Abdulsattar

Öğretim Görevlisi Dr.

Antarah ibn Shaddad al-Absi was a pre-Islamic Arab slave knight who fought for his freedom and is considered the first anti-apartheid activist in Arabic literature. His story is one of the most important folk stories in the Arab world. Part of its importance lies in the fact that it crossed the borders of the Arab world and attracted wide interest in both Islamic and nonIslamic countries, to the point of being called an Arabic Iliad. Thus, it has become the focus of attention for students of comparative literature. Turks were one of the first nations to translate The Romance of Antarah into their language as early as the 15th century. Even though the Turkish translators of that period were focused primarily on religious texts, Sirat Antar ibn Shaddad not only was translated into the language of the Empire but also gained surprising popularity. That led to a total of three translations being completed. The first one stems back to the 15th century, with the exact year unknown. Worth mentioning is the fact that the original translator appears not to have been proficient in Arabic which led to numerous mistakes. The second translation was finished in 881 AH/1477 AD at the order of sultan Mehmet II (835 AH/1430 AD-886 AH/1581 AD), during whose reign scientific life - (835 AH/1430 AD-886 AH/1581 AD), during whose reign the scientific life - including the translation movement. It was hugely based on the first version, which was clearly outlined in the introduction. This makes the second Turkish version of The Romance of Antarah not only an improved translation of an Arabic tale but also one of the first translation criticism texts published in the Ottoman Empire. The translator who carried out the second translation was aware of different Sirat Antar ibn Shaddad versions that existed in Arabic. When reviewing the first Turkish translation, he found out that it not only failed to include most of the original stories and poems but also hugely mistranslated parts that did get included. Therefore his work began with translating&nbsp;the omitted parts, correcting what could be fixed and retranslating everything that needed retranslating. He completed his work in two years. This article adopts a descriptive approach and begins by referring to the importance of The Romance of Antarah before introducing its Turkish translation and the circumstances and reasons behind it. It also attempts to find the reason why one of the greatest sultans of the Ottoman Empire had ordered the translation of a popular story of an Arab knight who had lived before Islam. Also, it indicates the content of the story, its urge for good manners, and its role in instilling values and raising the morale of people and soldiers in particular to have been among the possible reasons for the Sultan ordering it to be translated into Turkish. Raising the fighting spirit and urging soldiers to be brave in combat are important activities for a warrior state and a warrior sultan like sultan Mehmet II. This is confirmed by the comments and notes on some manuscript copies indicating that soldiers and military personnel had read this story. The article shows the importance of this translation and its place in the translation movement between Arabic and Turkish. It also discusses how the translation of The Romance of Antarah was received in Ottoman Turkish society after it had been read in palaces, public councils, and cafes. It won the admiration of the Turkish public, which loved the hero and his adventures. This response occurred between the 15th-19th centuries AD, as indicated in the comments and notes on the margins of the different copies of the story. The article also shows the impact that this translation has had on Turkish culture in general, as well as on ancient and modern Turkish literature in particular. The character of Antarah began to infiltrate Turkish epics at an early stage. For example, Saltuknâme, which was compiled in 1480, mentions the name of Antarah and stories related to Antarah. The name Antarah is also mentioned in classical and modern Turkish poetry

Turkish Translation of The Romance of Antarah

Abdurrahim

Assist. Prof.

Islamic book art is an art branch that has developed around the courts since its inception. For this reason, imagining book art independent of the political history of palaces or the identity of a dynasty is impossible. Therefore, book art research requires multi-layered studies. In addition to the physical qualities of the manuscripts studied in such research, their artistic features regarding binding, illumination, and calligraphy also bear the traces of the sociocultural conditions of the period. This research focuses on the mushafs of the Mamluk period and attempts to determine the processes that had affected the production of mushafs within the framework of the social dimensions of art. In the 13th century when the Mamluks had emerged as a military power, the Islamic geography witnessed events that could be considered turning points. The first of these was the crusades that had threatened Muslim dynasties such as the Seljuks, Fatimids, and Ayyubids since the 11th century. The Mongol invasion from the east added to this threat from the west. Thus, the Islamic geography faced threats from both the west and the east in the 13th century. The Mamluks struggled with both powers and rose to a prestigious position in the Islamic world. They held cities such as Cairo, Aleppo, and Damascus and increased their political and cultural positions. In particular, the plundering of Baghdad as a result of Mongol attacks and the termination of the Abbasid caliphate had had dramatic effects on the Islamic world. The Mamluks reestablished the sacred sequence by appointing a dynasty member of the Abbasid lineage as caliph in Cairo. Similar efforts by the Mamluks to politically repair the destruction are also seen in the cultural field. The destruction of the Baghdad libraries by the Mongols caused the sultans to provide special value to writing the Qur’an. In this period, mausoleums and zawiyas called khanqahs were built in Cairo, Aleppo, and Damascus with the influence of rising mystical movements. These institutions and foundations the Mamluks are among the other factors that kept the mushaf writing alive. The sultans endowed a quality to the Qur’ans they had prepared specially for these foundations. One of the elements shaping Qur’anic art during the Mamluk dynasty was the dynasty’s slave identity. The dynastic identity&nbsp;was not based on any great lineage, and this caused legitimacy crises. Intense throne fights and short-term changes to the throne throughout the Mamluk history must have been a result of this. Accordingly, the sultans can be said to have supported the production of manuscripts for legitimacy, especially the writing of mushafs, because books were as valuable and influential as grandiose monuments in the Middle Ages. For this reason, the Mamluk political history, the political origins of the dynasty, and its institutional structures are the three interconnected pillars that shaped the art of mushaf. Most of the mushafs that have survived from the Mamluk period are dated after the 14th century. Why so few copies of the Qur’an have survived to the present from the first 50 years of the Mamluk dynasty is one of the questions that should be asked within the framework of this subject, and political history can help clarify this, because in the first 50 years, the Mamluks had been struggling with the crusader and Mongol invasions. The writing of mushafs is seen to have gained momentum at the beginning of the 14th century. One of the rare copies of the Qur’an that have survived from this period is the seven-volume Qur’an prepared for the Sultan Baibars and exhibited in the British Museum. This work sheds light on Mamluk mushaf art in many aspects. The style of writing is called Thuluth al-Ashar and had never been tried before; it involves ornate illuminations and enlightens one about the aesthetics of the Mamluk palace. In addition, the physical characteristics of this early work show that it had been prepared for the purpose of being donated to an institution built by order of the Sultan. One of the problems about Mamluk mushaf art is related to the development periods of illumination during the period. Decoration formats consisting of multi-pointed stars encountered in Seljuk art had frequently been applied to the zahriyah [back] pages of Mamluk mushafs. Toward the end of the 14th century, the artist Muzahhib Ibrahim Amidi the Illuminator went beyond this classical decorative format and adopted a style that focused on detailed plant forms. Two different styles are seen to have continued throughout the 15th century. As a result, the periods related to the mushaf decoration formats are not exactly clear. Research on the Qur’an is scattered among different museums and libraries around the world today and will facilitate answers to these questions.

A Problematic Approach to Art in the Qur’an During the Mamluks

Ahmet

Assoc. Prof.

Soner

Typology classifies languages through many aspects, determines the ties between languages, reveals the similarities and divergences of languages with scientific methods, and thus sheds light on identifying languages’ universal points. After presenting the typology in general terms, This study will discuss some situations that will determine the position of Arabic among the world languages. Lastly, the study will emphasize some of the prominent typical features of the Arabic language and thus reveal the typology of one of the most important and currently most spoken languages in general terms as well as its position among the world languages. The linguistic definition of typology is as follows: “Typology refers to the structural features of languages—without reference to their history; It is especially the study and classification of phonology, morphology and syntax patterns.” Linguistic typology evolved in the 19th century from an attempt to classify the world’s languages and identify the possible variations among them. The central concept in typology is classification. Languages can be classified according to various criteria, such as the number of speakers a language has, the formality of the situation in which a language is used, the area in which a language is spoken, or the genetic relationships a language may have. In other words, any parameter can be taken as a basis when classifying languages or revealing a language’s typology. This parameter could be about many things such as the types of words (الكالم أجزاء ,(word order in sentences or phrases (الكلمات ترتيب ,(case (حالة ّة إعرابي ,(subject (إليه مسند ,(and causative structure (التعدية صيغة .(Typology can be about many things, and a typologist may examine any, several, or all of these parameters. Upon looking at Arabic, which is the subject under study here, it is the official language of 21 countries in the Middle East and North Africa, from Oman in the east to Mauritania in the west. This includes Israel, where Arabic is the second official language after Hebrew. Significant Arab minorities are also found, and therefore Arabic-speaking people are found in Iran, Turkey, Chad, and Nigeria, as well as in Western Europe and the Americas. Although the languages of which Arabic is a part are said to belong to the larger Hamito-Semitic family, the term “Afroasiatic” as suggested by Greenberg started being used for this family after Hami was shown to not be a valid language family. Lastly, Arabic can also be seen as a living language belonging to the Semitic language group, which is included in the Afroasiatic language family, which is also included in the Nostratic phylum. According to the most up-to-date information provided by Ethnologue in 2022, Arabic is the fourth most common language, with at least 50 million people speaking it as a first language and approximately 362 million people overall able to speak it. Modern Standard Arabic is the high literary form of Arabic that dates back to the literary language of pre-Islamic Arabia; it is learned in schools and is not the everyday language of any Arab population. It is universally used in official writing and speeches, professional meetings and conferences, radio and TV news, and other situations where the purpose is to communicate with Arabs from different dialect backgrounds. Modern Arabic dialects are composed of five main groups according to the traditional classification. These groups are:1. Levantine (or Syro-Palestinian) dialects, 2. The Arabian Peninsula dialects, 3. Egyptian and Sudanese dialects, 4. Mesopotamian Arabic dialects, 5. North African dialects. This five-fold classification actually constitutes the detail of the traditional binary classification of Maghreb-Mashriq, which is made by considering geography. Accordingly, while the first four items form the Mashriq group, the last item is in the Maghreb group. Arabic is typical in many respects and can be easily distinguished from other languages. In terms of typology, the following can be said for Arabic. Arabic is a pretty typical language in regard to such grammar points as phonemes (كالمي صوت ,( ّ gender (جنس ,(definite articles (التعريف أداة (and indefinite articles (التنكير أداة ,(and word order (الكلمات نسق .( ْ As a result of this examination, the study has reached 11 different findings: 1.) Arabic is included in the Nostratic phylum. 2.) Arabic belongs to the Afro-Asiatic the language family. 3.) Arabic belongs to the Semitic language group. 4.) Arabic is among the top 4 languages of the world in terms of the population of native speakers. 5.) Arabic is the official language in more than 20 countries. 6.) Because Arabic is also the language of the Qur’an, it is learned and used by many non-Arab Muslim nations. 7.) Arabic has a long and distinguished literary history with other Semitic languages, and many of its sister languages have left interesting and important written records for the history of civilization. 8.) Arabic has many more dialects than most of the languages spoken today. 9.) Arabic is a morphologically synthetic-inflected language. 10.) Arabic contains some phonetics and phonemes that are unlike other world languages in terms of phonetics and phonology. 11.) Arabic lastly shows very typical features in terms of some very important typological parameters.

Linguistic Typology and Arabic’s Place Among World Languages

Arife

Res. Assist.

Muammer

Idioms are linguistic expressions that are frequently used in daily life. Thanks to idioms, much can be explained in a few words. Additionally, the characteristics of a language and the culture to which it belongs can be reflected through the use of idioms. Audiovisual translation is a concept used in media translation and includes many translation activities such as subtitles and dubbing. Audiovisual translation is defined as a general term for translation products consisting of a verbal dimension supported by media features. Translation scholars have become greatly inclined toward audiovisual translation studies recently. Thus, study of the area has become a common practice. Idioms are of course an indispensable part of these translation products. The idioms used during the dialogue in movies provide a good opportunity to get to know cultural items for individuals learning the native language in these movies. These individuals may learn information about idioms by reading and listening to both the dialogue in the source language and the translated text in the subtitle of the film. However, the idiom as used in the source language may not always have a literal equivalent in the target language. Therefore, the translation process prefers the translation closest to the meaning desired to be expressed in the source language. For subtitle translations, the translator has to focus as much on the importance of the written text as on the visual and auditory expressions. One of the main types of audiovisual translation is subtitle translation. Technical factors such as time and place limitations come to the fore in the subtitling process. The Ice Age animated series of movies is loved and watched all over the world; the series has a humorous structure in general but also contains idiomatic expressions. This study analyzes the types of English idioms used in Ice Age: The Meltdown, the second movie in the Ice Age animated film series, and the translation strategies used for the Turkish and Arabic subtitle translations of these idioms. First, the study analyzes the obtained idioms according to Fernando’s idiom&nbsp;typology, then evaluates them in the context of the subtitle translation strategies put forward by Gottlieb as well as the idiom translation strategies of Mona Baker. Fernando divides idioms into three types: pure idioms, semi-idioms, and literal idioms. Meanwhile, Gottlieb’s subtitle translation strategies can be listed as follows: expansion, paraphrase, transfer, transcription, dislocation, condensation, decimation, deletion, and resignation. Lastly, Mona Baker’s idiom translation strategies involve using idioms with similar meaning and form, using idioms with similar meaning but dissimilar form, borrowing from the source language idiom, translation by paraphrase, translation by omitting a word play on the idiom, and translation by omitting the entire idiom. Lily-livered is an English idiom meaning coward. Because the words included in the idiom are utilized outside of their literal meanings, it is known as a pure idiom. During this idiom’s translation into Turkish as a subtitle, Mona Baker’s strategy of using an idiom of similar meaning but dissimilar form is observed to have been used. In the Arabic translation, the meaning of the idiom was transferred to the target language using Gottlieb’s expansion strategy and Mona Baker’s translation by paraphrase strategy. The English expression “give someone a hand” is an idiom that means to help someone. When the meanings of the words that make up the idiom are examined one by one, they are also seen to contain the real meaning. Therefore, this idiom is accepted as a semi-idiom. During the subtitle translation process, Gottlieb’s expansion strategy and Mona Baker’s translation by paraphrase strategy were seen to be used to translate the idiom into the target languages of Turkish and Arabic. “As far as the eye can see” is a literal English idiom. The words that make up the idiom are used with their literal meanings. This idiom was omitted in the Turkish subtitle translation, while in the Arabic subtitle translation, the idiom was transferred to the target language using Mona Baker’s translation by paraphrase strategy. Idiom translations can be considered a difficult procedure for translators because they can encounter various difficulties while translating an idiom. For example, noticing the idiom in the text, the lack of an equivalent idiom in the target language, the use of idioms both literally and idiomatically, and limitations of time and space are difficulties translators can face. Therefore, translators are expected to be experts in both the source and target languages. This study examines the second movie of the Ice Age animated film series, Ice Age: The Meltdown and has identified 15 English idioms within its scope. Eight of these are semi-idioms, six are pure idioms, and one is a literal idiom. The study also examines both the Turkish and Arabic subtitle translations of the idioms and has seen Gottlieb’s expansion strategy and Mona Baker’s translation by paraphrase strategy to generally be the ones used for the translations. This indicates that the idioms do not have exact equivalents in the target languages. In addition, translating an idiom with an equivalent idiom is a process that requires long research. The translator’s knowledge, skills, and reproducibility are very important when translating idioms. In this&nbsp;context, the translations can be said to have mostly been target language-oriented. Because idioms have structures that are specific to a certain society and culture, a comprehensive study is required in the translation process.

Analyzing the Turkish and Arabic Subtitle Translations of English Idioms in the Animated Movie Ice Age: The Meltdown

Ayşe

Besides being a de facto expedition, the Crusades also involved an intellectual process. The expeditions had started with the call of Pope Urban II in 1096 and continued until the end of the 13th century. Although the Crusades are known to have been an extension of the problems experienced in Europe, these expeditions should be emphasized to have also had an intellectual infrastructure. After the Great Schism in 1054, the Catholic Christian world strengthened its hand against the Eastern Orthodox world with the Crusades. Although the Crusades started with the reasoning that Catholics were helping their Christian co-religionists in the East, it also covered a process that dominated the Orthodox world. The reasons for the catalytic driving force of the Crusades were religious. The city of Jerusalem, where Jesus had been born and preached Christianity, was depicted as the city of God that had to be saved during the Crusades. Jerusalem is identified with Jesus, and the fact that Jerusalem was in the hands of Muslims had been explained through the fact that Jesus lived a life of captivity and was subjected to persecution. Here, underlining Muslims as pagan, heretical, and godless oppressors provided a justification for the liberation of Jerusalem. According to the Crusader point of view, once Jerusalem was liberated from the hands of the sinful and cruel Muslims, the will of Jesus and God would be fulfilled. In this way, taking Jerusalem away from the Muslims would please God in a way. The portrayal of Muslims as enemies with regard to being the ones from whom Jerusalem was to be taken constituted a justification for the taking of Jerusalem. Thus, the identity of the enemy was formed through Jerusalem. In the Cronicles of the Crusades, it is also emphasized that Jerusalem was exposed to the mockery of the Muslims and defiled. This is the point on which Crusader historiography is particularly focused. From this point of view, after Jerusalem was taken from the Muslims who’d been described as enemies, this hostility was continued through historiography and transformed into a mentality that would serve to create enemies in the long run. In a way, the Chronicles of the Crusades instrumentalized historiography by writing down the enemies of Jerusalem. On this occasion, the Muslims were also portrayed as their intense enemy during the Crusade. This paper focuses on the place of Jerusalem in Crusader thought and from whom Jerusalem should be saved. In the historiography of the Crusades, the depiction of Muslims in the form of aggressors who’d polluted Jerusalem and hurt the holy ones manifested itself to the instrumental benefit of the Crusader historiography as needed.

Historiography as a Means of Creating Enemy: The Perception of the Holy City and Jerusalem in Crusader Sources

Ertuğrul

Forests have an important place in cultural life that started with human hands getting in touch with nature and are also very valuable in Chinese cultural life. In fact, the Chinese describe themselves as a forest-loving culture. This study aims to examine the place and importance of bamboo as one of the first symbols to come to mind when thinking of Chinese culture. Bamboo has occupied a primary place in the life of ancient and modern people due to its properties. It is an important plant that has existed in the life of the Chinese throughout history, and the number of areas in which it is used continues to grow. Therefore, bamboo culture has been used to define Chinese culture, in which bamboo is not only a material used in daily life but has also been the subject of literature, philosophy, and art. Bamboo has occasionally been mentioned in poetic verses, occurred in the stroke of painters’ brushes, and become artistic products from masters’ hands. Chinese traditional culture is built upon bamboo. Traces of bamboo can be seen in homes, in the military, in art, and in Confucian thought. For example, to not find bamboo used in the materials used for constructing a Chinese house, from its doors, living room, bedrooms, and kitchen to many other points, is almost impossible. At the same time, bamboo has been used to make bows and arrows for the military, rafts at sea, and medicinal drugs, in addition to being used as both a painting material and a theme in art. Bamboo was the chief material used in writing and recording in ancient China. Therefore, bamboo is one of the first witnesses of its history and other branches of science. Thus, bamboo has made an important contribution to the development of many branches of science, especially history. When considering the sciences such as history, literature, philosophy, medicine, and astronomy that have been recorded on bamboo scrolls, one can say that bamboo has become the memory of science. With regard to historical record keeping in particular, when looking at the inscriptions stacked in the form of scrolls, bamboo has served as a kind of memory for China. The Chinese have turned bamboo into an important symbol and still occurs as such, in accordance with the rule, “Culture is the property of the nation that created it.”1 Bamboo has a place in all six arts of Confucian thought, Confucius being one of the first names to come to mind when mentioning China. Learning these six arts was not available to everyone under the conditions of that time, and those who could possess these six arts were considered to be among the elite of Chinese society. Bamboo has a very important position in each sub-heading of the six arts of Confucian thought, by which is meant the essential main lines of Chinese culture. Therefore, the fact that bamboo has an important place in each subheading of Confucian thought shows how important bamboo is to Chinese culture. Bamboo culture started with the touch of the human hand on bamboo and has been strongly preserved throughout history. With the further development of technology, bamboo will undoubtedly continue to touch our lives at more points, and from this perspective, a green bamboo core shows the vitality and freshness of Chinese culture.

Bamboo in Chinese Culture

Fuat

Abdulmuhsin al-Kâzimî is one of the pioneers of modern Iraqi poetry. Kâzimî grew up in a wealthy family. Although his father directed him toward trade as his ancestral profession, Kâzimî was more interested in literature from an early age. He participated in the poetry assemblies of the leading poets of the period and had his first poetic experiences with the poems he sang there. In his early years of poetry, he did not go beyond traditional subjects and themes with the influence of the poets around him as well as the Arab poets of old. His first poetic outputs were the ghazals he sang in the form of long odes, the elegies he composed for the scholars of the period, and the eulogies he wrote for his friends. However, after meeting Jamal al-Din Afghānî (1838-1897), one of the 20th-century intellectuals and politicians who’d come to Baghdad as an exile and affected the Islamic awakening, Kâzimî became influenced by his thoughts and then began to examine social problems through his poetry. He adopted dissenting opinions toward the current government of the time and criticized the policies of the Iraqi government. As a result, he was forced to leave to Egypt. Through the effect of the social and intellectual atmosphere in Egypt, he started to make a name for himself in the Arab world, in particular attracting the attention of the leading poets of the period with his poems in which he touched on the social and political problems of Arab society and succeeding in being counted among them. As a result of all of this, he used his politically themed poems to invite the Arab peoples to fight against all kinds of colonies and to unite under one homeland and one flag. Like many of his contemporary poets, he expressed the problems experienced by all Arab peoples, especially the Iraqi people, with the politically and socially themed poems he’d written during Arab’s most turbulent times. He sang poems supporting every nation to fight for independence against Western colonization and encouraged these countries to become independent. He also participated in congresses that were held in this direction, conveying his ideas and thoughts before them with the odes he sang. In fact,Kâzimî would become known as Şâ’iru’l-ʿArab [Poet of the Arabs] in the literary world of the period due to his populist and nationalist identity and his attitude and love for Arab peoples. This study discusses Kâzimî’s poems containing the themes of homeland and independence and presents information about his life and poetry. The article examines his poems involving the theme of homeland in terms of longing for homeland and being a martyr for the sake of the homeland. The results of the research on his poems of longing for homeland show Kâzimî to tell about love of homeland and the sadness that befell his heart as soon as he’d left his homeland and to express his feelings of longing for his childhood years, friends, and family. In his poems involving the theme of martyrdom for the sake of the country, he is seen to encourage martyrdom for the sake of the homeland in the struggle for independence and to glorify the concepts of martyrdom and sacrifice, for according to him, to die for the sake of one’s country is better than being exploited by someone else or living under their yoke. In addition, he criticized those who had not sacrificed for their homeland during the war and displayed contemptuous behaviors and attitudes toward them. All these things are reflected in the couplets of his poetry as a result of his love for nation and country. Kâzimî’s poems about the homeland generally take place around these two themes. The article evaluates his poems about independence through the themes of fighting for independence and being united against colonial powers. As a matter of fact, the poet called upon the Arab peoples who’d been exploited under the guise of the mandate to fight for independence in these poems and stated that independence can be gained by struggling in unity. Although Kâzimî called on the Arabs, he was actually calling on all peoples under colonial rule to unite. He realistically reflected in these poems the difficulties experienced by the Arabs in particular and the Eastern peoples under colonial rule in general, as well as the sociological and psychological destruction their exploitation caused. He had actually been to many countries such as India, Iran, and Egypt and witnessed the destruction of colonial powers in these lands first hand.

Homeland and Independence in The Poetry of The Iraiı Abdulmuhsin Al-Kâzımî

Gamze

Born to a Christian family in the Nasara region of Syria in 1917, Yusuf al-Kḫāl went to Beirut for university education and studied philosophy there. He founded his first magazine Al-Funûn [The Arts] while he was a student, and his passion for journalism, which had started in this way, continued for many years with various responsibilities such as editor and magazine founder. Adonis, Badr Shakir al-Sayyab, Jabra Ibrahim Jabra, and Ḫalīl Ḥāvī gathered around Al-Shi’r [The Poetry] magazine that he founded in Beirut in 1957 and called themselves a poetry community in reference to the magazine. However, one of them, Jabra Ibrahim Jabra, used the title of Tammūzī for these poets. They saw man and nature as alike and thought that their productive power comes from water and soil. While highlighting these motifs in their poems, they included the Sami-origin Tammūz myth, a symbol of continuity and protector of rural life, in Arabic poetry for the first time. The function of the Tammūz myth was to signify resurrection and rebirth in the poetry of these poets, who draw attention to the socio-politically depressing situation in the Arab world and focused on ways to be free of this situation. The Arabs, who’d entered a state of death and sleep, would be resurrected and regain their former glory, just like this mythological hero who was resurrected by the spring rains. These poets found something similar to their own situation in T.S Eliot’s poem The Waste Land, in which he showed the ways to remove the spiritual depression of the West and how he was not pessimistic about the future. These Tammūzī poets took influence from Eliot while processing religious and mythical elements in their poems. The point where al-Kḫāl differed from Eliot was his feeling of pessimism and hopelessness. Although the existential philosophy of both poets influenced their poems, the strength of Eliot’s belief in God was reflected in his poems as a sense of hope, while al-Kḫāl’s belief in God was sometimes in doubt. However, references to the Old and New Testaments are frequently seen in al-Kḫāl’s poems. Especially in his poetry collection Al-Bi’r al-Mahjūra, which this study will address and in which he reveals the relationship between religion and myth by equating humans, the Messiah, Tammūz, and God. The three main sources of Tammūzī poetry were mythology, religious narratives, and English poetry led by Eliot. In addition to these sources, al-Kḫāl’s poems also contain the thoughts of Anṭûn Sa‘âde, the founder of the Syrian Social Nationalist Party (SSNP). Sa’âde’s view toward Syrians as carriers of Mediterranean culture and separate from other Arab nations were influential in shaping al-Kḫāl’s poetry. For this reason, his most frequently used symbols are sea, water, sand, and ship, as if he wanted to emphasize that his roots belong to the Mediterranean civilization. These also point to rebirth, productivity, civilization, movement, and backwardness. In addition to the myth of Tammūz and other mythical elements that he worked into under the influence of the West, he made legends of folk heroes such as Gamal Abdel Nasser in his poems and turned them into symbols. He also wanted to reflect the universality of poetry by sometimes bringing together figures from Akkadian, Sumerian, Phoenician, Babylonian, Egyptian, and Greek mythologies in the same poem.

Religion and Myth in the Poetry of Yūsuf al-Kḫāl

Hasan

19th- and 20th-century Ottoman-Iran relations were more diplomatic than in previous centuries, and the common danger the two Muslim states faced with different sects brought them closer together in these centuries in particular. The two Muslim states had been in conflict for centuries due to the differences in their religious beliefs and adopted the idea of uniting (i.e., Pan-Islam) against Western colonialism. The 19th-century pan movements in Europe also showed how various ideas for a union had emerged among Ottoman and Iranian intellectuals as well, who emphasized the ittihad-i Islam [Union of Islam] the most and embraced the idea of unity. The concept of ittihad-i Islam had first been used by Namik Kemal in the newspaper Hurriyet in 1869 and has since acquired different meanings depending on the time and place. During the reign of Abdul Hamid II, the policy of ittihad-i Islam was aimed at connecting with Muslims outside the Ottoman Empire, gathering the strength from there to the dynasty and the institution of the caliphate, developing a defense against the colonial activities of the European states, and using it as weapon against them. The most important reason for this policy was undoubtedly that it had been adopted by the government of Abdul Hamid II. In the last quarter of the 19th century, Abdul Hamid II had brought the institution of the caliphate to the fore, which in turn triggered the policy of ittihad-i Islam. This policy has also brought about the rapprochement between Sunnism and Shiism. Although Sayyid Jamal al-Din al-Afghani was the leading figure in Abdul Hamid II’s policy of ittihad-i Islam, another equally influential figure was Abu’l Hasan Mirza Shaykh al-Ra’is Qajar, a Qajar prince and Shiite clergyman (mujtahid). The fact that he established contacts with Ottoman bureaucrats, received gifts and medals from the Ottoman state, and finally wrote an independent work on ittihad-i Islam confirms the above idea. In 1885, the dissident mujtahid prince, who’d fled Iranian rule, first went on Hajj and then came to Istanbul. During this visit, Shaikh al-Ra’is held a few official meetings regarding the necessity of ittihad-i Islam. He negotiated with many state officials, including the Sultan as at the highest level of the State. For example, in his meetings with Ahmed Cevdet Pasha, then Minister of Justice, and Yusuf Riza Pasha, then head of the immigration (muhajirin) commission, they&nbsp;&nbsp;discussed what needed to be done to form a union of Islam. In these interviews, intellectuals from different sects (Sunni and Shiite) appeared to have tried to establish a common language on the politics of Islam, albeit with some differences. Although some of the mujtahid prince’s statements clearly show Shiite tendencies, his main idea, similar to the idea of Ahmed Cevdet Pasha and other Ottoman intellectuals, was the unification of Muslims under the caliphate. Shaikh al-Ra’is clearly emphasized this idea in his work Ittihad-i Islam. As a Qajar prince and Shiite mujtahid, this emphasis on the need to unite under the caliphate of Abdul Hamid II was extremely valuable in terms of the politics of the period. The biggest factor that led Sunni and Shiite intellectuals to this common language had undoubtedly been undoubtedly the threat of colonialism. In this framework, the problems the Muslim world had faced since the 19th century can be considered to have brought Sunnis and Shiites closer to each other out of necessity. One can read this through the contacts established by the mujtahid prince, whom this study focuses on, and his work Ittihad-i Islam.

The Role Of A Mujtahid Qajar Prince In The Sunni-Shiite Rapprochement During The Reign Of Abdul Hamid II: Abu’lHasan Mirza Shaykh Al-Ra’is Qajar

Hüseyin

Prof.

The Egyptian cleric, author, critic, and thinker Muhammad Tawfiq al-Bakrī (1870-1932), with lineages dating back to Hazrat Abu Bakr and Hazrat Muhammad (pbuh), was discussed in two books published in Egypt, one in 1966 and 2013, as well as a handful of articles. As a result of the examination performed here, the 2013 work is seen to be more detailed and more knowledgeable. Not well known in Türkiye, al-Bakrī was able to receive a solid education due to his family’s wealth, and he was admitted into Al-Azhar University at a very young age thanks to this education. Al-Bakri’s family was large family and had been positioned in history with positions at various levels, ultimately ending up with Muhammad Tawfīq al-Bakri’s father, Alī al-Bakrī al-Siddīqī (d.1880). After Muhammad al-Bakri’s elementary education, he went to the al-Aliyye school Khedive Tawfīq had established for his children and learned mathematics, history, and geography, as well as English, French, and Turkish. Due to his solid education and strong determination, he started studying the Qur’an in depth, making use of grammar, syntax, and detailed interpretations, and then started deepening his knowledge in the fields of hadith, fiqh, method, and rhetoric. In 1892, Khedive Abbās II appointed Mohammed Tawfīq al-Bakrī as sheikh of the al-Bakri Sufi sect, the sheikh responsible for all Sufi sects, and naqīb al-ashrāf [chief of the Prophet’s descendants]. Abbās II then appointed al-Bakrī as a permanent deputy to the Advisory Board and General Assembly in the Egyptian Government. As a particular result of being made the sheikh responsible for Sufi sects, many cases and problems were conveyed to al-Bakrī, and he tried to resolve these by taking on the role of an arbitrator in a sense. Al-Bakrī came to Istanbul after a European trip and was highly influenced by Hagia Sophia and its symbolic presence. He also met with the Rifai sheikh Abū al-Hudā al-Sayyādī (d.&nbsp;1909), who is known for his closeness to Abd al-Hamīd II. Actually, the most important reason behind al-Bakri’s visit to Istanbul from Europe was obviously to meet with Abd al-Hamīd II. During the meeting, Abd al-Hamīd II realized that al-Bakrī was extremely well-equipped for his young age and was quite pleased with him, giving al-Bakri the first degree of Nişan-ı Osmanî [Order of Osmanieh] and the Rank of Anatolia. Such an honor had never been given to an Egyptian scholar before. In 1892, a meeting was held in al-Bakri’s house in which many scholars attended, during which Muhammad Tawfīk al-Bakrī was appointed the head of the Arab Language Institution. In a meeting held in 1893, some decisions were made for al-Bakrī to give a conference on the subjects of translating certain foreign words into Arabic and of common words and traditions between Arabs and the French. However, the Arabic Language Institution, which occurs in sources as the first language academy, was closed shortly afterwards due to the lack of importance the government gave to this initiative. Al-Bakrī was practically an advisory center on many issues, including political ones, and he is seen to have also been on the political scene in addition to the religious and literary fields he’d entered at a very young age. Based on his belief that administrative independence should come after political independence, al-Bakrī demanded the establishment of the House of Representatives. Although al-Bakrī is known to have had generally good relations with Lord Cromer, who was appointed as the British representative and British consul-general to Egypt, al-Bakrī was never a supporter of British occupation. He believed that the Egyptians were able to rule their own country and had the power to do so. Meanwhile, the idea of the Islamic Union was one of the thoughts that occupied him. The idea that al-Bakrī put forward and that perhaps was unlike others was the idea that Egyptians are able to rule themselves and cope with their own problems. This was a significant thought for that time. Khedive Abbās II didn’t like that al-Bakrī was receiving such close attention from Sultan Abdülhamid II, who had told al-Bakrī, “You are my son now” and had given al-Bakrī medals that had never been given to any Egyptian before, and made this situation a problem. After Khedive Abbās II visited Istanbul in 1901, he was seen to try and melt the ice between him and al-Bakrī. Although periodic improvements occurred after al-Bakrī and Khedive Abbās II failed to be on good terms, this situation is understood to have never returned to its former state. Muhammad Tawfīk al-Bakri composed many studies, and the first thing that comes to mind when mentioning him is his authority in the religious field. Al-Bakrī spoke Turkish, French, and English and can additionally be considered a philologist with a knowledge of the finest details of the Arabic language. In his work Fuhūlu'ş-şu'arā in particular, the selections he made from some Abbasid poets show both his literary taste and his high incidence in classical Arabic literature. The existing expressions in sahārīj al-luʾluʾ, one of his most important works, contain the highest-proposed examples of classical Arabic. Al-Bakri was one of the rare users of the form of Arabic that is used in the oldest texts and even in the Qur’an, and&nbsp;which has become the language of literature, poetry, religion, and science over time. Al-Bakrī had an extremely important scientific persona and, in my opinion, was a person who attracted attention as someone with significant weight as an advisory authority in the political, religious, and literary fields. As stated before, when considering his closeness to Sultan Abdülhamid II, his influence over Egyptian political life for a time, his little-known work al-Mustaqbal Li'l-Islām that was translated into Ottoman and banned from entering Ottoman land and most importantly his persona as accepted in the literary field and especially in classical Arabic literature, no doubt exists that he is a person who needs to be introduced. By scanning and evaluating the necessary sources, this article attempts to explain the life, works, and scientific persona of al-Bakrī, someone not well-known in Türkiye who lived for 62 years, almost 20 year of which were filled with pain as well as important works.

A Sophisticated Author: Muhammad al-Bakri’s Life, Books and Persona

Mesut

Many works by Arab writers who’d become famous in Western countries, such as Gibran Kahlil Gibran, Naguib Mahfouz, and Nawal el-Saadawi ended up being translated into Turkish for the first time using the English translations. The story collection named al-Arvâḥ alMutamarrida (Spirits Rebellious), which includes the short story “Wardé al-Hani” by Gibran Kahlil Gibran, is one of the works to be translated into Turkish for the first time from English as an interlanguage. While difficulty is had in providing equivalence between the two languages, losses will inevitably be experienced when translating a work into a second target language through an interlanguage. In this context, this study comparatively examines the text of the Arabic short story by Gibran Khalil Gibran “Wardé al-Hani” and its translations from Arabic to Turkish, from Arabic to English, and from Arabic to English then to Turkish as an interlanguage in terms of translation strategies and losses in translation in order to determine the losses that occurred when translating using the interlanguage. By including the English translation of the story in the comparison, the study also attempts to determine the extent to which the losses that occurred when translating through the interlanguage were due to the English translation. As a result of investigating the examples included in the study, translation strategies were seen to have been used effectively and successfully when translating directly to Turkish from the source text, apart from the words that were omitted using the omission strategy, a technique that is used to emphasize meaning. In addition, some translation strategies could not be used when translating through the interlanguage, while other strategies were adhered to in the interlanguage translation. A second intervention was also observed to have been&nbsp;made after the application of the strategies in the intermediate language translation was seen to have distorted the meaning. The most important reason for this was the lack of checking the translation against the text in the source language. When examining the strategies applied in the translations, the following findings have been reached: The borrowing strategy was implemented in many places when translating from Arabic to Turkish (A-T). Meanwhile, the translation using English as an interlanguage to Turkish (A-E-T) necessarily adhered to the translation from Arabic to English (A-E), because the borrowing strategy cannot be used in the absence of a direct translation from the source text. Arab and Turkish societies have had religious and cultural interactions for centuries. For this reason, the meanings of some words were not seen to have been fully met by translating using English as an interlanguage instead of borrowing the words that had already settled into Turkish. The calque strategy was applied in all translations. However, translations were seen to be made with metaphorical meanings instead of calque, especially regarding metaphorical expressions in the A-T. However, some expressions in the A-E in which the calque strategy had been applied were seen to have been translated incorrectly in the A-E-T. Because the literal strategy is a difficult strategy to implement in literary texts, this strategy was seen to be less used compared to other strategies in the A-T and A-E translations. In addition, many of the literal translations were seen to have changed or distorted meanings in the A-E-T. The transformation strategy was also one of the strategies applied in the translations examined in the study. While this strategy had been successfully applied, and the meanings of the expressions had been preserved in the A-T and A-E translations, significant losses and differences were seen to have occurred in some of the A-E-T translations as a result of the interventions that were made. Because the modulation strategy provides flexibility to translators with regard to literary texts, this strategy was seen to have been used in the translations examined in the study. The modulation strategy was preferred more in the A-T than in the A-E translations. In the A-E-T translations, however, most of the places where this strategy had been applied were observed to have adhered to the A-E translations, while some expressions had been translated incorrectly. The equivalence strategy was an important strategy in terms of translating stereotyped expressions that would have disrupted the harmony and fluency of the text if the expressions had been translated with their equivalents in the target language. While this strategy was seen to have been successfully implemented by translators who are fluent in both languages with regard to the A-T translation, this strategy could not be implemented in the A-E-T translation as it had adhered to the interlanguage translation and the fluency that had been offered by the equivalence strategy in the A-T translation was not at the same level in the A-E-T translation. In addition, some of the expressions that were translated by applying the equivalence strategy in the A-E translation transformed into meanings different from the source text when translated into a third language in the A-E-T translation. Similar to the equivalence strategy, the adaption strategy can also be applied by a translator who has a good grasp of the source and target languages. For this reason, some expressions the author used in source text had been successfully adapted to the target language using the adaptation strategy in the A-T translation. In the A-E-T translation, the intended meanings and styles in source text could not always be properly reflected due to the literal translation strategy having being implemented for these expressions in the A-E translation. In addition, many expressions that occurred in the A-E translation were seen to have changed and been translated incorrectly in the A-E-T translation. The omission strategy was seen to have been used for longer phrases and repeated expressions in the translations examined in the study. In addition to the expressions that could not be preserved in the A-E-T translation due to the omission strategy applied in the A-E translation, some words were also observed to have not been included when using the omission strategy applied to the A-E-T translation. Meanwhile, the adding strategy was seen to have been used more in the A-T translation compared to the A-E and A-E-T translations in order to beautify expressions and expand upon the more closed expressions from the source text. In addition to the losses detected in the translation strategies, many erroneous translations and losses of meaning were detected in the A-E-T interlanguage translation. These losses are discussed under two sections: 1) losses arising from the A-E translation and 2) other errors. When considering the losses caused by the A-E translation, apart from some expressions having been translated incorrectly in the A-E translation, the meanings of words used in the A-E translation had been translated using secondary meanings in Turkish for the A-E-T interlanguage translation. When looking at the errors that had not been caused by the A-E translation, many of the correctly translated expressions in the AET were seen to have been incorrectly or incompletely translated in the A-E-T translation.

Examining the Translations of Kahlil Gibran’s Short Story “Wardé Al-Hani” From Arabic to Turkish With English as an Interlanguage

Miyase

Öğretim Görevlisi

The word Gothic is an architectural term that translates as French work. This architectural trend is reflected in cathedrals, castles, monasteries, dungeons, deserted places and different religious places in particular, as well as in the literature. The etymology of the expression goes back to the Germanic tribes in the Gotland region in Southern Scandinavia. Gothic literature spread from architecture first and emerged and developed in England in the 18th-19th centuries. It has been defined as explanations in literary texts of individual and social crises that convey the fears of the past and the unknown and reflect people’s sensitivity. The main criteria of Gothic literature are horror and mystery. Al Karısı [wife of Al] and Lilith are mythological heroines who continue to exist as gothic antiheroes among the people and in literary texts. The main purpose of myths is to make sense of the world and what happens in it, to know the unknown, and to create rituals around recurring calendar events and phenomena. Two known meanings for “Lil” include poison or epidemic disease. Another meaning for Lilith is identified with laylâ [night], as she is known to deceive men in their dreams at night. According to legend, Lilith does not accept weakness and runs away while having sex with Adam. Adam complains to God about Lilith, and God then sends three angels (i.e., Senoi, Sansenoi, and Semangelof) to find Lilith. Lilith must accept that, if she refuses to return, 100 of her sons will die every day. Lilith is also known to harm babies. She is believed to be infertile and to harm people. She causes newborn babies to become poisoned by deceiving midwives in particular. She is also known to kill newborn babies herself. This characteristic of Lilith has led to her being called the baby killer and the baby eater. Lilith is also known to harm babies, women during menstruation and puerperium, and single men. In order to be protected from these harms, the name of one of the three angels (i.e., Senoi, Sansenoi, or Semangelof) who’d been assigned&nbsp;by God to find Lilith, must be on the baby. These characteristics of Lilith resemble those of the wife of Al in Turkish mythology. Like Lilith, she also is known to harm newborn babies and puerperal women. Beliefs, lived experiences, and practices developed to protect people from this character can be found in many parts of Anatolia. The fact that today’s Islamic societies also believe in the existence of a female devil characterized as Ümmü Sıbyan or the Wife of Al due to similar characteristics indicates that Lilith lives among Muslims in metaphor, if not in name.1 The Wife of Al, who has had and continues to have an important place in Turkish mythology, is also referred to by different names as a mythical character.&nbsp;

Two Gothic Mythological Heroes: Lilith and Al Karisi

Miryaqub

Occupations Mentioned In The “Sihâhul-Furs” Dictionary

Omar Adeeb

Al-Saliqa means the language of vocal intensity, with such a person being said to speak Arabic by saliqa [inherence] rather than by learning. In the early days of Islam, saliqi was the term used to refer to a Bedouin who spoke the language inherently as well as to refer to one who recites the Qur’an. As such, saliqa implies acquiring the language in childhood from the environment in which one grows up naturally and inherently without inculcation, teaching, or training, with the speaker progressing in one’s speech according to one’s nature, producing speech naturally. After the era ended in which the Arabic language had been acquired naturally and inherently, the ability to use a language was able to be obtained by learning and exerting hard effort. Some modern Arabic grammarians believe saliqa to be closely related to the ancient roots&nbsp;of the Arabic race when a non-Arab could not have learned Arabic even if they had been born and raised in an Arab environment. On the other hand, other modern Arabic grammarians absolve the classical Arabs of this claim. The truth is that the issue was not one of bigotry; rather, the issue is due to the early Muslim Arabs’ fear that religion would disappear alongside the Arabic language upon the Arabic tongue becoming corrupted due to Arabs mixing with non-Arabs, as the Qur’an had been revealed in the Arabic language. The reality of the situation at that time was no pure Arabic actually existed to be preserved from corruption except for those who could speak Arabic by saliqa, those who’d remained isolated and had not mixed with non-Arabs. Therefore, the classical Arab grammarians find no other way but to take the language from Arabs and not non-Arabs. Also similar to other languages, the Arabic language is acquired from the social environment in which one grows up by training and practicing during the stages of their development. Ibn Jinni believed that the society in which one lives protects the learner who violates the words of the language from deviation and aberration. No dispute exists anymore today as to whether language acquisition is an instinctive phenomenon or an acquisition from the social environment. All researchers agree that language is acquired; they just disagree about whether language acquisition is aided by an inherited linguistic predisposition or not or how much of an impact this innate predisposition, if it really exists in a child at birth, actually has on language acquisition. Among the characteristics of the saliqi is that they notice naturally what a non-saliqi does not notice due to the long discussions and listening they’ve been exposed to. The words of a saliqi are easy to say, yet the salaqi speaks with eloquence. And neither a saliqi nor the salaqi’s tongue would not be able to deviate from the language or its specific structures, even if they wanted to. The ancient Arab grammarians attributed the cause of the corruption of an Arab’s speaking by saliqa to the length of time spent with non-Arabs. Furthermore, they linked isolation to an Arab’s ability to speak Arabic by saliqa, making this connection based on their scientific foundations in setting the rules of the Arabic language. Ibn Faris and Ibn Jinni believed that poets could make mistakes. Abu Ali al-Farsi attributed the reason why a saliqi made mistakes to be due to the fact that they had no references to review nor laws to hold fast to; instead, their nature controlled what they uttered. As for al-Azhari, he did not deny that pure Arabs could make some small mistakes. Some modern people believe that a saliqi can make a mistake. However, Ibrahim Anis believed that no native speaker of the Arabic language who spoke it by saliqa could make a mistake in speech regarding the basics of the language without realizing that a mistake had been made. The words of Ibn Hisham who said, “Arabs used to recite each other’s poetry, and each spoke according to his innate character” clearly shows that he believed an Arab’s saliqa to only be in regard to dialect. One of the moderns saw that if an Arab lived among common Arabs in language, his saliqa would be colloquial. In addition, Abd al-Qadir al-Maghribi believed that the colloquial Arabic, like the Bedouin Arabic, were both dominated by dialect due to the influence from their environment and upbringing. I also see that the saliqi in our Arab societies nowadays to speak the colloquial Arabic language, which branches out into a group of colloquial Arabic dialects in every Arab country as the language that people can pronounce more easily without affectation. Accordingly, the standard Arabic language today does not have saliqa because modern Arabic is acquired through learning, training, and affectation. A group of contemporaries also view Classical Arabic to not be the Arabic by saliqa as spoken by the Arabs in the pre-Islamic era; however, others view the Classical Arabic in the pre-Islamic era to be identical to the commoners’ Arabic and thus to be Arabic spoken by saliqa. Some modern grammarians have followed this view, including Muhammad al-Habbas, who considered the linguistic mistakes that occurred among Arabs during the pre-Islamic era to have been simple, such as the slips of the tongue that occur to people speaking Arabic by saliqa colloquially. However, the majority of Arabs did not use to make linguistic mistakes in their speech. I see that the origin of the topic is due to what modern scholars have raised concerning all languages to have two levels of expression: the level of daily life and the level of the common literary language that is used in poetry and literature. Whoever views the existence of only one level in the pre-Islamic era (i.e., classical Arabic) went with the fact that an Arab who spoke Arabic by saliqa spoke classical Arabic, and whoever viewed the existence of two levels went with the fact that an Arab who spoke Arabic by saliqa was speaking Arabic in the dialect used in their tribe.

Saliqa in Classical Arabic During the Jahiliyyah Era

Ramyar

The death penalty, also known as capital punishment, is one of the severest types of punishment in many countries’ justice systems in the modern era. As the world’s modern Western countries, especially European countries, have started to suspend capital punishment for certain crimes, people in other countries around the world have also started to ask their governments to change and amend their systems. While this might be easier for non-Muslim countries, suspending different types of executions always not easily accepted by the governments in Islamic countries such as Iran and Türkiye, where the death penalty is an important punishment for specific crimes. One of the most significant parts of the process when Türkiye began its steps toward joining the European Union involved suspending the death penalty for certain crimes. As a result, Türkiye’s government after some time finally accepted preventing this type of punishment. However, despite all the societal pressures in Iran, especially from civil associations and NGOs, the government has yet to accept this compromise especially due to religious reasons. Although recent years have seen Iran’s judicial system begin to decrease the number death sentences handed out to people, this number still appears to be quite high. Due to the fact that no accurate statistics have been provided regarding executions inside Iran and foreign media have presented different statistics in this regard depending on their policies and relations with Iran, These figures have many differences, so is not possible to comment on this. Due to the fact that no accurate statistics have been provided regarding executions inside Iran and foreign media have presented different statistics in this regard depending on their policies and relations with Iran, These figures have many differences, so is not possible to comment on this. It should also be noted that this article does not have any political purpose. So we prefer not to mention the relevant statistics due to their political dimensions. These important challenges in Iran and Türkiye have always been an important aspect of the literature, particularly the social literature. Aziz Nesin in Türkiye and Ali Mohammad Afghani in Iran are both very famous authors for their social literary works. Aziz Nesin is known for his humorous literary works, and his novels and stories are full of social criticism and humor. Surname is one of his unique little-known novels in which he tells the story of Hayri, a normal young barber shop owner who’d been harassed and raped by one of his shop’s neighbors for a long time. After a long period of sexual harassment and feeling bad, Hayri one day decides to get revenge by raping that rapist’s young boy. He regrets the moment he commits the rape, but the child’s shouting causes him to choke the child. Hayri, who’d never committed any other crime during his life, was imprisoned and ultimately sentenced to death. The novel’s overall story is about Hayri’s life and problems in jail and how encountering people who’d committed different types of crimes made deep changes to Hayri’s characteristics. The person who had been fully innocent and normal apart from his revenge starts to become violent after his time spent in jail. The novel is about the developments and changes in a person’s personality. Unlike Aziz Nesin’s novel, Ali Mohammad Afghani’s work is a short story. Ali Mohammad Afghani is one of the most famous social authors in Iran’s literary history and known especially for his novel Madam Ahoo’s Husband. Although Afghani never claimed the same attention in his later works, his first novel strengthened his position on Iran’s literary history. All his works including his first novel have a social substructure that mostly involve women’s place in society and their problems and challenges. His “Mahku ba A’dam” [sentenced to death] is one of a collection of short stories in the book of the same name. This story is the main story of the book and concerns Berage, who man works in a public bath in a small city in Iran. He gets sentenced to death for murdering a person at his workplace, a Loan shark who had made many problems for the city’s people. No one knows the events that occurred between them, and Berage never talks about it except to say he’d killed him because of his crime. However, the hero and main character in Afghani’s short story is not Berage, the person sentenced to death, but his cellmate, Zeki. Zeki is a very famous criminal in the city and had received an extensive sentence for his crimes. Berage needs to pay a punitive amount of money to Surer’s family in order to not be executed for his crime. This type of sentence helps people have a chance at not being executed by the government and at being forgiven by the victim’s family. Once paid, the government reduces the sentence to an extensive prison term. Berage asks to see his only friend in jail before announcing his death sentence, during which Zeki, who’d been a criminal and violent character throughout the whole story, changes in a moment and decides to help his friend by selling his only land and paying for Berage’s reduced sentence. Given that, the two stories’ main common problem and challenge involve the development of people’s character over time. Also, both countries have received a lot of criticism about capital punishment and human rights. These two authors share similar opinions in this regard. The characters in both stories feel utopic about countries and a world without the death penalty and capital punishment. Similarities also exist regarding women’s status and place in Iran and&nbsp;Türkiye, as well as people’s feedback concerning the countries’ death sentences and justice systems. The most important difference between the two works occurs in the stories’ conclusions. Aziz Nesin’s novel finishes with the death of the main character as the last person to be sentenced to death in Türkiye, while Afghani’s story finishes with the freedom of the condemned in addition to the main character’s desire for freedom. This study attempts to compare these two authors’ works with regard to social thoughts concerning capital punishment and its social effects in particular, as well as women’s issues in both countries.

The Death Penalty in Ali Mohammad Afghani’s “ Sentenced To Death “ and Aziz Nesin’s “Surname”

Sacide

The name of the great English poet of the 16th century, William Shakespeare became known in Germany in the 19th century through the efforts and direction of the German poet Goethe. German society values theater very much and welcomed Shakespeare’s plays with enthusiasm, with German theater being built upon the works of Shakespeare. Shakespeare’s works were met with similar interest in Italy and France as in Germany. In France, the romantics in particular benefited from Shakespeare’s works and fame, as they found it suitable to their own art and worldview. François Victor Hugo translated Shakespeare’s plays into French in 18 volumes, aestheticizing the poems and plays and eliminating the obvious flaws. Despite being harshly criticized by some writers, interest in Shakespeare continued to increase in French society. The political and cultural contacts Turkish society had with the West were realized through France. Almost all of the 94 theatrical translations published in Turkish at the end of the 19th century are from French literature. Having received great interest and acceptance in French culture and literature, Shakespeare also attracted the attention of the Turkish intellectuals who closely followed French literature. Shakespeare’s works were first staged by Armenian and Greek actors in their own languages in Istanbul in the 1840s. All eight theater plays that had been translated from English literature into Turkish were Shakespearian works, with The Comedy of Errors being one of the first Shakespearian plays to be translated into Turkish. It was translated into Turkish by Hasan Sırrı in 1887 with the title Sahv-i Mudhik [The Sobriety of the Jester]. The influence of Shakespeare, which first started to make itself felt in Turkish literature through Ebuzziya Tevfik’s play Ecel-i Kaza [The Accident of Fate] (1872), later appeared prominently in the works of writers such as Namık Kemal, Abdulhak Hamit, and Sami Paşazade Sezayi. Tanpınar, who had fed mostly from Western culture as both an artistic and intellectual person, approached the works of poets and writers belonging to Western culture and literature with a deep interest. Many of his works refer to Shakespeare as well as his works and characters. The Time Regulation Institute is a novel about cultural crisis that among Tanpınar’s works most strongly reflects the search for a new identity. Enginün has studied the effects of Shakespeare in Turkish literature and according to him, although Shakespeare is not directly mentioned in The Time Regulation Institute, the whole work is a comedy of errors. Tanpınar was inspired by this Shakespearian comedy while creating the fiction for his novel. Of course, great differences exist between the narrative possibilities of a novel and a short theatrical work written for the stage. Moreover, the audience these works address, the culture they belong to, and the era in which they were written are also very different. In addition to all these differences, Tanpınar’s view of Shakespeare’s artistic personality and works as a rich source, his frequent references to Shakespearian characters in his works, and his critical approach toward the poets and writers before him who had not been nurtured by Shakespearian works in any real sense show how much Tanpınar cared about Shakespeare in his artistic life. The general atmosphere of The Comedy of Errors as a work full of mistakes and absurd events is reflected in The Time Regulation Institute. Comic and tragic elements are intertwined in the absurd series of events that take place in both works. In The Time Regulation Institute, Tanpınar expands upon the events and situations that were inspired by Shakespeare’s The Comedy of Errors, which was one of his shortest plays in terms of the possibilities of a novel, and greatly intensified the humor and tragedy. Tanpınar viewed borrowing from the absurd and tragic atmosphere and events of this play, which Shakespeare had written with inspiration from Ancient Roman literature, not as an imitation or analogy but as something that brings the cultures and their literary works closer together. One of the pillars of Tanpınar’s artistic personality involved being enriched from different cultures and literatures by feeding on each other. The first part of this study examines the effects and reflections The Comedy of Errors had on the novel The Time Regulation Institute and discusses the effects Shakespeare had on Tanpınar over various aspects. The second part of the study comparatively analyzes the aspects that Shakespeare’s The Comedy of Errors, which had been inspired by the comedies Menaechmi and Amphitryon from the ancient Roman playwright Plautus, had in common with Tanpınar’s social satirical novel The Time Regulation Institute.

The Effects of Shakespeare’s The Comedy of Errors on Tanpinar’s The Time Regulation Institute

Saniye

The “Shahnameh” [Book of Kings] by the famous Iranian poet Ferdowsi played an important role in the birth of shahname writing, which is considered a kind of palace historiography of the Ottoman Empire. With the intense influence of Persian language and literature alongside the results of scientific, intellectual, commercial and artistic progress in the 15th and 16th centuries in particular, the sultans wanted their victories and works to be recorded; this resulted in shahname writing becoming widespread and emerging as an official institution. Shahname writing, started semi-officially during the reign of Mehmed II and became a permanent state duty during the reign of Suleiman the Magnificent, with five shahname writers serving officially over a period of about 50 years. Sayyid Luqman is the author of the Shahinshahname which constitutes the subject of the study and also draws attention as the longest-serving shahname writer of the Ottoman Palace. Luqman was appointed as a shahname writer in 1569 and retained this position for about 27 years, having written many works in both Persian verse and Turkish prose. Among these, would be his last Persian shahname. This work includes events that occurred between 982- 989 AH (1574-1581 CE) in the first volume of a shahname devoted to Murad III. Most of the events took place in Eastern Anatolia, Southern Caucasus, and Northwest Iran during these conflicts, with the work especially addressing the turbulent relations with the Safavid dynasty. The work narratively describes the events through their details and qualities and is especially important in terms of shedding light on the realities of the period in which the author lived. The work provides the exact dates of many events and chronologically tells historical events in full. Many place names, tribe name and personal names from the conquests were also written down for various reasons. The Shahinshahname contains first-hand information and clues about the history as well as social life of the period. Expressing most of the events he narrated based on his own observations and hearings, the author sheds light on the historical texture of the period. The work is seen to have a realistic approach in accordance with its historical narrative. The work also conveys the brutality and violence of war as it had occurred. Due to being an ideological work that was naturally presented to the sultan, the work negatively characterized hostile communities. Despite this, one can still learn some details about the Safavid dynasty from this work. The work is a historical document due to being a report of the events the author had personally heard and witnessed and in a sense because he tells the events of his own time. While daily events are described in a simpler and more descriptive style, a high literary mastery is used for the transitions and natural depictions. Apart from the familiar places in Istanbul, the work also has detailed information and descriptions about many regions in the Caucasus and many geographical locations such as Kars, Erzurum, Sivas and Van. These places where the events took place are generally described in detail through the use of similes and metaphors. The structures of cities, castles, rivers and other geographical places are introduced by specifying the features for which they are famous. The work also elaborates upon ceremonial depictions, explaining in detail such things as the sultan’s enthronement, circumcision ceremony, burial ceremonies, appointments to high positions and donation ceremonies. The work was enriched with many miniatures depicting the described events and these miniatures attempt to reflect the cultural and social life of the period, as well as the clothing, art, and city and palace views. Luqman is understood to have had deep knowledge of astronomy and to have processed data related to this field in many places in his work. The names of celestial bodies in particular are seen to have been used when describing battlefields, encampments, ceremonial scenes and natural descriptions, which also benefited from their characteristics. The Shahinshahname is also considered an important resource in terms of Turkish quotations used in the military field and in the government. Detailed information is found in many sections about how the Ottoman Palace was organized, as well as its various duties. Due to the education Luqman had received and the societies in which he had been raised, he knew both the Persian and Ottoman geographies and cultures well and succeeded in blending the two cultures in their most conflicting periods in this work.

Shahinshahname Of Sayyid Luqman, One of the 16th Century Ottoman Shahname Writers

Yusuf

Senem

The behavioral learning approach has been effective in the field of education for many years, and teaching practices based on it have started to be replaced by the constructivist learning approach. In fact, a paradigm shift has occurred in the background of this transformation in the field of education. Accordingly, the positivist paradigm, which directs education in terms of understanding knowledge, has been the subject of criticism due to the educational problems it has created and has been said to fall short of meeting the educational needs of people living in today’s society. The positivist point of view is based on teaching practices that only transfer information, with learners tending to memorize information completely, and has remained ineffective in the field of education. The literature on education shows how learning and knowledge have been moved from object-centeredness and placed in an intersubjective context in the transition from behaviorism to cognitivism and then to constructivism. Accordingly, interpreting and reproducing information instead of memorizing it have become even more important in an environment where information is rapidly produced and disseminated. Regardless of the subject being taught, education is expected to go beyond knowledge and focus on developing learners’ cognitive skills. In this respect, the focus is on having the teaching processes contribute to learners’ holistic development in terms of cognition, affection, and behavior. Accordingly, learning-centered strategies, methods, and techniques have been used in place of a teacher- and content-oriented teaching process.&nbsp;Teaching methods can be evaluated under two basic categories (i.e., traditional and modern methods) depending on the paradigms upon which they are based. Traditional methods (e.g., lectures, question-and-answer) are teacher-centered and passively position learners in the learning environment. In traditional teaching environments where teacher-centered methods are applied, learning is mostly at the knowledge level where information is memorized as is. Research shows teaching situations that are designed in this way to fall short of supporting the development of high-level skills that today’s individuals need, such as problem solving and creativity. Therefore, focusing on methods and techniques that will support the formation of meaningful learning and the development of high-level thinking skills has been recommended over memorization. In the constructivist approach, learning is evaluated as a meaning-making process and explained as a mental structuring. In this respect, this approach emphasizes the factors that will enable learning to become meaningful and gives priority to learners’ individual and social creation of knowledge. Individual structuring of knowledge takes place based on learners’ previous knowledge, experience, schema, and concepts. The use of methods that will reveal learners’ prior knowledge and experiences in learning situations is thought to also be able to contribute to knowledge that is meaningfully structured. At the same time, social constructivists emphasize the social nature of learning and development and suggest using teaching strategies and methods that support learner interaction in which cultural tools, especially language, are effective in the meaningful creation of knowledge. According to meaningful learning, learners’ prior knowledge is the most basic factor affecting learning. Learners who have insufficient prior knowledge and conceptual background in any subject will not be able to meaningfully construct knowledge. Likewise, meaningful learning will not take place in the absence of any meaningful connection between concepts and principles. For this reason, the use of pre-organizers is recommended in order to eliminate learners’ lack of knowledge and concept. Concept maps contribute to making learning meaningful in terms of learning concepts from general to more specific levels by revealing learners’ previously learned concepts. In this context, foreign language teaching and its methods are also being renewed based on conditions and circumstances, as well as being reconstructed to meet the needs. Arabic is taught as a foreign language in Türkiye and had been taught in the past based on traditional methods. Based on the changing conditions of today, constructivist learning approaches have started being used to teach Arabic. One situation that can be encountered involves the context of concepts that have different forms and structures during foreign language learning compared to when used in the mother tongue, and all these new kinds of information appear as points where students have difficulty understanding. In this case, having students actively participate plays an important role in students’ ability to make sense of the information. Therefore, concept maps can generally be used in every stage of teaching a foreign language, especially when teaching Arabic as a foreign language, because learning the concepts and the&nbsp;relations between concepts fully and correctly will contribute to meaningful learning. In this context, the concept maps method is thought to have an important role in acquiring any skill, especially with regard to grammar lessons, teaching basic concepts, concretizing information in the mind, and shaping information visually. This study presents examples of concept maps related to acquiring the basic concepts used in Arabic grammar lessons. As a topic title, the grammatical subject of sentence types was chosen at random. In terms of preparing students for the subject, the students were presented with the concepts of word and vocabulary in the context of remembering previous learning and associating it with new learning and were asked to think about related concepts. The students also created concept maps under the teacher’s guidance.

Using Concept Maps in Teaching Arabic as a Foreign Language

Serap

Poetry is like a mirror reflecting life in many aspects. The aesthetic values, culture, and artistic understanding of a society can be seen in the images reflected in this mirror. The Great Seljuks came from a nomadic culture and encountered new cultures in the lands they conquered. The Great Seljuk dynasty settled down with the state they had established, and in many ways they consisted of open-minded, tolerant people. During this period, Persian was adopted as the literary language, and the Persian language showed a great developments. Although the language of the poetry was Persian, the Turkish warrior-type lover began to appear in the imagery and metaphors used in these poems. During this same period, the city of Kashan made a name for itself with the luxury wares it produced, so much so that tile products began being referred to as kāshī in deference to the city, and these products were exported to other cities. One of the most striking features of these tiles, which are encountered in various museums around the world as well as in some architectural structures in Iran, are the figures on their surfaces. The people depicted on these tiles have moonlike faces and almond eyes. These figures have long hair hung on both sides of the head and are depicted while riding a horse, shooting arrows or while sitting crosslegged (Turkish sitting) on a throne looking at a garden or pool. These figures are the practical projection of the Turk warrior lover in Persian poetry and must be accepted as a product of Seljuk tastes. In addition, hunt animals such as greyhounds, partridges, ducks, and rabbits, as well as mythological animals such as sirens, sphinx, and phoenix are depicted on these tiles. Although the Great Seljuk Empire collapsed in 1157, its influence on culture and art continued into the 13th and 14th centuries, as seen by how art historians use the term Seljuk Dynasty while classifying the objects from this period. During the Great Seljuk period, quatrains also evolved in parallel with the development of Persian poetry, with Omar Khayyam and Mahsati being the famous quatrain poets of this period. The skill level of the poets who were present next to the sultans and the maliks was measured by their ability to express quatrains extemporaneously. For example, Muʿizzi -one of Malik-Shah’s palace poet- owes his existence as a Malik al-Shuʿarā to the quatrains he read with wit. The quatrain examples given in the Dawlat-shah’s Tadhkirat al-Shuʿarā reveal how popular this form was. Quatrains written on tiles produced in Kashan in the 13th and 14th centuries also show not just poets but also craftsmen to have been interested in quatrains. These poems were mostly written by the poets of the period or by the tile masters. The tiles have poems by Rumi, Baba Afdal, Mujir al-Din Baylaqani, Mahsati, Ferdowsi, Rooni, Rokn al-Din Da'vidar Qomi' on the tiles. These poems on the tiles also function as a written diwan. Tiles on which the master craftsman wrote the date of production can be used to determine whether a poem belongs to the poet to whom the poem is attributed. In addition, versions of a quatrain or ghazal containing different words can also be seen. The Kashan tiles allowed poems to become visible and tangible and are the most beautiful tiles among their peers. The embroidery around a quatrain, even on tiles used in daily life, can only be interpreted as a victory of poetry.

When Poetry Came Alive on Tiles: Persian Poems on 13th-14thCentury Kashan Tiles

Şerife

Literary developments have always been influenced by historical, social, and political developments. In the Balkan geography, the first interaction started with language in the 14th century and continued with culture, tradition, and literature. At the end of the five-century rule of the Ottoman Empire in the Balkans, almost all Balkan languages had been influenced by Turkish. After the adoption of Islam, Turkish became widespread in the Balkan countries, through which Arabic and Persian elements also entered the language. Albania has always been of considerable importance among the Balkan countries due to the historical and cultural relations between Albanians and Turks. The Anatolian Turks first recognized Albanians in 1337 as a result of their alliance with the Byzantine Empire. The earliest records of Albania under Ottoman rule date back to the reign of Bayezid I. In the 16th and 17th centuries, the influence of Turkish is clearly visible in the first works written in Albanian. During this period, the areas where Turkish words were used are understood to have expanded and been enriched through the proliferation of Turkish. The Islamic influence in Albanian literature emerged in the 18th century, when the development of Albanian cities and the consequent increase in the efficiency of social and economic activities paved the way for the creation of a new class. Albania was a part of the Ottoman Empire until the early 20th century, and the fact that the people living here learned Islam, Persian poetry, Persian literature, and culture through the Turks was effective in the spread of the Persian language throughout these lands. The best examples of first Turkish, then Arabic and Persian oral folk literature were observed in the regions where the Ottomans had settled. In fact, the influence of Persian literature and Iranian civilization in general in the Balkan region is also surprising in terms of the wide geography in which Persian literature was found as well as the extent of its presence among other nations. Those who grew up in the Ottoman tradition and were interested in science, culture, art, language, and literature had noteworthily been influenced by Arabic and Persian literature and produced works in Turkish or Persian; these works also have an important place in the Albanian literature. During the Ottoman period, Arabic was the language of science, theology, and Sharia; Turkish was the language of administration; and Persian was the language of emotion and thought for those with a taste for language and art. The Ottomans established many madrasas and tekkes [dervish lodges] in the various Albanian cities where Persian language and literature were taught. Tekkes were places where classical Islamic Sufi literary works were read and experienced. One of the tekkes that contributed to the development and spread of Sufi ideas and the Persian language among Albanians was the tekke founded by Tahir Nasibi, a dervish from the Khorasan region, in the village of Frashër in the Permet district of Albania. Great literary figures and intellectuals of the Albanian nation such as Dalib Frashëri, Shahin Frashëri, and the brothers Abdyl, Naim, and Shamsaddin Sami Frashëri were raised in this tekke. These madrasas and tekkes were first opened under the name of maktabs [schools] and were places where students began their education by reading and memorizing Sadi’s Bostan and Gulistan. These students would go on to read Firdavsi’s Shahname, Nizami’s Hamse, and finally Mawlana Jalal al-Din al-Balhi’s Masnavi. Mehmet Naim Frashëri was one of Albania’s great literary figures and intellectuals and was born on May 25, 1846 in the village of Frashëri in the district of Permeti in the Ergiri Sanjak of Ioannina Province. He was the older brother of Shamsaddin Sami Bey, a wellknown journalist, lexicographer and linguist of Turkish literature after the Tanzimat who is more commonly referred to as Sami Frashëri in the Albanian literature. The Frashëri family ensured that their children received religious education from private teachers and had them learn Turkish, Persian, and Arabic in order to raise them as Ottoman intellectuals. Naim Frashëri was one of the leading poets of Albania. In his works, he tried to combine Sufism and Western philosophy. His poetic ideas were always intertwined with Bektashism, the Sufi order in which he’d been raised and to whose basic ideologies he’d always adhered, and Albanian national ideas. Naim Frashëri wrote various works in Albanian, Turkish, Greek, and Persian. As a poet shaped by Persian knowledge and culture, Naim Frashëri expressed his first linguistic writings and poetic experiences in Persian. Most of his works in Albanian are textbooks for primary school students and were written in the style of La Fontaine’s fairy tales, which contain basic historical information about certain nations and states, and in verse and prose to teach moral rules to children. Naim’s first book was a Persian grammar book titled Kavaʻid-i Farsiyye ber-Tarz-ı Nevin [Rules of Persian Based on the New Method], which was published in Istanbul in 1871. When considering that Dastur-i Sokhan [Rule of Speech], the first Persian grammar book written by Mirza Habib-i Isfahani under the influence of Western grammar books, was published in Istanbul in 1872, Naim Frashëri’s Kavaʻid-i Farsiyye berTarz-ı Nevin, having been written the prior year, can be considered the first Persian grammar&nbsp;book to have been written in the Western style. In 1873, Naim at only 25 years old started to write his first Persian poems while in Ioannina; he later collected these Persian poems in the divan [collection of poems] titled Tahayyulat [Dreams], which was published in Istanbul in 1885.

Naim Frashëri and His Prominent Works in Turkish and Persian Literature

Tahir

Due to their central position in many developments in the Arab world, the contributions of Egyptian poets and writers to Arabic literature have shown a wide range of effects. These impacts appear not only in a literary sense but also in politico-military and sociocultural areas and can be seen to have influenced other developments in other Arab countries, with most of the breakthroughs being evident in Egypt. Egypt was a center of literature and science and gradually separated from the Ottoman State in the second quarter of the 19th century due to the influence of both internal and external factors. Students being sent to Europe, some literary and scientific works being translated into Arabic, and modernizing movements being implemented in various social, cultural, military, and political fields in Egypt prepared the grounds for the end of the long period of stagnation in Arabic literature known as Asru’l&nbsp;İnhitât&nbsp;[Period of Decadence]. On the other hand, this also caused moral, religious, cultural, social, and political conflicts that seriously affected the building blocks of society. The poets and writers expressed their thoughts, criticisms, and concerns about these problems affecting the literary community and attempted to reflect the shortcomings in the basic values of a society struggling to survive politically, socially, and culturally in their texts, attempting to create a social awareness in this direction through their works. Some of these published works aimed to counter the negative perception of Westernization that had emerged during this period through advisory semi-modern novels, while other works investigated the root of the problems and addressed them while expressing their concerns. Others proposed solutions by taking into consideration the needs of society in reference to the existing problems, choosing a more constructive and progressive path both in terms of content and methodology. This study analyzes and attempts to find solutions to some general as well as some specific issues in Layali&nbsp;Satih, such as cultural change; mental confusion and crisis; women’s rights; women’s dress; the concept of freedom and its misunderstandings; religious, old, new, and modern educational institutions; ethical&nbsp;individuals; society and morality; journalism and the press; Arab culture; civilization conflict; the desire to imitate the West; politics and society; the relationship between religion and politics; the concept of happiness; and the thoughts of Afghani and Abduh who’d influenced the era, as well as the privileges granted to the British, the Syrian issue in Egypt at the time, Hafez’s views on poetry, and the criticisms of Ahmed Shawki, within the context of existing thoughts in the era, especially regarding the globalizing world and in the Eastern societies where some of these issues still persist. Layali&nbsp;Satih is the only known work by Hafez Ibrahim in the field of prose and deals with the social, political, and moral dichotomy brought about by the modern world that had started with the Nahda movement in Egypt, providing a general examination and analysis of the social and cultural conflict. The work is significant as a piece of literature because it reflects the different dimensions of social decay, which was a big problem in its time and continues to be even today, by narrating historical events that took place at the end of the 19th and beginning of the 20th centuries in a fictional style. One should not overlook that, in the book, the British occupation was not just a military movement but an attempt to reform all aspects of life, from clothing, the education system, and daily life to the shaping of laws and governance, even including the mandatory teaching of English. The influence of the British and its consequences are heavily present in the work, making it an important historical document of the period. Hafez chose the genre of maqamah, in which the writer identifies a problem in society and reflects his views on the subject but cannot be said to have conformed to all the known characteristics of the classic maqamah genre. During this transitional period when a shift had occurred toward modern narrative forms and the novel, Hafez can be seen to have been influenced by translations and to have leaned toward the novel genre, and this contributed to the creation of a novel-like expression in the style of Layali&nbsp;Satih. In this sense, the work has a mixed style that is rich in structure. The character Ravi narrates the story, in which the main and supporting characters are intertwined, and an attempt is made to create awareness about many vital issues in Egyptian society. In this context, the author expresses his opinions and thoughts based on real events and supports these with some narratives that had taken place in the past, making his views even more prominent. The fact that the criticisms made toward Egyptian society in the work still retain their relevance today gives the work a different dimension, while also emphasizing the need for society to re-examine itself. Despite its small size, Layali&nbsp;Satih points to the sociopolitical and cultural disruptions of today with its qualitative and distinct structure. Usefulness is had in noting that some of the topics Hafez Ibrahim mentioned have been translated in the analysis of the work, while others are reflected in this study in the form of meaning transfer rather than as a translation. The similar topics Hafez mentioned on different pages have been gathered together to eliminate any possible confusion and to ensure fluency in style. This study is not just a translation work, but rather an analytical and interpretative work, with all the translations&nbsp;made in transfers being entirely original. This work is unique because previous studies related to Hafez Ibrahim only mentioned Layali&nbsp;Satih&nbsp;by name, with no other research or study having been done on the work. Studies on this work in the Arabic literature should be noted to be limited, and this is believed to be due to Hafez being primarily known as a poet, with more studies being done on his poetry. The aim of this study is to present the scientific community with the thoughts and criticisms toward Egyptian society and literature of Hafez Ibrahim, who is mostly known as a poet, as reflected in his work Layali Satih, which he wrote as a work of prose, by analyzing the problems of Arab society in the process of modernization and social degradation in the context of the conflict between tradition and modernity. Additionally, another goal of this study is to acknowledge and convey how the poet had also produced a remarkable work in the prose genre, how he had been a strong writer in prose as well as poetry, and how he had made contributions to the mindset of the era with his thoughts. Lastly, the study aims to draw attention to the fact that the social upheavals the poet referred to still exist in Eastern societies today and are still being discussed. This study also raises many questions about the persistence of similar social problems and is completely original in that it furthers these discussions.

Analyzing Hafez Ibrahim’s Work Layali Satih from a Technical and Thematic Perspective

Zekai

After the British colonized the Indian subcontinent, the Muslims of the region regarded the Caliph as a spiritual backing power, so they increased their loyalty to the Ottoman Empire and the Caliph. They anxiously watched the situations the Ottoman Empire faced during its final era and tried every possible way to help the Ottoman Empire. The Indian people who intensely watched the news about the Tripoli and Balkan Wars through the Muslim Indian Press organized nationwide donation campaigns to help the Ottoman Empire financially. One of the most important newspapers of this period was al-Hilal, which started its publication life on July 13, 1912 under the editorship of Abul Kalam Azad and supported the Ottoman Empire with its publications. News about the Ottoman Empire and the Turks were regularly published in the newspaper under such headlines as “Heroes of Tripoli Gaza,” “Ottoman Affairs,” “Istanbul Post,” and “Heroes of Balkan War.” Al-Hilal was generally published to reflect the political views of Abul Kalam Azad and often included letters from readers and open discussions. The newspaper made its main impact with its publications on British colonialism and its support for the Ottoman Empire. Published at a medium size of 18-20, al-Hilal was meticulously printed. In terms of the fonts used and page design, al-Hilal was printed so as to be more pleasing to the public compared to the other newspapers of the period. Azad stated that al-Hilal should give a strong newspaper image through both its content as well as its appearance. Abul Kalam Azad was among the most important figures in the history of India in the 20th century with his pan-Islamist thoughts and active struggle for India’s independence. He used the pseudonym of Azad to reflect his views on the freedom struggles of oppressed nations, as well as to express the level he’d reached in his own world of thought. Azad supported the Ottoman Empire and the caliphate with great courage and was also among those who praised the establishment of the Turkish Republic. He evaluated the abolition of the caliphate as the end of the dualism seen since the establishment of Türkiye. According to Azad, the political and religious authority of the caliph is a whole and is unlike the papacy in Catholicism. The caliphate is the power of attorney, and this power of attorney does not necessarily have to be represented by a person. The most powerful Muslim state naturally assumed the caliphate. Therefore, the caliphate is still in the hands of the Turkish state. Azad was also influenced by the Pan-Islamic ideas of Jamaluddin Afghani. Afghani said that the problems faced by the Islamic world today stemmed from a lack of political unity. The reinterpretation of Islamic law and reorganization of Islamic institutions would only be possible in a pan-Islamic society, and this society would be under the symbolic rule of a single and universal caliph. For this purpose, Azad published a series of articles in the weekly magazines al-Hilal and al-Balagh. The conferences and communiqués he gave after World War I in particular saw him touch heavily upon the issue of Pan-Islamism. Due to Maulana Abul Kalam Azad’s versatile personality, he produced successful works in many different fields. He was an enthusiastic nationalist who believed that Indian Muslims should unite with Hindus and fight for independence. He took steps in this direction together with Hindus and attempted to enable people to develop the cultural and educational fields. He achieved great success in the fields of literature and journalism, with many of the articles in al-Hilal having been written under the name of Abul Kalam Azad.

The Role of Maulana Abul Kalam Azad in the Development and Stability of Urdu Journalism

İsmail

Cangül

The Concept of the History of Literature in the Works of Arab Literary Historians: On the Limits and Transformations of the Concept’s Perception

Zühre

A Comparison of The Content Of The Azerbaijan Press in The Reza Shah Period and The First Four Year Rule Od Mohammad Reza Shah (1925-1945)

Zafer

Adonis' The Book, The Speech, The Veil or To Be or Not To Be

@JOURNAL_BOX_CURRENT

@JOURNAL_BOX_EARLYVIEW

Ayman

Lecturer

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

Asuman

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

AN ELEGY TO SULTAN MAHMÛD’S FINAL JOURNEY

Abdelkader

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

THE ADJUSTMENT OF THE OTTOMAN WRITING OF QURANIC MUS’HAFS

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Fadila

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

School Violence and Mechanisms For Reducing It in The Algerian Society

Serpil

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

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

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Journal of Oriental Studies – Şarkiyat Mecmuası, which is the official publication of Istanbul University, Faculty of Letters, the Oriental Research Center is an open access, peer-reviewed, multilingual, scholarly and international journal published two times a year (April and October) . It was founded in 1956.

Journal of Oriental Studies aims to contribute to the scientific knowledge in the field of Eastern languages and literatures by publishing original articles, reviews, scientific criticism, book review and translation articles.

The journal considers manuscripts on all aspects of Eastern languages and literatures. Subject areas of interest include language and literature, history, history of literature, art and culture concerning Eastern languages and literatures. The target audience of the journal is academics, researchers, professionals, students and related professional, academic institutions and organizations. The publication languages of the journal are Turkish, English, German, French, Chinese, Hindi, Persian, Arabic, Korean and Urdu.

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

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<ul><li>TÜBİTAK-ULAKBİM TR Index</li><li>DOAJ</li><li>ERIH PLUS</li><li>EBSCO Academic Search Ultimate</li><li>ProQuest Central     </li><li>ProQuest Turkey Database   </li><li>ProQuest Social Sciences Database   </li><li>ProQuest Social Sciences Premium Collection​</li><li>SOBIAD</li></ul>

Indexing and Abstracting

The journal is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the <a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>, the <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>, the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <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> The subjects covered in the manuscripts submitted to the Journal for publication must be in accordance with the aim and scope of the Journal. Only those manuscripts approved by every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Changing the name of an author (omission, addition or order) in papers submitted to the Journal requires written permission of all declared authors.Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors. All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. Plagiarism Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. If plagiarism/self-plagiarism will be found authors will be informed. Editors may resubmit manuscript for similarity check at any peer-review or production stage if required. High similarity scores may lead to rejection of a manuscript before and even after acceptance. Depending on the type of article and the percentage of similarity score taken from each article, the overall similarity score is generally expected to be less than 15 or 20%. Double Blind Peer-Review After plagiarism check, the eligible ones are evaluated by the editors-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope. The editor provides a fair double-blind peer review of the submitted articles and hands over the papers matching the formal rules to at least two national/international referees for evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

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

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

Authors publishing with the journal retain the copyright to their work licensed under the Creative Commons Attribution-NonCommercial 4.0 International license (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">CC BY-NC 4.0</a>) (<a href="https://creativecommons.org/licenses/by-nc/4.0/" target="_blank">https://creativecommons.org/licenses/by-nc/4.0/</a> ) and grant the Publisher non-exclusive commercial right to publish the work. CC BY-NC 4.0 license permits unrestricted, non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited.

Editor should consider publishing correction if minor errors that do not effect the results, interpretations and conclusions of the published paper are detected. Editor should consider retraction if major errors and/or misconduction that invalidate results and conclusions are detected.Editor should consider issuing an expression of concern if there is evidence of research or publication misconduct by the authors; there is evidence that the findings are not reliable and institutions of the authors do not investigate the case or the possible investigation seems to be unfair or nonconclusive. The guidelines of <a href="https://publicationethics.org/resources/flowcharts/complete-set-english" target="_blank">COPE</a> and <a href="https://www.icmje.org/recommendations/" target="_blank">ICJME</a> are taken into consideration regarding correction, retractions or expression of concern.

To guarantee that all papers published in the journal are maintained and permanently accessible, articles are stored in Dergipark which serves as a  national archival web site and at the same time permits LOCKSS to  collect, preserve, and serve the content.Additionally, authors are encouraged to self-archive the final PDF version of their articles in open electronic archives with  that conform to standards of Open Archives Initiative (<a href="https://www.openarchives.org/" target="_blank">https://www.openarchives.org/</a>). Authors should provide a link from the deposited version to the URL of IUPress journal website.

Journal of Oriental Studies is committed to upholding the highest standards of publication ethics and pays regard to Principles of Transparency and Best Practice in Scholarly Publishing published by the &#65279;<a href="https://publicationethics.org/" target="_blank">Committee on Publication Ethics (COPE)</a>&#65279;, the <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>, to access the <a href="https://oaspa.org/" target="_blank">Open Access Scholarly Publishers Association (OASPA)</a>, and the <a href="https://www.wame.org/" target="_blank">World Association of Medical Editors (WAME)</a> on <a href="https://publicationethics.org/resources/guidelines-new/principles-transparencyand-best-practice-scholarly-publishing" target="_blank">https://publicationethics.org/resources/guidelines-new/principles-transparencyand-best-practice-scholarly-publishing</a>All parties involved in the publishing process (Editors, Reviewers, Authors and Publisher) are expected to agree on the following ethical principles.All submissions must be original, unpublished (including as full text in conference proceedings), and not under the review of any other publication synchronously. Each manuscript is reviewed by one of the editors and at least two referees under double-blind peer review process. Plagiarism, duplication, fraud authorship/denied authorship, research/data fabrication, salami slicing/salami publication, breaching of copyrights, prevailing conflict of interest are unethical behaviors.All manuscripts not in accordance with the accepted ethical standards will be removed from the publication. This also contains any possible malpractice discovered after the publication. In accordance with the code of conduct we will report any cases of suspected plagiarism or duplicate publishing.

Ethics

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

It is authors’ responsibility to ensure that the article is in accordance with scientific and ethical standards and rules. And authors must ensure that submitted work is original. They must certify that the manuscript has not previously been published elsewhere or is not currently being considered for publication elsewhere, in any language. Applicable copyright laws and conventions must be followed. Copyright material (e.g. tables, figures or extensive quotations) must be reproduced only with appropriate permission and acknowledgement. Any work or words of other authors, contributors, or sources must be appropriately credited and referenced.All the authors of a submitted manuscript must have direct scientific and academic contribution to the manuscript. The author(s) of the original research articles is defined as a person who is significantly involved in “conceptualization and design of the study”, “collecting the data”, “analyzing the data”, “writing the manuscript”, “reviewing the manuscript with a critical perspective” and “planning/ conducting the study of the manuscript and/or revising it”. Fund raising, data collection or supervision of the research group are not sufficient roles to be accepted as an author. The author(s) must meet all these criteria described above. The order of names in the author list of an article must be a codecision and it must be indicated in the <a href="https://cdn.istanbul.edu.tr/file/JTA6CLJ8T5/D538DD51EE224FEC8102354D8CBFA88D" target="_blank">Copyright Agreement Form.</a> The individuals who do not meet the authorship criteria but contributed to the study must take place in the acknowledgement section. Individuals providing technical support, assisting writing, providing a general support, providing material or financial support are examples to be indicated in acknowledgement section.All authors must disclose all issues concerning financial relationship, conflict of interest, and competing interest that may potentially influence the results of the research or scientific judgment.When an author discovers a significant error or inaccuracy in his/her own published paper, it is the author’s obligation to promptly cooperate with the Editor to provide retractions or corrections of mistakes.

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

Only those manuscripts approved by its every individual author and that were not published before in or sent to another journal, are accepted for evaluation.Submitted manuscripts that pass preliminary control are scanned for plagiarism using iThenticate software. After plagiarism check, the eligible ones are evaluated by editor-in-chief for their originality, methodology, the importance of the subject covered and compliance with the journal scope.The editor hands over the papers matching the formal rules to at least two national/international referees for double-blind peer review evaluation and gives green light for publication upon modification by the authors in accordance with the referees’ claims.

Peer Review

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

Manuscript Rules1. The articles written in Turkish of Turkey, except special uses, ought to be befitted to Spelling Dictionary by Turkish Language Association in terms of spelling rules. The writings must be expressed clearly in terms of scientific dimensions.2. Title: It should describe the article and reflect the basic concepts, discussions and the main argument of the article. Turkish title should be written in bold, 11 point size, Times New Roman; English title should be 10 point size, bold, Times New Roman. Arabic, Persian and Urdu title should be in bold, 11 point size, Traditional Arabic, in the middle under the English title. It should not exceed 12 words.3. Author’s name and address: The name and surname of author under two lines of title, in the right side, right justified. An Asteriks symbol should be added at the end of the author’s surname as a footpoint, and include the author’s academic title, and e-mail address (9 points, justified) . [Prof. Dr., Istanbul University, Faculty of Letters, Arabic Language and Literature Chair, ORCID:…….., (……@......)].4. Abstract: It must contain a short summary of the main parts (entry, evidence, method, argument, result and proposal) of the article. It should provide the reader to modify the content of the article in a short time and to decide if he needs to read the whole article or not. The given information should not exceed one sentence. The evidences and the resolution part may consist of more than one sentence. The sentences must be clear and understandable and must be written in the past tense. In the abstract, there should not be any tables, illustrations, quotations and references.Turkish abstract should be at the beginning of the article text following the title, between 180-200 words, 10 point size, right and left 10 mm spaced and justified. English abstract should follow Turkish abstract. If the article is written in a different language from these two languages, the third abstract should be prepared in the relevant language by the same rules.5. Keywords: should be given following the abstract written in Turkish, English and in the relevant language if any. Keywords should be up to 5 words and should provide access to the article.6. Article Text: Articles should be submitted as Microsoft Word, Word 98 or higher versions documents. The text should be written in Times New Roman, 11 point size, at 1 line spacing. The articles in Arabic, Persian and Urdu should be written in Traditional Arabic, 11 point size, at 1 line spacing . The page size should be 165X240, 20 mm space from the right and left page sides, 30 mm from the bottom, 35 mm from the top of the page. The paragraph indentation should be 5 mm.7. Titles in the article: Subtitles should be 11 point size and letter/number system should be based on. The first letter of the each Word in the title should be capital.8. Informative Abstract: It has the same characteristics with abstract basically, but it is different from the abstract in terms of the length and details. It gives more detailed information than the abstract. The length of the summary should be %10-15 of the article. Tables and diagrams can take place in the summary. It should be at the end of the article and should contain the aim, argument, method, evidence and result of the article as it is in the abstract. The given information should be more detailed in comparision with the abstract. Any evidence and result that does not take place in the article also should not take place in the summary. In the summary, there should not be any references to the article text.9. First page header in the article: İ.Ü. ŞARKİYAT MECMUASI SAYI…(201..-1/2) The pages of the artical in the journal should be written.10. Left header in the article: The name of the article should be written.11. Right Header in the article: Author’s name/ ŞARKİYAT MECMUASI SAYI…(201..-1/2) the pages of the artical in the journal should be written.12. Footnotes/ Quotations and References: Footnotes should be given automatically in the MS Word program at the foot of each relevant page as 9 point size and justified. If the footnote is a website, the access date should also be given in parentheses. Chicago Manual of Style is used in writing footnotes and bibliography.Ensure that the following items are present:- Abstract- Extended Abstract- Introduction- Article Text- Conclusion- References

Author Guidelines

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

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ISSN	1307-5020
E-ISSN	2717-6916
Period	Biannually
Editor	Leyla Yakupoğlu Boran
Journal of Oriental Studies – Şarkiyat Mecmuası, which is the official publication of Istanbul University, Faculty of Letters, the Oriental Research Center is an open access, peer-reviewed, multilingual, scholarly and international journal published two times a year (April and October) . It was founded in 1956. Journal of Oriental Studies aims to contribute to the scientific knowledge in the field of Eastern languages and literatures by publishing original articles, reviews, scientific criticism, book review and translation articles. The journal considers manuscripts on all aspects of Eastern languages and literatures. Subject areas of interest include language and literature, history, history of literature, art and culture concerning Eastern languages and literatures. The target audience of the journal is academics, researchers, professionals, students and related professional, academic institutions and organizations. The publication languages of the journal are Turkish, English, Ge read more

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