Browsing by Subject "Ottoman poetry"

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Open Access
Divan şiirinde fahriye
(2002) İsen, Tuba Işınsu
Fahriye literally means self-praise,haughtiness, fame and honour. But as a literary term, fahriye indicates a part of a poem such as gazel, mesnevi or kasida, in which the poet praises himself, complains about his fate and explains his situation to his intended audience. Self-praise in the fahriye, may be better understood if we consider some aspects of Ottoman social structure. Most importantly writing fahriye in a poem was a tradition in Ottoman society. The general view of fahriye is that the poet creates exaggerated expressions and uses unreal descriptions, possibly to present himself in a position superior to other poets. However, starting from the fourteenth century, fahriye examples show another important role. This is to answer the question “who is the ideal poet?” In other words, the poet did not write a kaside only to please his/her patron, but it also served a completely different function. The expressions in fahriye show similarities to the discussion of poets and poetry in tezkires and the prefaces to divan.
Open Access
III. Ahmed devri Osmanlı şiirinde sosyal ağlar ve edebî prestij
(2022-01) Onay, Ebru
Bu tez, sosyal sermayenin Osmanlı şairlerinin edebî prestiji (kazanılması, korunması, birikimi, kaybı vb.) üzerindeki etkilerini araştırmaktadır. İncelemenin temel amacı, Osmanlı şairlerinin edebî prestijini ve görünürlüğünü etkileyen temel edebî, sosyal, siyasi, kurumsal, kişisel ve tarihî dinamikleri anlamaktır. Bu amaç doğrultusunda tezde, XVIII. yüzyıldan seçilmiş birtakım edebî tür ve metinler (divan, vekaletname, tezkire, şiir ve nazire mecmuaları vb.) incelenmiş ve III. Ahmed döneminde aktif olarak şiir üreten bir grup şaire odaklanılmıştır. Örneklem kümesi olarak seçilen şairler şunlardır: Tırsî (öl. 1140/1727?), Nedîm (öl. 1143/1730), ve Vahîd/Mahtûmî (öl. 1145/1732-33), Arpaemînizâde Sâmî (öl. 1146/1734), Râşid (öl. 1147/1735), İzzet Ali Paşa (öl.1147/1735), Sâkıb Dede (öl. 1148/1736), Seyyîd Vehbî (öl. 1149/1737), Ârifzâde Asım (öl. 1150/1738), Nahîfî (öl. 1151/1739), Âtıf-ı Defterî (öl.1155/1742), Mirzâzâde Sâlim (öl. 1156/1743), Rıza Neccarzâde (öl. 1159/1746), Neylî (öl. 1161/1748) ve Eğrikapılı Râsim (öl. 1169/1756). Bu doğrultuda tez çalışması; saray, medreseler, benzeri kurumsal ve sosyal çevrelerde kurulan edebî ilişkilere ve bağlara (intisap ve himaye vb.) özel bir bakış açısıyla yaklaşmakta ve XVIII. yüzyıl Osmanlı şiirinin alternatif bir resmini sunmaktadır. Bu resmi çerçevelemek ve anlamak için; “sosyal sermaye” ve “sosyal ilişki ağları”, “edebî prestij” ve “edebiyat alanı” gibi belirli teorik yaklaşımlar ve kavramlardan yararlanılmıştır. Araştırmanın temel bulgularından biri şudur: Üçüncü taraf aktörler, yani aracılar, Osmanlı şiir alanında her daim etkin olmuş; şair ile hamisi veya övdüğü kişi/ler arasındaki ilişkilerde, birleştirici ve destekleyici bir rol oynamakla kalmamış şiirlerin sipariş edilmesini, dolaşımını, hatta geleceğini bile etkileyebilmiştir.
Open Access
"Taze can buldu cihan" : Osmanlı şiirinde bahar
(2002) Kalender, Arzu
In Ottoman poetry, bahariyyeler are important since they show how phenomena in nature affect the poet’s imagination and indicate the extent to which nature and humanity interact with each other. In Ottoman society, the spring season affects poets ant artists both in their daily life and cultural life and plays an important role in forming the artist’s aesthetic sensibility and cultural activities. Spring, setting up a socio-cultural environment, is the favoured season with the Ottomans, since it produces sociological and psychological effects. The relationship that Ottoman poets establish with nature creates an independent aesthetic understanding rich in symbols. In addition to hinting at the personal world, these images include references to social life. In bahariyyeler, it is possible to see how poets transform what they perceive in the world of phenomena into poetic images and how they express these phenomena in an ideal understanding of beauty using the metaphorical connotations contained within their depictions of spring. Working with these conceptions based on their perceptions of nature, the poets form figurative representations and, as a result, create a metaphorical world in their poetry. The poet, carefully noticing every object in nature, turns poetry into a miniature microcosm virtually containing the larger macrocosm. In this microcosm, one can find the Ottoman State in its many guises from daily life to military life. Studing the depictions of spring in the Ottoman kasides can explicitly show how nature influences social and individual activities. Starting from nature, the Ottoman poet creates a different world and gives a different meaning to every object within the world. The depictions of springtime reveal the extent of interaction between the intellectual and creative powers of the poet, besides showing that nature exerts a dynamic and creative function on the poet’s images and works.