Kerim

Assoc. Prof.

There were three important teaching institutions in the field of education in the Ottoman Empire until the Tanzimat Era. Children aged 5-6 were taken to sıbyan schools for primary education. In these primary school-level schools, the Koran reading, writing, catechism, and a‘mâl-i erbâ‘a (numerate) were taught. Beginner level Arabic morphology was also taught in some sıbyan schools.The madrasas made up the secondary and higher education after the sıbyan schools in Ottoman education system. The teaching activities that began in the XI. century with Nizamiye madrasas established during the Seljuk period to cultivate fiqh scholars was continued during the Anatolian Seljuks and Ottomans in madrasas. The deterioration in the administrative system of madrasas over time was reflected in the education and this process continued until the Tanzimat Era. There is no article related to the reform of madrasas and sıbyan schools in Imperial Edict of Reorganization. For this reason, madrasas were unable to keep up with the modernization efforts quickly and adequately that begin with Tanzimat. So much so that the first serious innovation efforts were only carried out during the II. Legitimacy.As morphology books el-Emsile, el-Binâ, el-Maksûd, el-İzzî, el-Merâh and eş-Şâfiye’, two el-Avâmil (Avâmil-i Cürcanî ve Avâmil-i Birgivî), İzhâru’l-Esrâr, el-Kâfiye and el-Kâfiye’s Molla Câmi Şerhi of Nahiv books widely used in the classical period were used in madrasas.In Ottoman Madrasas, there was a promotion system based on obtaining the right to read books from the next level after finishing the basic and auxiliary books of one level in an order called “passing books”. Accordingly, the duration of the education in madrasas at all levels could be extended or shortened depending on the student’s effort and capacity. As Arabic teaching methods report, memorization, comprehension, spelling, repetition, Q&amp;A, negotiation and discussion were used.Enderun School is the third important teaching institution of the Ottoman period. It is a private school established to train the state’s administrative staffs and operates within the palace. Courses such as the Kuran, hadith, kalam, calligraphy, Arabic, Persian, eloquence, poetry, philosophy, history, mathematics, and geography were taught in Enderun School. The difference between the teaching method applied in madrasas and Enderun School is the practical training that students had gotten in military and administrative subjects. In this respect, the school had a special education system where a wide variety of arts, administrative, political, and military knowledge were taught with practice and students could reach high levels according to their abilities.&nbsp;New Schools Opened After the Announcement of the Edict of Reorganization and Arabic TeachingThe innovation (modernization) moves initiated in all areas during the Tanzimat Era led to many positive developments in social and cultural areas. In this context, the most important activity that stands out in the field of education is schooling. New schools established at different levels and various fields were tried to be expanded all over the country by paying attention to the organization in the field of education. The primary and secondary education steps of the new education system were established as Rüşdiye, İdadi, and Sultan Schools which had been opening since 1840 and in 1900 with the opening of Daru’l-fünun, the higher education step was also established. In addition to these schools, which constitute the basis of the education system, many schools in vocational areas had been opened by the state. Additionally, with the permission of private enterprise initiatives, private schools were opened at rüşdiye, idadi and Sultani levels. Almost in all of these schools, Arabic was taught both in order to help Ottoman Turkish and as a foreign language. This article will focus on Arabic teaching in major schools.Arabic Teaching in Rüşdiye SchoolsThe first of method searching was carried out by Kemal Efendi, Director of Mekâtib-i Umumiye in 1264/1847. A rüşdiye school opened in Davutpaşa and a four-year program was implemented with one-year preparatory class in this school, and one year preparatory in Dâru’lfunûn. Arabic teaching in this school was based on Usûl-i Cedid. At that time, the following information was in the sources about Usûl-i Cedid and Arabic teaching. “With this new method, rüşdiye students have been started in Arabic and Persian with clear and easy expressions at a level their perception can accept. At the end of the teaching, the student completed the entire morphology of Arabic and the book of Avamil. Now, they have begun tı translate their Arabic lessons.”The following statement in the sources about the teaching of the mentioned books is essential in terms of the reached level and results: “In 1265/1848, about twenty children Rüşdiyes were tested in front of the Meclis-i Maârif. These children are only eight years old. even though they had not read anything other than Emsile and Bina in Arabic, and the two small tractates in Persian, they answered the questions nicely, and have shown that they have gained a high degree of knowledge in three years with great effort and study. ”Arabic Teaching in İdadi SchoolsThe schools referred to as İdadî, were first opened in 1261/1845 in military centres to cover the lack of information for those who wanted to enter military schools. The term İdadî was accepted as the name of the secondary education institution in 1286/1869 with Maârif-i Umumiye Regulation. With this regulation, an İdadî would be opened in every thousand-digit town. İdadî schools were planned as a three-year continuum school after four-year rüşdiyes. Although Arabic lessons were not initially considered in their programs, Arabic lessons had been held since 1869. Usul-i Cedid was applied as the Arabic teaching method. In addition to some classic works, books prepared to implement in newly opened schools with special methods were also used in Arabic teaching in İdadîs.Arabic Teaching in Sultanî SchoolsSultanîs were the schools opened in accordance with Usul-i Cedid education, in order to raise people who know all kinds of language and sciences, to enable every class to educate themselves, to conduce to the combining of elements living in the Ottoman Empire. In the curriculum between 1316/1898 and1317/1999, Arabic lessons are as follows:“Sunuf-ı İptidaiye (Three Years): No Arabic lesson. Sunuf-ı Tâliye Sunuf-ı Âliye 1st Grade: Arabî 4th Grade: Arabî 2nd Grade: Arabî 5th Grade: Arabî and Eloquence 3rd Grade: Arabî 6th Grade Arabî and Eloquence”The search for methods to simplify language teaching was ongoing in Mekteb-i Sultanî as in İdadis. For instance, the course minister Cemil Bey’s book Sarf-ı Arabî which was taught in Müptedi classes aimed to teach the student Arabic morphology easily. It was also possible to evaluate the works el-Muntehab and el-Muktedab which Mehmed Zihni Efendi prepared in order to teach the Arabic grammar easily, as important examples of method searches during this period.Arabic Teaching in Private SchoolsThe best example of Arabic teaching in private schools is the private school opened by Hacı İbrahim Efendi in Fatih, İstanbul on December 4, 1883 (1301) and called “Dâru’t-Talim”. Dâru’t-talim was a private school with iptidai and rüşdiye.According to Hacı İbrahim Efendi, the flaw in the current teaching system was in the method and language teaching should have been done as it did in Europe. According to him, first Arabic which shares the rules of our language should be learnt and then French and even Greek and Armenian. İbrahim Efendi found a minimum of two years necessary to teach Arabic fully. He stated the rules of the method he applied in Arabic teaching as follows: During the specified time for teaching Arabic, “students should be kept in a boarding school and should not be taught any other course and should focus on only to Arabic. The teaching of the other courses should be taught in Arabic after reaching a certain level. He stated the objectives of teaching Arabic as follows:&nbsp;&nbsp;“...providing the student with the ability to decipher and translate Arabic expressions especially what they read on Arabic newspapers within two, three years of strict instruction of Arabic language.”These goals had been reached and the students of the school had successfully passed the test in the presence of the Sultan.In these newly opened schools, as a requirement of the new system, weekly plans/programs were made in accordance with the hours of courses in the school curriculum and switched to the application of the teaching method called “Usül-i Cedid (new method)” in schools. Accordingly, Arabic teaching books in accordance with the new system and teaching method had been started to be written and applied in schools. The most important feature of the move to prepare books in accordance with the approach of innovation in Arabic teaching during the Tanzimat Era is the search for a new teaching method by authors. Thus, teaching methods that can be considered authentic were developed in the teaching of Arabic as a foreign language. In this article, certain works prepared to teach Arabic will be examined and analysed in terms of method. During the Tanzimat Era, the linguists followed four different methods while preparing grammar/morphology-based coursebooks:1. Authors prepared new coursebooks in accordance with “new method” in order to simplify the teaching of classical works such as Emsile, Bina, Maksud, Avamil, İzhar, which used in Arabic Teaching in madrasas.Example: A. Cevdet Hocazâde, Arapça Yeni Sarf ve Nahiv (Second Part), İstanbul, Mekteb-i Harbiye Publishing, 1323.2. Authors prepared new coursebooks by adapting the recent principles of language teaching methods that had emerged in Europe to the objectives of teaching Arabic in Ottoman State schools.Example: Literature Teacher of Galata Sultanî Ali Suad, founder of el-Hedaya Magazine and newspaper owner of el-Hilal el-Osmani Abdülaziz Caviş, Arabic Teacher of İstanbul&nbsp;Sultanî Edhemzade Muhammed Kemaleddin, Ta’limu’l-Lugati’l-Arabîye a’lâ Tarîkat-ı Berlitz, İstanbul, Mahmud Bey Publishing, 1331.3. Authors examined both classical textbooks and other works prepared during Tanzimat Era, along with books of the new methods emerging in Europe and they blended this information and wrote books in an eclectic manner, as they call it.Example: Mustafa Cemil – Ahmed Naim, Mekteb-i Sultanîye Mahsus Sarf-ı Arabî and Temrînât, İstanbul: Mahmud Bey Publishing, 13234. As a result of the experience and thoughts of Turkish linguists in their own teaching Arabic, these authentic works are the works that had been prepared by prioritizing the principle of “simplifying the teaching of Arabic language.Example: Süleyman Tevfik from Mehmed Safâ, Gayetu’l-ereb fi Teallüm-i Lisani’l-Arab, İstanbul, el-‘Adl Publishing, 1331 (1913)As a result, in the period from Tanzimat to the Republic, the heated debate sparked by the teaching of Arabic and the new ideas raised were not in vain and reflected in the books prepared by many valuable language scholars as new teaching methods and applied in many schools. Many Arabic experts who adopted this innovative approach had been trained, proving that Arabic can be taught more easily and effectively with New Method. The works of these linguists should be considered as authentic method studies in the field of Foreign Language Teaching, and language-teaching methodists who work in this field should be shown respect and value. It should also be noted that the studies carried out during the Tanzimat Era contributed positively to the field of Arabic teaching.

The Examination Of The Course Books Used In Arabic Teaching In New Schools Opened During The Tanzimat Era In Terms Of Method

Sıla

İsmigül

Res. Assist.

Tuğba

Spaces between Words as a Visual Cue when Reading Chinese: An Eye-Tracking Study

Uğur

According to Zeki Velidi Togan who wrote about history of Quran’s translation to Turkish language, the first Turkish translation is a brief translation of the Work called Cami‘u’l-Beyan which was translated from Arabic into Persian. Some Turkish scholars were members of a translation committee, which was established by Samanid Mansur b. Nuh (d. 976). The first translation of the Quran into Turkish was missing text and written in Argu dialect, and it was estimated to be translated by Turkish scholars who were on this translation committee. In the first half of Ottoman Empire’s establishment period, Turkish Quran translations were classified into three categories: interlinear translations, partial or expositional translations, and long commentaries. Most Quran commentaries (tafseers) translated into Turkish with the full text were written by the commentary writer known as Tefsîru Ebi’l-Leys es-Semerkandî written by Ebu’l-Leys Semerkandî (d. 993). Quran commentaries in the Ottoman period in and around Anatolia followed the model of Taberi and Semerkandî commentaries, which were among narrative commentaries; Ottoman glossators were influenced with Mefâtihu’l-Gayb by Razi (d. 1210), Envâru’t-Tenzîl by Beydavi (d. 1286), and Lübâbu’t-Te’vîl by Hazin (d. 1341), which were considered among mental commentaries (diraya tafseers). At the same time, Bahru’l-Hakâ’ik by Necmeddin Daye (d. 1256) was an important work among Sufistic wisdom commentaries.In the seventeenth century, when Okcuzade wrote his works, there were 89 commentaries. In the same century, there were 43 number of glossators. Abdullah Bosnevî (d. 1644), Mollazâde eş-Şirvânî (d. 1627), Şeyhülislâm Yahya Efendi (d. 1678), and ve Niyâzî-i Mısrî (d. 1694) were among those who wrote Quran commentaries in this century. The most unique writer was Okcuzade Mehmet Şahi (until a new name is confirmed out of him), who wrote verseprose commentary on 40 verses of the Quran. In this century, most commentaries in the form of forty verses was in Arabic; only eight commentaries were written in Turkish. Bâğ-ı Behişt by Shaikh Hacı İlyas and en-Nazmu’l-Mübîn by Okcuzade were two of the few written in Turkish. The full text of Bâğ-ı Behişt was written in verse format, while en-Nazmu’l-Mübîn was written in both verse and prose format.&nbsp;Okcuzade Mehmet Şahi was born in 1562 in Istanbul. He worked as head of the financial department and governor of Aleppo and Cyprus. He received decent education beginning from his childhood and was assigned to governmental offices. For three terms, he worked as marksman and for five terms he worked as tughra signer (who has the right to use sultan’s signature). Throughout his life, he was discharged/dismissed many times and had to live on the outskirts of society. It was alleged that Şeyhülislâm Hoca Sadeddin Efendi and his sons caused his discharge. Okcuzade Mehmed Şahi, who died when he was sixty-nine, used the pseudonyms "Şahi" and "Zeyni". He always mentioned his love, affection, and respect for Aziz Mahmud Hudayi and dedicated his works to him, which indicates that he was a member and follower of the Sufi path Jalvatiyyah. The nine works attributed correlated to Okcuzade are: Dîvân, Ahsenu’l-Hadîs, enNazmu’l-Mubîn fi’l-âyâti’l-erba‘în, Münşe’âtu’l-İnşâ, Tercüme-i Tuhfetu’s-Salavât, el-Makâmu’lMahmûd, Muhtâru’l-Ahyâr, Câmi‘u’l-Gâyât, and Kânûn-ı Cedîd-i Arazî.&nbsp;In Turkish classical literature, previously only nine-verse commentaries or expositional translations were found. En-Nazmu’l-Mübîn fi’l-âyâti’l-erba‘în is a literary-wisdom commentary that includes forty verses of the Quran. It is a prose-based work but includes both complex verse and prose formats. He also expressed that his book named Ahsenu’l-Hadîs, which he wrote to explain forty hadiths, was admired by many. Therefore, he decided to write a commentary for 40 verses of the Quran. The verses he chose were taken from these suras: Bakara (84 - 85, 185 &amp; 32), Hûd (17, 60 &amp; 116), Nisâ (171 &amp; 100), Kasas (83 &amp; 88), Şuarâ (82, 43 &amp; 90), Yûsuf (91, 92 &amp; 50), Enbiyâ (88 &amp; 18), Kehf (109 &amp; 82), Talak (1 &amp; 3), Zâriyât (16 &amp; 17), Arâf (148 &amp; 183), Necm (39 &amp; 42), Hadîd (13), Mülk (29), Âli İmrân (92), Fecr (9), Hac (27) Meryem (54), Tevbe (40), Ahzâb (53), Zuhruf (39), Yunus (30), Mâide (114), and Şûrâ (23).

Okcuzade and His Commentary for Forty Verses of Quran Named en-Nazmu’l-Mübîn fi’l-âyâti’l-erba‘în

Zainab

Discussing a nation’s literature and art is equivalent to discussing the extent of the intellectual, cultural, and social human presence of these nations. Poetry is considered nothing but finds its most important model in Bedouin souls who live in the Arabian Peninsula. It is their widest and toughest outlet. Abu Firas Al-Hamdani saysPoetry is the record of Arabs ever, and the title of lineageWith it, he belongs, and through it, he is known and revealed. Through the verses, the homes and their neighborhoods are recognized, and between its corridors are stories, feats, and achievements with eras of elevation and pride.Emirati poetry came from the Arabic atmosphere that is mixed with land, history, and several eras. It connected the land and its history in formal poetry and colloquial poetry (or “folk poetry” as defined by critics), which was common within the Emirati people. This poetry is recognized because of the different aspects of the Emirati person between an eloquent tongue and a common dialect. The poet’s thoughts were unconstrained. It was written with a smooth flow, like a stream in a rill in the middle of deserts and valleys. It expresses the thoughts of a person who lived and integrated with the land and its homes.Emirates cultural and civilizational development is closely associated with the development in the Gulf and Arabian world because the Arabian Gulf represents a major access for the Arabian region into other cultures both Asian and international. This phenomenon has contributed to literary and poetic growth in the region in general and in the UAE in particular. Educational life has been developed with the increased activity of several educational institutions, along which we observed the progress of the human interest and how they contributed and interacted with their era’s assistance. This influenced the progress in the modern Emirati literature and particularly in poetry.The beginning of Emirates poetry was around the twenties of the last century. During this time, several pioneer poets shined, including Mubarak Al Aqili (1954), Salem Al Owais (1959), Ahmed Al Mannai (1990), Mubarak Al Nakhi (1982), Muhammad Nour Saif (1982), Ahmed Bin Salem (1986), Khalfan Bin Musbah (1946), and others whose names arrived without their poetry.After the original poets, another group that came to be known as veterans. They followed these pioneers, met them, and lived their circumstances. Then, their time went beyond their predecessors. They became witnesses of the country’s transition from phase to phase because of the new circumstances. These veterans include Saqr bin Sultan Al Qasimi (born in 1926),&nbsp;Sultan Bin Ali Al Owais (born in 1936), and Hamad Bu shehab (born in 1936). They paved the way for a classical subordinate traditional phase, with its distinctive artistic features and characteristics. It included the traditional column poetry with its unique artistic features with the mixing of traditional and modern culture in language, taste, and poetic sense, with a base in the values of Arabic poetry in its flourishing stages.This classical stage was followed by a romantic phase, where the emotional restoration concepts risen from strict barriers. It transferred the soul closer to what it holds as it carried with it its emotional burdens. With that, numerous Emirati poets, as well as other poets in the Gulf and the Arabian world, have turned toward expressing this emotional instinct within. Among the leading romance poets was the Dr. Manei Saeed Al Otaiba, who sat on the throne of conscience, as well as other Emirati poets such as Sultan Al Owais and Hamad Khalifa Bu Shihab.The period of Realism was associated with the reality of Arab and global society. It kept its pace with what was actually happening in the world and integrated poetry with its concerns and issues. Poets at that stage include Muhammad Sharif Al-Shaibani (1930–1998) and other poets during his time.&nbsp;&nbsp;Modernization and experimental innovation came at a later stage. It gave the texts an aura of cohesion with modernist Arabic and the global experience. This was achieved by many Emirati poets, with renewal in the artistic template and suggestive artistic imagery. However, it remains attached to the emotional Romantic stage.Discussing a nation’s literature and art is equivalent to discussing the extent of the intellectual, cultural, and social human presence of these nations. Poetry is considered nothing but finds its most important model in Bedouin souls who live in the Arabian Peninsula. It is their widest and toughest outlet. Abu Firas Al-Hamdani saysPoetry is the record of Arabs ever, and the title of lineageWith it, he belongs, and through it, he is known and revealed. Through the verses, the homes and their neighborhoods are recognized, and between its corridors are stories, feats, and achievements with eras of elevation and pride.Emirati poetry came from the Arabic atmosphere that is mixed with land, history, and several eras. It connected the land and its history in formal poetry and colloquial poetry (or “folk poetry” as defined by critics), which was common within the Emirati people. This poetry is recognized because of the different aspects of the Emirati person between an eloquent tongue and a common dialect. The poet’s thoughts were unconstrained. It was written with a smooth flow, like a stream in a rill in the middle of deserts and valleys. It expresses the thoughts of a person who lived and integrated with the land and its homes.&nbsp;Emirates cultural and civilizational development is closely associated with the development in the Gulf and Arabian world because the Arabian Gulf represents a major access for the Arabian region into other cultures both Asian and international. This phenomenon has contributed to literary and poetic growth in the region in general and in the UAE in particular. Educational life has been developed with the increased activity of several educational institutions, along which we observed the progress of the human interest and how they contributed and interacted with their era’s assistance. This influenced the progress in the modern Emirati literature and particularly in poetry.The beginning of Emirates poetry was around the twenties of the last century. During this time, several pioneer poets shined, including Mubarak Al Aqili (1954), Salem Al Owais (1959), Ahmed Al Mannai (1990), Mubarak Al Nakhi (1982), Muhammad Nour Saif (1982), Ahmed Bin Salem (1986), Khalfan Bin Musbah (1946), and others whose names arrived without their poetry.After the original poets, another group that came to be known as veterans. They followed these pioneers, met them, and lived their circumstances. Then, their time went beyond their predecessors. They became witnesses of the country’s transition from phase to phase because of the new circumstances. These veterans include Saqr bin Sultan Al Qasimi (born in 1926), Sultan Bin Ali Al Owais (born in 1936), and Hamad Bu shehab (born in 1936). They paved the way for a classical subordinate traditional phase, with its distinctive artistic features and characteristics. It included the traditional column poetry with its unique artistic features with the mixing of traditional and modern culture in language, taste, and poetic sense, with a base in the values of Arabic poetry in its flourishing stages.This classical stage was followed by a romantic phase, where the emotional restoration concepts risen from strict barriers. It transferred the soul closer to what it holds as it carried with it its emotional burdens. With that, numerous Emirati poets, as well as other poets in the Gulf and the Arabian world, have turned toward expressing this emotional instinct within. Among the leading romance poets was the Dr. Manei Saeed Al Otaiba, who sat on the throne of conscience, as well as other Emirati poets such as Sultan Al Owais and Hamad Khalifa Bu Shihab.The period of Realism was associated with the reality of Arab and global society. It kept its pace with what was actually happening in the world and integrated poetry with its concerns and issues. Poets at that stage include Muhammad Sharif Al-Shaibani (1930–1998) and other poets during his time.&nbsp;Modernization and experimental innovation came at a later stage. It gave the texts an aura of cohesion with modernist Arabic and the global experience. This was achieved by many Emirati poets, with renewal in the artistic template and suggestive artistic imagery. However, it remains attached to the emotional Romantic stage.

Emirati Poetic Movements

Yakup

Şükran

Prof.

Words expressing generality (oumoūm) are subject to different categories, one of them being the word descripted with the definite article signifying istigrāq. This study begins by explaining the place of the definite article within word categories in Arabic, after which a closer investigation is carried out by dividing the definite article into its three main types: ahd, genus (jins) and istigrāk. Of these, ahd is dealt with under three headings: al-ahd al-zikrī, al-ahd al-zihnī and al-ahd al-hārijī; while istigrāq is discussed under two headings: al-istigrāq al-haqīqī and al-istigrāq al-‘urfī.&nbsp;&nbsp;First, the different types of "ahd" are examined. In this context, when a word that is mentioned previously within an expression is reused with the same meaning, the definite article at the beginning of the second word is called al-ahd al-zikrī; secondly, the definite article at the beginning of a word, that has not previously been mentioned, but that for any reason indicates a known thing, is called al-ahd al-zihnī; and thirdly, the definite article at the beginning of a word, which indicates a known thing within our environment and is understood as such when mentioned, is called al-ahd al-hāriji.In the next section, another one of the definite article’s tripartite division of ahd-genusistigrāq, namely genus, is discussed. It is determined that when the word preceded by the definite article does not identify a specific being but refers to a species in nature, the definite article in this context expresses the genus, which is also called the truth (haqīqa) and the quiddity (māhiya).Subsequently, the third type of definite article, namely istigrāq, is examined. It is emphasized that the definite article signifies istigrāq, if and when it indicates all members of the genus name. It is pointed out that the criterion for the definite article expressing istigrāq, in other words, the most important factor that distinguishes this type from the definite article indicating genus, is that its meaning is distorted when it is preceded by the word . This is the most vital point of distinguishing the definite article indicating istigrāq from the definite article indicating the genus because when the word is supposed before the word with the definite article indicating genus, the meaning is distorted. Also, the definite article indicating istigrāq is divided into two parts: al-istigrāq al-haqīqī and al-istigrāq al-‘urfī; al-istigrāq al-haqīqī is when it is meant to express all components that are within the scope of a word in terms of language, while al-istigrāq al-‘urfī is used when the word indicates ‘all components’, not in terms of language but in terms of custom.After these deductions about the definite article, it is concluded that the definite article only indicates generality (oumoūm) when it is of the type expressing istigrāq, and that with the other types, it is not the case that the definite article indicates generality (oumoūm).

The Conception of the Definite Article in the Context of Oumoûm-Khousoûs

İbrahim

Muhsin

Vâsînî el-A‘rac was born in 1954 in Tlemcen province. He completed his undergraduate studies in the field of Arabic Literature at the University of Algeria and completed his doctorate with a thesis he prepared on the Algerian novel in Damascus. He taught Arabic Literature at the University of Algeria until 1994. However, during the civil war in Algeria, he received death threats and left the country with his family. He stayed in Tunisia for a short time, then went to France. He taught modern Arabic Literature at Université Paris III-New Sorbonne in France. The author, who continues to publish novels and stories, received the greatest novel award of Algeria in 2001. el-A‘rac who is married to the poet Zeyneb el-A‘vac, currently heads the chair of the University of Algeria and the University of Paris-Sorbonne. In this study, the analysis of one of the author's recent works, Memleketu'l-Ferâşe, was discussed. Memleketu'l-Ferâşe (The Kingdom of the Butterflies) is the book of Vâsîn al-A'rac, published in 2013. In this important work, the author presented the period after the Algerian civil war, which was known as the Black Decade, to the reader in the language of a young girl (Yâmâ) and also from her point of view. While the writer wrote the story he wanted to tell in his novel, he focused on the civil war and its effects left behind, and reflected the political conditions of the period to the reader critically. When we look at the whole of the novel, we encounter a pessimistic picture. The author used modern narrative techniques in this book, which he wrote in Person 1 (I) narrator, and aimed to show the effects of the Algerian civil war in the context of individual psychology. Looking at the general concepts of the novel, it is possible to say that abstract elements such as fear, suspicion, pessimism, sadness, longing are used too much. In this work, which also contains elements of art and literature intensely, the names of real artists and literaturer are also included. Even though Yâmâ appears as a single person in the position of the narrator of the novel, she actually represents many people. Yâmâ is the voice of all people who lost their loved ones at that time, lost their joy of life, whose hopes disappeared day by day, and&nbsp;felt loneliness and fear deeply. Having been told the story in her own language, she allows readers not only to listen to this sound, but also to feel it in their hearts. El-A‘rac, who did not give weight to age or physical characteristics of the narrator, tried to create her with emotions and thoughts in the reader's mind and offered the readers a window from which they could look at the story. The period that constitutes the main background of the novel, that is, the time period in which the narration takes place, is a period after the Algerian civil war, which Yâmâ called Silent War. The civil war has ended but its effects still continue. El-A’rac used Fasih Arabic in this novel. In some parts of the book, he also included French words, phrases and lyrics. The author has used many narrative techniques, especially narration, demonstration, dialogue and flashback. The application of different narrative techniques in accordance with the nature of the narrator-hero made the work richer in the eyes of the reader. The word (butterfly) in the name of the novel appears on many pages when we look at the content. It has been used in many places for the purpose of metaphor. By its nature, the butterfly is beautiful, delicate and has a shorter life than many other creatures. There are species that live about a year or a few days. A butterfly can go towards its end, flapping its wings towards the fire without knowing what will happen to it - perhaps knowing it. These features of the butterfly are a reminder of how short life is and the fact of death is evident in the novel. While describing life, death, people, emotions and thoughts in his novel, El-A‘rac had the opportunity to express them more effectively by connecting them with the features of the butterfly at some points. Yâmâ sometimes describes it as (My Kingdom) when she talks about Facebook. In one place, the term was used instead of Facebook. The reason why the analogy of the Butterfly Kingdom was made for Facebook in the novel finds its place in the point of view of Yâmâ, who is trying to find the consolation of everything she has lost in the real World because at the end of the novel she learns that her beloved lover (Faust) is only a lie. Thus, her brief virtual life in that kingdom - her own kingdom - ends in pain. Just like the end of a butterfly.

An Overview of Vâsînî el-A‘rac and His Novel Memleketu’lFarâsha

Adem

Büşra

Ibn al-Jazari (d. 833/1429) was an Islamic scholar who specialized in the qira’at, the art of Qur’anic recitation and hadith sciences. A strong relationship exists between qira’at and Arabic. On the one hand, the suitability to the Arabic language is considered a condition for the authenticity of the qira’at; on the other hand, authentic qira’ahs are accepted as concrete examples for setting the rules of the Arabic language. The close relationship between the Arabic language and the qira’at necessitates every qira’at scholar to be a competent linguist.Because the Qur’an is Arabic, a compulsory correlation exists between the qira’at and the Arabic language. In fact, qira’at’s compliance with the rules of the Arabic language was considered by scholars as one of its conditions. Thus, we see a significant number of first linguists, such as Abu’l-Aswad (d. 69/689), Abu Amr b. Alaa (d. 154/771), and Kisaî (d. 189/805), who were also transmitter scholars of qira’at aspects of the Qur’an. Therefore, the relationship between the science of gira’at and the Arabic language is inevitable. Thus, some of the nearly 100 works and treatises attributed to Ibn al-Jazari are directly related to the Arabic language and literature.In this study, the relationship between the Arabic language and the science of gira’at was analyzed. Accordingly, the subject was explained in detail in subheadings such as the role of gira’ in the emergence of Arabic grammar. In fact, gira’at aspects played a decisive role in the determination of grammar rules. Hence, Islamic scholars of gira’at considered compliance with the Arabic language rules as a compulsory requisite for the authenticity of gira’at. Therefore, a considerable number of scholars of gira’at were also writers of Arabic grammar. As a qira’ah authority, Ibn al-Jazari possessed certain competence in the Arabic language and qira’ah. He revealed this in both his works on Arabic grammar and his linguistic explanations for the reading differences in the Qur’an in his book titled an-Neshr fi qiraati’l-ashr.As a qira’ah authority, Ibn al-Jazari’s competency in Arabic linguistics is accepted and undisputed. He authored several works on the Arabic language and literature. Among them, his work on Arabic grammar, titled al-Jawhere fi’n-nahv, is especially important. Incidentally, in recent biography studies, a study on Ibn Malik's Elfiye titled Kaashefu'l-hasaasa an elfaazi'lHulaasa was inadvertently attributed to Ibn al-Jazari. However, the work belongs to Mohammed b. Yusuf al-Jazari (d. 71/1311).Ibn al-Jezerî showed that he was a competent scholar of the Arabic language and literature not only through his works on the language but also through his explanations of language issues in al-Neşr. He acted as an independent linguist, while basing some of his qira’at aspects in terms of language. Although, he relied on Sebeveyhi’s linguistic views, when it comes to basing a reading, he did not hesitate to object, even to the most authoritative linguists like Sebeveyhi.Although Ibn al-Jazari sometimes used his own terms when discussing language and eloquence, he used the common terminology of Arabic grammar. While basing his views on the language, he applied the basic sources and methods of the Arabic language, especially sema (narrative), ijma (consensus), and qiyas (analogy). However, he was tolerant in using these resources, and used the principles of sema and qiyas more flexibly, without a strict limitation, to show its suitability to the Arabic language if the qira’at was valid in terms of the narrative chain.Undoubtedly, the examination and revelation of Ibn al-Jazari's linguism require a comprehensive study of all his works that have survived to this day. Such a review exceeds the limits of the present study.

Ibn al-Jazari and His Works on the Arabic Language

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Ayman

Lecturer

THE IMAGE OF CAIRO AND ISTANBUL IN "A JOURNEY TO ISLAMIC COUNTRIES

Asuman

Assist. Prof.

Mahmûd the sultan of the kingdom of Ghazna who is the son of Sebüktigin received a religious and political education traditionally from a young age and raised as a good statesman. Mahmûd of Ghazni, who was one of the exceptional statesmen of the Turkish-Islamic world with his administrative talent, politics and great victories, spent most of his life on the battlefields. He tried to throw all the great figures together in his palace and paid court to the poets and scholars. He also invited poets from neighboring countries to their countries. Although the fact that there were 400 poets in his palace in which official language is Persian is accepted exaggeration, it is significant to see that he highlights the importance of poetry and literature. Ebü’l-Hasen Alî b. Cûlûg Ferruhî-yi Sîstânî who is one of the first eulogists in Iranian literature in Islamic period was one of the poet laureates of Mahmûd of Ghazni after Mahmûd came to the throne and he lived in the period of Sultan Mahmûd and his two sons Muhammed and Mesud. The poet wrote ode to the king in the meeting heldy by Mahmûd Ghazni in religious days. Additionally, he joined Mahmûd of Ghazni’s all Indian expeditions and gave information about them in his odes. He wrote an ode with sixty-nine couplets in the form of an elegy and he wrote both his love for Sultan Mahmûd and his sorrow over his death by praising to him in this poem. The poet expresses his pain after the death of Sultan with his sincere feelings through his poetry. Although love, drunkenness, joy, and happiness are general themes in his poems, he also mentions his pains and sorrows in this poem. In fact, this ode is a story of both the concern for future after the death of Mahmûd Ghazni and all palace and city people who are in shock and lament. He mentions a grieving city with a clear, simple and fluent poetic language in a realistic way.&nbsp;

AN ELEGY TO SULTAN MAHMÛD’S FINAL JOURNEY

Abdelkader

Writing, also called lettering, calligraphy or script, is the symbolization of speech by signs and forms. In other words, it is the lettering of words alphabetically. Calligraphy or script generally belongs to the language it represents, and holds its name. Hence, there is for example, Arabic, Ottoman, or Latin writing. Human beings in general, particularly Arabs and Muslims, have created types of writing or calligraphy in different fields throughout ages; such as various kinds of scripts produced by nations, the Ottoman writing used by Muslims for the writing of Quranic verses, and others. The Orthographic writing is more common and widely used, nearly in all that is written in the Arabic language, whereas the Ottoman writing is narrowly used and limited only to the writing of Quran and the science of Tajweed. It can be said that the activity of adjustment, also called form, is the use of some symbols that accompany the letters to determine their sounds. It is both a system for the formation of consonants to perform the intended meaning, and the “basis for correct reading”. In some cases, the lack of adjustment may change the meaning. The term ‘adjustment’ in the Ottoman writing and in Tajweed corresponds similarly to ‘form’ in Orthographic writing. However, adjustment is more signifying than form, because it contains other marks.There are numerous writings in the world, differing up to the fields and situations. Writings can be classified into six (6) types as follows: Ottoman writing, orthographic spelling, poetic writing, phonetic writing, Braille writing and Morse writing. All these kinds of writing have been used and still exist nowadays as means of human interaction and communication in different life fields. The Ottoman writing is the way used during the reign of the third Caliph Othman Bin Affan, may Allah be pleased with him, to write Quran. It is also called Ottoman calligraphy or script. This writing is concerned as a method which should be followed and approved, but not disregarded or violated. The word “Ottoman” here is used in reference to the Caliph Othman Bin Affan, specifically used in Arabic, and only in the&nbsp;writing of verses of the Holy Quran. It is meant by Quranic Mushafs the holy book Quran in various narrations, specifically Hafs reading from Assem and Warsh reading from Nafie. These two recitations are more published and spread in the world. Each of the two forms, orthographic spelling and Ottoman writing, are common in many situations, but different in some others, like adjustment. There are ten symbols in orthographic writing: the short vowels (fatha, damma, kasra), Tanwin (fathatan, dammatan, kesratan), Sukun, Shadda, alif of Medd and the small hamza that are placed above alif, waw, ya and also under the alif with Kasra. However, the adjustment in the Ottoman writing is so worthy that it contains thirty-two symbols. In addition to the ten symbols which exist in the orthographic writing, adjustment in the Ottoman writing contains twenty-two other signs. In our view, these thirtytwo marks of the Ottoman adjustment can be classified into the following eleven (11) categories: short vowels, long vowels, Tanwin, two Sukuns, small Hamza, junction adjustment, literal adjustment, word adjustment, point adjustment, lozenge adjustment, adjustment in form of zero, adjustment using color. In the three Arabic writings, orthographic, poetic or phonetic, only the first five categories (short vowels, Tanwin, two Sukuns, small Hamza, and Alif of Medd) are used. However, all the categories are used in the Ottoman writing, which is even characterized by using the last seven categories: junction adjustment, literal adjustment, word adjustment, point adjustment, lozenge adjustment, adjustment in form of zero, adjustment using color. This is done for an accurate reading and a perfect recitation of the Holy Quran, without mistakes.&nbsp;

THE ADJUSTMENT OF THE OTTOMAN WRITING OF QURANIC MUS’HAFS

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Fadila

The objective of this article is to highlight the phenomenon of school violence in Algerian society, through the results and statistics obtained by various research and academic field studies, and statistics of the Ministry of Education and National Gendarmerie, and then try to propose some mechanisms to reduce or even reduce Of the phenomenon of school violence, highlighting the role of the family and school as the most important institutions of socialization in building the character of the individual (student) beginning, then the good citizen later. School violence poses several problems related to how to create and even mitigate mitigation mechanisms and strategies. The seriousness of school violence in all its forms and manifestations is reflected in our educational institutions through the astonishing rise of the statistics reached by the Algerian Ministry of National Education in2016, which was estimated at 1661 cases across the nation's states, including 1427 cases of violence among students and 156 cases of assaults against students and teachers 87 cases of assaults of students towards the teachers (for: Dalumi, 2016).To learn about the reality of the violence practiced in our educational institution, the scientific literature and field studies carried out in the various states of the country and at different educational levels show the dangers of violent behavior practiced in our schools and clearly reflect an important aspect of the violence in our educational institutions. Studies: Study of Khaled Abdel Salam (2002-2003) this study was conducted in the state of Setif, and was based on the method of content analysis of the records of the disciplinary boards. (70.43%) compared to 43 cases (29.65%) in the remaining semi-urban and rural areas. The results also confirmed that violence is practiced by males (126.9%) compared to 19 students (13.11%) and violence (92.5%). The researcher concluded that the violence was directed against faculty and administrative staff, but that the biggest victim of the phenomenon of school violence Are teachers and teachers in general and professors in particular, and The main reason behind the problem of school violence in its various forms lies in the lack of discipline within the department (Abdul Salam, 2014, S331-332).Violation of violence in the school environment prevents the school from achieving its educational and educational goals, which negatively affects the personality of the student in all its aspects (psychological, social, relational, cognitive) in particular, and leads to delinquency and deviation to the anomaly, and also affects the structure of the school and Their educational power on the educational system and the social system in general.Violence in schools is a mirror of societal violence, so we must clarify - in short - the concept of violence in general and then scrutinize the understanding of the meaning and causes of school violence and the philosophy of mitigation.1- The family is the first social unit in which a child is born. The emotional deprivation that he or she may suffer through poor parenting (verbal or physical abuse or destruction of the furniture of the house), poor economic conditions and physical and moral disintegration of the family all inevitably affect his or her personality The future, beginning with violence in the house, and then on the street, and then in school, both with peers or with the teacher and even with the self 2- The school is the second institution of social upbringing after the family, and the first link between the individual and society; it is responsible for transferring the culture, traditions and customs of the society to the student, and is obliged to provide knowledge and education to him in the best conditions.On the basis of this, we can make the school an educational institution in which pupils and teachers coexist away from extreme and violent behaviors. If both the family and the school as institutions of socialization can re-examine their real role and function towards the individual and the society, A social environment of security and tranquility. We conclude from the above that the family, school and society must be made aware of the seriousness of the phenomenon of school violence and the need to address it and alleviate it or reduce it by all available educational, psychological and educational means. It is also necessary to emphasize that the institutions of social upbringing - especially the family and the school - And the adoption of the rising generation, but if it abandons its function will destroy and destroy and develop all forms of extremism and violence in the individual and society.

School Violence and Mechanisms For Reducing It in The Algerian Society

Serpil

In this study, a poem work named Tarikh-e Al-e Osmani, of which only one copy exists, by the poet Saeli-ye Shirazi, who was one of the poets of XVI century, is analyzed. This work, along with being an epic poem about Osman Ghazi-era wars and heroism, is also important in philosophical, moral and educational aspects that stand out in some parts of the work.This work of Saeli is similar to Ferdowsi’s Shahnameh in terms of verse form and meter and the material used in the two works is almost the same. Legendary heroes, mythological elements, and some of the compositions that make up the framework of Shahnameh are also seen in Saeili’s work with similar narratives. However, these two works are different from each other; one is a national epic that tells the history of Iran from prehistoric times to the Arabian invasion, and the other is a verse history of the life of only one ruler and the wars he has made. When we compare Saeli’s Tarikh-e Al-e Osmani with other works of this kind, we can easily say that the work is an important masnavi in terms of both the language and the content, not shadowed by another work but has its own style.Saeli is a poet who came to Anatolia during the reign of Bayezid II and observed the periods of Selim the Resolute and Suleiman the Magnificent upon his death. There is not much information about his life before coming to Anatolia, except for his detailed statements in the preamble of his Diwan (collected poems) and in the Tarikh-e Al-e Osmani. The limited number of works that give information about his life are also written in Anatolia. Only Logat-name, Ferhang-i Sokhanvaran and Az-Zaree’a mentioned Saeli’ among the tezkires (collection of biographies) written in Iran in and after the XVIth century. This leads us to think that the poet was not very famous when he was in Iran. With this study, we hope that we will contribute a little bit to what is known about Ottoman history and genealogy of Ottoman period and will shed light to the field studies.

SAELI-YE SHIRAZI WHO WAS ONE OF THE IRANIAN POETS OF XVI CENTURY AND HIS WORK NAMED TARIKH-E AL-E OSMANI

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In Journal of Oriental Studies, of which the first number was issued by Faculty of Letters, Institute of Orientalism in 1956 (Ankara), important articles regarding the area of orientalism were published. However the aforementioned Journal's regular life was stopped with the issue that was published in 1966 in Istanbul. The 7th issue that was published in 1972 (Istanbul) was dedicated to the memoir of Prof. Dr. Ahmet Ateş, who was one of the lecturers of I.U. Arabic-Persian Philology, and the 8th issue (Istanbul 1998) which was published 26 years after this issue was dedicated to the memoir of Prof. Dr. Nihad M. Çetin, who was one of the lecturers of I.U. Eastern Languages and Literatures. In 2006 with the ninth issue. the journal resumed it's publication life. Şarkiyat Mecmuası is an international peer-reviewed journal and published by Center of Oriental Studies, Faculty of Letters, Istanbul University. In addition one-third of Şarkiyat Mecmuası consists foreign languages such as English, Arabic, Persian and Urdu.

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Journal of Oriental Studies

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Responsible Manager

Editor

Language Editor

Editorial Board Member

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Journal of Oriental Studies aims to contribute to the scientific knowledge in the field of Eastern languages and literatures by publishing original articles, reviews, scientific criticism, book review and translation articles.The journal considers manuscripts on all aspects of Eastern languages and literatures. Subject areas of interest include language and literature, history, history of literature, art and culture concerning Eastern languages and literatures. The target audience of the journal is academics, researchers, professionals, students and related professional, academic institutions and organizations. The publication languages of the journal are Turkish, English, German, French, Chinese, Hindi, Persian, Arabic, Korean and Urdu.

Aim and Scope

The subjects covered in the manuscripts submitted to the journal for publication must be in accordance with the aim and scope of the journal. The journal gives priority to original research papers submitted for publication. Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal are accepted for evaluation. Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor hands over the papers matching the formal rules to at least two national/international referees for evaluation and makes last decision for publication upon modification by the authors in accordance with the referees’ claims. Changing the name of an author (omission, addition or order) in papers submitted to the journal requires written permission of all declared authors.

Policies

Journal of Oriental Studies is an open access journal which means that all content is freely available without charge to the user or his/her institution. Except for commercial purposes, users are allowed to read, download, copy, print, search, or link to the full texts of the articles in this journal without asking prior permission from the publisher or the author. The articles in Journal of Oriental Studies are open access articles licensed under the terms of the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) license (<a href="https:// creativecommons.org/licenses/by-nc/4.0/deed.en" target="_blank">https:// creativecommons.org/licenses/by-nc/4.0/deed.en</a>)

All expenses of the journal are covered by the Istanbul University. Processing and publication are free of charge with the journal. There is no article processing charges or submission fees for any submitted or accepted articles.

Authors publishing Journal of Oriental Studies retain the copyright to their work, licensing it under the Creative Commons Attribution-NonCommercial 4.0 International (CC BY-NC 4.0) license that gives permission to copy and redistribute the material in any medium or format other than commercial purposes as well as remix, transform and build upon the material by providing appropriate credit to the original work.

Journal of Oriental Studies is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the Committee on Publication Ethics (COPE), the Directory of Open Access Journals (DOAJ), to access the Open Access Scholarly Publishers Association (OASPA), and the World Association of Medical Editors (WAME) on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparencyand-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparencyand-best-practice-scholarly-publishing</a>All parties involved in the publishing process (Editors, Reviewers, Authors and Publisher) are expected to agree on the following ethical principles.All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Each manuscript is reviewed by one of the editors and at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. In accordance with the code of conduct we will report any cases of suspected plagiarism or duplicate publishing.

Ethics

Journal of Oriental Studies adheres to the highest standards in research ethics and follows the principles of international research ethics as defined below. The authors are responsible for the compliance of the manuscripts with the ethical rules. <ul><li>Principles of integrity, quality and transparency should be sustained in designing the research, reviewing the design and conducting the research.</li><li>The research team and participants should be fully informed about the aim, methods, possible uses and requirements of the research and risks of participation in research.</li><li>The confidentiality of the information provided by the research participants and the confidentiality of the respondents should be ensured. The research should be designed to protect the autonomy and dignity of the participants.</li><li>Research participants should participate in the research voluntarily, not under any coercion.</li><li>Any possible harm to participants must be avoided. The research should be planned in such a way that the participants are not at risk.</li><li>The independence of research must be clear; and any conflict of interest must be disclosed.</li><li>In experimental studies with human subjects, written informed consent of the participants who decide to participate in the research must be obtained. In the case of children and those under wardship or with confirmed insanity, legal custodian’s assent must be obtained.</li><li>If the study is to be carried out in any institution or organization, approval must be obtained from this institution or organization.</li><li>In studies with human subject, it must be noted in the method’s section of the manuscript that the informed consent of the participants and ethics committee approval from the institution where the study has been conducted have been obtained.</li></ul>

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/ conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a codecision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/F9E4FD36984048A48FC2EADEAB439558" target="_blank">Copyright Agreement Form.</a> The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment.When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor to provide retractions or corrections of mistakes.

Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, citizenship, religious belief or political philosophy of the authors. He/She provides a fair double-blind peer review of the submitted articles for publication and ensures that all the information related to submitted manuscripts is kept as confidential before publishing. Editor-in-Chief is responsible for the contents and overall quality of the publication, and must publish errata pages or make corrections when needed. Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers, and is responsible for final decision for publication of the manuscripts in the journal. Reviewers must have no conflict of interest with respect to the research, the authors and/or the research funders. Their judgments must be objective. Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side. A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process. The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees must be ensured. In particular situations, the editor may share the review of one reviewer with other reviewers to clarify a particular point.

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation. Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by the Editor-in-Chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.The selected manuscripts are sent to at least two national/international referees for evaluation and publication decision is given by Editor-in-Chief upon modification by the authors in accordance with the referees’ claims.

Peer Review

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by Editor-in-Chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.Editor-in-Chief evaluates manuscripts for their scientific content without regard to ethnic origin, gender, citizenship, religious belief or political philosophy of the authors and ensures a fair double-blind peer review of the selected manuscripts.​ The selected manuscripts are sent to at least two national/international referees for evaluation and publication decision is given by Editor-in-Chief upon modification by the authors in accordance with the referees’ claims. Editor-in-Chief does not allow any conflicts of interest between the authors, editors and reviewers and is responsible for final decision for publication of the manuscripts in the Journal. Reviewers’ judgments must be objective. Reviewers’ comments on the following aspects are expected while conducting the review.- Does the manuscript contain new and significant information?- Does the abstract clearly and accurately describe the content of the manuscript?- Is the problem significant and concisely stated?- Are the methods described comprehensively?- Are the interpretations and consclusions justified by the results?- Is adequate references made to other Works in the field?- Is the language acceptable?Reviewers must ensure that all the information related to submitted manuscripts is kept as confidential and must report to the editor if they are aware of copyright infringement and plagiarism on the author’s side.A reviewer who feels unqualified to review the topic of a manuscript or knows that its prompt review will be impossible should notify the editor and excuse himself from the review process.The editor informs the reviewers that the manuscripts are confidential information and that this is a privileged interaction. The reviewers and editorial board cannot discuss the manuscripts with other persons. The anonymity of the referees is important.

Publication Rules1. Journal of Oriental Studies is prepeared by Istanbul University, Faculity of Letters, the Oriental Research Center. The first number was issued in Ankara in 1956. Since 2007 it is published as a peer-reviewed journal in January and December twice a year.2. Journal of Oriental Studies accepts articels in the fields of Orientalism, edition critiques of hand writing manuscripts, scientific critiques, book reviews and translations of the articles.3. The offical language of the journal is Turkish. If the publication commitee agrees, the articles in Western languages such as English, French, German not exceeding one-third of the existingarticles and the articles in Eastern languages such as Arabic, Persian, Urdu not exceeding 25 pages can be published. Submission of an article, or other item, implies that it has not been published elsewhere.4. The articles that are accepted by journal publication commitee are sent to the referees among three diffrent universities. At least two referees must agree to publish the article. If the referees decide to revise the article, then the authors should send mostly in 15 days. Wheter published or not, the writings that submitted to our journal don’t return to the authors.5. The author agrees that he has transfered the copyright of his published article to Istanbul University, Dean of Faculty of Letters and he must sign one copy of the “publising permit” document and three copies of” the copyright and deed of assignment” document and send us.6. Images such as the photographs, maps, diagrams, archieve documents should be submitted as avaliable for publishing.7. For translation writings the original copy of the article in the foreign language should be submitted. The full bibliographical information (name of the journal, the author of the article, publication place, publication year, volume, number, and pages) of the article must be given.8. Writers’ institutional affilications, contact informations especially gsm numbers, e-mail addresses must be provided.<div style="text-align: left;">9. WORD and PDF files ofthe articles will be uploaded to the web address below: <a href="https://dergipark.org.tr/tr/pub/iusarkiyat" target="_blank">https://dergipark.org.tr/tr/pub/iusarkiyat</a> </div>10. The responsibility of the opinions in the articles and writings published belongs to the authors.

Author Guidelines

1. The articles written in Turkish of Turkey, except special uses, ought to be befitted to Spelling Dictionary by Turkish Language Association in terms of spelling rules. The writings must be expressed clearly in terms of scientific dimensions. 2. Title: It should describe the article and reflect the basic concepts, discussions and the main argument of the article. Turkish title should be written in bold, 11 point size, Times New Roman; English title should be 10 point size, bold, Times New Roman. Arabic, Persian and Urdu title should be in bold, 11 point size, Traditional Arabic, in the middle under the English title. It should not exceed 12 words.3. Author’s name and address: The name and surname of author under two lines of title, in the right side, right justified. An Asteriks symbol should be added at the end of the author’s surname as a footpoint, and include the author’s academic title, and e-mail address (9 points, justified) . [Prof. Dr., Istanbul University, Faculty of Letters, Arabic Language and Literature Chair, ORCID:…….., (……@......)].4. Abstract: It must contain a short summary of the main parts (entry, evidence, method, argument, result and proposal) of the article. It should provide the reader to modify the content of the article in a short time and to decide if he needs to read the whole article or not. The given information should not exceed one sentence. The evidences and the resolution part may consist of more than one sentence. The sentences must be clear and understandable and must be written in the past tense. In the abstract, there should not be any tables, illustrations, quotations and references.Turkish abstract should be at the beginning of the article text following the title, between 200-250 words, 10 point size, right and left 10 mm spaced and justified. English abstract should follow. Turkish abstract. If the article is written in a different language from these two languages, the third abstract should be prepared in the relevant language by the same rules.5. Keywords: should be given following the abstract written in Turkish, English and in the relevant language if any. Keywords should be up to 5 words and should provide access to the article.6. Article Text: Articles should be submitted as Microsoft Word, Word 98 or higher versions documents. The text should be written in Times New Roman, 11 point size, at 1 line spacing. The articles in Arabic, Persian and Urdu should be written in Traditional Arabic, 11 point size, at 1 line spacing . The page size should be 165X240, 20 mm space from the right and left page sides, 30 mm from the bottom, 35 mm from the top of the page. The paragraph indentation should be 5 mm.7. Titles in the article: Subtitles should be 11 point size and letter/number system should be based on. The first letter of the each Word in the title should be capital.8. Informative Abstract: It has the same characteristics with abstract basically, but it is different from the abstract in terms of the length and details. It gives more detailed information than the abstract. The length of the summary should be %10-15 of the article. Tables and diagrams can take place in the summary. It should be at the end of the article and should contain the aim, argument, method, evidence and result of the article as it is in the abstract. The given information should be more detailed in comparision with the abstract. Any evidence and result that does not take place in the article also should not take place in the summary. In the summary, there should not be any references to the article text.9. Photograph, illustrations and tables: The photographs, illustrations and tables that take place in the text should not exceed the signified page sizes and be in the suitable dpi resolution for publishing. Each photograph,illustration and table should have a number and reference. If it is more than one, numbers should be given.10. First page header in the article: İ.Ü. ŞARKİYAT MECMUASI SAYI…(201..-1/2) The pages of the artical in the journal should be written.11. Left header in the article: The name of the article should be written.12. Right Header in the article: Author’s name/ ŞARKİYAT MECMUASI SAYI…(201..-1/2) the pages of the artical in the journal should be written.13. Footnotes/ Quotations and References: Footnotes should be given automatically in the MS Word program at the foot of each relevant page as 9 point size and justified. Bibliographical references should be given in full at the first mention in the notes and in the second mention a.g.e. (mentioned work) and a.g.m (mentioned article) abbreviations should be used thereafter page number/numbers should be written. The footnotes must be arranged in the examples mentioned below: In the books: Names of the author/authors, the Book’s name, translator/investigator’s name if any, volume (vol.), publication city: publication place, publication year, page numbers (p.)In the articles: Name of the author, “title of article” (using quotation marks), name of the journal, Volume (Vol.), Number (No.), city of publication: place of publication, year of publication and page number (p.). If there is no publication place and year, abbrevitations “t.y.” (without date), “y.y.” (without place) should be used. After the web pages, the access date must be added in parantheses.nFootnotes should be typed in the form of the following examples:

Journal of Oriental Studies - Şarkiyat Mecmuası has adopted the “notes and bibliography” documentation system preferred by many in the humanities, including those in literature, history, and the arts. This style presents bibliographic information in notes and, a bibliography. Authors who would send proposals to the journal are kindly invited to follow the examples given below when writing the footnotes and compiling the bibliography. These examples are borrowed from the Chicago Manual of Style (http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html). A few more examples have also been added. Further information and numerous examples about the “notes and bibliography” system are available at the 14th and 15th chapters of the Chicago Manual of Style (16th edition). A bibliography is needed at the end of research (original) articles, review articles and articles in translation. It should include all sources given in footnotes, captions and appendixes. The bibliography can include separate sections such as archival, manuscript, secondary, and/or electronic sources. Secondary sources are listed after the author’s name. When referring to archival material and manuscripts please note the name of the library and the collection, number and date of the document used if available. Authors who do not have surnames (i.e. Salih Zeki), should be listed according to their first names: Salih Zeki should enter the bibliography under the letter S. Authors with surnames are listed after their surnames (i.e. Adıvar, A. Adnan). Examples: fn (first note), sn (subsequent/short notes), bib (bibliography). Book, one author fn Zadie Smith, Swing Time (New York: Penguin Press, 2016), 315–16. sn Smith, Swing Time, 320. bib Smith, Zadie. Swing Time. New York: Penguin Press, 2016. Book, two authors fn Brian Grazer and Charles Fishman, A Curious Mind: The Secret to a Bigger Life (New York: Simon &amp; Schuster, 2015), 12. sn Grazer and Fishman, Curious Mind, 37. bib Grazer, Brian, and Charles Fishman. A Curious Mind: The Secret to a Bigger Life. New York: Simon &amp; Schuster, 2015. Chapter or other part of an edited book In a note, cite specific pages. In the bibliography, include the page range for the chapter or part. fn Henry David Thoreau, “Walking,” in The Making of the American Essay, ed. John D’Agata (Minneapolis: Graywolf Press, 2016), 177–78. sn Thoreau, “Walking,” 182. bib Thoreau, Henry David. “Walking.” In The Making of the American Essay, edited by John D’Agata, 167–95. Minneapolis: Graywolf Press, 2016. In some cases, you may want to cite the collection as a whole instead. fn John D’Agata, ed., The Making of the American Essay (Minneapolis: Graywolf Press, 2016), 177- 78. sn D’Agata, American Essay, 182. bib D’Agata, John, ed. The Making of the American Essay. Minneapolis: Graywolf Press, 2016. Translated book fn Jhumpa Lahiri, In Other Words, trans. Ann Goldstein (New York: Alfred A. Knopf, 2016), 146. sn Lahiri, In Other Words, 184. bib Lahiri, Jhumpa. In Other Words. Translated by Ann Goldstein. New York: Alfred A. Knopf, 2016. E-book For books consulted online, include a URL or the name of the database. For other types of e-books, name the format. If no fixed page numbers are available, cite a section title or a chapter or other number in the notes, if any (or simply omit). fn Jane Austen, Pride and Prejudice (New York: Penguin Classics, 2007), chap. 3, Kindle. sn Austen, Pride and Prejudice, chap. 14. bib Austen, Jane. Pride and Prejudice. New York: Penguin Classics, 2007. Kindle. fn Brooke Borel, The Chicago Guide to Fact-Checking (Chicago: University of Chicago Press, 2016), 92, ProQuest Ebrary. sn Borel, Fact-Checking, 104–5. bib Borel, Brooke. The Chicago Guide to Fact-Checking. Chicago: University of Chicago Press, 2016. ProQuest Ebrary. fn Philip B. Kurland and Ralph Lerner, eds., The Founders’ Constitution (Chicago: University of Chicago Press, 1987), chap. 10, doc. 19, http://press-pubs.uchicago.edu/founders/. sn Kurland and Lerner, Founders’ Constitution, chap. 4, doc. 29. bib Kurland, Philip B., and Ralph Lerner, eds. The Founders’ Constitution. Chicago: University of Chicago Press, 1987. http://press-pubs.uchicago.edu/founders/. fn Herman Melville, Moby-Dick; or, The Whale (New York: Harper &amp; Brothers, 1851), 627, http://mel.hofstra.edu/moby-dick-the-whale-proofs.html. sn Melville, Moby-Dick, 722–23. bib Melville, Herman. Moby-Dick; or, The Whale. New York: Harper &amp; Brothers, 1851. http://mel.hofstra.edu/moby-dick-the-whale-proofs.html. Journal article In a note, cite specific page numbers. In the bibliography, include the page range for the whole article. For articles consulted online, include a URL or the name of the database. Many journal articles list a DOI (Digital Object Identifier). A DOI forms a permanent URL that begins https://doi.org/. This URL is preferable to the URL that appears in your browser’s address bar. fn Shao-Hsun Keng, Chun-Hung Lin, and Peter F. Orazem, “Expanding College Access in Taiwan, 1978–2014: Effects on Graduate Quality and Income Inequality,” Journal of Human Capital 11, no. 1 (Spring 2017): 9–10, https://doi.org/10.1086/690235. sn Keng, Lin, and Orazem, “Expanding College Access,” 23. bib Keng, Shao-Hsun, Chun-Hung Lin, and Peter F. Orazem. “Expanding College Access in Taiwan, 1978–2014: Effects on Graduate Quality and Income Inequality.” Journal of Human Capital 11, no. 1 (Spring 2017): 1–34. https://doi.org/10.1086/690235. fn Peter LaSalle, “Conundrum: A Story about Reading,” New England Review 38, no. 1 (2017): 95, Project MUSE. sn LaSalle, “Conundrum,” 101. bib LaSalle, Peter. “Conundrum: A Story about Reading.” New England Review 38, no. 1 (2017): 95–109. Project MUSE. fn Susan Satterfield, “Livy and the Pax Deum,” Classical Philology 111, no. 2 (April 2016): 170. sn Satterfield, “Livy,” 172–73. bib Satterfield, Susan. “Livy and the Pax Deum.” Classical Philology 111, no. 2 (April 2016): 165–76. fn Rachel A. Bay et al., “Predicting Responses to Contemporary Environmental Change Using Evolutionary Response Architectures.” American Naturalist 189, no. 5 (May 2017): 465, https://doi.org/10.1086/691233. sn Bay et al., “Predicting Responses,” 466. bib Bay, Rachael A., Noah Rose, Rowan Barrett, Louis Bernatchez, Cameron K. Ghalambor, Jesse R. Lasky, Rachel B. Brem, Stephen R. Palumbi, and Peter Ralph. “Predicting Responses to Contemporary Environmental Change Using Evolutionary Response Architectures,” American Naturalist 189, no. 5 (May 2017): 463–73. https://doi.org/10.1086/691233. News or magazine article Articles from newspapers or news sites, magazines, blogs, and the like are cited similarly. Page numbers, if any, can be cited in a note but are omitted from a bibliography entry. If you consulted the article online, include a URL or the name of the database. fn Farhad Manjoo, “Snap Makes a Bet on the Cultural Supremacy of the Camera,” New York Times, March 8, 2017, https://www.nytimes.com/2017/03/08/technology/snap-makes-a-bet-on-the-cultural-supremacy-of-the-camera.html. sn Manjoo, “Snap.” bib Manjoo, Farhad. “Snap Makes a Bet on the Cultural Supremacy of the Camera.” New York Times, March 8, 2017. https://www.nytimes.com/2017/03/08/technology/snap-makes-a-bet-on-the-cultural-supremacy-of-the-camera.html. fn Rebecca Mead, “The Prophet of Dystopia,” New Yorker, April 17, 2017, 43. sn Mead, “Dystopia,” 47 bib Mead, Rebecca. “The Prophet of Dystopia.” New Yorker, April 17, 2017. fn Tanya Pai, “The Squishy, Sugary History of Peeps,” Vox, April 11, 2017, http://www.vox.com/culture/2017/4/11/15209084/peeps-easter. sn Pai, “History of Peeps.” bib Pai, Tanya. “The Squishy, Sugary History of Peeps.” Vox, April 11, 2017. http://www.vox.com/culture/2017/4/11/15209084/peeps-easter. fn Rob Pegoraro, “Apple’s iPhone Is Sleek, Smart and Simple,” Washington Post, July 5, 2007, LexisNexis Academic sn Pegoraro, “Apple’s iPhone.” bib Pegoraro, Rob. “Apple’s iPhone Is Sleek, Smart and Simple.” Washington Post, July 5, 2007. LexisNexis Academic. Readers’ comments are cited in the text or in a note but omitted from a bibliography. Eduardo B (Los Angeles), March 9, 2017, comment on Manjoo, “Snap.” Book review fn Michiko Kakutani, “Friendship Takes a Path That Diverges,” review of Swing Time, by Zadie Smith, New York Times, November 7, 2016. sn Kakutani, “Friendship.” bib Kakutani, Michiko. “Friendship Takes a Path That Diverges.” Review of Swing Time, by Zadie Smith. New York Times, November 7, 2016. Encyclopaedia entry fn Mogens Herman Hansen, “Athenian Democracy,” The Oxford Classical Dictionary, 3rd ed. (Oxford, UK: Oxford University Press, 1996). sn Hansen, “Athenian Democracy.” Bib Hansen, Mogens Herman. “Athenian Democracy.” The Oxford Classical Dictionary, 3rd ed. Oxford, UK: Oxford University Press, 1996. Interview fn Kory Stamper, “From ‘F-Bomb’ to ‘Photobomb,’ How the Dictionary Keeps Up with English,” interview by Terry Gross, Fresh Air, NPR, April 19, 2017, audio, 35:25, http://www.npr.org/2017/04/19/524618639/from-f-bomb-to-photobomb-how-the-dictionary-keeps-up-with-english. sn Stamper, interview. bib Stamper, Kory. “From ‘F-Bomb’ to ‘Photobomb,’ How the Dictionary Keeps Up with English.” Interview by Terry Gross. Fresh Air, NPR, April 19, 2017. Audio, 35:25. http://www.npr.org/2017/04/19/524618639/from-f-bomb-to-photobomb-how-the-dictionary-keeps-up-with-english. Thesis or dissertation fn Cynthia Lillian Rutz, “King Lear and Its Folktale Analogues” (PhD diss., University of Chicago, 2013), 99–100. sn Rutz, “King Lear,” 158. bib Rutz, Cynthia Lillian. “King Lear and Its Folktale Analogues.” PhD diss., University of Chicago, 2013. Paper presented at a meeting of a conference fn Rachel Adelman, “ ‘Such Stuff as Dreams Are Made On’: God’s Footstool in the Aramaic Targumim and Midrashic Tradition” (paper presented at the annual meeting for the Society of Biblical Literature, New Orleans, Louisiana, November 21–24, 2009). sn Adelman, “Such Stuff as Dreams.” bib Adelman, Rachel. “ ‘Such Stuff as Dreams Are Made On’: God’s Footstool in the Aramaic Targumim and Midrashic Tradition.” Paper presented at the annual meeting for the Society of Biblical Literature, New Orleans, Louisiana, November 21–24, 2009. Manuscripts fn Feyzi, Muhadarat-ı Feyzi, Istanbul, Istanbul University Rare Books and Manuscripts Library, MS T6833, 48a. sn Feyzi, Muhadarat-ı Feyzi, MS T6833, 51b. bib Feyzi, Muhadarat-ı Feyzi, Istanbul, Istanbul University Rare Books and Manuscripts Library, MS T6833, 1a-70b. fn Salih b. Nasrullah, Ghayat al-itqan fi tabdir badan al-insan,Istanbul, Süleymaniye Library, MS Ayasofya 3682, 26a. sn Salih b. Nasrullah, Ghayat al-itqan, MS Ayasofya 3682, 23b. bib Salih b. Nasrullah, Ghayat al-itqan fi tabdir badan al-insan,Istanbul,Süleymaniye Library, MS Ayasofya 3682, 1a-311a. Copied on 10 Rabi I 1135 (19 December 1722). Archival documents fn Ottoman Archives of the Turkish Prime Ministry (Başbakanlık Osmanlı Arşivi, BOA), Cevdet Askeriye (C.AS.) 71/3352, 9 Şevval 1211 (7 Nisan 1797). sn BOA, C.AS. 71/3352. bib Ottoman Archives of the Turkish Prime Ministry (Başbakanlık Osmanlı Arşivi, BOA). Cevdet Askeriye (C. AS) 71/3352, 9 Şevval 1211 (7 Nisan 1920). fn Topkapı Palace Museum Archives(Topkapı Sarayı Müzesi Arşivi, TSMA), E. 3202-2=597-2-7. sn TSMA, E. 3202-2=597-2-7. bibTopkapı Palace Museum Archives(Topkapı Sarayı Müzesi Arşivi, TSMA). E. 3202-2=597-2-7. Website content fn Katie Bouman, “How to Take a Picture of a Black Hole,” filmed November 2016 at TEDxBeaconStreet, Brookline, MA, video, 12:51, https://www.ted.com/talks/katie_bouman_what_does_a_black_hole_look_like. sn Bouman, “Black Hole.” bib Bouman, Katie. “How to Take a Picture of a Black Hole.” Filmed November 2016 at TEDxBeaconStreet, Brookline, MA. Video, 12:51. https://www.ted.com/talks/katie_bouman_what_does_a_black_hole_look_like. fn “Privacy Policy,” Privacy &amp; Terms, Google, last modified April 17, 2017, https://www.google.com/policies/privacy/. sn Google, “Privacy Policy.” bib Google. “Privacy Policy.” Privacy &amp; Terms. Last modified April 17, 2017. https://www.google.com/policies/privacy/. fn “About Yale: Yale Facts,” Yale University, accessed May 1, 2017, https://www.yale.edu/about-yale/yale-facts. sn “Yale Facts.” bib Yale University. “About Yale: Yale Facts.” Accessed May 1, 2017. https://www.yale.edu/about-yale/yale-facts. Personal communication Personal communications, including email and text messages and direct messages sent through social media, are usually cited in the text or in a note only; they are rarely included in a bibliography. fn sn Sam Gomez, Facebook message to author, August 1, 2017.

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ISSN	1307-5020
E-ISSN	2717-6916
Period	Biannually
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In Journal of Oriental Studies, of which the first number was issued by Faculty of Letters, Institute of Orientalism in 1956 (Ankara), important articles regarding the area of orientalism were published. However the aforementioned Journal's regular life was stopped with the issue that was published in 1966 in Istanbul. The 7th issue that was published in 1972 (Istanbul) was dedicated to the memoir of Prof. Dr. Ahmet Ateş, who was one of the lecturers of I.U. Arabic-Persian Philology, and the 8th issue (Istanbul 1998) which was published 26 years after this issue was dedicated to the memoir of Prof. Dr. Nihad M. Çetin, who was one of the lecturers of I.U. Eastern Languages and Literatures. In 2006 with the ninth issue. the journal resumed it's publication life. Şarkiyat Mecmuası is an international peer-reviewed journal and published by Center of Oriental Studies, Faculty of Letters, Istanbul University. In addition one-third of Şarkiyat Mecmuası consists foreign languages such as Engli read more

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