Љиљана Чолић, Оријенталистичко дело Глише Елезовића
Љиљана Чолић, Оријенталистичко дело Глише Елезовића, Филолошки факултет. Универзитет у Београду, Београд 2019, 325 стр.
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Љиљана Чолић, Оријенталистичко дело Глише Елезовића, Филолошки факултет. Универзитет у Београду, Београд 2019, 325 стр.
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This contribution explores the music performance during the reading of a barely known and insufficiently studied life of the Prophet Muhammad, İpsala'lı Ebu'l-Hayr Mevlidi, better known as Mustafa Mevlidi. That life is used in the Mevlid rituals in the region of Krumovgrad and in some villages near the town of Haskovo. In order to present in fullness the specific local characteristics of the music connected to religious practice in the studied region, the author describes in detail the peculiarities of the music in the cami practice. The main characteristics of the ritual are delineated: its structure, the occasions on which it takes place, and the way of performing it. In the course of analysis of the musical material, which has been recorded in the region of Krumovgrad, the author also adds musical examples from the Mevlid ritual among Sunni Turks from other parts of Bulgaria. The main fieldwork material utilized in the study has been personally collected by the author between 2010 and 2021.
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The two translated excerpts presented herewith share the idea of the importance of literary friendships and the mission of the translator who breaks barriers and builds bridges in the communication between people, cultures, and literatures. Translations benefit from translator’s personal communications with the authors, when in informal conversations he/ she sees through some of the author’s thoughts, intentions and ideas that have not been explicitly presented. Feridun Andac is one of these authors. He dwells on the discourses of embodiments in the work The Human Province by the “Bulgarian” Nobel Prize winner Elias Canetti. Andac traces out the reincarnations of the famous “man from Ruse” seen as a Balkan author, but also as a German, a Jew, an Englishman, an American, a citizen of the world. The second author is Özdemir İnce – a Turkish intellectual and a Francophone, a Mediterranean, a Byzantine and a Yörük, a European and a man from the Balkans on equal terms. The points of intersection between the two authors are marked by Bulgarian culture, Bulgarian psyche and memory which have transformed both of them into unknown or partially known friends of Bulgarian literature.
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The shehrengizis are literary works, presenting the city from the social life point of view. The beauties, inhabitants of the particular city play central role in these works. One could also find descriptions of the mosques of those days, as well as other buildings with different designations: bazaars, mills, city baths, taverns and others. Descriptions of various representatives of the society could be found as well - mayors, warlords, doctors, sheikhs, teachers, imams, preachers and bishops. The shehrengizis always represent the craftsmen as well: goldsmiths, butchers, groceries owners, bread makers, pastry makers, halva makers, barbers, carpenters, potters, saddlers, shoemakers, tailors, tellyaks and others. They give important informations about the geographic location, climate and landscape of the city. The shehrengizis give us important information about the traditions and the customs for the respective period. Frequently they are related to a visit of the Sultan in the city or some other Palace representatives. Since 1453 Istanbul is often referred being the capital of the Ottoman country. Laudatory poems were written for other important cities as Edrine, Bursa, Manisa, Urfa, Alepo and others.
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The article considers the problems of scientific knowledge in conjunction with the formation of a person in the modern information space. Various philosophical schools and their concepts about the process of cognition, as well as the evolution of these views, are considered. A comparative analysis of modern Western European thought and the heritage of the philosophers of the “Golden Age of Islam” has been carried out. Based on the analysis, a conclusion is made about the need to set new tasks for such a discipline as social pedagogy.
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The old Turkish literature, called the divan, emerges and develops in parallel with the development of Turkish society. It is elitist in nature and is hardly accessible to the uninitiated reader. The poets are highly educated, fluent in Arabic and Persian. They are familiar with Persian mythology and ancient Greek philosophers. That is why the Divan literature develops the models of the Eastern literatures with a particularly strong influence of the Persian literature. By borrowing their poetic forms and themes and adapting them to their conditions, the Turkish poets begin to write magnificent poems. Starting with the metrics and poems, they come to the use of various motifs and inspirations. They are familiar with the traditional symbolism and are looking for perfection. The Divan poets know the technique of the classic verse to perfection, and by knowing the Persian literature well, they enrich Turkish poetry with the achievements of the Persian poets. By adopting Islam, the Turks also embrace the culture of the religion. The verses bring the aesthetics of Islam. Therefore the sacred books are some of the most preferred sources of Turkish Divan poetry. The poets know in detail the Quran and the hadiths. They have the ability to interpret the religious texts and thus to borrow the names of the individuals mentioned in these texts. They present these individuals as powerful, through their virtues such as justice, modesty, charity, self-sacrifice, and give them as examples. Their rich fantasy gives birth to brilliant hyperboles, perfect in style and vocabulary.
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Turkish War of Independence (1919-1923) ended with the official ending of the Ottoman Empire and the founding of the modern Republic of Turkey (1923). The Alphabet Reform (1928) and Language Reform (1932) involved the change of the Turkish witting script from the Arabic to the Latin alphabet, as well as well as the elimination of Arabic and Persian loan words and associated imported grammar. As a result of these efforts, modern Turkish is a literary language developing free of foreign influences. All stages and aspects of modern Turkish history, life, culture, politics and language have found their direct or indirect expression in Turkish poetry. Two major poets, Yahya Kemal and Nazım Hikmet, marked the beginning of contemporary Turkish poetry. There are two important movements in the Turkish poetry: The Garip (Strange) movement and the İkinci Yeni (The Second New) movement. Also a lot of poetry marked the individual difference in Turkish poetry.
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Different countries and cultures have specific characteristics of their children's poetry, but they all also have some common features. Children's poetry appeared as a necessity for children to express their feelings, thoughts, desires, dreams, needs and experiences in an artistic way in verse. Children have the need to listen to poetry, to recite it, and to share it with their environment. Versification of children's poetry allows readers of a certain culture to learn about the feelings, thoughts and behavior of children belonging to other cultures. In this way the original and the versified children's poetry enables artistic dialogue between children from different countries and contributes to familiarizing with same, similar or different values of the cultures to which they belong. As a result, children's poetry becomes an artistic dialogue between children from different countries and cultures.
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The Divan Literature is Turkish literature dating between 13th and 19th centuries, whose effects have continued to the present day and which has Islamic spiritat its basis. This literature has been greatlybenefited from Persian poetry and culture both as formal factors and content. Eastern Mythologyand Heroes of Eastern Mythology are used both in Persian poetry and Ottomanpoetry. "Mythology" in terms of the place in classical Turkish poetry, its shape of handling and the contribution to the world of the poet's imagination draws attention as an important source that feeds this poetry tradition. The poets of Divan have especially been influenced by Persian mythology; they have benefited from the opportunities that the old narratives offered while trying to catch the original expressions.They have strengthened their manner of telling by referring to famous sultans and warriors of Iranian mythology.
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In the article authors compile and analyse in detail the written sources in the Bashkir language of the late XIXth — early XXth century. The sources compiled use traditional Arabic graphic, its modifications for a more precise reflection of the Bashkir language phonetics, as well as Latin and Cyrillic graphic systems. These sources contribute to a more full understanding of the living informal Bashkir language. They reflect clearly the state of the Bashkir language in their time of writing, which makes them useful for language history studies. They also are of importance as monuments which played a large part in the history of develompent of Bashkir national writing and literary language.
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Haci Ömer Lütfi, who occupies an important place in the Turkish literature of the former Yugoslavia, with his literary work left a mark on the period in which he lived, from the end of the XIX century to the beginning of the XX century. With all his works, he is considered an eminent poet from an aesthetic, historical and political point of view. Thanks to all its expressive qualities, sophistication of the language and mastery of the verses, it brought new contemporary elements to Turkish literature, which was rooted in Yugoslavia and before it. Throughout his creative life, Omer Lutfi has written about sixty prose and poetic works that mainly contain elements of religion, politics and history. However, so far no separate reviews and studies of his valuable works have been made, except for some estimates and predictions. In addition to his numerous literary works, Omer Lutfi has written 7 poems for children belonging to Turkish children's literature in the former Yugoslavia, and thanks to these children's poems so far he has been considered the first Turkish poet for children and the founder of the children's literature in Turkish language in the former Yugoslavia.
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The Ottoman Divan poetry was scarcely known outside modern Turkey. Divan poetry is rich and mystic poetic tradition and lasted for approximately 600 years. This type of poetry was written in Ottoman Turkish with Arabic alphabet. It contains extensive use of Arabic and Persian words along with Turkish words. Most of the poetic forms are taken from the Arabic and Persian poetic tradition The gazel was the most famous poetic type in the Divan poetry. Many lyric gazels are allegorical and mystical. Gazel generally deals with topics related to lovers, love, nature, God, etc.
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The paper considers emersion and distinctions of postmodernism in Turkish literature with a review of social and political circumstances during 70’s and 80’s in Turkey. Starting from Oguz Atay, whose novel published in 1971 is considered to be the first postmodern work in Turkey, to the worldly famous writers such are Orhan Pamuk, Nedim Gursel and Elif Shafak, Turkish postmodernists often encountered, as still do, resistance of the conservatives as a result of their deeply rooted Islamic and patriarchal merits justified with a desire to preserve Turkish identity.
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Seven novels written by four Turkish female writers in the last ten years are under consideration. The main task is to find out the common in problematics, literary techniques associated with the specifics of gender perception in the Turkish female novel. The painful transformation process of the traditionalist views on gender roles in the family and society under the pressure of new norms and standards of the globalized world is in the focus of female authors. The gender approach to the analysis of Turkish literary works appeared with the author’s awareness of her feminine essence, as opposed to the masculine point of view dominating in the life and literature. The previously taboo topics started being discussed due to the process of women writers’ self-identification The literary heroine is represented as a so-called “traumatic subject”. The theme of violence against a girl, woman caused by a man, her parents, and relatives permeates the narrative. The main conflicts of novels concern parents’ relationship, as well as mother-daughter and father-daughter relationships. The method of “autobiographical confession” dominates in modern women’s writing. The critical feminine look at the private and social life of parents, blaming them for the unsuccessfulness of their children in their future adult life are new for the Turkish female novel. The chronotope of these novels is characterized by a wide geographical coverage and non-linearity of time, sometimes its cyclicality. The discontinuity of time is provided by the character’s associative reminiscences (also through the inclusion of old letters and diaries in the narrative) which interrupt the time sequence.
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The multicultural world, formed as a direct consequence of globalization (which, in a scientific sense, has been already acknowledged in Marshall McLuhan’s terms about the global village and media as a message), provides an opportunity to reevaluate the inherited concepts. This process is reflected in the new and active conceptualization of the term identity (Benedict Anderson, William E. Connolly, etc.), that requires its reformulation towards nationality on the whole. This paper is focused on the examination of identity and its manifestation in the novels Black Book by Orhan Pamuk and Babadjan by Zhivko Chingo, respectively, taking into account their respective narrative transformations and the anticipation of postmodern techniques. These two novels enable us to analyze the general cultural model of the artistic world, underlined by an active revalorisation of the past (especially in Chingo’s novel), and widespread imagological representations.
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Evliya Celebi was an enlightened man in a variety of ways who believed in equality, freedom of thought and intellectual debate, and found all of these things present in Islamic societies. Over the course of his travels, he wrote ten volumes detailing his adventures. ‘Seyahatname’ – Book of Travels – is a unique and important text, representing one of the few accounts of the 17th century and the Ottoman world from the perspective of a Muslim. These are not just factual accounts, Evliya had a great imagination and just as important as his journal entries were the imaginative storytelling that ran alongside, elaborating, exaggerating, and fantasizing. Through his stories, we are prompted to think more imaginatively about our own travels and journeys to other cities. This 17th-century Muslim traveler can sometimes seem narrow-minded and yet this same man can stand in St Stephens Cathedral in Vienna and be moved by the music he hears. Sometimes these encounters lead to nothing but sometimes they lead to stories which are so deeply felt, and so universally melodic that they leave echoes which can still be heard and felt today. In 2011, the year which would have been his 400th birthday, Evliya is being paid homage as UNESCO’s Man of the Year.
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Turkish poets turn to religious topics immediately after converting to Islam. The orientation towards Western literature led to the adoption of the poetic forms. Society's worldview changed. After the Tanzimat, the religious elements continued to be present in Turkish literature, but through the prizm of social relations in Turkish society. The authors found inspiration in the religious images in the holy books. Both their hardships and their personal virtues were described. The poets emphasized their determination and steadfastness in the name of good. They set personal examples of modesty, tolerance, strength and self-sacrifice. Through the religious images, poets sent messages to the modern people.
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F. M. Dostoevsky is one of the most prominent figures in the history of world culture and literature, whose work has had a strong influence on writers from different countries. The article examines the reception of F. M. Dostoevsky’s creative heritage in Turkish literature of the 20th and 21s centuries. The main translations of his works into Turkish from the 1920s to the present are noted, Turkish translators and researchers who studied the work of the Russian writer are named. The article provides an overview of the works of leading Turkish writers (P. Safa, S. Ali, A. H. Tanpinar, S. Agaoglu, D. Ozlu, V. O. Bener, B. Karasu, O. Atay, R. Ozdenoren, O. Pamuk, L. Tekin, M. Mungan, etc.) that reflect the ideas and images of F. M. Dostoevsky. The influence of his novels on Turkish literature was reflected in the similarity of themes, problems, ideas, motifs, images, narrative style, ways of depicting reality in the works of Turkish writers, especially at the level of artistic insight into tragic life collisions, universal values, human mental life, features and motifs of his behavior, as well as in the development of the novel as a genre. Master’s and doctoral dissertations of Turkish researchers, scientific articles, monographs, publications in journals, interviews with Turkish writers were used as sources of research.
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