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There is no doubt that one of the greatest realities in the world is death. Although death is a journey to a different world for the deceased, it is the embodiment of sadness and grief for those who love it. The laments and words spoken after the deceased have taken their place in our written and oral literature. Among these literary works, elegies also have an important place. Although the love for the deceased and the respect shown to him are expressed through dirges, degrading and insulting expressions are also included in the dirges for the people who caused the death of the loved one. The more the deceased is loved and respected by the society, the more the poets attached importance to writing an elegy to the deceased. One of these laments is the Karbala Lamentations. As a result of the Karbala incident, where Hussein and his relatives were martyred, in classical Turkish literature, on the one hand, the deep sadness caused by this event was told, on the other hand, the poets gave information about the names of the people who took action in this sad event and the activities they had done. The main purpose of our study will be to reveal what activities the people who were involved in the martyrdom of Hüseyin, politically or militarily, were involved in the Karbala elegies and with what expressions they were mentioned in the poems [ABSTRACT FROM AUTHOR]

In this study, firstly the elegy written by Oğuz Ali, one of the 16th century soldier poets, who appeared in 4 quatrains in about folk poetry many source books and had different reading styles, on the death of Turgut Reis, we obtained from the French National Library (Bibliotheque Nationale De France). Turkish the 57a page of the manuscript number 321 was re-read, and informations was given about the poet Oğuz Ali and the spelling, language and content of the poem. Secondly, two previously unpublished poems of Kul Çulha, another soldier poet who lived in the same century and in the same geography, were read on page 57b of the aforementioned copy and introduced to the world of literature, and the findings about the poet and his poems were presented to the attention of the readers. [ABSTRACT FROM AUTHOR]

This study has been discussed Muhalhil ibn Rabīʿa and elegy theme in his poems. There are different rumors and narrations about the name of Muhalhil ibn Rabīʿa. In the study, these narrations have been evaluated under the title of the poet's life. Muhalhil spent his youth in jollification with women. The murder of his brother Qulaib caused a radical change in his life. Muhalhil, who left jollification after the murder of Qulaib, struggled to revenge his brother. The main theme of Muhalhil's poems consists of elegies that he wrote for his brother Qulaib. The elegy is written poems in a way to praise the dead in order to express the pain and sadness of a person's death, to express the virtues and good aspects of the deceased, and one of the first examples in Arabic poetry is found within Muhalhil ibn Rabīʿa. Muhalhil mentioned threats against his brother's murderer in his elegies. In addition to this, he wrote hamâse and a few ghazal Muhalhil's poems have remarkably emotions and sadness stand out. His poems, which are bedecked with these feelings, are also far away from being artificial. There is some narrations about that poets followed Muhalhil's path, and it shows his competence in this field Another important theme in Muhalhil's poems is Basus War. This war, which started between the Bakr and Taghlib tribes after the murder of his brother Qulaib and lasted for many years, is considered one of the most important in Ayyām al-ʿArab. The war takes its name from a woman named Basus, who is the subject of the proverb as "more sinister than Basus" in Arab culture. The problem between Basus and Muhalhil's brother Qulaib brought the two tribes against each other and caused war. Muhalhil, who spent his time with entertainment before his brother's death, entered a new period after the death. On the one hand, the poet tried to revenge of his brother, on the other hand, he struggled to express feelings with poems. When it has been read Muhalhil's poems, it can be seen that he is very emotionalistic. The Muhalhil's elegy recited for his brother is similar to the elegy poems that are written in Jahiliyya. Tears and war are intertwined in his poems. Sometimes it can be seen that the expressions are subtle and emotional, while sometimes they are on a harsh style. While the poet is addressing his brother, feeling his pain, a delicacy emerges in his words. While talking about his brother's death, avenging and enemies, his expressions can suddenly become harsh. In the relevant parts of the study, examples of elegies from Muhalhil's diwan were given and it was tried to draw attention to these issues that we have mentioned. Muhalhil's diwan, that his poems found scattered in literature books, was first brought together and published by Talal Harb, and it was analyzed and annotated by Antuwan Mohsin el-Qavval. They are used in the study. In general, it can be said that in this study, the life of Muhalhil, who is father of elegy in Arabic poetry, has been emphasized, and some information about Ayyām al-ʿArab, especially the Basus war, has been conveyed. Then, attention has been given to Muhalhil's situation in Arabic poetry. Finally, examples of elegies from the poet's diwan has been determined, and some evaluations has been made by giving them together with their Turkish translations. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Mutefekkir, Faculty of Islamic Sciences is the property of Aksaray University, Faculty of Islamic Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of TURKAV Institute of Public Adminsitration Journal of Social Sciences / TÜRKAV Kamu Yönetimi Enstitüsü Sosyal Bilimler Dergisi is the property of TURKAV Institute of Public Adminsitration Journal of Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sultan Abdulaziz, the son of Sultan Mahmud II and Pertevniyal Valide Sultan, was born on February 8th in 1830 and succeded to the throne on June 25th in 1861. There were internal struggles in the Ottoman state administration from time to time; dethronisations and events that ended in death took place. Sultan Abdulaziz was also dethroned by a coup d'état and died on June 4th in 1876. Some of the sources state that Abdulaziz committed suicide due to the depression he suffered after his dethronisation, some of them claim that the Sultan was murdered, while others refrain from expressing a definite opinion. During the reign of Abdulhamid II, a court was established to investigate the case again, and those responsible were sentenced to different penalties after it was concluded that the Sultan had been murdered. There are 11 elegies written for Sultan Abdulaziz that have been identified so far. Six of them were published in Tercuman-ı Hakikat newspaper between May 23th and July 16th in 1881. Although two of the elegies published here have been the subject of previous studies, the remaining four ones are mentioned for the first time in this article. In this study, the elegies published in Tercuman-ı Hakikat newspaper will be analyzed together with their authors. This analysis will also benefit from the information provided by the elegies, which have already been the subject of academic studies in one way or another, on the dethronisation and death of Abdulaziz and their role in the event. After the evaluation, the elegies in Tercuman-ı Hakikat newspaper will be transferred to Latin letters. [ABSTRACT FROM AUTHOR]

Just as people have personal characteristics, societies also have their own value judgments and beliefs called culture. Culture carries the burden of the past and is pregnant with future generations. The most powerful tool used by Arabs to transfer their own culture from one generation to another is their poetry. Arabs from the pre-Islamic period to today; The heroism they showed in wars, the people they deem worthy of praise, the moral values they took care to protect, the laments for the deceased, the most beautiful words that can be said for a lover, etc. many cultural accumulations have been transferred to today through poetry. In this respect, poetry has become the Diwan of the Arabs in terms of being a treasure or archive of cultural accumulation. Wise words are one of the values they want to preserve by transferring them from generation to generation with a record of poetry. It is an artistic tradition in Arabic poetry to express observations and life experiences in a single couplet, often with convincing similes. Even if the theme of the eulogy, called grudge, is an elegy, eulogy or even a ghazal, it has been accepted as an aesthetic standard to sprinkle wise words from time to time or to give the poem to the poem with a wise life experience. In this study, the poems of Abū Firās (d. 357/968) one of the poets of the Abbasid period, with this wisdom were examined in terms of content and literary arts. It has been discussed how much style the poet has in the wisdom couplets chosen from his diwan, most of which consists of eulogies. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In Arabic literature, there are types of poetry that are traditional on the one hand and developed in the following centuries depending on the spirit of the century. Medih, satire, elegy, ghazal, fahr etc. subjects are examples of traditional poetry types. Hz. The praise of the prophet, in which the love for the Prophet is expressed and aimed at attaining his intercession, changes over time as a type of literature and develops, and genres such as bediiyyat, mawlid, and tawassul poems emerge. Throughout history, in the Islamic world, Hz. One of the most interesting poets among those who praise the Prophet in verse is undoubtedly Şerefuddin Muhammed b. Sa'îd al-Bûsîrî (d. 695/1296) and his poem is Kasîdetu'l-Bürde/Kasîdetu'l-Bur'e. The aim of our work The aim of this study is to introduce Abdurrahîm Efendi and Dürr-i Mergûb, a Turkish-origin lover of the prophet who translated the ode into two languages - Persian and Turkish - in verse in order to praise the Prophet, and to present examples from the texts of the translation of Persian and Turkish verse. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Eastern countries, especially the Turkic-Islamic peoples, left behind from the West in technology, industry and education, have become the colonies of great states in the last three centuries. For the peoples, especially the Turkic world, who could not keep up with the progress required by the age, this situation had dire consequences. Except for Turkey, all Turkic countries lost their independence due to the Russian invasion (19-20 centuries). However, in addition to the plundering of all their material and spiritual wealth, they also suffered great human losses. Intellectuals in the Turkic-Islamic world sought ways to get rid of this situation. Especially Gaspirali Ismail Bey's goal of "unity in language, thought and work" has been a very important intellectual step taken in this direction. Within the framework of his doctrine, schools providing education in a new way were opened in the Turkic world, the foundation of national press and theater was laid, and attempts were made to create a common language among Turkic peoples. All of these began to bear fruit in a short time. Gaspirali Ismail Bey, who was instrumental in this fruition, was loved by the Jadidians in the Turkic world as the father of the Jadid movement. His death shocked the Turkic-Islamic world. Condolence messages dedicated to him were published by Jadidist intellectuals in the newspapers and magazines he made popular in Turkestan; elegies were written, and the memories of Turkestani intellectuals about him were shared. There are many poems about the death of Gaspirali Ismail Bey in Uzbek Jadid poetry. In their elegies, the poets commemorated the reforms carried out by this exceptional personality, which the Turkic-Islamic world lost, by chanting Gaspirali Ismail Bey's superior morality, character, stance, love for his nation, patriotism, and having an ideal. On the other hand, they advised Muslim Turkic peoples to mourn for their spiritual "father", Gaspirali Ismail Bey, to pray for his soul, and most importantly, not to forget him until the Day of Judgment. [ABSTRACT FROM AUTHOR]

Copyright of CEDRUS is the property of Mediterranean Civilisations Research Institute and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Anglo-Saxon poetry mainly pictures the world of men in the tone of an elegy. This world is shaped by wars and filled with exile and separation. The poems, depicting the perspective of the Anglo-Saxon women, are quite limited; yet, they have their share of this chaotic world. In this world of banishment, the roles and identities of women are formed by males. Of the works illustrating the plight of the Anglo-Saxon women, the most conspicuous ones are the Wife’s Lament and Wulf and Eadwacer. Plagued by profound grief, the words of the Wife come from a “deep sadness” as a result of her exile. In search of her husband, the wife tells of her life in isolation as her lord leaves the county and her behind most probably due to a blood feud. Similarly, in Wulf and Eadwacer, the female speaker tells of her life of seclusion due to a blood feud. She is also away from her husband and suffers from the abhorrence of her clan. Included in the group of Old English “elegies”, both works are remarkable in that they are only two surviving poems in Old English with a female speaker and they are also rare examples of Old English poems that present the dilemma of the Anglo-Saxon females in the male dominated Germanic world. Accordingly, this article aims to discuss how the roles and identities of Anglo Saxon women are formed by a masculine world of exile, separation and blood feud as depicted in the Wife’s Lament and Wulf and Eadwacer and to introduce these unique texts to Turkish readers. [ABSTRACT FROM AUTHOR]

Copyright of Çukurova Üniversitesi İlahiyat Fakültesi Dergisi (CUIFD) is the property of Cukurova Universitesi Ilahiyat Fakültesi Dergisi (CUIFD) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

There are many works about a city or a settlement in classical Turkish literature, which has existed in various genres and styles for about six centuries. In these works, which can serve as a source for the history and culture of the city it deals with as well as being literary works, the city in question is praised in many ways, from its natural beauties to its architectural works, from its beauties to its famous people. However, there are also few elegies and satires among the works on the city. This work it is about the praises of Kesdel, Tekfur and Kızıldağ in the Dîvân of Kilisli Rıfkî, one of the 17th century divan poets. In our study, first of all, information about city poems and their characteristics will be given. Then, Rıfki's life and his only known work Dîvân, will be briefly introduced. In the main part of the article, the praises of Kesdel, Tekfur and Kızıldağ, which are included in Rıfkî's Dîvân and have not been studied before, will be examined in terms of form and content. At the end of the article, the transcripted text and facsimiles of the aforementioned city poems will be presented to the readers. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Erciyes Akademi is the property of Erciyes Universitesi Sosyal Bilimler Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The Karbala incident, one of the saddest events in Islamic history, on 10 Muharram 61/ 10 October 680. It resulted in the martyrdom of Hussain and more than seventy others who were with him. This event, which has been processed for centuries around the concept of art as well as its political, religious and social influences, is perhaps most shaped in the field of literature with its cultural and literary flows. This incident, which was handled independently with "Maktal", (Killing) "Maktal-i Hussain" (Killing of Hussain)" on the common ground of the theme and subject elements in literary works, was mainly focused on the elegies. In this regard, magazines, anthology-type works that bring together poems of more than one poet, and treatises written separately on this incident came to the forefront among the literary activities. One of the treatises composed in verse, prose or verse-prose was written by Sayyid Sulaiman Ashki al-Hussaini al-Alawi. In this treatise entitled Hulâsa-i Vâwaylâ Sayyidu'sh-Shuhedâ, which is written in poetry, the elegies, which are said as a sign of the love for Ahl al-Bayt, also included sections about the Karbala incident. In this article, in which the treatise written by Sayyid Sulaiman Ashki al-Hussaini al-Alawi is introduced, it was first written by. The literary reflections of Hussain's martyrdom were expressed, and then the treatise Hulâsa-i Vâwaylâ Sayyidu'sh-Shuhedâ was emphasized. The work was evaluated in terms of form and content, and then a transcribed text was given. [ABSTRACT FROM AUTHOR]

Muhibbi's Divan includes the poems uttered by Suleiman the Magnificent from time to time and immediately penned as a divan (collection of poems by one author). Since the sultan's poems were frequently collected and composed as a divan, its copies vary widely. We evaluated all of the copies in our study. In addition, we included his poems which were found in different poetry collections named as conk and mecmua (journal). Muhibbi's Divan was eventually published by the Turkish Manuscripts Foundation in 2006. A few years later after this edition, we were informed about a new copy of his Divan in the National Library of Israel and we analyzed it. In this copy, there are more couplets in 77 ghazals and two strophes of one poem are seen as extra. Also, eight new ghazals are found in total, one of which is an elegy in murabba form. Furthermore, we see four more ghazals and one of them is written in a mustezad form in different journals. We are publishing all of these new poems all together in this study. In this way, we have taken our previous study a step further. [ABSTRACT FROM AUTHOR]

Copyright of Tasavvur: Tekirdag Theology Journal / Tekirdag Ilahiyat Dergisi is the property of Namik Kemal University, Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Ottoman Literature Studies / Divan Edebiyatı Araştırmaları Dergisi is the property of Journal of Ottoman Literature Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

While elegy, one of the oldest themes of Arabic poetry was a part of classical ode in the early periods, it has become an independent genre and divided into sections within itself in the historical process. Elegies, consisting of sections of crying, praise and patience, can be regarded as conditional poems because they are mastered against death or loss. The role of mourning customs and women of Jahiliyya in shaping the elegies, which have many examples in Arabic literature, is so important. Mersiye poems, which gained a religious identity in the Sadru'l-Islam period, have also gained diversity in terms of subject since this period. It can be said that the elegies, which were shaped by the influence of politics during the Umayyad period, have completed their formation during the Abbasid period. The elegies, which had a narrow frame in terms of subject in the early periods, expanded this frame in the historical process and even made animals and inanimate beings subject to them. In this article, the formation, development and change of mersiye poetry in the last period are discussed. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet Ilahiyat Dergisi / Cumhuriyet Theology Journal is the property of Cumhuriyet Universitesi, Ilahiyat Fakultesi / Cumhuriyet University, Faculty of Theology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Lamentations from past to today, living in the tradition of mourning, death, separation, etc. and in the context of a variety of social events, they convey their common pain in the oral culture. Nowadays, the tradition of lamentation is kept alive in many regions, the most common of which is the Avşar laments which are common in Çukurova. Avşar laments spoken by Avşar Turkmens, has been transferred from generation to generation with the story and its melody. The lamentations of Avşar who are inhabited in Çukurova region, which is one of the most beautiful examples of verbal culture products, continue to exist in the tradition of lamentation in the Isalı district of Adana / Ceyhan. At the same time, it is aimed to contribute to scientific studies by transferring the lamentations of the lsalı to the written environment and completing a part of the tradition of lamentation Cukurova and being an example of Avşar lamentations. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Faculty of Theology / Kilis 7 Aralik Universitesi Ilahiyat Fakultesi Dergisi is the property of Kilis 7 Aralik Universitesi Ilahiyat Fakultesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Leyla Hanım one of the most important divan poets of the 19th century, she is also one of the last names representing divan literature in the transition to Tanzimat. Although we draw attention to the naats and elegies of Leyla Hanım's Divan, we witness that she is the Mevlevi in her poems. For this reason, in our study, the sources of Leyla Hanım are examined by considering the Mevlevi and Kerbela elegies. This study consists of an introduction and two parts. In the introduction part, the life and Divan of Leyla Hanım are briefly mentioned. In the first part, although the manuscripts of Leyla Hanım's divan are given, information is given about the pressure of the divan. In the second part, the manuscripts which include Leyla Hanım's poems, books, articles, papers and theses about Leyla Hanım and her poems are given. Since there was no bibliography about Leyla Hanım, this study was intended to be a helpful resource for those who would like to learn about Leyla Hanım. [ABSTRACT FROM AUTHOR]

Copyright of Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Faculty of Theology / Kilis 7 Aralik Universitesi Ilahiyat Fakultesi Dergisi is the property of Kilis 7 Aralik Universitesi Ilahiyat Fakultesi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Death is certain last which exposed of humanity the since creation. But this last is always in a hurry and premature. It is not easy to accept the death of a loved one. Needs of thinking the person who lost him then, in every society and every period has been a natural need. Lamentations are occurs from natural and intimate necessity in Turkish literature. In this study, providing information about the type of elegy since the Tanzimat literature ever written information about famous elegy examples are given. In our literature, with intermediation these examples are determined to change the perception of death. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this study, the content and style of the elegy that is written for Selim III by Ayni from Antep who is one of the poets of 18th century is analyzed through the meaning. In this analysis, it is used from the method of classical interpretation that is constantly used for explanation of Ottoman poetry and method of semiology and semantics. At the same time, it is focused on the meaning of some of the special words in the poet which is described as signs. As a result, in this poem, it is determined that the context which is between expression and meaning is composed through rhetoric and adjectives and the relationship of style and content is provided by rhyme and redif and repeat of sound and word. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Culture & Haci Bektas Veli Research Quarterly is the property of Turkish Cultur & Haci Bektas Veli Research Quarterly and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Electronic Turkish Studies is the property of Electronic Turkish Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cumhuriyet Üniversitesi Fen-Edebiyat Fakültesi Sosyal Bilimler Dergisi is the property of University of Cumhuriyet, Faculty of Sciences & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

With his artistic views and several works, Abdulhaq Hamid Tarhan, a poet from the Tanzimat Era, has a special place in in the history of literature. This is evidenced his reputed poem Makber, which he wrote on the death of his wife Fatma Hanim. This article analyzes some stanzas from Makber to search into poet's sufferings due to death of his wife and his views about death. Makber is one of the best examples of elegy, and has an important place in the Turkish poetry. [ABSTRACT FROM AUTHOR]

The critic edition and translation to Turkish language of the elegy written by Abu's-suûd Efendi who was Shaykh al-Islam of the Ottoman Empire during the reign of the Kanûnî Sultan Suleiman (Suleiman the Magnificent) for Kanûnî Sultan Suleiman died in the war of Sigetvar. [ABSTRACT FROM AUTHOR]