Search results for: ottoman poets

Authors: Mehmet Nuri Parmaksız

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Ottoman poetry and Ottoman music have been inseparable art branches for centuries. The best examples of music and poems created in the same periods have been the most prominent proof of this. These periods without doubt have been 17th and 18th centuries. Since the poems written in these periods were better than those in the other periods, composers composed many of the poems of these periods and still keep composing. Music composers did not discriminate the poets of the poems they would compose, and composed the poems coherent with the meaning and form.

Keywords: music, 17th ottoman divan poetry, ottoman poets, poems

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Authors: Merve Kurt

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How women should behave in public spaces and how they should be dressed was a loaded issues in the Ottoman Empire. They pointed to what kind of state the Ottoman State was. One of such public space was Mesires, promenades. Women's visibility and invisibility, their morals were reflected and linked to the society as a whole. How the public space and private space is defined, what were the lines that separates them, how much blurred these lines were discussed in this paper. Moreover, all these points were strengthened by the primary sources from archives dating to the end of the 19th century.

Keywords: Mesire, Ottoman Empire, Ottoman women, public spaces

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Authors: Zainab Abdulkarim

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Literature is the study of life, a source of knowledge. It involves the truth about many things in life. Most of these creative artistes most especially the poets are representatives of the voices of the people. These set of artistes have been the critics to all involved in the development of their nation. This paper will examine how Nigerian Poets goes further not just by writing but by showing the different ways the country has been convoluted. This paper intends to show the power and ability literature has in representation. The power is to represent the important values of life. There is no doubt that literature asserts truth. Through the various poems examined in this paper, Nigerian Poets have proved to portray the realities of the nation.

Keywords: literature, poets, reality, representation

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Authors: Bilal Orfali

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It is common practice in modern times to read mystical poetry and apply it to our mundane lives and loves. Sufis in the early period did the opposite. Their mystical hymns often spun out of the courtly poetic ghazal, panegyric, and wine songs. This paper highlights the relation of the Arabic courtly poetic canon to early Sufism. Sufi akhbār and poetry evoke past poets and their poetic heritage. They tend to quote or refer to eminent poets whose poetry must have been widely circulated and memorized. However, Sufism places this readily recognizable poetry in a new context that deliberately changes the past. It is a process of a metaphorization in which the reality of the pre-Islamic, Umayyad, and Abbasid models now acts as a device or metaphor for the Sufi poetics.

Keywords: Sufism, Arabic poetry, literature, Islamic literature, Abbasid

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Authors: Farzaneh Farrokhfar, Mohammad Khazaie

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The 16th and 17th centuries coincide with the classical age of Ottoman art history. Simultaneously with this age and in the eastern neighborhood of the Ottoman state, the Safavid Shiite state emerged, which, despite political and religious differences with the Ottomans, played an important role in cultural and artistic exchanges with Anatolia. The harmony of arts, including architecture, is one of the most important manifestations of cultural exchange between the two regions, which shows the intellectual commonalities of the two regions. In parallel with the production of works of art, the registration of information and identities of Ottoman and Safavid artists and craftsmen has been done by many historians and biographers, some of whom, fortunately, are available to us today and can be evaluated. This research first intends to read historical documents and reports related to the architects of the two Ottoman states in Anatolia and Safavid states in Iran in the 16th and 17th centuries and then examines the status of architects' information records and their location in the two regions. The results reveal the names and identities of some Ottoman and Safavid architects in the 16th and 17th centuries and show the method of recording information in the documents of the two regions. This research is done in a comparative historical method, and the method of collecting its resources is a documentary library.

Keywords: classical era, Ottoman architecture, Safavid architecture, Central Asian historical documents

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Authors: Selcen Özyurt Ulutaş

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March as a musical form in Ottoman Music has started after Sultan II. Mahmud. Owing to the modernization process on Ottoman Empire, marches had accepted and embraced by the sultanate in a short period of time. The reasons behind sultans favor against marches that is actually a European Music form is closely related to attribute meanings to marches. After Sultan II. Mahmud, marches became a symbol of westernization and became a symbol of sultanate. After that period besides sultans also princes started to compose marches. The presentation includes the demonstration of the marches classification in achieves to be able to give information on the composers of those marches. Through that process, this study aims to show attributed meanings to those marches and what those marches represent.

Keywords: Ottoman marches, music, Europe, European musicians

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Authors: Feyza Daloglu

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This paper scrutinizes the Ottoman years of Wasif Jawharriyeh’s memoir, The Storyteller of Jerusalem, within the framework of citadinite, employed by the Open Jerusalem Project. Open Jerusalem Project uses the term citadinite to describe “the dynamic identity relationship city dwellers have with each other and their urban environment.” While Jerusalem and Jerusalemite identity have usually been analyzed within religious, national, or colonial frameworks, citadinite offers a fresh perspective by turning its lens to the urban identity of its citizens in the 19th and 20th centuries to overcome the shortcomings of usual frameworks. Wasif Jawharriyeh is a proud Jerusalemite and a Greek Orthodox Arab, who spent his childhood and teenage years under the Ottoman Empire. His memoir reveals a great deal of urbanity and a strong sense of Jerusalemite identity which appears to be favored over other forms of identities - Arab, Christian - in the late empire years. Through citadinite, this paper aims to discuss aspects of Jerusalemite identity and key points of urban life in the late Ottoman holy city with the guidance of a very lively and social Ottoman citizen and at that time a young musician, Wasif Jawharriyeh.

Keywords: arab memoir, cityscape, jerusalem identity, ottoman city, urban life

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Authors: Meliha Nur Cercinli

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In the last period of the Ottoman Empire, foreign officers played important role in the political area. Behind their political activities, their wives had a considerable influence on Ottoman social life. Despite the difficult conditions, these women involved in educating girls, encouraging Ottoman women to take part in the production area. For this purpose, they opened many schools and workplaces in various regions of the capital-Istanbul. One of these women was Lady Alice Lowther, who was known as the wife of British ambassador Gerard Agustus Lowther. She arranged various organizations in order to create necessary resources to help families of martyrs. Also, she chaired the Committee for Aid to Ottoman Military Families (Asker Ailelerine Yardım Komitesi), made an effort to establish the Society for Protection Animals in Istanbul (Istanbul Himaye-i Hayvanat Cemiyeti) with the supports of The Royal Society For Prevention Cruelty For Animals. Apart from these, she was also a good observer and writer as a traveller. She wrote and published her memories with the name of Down The Old Road (1921), When It Was June (1923) Land Of Gold Mohur (1932), Moments In Portugal Or Land Of The Laurel (1939). This paper aims to analyze Lady Alice Lowther’s activities in Istanbul based on Ottoman Archive documents. In addition, her books will also be examined as they will present a different perspective regarding her experiences.

Keywords: Lady Lowther, Ottoman Empire, women history, social life

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Authors: Isaac Alonge Olusola

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One of the major peculiarities of man is the ability to communicate and interact with language. The original Yoruba society, before the advent of the Europeans, was purely oral. That is the major means of inter- personal communication was through speaking. The abolition of slave trade by Britain marked the beginning of development of Yoruba alphabet and introduction of writing around 1800. However, most of the writing was Christian religion-focused. Later, the introduction of British colonial rule led to the introduction of writing that dwelt on political and economic emancipation. On October 1, 1960, Nigeria was granted independence by the British colonial masters and self-rule started in Nigeria. Unfortunately, the military and civilian administrations brought about political and economic oppression instead of comfort. The discomfort brought about by Nigerian political and military rulers turned the Yoruba poets to activists, reactionaries and critics. This paper will give a brief preamble on the history of Nigeria and how she got her political independence from the British in 1960. It will thereafter go further to mention some political and economic hardship brought about by Nigerian leaders. Using literary theories called semiotics and structuralism, the reactions and criticisms of some Yoruba poets will be mentioned and analyzed vis-à-vis the counter reactions of the governments in power. Moreover, the paper will bring about a conclusion on how to create a conducive atmosphere for the Yoruba poets to operate in Nigeria. Finally, suggestions will be offered on how the Nigerian government and Yoruba poets can co-exist positively to bring about a better standard of living to Nigerians and also promote good governance

Keywords: Yoruba, Yoruba language, Yoruba poets, political leaders

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Authors: Margareta Simina Stanc, Aurel Mototolea, Tiberiu Potarniche

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The city of Constanta (former Köstence) is located in the Dobrogea region, on the west shore of the Black Sea. Between 1420-1878, Dobrogea was a possession of the Ottoman Empire. Archaeological researches starting with the second half of the 20th century revealed various traces of the Ottoman period in this region. Between 2016-2018, preventive archaeological research conducted in the perimeter of the old Ottoman city of Köstence led to the discovery of structures of habitation as well as of numerous artifacts of the Ottoman period (pottery, coins, buckles, etc.). This study uses the analysis of these new discoveries to complete the picture of daily life in the Ottoman period. In 2017, in the peninsular area of Constanta, preventive archaeological research began at a point in the former Ottoman area. In the range between the current ironing level and the -1.5m depth, the Ottoman period materials appeared constantly. It is worth noting the structure of a large building that has been repaired at least once but could not be fully investigated. In parallel to this wall, there was arranged a transversally arranged brick-lined drainage channel. The drainage channel is poured into a tank (hazna), filled with various vintage materials, but mainly gilded ceramics and iron objects. This type of hazna is commonly found in Constanta for the pre-modern and modern period due to the lack of a sewage system in the peninsular area. A similar structure, probably fountain, was discovered in 2016 in another part of the old city. An interesting piece is that of a cup (probably) Persians and a bowl belonging to Kütahya style, both of the 17th century, proof of commercial routes passing through Constanta during that period and indirectly confirming the documentary testimonies of the time. Also, can be mentioned the discovery, in the year 2016, on the occasion of underwater research carried out by specialists of the department of the Constanta Museum, at a depth of 15 meters, a Turkish oil lamp (17th - the beginning of the 18th century), among other objects of a sunken ship. The archaeological pieces, in a fragmentary or integral state, found in research campaigns 2016-2018, are undergoing processing or restoration, leaving out all the available information, and establishing exact analogies. These discoveries bring new data to the knowledge of daily life during the Ottoman administration in the former Köstence, a locality on the periphery of the Islamic world.

Keywords: habitation, material culture, Ottoman administration, Ottoman archaeology, periphery

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Authors: Aysen Muderrisoglu Esiner

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As an intellectual, scholar, bureaucrat, and statesman, Ahmed Cevdet Pasha (1822-1895) was the prominent figure of “Tanzimat” (reorganization) reforms of the Ottoman State while his daughter Fatma Aliye (1862-1936) was a novelist, columnist, essayist, and women’s rights activist. His father had numerous books on law, grammar, linguistics, logic, and astronomy, moreover, Aliye accepted as the first female novelist in the Turkish literature and the Islamic world. Even if she was better known as a novelist, she also published some works on philosophy, Islam, poetry. In addition, Aliye who was one of the pioneers of the Ottoman women’s movement, also wrote historical works. Her historical works which titled as Tarih-i Osmaninin Bir Devre-i Mühimmesi Kosova Zaferi-Ankara Hezimeti (An Important Era of the Ottoman History: Kosova Victory-Ankara Defeat), and Ahmed Cevdet Paşa ve Zamanı (Ahmed Cevdet Pasha and His Time) have been generally ignored in the literature. However, Aliye’s works in history field are worth being studied in terms of her methodological approach to the Ottoman historiography. On the other hand, written by Ahmed Cevdet Pasha, such as Tarih-i Cevdet (History of Cevdet), Tezâkir (Memoir), Mâruzat (Reports, the events that took place between 1839-1876, 1890), Kısas-ı Enbiya ve Tevârîh-i Hulefa (Retaliation of the Prophets and the History of Calips), Kırım ve Kafkas Tarihçesi (Crimean and Caucasian History) are the most important works in terms of historiography in the 19th century. In contrast to the traditional methodology, Cevdet Pasha brought a new understanding to the Ottoman historiography by making a synthesis between the traditional and modern methods. In this research, the historical works of these two prominent figures of the Ottoman State will be analyzed in terms of their approaches to the Ottoman historiography while evaluating the following questions: to what extent that their use of local and foreign historical sources and their handling of the historical events differ, or if it is possible to talk about a methodological similarities in terms of historiography.

Keywords: Ahmed Cevdet Pasha, Fatma Aliye, historiography, methodology

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Authors: Tamer Mokhtar Mohamed Ahmed

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Throughout the ages the Caliphs, Sultans and rulers have paid great care to tomb covers and in particular to the cover of the tomb of the Prophet Muhammad as well as other prophets. For that purpose they established waqfs and ensured that the covers appeared in the most magnificent manner to befit their purpose, as we can see in the beautiful examples in museums across the world. In fact tomb covers are some of the most beautiful examples of Islamic art in their detail of craftsmanship which have made them great works of art. It became the custom that the Kiswa or the tomb covers were made of silk or satin with gold and silver threads. Museums across the word preserve examples of the highest craftsmanship of tomb covers produced in the capital of the Ottomans and other capital cities, all differing in their designs or colors reflecting the work of the individual cities like Cairo, Istanbul or Bursa. Other than the cover for the tomb of the Prophet, many other tomb covers were produced for the tombs of other prophets and their wives in Hebron. In addition tomb covers were made for the sufi saints as well as for the Ottoman sultans and for their wives and children. In this paper I will Study the Kiswa or the tomb covers in Ottoman period.

Keywords: kiswa, ottoman period, textiles, silk, tomb of the Prophet Muhammad

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Authors: Semra Çörekçi̇

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In this study, a new source on Ottoman Self-narratives, Kulakzâde Mahmud Paşa’s Düşname (Dreambook), will be introduced to illustrate how dreams can provide a ground for historical analysis. The manuscript looks like a private notebook of an Ottoman official, Mahmud Pasha, who lived and operated in Rumelia in the early eighteenth century. It provides insight into the ordinary and daily concerns of a bureaucrat who had the knowledge and tools to record them in writing. On the one side of the notebook, Mahmud Pasha recorded his travels and appointments in 1730-1731. He wrote places that he reached and stayed every day. On the reverse side, the same author kept a record of his dreams and named that part of his notebook, Düşname. He recorded his dreams on a daily basis in writing and therefore they were well-preserved in a dream diary. This study aims at drawing the social, cultural and psychic life of an early modern Ottoman bureaucrat. It will uncover the ways and means whereby he interpreted his environment, as well as how he made meaning of his dreams considering the social milieu and historical context within which he lived. The first part will focus on 'official dreams' uncovering how his official life and ambitions coincide with his spiritual life. Related to this, connection between anxiety and dream narratives will be evaluated as dreams in which the mundane concerns of securing a post occupied the most central place in the construction of his narrative. A further point will be made by questioning Mahmud Pasha’s possible Sufi connections and his familiarity with the tradition of dream interpretation. Also, considering Mahmud Pasha’s inclusion of other’s dreams in his Düşnâme, the issue of dream-telling will be questioned in order to reveal how dreams were interconnected and how they created a space for social gathering.

Keywords: Ottoman self-narratives, dreams, diary, Ottoman cultural history

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Authors: Tianqi Yin

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The sharia had been the legislative basis in the Ottoman Empire since its emergence. The authority of sharia was superlative in the Islamic society compared to the power of the sulta, the nominal ruler of the nation, regulating essentially every aspect of people’s lives according to an ethical code. In modernity, however, as European sovereignty employed forces to re-engineer the Islamic world to make it more like their own, a society ruled by a state, the Ottoman legislation system encountered a great challenge of adopting codified laws to replace sharia with the formulation of the Mecelle being a prominent case. Interpretations of this transformation have been contentious, with the key debate revolving around whether these codified laws are authentic representations of sharia or alien legal formulations authorized by the modern nation-state under heavy European colonial influence. Because of the difference in methodology of the diverse theories, challenges toward having a universal conclusion on this issue remain. This paper argues that the formulation of the Mecelle and other codified laws is a discontinuity of sharia due to European modernity’s influence and that the emphasis on elements of Islamic laws is a tactic employed to promote this process. These codified laws signals a complete social transformation from the Islamic society ruled by the sharia to a replication of the European society that is ruled by a comprehensive ruling system of the modern state. In addition to advancing the discussion on the characterization of the codification movement in the Ottoman Empire in modernity, the research also promotes the determination of the nature of the modern codification movement globally.

Keywords: codification, mecelle, modernity, sharia, ottoman empire

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Authors: Iassen Vanev

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The two objectives of the research are to enlighten the significant role of Venice as an agent of “transporting” the features of the Italian Renaissance in Cyprus, as well as to assess the countercheck that the Cypriots might have exercised in opposition to the Venetian influence and to what extent they left they own mark on the Serenissima and influenced the Venetian Renaissance. This will be achieved in the backdrop of Venice’s interaction and dichotomy with the Ottoman Empire during the Venetian rule over the island (1474-1571). The research is carried out within the interdisciplinary domains of architecture, visual arts, and literature. Such studies have already been carried out extensively for other ex-Byzantine centers and consecutively Venetian possessions, like, for example Crete. Cyprus, however, has largely been left on the periphery of scholarly interest, and the author will strive to fill this gap as much as possible. The nature of much of the Venetian Renaissance Architecture on Cyprus was dictated by the Ottoman threat to the island. On the other hand, the vast majority of the Cypriot Renaissance literary production was done in Italy, a little before and after the Ottoman conquest of Cyprus in 1571. This conquest was an enormous crisis for both Venetians and Cypriots, and it led to migrations, mutual Venetian-Cypriot interaction in arts and literature, the formation of cultural landscapes, the shaping of Cypriot identity/ies, dialect and diasporas in Italy, etc., which makes the current research very important.

Keywords: architecture, arts, Cyprus, gender, identity, linguistics, Ottoman Empire, Venice

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Authors: Hatice Derya Arslan

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Religious buildings in terms of architectural features are known as the most repeated building types. Mosques representing Islam religion shows big differences in terms of architecture. In Turkey, every year many mosques are built all over the country and a majority of the mosques being built are inspired by the Ottoman and Seljuk architecture. Unfortunately, inspired by the architecture of the mosque made from traditional mosque architecture is often inadequate. In this study, first of all, the evolution of the mosque architecture in Turkey has been examined chronologically and shortly. After that, in the other part of the paper, Mekke Mosque which was built in Kutahya City Center of Turkey is discussed in terms of architectural properties. In this mosque, quasi-postmodern design was preferred. Generally preferred classical Ottoman architecture has been abandoned in this mosque. However, there exists a lot of issue in the interior and exterior design of the mosque was criticized in the conclusion part of the paper in a comparative manner.

Keywords: architectural criticism, mosque, ottoman and seljuk architecture, religious building

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Authors: Hilmi Yazici

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Just after Ottoman period, new more homogenic republic was struggling to form a national identity and dealing with the cultural and historical background of the nation. This new republic had an aim of modernization and westernization which started in the late ottoman period. In this process, the culture was an important basis to form a new nation and it clearly put forward that the new citizens of the new national republic are to have a modern and national culture. The result of this aimed change was to find the Turkish culture suppressed among the common people of the Anatolia and to take the western modernization and breed this with national culture. So in this context, we can say that this approach separated the people from ottoman culture and its roots to empower the national identity. Repeatedly, it may be said that Turkish folkloric music was an important basis for the new revolution, on the other hand classical Turkish music was alienated with the idea that it didn’t belong to Turkish culture. So the aim of this study is to determine how these efforts to nationalize a new identity and culture was successful and conscious intervention to folkloric Turkish music became efficient.

Keywords: opera, nationalism in music, Turkish music

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Authors: Naqeeb Ahmad Jan, Rukhsana Bibi

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Extremism is once again pushing the globe towards ignorance and darkness. In the present day, the wave of extremist element (tendencies) has affected the people across the globe which led them to believe in manifestation of various ideologies. Likely, the Pakistan’s North-Western province (Khyber Pakhtunkhwa) served as a main prey. However, it also served as an equal partner to halt to and control the extremist activities. This current extremist element has also affected the poets herein, and thus they (poets) used their pen as a sword and depicted this havoc, the nature of extremism they witnessed, and also asked for and supported a positive and durable solution to this menace of extremism and terrorism. Their poetic works portrayed and exhibited various examples of the extremism and its possible solution to ensure peace and harmony. The researcher has taken the liberty to argue that a balanced behaviour and attitude play a key role in the fulfillment of desired actions. The imposition of any set of belief, value and attitude leads to the multiplication of extremism and it is so poisonous that it causes to the destruction of whole human society. This study has found that the present day extremism has led to the emergence of new words, similes, metaphor and other figures of speech to be a part of the language and literature to be survived. These words have been analyzed and discussed in a new getup and meanings; the similes and metaphors describing extremism used by poets and writers of this era. The methodology is based on quantitative, analytical and comparative research. Moreover, this research has discussed indication of new words and figures of speech used by the poets and which are in practice, and impacts of extremism on the modern Urdu poetry of Khyber Pakhtunkhwa.

Keywords: extremism, modern Urdu poetry, subcontinent, terrorism

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Authors: Uğur Tuztaşi, Mehmet Uysal, Yavuz Arat

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The tomb (grave) structures that have influenced the architectural culture from the Seljuk times to the Ottoman throughout Anatolia are members of a continuing building tradition in terms of monumental expression and styles. This building typology which has religious and cultural permeability in view of spatial traces and structural formations follows the entire trajectory of the respect to death and the deceased from the Seljuks to the Ottomans and also the changing burial traditions epitomised in the form of mausoleums in the Turkish Republic. Although the cultural layers have the same contents with regards to the cult of monument this architectural tradition which evolved from tombs to mausoleums changed in both typological formation and structural size. In short, the tomb tradition with unique examples of architectural functions and typological formations has been encountered from 13th century onwards and continued during the Ottoman period with changes in form and has transformed to mausoleums during the 20th century. This study analyses the process of transformation from complex structures to simple structures and then to monumental graves in terms of architectural expression. Moreover, the study interrogates the architectural language of Anatolian Seljuk tombs to Ottoman tombs and monumental graves built during the republican period in terms of spatial and structural contexts.

Keywords: death and space in Turks, monumental graves, language of architectural style, morphological transformations

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Authors: Nuray Ocakli

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19th century was the era of changes and transformations for the Ottoman Empire. The first sultan of this century, Mahmud II (1808-1839), was the architect of Ottoman modernization and fundamental changes. The most radical of these was abolishing the Janissary corps and the traditional Ottoman military band, Mehteran. Mahmud II introduced modernized military corps as well as western style royal and military music. Mahmut II invited the Italian composer Giuseppe Donizetti to establish a modern military band for the new army and to compose the Sultan’s royal anthem. In 1828, Donizetti composed the first western-style Ottoman anthem, Mahmudiyye anthem. During the 19th and early 20th century, four other western style Ottoman anthems (Aziziyye, Mecidiyye, Hamidiyye, and Resadiyye) were composed but the last anthem adopted in the reign of Mehmet VI (r. 1918-1922) was again Mahmudiyye anthem. This paper aims to analyze the Mahmudiyye anthem composed as royal anthem in 1828 but adopted as national anthem in 1918. Research questions of this paper are as follows: What were the characteristics of the Mahmudiyye anthem making it the best choice of the last sultan for the last national anthem? Are there specific reasons of the last sultan to adopt Mahmudiyye anthem or not to adopt any of the other four anthems? The musical characteristics of the anthem are analyzed based on the Cerulo’s empirical research. Cerulo examined the musical structures of 124 western style anthems from 150 countries in the 1580-1976 period. Cerulo’s research categorizes musical codes of the anthems as basic and embellished related with the level of sociopolitical control. Musical analysis of the anthem indicates that the basic musical code of the anthem implies a high level of socio-political control during the reign of both Mahmut II and Mehmet VI. Historical analysis of each sultans’ reign shows that both sultans were autocratic. Mahmut II designed authoritarian government policies to suppress possible reactions against his reforms. On the other hand, authoritarian policies of Mehmet VI are related with the domestic and international political conditions following the World War I. Historical analysis of the research questions show that compared to the other western style Ottoman anthems, Mahmudiyye anthem remained the only neutral anthem symbolizing modernization and westernization of the empire. Other anthems were all the symbols of failed ideologies such as Ottomanism, pan-Islamism, and pan-Turkism. In the early 20th century, there were a few common things remained among the diverse communities of the Ottoman Empire: The land they shared as homeland and the idea of modernization to save the homeland. For this reason, the last sultan Mehmet VI adopted Mahmudiyye anthem as the memory of a unified empire under the rule of a powerful and modernist sultan. The last sultan’s reign lasted just for four years, and the Ottoman Empire disintegrated in 1922, but his adaptation of the Mahmudiyye anthem indicates his unifying policies, his attitudes to save the empire and the caliphate.

Keywords: Mahmudiyye anthem, musical code, national anthem, Ottoman Empire, royal anthem

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Authors: Jeries Khoury

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The use of legendary, folkloric and religious symbols is one of the most important phenomena in modern Arabic poetry. Interestingly enough, most of the modern Arabic poetry’s pioneers were so fascinated by the biblical symbols and they managed to use many modern techniques to make these symbols adequate for their personal life from one side and fit to their Islamic beliefs from the other. One of the most famous poets to do so was al-Sayya:b. The way he employed one of these symbols ‘job’, the new features he adds to this character and the link between this character and his personal life will be discussed in this study. Besides, the study will examine the influence of al-Sayya:b on another modern poet Saadi Yusuf, who, following al-Sayya:b, used the character of Job in a special way, by mixing its features with al-Sayya:b’s personal features and in this way creating a new mixed character. A semantic, cultural and comparative analysis of the poems written by al-Sayya:b himself and the other poets who evoked the mixed image of al-Sayya:b-Job, can reveal the changes Arab poets made to the original biblical figure of Job to bring it closer to Islamic culture. The paper will make an intensive use of intertextuality idioms in order to shed light on the network of relations between three kinds of texts (indeed three ‘palimpsests’: 1- biblical- the primary text; 2- poetic- al-Syya:b’s secondary version; 3- re-poetic- Sa’di Yusuf’s tertiary version). The bottom line in this paper is that that al-Sayya:b was directly influenced by the dramatic biblical story of Job more than the brief Quranic version of the story. In fact, the ‘new’ character of Job designed by al-Sayya:b himself differs from the original one in many aspects that we can safely say it is the Sayyabian-Job that cannot be found in the poems of any other poets, unless they are evoking the own tragedy of al-Sayya:b himself, like what Saadi Yusuf did.

Keywords: Arabic poetry, intertextuality, job, meter, modernism, symbolism

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Authors: Saleem Abu Jaber, Khaled Igbaria

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For readers, space/place is one of the most significant references to reveal deep significances and indications in modern Arabic poetic texts. Generally, when poets evoke places and/or spaces, they do not mean to refer readers to detailed geographic or physical spaces, but to the symbolic significances and dimensions that those spaces have and through which poets encourage spacial awareness in their readers. Recently, as a result, there has been a great deal of interest in research addressing spacial poetic texts and dimensions in modern Arabic poetry in general and in Palestinian poetry in particular. Samih al-Qasim is one of the most recent prominent Palestinian revolutionary poets. Al-Qasim has published six series of poems that are well known in the Arab world. Although several researchers have studied al-Qasim's poetry, to our knowledge, yet no one has studied the aspect of spacial poetic text in his poetry. Therefore, this paper seeks to fill a gap in the scholarship that has not been addressed up to now. This article aims, not only to demonstrate the presence of spacial poetic text and dimensions throughout al-Qasim's poetry, but also to investigate the purpose for which the poet uses spacial poetic text. Our theory is that the poet, consciously and significantly, uses spacial poetic texts to magnify the Palestinian identity of the Palestinian readers.  Methodologically, we applied a descriptive analytic method, referencing al-Qasim's poetry, addressing spacial poetic texts practically but not theoretically or statistically.

Keywords: spatial poetic text, Samih al-Qasim, space and identity, Palestinian poetry

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Authors: Reem Saad Alqahtani

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Drawing on minority literature, this research highlights the role of three contemporary Arab American writers, considering the significance of the historical and cultural contexts of the brutal attacks of 9/11. The focus of the research is to draw attention to the poetry of Samuel Hazo, Nathalie Handal, and Naomi Shihab Nye as representatives of the identity crisis, whose experiences left them feeling marginalized and alienated in both societies, and reflected as one of the ethnic American minority groups, as demonstrated in their poetry, with a special focus on hybridity, resistance, identity, and empowerment. The study explores the writers’ post-9/11 experience, affected by the United States’ long history of marginalization and discrimination against people of colour, placing Arab American literature with that of other ethnic American groups who share the same experience and contribute to composing literature characterized by the aesthetics of cultural hybridity, cultural complexity, and the politics of minorities to promote solidarity and coalition building. Indeed, the three selected Arab American writers have found a link between their narration and the identity of the exiled by establishing an identity that is a kind of synthesis of diverse identities of Western reality and Eastern nostalgia. The approaches applied in this study will include historical/biographical, postcolonial, and discourse analysis. The first will be used to emphasize the influence of the biographical aspects related to the community, identity, and resistance of the three poets on their poetry. The second is used to investigate the effects of postcolonialism on the poets and their responses to it, while the third understand the sociocultural, political, and historical dimensions of the texts, establishing these poets as representative of the Arab American experience. This study is significant because it will help shed light on the importance of the Arabic hybrid identity in creating resistance to minority communities within American society.

Keywords: Arab American, identity, hybridity, post-9/11

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Authors: Juliana C. Salvadori, Jose Carlos Felix

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This paper aims at discussing the role literary translation has played in Brazilian Concrete Poetry Movement – an aesthetic, critical and pedagogical project which conceived translation as poiesis, i.e., as both creative and critic work in which the potency (dynamic) of literary work is unfolded in the interpretive and critic act (energeia) the translating practice demands. We argue that translation, for concrete poets, is conceived within the framework provided by the reinterpretation –or deglutition– of Oswald de Andrade’s anthropophagy – a carefully selected feast from which the poets pick and model their Paideuma. As a case study, we propose to approach and analyze two of Augusto de Campos’s long-term translation projects: the translation of Emily Dickinson’s and E. E. Cummings’s works to Brazilian readers. Augusto de Campos is a renowned poet, translator, critic and one of the founding members of Brazilian Concrete Poetry movement. Since the 1950s he has produced a consistent body of translated poetry from English-speaking poets in which the translator has explored creative translation processes – transcreation, as concrete poets have named it. Campos’s translation project regarding E. E. Cummings’s poetry comprehends a span of forty years: it begins in 1956 with 10 poems and unfolds in 4 works – 20 poem(a)s, 40 poem(a)s, Poem(a)s, re-edited in 2011. His translations of Dickinson’s poetry are published in two works: O Anticrítico (1986), in which he translated 10 poems, and Emily Dickinson Não sou Ninguém (2008), in which the poet-translator added 35 more translated poems. Both projects feature bilingual editions: contrary to common sense, Campos translations aim at being read as such: the target readers, to fully enjoy the experience, must be proficient readers of English and, also, acquainted with the poets in translation – Campos expects us to perform translation criticism, as Antoine Berman has proposed, by assessing the choices he, as both translator and poet, has presented in order to privilege aesthetic information (verse lines, word games, etc.). To readers not proficient in English, his translations play a pedagogycal role of educating and preparing them to read both the target poet works as well as concrete poetry works – the detailed essays and prefaces in which the translator emphasizes the selection of works translated and strategies adopted enlighten his project as translator: for Cummings, it has led to the oblieraton of the more traditional and lyrical/romantic examples of his poetry while highlighting the more experimental aspects and poems; for Dickinson, his project has highligthed the more hermetic traits of her poems. To the domestic canons of both poets in Brazilian literary system, we analyze Campos’ contribution in this work.

Keywords: translation criticism, Augusto de Campos, E. E. Cummings, Emily Dickinson

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Authors: Chien Yang Erdem

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This paper takes up the proliferating historical dramas and children’s programs featuring the Ottoman-Islamic legacy on Turkish television as a locus where the processes of subjectification take place. A critical analysis of this emergent cultural phenomenon reveals an alliance of neoliberal and neoconservative political rationalities based on which the Turkish media is restructured to transform society. The existing debates have focused on how the Ottoman historical dramas manifest the Justice and Development Party’s (Adalet ve Kalkınma Partisi) neo-Ottomanist ideology and foreign policy. However, this approach tends to overlook the more complex relationship between the media, government, and society. Employing Michel Foucault’s notion of 'technologies of the self,' this paper aims to examine the governing practices that are deployed to regulate the media and to transform individual citizens into governable subjects in contemporary Turkey. First, through a brief discussion of recent development of the Turkish media towards an authoritarian model, the paper suggests that the relation between the Ottoman television drama and the political subject in question cannot be adequately examined without taking into account the force of the market. Second, by focusing on the managerial restructuring of the Turkish Television and Radio Corporation (Türkiye Radyo ve Televizyon Kurumu), the paper aims to illustrate the rationale and process through which the Turkish media sector is transformed into an integral part of the free market where the government becomes a key actor. The paper contends that this new sphere of free market is organized in a way that enables direct interference of the government and divides media practitioners and consumers into opposing categories through their own participation in the media market. On the one hand, a 'free subject' is constituted based on the premise that the market is a sphere where individuals are obliged to exercise their right to freedom (of choice, lifestyle, and expression). On the other hand, this 'free subject' is increasingly subjugated to such disciplinary practices as censorship for being on the wrong side of the government. Finally, the paper examines the relation between the restructured Turkish media market and the proliferation of Ottoman television drama in the 2010s. The study maintains that the reorganization of the media market has produced a condition where private sector is encouraged to take an active role in reviving Turkey’s Ottoman-Islamic cultural heritage and promulgating moral-religious values. Paying specific attention to the controversial case of Magnificent Century (Muhteşem Yüzyıl) in contrast with TRT’s Ottoman historical drama and children’s programs, the paper aims to identify the ways in which individual citizens are directed to conduct themselves as a virtuous citizenry. It is through the double movement between the governing practices associated with the media market and those concerning the making of a 'conservative generation' that a subject of citizenry of new Turkey is constituted.

Keywords: neoconservatism, neoliberalism, ottoman historical drama, technologies of the self, Turkish television

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Authors: Gopashis Biswas G. Son

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This paper will attempt to explore the notions that the two Caribbean poets- Derek Walcott and Edward Kamau Brathwaite endorse on Caribbean history in their poems. Though both of these poets hold almost the same notion regarding history but their approach is totally different from one another. Coming from a 'hybrid' race, Walcott is aware of the history and acknowledges it and writes in 'mulatto of style'; whereas Brathwaite is enraged by it and attempts to sublimate it to erect a history of the new world. It is Walcott’s view to rise above the delusion and hatred and engulf the world of literature with creativity. On the other hand, Brathwaite holds the grudge which helps him not to forget and forgive the past experience but to transform that very experience into something positive which may help the Caribbean to transform their frustration into something creative and to help the Caribbean to overcome the present struggle against the legacy of colonization. Following discourse analysis, this paper seeks to identify if it is possible to rewrite and re-‘right’ the Caribbean history which has been lost in the route and analyze Walcott and Brathwaite’s attitude towards that very history which has been implemented through their poetry.

Keywords: Caribbean history, colonialism, mulatto of style, Walcott vis-à-vis Brathwaite

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Authors: Saleem Abu Jaber, Khaled Igbaria

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Tawfiq Zayyad was born in Nazareth in 1929 and died in 1994. He was a prominent Palestinian poet, writer, scholar and politician. He had participated in the Palestinian political life not only as a poet and writer but also as a mayor of Nazareth as well as a member of the Israeli Knesset. All of the above confirms not only that it is worthy to investigate deeply and academically Palestinian commitment and identity throughout poems of the poet, but also that the poet deserves to include him within the top significant Arab Palestinian poets in despite of his being Israeli citizen. This paper studies to what extent the poet was committed to the Palestinian goals and agenda throughout poetry as well as to explore the ways and techniques in which the poet employed poetry in order to explore the Palestinian belonging and identification of the Palestinians in Israel. Methodologically, this paper will literary analyze some considerable poems of the poet looking in-depth critically and objectively. Moreover, this article relies on several poems of the poet because they are much relevant to the aimed discussion. By addressing both commitment and identity, this article hopes to contribute to a fuller understanding of Palestinian poets of 1960s to 2000s.

Keywords: Tawfiq Zayyad, Palestinian poetry, poetic commitment, poetic techniques

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Authors: Seid Ahmed Mohammed, Nedim Yalansiz

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Many historians hardly gave due attention for historical comparison as their methods of study. They were still stunt supporter of the use of their own historical research method in their studies. But this method lacks the way to analyze some worldwide dynamics of events in comparative perspectives. Some dynamics like revolution, modernization, societal change and transformation needs broader analysis for broadening our historical knowledge’s by comparing and contrasting of the causes, courses and consequences of such dynamics historical developments in the world at large. In this paper, our study focuses up on ‘the dynamics of modernization’ and the challenge of modernity of the old regimes. For instance, countries like Turkey, Ethiopia, China, Russia, Iran, Afghanistan and Thailand have almost the same dynamics in facing the challenge of modernity. In such countries, the old regimes tried to introduce modernization and ‘reform from the above’ in order to tackle the gradual decline of the empire that faced strong challenge from the outside world. The other similarity of them was that as the rulers attempted to introduce the modernization reforms the old traditional and the religious institutions strongly opposed the reforms as the reforms alienated the power and prestige of the traditional classes. Similarly, the rules introduced modernization for maintaining their own unique socio-cultural and religious dynamics not as borrowing and acculturation of the west by complete destruction of their own. Therefore, this paper attempted to give a comparative analysis of two modernizers Tewodros II (1855-1868) of Ethiopia and Sultan Selim III (1739-1808) of Ottoman Turkey who tried to modernize their empire unfortunately they paid their precious life as a result of modernization.

Keywords: comparative history, Ethiopia, modernization, Ottoman Turkey

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Authors: Zeynep Tanrıverdi

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The Bosphorus is an international waterway in Istanbul city of Turkey connecting the Sea of Marmara and the Black Sea. The Bosphorus, which has formed an important part of the silhouette of Istanbul throughout history, has also influenced the design of the coastal structures built around it. The waterfront mansions, which are located on both sides of the Bosphorus by the sea, and can be generally of two or three storeys, are called “yalı”. The yalı buildings with their architectural characteristics of the traditional Turkish House are the most grandiose examples of Ottoman residential architecture. However, the classical Ottoman yalı architecture of the 18th century can only be seen in engravings, and today only the modest and smaller yalı examples from the 19th century can be seen because of their disappearance over time. The study aims to reveal the architectural conservation and restoration problems of waterfront mansions and propose solutions for them. Firstly, the development of the waterfront mansion architecture in Bosphorus was evaluated in its historical process. Secondly, the waterfront mansions and their architectural features were explained. Thirdly, the architectural conservation and restoration problems that caused the disappearance of waterfront mansions were discussed. These problems include disruptions in legal regulations and practices about the Bosphorus, dramatic changes in Turkey’s socio-cultural life from the Ottoman Empire to the present, inadequacies in economic resources, negative environmental effects, and errors in restoration works. Finally, solution suggestions were proposed for the problems that threaten the protection of waterfront mansions. In the study, literature on waterfront mansions was reviewed using historical reports, photographs, maps, and drawings in archival documents. It is hoped that this study will contribute the conservation of the “Yalı” waterfront mansions, which occupy a particular role in the cultural heritage of Turkey, and to their transmission with their authentic values to the next generation.

Keywords: bosphorus architecture, conservation, heritage, Istanbul, waterfront mansions (yalı)

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Authors: Yavuz Arat, Ugur Tuztasi, Mehmet Uysal

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Anatolia has been the host of many civilizations and a site where architectural structures of many cultural layers were interpreted. Most significantly the Turks who settled in Central Asia brought their architectural dynamics and cultural accumulation to Anatolia after the 12th century. The tomb structures first observed in Central Asia under the influence of Islamic faith and Turkish cultural heritage has blossomed under Great Seljuk Empire and with the Anatolian Seljuk Empire these tombs changed both in size and form with rich and beautiful samples from Ahlat to Sivas to Kayseri and Konya. This tomb tradition which started during 13th century has continued during the Ottoman Empire period with some alterations of form and evolved into the rarely observed mausoleum type tombs. The Ottoman tradition of building tombs inside mosque gardens and their forms present the clues of an important burial tradition. However this understanding was abandoned in 20th century Turkey. This tradition was abandoned with regard to legal regulations and health conditions. This study investigates the vestiges of this tradition and its spatial reflections over a sample. The present sample is representative of a tradition that started in 1970s and the case of building tombs inside mosque gardens will be illustrated over the tomb of Hacı Kemal Onsun and his wife which is located in Konya, the capital of the Anatolian Seljuks. The building process of this tomb will be evaluated with regard to burial traditions and architectural stylization.

Keywords: tomb, language of architectural form, Anatolian Seljuk tombs, Ottoman tombs

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