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Raimbaut de Vaqueiras, “Domna, tant vos ai prejada” (BdT 392.7)This paper will attempt to read Raimbaut de Vaqueiras’ ‘contrasto’ from the viewpoint of its explicit addressees: the late twelfth-century imperial nobility of north-western Italy, as embodied by the Malaspina family. The text’s distinctive bilingualism thus assumes social and political significance since it pits the claims of the feudal aristocracy of the hinterland against the power of the Genoese bankers and merchants. The dialectical relationship of the two sides involved, played out by the voices of the jongleur and the Genoese lady, is nevertheless also literary: Raimbaut appears to match popular poetry, poetry which is «non regulata» as Dante would later call it, against a century of courtly Occitan poetry distinguished by an extremely formal tradition. A carnivalesque dimension is thus present in the reciprocal illumination of the two poetic voices: if popular poetry is unregulated despite its expressive qualities, troubadour poetry is confined, by means of the parody of the genre of the ‘salut’, to topics far-removed from reality. Raimbaut’s aim then is to restructure trobar by going back to the beginning: to the Count of Poitiers and his political and cultural act of inventing a secular poetry of aristocratic inspiration and in the vernacular. A ‘male’ poetry that will be formulated by the surprising gap at the end of the poem.
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O SUTRA DO CORAÇÃO DA SABEDORIAIntroduction and translation of the Heart-sutra, with commentaries. The small text presents some important aspects of the Buddhist school called Mahayana: the void and the charm.
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Bir Mecmû’a Ekseninde Bazı Tespît ve Değerlendirmeler <br> Some Determinations And Evaluations In The Context Of A Mecmû’aMecmû’a (journal), that is an Arabic word, in Turkish means collecting and gathering together. Moving from that meaning, other works (such as risâle or other voluminous works) that contains poetic, nonpoetic or poetic and nonpoetic together expressions that are related also called as mecmû’a. Mecmû’a’s are called differently according to their contents and forms. For instance, while a mecmû’a that contains hadiths is called as “mecmû’atü’l-ehâdis (journal of hadiths)” or a mecmua about medicine is called as “mecmû’a-yı tıb (journal of medicine)”; likewise a mecmû’a, that contains poems belonging to one or several poets, is called as “mecmû’a-yı eş’âr (journal of poets)” Mecmû’as that gained a printed literary work appearance in the process, those mecmû’as that have a literary characteristic in the context of Classical Turkish Literature’s; basically, certain poetry forms (such as mecmû’a-yı gazeliyyât) can be classified as: mecmû’as that contain several poets’ dewans (mecmû’atü’t-devâvîn), poems that have the characteristic of being an answer to each other (mecmû’atü’n-nezâ’ir), mecmû’as that named after its compiler (Such as Pervâne Bey Mecmû’ası ) from the approach of literature, Mecmû’as can offer many conveniences to the researcher as well as can drag him to many faults. For his reason, mecmû’as must be handled elaborately like almost any material. By this article, moving from the thought that determinations and evaluations made on texts present more healthy conclusions, some determinations and evaluations are made on the data from the journal of Millî Kütüphâne Yazmalar Katoloğu (National Library Handwriting Catolog) 06 Hk 4041 archive number and Mecmû’a-yı Eş’âr (Journal of Poets) name, registered to Şeyh Osmân Şemseddîn. <br> Arapça bir sözcük olan mecmû’a; Türkçede toplamak, bir araya getirmek gibi anlamalarla karşılanmaktadır. Bu anlamdan hareketle; bir şekilde birbiriyle ilintili olan manzûm, mensûr veya manzûm-mensûr karışık sözleri içeren risâle ya da daha hacimli ürünlere de mecmû’a denilmektedir. Mecmû’alar, içeriklerine ve oluşturulma biçimlerine göre farklı adlarla anılırlar. Söz gelimi, hadîslerden oluşan bir mecmû’a “mecmû’atü’l-ehâdis” ya da tıpla ilgili bir mecmû’a “mecmû’a-yı tıb” biçiminde adlandırılırken, doğrudan bir kişiye ya da farklı birkaç kişiye âit şiirleri içeren mecmû’alar, “mecmû’a-yı eş’âr” şeklinde isimlendirilir. Süreç içerisinde te’lîf bir edebî ürün görünümü kazanan mecmû’alar, klâsik Türk edebiyatı bağlamında; temel olarak, belli nazım şekillerine âit şiirleri içerenler (mecmû’a-yı gazeliyyât gibi), birden çok şâirin dîvânını barındıranlar (mecmû’atü’t-devâvîn), birbirine cevâp niteliği taşıyan şiirlere yer verenler (mecmû’atü’n-nezâ’ir) ve derleyicisinin adı ile anılanlar (Pervâne Bey Mecmû’ası gibi) biçiminde tasnîf olunabilir. Edebiyat söz konusu olduğunda mecmû’alar, araştırmacıya birçok yönden kolaylık sağlayabildiği gibi onu birtakım yanlışlara da sürükleyebilir. Bu bakımdan hemen her materyalde olduğu gibi mecmû’alara da imtinâ ile yaklaşılmalıdır. Bu makale ile metinler üzerinden yapılacak tespit ve değerlendirmelerin daha sağlıklı sonuçlar sunacağı düşüncesinden hareketle; Millî Kütüphâne Yazmalar Katoloğu’nda 06 Hk 4041 arşiv numarası ve Mecmû’a-yı Eş’âr isimlendirmesiyle Şeyh Osmân Şemseddîn adına kayıtlı mecmû’a ekseninde ve ilgili mecmû’a metninin sunduğu veriler üzerinden bazı tespît ve değerlendirmelerde bulunuldu.