ŞÜkufə QƏDİmova
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- Bu səhifədəki naviqasiya:
- «Поэтика турецкой диванной поэзии».
- “The initial formation resources of turkish divan poetry”.
- “Turkish divan poetry and sufism”.
- “The poetics of Turkish Divan poetry”.
- НАЦИОНАЛЬНАЯ АКАДЕМИЯ НАУК АЗЕРБАЙДЖАНА ИНСТИТУТ ЛИТЕРАТУРЫ им. НИЗАМИ
- ГАДИМОВА ШУКЮФА ИБРАГИМ кызы ПЕРИОД ФОРМИРОВАНИЯ ТУРЕЦКОЙ ДИВАННОЙ ПОЭЗИИ
- А В Т О Р Е Ф Е Р А Т
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анализируются жанры стихотворения, основанные на куплетах – четверостишия (мюреббе: тарби, шаркы); пятистишия (мухаммес: тахмис, таштир, тардия); шестистишия (мюсэддэс); семистишия (мюсэббэ); восьмистишия (мюсэммэн); девятистишия (мутэсса); десятистишия (муашшир); а также глубокому анализу были подвержены теркибенды и терджибенды. Помимо этого, в данном параграфе на основе приведенных примеров, освещены характерные художественные особенности и вопросы мастерства известных поэтов того времени. Четвертая глава называется «Поэтика турецкой диванной
Восточной поэтики – аруз и рифма, а также художественно- поэтические формы. Отмечается, что главные художественно- стилистические и поэтические формы, используемые поэтами диванной литературы, рассматриваются в двух больших группах: 1. Поэтические формы занимающие особое место в художественном выражении и относящиеся к разделу классической поэтики, под названием «бэян» (заявление); 2. Поэтические средства художественной речи, которые в свою очередь, тоже разделены на две группы: а) красота слова; б) красота смысла. В первом параграфе этой главы, под названием «Поэтические средства, относящиеся к «бэян»», рассматриваются четыре основные поэтические категории Восточной поэтики и их широко используемые виды в Турецкой диванной поэзии. К ним относятся: ташбих
вышеназванные художественно-выразительные средства рассматриваются в работе на основе конкретных примеров. Во втором подразделе четвертой главы, под названием «Красота смысла», проанализировано около 20 стихотворных форм, таких, как
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и тафриг, тазмин, тагриз, хашв. Все эти формы, также как и в предыдущих подразделах, рассматриваются на основе творчества поэтов того времени. Последний раздел называется «Красота слова». В этом подразделе анализируются словесные поэтические формы, такие, как
В “Заключении” обобщены основные положения исследования и подытожены важнейшие результаты, достигнутые в ходе
исследования. Здесь еще раз подчеркивается, что турецкая диванная поэзия, которая сформировалась в XIII-XV вв. и достигла своего расцвета в XVI-XVII вв., создавалась на основе строгих канонов Восточной поэтической традиции. Несмотря на это, совершенствуясь как в идейно-содержательном, так и в художественно-эстетическом плане, эта поэзия с теоретической и с практической точек зрения смогла достичь самых высоких вершин. Необходимо отметить, что в эстетическом обогащении диванной поэзии немаловажную роль сыграли художественно-эстетические воззрения и языковые- стилистические особенности. В конце диссертации размещен список использованной
более 40 интернет-ресурсов, а также 45 первоисточников.
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The period of formation of Turkish Divan poetry (XIII-XV centuries) SUMMARY The object of the thesis - Turkish Divan poetry contains some common turkish and muslim traditions, comprehensively reflects the literary and aesthetic logic, socio-cultural life, religion and language view, world of thoughts and feelings of Ottoman Empire, which the building and the stage of its nationalization coincides with the period (XIII-XV centuries) of initial formation of Turkish Divan poetry. This poetry has its specific understanding of art and aesthetics. Under the influence of the historic events, socio-economic conditions and political powers, turkish divan poetry benefited from the Islamic culture and arabic literature, specially nourished from the classical persian literature, formed and developed on the basis of Near East and Middle East syncretic literature. The thesis was performed on the basis of the study of the best-known representatives Turkish divan poetry in the XIII-XV centuries – as Ahmad Fagih, Sayyad Hamza, Jalaladdin Rumı, Yunus Əmrə, Sultan Valad, Ashug Pasha, Soliman Chelebi, Sheykh Masud Bin Ahmad, Yusuf Maddah, Mustafa Şeykhoglu, Tajaddin Əhmədi, Hamdullah Chelebi, Isa Masihi, Ahmed Pasha, Isa Nejati and Mehri Khatun’s works and in the context of the analysis of their concrete poetry and masnavi. The thesis consists of the introduction, four chapters, conclusion, sources and a used literature. “Introduction” is about the topicality of the theme, the main target and tasks, the statutes for defence, development rate of the issue, methodological and theoretical basis of the research, its scientific innovation, theoretical and practical significance. It is noted that the first period of formation of turkish divan poetry was in XIII-XIV centuries. Period of completion of its forming and self-affirmation is XV century. The divan poetry passed the growth period in XVI-XVII centuries and partially in the first half of XVIII century, but since the second half of the century has begun to decline. The first chapter is named as “The initial formation resources of turkish divan poetry”. The sources of divan poetry is researched here in three directions: 1. The folklore and epos culture 2. General turkish literary fund 3. Eastern literature and Islamic sufism. The second chapter is named as “Turkish divan poetry and sufism”. In the subsections named as “Sufism and the literature”, “ The poetry system in sufism literature”
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and “Sufism literature in Anatolia region” was researched and commentaried the reflection of the main principles of sufism in turkish divan poetry in the context of analysis of poets of XIII-XV centuries as Ahmad Fagih, Shayyad Hamza, Jalaladdin Rumi, Yunus Əmrə, Sultan Valad, Ashug Pasha, Soliman Gulshahri, Soliman Chelebi and others’ poems and masnavis. The third chapter is named as “The structure and genres of turkish divan poetry”. In the first paragraph named as “Compiling principles of “Divan” is commentaried the compiling principles of Divan, which has become a tradition in the Eastern literature. It is noted that according to the main requirement of this principle, is the dibacha (introduction) comes first in murattab divan, then odes (union, a secret conversation, cursing, glorification of other ones, self-glorification), dates (material of history), musammats (tarkib-band, murabbe, takhmis and others),ghazals, git’a (mugaddat, matla, muamma, lugaz, mufrad, azada and etc.), and finally come quatrains. The second subsection of this chapter is named as “Couplet-based genres in Divan poetry”. In this paragraph the couplet-based genres and types of poems is analysed with concrete examples: ghazal genre and its types (raddi-matla, harmony, voice, muzayyal, mulamma, mushtarak, musammat, mukarrar, nazira); mustazad derivated from ghazal and its double-named two types; ode genre and its categories (nasib or tashbih, gizir, glorification, self- glorification, praying); git’a genre and its types; masnavi poem and its categories. In the third paragraph of the chapter named as “Item-based genres in Divan poetry” is analysed the poem types consisting of items in turkish divan poetry. İt is noted that in turkish literature there is two poem genres which contain just one item: quatrain and tuyug. In this subsection item-based poetry genres – four hemistiches (murabbe: tarbi, shargi), five hemistiches (mukhammas:takhmis, tashtir, tardiya); six hemistiches (musaddas); seven hemistiches (musabba); eight hemistiches (musamman); nine hemistiches (mutassa); ten hemistiches (muashshir); tarkibband and tarjiband are widely analysed and lightened their characteristic art features and tasks of mastery based on the examples of well-known poets of that period. The fourth chapter is named as “The poetics of Turkish Divan poetry”. Here the two main goals of the Eastern poetics - prosody and rhyme system throughly explained with literary and poetic molds. It is 44
noted that important literary arts and poetic molds used by divan poets as a whole, is divided into two large groups: 1.Poetic molds that hold a special place in the literary description and in “bayan” section of classical poetry. 2. Poetic molds included to the literary section is divided into two groups: a) the word beauty b) the meaning beauty In the first paragraph of the chapter named as “Potic molds of bayan”, four main poetic categories of Eastern poetry and their widely used types in turkish divan – tashbih (assimilation) and its types (likeness with all details, short or abbreviated likeness, confirmed likening; eloquent simile, an excellent likeness), metaphor and its types (open metaphor, a closed metaphor; representative metaphor); irony and its types (tarid, tashkhis and intak), majaz and its types (majazi-mursal) are analyzed on the basis of concrete samples. İn the second subsection of chapter named as “The meaning beauty” approximately 20 molds as – tazad, mubalagha, tabligh, ighrag, guluvv,
of that perod. The last subsection is named as “The word beauty”. In this subsection were analysed the widely used word-poetic molds in turkish divan as takrir, tauzi, jinas and its types, taglib, ishtigag, aks, tarsi, ilhamul-vasl, hazf, muvasshah, tajrid, muzavvaj, raddul-ajz alas-sadr and its types (raddu—s- sadr allal-acz, raddu-s-sadr alal-hashv, raddul-ajz alas-sadr and conttrary), saj and its types (saji-mutaarraf, saji-muvazana (rhymed saj), saji-murassa (adorned saj). In the Conclusion of the dissertation summarized the final opinions reached in the research. Here emphasized once again that the genres and types, as well as the literary system of turkish divan poetry which are formed in the XIII-XV centuries and declined in the XVI-XVII centuries, at the same time rised to the top in the regard of both the idea- content and literary- aesthetic beauty were formed on the basis of the theoretically and practically molded Eastern poetic traditions. But here the nuances arising from the ancient literary traditions, literary-aesthetic pleasure and laguage- style features occupy an important place and provides the richening teh divan poetry in aesthetical direction. At the end of the dissertation is given
approximately 300 scientific works and more than 40 internet resources. 45
ИНСТИТУТ ЛИТЕРАТУРЫ им. НИЗАМИ ____________________________________________________ На правах рукописи
ГАДИМОВА ШУКЮФА ИБРАГИМ кызы ПЕРИОД ФОРМИРОВАНИЯ ТУРЕЦКОЙ ДИВАННОЙ ПОЭЗИИ (XIII-XV вв) 5717.01 – Литература тюркских народов А В Т О Р Е Ф Е Р А Т диссертации на соискание ученой степени доктора наук по филологии
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