairs the committee that records his memory and projects all his memories on a giant screen. Mariana, on the other hand, monitors Marwan's behaviour and thoughts through a biological chip to control the effect of the vaccines given to him, criticises him through the tragic images projected on the screen and provides information that will facilitate his adaptation to his new world. In the article, in which the author's main published works are briefly introduced along with a broad summary of the novel, the social messages that an author, who is not indifferent to the realities of the geography he lives in, tries to give directly and indirectly with a language far from locality, are tried to be determined through the mentioned female characters. It is seen that the desire to become a single nation by making; love, brotherhood, friendship and peace dominant lies behind the author's novelisation of the dream of an ideal world symbolised by the death of Satan. (shrink)

The problem of the article is based on a long tradition of studying the category ‘antinomy‘ in the history of philosophy from antiquity until the early twentieth century. Antinomical thinking has particular importance for the spiritual life in the 20th century. The author draws attention to the fact that, for example, in the poetry of Thomas Stern Eliot antinomies and paradoxes are of philosophical and religious nature especially in then dealing with questions of reaching the Truth by rational way (...) exclusively. The basic material for studies are the works of modern Russian poets Olesya Nikolaeva, Sergei Kruglov, Timur Kibirov, Olga Sedakova and Helen Schwartz. It is shown how moral and philosophical themes and descriptions of the spiritual lives of the characters associated with the interpretation of ideas of compositions in the form of antinomies. The idea of the influence of the antinomies of thinking on aesthetics and system of images of Russian poets verses is justified. Article reveals the originality of each of the poets whose poems are analyzed in the work. The author concludes that modern poetry gives traditional antinomies personal psychological nature, but at the same time, problems and poetics of paradox are in tune with thinking of twentieth century as a whole - with its disastrous spirit, full of doubt and contradiction. (shrink)

One of the curious things about Homeric studies is the way in which, although opinions in this field fluctuate violently, from time to time certain among them tend to become crystallized for no particular reason and are then accepted as something approaching orthodoxy. It is to try to delay such a crystallization, if it is not already too late, that I direct this brief coup d'ail at some current opinions on whether Homer—for the sake of clarity I apply this name (...) in the first instance to the monumental composer of the Iliad—used the aid of writing, and in general at the value of comparative inferences based on the heroic poetry of modern Yugoslavia. (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)

One of the curious things about Homeric studies is the way in which, although opinions in this field fluctuate violently, from time to time certain among them tend to become crystallized for no particular reason and are then accepted as something approaching orthodoxy. It is to try to delay such a crystallization, if it is not already too late, that I direct this brief coup d'ail at some current opinions on whether Homer—for the sake of clarity I apply this name (...) in the first instance to the monumental composer of the Iliad—used the aid of writing, and in general at the value of comparative inferences based on the heroic poetry of modern Yugoslavia. (shrink)

It is known that the relationship between word and meaning is one of the most controversial topics of ancient Greek philosophers such as Aristotle, Plato and Indian linguists. In fact, this issue has continued to be discussed with its definition and scope, and opinions about it have been expressed until today. When we review the subject in the Arabic language, we see that Arabic is a rich language with its words and meanings. Also, changes and developments in (...) class='Hi'>Arabic, which is a deep-rooted language, has undergone in the historical process have brought changes of meaning in its words. Thus, it can be said that the Arabic language, that includes many branches of linguistics such as morphology, syntax and rhetoric, is also interrelated with semantics, what focuses on the relationship between word and meaning. Although semantics has emerged as a new branch of linguistics, many of today's semantic issues have been discussed in many classical sources and different disciplines, especially in the Arab world. In this study, semantics in general and the emergence of Arabic semantics as a science, its scope, description and its relations with other languages have been investigated. In addition, the works of Ahmed Muhtar Omar (1933-2003) who made great effort especially in the field of Arabic language and the modern Arab world, in the domain of Arabic and his contributions to this field, those include the main issue of this study, have been addressed. The general content of his book "Ilmu'd-dalâla", which includes almost all the topics related to semantics, and the important issues and views those it contains are also mentioned. Besides, presenting important issues in the work, especially Ahmed Muhtar Omar's prominent views and explanations are also mentioned. In the study, prominent works about semantics and Arabic semantics, written from the past to the present, were used. In particular, the life and scientific personality of Ahmed Muhtar has been tried to be presented on the basis of a few works written in the contemporary period. (shrink)

The beginning of the 20th century has witnessed a significant development that has renewed and stimulated the long passionate historical relationship between two great civilisations which are traditionally known as the West and the East. Following their ancestors who cultivated the quest for knowledge tradition, some Arab scholars have come to leading European countries to learn the latest advancement in knowledge. They did not expect they would be confronted with what seems to be the poor showing of their scientific and (...) cultural heritage according to the assessment that was carried out in the previous century by Western scholars and historians. The Western study of the Eastern heritage had such influence that it has generated new Arab intellectual elite which blames the past for the present difficulties. Following the discovery of major scientific Arabic works in the second half of the 20th century, some Arab scholars like Ibrahim Madkour realised that they had in fact just misunderstood their own tradition. What is the source of their misunderstanding? How did they become aware of it? And how can a better understanding of the past change present attitudes and guide future actions? By attempting to provide some answers to such questions, the aim of this paper is to shed light on what seems to be a turning point in modern Arabic intellectual history. (shrink)

Qurʾān was revealed to the Prophet Muḥammad (pbuh) not as a written document, but by word of mouth over a period of approximately 23 years. He dictated the verses to the scribes of revelation. After this, Abū Bakr compiled the written verses; i.e. gathered between two covers. Thus when the Qurʾān was compiled as a text, a number of addresses lost their characteristics. This situation, which is a result of the shortcomings in inscription, suggested the necessity of separating the verses, (...) preserving the recitation method (waqf places) learned from Prophet and transmitting the Qurʾān towards new learners. As a result, the science of al-Waqf and al-Ibtidāʾ has emerged. The systematics of al-Sajāwandī was chosen among the people who systematized the waqfs marks and the mushafs that we have today are arranged according to the systematics of al-Sajāwandī. At this point, the issue of showing other addressing features of the Qurʾān, such as the emphasis, in text appeared as an area that to be considered. The aim of this study is to analyze this issue and to focus on the possibility and method of realizing the subject. If punctuation marks are to be added to the Qurʾānic text, this should be done by taking into account the characteristics of punctuation marks in Arabic. According to comparison between punctuation and wakf marks, it was seen that they have different characteristics. First difference is the systematic difference. Punctuation marks in modern Arabic script are divided into four groups: end marks, tone marks, quotation marks, and the signs used in mathematics. However, al-sajawānds consists of only end/stop marks. In this case, al-sajawānds do not function as punctuation marks indicating tone of voice/emphasis and quotations. The second difference is that punctuation marks are more about the meaning than waqf marks. Because waqf marks do not oblige reader to understand only one of the possible meanings. However, punctuation marks limit or even determine the meanings. In addition, waqf marks are also based on the recitation(s) of the Prophet/al-qirāʾat al-manqulah. Correct comprehension depends on correct reading. For correct reading, addressable features must be able to be incorporated into the text as much as possible. Today’s muṣḥaf, cannot show emotions, emphasis to the reader. Beside, each of the characteristics of waqf marks (al-waqf al-muʿānaqah ext.) cannot meet the end marks found in today’s punctuation marks. In this case, we can add emphasis marks to text in order to reflect the emphasis that are missing from them by keeping al-sajāwands. Likewise, the question of to where/whom the word belongs to, which may cause confusion in text, can be resolved with quotation marks. Hereby, it has been concluded that a pseudonym system that can reflect the emphasis features of the Qurʾān and show quotations, should be developed in addition to al-sajāwands. So, our proposal includes the following steps: keeping al-sajāwands existing in the muṣḥaf; placing the emphasis marks in today's punctuation marks, which will serve this function in places where the emphasis and tone of prayer’s voice cannot be reflected in writing; putting quotation marks. Thus, it will be possible to develop a system that can show the linguistic, grammatical, semantic, phonetic, emotional and reciprocity dimensions of address in the writing/text. In this context, the punctuation marks that we find useful to be added to the muṣḥaf are emphasis marks (:!؟) and some quotation marks («»: -). قَالَ فَمَنْ رَبُّكُمَا يَا مُوسٰى؟ قَالَ رَبُّنَا الَّذ۪ٓي اَعْطٰى كُلَّ شَيْءٍ خَلْقَهُ ثُمَّ هَدٰى. Tāhā 20/49-50 As an example, in this verse, there is a real question that is expected to be answered. Then a question mark can be put at the end of this sentence. In addition, a dot mark can be placed at the end of the answer sentence to indicate that the answer is concluded. (shrink)