HOW MĪR CALĪ-ŠĪR NAVĀYĪ’S PERSIAN POETRY INFLUENCED THE POET-WARRIOR OTTOMAN SULTAN SELIM I (1512–1520)

2021 ◽  
Vol 1 (2) ◽  
pp. 32-38
Author(s):  
Benedek Péri ◽  

This article discusses the importance of Persian poetry in the work of Alisher Navoi and how much they were valued in the Ottoman Empire. In particular, it is noted that Sultan Boyazid I (1481-1512), under the influence of Navoi ghazals, ordered the creation of works in the style of poetic poetry. It is unclear whether these assumptions are based on explicit historical fact, but the author bases this assumption on the proximity of Ottoman poetry to Navoi's ghazals. The author analyzes the work of Navoi, studying the work of the Ottoman ruler Sultan Selim I. The reason for this is that he was a contemporary of Navoi, better known for his Persian poems in poetry, and, most importantly, in the first half of the XVIth century, the Ottoman literary critic Latīfī, a close a contemporary of the Sultan, admitted that Selim was inspired by the poetry of Navoi. Clarifies the issue under consideration. The author also interprets ideas in terms of couplets. Speaking about the activities of Sultan Selim I, it is said that most of his work was composed of poems, and most of them were answer poems. The author also notes new discoveries in science using Selim's Per-sian ghazals, edited by Paul Horn. The author's research confirms the similarity of couplets in the desired weight, as well as the fact that the size of seven-couplet verses in Navoi is five couplets in Selim's work, which gives the reader another novelty

Experiment ◽  
2013 ◽  
Vol 19 (1) ◽  
pp. 149-181
Author(s):  
Azade-Ayse Rorlich

Abstract The Great Reform era in Russia, as well as the modernist movements in the Ottoman Empire and other Muslim lands represent the background against which the Muslims of the Russian Empire engaged in the scrutiny of the reasons behind the backwardness of their societies and began advocating the compatibility of Islam with modernity. After 1906, the Muslim press became the most important instrument in the creation of the public sphere where issues of tradition and modernity were debated. This essay focuses on the Tatar satirical journal Yalt-Yolt to explore its contribution to the critique of the old Muslim mentalité, as well as its role as an instrument of modernity.


2019 ◽  
pp. 137-147
Author(s):  
Ivan Parvev

The proposed analysis evaluates Russian and British policies during the Great Eastern Crisis (1875-78), with bilateral relations being placed in the context of the global hostility between England and Russia lasting from 1815 onwards. In the period between the end of the Crimean War (1853-56) and early 1870s there were serious changes in the balance of power in Europe, which was related to the creation of the German Empire in 1871. The possibility of Russian-German geopolitical union however was a bad global scenario for the United Kingdom. Because of this, English policy during the Great Eastern Crisis was not that strongly opposed to the Russia one, and did not support the Ottoman Empire at all costs. This made it possible to establish political compromise between London and St. Petersburg, which eventually became the basis of the Congress of Berlin in 1878.


2021 ◽  
Vol 4 (5) ◽  
pp. 1323-1351
Author(s):  
Natalia I. Prigarina ◽  
Ludmila A. Vasilyeva

The article offers a multi-dimensional analysis of the first ghazal from the Urdu Divan by the Indian classic poet Mirza Ghalib (1797–1869). Ghalib wrote in two languages – Urdu and Persian, but it was the completion of the Urdu Divan that made him a great poet. The article presents the history of the creation and publication of the Divan, as well as discusses its sources. The authors focus on the complexity of the style and the richness of poetic themes, images and writing techniques. They also discuss the Sufi component of the first ghazal of the Divan, thus highlighting the poetics of the ghazal. The “opening” ghazal, which is placed at the beginning of a divan usually takes over the function of the hamd, i.e. the eulogy to the Creator, which is typical for a traditional introduction to a large poetic form. However, in Ghalib’s ghazal, this praise comes in a paradoxical form, which is caused by Ghalib`s high criteria of humanism and dignity. The analysis of the first ghazal helps in many ways to understand the creative credo typical for all of Ghalib's poetry, as well as the difficult path the poet had taken, while continuously improving his art of “hunting” for a poetic word. The ghazal is discussed in the context of Ghalib’s other Urdu and Persian poetry, as well as of Sufism that prevailed in India of Ghalib’s time.


2013 ◽  
Vol 43 (4) ◽  
pp. 571-598 ◽  
Author(s):  
Seven Ağir

Ottoman reformers' re-organization of the grain trade during the second half of the eighteenth century had two components—the creation of a centralized institution to supervise transactions and the replacement of the fixed price system with a more flexible one. These changes were not only a response to strains on the old system of provisioning, driven by new geopolitical conditions, but also a consequence of an increased willingness among the Ottoman elite to emulate the economic policies of successful rival states. Thus, the centralized bureaucracy and political economy of the Ottoman Empire at the time had remarkable parallels with those in such European states as France and Spain.


2020 ◽  
Vol 3 (5) ◽  
pp. 1360-1378
Author(s):  
V. A. Drozdov

The poem ‘Ushshaq-nama by Fakhr ad-Din ‘Iraqi (610–688 / 1213–1289) is the first poetical writing on the subject of mystical love in Persian literature. ‘Iraqi’s authorship of this work has never been questioned by researchers. However, the English orientalist J. Baldick 1973 cast a doubt on ‘Iraqi’s authorship of this poem. The article examines in detail the arguments of J. Baldick both from the point of view of the context of the creation of the poem, as well as the methods of the latest computational methods, in particular stylometry. Boldik's arguments concern both the historical and religious context in which ‘Iraqi lived and the peculiarities of his works, primarily the poem‘Ushshaq-name. The paper demonstrates that this computational method may be used for the study of the features of the style of Persian poetry and the confirmation of the authorship of doubtful Persian writings. Further expert decision full-field by Artjoms Šeļa based on stylometric methods for the establishment of the poem ‘Ushshaq- nama is expounded. While the results of the analysis of the historical and religious contexts of the poem may serve as confirmation of the authorship of ‘Iraqi and the refutation of the Baldick hypothesis, the results of the stylometric analysis do not give an unambiguous answer to the question of its authorship.


2019 ◽  
Vol 62 (5-6) ◽  
pp. 925-962
Author(s):  
Ana Sekulić

AbstractWhile scholarship on the Ottoman Empire has explored its rich archives with great enthusiasm, there has been little work on the circulation of documents among the Empire’s subjects. This paper explores the archive of a Franciscan monastery in Ottoman Bosnia by following a single document in Ottoman Turkish from its issuance in the mid-sixteenth century to its interpretation within a historical monograph in the early twentieth. I address the ways in which the document circulated beyond the imperial offices and how the Franciscans transformed it through strategies including storing, marking, interpreting, cataloging, and silencing. The paper sheds light on the convergence between the deployment of the Ottoman documents and the rise of the Franciscan authority, indicating how Franciscan usage of the archive produced useful narratives beyond the confines and control of the Empire.


2015 ◽  
Vol 4 (4) ◽  
pp. 34-63
Author(s):  
Mathieu Koehl ◽  
Anthony Viale ◽  
Sophie Reeb

The aim of the project that is described in this paper was to define a four-level timber frame survey mode of a historical building: the so-called “Andlau's Seigniory”, Alsace, France. This historical building was built in the late XVIth century and was in a stage of renovation in order to become a heritage interpretation centre. The used measurement methods combine Total Station measurements, Photogrammetry and 3D Terrestrial Laser scanner. Different modelling workflows were tested and compared according to the data acquisition method, but also according to the characteristics of the reconstructed model in terms of accuracy and level of detail. 3D geometric modelling of the entire structure was performed including modelling the degree of detail adapted to the needs. The described 3D timber framework exists now in different versions, from a theoretical and geometrical one up to a very detailed one, in which measurements and evaluation of deformation by time are potentially allowed. The virtually generated models involving archaeologists, architects, historians and specialists in historical crafts, are intended to be used during the four stages of the project: (i) knowledge of the current state of needs for diagnosis and understanding of former construction techniques; (ii) preparation and evaluation of restoration steps; (iii) knowledge and documentation concerning the archaeological object; (iv) transmission and dissemination of knowledge through the implementation of museum animations. Among the generated models one can also find a documentation of the site in the form of virtual tours created from panoramic photographs before and during the restoration works. Finally, the timber framework model was structured and integrated into a 3D GIS, where the association of descriptive and complementary digital documents was possible. Both offer tools leading to the diagnosis, the understanding of the structure, knowledge dissemination, documentation and the creation of educational activities. The integration of these measurements in a historical information system will lead to the creation of an interactive model and the creation of a digital visual display unit for consultation. It will be offered to any public to understand interactively the art of constructing a Renaissance structure, with detailed photos, descriptive texts and graphics. The 3D digital model of the framework will be used directly in the interpretation path, within the space dedicated to “Seigniory” of Andlau. An interactive touch-screen will be installed. It will incorporate several levels of playgrounds (playful, evocative and teaching). In a virtual way, it will deal with the different stages of building a wooden framework and clarify the art of construction.


1995 ◽  
Vol 12 ◽  
pp. 97-118 ◽  
Author(s):  
Maria Todorova

Bulgarian historiography began to professionalize itself after the creation of an independent Bulgarian state (de facto in 1878, de jure in 1908), and the foundation of scholarly institutions. Until then historical writing had been dominated by enthusiasts (clergymen, teachers, local dilettanti), passionately serving the ideas of cultural revival and political independence through historical knowledge. Thus, Bulgarian historiography at its inception was shaped both by its romantic predecessors, whose noble (and only) aim was to stir national consciousness and legitimize national aspirations, and by the influence of the positivist and romantic historiographies then prevalent in Europe.


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