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The review of: Nives Puhalo: Na libeli od tinte; vlastita naklada, Zagreb, 2018.
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Kod Vlatka Majića, čak i tema smrti prikazana je uzvišeno (Tanana smrt), gdje: odlazi tiho / stara nana // bogatiji svemir. Biološki proces s dubokom vjerom u zagrobni život, u dostojanstvo čovjeka pri prelasku u vječnost, u okrilje Njegovo. Zanimljivo je kako i suprotstavljeni svjetovi imaju harmoniju postojanja: iz šume su izlazile želje / imadoh pticu i nož.
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The review of: Dražen Zetić: Bdijenja u Boki, Hrvatska bratovština Bokeljska mornarica 809 / Hrvatsko nacionalno vijeće Crne Gore, Zagreb, 2017.
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The review of: Tomislav Marijan Bilosnić: Sto pjesama o tijelu, 3000 godina Za dar, Zadar, 2017.
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There is not any work focusing on only Divan Literature's sense of poetry and sense of literature, in a word its poetics. Poets of Divan Literature interspersed their evaluations of their own and other poets' poesy among the preamble of their 'divan' or the couplets of poems in divan. Therefore, 'Divan'[s] of poets are among the important sources referred by Tezkire authors and today's literature historians. Poets, who expressed their thoughts about poem and the poet in their works, wrote 'Nazire'[s] to poems of poets they appreciated, while they satirized the ones they did not. In this study, 17th century poet, Edirneli Şevki's thoughts about his own poems and poesy have been tried to ascertain on the basis of the “eulogy” parts of his qasides.
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Didactic poetries or what called as a didactic poems were considered as a new phenomenon in Abbasid age. That was because touch of Arabic culture other civilizations and owing to translating of their sciences and literature and its progressing because of effect of foreign cultures. The firs aim of didactic poetry was to make public the art and science among the people and to make academic texts easy to be learned by heart by students. That phenomenon, expanded till settling down entirely and covered all known sciences.Poets varied in didactic poetry writing. Some of them kept on certain characteristics and kept up the poetic luster, especially in prologs. The others turned the poetry into a meter that there hasn't been anything except likeness of pure poetry formally. Didactic poetry has advantage and disadvantage. Advantages are expanding of science and paving the way for scholarship. As for its disadvantages, one of them is its mixing with poetry and the other is putting it off. This quashed the concept of poetry and the image of Arabic poetry.
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It is widely known that there are publications in various languages such as German, French, Russian, English, and Italian about the biographies and literary personalities of Turkish poets and authors. One of these publications written in a foreign language is Dr. Otto Hachtmann’s German booklet named Die Türkische Literatur des zwanzigsten Jahrhunderts (20th Century Turkish Literature). Published in 1916, Leipzig, this work provides information about thirteen Turkish poets and authors. The poets and authors whose biographies, works and literary personalities appear in the book are as follows: Cenab Şehabeddin, Mehmed Rauf, Hüseyin Cahid, Faik Ali, Yakub Kadri, Mehmed Âkif, Celal Sahir, Ali Canib, Ahmed Hikmet, Halide Edib, Aka Gündüz, Mehmed Emin, and Ziya Gökalp. Dr. Hachtmann, who stated that he utilized Nevsâl-i Millî as he was writing the biographies of the authors in question, introduced and made comments about some Turkish poets and authors, as well as their works, and he sometimes made comparisons among the people and the texts he dealt with. Another remarkable feature of this booklet with regard to Turkish literary history is that it contains information about a number of works translated into German from the works of the mentioned literary authors. In this study, the chapter of the aforementioned booklet on Mehmed Âkif has been discussed. After an introductory part with evaluations, Turkish translation of the relevant pages has been presented. In this text, which is considered among the oldest biographies of Mehmed Âkif, there are accurate evaluations as well as mistakes and evaluation errors.
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The review of: “All Poems” by Âsaf Hâlet Çelebi; Everest Yayınları; 2015
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The use of rhyme and redif in poetry is directly related to poetic harmony. Redif is repeated systematicaly at the end of the lines of a poem, which provides a sense of integrety and harmony. In Classical Turkish Literature, nazîre is identified as a poem which is written to a poet’s poetic work, in the same meter and rhyme by another poet. The use of joint redif is quite common in this poetry. This study consists of four parts. The first part is the introduction section and general information about nazire and harmony will be given. In the second part, the meaning of the word "yavuz" and its use in Turkish poetry will be discussed. In the third chapter, it will be revealed that Ahmed Pasha's poem "Yavuz gözden yavuz dilden" is a redif poem. In section 4 the results will be summarized.
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Broadly speaking, behind every literary movement can be found a sort of heritage, both intellectual and cultural. As it is the case in the other countries’ literature, the Turkish literature too has its own rich and different sources which constitute some parts of the literature such as feelings, ideas, imagination, and social tendencies and inclinations, etc. Poets and writers of the literature in question try to explain all these in their works. One of the sources that Divan poets use is the Koran. As a result, in this context, we can say that the Koran is one of the sources that poets make use of. Poets use the Koranic verses, which guide people in various manners, quoting these verses either as “meaning” or as “words.” Because, as unshakable principles of the religion these verses are at the same time are the principles of the social life in which the poet himself lives. Birrî Mehmed Dede too, as one of these poets, who uses this source in his poetry by quoting some verses from the Koran. In addition to his eulogy poems such as lyric poems and date poems he also use verses in other types of poetry. Birrî gives examples showing that he himself is aware of the difference between “ahsen” quotation (the more or the most beautiful) and “hasen” quotation (the beautiful). The examples he gives indicate that he understands and he is able to use this art in poetry.
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One of the most dangerous and eerie animals of the nature, scorpion has long been used as a motif or symbol from antiquity to present. As an element frequently encountered in mythology, epics, tales, religious texts, reliefs, astrology, cosmology, people's beliefs and practices, the scorpion has also become a poetic symbol. The scorpion symbol as a polysemantic signifier in Turkish poetry tradition, has also continued to be associated with a wide range of ideas in New Turkish poetry. The purpose of this study is to identify the semantic world in which the scorpion symbol appears in the context of New Turkish Poetry.
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There are lots of literary works in Turkish literature about morals and mannners. Some of these books are made up of the words of prophets, caliphs, philosophers, sufis, and kings among others. Nesrü’lle’alî’ provides an example of such literary works on morals. Nesrü’lle’alî’ is the sum of the words of Hz. Ali who was the bridegroom and the relative of Muhammad the Prophet, and he is also the fourth caliph. This book is composed of 280 words and these words are arranged in alphabetical order. Yahyâ bin Abdünnebî using the pseudonym of Lutfî composed a book “Nazm-ı Nesr-i Leâl” which includes 100 beautiful words from “Nazm-ı Nesr-i Leâl”. “Nazm-ı Nesr-i Leâl” is translated into our language in the form of poetry. The translater starts his book with an introduction in prose. Here, he explains where and why the book was written, and then the book is completed with the translation of Arabic words in quartets. This paper first provides a review on Lutfî’s work and then, introduces a modern Turkish translation of the text based on the only written copy of the book.
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Urums are a Turkish speaking community, who were forced by Russians to migrate to upper regions of Azakh Sea in accordance with the policies followed to realize their aims on Ottoman State. Their language can be regarded as a dialect of Crimean Tatar Turkish. The poems composed in Urumian Turkish by Valery Kior (Kör=Blind in Turkish) are in free verse. He compiled all his poems in three books. These poems are the first literary texts written in Urumian Turkish.
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Poetics of motion in oral lyric poetry understands functionality of the images of motion at compositional, stylistic and semantic level. These images could form composition principle or one segment in song structure. The most frequent figure of speech are: repetition, parallelism, contrast, gradation and metaphor. The notions of movement for- mand direct the space in the songs. They also influence on the meanings of boundary, closeness/distance, one’s own/alien, passable/impassable. Motion as a human activity is marked by changing of perspectives, by memories, and emotions and according to that it transforms space of oral lyric songs. Since these notions have its temporal dimension they form chronotopes.
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Под насловом УрошМиланковић, име неправично заборављено књижевни историчар Миодраг Поповић у свом огледу из 1954. године помиње да је први српски филозоф од струке писао и песме. Ослањајући се на рукопис академика Милутина Миланковића, он je записао: ,,О Урошу Миланковићу још знамо да је био песник, али се до оригинала његових стихова више не може доћи. Изгорели су заједно с преписком за време овог рата у Даљу... Да је Урош Миланковић био и песник, види се и из његових филозофских и пу- блицистичкихрадова, повремено надахнутихпоезијом...“ (Поповић 1954: 130).
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For quite some time the life of Dr. Svetislav Stefanović has been in the spotlight of scholars and researchers in Serbia. Serbian Medical Society has started an initiative that Dr. Stefanović’s membership be posthumously re-established. At the time a highly respected intellectual within literary circles Stefanović translated literary works from English, German and Hungarian. Despite his enormous contribution, Stevanović’s translations and much of his literary work have been overshadowed by his controversial political views presented in political essays and argumentative writings. The aim of this paper is to shed a new light on Stefanović’s work as a translator from a modern perspective and with no political or ideological bias.
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Овакво питање се поставља или из крајњег очајања, или из безбрижне плиткоумности. Песничко мишљење и изражавање активно учествује у подизању моралног здравља народа и у јачању његовог језика, у заснивању и прочишћавању његове осећајности, као и историјске самосвести. Тешко је и замислити наш колективни сензибилитет без Народног Певача, Вука, Његоша, Андрића и Црњанског, да поменем само њих. У најдубљем мраку робовања гуслар је подсећао слушаоце ко су били и шта би поново могли бити. Песма је одиграла незаобилазну улогу у борби за голи опстанак; Змајево „Њојзи хвала“ долази из душе целог народа. Све уметности дају допринос осмишљавању живота, његовом самопревазила- жењу, али нас уметност речи, и песма као њен сублимни облик, додирује у најосетљивији живац, преносећи знања и искуства која су у нас усађена са језиком, разоткривајући оно што је запретано дубоко у нама. Песник је копач који преко руку претури брда рудаче да би, ако му се посрећи, извукао покоје зрно злата. И док трговци и банкари племените метале похрањују у добро чуваним трезорима, песник их бесплатно нуди родној језичкој заједници, даје их живима, као и онима који ће се тек родити.
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Nella presente ricerca e tentata una ricostruzione del mondo poetico di Jovan Došenovic, poeta serbo dagli inizi dell’Ottocento che, dopo essersi formato in Italia (prima all’Universita di Padova poi vivendo a Trieste) seguendo il progetto illuministico di Dositej Obradovic, decide di produrre per il pubblico serbo una raccolta di poesie piacevoli e orecchiabili.
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The paper first follows the motives of two homeland rivers, the Pek and the Tisza. Both rivers carry a gilding of childhood and homeland, but the attitude to them is resolved dramatically: the Pek was transformed into an underground stream, and the Tisza became a poisoned river and an announcer of the coming Apocalypse. Then the paper follows Raickovic’s attitude to water, his „lyrical poetry about water” and establishes the polysemy of this element which in Raickovic’s poetry becomes one of the central motives with a broad spectrum of suggestive symbolic meaning.
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