51 research outputs found
Darwish Muhammad Shifayi, Sharh Shabistan Khayal (Analysis-text-glossary-facsimile)
No full textFars şair Fettâhî tarafından kaleme alınan Şebistân-ı Hayâl, zengin içeriği ve ihtiva ettiği ahlakı süsleyen nasihatlerle günümüz okuyucusuna da hitap eder. İçerdiği kelime ve harf oyunlarıyla muammâ tarzında kaleme alınan eserin gizlediği manaların herkesçe anlaşılabilmesi için şerhe ihtiyaç duyulur. Bu nedenle bugün elimizdeki bilgilere göre edebiyatımızda Şebistân-ı Hayâl'e yapılan ilk şerh 16. yüzyılda Surûrî tarafından, ikincisi de 17. yüzyılda Dervîş Muhammed Şifâyî tarafından yapılır. Çalışmamızın konusunu Dervîş Muhammed Şifâyî'nin Şebistân-ı Hayâl'e yaptığı şerh oluşturmaktadır. Şifâyî, gençlik dönemi bitip yaşlılık devri başlayınca bazı şeyhlerin eserlerini incelemeye başlar. Bu esnada Fettâhî'nin Şebistân-ı Hayâl adlı eserinin ahlakı süsleyen sınırsız nasihat ve feyizlerle dolu olduğunu görür. Şifâyî, Şebistân-ı Hayâl'e, Sürûrî Efendi tarafından kendinden daha önce yapılan şerhi bazı yönlerden tenkit eder. Sürûrî'nin yaptığı şerhi ıslahın mümkün olup olmadığını düşünürken rüyasında Fettâhî tarafından eseri şerh etmekle görevlendirilir. Bunun üzerine Şifâyî, bu rüyayı şerhe başlamak için bir işaret sayar ve Şebistân-ı Hayâl'i şerh eder. Çalışmanın birinci bölümünde Fettâhî ve Şifâyî'nin hayatına muhtasar şekilde yer verilmiştir. İkinci bölümde nüsha tanıtımı, eserin yazılma gerekçeleri, şerh metodu ve muhtevası bulunmaktadır. Üçüncü bölümde ise Şerh-i Şebistân-ı Hayâl'in transkrıpsiyon sistemine uyularak Lâtin harflerine aktarılan metni yer almaktadır. Dördüncü bölümde de Şârih Lügati, Özel Adlar Dizini ve Kaynakça başlıkları vardır. Çalışmamızın sonunda neşrini yaptığımız ve incelediğimiz nüshanın tıpkıbasımına yer verilmiştir.Shabistan Khayal, written by the Persian poet Fettahi, is a work written in the style of dilemma with the word and letter games it contains. The work, which adorns the rich content and morality it contains, also appeals to today's readers. The first commentary made to Shabistan Khayal was made by Sururi in the 16th century and the second by Darwish Muhammad Shifayi in the 17th century. The subject of our study is the commentary made by Darwish Muhammad Shifayi to Shabistan Khayal. Shifayi begins to examine the works of some sheikhs when his youth ends and the age begins. In the meantime, he sees that the work of Shabistan Khayal of Fettahi is full of unlimited counsel and praise that adorns morality. Shifayi criticizes Shabistan Khayal's commentary made before him by Sururi in some ways. The commentary made by Sururi is commissioned by Fettahi to interpret the work in his dream when he thinks whether correction is possible or not. Then Shifayi counts this dream as a sign to start annotation and announces Shabistan Khayal. In the first part of the study, the life of Fettahi and Shifayi are given in concise manner. In the second part, the introduction of the copy, the reasons for writing the work, the method and content of annotation are given. In the third part, the text of Sharh Shabistan Khayal, which is transcribed to Latin letters in accordance with the transcription system is included. In the fourth section, Sharih dictionary, Names of Special Names and Bibliography. At the end of our study, the facsimile of the copy we made and examined was included
Towards a national puppet centre for the Lebanon
No full textThe impression that Arabs did not attempt to express themselves through the medium of dramatic arts till recently echoes a simultaneous conviction which
prevailed concerning visual arts expression. Early in the second half of this century, researchers started questioning whether Arabs could have expressed
themselves in visual or dramatic representations under the auspices of Islam. Meanwhile, we have been rediscovering our visual, oral and dramatic art heritage through a Western cultural perspective.
The aim of this research is to examine the sources of inspiration which have been shaping the visual and dramatic art traditions in the Arab Middle East region over the past five thousand years. Little attention has been given to the
interplay between the various forms of artistic expression in the Middle East. Besides, much less concern has been articulated about the performance arts interpretation of the notion of abstraction which characterises the artistic
expressions of the region.
One performance art form that has gone a long way in the direction towards abstraction is puppetry. From the times of the Pharaohs and Mesopotamians, puppets and masked actors communicated myths and legends in religious rituals
and festivals. Later, puppets continued under Islam to communicate secular themes and narratives.
Puppets, by their nature, involve the concept of alienation and enable the modern Arab to present ideas in a manner consistent with his intellectual, cultural and aesthetic predilections.
In its search for forms of dramatic expression the Lebanese theatre might profitably look into its own cultural heritage, try to learn from and experiment with the various types of oral and performance traditions especially puppetry which has been long forgotten
Learning Khayal: Notes on Being-with
No full textThis essay is a poetic reflection on how the history and practice of Khayal, an improvisatory North Indian vocal form, provides lessons on being-with an Other. This submission is a form of ficto-critique and is based on the author\u27s musical practice, revived via online lessons during the pandemic. 
Al-Anashir al-dakhiliyyah fi qasidah simtut durar lil habib Ali bin Muhammad bin Husain al-Habsyi
No full textUnsur intrinsik dalam karya sastra adalah unsur yang membangun terbentuknya sebuah karya sastra. Unsur intrinsik di dalam karya sastra ada empat yaitu tema (gagasan ), emosi , imajinasi dan gaya bahasa. Sedangkan karya sastra sendiri terbagi menjadi dua macam yakni syair ( puisi ) dan natsr ( prosa ).Pada suatu masa, banyak sekali mauled atau qasidah-qasidah yang menceritakan tentang Rasulullah SAW salah satunya maulid Simtut Duror yang terdiri dari 58 bait nan indah dengan sebutan Simtut Duror. Qasidah ini dibuat oleh seorang sufi sekaligus waliyullah bernama al – Habsyi . Nama lengkapnya adalah Habib Ali bin Muhammad bin Husein al-Habsyi , dilahirkan di kota Qasam, sebuah kota dinegeri hadramat pada 24 Syawal 1259 H , kemudian beliau tumbuh di desa Bushair dan akhirnya wafat di Kota Palembang pada tahun 1373 H .Fokus atau rumusan masalah dalam penelitian ini adalah: 1). Apa saja unsur-unsur intrinsik di dalam Qasidah Simtut Duror karya Al-Habib Ali bin Muhammad bin Husain Al-Habsyi? Dengan adanya permasalahan ini, maka penulis menggunakan metode kualitatif dengan pendekatan ilmu analisis sastra untuk membantu menganalisis permasalahan yang dikemukakan.Dengan demikian, dari hasil penelitian dan analisis penulis, maka unsur-unsur intrinsik di dalam Qasidah Simtut Duror karya Al-Habib Ali bin Muhammad bin Husain Al-Habsyi yakni tema (al-Maudhu’) yakni do’a dan pujian kepda nabi Muhammad Saw, do’a kepada umat dan keluarga nabi Muhammad Saw, pujian dan harapan, kelahiran nabi Muhammad Saw, harapan syafa’at, akhlaq rasulullah Saw. Dan emosi (‘athifah) yakni harapan, kebahagiaan dan kekaguman, Adapun gaya bahasa (ushlub) meliputi tasybih, isti’arah makniyah, isti’arah tashrihiyah, kinayah, majaz mursal, thibaq ijabi, ithnab dan sejenisnya, dan kalam insya’ tholabi. Sedangkan imajinasi (Khayal) yakni tasybih, isyti’aroh makniyah, isyti’arah tashrihiyyah, kinayah dan majas mursal. Bentuk kalimat dalam simt al-durar terdiri atas 58 bait berbentuk nadzam dan berbentuk prosa 15 fasal
Book Review of Rawia BEN KHAYAL (2026). Tribalism and Democracy in Libya: State Building and Identity After Gaddafi, Routledge, 132 pages.
No full text¿Democracia o beduinocracia? Ésa es la pregunta central que vertebra la obra de Rawia Ben Khayal, Tribalism and Democracy in Libya (Routledge, 2026). O, dicho de otra forma, si las “instituciones democráticas modernas” son “contrarias a los valores tribales tradicionales”. Para la autora, la respuesta es negativa: la tribu es por definición autocrática, colectivista, nepotista, informal, basada en la religión y la costumbre, y modelada en el parentesco.
Ben Khayal acusa a Occidente de imponer un proceso de state-building de inspiración weberiana y de corte securitario que no se adapta la realidad libia. Al mismo tiempo, la autora concede que es imposible dar marcha atrás en el tiempo; la solución pasa por encontrar una solución intermedia “híbrida” que refleje la realidad local, imaginando una institución consistente en líderes tribales de todas las regiones del país. Se desbloquearía así el potencial positivo de la tribu, su capacidad conciliadora de nation-building.
La autora no persigue una reformulación teórica del concepto de tribu – es más, considera los ataques desde la antropología contemporánea como una forma de marginalización cultural –, y su análisis de la historia de Libia sigue a grandes rasgos la de otros referentes consolidados. La principal novedad viene en el capítulo sexto y consiste en la realización de una encuesta online con mil participantes que evidencia cómo la mayoría de los libios siguen sintiéndose vinculados a una tribu, y al mismo tiempo, desearían poder abandonar las etiquetas tribales.Democracy or Bedouinocracy? This is the central question that underpins Rawia Ben Khayal\u27s book, Tribalism and Democracy in Libya (Routledge, 2026). Or, to put it another way, whether “modern democratic institutions” are “contrary to traditional tribal values.” For the author, the answer is negative: the tribe is by definition autocratic, collectivist, nepotistic, informal, based on religion and custom, and modeled on kinship.
Ben Khayal accuses the West of imposing a Weberian-inspired, security-oriented state-building process that is not suited to the Libyan reality. At the same time, the author concedes that it is impossible to turn back the clock; the solution lies in finding a “hybrid” intermediate solution that reflects the local reality. She imagines an institution consisting of tribal leaders from all regions of the country. This would unlock the positive potential of the tribe, its conciliatory capacity for nation-building.
The author does not seek to theoretically reformulate the concept of tribe —in fact, she considers the attacks from contemporary anthropology to be a form of cultural marginalization—and her analysis of Libyan history broadly follows that of other established scholars. The main novelty comes in chapter six and consists of an online survey of 1,000 participants, which shows how most Libyans still feel connected to a tribe, and, at the same time, would like to be able to trascend tribal labels
Dervîş Muhammed Şifâyî'nin Şerh-i Şebistân-i Hayâl'indeki Muammâ Çözüm Yöntemleri Üzerine Bir İnceleme / An Investigation on Dilemma Resolution Methods in the Sharh Shabistan Khayal of Darwish Muhammad Shifayi
No full text<p><strong>Abstract</strong></p><p>Darwish Muhammad Shifayi was born in early seventeenth century, and has been known as the commentator on Masnawi with his commentary on the first two volumes of the Rumi’s Masnawi. This famous commentator also had other works like <em>Hadiyyet al-Fukara</em> in which he translated Esma al-Hüsnâ, which was originally Persian and was translated into Turkish by him; <em>Hadiyye-i Rahmat</em> in which he wrote about Islam, mysticism and religious cults; and <em>Sharh Shabistan Khayal</em> in which he commented on the work of Fattah al-Nishabûrî called <em>Shabistan Khayal</em>. A critical text study was conducted on the first volume of his work with the name <em>Sharh-i Masnawi</em> and the critical text study is being conducted at present time about the second volume of this work and about <em>Hadiyyat al-Fukarâ</em>. There are no studies on <em>Sharh Shabistan Khayal </em>and on <em>Hadiyye-i Rahmat</em>, which is currently not available in Turkey.</p><p>In this study, the work called <em>Sharh Shabistan Khayal</em> located in Süleymaniye Library Serez 2656 number will be introduced, the purpose of the commentator will be explained, and the commentary method will be dealt with. In <em>Shabistan Khayal,</em> which was originally written in Persian, issues on religion and life were handled with the dilemma style by using letter and word games. For this reason, when determining the commentary method of such a text, the translation and commentary of Persian expressions and the solution ways of the dilemmas must be considered. Based on this context, when explaining the commentary method of the commentator, the translation and commentary of the Persian text will be dealt with firstly; and the dilemma resolution methods such as <em>amel-i tahsîlî</em>, <em>amel-i tekmîlî</em>, <em>amel-i teshîlî</em>, <em>amel-i tezyîlî</em> will be dealt with in the second section under the title of “Art”. </p><p><strong>Öz</strong></p><p>On yedinci yüzyılın başında dünyaya gelen Dervîş Muhammed Şifâyî, Mevlânâ’nın Mesnevî’sinin ilk iki cildine yaptığı şerhle Mesnevî şarihi olarak tanınmıştır. Şarihin bundan başka aslı Farsça olan iki Esmâ-yı Hüsnâ şerhini Türkçeye tercüme ettiği <em>Hediyyetü’l-Fukarâ</em>, İslam dini, tasavvuf ve tarikatlara dair kaleme aldığı <em>Hediyye-yi Rahmet</em> ve Fettâh-ı Nişâbûrî’nin <em>Şebistân-ı Hayâl </em>adlı eserini şerh ettiği<em> Şerh-i Şebistân-ı Hayâl </em>adlı eserleri vardır. Bu eserlerden <em>Şerh-i Mesnevî</em>’nin birinci cildi üzerinde tenkitli metin çalışması yapılmış, söz konusu eserin ikinci cildi ve <em>Hediyyetü’l-Fukarâ </em>adlı eser üzerinde tenkitli metin çalışmaları yapılmaktadır. <em>Şerh-i Şebistân-ı Hayâl </em>ve yurt dışında bulunduğu için henüz temin edilemeyen <em>Hediyye-yi Rahmet </em>adlı eserlerle ilgili bir çalışma yoktur.</p><p>Bu makalede, Süleymaniye Kütüphanesi Serez 2656 numarada bulunan <em>Şerh-i Şebistân-ı Hayâl </em>adlı eser tanıtılıp şarihin maksadını izahtan sonra şerh yöntemi üzerinde durulacaktır. Aslı Farsça olan <em>Şebistân-ı Hayâl</em>’de, din ve hayata dair konular harf ve kelime oyunları vasıtasıyla muammâ tarzında ele alınmıştır. Dolayısıyla böyle bir metnin şerh yöntemini belirlerken hem Farsça ifadelerin tercüme ve şerhi hem de muammâların çözüm şekilleri göz önünde bulundurulmalıdır. Bu düşünceden hareketle şarihin şerh yöntemi ele alınırken öncelikle Farsça metnin tercüme ve şerhi, ikinci olarak da “sanat” başlığı altında, muammâların halledildiği bölümde kullanılan amel-i tahsîlî, amel-i tekmîlî, amel-i teshîlî, amel-i tezyîlî gibi muammâ çözüm yöntemleri üzerinde durulacaktır.</p><p><strong> </strong></p></jats:p
برصغیر میں اردو رسائل کے اقبال نمبر
No full textA number of compilations of Allama Iqbal's soul inspiring poetry were published during his lifetime. Besides this, in 1932, "Nairang-e-Khayal" a prestigious literary Urdu journal edited by Hakeem Yousuf Hasan, have published first Iqbal Number. After this large numbers of books, articles and Iqbal numbers published but that does not gain that fame which achieve by Iqbal Number of Nirang-e-Khayal. It shows its importance through publication that someone wrote letter to Allama Iqbl from Egypt regarding book published on him. Then Allama Iqbal asked Hakeem Yousaf Hassan to send him two copies of Nirang-e-Khayal. It came to know from this that Iqbal number was published during the life time of Iqbal and it was the light which gives shine to others
Imajinasi KHAYAL Dalam Pandangan Ibn 'ARABI.
No full textEbook ini berisi tentang sejarah kesultanan Deli dan masyarakatnyaxix, 189 hl
PENDIDIKAN AQIDAH SEBAGAI LANDASAN KARAKTER SESEORANG DI PERGURUAN TINGGI
No full textAqidah jiwa menjadi hal yang penting untuk membentuk manusia. intensitas penelitian terhadap wacana pengembangan Namun, apabila kita sadari menurut Mohd Zaidi Ismail bahwa daya khayal ini memiliki dua segi, yakni segi yang menuruti serangkaian aturan tertentu (muntaẓam) dan segi yang bebas dari aturan-aturan tersebut (ghayr muntaẓam). Dalam hal ini al-Attas, sepertinya juga memiliki terma yang sepadan yakni, orderly dan non-orderly fashion. Hal demikian, nyatanya pun selaras dengan pandangan Syed Muhammad Nauqib al-Attas dalam karyanya Prolegomena terkait daya tersebut. Dalam hal ini al-Attas pun juga telah membagi dua bentuk imajinasi, yaitu sensitive imajinasi dan rasional imajinasi. Dimana jenis yang pertama ini hanya menerima dari data inderawi dan jenis kedua lebih kepada intelek atau alam batin yang tinggi.Di samping itu al-Attas juga menegaskan bahwa dalam perolehannya terhadap ilmu perlu adanya bantuan atas daya imajinasi. Sebagaimana yang beliau tuliskan bahwa “Thought (al-fikr) is the soul’s movement towards meaning, and this needs imagination (al-khayal
Dualisme makna: indenpendensi teks nazm
No full textIndependensi nazam menyebabkan adanya multi atau bahkan dualisme makna pada teks. pemaknaan tersebut mengarahkan pada pemaknaan bersifat interpretatif dari pembaca, karena itu otoritas kualitas pembacaan terkait dengan kesesuaian antara menentukan objektivitas makna, yang walaupun masih terkesan subjekstif, sebab itu, otobomisasi teks nazam adalah faktor penyebab adanya nilai imajinatif al-khayal pada nazam
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