Diwan

Gerek Türkiye gerekse Türkiye dışında bulunan Türkçe yazma eserlerin kataloglanma süreci henüz sonlandırılmamıştır. Bundan dolayı da henüz hiç kayıtlara geçmemiş yazma eser koleksiyonları yanında, bilindiği halde katalogları hazırlanmamış koleksiyonlar da bulunmaktadır. Bu durum ise tüm aklî ve naklî ilimlerin tarihi yanısıra edebiyat tarihlerinin yazımında  da önemli noksanlıklara sebep olmaktadır. Hal böyle olunca da 21. Yüzyıla girmiş olmamıza rağmen Osmanlı edebiyat ve bilim tarihine dair hâlâ yeni keşifler yapılmaya devam edilmektedir. Bu çalışmada da XVI. yüzyılın önemli şairlerinden olup yakın zamana kadar, daha ziyade Gül ü Bülbül mesnevisi ile edebiyat tarihlerinde yer alan Kara Fazlî’nin (d. 927/1520-21 – ö. 971/1564), daha önce dikkatlerden kaçmış olup da Süleymaniye Kütüphanesi Yazma Bağışlar 7213 numarada kayıtlı bulunan külliyatı tanıtılacaktır. Böylece bahsi geçen şairin şu ana kadar yapılan araştırmalarda günümüze ulaşmadığı düşünülen eserlerinden olan müretteb Dîvân’ı ve Çâr Fasl diye isimlendirdiği rubaileri hakkında ayrıntılı bilgi verilecektir. Makalede öncelikle klasik biyografik kaynaklarda Kara Fazlî’nin eserlerine dair verilen bilgiler özetlendikten sonra bu makale ile ilim alemine sunmayı düşündüğümüz yazmanın içeriği tafsilatlı olarak tanıtılacaktır. Son olarak bu yazmanın genel olarak Türk edebiyatı özel olarak da klasik Türk edebiyatı araştırmaları açısından önemi hakkında bir değerlendirme yapılacaktır.
The cataloging process of Turkish manuscripts both in Turkey and outside of Turkey has not been finalized yet. For this reason, there are some collections of Turkish manuscripts that have not yet been recorded, and collections that are not prepared catalogs. This situation causes important deficiencies in the writing of history of aqlî and naqlî sciences (religious and non-religious sciences) as well as in the writing of literary histories. As a natural consequence of this, even in the 21th century, new discoveries are still being made about the history of Ottoman literature and science. In this study, a manuscript in which the corpus of Qara Fazlî (b. 927/1520-21 – d. 971/1564) who was one of the most important poets of the XVIth century and known with his well-known mathnawi named Gül ü Bülbül until recent years exists, will be introduced. This writing, which had previously escaped the attention, was registered at the Suleymaniye Library (Yazma Bağışlar 7213). Thus, detailed information will be given about the aforementioned poets’ Diwân and rubais which called Châr Fasl, that are thought to have not reached the present day in researches so far. In this article, firstly the information about Qara Fazlî's works on classical biographical sources will be summarized and then the contents of the collecton will be introduced in detail. Finally, an evaluation will be made about the importance of this manuscript in terms of researching Turkish literature in general and classical Turkish literature distinctively.

In this article problems of translation of the medieval Sufi poetry into Russian by poet, professional translator in the 19th century D.P. Oznobishin are investigated. The artistic heritage of D.P. Oznobishin gives us rich material for analysis of oriental codes of Russian Romanticism. His translation known as ''Ode of Gafits (From the Book "Dal" of his Diwan)'', a free translation of Hafez's ghazals, made in 1826 from the Persian original, is one of his most representative works. Translating Hafez Oznobishin had both a complex and contradictory aim: firstly, to present the poetry of Hafez closer to the Persian original and, secondly, to avoid excessively alien Persian words. The analysis of the poetics of ''Ode of Gafits'' shows that the composition of this poem is characterized by a clear tone and a single logic of thought that can be traced throughout the entire text. In the article reasons for the increase of the volume of secondary text is investigated. Why instead of six couplets as in the Persian original do we see seven strophes containing five verses? This is because the author needed to add Anacreontic epithets to his Russian text. For example, the image of rose mentioned repeatedly in the Russian text is not pleonasm. Instead of the chaos of semantic relations, we see the unfolding of a coherent system of meanings. In the article the Ode and the Ghazal are compared in the aspect of genre. The Ode as a European genre was used in the Western European tradition of translation in the 19th century. Very often translators called their translations ''Ode'' or ''Eastern Ode''. The Ode and the Ghazal were close in the sphere of rhetoric (the sublime pathos) and complex of themes (they were based on ''high matter''). In addition, the article points out that in the context of the Sufi poetry on the language of the ''second level'', i.e. on the metaphorical level of reading of ''Ode of Gafits'', we can see the transformation of all artistic and visual systems of the text. In this process artistic elements developing erotic themes become religious and philosophical concepts. According to the Sufi poetry this transformation is not the last transformation of the semantic system. With the first transformation we find a second one, which is no less important. Second text requires new thinking in terms of concrete reality and natural paradigmatic views. New concepts updated the meaning of mystical terms. The conclusion to the article is the following statement: in the translation from Persian D.P. Oznobishin was able to preserve the system of mystical thought of the Persian text not only in the most typical features of the Sufi poetry but also in the ''key words'' of the text, signaling the possible symbolic reading.

Bosnian Mehmet Fâzıl Pasha (1799-1882) is one of the statesman and poets from the XIX. century. He has recorded much about Bosnia as well as about other people and places in History. Without doubt Bosnian Mehmet Fâzıl Pasha is better as a statesman than as a poet. It would not be wrong to say that he used his skills of poetry by incorporating it into the matters of the state to a large extent, and in this way he was brought to various positions or consolidated his position. Probably the character of ambition and the attitude to declare the own opinion as it is the case with some statesman has shown itself with Fâzıl Pasha and so he wanted to show his proximity to Âlî Pasha and the government in a way, that is in a conflict with his identity as a Mevlevi. According to the statement in Zafernâme Fâzıl Pasha became the mutasarrıf (administrator authority of sanjaks) of İzmit by criticizing Ziyâ Pasha in a stanza. Fâzıl Pasha realized later how angry he made Ziyâ Pasha. At the center of the criticism lays that it is so easy to obtain authority rather than the criticism of Fâzıl Pasha. So that Ziyâ Pasha responds to the heavy insults such as dog and clown. But Fâzıl Pasha is not defeated, he responds with Reddiye ve Tekzibiyye (Rejection and Refutation).
As one of the greatest witnesses of the time, when the Ottoman Empire suffered great pain in the name of Westernization, Bosnian Fâzıl Pasha, along with the material about his life, his connection to Ziyâ Pasha, the properties of his other works and, finally, with the main features of His Diwan will be useful for researches whose analyze will be carried on.

Dalam penelitian sastra Arab, selain dari kritik melalui unsurintrinsik, teks dapat juga diteliti berdasarkan ekstrinsiknya. Salah satunyateori sosiologi sastra, menyoroti konteks keberadaan teks atau diistilahkanal-bi’ah. Diperkuat oleh gagasan Hanna al-Fakhuri, terdapat beberapalingkungan yang mempengaruhi sastrawan, meliputi al-bi’ah al-ijtima‘iyyah(latar sosial), al-bi’ah al-mu‘ashiyah (latar kehidupan), al-bi’ah al-siyasah(latar politik), dan al-bi’ah al-thaqafiyyah (latar kebudayaan). Meskipundemikian, berbeda dengan pendapat Ibrahim Chinade Sanusi (2012),pendukung teori struktural murni, menurutnya teks sastra merupakanproduk bahasa dan tidak ada kaitannya dengan penulis, keadaan sosialmaupun pembaca. Dengan bantuan linguistik, khususnya pada teoristruktural, dianggapnya cukup untuk memahami konteks sosial teks.

Öz
Klasik Türk edebiyatı şairlerinin çeşitli nazım şekillerinde kaleme
aldığı şiirlerini bir araya getirdikleri divanlar, konu bakımından
gelenek içerisinde belirli başlıklar çerçevesinde toplansa da
çeşitlilik göstermektedir. Bu gelenek içinde bazı şairler,
divanlarını alışılageldiği gibi konu çeşitliliği çerçevesinde değil tek
bir konu etrafında toplamayı tercih etmişlerdir. Bu tarz eserlerin
başında bazen sadece Hz. Muhammed’i övmek için bazen de gerek
İslami açıdan önemli diğer zatları ya da dönemin önemli devlet
adamlarını övmek için kaleme alınmış divan-ı nu’ûtlar
gelmektedir. Bu bağlamda Konya Koyunoğlu Şehir ve Müze
Kitaplığı’nda 12678 arşiv numarasıyla kayıtlı olan Şevkî Dîvânı
adlı yazma, hayatı hakkında kaynaklarda bilgiye erişemediğimiz
Mehmed Şevkî tarafından Hz. Muhammed ve ehl-i beyt övgüsü için
yazılmış şiirlerden oluşan mürettep bir divandır.
Bu çalışmada, klasik Türk şiiri geleneği içerisinde tek konuda
yazılmış divanlardan biri olması sebebiyle önem teşkil eden Şevkî
Dîvânı’nın tanıtılması; dil, üslup ile muhteva açısından incelenmesi ve eserin divan-ı nu’ûtlar arasındaki yerinin tespiti
amaçlanmaktadır.
Anahtar Kelimeler: Şevkî, divan-ı nu’ût, methiye, ehl-i beyt, on
iki imam.
Abstract
Diwans, in which the poets of classical Turkish Literature brought
together their poems in various forms, show diversity in terms of
themes, although they are collected within the framework of
specific titles within the tradition. In this tradition, some poets
preferred to compile their diwans around a single theme rather
than a variety of themes as usual. Diwan-ı nuut, which was a genre
written to praise Prophet Muhammad and other important Islamic
figures and statesmen of the day at times is at the forefront of
such works. In this context, the manuscript called Diwan by
Shawqi, registered with the archive number of 12678 in the Konya
Koyunoglu City and Museum Library, was written by Mehmed
Shawqi about whose life there is no information available in the
related literature. It is a well-organized diwan composed of poems
written to praise Prophet Muhammad and his family.
This study aims to introduce the Diwan by Shawqi, which is
important because it is one of the diwans written on a single
theme within the tradition of classical Turkish poetry and to look
at it in terms of language, style and content and also to show
where it stands alongside Diwan-i nuut.
Keywords: Shawqi, diwan-i nuut, praise, ahl-al bayt, twelve
imam

Artikel ini membahas problematika membaca teks Arab yang terdapat pada mahasiswa Jurusan Bahasa dan Sastra Arab Fakultas Adab dan Humaniora UIN Imam Bonjol Padang. Kajian yang berupaya melihat fenomena linguistis pada aspek keterampilan membaca bahasa Arab (مهارة القراءة) secara komprehensif dan mendalam ini mengkaji aspek bentuk, sebab dan dampak dari problematika tersebut. Kajian ini dilaksanakan dengan menggunakan metode dan pendekatan kualitatif deskriptif. Metode kualitatif digunakan dalam rangka mencari kebenaran secara maksimal dan optimal. Pendekatan deskriptif digunakan dalam rangka upaya penyajian hasil penelitian secara rinci dan ditail. Secara umum, hasil penelitian menunjukkan bahwa bentuk problematika yang ada dapat dibagi menjadi bentuk morfologis (الصرفي), sintaktis (النحوي), dan semantis (الدلالي). Penyebab munculnya problematika yang ada dapat dibagi menjadi penyebab internal dan eksternal. Sementara dampak dari adanya problematika tersebut terdiri dari dampak inte...