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LOVER'S LOCATION IN FRONT OF THE BELOVED IN THE 14TH CENTURY DIVAN POETRY XIV. YüZYIL D VAN R NDE A R N SEVG L KAR ISINDAK KONUMU
Mehmet PEKTA?
Turkish Studies , 2010,
Abstract: Divan poetry is largely formed and developed around the beloved. It is essential where the poet stands in front of the beloved placed in the centre of the poem by poets as a shared value. In this study, where the lover stands in front of the beloved, and the attitude he takes is traced by studying three poets (Kad Burhaneddin, Nes m , Ahmed ) from the 14th century with divan. In order to understand thoroughly the beloved mentioned nearly in all the couplets and to interpret Divan poetry correctly, where the lover stands in front of the beloved in the 14th century has been the focus of attention. Divan iiri büyük oranda sevgili etraf nda ekillenip geli mi tir. airler taraf ndan ortak bir de er olarak iirin merkezine yerle tirilen sevgili kar s nda airin nerede durdu u nemlidir. Bu al mada XIV. yüzy lda divan sahibi ü air (Kad Burhaneddin, Nes m , Ahmed ) incelenerek a n sevgili kar s nda durdu u yerin ve ald tavr n izi sürülmü tür. Bu makaleyle, hemen hemen her beyitte kendisinden s z edilen sevgiliyi tam olarak anlamak ve Divan iirini do ru yorumlamak i in XIV. yüzy lda sevgili kar s nda a n konumu belirlenmeye al lm t r.
Türkiye’de Tarih iler ve Co rafyac lar Taraf ndan Farkl Anlamlarda Kullan lan Bir Terim: Divan //// A Term Used Different Meanings by Historians and Geographers in Turkey; Divan
Cevdet Y?lmaz
History Studies : International Journal of History , 2010,
Abstract: Türkiye’de tarih i ve co rafyac lar n mahiyeti üzerindeanlasamad klar terimlerden biri de divand r. Divan tarih ilere g reOsmanl mparatorlu u’nun y netim sistemi i inde k y ile nahiyearas nda kalan idar ve mal bir birimin ad d r. Co rafyac lar ise divan (k yden kü ük fakat k ye ba l ) bir k y-alt yerlesme sekli olarak kabuletmektedirler. Bu arast rma s ras nda elde edilen bulgulara g redivanlar n ge miste var olan fakat bugün olmayan bir idar birim oldu usonucuna ulas lm st r. Bu sonu tarih ilerin bak s a s n n do ruoldu unu g stermektedir. Co rafyac lar n divan olarak adland rd klar iskan sekillerinin ise asl nda birden fazla mahalle yerlesmesindenmeydana gelen k yler oldu u, bunlar n bir k sm n n ge miste divanünitesi olarak adland r lmalar n n günümüz co rafyac lar n yan ltt sonucuna var lm st r. //// Certain words have enjoyed a very wide field of application. Divanis one of these. It has been used in Turkish to cover very differentmeanings. For example, a small administrative unit consisting of fewvillages was given the name divan; it is these units that are claimed to bean original type in Turkey’s history of settlement. A number ofgeographers to day divide Turkey’s rural settlements into villages andsub-villages. By sub-villages, we mean that settlement which has not yetacquired the characteristics found in villages. The most important typesin this category are divan. Geographers to-day consider divans as atypical example of scattered settlements which have not yet becomevillages have created units called divans. According to historian, each 50 or 100 scattered dwelling was considered a village and informed of itstaxes with a divan-bill. By this bill is meant the official paper issued bythe Divan-I Hümayun in Istanbul or the beylerbeyi divan in the centre ofthe province. We might therefore, tentatively conclude that divan is alocal term for ‘nahiye’, the smallest unit in Ottoman administrativeterminology which will be discussed below.
TIFL-I DIL-BESTE DILBER: DEAR AGE OF THE DIVAN POEMS TIFL-I D L-BESTE D LBER: D VAN R ’NDE SEVG L N N YA I
?brahim Halil TU?LUK
Turkish Studies , 2010,
Abstract: Divan poetry has been developed around some certain aspects such as lover, love and adversary. Lover is the most important one among these aspects. Lover is the one that directs the poem. There are different views about the role of the lover because of the relationship of the lover with the text and social life. The age of the lover is an important feature within the framework of the concept of lover in Divan poetry. The deternination of the age of the lover is going to be helpful about the evaluation of her role. In this study, the concepts about the age of the lover has been evaluated and has put an emphasis on the features of the usages of these concepts. Divan iiri; sevgili, a k ve rakip gibi belli tipler etraf nda geli mi tir. Bu tiplerden en nemlisi sevgilidir. Sevgili, rolü itibariyle iire y n veren bir konumadad r. Tasavvuf, kurmaca metin ve sosyal hayatla olan ili kisinden dolay sevgilinin rolü ve buna ba l geli en di er zellikleri hakk nda farkl g rü ler ileri sürülmü tür. Sevgilinin rolüne ba l olarak geli en y nlerinden biri de onun ya d r. iirlerde s zü edilen sevgilinin ya n n ortaya konmas onun rolü hakk nda yap lacak olan de erlendirmelere yard mc olacakt r.Bu al mada divanlarda sevgilinin ya ile ilgili kullan lan kavramlar ele al nm , bu kavramlar n kullan l zellikleri üzerinde durulmu tur.
NILE AND EGYPT IN THE WORLD OF ANALOGY OF DIVAN POETS D VAN A R N N BENZETME DüNYASINDA MISIR VE N L  [PDF]
H. Dilek BAT?SLAM
Turkish Studies , 2011,
Abstract: Divan poets have a rich world of analogy and imagery. In that world, poets utilize many elements, among which the geography, countries, rivers constitute an important position. In this paper, I am going to investigate the elements of analogy on Egypt and Nile used in a collection of couplets by variety of divan poets lived in the 15th and the 16th centuries. Divan airlerinin zengin bir benzetme ve hayal dünyas vard r. Bu dünya i inde airler ok e itli unsurlardan yararlan rlar. S z konusu benzetme ve hayaller aras nda co rafya, ülkeler ve nehirler de nemli bir yer tutar. Makalemizde 15-16. yüzy llarda ya am farkl divan airlerinin iirlerinden se ilen rnek beyitler arac yla divan airlerinin M s r ve Nil’le ilgili olarak iirlerinde hangi benzetme ve hayal unsurlar n kulland klar üzerinde duraca z.
THE LANGUAGE OF DIVAN POETRY IS THE LANGUAGE OF THE EMPIRE D VAN R N N D L MPARATORLUK D L D R  [PDF]
?. Hakk? AKSOYAK
Turkish Studies , 2009,
Abstract: The language of Divan literature has always been introduced as a synthesis of three languages: Arabic, Persian and Turkish. Indeed, Ottoman Turkish that is the combination of these three is the essential of Divan literature. However, Divan poets also used words from Greek, Armenian, Italian, and some languages of Balkans and Caucasus besides Arabic and Persian words. Especially poets who were Rumelian or worked as the state officers for years were finding different ways of usage in their works with the expressions they borrowed from the Balkan languages. In ten verses of a poem of Mustafa l of Gallipoli who was a bureaucrat, an intellectual and at the same time a poet and who had served as a statesman for a long time in the Balkans in the 16th century, there are expressions of Arabic, Persian, Albanian, Franc, Serbian, Greek, Manav, Bosnian and Chagatai people in their own languages and dialects. Based on this example, it would not be wrong to say that Divan poetry is a part of “a literature of an empire” and that the language is “an imperial language”. In conclusion, the language of Divan literature is an entire entity that has basically Ottoman Turkish as a dominant factor but also comprises many elements from the languages of the nations all around the Ottoman Empire. Divan edebiyat n n dili daima Arap a, Fars a ve Türk e kar m bir dil olarak tan t lm t r. Ger ekten de Türk e Divan edebiyat n n esas n olu turur. Divan airleri, Arap a ve Fars a k kenli kelimelerin yan nda Yunanca, Ermenice, talyanca, Balkan ve Kafkas dillerinden s zcükler de kullan yorlard . zellikle Rumelili olan veya oralarda uzun y llar g rev yapan airler, Balkan dillerinden ald klar ibarelerle de i ik ileti im ve anlat m yollar buluyorlard . Balkanlarda uzun y llar g rev yapan XVI. yüzy lda bürokrat, entelektüel ve ayn zamanda air olan Gelibolulu Mustafa l de bir manzumesinin 10 beytinde Arap, Acem, Arnavut, Firenk, S rp, Rum, Manav, Bosnal ve a atay halklar ndan insanlar kendi dil ve leh eleri ile konu turur. Bu rnekten hareketle divan iiri i in “imparatorluk edebiyat ” ve dili i in de “imparatorluk dili” ifadesini kullanmak hi de yanl olmaz. K sacas Divan edebiyat n n dili, Türk e esas olmakla birlikte imparatorlu u olu turan kavimlerin dillerinden eleri de bar nd ran bir bütündür.
AYDEM R, Ya ar 2007. Ravz Divan , Birle ik Kitabevi Yay nlar , Ankara.
Sibel üST (M.A.H.)
Turkish Studies , 2007,
Abstract: review: AYDEM R, Ya ar 2007. Ravz Divan , Birle ik Kitabevi Yay nlar , Ankara.
“Deterritorialization” and “Reproduction Of Place” In Architecture= Mimarl kta Yersizle me ve Yerin -Yeniden üretimi  [cached]
Rifat G?khan Ko?yi?it
tasar?m + kuram , 2012,
Abstract: Mimarl kta yersizle me, mimari ürününün, herhangi bir co rafi b lgeye, kültürel yap ya, dü ünsel dizgeye ya da zamana ait olamamas ; burada ya da orada, bu zamanda ya da o zamanda üretiminin fark etmemesi; kendine bir yer-yurt edinememesi ve tekil bir e olman n tesine ge emeyi i olgusudur. Ba ka bir deyi le mimari tasar m y nlendiren veriler bütünü olarak yerleri yer yapan niteliklerin giderek ortadan kalkmas , evrenin ileti imsel gücünün azalmas , mimarl k kuram nda ise s ylemlerin anlat msal bütünlü ünün kalmay , kavramlar n ait oldu u dü ünce yurtluklar ndan kopmas sürecidir. zetle yersizle me, fiziksel evreden kültüre de erler bütünlü üne, tarihsel d nemsellikten kuramsal dizgeye e itli boyutlarda ya da kavray lar alt nda g rülen bir ba lams zla ma sorunudur. Bu al mada ncelikle b yle bir olgunun varl , mimarl k disiplini a s ndan bir sorun olarak g rülüp g rülemeyece i sorgulanm , sorunun kaynaklar , s n rlar ve etkileri ara t r lm t r. Elde edilen veriler do rultusunda mimarl k disiplini a s ndan “yersizle me” i in yeni bir kavramsalla t rma hedeflenmi tir. Konu, bu er evede “Yer”, “Yersizle me” ve “Yerin–Yeniden- üretimi” olmak üzere ü ana b lüm halinde ele al nm t r. In architecture, “deterritorialization” refers to the notion that an architectural product does not belong to any geographical region, cultural structure, or intellectual system, nor to any moment in time; it makes no difference whether it is constructed here or there, at this time or at that time. It concerns not finding itself a place/territory and not becoming something more than a singular element. It is the disappearance of the qualifications of the data which direct an architectural work and which make the place itself, a decrease in the communicational power of the environment and, in architectural theory, it is the disappearance of the integrity of the separation of concept and the thought. Briefly, deterritorialization is a matter of breaking away from the observable context, away from the physical environment and cultural values, historical periodicity and a theoretical system. In this paper, the existence of this concept is discussed to find out whether it might bean architectural problem or not. The main aim of this study is to conceptualize the term “deteoriolisation”.
LOCALIZATION AND THE ELEMENTS OF THE SEVENTEENTH-CENTURY SOCIAL LIFE IN S BIT’S DIVAN S B T D VANI’NDA MAHALL LE ME VE 17. YüZYIL SOSYAL HAYAT UNSURLARI
Yunus KAPLAN
Turkish Studies , 2009,
Abstract: Throughout the history, artists created their art using the elements of their society such as customs, traditions, commodities, words and lifestyles. Like other artists, our divan poets were inspired by their society, and in their poetry they used plenty of the accepted materialistic and moral values of the society. Sabit, a poet who lived in the second-half of the seventeenth century, was no exception. He decorated his poems with various dreams, and his careful observations and analyses of daily life were masterfully reflected in his poetry.This study classifies the elements reflecting the social life of the seventeenth century in Sabit’s poems. The relevant examples from Sabit’s Divan are also given. Tarihin her devrinde sanatkarlar, sanat eserlerini olu tururken mensup olduklar toplumun sosyal hayat tarz na ait ya ay ekli, adet ve gelenekler, kullan lan e yalar ve kelimeler gibi bir ok unsuru kullanarak eserlerine ekil vermi lerdir. Divan airlerimiz de di er sanatkarlar gibi eserlerini kaleme al rken, i inde ya ad klar toplumun sosyal hayat ndan ilham alm lar, günlük hayatta kabul g ren madd ve manev kültürel de erleri iirlerde bolca kullanm lard r. 17. yüzy l n ikinci yar s nda yeti en Sabit de ya ad d neme dair, iyi bir g zlem ve tahlil yaparak günlük hayata kay ts z kalmam , bu g zlem ve tahlillerini de i ik hayallerle süsleyerek iirlerine ustaca yans tmas n ba arm t r. Bu al mada, Sabit’in iirlerinde 17. yüzy ldaki sosyal hayat yans tan unsurlar, e itli ba l klar alt nda s n fland r larak bunlara Divan’ ndan rnekler verilecektir.
SUD ’S SUFIC INTERPRETATIONS IN HIS ANNOTATIONS OF THE HAFIZ DIVAN S D ’N N HAFIZ D VANI ERH NDEK TASAVVUF YAKLA IMLARI  [PDF]
?brahim KAYA
Turkish Studies , 2011,
Abstract: Sudi who lived in the 16th century is an author who writes the interpretations. The interpretations he wrote gained great appreciations, and especially his interpretations on Haf z Divan almost surpassed the annotations of Sururi and em’i which were written to the same work. This situation is of course not only related to his deep knowledge and accumulation but also result of this consistency interdisciplinary. He first started with setting up a solid text. Then, he began to annotate interpretation the text. When annotating the text he assumed that Haf z was a human being. He didn’t exalted Haf z giving extraordinary features to him. It is true that from time to time he said that Hafiz was one of the ehlullah. But these are balanced expressions. In this article, firstly Sudi’s sufic ideas when annotating Sudi’s poems are handled. Secondly, the criticism made by the poets who thought that he gave extreme sufic meanings to Haf z Divan will be dealt with. Finally, the rightfulness of these ideas will be questioned 16. yüzy lda ya ayan S d a rl kl olarak erh vadisinde kalem oynatm birisidir. Yazd erhler büyük bir takdire mazhar olmu , zellikle Haf z Divan ’na yazd erh kendinden nce ayn esere erh yazan Sürur ve em’ ’nin erhlerini neredeyse unutturmu tur. üphesiz bu husus onun derin bilgi ve birikimi yan nda belirli disiplinler i inde tutarl hareket etmesinin sonucudur. O nce sa lam bir metin olu turmak i in al m , daha sonra da metin erhine girmi tir. erhederken Haf z’ bir be er olarak ele alm , onu ola anüstü zellikler vererek yüceltmemi tir. Ger i zaman zaman Haf z’ n ehlullahtan oldu u gibi eyler s ylerse de bu yakla m a r yüceltmeci bir sonucu do urmam , ayaklar yere basan yorumlarla okuyucunun kar s na km t r. Bu makalede nce S d ’nin Haf z’ n iirlerini erhederken temas etti i tasavvuf g rü ler ele al nacak, daha sonra Haf z Divan ’na a r tasavvuf anlamlar yüklediklerini dü ündü ü arihlere y neltti i ele tiriler ifade edilecek ve bunlardaki hakl l k pay tespit edilmeye al lacakt r.
SOME OBJECTS OF MEANING RELATED TO LOVER IN THE DIVAN OF BAKI B K D V NI’NDA IK LE LG L BAZI ANLAM UNSURLARI  [PDF]
Meheddin ?SP?R
Turkish Studies , 2010,
Abstract: Lover is one of the most important factors in Divan poem. The position of lover before the darling is handed and studied on in a clear frame. The lover is a slave and servant. t suffers from living alone without darling and tolarate the fortune derived from loved one. t is miserable, indulgent and poor. But it exists with all these features and tries to make everybady know that it than the other ones with the same features. n this study the features of the lovers and some other similar features were handed and studied on. k divan iirinin en nemli unsurlar ndan biridir. n sevgili kar s ndaki konumu belli bir er evede ele al n r ve i lenir. k sevgili kar s nda kuldur, k ledir. Sevgiliden ayr olman n ac s n eker, sevgiliden gelen eziyetlere katlan r. Peri an, dü kün ve yoksuldur. Ancak o bütün bu zellikleriyle vard r ve bu zelliklerle a k oldu unu hatta di er a klardan daha üstün oldu unu ispatlamaya al r. k ile ilgili bu ve buna benzer zellikler ele al n p de erlendirildi.
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