Ə.DƏMİRÇİZADƏNİN YARADICILIĞINDA «KİTABİ-DƏDƏ QORQUD» SÜJET VƏ MOTİVLƏRİ

Author(s): Yeganə Nəhmətulla İsmayilova / Language(s): Azerbaijani Issue: 6/2010

In this article the motives of "Dada Gorgud" are investigated in the works of A.Demirchizadeh. It is noted that the study of history of the Azerbaijani language takes very important part of the scientific activities of professor A.Demirchizadeh. One of his biggest services in researching of history of our language is the investigation leaded on the language of the legendes of "Dada Gorgud". It is specially mentioned that A.Demirchizadeh first put the theme of «Dada Gorgud» on the stage of theatre. At the same time, it is also stated in the article that the libretto, written on the basic of "Kitabi- Dada Gorgud".

Şâh Velî Ayıntâbî’nin el-Kevâkibü’l-Muzî’e fi’t-Tarîkati’l-Muhammediyye Adlı Risâlesi ve Tahlili: Üç Hadis Üç Hakikat

Author(s): Raşit Çavuşoğlu / Language(s): Turkish Issue: 1/2017

This article studies the treatise titled as al-Kavākib al-Mużī’a fī at-Ṭarīqat al-Muḥammadiyya by Khalvatī poet and sufi Shāh Walī ʿAynṭābī. The treatise is about a mystical interpretation of three hadiths that the writer claims these hadiths were written in the letter delivered to him by the Prophet when he was in the state of consciousness (yaqaẓa). The mentioned hadiths respectively are directly related to Uways al-Qaranī, Hażrat Abū Bakr and Hażrat ʿAlī, there are also many mystical principles and notions dealt with in the treatise. The introduction gives precise information on the writer and his works. The first part of the article discusses the reasons why the treatise was written, its subject and content and then there is an mystical analysis of the treatise in this part. The second part of the article includes the transliterated text.Shāh Walī ʿAynṭābī, who was a member of Jamaliyya branch of Khalwatiyya order accepted as one of the most common order not just in Anatolia but also in Islamic geography, is a sufi poet. Shāh Walī ʿAynṭābī is also a Khalwatī sheikh who had a positive influence on the social life of Gaziantep in XVI. century and after. He experienced most of his academic and mystical activities in Gaziantep where he lived besides he had opportunities to spread his mystical ideas in Halab (Aleppo), and he also lived in Damascus and Jerussalem where were the significant centers for a short period of time. Shāh Walī ʿAynṭābī produced six religious and mystical works besides his academic and guidance activities.One of the mystical prose works that Shāh Walī ʿAynṭābī wrote according to Khalwatiyya principles is a treatise titled as al-Kavākib al-Mużī’a fī at-Ṭarīqat al-Muḥammadiyya. This article studies this treatise. The treatise is about a mystical interpretation of three hadiths which the writer claims that these hadiths were written in the letter delivered to him by the Prophet Muhammed when he was in the state of conciousness. The work has fourteen folios and it is written in Turkish and partly in Arabic. As far as is known there is no study on this treatise which is in the same manuscript together with Risālatu’l-Badriyya and “Gelsün” ode (with rhyme). There is only one manuscript of the treatise and there is no other recorded or known copy of this until now. Language, style, expression, characteristics and mystical symbols used in the work show the characteristic features of sufi literature.It is known that the writers of Khalwatiyya order produced some of their works based on the dreams they had. As Shāh Walī ʿAynṭābī was a member of Khalwatiyya order he produced the mentioned treatise when he was in the state of conciousness. In this state he dreamed three hadiths and the treatise is related to the interpretation of these hadiths. The three hadiths mentioned in the treatise point out mystical truths and these were grouped into three different parts by the writer. Thus the work we refer as three hadiths three truths titled as al-Kavākib al-Mużī’a fī at-Ṭarīqat al-Muḥammadiyya includes the detailed interpretation of these hadiths in three different chapters. The chapters in the work are “al-bişārat al-ûlā”, “al-bişārat al-sānîyetu” and “al-bişārat al-sālisetu”. The mentioned hadiths respectively are directly related to Uwais al-Qaranī, Abū Bakr, and ʿAlī. There are also many mystical principles and notions dealt with in the treatise. The first chapter of the treatise is related to Uwais al-Qaranī, who is one of the personalities of sufism, and his spiritual superiorities. In this chapter the writer gives information on Uwais al-Qaranī’s patience and submission by emphasizing his devotion to the Prophet Muḥammed according to mystical principles. One of the possible reasons why he mentions Uwais in this chapter is that when he dreamed the Prophet Muḥammed in conscious, he was thought that he appears before the Prophet Muhammed by favor of him (Uwais). It can be better understood that the reason why Uwais is mentioned in this kind of mystical work is that it is believed that Uwais is educated the Prophet Muḥammed through dreams and other ways. That the the Prophet Muḥammad sent his hirka (the dervish coat) to him by favor of ʿUmar and ʿAlī, shows the value of Uwais in the sight of the Prophet Muḥammad. The second chapter of the treatise tells that Abū Bakr spent all of his wealth for Islam and how he becomes one of the member of mukarrab (these will be those nearest to Allah) by his model behavior. In the second chapter comparing the two terms benefactor and closeness also it is also stated that Abū Bakr preferred poverty in terms of both spiritually and materiality. In sufism the term faqr expressed as abandoning the property and ego for pleasing Allah is identified with Abū Bakr and this is presented as a model behavior. The third chapter is based on the hadith related to ʿAlī. This chapter is about that ʿAlī had no objection to the election of caliphate and he did not support the dissents on this issue by conducting paternity suit. In this chapter the writer compares the prophethood and walāya (friendship) positions and then he tries to inform the superiority of ʿAlī in terms of his closeness to Allah according to mystical principles.In the introduction part of our study which is about Shāh Walī ʿAynṭābī’s treatise interpreting the three hadiths by referring to different perspectives on the basis of sufism, the life of the writer, his works and his order are explained shortly. The first chapter includes the mystical analysis of the treatise and it gives information on why was the treatise written, its subject and content. The second chapter has the transliterated text. Some of the order chains are based on the Prophet Muḥammad through Abū Bakr or ʿAlī. Shāh Walī like other writers presented Abū Bakr and ʿAlī as good examples for their spiritual positions and being models for others. Again, the treatise mentions that Uwais al-Qaranī had a distinguished place as he was educated by the Prophet Muḥammad through spiritual ways and dreams. Thus, spiritual superiorities such as faith, loyalty, and submission are told by making use of Uwais al-Qaranī’s example as he did not see the Prophet Muḥammad in person but he showed his submission and devotion to the Prophet Muḥammad by trying to live according to the Prophet Muḥammad’s teaching. This is significant in terms of showing the role of Uwais al-Qaranī in sufi education. One of the significant issue in the treatise is that ʿAlī did not object to the caliphate election and he obeyed the ordering. It is possible to argue that the writer discusses the caliphate disputes in a different way according to mystical principles by repeating that ʿAlī did not create a problem over caliphate. By emphasizing that ʿAlī did not participate the caliphate discussions by not arguing ancestry rights and he obeyed the legitimate caliphate, the writer argued that sheikh or murshids cannot be determined according to ancestry. In this context by addressing the murshids of the order in the final part of his treatise, the writer suggests that the sheikhs and murshids must follow virtue and abandon ancestry discussions. In the treatise it is explained that prominence and superiority do not depend on ancestry but it depends on taqwā (piety). This ideal is supported by hadiths and verses from the Qurʾān in the treatise. The treatise features XVI. century Turkish characteristics and includes many mystical terms such as risālāt, walāyāt, abrār, mukarrab, fakr thus this may help researchers who would like to do detailed study on these issues.

Şiirin Esin Kaynaği Olarak Mitoloji

Author(s): Tuğçe Erdal / Language(s): Turkish Issue: 76/2013

Many researchers defined myths and a general acceptance is created in line with these definitions. According to this acceptance, myths are written in books as a common history of a nation. Whether or not human beings are aware of the situation, they use rituals that refer to a mythic phenomenon in different periods of their lives. In addition to this, human beings have gone one step further and have used myths consciously in arts starting from the cave paintings in the first century until today. In this respect, myths didn’t remain only in stories and they have been sources of inspiration for many branches of literature and fine arts. Myth narrative, presented in painting, sculpture, miniature, and other branches of fine arts have also been inspirational in cinema and theatre. Besides these, as it is a narrative, myth has a very significant place in literature and has supported many literature types. Poet or painter tells whatever he/she wants more easily through the validity of the past. In this study, poem, one of these literary genres and mythology as the source of inspiration will be analyzed. Myths, which were analyzed as a part of folk-literature discipline, will be analyzed in old Turkish poem, which is also named as classical Turkish poem and Ottoman poetry and in the new Turkish poem, which is also named as modern Turkish poem. The topic will be examined through sample poems in both disciplines. Turkish poets’ use of myths, their concerns in these usages and importance of these attitudes in terms of literature history will be mentioned.

Şiirin tanıklık gücü: 1989 zorunlu göçünün Bulgaristan Türk şiirine yansıması

Author(s): Hasine Şen / Language(s): Turkish Issue: 1/2015

The article focuses on the representation of the 1989 Forced Migration (of the Turks from Bulgaria to Turkey) in the works of Turkish poets from Bulgaria who have themselves been victims of this tragic event. Providing a comprehensive poetic chronicle of the migration, the article aims to illustrate the testimonial function of poetry, namely its power to complement and/or challenge historiography by constantly pushing the reader’s attention from the poetic text to the original event (the forced migration) itself. After a brief discussion of the 1989 Forced Migration as part of the assimilation policy of the Bulgarian Government, the article examines poems which reconstruct different stages of the process. The poems are divided into two main groups. The first group (departure poems) consists of works which illustrate the migrants’ painful separation from their birthplaces, relatives and neighbors. Infused with deep grief, they provide a mighty indictment of the policy of the totalitarian regime. The second group (arrival poems) starts with a discussion of poems which reveal the mi-grants’ joyful unification with the rescuing image of the Motherland (Turkey) and goes on with the analysis of works which report the subsequent stages in the migrant’s life which are marked by a sense of nostalgia and liminality. To explain the mood of strong nationalism which governs the majority of the poems, this section includes also works which report the repressions the migrants had been subjected to prior to their flight to Turkey.

Şirvanlı Hatiboğlu Habîbullâh’ın Hz. Ali’den Yüz Söz Tercümesi

Author(s): Âdem CEYHAN / Language(s): Turkish Issue: 03/2015

It is known that in the history of Turkish literature tevhîd (onennes of God), münacat (appealing to God), commentary of “esma-i husna” (analysing the names of God), “na‘t” (the eulogy of Prophet Muhammed), “kırk hadis tercümeleri” (translation of forty hadith) and so on holds an important place of religious literature products. Enough information about the life of Şirvanlı Hatib oğlu Habibullah can not be obtained. He is a kind of person who has three important in verse works named as esma-i hüsna commentary, translation of forty hadith, Caliph Ali's hundred aphorism including Turkish translation work. As understood from the aforementioned booklet, the poet wrote these works for the Mamluk sultan Gkansu Gavri (d. 922/1516) in Egypt to win his proximity. Habibullah-i Şirvânî, at first, God's 99 names to count the believers in the hereafter accessible to encouragement of the hadith of the reward “esmâ'-i hüsnâ” , translated in two couplets. He also told the people and his follovers how to read and understand of these couplets. After this work, Şirvânî, because of rewards coming from God, translated fourty hadith (fourty saying of Prophet Muhammed) into Turkish as couplets one by one. His third and final work is Caliph Ali’s “Sad-Kelime-i Alî” that is a famous Arabic translation of Caliph Ali’s sayings. In this study, after giving information about the poet's life and first two works, inner text tarnslation and language of the third booklet is presented and examined.

Актуално състояние на българската тюркология

Author(s): Sofiya Shigayeva-Mitreska / Language(s): Bulgarian Issue: 1/2018

АНАЛИЗА ОДНОСА ИСТОКА И ЗАПАДА У РОМАНУ ЗОВЕМ СЕ ЦРВЕНО ОРХАНА ПАМУКА

Author(s): Katarina S. Rmuš / Language(s): Serbian Issue: 52/2013

The main objective of this research is to analyze and explain the similarities and differences between East and West in the novel My Name Is Red by Orhan Pamuk. In order to study will be necessary to deal with the basic features of cottonseed creativity which will be done in the example in the novel My Name Is Red by Orhan Pamuk. Although the primary object of study represent similarities and differences between East and West, the research will also be conducted according to the theoretical considerations in My Name Is Red by Orhan Pamuk.

ДЕЛНИЦИ НА ИНТЕЛЕКТА, ПРАЗНИЦИ НА СЕТИВАТА – ЕДИН ЛИТЕРАТУРЕН ПОГЛЕД КЪМ ОСМАНСКАТА ЖИВОПИС

Author(s): Margarita Serafimova / Language(s): Bulgarian Issue: 1/2019

The view belongs to Orhan Pamuk, and his work is My Name is Red, while the painting is related to the zenith and decline of the Ottoman miniature in the 16th century. It is characteristic of the Nobel Prize winning author to cross borderlines, the most obvious being those dividing the East from the West (not only geographically) and modernity from tradition (not only temporally). There are, however, other borderlines, no less representative of his style, like those between centre and periphery, unique and universal, freedom and coercion, reality and fiction. Along with them, one borderline stands out in his eminent novel – that between the sensory and the semiotic. For is there anything better than colour to unite the two, and is there a better colour than red to counteract the impersonal, neutral and colourless, and create in the monotonous flow of routine a true feast of the spirit?In this polyphonic, enigmatic, artistic novel, the fine technique of narration used by its author relates the latter closely to the mastery of the artist, the engraver, the miniature painter in one remarkable, exotic ekphrastic story.

Диалогът на културите в романите на български и турски автори „мигранти“

Емине Йоцдамар, Феридун Заимоглу, Илия Троянов, Димитър Динев

Author(s): Snezhana Boycheva / Language(s): Bulgarian Issue: 1/2019

What the four authors in the title of the present paper have in common, is positioning the dialogue between cultures in the topos of 'between', 'the border space'. Central to the plotline of the novels are the so-called 'no-places' (non-lieux, Nicht-Orte) (Auge), transtopoi (Foucault), such as airports, railway stations, harbours, planes, trains, ships, refugee camps, hotels, holiday resorts, parking lots, gas-stations, shopping malls. Such „open“ spaces are not only local markers; they often turn into main characters in this type of literary texts, which question the standard models of behaviour and thinking; change identities, transfer and bring together different cultural standards.

Диктатурите и интелектуалците. Наблюдения върху романи на И. Кадаре и О. Памук

Author(s): Borislava Ivanova / Language(s): Bulgarian Issue: 2 (4)/2016

This paper treats the topic how the politics functions in the field of literature concerning the issue of different political regimes and more specifically the dictatorships and how the intellectual treats them. Here will be considered some theoretical issues that interpret the concept of the “politics of literature”. The author treats novels by Ismail Kadare and Orhan Pamukin which have been broached topics and phenomena of political nature.

Жене писци у турској књижевности

Author(s): Ida Jović / Language(s): Serbian Issue: 3/2013

The aim of this paper is to provide a chronological overview of the most prominent women writers inTurkish literature starting from the 15th century till nowadays, with a particular review of characteristicsof each period of the development which Turkish literature has gone through from the time of classicaldivan literature in the Ottoman Empire to the contemporary Turkish literature.

За разказите и за хората: размисли върху романа на Орхан Памук "Червенокосата"

Author(s): Milena Garkova / Language(s): Bulgarian Issue: 2 (4)/2016

The proposed artistic translation and immersed reading. This report analyzes the latest novel “Red- Haired Woman” by Orhan Pamuk is yet to be translated to be translated to Bulgarian. The motive behind the story is the myth of Oedipus, which is interpreted in connection with its Eastern counterpart known as the story of Rоstem and Sohrab in Iranian tradition. The proposed reading draws attention to feminist narrative, unreliable story – telling events intertextuality in its various forms.

Из опыта обработки материалов к биобиблиографии лингвистов-тюркологов и филологов-культурологов (на примере трудов академика Мурадгелди Соегова).

Author(s): Zeki Pektas / Language(s): Russian Issue: 17-18/2014

In the given work in connection with the 65 anniversary from the date of its birth it is short told about the biography and scientific activity of the academician of Academy of Sciences of Turkmenistan, the Doctor of Philology, professor Muradgeldi Soyegov and the list of works of the scientist which consists of 3 books and more than 150 articles published in 2010–2013 in 31 cities of 12 countries of the world is offered to readers. It was recognised among scientists as the well-known linguist-turkologist and the philologist-culturologist. Article represents the first, initial part of the prepared work.

ИНТЕРМЕДИАЛЬНОСТЬ ЛИТЕРАТУРНОГО И ТЕАТРАЛЬНОГО ТЕКСТА (НА ПРИМЕРЕ РОМАНА ОРХАНА ПАМУКА «МЕНЯ ЗОВУТ КРАСНЫЙ» И ОДНОИМЁННОГО СПЕКТАКЛЯ ТАТАРСКОГО ГОСУДАРСТВЕННОГО АКАДЕМИЧЕСКОГО ТЕАТРА ИМ. Г. КАМАЛА)

Author(s): Elena Nikolaevna Shevchenko / Language(s): Russian Issue: 1/2016

Orhan Pamuk is Turkey’s prominent contemporary novelist and recipient of the 2006 Nobel Prize in Literature. The main theme of his works is the clash of the Eastern and Western civilizations, interaction between cultures and their interpenetration. Russian readers are familiar with O. Pamuk’s novels “The Black Book”, “The White Castle”, “My Name Is Red”, “Snow”, “Istanbul. The City of Memories”, as well as with his short stories and essays. The novel “My Name Is Red” (1998), on which this paper is focused, talks about the penetration of the traditions of European painting into the Eastern art and their influence on Turkish miniatures. O. Pamuk considers the problem of dramatic interaction between the “native” and the “foreign”, shows the painful process of understanding of their own identity by Turkish artists. The philosophical reflections on art, faith, and traditions are closely connected with the detective plot and love story of the novel. The novel has a complex polyphonic structure: it consists of numerous alternating monologues of characters, such as the painted dog, Satan, dead artist, and, finally, the Red – the life-giving and fire-like element and the color which gave the title to the novel. The problems raised in the novel determine its distinct intermedial character. The aim of this paper is to identify and systematize the intermedial components (manifestations of the pictorial and literary interaction) of the novel. The paper is conditionally divided into two parts. The first part analyzes the novel under consideration. The second part of the article is devoted to the intermediality of the play based on O. Pamuk’s novel and staged in 2014 by M. Kal’sin, the director of the G. Kamal Tatar State Academic Theater (Kazan). In our opinion, the intermedial field of the play expands as the rich visual imagery is added to the verbal techniques of thematization of the works of visual art. This includes the accentuated decorativeness of the play seen in the stage design and costumes, images of Turkish miniatures projected on the screen (by A. Votyakov), and creation of characters through choreography (by M. Bol’shakova). It is shown in the paper how the intermedial references in the novel and the play based on it contribute to the main idea, thereby helping to realize the author’s intent by means of different kinds of art.

Интерпретации на любовта в класическата турска литература

Author(s): Vejdi Hasan / Language(s): Bulgarian Issue: 1/2018

In classical Turkish literature the concepts of love, the object of love, and the state of being in love are seen through the prism of divan poetry paradigm. Poets consider Love in two aspects, material and mystical. When Love is expressed in its material aspect, they describe their beloved woman through certain universal means of expression. They analyze the Love theme, refracting it through the prism of the human relations in the Feudal community through the oppositions Ruler – subjects, and Ruler – Slave. The person in love is a slave and his beloved woman is the Sultan. She is idealised. In love Masnavi, love between man and woman is presented with multidimensional physiological depth, through their feelings, mishaps and suffering.

Категорията посесивност и нейните проекции в съвременния турски книжовен език

Йорданова, Милена. (2016). Морфосинтактични аспекти на категорията посесивност в съвременния турски език. София. 192 с.

Author(s): Danail Danov / Language(s): Bulgarian Issue: 6/2017

Константинос Кавафис и Тозан Алкан – за паметта и града, за преводите и посвещенията

Author(s): Evdokiya Borisova,Kadriye Jesur / Language(s): Bulgarian Issue: 8/2018

The text explores simultaneously two poems of the poets Konstantinos Kavafis and Tozan Alkan - poets diametrically remote in time and socio-cultural situation. It researches the literary translation and reception aesthetics and subjects to a formal literary analysis and deep interpretation the translation of the Turkish poetic text into Bulgarianin comparison to the translation of Kafavis into Bulgarian and Russian. The Russian translation of Kavafis edited by Brodsky adds an additional touch to the analysis of the great Russian poet and explorer to the creative portrait of the greek poet. All three poets - the Russian Brodski, the Turkish Alkan, and the Greek Kavafis meet in their thematic quests around the imagery of the City and the Memory.

Лечебната сила на природните еле-менти: дърво, вода и камък

Author(s): Nevrie Chufadar / Language(s): Bulgarian Issue: 1/2015

In folklore natural materials such as wood, water and stone possess healing powers and exclusive properties. In Turkish epic, legends, beliefs and popular natural healing these natural materials are sacred. Turks accept tree is a symbol of motherhood, fertility and greatness. Water is a source of life itself. In mythological texts in natural healing folk beliefs water is sacred and healing. In the epic Dede Korkut water as a natural material always helps the man. Turks’ natural healing and folklore believe in the healing power and energy of the stone. In Turks manuscripts in natural folk healing practices among plant and animal products are found stones and gems. They were used in diagnosis, treatment and prevention of human diseases.

Московский Азербайджанский Тюрколог – исследователь Турецкой литературы

Author(s): Abuzar Bagirov / Language(s): Russian Issue: 33/2017

This article specifically addresses the widespread literary activity known to the speaker, Azerbaijani Muscovite-researcher brotherly Turkish literature. A connoisseur of Turkish literature, a shining interpreter, candidate of philological sciences Akber Babayev in the Soviet period is considered to be one of the most authoritative scientists in the study of classical and new Turkish poetry. He paid special attention to the study of life and rich artistic heritage of the great Turkish poet Nazim Hikmet in the Soviet period was one of the researchers, highly appreciated his creative work.

Музеят – начини на употреба в два балкански романа („Черно мляко”от Елиф Шафак и „Музеят на безусловната капитулация” от Дубравка Угрешич)

Author(s): Veselina Beleva / Language(s): Bulgarian Issue: 1/2017

This article examines the possible concept of the museum in literature – a ‘museum’ not only like a metaphor but also like a specific type of novel. This is an attempt to trace the possible meetings (or usages) of two Balkan novels – Dubravka Ugrešić`s historical museum and Elif Shafak’s literary harem. The focus of the study is on the never-ending quest and the search for human multifacetedness and human completeness. In her autobiographical novel Black Milk: On Writing, Motherhood and the Harem Within Elif Shafak is trying to ‘arrange’ her own literary museum. She was able to gather in her ‘collection’ women writers like Zelda Fitzgerald, Sylvia Plath, Sevgi Soysal, Halide Edib, Ayn Rand, etc. In The Museum of Unconditional Surrender Dubravka Ugrešić was able to collect, preserve and show (without apparent connection between them) the fragments/photographs/books of her own biography as a kind of ‘museum’ novel.