Emine

Abdulhakim

Every language is constantly organizing and sorting its internal dynamics, to the extent required by social conditions. In parallel with social developments, the formation of new words has inevitably occurred in every period. However, the dynamic of language change is accelerating today due to fundamental reasons such as social media and computer use. For this reason, knowing the concept of neologism allows innovations in the language to be made in a controlled manner.Neologies are an important concept that reveals both linguistic and social dimensions. As a matter of fact, on the one hand, it makes the language alive by allowing it to operate its internal dynamics, and on the other hand, it reflects scientific and social developments. In this context, neologisms are important in terms of revealing both the internal dynamics of the language and its social dimension. Although it is known that language has a close relationship with society, both the formation and dissemination of neologisms are largely dependent on social factors such as migration, economy, politics, tourism, and scientific developments.Various definitions have been made regarding the concept of neology. These concepts are generally formed around a new way of saying or a new meaning in the language. Therefore, neologism is known as the field of deriving new words in linguistics. Although it is seen that the concepts of neology and neologism are used interchangeably in studies on the subject, in this study, the concepts of neologism for the field of new word derivation and neology for the new word are preferred. It has been observed that the innovation in Arabic neologisms is semantic rather than formal.&nbsp;Adding a new element to a language; In general, this is achieved by attributing new meanings to existing words, creating words according to the derivation rules of the language, and quoting. It is seen that neologisms in Arabic are formed similarly. Although neologism is a new subject of linguistics, the foundations of this concept date back to the early periods when Islam spread among non-Arabs for the Arabic language. The rapid and intense flow of “new words” entering the language in the mentioned period paved the way for research on this subject. The issue of transferring new words to the Arabic language is discussed around concepts such as “taʿrīb, dakhīl, and tawlīd”. Therefore, it is possible to talk about a conceptual infrastructure regarding neologism in Arabic.Conceptual confusion regarding neologism in Arabic continues today, as it did in the classical period. When we look at the studies on Arabic neologisms, it is noticeable that the subject is approached from a usage perspective rather than a theoretical one. In this context, the difficulties encountered in neologism translations from English to Arabic are addressed and some solutions are produced. However, the problems mentioned in the translation will continue as long as the issue is not grounded conceptually.For this reason, the subject of neology in Arabic needs a theoretical framework. As the Arabic equivalent of the concept of neology, the expressions tawlīd (توليد), al-kalimāt almostahdatha (المستحدثة الكلمات), or neyolocīzm (نيولوجيزم), which is the direct translation of the word into Arabic, stand out. However, it is noteworthy that the concept of tevlid has widespread use in recent studies. There are organizations in various Arab countries that carry out studies on coining new words. However, the lack of coordination between these organizations poses a major obstacle to systematizing the concept.Although there are various definitions regarding the concept of neology, the idea of innovation is at the core of the concept. However, various approaches have been put forward regarding the criterion of this innovation. This study is based on the lexicography approach, which accepts new expressions that have not entered the dictionary. Accordingly, the neologisms given as examples in the study are expressions that are not included in the dictionary. Dictionaries scanned to determine these neologisms; Moʿjam al-lugha al- arabiyya al-muʿasira, Moʿjam ad-dakhīl fī al-lugha al-arabiyya al-hadītsah wa lahajātihā, Takmilat al-maʻājim al-ʻArabiyya, al-Maany and Tevakku. Of these, Moʿjam al-lugha al- arabiyya al-muʿasira, Moʿjam ad-dakhīl fī al-lugha al-arabiyya al-hadītsah wa lahajātihā and Takmilat al-maʻājim al-ʻArabiyya are printed dictionaries, while al-Maany and Tevakku are digital dictionaries. The feature of the mentioned dictionaries is that they are modern and can be considered an important criterion in determining neologisms.The area where new words are used most intensively is undoubtedly the media. Neologisms are frequently encountered in the press language, as media tools aim to convey current developments and are willing to use new elements to attract attention. In this context, press language is an important tool in the use and dissemination of neologisms. Therefore, with the idea that examining the neologisms mentioned on a news site would be more convenient in terms of the scope of the subject, the study was limited to the neologisms on the al-Jazeera news site. The reason why al-Jazeera was chosen as the news site is that this channel adopts a broadcast policy that aims to use the Arabic language correctly and to ensure its use.In the study, neologies were examined in terms of thematics and formation methods. Accordingly, neologisms in the fields of technology, politics, and social development are included. Six methods have been identified in the formation of neologies. By supporting these methods with examples, the tendency of Arabic to derive new words has been tried to be revealed. It is thought that the fact that most of the source language of neologies is English has led to more use of quotation and translation methods in Arabic neologies. In addition, these methods have become the choice of news channels as they facilitate and accelerate the transfer of neologisms. On the other hand, the derivation of Arabic neologisms using grammatical methods requires a certain amount of time, so they remain few. In addition, since the institutions that work on new word creation think that taking words from another language will harm the essence of Arabic, there is a serious need for time to create neologisms appropriate to the language. However, since this attitude of language institutions lags behind the pace of the emergence of neologisms, speakers of the language prefer to quote the English neologisms that they hear first and find more attractive. Therefore, it is important not only to derive Arabic neologisms by the language structure but also to keep them in line with today’s neology pace.

Arap Dilinde Neolojizm: el-Cezire Haber Sitesi Örneği

Asiye

Öğretim Görevlisi

İlknur

Despite their geographical boundaries, the East and West fundamentally consist of two different realms, forming an intricately interconnected whole. These two concepts, emblematic of distinct civilizations, have historically embodied the epitome of progress. Specifically, while both the East and the West sought to monopolize the notion of civilization, they concurrently engaged in the process of acknowledging and defining the “other.” In a profound sense, this definition has become integral to self-definition. Meanwhile, the West, in defining itself, has coined the concept of “nonWesternness.” Conversely, the East’s perception of Western civilization (although comparable) lacks the demarcation of those situated outside the Eastern boundaries. As a result, the existential contest between the East and the West has manifested as a struggle for knowledge and power. Over the centuries, since the interactions between these two blocs have frequently materialized as economic and religious strife, it has become inevitable for each bloc to delineate the conceptual frameworks for one another. In this regard, orientalism and occidentalism are two cognitive frameworks that encapsulate the “concept maps” constructed by the Eastern and Western blocs.Orientalism, representing Western-based institutional endeavors that scrutinize the Eastern world across various domains, such as religion, language, science, thought, art, and history, has long facilitated the development of diverse perspectives, particularly in the fine arts such as painting and literature. From the 16th century on, within the annals of Western literature, the exploration, understanding, and portrayal of the East have emerged as the key challenges in fictional texts. Meanwhile, when examining Turkey’s geographic context within the expansive Eastern bloc, the narratives often depict various subjects, such as the conquest of Istanbul, the assassination of ehzade Mustafa, Turkish triumphs, and the harem, painting a negative panorama.In contrast, occidentalism is a conceptual framework that encompasses the study of the West, including the generation of intellectual works resulting from reflections on the West. Distinct from the orientalist discourse that defines the West, occidentalism constructs a “roadmap” starting from itself, driven by a defensive instinct.The exploration of how poets (especially those residing in the same region and sharing common sentiments/thoughts) convey these emotions and ideas across different historical periods is noteworthy of investigation. In particular, the Turkish literature has been shaped by the literary genres of&nbsp;diverse nations rooted in its geographical context. Moreover, the East and West appear to persist in our intellectual world as two pivotal questions regarding the positioning of our literature within a historical framework.From the 19th century to the present, attitudes toward the West have been generally described within a framework of either complementary or contrasting ideas. In this regard, an occidentalist discourse is discernible in various state policies or individual ideologies, originating before the Tanzimat period, but finding explicit expression with the Declaration of Tanzimat (Imperial Decree of Reformation). During the Tanzimat years, numerous poets and writers turned their attention to the West, translating several works and introducing Western genres and discourses into the Turkish literature. Consequently, this period not only included political, scientific, and technological changes, but it also witnessed the integration of Western influences into the literature.During the post-Tanzimat era, poets and writers offered diverse interpretations of the West, often redefining it in a manner that defended their own cultural values within the realm of intellectual discourse. Hence, this study examines the foundation of orientalism and occidentalism, drawing inspiration from Edward Said’s “Orientalism” and Alkım Saygın’s “Garbiyatçılık.” Meanwhile, Ottoman writer and poet Namik Kemal is recognized as a “trailblazer of modernization” who closely acquainted himself with the West. This proximity also allowed him to draw comparisons between Eastern and Western civilizations. Despite being an advocate for innovation, Kemal’s idea of progress was selective. For example, while acknowledging the West for its “progress,” he criticized the corruption he perceived as being brought about by Western influences, openly opposing the imitation of Europe.In 1852, French philologist and historian Ernest Renan delivered a lecture titled “Islam and Science” at the Sorbonne, sparking considerable objections and refutations in the Islamic world. In 1883, Kemal composed “Renan Müdâfaanâmesi,” offering a reflexive expression of his opposing views to those of Renan. This refutation also marked the inception of the occidentalist discourse during the Tanzimat period. In this context, the nature of Kemal’s work serves as a foundation for the perception of the East and West, which has evolved into a crisis within our realm of thought over the last two centuries.Contrary to the fact that occidentalism emerged as a concept in the 1990s with philosopher Hasan Hanafi, it was actually discussed among Turkish scholars more than a century earlier. Furthermore, the nature of this discourse is not only a source of the perception of the East and West, but it also allows us to question the contents of occidentalism. For instance, is occidentalism the perception of the West by the East or a reflexive form of defense against the perception of the East by the West? In this regard, Kemal rejected the negative definitions of Muslims by using a defensive discourse. He also attempted to equate Eastern and Western civilizations. Consequently, the main reason why occidentalism did not become an institutional endeavor is that it initially rejected the values assigned to the East. Overall, in line with previous research, this study shows that the source of the comparisons between Renan and Kemal is orientalist and occidentalist in thought. Apart from Kemal, the views of thinkers of the period should be examined within the framework of occidentalism, while the accumulation of this concept in Turkey should be added to the world literature.

Tanzimat Dönemi’nde Oksidentalist Söylemin Kuruluşu: Namık Kemal Ve Renan Müdâfaanâmesi

Aybüke

Res. Assist.

IV. Kılıç Arslan Döneminde Türkiye Selçuklu Devleti’nde Ortaya Çıkan Türkmen İsyanları

Cengiz

Assist. Prof. Dr.

When looking at the world map, Afghanistan’s geopolitical and geostrategic importance is clearly recognizable. Afghanistan is in the middle of the Asian continent and was on Britain’s route to India. Afghanistan’s location on Russia’s route to warm seas made the region even more important. For this reason, Afghanistan became a region where Britain and Russia entered into a power struggle, especially in the 19th century. Undoubtedly, this struggle had significant effects on the emergence of Afghanistan’s current borders.&nbsp;Afghanistan is an important geography with a long history. 1747 indisputably marked a turning point in Afghanistan, where many civilizations have prevailed. This was when Afghanistan emerged as an independent state. The period that followed was full of ethnic issues, and the one that Yenişehirlizade Halid Eyüp focused on most in his work was the ethnic diversity in Afghanistan. The author wrote in detail about the nations that were influential in Afghanistan and provided important information about many different peoples, especially the Afghans, Tajiks, Uzbeks, Arabs and Hindus. He made explanations about the population, structure, and physical and cultural characteristics of these peoples, and the cities in which they lived. Although they have some similarities, they also have their differences. He even stated that these people’s were enemies to the point of hating each other, and that fights between them often ended in death. This ethnic and cultural diversity was clearly the biggest reason why no national identity could be formed in Afghanistan. Another important problem in the region was Russia and Britain’s struggle for influence. Russia and Britain deepened the conflicts in the region for the sake of their own interests and provoked problems between the peoples in Afghanistan. These negative developments brought a mess of problems into Afghanistan.The work Tarihce-i Afghanistan, written by Yenişehirlizade Halid Eyüp in 1898, provides valuable information in terms of understanding the geography of the region. This work, mentions in detail the tension between Britain and Russia and discusses the developments in the region. The work not only provides information about the political developments in the region at the time but also serves as a handbook explaining the demographic, social, cultural and geographical characteristics of Afghanistan. Yenişehirlizade Halid Eyüp’s comprehensively&nbsp;discusses the ethnic groups that make up Afghanistan and the relations among them. It introduces the important cities of Afghanistan such as Kabul, Ghazni, Kandahar and Herat, and present the mountains, rivers and passes in the region.The work is seen to not introduce all the cities in Afghanistan, only those with historical importance and dense populations. In addition to cities, the work also provides about important passes, some of these being the Bamyan, Kerd and Kabul passes. The work mentions that strategic importance of these passes and emphasizes that these are the only alternative way to reach the interior of Afghanistan. The author also gives important information about the geography of the region, in particular by describing the mountain ranges, hills and rivers in Afghanistan.Even though Afghanistan had become an independent state, peace had not been achieved due to internal and external factors. Afghanistan can be said to have begun starting to take a national stance once Abdurrahman Khan came to power. Yenişehirlizade Halid Eyüp’s main aim was to introduce Ottoman society to aspect of Afghanistan. The language and style the author used give the impression that he had personally visited the region. However, no clear document has been obtained indicating that Yenişehirlizade Halid Eyüp had gone to Afghanistan himself. Yenişehirlizade Halid Eyüp is thought to have written his work by interpreting other sources written about Afghanistan.Afghanistan’s similarities with the Ottoman Empire at that time were also striking. While Afghanistan, appeared to have been caught in the grip of Britain and Russia at the time, Afghanistan can also be said, however, to have been luckier than the Ottoman Empire. The most important reason for this was that Russia and Britain had partially abandoned their political ambitions over Afghanistan. This was a historical chance and turning point for Afghanistan. After years of wars, the two countries no longer wanted to waste their energy in this region. Britain and Russia began to think that having Afghanistan remain as an independent zone between them would be more advantageous.Yenişehirlizade Halid Eyüp, tried to fill the lack of information about Afghanistan with his work, and believed that those who read his work could at least have some information about the people of Afghanistan. Readers would also learn about the important passes, straits, castles and cities of the region and be able to understand the historical, cultural and geographical features of Afghanistan. Apart from this, they would also become informed about the latest political developments in the region. Apparently, Yenişehirlizade Halid Eyüp aimed for his work to introduce Ottoman society to different aspects of Afghanistan, which had not yet become well known.In fact, the first contact between the Ottoman Empire and Afghanistan started in 1877 during the reign of Sher Ali Khan. The visit of an Ottoman delegation to Afghanistan under the chairmanship of Ahmed Hulusi Bey can be considered a milestone in this sense. Even though these relations did not progress at the level the Ottoman Empire desired, have always&nbsp;that a policy based on friendship and goodwill. When considering the modernization efforts of the Ottoman Empire and Afghanistan in the second half of the 19th century, the similarities between the two countries become clearer. In particular, Abdurrahman Khan’s efforts toward modernization and the methods he implemented in this regard are remarkable. Abdurrahman Khan had taken the system implemented by the Ottoman Empire as an example for modernizing his country and did not hesitate to express this. In this context, by taking the balance policy implemented by Abdul Hamid II had implemented and adapting it to Afghanistan, Abdurrahman Khan pursued an effective policy against great powers such as Britain and Russia.The main goal of this study is to imagine the region from the perspective of Yenişehirlizade Halid Eyüp, who discussed Afghanistan through different perspectives. This is because based on Yenişehirlizade Halid Eyüp’s explanations, the information about Afghanistan and Afghan society in Ottoman society is understood to have been in sufficient. Yenişehirlizade Halid Eyüp thought that his work could be used to eleminate the lack of information about Afghanistan in Ottoman society. In this regard, he often emphasized the similarities between the Ottoman Empire and Afghanistan. First of all, Islam is the most important value that connects the two countries. However, the fact that Afghanistan and the Ottoman Empire were stuck between powers such as Britain and Russia prevented any effective policy between the two countries.&nbsp;

Yenişehirlizade Halid Eyüp’ün “Tarihçe-i Afganistan’’ Adlı Eserinde Afganistan’da Seyahat ve Osmanlı Devleti İle Afganistan Arasındaki Benzerlikler

Mehmet Fahri

George Antonius’ Arab Awakening was one of the first works to narrate the development of modern Arab nationalism and identity systematically. Up until the last quarter of the twentieth century, this book was considered a privileged work of literature. It profoundly impacted the official historiography of the newly formed nation-states in the post-Ottoman Middle East and the new wave of Arab nationalism that arose in response to the Arab–Israeli conflict. Finding a study comparable to this endeavor is impossible, given that the book was published in 1938. The study demonstrates that European sovereignty still exists in Syria, Lebanon, Palestine, and Iraq—areas Antonius frequently refers to as “northern Arab lands”—that the international community takes the Palestine issue seriously, and that this particular occasion raises awareness of the fragmented nature of post-Ottoman Arab geography. The story of the Arab national movement, which began in the nineteenth century, is also a concrete expression of the ideal of unity or the collapse of Arab nationalism based on ethnicity and language, known as “qawmiyya.” One of the book’s most distinguishing features is Antonius’ personal connections, which allow him to speak directly with key leaders from Nahda and the 1915 Rebellion. In some ways, this transforms the Arab Awakening into a record of the testimony of the most influential figures of the time.&nbsp;Antonius chose to highlight and leave out certain topics in his historical narrative based on his own worldview and the cultural context of his upbringing. Antonius does not wish to present an unbiased account of the Arab national story. The goal of writing the Arab Awakening was to establish an Arab identity and the ideal of Arab nationalism that would resurrect it broadly as a foundation, origin, and beginning.There have always been critical works that challenge Antonius’ story, and prominent figures in contemporary Middle Eastern studies have not shied away from methodically dissecting the Arab Awakening, particularly in light of its overemphasis on external influences. Nowadays, it appears difficult to write anything about the subject without praising or denouncing Antonius and his masterpiece. Since the middle of the twentieth century, many who oppose the Arab Awakening have questioned the book’s fundamental ideas, focusing primarily on Antonius’ impartiality. Zeine Zeine, Albert Hourani, A.L. Tibawi, Elie Kedourie, and others have criticized the role of Beirut’s cultural revival. However, Ernest Dawn has a more limited literary effect. Dawn argued that Turkish nationalism played an important role in the rise of Arab nationalism. In addition to these important avenues, notable figures include Philip Khoury and Michael Provence, who emphasized notables’ politics as the foundation of Arab nationalism; Bassam Tibi, who highlights the impact of European-centered ideas on Bilad al-Sham; and Martin Kramer, who emphasizes Islamic modernism’s significance.Finally, those criticizing Antonius, including the text’s content, tend to focus on Nahda’s historical significance and the relationship between Turkism and Arab nationalism. The purpose of this article, however, is to examine how the Arab Awakening shaped Arab nationalism throughout history, focusing on two main themes. This will initially expose the conceptual underpinnings of “national awakening.” The “awakening” motif, which pervades nearly all nationalist rhetoric, gives the national community a sacred origin while emphasizing some “premodern” ideas about the nature of national identity today. The question of Antonius’ relationship to territorial nationalism, which he opposes to ethnic nationalism, will then be examined as an often overlooked aspect of his work. It will be argued that the distinction between qawmiyya and wataniyya represents an important breaking point revealed by the Arab Awakening.Because Antonius’ work contains so many problematic issues, it is important to criticize him. His worldview and the cultural milieu in which he grew up were the only factors that impacted the concerns addressed and ignored in the historical narrative he wrote. Antonius is the result of his political and cultural surroundings, having grown up in a cosmopolitan setting in Lebanon and receiving a Western education as a Christian intellectual. Thus, criticizing Antonius is analogous to criticizing “Antonius-type” late nineteenth-century Arab thinker. This issue, which many critics have previously ignored, necessitates a thorough examination of the intellectual milieu of the time.In actuality, Antonius does not want to provide an unbiased account of the Arab national struggle. The goal of writing the Arab Awakening book was to provide a foundation, origin, and beginning for the Arab identity and the ideal of Arab nationalism, which will resurrect it globally. Antonius examines the past through his own lens, attempting to interpret the pertinent events in accordance with a single ideal to construct a narrative that will lend historical legitimacy to the Arab national cause.The goal of this study is to provide an introduction to an alternative interpretation of Antonius’ magnum opus. The first section of the article provides a brief overview of the historical trajectory of the Arab national movement as described in the Arab Awakening and divides text criticism into several sections. A comprehensive assessment of the Arab Awakening criticisms reveals that they follow multiple broad trajectories, and a chronological analysis reveals a clear distinction between past criticisms and current complaints. The discourse that established the Arab identity as a contemporary form of belonging and the concept of “awakening,” which was&nbsp;deemed the most important component of the work, were then subjected to philosophical and sociological analysis. Finally, research has begun on the textual foundations of the distinction between territorial nationalism (wataniyya) and ethnic nationalism (qawmiyya), which should be viewed as one of the most important issues of the Arab Awakening and a pivotal paradigm for the entire twentieth-century Middle Eastern history. Comparing the nation-state nationalisms of Western-dominated mandate states is required to highlight the differences between these two types of nationalism, which also served to stifle this ideal in the face of unitary Pan-Arab nationalism.

Antonius’u Eleştirmek: Arap Milliyetçiliğinin Resmî Anlatısına Alternatif Bir Bakış Denemesi

Gulzar

Jammu and Kashmir with its natural beauty, distinct culture and geographic structure holds a unique place in the different regions of World, the native landscape always makes huge impact on the art and literature of any region. Literature is always considered the savior and preserver of art and culture. Modern age is an age of Science and Technology which has changed the fundamental values of modern society where eco-friendly culture has been replaced by new anthropocentric culture and every human is trying to earn more and more profit at the cost of nature. The industries are growing at an alarming rate which leads industrial mentality to develop and strengthen its footsteps in the contemporary world which somehow denies the value of nature. In present scenario the voices of environmental issues can be heard everywhere because it has become a serious concern of modern society. Literature cannot aloof from society and surroundings but when these issues make presence in literary genres, they make more impact than any other communicative tools, therefore literature played an important role in any revolution because when things are presented in a systematic and literary manner, they seem to be more genuine and reliable.When we critically evaluate the literary genre of modern urdu ghazal of jammu and Kashmir we find literary figures like Hakeem Manzoor, Hamidi Kashmiri, Rafiq Raaz, Farooq Nazi, Hamdam Kashmiri, Pritpal singh Betaab and Taranum Reyaz who have depicted the native landscape with an intention to address the environmental issues of the contemporary world. They not only gave general description of regional nature but the voice of serious environmental issues can be heard in the poetic verses of modern urdu ghazal of Jammu and Kashmir. Since this ghazal flourished in the lap of nature therefore this genre extracted and polished it’s words from its surroundings. The poets have sensitized the general masses so that environment should be taken care off.&nbsp;Some writers portrayed the native landscape in the cultural context and some have celebrated the wilderness in their writings because the real picture of nature cannot be understood without wilderness. The modern poets of Jammu and Kashmir urdu ghazal are aware of their surroundings and have not given much attention to other literary movements like progressive writers movement and trends like modernism,postmodernism and other vision they were surrounded by. They have only portrayed what they have experienced in the real World, among the above mentioned poets every poet has depicted the landscape in their own style.&nbsp;Hakeem Manzoor has presented the native landscape in a cultural context even Hamadi Kashmiri appeared with the same intention or vision on the literary horizon of Jammu and Kashmir urdu ghazal. Hakeem Manzoor presented the exploited picture of natural resources in order to acquaint the world with the real picture of Jammu and Kashmir which is usually neglected in the history books of Jammu and Kashmir. Hakim Manzoor’s depiction of native landscape in the cultural context by using symbols and metaphors provides a wider picture of rich indian composite culture and this is something that differentiates him from Other poets. He uses symbols and metaphors like Chinar, saffron, apple,Deodar and rivers and lakes like Jhelum, Dal, aharbal and other cultural elements of environmental origin Kangri, Akhroot, Badaam etc. to inculcate eco consciousness among the people or readers so that the ‘culture and identity’ watered by sufis and rishis of Jammu and Kashmir can be saved. Hakim manzoor appears to be the fellow of nature and native landscape. Hamidi Kashmiri also presented the nature in cultural context through his poetry but he adopted a distinct style where he seems to feel the pain of native landscape like birds, trees etc. He strived to save nature in a soft and subdued language.Nature without wilderness has no identity, this characteristic gives it a different identity and among above mentioned poets Rafiq Raaz seems to have adopted this theme of ghazal. He has made gap with native landscape in terms of culture and and he tried to solve the environmental issues at a larger level. He has not confined his pen to native landscape but it can be seen in the subconscious of the writer. He celebrates the wilderness in his poetry. Since centuries old prevention of natural environment is part and parcel of Jammu and Kashmir culture therefore hamdam Kashmiri,s ghazal is committed to preserve the nature at any cost and which demonstrates nature cannot be saved without the sacrifices. Along with Hakeem Manzoor and Hamidi Kashmiri Farooq Nazki also knitted a web between nature and culture in his poetry in which he deciphered that the destruction of nature is unbearable for the fascinating gardens because they are interlinked with each other. Here his poetry and vision seems to be deep rooted in culture and History of Jammu and Kashmir especially sufis.Pritpal singh Betaab is a renowned modern poet of Jammu and Kashmir literary horizon, he presented the environmental issues in more effective way in his poetry where he diverts the attention of common masses towards judicious and sustainable use of natural resources.&nbsp;Above all, the poetess and fiction writer of modern age Taranum Reyaz has presented the&nbsp;nature with a distinct outlook because there is a vital connection between the woman and nature both have the quality to reproduce, on the one hand she presented the nature in a vulnerable and weak manner and on the other hand she intended and endeavored to make ecofriendly future where nature should be given the utmost care. She has comparatively presented the picture of past and present natural world to sensitize the common masses with an intention to preserve and protect nature.&nbsp;All the literary figures mentioned above have depicted nature with an intention to solve the regional and international environmental issues.They might have adopted different approaches but their crux lies in presenting and solving the environmental issues of the region. This paper will give new dimension to the modern Urdu literature and also yield new space and identity for Urdu literature of Jammu and Kashmir on the World literary horizon.

Çevre Eleştirisi Bağlamında Modern Urduca Cammu ve Keşmir Gazeli Üzerine Bir İnceleme

Assoc. Prof. Dr.

Lebanese literature has had significant interactions with Western literature for many years. Undoubtedly, these interactions have reached their highest level in the modern period in particular, during which many Lebanese writers were influenced by Western writers and their works and reflected these interactions in their works. The first literary genre to have emerged in Lebanese literature can be said to have been the story. The biggest reason why Lebanese writers took up this genre (i.e. the story), about which they did not know much at that time, was that they were able to handle story writing in a shorter time and with less difficultly than the novel genre. After World War II, the story genre showed more serious developments in Lebanon. Undoubtedly, the fact that Lebanese writers who’d immigrated to Egypt translated and quoted from Western literary genres had affected this. These writers became influential in this field by publishing articles in Egypt’s important magazines and newspapers in the following periods. The story genre was first discussed by writers such as Salim Al Bustani, Maroun Abboud, and Tawfiq Yusuf ‘Awwad and formed a basis for the novel genre in the periods that followed, during which many writers made significant progress in Lebanese novel writing with their works and reached the peak of the period. The most important of these writers are Halil Taqiyuddin and Karam Mulhem Karam, who tried to revive the spirit of the novel in Lebanon by saving it from a classical style and subject matter. In the 1930s, a new novelistic movement emerged thanks to the magazine Al-Makshuf. The most important representative of this movement is Tawfiq Yusuf Awwad, who set the example for the social realist novel, and he was followed by Maroun Abboud. Another important development in Lebanese novel writing involved the works of writers such as Gibran Khalil Gibran and Mikhail Naimy, who’d immigrated to other countries. Gibran Khalil Gibran took the first step in this regard with his novel al-Ajniha al-Mutakassira [The Broken Wings], followed by Mikhail Naimy with Liqa [Till We Meet], published in New York. Next came Suhayl Idris, followed immediately after by two female writers, Layla Balabakki and Layla Ussayran. Later on during the wars that broke out in Lebanon, female writers such as Hoda Barakat and Emily Nasrallah, who despite discussing women’s rights as a subject in their works, also dealt with the subject of war and&nbsp;made valuable contributions to the field of novels.Another female writer who has an important place in contemporary Lebanese literature is Widad Sakakini, who appeared on the literary scene as a novelist, critic, and short story writer in the 1950s. When she married poet and doctor Zaki Mahasin (1909-1972) in 1934, she went to Damascus with him. Later, when Zaki al-Mahasini was appointed as cultural attaché at the Syrian Embassy in 1946, Widad Sakakini accompanied him to Cairo where she lived for 11 years. As time progressed, Widad Sakakini realized that her husband’s tendencies were aligned with her own and that this would contribute to her being able to continue her intellectual efforts with patience and courage. She witnessed the writers and cultural forms of Cairo closely. She also completed her master’s degree at Cairo University and received her doctorate degree at the Faculty of Letters with her thesis titled “War Poetry in Arabic Literature”.This period of her stay in Egypt contributed to Widad Sakakini’s intellectual development and opened a wide range of opportunities for her to meet contemporary Egyptian literary life. She witnessed seminars, conferences and festivals that were held for great intellectual and literary figures, both Egyptians and foreigners. Thanks to all this knowledge and experience she gained, she did her best as a writer to help Lebanese literature gain a place among world literature, and she succeeded. Thus, she became the director of her own literature and positioned herself between the literatures of the two countries, blending the two as best she could.Widad Sakakini started her creativity in the literary field with short stories but soon switched to different genres, in which she became successful. She differed from others with her deep-rooted culture, deep emotion, self-truth, and life of rich experiences. The effects from her ability for literary criticism as a creative writer are clearly seen in the many strong critical articles she had published in newspapers, in which she paid great attention to weaving her sentences with an understandable, clear, eloquent, and sharp language. The eloquent use of her prose and the psychology with which she described the events in her stories also further perfected the understandability of her works.Widad Sakakini always had a thoughtful and caring attitude toward women and argued that women’s rightful place in society could only be achieved by actively working to improve society. For this reason, she took care to include most of the heroes in her novels as women and did not hesitate to psychologically analyze them.Widad Sakakini went to Egypt and published her book Al-Hatarat to continue her literary career there. To say that she undoubtedly started her literary career as a short story writer would be fair, as well as being considered a pioneer in the field of women’s short stories.Sakakini wrote five story selections between 1945-1978 and crowned her writing career with the story collection Bayn ai-Nil wa-l-nakhil [Between the Nile and the Palm Tree] (Cairo 1947), in addition to her other story collections Maraya al-nas [People’s Mirrors] (Cairo 1945), al-Sitar al-marfu [The Raised Curtain] (Cairo 1955), Nufus tatakallmn [Souls Speak] (Cairo 1962), and Aqwa min al-sinin [Stronger Than the Years] (Damascus 1978). The author had&nbsp;also written the historical novel named Arwa bint al-khutub [Arwa, Daughter of Woe] (Cairo 1949), in which she started to present all the events in a realistic style without going overboard with coincidences, exaggerations, or adventures that spoil the aesthetics of the novel. Instead, she managed it in a traditional language, making the work a subject close to optimism.Sakakini published her second novel al-Hubb al-muharrem [Forbidden Love] in 1947, in which she deals with the issue of foster siblings and how two lovers who are foster siblings are prevented from getting married. Although the author mostly used a language that bears the characteristics of the decadent period, this novel has a fixed level of meaning. However, this novel is also noticed to have the signs of a vital language that embodies a depth of worlds with all their contradictions between the soul’s desires and moral tendencies. Maraya al-nas [People’s Mirrors] is a collection of Damascus stories Widad Sakakini published in Cairo in 1945. The author became the first Lebanese storyteller in this field to reveal this type of color and texture in her works.

Kadınların Hakkını Savunan Yazar: Vidâd es-Sekâkînî

Mou Zongsan (1909–1995), the most effective intellectual of the 20th century, is known for his sophisticated philosophy that renounces traditionalism. Mou’s teaching distinguishes him from other New Confucianism representatives in that it integrates cosmology and ontology into an epistemological approach. Greatly influenced by Xiong Shili (1885–1968), Mou has also developed his theory based on the metaphysics of morality, which was at the heart of New Confucianism. He believes that the primary goal of New Confucianism is to preserve the moral values articulated by Confucius (479–551 BC) in ancient times. However, because traditional Confucian rules do not correspond to modern perspectives, he focuses on the moral psychology ideas suggested by Mencius (372–289 BC) to argue his own point of view. Mou believes that the moral entity (daode shiti 道德实体) of human nature has the ability to be aware of cosmological and ontological facts, making the origin of knowledge and virtue discernible. Although the traditional rules of Confucian thought have resulted in social inequality, which has negatively affected educational life, the metaphysical principles of Confucian thought have extremely regulated social life. Mou Zongsan claims that Mencian philosophy places equal emphasis on people, assuming that humans are innately good, in contrast to Mencius’ opponent Xunzi (313–238 BC), who assumed that human beings are innately bad. As a result, Mou has sought to revitalize Confucian teachings that conform with Mencian philosophy. Confucian ethics, as demonstrated in his works, is the practice of achieving harmony between metaphysical establishment and personal development. Mou believes that the spiritual values of Confucian ethics, as detailed by Mencius, can serve as a permanent way of teaching moral metaphysics in the new era. For centuries, Chinese culture has emphasized the spiritual values of benevolence (ren 仁), righteousness (yi义), propriety (li 礼) and wisdom (zhi智). Based on the necessity and possibility of reinvigorating Confucian thought, Mou Zongsan has proposed a distinct philosophy that incorporates the fundamental concepts of Mencius’ innatist theory but excludes the specific phases of this ancient theory. In other words, the arguments of Mou philosophy distinguish psychological stages in the learning process, prioritizing the origin of knowledge and virtue.Mou takes a new approach to reinvigorating Confucian thought, criticizing ancient concepts such as Confucius’ social inequality and Xunzi’s moral understanding, which are still limited to explaining psychological components. According to Mou, Mencius’ innatist theory is similar to key models of developmental psychology, particularly the concept of self (xin 心), which is known&nbsp;as the heart–mind correlation and is centered in New Confucianism by Xiong Shili. Maintaining Mencius’ innatist theory, Mou first addressed the fact that knowledge and wisdom are innate, but unlike Mencius, he discussed the stages based on cognitive and affective processes. The idea of “expounding the inner morality of human nature (neizai daode xing内在道德性)” clearly opposes both logical and rational learning, which are based on external factors. Mou’s works demonstrate a systematic increase in the abilities of perception, emotion, and intuition in moral awareness. This assumption generates two references: the ontocosmological reference, which refers to human beings’ immanent transcendence (neizai chaoyue 内在超越), and the existential reference, which refers to their original self (benxin 本心). These arguments suggest that human nature has the ability to become conscious of innate knowledge and virtue. Mou considers that our original self is an essence that evolves without nonempirical or nonexperiential phases. Therefore, this type of essence includes more than just cognitive activities. Accordingly, when emotions and thoughts bestowed upon human nature transcend cognitive activities, sageliness and virtuousness are achieved.Mou Zongsan holds that our original self has a two-tiered existence (liang ceng cunyou两层 存有), which consists of finite (youxian 有限) and infinite (wuxian 无限) functions. According to his two-tiered understanding, there are two ways for humans to perceive and recognize before engaging in thoughts and feelings. As Mou mentioned, learning through the phenomenological way has a substantial finite function, whereas learning through the nonphenomenological way has an infinite function. This means that in their two-tiered existence, humans can acquire two types of knowledge: permanent and temporary. Permanent knowledge in this context corresponds to intuitive, perceptive, and sensitive activities, whereas temporary knowledge corresponds to cognitive activities. Mou’s distinction between phenomenological and nonphenomenological knowledge acquisition suggests that he may deny cognitive awareness to achieve sageliness and virtuousness. According to his work, acquiring phenomenological knowledge of the self can be external (waizai de 外在的) and objective (keguan de 客观的). However, he claims that the acquisition of nonphenomenological knowledge of self is both internal (neizai de 内在的) and subjective (zhuguan de 主观的). Although Mou’s ontocosmological thought includes a postulate similar to Kant’s phenomenal-noumenal knowledge theory, his assumptions are fundamentally different from Kant’s philosophy. According to Kant’s analysis, human beings can gain knowledge of the phenomenal realm through sensitive faculties because it is impossible to know what exists in the noumenal realm without transcendental absoluteness. More importantly, Kant claims that sensitive faculties correspond to active phenomenal knowledge, whereas intuitive faculties correspond to passive noumenal knowledge. Nevertheless, Mou asserts that human nature has the ultimate potential to comprehend the noumenal realm through the intuitive, perceptive, and sensitive abilities of the existential essence bestowed by transcendence power. In other words, sensitive faculties cannot be distinguished from intuitive faculties because humans are born with immanent transcendence and naturally understand heavenly principles. Indeed, Mou Zongsan seeks to demonstrate that humans possess inner sageliness and virtuousness, as long as perceptive awareness prevails over all finite functions of cognitive activities capable of restraining the highest goodness of the original self, bestowed by heaven.

Modern Konfuçyüsçü Mou Zongsan’ın “Bilişsel Farkındalık” Olumsuzlaması

Mamdouh

Novels are considered one of the temporal arts that intersect with various genres, and the possibility of this intersection is a result of novels’ flexible and open nature that closely connects them with venerable literary genres such as epics, short stories, letters, speeches, and essays, as well as with non-literary forms such as cinema, television, visual arts, journalistic arts, various auditory and visual arts, and branching texts.This flexible (and open) nature was also reflected in its form, which was not stable until the novel was described as “formless”, or “infinite form”, thus strengthening its connection to all literary and non-literary genres. Therefore, the elements of the novel (e.g., narrative, time, narrator) have generally remained present in various prose genres, coloring novels’ structure with flexibility and openness. Meanwhile, this open structure has also allowed writers to venture and experiment with new and diverse forms in an attempt to define a specific type that would limit the novel within certain boundaries. However, the winds of experimentation and renewal also guided the wave of changes to novels’ structure. Thus, the novel has not settled into a specific form but can be adapted and blended with all the intertwined forms around it. In contrast to the wave of experimentation and renewal, some have sought refuge in heritage, aiming to draw inspiration from it in all its forms, whether religious, historical, or folk.Mohamed Mustagab belongs to what is known as the generation of the 1960s in Egypt.&nbsp;This generation took upon itself the task of modernizing literature in an attempt to explore the achievements of the Western “other”. This led to a revolutionary movement to modernize all arts, not only in terms of form but also in terms of content. Their desire for modernization included introducing new techniques into the texts they produced. The theorization of these updates distinguished the entire generation’s experience, giving it legitimacy and continuity and making the impact of the experiment and its effectiveness still present in current times.Among the experimentation, the introduction of Western novel techniques, and inspiration being drawn from heritage, novelists were divided into two camps, and Mohammed Mustagab managed to reconcile the two sides. He wrote a novel with modern elements while still being able to incorporate the traditional form into his text. Within the context of a new vision that benefited from the intertwining structure allowed by the novel’s form, however, he turned to heritage and drew inspiration from the traditional forms seen in historical blogs, annuals, and popular forms of expression. He presented a distinctive text, allowing his novel to carry a unique characteristic due to its flexibility and openness to all forms and arts. For the historian seeking history, he unveiled historical writing techniques, including the nature of the historian embodied by the narrator. Similarly, those searching for modern techniques in the novel could find various means to identify these techniques through narrative tricks and literary devices that brought the text closer to written texts as presented by Roland Barthes.The presence of history in novels dates back to the close relationship between the two genres (i.e., novels and history). Novels have been linked to history since their inception, and the relationship between novels and history can be said to be both ancient and problematic. This problematic relationship can be attributed to the challenges of the contemporary reality that had emerged from the colonial expansions that covered most of the Arab world and extended over a significant period of time. Additionally, a state of fractures had occurred, generated by the military failures in the disasters of 1948 and 1967 and causing internal ruptures. These attempts to understand were accompanied by efforts related to the nature of searching for the missing or absent identity due to the malicious hands of colonization, an attempt to sever ties with heritage. Many writers sought to interact with cultural heritage through various techniques and forms as a type of continuity and resistance against the imperial policies that had sought to impose a specific culture, or even the waves of incoming missions carrying Western culture, and as a rejection of a return to heritage and promotion of embracing the West.Nevertheless, novels have been a fertile field for communication and interaction with cultural heritage in general and history in particular. Novels have established a dialogical relationship with these according to Bakhtin, intertextuality according to Julia Kristeva, or textual interaction or metanarrative according to Gerard Genette. Recalling historical events or drawing inspiration from influential historical figures is not just for studying the presence of history in a novel. It is a broader investigation into the specificity of heritage and its forms of invocation involving both poetic and prosaic creativity. Given novels’ flexibility and&nbsp;imagination, they attempt to capture the essential and dialectical aspects of the human relationship with history and actively contribute to presenting their images within the framework of their artistic perspective. This occurs to the extent that a novel, according to Bakhtin, becomes “an imaginative history within objective history”.&nbsp;The presence of history in novels is natural, given their shared main elements of humanity, time, and place. Both rely on constants such as the element of memory and the use of narration as a fundamental element in recounting events and storytelling about characters. Many writers have turned to historical novels, borrowing events and characters from history and making them the subjects of their narratives. Writers like Taha Hussein, Jurji Zaydan, and Aly Al-Garem have leaned toward historical novels for various reasons, including for education, highlighting Arab and Islamic glories, and calling for the emulation of role models. Despite the importance of these objectives, the presence of history in recent novels is not just a retrieval of the past; it also serves as a mask for reality and for the events of the present. This is evident in Gamal al-Ghitani’s novel Al-Zini Barakat and Mohamed Jibril’s From the Papers of Abu Al-Tayyib Al-Mutannabi.Moreover, both history and novels belong to a single field of knowledge: the narrative field. Some argue history to be one of the sciences that have been closely associated with novels since their inception and to have had a profound impact on rise of novel. Fundamentally, novels are built on historical chronological structures that unfold within a historical space stretching from the past to the present or future. They illuminate this space with events brought to life by human and artistic characters that make a novel vivid and complete. History is also considered one of the three concepts generally associated with the discussion of modern Arabic novels and narrative forms in Arabic storytelling heritage.Mohamed Mustagab managed to blend history and imagination in his literary works. Given this intertwining of novels with history, this study aims to explore the intersections between the two genres, focusing on his literary text titled From the Secret History of Numan Abd al-Hafiz. The study highlights the author’s techniques in blending oral and written traditions while leveraging historical methods in an imaginary literary text, all without losing the literary and imaginative essence of the narrative. The narrative utilizes historical dates and significant events in the protagonist’s life, crafting him into a model embodying the characteristics of heroes in epics and folk tales. Simultaneously, the protagonist is presented as a construct, using Roland Barthes’ expression, with the absence of an original reference, relying on the craftsmanship Mustagab adopts while shaping the character. The narrative is supported by drawing from historical and oral traditions and by incorporating linguistic and syntactic features of colloquial speech rather than by using scientific language and its conventions. The study also evaluates the novelist’s capacity to employ linguistic multiplicity in the narrative, reflecting the ideologies of the narrators and their ability to convey the narrative.

Tarihsel Romanda Yazılı ve Sözlü Dilin Etkileşimi: Muhammed Müstecâb’ın “Numan Abdü’l-Hâfız’ın Gizli Tarihi” Adlı Romanı Örneği

Muhammet

This study aims to explore the similarities and differences in the portrayal of horses in Surah Al- ’ Adiyat and Imru ’ al-Qais ’ s poem “Mu ’ allaqa” [Hanging Poem] by examining both the realistic and mythical aspects of their horse imageries. The study also considers the language and expressive style used in each text. That the language in the Qur ’ anic text is closely related to the language used in “Mu ’ allaqa” became apparent in this context. However, the thought process and understanding of matters differ between the pre-Islamic era and the Islamic era in terms of intellectual perspectives due to the developments that had occurred with the advent of Islam and the spread of a sound doctrine based on reality and logical truths. This is in contrast to the thinking of the pre-Islamic ignorant mind, which had at times adhered to myths in its poetry. While exploring these differences and similarities, the study adopts a semiotic approach to uncover the imagery of horses and the associated connotations that are linked to the environmental differences between the pre-Islamic and Islamic eras.The study is divided into three sections. The first section discusses the portrayal of horses in Arabic literature, including their various names and their significance in pre-Islamic Arabian society. Horses were highly valued as a symbol of pride, bravery, and nobility among the Arabs. The section explores their central role in Arabic life, which favored horses over one ’ s own children. The section examines the position of horses in Islam, emphasizing their immense importance within the religion. Horses are mentioned in the Quran in terms of Allah swearing by them and the Qur ’ an referencing them in several surahs and ayahs. Horses are also&nbsp;mentioned in the hadiths of Prophet Muhammad, who encouraged their ownership, breeding, and utilization in various aspects of life. This section also delves into the significance of horses in pre-Islamic poetry by highlighting poets renowned for their equestrian-themed verses such as Imru ’ al-Qais, Tufail al-Ganawi, and al-Nabigha al-Ja ’ di. The section also explores the relationship between the Qur ’ an and Arabic poetry in general by focusing on their linguistic and stylistic aspects. The study examines the specific dialectical features associated with the different tribes and their connection to the Quraysh dialect, which served as the standard literary language that unified the Arabs, as well as being the language through which the Qur ’ an was revealed. Finally, the first section addresses the relationship between pre-Islamic poetry and the Quran by noting the linguistic similarities between some pre-Islamic poems and later revealed Qur ’ anic verses and how scholars and critics have emphasized the importance of poetry and its relationship with the Quran.The second section focuses on the depiction of horses in Surah Al- ’ Adiyat and the symbolic meanings that reflect the stereotypical image of real horses in the minds of Muslim individuals. This section uses semiotics to explore the powerful connotations associated with horses on the battlefield. The horses embody both their physical and spiritual strength, symbolizing the concept of jihad in the way of Allah. The mental strength derived from the idea of striving on the path of God is reflected in their physical strength. Thus, the horses are portrayed as swift, fierce, and vigorous, with their intense galloping causing sparks to fly as their hooves strike the ground. This imagery signifies their power to intimidate enemies. They raise dust, penetrate enemy ranks, and disperse their formations, thus symbolizing the strength of Islam that never retreats from jihad.The third section delves into the depiction of horses in the poet Imru ’ alQais ’ “Mu ’ allaqa”. The imagery and symbolism of the horse in this context differ from the portrayal of horses in Surah Al- ’ Adiyat in terms of their appearance and primary purpose. In Surah Al- ’ Adiyat, horses are depicted as warhorses on the battlefield, while in Imru ’ al-Qais ’ poem, they are portrayed as horses used for hunting and leisure. In terms of language, expressive style, and connotations, however, similarities are found between the two. Both portray an image of horses through their swift running, their galloping at dawn, their speed in maneuvering and movement, the striking of their hooves on the ground, and the stirring up of dust from the intensity of their strikes, whether in the battlefield or in the pursuit of prey during hunting.Similarly, the horses in Surah Al- ’ Adiyat are seen to symbolize the war horses engaged in jihad for the sake of Allah. This interpretation is fitting for the expressive connotations associated with these horses through imagery inspired by reality. As for Imru ’ al-Qais ’ poem, he is observed to construct a model of a horse in his imagination and to use this model in an attempt to attain something lacking in reality. He is the unsettled poet who races against the element of time, seeking revenge and proving himself in the hunting grounds. Failing in reality, he turns to imagination, which leads him to attribute legendary qualities to his horse,&nbsp;defying convention to express its strength and resilience. Consequently, two models of horses are encountered that differ in purpose and form yet are united in language and expression.The importance of the study lies in its unique approach, thus representing the first study of its kind to address the theme of horses in both the Qur ’ anic text and Arabic poetry. This is where the significance of the semiotic method becomes evident in studying Quranic texts and comparing them to literary texts. The study also highlights the importance of the comparative analysis between the Qur ’ anic and literary texts. Previous research in this field shows no single study to have specifically explored the depiction of horses in both Surah Al- ’ Adiyat and the poetic verses of Imru ’ al-Qais. Rather, these topics have been examined separately. In addition to the semiotic analysis of and comparison between the two texts, the study gains additional significance in how it has employed a multidimensional approach by delving into the connotations of images and symbols and exploring everything surrounding the external and internal worlds of these texts.Finally, while the two texts can be said to have points of similarity regarding certain images and scenes, such as the strength and speed of horses, as well as in the language and verbal expression showing many commonalities, the differences between the two texts are also clear and prominent. Surah Al- ’ Adiyat portrays horses as real horses that reflect a clear concept in Arab society, particularly in the broader Islamic community. These horses are depicted as combatants that are strong in their faith, believe in the virtue of jihad, and anticipate ultimate victory. On the other hand, the poem “Mu ’ allaqa” confines its horses to the context of preIslamic society, which only believed in tribal loyalty, pursuit, and leisure in the wilderness. Consequently, the latter horse depiction lacks spiritual values and possesses qualities that are unrealistic and extraordinary and that contradict logic. In summary, while having some similarities, the portrayals of horses in Surah Al- ’ Adiyat and in Imru ’ al-Qaisi poem “Mu ’ allaqa” differ significantly in their underlying concepts, values, and roles assigned to the horses within their respective cultural and religious contexts.

Adiyat Suresinde ve İmruu’l-Kays’ın Mullakasında At Tasviri: Karşılaştırmalı Göstergebilimsel Bir Çalışma

Murat

Sami

al-Walīd II was one of the most marginal heads of state or caliphs in the history of the Umayyads. In terms of his character, he attached great importance to women, drinking, music, singers, poetry, and entertainment for the majority of his life. In other words, he made them the focal points of his life. However, since more serious matters (e.g., religion and state affairs) were obstacles to his enjoyment, he simply did not bother with such issues. This attitude was closely related to his upbringing. For example, al-Walīd II was raised in a prosperous and luxurious environment, in which his mother, (Zaynab) Umm al-Hajjāj bint Muhammad, advised her husband, Yazīd b. ‘Abd al-Malik II, to basically spoil the child, creating the foundation for his reckless character devoid of seriousness. Although he eventually became the head of state, the pages of history mainly include narratives about his personal/private life, instead of his political/administrative actions.Overall, there are two issues about al-Walīd II’s private life that are strikingly important: his love and marriage life. In this regard, al-Walīd II was not only in love with several women, but he also formally married them. In fact, al-Walīd II married three women who were not concubines, but free women. Their names, in order of their marriages, are: 1) Sa’de bnt. Sa’d b. Khalid b. Amr b. Sa’d ‘Uthman b. Affan; 2) tika bnt. ‘Uthman b. Muhammad b. ‘Uthman b. Muhammad b. Abū Sufyān b. Harb; and 3) Salmā bnt. Sa’id b. Khalid b. Amr b. Sa’id ‘Uthman b. Affan. Apart from these, there is mention of a Christian woman named Sufrā who entered the life of al-Walīd II and became passionately involved with him. However, there is no information regarding whether she married him.The first notable aspect about al-Walīd II’s marriage to Sa’de is that he was relatively young at the time. This marriage was also based on his father’s need for social and political gain, and to preserve the unity of the Umayyad family. As for Sa’de’s lineage, it dated back to the saint (caliph) ‘Uthman, who was a member of the Umayyad clan. In this regard, many caliphs arranged such marriages based on similar reasons/purposes. However, al-Walīd II’s marriage to Sa’de ended because of his infidelity. Namely, after seeing Salmā (Sa’de’s sister) and immediately falling in love with her, he divorced Sa’de. Interestingly, although al-Walīd II asked Salmā’s father for her hand in marriage, he did not receive a favorable response. Then, in his attempt to remarry Sa’de, he expressed his sorrow and regret through poems, after which she informed him that she had already married someone else.The woman whom Walīd II married after Sa’de was tika bnt. ‘Uthman b. Muhammad b. ‘Uthman b. Muhammad b. Abū Sufyān b. Harb. This marriage was neither a love-based nor a political marriage, but one to simply fill the emotional void caused by Sa’de and Salmā. Eventually, al-Walīd II’s first and most important wish after becoming a caliph was to marry Salmā. Having failed to do so while he was the heir apparent, al-Walīd II asked for Salmā’s hand again upon taking the caliphate throne, after which his request was granted. At this&nbsp;point, al-Walīd II’s love for Salmā was one that was unmatched. In a sense, he became blind to anything but Selmā, and recited beautiful poems to show that she was the most precious thing in his life. He even mentioned that he could have Salmā become a head of state, that she had a status similar to pilgrimage and kumrah for him, and that he saw her as a “moon.” Meanwhile, the poems he recited to her had increased his reputation as a poet. In sum, Salmā turned al-Walīd II into a man of love and a poet of love. Subsequently, Sufrā, whom al-Walīd II did not marry, but fell in love with at first sight, did not initially return al-Walīd II’s love. However, Sufrā fell in love with al-Walīd II after he recited beautiful poems for her. Moreover, he was willing to burn in hell for Sufrā and abandon prayer, which was unheard of at the time. Such actions indicate that al-Walīd II was simply created for feeling love and reciting poetry.As a natural consequence of his personal characteristics, al-Walīd II preferred to live life according to extremes, especially in regard to love and marriage. Therefore, this study examines al-Walīd II’s love and marriage life, with specific focus on his poetic language in situations that were important to him. It also sheds light on the private life of al-Walīd II, indirectly enabling us to gain insights into the characteristics of the caliphs who sat on the throne toward the fall of the Umayyads. It also reveals how important it is in research on any historical figure to examine the basic elements of the individual’s private life.

Bir Aşk Şairi Olan Emevî Halifesi II. Velîd’in Aşk ve Evlilik Hayatına Genel Bir Bakış

Musa

The question of whether Dīwān-e Kabīr contains poetic couplets, as in Mevlana’s Masnavi, is intriguing. It is important to consider whether there are data on the subject and the similarities and differences exist between these texts and those in the Masnavi. Although both of his works are considered to be among the peaks of Sufi literature, they have so far received little attention in terms of the art of poetry. Some literary scholars have even argued that Mevlana’s works need not be analysed from the perspective of poetics and that such an approach would be incompatible with his exalted position in the hearts of the people. Such research is required better to understand his personality and art as an artist and to pave the way for contemporary literary scholars to study Mevlana’s narration.The fact that Mevlana wrote the Masnavi, which has 6 books and 25,672 couplets, and the Dīwān-e Kabīr, which has 36,360 couplets (around 40,236 couplets when rubais are included), in verse, does not require us to evaluate his poetry and poet identity in this manner.Mevlana wrote his two voluminous works, the Masnavi and Dīwān-e Kabīr, in the form of poetry. The debate over whether he should be referred to as a poet with a historical perspective and whether his texts should be considered poetry is pointless at this time. At this point in literary studies, new perspectives are presented on a wide range of topics, including intertextual relations, author–text, fiction–reality, work–artist life, and the oral–written work relationship.Mevlana’s texts, which are among the most impressive works in Eastern and Western literature, are mostly studies that caress the emotions, and prioritize a miracle-centered approach or personal gains by expressing admiration. However, studies that will contribute to our understanding of these extraordinary works are required, such as the methods by which the texts are created, the explanatory clues within them, and the relationship between the artist and the work. In this sense, our classical works will become more accessible to us if we approach them as books written by ordinary people rather than miraculous texts.Mevlana’s use of the pseudonym Shams-i Tabrīzī and the emphasis he places on it can be interpreted as him concealing himself under his name. This situation is similar to that of Socrates, who, despite having no works, was forced to speak by his student Plato as if he had written one. Perhaps the primary motivation for this pseudonym and naming is a sense of loyalty to the fact that the work arose due to encounters and conversations with Shams-i Tabrīzī.Dīwān-e Kabīr differs from Masnavî in terms of poetic form, word selection, internal and external sound harmony, imagery, and connotation. At this point, Masnavi is a work that focuses on meaning and considers the addressee’s feelings and thoughts. The ghazals describe the artist Mevlana’s normal state of ecstasy. The work also reflects his tendency toward sema.In the Masnavi, Mevlana is himself; he appears as a jurist, muhaddith, and exegete, but in Dīwān-e Shams-e Tabrīzī he is ecstatic and talking to himself as if he has ascended to heaven. In the Masnavi, he wanders on earth and is guided by Hüsameddin Çelebi, whereas in the ghazals, he is in the heavens and is the murshid.&nbsp;In the Masnavi, he speaks in common idioms and must adhere to the remel bahr, whereas in the ghazals, he uses his own idioms and can employ a wide range of meters. In his ghazals, particularly in the first and fifth books, he is calmer and elaborates on the mazmun, whereas in his later poems, he expresses his intention in fewer couplets and all at once.When viewed holistically, the state of mind in which Mevlana expresses his feelings and thoughts in Dīwān-e Kabīr reflects a consciousness that is dissatisfied with life in this world and thus wishes to reclaim the soul that was at peace and attained manifestation prior to his arrival. His poetry is an attempt to return to his eternal perfection.&nbsp;Although Mevlana, who admired the penmen’s mastery of words, preferred to speak without letters, words, rhyme, or verse, his suffering forced him to do so. Because he did not want to follow in the footsteps of those who had used the language of wisdom before him, he built a wall of silence to prevent overflow.Mevlana’s poetry was not written only to benefit or to showcase his talent as a poet. His poetry is a song that interprets the world, people, and life by looking beyond the visible. Mevlana, who feels the truth in his soul, wants to convey it to his interlocutors and sings his ghazals with this intention.Many of Mevlana’s ghazals contain poetic couplets, and others are almost entirely poetic. These poetic couplets are typically found in the “makta/last couplet of the ghazal” or close to it. This situation alone indicates that Mevlana was in a poetic mood simultaneously.There has also been much discussion about language in Mevlana’s ghazals. Despite being an artist who uses language skillfully, he complains about it. His analogies about the tongue and the heart are unique in the following couplets. He attributes the beauty of the word to the speaker’s purity and expresses the theft of using someone else’s words as one’s own by bringing to our attention the issue of plagiarism centuries ago.According to Mevlana, it is necessary not to speak and remain silent in the presence of those unfamiliar with the location where the word is spoken and may understand something other than what the speaker wishes to express. There is also the possibility of encountering people with negative attitudes in the community.

Mevlânâ’nın Dîvân-ı Kebîr’inde Poetik Beyitler

Selda

Nubia is in Upper Egypt, right next to Aswan, starting from the first waterfall on the Nile River and extending to the sixth waterfall or, according to some people, to the point where the White and Blue Nile branches meet. The people living there are called Nubian. During the reign of Yavuz Sultan Selim (1512–1520), administrative organizations were established in Aswan and Ibrim in Lower Nubia, which came under Ottoman rule. In addition, the Ottomans called the people of the region Berber and Berberistan. This study explores the socioeconomic and cultural history of the Nubian region, drawing on John Lewis Burckhardt’s observations of Nubia. This region has been understudied in Turkish historiography, with limited historical information available.Upper Egypt and Nubia remained relatively unnoticed until the nineteenth century, when the “Egyptian question” emerged. What we mean by the Egyptian question is the transformation of Egypt, which started with Napoleon’s expedition to the Orient, into an area of international strategic competition in the Eastern Mediterranean. After Napoleon’s invasion, Egypt’s relations with the Ottoman Empire were never the same again, and Egypt and its surroundings became a colonial object throughout the 19th century. However, traditionally, for the Ottomans and imperial Europe, Africa was considered to consist only of Egypt, Morocco, Tunisia, and Algeria. In accordance with that view, an examination of the Ottoman Archives indicates a scarcity of correspondence regarding Upper Egypt and Nubia. In modern Turkish historiography, Cengiz Orhonlu’s book Osmanlı İmparatorluğu’nun Güney Siyaseti: Habeş Eyaleti (Istanbul, 1974) stands out as one of the pioneering studies on the southern provinces of the Ottoman Empire.The historical significance of Nubia has been a point of contention between Sudan and Egypt, complicated by regional and global developments in the nineteenth century. After Mehmet Ali Pasha’s annexation of Nubia in 1841, the region became a central point of conflict between Egypt and Sudan and attracted European colonial interest because of its unique characteristics.In the nineteenth century, diverse people, including travelers, scientists, explorers, and missionaries, were drawn to Africa, one of the last largely unexplored geographic areas at the time. Although slavery and related issues dominated Western perceptions of Africa, motives for exploration included trade and the spread of Christianity. In particular, motivations for travel diverged from the search in earlier periods for new and shorter routes to the East. The later motivations focused instead on the acquisition of new knowledge and the establishment of new settlements. In line with that, this article’s introduction contextualizes the rise of European interest in Africa during the nineteenth century, highlighting the dual influence of colonial policies and an awareness of the freedom of black peoples on British political and intellectual elites. The African Association, founded in London in June 1788, epitomized the era’s curiosity, discovery, and sense of adventure. Moreover, travelers’ diaries and notes have emerged as crucial sources for the history of Upper Egypt and Nubia.John Lewis Burckhardt (1784–1817), a Swiss traveler and explorer, is famous for his trips to the Middle East in the early nineteenth century, including observations of Nubia. His travels between 1809 and 1816, undertaken on behalf of the African Association, aimed to&nbsp;discover Africa’s interior. His book Travels in Nubia (1819) is central to this study, providing invaluable insights into the ethnography, religion, trade, economics, and political geography of this crucial region in the Nile Valley. Western and Ottoman knowledge of Nubia in the nineteenth century was limited. In that context, Burckhardt’s reports provide a detailed and vivid account of the “unknown Nubia.”&nbsp;Burckhardt, who has not been studied in detail in Turkey, was the first European to rediscover the ruins of the ancient Nabataean city of Petra in 1812. He fulfilled his duties like a Muslim during his 1815 visit to Mecca, and he collected valuable antiques during his residence in Egypt at various times between 1812 and 1817. The collection was later exhibited at the British Museum. It is important to note that Burckhardt used a Muslim identity during his travels and that he went to holy cities on pilgrimage, which is obligatory for Muslims. However, his most important goal was to carry out a Saharan expedition. He learned about the existence of the caravan route extending to Southern Sahara via Kordofan-Dârfur-Western Sudan via the Nile Valley.Even though Burckhardt could not complete that goal, what remained of his effort were his letters, travel notes, and recorded experiences for the benefit of future travelers in that region. Moreover, the texts he wrote about his travels are valuable in terms of orientalist and colonialist literature because they contain firsthand material on the physical map and ethnological capital of that region.Burckhardt’s African adventure can be read as a summary of colonial Europe’s interest in the dark continent. However, he was not a colonial official but a member of an association of romantic enthusiasts in London. His writings represent a map of the traveler, the orientalist, and the modern anthropologist. The corpus he left behind shows his obvious difference from that of his contemporary Europeans. Burckhardt has the qualifications of a professional anthropologist. He was trained for the job. The two-and-a-half years he spent in Bilad al-Sham and the one year he lived in Egypt gave him as much experience for using during his travels in Nubia and Arabia.In addition, in modern historiography, the increasing recent interest in travelogues or travel notes raises the question of what and how those texts can provide for readers. The first motivation is the appeal of the personal adventure that travelers or writers present when describing the geographies they have experienced and traveled through. However, travelogue is not just a literary genre, and its literary approach alone is insufficient. The traveler acts as a reflector between today’s readers and the society he witnessed through his personality, functions, and affiliations and the period in which he lived. Regardless of personal inclinations or acquired interests, social status also played a decisive role in choosing the geography to visit. The descriptions or concepts in travelogues which form the image of the East in Western thought at every level present another perspective about that place and society to the historian in official documents.

John Lewis Burckhardt’ın Nil Yolculukları ve Nübye

Yaşar

Res. Assist. Dr.

Eski İran’da Bilmece: Matikan-i Yuşt Feryan Metninde Geçen Bilmece Münazarası

Sümeyye

Ayrılıktan Şikâyet Sa’dî’nin Bir Gazelinin Şerhi

Elif

Megan Cassidy-Welch’in “Crusades and Violence” Adlı Eserinin Değerlendirmesi

Arzu

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Ayman

Lecturer

İSLÂM ÜLKELERİ SEFERNAMESİNDE KAHİRE VE İSTANBUL'UN İMAJI

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;

SULTAN MAHMÛD’UN SON YOLCULUĞUNA BİR AĞIT

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;

KUR’AN-I KERİMLERİN OSMANLI TÜRKÇESİ YAZIMINA GÖRE DÜZENLENMESİ

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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.

Cezayir Toplumunda Okullarda Şiddet ve Bu Şiddeti Azaltma Yöntemleri

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.

XVI. YÜZYIL İRAN ŞAİRLERİNDEN SÂʾİLÎ-İ ŞÎRÂZÎ’NİN TÂRÎḪ-İ ÂL-İ ʿOSMÂNÎ’Sİ

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İstanbul Üniversitesi, Edebiyat Fakültesi Şarkiyat Araştırma Merkezi’nin yayını olan Şarkiyat Mecmuası – Journal of Oriental Studies, açık erişimli, hakemli, yılda iki kere (Nisan ve Ekim) yayınlanan, çok dilli, uluslararası bilimsel bir dergidir. 1956 yılında kurulmuştur. 2024 itibariyle basılı versiyon durdurulmuştur. Dergi sadece online olarak yayınlanmaktadır.

Şarkiyat Mecmuası’nın amacı Doğu dilleri ve edebiyatları alanında özgün makale, yazma eser tahkik ve tanıtımı, bilimsel eleştiri, kitap eleştirisi ve çeviri makale makaleler yayınlayarak, alana ilişkin bilimsel bilgiye katkıda bulunmaktır. 

Şarkiyat Mecmuası’nın kapsamı Doğu dilleri ve edebiyatlarına odaklı olarak dil ve edebiyat, tarih, edebiyat tarihi, sanat ve kültür alanlarıdır. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur. Derginin yayın dilleri Türkçe, İngilizce, Fransızca, Almanca, Çince, Hintçe, Farsça, Arapça, Korece ve Urduca’dır.

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Şarkiyat Mecmuası’nın amacı; Doğu dilleri ve edebiyatları alanında özgün araştırma makalesi, yazma eser tahkik ve tanıtımı, bilimsel eleştiri, çeviri ve kitap eleştirileri yayınlayarak, alana ilişkin bilimsel bilgiye katkı sağlamaktır. Şarkiyat Mecmuası’nın kapsamı; Doğu dilleri ve edebiyatlarına odaklı olarak dil ve edebiyat, tarih, edebiyat tarihi, dil eğitimi ve öğretimi, sanat ve kültür alanlarıdır. Derginin hedef kitlesini akademisyenler, araştırmacılar, profesyoneller, öğrenciler ve ilgili mesleki, akademik kurum ve kuruluşlar oluşturur. Derginin yayın dilleri Türkçe, İngilizce, Çince, Hintçe, Farsça, Arapça, Korece ve Urduca’dır.

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Dizinler

Dergi yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için: <a href="https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparency-and-best-practice-scholarly-publishing</a> Gönderilen makaleler derginin amaç ve kapsamına uygun olmalıdır. Orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmayan, her bir yazar tarafından içeriği ve gönderimi onaylanmış yazılar değerlendirmeye kabul edilir. Makale yayınlanmak üzere Dergiye gönderildikten sonra yazarlardan hiçbirinin ismi, tüm yazarların yazılı izni olmadan yazar listesinden silinemez ve yeni bir isim yazar olarak eklenemez ve yazar sırası değiştirilemez.İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir. Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.İntihal Ön kontrolden geçirilen makaleler, iThenticate yazılımı kullanılarak intihal için taranır. İntihal/kendi kendine intihal tespit edilirse yazarlar bilgilendirilir. Editörler, gerekli olması halinde makaleyi değerlendirme ya da üretim sürecinin çeşitli aşamalarında intihal kontrolüne tabi tutabilirler. Yüksek benzerlik oranları, bir makalenin kabul edilmeden önce ve hatta kabul edildikten sonra reddedilmesine neden olabilir. Makalenin türüne bağlı olarak, bunun oranın %15 veya %20'den az olması beklenir.Çift Kör Hakemlikİntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir. Editör, makalelerin adil bir şekilde çift taraflı kör hakemlikten geçmesini sağlar ve makale biçimsel esaslara uygun ise, gelen yazıyı yurtiçinden ve /veya yurtdışından en az iki hakemin değerlendirmesine sunar, hakemler gerek gördüğü takdirde yazıda istenen değişiklikler yazarlar tarafından yapıldıktan sonra yayınlanmasına onay verir.

Politikalar

Dergi açık erişimlidir ve derginin tüm içeriği okura ya da okurun dahil olduğu kuruma ücretsiz olarak sunulur. Okurlar, ticari amaç haricinde, yayıncı ya da yazardan izin almadan dergi makalelerinin tam metnini okuyabilir, indirebilir, kopyalayabilir, arayabilir ve link sağlayabilir. Bu <a href="https://www.budapestopenaccessinitiative.org/translations/turkish-translation" target="_blank">BOAI</a> açık erişim tanımıyla uyumludur. Derginin açık erişimli makaleleri Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır.

Derginin tüm giderleri İstanbul Üniversitesi tarafından karşılanmaktadır. Dergide makale yayını ve makale süreçlerinin yürütülmesi ücrete tabi değildir. Dergiye gönderilen ya da yayın için kabul edilen makaleler için işlemleme ücreti ya da gönderim ücreti alınmaz.

Yazarlar dergide yayınlanan çalışmalarının telif hakkına sahiptirler ve çalışmaları  Creative Commons Atıf-GayrıTicari 4.0 Uluslararası (<a href="https://creativecommons.org/licenses/by-nc/4.0/deed.tr" target="_blank">CC BY-NC 4.0</a>) olarak lisanslıdır. CC BY-NC 4.0 lisansı, eserin ticari kullanım dışında her boyut ve formatta paylaşılmasına, kopyalanmasına, çoğaltılmasına ve orijinal esere uygun şekilde atıfta bulunmak kaydıyla yeniden düzenleme, dönüştürme ve eserin üzerine inşa etme dâhil adapte edilmesine izin verir.

Editörler, yayınlanan makalede, bulguları, yorumları ve sonuçları etkilemeyen küçük hatalar tespit edilirse düzeltme yayınlamayı düşünebilirler. Editörler, bulguları ve sonuçları geçersiz kılan büyük hatalar / ihlaller söz konusu olduğunda, makaleyi geri çekmeyi düşünmelidir. Yazarlar tarafından araştırma veya yayını kötüye kullanmaya yönelik olasılık söz konusu ise; bulguların güvenilir olmadığına ve yazarların kurumlarının olayı soruşturmadığına dair kanıtlar var veya olası soruşturma haksız veya sonuçsuz görünüyor ise, editörler endişe ifadesi yayınlamayı düşünmelidir. Düzeltme, geri çekme veya endişe ifadesi ile ilgili olarak <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> ve <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> yönergeleri dikkate alınır.

Dergide yayınlanan tüm yazıların korunmasını ve kalıcı olarak erişilebilir olmasını sağlamak için makaleler, ulusal bir arşiv sitesi olarak hizmet veren ve aynı zamanda LOCKSS'in içeriği toplamasına, korumasına ve sunmasına izin veren Dergipark'ta saklanmaktadır.Ek olarak, yazarların kendilerinin makalelerinin son PDF sürümünü Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>) standartlarına uygun açık elektronik arşivlerde arşivlemeleri önerilir. Yazarlar, yayınladıkları arşiv versiyonundan, İ.Ü. Yayınevinin dergi web sitesinin URL'sine bağlantı sağlamalıdır.

Şarkiyat Mecmuası, yayın etiğinde en yüksek standartlara bağlıdır ve <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, <a href="https://doaj.org/apply/transparency/#principles-of-transparency-and-best-practice-in-scholarly-publishing" target="_blank">Directory of Open Access Journals (DOAJ)</a>, <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a> ve <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> tarafından yayınlanan etik yayıncılık ilkelerini benimser; Principles of Transparency and Best Practice in Scholarly Publishing başlığı altında ifade edilen ilkeler için: <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>Gönderilen tüm makaleler orijinal, yayınlanmamış ve başka bir dergide değerlendirme sürecinde olmamalıdır. Her bir makale editörlerden biri ve en az iki hakem tarafından çift kör değerlendirmeden geçirilir. İntihal, duplikasyon, sahte yazarlık/inkar edilen yazarlık, araştrma/veri fabrikasyonu, makale dilimleme, dilimleyerek yayın, telif hakları ihlali ve çıkar çatışmasının gizlenmesi, etik dışı davranışlar olarak kabul edilir. Kabul edilen etik standartlara uygun olmayan tüm makaleler yayından çıkarılır. Buna yayından sonra tespit edilen olası kuraldışı, uygunsuzluklar içeren makaleler de dahildir.

Etik

Şarkiyat Mecmuası araştırma etiğinde en yüksek standartları gözetir ve aşağıda tanımlanan uluslararası araştırma etiği ilkelerini benimser. Makalelerin etik kurallara uygunluğu yazarların sorumluluğundadır.<ul><li>Araştırmanın tasarlanması, tasarımın gözden geçirilmesi ve araştırmanın yürütülmesinde, bütünlük, kalite ve şeffaflık ilkeleri sağlanmalıdır.</li><li>Araştırma ekibi ve katılımcılar, araştırmanın amacı, yöntemleri ve öngörülen olası kullanımları; araştırmaya katılımın gerektirdikleri ve varsa riskleri hakkında tam olarak bilgilendirilmelidir.</li><li>Araştırma katılımcılarının sağladığı bilgilerin gizliliği ve yanıt verenlerin gizliliği sağlanmalıdır. Araştırma katılımcıların özerkliğini ve saygınlığını koruyacak şekilde tasarlanmalıdır.</li><li>Araştırma katılımcıları gönüllü olarak araştırmada yer almalı, herhangi bir zorlama altında olmamalıdırlar. - Katılımcıların zarar görmesinden kaçınılmalıdır. Araştırma, katılımcıları riske sokmayacak şekilde planlanmalıdır.</li><li>Araştırma bağımsızlığıyla ilgili açık ve net olunmalı; çıkar çatışması varsa belirtilmelidir.</li><li>Deneysel çalışmalarda, araştırmaya katılmaya karar veren katılımcıların yazılı bilgilendirilmiş onayı alınmalıdır. Çocukların ve vesayet altındakilerin veya tasdiklenmiş akıl hastalığı bulunanların yasal vasisinin onayı alınmalıdır.</li><li>Çalışma herhangi bir kurum ya da kuruluşta gerçekleştirilecekse bu kurum ya da kuruluştan çalışma yapılacağına dair onay alınmalıdır.</li><li>İnsan öğesi bulunan çalışmalarda, “yöntem” bölümünde katılımcılardan “bilgilendirilmiş onam” alındığının ve çalışmanın yapıldığı kurumdan etik kurul onayı alındığı belirtilmesi gerekir.</li></ul>

Makalelerin bilimsel ve etik kurallara uygunluğu yazarların sorumluluğundadır. Yazar makalenin orijinal olduğu, daha önce başka bir yerde yayınlanmadığı ve başka bir yerde, başka bir dilde yayınlanmak üzere değerlendirmede olmadığı konusunda teminat sağlamalıdır. Uygulamadaki telif kanunları ve anlaşmaları gözetilmelidir. Telife bağlı materyaller (örneğin tablolar, şekiller veya büyük alıntılar) gerekli izin ve teşekkürle kullanılmalıdır. Başka yazarların, katkıda bulunanların çalışmaları ya da yararlanılan kaynaklar uygun biçimde kullanılmalı ve referanslarda belirtilmelidir.Gönderilen makalede tüm yazarların akademik ve bilimsel olarak doğrudan katkısı olmalıdır, bu bağlamda “yazar” yayınlanan bir araştırmanın kavramsallaştırılmasına ve dizaynına, verilerin elde edilmesine, analizine ya da yorumlanmasına belirgin katkı yapan, yazının yazılması ya da bunun içerik açısından eleştirel biçimde gözden geçirilmesinde görev yapan birisi olarak görülür. Yazar olabilmenin diğer koşulları ise, makaledeki çalışmayı planlamak veya icra etmek ve / veya revize etmektir. Fon sağlanması, veri toplanması ya da araştırma grubunun genel süpervizyonu tek başına yazarlık hakkı kazandırmaz. Yazar olarak gösterilen tüm bireyler sayılan tüm ölçütleri karşılamalıdır ve yukarıdaki ölçütleri karşılayan her birey yazar olarak gösterilebilir. Yazarların isim sıralaması ortak verilen bir karar olmalıdır. Tüm yazarlar yazar sıralamasını <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/44D5871083054DA1AF78F2E2A09E2E5A" target="_blank">Telif Hakkı Anlaşması Formunda</a> imzalı olarak belirtmek zorundadırlar. Yazarlık için yeterli ölçütleri karşılamayan ancak çalışmaya katkısı olan tüm bireyler “teşekkür / bilgiler” kısmında sıralanmalıdır. Bunlara örnek olarak ise sadece teknik destek sağlayan, yazıma yardımcı olan ya da sadece genel bir destek sağlayan, finansal ve materyal desteği sunan kişiler verilebilir. Bütün yazarlar, araştırmanın sonuçlarını ya da bilimsel değerlendirmeyi etkileyebilme potansiyeli olan finansal ilişkiler, çıkar çatışması ve çıkar rekabetini beyan etmelidirler. Bir yazar kendi yayınlanmış yazısında belirgin bir hata ya da yanlışlık tespit ederse, bu yanlışlıklara ilişkin düzeltme ya da geri çekme için editör ile hemen temasa geçme ve işbirliği yapma sorumluluğunu taşır.

Baş editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti eder. Baş editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır. Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür. Hakemlerin araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir. Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin gizli bilgi olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.Seçilen makaleler en az iki ulusal/uluslararası hakeme çift taraflı kör hakemlik ile değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.

Hakemlik Hakkında

Baş editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, cinsel yöneliminden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar. Gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalacağını garanti eder. Baş editör içerik ve yayının toplam kalitesinden sorumludur. Gereğinde hata sayfası yayınlamalı ya da düzeltme yapmalıdır.Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve Dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin araştırmayla ilgili, yazarlarla ve/veya araştırmanın finansal destekçileriyle çıkar çatışmaları olmamalıdır. Değerlendirmelerinin sonucunda tarafsız bir yargıya varmalıdırlar. Gönderilmiş yazılara ilişkin tüm bilginin gizli tutulmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar. Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir. Bazı durumlarda editörün kararıyla, ilgili hakemlerin makaleye ait yorumları aynı makaleyi yorumlayan diğer hakemlere gönderilerek hakemlerin bu süreçte aydınlatılması sağlanabilir.

Daha önce yayınlanmamış ya da yayınlanmak üzere başka bir dergide halen değerlendirmede olmayan ve her bir yazar tarafından onaylanan makaleler değerlendirilmek üzere kabul edilir. Gönderilen ve ön kontrolü geçen makaleler iThenticate yazılımı kullanılarak intihal için taranır. İntihal kontrolünden sonra, uygun olan makaleler baş editör tarafından orijinallik, metodoloji, işlenen konunun önemi ve dergi kapsamı ile uyumluluğu açısından değerlendirilir.Baş Editör, makaleleri, yazarların etnik kökeninden, cinsiyetinden, uyruğundan, dini inancından ve siyasi felsefesinden bağımsız olarak değerlendirir. Yayına gönderilen makalelerin adil bir şekilde çift taraflı kör hakem değerlendirmesinden geçmelerini sağlar.Seçilen makaleler en az iki ulusal/uluslararası hakeme değerlendirmeye gönderilir; yayın kararı, hakemlerin talepleri doğrultusunda yazarların gerçekleştirdiği düzenlemelerin ve hakem sürecinin sonrasında baş editör tarafından verilir.Baş editör; yazarlar, editörler ve hakemler arasında çıkar çatışmasına izin vermez. Hakem atama konusunda tam yetkiye sahiptir ve dergide yayınlanacak makalelerle ilgili nihai kararı vermekle yükümlüdür.Hakemlerin değerlendirmeleri objektif olmalıdır. Hakem süreci sırasında hakemlerin aşağıdaki hususları dikkate alarak değerlendirmelerini yapmaları beklenir.-Makale yeni ve önemli bir bilgi içeriyor mu?-Öz, makalenin içeriğini net ve düzgün bir şekilde tanımlıyor mu?-Yöntem bütünlüklü ve anlaşılır şekilde tanımlanmış mı?-Yapılan yorum ve varılan sonuçlar bulgularla kanıtlanıyor mu?-Alandaki diğer çalışmalara yeterli referans verilmiş mi?-Dil kalitesi yeterli mi?Hakemler, gönderilen makalelere ilişkin tüm bilginin, makale yayınlanana kadar gizli kalmasını sağlamalı ve yazar tarafında herhangi bir telif hakkı ihlali ve intihal fark ederlerse editöre raporlamalıdırlar.Hakem, makale konusu hakkında kendini vasıflı hissetmiyor ya da zamanında geri dönüş sağlaması mümkün görünmüyorsa, editöre bu durumu bildirmeli ve hakem sürecine kendisini dahil etmemesini istemelidir.Değerlendirme sürecinde editör hakemlere gözden geçirme için gönderilen makalelerin, yazarların özel mülkü olduğunu ve bunun imtiyazlı bir iletişim olduğunu açıkça belirtir. Hakemler ve yayın kurulu üyeleri başka kişilerle makaleleri tartışamazlar. Hakemlerin kimliğinin gizli kalmasına özen gösterilmelidir.

Şarkiyat Dergisi Makale Yazım Kuralları1. Makale imla ve noktalama açısından (Türkçe makaleler için) Türk Dil Kurumunun imlâ kılavuzu esas alınarak hazırlanmalıdır.2. Makale başlığı Türkçe 11 punto / İngilizce 10 punto olarak bold ve Times New Roman (Tüm metin için bu yazı karakteri kullanılacak) yazı karakteri ile yazılmalı, diğer dillerde olan makalelerin başlıkları ise 11 punto yazılmalıdır (Arapça font olarak Traditional Arabic kullanılmalıdır.)3. Makale başlığının iki satır altında ve sağ tarafa yaslı olarak Yazar adı bulunmalı ve asteriks (*) işareti ile dipnot eklenerek yazarın unvanı, kurumu ve e-mail adresi ve ORCID no’su 9 punto ve iki yana yaslı olacak şekilde yazılmalıdır.4. Öz, tek paragraf olacak şekilde 10 punto, sağ ile soldan 10 mm boşluklu ve iki yana yaslı yazılmalıdır. Aynı zamanda “abstract” olarak ingilizcesi de yer almalıdır. Buna ek olarak makale başka dilde yazıldı ise makalenin yazıldığı dilde de öz verilmelidir.5. Anahtar kelimeler/keywords 5 adedi geçmeyecek şekilde kesinlikle eklenmelidir.6. Makale Metni Times New Roman yazı karakteri ile (Arapça, Urduca, Farsça ise Traditional Arabic-11 punto) 11 punto ve 1 satır aralığı ile yazılmalıdır. Sayfa boyutu 16,5cmX24cm, alt boşluk 3 cm, üst boşluk 3,5cm, sağ-sol boşluklar 2 cm ve paragraflar 0.5cm olmalıdır.7. Makale içi başlıklar sadece ilk harf büyük olacak şekilde 11 punto ile yazılmalıdır ve konunun işlenişine göre harf/rakam sistemi esas alınmalıdır.8. Extended Abstract /Genişletilmiş Özet kısmı toplam yayın sayfa sayısının %10’u-%15’i olacak şekilde yazılmalı ve öz/abstract ile farklılık göstererek daha ayrıntılı bilgi verilmelidir. Extended Abstract /Genişletilmiş Özet makalede öz/abstract’ın ardından gelecek şekilde (giriş bölümünden önce) makalebaşlığıyla beraber İngilizce olarak yazılmalıdır. Öz/ Abstract ise 180-200 kelime aralığında olmalıdır.9. Makalelerde ilk sayfa üst bilgisi İ.Ü. ŞARKİYAT MECMUASI SAYI...(2020-1) 1-15 (sayfa aralığı) şeklinde yazılmalıdır.10. Makalelerde sol sayfanın üst bilgisi “makalenin adı” olmalıdır.11. Makalelerde sağ sayfanın üst bilgisi “Yazarın Adı / ŞARKİYAT MECMUASI SAYI...(2016-1) 1-15 (sayfa aralığı)” olacak şekilde yazılmalıdır.12. Dipnotlar sayfa altında verilmeli ve 9 punto (iki yana yaslı) olacak şekilde ayarlanmalıdır. Dipnot kurallarına uyulmalıdır. Dipnot eğer web sitesi ise erişim tarihi de parantez içinde verilmelidir. Dipnot ve kaynakça yazımında Chicago Manual of Style kullanılmaktadır.Makale içeriği aşağıdaki sırada olacak şekilde hazırlanmalıdır.- Öz/Abstract- Genişletilmiş Özet/Extended Abstract- Giriş- Makale Metni- Sonuç- Kaynakça

Yazım Kuralları

Şarkiyat Mecmuası – Journal of Oriental Studies dergisi, tarih, dil bilim ve güzel sanatların da dahil olduğu insan bilimleri konularında araştırma yapanların çoğu tarafından kullanılan “dipnot ve kaynakça” belgeleme sistemini benimsemiştir. Bu sistem, bibliyografik bilgilerin dipnotlarda ve bir kaynakçada gösterilmesine dayanır. Dergiye katkıda bulunacak yazarların, aşağıdaki örneklere dayanarak dipnotları düzenlemeleri ve kaynakça oluşturmaları rica olunur. Bu örnekler, yazarlara kolaylık sağlamak amacıyla, Chicago Manual of Style kılavuzundan (<a href="http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html" target="_blank">http://www.chicagomanualofstyle.org/tools_citationguide/citation-guide-1.html</a>) ilavelerle derlenmiştir. Dipnot-kaynakça yöntemi hakkında ayrıntılı bilgi ve çok sayıda örnek Chicago Manual of Style’ın 16. baskısının 14. ve 15. bölümlerinde yer almaktadır. Her özgün araştırma makalesinin, derleme makalenin ve çeviri yazının sonuna bir kaynakça eklenir. Kaynakça dipnotlarda ve resim altı yazılarında verilen tüm kaynakları kapsamalıdır. Kaynakça, Arşiv Kaynakları, Yazma Kaynaklar, Basılı Kaynaklar ve/veya Elektronik Kaynaklar olarak dört ana başlık altında oluşturulur. Kaynakçada, basılı kaynaklar yazar soyadına göre alfabetik olarak sıralanır. Arşiv malzemesi ve yazma eserler kaynak gösterilirken, arşiv ve kütüphanenin bulunduğu şehir, resmi adı ve tasnifi açık olarak belirtilmeli belge/yazma numarası, varsa tarihi verilmelidir. Soyadı taşımayan yazarlar (örn. Salih Zeki) bibliyografyada ilk isminin baş harfi altında ve ‘Salih Zeki’ şeklinde yazılır. Soyadı almış yazarlar kaynakçaya soyadlarıyla girilir (örn. Adıvar, A. Adnan). Örnekler: İD ilk dipnot, SD sonraki/kısa dipnotlar, K kaynakça Kitap, tek, iki ve üç yazarlı Dört ve daha fazla yazar için Kaynakça’da bütün yazarlar belirtilir, dipnotlarda yalnızca birinci yazar belirtilip ardına “ve diğerleri” anlamında “vd.” yazılır. İD Nihad M. Çetin, Eski Arap Şiiri, (İstanbul: İstanbul Üniversitesi Edebiyat Fakültesi, 1975), 85. SD Çetin, Eski Arap Şiiri, 102. K Çetin, Nihad M. Eski Arap Şiiri. İstanbul: İstanbul Üniversitesi Edebiyat Fakültesi, 1975. İD Kenan Demirayak ve Ahmet Savran, Arap Edebiyatı Tarihi: Cahiliye Dönemi, (Erzurum: Atatürk Üniversitesi Fen-Edebiyat Fakültesi, 1993), 38. SD Demirayak ve Savran, Arap Edebiyatı Tarihi: Cahiliye Dönemi, 41. K Demirayak, Kenan ve Ahmet Savran. Arap Edebiyatı Tarihi: Cahiliye Dönemi. Erzurum: Atatürk Üniversitesi Fen-Edebiyat Fakültesi, 2017. İD Hüseyin Yazıcı, A. Yaşar Koçak ve Abdullah Kızılcık, Arapça Modern Metinler, (İstanbul: Çantay Kitabevi, 2000), 35. SD Yazıcı, Koçak ve Kızılcık, Arapça Modern Metinler, 43. K Yazıcı, Hüseyin, A. Yaşar Koçak ve Abdullah Kızılcık. Arapça Modern Metinler. İstanbul: Çantay Kitabevi, 2000. KİTAP, yazara ek olarak çevirmen veya hazırlayan varsaHazırlayan varsa, dipnotta “çev.” yerine “haz.”; kaynakçada “Çeviren” yerine “Hazırlayan” kullanılır. İD Muallim Naci, Kültürler Kavşağında Edebiyat ve Hikmet, haz. Mehmet Atalay ve Mehmet Yavuz (İstanbul: Büyüyenay Yayınları, 2014), 120. SD Muallim Naci, Kültürler Kavşağında, 99. K Muallim Naci. Kültürler Kavşağında Edebiyat ve Hikmet. Hazırlayanlar Mehmet Atalay ve Mehmet Yavuz. İstanbul: Büyüyenay Yayınları, 2014. İD Sâtı el-Husrî, Milliyetçilik Aynasında Dil ve Edebiyat, çev. Leyla Yakupoğlu Boran ve Uğur Boran (İstanbul: Büyüyenay Yayınları, 2020), 76. SD el-Husrî, Milliyetçilik Aynasında, 89. K el-Husri, Sâtı. Milliyetçilik Aynasında Dil ve Edebiyat. Çeviren Leyla Yakupoğlu Boran ve Uğur Boran. İstanbul: Büyüyenay Yayınları, 2020. KİTAP, çok ciltliİD Ahmad Saffar Mogaddam, Farsça Temel Dersler, çev. Javad Amini Manesh (Istanbul: Demavend Yayınları, 2014), 1:74. SD Mogaddam, Farsça Temel Dersler, 2:35. K Mogaddam, Ahmad Saffar. Farsça Temel Dersler. Çeviren Javad Amini Manesh. 2 cilt. Istanbul: Demavend Yayınları, 2014. Kitap içinde bölüm veya kitabın bir kısmıİD Lale Aydın Tunç, “Çin Edebiyatında Modernleşme”, Doğu Edebiyatında Edebî Akımlar ve Üsluplar içinde, haz. Leyla Yakupoğlu Boran (İstanbul: Demavend Yayınları, 2019), 29. SD Aydın Tunç, “Çin Edebiyatında”, 30. K Aydın Tunç, Lale. “Çin Edebiyatında Modernleşme”. Doğu Edebiyatında Edebî Akımlar ve Üsluplar, hazırlayan Leyla Yakupoğlu Boran içinde 29-42. İstanbul: Demavend Yayınları, 2002. Kitap içinde önsöz, sunuş, giriş ve benzeri kısımlarİD Gürol Irzık, Kostas Gavroglu’nun Bilimlerin Geçmişinden Tarih Üretmek adlı kitabına önsöz (İstanbul: İletişim Yayınları, 2006), 8. SD Irzık, önsöz, 9. K Irzık, Gürol. Kostas Gavroglu’nun Bilimlerin Geçmişinden Tarih Üretmek adlı kitabına önsöz, 7-11. İstanbul: İletişim Yayınları, 2006. Kitap, elektronik olarak yayımlanmışEğer kitap birden fazla formatta yayımlanmış ise, kullanılan formatı referans verilir. Online başvurulmuş kitaplar için URL verilir. İstenirse erişim tarihi eklenir. Eğer sayfa numarası yoksa, bölüm başlığını veya başka bir sayı eklenebilir.İD Halil Toker, Emre Aktuna ve Shiekh Waleed Rasool, Kashmir: Regional and International Dimensions (İstanbul: Demavend Yayınları, 2020) Erişim 1 Ocak 2021, http://www.demavend.com.tr/e-kitap/kashmir.pdf . SD Toker, Aktuna ve Rasool, Kashmir, 57. K Toker, Halil, Emre Aktuna ve Shiekh Waleed Rasool. Kashmir: Regional and International Dimensions. İstanbul: Demavend Yayınları, 2020. Erişim 1 Ocak 2021. <a href="http://www.demavend.com.tr/e-kitap/kashmir.pdf." target="_blank">http://www.demavend.com.tr/e-kitap/kashmir.pdf.</a>Dergi makalesi, telifİD Jun Liu, “Türk Öğrencilerin Çin Yazısı Öğrenirken Karşılaştıkları Zorluklar ile İlgili Bir Analiz ve Bu Zorluklarla Başa Çıkmanın Yolları Hakkında Bir Araştırma,” Doğu Araştırmaları 2 (2012), 193. SD Liu, “Çin Yazısı” 3-5. K Liu, Jun. “Türk Öğrencilerin Çin Yazısı Öğrenirken Karşılaştıkları Zorluklar ile İlgili Bir Analiz ve Bu Zorluklarla Başa Çıkmanın Yolları Hakkında Bir Araştırma.” Doğu Araştırmaları 2 (2012): 193-200. Dergi makalesi, çeviriİD Yang Jianxin, Ma Manli, “Çin-Hun İlişkileri,” çev. Eyüp Sarıtaş, Doğu Araştırmaları 2 (2012), 201. SD Jianxin, Manli, “Çin-Hun İlişkileri,” 201. K Yang Jianxin, Ma Manli. “Çin-Hun İlişkileri,” çeviren Eyüp Sarıtaş, Doğu Araştırmaları 2 (2012): 201-210. Dergi makalesi, elektronikİD Fırat Açıkgöz, Olcay Sert, “Interlingual Machine Translation: Prospects and Setbacks,” Translation Journal 10 (2006): 3, erişim 3 Nisan 2007. SD Açıkgöz, Sert, “Interlingual,” 5-6. K Açıkgöz, Fırat, Sert, Olcay. “Interlingual Machine Translation: Prospects and Setbacks.” Translation Journal 10 (2006): 1-12. Erişim 3 Nisan 2007.Gazete makalesi, baskıİD Seriye Sezen, “Mo Yan’in Kaleminden Yakın Çin Tarihi,” Cumhuriyet, 8 Ocak 2015, 12. SD Sezen, “Mo Yan,” 12. K Sezen, Seriye. “Mo Yan’in Kaleminden Yakın Çin Tarihi.” Cumhuriyet, 8 Ocak 2015. Gazete haberi, elektronikGazete makale ve haberleri genellikle kaynakçaya alınmaz. Alındığı takdirde yukarıdaki gösterimler kullanılır. Makalenin veya haberin yazarı belli değilse referansa haber veya makalenin başlığı ile başlanır.İD ''On Bin Yıllık İran Medeniyeti, İki Bin Yıllık Ortak Miras'', Cumhuriyet, 01 Aralık 2009, Erişim 24.02.2021. https://www.cumhuriyet.com.tr/haber/on-bin-yillik-iran-medeniyeti-iki-bin-yillik-ortak-miras-102756 SD ''On Bin Yıllık İran Medeniyeti, İki Bin Yıllık Ortak Miras''. K ''On Bin Yıllık İran Medeniyeti, İki Bin Yıllık Ortak Miras'', Cumhuriyet, 01 Aralık 2009, Erişim 24.02.2021. <a href="https://www.cumhuriyet.com.tr/haber/on-bin-yillik-iran-medeniyeti-iki-bin-yillik-ortak-miras-102756." target="_blank">https://www.cumhuriyet.com.tr/haber/on-bin-yillik-iran-medeniyeti-iki-bin-yillik-ortak-miras-102756.</a> Kitap tanıtımıİD Yeşim Amaç, “Şaraba Bulanan Seccade (Hâfız Divan’ından Seçme Gazeller), Ali Güzelyüz’ün Şaraba Bulanan Seccade (Hâfız Divan’ından Seçme Gazeller) adlı kitabının tanıtımı, Doğu Esintileri, 10 (2019), 375-376. SD Amaç, “Şaraba Bulanan”, 375-376. K Yeşim Amaç, “Şaraba Bulanan Seccade (Hâfız Divan’ından Seçme Gazeller), Ali Güzelyüz’ün Şaraba Bulanan Seccade Hâfız Divan’ından (Seçme Gazeller) adlı eserinin tanıtımı, Doğu Esintileri, 10 (2019): 375-376.https://dergipark.org.tr/tr/pub/dogu/issue/43282/526232. TezİD Mehmet Atalay, “Şâir Nef'î Farsça Divanının Edisyon Kritiği ve Üslûbu” (Doktora tezi, Atatürk Üniversitesi, 1998), 32. SD Atalay, ““Şâir Nef'î Farsça”, 32. K Atalay, Mehmet, “Şâir Nef'î Farsça Divanının Edisyon Kritiği ve Üslûbu” Doktora tezi, Atatürk Üniversitesi, 1998. Ansiklopedi maddesiİD Derya Örs, “Abdullah b. Ali Kâşânî”, DİA, c. XXIV, (Ankara: TDV, 2002), 4-5. SD Örs, “Abdullah b. Ali Kâşânî”, 4-5. K Örs, Derya. “Abdullah b. Ali Kâşânî.” DİA. XXIV: 4-5. Ankara: TDV, 2002. Yayımlanmamış bildiri İD Güller Nuhoğlu, “Mirza Yahya Devletabadi'nin Hatıralarında İstanbul” (10. Türkiye-İran Tarihi ve Kültürel İlişkileri Sempozyumu’nda sunulan bildiri, Konya, 12-14 Aralık 2018). SD Nuhoğlu, “Mirza Yahya.” K Nuhoğlu, Güller. “Mirza Yahya Devletabadi'nin Hatıralarında İstanbul.” 10. Türkiye-İran Tarihi ve Kültürel İlişkileri Sempozyumu’nda sunulan bildiri, Konya, 12-14 Aralık 2018 İD Esra Altay, “Takiyye binti el-Gays es-Sûriyye'nin Edebiyata Katkıları” (4.Uluslararası Avrasya Çalışmaları &#34;İslam'ın Altın Çağında İlimlerin Gelişmesine Katkı Yapan Bilim Öncüleri’ Sempozyumu’nda sunulan bildiri, İstanbul, 21 - 23 Ekim 2020). SD Altay, “Takiyye binti el-Gays es-Sûriyye'nin.” K Altay, Esra. “Takiyye binti el-Gays es-Sûriyye'nin Edebiyata Katkıları.” 4.Uluslararası Avrasya Çalışmaları &#34;İslam'ın Altın Çağında İlimlerin Gelişmesine Katkı Yapan Bilim Öncüleri’ Sempozyumu’nda sunulan bildiri, İstanbul, 21 - 23 Ekim 2020 Yazma eserİD Feyzi, Muhadarat-ı Feyzi, İstanbul, İstanbul Üniversitesi Nadir Eserler Kütüphanesi, T6833, 48a. SD Feyzi, Muhadarat-ı Feyzi, T6833, 51b. K Feyzi, Muhadarat-ı Feyzi, İstanbul, İstanbul Üniversitesi Nadir Eserler Kütüphanesi, T6833, 1a-70b. İD Salih b. Nasrullah, Ghayat al-itqan fi tabdir badan al-insan, İstanbul, Süleymaniye Kütüphanesi, Ayasofya 3682, 26a. SD Salih b. Nasrullah, Ghayat al-itqan, Ayasofya 3682, 23b. K Salih b. Nasrullah, Ghayat al-itqan fi tabdir badan al-insan, Istanbul, Süleymaniye Kütüphanesi, Ayasofya 3682, 1a-311a, Kopyalanma tarihi 10 Rebiülevvel 1135 (19 Aralık 1722). Arşiv belgesiİD Başbakanlık Osmanlı Arşivi (BOA), Cevdet Askeriye (C.AS.) 71/3352, 9 Şevval 1211 (7 Nisan 1797). SD BOA, C.AS. 71/3352. K Başbakanlık Osmanlı Arşivi (BOA). Cevdet Askeriye (C. AS) 71/3352, 9 Şevval 1211 (7 Nisan 1920). İD Topkapı Sarayı Müzesi Arşivi (TSMA), E. 3202-2=597-2-7. SD TSMA, E. 3202-2=597-2-7. K Topkapı Sarayı Müzesi Arşivi (TSMA). E. 3202-2=597-2-7.Web sitesiİD “Ülke Profili:Mısır,”, erişim 26 Ocak 2014, http://www.aljazeera.com.tr/ulke-profili/ulke-profili-misir SD “Ülke Profili:Mısır.” K Ülke Profili. “Ülke Profili:Mısır.” Erişim 26 Ocak 2014. <a href="http://www.aljazeera.com.tr/ulke-profili/ulke-profili-misir." target="_blank">http://www.aljazeera.com.tr/ulke-profili/ulke-profili-misir.</a>E-posta veya metin iletisiGenellikle yalnızca dipnotlarda verilir. Kaynakçada yer alma zorunluluğu yoktur. d Ömer İshakoğlu, yazara e-posta iletisi, 17.05.2020.

<a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/44D5871083054DA1AF78F2E2A09E2E5A" target="_blank">Telif Hakkı Anlaşması Formu</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/5F90209574214235ABD5B47E1E4B39FE" target="_blank">Kapak Sayfası</a><a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/5D229560BE6E4D47B4470D7F4CA8B151" target="_blank">Yazar Formu</a><ul></ul>

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