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Klasik Türk şiirinde âşığın içinde bulunduğu çaresizliği, üzüntüyü, en iyi anlatan kavramlardan biri de âh kavramıdır. Âh kavramı sözlükte “sesin tonuna göre pişmanlık, öfke, özlem, beğenme, sevgi vb. duyguları anlatan bir ifade; ağrı, acı duyulduğunda söylenen bir söz olarak geçmektedir. Divan şairlerini âh ettiren birçok farklı durum bulunmaktadır. Bunların başında elbette ki sevgilinin ilgisizliği, âşığına kötü davranması gelmektedir. Âşık çoğu zaman sevgilisini gördüğünde hatta onu andığında dahi âh etmektedir. Ayrıca sevgilinin yüzü, boyu, saçları, yanakları, dudağı, kirpikleri, gözleri de âşığa âh ettiren unsurlardır. Bununla beraber âşık; vefâsızlıktan, rakibin davranışlarından, yaşadığı zamandan, ayrılıktan ve talihsizlikten dolayı da daima şikâyet etmektedir. Hatta şair çoğu zaman kendi gönlünden bile şikâyette bulunarak âh etmektedir. Âşığın âhının bütün insanları rahatsız etmesi ve göğe ulaşması da karşımıza çıkan mübalağalı anlatımlardandır. Aynı zamanda şairlerin âh kavramını; ateş, ok, duman, mum, haberci, sancak, dost, ney, nişancı, rüzgâr gibi unsurlara benzettiğini de görmekteyiz. Bunun dışında şiirlerde âh almak, âhı yerde kalmamak, âhı tutmak gibi deyimlere rastlamak da mümkündür. Tüm bunlar, âh kavramının dilimizde ve Klasik Türk şiirinde çok geniş bir kullanıma sahip olduğunu göstermektedir. Bu çalışmada amaç XVI. yüzyıl klasik Türk edebiyatı şairlerinden olan Revânî’nin şiirlerinde âh kavramının hangi sebeplerle kullanıldığını tespit etmek ve bu kavramın hangi unsurlara benzetildiğini göstermektir.

Comparative Literature is the study of literary texts which are linguistically different. Comparative Indian literature is advocated by Indian comparatists to understand the unity that runs through the seemingly diversified kinds of literature of modern India. The chief objective of Indian comparative literature is to trace the similarities among the writers of various regional languages, and thereby equate their underlying similarity to Indianness which is an indispensable part of all Indian literature. Tagore and Meera are writers of modern poetry and are influenced by the pattern of Western poetry. Tagore’s Gitanjali and Meera’s Kanavukal+Karpanaikal=Kakitankal are composed in the same genre, prose poems. Also, the dominant idea in the texts, as has been asserted by many critics is love. This research article aims to ascertain the nature of parallel elements in the art of senior poet Tagore from Bengali and the later-day poet Meera from Tamil Nadu. The physical aspect of love that runs through Gitanjali is metaphysical and mystical. Tagore can present both male and female points of view in love. Meera’s Kanavukal+Karpanaikal=Kakitankal seems to glorify physical love. But it also contains much of spiritual elements. Abdul Kather, a Tamil poet and researcher states “Meera’s Kanavukal+Karpanaikal=Kakitankal reveals his devotion for his lady love.” (74). It shows that Meera is worshiping his ladylove as his God. This analysis reveals many parallels between Tagore and Meera. Both Tagore and Meera present the physical love between man and woman, and the sacred love between man and God, While the first category dominates in Meera, the second dominates in Tagore. In both the poems, ‘nayagan-nayagi bhava’ of worshiping God as lover and beloved is seen. It shows their longing for reunion with their Soul. [ABSTRACT FROM AUTHOR]

In the 20th century the digital era began to develop and when computer technology slowly began to enter various industries which then moved into the public domain, from the massive development of digitalization flows that always experienced a significant increase in users in all parts of the world, including in Indonesia in the use of digital channels so that eventually it became a digital communication. One of the digital channels that people need in everyday life is a social media platform where people use it to exchange information effectively and efficiently. Cyberbullying behavior or cases in Indonesia always increase every year because many of Instagram's social media users get cyberbullying treatment and a public figure is no exception. This study will look at the contestation of likes and dislikes from netizens or in this case lovers and haters that occur on Instagram social media, using the reciprocal determination model from Albert Bandura's social cognitive theory Researchers will see and observe how cyberbullying on Instagram social media continues to exist and seems to never end. Researchers will use a qualitative method approach used by researchers to study the state of an object and rely on a narrative approach from facts found during field observations, while the type of data used is more likely to be primary data obtained from literature tracing such as books, scientific journals, and news and observations that occur in existing phenomena and are related to research problems. [ABSTRACT FROM AUTHOR]

Turkish community living in Nort Macedonia has a deep-rooted historical background and this past dates back to before Ottoman Empire. The influence of Turkish societies in the region has been shaped throughout various historical processes arising from its geographical location and strategic importance. During the reign of Ottoman Empire, it embodied the cultural and social structure and feature of the empire. Today, Turks who are living scattered throughout North Macedonia are in an effort to preserve their historical and cultural ties. In this context, they maintain their cultural heritages and pass them on to future generations by means elements such as language, literature, traditional clothing, food culture, art and music. At the same time, Turkish community is integrated into a living Turkish Folk Literature in North Macedonia is hosting a comprehensive and cultural heritage. Turkish community which exists within this cultural richness, has a long-standing presence in the region that dates back to a long history and continues until today. Turkish Folk Literature has deep traces of the life style, emotional world and history of this community. "Turkish Folk Songs" have an important place in Turkish Literature and they have been transmitted by Northern Macedonia Turks from past to present. Beyond being a form of musical expression only, these folk songs have also assumed the function of reflecting and keeping alive the historical and cultural values of Turkish society. These folk songs which tell the emotional world of Turks, love, sadness and enthusiasm, also represent a time journey from the past to the present. In North Macedonia, this rich heritage of Turkish folk literature can be considered as a cultural treasure that aims to protect the identity of the community and pass it on to future generations. [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.)

Saadi Shirazi's ghazals are based on the sect of love. This study analyzes one of Saadi ghazals in which he refers to a love that unites with the soul of Ādam in eternity and causes him to suffer the pain of separation upon his arrival in this world. Saadi defines this eternal love as a bāde [wine] that intoxicates Ādam, and to drink another glass of it in this land of separation makes him a suitor. However, the wine giver does not provide this glass in exchange for hard work and effort. The lover's role here is to stop complaining and learn to be a lover. [ABSTRACT FROM AUTHOR]

Turkish community living in Nort Macedonia has a deep-rooted historical background and this past dates back to before Ottoman Empire. The influence of Turkish societies in the region has been shaped throughout various historical processes arising from its geographical location and strategic importance. During the reign of Ottoman Empire, it embodied the cultural and social structure and feature of the empire. Today, Turks who are living scattered throughout North Macedonia are in an effort to preserve their historical and cultural ties. In this context, they maintain their cultural heritages and pass them on to future generations by means elements such as language, literature, traditional clothing, food culture, art and music. At the same time, Turkish community is integrated into a living Turkish Folk Literature in North Macedonia is hosting a comprehensive and cultural heritage. Turkish community which exists within this cultural richness, has a long-standing presence in the region that dates back to a long history and continues until today. Turkish Folk Literature has deep traces of the life style, emotional world and history of this community. "Turkish Folk Songs" have an important place in Turkish Literature and they have been transmitted by Northern Macedonia Turks from past to present. Beyond being a form of musical expression only, these folk songs have also assumed the function of reflecting and keeping alive the historical and cultural values of Turkish society. These folk songs which tell the emotional world of Turks, love, sadness and enthusiasm, also represent a time journey from the past to the present. In North Macedonia, this rich heritage of Turkish folk literature can be considered as a cultural treasure that aims to protect the identity of the community and pass it on to future generations. [ABSTRACT FROM AUTHOR]

Separation, which appears as the eternal destiny of human beings, has been name of our departure from divine beloved and realm of unity and our fall into this world. The commemoration of man’s incompleteness, the desire of our hearts, which is scorched with the longing to be complete and complete, has been the somewhat acrid taste of the emotion left in our minds by this lack. From this perspective, separation, which is located in the center of human life, has always kept their place on the agenda of poets as well. Poets directly or indirectly mentioned the subject of separation in their poems. Of course, classical Turkish poets have also frequently included this subject, and they have tried to reveal the sadness and sorrow of being separated from both the beloved of divinely and metaphorically/humanly with emotional expressions. Naturally, it has been determined that Usûlî wrote this state as well, which is a sign of deprivation, in his poems in a striking and lyrical way. Usuli, one of the prominent Balkan poets born in Vardar Yenicesi, turned to Sufism by affiliating himself with Ibrahim Gülşeni. After spending some time in Egypt, he returned to his homeland, where he endeavored to spread the Gülşeni order. Sufism had a profound influence on shaping the poet's persona and defining his identity as a poet. Usuli, who molded the world of poetry around his beliefs and worldview, holds an important place among poets who follow the Nesimi-Fuzuli tradition. He is a mystic poet who successfully combines poetry and message, often elevating his thoughts to the emotional plane, adhering to the aesthetic taste of classical Turkish literature. Usûlî has works called “Divan”, “Manzum Hadith Translation”, “Mi'râciyye” and “Yenice Şehrengiz”. His most famous work is Divan. Even some copies of this work also contain poet’s other works. Indeed, in “Usuli Divan”, prepared by Mustafa Isen and we used as a reference in our own study, his poems in the “Divan”, as well as “Mi‘râciyye” and “Yenice Şehrengizi” are included. Usulis literary legacy is a testament to his significant contribution to both Sufism and classical Turkish literature. When examining the poet’s “Divan”, it has been found that the Turkish-origin word separation and related words and derivatives from both Arabic and Persian sources are mentioned approximately 88 times. A table has been created indicating in which poems and couplets/stanzas all words related to separation are located. Additionally, tables have been constructed to illustrate the reflections of separation on Usuli and which verb-based words are used to express it, with their respective frequencies determined. Also, it has been seen that the poet has ghazals on the subject of separation. Especially his ghazal with the redif "ayrılık/separation” is noteworthy in this sense. In fact, in the 63rd sequence of “Divan”, poet has touched upon various aspects of separation. Furthermore, it is evident that poet tends to focus more on the beloved or the being in the beloved’s position when addressing the topic of separation. He gives little attention to expressions related to leaving his homeland where he was born and raised or the life of exile. However, he occasionally alludes to humanity’s departure from the primary homeland of the unity realm and being sent into the exile of the world. Above all, Usuli emphasizes that separation is inevitable, unbearable, destructive, burning like hellfire, an endless and exhausting ordeal, a disruptor of the lover’s peace, almost akin to the fate written on the lover’s forehead. Therefore, it is aimed to carry out this study, considering that it will be useful, to introduce poet from this aspect. The poems selected in this study, which was created by making use of statistical data, were collected under the titles they are related to and explained with the annotation method based on meaning. The study is limited to “Usuli Divan”. In this study, which was carried out in line with the poetry samples taken from “Divan”, it was seen that poet’s approach to separation was largely shaped in the context of classical poetry tradition. However, it has been concluded that poet has almost assimilated the separation with the influence of this tradition and the world of emotion and has dealt with it in his poems in his own way. [ABSTRACT FROM AUTHOR]

Due to the inequality regarding the susceptibility level of people’s souls as well as their temperamental balance, differences occur in how they accept news containing messages arriving from the celestial realm. People who have a more competent mind, stronger intuition (hadth), and higher imitation (muhākāt) ability compared to others more strongly accept what is revealed from the celestial realm. This article provides information about people who accept what is conveyed from metaphysical substances and who’ve been informed about unknown events in three stages: (i) The place of Plato’s distinction among poets, oracles, and lovers in Aristotelian and Plutarchian philosophy; (ii) the position of poets and oracles in the pre-Islamic period, polytheists’ attribution of both poetry and divination to Prophet Muhammad, and the description of Muhammad as a nabī in the Qur’an; and (iii) the meanings al-Fārābī and Avicenna attributed to oracles, poets, lovers, and nabīs (prophet). In this context, the article attempts to find answers to the questions of what the philosophical basis of both al-Fārābī’s and Avicenna’s ideas is regarding poets and oracles and what the religious basis of their views is regarding the concept of nabī. While trying to find answers to these questions, the study also aims to determine how a nabī differs from poets, oracles, and lovers by considering the superiority nubuwwa (prophecy) has over poetry and divination.

Dîvân edebiyatının başlıca eserlerinden olan dîvânlarda, muhteva itibariyle incelendiğinde nasihat-nâme tarzında yazılmış şiirlerin ya da bir manzumenin içinde nasihat etmek gayesiyle söylenmiş beyitlerin önemli bir yer tuttuğu görülmektedir. Türk-İslâm kültürünün bir tezahürü olarak bir kısım dîvân şairleri toplumda iyiliği yaymak, kötülükten sakındırmak misyonunu yüklenmiş ve bu amaca yönelik mesajlarını şiirle ifade etme yoluna gitmişlerdir. Toplumun aydın kesimini temsil eden dîvân şairleri; dinî ve tasavvufî kavramlar, genel ahlâk kaideleri ile sosyal ve kültürel hayata dair meseleleri şiirlerinde işlemiş, birtakım tavsiye ve öğütler ile yaşadığı topluma olan sorumluluğunu yerine getirme gayretinde olmuştur. Dîvân şiirinin ana temasının aşk olduğu düşünüldüğünde dîvânlarda yer alan nasihatlerin büyük bir kısmının da ilham kaynağının aşk olduğu görülür. Bu makalede XVI. yüzyıl dîvân edebiyatının belli başlı şairlerinin dîvânlarında, nasihat-nâme tarzında yazılmış manzumeler ve bir gazel yahut kasidenin içinde yer alan nasihat içerikli beyitler aşk teması çerçevesinde incelenmiştir. Seçilen dîvânlar, yazıldığı dönemden itibaren ilgiyle okunan, XVI. yüzyılı temsil eden, edebiyat tarihçileri tarafından önemli kabul edilen eserlerdir. İncelenen dîvânlar: Hayretî (ö. 1535), Usûlî (ö. 1538), Zâtî (ö. 1546), Fuzûlî (ö. 1556), Hayâlî (ö. 1556-57), Muhibbî (ö. 1566), Emrî (ö. 1575), Murâdî (ö. 1595), Bâkî (ö. 1600) ve Bağdatlı Rûhî (ö. 1606) dîvânlarıdır. Dîvânlarda aşk ve âşığa dair verilen nasihatler; aşkı bir yaşam tarzı olarak benimseme, dünya hayatını Allah’ın hoşnutluğunu kazanmaya yönelik düzenleme ve ahiret yurdunda Hakk’a kavuşabilmek için gayret gösterme düşüncesi üzerinde şekillenir. Aşk, Allah’ın dilediği kuluna nasip ettiği manevî bir hâldir. İnsanın tekâmülünde aşkın önemli bir rolü vardır.

The poets who comosed literary work in the field of classical Turkish literature, did not act modestly when speaking pf their poems. Evaluations about their thoughts on their poems and in this term their personal poetic situations can be observed almost in all poem forms but especially in pseudonym verses of ghazels and the part of "fahriyye" (the part in which poet praise himself) within qasidas. These evaluations provide material for poetic criticism by propounding the poetic mentality of the period in general and perspectives of themselves in a more particular and subjective manner. Nef'î is one of the featured poets of 17th century famous especially with qasida form poems. One ofe the most explicit characteristics in his qasidas is the original discourse generated in "fahriye" (self praise) of his qasidas. Nef'î uses exaggerated praise statements about his poetic talent and poems in not only his qasidas but in all poems especially in pseudonym couplets of ghazal form poems. In classical Turkish poetry poets most of the time behave as not only poets but as lovers who are the main characters of their poems as well. In other words poet has two different roles as being both a poet and a lover. However those two different roles of poet appears in two different ways in the context of his personality. Nef'î in some couplets speaks as a helpless and poor lover against all negative consequences coming from love in the mood of asking for compassion from his beloved whereas in some couplets he does not refrain from coming forward as a revolt, rebellious and even threatening lover against that negative situation. In this study, different and sometimes contradictory discourse properties reflected to his poems as a result of the fluctuations on the emotions and thoughts of a poet are to be evaluated in terms of the considerations about love and lover propounded in the poems of Nef'î who is accepted as one of the greatest poets of classical Turkish poetry. [ABSTRACT FROM AUTHOR]

Copyright of Nazariyat: Journal for the History of Islamic Philosophy & Sciences / Nazariyat Islam Felsefe Bilim Tarihi Arastirmalari Dergisi is the property of Ilmi Etudler Dernegi (ILEM) 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.)

My paper fits into the line of studies exploring issues related to settlement names with an occupational name origin. I primarily focus on the role of two occupational name derivatives created from the verb lő in toponyms: the present participle lövő and lövér created with the -ár/-ér formant. Besides historical data and the localization of settlements, the entries also include some historical information (for example, regarding the people living there). I also show the settlements on a map. This is followed by a study on the occurrence of the lexemes as anthroponyms in the Árpád Era. Finally, I introduce historical phonological and morphological issues related to the occupational names mentioned. [ABSTRACT FROM AUTHOR]

Copyright of Black Sea / Karadeniz is the property of Black Sea / Karadeniz 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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat 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.)

Finding similarities and differences between lover and beloved, helps to better understand the worldview and aesthetic criteria of poets. In this article, various characteristics of lover and beloved have been extracted from fifty Ghazals of Saadi and Rumi; then, according to characteristics, different types of lover and beloved are categorized .Finally, the similarities and differences are studied. By this, it has been determined that the characteristics in the poetry of a poet are more similar to each other than their corresponding types in another one. The findings, which are accompanied by frequency of some of the keywords, are new proof or reject of some of already existed assumptions, proof of the unattainability of Saadi's beloved, his more personalized love, his worship of beauty and Rumi’s more steadfast submergence in love. All these confirm the fundamental difference between these poets and are rooted in Rumi's mystical and Saadi's aesthetics. We have also proved that Beauty is the condition of love for Saadi, but for Rumi it is the result. Among the differences are the discrepancy between the viewpoints of poets toward true and virtual love, how a lover describes his beloved, the strength of the lover, and the feelings of the lover. [ABSTRACT FROM AUTHOR]

This article explores the effect of romantic love on the formation of marriage and divorce among a group of middle-class women in Tehran, Iran. The data were gathered in a period of 12 years (2005–2017) from first-hand observations and in-depth interviews. Participants, 46 college-educated employed women, voluntarily joined this research. Findings show that for the younger women love is an indispensable part of life while it is marriage for the older ones. The classification was based on the presence or absence of love in marriage, and three kinds of marriages were identified and discussed: traditional/manipulated, personal rational choice, and love-based marriage. The challenges of marriage based on love are identified as the dilemmas of traditional love vs. modern relationships, woman as the beloved vs. woman as the lover, and a man as a lover vs. a husband. But the most important dilemma turned out to be wife vs. beloved. This is related to male harem fantasy. These dilemmas and the harem fantasy have contributed to the increasing rate of divorce in love-based marriages. In traditional marriages divorce occurs mainly late in the process; however, younger women stuck in loveless traditional marriages are more inclined to divorce sooner rather than later. The dilemma of beloved vs. wife is mainly a consequence of romantic love. Loving relationships tend to become shorter and more common. The expectation and experience of love remain different among different generations of women, but the importance of commitment has decreased. Also, the role of desire for loving fulfillment has increased across the board. [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 Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia 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 position of the lover and the lover in classical Turkish poetry determines their anger style. The sultan beloved, powerful and superior position, in the form of wrath; The slave lover, on the other hand, shows his anger in the form of reproach, the lightest form of anger, with his weak and inferior position. The anger styles of the beloved and the lover also have the feature of reinforcing their position. The reasons that incite the beloved to wrath are the behaviors of the lover that are accepted as a fault within the framework of the superiorsubordinate relationship. These behaviors, which do not cause anger under normal conditions, are considered disrespectful, as they are against the rules of "council of sultans". The main reason for the lover's anger is the injustice done by the beloved. The beloved's preferential treatment, especially against rivals, pushes the lover to anger with jealousy. His reaction is only at the level of reproach. Poets make use of the possibilities of language to reflect the lover's anger in the form of reproach, which is on the thin line between anger and sadness. At this point, it was seen that the poets used the following methods: Using imperative sentences, question sentences; making savings in the arrangement of the elements of the sentence; again to concentrate the emphasis on words and expressions that will express anger. In the classical Turkish poetry's understanding of love, within the framework of the understanding that "everything that comes from the beloved is precious", the lover's wrath and anger are also transformed into positive. Poets have associated wrath and anger with many positive concepts around this feeling and thought. In this study, it has been tried to show the anger, reasons and expressions of the beloved and the lover through sample poems. [ABSTRACT FROM AUTHOR]

Those who look at Yunus Emre's poetry see that he has an endless love and tolerance for people, with his "götürü bazar ile". In his eyes, a human being is divine. the whole world is about love; human beings are the manifestation of this love at the peaks. Yunus’s feeling and reflection of this love is like an exuberant and transcendent chant. Because he is a “crazy dervish” who is fascinated by this love… Yunus loves human beings because he sees the Creator in the created. To him, the Creator and the created are one, and there is the “unity of existence”. His saying, “Hakk’ı gerçek sevenlere cümle âlem kardaş gelür” also expresses this thought. The understanding of brotherhood in him is the result of his view of the divine being and the manifestations of the divine being. Yunus is a mystic who believes in the “unity of existence”. According to him, existence is one; absolute being is Allah, the absolute being. Every existence other than the existence of Allah is a reflection from the creator and consists of nothingness (shadow, imagination) that leads towards the creator. It is shirk to ascribe “original” bodies to these shadowy beings. In fact, being is a single substance; it is also love. In the real sense, a human being is freed from “duality” and by this way became “one” with this love. In this respect, a human being is loved and tolerated with a wholesale (lump) understanding. [ABSTRACT FROM AUTHOR]

In classical Turkish poetry, since emotions and dreams are aestheticized, meaning is as important as much as style. The axis that determines the meaning world of this type of poems is love. Especially in the poems written in ghazal verse, when the lover and beloved are portrayed, the related concepts are subject to comparisons and imaginations in a way that reflects deep connotations. The paradoxical approach of comparisons and imaginations about the lover and beloved in the readings related to classical Turkish poetry has been considered as a situation worth considering and has been seen as the reason for the preparation of this study. While the study was being prepared, ghazal, one of the verse forms identified with classical Turkish poetry, was used. On the basis of this limitation, there is the idea that the main theme of the ghazal is love and that the reflections of the lover-beloved depictions in the ghazals are more prominent. While depicting the lover and beloved, it has been seen that the beloved is generally glorified and the lover is devalued due to the limitations created by the poetry tradition. In this context, beloved is imagined as physician, Muslim, hunter, sultan, Suleiman etc. while the lover is conceived as ill, infidel, hunting, beggar, ant. In addition to being depicted with directly opposite concepts (slave-free, illness-cure), the lover and/or lover are also depicted with opposite qualities (patient-physician, silk-shawl) in the context of the text. It is thought that this thematic study contains many examples of the "art of contrasts", one of the literary arts based on meaning, and it increases its contribution to the field. While the study is being prepared, the opposite concepts that directly correspond to the lover and the beloved, the opposite concepts that correspond to the states and elements belonging to them were categorized and annotated in alphabetical order. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Studies - Language & Literature 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.)

Kadim zamanlarda kullanılan avlanma usulleri, edebî eserlerde sanat gayesiyle yer bulmuştur. Özellikle alıcı bir kuş olarak bilinen şahbazla yapılan avlar ve bu av sahnelerindeki usuller, şairlerin şiirlerinde kullandıkları albenisi yüksek birer sanat malzemesi haline gelmiştir. Bu nedenle şairler; “şahbaz ile kuş avlama usulü”nün klasik edebiyattaki yansımasını genellikle âşık-sevgili müşterekinde işlemişlerdir. Dolayısıyla aşk sergüzeşti içerisinde sevgili; silahlarla donanmış, pençeleri ve kan dökücü unsurları olan bir silahşör gibi tasavvur edilmiştir. Aynı zamanda sevgili, bir saraya hâkim, kolundaki şahbazla üstünlük alametleri olan ve kullarına iltifat sunma tasarrufunu da elinde tutan yüce bir sultandır. Bu tasavvur sebebiyle alan, kapan ve yaralayan özellikleriyle şahbaz; sevgilinin saçı, gözü, bakışı gibi birçok unsuruna benzetilmiştir. Geleneğin âşığa çizdiği aciz ruh hali de bahsedilen bu sultan/sevgili karşısındaki teslimiyetin bir ifadesi olarak kurgulanmıştır. Bu kurgu, “âşığın gönül kuşunun avlanması” ekseninde bir terkibe uğramıştır. Nihai olarak bu çalışmada, temsili olarak “kendisi veya güzellik unsurları şahbaza benzetilen sevgiliyle şahbaza av olan âşığın gönlü” hayali üzerine bir değerlendirme yapılmıştır.

Infidelity is a challenging topic for both couples involved and clinicians who take care of them. Even though it is a spreading phenomenon, research thereon is still limited. The complexity of the construct makes it difficult to define. This study aims to systematize the researches available in the literature on infidelity definition, consequences, and clinical implications. It was carried out a scientific literature review of articles published from 1987 until April 2021. The analysed studies showed that researchers, clinicians, and laic people conceptualize infidelity in different ways and the consequences of infidelity can be extremely varied and they are distinct for the betrayed partner, the philandering, and the lover. It was demonstrated that couples who remain together after an affair are those who disclose that and engage themselves in therapy. There are no evidence-based interventions specific for infidelity, but it was showed that trust and forgiveness are central elements of psychological interventions. Expanding knowledge and developing specific instruments for clinicians is necessary to help them to navigate this process. [ABSTRACT FROM AUTHOR]

Copyright of Ankara Üniversitesi Dil ve Tarih-Cografya Fakültesi Dergisi DTCF Dergisi is the property of Ankara Universitesi Dil ve Tarih-Cografya Fakultesi (DTCF 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 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.)

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat 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.)

"Mahaamid_eWaraa_ul_Muarra (Beyond the dotless) is one of the most famous and unique writing of Mukhtar Gilani, consisting of na'atia poetry. In order to understand the term Waraa_ul_Muarra, let us know first, what is, "Muarra". So the writing based on,ِ only dot-less letters is called as "Muarra" in Urdu literature. But here, in addition to "Muarra" way of writing, a quiet new, unique & most difficult wa is invented & adopted by Mukhtar Gilani who is basically a renowned religious scholar, philosopher & researcher. He, by nature, believes in quality instead of quantity, that is why his pen-work is qualitative, not quantities one of his famous and most important books is, one the existence of God, Namely,"Wajood-e-khuda. Kay Hatmi Saboot" in which he has answered some pinching questions, raised from the platform of as heists, agnostics & sceptics etc. Moreover he has offered a lot of solid and weight full arguments in the light of philosophy, up to date science and divineِ revelations, regarding the existence of God. Besides this, he is author of some other books, of important topics.". [ABSTRACT FROM AUTHOR]

Han Yon-un, who lived between 1879 and 1944, was a Japanese imperialism period poet, a Buddhist monk and a nationalist activist. When we look at the poet's poems in general, it is different from the poets of the period. According to the philosophy of Buddhism, with the information provided by Han Yong as a monk, the society must first be freed before it can reach Nirvana. Han, himself, will be enlightened after the society in which he lives in has gotten liberty. So, from a different point of view, the main theme of his poems is Buddhism and Freedom. The concept of “lover (nim-님)” in his poems differs from that of the period’s poets. For example, Gim So Vol (1902-1934), one of the poets of the same period, also, wrote poems based on the concept of the lover. However, while the love that Han has left will surely return to him someday, Gim's dear never returns in his poems. In all Han's poems, spirituality and hope are dominant. When his poems are read in a simple way, it is possible to see the disappearance of something important and the suffering of the desperate hope of regaining it. If we read through the poems more deeply, we can perceive that they reach a superior level, by deeply understanding the state of the nation, by combining deep religious experience and a clear artistic feeling. This is why his poems can be seen as love songs by young people, greetings by religious people, and can be read by nationalists as a password that translates fervent emotions into national independence. In this study, we tried to examine the concept of "lover" which Han used as an image through several poems.

In romantic literature of Iraqi style, particularly in Sa’di’s lyric poems, the cruelty and oppression of the sweetheart and the degradation and contempt of the lover in front of her are proposed abundantly. Despite the holiness which the love has in Persian literature,it is sometimes thought of as an obstacle on the way of lover. The research question is: are concepts and aims beyond the worldly love? To answer this question, one-fourth of Sa’di’s lyric poems were examined based on the analysis of political-social dispute. The result of the research represented that with such content-makings, the poet is the representative of the nation. He protests loudly against the cruelty and oppression of the beloved person who can bethe symbol of despotic and autocratic kings. The metaphor of "love is obstacle" indicates the conflict of lover-beloved one’s dispute. The metaphor of "love is trap" shows that the sweetheart attempts to dominate the lover thoroughly. This image conforms to lord and former, or shepherd and herd idea between governors and inferiors. The simile of the beloved person in the position of king and the approach to oppose against her has a more conscious schema in Sa’di’s lyric poems compared to those of other poets. Sa’dibelieves in accepting the obstacle. By this technique, he projects the peace-seeking of the public against the quarreling of the dominant class. Criticism against the power within the framework of love provides this possibility untilSa’di proposes his critical view directly.

The tradition of classical poetry, lasting for centuries, has lived on the conceptual boundaries of literary discourses and styles. The main reason for this is related to the different interpretation of the same pieces of poetry within the boundaries drawn by the tradition of poetry. However, Nedim (d.1143- 1730) as an Istanbul poet who exceeded the tradition circle, is the only one of a kind in term of "A contemporary world of meaning, a new perception of reality, poetic language, and updating the basic verse materials". He has worked to the elements of beauty of the beloved with a local wording (style) in his poems. But the beloved's eyes differ from these beauty elements in that they present literary diversity from other beauty elements. Also in poems are usually used, like eye, elements which compare to war tools such as brow and eyelash that situated around of eye. These elements became a composition with Nedim's "European-local" style during the Tulip Era, and became popular in the eyes of Nedim's narrative in the form of Turkish, Persian, Arab and European cultural synthesis. In this study, eventually, was made -primarily the depictions of the lover's eye- a classification and evaluation with regard to eye element in the Divan of Nedim. [ABSTRACT FROM AUTHOR]

Darling in the classical Turkish poetry based on love is one of the indispensable characters of this poem as an entity in the central position. Another important character is the lover character represented by the poet. In poems, especially in the odes and love masnavis, the characteristics of the darling have been explained due to the influence of some factors such as the ability, imagination, environment, knowledge, life experience and belief of the poet. Religion is one of the important sources that the poet benefited from when telling the darling. The poet, who was already a Muslim, used many concepts, topics and themes in his poetry, and he enriched and adorned his poetry by using religious elements. Hence, one of these concepts has been the alms. The darling who is rich in beauty and the sultan of the city of perfection has been introduced by the lover as someone in debt who needs to pay the alms due to this beauty treasure. In this respect, the lover, at every opportunity, demanded the alms from the darling for her perfection. Therefore, in this study, the way the lover who demands the alms for the beauty of the darling approached to the topic was emphasized, and it was intended to reveal the meanings and associations of a religious term in poetry language with the help of the sample poems chosen among the scanned divan poems. In this study which is carried out using the explanations methods based on the meaning, it has been concluded that the poets who engaged the beauty elements with the alms revived many elements about the alms, and that they glorified the darling who they introduced as the giver. [ABSTRACT FROM AUTHOR]

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.)

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.)

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.)

Love in classical Turkish poetry; among the triad of lovers-beloved-rival, it is a theme that gains meaning with the emotions reflected in the window of love. The lover who affords all kinds of disabilities in the way of reaching love is a traditional type. At the beginning of these obstacles is the rival type which is one of the indispensable elements of traditional love trio. The rival, who draws attention with various image levels in the Divan, comes to the fore with the evil that he has done. A malignant rival prevents beloved from reaching the lover and attracting interest from beloved. The rival is the greatest enemy of lover because he is respected of lover and has never left the side of his lover. For this reason, removing the rival's obstacle is the common wish of all lovers. In this study, the type of "rival" in Kâmi's poems will be emphasized and the common meanings of the rival word will be mentioned. In this context, information will be given about the characteristics of Kami's rival in the poems and the imaginations about rival. [ABSTRACT FROM AUTHOR]

Love in our classic poetry is based on suffers of the beloved; anguish and agonies of the lover. Anyhow the fact that dignity of the beloved is determined according to the inflictions; resource and greatness of the lover are evaluated by fortitude for destructions. Transcendency of the love is in direct proportion to the period that the lover remained separate from its beloved. Although this situation brings lovers structured as melancholic and lovers developed with hankering romanticism into being, almost every poet puts such love in for. In this study, attitudes of Bâki and Nedîm for love are researched in consequence of similar prosperity environments of the periods they lived and fondness of spirits for each other. The term of "contention for Love" allude to the points of view of Bâki and Nedîm for love. As to "writhe for love" allude to the fact that lovers become bent double by the burden of love and changing their ways in the wake of love. [ABSTRACT FROM AUTHOR]

Copyright of Revista de Lengua y Literatura Catalana, Gallega y Vasca is the property of Editorial UNED 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 romantic literature of Iraqi style, particularly in Sa’di's lyric poems, the cruelty and oppression of the sweetheart and the degradation and contempt of the lover in front of her are proposed abundantly. Despite the holiness which the love has in Persian literature,it is sometimes thought of as an obstacle on the way of lover. The research question is: are concepts and aims beyond the worldly love? To answer this question, one-fourth of Sa’di's lyric poems were examined based on the analysis of political-social dispute. The result of the research represented that with such content-makings, the poet is the representative of the nation. He protests loudly against the cruelty and oppression of the beloved person who can bethe symbol of despotic and autocratic kings. The metaphor of "love is obstacle" indicates the conflict of lover-beloved one’s dispute. The metaphor of "love is trap" shows that the sweetheart attempts to dominate the lover thoroughly. This image conforms to lord and former, or shepherd and herd idea between governors and inferiors. The simile of the beloved person in the position of king and the approach to oppose against her has a more conscious schema in Sa’di's lyric poems compared to those of other poets. Sa’dibelieves in accepting the obstacle. By this technique, he projects the peace-seeking of the public against the quarreling of the dominant class. Criticism against the power within the framework of love provides this possibility untilSa’di proposes his critical view directly. [ABSTRACT FROM AUTHOR]

Mihrî Hatun is one of the successful women poets of classical Turkish literature. Mihrî, living in 15th century is connected to a quite cultured family. The poet, raising in Amasya where culture and art activities are rendered intensely improves herself by participating science and literature councils in Amasya. She proves her ability in this field with a large number of her successful poems that she writes in classical field. Although she forces the limit of custom by including statements which insinuates her gender identity in some poems, she writes her poems depending on bases of classical poem aesthetics. The poet who tries to express everything in the most outstanding way like all the other classical poets wants to present in the most beautiful form which is the basis issue of this poem. Mihrî, getting into the poem world of custom by ignoring her gender identity strikes a lover attitude in classical poem. The ''I can not return" ode with the repeated voice of poet, presenting this attitude of her is only one of the tens of samples in her poem book. Through the ode, the poet -like an actor who tries to perform his role best - is also in the role of a faithful, loyal, decisive and single-minded, ideal lover. Mihrî who chose an expression way dependent on the patterns which the tradition designated tries to express love outstandingly. The poet, improving a flexible locution which evokes both metaphor and truth has a spirit maturity to be sacrifised her the whole havings including even her life. [ABSTRACT FROM AUTHOR]